TYPE DESIGN INFORMATION PAGE last updated on Wed Dec 7 12:52:03 EST 2016
FONT RECOGNITION VIA FONT MOOSE
Type scene in Illinois
Graphics editor for Science at the New York Times. 13pt is the New York-based design and type studio founded by Jonathan Corum. In the early part f his career, he created typefaces such as FB Agency, Eagle (1994, after initial design by David Berlow in 1989, which in turn was based on M.F. Benton's [or Lucian Bernhard's?] 1933 face, Eagle Bold; a strong font!), Law Italic (1997, for Sam Antupit and Harry N. Abrams---a digitization from a specimen of ATF's Law Italic No. 520), Mesa (1994, a Font Bureau handprinting face), the 5-unit handwriting family Victoria's Secret (1997, from hand-drawn originals provided by Sisman Design), the Bodoni-esque font Winterthur Display (1997, drawn for Harry N. Abrams), Law Italic. Custom typefaces include 2x4 (as part of logos), Columbia University, Liz Claiborne, Miesdings (dingbats for the new student center of the Illinois Institute of Technology), Readers Digest Fleurons (1997), WCS Wildlife (2001, the corporate typeface of the Bronx Zoo and the Wildlife Conservation Society).
A Survey of Free Math Fonts for TeX and LaTeX
Article by Stephen Hartke from Urbana, IL, written in 2006. He surveys free math fonts for TeX and LaTeX, with examples, instructions for using LaTeX packages for changing fonts, and links to sources for the fonts and packages. PDF version of the paper. Hartke is a Professor of Mathematics at the University of Illinois at Urbana-Champaign. He finished a font family called Aurulent Sans and Aurulent Sans Mono (2007), and released the free monospaced font Verily Serif Mono (2006, based on Vera Serif, with same dimensions as Vera Sans Mono). Fontsy link. Alternate URL. Yet another URL. Twentyfour examples of text face/math typeface are showcased. Some are quite disappointing. Here are the better ones (with some text quoted from Hartke's article):
Chicago-based electrotypers and photo-process engravers. They published Specimens of Electrotypes Comprising Cuts, Borders, Initials, Ornaments, Etc. (1891, Chicago: A. Zeese&Co).
Short-lived foundry run by Robert Wiebking and Henry Hardinge in Chicago. In 1894 Robert Wiebking and Henry H. Hardinge (also from Chicago) built the first successful machine for engraving type matrices. In 1896, they became partners and set up Wiebking, Hardinge & Co in 1901, manufacturing matrices for type foundries. This led them to set up the Advance Type Foundry in Chicago. Typefaces by them include the ArtCraft Series, Caslon Antique, and Modern Text (blackletter). [Google] [More] ⦿
The typography awards in the AIGA competition [which are mostly but not exclusively for the creative use of type] in 2003 were: Archer (Hoefler), Retina (Frere-Jones at HTF), Interiors 3D type (Northern Illinois University, DeKalb, IL), Bjork Cocoon (Radical Media, NY), Copy magazine (Sagmeister, NY), AIGA "Voice" animation (Chermayeff&Geismar Inc, NY). [Google] [More] ⦿
Montreal-based designer of the geometric typeface Les Enfants de la Bolduc (2012).
Graphic designer in Chicago, IL, who created Modular Alphabet in 2012.
Alf Becker (b. St. Louis, MO) was a sign artist in the 1930's and 40's. Beginning in January 1932, at the request of editor E. Thomas Kelly, Becker supplied the Signs of the Times (The National Journal of Display Advertising) magazine's new Art and Design section with an alphabet a month, a project initially predicted to last only two years. Misjudging the popularity of the series, it instead ran for 27 years, ending finally two months before Becker's death in 1959, for a total of 320 alphabets. In late 1941, just ten years after the first alphabet was published, 100 of those alphabets were compiled and published in book form under the title 100 Alphabets, by Alf R. Becker.
The American Sign Museum shows the following death notice, taken from the April 1959 issue of Signs of the Times: A chapter of almost 27 years of extensive influence upon the development if sign and outdoor advertising lettering came to a close March 10 in the passing of Alf R. Becker, whose alphabets had been presented consistently in Signs of the Times since January, 1932. Death came in St. Petersburg,. FL, where he had been hospitalized since last November. The funeral services were in St. Louis, March 16. Mr. Becker had operated a commercial sign business in East St. Louis, IL., and was widely known for his lettering ability when requested 27 years ago by the late E. Thomas Kelley, then editor of Signs of the Times, to do a series of alphabets for the magazine. They had estimated that 24 alphabets which would be presented in a period of two years would serve the purpose. The series was so enthusiastically received and so many readers urged continuation that it was projected indefinitely to eventually each a total of 320 before failing health of Mr. Becker forced him to give up that creative work. His last alphabet for ST appeared in the January issue this year. Countless are the signmen and women who broadened the horizons of their lettering ability by thorough study of Mr. Becker's alphabet. In 1941, his book, "100 Alphabets" was published by Signs of the Times, and all 3,000 copies that were printed were sold out long ago. Numerous requests have been received for a reprinting, but in view of the changes of time in lettering styles, it has not been considered advisable. Mr. Becker's failing health in 1957 influenced him and Mrs. Becker moving to St. Petersburg, where they bought a home, and where he went into semi-retirement. His love of the sign business was such that he continued his alphabets in spite of the problems of his illness.
Many of his typefaces have art deco influences. LHF Monogram at Letterhead is a digital version of one of his fonts. Other digitizations include Whomp (2006) and Buffet Script (2006) by Alejandro Paul (Sudtipos) and Daffadowndilly (2007) and Stony Island NF (after Becker's art deco typeface Chicago Modern) and Shaq Attack NF (2011, a wood plank font) by Nick Curtis.
The Fontry (James Stirling and/or Adkins) is undertaking a grand digitization project, and releases free and pay fonts with names that start with ARB, followed by the font number, the font name, and the month and year of issue. In The Fontry's ARB series, we find ARB-187 Moderne Caps AUG-47 (2013, didone), ARB-85 Poster Script (2011, after a 1939 typeface by Becker), ARB 70 Modern Poster, ARB 93 Steel Moderne, ARB 44 Chicago Modern, ARB 66 Neon (2010, after a 1937 font, +Block, +Line), ARB 85 Modern Poster JAN-39 (2011, after Modern Poster Script, 1939), and ARB 67 Modern Roman, and ARB08ExtremeRomanAUG-32CASNormal (2009; the original is from 1932).
Jeff Levine created a number of typefaces based on Becker's work as well: Kanona JNL (2010), Karaoke JNL (2010), Mocombo JNL (2010). John Davis created LHF Pipeline (2012) based on Becker's designs. Kaitlin Sims designed LHF Becker No. 45 (2015).
Alphabets Inc (or: Fontsonline.com)
Alphabets Inc was founded by type designer Peter Fraterdeus, who made AI Marlowe, AI Prospera, AI Wood (1992, interpreted from examples shown in Rob Roy Kelly's American Wood Types) and AI Quanta (1994, a multiple master face). Check here. This foundry has some of the nicest typefaces anywhere, including many gorgeous typefaces by Philip Bouwsma (example: Alexia, Juliana, BouwsmaScript, Weissenau). Other designers include Bonnie Barrett (Arbor), Brian Sooy (multiple master fonts AIVeritas and AIVeritasItalic), Ejaz Syed, Inna Gertsberg, John Pugh, Karen Ackoff (check out the Russell handwriting), Kurt Roscoe, Lester Dore, Manfred Klein, Mike Brooks, Peter Fraterdeus (Oberon, Prospera and Quanta (multiple master) families), Randall Jones (the multiple master font AIKochAntiqua), Robert McCamant, Martha Chiplis, Serge Pichii, and Steve Meek. In 2007, Peter Fraterdeus started Exquisite Letterpress for top quality printing. In 2010, he promised to release Quanta Uncial.
Amber Phillips (b. 1983, Hanoverpark, IL) is a young graphic designer/typographer about to graduate from Columbia College in Chicago. Her foundry, Amber Phillips, is located in Cary, IL. She made the scratchy handwriting font Ambie Skratch (2006). [Google] [MyFonts] [More] ⦿
Typeface importer and vendor and foundry located on Fourth Avenue and Park Avenue South in New York City, with offices in Burbank, CA, and Chicago, IL. Their typefaces included Annonce Grotesque. Amsterdam Continental ceased operations.
Eric Mueller (Anchor Fonts, Aurora, IL) designed the free hand-printed typefaces Shabby Ball Point (2011) and Strong Hand Caps (2011) and of Ornamental (2011, Christmas tree ball alphading face). Progress (2011) is a pixel face. Hungry Ghosts (2011) and Anchorless Echo (2012, old typewriter face) are grunge typefaces.
Andrew Byrom was born in Liverpool, England in 1971. After Graduating from the University of East London in 1996 he opened his own design studio and worked for various clients including Penguin Books, The British Academy of Composers and Songwriters, The Industrial Design Centre, Time Out Online and The Guardian Newspaper. Around this time he also began teaching graphic design at The University of Luton and Central Saint. Martins. Byrom moved to the USA in 2000 to teach at Northern Illinois University in DeKalb, IL. He has recently been commissioned to design typefaces and type treatments for Elle Decoration, The New York Times Magazine, McGraw-Hill, and Turner Classic Movies. In 2006 he moved to Long Beach to take up an Associate Professor position at California State University, where he is currently the Area Head of the Graphic Design Department. He created the experimental typeface Interiors (2002), about which AIGA writes: Interiors (3D type) is a collaboration between type designer Andrew Byrom and designer Joel Wolter. It was originally conceived as a digital font (Interiors) and was inspired by an old wooden chair in Byrom's office that, when looked at from a certain angle, resembled the letter h. Using the three-dimensional principles of this simple form, and closely adhering to type design conventions, 26 letters of the alphabet were drawn and generated as a font. The characters were then constructed in three dimensions using tubular steel into full-scale furniture frames. Because the underlying design concept is typographical, the end result becomes almost freestyle furniture design. Letters like m, n, o, b and h can be viewed as simple tables and chairs, but other letters, like e, g, a, s, t, v, x and z, become beautifully abstract pieces of furniture. He also made the distressed font Bloodclot, the stencil family Byro Stencil (free), Byro Sans, 1byrosquare (2000), 2byroround (2000), ByroBlock Stencil (2000, stencil), Concussion (dot matrix with various size dots), Easy Vie, Venetian (2009, like Venetian blinds), Fresh (1995, scratchy type), Ply, Rage, St. Auden, Bandaid (2006), 3D Dot Matrix. He divides his time between teaching, designing for various clients and playing with his sons, Auden and Louis. He has recently been commissioned to design typefaces and type treatments for Elle Decoration, The New York Times Magazine, McGraw-Hill, and Turner Classic Movies. In 2006 he moved to Long Beach to take up an Associate Professor position at California State University, where he is currently the Area Head of the Graphic Design Department. Speaker at ATypI 2009 in Mexico City. [Google] [More] ⦿
Andrews&Halsted Typeworks (or: Halsted Typeworks)
Indianapolis, IN-based Andrew Markle (Andrews&Halsted Typeworks) designed the sans typeface A&H Hadley (2010). Other commercial typefaces include A&H Bern Sans CT (2010), A&H Hadley Inconsolata MT (2010), A&H Hadley ExtraBold (2010), A&H Hadley Bold (2010), A&H Stella (sans), A&H Kerrigan Light, and A&H Kerrigan Book.
Graphicriver link, where we learn that Halsted Typeworks is located in Evanston, IL. There we also find the 2011 typefaces Indianapolis Slab Serif, Madeleine, Payton, Addison, Gabriel Script, A&H Bjorn, A&H Teagan Script, A&H Taidghin Sans, A&H Alexander (+Sans, +Sans Light, +Serif, +SerifBold, +SerifLight), A&H Stella, AH Ansleigh, AH Greyson, A&H Parker (+Light), and &A&H Celeste. [Google] [More] ⦿
"Paralegal" person at Agfa/Monotype who sends threatening emails to website owners. One such owner had posted a font derived from Times Roman, but it was far from the text font we are used to. Still, reason enough to apply the pressure. On another occasion, in February 2000, she threatened Graham Meade with a lawsuit just because his use of the name ArialicHollow was an infringement of Monotype's trademark. [Google] [More] ⦿
Anton Novik lives in Chicago, IL. He created the shattered glass grunge typeface X Story (2008). The grunge typeface XStoryDesignersFont (2008) can be bought at Graphic River. [Google] [MyFonts] [More] ⦿
Located in Warrenville, IL, this company developed Mup: Mup takes a text file as input and produces PostScript output for printed music. It can handle both regular notation and tablature notation. It can also produce MIDI output. Free trial, but 29$ if you keep it. Windows and UNIX/Linux. [Google] [More] ⦿
Ryan Halvorsen (Arlo) created the sans family Halvo (TypeTrust). His graphic design work includes the poster for the Las Vegas Marathon in 2005. Arlo is a graphic design firm based in Chicago. We look for design solutions that are memorable, timeless, and communicate with high-speed efficiency. Maximum heart; minimal fluff we like to say. While small in size, we design for big names; Nike, American Eagle Outfitters,&Effen Vodka just to name a few. The firm was established in 2004 by Ryan Halvorsen and Patrick Filler. Ryan Halvorsen cut his graphic design teeth in Rome, Italy, and returned to Chicago to work at Segura, Inc. Silas Dilworth also works at Arlo. [Google] [More] ⦿
Born and raised in Mexico City, Armin Vit is a graphic designer and writer now living in Austin, Texas. He is co-founder of UnderConsideration and its myriad sites. His last employment position was at Pentagram. He now runs UnderConsideration's Department of Design. With his partner, Bryony, he has co-authored the books Women of Design and Graphic Design Referenced. Designer of the futuristic fonts Modular (2001) and Tirkovet, and of Stress (letters obtained without lifting the pen). He attended the School of Graphic Design at Anahuac University in Mexico City and taught typeface design at the Portfolio Center, marchFIRST, Atlanta, GA. Home page. After Atlanta, he moved on to Chicago, and later to Austin. At TypeCon 2003, he told this dream about Hrant Papazian, I quote: I dreamt that Hrant came to my house, the weird thing is that it was his typophile picture only (since that is as far as I know what Hrant looks like). So he came in, and went "Number Two" in my bathroom without flushing, after that, he headed out to the kitchen to hang out and stuff. So I go into my bathroom and see these unflushed turds in my toilet. I go up to Hrant and say "Excuse me, Hrant, you left your turds in my toilet." His response involved handing me a plunger and adding "This should fix it." And that was it. [Google] [More] ⦿
Art and Fonts by Sean (aka The BlackBox)
Free fonts by Sean Moldenhauer of Michigan City, Indiana, a graduate of the Art institute of Chicago who apprenticed with Donna Karen. Sean has beautiful Japanese calligraphic prints (shodo style) as well as fonts based on carefully researched historical typefaces. Examples: JapaneseZenSampler1 (2001), TheTombwinterandspring1 (1997, "heavily inspired by the incised letters from the tomb of Henry III, Westminster Abbey, about 1272"), Thorns (1997), VampyresGarden (1997, initial caps inspired by a copy of the Romant de la Rose from the beginning of the 16th century), HoursintheRain (1997), SevenWavessighsSalome (1997, caps). Very nice gothic and medieval style creations. He showcases great Arab, Japanese and Chinese calligraphy. [Google] [More] ⦿
ARTypes is based in Chicago, and is run by Ari Rafaeli. List of their typefaces categorized by revival type:
Elk Grove Village, IL-based company established in 2004, which specializes in font development, licensing and IP protection. It rose from the ashes of a major fire at Agfa/Monotype at the end of 2003. Its founders are Steve Matteson (type designer, formerly with Agfa/Monotype), Thomas Rickner (of Microsoft fame, where he hinted many Microsoft families), Ira Mirochnick (founder and President of Monotype Typography Inc in 1989 (where he was until 2000) and a Senior Vice President and director of Agfa Monotype Corporation (2000-2003), a self-proclaimed expert in font licensing issues and IP protection), and Bill Davis (most recently the Vice President of Marketing for Agfa Monotype). Also included in this group are Josh Hadley, Brian Kraimer, Jim Ford (since 2005), and Jeff Finger (as Chief Research Scientist, since 2006). On December 8, 2010, Ascender was acquired by Monotype for 10.2 million dollars.
Their typefaces include Endurance (2004, Steve Matteson, an "industrial strength" Grotesk designed to compete with Helvetica and Arial; it supports Greek, Cyrillic and East European languages).
In April 2005, Ascender announced that it would start selling the Microsoft font collection, which is possibly their most popular collection to date. They also started selling and licensing IBM's Heisei family of Japanese fonts in April 2005: Heisei Kaku Gothic, Heisei Maru Gothic and Heisei Mincho. Ascender's version of the CJK font Heiti is called ASC Heiti. Also in 2005, they started distributing Y&Y's Lucida family.
In October 2005, Ascender announced the development of Convection, a font used for Xbox 360 video games. Their South Asian fonts cover Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil and Telugu, and include Ascender Uni, Ascender UniDuo and Arial Unicode for general use across all Indic languages, and, in particular, the Microsoft fonts Vrinda (Bengali), Mangal (Devanagari), Shruti (Gujarati), Raavi (Gurmukhi), Tunga (Kannada), Kartika (Malayalam), Latha (Tamil) and Gautami (Telugu). Khmer SBBIC (2011) is a Khmer font at Open Font Library.
It does more type trading and licensing than type creation, although Steve Matteson has contributed fairly well to their new typefaces. Their brand value took a hit when they started selling scrapbook, handwriting and wedding fonts under the name FontMarketplace.com.
Recent contributions: Crestwood (2006, a house face, possibly by Steve Matteson) is an updated version of an elegant semi-formal script typeface originally released by the Ludlow Type Foundry in 1937.
In 2009, they started a subpage called GoudyFonts.Com to sell their Goudy revivals.
In 2010, they announced a new collection of OpenType fonts created specifically for use in Microsoft Office 2010: Comic Sans 2010 (including new italic and bold italic fonts), Trebuchet 2010 (including new black&black italic fonts), Impact 2010, Pokerface 2010, Rebekah 2010 and Rebus Script 2010. Ligatures in Comic Sans?
ATF 1923 Catalog: Artcraft Series
Showcasing the best pages from the Artcraft Series in the ATF 1923 Catalog. Artcraft&Bold&Italic are display typefaces originally designed for Barnhart Bros&Spindler by Robert Wiebking (1911-1913). Jaspert lists Artcraft as a 1930 publication at Ludlow, and Klingspor as Western Type Foundry typefaces from 1911 until 1913. Mac McGrew: Artcraft was designed in 1912 by Robert Wiebking and featured under the name of Craftsman in the first ad for his short-lived Advance Type Foundry, operated by Wiebking, Hardinge&Company, in Chicago. A short time later, the typeface was advertised as Art-Craft, and later as one word---Artcraft. Advance was soon taken over by Western Type Foundry, for whom Wiebking designed Artcraft Italic and Artcraft Bold a year or two later. Western in turn was taken over by Barnhart Brothers&Spindler in 1918. BB&S was already owned by ATF but operated separately until 1929; in the meantime, though, Artcraft and a number of other typefaces were shown in ATF specimens as well as those of BB&S. Artcraft has an unusual roundness in some of its serifs and line endings and a line of it produces a rolling feeling; some characters have curlicues, such as the long curl at the top of the a and and the exaggerated ear on the g. A number of auxiliary characters were made for roman and italic fonts; as these were sold separately, they were overlooked by many printers and typographers. The boldface has fewer eccentricities. Artcraft was a popular typeface for a number of years; the roman was copied by Monotype in 1929 without the fancy characters, and all three typefaces were copied by Ludlow. Adaptation in 1924 of Artcraft Italic to the standard 17-degree slant of Ludlow italic matrices was the second assignment of Robert H. Middleton (after Eusebius, q.v.) at that company. Hansen called it Graphic Arts. One source attributes the Artcraft family to Edmund C. Fischer, otherwise unidentified, but the details stated here are more generally accepted and seem to fit known facts better. For digital versions, see Artcraft URW, or Federlyn NF (2011, Nick Curtis). [Google] [More] ⦿
Avondale Type Co
Avondale Type Co is a typefoundry established in 2013 and located in the Avondale area of Chicago. It is a type coop that groups several designers. It is a subsidiary of the design studio Bright Bright Great. Its typefaces:
Metal type foundry in Northlake, IL and/or Bensenville, IL, still operational in 2007. Also called F&S Type Founders Inc., it was located at 237 S. Evergreen, Bensenville, IL 60106. Some of its types are listed here, but none appear to be original designs. Barco Type Founders [Specimen Book].
Images of some metal typefaces in the Barco collection: AmericanGaramondNo648, AshleyCrawford.png, Binney No. 21, Bon Aire, BulmerRomanNo462, Cameo, CheltenhamWideNo164, CloisterBlackNo95, Comique, ComstockNo202, EleganteNoS106, FigaroNo536, Glamour Medium, Greco Bold, Hauser Script, Hess Neo Bold No. 363, Homewood, Lydian Roman, Matura Scriptorial Caps, Modernistic No. 297, Orplid, Prisma, Punch, Sans Serif Light No. 329, Samson, Scotch Roman No. 36, Spire No. 377, Stymie Medium No. 290, Tangoe, Thello Inline No. 2481, Thello No. 246, TwentiethCenturyUltraboldExtend, Typewriter Type No. 17L. [Google] [More] ⦿
Chicago-based foundry, which grew out of The Great Western Type Foundry in 1868 when the Barnhart brothers (newspaper publishers in Iowa who came to Chicago as advertising agents) bought out the Toepfer family in 1868. They retained Herman Spindler as the foreman, since he was the only typefounder in the group. Aggressive in business, BB&S became the largest foundry in Chicago. Book of type specimens. Comprising a large variety of superior copper-mixed types, rules, borders, galleys, printing presses, electric-welded chases, paper and card cutters, wood goods, book binding machinery etc., together with valuable information to the craft. Specimen book no.9 (1907) is a 1048-page monster catalog (see also here and here and here). Some pictures from Type Barnhart Type Foundry Co. New York City: Superior Copper-Mixed Type (1908). BB&S was purchased by ATF about 1911 and it operated independently until about 1930. Typophile page on them. Text file with a list of the typefaces in their Catalog 25 (1925). Discussion of some of their typefaces and digitizations:
Born in Mount Pleasant, IA, in 1962, Barry Deck is a freelance graphic designer in LA, Chicago and NYC.
He designed Arbitrary (1990, a sharp-serifed sans) and Template Gothic (1990, grunge; see here for the Cyrillic version by Igor Polovodov and the Greek version by Panos Haratzopoulos) at Emigre in 1992 and 1994 [MyFonts says 1990...].
Rudy van der Lans recalls the Template Gothic story: It was designed by Barry Deck while he was a student at Cal Arts in the early 90s. Under the auspices of Ed Fella and Jeffery Keedy there was a lot of exciting type design experimentation going on at CalArts in those days. I remember that particular graduate class came to visit our studio in '92 or so. That's when we first saw Template Gothic. We liked the font and asked Barry if he would let us release it commercially. Hrant Papazian says that a lot of the credit for Template Gothic should go to Ed Fella.
Besides these two Emigre fonts, Barry designed many other typefaces. He sells Barry Sans Serif (1989), Washout, Traitor, Truth, Fontoid, Canicopulus Script (1989, named in honor of Eric Gill's extracurricular activities), Cyberotica (1994), Caustic Biomorph (1992, part of FUSE 4), Cyberfriendly, Moderne Sans Serif, Mutant Industry Roman (1989), and Orgasm Heavy.
More recently, Barry Deck designed Eunuverse specifically for RayGun and it was used in a few issues before this mag was bought-out.
Once called Berthold Types and now Berthold Direct Inc, this companay is located in Chicago, IL, and was/is run by Harvey and Melissa Hunt. It was acquired by Monotype in 2011. The font collection is aristocrated, unpolluted by grunge and cheap thrills, featuring many well-known text type families. On the other hand, typophiles all over the world are aghast at the marketing strategies of Berthold. The fonts, all having "BE" or "BQ" in the font names, originated from Berthold AG in Germany, a company that went bankrupt. Some people argue that the Chicago-based Berthold has no rights to the old Berthold AG collection---a fact documented by Uli Stiehl. But most importantly, the Hunts became famous because of the numerous lawsuits typically related to the selection of font names too close to names in their collection.
For many years, on and off between about 1970 and his death in 2009, Günter Gerhard Lange was the typographic director [of Berthold Direct Corp, and its German "predecessor" Berthold]. Lange, along with Bernd Möllenstadt and Dieter Hofrichter, formed the core of Berthold's Type Atelier located in München to continue the development of the Berthold Exklusiv typefaces. The classics in the collection include Akzidenz-Grotesk, Block, City, AG Book , Delta, Formata, Imago and Laudatio. Frequent contributors in the 1970s and 1980s were Friedrich Poppl and Gustav Jaeger.
Blank is The New Black
Graphic design studio located in Chicago, IL, which was founded in 2011 by graphic designer Thomas Johnson Quinn (b. 1980, Two Rivers, WI), a graduate of the Rhode Island School of Design (2003).
In 2009, he created the 4-style pixel/dot matrix family Versteeg. Along the same theme, he made Niemi (2010), Toews (2010) and Huet (2010).
In 2012, he created the extreme contrast didone typeface Volterra.
In 2016, he made Pocketknife (sharp-edged and influenced by constructivism).
Designer at SignDNA who made the comic and signpainting typefaces ChicagoStyle, NewCity, SantaFe, KedzieLite, Heading Script, Pravda Casual, Pulaski Script, Archer. In some places, we find a reference to Bob Behounek---a bit confusing. Behounek's bio states: Bob Behounek is a journeyman sign artist from Chicago, Illinois, plying his trade for 35 years. He has been a contributing editor for SignCraft Magazine since 1982. "I created these alphabets basically as a foundation to intermix, stretch, enlarge or do just about anything a signpainter would use to handletter the most fun-action words with readability as a priority! Do not limit yourself to what you see... but what you can create." [Google] [More] ⦿
Boris Brumnjak (b. Berlin, 1977) is a graphic designer who studied at LetteVerein Berlin until 1999, and who designed the monospace retrotech pixel font Facsimile at T-26 in 2001. Since 2000, he runs brumnjak.com / grappa blotto in Berlin, which is involved in corporate design. He practices design in Berlin, Wuppertal and Chicago.
Graphic design student at DMACC. FontStructor who made the comndensed typeface Local Butcher (2012).
His beautiful font Kashmir (an arts and crafts style font) was created in 1992 as a tribute to Led Zeppelin. Brian was a software designer at Northwestern's Institute of Learning Sciences. His address is listed in the text file as Box 46 CT, Bowdoin College, Brunswick ME 04011. Download link. [Google] [More] ⦿
Kraimer worked at Ascender Corporation since 2004 until it was sold to Monotype. He has worked at the Chicago Tribune, and at Monotype Typography and Agfa Monotype, where until 2004, he was Vice President, responsible for managing the Worldwide Font Development Team. Today, he works at the Accounts Office of Monotype from Elk Grove Village, IL. [Google] [More] ⦿
New Foundland-born type designer of the hand-printed typeface Soupbone (+dingbats), who directed commercials at Tricky Pictures, Chicago. He returned to Canada in 2000 to form Global Mechanic with filmmaker Ann Marie Fleming.
Bryony Gomez-Palacio is a graphic designer at Bagby and Company, Inc, in Chicago. She is married to Armin Vit, and designed Rama, a kid's building block font (2002). No downloads. Web page. [Google] [More] ⦿
Illustrator and poster designer in Chicago in the 1920s and 1930s, who lived from 1880 (b. Stockton, CA)-1972 (d. Des Plaines, IA). Many of the ornamental typefaces in the Barnhart Brothers&Spindler catalog of 1931, Typefaces : border designs, typecast ornaments, brass rule: selective specimens of preferred matter, are due to Junge. His typefaces:
Born in 1956 in Santiago, Cuba, Segura founded the design firm Segura Inc in 1991 and the type foundry [T-26] in 1994 in Chicago.
He made Square 40 and Square 45 (2006, athletic lettering, octagonal), 26FacesA, Peepod (2000, great ornaments), Boxspring (1995, dadaist), Dingura, FaxfontFine (1997), FaxfontStandard (1997), FaxfontTone, FlacoSolid, FreeBeCaps, FreeDom-Normal, Mattress, Neo-Bold, Pintor (2006, wallpainting face), RPM (decals and logos), Sport IT (dingbats), Time In Hell (deconstructed Times).
Castcraft [3649 W Chase Ave Skokie, IL 60026], showed off a comprehensive library of fonts, all with extended character sets for multi-language typography. OptiFont is a trademark filed in 1990 by Fredric J. Kreiter of Castcraft. Castcraft sold a CD-ROM Type Library Volume 1 at 200 USD. Its entire font collection was sold for 1000 USD. It also made some custom fonts. Most post-1990 fonts have the prefix OPTI. For example, OPTI-Peking is an oriental simulation font. OPTI-Favrile is a copy of Tom Carnase's Favrile (WTC).
A visitor warned me that there is absolutely zero security when you order from this outfit, so you are warned--this is a dangerous site! It seems that Manny Kreiter (d. 2005) was the last President&CEO, and that his family (Abe, Harry and Ned Kreiter) have been at it since the days of metal type (1936) starting as Type Founders of Chicago. I found this on their pages: Castcraft has licensing [sic] the entire 20,000 TypeFaces from "Type Films of Chicago" and the entire "Solotype Alphabets" collection. Mike Yanega claims that most of their fonts are clearly not original any more than most of Bitstream's are original, and like them they re-name many of their fonts to avoid copyright issues. Their fonts all appear to be a "dead collection" of copies of relatively old designs that have already appeared in many other collections from the likes of WSI and SSi.
In 2010, John Brandt reports: Castcraft, aka Type Founders of Chicago, moved decades ago from Hubbard St in Chicago to a close-in suburb (Skokie? Niles?) and was still operating within the past few years when I happened to drive by. I failed to find any current incarnation, but they used several names even years ago as a prominent pirate. Besides pirated fonts (Typositor to later, generally poor digital), they were a big metal vendor (I have a partial metal set of Helvetica gifted as they left downtown in the 1970s), and also had a guy (whose name escapes me) who did fabulous high-end signage, from sand-blasted glass to the created-on-building inscribed metal logo for a well-known Michigan Ave mall. Longtime owner Manny Kreiter died in 2005, but whether Boomie or any of the others who may still be around kept it going is unknown. Aside from simply having ANY version of their many offerings, most would consider their collection worthless. Anyone who has a digital "OPTIfont" and a font editor can readily view the problems, including usually several times too many Bezier points within any character. I counted 78 control points on a minimal character, for instance, that should have had less than a dozen.
Listing of Castcraft fonts (compiled by myself). The 802 fonts listed here are all dated between 1990 and 1994. I know there are at least 1,000 digital fonts made by them, so my list is incomplete.
This link maintained by alt.binaries.fonts regulars contains most OPTI fonts for free download. It contains in particular some scans of one-line listings (i, ii, iii), and lists of name equivalences (i, ii).
Picture of Ned, Abe, Harry and Manny Kreiter.
Font name equivalences (by Philippededa, 2012). Footnote: Most of the images on this page are borrowed from The OPTI fonts archive, where one can download most of the collection. List of equivalences of Castcraft names. List of Castcraft typefaces as of July 2014. [Google] [More] ⦿
Central Type (was: Lamesville)
Mark Butchko (Chicago, IL) is Central Type (and before that, Lamesville). He created a layering typefamily that includes possibilities for inline and bevel designs called Idler (2011). In 2016, he set up Central Type, and designed a 5-style rounded sans typeface family called Rodger.
Graphic design studio in Belleville, IL. Dafont link, where one can download the free handprinting outline font Father Nelson (2007) made by Keith Whetstone, as well as the dingbat typeface Textbook Math (2007), based on illustrations found in First Year in Number, a children's math book from 1912, and Wet Plate (2007). Wilderness (2007) and Maudlin Sketch (2008) are grunge typefaces. Anonymous Clippings (2008) is a ransom note font. [Google] [More] ⦿
Milwaukee-based graphic artist, who designed Indy Italic (1990, Letraset), an informal script, and Century Nova (American Typefounders, 1966), the latter as a variation on Century Expanded. MyFonts says that he was a Chicago-based letterer and that he worked for ATF in 1948. The discrepancy is possibly due to the fact that there is a Charles E. Hughes and a different Charles Huughes.
Chicago-based punch-cutter, 1841 (Berlin)-1897 (Chicago). His typefaces have late Victorian and early art nouveau elements:
Author of Luthy's Scientific Handwriting: Being an Analysis of Roman Script Form and Execution (1918, C.T. Luthy). See also here. C.T. Luthy was based in Peoria, IL. [Google] [More] ⦿
With just one name (the other one was lost in an accident!), Chester, the type designer, was born in Montreal in 1971, and worked at Thirstype in Chicago. In 2005, he started up the type coop Village, which is located in New York. His fonts include Syzygy, Schmelvetica (at FontShop), Psyche (unreleased), Orbit (2003, with Rob Irrgang), Rheostat (1996, a grunge dot matrix font family), HateNote, Panderella (2000-2001, ultra geometric), Eclogues (1999, an absolutely stunning romantic high-ascender-descender family), LoveHateCollection, JohnHadANightmareLastNight (2001), Alexey (2003, a stencil family, with Rick Valicenti), Apex Serif (2003, with Rick Valicenti), Exchange (dot matrix), Pizzelle Italic, Phatso (2003), Satchel Paige (2003, a wood type typeface made with Tracy Jenkins), Pixella (2003, pixel font), Nillennium (2000, an octagonal family), Freedumb (2004), Galaxie Polaris (2004, a sans) and Virgil, the last twelve fonts at Thirstype. At Village, he published Mavis (2005), Apex Sans (2004, with Rick Valicenti), and then Apex New (2006), which has a hairline weight, Apex Thin, and Apex Rounded (2010). In 2009, he codesigned the large x-height text family Galaxie Copernicus with Kris Sowersby at Village. In 2010, he and Jeremy Mickel made the poster type family Aero, which took inspiration from Roger Excoffon's Antique Olive. It won an award at TDC2 2011.
His custom-made typefaces from 2006-2007 include these: Rewards (with Kris Sowersby), Always Radio (with Markus Rakeng), 2Wice Egyptian, Apex Compact, Apex New Condensed, Baro Heavy, Baro Light, Baro Medium, Baro Super, DPA Gothic, Endzone, Galaxie Ariane, Galaxie Copernicus, LMVDR, Modernismo, Snickers. [Google] [MyFonts] [More] ⦿
Matt Soar points out a good one: the O'Hare airport sign is set in the typeface Chicago: There's a scene early on in the movie Meet the Fockers where Ben Stiller and his bride-to-be fly off to see her parents. The establishing shot (above) cleverly reminds us exactly which city they're leaving. Which brings us to the big, helpful sign: first, it was clearly comped in during post-production; and, second, it's typeset in, wait for it, Chicago. Now there's inspired design for you. Chicago - the font, not the city - was designed in 1983 as a system font for the Apple Macintosh by Susan Kare. Its design has absolutely nothing to do with the city of the same name. In fact, according to Kare herself, the set of fonts she designed for Apple "were named after Philadelphia suburbs", until management decided otherwise. The moral, as ever, is: don't select type based on its name. [Google] [More] ⦿
Chris Vile (Fontmonger, Austin, TX) is a type and graphic designer and web developer, who was briefly located in Chicago.
Creator of Cannibal (2012, scratchy hand), Die Already (grungy caps), The Dead Saloon (2012, Western caps face), the scratchy scary typeface Dead Bitch (2012), the athletic lettering typeface No Honor Roll (2012), the grungy Redux (2012), Konquer (2012), Sandy Ravage (2012), and Digital Anarchy (2012), the blood drip typefaces Spiked (2012) and XSpiked (2012), and the brushed typeface GwizsK (2012).
In 2013, he designed The Five One Two (graffiti font), Skidmarked (graffiti font), There Be Monsters, Digital Disorder (a textured typeface), We Are Depraved, The Dead Are Coming (grunge), Barbaric, Welcome To Texas (graffiti font), Chopper City (a spurred constructivist typeface), Maya Rose (a script face), Chaos and Pain (a tattoo font), Abandon (grungy poster face), Virtual Bliss, and Pale Horse (a dagger font), Malevolentz (grungy caps), Shrapnel (grungy caps).
In 2014, he created Turnt Up (graffiti font), Grind Mafia, No Hard Evidence (glass scratch typeface), Techno Wanker, Abduco (grunge), Blackhead, Summon The Executioner (grunge), The Grinder (eerie font), Normal Sometimes (rounded sans), November Mornings, One More Day, Waukegan Hustle, Thoughts of Her, All Cracked Out, Redux, Cook County Jailhouse, Ol Skool (graffiti font), Why So Serious (grunge), Never Speak Of, Taco Truck Militia, Reason to see evil, Reaching for heaven, Digital Firebomb, Gas Mask Warriors, Necrotype, The Deadliest Saloon, The Decompozed, Necro Monger, Self Righteousness (grunge face), Rasterized (brush face), Some Devil Faces, Flowers For You, Dirtgrub Graffiti, M Ponderosa (letterpress typeface), Dr. Toboggan, Midnite Hour.
Typefaces from 2015: Thoughts of Her, Any Takers, Men of Nihilist, Rise Inside, Ugly Kids, Mya Papaya, The Unknown, Shun Set, Chops Chops, My Funeral, Blood Lust (dripping blood font), Middle Schooler, Hood Rich, Tequila Sunset, Hire a Cowboy, Tequila Sunrise, Cynical Hills (spurred eroded vintage typeface), Make them suffer (grungy letters), Gristled, Dark Waters, Poison Hope, Code Predators (grungy and squarish), Oak Lawn, Sovereign (grungy blackletter), Crucifixion, Sinner Script, Travis County (graffiti font), No Reverence (grunge), Barter With A Gypsy, Vance Jackson (graffiti script), Vary Sharky (brush face by Chris Vile and Roland Huse), Sons of Noah, Knife Fight Ballet, Dingle Huckleberry (grungy blackletter), The Grim Raiders, Tha Kool Kidz, Genesee St, Quaaludes, Quaalude Hulk, Kings Butcher, Gunfighter Academy (grungy and spurred), Buffalo Grove, Children Among Lions, Dedecus Putro, Dedecus.
Typefaces from 2016: El Sancho Rancho, Hells Rider Decay (spurred style), Eternity Tomorrow, The Last Call, Our Retaliation (grungy), Zero Athletics, Filth of Icarus (grungy), Texas Slaughter, Black Dahlia, Real Horror, Means of Malice, Mechanization, Valley of Elah, Hells Rider (Tuscan), Black Jacket Boys, Outerspace Militia, Fort Death, The Lost Canyon, The Defiler, Solace for Sadist, Mind Antiks, Tattle and Tales, In Collection, Skinny Jeans (all caps sans), Born Addict, Born a Sinner, Pistol Grip Pump (spurred Western style), Under Authority (grungy), Thrash It, They Perished, Sinthetic, Epitaph (spiky tattoo font), Eternity Now (hipster style), Sniffin Paint, Poker Kings, Virtual Rot, Apex Flunkee.
German designer who is now located in Chicago, IL. For a club night in Frankfurt, she created the straight-edged techno typeface Sexpol (2014). For KISD Gala 2012, she designed an experimental geometric solid typeface. Behance link. [Google] [More] ⦿
New York-based designer of fonts at Garagefonts, including Train Wreck (1997, with Simon Grennan). He designed Rant in 1996 at [T-26].
Typefounder. Designer of Copperplate Gothic (5 styles now exist at Bitstream). He ran the Chicago-based foundry Marder, Luse and Company, which existed from 1863-1892, and which was also called Scofield, Marder, Toepfer&Co., Scofield, Marder&Co., and the Chicago Type Foundry. [Google] [MyFonts] [More] ⦿
Continental Typefounders Association
Continental Type Founders Association was founded by Melbert Brinckerhoff Cary Jr. (1892-1941) in 1925 to distribute foundry type imported from European foundries. Beginning in 1927 Continental also distributed typefaces cast by Frederic Goudy, and two typefaces for Doug McMurtrie. Doug McMurtie and Frederic Goudy were the vice-presidents in 1925 and 1927, respectively. At first Goudy's type was cast at his own Village Letter Foundry, but after 1929 these were cast by the New England Foundry. Despite imports being virtually cut-off during the war years, Continental was still issuing Goudy's types as late as 1944 and may have continued functioning even later. Located at 216 E. 45th street, New York around 1930. They published Specimen Book of Continental Types in 1929. Cary collected 2300 books about printing. After his death, the Cary Collection was presented to the Rochester Institute of Technology in 1969 by the Mary Flagler Cary Charitable Trust as a memorial to Melbert Cary. Its collection of 20,000 volumes is described as one of America's premier libraries on the history and practice of printing.
Their typeface Nova Bold was revived by Nick Curtis as Maple Leaf Rag NF (2005).
The European foundries represented by them:
Chicago, IL-based designer of the free octagonal logotype Maquina Free (2013), of the fat octagonal slab typeface Mercader (2013), and of the curly display typeface Caifanes (2013, custom made for a Mexican rock band). Behance link. Another Behance link. [Google] [More] ⦿
Commercial 45 USD shareware Windows utility by Acute Systems: CrossFont is a Windows 95/98/NT utility for moving PostScript Type1 and TrueType fonts between Macintosh and PC platforms. Some features: Convert PostScript Type 1 fonts to OpenType fonts for Windows PC and Macintosh - Convert PostScript Type 1 fonts between PC and Mac. - Convert TrueType between PC and Mac. - Character outlines, metrics and hinting are not touched. - Drag and drop interface. - Registered version can batch convert to many file types at once. - Automatic sensing of file type. [Google] [More] ⦿
Chicago-based film type supplier active in the 1970s. One of its types, the curly art nouveau typeface Fantan, was revived and updated as Fantini in 2006 by Patrick Griffin (Canada Type). [Google] [More] ⦿
Daniel Mellis (Chicago) printed a small book in 2010 based on 19th century ornamented metal typefaces from the collection at Wells College. These include Tinted, Tasso, Banquet, Antique Extra Condensed, Aquatint, Dandy, Modoc, Columbus, Art Gothic, Rubens, Yukon Pointed, Tuscan Stellar, Halftone, Obelisk, Alpine, Gothic Shade, Ruskin, Condensed Roman, Ray Shade, Tuscan Floral, Souvenir and Aurora Uncial (Victor Hammer, ATF---never produced, but rediscovered by Theo Rehak). [Google] [More] ⦿
Designer from Chicago, IL, who is now in New York City. Home page. Creator of the Western typeface in the Italian style, called Umidità 1832 (2009), about which Darren writes: This re-interpretation of an 1832 wood cut by Caslon was created for the Spring 2009 edition of the literary-arts journal Ninth Letter.
With Will Miller, he created the structural experimental typeface Skky (2011).
David Stone Martin (born David Livingstone Martin in 1913 in Chicago; died 1992 in New London, CT) was an influential American artist known for his illustrations on jazz album covers. Pinterest page.
Chicago-based [T-26] designer of the Basix family (1999).
Alan Rosenbaum's Chicago-based company offering commercial Hebrew fonts. 25 fonts for 50 USD. Hebrew Font Gallery CD. Catskills (15 USD) is a Latin font that simulates Hebrew. The Hebrew Font Gallery contains Altona, Aram Tsova, Ateret, Bodel (free), Dugi, Frank, Gader, Gefanim, Gil, Golem, Kavim, Kehuna, Livorno, Paz, Peer and Ravid. Other Hebrew fonts sold by them include Ada Light, Aharoni Bold, Aharoni Light, Avital, Chayim Bold, Chayim Narrow, Drogulin, Elisheva Light, Frankruhl Bold, Frankruhl Light, Frankruhl Text, Gonen, Hadassah Light, Hadassah Bold, Kastel, Katamon Bold, Katamon, Miriam Bold, Miriam Light, Miriam Medium, Nachlaaot, Nachlaaot Right, Rachel, Rashi, and Stam. [Google] [More] ⦿
Dian Feng (Chicago, IL, then New York City, and then Hong Kong) designed the delicate oriental simulation typeface Hybrid and the shadow typeface Space in 2013 during his studies at UIUC in Chicago. Before that, he worked as an architectural assistant at the Beijing Institute Of Architecture Design, 1A3 Studio, Beijing, China. [Google] [More] ⦿
Dilworth Typographics Inc
Type designer (b. New York, 1975) who used to be on the staff at T-26 in Chicago from 2001-2004. His bio at MyFonts: Silas Dilworth focused his typographic vision as font technician and resident type designer at [T-26] from 2001 through 2004, producing various custom typefaces and overseeing the production of hundreds of new releases. In 2005 he started laying the groundwork for TypeTrust LLC, a font distribution partnership co-founded with fellow type designer, Neil Summerour. Silas has produced custom type for such clients as The Food Network, Converse, Cartoon Network, Caterpillar, Aon Corporation, Time Out Chicago, and Columbia College Chicago. In 2007 he joined VSA Partners in Chicago, producing exclusive type for the acclaimed design firm's private use. One such project, an expansive sans-serif text family, was chosen to anchor IBM's refreshed identity system in the iconic corporation's award-winning 2006 Annual Report. He codesigned Adriane Text with Marconi Lima in 2007.
He codesigned Iskola (2002, T-26) with Amondó Szegi. In 2005, he set up Dilworth Typographics Inc, where his own creations include Bridge (his version of Bank Gothic), Cooter, Dilworth (a sans family), Everafter, Lump, Midinote (futuristic), Oberon (heavy Bank Gothic-style typeface with great body), Soren, Trauen, Vandermark and Yesterday. His collaborative typefaces are Diego, Fatty (stencil/headline family, designed together with Chris May), Rickety (outline face, done with Chris May), Alphaben (comic book style), Elidel, Majestos Wide, and Sansarah (commissioned handwriting for Columbia College Chicago, based on the hand of Sarah Faust). At The Type Trust, which he helped set up in 2005 with Neil Summerour, we find Diego, Fatty, Cooter, Cooter Deuce (stylish art deco pair of typefaces, Regular and Plugged), Cooter Slim (like the other Cooters, this makes me think of Pacman), Facebuster (2008, fat slab serif, typeTrust), Vandermark, Everafter, Reservation Wide (2006), Lump, and Rickety. In 2007, he added Breuer Text, Condensed and Breuer Headline (corporate geometric sans families) to The Type Trust. This was followed in 2008 by the 16 weight sans family Heroic Condensed.
Chicago-based industrial designer who cofounded Orange Italic in 2000 with Christian Schwartz. Together, they have collaborated on logos, illustrations, and typefaces. The six-weight Luxury family (2006, House Industries; but as early as 2002 at Orange Italic) 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 2014, Christian Schwartz and Dino Sanchez codesigned the roman inscriptional typeface Gravitas. The name was already in use by Riccardo de Franceschi (since 2011), Laura Eames (since 2013) and Keith Tricker (since earlier in 2014), so there may be some emails flowing between these type designers. They write: The primary inspiration for Gravitas was Augustea Nova, Aldo Novarese's quirky and spiky Latin interpretation of the Roman inscriptional caps for the Nebiolo Type Foundry, released in a single weight in the 1950s. It's fairly common to see Augustea Open these days, but his lowercase apparently didn't survive the transition to phototype. Many designers have tackled the problem of matching a lowercase to the classical Roman capitals, with decidedly mixed results. The Bold Italic was drawn by Jesse Vega.
Founding partner and creative director of Toronto-based Concrete Design Communications Inc. She has lectured at the Ontario College of Art and Design and the design department of York University. [Google] [More] ⦿
Edgar Eliud (Edgar Rios, Chicago, IL, b. 1994) created the Kafkaesque black-on white poster typeface Pimper (2008) and the handwriting typefaces riosedgxrNo (2009), Edgar Da Cool (2008) and Cursive Edgar (2008). Behance link. [Google] [More] ⦿
Art director in Chicago, who created the avant-garde typeface Caracas Sans Serif in 2013. He studied in 2012 at University of the Sacred Heart, San Juan, Puerto Rico, and has a BFA from Florida International University, Miami, FL. [Google] [More] ⦿
Chicago, IL-based designer of Vulturous (techno typeface), Vutura Line, TTD 209 (sans), Steadfast (Treefrog-style ink spill script), Dil (hand-drawn poster typeface), and Hellhound (spurred vintage typeface). These typefaces were made in or just before 2014. Behance link. [Google] [More] ⦿
Master of business writing and business penmanship, b. 1872, Illinois, d. 1962. He worked mostly in Rochester, NY first for The Williams & Rogers Company and later as an independent penman. Author of Modern Business Penmanship (1903, American book Company). [Google] [More] ⦿
Ricardo Victor Rousselot is a calligrapher and type designer born in Argentina in 1936. He was trained in the sixties in Chicago in the studio Ficho&Corley Inc., which was led by a disciple of Frederic Goudy and Oswald Cooper, Carl Corley. After that, he returned to Buenos Aires, and in 1975, he settled permanently in Barcelona, where he teaches at the University of Barcelona.
He sells his fonts nowadays through his foundry, Edy Type. For example, in 2010, Edy Type launched the lively connected handwriting font Despeinada, which, Ricardo says, tries to find the middle between Mistral and Zapfino. Chevronne (2010, not my favorite) is based on mediaeval / gothic forms but tries to be contemporary. Drumbeat (2011) is a calligraphic script face, and Bambola (2011) is a curly signage script.
Elfring Soft Fonts
Gary Elfring's company in Wasco, IL, which was founded in 1979, sold many fonts in the early 1990s, often adaptations of well-known fonts. It is presently based in St. Charle, IL. Some subcategories of fonts:
Professor Elmer H. Antonsen, Head Department of Linguistics at the University of Illinois, has developed a runic font for the Mac called Vimose (this font is not on his site though). [Google] [More] ⦿
Emmi Laakso (Chicago, IL) designed Manifesto, which is a friendly, but authoritative open-source stencil typeface intended to be used by non-profit organizations and individuals to propagate sociopolitical messages in public environments. There are Manifesto Rounded and Manifesto Geometric.
Eric Donelan is an illustrator and painter based in Wheaton, Illinois. With Bob Aufuldish, Eric is the only designer at Emigre with a sense of humour, as he proves in his funny dingats fonts Zeitguys One and Two (1994) and Big Cheese (1992). At GarageFonts, he designed Mantra (dingbats, 1996) and the Vision Thing dingbats. [Google] [MyFonts] [More] ⦿
Born in Lake Mills, Wisconsin, 1888, he died in Chicago in 1947, worked as designer, instructor and calligrapher. Designer of Nicolas Jenson (or Eusebius) (1923), who worked at the Ludlow Typograph Company in Chicago. Note that the name Eusebius was only coined in 1941. Nicolas Jenson was based on the original work of fifteenth century designer Nicolas Jenson.
Jim Spiece's Nicolas Jenson SG is based on Eusebius and on extensions of Eusebius by Detterer's student, Robert Hunter Middleton.
McGrew writes about Eusebius: Eusebius is Ludlow's distinctive adaptation of the types of Nicolas Jenson, which were first used about 1470 and have served as inspiration for many of the best roman typefaces ever since. This typeface was designed by Ernst Detterer in 1923, and issued as the Nicolas Jenson series. Robert H. Middleton, who had been an art school student of Detterer's, was first hired by Ludlow for the temporary assignment of seeing this typeface through production. By 1929 he had designed matching bold, italics, and open. Slight modifications were later made to the Nicolas Jenson series by Middleton (who remained at Ludlow for a distinguished career, designing scores of typefaces over forty-seven years), and it was reintroduced in 1941 under the series name of Eusebius. This name comes from the 1470 book in which Jenson's original type was first used. In the specimen of Eusebius, the J and f shown separately at the end are the original Detterer design of the letters most obviously redesigned; other changes were minor. In addition to the characters shown in the specimens here, with the usual ligatures for all fonts, oldstyle figures were available for Eusebius and Italic and Open, while QU and Qu combinations with long tails and f combinations with overhangs were made for regular, Bold, and Open. Compare Centaur, Cloister, Italian Old Style.
He created the Newberry Library Bindery Type ca. 1935.
Jason Warriner's foundry located in Oakland, CA. Their dingbat fonts include Moon Phases (2008) and On The Ground (2008). Jason was born in 1974 in Woodland, CA and has an MFA from the School of the Art Institute of Chicago. [Google] [MyFonts] [More] ⦿
Filmotype Sales Company was located at 4 West 40th Street in New York City. In 1955, they published a catalog entitled Lettering Styles Display Types, from which some samples are shown in the link. The catalog has no full alphabet specimen and is thus of limited value for type historians and type revival experts. Frank J. Romano writes here: In 1952, Al and Beatrice Friedman [the founders of Filmotype] introduced the Filmotype, a simple manual phototypesetter that was not much bigger than a shoebox and used 2-inch filmstrips with all glyphs in linear order, with marks below them so that the operator could position the letter and expose it to the photo paper. The process was blind in that you could not see the letters as they were exposed. The Friedmans would go on to introduce the Alphatype phototypesetter. The Sybold Report mentions: Filmotype has a 35-year history as a supplier of filmstrip headline setters. Its founders later moved on to start Alphatype Corporation, keeping Filmotype as a subsidiary. In 1987, Harry and Seta Brodjian, who were Alphatype employees, acquired Filmotype with the intention of rejuvenating the company. In 1989, the firm began development of a digital headliner. A year later, it began digitizing its fonts. The company was renamed Filmotype Corporation. The fonts were at one point sold in packages such as a 30 dollar TrueType Font Package of 100 designer typefaces and an EZ Effects Windows program. Typefaces were renamed: Clarendon becomes Clarion, and so forth. At that point, Filmotype had offices in Glenview, IL, and was run by Gary Bunsell. About the renaming practices, the typophiles mention that Filmotype fonts were given letters&numbers by VGC when they pirated a substantial number of them. Their original names were attached by someone going through a dictionary and just picking arbitrary words for Filmotype fonts that were initially just letters and numbers also.
In 2006, the Filmotype collection was bought by Font Diner. In 2007, Font Diner started publishing digitizations of the collection: Glenlake (condensed Bank Gothic, by Mark Simonson), MacBeth (script), Alice (casual script), Zanzibar (calligraphic), La Salle (brush writing originally by Ray Baker in the 1950s, named after Chicago's LaSalle Street), Quiet, Ginger (Mark Simonson; masculine headline typeface genetically linked to Futura), Austin (paintbrush), Brooklyn (hand-printed), Honey (handlettered script), Jessy (handwriting), Modern (i), Vanity.
In 2010, Stuart Sandler published a book entitled Filmotype by the Letter, in which he details the company's history. He also set up Filmotype as a foundry in Eau Claire, WI. Additions to the Filmotype collection in that year include the signage typefaces Filmotype Kentucky, Filmotype Kingston, Filmotype Harmony and Filmotype Hamlet, and the geometric sans Filmotype Fashion (orig. 1953). The signage typefaces were originally made by Ray Baker for Filmotype in the 1950s, and were digitized by Patrick Griffin and Rebecca Alaccari.
Activity in 2011. Patrick Griffin and Rebecca Alaccari revived the condensed sans typeface Filmotype Giant (2011) and its italic counterpart, Filmotype Escort (2011), as well as Filmotype Prima (a sho-card face from 1955). Neil Summerour contributed Filmotype Horizon after an original signage typeface from 1954. Mark Simonson created Filmotype Gay, a tall monoline sans originally from 1953. Filmotype Ford (2011) and Filmotype Jamboree (2012, an informal script based on a 1965 original) are due to Stuart Sandler. Filmotype Quartz is an inline face.
Activity in 2012. Alejandro Paul contributed two scripts, Filmotype Yukon (based on Palmer style penmanship) and Filmotype Zephyr (formal italic roman). Later in 2012-2014, the production took off, with many contributions by Patrick Griffin and Charles Gibbons (who created Filmotype Zeal in 2013 for example). [Google] [MyFonts] [More] ⦿
Michael Hagemann's creations have a 1850-1920 style or at evoke the Wild West. Font Mesa is located in Naperville, IL.
Free fonts include Cactus Sandwich (Mexican simulation face), Timepiece (originally called Tax Cut), Timepiece 3D, Magic School One and Two (2004, two Harry Potter typefaces), Wild Ride, Corleone (2001: see also here), Corleone Due (2001), MightyRapids (2001: discontinued) and the Ferrari logo font FerroRosso (2002).
Michael Hagemann's commercial fonts by year of production:
FontBank was Jerry Saperstein's outfit from Evanston, IL. A sub-project was called Alphabets&Images Inc. At first sight, this outfit seems to have created a collection by extrapolation and adjustment around 1992-1994. The collection was posted on abf in January 2001, and used to be be downloadable from the Font Bank Lounge. It seems to have survived as part of Xara. Ironically, when you buy these fonts, the license agreement reads "You agree not to modify, adapt, translate, reverse engineer, decompile, disassemble or create derivative works based on the Software." But this is precisely how FontBank seems to have created its own collection (I say "seems", so read on). List of FontBank fonts. Jerry Saperstein's reply to my original description: Your conclusion with regard to the original 325 fonts published by FontBank is incorrect. The fonts were not "created a collection by extrapolation and adjustment." For better or worse, all those fonts were hand-rendered in a totally legal manner from photographic enlargements of analog type specimens. In fact, after the Adobe ruling, FontBank received settlements from other "publishers" who had appropriated our code. (Confidentiality agreements prohibit me from naming those parties.) Obviously, if FontBank were unable to establish the original nature of its code, no one would have settled infringement claims with us. (...) The genesis of Alphabets&Images, Inc. also bears some explanation. It was not an "alias" for FontBank, Inc. Rather, it was the name of a joint venture between FontBank, Inc. and Photo-Lettering, Inc. Photo-Lettering, as may you may know, was the king of display film fonts, hosting such luminaries as Ed Benguiat. FontBank was their chosen vendor for digitizing their film fonts. The venture failed when Photo-Lettering went bankrupt. I believe UTC licensed the Photo-Lettering, Inc. collection thereafter. You would, in fact, be quite surprised to learn who FontBank did rendering for, but alas, confidentiality agreements prevent me from disclosing that information as well. Big, big companies seem to insist on clauses like that. Voilà.
A native of Wichita, Kansas, Frances MacLeod is completing a Bachelor of Fine Arts in Advertising Art Direction and Graphic Design at Columbia College Chicago.
Sign painter from the art nouveau era, who lived in Chicago and worked mostly for Cadillac. In 1908, he published Sign Painting, a book that influenced hand lettering and signpainting for many years afterwards. The following digital fonts are based on his designs:
Advertising artist (b. 1894, Joseph, Missouri) influenced by Oswald Cooper and Frederic Goudy, with whom he collaborated. He worked first as a lettering artist in New York and then as a free-lancer in Chicago. Designer at American Typefounders of the condensed and stocky slab serif typeface Contact (1944: see the TS Colonel family by TypeShop for a digital version) and the calligraphic script font Grayda (1939, ATF; +Initials). Grayda was digitized, expanded and modernized by Rebecca Alaccari as Genesis (2007). McGrew writes:
American architect, artist and designer, b. Richland Center, WI, 1867, d. Phoenix, AZ, 1959. He was associated with the Arts and Crafts movement. His lettering inspired many to create typefaces based on them. The Frank Lloyd Wright museum is near the University of Chicago. He lived in Oak Park, IL, two blocks away from Luc Devroye's daughter. A partial list of fonts realted to FLW:
One of the great type designers of the twentieth century, 1865-1947. Born in Bloomington, IL, he made over 125 typefaces. He founded the Village Press with Will H. Ransom at Park Ridge, IL, in 1903. From 1904 until 1906, it was in Hingham, MA, and from 1906-1913 at 225 Fourth Avenue, New York City, where a fire destroyed everything except the matrices on January 10, 1908. From 1913 until 1923, it was located in Forest Hill Gardens, Long Island, and from 1923 until his death in 1947 at Deepdene, in Marlborough-on-Hudson. He was an art consultant for Lanston Monotype from 1920-1940.
His life's work and his ideas on typography can be found in his great book, Typologia, Studies in Type Design \& Type Making (1940, University of California Press, Berkeley), but his views are already present in Elements of Lettering (1922, The Village Press, Forest Hill Gardens, New York). His own work is summarized, shown and explained in his last book, A Half-Century of Type Design and Typography 1895-1945, Volume One (1946, The Typophiles, New York).
In 1936, Frederic Goudy received a certificate of excellence that was handlettered in blackletter and immediately stated, Anyone who would letterspace blackletter would steal sheep. He also wrote: All the old fellows stole our best ideas, and Someday I'll design a typeface without a K in it, and then let's see the bastards misspell my name.
His 116 fonts include
Several foundries specialize in Goudy's types. These include P22/Lanston, which has an almost complete digital collection, Ascender Monotype, and Castle Type, which offers Goudy Trajan (2003), Goudy Text, Goudy Stout and Goudy Lombardy. WTC Goudy was digitized ca. 1986 by WTC.
Links: Bio by Nicolas Fabian. Alternate URL. Andrew R. Boone's article on Goudy in Popular Science, 1942. Goudy's typefaces listed by Paulo W. Obituary, May 13, 1947, New York Times, Time Magazine, November 6. 1933, Amy Duncan's thesis at BSU entitled "Howdy Goudy: Frederic W. Goudy and the Private Press in the Midwest", A 2009 lecture on Goudy by Steve Matteson (TypeCon 2009, Atlanta), Melbert B. Cary Jr. collection of Goudyana. Wikipedia: List of typefaces designed by Frederic Goudy. Linotype link. FontShop link. [Google] [MyFonts] [More] ⦿
Author of Gaskell's Compendium of Forms (1883, G.W. Borland&Co, Chicago). Number 1. Number 2. Image from the 1883 book. A drawing of Platt Rogers Spencer, also found in the 1883 book. [Google] [More] ⦿
George B. Walsh
George Everet Thompson
Greek font information from the American Philological Association. It used to carry the unicode font Athena Roman. GreekKeys for Macintosh is a product providing easy keyboard input and specialized fonts for scholars of ancient (polytonic) Greek. First produced in 1984, GreekKeys has long provided a widely-used custom encoding for polytonic Greek, but now also supports and advocates Unicode as the proper standard for polytonic Greek in the future. GreekKeys is owned and distributed by the American Philological Association, a non-profit professional organization of North American classical scholars. GreekKeys is currently maintained and revised by Donald Mastronarde, Professor of Classics at the University of California, Berkeley. The original GreekKeys for Macintosh dates back to 1984, and was designed and distributed by George Walsh of the Department of Classics of the University of Chicago. He died in 1989, and the next year his wife, Susan M. Kastendiek (the eponym for the original name "SMK") donated the program to the American Philological Association. Since then it has been largely the responsibility of Jeffrey Rusten to update and answer questions about GreekKeys. The site was at Cornell University, but at some point it moved to Berkeley. [Google] [More] ⦿
Born in Nebraska, 1958. He graduated in 1985 from the Art Center College of Design in Los Angeles, California. In 1989 he began using Fontographer to make PostScript versions of existing typefaces for Chicago area design firms. At the invitation of Roger Black and David Berlow he became the first independent designer to contribute to the Font Bureau library.
Based in Mount Dora, FL, Greg Thompson is the designer of Bodega Sans and Bodega Serif at Font Bureau. Allan Haley reviews Bodega. He also created Agenda, FB Century Bold Condensed (1992, after the 1906 design at ATF by Morris Fuller Benton), Clicker (1992-2005), Commerce (1991, with Rick Valicenti).
About Clicker: Greg Thompson's original soft octagonal Clicker was drawn in 1992 for TV Guide and has since been used by CSI, Pepsi One, and Quicksilver. In 2005, Thompson has expanded the design, initially inspired by machine-readable type, to 44 new styles including italics and small caps.
At Thirstype, he created Ooga Booga (1994, with Rick Valicenti). Bluty (2000) seems to be a copy of Agenda.
Known to his peers as GGL. German type designer, born in Frankfurt-an-der-Oder in 1921, d. 2008. He fought in World War II and lost his leg in a battle in France. Starting in 1941, Lange studied as apprentice of Georg Belwe at the Academy of Graphic and Book Arts in Leipzig. After graduation in 1945, until 1949, he was assistant of Professor Walter Tiemann, while also practicing painting and graphic design independently. In 1949, he continued his studies with Professors Hans Ullmann and Paul Strecker at the Hochschule für Bildende Künste in West Berlin. From 1950 onwards, he worked at Berthold AG in Berlin, where he designed his first type, Arena in 1951. In 1955, he became Reader in Typography at the Meisterschule für Graphik, Druck und Werbung in West Berlin. One of his many students was Manfred Klein. He also was Advisor in Visual Communications and Reader at the U5 Academy of Graphic Design and Art Direction Munich, and Instructor at the School of Applied Art in Vienna. H. Berthold AG's artistic director from 1961 to 1990, Lange was responsible for the creation and meticulous production of many of Berthold's typefaces. According to Dieter Hofrichter, his motto was 8 point is the moment of truth (when proofing typefaces). In 1989 he received the Frederic W. Goudy Award from the Rochester Institute of Technology (RIT). Recipient of the year 2000 TDC medal. After ten years of retirement from his position as Berthold AG's artistic director, Lange resumed his design activities in 2000 at Bertholdtypes (now Berthold Direct Inc) in Chicago. Bio at ATypI.
Lange's own designs include his revivals of many classical typefaces. Here is a list, all Berthold typefaces:
Yvonne Schwemer-Scheddin writes a day after his death: Dear type friends, yesterday morning, the 2nd of December 2008, Günter Gerhard Lange died, 87 years old. We lost an upright, steadfast fighter for quality in type design. Not only Berthold's artistic director, but a friend and objective adviser to many who needed personal help or an evaluation in type design. GGL was Berthold. For Berthold GGL "enhanced" many type designs of other well known type designers. His valued critizism was a great help, because it came from a positively tuned man. GGL transferred the lead heritage and its classical type typefaces into photocomposition and into the digital format on a high aesthetic and historically authentic level - as for instance Garamond or Van Dijk. Akzidenz-Grotesk is not thinkable without GGL. Bodoni Old Face one of the best contemporary text typefaces. With his sans serif Imago you can be different and yet classical. And the Americans should be pleased with the revival of Deepdene, which he also turned into a well working textface with a distinct character. But perhaps most important of all, he relentlessly encouraged the young, teaching and talking up to almost the end. Thus opening fences, eyes and hearts to art, architecture, literature and for the values of studies and love for the correct details without which the whole would not function. He was a rare communicator, because he lived his convictions and values. He became an example, a light of orientation. We lost a passionate type lover and expert---an authentic man. An era has come irreversible to its end.
H. Berthold Systeme AG was founded in 1858 in Berlin by Hermann Berthold, the Berthold Typefoundry was the largest in the world by 1918, with offices in Stuttgart, St. Petersburg, Leipzig, Riga, Budapest and Vienna. It grew by acquisitions of many other foundries, see., e.g., here. A partial list:
To complement its typesetting equipment business activities, Berthold developed the Berthold Exklusiv Collection, a collection of typefaces created solely for Berthold by distinguished designers. Günter Gerhard Lange began his association with Berthold in 1952, and was artistic director from 1961-1990. In March 1991, Adobe Systems and H. Berthold AG announced that Adobe was to produce PostScript versions of numerous Berthold Exklusiv ("BE") typefaces - these typefaces were later to be known as Adobe Berthold BE fonts. Until 1999, Adobe marketed its versions of 365 Berthold Exklusivs under agreements with H. Berthold AG, and later Berthold Types Limited. H. Berthold AG also produced its own digital versions of their entire library using the Ikarus system - some of these fonts are later to be known as Berthold BQ. In 1993 the company reported insolvency. A follow-up company, H. Berthold Systeme GmbH was formed, but it finally was dissolved in 1995. Shortly before dissolution, the Berlin-based H. Berthold company signed license agreements with and transferred certain rights and trademarks to a Chicago-based US company that later took the name Berthold Types Limited, now called Berthold Direct Inc. This company now offers digital versions of the "Exklusiv" Berthold typefaces.
Some of its history is explained in this letter. Old blackletter typefaces from the metal era: Ballade (ca. 1927, Paul Renner), Berthold-Fraktur (1909), Bismarck-Fraktur (1860), Breda-Gotisch (1928, house font), Englische Schreibschrift (1972, version One, version Two; for digital versions elsewhere, see English 157 by Bitstream, or Elegant Script by SoftMaker), Deutschland (ca. 1934), Schraffierte Gotisch (before 1900; aka Stella), Mainzer Fraktur (1901, Carl Albert Fahrenwaldt for Bauer and Berthold), Morris-Gotisch (before 1905, for Bauer and Berthold), Post Fraktur (1935, Herbert Post), Prinzeß Kupferstichschrift (1905, digitized by Ralph M. Unger as Prinzess Gravur in 2010), Sebaldus-Gotisch (1926), Straßburg (1926, a blackletter face; the digital version by Delbanco is called DS Strassburg; see also Strasburg by Gerhard Helzel), Trump-Deutsch (1936, Georg Trump). House typefaces include Isolde (1912, script face), Augustea Kursiv (1906) and Augustea Fett.
Hebrew fonts in their collection include Meruba, Stam, Mirjam and Frank Ruehl.
Harish Subu (Subramanian) is a Mumbai-based graphic designer and illustrator who is currently finishing his BFA degree at the School of the Art Institute of Chicago in Chicago, IL. He created a virtual branding campaign and typeface for the city of Mumbai in 2013. [Google] [More] ⦿
Respected American penman, b. 1868, Quincy, IL, d. 1948, Quincy, IL. Author of Lessons in Practical Penmanship (publ. D.L. Musselman, Quincy, IL). He taught penmanship his entire life in Quincy, IL, at the Gem City Business College. He is remembered for his exceptionally graceful flourished birds and swans. [Google] [More] ⦿
Peter Zelchenko, a master trade typographer in Chicago in the 1980s and 1990s, gave me permission to tell his story about the origins of Hobo---both the name and the typeface. He contradicts Mac McGrew, but his explanation is more likely than all others that have been proposed. So here we go (all text below by Peter).
(Thanks to Boston’s Bill Ricker and Dick Miller for coaxing me to cough this story up finally. I originally mentioned it in comp.fonts about 20 years ago, but the “O” situation, recently discovered, offers incontrovertible proof of the theory.)
As a master trade typographer in Chicago in the 1980’s and 1990’s, I was the last of the breed here before desktop publishing finally made our race extinct. I imagine there were only two or three of us in that generation. Among the very few others in Chicago were Adam Kallish and Jason Pickleman, who both were working for the irascible Harvey Hunt, a Berthold guy, when he closed down his Typographic Resource and moved to Mac. (Harvey and his wife inherited ownership of the Berthold font collection. For decades Berthold was a top-quality typesetting platform.) I was working upstairs from them during the storied heyday of InfoComm, a pioneering PostScript service bureau, at 213 W. Institute Pl., site of the early Schwinn bicycle factory. You can still see thousands of bicycle screws embedded in the wood floors of that building.
We were young and, with proficiency in computers, were able to bridge old and new technologies easily. We were also font whores. Most kids in those days used to save their money up for model airplanes or blow it all on Twinkies. When we were children, my brother Greg and I used to haunt Chicago art stores, scraping up money for Zipatone dry-transfer, or “rub-down,” lettering. Our favorites were things like Calypso, Mistral, and others by Roger Excoffon, Herb Lubalin, Ed Benguiat, Rosemarie Tissi, and the many other designers of that prolific period. I also did a lot of calligraphy. I still do work with flat and pointed pen as well as flat and pointed brush (a devotee of Father Catich to the end). In later life I was briefly president of the Chicago Calligraphy Collective.
Despite my skills and interest, I was never admitted into the higher church:
East Coast: Ephram “Ed” Benguiat had me out for a tongue-lashing. The famous Jewish cigar-chomping dean of New York letters walked me around the labyrinth of Photo-Lettering, Inc., his huge Manhattan shop. Stopping at various stations to introduce me to his team, he would pointedly ask each guy how long they’d been working for him. “I’ve been on this very Staromat in this very darkroom for 25 years,” I remember one of them saying. (I was a VGC Typositor guy myself, thanks in part to the support of my beloved mentor, Al Blitz of Photofont.)
Then he introduced me to the sub-basement, where I met Marco, an art student almost ten years younger than I. “You still wanna to work here?” Ed challenged me. “Marco’s my new right-hand.” And he stubbed out his cigar in one of the shop’s numerous overflowing ashtrays.
Apparently this trip was just for him to show me that if I wanted to move to Manhattan to be his apprentice, I’d have to work in the basement for years, getting behind even young Marco, who after three years was still making $6 an hour touching up the edges of Ed’s drawings.
West Coast: David Lemon of Adobe flew me out for a lavish two-day interview session with the type staff. I remember getting to know Linnea Lindquist, Bob Slimbach, Carol Twombly, and this really nice guy who had worked for the inimitable Dan X. Solo. I knew he and I would be best friends when I moved out there, but I never got the call. I think I was too crude for them, not an artist like most of them, just some schmuck without much flair, trained in the many nameless shops.
Back home: The market was getting too tight. Dean of Chicago of lettering Charlie Hughes (designer of Indy and, coincidentally, of the Benton variant Century Nova) chose calligrapher Eliza Schulte over me as his apprentice. Holly Dickens, for her part, though I know she loves me dearly, was never the type to take on help. George Lee before he died told me that I already had too much experience to be anyone’s apprentice, but I knew I was also far too unsophisticated and too inept at business to forge out without first getting a leg up.
It didn’t help that I was stranded in the Windy City (a bygone typographic center, former home of much that we can be proud of), circumstantially unable to move to one of the coasts, where the action really was. The best we had here by then was Castcraft, widely felt by respectable industry to be the worst font plagiarists in history. Anyone who is friendly with the Kreiter family would still never consider their shady world a place for a skilled young designer to hang one’s hat for a career. It would have been even more pathetic for me to take Boomie Kreiter up on his frequent offers than to wait for young Marco to free up his naugahyde seat in Benguiat’s dusty office. I would never get a job at Adobe or Font Bureau with that on my resume.
Despite heading toward that dead end, I did become the guy in Chicago who knew fonts. I probably can’t tell Helvetica from Helios these days; it’s been 30 years since I’ve had to compare them. But wherever I worked, my reputation followed me. Every few days, at one or another type shop, someone would yell out: “Pete. Someone just called, wants you to identify a font.” Soon I’d see coming in on the fax machine a request from some designer, or from another mope at another harried River North type shop, asking me to identify some obscure font sample. For about 10 years, everyone in town apparently knew that if anyone could figure out which foundry and font they were trying to match, I could. There were times when I would do no more than glance at the sample, and then call them back:
“It’s Stempel Garamond; you can tell by the cipher.”
“Gosh, Pete. We really appreciate it. What do you want for this?”
“Just send me a check with lots of Stempel Garamond zeroes. Better yet, buy me a drink at the Redhead Friday night. We’ve got a massive annual report to finish, but we may get off before midnight.”
Other times I’d pore over a stack of thick books from VGC, Photo-Lettering Inc., and Castcraft before I finally found the match. But I could not easily be stumped. I could quickly tell a Benguiat brush script from knock-offs, and I knew when I’d have to pull out VGC’s or Castcraft’s massive tomes and start flipping pages for 15 or 20 minutes. And then there was the ponderous TypEncyclopedia, whose sheer weight could kill a grown man.
This was the heyday of the proliferation of advertising design and numerous competing typographic platforms, each with a knock-off and variants of a popular font. This was the high-water mark in American typographic activity. There were dozens of foundries and tens of thousands of fonts. And it all came crashing down as quickly, and today I have no memory, and everything is all washed away, and I wonder how I could have wasted so much of my life on so profitless a pursuit. Nobody remembers me, and no one cares. Even in Chicago I was just a fax number to most famous designers, just someone somewhere who could help them make a quicker profit a few minutes sooner. And I always did it gratis. But in that day font substitution was done only as a last resort, so I had to do it.
* * *
In those days, to pass the time lovers of letters would walk up and down the streets of their cities and simply name fonts they saw in windows, sometimes self-righteously adding the designer’s name and perhaps the approximate year of the design. “You’re wrong, that’s not Helvetica Bold, it’s Vladimir Andrich’s Claro Bold.” In those days as ever, Hobo was everywhere. It is one of the two or three best-known and most-used display fonts in history, and it has long enjoyed a kind of cult following. But while one of the easiest of fonts to identify, no typophile will dispute that the mystery of its name is easily one of the most rampantly speculated typographic questions over the last century. A few years ago, my pal Kibo and I came up with the answer to this century-old mystery, as well as an insight into the design of this odd Art Deco font.
Morris Fuller Benton was the contented son of Linn Boyd Benton, the latter one of the most influential figures of all time in the graphic arts, arguably ranking somewhere near the pantheon among Gutenberg and Bi Sheng. Through the 19th century, the Wyeths did painting, the Brontës did writing---and the Bentons did type. Every industry in every age has its salon powerhouses, those titans whose magic could rub off on you if you could only get near enough. But of course unless you actually were family, often nothing was bound to happen. Grandpa Benton, as it happens, owned the Milwaukee Daily News and also became a congressmen, and his father in turn was a prominent East Coast physician. In fact, Grandpa was under consideration as a presidential candidate but lost out to Stephen Douglas. Patricia Cost wrote a wonderful history about the Benton family that tells even more. But, nepotism aside, Morris Fuller became quite a prolific and celebrated type designer in his own right, surpassed by only a few others in the number of iconic font designs to his name.
The two main stories behind the naming of Hobo are both probably apocryphal. The first is that the bow-legged shape of the letters suggested the legs of a hobo. The second is more creative, but it too lacks much support. According to one writer, Emil Klumpp of ATF gave a talk at the APA Wayzgoose conference in 1977 and mentioned the origin of the name. In his 1993 book American Metal Typefaces of the Twentieth Century, historian Mac McGrew apparently summarizes Klumpp’s report:
“One story is that it was drawn in the early 1900s [when Art Nouveau was still in fashion] and sent to the foundry without a name…but further work on it was continually pushed aside, until it became known as ‘that old hobo’ because it hung around so long without results.”
* * *
McGrew died a few years ago, as did Emil Klumpp, but I wish they were still alive so that we could debate these facts. Both were born long after the font. There is absolutely no evidence that the font’s design was begun earlier than 1910; that speculation may well owe itself only to its convenience to the story itself. Something just doesn’t seem to add up. We have, however, harder facts.
The quintessential nerd, James “Kibo” Parry worked on the Atari 2600 design team. He became a household name on the early Internet by haunting Usenet newsgroups and contriving numerous online larks to amuse the digital populace, which at the time did not yet number 50,000 or so worldwide. Kibo once had a two-page feature all to himself in Wired magazine. He had a religion called Kibology named after himself, with a bizarrely popular online discussion group of thousands of subscribers.
Kibo was even immortalized in the Geek Code, an early Internet fad that one would put in the signature of one’s e-mails and online posts to indicate level of geekiness and hence high-tech social status. There were several indicators, such as how well you knew the C language, or whether you were Unix (good) or MS-DOS (bad). The number of pluses after a letter code indicates the level of accomplishment. C is, predictably, C, and the Unix/Windows letter codes are U and w.
There is even a flag for how close one is to Kibo. At the top end, it included: “K++++ I’ve met Kibo,” “K+++++ I’ve had sex with Kibo,” and “K++++++ I am Kibo.” At the bottom are several negative indicators, such as “K–” I dislike Kibo. I have the dubious distinction of being somewhere close to the K+++++ category, because technically I’ve, uh, slept with Kibo---well, at least I’ve shared his bedroom. Here is Kibo’s own e-mail signature which, although over 1,000 lines long, does not include a Geek Code. But it does give you an idea of the strange humor that is Kibo.
Apart from all of this, Kibo is also a lover of type, and very knowledgeable about it. He and I were wandering around downtown Boston sometime around 1992, the morning after a rather snooty ATypI wine-tasting event hosted by David Berlow’s Font Bureau, celebrating Matthew Carter. Seeing the well-dressed and well-paid scions chatting and sipping red wine, it was impossible to picture us really fitting in there. And, of course, nobody paid the least attention to us.
Another time, in 1994 in San Francisco, ATypI met, and the pushy, competitive nature of the nascent PostScript font industry took a more direct form. The Dutch youth, Erik van Blokland, Luc de Groot, and brothers Just and Guido van Rossum, had crossed the pond. There was a kind of technical mosh pit established as a playground for us 15 or so “youngsters” in which to create the show daily.
This playground was billed as a social collaborative activity. But I recall the four Dutchmen muscling over this and other activities with equal, shall we say, zeal. A couple of less pushy participants raised a stink to the elders and yet the rebellion was discreetly put down. As is the case in such societies, most of us budding young craftsmen were hoping for some attention, but we were not nearly as forward about it as these tough Europeans. To be sure, they had talent. But we, at least, were aware that our eyes and minds and skills were as ready as theirs. I recall Luc de Groot simply drawing the nameplate for the publication, without any discussion from anyone else. An arguably enviable post that he had simply arrogated to himself. My recollection is that his skills were not much up to the task that day and I was pretty certain that I could have done better. Again, that year, nobody paid any attention to us.
[The shot of Kibo used for the Wired article – he’s not quite as exciting as all this, no red aura in real life.]
Kibo and I were bored out of our skulls that morning after the Font Bureau affair in Boston, and probably a bit hung over and cynical. Presumably, we were already heading toward failure in the type world. Kibo lived right across from the Commons, in a cockroach-infested flat dotted with empty carry-out containers. I had slept on the floor. Walking somberly through the streets of old Boston, Kibo showed me how to pick locks with the metal bristle from a street-cleaning truck’s brushes, which bristles, to my amazement, can be found near the curb of almost any street in the world. We shared work horror stories. We sneered at the cult of personality that was the typographic design world in those high-flying days. Frankly, we were probably a bit jealous. And of course we showed off by pointing at signs and identifying many fonts. We also stopped in at several bookshops.
At one particularly cozy little shop, I was flipping through a Russian poster art book, surveying a nice Art Nouveau poster for Duchess Tobacco. Kibo, looking over my shoulder, asked me what the poster said. I said it was for the “new and wonderful” Duchess Tobacco, 1/4 pound for 40 kopecks, from tobacconists Kolobova and Bobrova of St. Petersburg.
I think Kibo said something like, “Huh. Why does it say ‘Hobo’ at the top? Those guys don’t look like hobos.” Indeed, the two characters pictured helping themselves to a box of the Eastern-style cigarettes known as papirosi were young Russian gentlemen. But I explained to Kibo that HOBO was the Cyrillic spelling of the word novo (“New!”). It was then that we both noticed that the poster was drawn in something very like the font Hobo. Of course, this was hand-lettered, but it was certainly in that Art Nouveau splayed style. That led to speculation that Benton could have seen this poster or one like it in a Russian neighborhood. Certainly the four-by-five–foot poster in a window of a Russian tobacco shop or grocer would have been amusing to non-Russians seeing the word “HOBO!” at the top, and it could very well have inspired any talented type designer to throw together a font in its honor.
The Russian word “Chudno” (above) means “wondrous.” What’s really wondrous is the unique similarity of Benton’s majuscule O and the one drawn at the poster’s extreme right. The shape of the letters in the word “HOBO!” don’t hurt the argument, and of course the name buttresses it. To me, the striking coincidence of this single “O” letterform crowns the argument and should lay to rest the mystery of Hobo. This evidence shows that Morris Fuller Benton must have seen this poster somewhere. Perhaps he was somehow reluctant to admit that the source of his inspiration came from outside his famously insecure mind?
In fact, the “O” in the word “Чудно!” at the far right side of the poster looks as if it could have been traced by Benton as the model for his Hobo majuscule O. In fact, it is so close that it would arguably be more of a coincidence if this were not the case.
The characters “HOBO” at the top of the poster, their general design formula, and the identical shape of that O, I feel, lay to rest the hundred-year mystery of the source of both the font’s name and design formula. There was also motive, method, and opportunity. This is far better substantiation than what we have from the two chief theories that have circulated all these decades.
Moreover, what this suggests is that the original inspiration for Hobo probably was not Benton’s own mind, but the pen of an unknown graphic artist at the world-renowned Wefers lithographic press in St. Petersburg. It is not some great scandal that Benton failed to mention this, but it is true that Benton was famously insecure. Admitting that the source of the design of this font was something so pedestrian was not, and is still not, a common part of the ethical standard of the creative industry. It’s one thing for Carol Twombly (who once admitted to me that she didn’t know one end of a flat brush from the other) to acknowledge, even revere, the origins of Trajan. This is another thing entirely. In this case, you would think with such a cute origin, Benton would have been sharing the anecdotal pun with his pals at ATF. Perhaps he did and that history has been lost. Finally, if we believe the connection of the Hobo font to this Russian poster, then Benton’s naming of the font was very deliberately tied to Benton’s use of the poster as his exemplar.
I bought the book and gave it to my uncle Boris and aunt Tanya in Boston, and they probably still have it. The poster included details on the date, but I recall it was around 1903 or 1905, and that agrees with the design style.
As David Berlow has remarked, Morris Benton and his father often lived together and over the years would commute between home and the various locations of the ATF foundry in New York, later in Jersey City, and still later in Elizabeth. In fact, the northeastern New Jersey area where the Bentons lived, worked, and presumably played at the time had over 300,000 Russian Jews. We also know that at that time corner stores literally were at almost every street corner.
I don’t know for certain whether the Bentons’ travels went through any of the Russian neighborhoods. It seems that for the period in question they were probably living in Plainfield and commuting more than 20 miles, probably by car, to Jersey City. They may well have seen this poster at some point. Possibly they saw it in another place. Or perhaps Morris Fuller might have taken a trip to Russia around that time. That part is speculation. Perhaps Benton historian Patricia Cost could illuminate a bit.
In any event, while the type snobs were sipping fine wine, slapping one another on the back, and tooling around Boston in their nice cars, all paid by typography, a couple of bums momentarily came from out of nowhere, and went nowhere in particular. While there, they quietly and unceremoniously found a plausible solution to a celebrated typographic mystery, that of the origin of the Hobo font.
* * *
I know it’s speculated that Morris Fuller Benton was controlled by his father. No one can actually say if he was truly contented or not, and it seems he may have been one poor sap. But clearly his family had a good deal to do with his success. My own father would have been 100 today, March 21, 2014. I recently turned half that. It would have been nice to have gotten a leg up. My father could do nothing for me; in general, he could do little for himself. Actually, he and I worked together in a small print shop once, one of the many odd jobs he had. He was rather skilled on the offset press. But he couldn’t even manage to get me through high school. My brother and I had to take care of both of our parents in our father’s last few years, and that put a big dent in our own midlife plans; we fought so bitterly over how to do it that we spent over a year in court on it.
I am past my prime and am doing other things, having no further time for typography. I don’t even care that much about letterforms anymore. That work is chiefly for the quality children of quality people; over the years I have long been elbowed aside by such creatures. Whether employing ambition, birthright, or actual talent, the competition has been fiercer than one would expect for what was once a very humble craft. I will note that David Berlow’s son Sam, who really had nothing to do with type in his youth, is now in the stable at Font Bureau. Just sayin’.
I suppose I may be one of Fred Warde’s typographically shipwrecked mariners. I have to hustle in the meantime on other business. Right now, I’m working 60 hours a week designing a 3D printer for mass production, for two young and impetuous entrepreneurs of some wealth. I really didn’t have time for this story. I do not know if I got much of it right, but in any event each of us should hope to make little contributions to our little worlds, and this is one of mine.[Google] [More] ⦿
Typographer, architect, designer and type designer, b. Versec, Hungary, 1900, d. Lugano, Switzerland, 1987. He emigrated from Hungary, and studied at the Staatliche Bildhauerschule Zalatua, the Kunstgewerbeschule Frankfurt, and the Kunstgewerbeschule in Stuttgart, where Prof. F. H. Ernst Schneidler was his teacher. After a brief stint (1923-1925) as a graphic designer in London, Paris, New York and Chicago, he returned to study with Schneidler, and from 1931 onwards, he worked in Ruvigliana near Lugano as painter, graphic designer and illustrator. His list of fonts includes:
In 1992, Manfred Klein made Tokay-MK after one of Reiner's ideas. In 2004, he added VariationsForImre, a playful typeface based on Reiner's lettering, and this was followed in 2005 by Magyarish.
Reiner wrote several books, including Modern and Historical Typography An Illustrated Guide (1946, Paul A. Struck, New York, and 1948, Zollikofer and Comp., St. Gallen).
Tobin is based in Chicago, and studied graphic design at the Rhode Island School of Design (2002). He is a senior designer at the University of Chicago Press.
Designer of Ferdinand (Egyptian, a cross between Futura and Clarendon according to Tobin), Verne Jules (copperplate font), Ostia (a sans all caps typeface with Trajan proportions), Faina, Attleboro (sans), Strata (text typeface), Field (octagonal) and Rivadavia (octagonal and mechanical).
James Goggin founded graphic design studio Practise in 1999 after graduating from London's Royal College of Art. In August 2010, Goggin moved to Chicago where he is now Design Director at the Museum of Contemporary Art Chicago. Previously he was based in Arnhem, the Netherlands, working as course director and teacher at Werkplaats Typografie and visiting lecturer at ECAL (Ecole cantonale d’art de Lausanne). Aka Jacques Gauguin and "Practise", he has worked in London, Auckland and Sri Lanka. In 2001, he made the 3-weight CourierSans at lineto. [Google] [More] ⦿
Chicago, IL, and/or Fredonia, NY-based designer, who runs James Todd Design. His foundry, which sells via MyFonts, is located in Fredonia, NY.
In 2013, he designed the wood type revival family HWT Unit Gothic for Hamilton Wood Type Foundry. The Unit Gothic series was released by Hamilton Manufacturing Co. in 1907, and comprises a flexible range of widths from compressed to very wide.
Janice Wong (Run Comrade, Chicago, IL) is studying at the Illinois Institute of Technology (IIT) in Chicago, working towards her Masters of Design and MBA (2013). She created some custom handlettered typefaces called Custom POP Fonts in 2010 for the POP Montreal festival. [Google] [More] ⦿
Illustrator, freelance artist, and graphic designer from Chicago, IL, who studied graphic design at Texas Christian University and at Columbia College Chicago, and who is currently located in Northbrook, IL. Creator of the decorative typeface Wave (2014). [Google] [MyFonts] [More] ⦿
Together with Richard Kegler (P22 Type Foundry), Jennifer Farrell of Starshaped Press (Chicago, IL) created P22 Blox (2015). They write: In 1944, American Type Founders (ATF) introduced Alpha-Blox, an impressive system of both solid and linear shapes that could be combined to create all manner of typefaces, ornament and pattern in 1- or 2-colors. The design possibilities were endless and limited only to the imagination of the printer/designer. [...] P22 Blox is a set of modular letterpress printing blocks made from space age material... plastic!. [Google] [More] ⦿
John H. Hedges (JH3 Software) created these free fonts: FegmaniaCaps (based on the handwriting of Robyn Hitchcock, musician, performer, author), JH3Bammerscript, JH3Euroblower, JH3Handpainted, JH3Squarebuttle, SandburgerCarved (based on the carved letters found on the concrete landmark at the entrance of Carl Sandburg College in Galesburg, IL). [Google] [More] ⦿
A graduate of Columbia College with a BFA in Graphic Design, Jillian Fisher is a graphic designer who lives and works in Chicago. Creator of the display titling typeface Mountain Man (2010). Behance link. [Google] [More] ⦿
Urban explorer and graphic artist located in Chicago who received a BFA from Columbia College Chicago in May 2009. His typeface Nire (2012) is hand-printed and very readable. Behance link. [Google] [More] ⦿
John H. Hedges III
Great American calligrapher and engraver. He wrote several books, including "Engraving Designing Etching" (1914) and Art Alphabets and Lettering (1914). He was Master Engraver with the renowned C.D. Peacock jewelers in Chicago around 1900. Creator of many art alphabets, Bergling is also noted for state seals of the United States and many seal crests of foreign countries. His great-grandchildren set up Bergling Publishing and are selling directly or through Amazon most of his oeuvre. Other texts include "Art Monograms and Lettering" (1912), "Heraldic Designs for Artists and Craftspeople", and "Ornamental Designs and Illustrations".
Digital fonts based on Bergling's work:
A graduate from the University of Iowa (1959), John had been a student of Father Edward Catich at St. Ambrose College, in Iowa, and had also worked with Ray Da Boll and R. Hunter Middleton. He worked from 1959-1965 at IBM on type design for typewriters in the era of IBM's Selectric typewriters. He was the designer of the typefaces IBM Script, Adjutant, and Delegate.
From 1967 until 1971 he was director of type design at Ludlow Typograph Co. He was manager of typeface design at the Chicago office of Compugraphic (1971-1973) and director of typography at Sun Chemical (1973-1976) and type and art director at Itek Composition Systems (1979-1984). He retired in Nashua, NH.
Charles S. Hazlett of Boone, IA, and John West, of Chicago, codesigned a script typeface for BBS in 1890. When he patented the stencil face in 1885, he was listed as living in Brooklyn, NY. This Stencil-Gothic appeared for the first time in the Eleventh Book of Specimens of printing types and every requisite for typographical use and adornment (1885, MacKellar, Smiths & Jordan). In the following years it was also offered by Shniedewend, Lee & Co. of Chicago as well as Barnhart, Brothers & Spindler of Chicago---in the later under the name Cleft Gothic. For a revival, see Stencil Gothic (2014, Johannes Lang and Stefan Ellmer; MyFonts link).
Graphics editor for Science at the New York Times. Founder of 13 pt, a New York design and type studio. Designer of FB Agency, Eagle (1994, after initial design by David Berlow in 1989, which in turn was based on M.F. Benton's 1933 face, Eagle Bold; a strong font!), Law Italic (1997, for Sam Antupit and Harry N. Abrams---a digitization from a specimen of ATF's Law Italic No. 520), Mesa (1994, a Font Bureau handprinting face), the 5-unit handwriting family Victoria's Secret (1997, from hand-drawn originals provided by Sisman Design), the Bodoni-esque font Winterthur Display (1997, drawn for Harry N. Abrams), Law Italic. Custom typefaces include 2x4 (as part of logos), Columbia University, Liz Claiborne, Miesdings (dingbats for the new student center of the Illinois Institute of Technology), Readers Digest Fleurons (1997), WCS Wildlife (2001, the corporate typeface of the Bronx Zoo and the Wildlife Conservation Society).
In 1891, Julius Schmohl and Ernst Lauschke designed an art nouveau and a Victorian face for BBS. Schmohl was born in Germany, but lived in Chicago for most of his life. In 1895, he and Max Rosenow published an upright script with BBS. This ronde typeface was originally known as Oliphant and renamed Advertisers Upright Script in 1925. In 2014, Spiece Graphics created a digital version of it, Milroy Upright SG. [Google] [MyFonts] [More] ⦿
Designer (b. Florida) in the greater Chicago area who graduated from Columbia College Chicago. Creator of the spurred black death and wrought iron fence typeface family Codex (2014, Avondale Type Co). Free download of Codex.
His homepage is called The Skywatcher. He writes: I work for the jawesome Sprout Social at their headquarters in Chicago. We design and build the most innovative social media engagement platform. I also founded and operate a clothing company called Shycog out of my basement. Fueled by my love for my city and my bicycle, this venture is just getting started. Dribble link. [Google] [More] ⦿
In 2012, he created a sans face, Pelago, and added a couple of alchemic versions.
Chicago-based designer of the curly script font Macaroons (2012).
Kantol Khek is the designer in 1994-1997 of the free Khmer fonts Khek-Anlongvill, Khek-Sambot, Khek-Sangker, Khek-Sattawat, Khek-Wat-Sangker. Located in Skokie, IL, their commercial fonts for Khmer include Anlongvill, Battambang, Huysavy, Mool/Vongmool, Riel, Sambot, Samreth, Sangker, Sattawat, Sovannak, Vannsery, Wat Sangker. Cambodian Information Center (CIC) has the Anlongvill Khek family. [Google] [More] ⦿
BFA Graphic Design student at Columbia College Chicago, class of 2011. She made the Ribbon Candy typeface in 2010. In 2015, still based in Chicago, he cretaed the hand-printed typeface 1 Day At A Time, which is based on the handwriting of designer Adam J. Kurtz, author of 1 Page At A Time.
Chicago-based designer of the soft-edged sans display typeface Redondo (2013), which tries to evoke the beaches of Southern California.
Chicago-based company founded in 1939 by Edwin W. Krauter, which created lettertypes from the 1930s until the 1970s. In 2010, Stuart Sandler (Font Diner) announced that it intends to digitally revive the collection. He writes:
Founded in 1939 by Edwin W. Krauter of Chicago, Lettering, Inc. produced its own patented Photo-Ray process of lettering (US Pat 2165861) in which transparent letters made from original alphabets were assembled by hand and then placed in a line (angled or curved if so desired) and then photographed. This "glass setting" process created flawlessly set headlines and, with multiple character forms to choose from, the headline looked authentically lettered.
An early competitor of Photo Lettering, Inc, they employed such notable lettering artists of the time as Oscar Ogg, Ray DaBoll and Ray Baker, among others. At its height in the late 1960s, Lettering, Inc. had as many as 14 franchises operating in the US and Canada and was continually producing new alphabet designs. As the market changed and computer technology evolved, Lettering, Inc. became less of a supplier of type to the ad agencies and became more involved as a supplier of high-end graphics and type to the big Detroit auto makers. Today, from its Southfield, Michigan office, Lettering, Inc. continues to provide various graphics services to a diverse group of customers.
Each Lettering, Inc. alphabet was originally designed with nearly 3-4 alternate glyph forms for every character and ligature pair, many with well over 300 Latin characters alone. Stuart Sandler, President of Font Diner, Inc. intends to release the Lettering, Inc. library in OpenType format so the original designs can be fully realized with a dynamic feature set including every alternate glyph forms and automatic substitutive ligature as it was designed by the original artists. "We're also thrilled to be working from the original ink drawings on board by the original Lettering, Inc. artists that have been in the Lettering, Inc. archives since the 1930s." says Sandler.
"We are very happy to work with Font Diner to once again make these beautiful and unique typefaces available to the public." says Karin Krauter of Lettering, Inc. "So much of this wonderful collection has never been seen before and we're pleased to honor and revive the work of these highly-skilled and talented lettering artists from the heyday of lettering to be appreciated and enjoyed by modern designers again", explains Sandler.
An illustrated history of Lettering, Inc. is currently being researched and written by Sandler with the assistance of many current and former Lettering, Inc. employees. His work will accurately re-tell the evolution of Lettering, Inc., its founder Ed Krauter and the significant contributions of Lettering, Inc. to the typographic industry. A re-release of the original Lettering, Inc. catalogs is also planned.
In 2012, production started with Feather Script (Patrick Griffin).
Foundry in Chicago run by Robert Hunter Middleton. Myfonts.com states The type library was largely derivative, with some original scripts. After Middleton's death, and Ludlow's demise, most of the typefaces from the Ludlow library were licensed exclusively to International TypeFounders, Inc., (ITF) and are part of the Red Rooster collection. Fonts by Middleton at Ludlow include Bodoni Campanile, Bodoni (see Bodoni D Black by URW), Coronet, Mandate, Lafayette (now sold by Font Bureau), Tempo (see Tempo by Monotype), and Umbra (now sold by Bitstream and Monotype).
A renewed Ludlow was established in 2001 and is run from the UK. Current (2002) catalog: Admiral Script (Robert H. Middleton's formal script, 1953: see the digital revival by Ralph Unger in 2005), Adrian VGC (2003), Annonce Grotesque (Wagner&Schmidt, 1914), Delphian Open Title (Robert H. Middleton), Flair (connected writing, 40-50s style), Franklin Gothic ExCnd Title, Founders Garamond (based on the Berner type specimen of 1592), Lotther Text (blackletter based on an alphabet of Melchior Lotther, 1535), Ludlow Ornaments (2001), Ludlow Stygian (art deco, which inspired Nick Curtis' 2009 font Kharon Ultra NF), Maxim (Peter Schneidler, hand-printed font from 1955), Orplid (Hans Bohn), Samson (Robert H. Middleton), Speedball Roman, Ludlow Stencil (1937, Robert H. Middleton; a digital revival includes Jeff Levine's Favorite Stencil JNL (2015)), Tempo MedCond (Robert H. Middleton), Theda Bara (great titling type), Vulcan Shaded (based on the design of the Richard Gans Foundry in Madrid), Karnak Black (Egyptian slab serif originally designed by Robert Hunter Middleton in 1930), Oriana (blackletter font based on a design of the Imprimerie Nationale, Paris), Ludlow Square Gothic (revival/modernization of a 1920s font by Robert Wiebking for Ludlow), The Hardy Arcade (like Umbra), Ogre, Vulcan Bold (a display font inspired by a 1925 design of the Richard Gans Foundry, Madrid), Walbaum. Crestwood (2006, Ascender) is an updated version of an elegant semi-formal script typeface originally released by the Ludlow Type Foundry in 1937.
A type specimen book of the Ludlow Typograph Company (2032 Clybourn Avenue, Chicago), published between 1940 and 1958. The list of typefaces shown: Artcraft, Bodoni (Bold, Black), Bodoni Campanile, Bodoni Modern, Bookman, Cameo, Caslon, Caslon Old Face Heavy, Caslon Heavy Italic, Century, Chamfer Gothic, Cheltenham Oldstyle, Cheltenham Cursive, Cheltenham Wide, Commerce Gothic, Condensed Gothic, Coronet, Clearface Bold, Cushing Antique, Delphian Open Title, Eden, Eleven, Engravers Bold, Eusebius, Extra Condensed, Franklin Gothic, Fraktur No. 16, Garamond, Gothic Bold Condensed Title, Gothic Extra Condensed, Greenwich, Hauser Script, Headline Gothic, Hebrew Modern, Karnak, Lafayette Extra Condensed, Laureate, Lining Litho, Lining Plate Gothic, Ludlow Black, Mandate, Mayfair Cursive, Medium Condensed Gothic, Number 11, Old English, Plantin, Powell, Radiant, Record Gothic, Samson, Square Gothic, Stellar, Stencil, Stygian Black, Tempo, True-Cut Caslon, Ultra-Modern, Umbra, Underwood Bold, Victoria Italic. [Google] [More] ⦿
Chicago lettering artist who created Colwell Handletter&Italic in 1917 for ATF, and this roman (possibly in 1923), also for ATF. She was noted for her display work and hand-lettered pages. Some say that Colwell Handletter was designed by someone else based on her work.
Digital versions: HPLHS Prop Fonts (Andrew Leman) has HPLHS Colwell and HPLHS Colwell italic. Lazy Dog Foundry (or: Franklin Type Founders) has a font called Colwell. Suzanne Fleischauer and Apostrophe created Colwell and Hadley, based on 1916 hand lettering by Ned Hadley. So, maybe this suggests that Ned Hadley was the real designer of these fonts. Finally, Nick Curtis created McKenna Handletter NF Normal, McKenna Handletter NF Bold, McKenna Handletter NF Normal Italic and McKenna Handletter NF Bold Italic in 2002.
After studying the illustrations, cartographies, and penmanship of Lord of the Rings author, J.R.R. Tolkien, Chicago-based Madison Apple (b. Whitefish, Montana) created a detailed script font based on his handwriting called Legendiarum (2015). It was developed during his studies at Columbia College Chicago. [Google] [More] ⦿
Freelance artist in Chicago. Behance link
Magpie Paper Works
The following fonts were produced in 2012: Vermandois (a great irregular vintage penman's hand, accompanied by Vermandois Splatter), Saltpetre (grungy medieval outline face), Plinth (architectural typeface), Mignonette, Jacob Riley (a vintage 18th century printers' specimen revival, hand-illustrated with calligraphy nibs dipped in walnut ink), Ghouligoo, Cerise (curly hand), Sullivan, Saissant (Treefrog style), Campland.
In 2013, she made the upright calligraphic script typeface Ahra and the children's script typeface Mirabelle (not to be confused wit an earlier typeface called Mirabelle by Alessandro Colizzi, or the 1926 Mirabelle typeface by Wagner&Schmidt). Ondise (2013) and Dasha (2013) are other decorative scripts in the mould of Emily Lime's Bombshell Pro.
Typefaces from 2014: Woolen (a hand-inked & italicized serif, based upon a 17th century type specimen by Jean Jannon. Many of the capital letters are decorated with subtle sprigs and leaves, while the lowercase letters remain classically styled).
Chicago-based type foundry, 1863-1892, also called Scofield, Marder, Toepfer&Co., Scofield, Marder&Co., and the Chicago Type Foundry. In the great Chicago fire of 1871, they lost all their matrices. They were part of the big number of foundries bought in 1892 to form the American Type Foundry. They are credited with inventing the American point system, in which 12 points are a pica and 72.27 points are an inch.
A list of types will follow later, but for now, I will just mention display types such as Mandarin (an oriental simulation typeface digitized by Elsner&Flake in 1985 and available here). Images of selected typefaces and ornaments: Anglo Gothic, Antique Extended, Arcadian, Card Ornamented, Carriage and Livery Cuts, Celtic Initials, Centennial Script (1876), Clarendon Ray Black, Commercial Script, Crosier, Ecclesiastics and monastics, Eureka Text, Harlem Shade, Heading Script, Mortised for Calendar, Natural History Cuts, (another image), Norman Condensed, Payson Script, (another image), Poster Roman, Rimmed Black Ornate, Round Hand Scrtipt, Sloping Black Shaded, Text Ornate and Old Style Ornamented.
They ran a magazine with type news, called The Chicago Specimen. I leafed through most issues at Chicago's magnificent Newberry Library and took some poor quality photographs of selected passages. The Marder&Luse sale from 1871. A logo ca. 1872. Another logo. A logo from 1871. And another one from 1871. The Marder Luse building in Chicago. The sale in 18690 to Marder Luse. The Scofield Marder Toepfer building. Gossipy news about the Conner foundry. The Chicago Specimen, October 1872. The Chicago Specimen: an ad. The Chicago Specimen, January 1869. [Google] [More] ⦿
Chicago-based designer. In 1995, Frank Heine and Marilyn Frank co-designed the hand-printed typeface Divine. In 1997, they designed Kaiju, but never released it for distribution. Kaiju's design is based on wood type from the 1800's---it was first used on the CD package design for the Reggae album Holy Mount Zion by CocoTea. [Google] [More] ⦿
School of the Art Institute of Chicago and the University of Wisconsin-Madison. Designer with Bob McCamant of the AIEgyptian family at Alphabets Inc. in 1994. At Alphabets Inc, she also designed or codesigned Oberon, AI Quanta (1992) and Oz Poster. However, over at MyFonts, these fonts are credited to Peter Fraterdeus.
Designer and photographer in Chicago, who created these typefaces in 2012: Von Atelier (Peignotian), Atase, Clodia (a display sans with variable contrast), Mirego (squarish), and Foto Blog (fat and counterless). [Google] [More] ⦿
Creator of typefaces at VGC, such as Sol (1973 or 1975, with C.B. Smith) and the neotech font family Harry (1966, with C. B. Smith). Goldstein was born in Chicago in 1939, and co-founded the groundbreaking Creative Black Book. He graduated from the Pratt Institute in 1960. His father was called Harry, hence the name of the font. Harry was revived digitally by Steve Jackaman and Ashley Muir as Harry Pro (2009, Red Rooster). Sol was extended and revived by Patrick Griffin and Kevin Allan King in 2010 at Canada Type as Sol Pro (20 styles). The Quick Brown Fox GmbH copied the original Sol, and that version ended up as Digital Sans in the Elsner & Flake collection in the mid-nineties. In 2015, Elsner & Flake published the 36-style extension Digital Sans Now. [Google] [MyFonts] [More] ⦿
André Kuzniarek is Electronic Documents Manager, Wolfram Research, 100 Trade Center Drive, Champaign IL 61820A, in charge of fonts for Mathematica. He developed PostScript math fonts between 1996 and 1998 for Mathematica: Math1-Bold, Math1, Math1Mono-Bold, Math1Mono, Math2-Bold, Math2, Math2Mono-Bold, Math2Mono, Math3, Math3Bold, Math3Mono-Bold, Math3Mono, Math4-Bold, Math4, Math4Mono-Bold, Math4Mono, Math5, Math5Bold, Math5Mono, Math5MonoBold.
Another set of Wolfram fonts is called Mathematica. It ships with the software. Mathematica is a large typeface family designed by Andre Kuzniarek, with Gregg Snyder and Stephen Wolfram (head of Wolfram) between 1996 and 2001. That family has invaded many font archives, such as this one.
Chicago-based designer at BBS of an ornamental face that was patented in 1894. In 1895, he and Julius Schmohl published an upright script with BBS. This ronde typeface was originally known as Oliphant and renamed Advertisers Upright Script in 1925. In 2014, Spiece Graphics created a digital version of it, Milroy Upright SG. [Google] [MyFonts] [More] ⦿
Chicago-based foundry, also called Creswell, Wanner&Co., and Wanner, Weber&Co. It was short-lived (1872-1883). The great Chicago fire of 1871 had wiped out nearly all printing businesses in Chicago. In 1872, Alexander Barnett (b. Ireland, 1820-d. Chicago, 1896), John Creswell, Nathan Lyman and A.F. Wanner started the Mechanics Type Foundry. Only Barnett was a well-known type founder and caster, having worked previously at A.D. Farmer and the Marder, Luse&Co (which was destroyed in the fire). In 1883, the company split into Union Type Foundry (led by Creswell and Wanner) and Barnett, Griffith&Co (led by Alexander Barnett and his son, William A.). The latter business, which used the type designs of the Boston Type Foundry, closed soon afterwards. [Google] [More] ⦿
During her graphic design studies at Southern Illinois University in Carbondale, IL, Megan Kaley created the curly typeface Twisted Roots (20133) and the beveled typeface Paper Diamond (2013). [Google] [More] ⦿
A graduate of Boston University (2010), Meredith Niles started studies at the Chicago Portfolio School. During her studies, she created an untitled hand-drawn decorative caps typeface based on vegetables. Behance link. [Google] [More] ⦿
Student at MNSU in Mankato, MN, who lives in Vernon Hills, IL. He made a text-based poster of the Seattle skyline in 2010.
In 2012, he designed the tall typeface Towering Heights (2012).
Geneseo, IL-based designer of a noteworthy typographic poster called How In The World (2013).
Illinois-based "designer" of English Gothic (2007, blackletter), which she is actually selling. She also made Johnny B (2007, handwriting), Think Pink Alphabet (2007) and Damaged Alphabet (2007). Alternate URL. Yet another URL. [Google] [More] ⦿
Chicago-based creator (b. 1971) of Pixel Noir (2011), Pixel Western (2011), Pixel Sleigh (2010), Teeny Pix (2010), Tiny Times (2010, pixel face), Emoticomic-Regular (2010), "SpriteComic-Regular (2010), Pixel Stix (2010), Jump (2010, pixel face), Teeny Pix (2010), Pixel Caps (2010), Bit Signage (2010, pixel face), Rasterman (2010), Earth-Momma (2010, pixel font), Celtic Bit (2010, family), Pixel Josh (2009), and (partially) of License to Pixel (2009).
In 2010, she did the pixel fonts PixelJosh6, Pixelstars, Pixelstars&Stripes, Pixel Love (pixel script), HarryPixel, Emoticomic, Sprite Comic, and Emote Letters (2010).
In 2013, she added Pixel Western and Relativity.
Polish American illustrator in Chicago. Creator at FontStruct in 2009 of Prof. Downer's Iowa Tonic (inspired by Brothers and Council, by Downer), Fleet (alomost octagonal), Bankowy Gotycki (outline typeface patterned after Ban Gothic), Bolt Plate, Garibaldi (+Bold, +Black), Nocturnis, Lastustruct (kitchen tile) and Macrogular. In 1999, he created the very original Aborigine (1999). Additional URL. Home page. Klingspor link. [Google] [More] ⦿
Chicago-based graphic designer who is doing a BA at DePaul University. She based her Bodoni Poster Script typeface (2012) on Bodoni Poster Italic.
A major type foundry, set up in 1887 by Tolbert Lanston. The Monotype Corporation, based in Redhill, Surrey, was an independent English company that originally shared patents with the Lanston Monotype Company in Philadelphia. In the first half of the twentieth century, F.H. Pierpont and Stanley Morison built up the best type library of its time, and Monotype came to be leaders in European book printing. After the Second World War, Monotype continued to offer printing machines, entering the photocomposition era with the Monophoto in 1955, and pioneering laser technology in printing with the LaserComp in 1976. In 1992 the company was split up. The hardware side was purchased by the IPA Group. The type department, continued as Monotype Typography.
In July 1998 Agfa acquired Monotype Typography and became Agfa Monotype. In 2000, Agfa acquired ITC. In 2004, TA Associates purchased a majority interest in Agfa Monotype from Agfa Corp and the company was renamed Monotype Imaging Inc, with headquarters in Woburn, MA
Monotype Imaging in turn went on a spending spree: it acquired Linotype (in 2006), Ascender Corporation, Berthold (unconfirmed), Bitstream (in 2011) and MyFonts (in 2011). They also own China Type Design Ltd, Fontwise, iType, Planetweb, WhatTheFont, and WorldType.
The Monotype specimen book of type typefaces. A complete catalog of matrices made for use with the Monotype composing machine and with type&rule caster
A complete catalog of matrices made for use with the Monotype composing machine and with type&rule caster(1922, Philadelphia) is freely available on the web. See also here and here.
Mortal Turtle Foundry (or: Einzig Design)
Lake Zurich, Illinois, foundry without a home page, where you can find fonts by Robert (Bob) Conlon. They sell for about 5USD. Fonts include Dodgenburn, EinzigSans, EinzigSerif, Einzine, Etched, Notchenarow, RogersTypewriter, Rubberstamp, Scraping, Scratchy (1994), SloppyInk, Sponged, Stratenarow. Sloppy Ink and RogersTypewriter are great typewriter fonts. Other place to check:Fontfreak (e.g., Dodgenburn is there). Alternatively, you could go to a subpage of A4, and Mac type 1 versions seem to be free there. Dafont link. [Google] [More] ⦿
Foundry, est. 2009 by Rob and Sonja Keller. Originally located in Berlin, Mota Italic is a type design studio specializing in unique, extensive type families. It relcated to Mumbai, India, at the end of 2014.
Rob Keller (b. 1981) is a typeface designer from Illinois. He attended the University of Illinois where he earned Bachelor (BFA) degrees in both Graphic Design and Sculpture. From 2006 until 2007 he attended the University of Reading, England, for the MA in Typeface Design program. Immediately following the dissertation submission, Rob moved to Frankfurt, Germany, to work at Linotype GmbH in the Product Marketing department. He left Linotype to be able to do type design full time, first as a freelancer then forming Mota Italic in 2009. Sonja Keller, now Sonja Stange, left Mota Italic in 2013 to join Type Together. Since 2014, Rob lives in Mumbai.
Mota Italic's fonts:
At the University of Reading, he published Linotype Devanagari: an abridged history of the typeface with analysis of the 1975 redesign (2007).
Typefoundry set up in 2013 in Champaign, IL, by John Bonadies who has an MFA in graphic design from the University of Illinois. In 2011, he set up an iPad application in which one can move wooden letters around as in a letterpress. He says: LetterMpress will be a virtual letterpress environment---released first on the iPad---, that will allow anyone to create authentic-looking letterpress designs and prints.
The typefaces are based on letterpress and/or vintage wood type, and have names that are prefixed by MPI.
In 2013, Mpress Interactive published MPI Roman Condensed (based on a typeface from Showcard Machine Company), MPI Old Style, MPI Bodoni Ultra, MPI Sardis (after Warren Chappell's Lydian from 1938, ATF), MPI Republic Gothic, MPI No. 510 (based on a design by William H. Page, 1887), MPI No. 508 (based on William H. Page, 1890), MPI No. 507 (based on William H. Page, 1890), MPI Headline Modified (also called Modified Gothic by some type manufacturers, it is based on a typeface by Hamilton Manufacturing Company from 1897), MPI Gothic, 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 typeface 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), MPI Nouveau, MPI Delittle (based on a wood type by DeLittle), MPI Deco (art deco caps), MPI Atlas (slightly art nouveau typeface based on a font by Day & Collins), MPI Circle Sans (white on black letters). [Google] [MyFonts] [More] ⦿
During her studies at The Art Institute of Pittsburgh, where she is a cohort of the class of 2015, Nakeyisha Aisha Huddleston (Chicago, IL) designed the art deco typeface Gatsby (2014). Behance link. [Google] [More] ⦿
In 2004, he joined Ultra Pixel Fonts, where he made the pixel typeface Daasaang (Thai). He works at the International Academy of Design and Technology in Chicago, and will soon start Eightyproofpress Inc. His web page opens new windows and makes my browser crash.
Der Teufelshaufen won an award at ProtoType in 2016.
The Neon Type Division of Typefounders of Chicago (Castcraft) published a specimen book in 1962 which can be downloaded from Archive.Org in two 1 GB parts: Part I, Part II. See also here and here. [Google] [More] ⦿
Nerfect Type Laboratories
Nerfect Type Labs in Berwyn, IL, is the foundry of Britton Walters (b. Atlanta, GA, 1973). Free fonts: Desmond (2003), Ausfahrt (dingbats), Bad Weekend (comic book font), Clint (2003), CursedMustache (2003), Clunky, Coffin Nails, Conspiracy (old typewriter font), Crap Magnet family (free at Chank's), Cursed Mustache, Demand (ransom font), Emma 65, G.I. Jerk, Goblin, Heavyweight, Hybrid, Joey, Kirok, Mental Junk Drawer (dingbats), Minibike, Mister Filthy, Mutant, Pixie (pixel font), Roadtrip, Sanford, Sex Shop, Skyland, Space Junk, Speed Demon, Stag Wart, Thug, Tricky Treat (2003). Pay fonts: Crunk, Go-Rilla, Kurtzberg, Monsterkit, Nerfect Cola, Outlaw, Muggler.
MyFonts.com sells some of their fonts: Stinky School Book, Creeps (2002, funny typefaces!), Ailene, Smuggler (2001), Crunk, Kurtzberg, Nerfect&Cola, Go-rilla, Outlaw, Class of 1964 (dingbats), Dingbatio, Mr. Walters-Casual (comic book face), Tricky-Treat (scratchy handwriting), Fiend (2004) and MonsterKit.
Public library in Chicago with a great collection of books related to typography. Located at 60 West Walton Street, Chicago, IL 60610-7324. Paul F. Gehl is the custodian of the John M. Wing Foundation on the History of Printing, which is where most of the type books are. In April 2010, I finally had an opportunity to check it out, spending two full days at the library. The positives: the collection is indeed extensive, laptops are allowed, the staff is very friendly and helpful, and one is allowed to take photographs without a flash. The (minor) negatives: tripods and other camera tools are disallowed, and ballpoint pens are forbidden. Also, browsing in the stacks is impossible (as opposed, to, say, Harvard's Houghton library, where books less than about 70 years old are in public stacks). Still, there are some real treasures at the Newberry. [Google] [More] ⦿
Born in Belleville, IL, in 1858. He died in 1940. Typefounder, author, artist, editor and printer, all in one. Involved at some point with the Inland Type foundry and the Central Type Foundry. His typefaces:
Nick Curtis (b. Chicago, 1948) lived in Texas from 1952-1997, and lives since 1997 in Gaithersburg, MD and Alexandria, MD. From ca. 1990 onwards, he has been designing fonts, first for free, and then commercially. He had a great reputation as a "revivalist" type designer, with a particular interest in retro fonts and art deco types. In 2003, his site had become too popular and too expensive to maintain, and thus he went commercial as Nick's Fonts. In 2013, he stopped making fonts, and donated his collection of rare books and type material to the University of Virginia. Interview. Free downloads at TypOasis. Complete list of names and other info, maintained by Sander de Voogt. Interview in which we learn about his fondness for Corel Draw as a type design tool.
Near the end of 2012, he posted this comment on his web site: Fifteen years ago, I embarked on a wonderful voyage of discovery, when I created my very first font with Fontographer 3.15. My maiden voyages were, frankly, rather clunky and amateurish, but I have been told that they showed promise. Well, sure enough, thanks to the diligent (and patient) efforts of Ilene Strizver, I polished up my craft enough to sell my humble efforts---first as a sideline business and, since 2006, as my full-time job. In total, I have produced over eleven hundred fonts---almost five hundred of them freeware fonts, which I conservatively estimate have been downloaded and enjoyed by over three million people worldwide. Unfortunately, this past year has brought a series of unanticipated setbacks, culminating in the loss of my wife's beautiful mind and soul to the scourge of alcoholism. In an effort to generate extra income to cover the expenses for her long-term care, I have proposed a number of, I believe, innovative ways to revamp the online font business; unfortunately, those efforts have fallen flat, primarily due to the professional font community's abject fear of crossing the $165 million Elephant in the Room. I even offered a special discount rate of 75% off retail price for full-time students of Typohile Forum. To date, there have been zero takers. Hell: even the webfont kit of one of my own fonts which I purchased from myfonts.com turned out to be an empty folder. Talk about a run of bad luck. Which leaves my with you, dear readers. If you or someone you know has had fun or made a buck from my humble efforts throughout the years, please donate whatever you can---even a lousy dollar would help---to help me out. I would greatly appreciate it.
Nick Curtis: Commercial typefaces
Nick Curtis (b. Chicago, 1948) lived in Texas from 1952-1997. Since 1997, he is in Gaithersburg, MD and Alexandria, MD. Since the 1990s, he has been designing fonts, first for free, and then commercially. He had a great reputation as a "revivalist" type designer, with a particular interest in retro fonts and art deco types. In 2003, his site had become too popular and too expensive to maintain, and thus he went commercial as Nick's Fonts. Interview. Free downloads at TypOasis. Complete list of names and other info, maintained by Sander de Voogt. Interview in which we learn about his fondness for Corel Draw as a type design tool. Home page. His free fonts are listed elsewhere.
On MyFonts, he says this about himself: Nick's Fonts is a modest little foundry dedicated to the preservation of our rich typographic heritage. Most of the foundry's designs are based on authentic historical sources, gleaned from the massive collections of the Library of Congress. If you are looking for a font that captures the essence of the Wild West, the Gay Nineties or the Jazz Age, look here first: if it is not in the catalog, it will be soon. [Google] [MyFonts] [More] ⦿
No Bodoni Typography
Glenview / Chicago, IL-based foundry run by George E. Thompson (b. 1945, Chicago). George Thompson teaches at the Art&Design Department of Columbia College Chicago since 1986: He has a deep involvement in letterpress printing and co-founded Columbia's private press, the Calhoun Press, named for John Calhoun, the first printer in Chicago. He also founded his own Spurius Press, devoted to publishing matters of typography and named for Spurius Carvillus, the ancient Roman credited with designing the letter G.
Expensive but high quality typeface families designed by Thompson include Estiennium (quirky humanist sans), Isbellium (a sans serif version of Dick Isbell's Americana type, the last type cut in metal by American Type Founders), Nirvanium (wedge serif), ITC Oldrichium (2011, angular lettering in the style of Oldrich Menhart), Parmatype, Parisette, Marseillette, Lyonette, and Berlinette (2001).
MyFonts is selling these fonts now: Claudium NB (2002), Crowbird Pro Bold (2012), Dog Butter (2004, script face), the eerie didone font Floridium NB (2002, based on wood type from the 1800s), Ms Kitty NB (2002, a fun face), Parma Typewriter NB (based on Bodoni), and Tinman Pro (2011).
In 2013, George published the dingbat typeface Ovoid Two Zero, ITC Oldrichium.
Designer associated with The Institute of Lettering & Design in Chicago, whose work was published by Letterhead. This includes the typefaces LHF 20 Six Letters and LHF 20 Six Panels (both with John Davis), LHF Noel's Ends and LHF Noels' Thes (both with Dave Parr) and LHF Saddle (with Chuck Davis). [Google] [More] ⦿
Jackson Cavanaugh (b. Waterloo, IA, 1981) is a freelance graphic designer and independent type designer based in Brooklyn, NY, and/or Chicago. He founded Okay Type in 2009.
In 2016, he was asked by Mac Lewis, artistic director at Playboy, to design a new headline typeface for the magazine. Cavanaugh designed a heavy slab serif for the occasion. [Google] [MyFonts] [More] ⦿
At Omegatype in Champaign, IL, Ryan Neaveill designed BTP-Baby-Bl, Baby-Blocks, Bamboo (oriental simulation), Funny-Face (smilies), I-Ching, Musicfun, Ryan's-Rotten-Writing. His fonts are not on these pages though, but they are on various archives. His Playing Cards font can be found at Fontastic, Uncle Bear's, or Fontazm.
American artist in New York, 1871-1956. He studied with the well-known anatomist, J. H. Vanderpoel, at the Art Institute of Chicago, Illinois. He moved from Chicago to New York in 1893. Known for the richness of his work in pen and ink, he drew in 1898 fifty illustrations for The Choir Invisible. By 1907, he was employed at Life magazine, at that time a humor publication competing with Judge and Punch. At Life magazine, he contributed pen and ink cartoons and color covers. He also provided art for American Girl, American Boy, Judge, Century, McClure's, Scribner's, Collier's, Puck and Success. Renowned for his humorous pen and ink work. A set of capitals drawn by him. Picture of the artist. [Google] [More] ⦿
Influential designer and type designer, motivated by beautiful advertising type (b. Mountgilead, Ohio, 1879, d. Chicago, 1940). Picture. He was angry at Goudy for his Goudy Heavyface (1925), which resembles Cooper Black a bit too much (check this 2002 video). MyFonts link. Cooper died of cancer. His typefaces include:
Outside The Line Fonts
See also here. Agfa/Monotype sells Architectural Lettering, Cross Stitch, CurlyQ, Doodles, DoodlesTheAlphabet, Food Doodles, Holiday Doodles, Office Doodles, Plz Print, Plz Print Brush, Plz Print Bold Condensed, Plz Script, the hand-printed series (Best Regardz, Dearest John, Yourz Truly and Sincerely Yourz, 2009) and Tall Skinny Condensed (1999).
Since 1986, he is the custodian of the John M. Wing Foundation on the History of Printing at the Newberry Library in Chicago, one of North America's most important type and calligraphy collections. As a historian of education and printing, he spoke at ATypI in Rome in 2002 on the lack of interest on the part of historians in general for the history of type. [Google] [More] ⦿
No, this is not the prime minister of Canada. He designs type at SignDNA, where I found this bio: Ever since picking up a brush some 20 years ago, Paul Martin has been fascinated with the nuances of hand-rendered type. He believes that type sets the mood for a sign and its message. Paul often uses scripts and casuals to add personality to his customer's signs. After living in Sacramento, California for the past decade, Paul recently returned to northern Illinois. His work has been featured in SignCraft magazine several times, and has also been on the cover. His typefaces: Caz Fat, El Sid (holiday script), Journeyman, WarBird (great brush typeface with a bit of an oriental touch), Qwikscribble, RaceCarChisel (3d face), FastEddie, Squirt (upright, calligraphic).
Creator of HandBag (2013, hand-printed) and Forte (2013) during his graphic design studies in Lexington, IL. In 2016, he designed the pixel typeface Lunch Break and the art deco typeface Late.
Plural is a Chicago-based creative studio founded in 2008 by Renata Graw, Jeremiah Chiu, Christopher Kalis, and Eric Mika. With a focus on strong typography and composition, they explore new ideas within the design process as they collaborate on a wide range of print, web, video and music projects.
Creations: Gel Type (2009), and Nova Chicago (2009: a strong sans, advertised as the typeface of the 2016 Chicago olympics). As a student at the University of Illinois at Chicago, Renata Graw developed the typeface Nova Chicago in 2008 (under the supervision of Jörg Becker), as the typeface for the 2016 Olympics in Chicago--despite that nice effort, which earned her a TDC 2009 award, Chicago lost the bid to Rio. [Google] [More] ⦿
Positype was founded in 2002 by Athens and/or Jefferson, GA-based designer and type designer Neil Summerour (b. 1972, Azores, Portugal). Neil began developing typefaces in 1996 with the 1996 Olympic Brick Paver Project proprietary typeface. He is the co-principal and senior designer of Athens-based interactive, design, and advertising agency Genetic:ICG. In the summer of 2003, he began teaching Advanced Electronic Design in the Graphic Design Department at The University of Georgia.
Swash & Kern is the bespoke lettering and typeface design alter ego of Neil Summerour.
In 2001, Neil published his first two type designs with [T-26] Digital Type Foundry in Chicago, IL. Since then, he has released tens of font families including hiragana and katakana fonts. Positype fonts are sold by Myfonts.com and [T-26].
His life in hiw own words: Neil Summerour is a type designer, lettering artist, calligrapher and designer based in Georgia, USA with one foot in Takamatsu, Japan. After graduating from The University of Georgia Lamar Dodd School of Art with a BFA in Graphic Design, he soon found himself opening his own studio to deal with the flow of freelance work. [...] Neil opened his personal type foundry, Positype, in 2000 to feed his ever-growing desire for type design. He later co-founded TypeTrust (2002) with Silas Dilworth as his addiction to type and lettering grew. [...] He was an adjunct art professor at The University of Georgia in graphic design and taught graphic design at the Governor's School for the Arts. [...] As a typeface designer, he has published over 60 typeface families and produced numerous custom typefaces for clients worldwide. [...] He has won the Type Directors Club Certificate of Excellence in Type Design in 2010 and 2011 for Fugu and Nori, respectively.
Graduate of the University of Tennessee at Knoxville. Alternate URL. Patric started Pretty in Chicago together with Su and Milan. The Pretty fonts sold via MyFonts: Nineteen Eighty Four (2005), Revenant (1995, a redesign of Bad Excuse), Commodity (2003, Thirstype: ten geometric styles), Gia (2000, 5 original styles based on the NASA logo font and named after the first woman to die of AIDS, Gia Carangi; extended to 7 weights in 2016), Automaton (2009, techno).
Patric King also designed Fast Girls (1995), Bad Excuse (1995), Smile (all available through Thirstype), and the private fonts Blechstreet, Untitled Script, 1984 (2005, constructivist, but also related to the German New Wave), 1985, 1997, Atari Baby, Flex, Phoebe, Untitled, DAT, Flourish, Scribner (handwriting), Food, Apocalipstick, Superwardudes, Twiggies, Handjob, Royal Street (2013, grotesque).
MyFonts sells these typefaces:
Chicago, IL-based designer of the monolinear octagonal typeface family ATC Saturn (2015, Avondale Type Company) and the high-contrast fashion mag didone typeface Madison (2015).
Graduate of SAIC, class of 2013. Quinn now works as a designer in Chicago. In 2013, Quinn created the 21-style layered and beveled typeface family Finkl Pro, which can be bought from Avondale Type Co and Ten Dollar Fonts. This gorgeous type was inspired by the Finkl steel mill on Cortland Street, Bucktown, Chicago. [Google] [More] ⦿
Raize Software offers the Raize fixed pitch pixel font in FON format. Graeme Geldenhuys (firstname.lastname@example.org) has created a version of the Raize Font for use in Linux (PCF format). Raize Software, Inc. is headquartered in Naperville, Illinois. The president is Ray Konopka. [Google] [More] ⦿
American designer, artist and publisher, b. Milan, IL, 1876, d. Batavia, IL, 1966. McGrew writes: Seymour is a private press type, designed by Ralph Fletcher Seymour for his Alderbrink Press in Chicago. In a 1945 book, the designer says, "With Goudy's help and Wiebking's matrice cutting and fitting machines I got my first typeface of type designed, cut, and finally cast and my first book printed from the type." The book he referred to was dated 1902. The type seems never to have been named-it could have been Seymour for the designer or Alderbrink for the press. [Google] [More] ⦿
RedEyeType offers these fonts by Jay Vidheecharoen (Chicago, IL): AngelaSans (1999: based on Neville Brody's Industria, so Jay says), Imitari (1999: for Imitari magazine), Atmosphere (1999, octagonal: free at Dafont), Memento Mori (1999: wow!), and Van Hooser (1997: a curly font for Hallmark cards based on the lettering style of Hallmark illustrator Donna Van Hooser).
Jay worked in the lettering department at Hallmark in 1997. In earlier days, Jay ran Invisible Studio Fonts, but that link is now dead. He also worked at the University of Kansas and for PC Gamer Magazine.
Ricardo Victor Rousselot Schmitt
Typographer, designer and printer, who worked mainly at BB&S (1882-1956). For a long time, he was the advertising manager at BB&S in Chicago. In that capacity, he designed Old Dutch (1925, BB&S), about which McGrew writes: It is a font of shaded capitals, decorated with a circle set into each main stroke, and is probably derived from eighteenth-century sources. It was recast by ATF in 1954. Colonial is similar, but with conventional serifs. Also compare Dresden. He is also credited by McGrew with Ratdolt Italic (1948, BB&S), which matches Ratdolt and Goudy Lanston. [Google] [More] ⦿
Thirstype founder and type designer, who is based in Chicago and/or Barrington, IL. He designed Commerce (1992, with Greg Thompson, Font Bureau), Punch (1999, pixel family done by Valicenti and Gregg Brokaw), Ooga Booga (1993, with Greg Thompson), Bronzo, UltraBronzo, and Love. In FUSE 4, he published Uck 'n Pretty. In 2002, Rick and Chester designed the sans serif family Infinity (20 weight architectural drawing family) and Alexey (2002, free stencil font family, with Chester Jenkins). Handjob (2002) is a gorgeous set of capitals made out of wire-meshed hands. Twiggies (with Brian McMullen) is a free set of EPS-format caps made from twigs.
Other creations: Apex Serif (2003, with Chester Jenkins, Constellation / Village), Apex Sans (2004, a 40-style sans family done with Chester Jenkins, Constellation / Village), EZ (2003), a monospaced family, and Veejay (2003, a funny dingbat family done with Chad Johnston).
Chicago-based designer (b. 1983) of the hand-printed typeface Bacon (2011).
Designer of the fonts Oz Brush, Oz Poster and Egyptian Condensed at Alphabets Inc (the latter font with Martha Chiplis, 1994). Located in Chicago, he runs Sherwin Beach Press. FontShop link. [Google] [More] ⦿
Robert Hunter Middleton
American designer (b. Glasgow, 1898, d. Chicago, 1985), who spent his entire life at Ludlow Typograph Company (retiring in 1971) and built an impressive type library, creating over 100 typefaces. He received a doctorate in Fine Arts from Transylvania University. Ludlow hired him in 1923, where he became type director in 1993. He retired from the Ludlow Typograph Company in 1971. At Ludlow, he had to create solid commercial variations of existing typefaces for the Ludlow machine and come up with practical new designs. Bio by Nicholas Fabian. One can also consult the M.A. dissertation of Stephen Glenn Crook at the University of Chicago, entitled "The contribution of R. Runter Middleton to typeface design and printing in America" (1980), which lists his 98 typefaces of his 24 type familes. His oeuvre:
For Warnock Pro, he got an award at the Type Directors Club (TDC2) 2001 competition. In 1991, he received the Prix Charles Peignot for excellence in type design. Minion Pro Greek, Minion Pro Cyrillic&Greek and Brioso Pro won awards at the TDC2 Type Directors Club's Type Design Competition 2002. At TDC2 2006, he won an award for Garamond Premier Pro. Arno Pro won an award at the TDC2 2007 competition. Bio at Linotype. Minion Pro now ships with Acrobat Reader and covers all European languages, including Greek and Cyrillic.
Born in Schwelm, Germany, 1870, Robert Wiebking emigrated to the United States in 1881 with his father Hermann Wiebking, and became an apprentice engraver in Chicago. After another apprenticeship in 1884, with C.H. Hanson in Chicago, he became an independent professional matrix engraver in 1892 in that city for several American and English founders and for Ludlow, who cut many of Goudy's types, as well as types for Bruce Rogers and Robert H. Middleton. In 1894 Robert Wiebking and Henry H. Hardinge (also from Chicago) built the first successful machine for engraving type matrices. In 1896, they became partners and set up Wiebking, Hardinge & Co in 1901, manufacturing matrices for type foundries. This led them to set up the Advance Type Foundry in Chicago. He died in 1927 in Chicago.
Designer of these typefaces:
Rosemary Hall Calligraphy (or: Brian Hall Inc)
Rosemary Hall (Oak Park, IL) makes exquisite calligraphy fonts such as Rosemary Modern, Rosemary Copperplate, Rosemary Italic, Rosemary Modified Italic, Rosemary Script, and Rosemary Roman (a stuning font). Check also the fantastic Rosemary Celtic, 50 USD. Mike Yanega claims that the designer is actually Brian Hall (Chicago, IL).
Old contact info: Rosemary Hall Calligraphy,708 S Home Ave, Oak Park, IL 60304, tel (312) 593-1284. Newer contact info: Brian Hall Design Group, 683 North Milwaukee Avenue Chicago, Illinois 60642. Tel: (312) 433-9000. Email: email@example.com.
Chiacgo, IL- (was: Fort Wayne, IN)-based brand and graphic designer. Ross created some geometric typefaces, using mostly lines and pieces of circles: Karbon (2009), Aluum (2009), and Titan (2009). Other designs: Gluum (2010), Nove (2010), Orange (2010), This Is In (2010), Untitled (2010).
American artist (b. 1905, Peoria, IL, d. 2006, Milwaukee, WI) in Wisconsin, known for paintings of ballerinas and dairy cows and his regionalist murals. He married fellow-artist Ruth Grotenrath in 1934, and both became involved in the Federal Works Progress Administration's (WPA) art programs, Treasury Relief Art Project (TRAP) and the Public Works Art Project (PWAP). He created the stick figure Ballerina Alphabet as a serigraph in 1990. [Google] [More] ⦿
Illinois-based designer of free fonts such as SC Bracketology (2009, hand-printed curly brackets), CU Ink Blot (2009), CU Paisley (2009), CU Doodle Frame (2009). Painful downloading. [Google] [More] ⦿
Artist and type designer at Barnhart Brothers&Spindler, 1874-1932, who lived in Chicago. Creator of many typefaces:
Sean Fermoyle at Simpletype in Chicago sells his own screen fonts at 35 USD a shot: Bitter, Dgtl, Dublin, Process, Table, Vibrate. He says he trademarked all these names---did the trademark office go on holiday or what? Soon, there will also be a free pixel font, Retuel (click on work, then 2002, then the second white box from the bottom). Designer at T-26 of the techno typeface Process.
Splendid free gothic and Halloween fonts by Chad Savage (b. 1968) from Chicago, IL: Ghastly Panic (2005), Gypsy Curse (2005), Horrorfind, Haunting Attraction (2003), Nekrokids (2003), Nosferotica, Castle Dracustein, Kreepy Krawly, Gypsy Curse, Hoorormaster, Ripley's Claws, Raven's Claws, Donree's Claws, Zombified, Zombie Holocaust (2005), Sanctuary (2005), Lycanthrope (2009), Spiderfingers (2010), Swamp Witch (2010), Cenobyte, Unquiet Spirits (2011), October Crow (2011), Exquisite Corpse (2011), Mostly Ghostly (2011), Needleteeth (2012).
Still Halloween-themed novelties in 2016: Raven Song, Wolf Moon, Phantom Fingers, Gypsy Moon, Werewolf Moon, Fiendish, Foul Fiend, Coraline's Cat (vampire script).
Skyline Type Foundry
Metal font foundry in Kampsville, IL, est. 2004. Run by Schuyler (Sky) Shipley. As of 2010, their typefaces include Sans Serif Light w. Alts, Egmont Decorative Initials, Park Avenue, McMurtrie Title, Mercury Borders, Bewick Roman, Bradley, Cazxtonian, Cochin, Cooper Ted, Crayonette, Della Robbia, Extended Black, Fournier le Jeune, Glyptic, Hadriano Stone-Cut, Ben Franklin Decorative Initials, John Alden Decorative Initials, Massey Two-Color Initials, Iroquois Condensed, Keynote, Lexington, Narciss, Neon, Neuland, Neuland Inline, Othello, Othello Inline, Paramount, Playbill, Sans Serif Light, Sans Serif Light Italic, Schoeffer Old Style, Trocadero, Worrell Uncial. They also have quite a number of ornamental border fonts. [Google] [More] ⦿
Slip Studios is Stephen Farrell's outfit in Chicago. He designed Volgare (1996) based on Renaissance merchant handwriting from 1601. Apparently, he worked for four years on this. He is also the [T-26] designer of Commonworld (1994), Entropy, Flexure, IndelibleVictorian, Missive, Osprey (1993), Riot.
At Plazm, he published Flexure (1993).
MyFonts sells Osprey, Flexure and Missive.
Based at the University of Chicago, links and suggestions for free fonts are given for these languages: Assamese, Baluchi, Bengali, Brahui, Dzongkha, Gujarati, Hindi, Kannada, Kashmiri, Kodagu, Lahnda, Malayalam, Marathi, Nepali, Oriya, Panjabi (Gurmukhi), Panjabi (Shahmukhi), Pashto, Sanskrit, Sindhi, Sinhala, Tamil, Telugu, Tibetan, Tulu, Urdu. [Google] [More] ⦿
The STA is a professional association for designers in Chicago, originally established in 1927 as the Society of Typographic Arts. Recent past events: April 2, 2002: "New typography requires new typefaces", a presentation by Chester at Chicago's Columbia College, Center for Book and Paper Arts. April 13-14, 2002: A drive up to the Hamilton Wood Type Museum in Two Rivers, WI, and a visit of the Paul Rand retrospective exhibition at the William F. Eisner Museum in Milwaukee. [Google] [More] ⦿
Chicago-based designer of the ornamental typeface Downton (2013). She writes: typeface was inspired by BBC series Downton Abbey. The embellishments combine classic and modern elements. The aesthetic of this font reflects the feel of a 1920s brunch scene in Downton. Her Helvetica Reduced typeface strips down Helvetica to its bare minimum. [Google] [More] ⦿
Stephen G. Hartke
Stephen MacKley (Chicago) created Silverback Sans in 2013. He writes: It won first place at the Punchcutters Exhibition held in late November. Co-sponsored by the Society of Typographic Arts and the Illinois Institute of Art in Chicago, the exhibition pulled in around a dozen submissions. Rick Valicenti and Linda Blackwell judged.
Before Chicago, he was located in Washington, DC, where he ran a design blog.
Graphic designer, writer, and photographer. He has lived in Indiana, Colorado, Ohio, North Carolina, Germany, Italy, and now lives with his wife and twin daughters in a bucolic corner of Illinois. Foundry link. [Google] [MyFonts] [More] ⦿
Rochester Institute of Technology's School of Printing graduate who lived in California and in Holland, MI, and now resides in Louisville, Colorado. He was a disciple of Chuck Bigelow and Kris Holmes. MyFonts page on him. In 1990, he started work at Monotype in Palo Alto to create the Windows truetype core fonts Arial, Times New Roman and Courier New. He stayed with Monotype and then Agfa/Monotype until 2003 (when he was probably fired, but that is only an unreliable guess), directing type development from the design office in Palo Alto, CA. Bio at Agfa/Monotype. He has directed branding projects such as Agilent Technology's corporate sans serif and Microsoft's corporate font family 'Segoe'. At the same time, he was involved in producing bitmaps and outline fonts for cell phones and TV set top environments. He has worked extensively designing Greek, Cyrllic, Thai, Hebrew and Arabic alphabets to satisfy the requirements of customers such as IBM, Microsoft, Nokia, Sun and Sybase. In 2004, he co-founded Ascender Corporation in Northbrook, IL, where he remained Type Design Director until Ascender was bought by Monotype, where he now heads the type design team (12 people in all, as of 2013).
Symmetry Specialty Type Foundry
Obscure foundry active in the 1990s. I have come across a font family by them entitled New World WinMac (1995), which has this notice: 1995 Dr C. Buck Religion Millikin University Decatur IL 625222084 (C)1995 Symmetry Specialty Type Foundry. Code: Greg Berry. [Google] [More] ⦿
T-26 was founded in 1994 by the Cuban designer Carlos Segura, and is located in Chicago. It is one of the world's most prolific font producers, with over 1900 fonts made by about 200 designers.
Segura himself made a few fonts, including Chopsticks (2002), Square45 (2000, a 5-weight font family with LCD-like lettering, with Tnop Wangsillapakun), Square 40 (1995, based on lettering found a 1940s propaganda sign).
During his graphic design graduate studies at University of Illinois at Urbana-Champaign, Taekyeom Lee created the Hangul simulation typeface Hangul (2010), the modular typeface Wire (2012), the pure op-art typeface Dizzy (2011), and the 3d Latin typeface Land (2013). Home page. [Google] [More] ⦿
Born in Illinois, Taylor Iseminger moved to Minneapolis, MN, where she designed the computer system emulation typeface System Mode in 2014 during her studies at the Minneapolis College of Art and Design. Behance link. [Google] [More] ⦿
Chicago-based illustrator and graphic designer (b. 1990) who created the pretty curly upright script typefaces Peach Sundress (2008) and Clementine Sketch (2008). Also check out her 2009 poster entitled The person you love is 72.8% water. It is worthwhile to repeat the modus operandi of the innovative Clementine Sketch: To make this font display correctly -- that is, with the beginnings and ends of each word closed -- you must begin each word with a capital letter and end each word with the symbol ^.
Small high quality type design group, est. 2005 by Silas Dilworth and Neil Summerour, and located in Athens, GA and Chicago, IL, It consists of Silas Dilworth (Dilworth Typographics, Inc.), Dino dos Santos (DSType), Lee Fasciani (Lee Fasciani Typographics), Neil Summerour (Positype), Amondó Szegi (Fontana), and Anuthin Wongsunkakon (Behaviour Group).
Releases include Ventura (dos Santos), Leitura Display, Leitura News, Leitura Sans and Leitura (dos Santos), Esta Pro (dos Santos), Sansarah (Silas Dilworth and Sarah Faust), Organic (Neil Summerour), Malbeck (Alejandro Paul and Angel Koziupa), Argenta (Alejandro Paul and Angel Koziupa), Aaux Pro and Aaux Next (Neil Summerour), Headroom (Lee Fasciani), Ezzo (dos Santos), Jaguarundi (Ryoichi Tsunekawa), Priva Pro (dos Santos), Sneakers Script (Summerour), Do Gothic (Wongsunkakon), Volupia (dos Santos), Reservation Wide (Dilworth), Estilo (dos Santos), Everafter (Dilworth), Musee (dos Santos), Breuer Headline and Breuer Text (Silas Dilworth), Rickety (Dilworth and Chris May), Baka Too (Summerour), Baka (Summerour), Cen Pro (Summerour), Lump (Dilworth), Cynapse Pro (Summerour), Gepetto (Szegi), Fatty (Dilworth and Chris May), Headcold (Summerour), Plastek (Summerour), Kari Pro (Summerour), Sneakers (Summerour), Donatora (summerour), Novacane (Fasciani), System02 (Fasciani), Dispose (Fasciani), NeoGothic (Fasciani), Diego (Dilworth), Vandermark (Dilworth), Cooter (Dilworth), Titan Pro and Titan Text Pro (Dino Dos Santos), Large Pro (dos Santos), Plexes Pro (Dino Dos Santos), Andrade Pro (Dino Dos Santos), Boycott (Ryoichi Tsunekawa), Tokyotrail (Ryoichi Tsunekawa), Ayumi Pro (Neil Summerour), Yumi (Neil Summerour), Altar (Neil Summerour), Estilo Script (Dino Dos Santos), Depot (Chris Dickinson), Penn Station (Anuthin Wongsunkakon&Neil Summerour), Alber (Chris Dickinson), Zimbalo (Amondó Szegi), Eon (Neil Summerour), Angel Script (2009, Neil Summerour), Facebuster (Silas Dilworth, a heavy slab serif). [Google] [MyFonts] [More] ⦿
Founded in 1993 in Barrington, IL, by Rick Valicenti. Modern type. A collection of artists peddling their nice wares, including Thirst, Rick Valicenti, Patrick King, Chester, Barry Deck, Kevin Dresser, Frank Ford, Rob Irrgang, Paul Sych, Magnus Rakeng, Claudio Piccinini, Hugo d'Alte and Patrick Giasson. Catalog. Emodigi site. in 2005, Thirstype joined the type coop Village. Thirstype is also involved in custom font work for places such as Fireorb, Gary Fisher Mountain Bikes, Gilbert Paper, Holly Hunt, Lucien Lagrange Architects, Lyric Opera, US Robotics, Village Voice. Their collection can be bought from MyFonts since 2004: Apex Sans (2004, a 40-weight sans family by Valicenti and Chester), Infinity, Eclogues, Ultra Bronzo, Pixella, Punch (1999, pixel family done by Valicenti and Gregg Brokaw), Alexey, Nillennium, Orbit, Panderella, Rheostat. [Google] [MyFonts] [More] ⦿
Thomas Johnson Quinn
Tilburg Laserfonts has a commercial set of TT and PostScript fonts designed by Eric Schiller and Bill Cone. Eric Schiller (Chicago, IL) designed the sans face Sapir (1991) and Hilversum (Mac only). Alternate URL. [Google] [More] ⦿
Ramiz Guseynov was born in Russia and educated as an architect and graphic designer. After moving to the USA in 1991, where he worked as a graphic designer, Ramiz Guseynov became a part-time type designer who published his work at T-26. In 2004, he set up his own foundry, TipografiaRamis in Highland Park, IL.
TNOP is Tnop (Teeranop) Wangsillapakun's outfit, est. 2005. Tnop is the Bangkok-born Chicago-based [T-26] designer of Bpositive (screen font), OneAM (1999, dot matrix font), Fliptura, Dodo (fantastic experimental display font!!), Square 45 (with technical assistance of Carlos Segura, Ben Husmann and Ana Reinert), and ItsOverCaptain (2000, game playing font). CV.
Tnop has worked with a wide range of clients such as Corbis Images, Nike, Coca-Cola, IRENA (International Renewable Energy Agency), fashion designer Maria Pinto, Mitea (a small tea shop in Chicago), and Alongkorn (a high-level bespoke suit shop in Bangkok). He teaches design at Rangsit University in Pratumthani, Thailand. [Google] [MyFonts] [More] ⦿
Milwaukee, WI and now Chicago, IL-based creator of these typefaces in 2012-2013: Yeti (squarish), Paris 1889, Abakka (futuristic, octagonal), Neue School (octagonal, athletic lettering), Runaway, Bastard.
In 2014, he designed Fruit Stand (vernacular signage face), the modular sans typefaces Maceland and Lynial, and the stylish Centurion.
Foundry, est. Chicago in 1936. It moved from Hubbard Street in Chicago to a suburb after a few decades---to Skokie and/or Niles. The name changed to Castcraft [3649 W Chase Ave Skokie, IL 60026], and then to Castcraft Software Inc. It owned a comprehensive library of fonts, all with extended character sets for multi-language typography. OptiFont is a trademark filed in 1990 by Fredric J. Kreiter of Castcraft. Castcraft sold a CD-ROM Type Library Volume 1 at 200 USD. Its entire font collection was sold for 1000 USD. It also made some custom fonts. Most post-1990 fonts have the prefix OPTI. For example, OPTI-Peking is an oriental simulation font. OPTI-Favrile is a copy of Tom Carnase's Favrile (WTC).
A visitor warned me that there is absolutely zero security when you order from this outfit, so you are warned--this is a dangerous site! It seems that Manny Kreiter (d. 2005) was the last President&CEO, and that his family (Abe, Harry and Ned Kreiter) have been at it since the days of metal type (1936) starting as Type Founders of Chicago. I found this on their pages: Castcraft has licensing [sic] the entire 20,000 TypeFaces from "Type Films of Chicago" and the entire "Solotype Alphabets" collection. Mike Yanega claims that most of their fonts are clearly not original any more than most of Bitstream's are original, and like them they re-name many of their fonts to avoid copyright issues. Their fonts all appear to be a 'dead collection' of copies of relatively old designs that have already appeared in many other collections from the likes of WSI and SSi.
In 2010, John Brandt reports: Castcraft, aka Type Founders of Chicago, moved decades ago from Hubbard St in Chicago to a close-in suburb (Skokie? Niles?) and was still operating within the past few years when I happened to drive by. I failed to find any current incarnation, but they used several names even years ago as a prominent pirate. Besides pirated fonts (Typositor to later, generally poor digital), they were a big metal vendor (I have a partial metal set of Helvetica gifted as they left downtown in the 1970s), and also had a guy (whose name escapes me) who did fabulous high-end signage, from sand-blasted glass to the created-on-building inscribed metal logo for a well-known Michigan Ave mall. Longtime owner Manny Kreiter died in 2005, but whether Boomie or any of the others who may still be around kept it going is unknown. Aside from simply having ANY version of their many offerings, most would consider their collection worthless. Anyone who has a digital "OPTIfont" and a font editor can readily view the problems, including usually several times too many Bezier points within any character. I counted 78 control points on a minimal character, for instance, that should have had less than a dozen.
Listing of Castcraft fonts (compiled by myself). The 802 fonts listed here are all dated between 1990 and 1994. I know there are at least 1,000 digital fonts made by them, so my list is incomplete.
Typedia: Type News
Erik Vorhes (Chicago, IL) writes the type news at Typedia. Erik Vorhes is a web developer, accessibility advocate, design technologist, and writer. Speaker at TypeCon 2012 in Milwaukee and at TypeCon 2013 in Portland. His work can be viewed at Dribble. [Google] [More] ⦿
Documentary made in 2008 by Justine Nagan about the Hamilton Wood Type Museum in Two Rivers in rural Wisconsin. Justine Nagan has produced or helped produce various films at Kartemquin Films. She has a Masters Degree from the University of Chicago, 2004. Another URL. [Google] [More] ⦿
List of all (metal) typefaces available for sale from these six US typefounders:
Frenchman Jean-Renaud Cuaz (b. 1959) is the principal and type designer at Typorium in Highland Park near Chicago, but has moved back to Paris, where he is a freelance graphic and typeface designer. His fonts are available in many places, such as ITC, where he did ITC Cerigo (1993) and another great text face, ITC Ellipse (1996). Since 1998, he has published Augustal (Elzevirian typeface), Augustal Cursiva, Galena, Peplum, Stancia, and Stancia Lyrica. All of these fonts are available through Monotype (was: Agfa-Monotype).
Versa Type is Jim Ford's foundry. Jim graduated in graphic design from Columbia College in Chicago. He received his BFA in Graphic Design in 2005. Jim lives in Delavan, Wisconsin. He joined Ascender Corp in 2005, where he codesigned Ayita (2006), a decorative sans family, with Steve Matteson. Pokerface (2009, Ascender) is an industrious mixed-case display font devised on the theme of playing cards. Captain Quill (2008, Ascender Corp) is calligraphic. Moire (2008, Microsoft) is a sans face. Jimmy Crack Corn (2009, Ascender) is an ordinary handwriting font. Ford's Folly (2010, Ascender) is a felt tip pen face. He also made Artcraft Pro. Dempster (2010, Ascender) is a geometric sans with angular terminals; it was reissued in 2016 and Steve Matteson's name was adeed to the list of designers. He also designed the Segoe Chess Font (2006, Ascender, with Steve Matteson). He codesigned Segoe Mono in 2012 with Steve Matteson at Ascender.
Posterama (2016, Monotype) is a 63-font set that pays homage to the 20th century. Its base set is Posterama Text (Latin, Greek, Cyrillic). Additional subfamilies include Posterama 1901 (art nouveau), Posterama 1913 (abstract art, as seen at the Armory Show, or 1913 Exhibition of Modern Art), Posterama 1919 (Bauhaus), Posterama 1927 (related to Metropolis, The Jazz Singer and Paul Renner's Futura), Posterama 1933 (art deco), Posterama 1945 (constructivism and Russian propaganda), Posterama 1984 (sc-fi and video game era, with a bit of George Orwell thrown in), and Posterama 2001 (inspired by Stanley Kubrick's science fiction movie).
Still in 2016, he designed Ernie, a funky animated typeface, intended as a complimentary serif design to Freeman Craw's fun retro hit, Ad Lib.
Chicago-based designer of the children's script fonts Dirtwords (2016), Youthful Hands (2016) and Paint by Finger (2016), and the grunge fonts Dirt Borders (2016), Been Brickd (2016) and In Grains (2016). He operates as Keyboard Killer Studio. [Google] [More] ⦿
Victory Type Foundry
Original designs include the free TrueType fonts Acme, Bark, Boxsoo, Markerz, Psychosis, Seventy, Splurge, Refund and Refund-Bold, Freon, Gaseous, Seriesorbit, Transit, Runamuck, Quarky, Mr Wick, Rat Poison, Muddy, Morkman, Series Orbit, Year2000Boogie, Year2000Replicant, and Arena. Not-so-free original designs such as the weathered font Mauvais, the jerky Junkyard, and many other fonts such as Alfalfa (2001, felttip pen), Quattro (medieval letter simulation), Industrial, Sloshed, Saturn, Badhaus, Basuhand, Lysosome, Friction, Balance (2000, a squarish face; +unicase), BayerSans, Beanstalk, Chlorine Sans/Serif, Dungerees, Embargo, Farmhouse, Grizzly, Jaggers, Lysosome, Mechanikschrift (nice!), Metrogothic, Nolkster, Quattro (grunge font), Sign Gothic.
In 2009, she published Bayer Modern, which was modeled after Herbert Bayer's universal alphabet designed in 1925 (she based her letters on P22 Bayer Universal).
Fonts from 2010: Surfside (2010) is pure Miami South Beach art deco. MCM Hellenic Wide (2010) is a revival of Hellenic Wide. MCM Monogram (2010) is an art deco / Bauhaus face. Cosmo (2010) is a set of two inline fonts inspired by the CNN logo and Toronto Blue Jays uniforms.
Production in 2011: Barnum (a good old slabby Western poster face), Asteroid (the inline space age alphabet on the CNN logo, in the Sega Genesis, and on old Toronto Blue Jays uniforms). Dafont linkVictory Type [Google] [MyFonts] [More] ⦿
Village Typographers Inc
Main type designer (b. 1915) at AlphaType in Niles, IL. Bitstream states: AlphaType Corporation, a family-owned company, was founded by Al and Beatrice Friedman in the mid-1960s to make high quality but inexpensive phototypesetters for advertising typographers. In 1981 Berthold acquired AlphaType.
Volcano Type (MAGMA)
Magma Brand Design in Karlsruhe, Germany evolved in 2004 into Volcano Type. Magma is headed by Lars Harmsen (b. Hannover, 1964) and Ulrich Weiss. Lars Harmsen spent the first four years of his life in Chicago. He then moved to Geneva with his parents for eight years, and then moved to Karlsruhe. He completed his schooling at the French section at the European School. He first studied history and Germanics in Freiburg before beginning to study design at Basel, Boston, Saarbrücken and Pforzheim. He got his degree in graphic design, and in 1996 he founded MAGMA [Büro für Gestaltung] together with Ulrich Weiß. He is the co-founder of STARSHOT GmbH, a design company for sports products, now based in Munich. MAGMA created Type Foundry Volcano-Type.de and the internet forum Slanted.de. In the meantime, Slanted.de has become the most active German typography forum. Volcano Type offers commercial and some free typefaces: DigiBo (Boris Kahl), Objects (free ransom typeface by the house), MonoPoint and DoublePoint (monospace dot matrix families by the house), Amiga Normal and Rounded (pixel typefaces by Boris Kahl), Screeny, Pixel and C64 Style (pixel typefaces by Boris Kahl), Fette Pixel (pixel typeface by Florian Gärtner), Teckbo (digital typeface by Boris Kahl, who writes: Retro-Avant-Garde for Club-Flyer-Honks and Plastic-Pussy-Chicks), Psycho (grunge by Boris Kahl), Wald Ast (tree branch look by Sandra Augstein), Wald Blatt (tree leaf look by Tanja Rastätter), Rollerblind (a pair of dot matrix typefaces by Boris Kahl), Chaucer (uncial by Boris Kahl), Glossy (dot matrix typeface by Sandra Hofacker), Brüll (a funny frog dingbat typeface by Andre Rösler), Pax (a free peace symbol typeface by Heidrun Weißschädel and Alexander Kassel), Mud (free typeface by Boris Kahl). And these display typefaces by Florian Gärtner: Republic, Tacora. And finally the Fone 1 through 3 grunge typefaces by Florian Gärtner. The typefaces of Lars Harmsen (or codesigned by him) at Volcano:
Author of Heritage of Borders, The Type Collection of Wendell Krieg (Borderland, Evanston, IL, 1976). This 400-page book has thousands of borders, ornaments, corners, embellishments, combination borders, frames, and grounds. [Google] [More] ⦿
Chicago, IL-based graphic designer who is design director at Firebelly Design. He is working on a Bulmer/Bell/Caledonia-style typeface, which is discussed here in 2006. With Darren McPherson, he created the structural experimental typeface Skky (2011). Other type projects: Traverse (sans), Loquacia (headline face), Duco (3d origami-like creation), Klink (fat, geometric, and counterless).
American designer, letterer, author and type designer (1878-1955) who was associated with ATF. In Chicago, he and Frederic Goudy started the private Village Press in 1903, which was a popular meeting place for typophiles, including Cooper and Dwiggins. Bio by Eason&Rookledge.
Will Ryan Foundry
Graphic design major (b. 1991, Palos Hills, IL) at the University of Illinois at Urbana-Champaign. In 2012 he set up the Will Ryan Foundry in Chicago.
Martinsville, Ohio-born illustrator, calligrapher, typographer, book designer, author, type designer and puppeteer, 1880-1956 (Hingham, MA). Pic (1955). All his typefaces were designed for the Mergenthaler Linotype Company, where he worked for 27 years. He also was Acting Director of the Harvard University Press, 1917-1918. In 1919, he founded the Society of Calligraphers, Boston, and was in fact an accomplished calligrapher, who drew many ornaments and designed many jackets. Dwiggins studied lettering under Goudy in Chicago while a student at Frank Holme's School of Illustration. When Goudy moved to Hingham, Dwiggins followed and was to work there for the rest of his life. As a puppeteer, he often used the pseudonym Dr. Hermann Puterschein. Bio by Nicholas Fabian. Flickr picture group for Dwiggins. Among his writings, I cite
Matt Desmond created Dwiggins Deco in 2009 and writes: This typeface was originally designed in 1930 by W.A. Dwiggins as the cover for the book "American Alphabets" by Paul Hollister. Only the 26 letters of the alphabet were included on the cover, so the rest of the numbers, punctuation, symbols, and accented characters have been crafted in a matching [art deco] style. A free version called Dwiggins Initials KK was designed in 2012 by John Wollring.
Punchcutter, b. 1851, Southgate, UK. Picture. In 1865, he went to Flinsch in Frankfurt to study punchcutting with William Kirkwood. Then he left for Chicago, and became American. His later work was done while he lived in Bayonne, New Jersey. His typefaces, often quite ornamental and/or Victorian, were all done at Marder, Luse & Co, except Adtype (+Italic) (1903, ATF), Lithograph Shaded (1914, ATF, with Morris Fuller Benton), an unnamed typeface patented by ATF in 1916, and Alfereta (ca. 1897, Crescent Type Foundry). Google patent link. The Marder, Luse typefaces by date:
Defunct foundry in Hillside, IL, which was a competitor of Letraset. They used dry transfer sheets for lettering. Some fonts were created by them, including. For example, Chic was created by lettering artist and calligrapher Gerald Moscato. [Google] [More] ⦿