TYPE DESIGN INFORMATION PAGE last updated on Sat Oct 25 17:19:47 EDT 2014

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Type scene in Connecticut



[The Yale Typeface, Matthew Carter, 2004]

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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19th Annual International Conference of the Lettering Arts, East

Organized by Writing beyond Words, 14-20 August 1999, Madison, CT. Registration 100 USD. Geared towards calligraphers, mainly. [Google] [More]  ⦿

Adnauseum
[Christian Acker]

Adnauseum is an experimental design studio in Brooklyn, NY, run by Christian Acker, an American type designer (b. 1979, Norwalk, CT) who graduated from the Parsons School of Design in New York City in 2002. Christian occasionally guest lectures typography classes at Parsons. He set up Adnauseam in 2002 and Handselecta in 2003.

He designed Sailor Gothic (2003), the Spanish-looking font Sailor Jerry (2002), Joker Straight Letter (2006), Mene One NY Throwie (2006), Mesh One AOK (2006), Meskyle Laid Back (2006), Sabe Ghetto Gothic (2006), and 24Hrs (2002, Cubanica).

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

American Wood Type Co.
[Charles Tubbs]

One of two American wood type manufacturers with the same name. This one was started by Charles Tubbs, John Martin and George Keyes in South Windham, CT, in the factory built by Edwin Allen in 1851 and sold by John G. Cooley in 1863. The three founders had been employed previously by William Page. In 1902, the company changes name to Tubbs and Co., but Tubbs kicks the bucket in 1903, and the company moves to Luddington, MI, under the new name Tubbs Mfg Co. [Google] [More]  ⦿

Apirah Infahsaeng

Designer and illustrator Apirah Infahsaeng ("Synthetic Automatic", Brooklyn, NY) made Elastic (2004), based on wrapping a series of rubber bands around a 3x3 pegboard grid. Four (2004) takes inspiration from the dot matrix display in the popular children's game Connect Four. Seven Board of Cunning (2004) is a modular paper fold face constructed with Chinese tangram puzzle tiles. In 2004, he also made an ascii typeface drawn from Helvetica Neue R, created and manipulated using Microsoft Word [sic], called Helvetica Neue R Microsoft Word. He studied art at the University of Connecticut. In 2008, he drew a custom didone display typeface for New York Magazine. [Google] [More]  ⦿

Benjamin Critton

Benjamin Critton (b. 1983) is an American designer, typographer, art director, publisher, writer, editor and curator. He lived in New Haven, Connecticut, where he studies towards an MFA in graphic design at the Yale School of Art, and is now based in Brooklyn, NY. In 2010, he joined the British typefoundry Colophon.

Raisonné is a contemporary sans-serif typeface, designed by Benjamin Critton over the course of several months during the summer of 2010. It can be bought at Colophon Foundry.

In 2012, Colophon published his Value Serif typeface.

In 2013, the angular typeface Lydia Bold Condensed was published at Colophon: The typeface is a calligraphic sans-serif re-drawn and developed by Benjamin Critton after Warren Chappell's 1938-1946 designs. It is concurrently fluid and sharp; intended to appear wrought by both pen and machine. [Google] [More]  ⦿

Bertram Grosvenor Goodhue

New York architect, designer and artist. Born in Pomfret, Connecticut in 1869 and died in New York in 1924. He is most famous for designing Cheltenham (1896) for the Cheltenham Press in New York, a long-ascender classical American face created initially for Ingalls Kimball at the Cheltenham Press. He also designed Merrymount (1894-1896, Merrymount Press, a medieval-look humanist face cut by Woerner of A.D. Farmer&Son).

Cheltenham was adapted, extended, and revisited by many, starting with Morris Fuller Benton from 1904-1911, who created a full family of Cheltenhams for ATF---Benton's Cheltenham is the Cheltenham we have today. In 1975, Tony Stan increased the x-height in his revival for ITC.

Cheltenham versions can be found at SoftMaker (Cheltenham Pro, and S790), Elsner&Flake (Cheltenham OldStyle EF), Berthold (as Sorbonne BQ), Adobe (ITC Cheltenham by Tony Stan), URW (Cheltenham Old Style, and the 2001 face Cheltenham D Bold Extra Condensed), Castcraft (as OPTI Cheltenham Old Style), Monotype (as Gloucester Old Style, Monotype's version of Cheltenham), Paratype (the 1997 Academy typeface family by Lyubov Kuznetosova and Alexander Tarbeev), Cheltenham Pro (2012, Softmaker), Bitstream (Cheltenham; also under the names Stubserif 705 and Stubserif 205 for the Extra Condensed versions), Font Bureau (FB Cheltenham by Jane Patterson, 1992), ITC (Tony Stan's 1975 version of Cheltenham; and ITC Cheltenham Handtooled, a 1993 openface family by Tony Stan and Ed Benguiat), and Scangrapghic (Chelten or Cheltenham Old Style SB).

Mac McGrew on Cheltenham: The design of Cheltenham Oldstyle and Italic is credited to Bertram Grosvenor Goodhue, an architect who had previously designed Merrymount, a private press type. For Cheltenham he had the assistance of Ingalls Kimball, director of the Cheltenham Press in New York City, who suggested and supervised the face. Original drawings were made about 14 ' inches high, and were subjected to much experimentation and revision. Further modification of the design was done by the manufacturers. Some historians credit this modification or refinement to Morris F. Benton; another source says it was done at the Boston branch of ATF, which suggests that the work may have been done by Joseph W. Phinney. In fact, Steve Watts says the face was first known as Boston Oldstyle. Mergenthaler Linotype also claims credit for developing the face, but it was first marketed by ATF. Trial cuttings were made as early as 1899, but it was not completed until about 1902, and patented in 1904 by Kimball. It was one of the first scientifically designed faces. The thin lines were strengthened to avoid the emaciated look of many types of the period. It is almost a monotone, but with just enough difference between light and heavy lines to avoid monotony. The small serifs and short, compact lowercase make a high character count. Ascenders are unusually long, while descenders are quite short. This was done as a result of studies that showed the greater importance of the upper half of a line of type in creating readily recognizable word shapes and result ing readability. The face has had much adverse criticism, especially because of its short descenders and the unusual design of several characters---notably A with the extension of its thick stroke at the top, G with the curve extended at the bottom, and g with its angular, unclosed tail. The alternate form of r, with its arm raised above x-height, has also been criticized, but this is mostly the result of misuse. It is disturbing within a word, but adds a bit of grace at the end of a word. Oddly, original fonts had only this form, with the more regular r added later; most fonts for handsetting include both forms of r, but those for machine setting include only the normal form or in a few cases only the more exotic form. Morris Benton, ATF's chief designer, produced Cheltenham Bold in 1904 and a score of variations up to 1913, methodically exploring the possibilities of various combinations of weight and width, and making this the first true large type family. Benton's variations include Cheltenham Bold Condensed, 1904; Cheltenham Bold Italic, Cheltenham Bold Condensed Italic, Cheltenham Wide and Cheltenham Bold Outline, 1905; Cheltenham Bold Extra Condensed and Cheltenham Bold Extended, 1906; Cheltenham Inline, Inline Extra Condensed and Inline Extended, 1907; Cheltenham Oldstyle Condensed, 1909; Cheltenham Medium, 1909; Medium Italic, 1910; Cheltenham Extrabold, 1910; Cheltenham Bold Shaded, Bold Italic Shaded and Extrabold Shaded, 1912; and Cheltenham Medium Condensed and Expanded, 1913. Linotype, Monotype, and Ludlow each have duplicates of a dozen or more Cheltenhams, while Intertype has the same under the name Cheltonian. Nearly all of these are essentially the same, except for the addition of ligatures and diphthongs in some display fonts (as shown for Cheltenham Bold), and the modification of keyboard sizes to fit mechanical requirements, but this is substantial in some cases. A curious exception is C heltenham Bold Outline; in the original foundry version it is cut from the same patterns as Bold so they will register for two-color work, while Monotype display sizes have several characters rather crudely redesigned---note H, P, R, e, h, u shown separately. Some of these other sources have also added versions of their own, notably Cheltenham Cursive, designed by Robert H. Middleton for Ludlow, and Cheltenham Wide Italic on Monotype, probably designed by Sol Hess. The latter carries the modifications required for machine-set sizes into display sizes as well. There are several oddities in the Cheltenham family. Cheltenham Wide is identical with Cheltenham Oldstyle except for the lowercase, in handset fonts. The same figures and punctuation marks from these two faces are also shared by Cheltenham Oldstyle Condensed, again in handset fonts. In the specimens shown here, compare Oldstyle and Wide. The former, set in ATF type, has two forms of cap C, which that foundry supplied with both faces, while the latter, set in Monotype, has two forms of cap W, which that company made only for that face. The unusual paragraph, prime and double prime marks, as well as parentheses and brackets, were made by ATF in some sizes of all three faces, but by Monotype only in Cheltenham Oldstyle. There is no Cheltenham Condensed Italic, but Linotype has a Cheltenham Extra Condensed Italic (so-called), which is actually a little wider than Cheltenham Condensed (roman)---why it is called extra condensed is not known. It suffers from adaptation to straight matrices, with annoying gaps between some letter combinations. But Cheltenham Medium Italic was designed more successfully by Benton to fit straight type bodies without kerns. Figures in the medium, bold, and extrabold weights differ from those of the Oldstyle; also notice how the x-height increases with weight. Ludlow Cheltenham is distinguished by the greater slant of some of its italics, and by the rounder top on the roman lowercase a and the rounder lower spur on capital G, as shown in some of the specimens. Western Type Foundry copied several members of this family as Chesterfield. Hansen had the Craftsman series, differing most noticeably in the few characters shown; and other foundries around the world copied it under a variety of names. Also see Kenilworth, Lowell, Venetian.

Books on Cheltenham include one by Thomas Hailing: Specimens of General Printing . Cheltenham (1882, Oxford Printing Works).

Posters created on Cheltenham include one by Anna Brooks (2013).

Klingspor link. Linotype link. FontShop link.

View various digital versions of Cheltenham. See also here. [Google] [MyFonts] [More]  ⦿

Bill, Stark, and Co

In 1850, Horatio and HJeremiah Bill, who had previously worked for Edwin Allen in South Windham, CT, start a wood type manufacturing business in Lebanon, CT, and move to Willimantic, CT, the next year. A few years later, they were joined by Stark, and the company became Bill, Stark, and Co. In early 1854, it is renamed again to H. and J. Bill Co., but closes its doors later that year. Their equipment gets purchased by William Page in 1856 who will start his own successful wood type company, Page&Bassett.

Its typefaces included Bill Stark Roman Extended (a "fatface"), and Concave Tuscan Condensed (1853).

For digitizations, see, e.g., Dick Pape's AWT Bill Stark Concave Tuscan Cond (2013), AWT RIT Conc Tuscan Open Shade (2013) and AWT vandenburgh Concave Tuscan (2013: this typeface was cut by Vanderburgh Wells but is based on an 1853 design by Bill, Stark & Co). [Google] [More]  ⦿

Bill Tchakirides
[UTF Type Foundry]

[More]  ⦿

Bria Caso

Cheshire, CT-based designer of the octagonal typeface Shadowbox (2014). [Google] [More]  ⦿

Brian Willson
[Three Islands Press (was: The Type Quarry)]

[MyFonts] [More]  ⦿

Bruce Rogers

Albert Bruce Rogers was a celebrated American type and book designer (b. 1870, Linnwood, IN, d. 1957, New Fairfield, CT). A graduate from Purdue in 1890, he worked in book design. It was not until 1901 that he cut his first typeface, Montaigne, a Venetian style face named for the first book it appeared in, a 1903 limited edition of The Essays of Montaigne. In 1912, Rogers moved to New York City where he worked both as an independent designer and as house designer for the Metropolitan Museum of Art. It was for the Museum's 1915 limited edition of Maurice de Guérin's The Centaur that he designed his most famous type-face, Centaur (1914). Like Montaigne, it was based on the Venetian faces of Nicolas Jenson. Wikipedia: Rogers considered this face to be a substantial improvement on his early Montaigne, both because his design had matured and because, on the advice of Frederic Goudy, he had employed Robert Wiebking as the punch-cutter, and Rogers used Centaur extensively for the rest of his career. The Centaur was produced by Rogers in Dyke Mill at Carl Rollins' Montague Press and is now one of the most collectible books ever printed.

In subsequent years, he designed books for Mount Vernon Press, and Harvard University Press, and served as typographic advisor at Lanston Monotype. To produce the Oxford Lectern Bible for Oxford University Press, an italic complement to Centaur was needed. Wikipedia: As he did not feel capable of designing the sort of chancery face that he thought appropriate, Rogers chose to pair Centaur with Frederic Warde's Arrighi, a pairing retained to this day.

Rogers died in New Fairfield, CT, and donated his books and papers to Purdue University, where they are in the Beinecke Rare Book and manuscript Library.

Biography by Nicholas Fabian. Linotype link. His typefaces, summed up:

  • Montaigne (1901, privately cast). Punches cut by John Cumming.
  • Centaur (original) (1914). Development continued until 1931. Privately cast by Barnhart Brothers&Spindler. Matrices cut by Robert Wiebking of the Western Type Foundry. Centaur is a modern version of Nicolas Jenson's Venetian typeface Centaur. There are many digital age descendants of Centaur. Bitstream got that ball rolling with Venetian 301 (Cyrillic version by Dmitry Kirsanov, Paratype, 2006), and SoftMaker has its Cambridge Serial (2010). Type families called Centaur exist at Adobe, Monotype and Linotype. Related faces, but without Centaur's flaring, include Phinney Jenson (Tom Wallace) and Nicolas Jenson SG (Spiece Graphics). See also Centurion, Centus (URW), Coelacanth (2014, a free 36-style typeface family by Ben Whitmore), and Arrighi Italic .
  • Centaur (Monotype) (1929, Monotype Ltd. and Mackenzie&Harris). Matrices re-cut for machine composition by British Monotype. Further developments based on or related to this typeface: Metropolitan Oldstyle (Lanston; with Frederick Warde), Poster (1918-1919), Goudy Bible (1947, designed with the collaboration of Sol Hess for Lanston Monotype). Discussion of Centaur by Don Hosek. About Centaur Monotype (1929), and its digital version, Dean Allen writes: Like Bembo, released for the Monotype machine the same year, Centaur was an exceptionally beautiful and eminently readable revival of Renaissance type. Unfortunately, the producers of the digital version made a common mistake: the shapes are based on the most basic starting point of Bruce Rogers designs. These designs were intended for metal type that would press into paper, the ink spreading as it absorbed into the fibre. The resulting printed shapes had a good deal more visual force than the original designs. The process was total: design anticipating application. This version of Centaur suffers from the perfection of the process of digital design and offset printing: the original shape is printed coldly intact, and thus its very difficult to set a well-made page in Centaur. In 2014, Jerry Kelly and Misha Beletsky coauthored The Noblest Roman (RIT Cary Graphic Ars Press) on the history of Centaur types by Bruce Rogers. The blurb: The history of the Centaur type, likely the most important American typefeace ever designed, has been recounted untold times in very general terms, following the official version of events, purported by its designer in several publications. Yet, as the new research by Jerry Kelly and Misha Beletsky shows, there is a number of gray areas to the story. The new data, culled from archival documents, some unpublished, as well as from a variety of published sources presents this important design and its history in a new light.
[Google] [MyFonts] [More]  ⦿

Carol Wahler

Executive Director of Type Directors Club in New York, who lives in Stamford, CT. Type and graphic designers know her best for her involvement, passion and hard work for the Type Directors Club competitions and exhibitions. Typographic picture from the TDC55 competition. [Google] [More]  ⦿

Charles Tubbs
[American Wood Type Co.]

[More]  ⦿

Charles Tubbs
[Tubbs Mfg Co]

[More]  ⦿

Chris Chew

CT-born creator of Serious (2013), an avant garde sans typeface, during his studies at The Art Institute of Boston at Lesley University, where he is in the class of 2014.

Behance link. [Google] [More]  ⦿

Christian Acker
[Handselecta]

[MyFonts] [More]  ⦿

Christian Acker
[Adnauseum]

[MyFonts] [More]  ⦿

Coniglio Type
[Joseph Coniglio]

Delta, CO (and, earlier, Stamford, CT)-based Joseph Coniglio (b. Niagara Falls, NY, 1955) and a small group of designers. Check out the typewriter families Carbon 14, Passport, Vintage Type, Garnet Euro Typewriter (2004, grungy), and Telepath.

Other fonts: Aspersion, Grasshopper (dada), Burnt Toast (rounded fat finger face), Yardbord Numerals, Snyder Speed, Autocrat, NudE, Jack Rabbit, Felt Marker, Oregon Dry, Sublime, Omaha, Nomad, Aquacia (stencil), Rainmaker (stencil).

Showcase of Joseph Coniglio's typefaces at MyFonts. The Coniglio Type typeface library. [Google] [MyFonts] [More]  ⦿

Cosmo Catalano

Editor of A web log of design and high drama which frequently comments on typographic matters such as web fonts (why pay for them?), traffic signs, and typeface use. He calls himself the world's toughest writer, and lives in the New England area (he graduated from Dartmouth, NH). In this piece entitled The Tell-Tale R Some Thoughts on Clearview, Cosmo writes this about the decision to start using Clearview for America's highway signs:

While I admit it's (much) easier to read, I can't say I'm exactly psyched about seeing it. There are a variety of reasons why. I suppose my gut reaction is that it no longer feels like I'm driving down a federally-funded expressway-it feels like I'm staring at ads.

While I've mentioned that Interstate has really picked up its public profile recently, Interstate isn't really the FHWA typeface. Tobias Frere-Jones got a lot of attention for Interstate because the edits he made were very subtle, yet somehow made the font tolerable for more than 12 characters at a time.

Clearview, on the other hand, was in use for advertising years before it ever appeared along the highway-most notably by megalith AT&T. I liked the old, ugly FWHA face because it was so odd and idiosyncratic. It was like watching a David Bowie in his "androgynous alien" days-no mistaking it for anything else, let alone a sweeping corporate rebranding.

FWHA's cold formlessness was also nice because it didn't encourage you to interact. One of Steve Jobs' most persistent design maxims is that products need to be anthropomorphic; it makes people want to engage with them.

Clearview is definitely more human than FHWA, but is that really a good thing? Do we really want people relating to and engaging with signage? Or do we want them to glance, comprehend, and get their eyes back on the road?

I'm also skeptical of the notion that legibility should be the only standard. Reading interstate signage-even with the old, weird FHWA face-is pretty damn easy. If you need the extra 200 feet to pick out an exit, what other details are you missing? Should you really be on the road? [Google] [More]  ⦿

Davalign LLC (was: Connecticut Web Design, or: DB Elements Web Design)
[Dave Panfili]

Dave Panfili (Davalign LLC, and before that, Connecticut Web Design, and before that, DB Elements Web Design) is the Fairfield County, CT-based creator of the futuristic faces DBE-Rigil Kentaurus (2009, hand-printed), DBE-Rigel (2010, hand-printed), DBE Nitrogen, DBE Hydrogen (2009, futuristic), DBE Lithium (2009, squarish), Gridshift (2010), DBE Oxygen (2010, grunge), and DBE Fluorine. DBE Beryllium (2009, splattered paint font), DBE Canopus, DBE-Sirius, DBE-Vega, and DBE-Arcturus are all hand-printed faces. Dafont link. Fontspace link. Fontspace link for Davalign LLC. Devian tart link. [Google] [More]  ⦿

Dave Panfili
[Davalign LLC (was: Connecticut Web Design, or: DB Elements Web Design)]

[More]  ⦿

David C. Lovelace
[Parallax (Dave's Free Fonts)]

[More]  ⦿

David M. Cushman
[Dirtfonts]

[More]  ⦿

Dirtfonts
[David M. Cushman]

Part of the Chank Army, Dirtfonts (part of Dirt Magazine, also called Form://subtance) has produced some grunge/grunge fonts for the Mac such as df_unitype (2001), Blip (2001), Chunky (2001), Fader (2001), Fatslab (2001; see also here), Faxt (2001), M-smcaps (2001), Matrix (2001), Receipt (2001), Scrawl (2001), Scribble (2001), ShadowGrotesque (2001), Shift (2001), Solidsubstance (2001), Substance (2001), Stampkit (2002), Hyperbole (2002, a handwriting font), Basic (2002). The designer is David M. Cushman out of Harwinton, CT. [Google] [More]  ⦿

Divide by Zero (or: DBZ Fonts)
[Tom Murphy]

Divide by Zero (or: DBZ Fonts) has about 100 fun freeware TrueType fonts by Tom Murphy from Hamden, CT. Direct downloads. All the fonts in one zip. The fonts, made between 1993 and 2005: 32768NO, 7hours, ActionJackson, Angstrom, AntelopeH, AntimonyBlue, BoringBoron, CODON, ColophonDBZ, ConventionalWisdom, CosineKatie, Davis, Dissonant-Fractured, DoctorAzul, Donner, DouglasAdamsHand, Dysprosium, Epilog, Faraday, Fresnel, GaussJordan, Geodesic, Germs, GreenwichMeanTime, GuildofProfessionalActors, HockeyisLif, HockeyisLif, HydrogenScore, Initial, Isuckatgolf, Levity, Lexographer, Linear, MayQueen, MelanieGirly, MetaLanguage, MusicDBZ, NaturalLog, NonBlockingSocket, NullPointer, OPTICBOT, OneConstant, PROGBOT, Pinball-Data, PotassiumScandal, Prefix, Proteron, Ransom, RealBttsoief, Resurgence, RobotTeacher, Secret-Labs, SignalToNoise, Snootorgpixel10, Submerged, Technetium, Tetanus, ThisBoringParty, Toast, Tom's-Handwriting, Tom's-NewRoman, Tombats-One, Tombats6, Tombats7, TombatsFour, TombatsSmilies, TombatsThree, Tombots, TommysFirstAlphabet, TomsHeadache, Tuesday, Two-TurtleDoves, Valium, WolvesLower, Yikatu, ZincBoomerang.

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

Dobi (was: Toxic Type)
[Rob Dobi]

Site of prolific designer Rob Dobi from Fairfield, CT, who made many freeware/shareware fonts. Some fonts are grungy, but many have a strong calligraphic influence (Killigraphy and Arthur for example). The list: Apocalypse1, Arthur, AssCrack, BallstotheWall, Blasphemy, Bubblegum Superstar (1998, more a brush font than a bubblegum font), Catch22, CrappyCrap, Cringe, CriticalMass, Depraved, DobiType, Doober, DroopyPoopy, Duchess, Dumbass, Entropy, Failure, FluxCapacitor, Geriatric, GreenAppleSplatters, Guillotine, HeavyRotation, HongKongFistFuck, HyperKinetic, Immoral, InKsolBitch, Incest, KaBlooie, Kemuri, KillgraphyBold, Killigraphy (1998), Misconstrued, Misfortune2, MisterSinister, Nicole, PessimisticLines, Piledriver, Plastered, Puke, Salvation, Snot, Splooge, Static, StoneCold, Suicide, TheDrips, Vein. Another site has additional fonts such as Pitty. Toxicomania, Ocular and Pileliner have disappeared.

Dafont link. Abstract Fonts link. [Google] [More]  ⦿

Douglas and Lloyd Morgan

Wood type collectors weho started building a collection in 1940 in Dobbs Ferry, New York. [Google] [More]  ⦿

Edwin Allen

Edwin Allen manufactured wood type for newspapers in South Windham, CT, from 1837-1840, after having invented in 1836 his own version of the router/pantograph for wood type manufacture. His wood types were sold exclusively through George Nesbitt in New York City. In 1845, two of his employees, William and Samuel Day, left to set up their own company in Ohio. Two other employees, Horatio and Jeremiah Bill, from Lebanon, CT, left in 1850 to start their own business as well. In 1852, Allen's company was purchased by John G. Cooley and production moved to New York City.

Typefaces by Edwin Allen include Antique Open Shaded (1828), Antique Rose Ornamental (1838) and Antique English Ornamental (1838). [Google] [More]  ⦿

Eleazer Huntington

Author of Art of Penmanship (1821, Hartford, CT). [Google] [More]  ⦿

Elliott Peter Earls
[The Apollo Program]

[MyFonts] [More]  ⦿

Enrich Design
[Richard Hubbard]

Enrich Design was founded by Richard Hubbard (b. Torrington, Connecticut, 1971), the designer at Bitstream of RichType, Ingrid (hand-printed), Ruly, StarsStripesRH (free face), Richfont, Upperclass (1995, an informal family), Lifeguard (2004, athletic lettering), Solfont (hand-printed), Cell Block 6 (2002, a gridded face by Jeff Solak), and Rich Dingbats&Bursts.

He started his own on-line design business, Enrich Design, which offers his fonts as well. Richard holds a BFA in Art&Design from Pratt Institute (1993) and does freelance graphic design.

In 2012, he created Anne's Hand for The National Eating Disorders Association (NEDA), a non-profit organization dedicated to supporting individuals and families affected by eating disorders. He writes: Anne's Hand is a custom handwriting font of Anne Hubbard, who tragically lost her battle with anorexia nervosa this past January. Anne loved to write, so her brother Richard designed a custom font of her handwriting as a tribute to her memory.

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

Fat Cat Fonts (was: MintCure)
[Jennifer Dickert]

Fat Cat Fonts (was: Mintcure) offers absolutely wonderful grunge fonts by CT-based Jennifer Dickert. These include Caterpillar, La Ment, Kyoto Song, Close2MeBased, Treasure and KissMeKissMeKissMe (1997, a curly face), from CD cover albums of The Cure and Head on the Door.

Time Digital piece on her.

She also made the commercial handwriting face Luna Bar (2001-2004), F/Stop, Sanford, Sweeney, Icing Sugar, Orgy and Treasure.

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

Font-A-Day
[Ronald Sansone]

The "About" of March 1, 2010, reads: FONT A DAY is a place for me to put some of the free/shareware/etc fonts I come across on my internet travels. I am going to try to post at least one free font a day in a format that windows and mac people can use, and try to tell a little about the typeface and the designer whenever possible. The page is run by Ronald Sansone (Middletown, CT). By the end of 2010, holes started appearing in the updates. We are converging towards one or two a week. [Google] [More]  ⦿

FontHaus (or: DsgnHaus)

FontHaus, or DsgnHaus, was located in East Fairfield, CT, and is now in Westport, CT. It offers a 1200-font collection of original fonts. They also sell fonts from the libraries of Adobe, Agfa, Berthold, Bitstream, FontFont, ITC, Linotype, Monotype, [T-26] and many others.

On their DsgnHaus Exclusives CD, we find fonts by the following individuals or foundries: Al Brantner, Frank Heine (UORG), Munich Type, Altemus, Franta Storm, Patricking, Ampersand, Galapagos Design, Pepper Tharp, Andrew Smith, Gary Munch, Robert Knopf, Andy Stock, Graphics by Gallo, Robert Petrick, Ann Pomeroy, Haig Bedrosian, Rodrigo Cavazos, Apply Design, Holly Goldsmith, Self Build, Bill Fletcher, Jack Tom, Spiece Graphics, Blue Sky Graphics, Jason Sutton, Swordfish Design, Casey Cheeseman, Jens Gelhlaar, Terminal Design, Christian Scwartz, Joe VanDerBos, Tintin Timen, Circus Design, John Alfonso, Wolfer Type, DsgnHaus, Kayde Fonts, Wolfgang Wagner, Kurt Roscoe, Woodrow Phoenix, Emma Smith, Mark Jamra, Faruk Ulay, Mondrey (Castcraft).

Since 2001, the fonts are available through MyFonts. [Google] [MyFonts] [More]  ⦿

Frank Hinman Pierpont

American type designer, b. 1860, New Haven, CT, d. 1937, London. In 1894 he started working at Loewe AG in Berlin. In 1899, he became president of Monotype in England. His typefaces:

  • Plantin, a transitional typeface created under Pierpont's direction at Monotype in 1913-1914. Plantin Bold followed in 1925-1927 and Plantin Titling in 1936. It is based on a Gros Cicero face cut in the 16th century by Robert Granjon. Digitizations include Plantin (Monotype), Plantin Schoolbook (Phil's Fonts), Placid and Placid Osf (Softmaker), P761 Roman (Softmaker), Francisco Serial (Softmaker), Platus (URW), Aldine 721 (Bitstream). Stanley Morison and Victor Larent based their Times New Roman design on Plantin. Plantain (2002, Jason Castle) is a digital version and extension of Plantin Adweight. Quoting wikipedia on the name Plantin: Pierpont was inspired to use Granjon's designs by a visit to the Plantin-Moretus Museum in Antwerp, Belgium, which had them on display. The Granjon font on which Pierpont's design was based was listed as one of the types used by the Plantin-Moretus Press beginning in the 17th century, long after Plantin had died and his press had been inherited by the Moretus family, but Plantin himself had used a few letters of the font to supplement another font, a Garamond. The design for Plantin preserved the large x-height of Granjon's designs, but shortened the ascenders and descenders and enlarged the counters of the lowercase letters a and e.
  • Horley Old Style (Agfa Monotype, 1925). In 2009, Tania Raposo did a revival of Horley Old Style.
  • Monotype Grotesque (1926, Monotype) is usually attributed to Pierpont, at least as project supervisor. It goes back to Thorowgood's Grotesque (1832). MyFonts mentions that it was originally an update of Berthold's Ideal Grotesque. It served as a model for Arial.
  • Rockwell is a famous slab serif typeface developed by Monotype in 1934 under the guidance of Pierpont. It was no secret that it was created in reaction to Rudolf Wolf's slab serif Memphis (1929-1936) done for Stempel. Litho Antique (1910, Inland Type Foundry) served as a model for it, leading first to Rockwell Antique and then Rockwell. Despite Rockwell's atrocious lower case k, Rockwell would go on to become more popular than Memphis. Rockwell poster by Cedrik Ferrer. Rockwell poster by Jonathan Messina. Images by Viktoria Smykova: i ii, iii, iv. Digital remakes include Bitstream's Geometric Slabserif 712, and L850 Slab, Rambault and Stafford at SoftMaker.
  • Rodeo (1934).
Klingspor link. Linotype link.

View digital typefaces related to Frank Hinman Pierpont's work. [Google] [MyFonts] [More]  ⦿

Gary Munch
[MunchFonts]

[MyFonts] [More]  ⦿

Gary Munch's writings on copyright

Gary Munch (Stamford, CT) writes frequently on copyright on alt.binaries.fonts. Here are some statements as a reaction to someone who posted a font on that newsgroup. The discussion turned to the presence of a copyright notice in the font. Gary writes "The lack of a copyright notice does not make an image or artwork public domain. " Agreed, but this is at least a very confusing situation. Surely, consumers cannot be assumed to be expert enough to know who owns copyright to what if there are no notices. And how can they distinguish freeware from payware? Forgetting to place a copyright notice in a font is just unforgivable sloppiness on the part of a font producer. Even Paul King's SSi fonts have copyright notices. He goes on: "It is the heart of copyright that only the artist or the heirs or assignees of the artist can determine the disposition of the images in the artwork. The first person who makes an unauthorized copy and distributes it infringes that copyright. Each subsequent copying, by whoever copies the image, still represents an infringement." The first problem with this is the application to fonts. In many countries, fonts are not considered art, and in the USA, font shapes (the arts contents) cannot be copyrighted. So, assume that we are in a country where such font copyright protection exists. Then no one can use any font downloaded from anywhere because the copyright notice may be fake or may have been deleted by someone else. Indeed, where should a consumer turn to for help? Even if you buy a 1000 dollar CD, you may be infringing on someone's copyright. No ordinary consumer can reasonably be expected to know the font world well enough to figure out who owns the copyright on his/her own. Gary goes on: " Copyright holders -have the right- to protest the wrongful posting of their work. The diminishing of the effectiveness of one copyright holder's rights diminishes that of all copyright holders. " [Google] [More]  ⦿

Gerard Huerta
[Gerard Huerta Design]

[MyFonts] [More]  ⦿

Gerard Huerta Design
[Gerard Huerta]

Lettering artist, b. 1952, head of Gerard Huerta Design in Southport, CT. Lettering and logos of Huerta were used by Swiss Army Brands, MSG Network, CBS Records Masterworks, Waldenbooks, Spelling Entertainment, Nabisco, Calvin Klein's Eternity, Type Directors Club, the mastheads of Time, Money, People, The Atlantic Monthly, PC Magazine, Adweek, Us, Condé Nast's Traveler, Working Mother, WordPerfect, Scientific American Explorations and Architectural Digest, as well as corporate alphabets for Waldenbooks, Time-Life and Conde Nast. Designer and vice-president of New York's Type Directors Club. Based in Southport, CT.

He made many famous logos and created several logo-fonts. Huerta worked for some time at CBS Records. His type designs include a custom Franklin Gothic in the late 1970s as part of Walter Bernard's redesign of Time Magazine. [Google] [MyFonts] [More]  ⦿

Gerber Fonts

Manchester, CT-based company that sells a font package, as well as a number of fonts for Arabic, Cyrillic, Greek, Hebrew and Thai. See also here. [Google] [More]  ⦿

Grosse Pointe Group LLC
[Mark Solsburg]

The Grosse Pointe Group LLC is located in Westport, CT, and is run by Mark Solsburg, who also owns Group Type, ansd who was involved in or ran FontHaus and TypoBrand. Under the Grosse Pointe label, we find a digital font called Stradivarius (1992), named after Imre Reiner's 1938 formal script font Symphonie (Bauer; renamed Stradivarius in 1945). At Group Type or the other outfits of Solsburg, we find these fonts: Carpenter (a 1995 revival of an old connected ATF script by James West), Aquiline (an absolutely wonderful 16th century script), Bank Gothic (1994, a revival of Morris Fuller Benton's original---see also Bank Gothic BT), Aries (a 1995 revival of a lapidary by Eric Gill), Schneidler Initials (a 1995 revival of Friedrich Hermann Ernst Schneidler's Trajan-style typeface), Raleigh Gothic (a 1995 face based on Morris Fuller Benton's design. See also Raleigh Gothic RR for a different revival), Ovidius Script (a medieval simulation script, dated 2006, designed by Thaddeus Szumilas; in Light, Demi and Bold weights), Metro Sans (2006, a great Bauhaus style sans family based on William Addison Dwiggins' Metro #2), Corvinus Skyline (1991; a revival of a condensed modern family by Imre Reiner by the same name, 1934), Cloister Initials (2006, a revival of an illuminated caps face by Goudy), Regular Joe (2006, an out-of-place childish handwriting font), and Caslon Antique (1993; based on an original by Bernd Nadall). [Google] [More]  ⦿

Group Type
[Mark Solsburg]

Mark Solsburg's outfit located in Westport, CT. Before GroupType, Solsburg worked at ITC, which he left in 1989 to start FontHaus. Later he started TypoBrand and Grosse Pointe Group LLC. Solsburg headed the Type Directors Club for a few years. He is presently located in Ann Arbor, MI. He is President / CEO of DsgnHaus (1989-present), and partner in TypoBrand LLC (2004-present), a specialized typographic consulting firm founded by type designer, Mark van Bronkhorst; former type designer for Adobe, Linnea Lundquist, and Mark Solsburg. It seems that the FontHaus collection is now being marketed under the Group Type label at MyFonts. Group Type does technology consultation in the field of providing software and type face fonts for designers, publishers and typographers, related to the selection, purchase and use of design software and type face fonts for use in graphic, industrial, interactive and communications design. They specialize in revivals. Their fonts include

View the Group Type typeface libary. [Google] [MyFonts] [More]  ⦿

Handselecta
[Christian Acker]

Christian Acker (b. 1979, Norwalk, CT) and Kyle Talbott, two graphic designers in New York City, set up Handselecta on Long Island in 2003 as a division of Adnauseum, Inc. They have pages on graffiti art, graffiti and calligraphy, and graffiti-based typefaces: Espo, Joker (done with Jerry Inscoe), Sabe, Mesk, Mesk AOK. Run by Brooklyn-based Christian Acker. They are selling the graffiti fonts. MyFonts link. MyFonts sells HSMene One NYThrowie (2006), 24 HRS, Joker Straight Letter, Mene One Mexicali, Mesh One AOK, Meskyle Laid Back, Sabe Ghetto Gothic, and Sailor Gothic.

Behance link. Interview by Ping Mag in 2006.

In 2008, he made a custom graffiti font called Lebron6 for tge launch of Lebron James's Sixth Shoe.

View Christian Acker's typefaces. [Google] [MyFonts] [More]  ⦿

HiH (Hand in Hand)
[Tom Wallace]

Tom Wallace's foundry, HiH (est. 2005), was first located in Woodbridge, CT. Subsequently, Tom Wallace (b. 1944) moved from Woodbridge to Naugatuck to Waterbury and finally in 2009 to New Britain, CT. His type designs are based on historical letterforms:

  • Augsburger Initialen and Augsburger Schrift (2001), an art nouveau pair found in Ludwig Petzendorfer's Treasury of authentic art nouveau alphabets, decorative initials, monograms, frames and ornaments (1984, Dover). Augsburger Schrift is originally due to Peter Schnorr (1901, Berthold). In 2007, Wallace added Augsburger Ornamente.
  • Figgins Tuscan (2005) is based on the first metal Tuscan typeface by Figgins in 1817.
  • Freak, based on Bamboo (1889, The Great Western Type Foundry). HiH explains: Great Western became Barnhart Brothers & Spindler in 1868. At some point, prior to 1925, Freak was renamed Bamboo by BB&S. It was delisted when BB&S was absorbed by ATF in 1929. Compare with Dan Solo's Bamboo (2004).
  • Gradl Initialen (2005): based on caps designed by Max Joseph Gradl ca. 1900 for engraving on his art nouveau jewelry in Germany. Samples are in Petzendorfer.
  • Huxley Alt (2005), an alternative to the ultra-condensed Lutherian church font Huxley Vertical (or Aldous Vertical) by Walter Huxley (ATF). Huxley Amore (2006) is a major extension of this, and Huxley Cyrillic (2008) adds Russian characters.
  • Künstler Grotesk (2005): a simple blackletter caps face based on a design seen in Petzendorfer's book.
  • Page No. 508 (2006): Page No. 508 was designed by William H. Page in 1887 as one of a series of designs for die-cut wood types for the firm of Page & Setchell of Norwich, CT. Page & Setchell was the successor to The William H. Page Wood Type Company and was sold to the Hamilton Manufacturing Company of Two Rivers, Wisconsin in 1891.
  • Pekin (2005): first designed by Ernst Lauschke in 1888 at the Great Western Foundry under the name Dormer.
  • Schnorr Dekorativ, Demi Bold and Initialen (2007), all due to Peter Schnorr (ca. 1900), as well as Schnorr gestreckt (2006), an art nouveau face from 1898.
  • Rundgotisch (2005): based on a design by Schelter and Giesecke, ca. 1900.
  • Edison (2005) is based on Edison Swirl SG, a Spiece Graphics digitization of a late 18-th century design of the Bauersche Giesserei.
  • Bethlehem Star (2005) is based on the typeface Accent with the permission of URW++: HiH only added stars to the glyphs.
  • Secession (2006): a sans family with art nouveau twists.
  • French Plug (2007): A sign painters font based upon work of Frank H. Atkinson, a popular Art Nouveau sign painter in Chicago, who worked for Cadillac, and published Sign Painting in 1908.
  • T-Hand Monoline (2007): a printed script family.
  • Figgins Antique (2007): an all-caps black slab serif headline face based on Figgins, ca. 1815.
  • Mulier Moderne (2007): Based on a font designed ca. 1894 by E. Mulier, a French art nouveau era artist.
  • Regina Cursiv (2007): an art nouveau design.
  • Edelgotisch (2007): a bold Jugendstil design (with caps), based on a design released by Schelter & Giesecke of Leipzig, Germany about 1898 and is very similar to Eckmann-Schrift released by Rudhard'schen Giesserei (later Klingspor) during the same period.
  • Teutonia (2007), a revival of Teutonia by Roos & Junge, a squarish art nouveau face. HiH writes: There are many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923, Joost Schmidt at Bauhaus in Weimar took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. And in 2008, HiH itself published Baltimore Geometric.
  • Austin Antique, based on Richard Austin's 1827 antique typeface.
  • Morris Gothic, Morris Ornaments and Morris Initials One and Two (2007): The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called Troy Type and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called Chaucer Type for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions.
  • Larisch (2007): a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift Examples of Artistic Writing).
  • Patent Reclame (2007): an art nouveau face first cast around 1895 by Schriftgeisserei Flinch, and then by Stephenson Blake, ca. 1896.
  • Jugendstil Initials (2007): a blackletter designed by Heinrich Vogeler around 1905.
  • Wedding (2007): a multi-style English blackletter family, based on a Morris Fuller Benton original called Wedding Text.
  • Brass (2007): two blackletter faces from the early 1500s described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY, 1959) as initials and stop ornaments from brasses in Westminster Abbey.
  • Auchentaller (2007), a monoline art nouveau face inspired by a travel poster by Josef Maria Auchentaller (b. Vienna, 1865, d. Grado, 1949; studied at the Vienna Academy, professor in Munich, member of the secession from 1898, artist) in 1906.
  • Phinney Jenson (2007): a Venetian by Nicolas Jenson from the 15th century, about which Wallace writes: In 1890 a leader of the Arts & Crafts movement in England named William Morris founded Kelmscott Press. He was an admirer of Jensons Roman and drew his own somewhat darker version called Golden, which he used for the hand-printing of limited editions on homemade paper, initiating the revival of fine printing in England. Morris' efforts came to the attention of Joseph Warren Phinney, manager of the Dickinson Type Foundry of Boston. Phinney requested permission to issue a commercial version, but Morris was philosophically opposed and flatly refused. So Phinney designed a commercial variation of Golden type and released it in 1893 as Jenson Oldstyle. Phinney Jenson is our version of Phinneys version of Morris' version of Nicolas Jensons Roman.
  • Advertisers Gothic (2008): based on Robert Wiebking's tasteless 1917 design for Western Typefoundry. HiH writes: Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline.
  • Publicity Headline (2006): an allcaps version of Sidney Gaunt's advertising typeface, Publicity Gothic (1916, Barnhart Brothers & Spindler). Its heavy weight and robust strength allows it to be used against complex backgrounds or reversed out on dark backgrounds without getting lost.
  • Herold (2008): a revival of Berthold Herold Reklameschrift BQ (Hermann Hoffmann, 1901), an art nouveau advertising typeface.
  • Yes Dear (2008) is a funny hyper-curly blackletter face.
  • Besley Clarendon (2008) is the HiH version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. This condensed face was very popular in the 19th century, and was copied by most foundries of that era. It was followed by Gutta Percha (2008), a Clarendon in which the upper case letters are dropcaps.
  • Waltari (2008): a revival of Walthari (1899, Heinz König for the Rudhardsche Giesserei), a Jugendstil type.
  • Hispania Script (2008): revival of a pirate map script face by Schelter & Giesecke (1890).
  • Cloudy Day (2008), an alphading.
  • HiH stumbled on a 1902 publication by Bruno Seuchter called Die Fäche, in which he found the art nouveau face that HiH revived in 2008 as Seuchter Experimental.
  • Petrarka ML (2006). HiH writes: Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer's Bernard Roman Extra Bold and ATF's Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the ‘H’ particularly.
  • Haunted House (2008), Halloween-themed fonts.
  • Gothic Tuscan One (2008) is an all-caps condensed gothic with round terminals and decorative Tuscan center spurs. It was first shown by William H. Page of Norwich, CT, among his wood type specimen pages of 1859.
  • HiH Firmin Didot (2008) is a one-style didone based on an 1801 version of Didot. It led to a combined alphabet/stick people alphading called Gens de Baton (2008) after a lower case alphabet that appeared in the Almanach des Enfants pour 1886 (Paris, 1886) under the title Amusing Grammar Lessons.
  • Shout (2008), a Compacta-like fat headline sans about which HiH writes: Its lineage includes the Haas Type Foundrys 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as extended sans serif and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a shout, as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black.
  • The heavy art deco faces Guthschmidt and Guthschmidt Condensed (2008) are based on a 1924 KLM Royal Dutch Airline poster designed by Anthonius Guthschmidt. The poster draws on the imagery of the legend The Flying Dutchman.
  • Cherub and Cherub Caps (2008) are based on Phinney Jenson. Not to be confused with the many fonts that already existed with that name, such as Cherub from House of Lime, Twopeas, Graph Edge Fonts, and Fuelfonts.
  • HiH Large (2009) is a poster sans.
  • Mira (2009) is an art nouveau / Victorian face patterned after a font by the Roos & Junge Foundry in Offenbach, ca. 1902.
  • Thorowgood Sans (2009): A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street's own Grotesque Shaded of 1834 (with light and shadow reversed).
  • Fantastic ML (2009): an art nouveau face originally released as "Modern Style" by Fonderie G. Peignot & Fils, Paris, France some time before 1903.
  • Gundrada ML (2010): a medieval style face inspired by the lettering on the tomb of Gundrada de Warenne, who was buried at Southover Church at Lewes, Sussex, in the south of England in 1085.
  • Wedge Gothic (2010). HiH writes: Wedge Gothic ML is the original name of this font released by Barnhart Bros. and Spindler of Chicago in 1893. [...] The typeface was dropped for awhile -- it does not appear in the 1907 catalog for example -- but reappeared in 1925 as Japanette. McGrew says that the new name was Japanet. It was recast by ATF in 1954.
  • Norwich Aldine ML (2010) is an all caps typeface with enlarged serifs, designed and produced in wood by William H. Page of Norwich, CT in 1872.
  • Rodchenko Constructed ML (2010) is constructivist (Latin and Cyrillic).
  • Cruickshank ML (2012): a decorative typeface from the late Victorian period. The typeface was designed by William W. Jackson and released by MacKellar, Smiths and Jordan Type Foundry of Samson Street, Philadelphia, Pennsylvania in 1886.

    Habana Deco ML (2013).

View Tom Wallace's fonts. View the typefaces designed by Tom Wallace. MyFonts link. [Google] [MyFonts] [More]  ⦿

Horatio&Jeremiah Bill

In 1850, these brothers, who had previously worked for Edwin Allen in South Windham, CT, start a wood type manufacturing business in Lebanon, CT, and move to Willimantic, CT, the next year. A few years later, they were joined by Stark, and the company was renamed Bill, Stark, and Co. In early 1854, it is renamed again to H. and J. Bill Co., but closes its doors later that year. Their equipment gets purchased by William Page in 1856 who will start his own successful wood type company, Page&Bassett. [Google] [More]  ⦿

Idiana Peralta

Graphic designer who studied and the University of Connecticut and lives in Connecticut. She created designs for typefaces tentatively called Blade and Peppermint. [Google] [More]  ⦿

Ilene Strivzer
[The Type Studio]

[More]  ⦿

Ilene Strizver

From Westport, CT, Ilene Strizver is the founder of The Type Studio. She consults on type, designs type and writes about typography and visual communication. She co-designer ITC Vintage (1996) with Holly Goldsmith. She was the Director of Typeface Development for International Typeface Corporation (ITC) where she developed more than 300 text and display typefaces with type designers such as Sumner Stone, Erik Spiekermann, Jill Bell, Jim Parkinson, Tim Donaldson, and Phill Grimshaw. Her essay on spacing and kerning. Essay on rags (ragged lines), orphans (short last lines) and widows. She published "Type Rules! The designer's guide to professional typography". [Google] [MyFonts] [More]  ⦿

Jason Mark
[Old Typewriter TrueType Fonts Home Page]

[More]  ⦿

Jeff Solak

Designer born in Hartford, CT, in 1979. Art director and founding partner of Media Masters, a full-service communications and design firm. He made the commercial typeface Cell Block 6, published by Enrich Design. [Google] [MyFonts] [More]  ⦿

Jennifer Dickert
[Fat Cat Fonts (was: MintCure)]

[More]  ⦿

Jerlyn Cespedes

Hartford, CT-based designer of the modular display typeface Swanson (2014). Behance link. [Google] [More]  ⦿

Jessica Svendsen

Jessica Svendsen is an MFA candidate in graphic design at the Yale School of Art, working primarily in print, exhibition, motion, and web design. For a project, she digitized Paganini (2010), an Italian typeface originally drawn by Alessandro Butti and Raffaello Bertieri in 1928. [Google] [More]  ⦿

Jim Flora

Illustrator and album cover artist in the 1940s and 1950s, b. Bellefontaine, OH, 1914, d. Rowayton, CT, 1998. He lived mostly in Rowayton, CT. Irwin Chusid writes: Flora's album covers pulsed with angular hepcats bearing funnel-tapered noses and shark-fin chins who fingered cockeyed pianos and honked lollipop-hued horns. Yet this childlike exuberance was subverted by a tinge of the diabolic. Flora wreaked havoc with the laws of physics, conjuring flying musicians, levitating instruments, and wobbly dimensional perspectives. Taking liberties with human anatomy, he drew bonded bodies and misshapen heads, while inking ghoulish skin tints and grafting mutant appendages. He was not averse to pigmenting jazz legends Benny Goodman and Gene Krupa like bedspread patterns. On some Flora figures, three legs and five arms were standard equipment, with spare eyeballs optional. His rarely seen fine artworks reflect the same comic yet disturbing qualities. "He was a monster," said artist and Floraphile JD King. So were many of his creations.

His headline in a 1953 issue of Park East Magazine inspired Nick Curtis to create the font Cool Cat Jim NF (2005). Another Jim Flora font by Nick Curtis is Flora Dora NF. P22 Type Foundry has released Flora Mambo (2010), a font set based on playful hand-lettering from the 1955 Jim Flora Mambo For Cats RCA Victor album cover. The set includes Flornaments, consisting of 72 miniature figure icons (dingbats) from Flora artworks. Scans of some of his album covers and illustrations: Collaboration, Dog, Kallao set, Solomon's Seal (1942), The Day the Cow Sneezed (1957), Self Portrait. [Google] [More]  ⦿

Joe Treacy
[Treacyfaces]

[MyFonts] [More]  ⦿

John G. Cooley

American wood type designer/manufacturer from the 19th century, whose company started out in 1852 by taking over Edwin Allen in South Windham, CT. In 1864, he partners with Robert Lindsay, sells the South Windham factory, and moves to New York City as John B. Cooley and Co. In 1866, he enters into a partnership with Samuel T. Dauchy to become Cooley&Dauchy. In 1869, however, that company was bought by William Page, who ironically, had been Cooley's employee in 1855-1856. He published Specimens of Wood Type.He published Specimens of Wood Type.

Examples of their wood types: Antique Tuscan No. 1 (1859).

Digital revivals: Jeff Levine's Winnetka JNL (2009) was inspired by Cooley Antique Tuscan Condensed from 1859. See also AWT Cooley Ant Tuscan XX Cond (2013) and AWT Cooley Grecian XX Condensed by Dick Pape. [Google] [More]  ⦿

Josef Albers

German-born designer (b. Bottrop, 1888, d. New Haven, 1976) associated with the Bauhaus School that made artistic ripples from 1919-1933. Ex-director of the Department of Design at Yale. Regarding the Economy of Typeface: an article explaining Albers' vision for typography. His typefaces: Display (1923), Schablonenschrift (1923-1926), Futura Black (1926, a great stencil face---Paul Renner and the Bauer design office made it into a typeface in 1929, and included it in the Futura series, even though Futura is quite different in concept) and Kombinationsschrift auf Glas (1928-1931; combine a few elements---it was recreated as P22 P22 Albers by Richard Kegler from 1995 until 2004; see also here). Kombinationsschrift is inherently modular, the principle at the basis of FontStruct and other font creation tools. On my pages, I sometimes call the blatantly modular faces in the style of Kombinationsschrift piano key fonts.

Other modern digitizations of Albers's include ThM Architype Albers (2013, Thijs Mertens). [Google] [MyFonts] [More]  ⦿

Joseph Coniglio
[Coniglio Type]

[MyFonts] [More]  ⦿

Kathleen Tinkel

Writer/consultant Kathleen Tinkel runs Tinkel Design in Westport, CT. She wrote a useful article on the recognition of fonts: What type is this?. [Google] [More]  ⦿

Katie Kerrigan

Stamford, CT-based designer of an ornamental caps face (2011). [Google] [More]  ⦿

Kazuha Canak

Bridgeport, CT-based graphic designer. For a course at SASD (Shintaro Akatsu School of Design) taught by Gary Munch, Kazuha created Kazlon (2013)---obviously named after Caslon. Kazuha Canak grew up in Neuss, Germany. [Google] [More]  ⦿

Kevin Corrado

Bridgeport, CT-based photographer, who created the typeface family Abadox in 2013. [Google] [More]  ⦿

Laura Hurst

West Hartford, CT-based designer of the great geometric outline font called De Stijl (2014). [Google] [More]  ⦿

Lindsey Nicole Barriga

American web and graphic designer in Derby, CT. Behance link. Creator of the funky bullet hole face Buboo (2009). [Google] [More]  ⦿

Marc Digital

Fairfield County, CT-based designer of Marc Digital Graffiti (2012). [Google] [More]  ⦿

Mark Solsburg

Mark Solsburg is the head of the Type Directors Club and of Fairfield, CT-based FontHaus (DsgnHaus). Mark Solsburg has been working in the type business since 1985 when he joined International Typeface Corporation in New York. Prior to leaving ITC to launch FontHaus in 1989, he was ITC's Worldwide Marketing Director. Solsburg was responsible for ITC client marketing support and assisted in developing early OEM licensing agreements with Apple Computer, Adobe Systems, Canon, Linotype, Compugraphic and Xerox. In 1989 he founded FontHaus, which has since grown into one of the largest independent suppliers of digital fonts to large and small design firms, advertising agencies and other media producers in the industry. FontHaus was among the first to offer online sales of digital fonts (1994) and online sales of additional user licenses. In 1993, FontHaus began publishing the typographic magazine X-HEIGHT. In 1994, FontHaus expanded its dealer network in Europe by acquiring Faces Ltd., the UK's first independent font reseller. Faces was sold to Agfa Monotype after nine years as a FontHaus subsidiary. Solsburg served as a board member and as the president of the Type Directors Club (New York), and is a co-founder and principal of TypoBrand. Solsburg lives and works in Westport, CT. In 2008, Mark Solsburg and Mark Simonson cooperated on the digital revival of the calligraphic Diane Script, originally designed in 1956 by Roger Excoffon. [Google] [More]  ⦿

Mark Solsburg
[Group Type]

[MyFonts] [More]  ⦿

Mark Solsburg
[Grosse Pointe Group LLC]

[More]  ⦿

Matthew Carter
[The Yale Typeface]

[More]  ⦿

Matthew Frederick
[The Factory of Font]

[More]  ⦿

Michael Leporé

Stamford, CT-based graduate of Colby-Sawyer College and School of Visual Arts, New York. He created a typographic poster in Giacometti's style in 2013. [Google] [More]  ⦿

MunchFonts
[Gary Munch]

Gary Munch (born 1953) is the Stamford, CT-based principal of MunchFonts. He teaches at Norwalk Community College and at the University of Bridgeport Shintaro Akatsu School of Design.. His typefaces:

  • GMAhuramazda (runes).
  • Calligraphic.
  • Candara (2005), a flared typeface done for Microsoft's ClearType project. Candara received a TypeArt 05 award.
  • GMChanceryModern.
  • Munch produced three new Cherokee fonts in 2011 in response to a request by Joseph Erb, of language technology and education services at the Cherokee Nation: Chancery Modern ProCherokee (a sleek sans serif semi-cursive font), Neogrotesk Cherokee (a multipurpose workhorse design), and Munch Chancery Cherokee (a calligraphic font that resembles handwriting). The Cherokee Nation is using Munch Chancery at its Cherokee Immersion School.
  • GMClavier.
  • GMDuomo.
  • Linotype Ergo.
  • The 8-weight didone font family GMFidelio is my favorite.
  • Finerliner (linked handwriting).
  • GMGlobe.
  • GMHieroglyphic.
  • GMHyperspace.
  • GMLondinium (1993, a blackletter face), and GM Londinium Versals (a Lombardic face).
  • GMMage.
  • GMMedallion. An architectural writing font made in 1997.
  • GMMeter.
  • GMMunchfonts.
  • GMMunchies.
  • GMNanogram.
  • GMPepRally.
  • GMPrentice.
  • Linotype Really (1997). An almost-didone family with Cyrillic and Greek extensions for which he received an award at the TDC2 2001 competition, and obtained third prize at the 3rd International Digital Type Design Contest by Linotype Library. It was updated to Really No2 in 2009.
  • GM SPQR. A Trajan type family.
  • UrbanScrawlButtah, UrbanScrawlChill, UrbanScrawlDown, UrbanScrawlFly.
  • GM Wodensday.

Klingspor link. FontShop link. Linotype link. Old home page.

Showcase of Gary Munch's fonts. [Google] [MyFonts] [More]  ⦿

Natalie Sequeira

New Milford, CT-based creator of the squished squarish techno typeface Under Pressure (2013). [Google] [More]  ⦿

Nicole Holmes

Graphic Design student at the Maine College of Art in Portland, ME, who grew up in Connecticut. She created Pizzacones (2013) and Braid (2012).

Behance link. [Google] [More]  ⦿

Nikita Prokhorov

Simsbury, CT-based designer. Creator of Golden Deco (2007), an artsy face. [Google] [More]  ⦿

Njoki Gitahi

Graphic design student in the MFA program at the Yale University School of Art. Creator of the 3d outline font Mineral Alphabet (2012). [Google] [More]  ⦿

nonDairy Fonts
[Raven Hanna]

A small foundry offering some free and some commercial fonts by Raven Hanna: OgdredWeary (1996: free, based on a typeface in one of Edward Gorey's books, The Curious Sofa; note that Ogdred Weary is a permutation of Edward Gorey), Xerkle, Dali (with melting clocks), Ravenous, Fredfont (free), and Fred-Chunky. Raven was helped by Jesse Reklaw from New Haven, CT. Fontspace link. [Google] [More]  ⦿

Old Typewriter TrueType Fonts Home Page
[Jason Mark]

Jason Mark's own creations: Loony (curly letters), (old) Typewriter (1996, 3 versions) and Scratchy Mess. Alternate site. Another site. Jason lives in Brantford, CT. [Google] [More]  ⦿

Olivia Taylor

As a student based in New Milford, CT, Olivia Taylor created the octagonal typeface Construction (2014). [Google] [More]  ⦿

Parallax (Dave's Free Fonts)
[David C. Lovelace]

Free futuristic fonts by David C. Lovelace from Broad Brook, CT: Penn Station (2000), Litebrite1975 (1999), Pentomino (1999), SquarrelRounded, Umop (1999), UmopMedium (1999), Y2K Kill, Triangel (1999), Rebecca (2003, curly), Stinky Kitty (2001), Irresistor (2001, pixel), Octicity (2001), Christmas on Crack (2001, gothic and curly), Spastic Nerve Bag (2002).

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

Philip Bouwsma

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.

  • A list of faces done for Agfa (which became Monotype): Alligators, Aureus Uncial, Carmela, Connach (a Gaelic font), Corvallis, Cresci Rotunda, Dorothea, Francesca (1994), Hrabanus (1994, Monotype: Based on the lettering of Hrabanus Maurus, c. 776-856, archbishop of Mainz and author of many commentaries on the scriptures), Lexie's Animals, Ludovico, LudovicoWoodcut, Mantegna, Mariposa, Mariposa Sans, Mexican Birds, Borders&Symbols, Monmouth (1994, a Lombardic / blackletter face), Neuhengen, Ophelia Italic, Palatino Rotundo, Percival, Poggio Bookhand, Pompeii Capitals, Ramsey (1997, Lombardic face), Sallando Italic, Synthetica, Thalia Italic, Trieste, van der Hoef Capitals (Monotype, an art deco face after 1920 lettering by Dutch artist Christian van der Hoef), and Wolfdance.
  • At Alphabets Inc: Alexia, Benedict Uncial, BouwsmaScript, Juliana and Weissenau.
  • A complete list of all Philip Bouwsma fonts on the Creative Alliance v9.0 CD: Alligators (1994, letters made up from alligators), Aqua Life (2005), Carmela, Clemente Rotunda, Corvallis, Corvallis Oblique, Corvallis Sans, Corvallis Sans Oblique, Dorothea, Fransesca Gothic (1996, Lombardic / blackletter style), Hrabanus, Lexie's Animals, Lombardic Capitals (1994, Monotype), Ludovico Smooth, Ludovico Smooth Flourishes, Mariposa, Mariposa Bold, Mariposa Book, Mariposa BookItalic, Mariposa Black, Mariposa Medium, Mariposa Sans, Mariposa Sans Bold, Mariposa Sans Book, Mariposa Sans BookItalic, Mariposa Sans Black, Mariposa Sans Medium, Mexican Birds, Polenta Black Italic, Polenta Italic, Ter Gast, Ter Gast Alternates, Wolfdance, Schildersblad, Tresillian.
  • From 2005 on, he started publishing his typefaces at Canada Type. There he published a fantastic calligraphic blackletter-inspired family, Torquemada, and Bouwsma Script (2006), an extension of his 1994 handwriting face. Still at Canada Type, he updated Alexia in 2006, and added Luminari in 2008, a Lombardic / uncial font influenced by the prolific humanist Poggio Bracciolini from the early fifteenth century (+Greek, +Cyrillic, +Celtic). The 8-style Bouwsma Text (2008, Canada Type) is a full-bodied truly "roman" family well worth visiting. The 5-style Mirabel calligraphic script family Mirabel (2008, Canada Type) is based on the handwriting of Beverly Bouwsma (Philip's mother), which she developed in the 1930s. Styx (2008, Canada Type) is a 4-font connected calligraphic script family with rough and smooth variations. But his grandest achievement is perhaps Maestro (2009), a 40 style chancery family, in 2 weights each, with 3350 characters per font, codesigned with Patrick Griffin at Canada Type. Still in 2009, he designed the 6-style calligraphic family Tupelo. In 2010, his main contribution, with Patrick Griffin, is the calligraphic uncial family Testament II. His Lorenzo family (2010, Canada Type) is has both chancery and calligraphic styles. In 2011, he published the Carolingian script family Symposium Pro, with the help of Patrick Griffin. Images: i, i, i, i, i, i.
View Philip Bouwsma's typefaces. [Google] [MyFonts] [More]  ⦿

Raven Hanna
[nonDairy Fonts]

[More]  ⦿

Richard Hubbard
[Enrich Design]

[MyFonts] [More]  ⦿

Richard Keith Frazine

Thomaston, CT-based author of The Barefoot Hiker (1993). FontStructor whose fonts in 2011 include Frumfceaft Uncial (an outlined art nouveau face with uncial roots), Barefoot Hikers (a roman face done for his book), Caedmon, Nikonorian (needlepoint face), Frumfceaft Rune (an anglo-saxon rune face), Barefoot Standard. [Google] [More]  ⦿

Rob Dobi
[Dobi (was: Toxic Type)]

[More]  ⦿

Robbie de Villiers
[Wilton Foundry]

[MyFonts] [More]  ⦿

Ronald Sansone
[Studio Sans-1 (Typography)]

[More]  ⦿

Ronald Sansone
[Font-A-Day]

[More]  ⦿

Santiago

Fairfield, CT-based designer of the handwriting font Scott (2003, named after Scott Warren), created with FontCreator. [Google] [More]  ⦿

Studio Sans-1 (Typography)
[Ronald Sansone]

Art director Ronald Sansone is from Middleton, CT (and before that, Weston, CT). He ran the AOL font library and font software forums and libraries from ca. 1992 until 1999. He runs the free font site Fontaday. Ronald created the free grunge and display fonts Dark Black, Distrowt, In-N-Out, Negative-O, NumerO (a hacker font), SmurfinNormal, Spund, TwisterD, Uneeek, and HookedUp101 (2004: started by Sansone but finished by Ray Larabie). He also created the dingbat faces Batman (1996) and DingoBatz (1997; it was also featured in Linotype's 1998 font CD called Font Xplosion One). Alternate URL. Dafont link. [Google] [More]  ⦿

Tervel Andrews

Graphic designer in Hartford, CT. He created the free Helvetica-like face LüYlandika (2010). Behance link. [Google] [More]  ⦿

The American point system

Nicholas Fabian on the American point system. [Google] [More]  ⦿

The Apollo Program
[Elliott Peter Earls]

Fonts by Greenwich, CT-based Elliott Peter Earls, typically sold by Emigre. Fonts available from Emigre: Jigsaw Dropshadow, Subluxation Perma, Typhoid Mary 3D. Other fonts: PenalCode, Toohey and wynand, Dysphasia (1993), Subluxation, Bland Serif, Calvino Hand, Mothra Parallax (1994), Distillation, Blue Eye Shadow, Venus Dioxide, Heimlich Maneuver (1994), Klieglight (1994), Penal Code (1994), Hernia, BlueEyeShadow. At Plazm, he published Subluxation (1994). Not the hottest-looking faces. Bio at Emigre, where the name Apollo Program is explained, and we find a 6-font grunge family called Elliotts. [Google] [MyFonts] [More]  ⦿

The Factory of Font
[Matthew Frederick]

Middletown, CT-based designer of some typefaces. The Factory of Font is apparently a real or fictitious typefoundry established in 2014 by Rick Erickson. Relation with Matthew Frederick unknown. [Google] [More]  ⦿

The Figurehead Experiment

Renegade artist from Willimantic, CT, who created scanbats related to his personal history and collected them in The Figurehead Experiment (1998). Fontspace link. [Google] [More]  ⦿

The Type Studio
[Ilene Strivzer]

Author of Type Rules!: The Designer's Guide to Professional Typography (2010, Ilene Strivzer Inc). Ilene Strivzer (b. 1953), the founder of The Type Studio in Westport, CT, writes: The Type Studio is a unique and innovative studio specializing in all aspects of typography and visual communications. Our services range from the technical to the aesthetic, and include font development, type direction and consulting, type-oriented graphic design, copy writing, workshops and seminars. She wrote this article as an advertisement for OpenType (read: make people pay once again for fonts they already have). She was production director of Upper and Lower Case Magazine and director of type production at ITC in New York City, where she developed more than 300 text and display faces in cooperation with Sumner Stone, Erik Spiekermann, Jill Bell, Jim Parkinson, Phill Grimshaw and others. She organizes Gourmet Typography workshops. [Google] [More]  ⦿

The Yale Typeface
[Matthew Carter]

Typeface specially designed in 2004 by Matthew Carter for Yale. It is free for all units at Yale University. From the press release: Yale is inspired by the late fifteenth-century Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius. [...] In 1929, Stanley Morison of the Monotype Corporation in England led a project to revive Aldus's De Aetna face. The resulting typeface, Bembo, proved to be one of the most widely used and highly regarded book faces of the twentieth century. It continues regularly to appear in Yale publications. Unfortunately, the more recent photocomposition and digital versions of Bembo lack the vigor, weight, and formal integrity of either the De Aetna face or of the original Monotype version of Bembo. Matthew Carter's Yale recovers the strength of the Aldine original, and updates it by sensitively simplifying the basic letterforms and their details. Aspects of the vigor and "color" of the well-known typeface Galliard, an earlier Carter design, are also evident in the new Yale face.

The fonts include YaleAdministrative Roman, YaleAdministrative Italic, Yale Design Roman, Yale Design Italic, Yale Small Capitals, Yale Web Small Capitals, Yale Street and Yale Street Aligning Figs. [Google] [More]  ⦿

Theodore Low De Vinne

American printer (b. Stamford, CT, 1828, d. 1914). In 1848, he entered the shop of Francis Hart in New York City, where he became owner after Hart's death in 1877. It continued as Theo. L. De Vinne&Company until 1908, when it was incorporated as the De Vinne Press. De Vinne was the best-known American printer of his day. He was neither a type designer nor a type cutter. His books include The Invention of Printing (1876), Specimens of black-letter in stock at the De Vinne Press, no. 12 Lafayette Place, New-York City (1887; samples include Great Primer Black No. 2, Seven Line Pica Moxon's Outline Black, and Canon Black No. 1 with five line capitals), The roman and italic printing types in the printing house of Theodore L. De Vinne&co (1891, De Vinne Press, New York), The practice of typography: a treatise on the processes of type-making, the point system, the names, sizes, styles and prices of plain printing types (4 vol., 1900-1904, Century Co., New York: Amazon link), Types of the De Vinne press; specimens for the use of compositors, proofreaders and publishers (1907), and Notable Printers of Italy during the Fifteenth Century (1910). Biography by Nicholas Fabian. Bio at Britannica. Bio at Infoplease.

His type styles were revived in 2010 by Jeff Levine as Publication JNL.

Typophile Chapbook: Theodore Low De Vinne; was published by Carl Purington Rollins.

View digital typefaces based on De Vinne's work. [Google] [MyFonts] [More]  ⦿

Thomas Maitland Cleland

New York-born book designer, painter, type designer and illustrator, b, Brooklyn, NY, 1880, d. Danbury, CT, 1964. He was mainly involved with ATF. Fonts:

[Google] [MyFonts] [More]  ⦿

Thomas W. Lincoln

Graphic designer and lettering artist, born in 1939 in Eugene, OR. He studied with Douglas Lynch at the Museum Art School in Portland and later apprenticed with Lynch. Lincoln studied calligraphy with Lloyd Reynolds and Arnold Bank at Reed College. After a stint as an agency art director producing national ads for Pendletons womens fashions, Lincoln moved to New York City, where he joined the studio of Herb Lubalin. In NYC he continued his involvement with academia, exploring film at The New School and an intensive workshop with Milton Glaser. Eventually Lincoln started his own studio (occupying the space on east 32nd Street where New York Magazine was born), combining a design practice with teaching at New Yorks School of Visual Arts. Lincoln has served as Art Director at TCA (Benton & Bowles) in Westport, CT, as Creative Director, Redington, Inc., Stamford, CT, as Principal, Thomas Lincoln Design & Motion Graphics Communication, Westport, CT, as Freelance in residence Art Director, Baden & Co., Eugene, OR, and in 1992 returned to consulting and design through his own design office, Lincoln Design, based in Eugene/Springfield, OR.

Creator of typefaces at VGC, such as Lincoln Gothic (1965), which won the National Typeface Competition. His clients over the years include Acoustic Sciences Corporation, AT&T, Continental Packaging Co., The Ford Foundation, GE, IBM, PepsiCo, RCA, Showtime, Abrams, Colliers, Harpers Magazine, Macmillan, McGraw-Hill, Random House, Harcourt/ Brace, New York Times, Simon and Schuster, and Viking Press.

In 2006, Bitstream published New Lincoln Gothic, a 24-weight family starting with a hairline weight. This digital version was made in Fontographer from the old typositor strips by Lincoln himself.

In 2011, Canada Type and Thomas Lincoln cooperated in the production of the roman sans family Roma. This typeface was published in 2012 at P22. Lincoln himself tells the story:

My intention in designing Roma was to create a definitive, contemporary sans serif expression of the classic Roman majuscule as depicted in the Trajan Inscription at the base of the Trajan Column in Rome.

The Capitalis Monumentalis letter forms of the Trajan Inscription, which date to 113 Ad, have been described by the noted type scholar, calligrapher and historian, Father Edward Catich, as "the best roman letter designed in the western world, and the one which most nearly approaches the alphabetic ideal." And in the 1902 publication, "The Practice of Typography", Edmund F. Strange stated: "No single designer, or the aggregate influence of all the generations since has been able to alter the form, add to the legibility, or improve the proportion of any single letter there in."

Mr. Strange's pronouncement was true in 1902 and it is true today. Through the years various type designers have been inspired by the Trajan Roman to offer their own interpretations. Most notably, perhaps, Frederick Goudy's Trajan Title (1930), Warren Chappell's Linotype Trajanus (1940) and more recently, Carol Twombly's literal rendition of Adobe Trajan (1989) and John Stevens' spirited Stevens Titling (2011). There have been many other nice interpretations by other contemporary designers, yet it may still be said that none has improved the form, the legibility or the proportion of any single letter---though it can be said that the letters J, K, U, W, Y and Z, nonexistent in the ancient alphabet, have been added.

Less common has been the interpretation of Trajan in sans serif form. Hermann Zapf's Optima (1953), Sumner Stone's ITC Stone (1987) and Ronald Arnholm's Legacy Sans (2000), among other nice sans serifs, reflect characteristics of Trajan but seem influenced by other factors as well, including fonts such as Gill Sans and Syntax. And, while I don't presume to speak for their designers, none of these typefaces seem designed specifically with Trajan in mind.

My own Lincoln Gothic (1965), and its subsequent expansion as New Lincoln Gothic (2006), was a deliberate attempt to interpret the particular characteristics of the Trajan majuscule in a contemporary sans serif face. The most significant change in the later version was the addition of a lower case; a challenge that had simmered on my personal bucket list for several years.

Roma, though, differs from Lincoln Gothic in one significant way: while the terminals of Lincoln Gothic are flat, in Roma the vertices of letters such as A,M,N,V and Z are pointed. I believe this change is the critical difference that moves Roma closer to my objective of honoring the original Trajan. As with Lincoln Gothic, Roma's strokes have an almost imperceptible entasis that terminate in a subtle flare; a vestige of the serif. The importance of this feature is that it imbues the font with a humanist quality. The serif, as Father Catich points out in his book, "The Origin of The Serif", almost certainly derives from a combination of the flat brush and the human hand; it is what ties the letterform directly to human anatomy and craftsmanship, integrating it in a fundamental way with the nature of man---as distinct from the machine.

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

Three Islands Press (was: The Type Quarry)
[Brian Willson]

Brian Willson (b. 1951, New Haven, CT), grew up in Austin, TX, and obtained a degree in radio, TV and film from the University of Texas in 1979. Since 1980, Willson has lived in coastal Maine, where for 15 years he worked as a writer and journalist, in both broadcast and print media, and was managing editor of National Fisherman magazine for one year. In the mid 1990s, he left the magazine business to devote his full time to Three Islands Press (3IP), a digital design and publishing company he founded in Rockland in 1989. He has been designing type since 1993. Three Islands Press (or 3IP, or The Type Quarry) used to offer 10 dollar shareware fonts. They went commercial and are now located in Rockland, ME. 3IP Type Foundry also enjoys the contributions of type designers Patricia Lillie and Lars Bergquist. Their fonts:

  • Abigail Adams (2014). An epistolar script based on he hand of Abigail Smith Adams, first Second Lady and second First Lady of the United States.
  • American Scribe: 2003, after the handwriting of Timothy Mattack, who penned America's Declaration of Independence.
  • Antiquarian (2010): based on the the titles and captions and place labels on a page I have of Henri Abraham Chatelain's Atlas Historique.
  • Antiquarian Scribe (2010): based on the body text in an 18th century atlas by Henri Abraham Chatelain.
  • Attic Antique: old pitted characters.
  • Bonsai
  • Botanical Scribe (2013, a warm copperplate script): "The Raphael of Flowers" is what they called Pierre-Joseph Redouté a couple hundred years ago. The Belgian native became famous in France, where he painted floral watercolors for both Marie Antoinnette and Empress Josephine. But what cemented his legacy was his perfection of a stipple engraving technique that brought his art to the masses. Botanical Scribe is modeled after the neat, cursive hand-inscribed legends on these antique prints. Because it simulates handlettering, the font retains a warm, organic quality not seen in fancy modern scripts while remaining both elegant and legible.
  • Broadsheet
  • Castine (1998).
  • Cedar Street
  • Chromosome (1995): a label-tape gun font.
  • Dingos: free.
  • Douglass Pen (2011): inspired by the handwriting of Frederick Douglass, who was born an American slave but died a distinguished 19th century statesman, orator, and abolitionist leader. He also had fine penmanship. Douglass Pen is modeled chiefly after Douglass's handwritten account of John Brown's 1859 raid on Harpers Ferry, VA.
  • Emily Austin (2001) is modeled after the penmanship of Emily Margaret Austin (Bryan) Perry, an early Texas colonist along with her brother, Stephen F. Austin, for whom the state capital was named. Specimens were letters dating from 1837 until 1851, the year of her death at 56. It is a beautiful historic handwriting font.
  • Houston Pen (after the handwriting of Sam Houston.
  • Horsefeathers.
  • Lamar Pen: 2003, after the handwriting of poet Mirabeau B. Lamar, ca. 1830s.
  • Marydale. Willson wrote: While working at National Fisherman magazine several years ago, I admired the hand-lettering of the production director, Marydale Abernathy, and suggested she let me model a font after her penmanship. She drew out the alphabet, I launched Macromedia (then Altsys) Fontographer, and (to shorten a long story) I ended up developing my first typeface. For the heck of it, I released it first as shareware, then as a full-featured typeface and, astonishingly, it took off.
  • Oak Street
  • Old Man Eloquent (2010): a connected script based on an 1810 sample of the handwriting of John Quincy Adams.
  • Professor
  • Pumpkinseed
  • Remsen Script.
  • Schooner Script: after the 1825 handwriting of pastor Samuel Clarke of Princeton, MA.
  • Sluggo.
  • Speed Bump
  • Texas Hero: after the hand of Thomas J. Rusk, 1836.
  • Terra Ignota (2013). Based on the handlettering on Amerique Septentrionale, a 1650 map by French cartographer Nicolas Sanson.
  • Treefrog (1993): beautiful unevenly inked handwriting style, inspired by the quirky inkpen doodlings of Philip D. Cyr, a graphic designer who lives in Arizona.
  • Viktorie (2007, handwriting).

Alternate URL. MyFonts link. Alternate URL. alternate site. Agfa-Monotype page. Fonts sold by Mindcandy. FontShop link. Klingspor link.

View Brian Willson's typefaces. [Google] [MyFonts] [More]  ⦿

Tom Murphy
[Divide by Zero (or: DBZ Fonts)]

[More]  ⦿

Tom Wallace
[HiH (Hand in Hand)]

[MyFonts] [More]  ⦿

Treacyfaces
[Joe Treacy]

Joseph Treacy's West Haven, CT-based foundry selling hundreds of fonts. Names start with TF. In total, 320 faces by Joe Treacy himself and a few independent designers. The entire collection costs about 5000 dollars. Individual fonts at about 29 USD a shot. Treacyfaces acquired the phototype collection from Headliners (New York), so some of Treacy's typefaces are digitizations from that collection. Joe's typefaces include DuffyScript, Armada, EmpireState, Grange, Montauk, TFNeueNeuland, TF Nouveau Riche, Polaris, Poynder, TF Renoir, Romantiq, Saginaw, Siena, TFAdefabc, TFAdepta, TFAkimbo, TFArdent, TFArrow, TFAvian, TFBaccarat, TFBrynMawr, TFCaslon, TFCaslonDisplay, TFCaslonTen, TFCavalier, TFCoffeebean, TFDashes, TFDierama, TFFatType, TFFinny, TFForever, TFFoxfire, TFGary (handwriting of Gary Eckstein, done by Gary), TFGuestSten, TFGuestcheck, TFHabitat, TFHoneyspot, TFHotelmodCalligr, TFHotelmodTwo, TFHotelmoderne, TFMaltbyAntique, TFMasterstroke, TFOverfield, TFPosneg, TFPuzzle, TFRaincheck, TFRoux, TFRouxBorders, TFShotelmoderne, TFSimper, TFSolution, TFSquiggleCncery, TF Hotel Moderne, ThreeTen, TodaySB, TF Trantino, Vignette, TFMatterhorn, TFForever Monospace, TFCrossword Script and Serif, TF Cavalier Upright, TF Burko OSF, TF Barchowsky Fluent Hand, TF Bistro, TF Avian OSF, TF Arrow Italic, TF Ardent Monospace, TF Accidentals, TF Adepta OSF.

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

Tubbs Mfg Co
[Charles Tubbs]

American wood type manufacturer. The company, located in Luddington, MI, started in 1903 when Charles Tubbs (of Tubbs and Co. in South Windham, CT) died. It was sold to Hamilton in 1918.

Antique Extended (1900, Tubbs) is a version of the 1838 font by George Nesbitt. Dick Pape's AWT Tubbs Modified Gothic XX Cond (2013) is a revival of a design by Tubbs. [Google] [More]  ⦿

TypoBrand

Company in Westport, CT, run by Mark Solsburg. They offer typographic consulting and custom type design. Partners are Mark Van Bronkhorst and Linnea Lindquist. Mark is developing the sans family Ethic and is the designer of Verdigris (garalde) and ITC Conduit. Linnea has worked with Twombly on Chaparral (Adobe). [Google] [More]  ⦿

UTF Type Foundry
[Bill Tchakirides]

Fonts designed by Bill Tchakirides (b. 1946) out of Shepherdstown, WV (was Hartford, CT), who writes about himself: Would you believe that this old man in West Virginia was once a Broadway Producer, or a Commercial Food Photographer, or a Justice of the Peace, or a Font Designer, or even a Director of a major non-profit Arts Program on Cape Cod? Well, he was. Now he spends most of his time posting in the blogosphere and looking for things to do (retirement is a bitch).

This company (UTF=U-Design Type Foundry) sells display and picture fonts at 45 dollars a shot (30+15 handling): Bill's Hand Chiseled, Bill's Blasting Caps, Bill's Fat Freddy Caps, Bill's Olde Foundry, Bill's 1935 Caps, Bill's Printer Pals (2003), Bill's Light Deco, Bill's DECOrations, Bill's Tropical DECOrations, Bill's Modern Diner, Bill's Barnhart Ornaments (1989), Bill's Victorian Ornaments, Bill's Broadway DECOrations, Bill's Dingbats (1988---his first font), Bill's Universal Symbols, Bill's Century Marks, Bill's Cast O Characters (2003), Bill's New Elzevir (1993), Bill's School Letters (1993), Bill's School Daze (1993), Bill's American Ornaments (1993), Bill's Bertham (after Goudy), Bill's Brushed Broadway (1993, fat art deco face), Bill's Metropolitan (1993, art nouveau), Bill's Peculiars, Bill's Real Rubber Stamps, Bill's Asterisks and Bullets (1993), Bill's FISTory (1993), Bill's Brackets, Bill's Ampersands, Bill's Box Specials. [Google] [More]  ⦿

William H. Page Wood Type Company
[William Hamilton Page]

Norwich, CT-based company involved in wood type production. In 1856, William Page (b. Tilton, NH, 1829, d. Mystic, CT, 1906) bought out Horatio and Jeremiah Bill and founded Page and Bassett in South Windham, CT, with his partner James Bassett. In 1857, they moved to Greenville, CT. Some time later Samuel Mowry replaced Bassett as partner, and the company is Page and Co of Greenville, CT. Another name change occurs, to William H. Page&Co. In 1869, Page buys the operation of Colley&Dauchy. Mowry retires a bit later, the company moves to Norwich, CT, and becomes the William H. Page Wood Type Company. A year later, a defection of sorts---Charles Tubbs (an employee since 1860), John Martin and George Keyes leave to set up the American Wood Type Co. In 1881, George Setchell joins the business, and Page and setchell patent the die-cut production method. In 1889, Setchell sells all interests to S.T. Dauchy, who becomes president, only to sell the entire company to Hamilton in 1891. During the Civil War, Page perfected his equipment and became the leading manufacturer of wood type. In 1874, the company published a specimen book of so-called chromatic (wood) type. Henry Lewis Bullen described it this way: This is the most notable of wood type specimens. Page outshone all competitors in imparting a degree of artistry in designing wood type and borders, most of which could be printed in several colors . . . . [It is] a work of unusual excellence, well worth preserving. In 1891, Page's firm was absorbed by the Hamilton Manufacturing Company of Two Rivers, WI.

Many of his wood types were digitized by Jordan Davies of Wooden Type. Page's fonts include Aetna, Antique No. 4 (revived as HWT Slab in 2013 by Hamilton Wood Type Foundry), Antique Tuscan No 9, Bindweed, Clarendon Condensed, Clarendon Condensed Bold, Clarendon Extended, Clarendon Heavy, Concave Tuscan X, EgyptianTwo, French Antique, French Clarendon (XXX Condensed No. 117), French Semi, Gilbey, Gothic Tuscan Round, Hamilton, Minnesota, Norwich Aldine ML (1872, digitized by Tom Wallace in 2010 under the same name), Number 154, Page No. 508, Peerless 131 Bold, Rigney, Skeleton Antique, Teutonic, Tuscan Italian Round, Unique Wood, William Page 500, William Page 506.

In 2013, John Bonadies (MPress Interactive) started making digital typefaces based on Page's models. They published MPI Aldine Extended (based on a 1872 wood type by William H. Page), MPI Antique (slab serif), MPI French Clarendon (based on wood type from 1865 by William H. Page), MPI French Antique (a typical far West saloon font based on wood type by William H. Page, 1869), MPI Egyptian Ornamented (a western face based on a 1870 wood type by William H. Page), MPI Arcadian (based on a 1870 design by William H. Page), MPI Tuscan Extra Condensed (based on William H. Page wood type from 1872), MPI Norwich Aldine Reversed (from a 1872 original).

Also in 2013, Dick Pape embarked on a large process of digitization of wood types at the Rob Roy Collection of the University of Texas. His digital fonts are free and are bundled under the label American Wood Type, or AWT. Revivals by Dick Pape of fonts due to William Page include AWTPage&SetchellNo154, AWTPage-SetchellNo515, AWTPageAldine, AWTPageAldineExpanded, AWTPageAldineOrnamented, AWTPageAntTuscanCond, AWTPageAntTuscanOutlined, AWTPageAntiqueBlack, AWTPageAntiqueCond, AWTPageAntiqueNo7, AWTPageAntiqueTuscan, AWTPageAntiqueTuscanNo1, AWTPageAntiqueTuscanNo8, AWTPageAntiqueXXCond, AWTPageAntiqueXXXCond, AWTPageBelgianCond, AWTPageBeveledNo142, AWTPageCelticOrnamented, AWTPageClarendonExtended, AWTPageClarendonNo1, AWTPageClarendonXXCondensed, AWTPageColumbian, AWTPageConcaveTuscanXCond, AWTPageConcaveTuscanXCondOutline, AWTPageCorinthianNo2, AWTPageEgyptian, AWTPageEgyptianOrnamented, AWTPageFrenchAntique, AWTPageFrenchClarendonCond, AWTPageFrenchClarendonXXX, AWTPageFullFacedGrecian, AWTPageGothicLightFace, AWTPageGothicTuscanNo1, AWTPageGothicTuscanPointed, AWTPageIonic, AWTPageIonicCondensed, AWTPageNo500, AWTPageNo501, AWTPageNo506, AWTPageNo508, AWTPageNo51, AWTPageNo510, AWTPageNo515, AWTPageNorwichAldine, AWTPageOrnamentedAldine, AWTPagePeerlessAntNo129, AWTPagePeerlessCondOldStyl, AWTPagePhanitalianNo132, AWTPageRomanAetna, AWTPageRunic, AWTPageSkeletonAntique, AWTPageTeutonic, AWTPageTuscanCondNo2.

Revivals by Nick Curtis: Sodbuster NF (2014, after Gothic Dotted), Tuscalooza NF (2014, after the 1872 typeface Tuscan Extended), Bandiera Del Legno NF (2014: this Tuscan wood type revives Gothic Tuscan Condensed Reversed), Belgique NF (2014: a revival of the (Western) wood type French Clarendon XXX Condensed No. 117), Skelett Antiken NF (2014, after Clarendon XX, 1959).

FontShop link.

Digital typefaces based on W.H. Page's work. View revivals of William Hamilton Page's typefaces. [Google] [MyFonts] [More]  ⦿

William Hamilton Page
[William H. Page Wood Type Company]

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Wilton Foundry
[Robbie de Villiers]

The Wilton Foundry, which started out in Wilton, CT, but is now in Chattanooga, TN), was founded in 2003 by Robbie de Villiers. It published Cielo (2012, a san family with some contrast), Marcus (2012, a roman type family in the Trajan style), Typetonic (2011, techno), Skript (2011, a stencilish script), Vallassina (2011, like a child's hand), Bellezza (2010), Pagina (2010, humanist sans), Rijk (2010, calligraphic), Saycheez (2009), Chamber (2009, serif face), Ciseaux (2009), Terzo (2009, calligraphic), Werk (2009, 12-style sans family), Velouté (2008, script), Diario (2009, blackboard script), Carnegie Classic (2009, calligraphic), Ziro (2008, almost a comic book font), Suzie Q (2007, hand-printed), Brasserie (2007, connected script), Chateau (2007, calligraphic script), Pointe (2007, a blackboard script), Atto Sans (2007), Santa Cruz (2007, a serifed headline face), Marzipan (2007, a whimsical script), Spark (2007), Fete (2006, formal script), Flax (2006), Portfolio (2005), Cyan (2006, a compact serif face reminiscent of Trajan), Ceres (2009, related to Cyan), Cyan Sans (2006), Petronella (2006, medieval script), Pezzo (2006, calligraphic script), Canette (2006, calligraphic script), Vecta Serif (2005), Vecta (2005, sans family; also published in 2006 as Vecta DT (DTP Types)), Cinnamon (2005, children's handwriting), Cilantro (2005, fun handwriting, and its niece Hanna (2008)), Misspink (2005, stone-age simplicity), Brown Fox (2005, script), Celsius (2005, felt tip face), Plumage (2007, formal high contrast calligraphy), Plato (2005, faded roman caps), Diplomat (2006, calligraphic), Duet (2004, calligraphic; also published in 2006 as Duet DT (DTP Types)), Spark (2005), Anno Rex (2005), Hampton, SCelsius, Gluestick, Duet Bold (2005, calligraphic), Duet-Flourishes (2004), Duet2Deux, Duet-Regular (2005), Nobodi Bodoni (2005), About Face (2004, script), Benjamin (2003, a geometric sans), Paella (2005), Boondoggle (2005, curly face), Monotonose (2004), Password (2004), LoosieGoosie (2004), Pippin (2005, transitional serif), Carnegie (2004, calligraphic), LatextBold (2003), ModusBoldItalic (2003), Nantucket (2004), Nicolas (2005), Oslo (2005, a legible sans family), Sepia (faded look), Belair.

Chatype is a geometric slab serif typeface family designed in 2012 for the city of Chattanooga, TN, by Robbie de Villiers and Jeremy Dooley.

Unio (2012) is a rounded slab family designed to be sturdy and legible.

Creative Market link. Klingspor link.

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