TYPE DESIGN INFORMATION PAGE last updated on Mon Apr 22 21:40:03 EDT 2019
FONT RECOGNITION VIA FONT MOOSE
Type scene in Delaware
Alex Purdy is a visual communicator and illustrator, and type enthusiast, who lives in Delaware. He graduated from the University of the Arts in Philadelphia, earning his BFA graphic design in 2003. He made nice hand-drawn fonts (images only on his web page: lightning stencil, illuminati font, flim flam, puzzle stencil, old school wifi), and created many modular/octagonal fonts (computer destroy, prick, impalia, boxcutter, bubble deco,&plasmasoft). His illustrated caps font called Hypertype, done with Luke Ramsey in 2008, is a piece of art. [Google] [More] ⦿
Allen Mercer (Alive Fonts, Petofibanya, Hungary) is the American designer at House Industries of fonts such as HouseFly, Horatio, Funkhouse, Kathouse, Chophouse, Treehouse, Roundhouse (1995), Funhouse, Randumhouse (1995).
His CV, as taken from MyFonts: Allen graduated from Delcastle Vocational and Technical High and continued his education at Temple University's Tyler School of Art. Upon returning from studying abroad in 1993, he was invited to partner in founding House Industries. After graduating from Tyler with honors in 1994, Allen became House Industries' third stockholder. He is the designer of Funhouse, the Street Van collection and House Gothic. In 1998, Allen gave up his House Industries partnership to become a full-time Christian missionary. He, his wife Sharon and four children live in Hungary where they spread the gospel of Jesus Christ and operate a Christian outreach program.
Graduate of the type design program at the University of Reading, who joined House Industries (Wilmington, DE) in 2006 to work as a typeface designer, director, and developer. He also worked with Ken Botnick at emdash. He runs Typefounding, a typeface design and production studio in St. Louis, Missouri. He teaches at Washington University in St. Louis and the Type@Cooper certificate program at Cooper Union, and has taught at the Maryland Institute College of Art and the University of Delaware. He is a partner at XYZ Type with Jesse Ragan.
In 2011, Vincent Pacella, Ben Kiel and Adam Cruz created the fat slab serif face Goliath, based on Film No. 6206 in the PhotoLettering archive. West Barnum Ultra, designed by Dave West and digitized by Ben Kiel&Adam Cruz in 2011, was film no. 5494 in the original Photo-Lettering archive.
At House Industries, he redesigned the iconic Rea Irvin lettering for The New Yorker in September 2013.
Cortado Script (2014) was designed by Jesse Ragan and Ben Kiel. It was inspired by Swedish illustrator's Cecilia Carlstedt's hand-painted lettering. It follows one year after a similar signage script typeface, Carlstedt Script (2013), also co-designed by Jesse Ragan and Ben Kiel---it was a custom signage typeface for Aldo Shoes.
In 2015, Mark van Bronkhorst set up TypoBrand LLC in Berkeley, CA. As part of TypoBrand, he published several typefaces that are modern digital reinterpretations of ATF typefaces. The collection is published by TypoBrand LLC under the names ATF Type or American Type Founders Collection. Ben Kiel co-designed, sometimes with others, classics such as ATF Alternate Gothic (2015), ATF Brush (2015), ATF Railroad Gothic (2016), ATF Garamond (2015), ATF Headline Gothic (2015), ATF Poster Gothic (2015) and ATF Wedding Gothic (2015).
He worked at SWFTE in Hockessin, Delaware. His CV states: "Cofounder and Vice President of Research and Development. Created Glyphix font software, the first ever on-the-fly font generator for DOS based systems, which sold over 50,000 copies. Executed 10 different product releases and library of 100 scalable fonts. SWFTE has since been bought by Expert Software." [Google] [More] ⦿
Adam Koster from Oak Knoll in Delaware describes three of Bodoni's publications:
Derek Long (b. Wilmington, DE) made the high-contrast ball-terminal calligraphic typeface Long Script (2011) in his Advanced Typography class at the Corcoran College of Art + Design. Now based in Washington, DC. Behance link. [Google] [More] ⦿
From G.A. Glaister's Encyclopedia of the Book, this definition of a printer's digit: the printer's symbol [pointing hand]. This type ornament has a long history, the printed outline of a hand being used as a paragraph mark by, among other early printers, Huss at Lyons in 1484 in the edition of Paulus Florentinus's Breviarum totius juris canonici he printed with Johannes Schabeler. As with other typographic conventions this was taken from scribal practice, carefully drawn hands pointing to a new paragraph being found in early 12th century (Spanish) manuscripts. It is also known as a fist, hand, or index. The full reference: Geoffrey Ashall Glaister, Encyclopedia of the Book, 2nd Edition, with a new introduction by Donald Farren (New Castle, DE and London: Oak Knoll Press and The British Library, 2001), 141. [Google] [More] ⦿
Ethan Paul Dunham
Sells a 2000 font (TT and T1) CD called Fantastic Fonts for 13USD. Plus 300 truetype handwriting fonts for 13USD. And 300 funky fonts for 13USD. Font Magician (13USD) lets you create special effects. Kid's Fonts (300 truetype fonts) for 13USD. Based in Rockland, DE. Footnote: Expert Software is one of the world's largest font cloners. I doubt that they ever made an original font. For example, under the label Ly's Media, they renamed all the WSI "Hand-Plain" series LEHN001 through LEHN283, and sold them once again. It is a real mess. Download that collection here. [Google] [More] ⦿
FontHead Design (Wilmington, DE) sells cool fonts designed by Ethan Dunham (b. 1972, Glens Falls, NY), who now heads Fontspring. A partial list: Mother Goose (2008), Allise, GoodDogCool, Fontheads (dingbats), Randisious, Greyhound (1997, an arts and crafts face), Rochester, Samurai, AsimovSans, Gurnsey20, Scrawl, BadDog, Holstein, SlackScript, Bessie, SloppyJoe (gone?), Blearex, HandSkriptOne, SmithPremier, BlueMoon, HolyCow, SororityHack, Bonkers, HotCoffeeFont, SpillMilk, BraveWorld, Isepik, Sputnik, Brolga, TekStencil, Carnation, Mekanek (1995), Teknobe (1995), Merlin, Toucan Grunge (gone?), Tycho, TypewriterOldstyle, MotherGoose, Croissant, Democratika (now Americratika--I think Emigre forced FontHead to change the name), Noel (1996-1997, Lombardic all caps face, with an open version added), LillaFunk (gone?), Margo Gothic (gone?), Toddler (gone?), NoelBlack, WashMe, Diesel, Orion, Gritzpop, Pesto, BattleStation, CircusDog, Dandelion, DraftHand, Flowerpot, Navel, ShoeString, Stiltskin, ZipSonik. Plus JohnDoe, and old typewriter font. Free fonts: Font Heads (dings), Smith Premier, Vladimir, Tycho, Typewriter Oldstyle, ScareCrow, Millennia, SpillMilk, GoodDog, Holstein, Red Five. All formats, Mac and PC. In the comic font series, look for Stan Lee (now Comic Talk), FH Excelsior (now Titlex), Grimmy (now Flim Flam), and Kirby (now Grit).
Fonts created in 1999: AppleSeed, Caterpillar, Chinchilla, ChinchillaBlack, ChinchillaDots, CrowBeak, CrowBeakLight, CyberMonkey, DanceParty, DingleHopper, FourScore, FourScoreTitling, Hopscotch, HopscotchPlain, Ladybug, Leaflet-Regular, LeafletBold, LeafletLight, ReadOut, ReadOutSuper, Smoothie, Swizzle, TwoByFour, VeryMerry. Made in 2001: ButterFinger, ButterFingerSerif, CatScratch, Catnip, FighterPilot, FrenchRoast, Handheld, HandheldItalic, HandheldRaised, HandheldRaisedItalic, HandheldRound, HandheldRoundItalic, Kingdom, OldGlory, Quadric, QuadricSlant. MyFonts page.
In 2006, several dingbats fonts were added, such as the ClickBits Arrow series and the ClickBits Icon series.
In 2008, he created InfoBits Things and InfoBits Symbols, Abigail, Assembler, Click Clack, Drawzing (children's font, crayon or chalk style), El Franco (grunge), Good Dog New (hand-printed), Helion (futuristic), Lead Paint (brush), Schema (architectural lettering), Skizzors (paper cut font), Tachyon (2008, techno, futuristic). Free font download. This place has Allise, Americratika, AppleSeed, AsimovSans, Asterix-Blink-Italic, Asterix-Blink, Asterix-Italic, Asterix-Light-Italic, Asterix-Light, Asterix, BadDog, BattleStation, Beckett, Bessie, BlackBeard, Blearex, BlueMoon, Bonkers, BraveWorld, Brolga, BrownCow, Carnation, CatScratch, Caterpillar, Chinchilla, ChinchillaBlack, ChinchillaDots, CircusDog, CornDog (2004), Croissant, CrowBeak, CrowBeakLight, CyberMonkey, DanceParty, Dandelion, Dannette-Outline, Dannette, DayDream, Democratika, Diesel, DingleHopper, DoomsDay, DraftHand, Flowerpot, Font-Heads, FourScore, FourScoreTitling, FunkyWestern, Goliath, GoodDog-Bones, GoodDog-Cool, GoodKitty, Greyhound, Grimmy, Gritzpop, GritzpopGrunge, Gurnsey20, HandskriptOne, Holstein-Bold, Holstein, HolyCow, Hopscotch, HopscotchPlain, HotCoffeeFont, HotTamale, Isepik, JohnDoe, JollyJack, Keener, Klondike-Bold, Klondike, Ladybug, Leaflet-Regular, LeafletBold, LeafletLight, LillaFunk, LogJam-Inline, LogJam, MargoGothic, MarvelScript, MatrixDot-Condensed, MatrixDot, Mekanek, Merlin, Millennia, Mondo-Loose, MotherGoose, Navel, Network, Noel, NoelBlack, Oatmeal, Orion, Pesto, Randisious, ReadOut, ReadOutSuper, RedFive, Rochester, Samurai, Scarecrow, Scrawl, ShoeString, ShoeStringRound, SlackScript, SloppyJoe, SmithPremier, Smock, Smoothie, SororityHack, SpaceCowboy, SpillMilk, Sputnikk, StanLee-Bold, StanLee-BoldItalic, StanLee-Regular, Stiltskin, Submarine, Swizzle, TekStencil, Teknobe, Torcho, ToucanGrunge, TwoByFour, Tycho, Typewriter2, TypewriterOldstyle, VeryMerry, Vladimir, WashMe, Watertown-Alternate, Watertown-Black, Watertown-Bold, Watertown, ZipSonik-Italic, ZipSonik, ZipSonikSketch-Italic, ZipSonikSketch.
Font Squirrel carries ElliotSix (simple handwriting), GoodDog (children's hand) and Millennia (squarish). In fact, in 2009-2010, Ethan Dunham became a very active web font persona, offering a commercial web font service, Fontspring, and a free font service, Fontsquirrel.
This strange 100-font family dating from 1992-1993, and available from the University of Delaware, has the following trademarked names: ft, ft1, ft10, ft11, ft12-Medium, ft13, ft14, ft15, ft16-Gothic, ft17i-Italic, ft17n, ft18, ft19-CondensedRegular, ft2, ft20, ft21, ft22-Normal, ft23, ft24-Extra-condensedMedium, ft25, ft26, ft27, ft28, ft29, ft3, ft30-Medium, ft31, ft32-Bold, ft33, ft34-Bold, ft35-Semi-expandedBold, ft36, ft37, ft38, ft39-Normal, ft4, ft40-Roman, ft41-Black, ft42, ft43b-Bold, ft43n, ft44-Bold, ft45, ft46, ft47, ft48, ft49-Bold, ft50-Plain, ft51, ft52-Normal, ft53, ft54, ft55, ft56, ft57-Normal, ft58, ft59, ft5b-Bold, ft5i-Italic, ft5n, ft60-Book, ft61-Normal, ft62, ft63, ft64, ft65, ft66-Bold, ft67, ft68-Normal, ft69-BoldItalic, ft7-normal, ft71, ft72-Cyrillic, ft73, ft74, ft75, ft76, ft77, ft78, ft79, ft80, ft81-Normal, ft82, ft83, ft84-Semi-expandedSemiBold, ft85, ft86-Plain, ft87, ft88-Normal, ft89-Bold, ft8b-Bold, ft8r-Roman, ft9, ft90, ft91-Normal, ft92-Bold, ft93, ft94, ft95, fts1, fts11, fts12, fts13, fts2, fts3, fts4, fts5, fts6, fts7, fts8, fts9-Normal. I have the impression that these were strategically renamed fonts. [Google] [More] ⦿
Foundry located in Yorkly, DE. House Industries is run by Rich Roat and Andy Cruz with designer Ken Barber as Typography Director. Originally founded in 1993 by principals Andy Cruz and Rich Roat, House Industries has grown into a studio which sells unique display typography, illustration and design services, and, most recently, clothing and accessories. Fonts sell for 50 USD per face, and about 175 USD for ten. Many of the typefaces are grungy or special effect fonts, and all font names have the word "house" in them, as in the graffiti font Phathouse. Custom font service available. Alternate URL. Free fonts: United Stencil, House Slant, SpaceAgeRound.
Type designers: Andy Cruz (Warehouse, Roughouse), Allen Mercer, Ken Barber, Jeremy Dean, Kristen Faulkner, Nicole Michels, David Coulson, Tal Leming, Ben Kiel.
The early typefaces by House include United Sans (octagonal and stencil), Neutra (2002, a 30-weight stylish architectural sans family named after architect Richard Neutra), Global Font (renamed to Bullet), the Chalet Paris, New York, London and Tokyo font families (in versions called 60s, 70s and 80s), the Simian font collection (2001: OrangUtan, Chimpanzee, Gorilla, Sacred Scroll).
In 2003, they released the Shag Collection, which includes Shagbats, Exotica, Mystery and Lounge. Andy Cruz designed Roughouse (1993) and Printhouse (1994), and co-designed Spookhouse and HauntedHouse in 1996 with David Coulson. House published House (2004, Gestalten Verlag), a 240-page specimen book. Also in 2004, they released five typefaces based on the lettering of Ed Benguiat: Ed Interlock (1400 ligatures), Ed Roman (animated bounce), Ed Script, Ed Gothic andi Bengbats.
In 2005, they started digitizing the PhotoLettering collection, which they had acquired in 2003. This will be done in partnership with Christian Schwartz and Erik van Blokland. They published Holiday Gothic, Holiday Sans and Holiday Script in the same year.
In 2006, the 105-font family United was published. The six-weight Luxury family, also done in 2006, contains three serif text weights called Luxury Text, as well as three display typefaces, called Platinum (art deco), Gold, and Diamond (all caps with triangular serifs). They were designed by Christian Schwartz and Dino Sanchez.
In 2007, we welcome Burbank, a large casual and quirky sans family, and Blaktur, a blackletter typeface which an award for display typeface at TDC2 2008. The lively signpainting typefaces Studio Lettering Sable, Studio Lettering Slant and Studio Lettering Swing also won awards in that competition. Show and Tell is their blog.
In 2009, the low-to-zero contrast Alexander Girard family was published. It consists of Girard Sky, Girard Script, Girard Display, Girard Sansusie and Girard Slab in many weights and styles. It was created by Laura Meseguer based on the lettering used to announce the textile designs that Alexander Girard did for Herman Miller in 1955.
Additions in 2010 include Eames Century Modern (+Poster Numerals, Cover Numerals, Thin, Ornaments, Stencil, +Black Stencil), a 26-style family of medium-to-low contrast modern typefaces in the Clarendon mode that feature nifty tricks on the ligature side---jointly developed by Erik van Blokland and House Industries. Blacktur is a blackletter family.
In 2012, House Industries was busy digitizing typefaces from the Photo-Lettering collection. This led to Worthe Numerals (fat didone numbers), Norton Tape (by Kimberly Winder, based on the stencil paperfold typeface Norton Tape by S.E. Norton).
Aka Dr. HumBug, retired professor from Delaware Technical&Community College. He had a popular free language font site, which he closed down ca. 2005. He resides in Wilmington, DE, and published a book on monetary units (bank notes and coins) in 2006. [Google] [More] ⦿
Company incorporated in Delaware. Markets fonts from Garagefonts, Letter-Perfect, Polytype, Maverick Designs, Christian Schwartz Design, Phil's Fonts, TypeArt, Font Bureau, T-26, Red Rooster, Fontek, NIMX, Font Boy, Lanston, Page Studio Graphics, Arthur Baker Designs, P22, RT: Russian Typefoundry, Castle Systems, Type Revivals, Galapagos. "International TypeFounders Inc., is a coalition of over 50 unique, small independent foundries featuring the work of dozens of designers who bring over 3,000 of their typefaces together from one central source." Alternate URL. Contact: Steve Jackaman. [Google] [More] ⦿
A subsidiary/part of House Industries in Yorklyn, DE. I quote: Photo-Lettering was a mainstay of the advertising and design industry in New York City from 1936 to 1997. PLINC, as it was affectionately known to art directors, was one of the earliest and most successful type houses to utilize photo technology in the production of commercial typography and lettering. It employed such design luminaries as Ed Benguiat and sold type drawn by the likes of Herb Lubalin, Milton Glaser and Seymour Chwast as well as countless other unsung lettering greats. The company is best known by most of today's graphic designers for its ubiquitous type catalogs. Physically, the collection takes up about 1500 cubic ft (42 cubic meters) of space and consists of film negatives and positives of most of the 6500 fonts produced in the company's 55 years. There are also countless patterns, cartouches, borders and dingbats, all of which have been preserved in film negative form. Each negative is approximately 28 in (71 cm) by 5 in (13 cm) high. House Industries, a Yorklyn, Delaware-based independent type foundry, purchased the entire physical assets of Photo-Lettering in April of 2003. Through a partnership with Ken Barber, Christian Schwartz and Erik van Blokland, House Industries is carefully digitizing select alphabets from the collection and plans to offer them through a modern web-based interface. The Photo-Lettering interface has allowed us to reach beyond the rigid confines of typography to offer extended features such as layering, color control and multiple master interpolation over six axes. With some of the most talented minds in display typography behind this new display lettering system, users of the system will enjoy the same refined typography as the original Photo-Lettering customers.
A snapshot of their production, as of mid 2012, in alphabetical order:
Ronald R. "Rich" Roat (Hockessin, DE, 1965-2017) was the cofounder (with Andy Cruz) of House Industries 1993, a few years after Rich and his partner Andy Cruz met when Rich was running a desktop service bureau and Andy was at a Wilmington ad agency. House Industries is based in Wilmington, Delaware. Obituary. an article entitled Missing Rich Roat.
Before House Industries, Rich was the main designer and developer of the font knockoff outfit, Swfte International, which started ca. 1985, was sued by Adobe and four other companies in 1993 for font piracy, and was sold to Expert Software in 1995. %Z YOU SHOULD LIKE TYPE TOO BLOG TYPEFACES ART PLACES ABOUT Search... Missing Rich Roat 11 December, 2017 (image via: House Industries) I only had the pleasure to meet Rich Roat a handful of times, yet like many others I’m profoundly saddened by his death. For the last week I’ve been writing and rewriting some sort of thoughts on him… Generally every version has been very bleak. I have yet to make some sort of tribute that leaves you with a of nice nostalgic feeling (check the links below, many other people have done a great job at this). For me I just think it sucks. This news has left me wracked with two conflicting thoughts: I wish I had known him better, but another stupid part of me is thankful that we were not closer friends (as this would be even harder). House Industries has always been, and probably always will be my favorite type company. I became aware of them somewhere around 2000-2001 while studying graphic design and their remarkable style clicked with me instantly. Thanks to their beautiful printed type specimens (this was almost pre-internet) I became a super fan of their work. While I was at the University of Reading in 2007, Rich stopped by for a day. He educated and entertained us with House anecdotes of and advice about the type business. The stories and conversations ran well into the evening, so we moved things to the nearest pub to continue in proper British style. For many of us this day was one of the highlights of our year. And personally, I was already envious of Ben Kiel for working at House, but meeting Rich only made me more jealous. (True fact: until I was spontaneously offered a job at Linotype in Germany, I had imagined to move back to the US to apply to House…) Over the next several years I had a few more chances to hang out with Rich at various type conferences. He was the sort of person that everyone gravitated to and wanted to spend time with. Public events must have really been exhausting for him. Sadly, I never made the pilgrimage to visit House’s Yorklyn studio, and I’m now regretting that even more. I really must still go someday – sooner rather than later. House Industries celebrated their 25th anniversary by releasing a massive 400 page retrospective book this last May. It’s called The Process is the Inspiration and it is truly excellent; I’d highly recommend it! I promptly pre-ordered my a few hours after it was online, but living in India, I only received the book a few weeks ago (btw, a huge thank you to my parents for lugging so many new books half way around the world). The House book is the first that I’ve dug into from this new haul. My plan was to read it slowly, savor it, try to make it last a bit. I limited myself to only looking at 100 pages a day (since easily 3/4 of the pages are pictures, it’s really not that much). The first two days were a joy reading the amusing storytelling that House does so well and admiring the beautiful images from their infinite portfolio. The waking up on day 3, I launched Twitter which proceeded to slap me in the face the news of Rich’s passing. It was devastating. All the memories of hanging out with him came back, and the pleasure I had been getting from the House book was lost. I don’t know how much of the text was directly written by Rich, but much of it sounds like him. It became hard to continue reading – but at the same time I wanted to absorb it all… Somehow it felt like one last conversation with him. When I opened the book on the third morning, this is where I had left off. It seemed like an oddly profound spread. Surely the situation of currently reading this book has contributed to the enhanced sense of loss… Had I read it a few months ago maybe it would not be as tough now? Regardless, Rich really was special; he was a truly unforgettable person. And he was only 52! He did so much with his life, and I don’t want to imagine how much more he could have done with more time. This sad fact was emphasized when a few pages into day 3’s reading I hit the section on Ed Rondthaler (another legend who also seemed awesome). He lived a ridiculously long 104 years – exactly twice that of Rich. Damn depressing! But I am happy for Ed. For the whole week I’ve been preoccupied with thoughts of Rich. So when two classes of students came over for studio visits the last couple days, it only seemed appropriate to enlighten them about House Industries. This new generation of designers was thoroughly impressed and inspired. You can’t get printing like this done anywhere in India! Hopefully more qualified people will continue to share more proper eulogies and memories. My personal account is mostly to emphasize the point that this amazing man profoundly effected on many of us all around the world – even people he barely knew (and certainly there are others who never met him yet also feel similar). I’m still in shock, and frankly, I’m also shocked about being so shocked. I can barely fathom what his colleagues, friends, neighbors, and family must be feeling. I wish the best for Rich’s wife and two children, I hope they will all be OK. And the same to everyone currently and formerly of House Industries. I really hope that House can continue being awesome and making the rest of us inspired, jealous, and inadequate feeling for many many more years. (image via: House Industries) If you want to see a bit more of Rich, he’s still online. I’d recommend his Typo Berlin talk from this year — but read the book first :) Thank you TYPO for making this video available. Here is a small collection of other people’s thoughts about Rich – most of which are more upbeat than mine. They just go to show that he was beloved by pretty much everyone he met. [Google] [MyFonts] [More] ⦿
Tal Leming is a graphic designer, type designer and letterer who lived in Wilmington, DE, but moved his stakes to Baltimore, MD. He graduated from Louisiana State University in 1997. Python scripting guru working mainly with Letterror and House Industries on projects using FontLab and Robofab. An avid RoboFog scripter, he joined Erik van Blokland and Just van Rossum to initiate the RoboFab project in 2003. After graduation in 1997 from the Louisiana State University Graphic Design program, he worked as a designer at two agencies in south Louisiana. In September of 2001, Tal joined the House Industries staff as a designer in the Type Development, Product Promotions and Python Systems Implementation Department. He worked on the Ed Benguiat collection, for example.
In 2005, he left House and started his own company eventually called Type Supply. Type Supply designs typefaces for corporations and publications. Their typefaces:
At ATypI 2008 in St. Petersburg, his talk (shared with Ken Barber) was entitled Pac-Man fever, quantum mechanics and the design of digital type.