TYPE DESIGN INFORMATION PAGE last updated on Thu Oct 30 13:29:39 EDT 2014

SEARCH THIS SITE:
IMAGE SEARCH:


Type scene in Maryland



[Headline set in Quanta East (2005, Patrick Griffin)]

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
Up to main font page
Up to main font index page



SWITCH TO INDEX FILE


A.J. Williamson

A.J. Williamson, graphic designer in Greenbelt, MD, created the sans typeface family Mear in 2013. [Google] [More]  ⦿

Alex Jacque

Alex Jacque (b. 1986, Virginia) is a designer and developer based in Baltimore, MD. He studied at the University of Michigan School of Art&Design and was locatedat that time in Ann Arbour, MI.

Creator of Teip (2014, a multiline layerable all caps typeface), Pila (2014, techno stencil), Handu (2012, hand-drawn sans-serif inspired by the hand-painted type and signage on the streets of Kolkata, India), Atrium (2012, a squarish sans family based on the pen art of W.E. Dennis), Saugatuck (2011, grunge) and Sello (2011, a unicase hand-drawn, geometric sans-serif with a touch of retro).

Behance link. Klingspor link. MyFonts foundry link. Home page. [Google] [MyFonts] [More]  ⦿

Alexander Beigel

Graphic designer in Baltimore, MD, who created the display typeface Dagger (2012). [Google] [More]  ⦿

Allison Mowry

American type, web, and brand designer in Baltimore, MD. She combined Adobe Caslon and Gill Sans to make a blended experimental typeface in 2010. View her typographic study of Gill Sans. [Google] [More]  ⦿

Andy Lee

During his architecture studies at Washington University in St. Louis, MO, Potomac, MD-based Andy Lee designed the display typeface Rhino (2013). Behance link. [Google] [More]  ⦿

Andy Mangold

Born and raised in West Chester, PA, near Philadelphia, he is a student at the Maryland Institute College of Art. Aka Cocoi Anouk.

In 2010, he created the gorgeous ultra-fat didone watch number set called Pompadour (free). It has already been used tens of times, including in this poster by Jay Schaul (2011). Pompadour can be downloaded/bought at Lost Type Coop.

Fontspace link. [Google] [More]  ⦿

AnhHee Strain

Graphic designer in Baltimore. In 2010, he made Deconstruct, a Bauhaus style font family. Behance link. Logo. [Google] [More]  ⦿

Anna Genova

During her studies at SCAD, Anna Genova (Chevy Chase, MD) created the vintage text typeface Eleonora (2014). [Google] [More]  ⦿

Auras Design
[Rob Sugar]

Silver Spring, MD-based makers of the billboard typeface Au Dorsey (1990) and of Au Bauer Text Initials (1990, a Trajan typeface after F.H.E. Schneidler's Schneidler Initialen, Bauersche Giesserei, 1937).

The company's blurb: Robert Sugar is the president and creative director of Auras Design. A graduate of American University, he taught publication design there for nine years. Early positions working with printers and typesetters gave him an expanded perspective on the designer's role in producing print publications. Typography and prepress skills helped Auras become a pioneer in electronic design and prepress. He committed the studio completely to digital design by 1992, and has constantly expanded the technology, skills and capabilities of the studio. [Google] [More]  ⦿

Austin Roesberg

Graphic designer who grep up in sewell, NJ, and graduated in 2007 from the Maryland Institute College of Art (MICA), Baltimore, MD. He lives in Brooklyn, NY. He created the modular typeface Knucklepuck (2009). Noupe link where one can download an EPS version of this font. Behance link. [Google] [More]  ⦿

Baltimore Type Foundry (or: Baltotype)

Also known as Fielding Lucas, Jr., Lucas Bros., H.L. Pelouze&Son, and Chas. J. Cary&Co. Specimen may be found in Convenient Specimen Book of Type, Rules, Borders, and Electrotype Cuts from the Baltimore Type Foundry (Baltimore: Chas. J. Cary&Co., 1888. Banta Book of Types&Typographical Tips. Menasha: George Banta, 1961). The company existed until well into the 20th century, and published a catalog as late as 1957 called Type and Rule Catalogue 13, Baltotype.

A selected list of typefaces:

  • Airport Gothic: Turista Gorda NF (2009, Nick Curtis) is based on Baltimore Type Foundry's Airport Tourist which in turn used ideas from Renner's 1932 typeface Futura Display. Mc McGrew on Airport Gothic: Most of this series is the first American copy of Futura, which originated in Germany in 1927, designed by Paul Renner for Bauer. One source says it was cut from original Futura drawings, smuggled out of that country, but it seems more likely that matrices were made by electrotyping the imported type. An extrabold weight, Airport Black, was cut by Baltimore about 1943; information on this cutting is scarce and contradictory- one account says it was designed by Bill Stremic or Bill Blakefield, another that it was designed by Carl Hupie (or Hooper), and cut by Herman Schnoor. There is also Airport Black Condensed Title and Airport Broad. The latter is a modification of Airport Black, cut 50 percent wider on the pantagraph by Herman Schnoor. Baltimore later cast some of its Airport series from Monotype Twentieth Century matrices, and in a few cases listed both series. Airport Relief, Baltimore 299, is English Monotype Gill Sans Cameo Ruled, while Airport Tourist, Baltimore 602, is Futura Display, cast from electrotype mats of the German foundry type.
  • Baltimore Script (1955). Mac McGrew: Baltimore Script is a fancy style designed by Tommy Thompson and cut by George Battee for Baltimore Type in 1955. The lowercase follows the general style of a script letter hand-written with a broad pen, although the inclination is slight and the letters don't quite connect. Capitals are flourished. It is suitable for stationery, announcements, and greeting cards, but its range of small sizes is hardly enough for advertising use.
  • Mac McGrew: Czarin and Czarin Title were produced by Baltimore Type&Composition Corporation about 1948, the name being derived from the Czarnowski family which owned the foundry. Czarin Title, issued first, is a copy of Offenbach Medium, a set of pen-drawn capitals designed by Rudolf Koch about 1935 for the Klingspor foundry in Germany. Czarin has minor changes in a few characters, but adds a lowercase, designed by Edwin W. Shaar, that is substantially different from that of Steel, the cap-and-lowercase version of Offenbach. The new lowercase harmonizes well with the capitals, and makes a handsome appearance. Compare Lydian.
  • Mac McGrew: Elegante is a decorative, nearly monotone typeface cut by George Battee for Baltimore Type, after the German typeface Sensation of 1913, from Foundry Heinrich Hoffmeister. It is upright, with flourished caps and loops on some of the ascenders and descenders, and is suitable particularly for announcements and personal stationery. Compare Greeting Monotone.
  • Mac McGrew: Emperor is a 1957 adaptation by Baltimore Type of Wide Latin which was cut by Stephenson Blake in England and related to nineteenth-century faces under other names. However, this Baltimore Type version has been modified and resized, and is less successful due to excess space between letters (although not as much as in the specimen shown here, which is letterspaced). Emperor was originally shown as Imperial.
  • Their geometric series from 1884 became famous, and was often imitated. HiH created two font families based on it: Teutonia (2007) and Baltimore Geometric (2008). HiH writes: Roos&Junge of Offenbach am Main in Germany produced Teutonia in a "back-to-basics" effort that has seen many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923 Joost Schmidt at Bauhaus in Weimar took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. Even though none of these designs took the world by storm, they all made a contribution to our understanding of letterforms and how we use them.
  • Mac McGrew: Greco Bold and Italic are Spanish faces of the mid-1920s. They are very heavy, with long ascenders and small x-height, and have a hand-lettered appearance. Linotype Vulcan (q.v.) is equivalent. National Matrix&Type Co. in Baltimore, one of several independent companies which made matrices for the popular casting machines, offered Greco Bold in 1929 as its series 100; this was the source of Baltimore Type's mats, but Baltimore and some other sources cast Greco Bold and Italic as series 326-3261. These numbers have not been found in Monotype literature; perhaps another independent source also made mats. Notice the figures, which are termed hanging or old style, although they do not follow the usual form. However, taller 1, 2, and 0 are also available to convert the set to lining figurees. Compare Hess Monoblack. Greco Adornado, an ornamented version, has also been imported.
  • Mac McGrew: Homewood is a recutting by Baltimore Type of Metropolis Lined, a German typeface of the 1930s. It was made from a large size of Metropolis Bold, with the fine white lines cut in, and differs from the original in minor details of the curves. Other sizes were cut by pantagraph and do not necessarily match original sizes.
  • IBM Executive Modern, a typewriter type.
  • Mac McGrew: Mademoiselle was designed by Tommy Thompson in 1953 as a display typeface for Mademoiselle magazine. It was cut by Herman Schnoor at Baltimore Type, which also offered fonts for general sale. It is a delicate, narrow modern roman, with long ascenders and short descenders, rather loosely fitted, and works well for display with transitional text faces such as Bulmer and Scotch Roman. Both lining and oldstyle figures are provided, along with several pointing hands as shown.
  • Tourist Extra Condensed. Turista Flaca NF (2009, Nick Curtis) is based on Tourist Extra Condensed. McGrew: Tourist Extra Condensed of Baltimore Type is a copy of Phenix (q.v.) in 24- to 48-point sizes, and is Jefferson Gothic (q.v.) in larger sizes. Phenix is a 1935 ATF typeface by Morris Fuller Benton.
  • Mac McGrew: Trend is a brush-lettered typeface cut by Baltimore in 1953. It is very similar to Dom Casual (q.v.), but has a slight back slant.
  • Mac McGrew: Trylon as made by Baltimore Type was a 1949 copy of Stephenson Blake's Playbill (see Imports in Appendix), but Trylon Shaded and Trylon Shaded Oblique were designed and cut by George Battee of the Baltimore foundry. The solid version has lowercase in some sizes; it is somewhat similar to P. T. Barnum, with greatly exaggerated horizontal strokes and serifs at top and bottom, but is heavier and narrower. The Shaded versions are more properly outlines of the same design, with a small shadow effect at the top (which is unusual) and right of each letter, but without lowercase.
  • Mac McGrew: Vernen is essentially a copy of Huxley Vertical (q.v.), but omitting the round characters AKMNWY and using the alternate pointed characters instead. In addition, the slight extensions of cross strokes to the left of stems have been omitted, and a few other characters have been redrawn. It was offered by Baltimore in 1953.
  • Mc McGrew: Vista is a very wide square-serif face, cut by Baltimore Type in 1956. It is said to be a pantagraphic modification of Hellenic Wide from Bauer in Germany; actually it does not match that typeface in details, though it has the same general effect.
  • Mac McGrew: Wide Line Gothic is a creation of Herman Schnoor for Baltimore Type, modified by pantagraph from Philadelphia Lining Gothic, increasing the width by about 50 percent. The flat sides of round letters. acceptable in the moderately condensed original, make awkward shapes in this extended version. Compare Franklin Gothic Wide, Tempo Black Extended.
  • Among the wood types, we have Oak Leaf (1832, ornamental caps).

Rich Hopkins, a printing historian, acquired Baltotype ca. 1993. Based on drawings from the 1950s in the Baltotype material, Miranda Roth at P22 designed LTC Athena, a narrow art deco typeface, in 2013. [Google] [More]  ⦿

Baltimore&Ohio Railroad Historical Society
[Jack Aaron Rodriguez]

Jack Aaron Rodriguez made a font called Baltimore&Ohio R.R. Co. Loco.&Pass. Equipt. Cars Lettering (2004) for the Baltimore&Ohio Railroad Historical Society. Jack lives in Riverdale, MD. Kenneth Van Mechelen made B&OStation (2005), B&OLoco (2005), EMD (2006), and B&OX (2005). [Google] [More]  ⦿

Bay Fonts (or: Bay Soft, or: Bay Animation, Inc.)
[Charles Biddle]

BaySoft or BayFonts (was: Bay Animation Inc) is a font vendor from Annapolis, MD. Charles Biddle established Bay Animation Inc there in 1994. They claim to have 8000 fonts, but clearly, these are mostly renamed fonts. I can not believe that they till operate. Interestingly, according to Ulrich Stiehl, Charles Biddle built up his collection with the help of Hans Fremuth, who had a similar collection marketed in Germany, called Profi-Schriften Business (Kelly Media). Still according to Stiehl, the majority of the Bay Animation fonts are doctored copies of Bitstream fonts (which in turn were knock-offs of Linotype fonts). The italics are merely awful computer-generated slants of romans, and thus, the collection is sub-par. [Google] [More]  ⦿

Brian E. Young

American painter (b. 1983) based in Beltsville, MD. Designer of Mage Scribble (2006, handwriting). [Google] [More]  ⦿

Brian Lins

Arbutus, MD-based graphic designer who created these fonts in 2011: Almost Dead (squarish), Am I Purdy?, The Biscuit Man, Scabble Babble (hand-printed), and Bubbly Boop. [Google] [More]  ⦿

Brigit Gilbert

Brigit Gilbert (Bethesda, MD) created the elegant display typeface Gumshoe (2012), which has very long ascenders. [Google] [More]  ⦿

Bruce Willen

2002 graduate from the Maryland Institute College of Art, Baltimore. Rumored to be working on a typeface called Composite. Author of Lettering&Type: Creating Letters and Designing Typefaces (2009, with Nolen Strals). See also here. [Google] [More]  ⦿

Capsule: Typeface Design
[Matthew Antonio Chiavelli]

Matthew Chiavelli was born in Maryland in 1973. He is a web designer but has occasionally created typefaces, such as Gerrit, Ultura (1996, based on Herbert Bayer's Universal) and Can-d (1996). Lunokhod is to come soon. Fonts sold through Fountain. [Google] [MyFonts] [More]  ⦿

Cara Clinton

During her studies in Baltimore, MD, Cara Clinton designed the typeface Finding 57 (2013). [Google] [More]  ⦿

Carlos Vigil

Baltimore-based designer of Rubix (2008), a font based on Rubik's cube. No downloads. [Google] [More]  ⦿

Chalices

From the Unitarian Universalist Church of Silver Spring, MD, a wonderful religious symbol truetype font: Chalices---1. [Google] [More]  ⦿

Charles Biddle
[Bay Fonts (or: Bay Soft, or: Bay Animation, Inc.)]

[More]  ⦿

Chris Perrone

Baltimore-based designer of the futuristic sans typeface Cognac (2003). [Google] [More]  ⦿

Christie Liberatore

American graphic designer from Baltimore, MD, who studied in SVA;'s Masters program in Rome in 2012. Roman signage inspired her in the creation of four alphabets in 2012: Sermoneta (Victorian), Giolitti (Victorian), Credito Italiano (Victorian), and Deccio (avant-garde).

Behance link. [Google] [More]  ⦿

Christopher Sieradzan

Graphic designer in Baltimore, who created a multicolored geometric experimental alphabet in 2013 called CMY Alphabet. [Google] [More]  ⦿

Colin M. Ford

Graphic and web designer in Baltimore, MD, and a graduate of the Maryland Institute College of Art. Baltimore Block Lettering (2010) is a blocky stencil alphabet inspired by the roughness of Baltimore City, with Cyrillic counterparts. Created for a class taught by Ken Barber&Ben Kiel of House Industries. He has also created Emford Sans and Globe Gothic, and intends to go commercial with his typefaces. In 2011, he graduated with a Masters in type design from KABK. At KABK, he designed Civilian (2011) specifically for use on blogs: The design takes into account the pixel grid of the screen while incorporating soft, personable curves to underline the significance of the person behind the website. [Google] [More]  ⦿

Cubanica Fonts
[Pablo A. Medina]

Pablo A. Medina designs all fonts at Cubanica Fonts in New York. He is a Communication Design professor at Parsons the New School for Design and lives in the East Village of New York City. He has also taught at Maryland Institute College of Art. MyFonts page.

Cubanica fonts: Medina Gothic (2005, a clean sans family), Diablitos (2011), Calaveras (2011), Sailor Gothic (2003), Imbalance (2002, an experimental sans), North Bergen (1996, a vernacular sans), Cuba (1996, 3d signage typeface based on a sign for the restaurant La Flor de Cuba on Bergenline Avenue in Union City, New Jersey), Vitrina (1996, connected lettering signage face), 1st Avenue, Sombra, 24hrs, Union Square (a bold stitching font), Calaveras (2011, based on a signage style in Buenos Aires called Fileteado), and Marquee. At Plazm, he made First Avenue (Plazm, 2000, based on an old metal neon sign) and Vitrina.

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

Dai Foldes

Painter turned type designer. Creator of Velocipede Stencil (2011), an art deco typeface made for a bike shop in Baltimore. At Lost Type Coop, he published the humanist remaissance italic typeface Pigeon (2011) and the calligraphic script Cylburn (Lost Type): Cylburn is a semi-connected script, structurally based on Roundhand but written with a pointed brush and restrained tension that separate it from its traditional roots.

In 2014, he created the commercial typeface Globe Script. [Google] [MyFonts] [More]  ⦿

Dan Mitro
[Dan Mitro's Free Fonts]

[More]  ⦿

Dan Mitro's Free Fonts
[Dan Mitro]

As a student at Goucher College near Baltimore, Dan Mitro made two free handwriting fonts, Nreh (1998) and Iglook (1998). Dan now works as a digital imaging specialist at an internet marketing firm in Cleveland. [Google] [More]  ⦿

Daniel Civetta

Graphic designer in Bethesda, MD, who created the display typeface Trattoria (2013). [Google] [More]  ⦿

Danielle Baer

Graphic designer in Germantown, MD. Her typeface Baer (2013) was influenced by Bauhaus and Neutraface. [Google] [More]  ⦿

David Brinsfield

While studying at the University of Maryland in Baltimore, Glen Burnie, MD-based David Brinsfield created the display family Brinsphere (2011). [Google] [More]  ⦿

David Bubbins

Joppa, MD-based digital imaging specialist, who created the experimental typeface Stenco (2012). [Google] [More]  ⦿

David Dale

David Dale (Baltimore, MD) created the experimental minimalist typeface Disorient in 2014. [Google] [More]  ⦿

David Lam

David Lam (Baltimore, MD) created the dot matrix typeface Dynobit Round in 2014 under the guidance of Tal Leming at Maryland Institute College of Art. Behance link. [Google] [More]  ⦿

David S

Rockland, MD-based designer of Scratch Garamond (2007, grunge). [Google] [More]  ⦿

David Zobel

Baltimore, MD-based senior creative director at High5design. He drew some illustrated caps alphabets in 2012 such as Crazy World Alphabet, and Gothic Inspired Type (more a painting than a set of letters).

Behance link. [Google] [More]  ⦿

Dawn Sutton

During her studies at Savannah College of Art and Design, Dawn Sutton (b. Damascus, MD) created the plumpish typeface Blobfish (2014). [Google] [More]  ⦿

Dylan Smith

Designer of fonts at Garagefonts such as Kienan and District (with Kienan Smith). The Smiths are from Maryland.

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

Edward A. Leach
[Zachary Font Page]

[More]  ⦿

Edward Craige Pelouze

Typefounder, son of Henry Lafayette Pelouze, Edward Dalton worked at the Henry L. Pelouze&Son Foundry in Baltimore as a junior partner with his father. That foundry was sold to ATF in 1901, but Edward Craige contrinued to work in the business as a manager until 1927. [Google] [More]  ⦿

Ellen Lupton

Ellen Lupton is a writer, curator, and graphic designer. She is director of the MFA program in graphic design at Maryland Institute College of Art (MICA) in Baltimore. She also is curator of contemporary design at Cooper-Hewitt National Design Museum in New York City.

Author of Thinking with Type (Princeton Architectural Press, 2004). Visit also the interesting Thinking with type web page, which features a fun section on "crimes against typography", notes on type classification, a course outline, and tons of other educational material. See also here and here. Ellen Lupton was the keynote speaker at AypI2006 in Lisbon. In that talk, summarized here, Ellen Lupton discusses the benefits of truly free fonts (Perhaps the free font movement will continue to grow slowly, along the lines in which it is already taking shape: in the service of creating typefaces that sustain and encourage both the diversity and connectedness of humankind.) and provides key examples: Gaultney's Gentium, Poll's Linux Libertine, Peterlin's Freefont, Bitstream's Titus Cyberbit, and Jim Lyles' Vera family. She is the editor of D.I.Y.: Design It Yourself (2006).

In 2007, she received the AIGA Gold Medal. Her introduction to the major typefaces. Speaker at ATypI 2010 in Dublin. [Google] [More]  ⦿

Eloïse Parrack

Éloïse Parrack was born in 1977 in Bethesda, MD, Parrack graduated in 2006 from the University of Brighton, UK. She still lives in the UK. Since 2007, she co-manages Defalign with David Millhouse. Raeling (2010, Volcano Type) is a curvy light inline face.

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

Elyse Exposito

Graphic design student at UMBC. Annapolis, MD-based graphic designer, who created Bitsy (2012) by marrying Georgia with American Typewriter. [Google] [More]  ⦿

Emily Karsh

Student at York College in Pennsylvania, class of 2013. At FontStruct, Emily karsh (Baltimore, MD) created the modular display typefaces Quip (2013) and Quob (2013). [Google] [More]  ⦿

Emily Lopez

During her studies in Silver Spring, MD, Emily Lopez created the informal sans typeface Keen Thin (2014). [Google] [More]  ⦿

Epic Delusion

Two graphic design brothers in Baltimore, MD, b. 1983. Creators of the free alphading typeface Whiskey Bottle (2012), the graffiti typeface Freight Train Gangsta (2012), Upon The Overgrowth (2012), Last Years Youth (2012, grunge), So Long My Dear (2012), Venue on the beach (2012, grungy), Slumlord Eviction (2012, grungy) and Advent Psychosis (2012).

Production in 2013: Slightly Intoxicated, Think Me Wicked, Say Divine, Riot Glass, Broken Soul, I Love Disaster, Insolent Bastards (grunge).

Dafont link. [Google] [More]  ⦿

Eric Mortensen

Eric R. Mortensen is a graphic designer who is currently an MFA candidate at Maryland Institute College of Art in Baltimore, and a design intern at NASA, Goddard Space Flight Center, in Greenbelt, MD. Saturn V (2011, Lost Type) is a lower-case, space-aged slab-serif typeface conceived during a workshop with Tal Lemming of TypeSupply.com. [Google] [More]  ⦿

Erica Frendach

FontStructor in Dunkirk, MD, whop created the ixelish typeface Pamela Sue (2012). [Google] [More]  ⦿

Erika Ronning

Catonsville, MD-based designer of the display typeface Valor (2014). [Google] [More]  ⦿

Evolution of Alphabets

At the University of Maryland, Professor Robert Fradkin's page on the origins of the alphabet. Great applets. [Google] [More]  ⦿

Faryal Khalid

Baltimore-based designer of the typeface Nonsense (2012). [Google] [More]  ⦿

Finale Jazz font
[Richard Sigler]

Nice fonts such as Jazz, JazzText, JazzCord and JazzPerc, designed by Richard Sigler from Bowie, MD. "JazzFont is a collection of fonts for use with computer notation software, such as Finale, and is designed to look like hand-written manuscript. It's a great alternative to music fonts that look too computerized." Here you can find JazzCord-Regular, Jazz-Regular, JazzText-Regular (free). [Google] [More]  ⦿

Fumi Omori

Graphic designer in Los Angeles and/or Baltimore (where Fumi is studying at the Maryland Institute College of Art (MICA) in 2014) who made a typographic goldfish poster for TDC59 in 2013. Behance link. [Google] [More]  ⦿

Gabriel Vargas

Silver Spring, MD-based creator of 8 Bit Font (2014), Blackguard (2014) and Spellcast (2010). [Google] [More]  ⦿

GalloFonts (was: Graphics by Gallo)
[Gerald Gallo]

GalloFonts is part of Graphics by Gallo, founded in 1974 by Gerald Gallo (b. Lucernemines, PA, 1941), and based in Bethesda, MD. The fonts: Pristine Light (2014: caps only squarish sans family), Display Pump (2014), Display University (2005, athletic lettering), Angulatte Light, Angulatte Medium, Angulatte Bold, Anniversary Seals (2003), Basic Bullets, Blooming Ornaments (2008), Brashee Regular, Brashee Bold, Calendar Font One, Calendar Font Two, Calendar Font Three, Carved Initials, Chiseled Initials, Cleancut, Dexterous (2010, art nouveau), Diamond Monogram - 2 Characters, Diamond Monogram - 3 Characters, Display Black Serif (2010, angular), Display Dots Five (2010), Display Dots Six (2010), Display Grungy (2010), Display Robust (2010), Dooddle, Embossed Shallow, Embossed Medium, Embossed Deep, GG Casual Light (2002, was Gallo Casula: hand printing family), GG Casual Medium, GG Casual Bold, GG Dingbats (was Gallo Dingbats, like Zapf Dingbats), GG Serif (1993, was Gallo Serif), Geometric Arrows, Geometric Ornaments, Gnarlee, Greetings, Home Sweet Home, Isometric Initial Caps - Bird's Eye View (1994), Isometric Initial Caps - Worm's Eye View, Isometric Ornaments, Jackolantern Assortment (2002) Just Bugs, Kruede Light, Kruede Regular (handwriting), Kruede Bold, Leaf Assortment (1994), Leaves Falling, Logotype, Magnificent Ornaments (2006, Victorian era decorations), Make Tracks (2002, animal footprints), Number Ornaments, Numbers 0-99 Style One - Circle Negative, Numbers 0-99 Style One - Circle Positive, Numbers 0-99 Style One - Diamond Negative, Numbers 0-99 Style One - Diamond Positive, Numbers 0-99 Style One - Square Negative, Numbers 0-99 Style One - Square Positive, Numbers 0-99 Style Two - Circle Negative, Numbers 0-99 Style Two - Circle Positive, Numbers 0-99 Style Two - Diamond Negative, Numbers 0-99 Style Two - Diamond Positive, Numbers 0-99 Style Two - Square Negative, Numbers 0-99 Style Two - Square Positive, Numbers 0-99 Style Three - Circle Negative, Numbers 0-99 Style Three - Circle Positive, Numbers 0-99 Style Three - Diamond Negative, Numbers 0-99 Style Three - Diamond Positive, Numbers 0-99 Style Three - Square Negative, Numbers 0-99 Style Three - Square Positive, Ornate Initials - Style One (2002), Ornate Initials - Style Two, Ornate Initials - Style Three, Pleasant Hand Light (2002) Pleasant Hand Medium, Pleasant Hand Bold, Precision, Rolling Ball Cursive, Serene (1993), Slender, Smiling Faces, Snowflake Assortment (1994), Snowflakes Falling (2001), Sport Numbers, Star Assortment (2002), Stature (2010, compressed sans), Swiss Folk Ornaments - Critters&Things, Swiss Folk Ornaments - Floral, Swiss Folk Ornaments - Geometric, Time Clocks, Woozee, Display Prominent (2005), Ultimate Ornaments (2005), Cross Ornaments (2005), Heraldic Creatures (2006), Victorian Leaf Ornaments (2006: great!), Quilt Patterns One (2007), Holy Ornaments (2007), Oriental Ornaments (2007), Gothic Initials One through Six (2007-2008), Interlaced Ornaments (2007), Modest Ornaments (2008), Art Nouveau Flowers (2008), Art Nouveau Ornaments (2008), Quilt Patterns Two (2008), Display Gothic (2008, blackletter), Plant Assortment (2008), Birds Flying (2009), Happy Go Lucky (2009, Victorian), Fish Fresh (2009), Display Dots One (2009, dot matrix face), Display Art Two and Three (2009, art nouveau alphabets), Display Dots Two Serif and Sans (2009, dot matrix faces), Display Dots Three Serif and Sans (2009), Display Dots Four Serif and Sans (2009), Display Robust (2010), Quilt Patterns Three and Four (both 2009), Gothic Initials (Seven, Eight, Nine: 2009), Carefreed (2009, a Halloween script?), Glorita (2009, casual condensed sans), Fancy Flowers (2010), Rectilinear Ornaments (2010), Display Brutal (2010, grunge), Cross Stitch Graceful (2010), Cross Stitch Regal (2011), Cross Stitch Formal (2010), Cross Stitch Discreet (2010), Cross Stitch Classic (2010), Display Dots Seven (2011), Cross Stitch Majestic (2011), Cross Stitch Elaborate (2011), Cross Stitch Medieval (2011), Cross Stitch Ornaments (2013), Display Squares One and Two (2011, gridded or dot matrix faces), Display Digits One through Seven (2011), Display Crisp (2012, octagonal), Blue on Blue (2012, shadow face), Green on Green (2012, 3d shadow face), White on White (2012), Orange on Orange (2012, a 3d shadow face), Victorian Ornaments (2012), Printers Plant Ornaments (2012, a floral typeface), Simple Ornaments, Numbers Style Three Diamond Positiv Regular (2012), Charisma (2013, inspired by the hand lettering used by draftsmen and architects), Display Explicit (2013), Display Uncanny (2013, unicase), Display Carlos (2013, a piano key typeface), Mighty Oaks (2013, stylized oak leaves), Sweet Hand.

Klingspor link.

View Gerald Gallo's typefaces. [Google] [MyFonts] [More]  ⦿

Garage Fonts

Garagefonts (was Del Mar, CA, and is now in Sandy Spring, MD) was created in 1993 as a means to distribute the experimental fonts used in Ray Gun magazine (David Carson). The founders were Betsy Kopshina (Del Mar, CA) and Norbert Schulz. Review by Chris Macgregor. Garage Fonts was recently bought by Ralph Smith (PhilsFonts), who is located in Maryland (hence the move). Their main type family today is Freight by Joshua Darden. MyFonts catalog. Catalog of GarageFonts' best selling typefaces. [Google] [MyFonts] [More]  ⦿

George Battee

Engraving department head at Baltimore Type, who designed Athena and Trylon Shaded.

Mac McGrew: Athena is a very narrow, light roman typeface with unusually tapered vertical strokes, designed and cut by George Battee of Baltimore Type about 1955. It is a distinctive novelty, useful for a limited amount of delicate display.

Athena was digitally revived and expanded by Miranda Roth as LTC Athena (2013, P22/Lanston). [Google] [More]  ⦿

Gerald Gallo
[GalloFonts (was: Graphics by Gallo)]

[MyFonts] [More]  ⦿

Hanna Jakobs

During her graphic design studies at the Maryland Institute College of Art in Baltimore, Hanna Jakobs created the De Stijl typeface Blockie (2012). [Google] [More]  ⦿

Henry L. Pelouze Foundry (or: Richmond Type Foundry)
[Henry Lafayette Pelouze]

Richmond-based foundry, also called Henry L. Pelouze. It was established in 1859 by Henry Lafayette Pelouze (b. 1831). Later it was renamed the Henry L. Pelouze&Son Foundry in Baltimore when his son Edward Craige Pelouze joined as a junior partner. The latter foundry was sold to ATF in 1901. Henry Lafayette Pelouze (b. 1831) started out in New York City at Walker&Pelouze (1855). That company was sold to Walker&tuthill, which then became Walker&Bresnan, and then P.H. Bresnan Type Foundry. He bought the Lucas Foundry in 1880. [Google] [More]  ⦿

Henry Lafayette Pelouze
[Henry L. Pelouze Foundry (or: Richmond Type Foundry)]

[More]  ⦿

Herman Schnoor

Type cutter who was active at Baltimore Type. Mac McGrew writes about Mademoiselle: Mademoiselle was designed by Tommy Thompson in 1953 as a display typeface for Mademoiselle magazine. It was cut by Herman Schnoor at Baltimore Type, which also offered fonts for general sale. It is a delicate, narrow modern roman, with long ascenders and short descenders, rather loosely fitted, and works well for display with transitional text faces such as Bulmer and Scotch Roman. [Google] [More]  ⦿

Hesuh Park

Baltimore, MD-based creator of Annown (2014), an alchemic sans typeface inspired by Jeffrey Dochery's Electric Wire Hustle poster. This typeface was developed while she was studying at the Maryland Institute College of Art. Behance link. [Google] [More]  ⦿

Jack Aaron Rodriguez
[Baltimore&Ohio Railroad Historical Society]

[More]  ⦿

Jack Darlington

Baltimore, MD-based designer of the circle-inspired typeface Curveum (2014), which was created during his studies at Stevenson University. [Google] [More]  ⦿

Jacob Poindexter

Digital artist in Linthicum, MD, who created the sci-fi typeface Cosmos (2013). [Google] [More]  ⦿

Jeff Levine
[Stenso Lettering Company]

[More]  ⦿

Jennifer Wingerberg

Silver Spring, MD-based designer of Tetto (2013), a custom typeface created for a landscaping company. [Google] [More]  ⦿

Jermaine Bell

Graphic designer in Gambrills, MD, who created the stencil font Celabracion (2013). [Google] [More]  ⦿

Jessica Y. Wen

Taiwan-born and Baltimore, MD-based creator of Eggtart (2013), a lively script typeface family, which was designed during her studies at the Maryland Institute College of Art (MICA).

Behance family. [Google] [More]  ⦿

John E. Hanrahan

Type designer, b. 1859, Baltimore, MD. [Google] [More]  ⦿

John G. Mengel&Co.

Baltimore-based foundry, also called Monumental Type Foundry. [Google] [More]  ⦿

Jonathan Bruns

Art director from Silver Spring, MD, who created the futuristic typeface Epistrophy (2006). [Google] [More]  ⦿

Jonathan Upshur

Columbia, MD-based designer. During his studies at UMBC, Jontahan created a fat counterless modular typeface called Black Leaf (2013). [Google] [More]  ⦿

Josh Aspril

A student in Salisbury, MD, Josh Aspril created the tennis-themed Racquetype (2012). [Google] [More]  ⦿

Joshua Downey

York, PA-based designer of Blokus (2014, FontStruct) and Blackmar (2014, stencil typeface, FontStruct). This typeface was finished during his studies at York College of Pennsylvania. Joshua is originally from Manchester, MD. FontStruct link. [Google] [More]  ⦿

Julian Waters

Son of the famous calligrapher Shelley Waters who lives in Gaithersburg, MD. He taught at the Rochester Institute of Technology and the Corcoran School of Art. Adobe wrote: In 1997, renowned lettering artist Julian Waters embodied his classical calligraphic roman capitals in a breathtakingly graceful 2-axis multiple master typeface, aptly named Waters Titling, which was modeled after Roman monumental inscription forms. Images: Waters Titling, Waters Titling Pro Lt.

Bio. Alternate URL. Klingspor link. [Google] [MyFonts] [More]  ⦿

Kadeem Kirton

Kadeem Kirton (Baltimore, MD) designed the LED photo font LED in 2013. [Google] [More]  ⦿

Kat Aviles

During her studies in Baltimore, MD, Kat Aviles designed a decorative caps typeface called Quote (2013). [Google] [More]  ⦿

Ken Barber

Letterer and type director at House Industries. He also teaches experimental typography at the Maryland Institute's College of Art. His interests include the inter-disciplinary relationship between hand-lettering and type design.

His typefaces include Maddhouse (1994), Chalet (1996), Heads of the Household, Fink Bold (1996), Fink Brush (1996), Fink Casual (1996), Fink Condensed (1996), Fink Gothic (1996), Fink Heavy (1996), Fink Roman (1996), Fink Sans (1996). The Rat Fink series was made with Ed Roth. Part of the proceeds from each sale go to the estate of Ed "Big Daddy" Roth.

At ATypI 2004 in Prague, he spoke about "Imre Reiner: the alphabet as art".

Ken Barber and Tal Leming combined forces in 2008 on the signage script family Studio Lettering Swing (House). He digitized Ed Gothic and Ed Script, both originally designed by Ed Benguiat. These fonts won awards at the TDC2 2005 type competition.

Smidgen (2011: winner of an award at TDC 2012).

Studio Lettering Slant (2008) and Blaktur (2007) won awards at Letter2 in 2011.

He spoke at ATypI 2005 in Helsinki on Lettering, typography or somewhere in between.

At ATypI 2008 in St. Petersburg, his talk (shared with Tal Leming) was entitled Pac-Man fever, quantum mechanics and the design of digital type.

Typographic picture by TDC.

Ken Barber interview by T. Wilkins. [Google] [MyFonts] [More]  ⦿

Kienan Smith

Designer of fonts at Garagefonts such as Kienan and District (2002, with Dylan Smith). The Smiths are from Maryland. District Thin is free. In 2013, District Pro was published.

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

Kimberly Meistrell

During her graphic design studies in Baltimore, MD, Kimberly Meistrell designed the experimental typeface Intuition (2013). [Google] [More]  ⦿

Kristen

Davidsonville, MD-based designer of Chocolate Script (2006). [Google] [More]  ⦿

Kristie Carter-George

Graduate of The Art Institute of Washington with a BFA in Graphic Design. She created the curly typeface Ruth (2010). Kristie lives in Brentwood, MD. [Google] [More]  ⦿

Kurt Tesnau

A democrat from Baltimore, MD, Kurt Tesnau created the tattoo typeface Baltimore Goth (2011) and the hand-printed typeface Baltimore Comic (2012).

Twitter link. [Google] [More]  ⦿

LaBron Wilson

Baltimore, MD-based creator of the cut-out typeface Modularity (2014). [Google] [More]  ⦿

Laura Condouris
[Trial by Cupcakes]

[MyFonts] [More]  ⦿

Laura Rupprecht

Olney, MD-based designer of the experimental typeface Titanium (2014). [Google] [More]  ⦿

Lindsey Gemmill

Graduate of York College in York, PA, who lives in Cockeysville, MD. Creator of Beaux (2012), a curly monoline script face. [Google] [More]  ⦿

Lindsey Swink

Graphic design student at Salisbury University in Salisbury, MD. Designer of the teardrop script typeface Greek Yogurt (2012). [Google] [More]  ⦿

Luisa Empis

During her studies in Baltimore, MD, in 2013, Luisa Empis created the alchemic typeface Slowsand (2013). [Google] [More]  ⦿

Maria Aguila

During her studies in Gaithersburg, MD, Maria Aguila designed Chain Mail (2013), a photographic alphabet. [Google] [More]  ⦿

Maria Theron

Digital photographer and graphic designer in baltimore, MD. During her studies, she designed the typeface Arab Theron (2013). [Google] [More]  ⦿

Mark A. Wilson

Located in Eldersburg, MD, Mark A. Wilson designed PasswordMT (1998), a font entirely composed of asterisks. Can you believe that "Password" is a trademark of Computer Programming Unlimited, Eldersburg, MD? [Google] [More]  ⦿

Matthew Antonio Chiavelli
[Capsule: Typeface Design]

[MyFonts] [More]  ⦿

Matthew Carter

Matthew Carter (born in London in 1937, and son of Harry Carter) is one of today's most influential type designers. He trained as a punchcutter at Enschedé in 1956. In 1963 he was hired by Crosfield, a firm that pioneered the new technology of photo-typesetting, to lead their typographic program. He worked for Mergenthaler Linotype (1965-1981), and co-founded Bitstream Inc. with Mike Parker in 1981, adapting many fonts to digital technology. In January 1992, he founded Carter&Cone with Cherie Cone, and often collaborated with Font Bureau. In 1995, he won the Gold Prize at the annual Tokyo type Directors Club competition for Sophia. In 1997, he received the TDC Medal for significant contributions to the life, art, and craft of typography. In 2010, he received a MacArthur grant. He lives in Cambridge, MA.

John Berry on Carter's art (2002). Apostrophe comments on Berry's article. Interview. His fonts:

  • The Microsoft screen fonts Verdana (1996: [image by Offeibea Adu-Darko]), Georgia (1996), Georgia Greek, Georgia Cyrillic, Nina and Tahoma. Georgia (in roman and italic only) is a screen version of Miller, Carter's Scotch design. Nina was designed to address the requirements on smaller screens such as phones, and was used in Windows Mobile smartphones before Microsoft switched to Segoe. The Greek and Cyrillic versions of Nina were developed by François Villebrod. Georgia Pro (2010, Ascender) was developed from Georgia with the help of Steve Matteson. For Verdana Pro (2010, Ascender), Carter was assisted by David Berlow and David Jonathan Ross.
  • Apple's Skia (1993), a sans serif designed with David Berlow for Apple's QuickDraw GX technology, now called AAT. [Carter's Skia and Twombly's Lithos are genetically related.]
  • Monticello (2003), based on Linotype's Monticello (1950), which in turn goes back to Binny&Ronaldson's Monticello from 1797, a typeface commissioned by Princeton University Press for the Papers of Thomas Jefferson. It is in the Scotch roman style.
  • Miller (1997, Font Bureau), an extremely balanced family co-designed by Carter, Tobias Frere-Jones and Cyrus Highsmith. Carter explains: Miller is a Scotch Roman, a style that had its beginnings in the foundries of Alexander Wilson In Glasgow and William Miller in Edinburgh between about 1810 and 1820. It is considered that the punchcutter Richard Austin was responsible for the types of both Scottish foundries. Miller is a revival of the style, but is not based on any historical model. Now, there is also a 16-weight newspaper version, Miller Daily (2002), and an 8-weight Miller Headline (2002). This was followed by News Miller, a typeface designed for the Guardian. Note: Georgia (1996) is a screen version of Miller, and Monticello (2002) is a later modification. A comparison of these typefaces.
  • Alisal (1995, +Bold).
  • ITC Galliard (1978), a recreation of Robert Granjon's garalde letters. Note: Bringhurst recommends a Carter and Cone version of this font, called Galliard CC: it has old style figures and small caps. Further versions include Aldine 701 (Bitstream), Matthew (Softmaker), ITC Galliard Etext (2013, Carl Crossgrove, Linotype), and Gareth (Softmaker).
  • The ITC Charter family (1987 for Bitstream and known as Bitstream Charter; licensed to ITC in 1993; see the Elsner&Flake version of ITC Charter). An upgraded commercial version was released by Bitstream in 2004 under the name Charter BT Pro.
  • Vincent (1999), a font commissioned for use in Newsweek. It is named after Vincent Figgins, an English foundry owner and punch cutter who lived in the late 18th century.
  • Walker (1994), designed for The Walker Art Center.
  • Ionic Number One (1999, Carter&Cone).
  • Mantinia (1993, Font Bureau), based on inscriptional forms, both painted and engraved, by the Italian renaissance artist Andrea Mantegna.
  • Big Caslon (1994, Font Bureau), a display typeface based on the largest romans from William Caslon's foundry.
  • Big Figgins (1992) and Big Figgins Open (1998, based on types shown in the specimens of Vincent Figgins of 1815 and 1817). Big Figgins was called Elephant and Elephant Italic in Microsoft's Truetype Fontpack 2.
  • Sammy Roman (1996), loosely based on the 17th century romans of Jean Jannon. A beautiful typeface designed to accompany kanji and kana faces produced by Dynalab in Taiwan.
  • Sophia (1993, Font Bureau), a mix with Greek, uncial and classical Roman influences.
  • Shelley Script (1972), a family of formal scripts, split into Andante, Volante and Allegro. It is based on intricate English scripts of the 18th and 19th centuries attributed to George Shelley.
  • Cochin (1977, at Linotype). MyFonts writes: In 1913 Georges Peignot produced a typeface based on Nicolas Cochin's eighteenth century engravings. In 1977, Matthew Carter expanded this historic form into a three part series.
  • Bell Centennial (Bitstream, 1978), a legible family designed by Matthew Carter as a replacement of Bell Gothic at Mergenthaler. There is also a digital Linotype version.
  • Cascade Script (1965-1966, Linotype, now also known as Freehand 471 BT in the Bitstream collection). Paratype's extension of Freehand 471 to Cyrillic is by Oleg Karpinsky (2011).
  • New Century Schoolbook was designed from 1979-1981 in the New York Lettering office of Merganthaler Linotype based on Morris Fuller Benton's Century Schoolbook from 1915-1923. It was the second face, after New Baskerville, that was digitized and expanded using Ikarus (digital technology). The Bitstream version [Century Schoolbook] is a virtually exact copy, only being moved from a 54 unit to a 2000 or so unit design.
  • Auriol (Linotype), an art nouveau family (including Auriol Flowers 1 and 2 and Auriol Vignette Sylvie) based on the lettering of the painter and designer Georges Auriol. MyFonts explains: Auriol and Auriol Flowers were designed by Georges Auriol, born Jean Georges Huyot, in the early 20th century. Auriol was a French graphic artist whose work exemplified the art nouveau style of Paris in the late 19th and early 20th centuries. In 1900, Georges Peignot asked Auriol to design fonts for Peignot&Sons. The resulting Auriol font was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. It was re-released by Deberny&Peignot in 1979 with a new bold face, designed by Matthew Carter. These decorative fonts with a brush stroke look are well-suited to display settings. The Peignot drawing office insisted on a more normal appearance in the boldface, calling it Robur. Matthew Carter has returned to Auriol's original design for the whole series.
  • Helvetica Greek (Linotype).
  • Helvetica Compressed (Linotype, 1974, with Hans-Jörg Hunziker).
  • Wilson Greek (1995), compatible with Miller Text, and based on a type cut by Alexander Wilson for the Glasgow Homer of 1756. See here.
  • Olympian (1970, Linotype), designed for newspaper use. This is Dutch 811 in the Bitstream collection. The custom typeface Milne (Carter&Cone) done for the Philadelphia Inquirer is based on Olympian.
  • Gando, a French "ronde" typeface based on the work of Nicholas Gando (mid 1700s), and designed for photo-typesetting at Mergenthaler by Carter and Hans-Jörg Hunziker in 1970. Very similar to Bitsteam's Typo Upright.
  • Fenway (1998-1999, Carter&Cone), commissioned by Sports Illustrated to replace Times Roman.
  • Snell Roundhand (1965-1966): a connected cursive script based on the 18th-century round hand scripts from English writing masters such as Charles Snell. Early in the digital era, Matthew published this in the Bitstream collection as Roundhand BT. A Cyrillic version by Isabella Chaeva and Vladimir Yefimov was released by ParaType in 2013.
  • Auriga (1970). (Wallis dates this in 1965 at Linotype.)
  • CRT Gothic (1974).
  • Video (1977).
  • V&A Titling (1981).
  • Deface (in the FUSE 18 collection).
  • Madrid (2001), done for the Spanish newspaper El País.
  • Milne, done for the Philadelphia Inquirer (a revised version of Olympian). Not available.
  • Durham, a sans serif family for US News&World Report.
  • Airport.
  • Century 725 (Bitstream, for the Boston Globe: after a design by Heinrich Hoffmeister).
  • For Microsoft: Georgia, Verdana, Tahoma, Nina.
  • New Baskerville. [Matthew Carter says that this is wrongly attributed to him. It was directed by John Quaranta.]
  • Postoni [or Post-Bodoni], for the Washington Post, which is still using it. See here.
  • Le Bé, a Hebrew typeface that was used in the Pennyroyal Caxton Bible.
  • Rocky (2008, Font Bureau, with Richard Lipton), for the Herald in Scotland.
  • Time Caledonia.
  • Wiredbaum, for WIRED.
  • Wrigley (for Sports Illustrated).
  • Benton Bold Condensed (for Time Magazine).
  • Foreman Light (for the Philadelphia Inquirer).
  • Newsbaum (for the New York Daily News).
  • Carter Latin: Matthew was commissioned in 2003 to create a new design to be cut in wood type by the Hamilton Wood Type&Printing Museum in Two Rivers, WI. He came up with an all-caps, chunky, Latin-serif design.
  • Times Cheltenham (2003), which replaces in 2003 a series of headline faces including Latin Extra Condensed, News Gothic, and Bookman Antique.
  • The Yale Typeface (2004), inspired by the late fifteenth-century Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius. This extensive family is freely available to members of Yale University.
  • DTL Flamande (2004, Dutch Type Library), based on a textura by Hendrik van den Keere.
  • Meiryo (2004, Microsoft, with Eiichi Kono): this font is part of Microsoft's ClearType project, and includes full Latin and kanji glyph sets. Suntory corporate types (2003-2005), developed with the help of Akira Kobayashi and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
  • Rocky (2008, Font Bureau): A 40-style high contrast roman family that is difficult to classify (and a bit awkward). Developed with Richard Lipton.
  • Carter Sans (2010, ITC), based on epigraphic letters used in inscriptions. Created for the identity of the Art Directors Club 2010 class of its Hall of Fame, one the laureates in the 2010 Hall of Fame. Codesigned by Dan Reynolds, this chiseled typeface is loosely based on Albertus.
  • In 1997, he designed Postoni for the The Washington Post's headlines, a sturdy Bodoni.
  • MS Sitka (2013). A typeface with six optical sizes that are chosen on the fly if an appropriate application is present. Developed at Microsoft with the help of John Hudson (Tiro Typeworks) and Kevin Larson (who carried out extensive legibility tests). German link. Typophile link.
  • Van Lanen Wood Type (Hamilton Wood Type, 2002-2013). Carter started work on the wood type in 2002, but technical accuracy issues postponed the implementation. Digital versions were finally done in 2013 by P22's Hamilton Wood Type.
  • Big Moore (2014, Font Bureau): A 1766 specimen by Isaac Moore, former manager of Joseph Fry's foundry in Bristol, England, shows many types inspired by John Baskerville. But a century later, standardization had foisted inept lining figures and shortened descenders upon these designs. Matthew Carter remedies the tragedy with Big Moore. Oldstyle figures, full-length descenders, and historic swashes are restored to this regal serif in two styles.

Speaker at ATypI 2013 in Amsterdam.

Linotype link. FontShop link. Favorite quote: Watching me work is like watching a refrigerator make ice. Another quote: A typeface is a beautiful collection of letters, not a collection of beautiful letters.

View Matthew Carter's typefaces. Matthew Carter's fonts. The typefaces made by Matthew Carter. See also here. Wikipedia page. [Google] [MyFonts] [More]  ⦿

Maurice Annenberg

Noted Baltimore printer and type historian. Author (1907-1979) of Type Foundries of America and their Catalogs (1955; see also New Castle, 1994), with historical accounts of each foundry. Other books: Advertising, 3000 B.C.-1900 A.D. (1969), A Typographic Journey Through the Inland Printer, 1883-1900 (1977). His extensive type collection is now at the University of Maryland. [Google] [More]  ⦿

Megan Whitacre

During her studies in Baltimore, MD, Megan Lee Whitacre created an untitled modular alphabet (2014). [Google] [More]  ⦿

Melanie Feaster

Masters student at Corcoran College of Art and Design, who lives in Rockville, MD. In her typography class in 2010, she created a typeface that utilized elements from Helvetica and Big Caslon, called Quagswag. The result is Peignotian sans. [Google] [More]  ⦿

Michael Cina
[YouWorkForThem (was: Cinahaus, or TrueIsTrue)]

[MyFonts] [More]  ⦿

Michael Jarboe
[Reserves (or: AE Type)]

[MyFonts] [More]  ⦿

Michael Paul Young

Born and raised in Tennessee, Michael Paul Young currently calls Bangkok, Thailand home. He founded, managed and directs daily the online design shop YouWorkForThem, which is located in Baltimore, MD. Home page. Creator of "Apply", a free texture tool that allows you to customize any font you wish with an array of inky splatters and sprays. In 2000-2001, he made the pixelish YWFT DesignGraphik family. With Teerayut Puchpen, he designed the ultra-fat counterless typeface Pudge (2010). In 2011, he created Motown Expanded, which was based on YWFT Motown (2009, Travis Stearns).

Klingspor link. MyFonts link. Personal home page. [Google] [MyFonts] [More]  ⦿

Nan Jay Barchowsky
[Swansbury]

[MyFonts] [More]  ⦿

Naomi Jackson

Student in Baltimore, MD, who created a medium-contrast sans typeface in 2012 during her studies at the University of Maryland Baltimore County. [Google] [More]  ⦿

Neda Juraydini

Neda Juraydini is an artist with a BFA from Maryland Institute College of Art in Visual Communications/Graphic Design.

In 2001, she created the dingbat typeface Chalice. The chalice is a symbol for Unitarian Universalists and the chalices in this typeface were collected from various churches in this denomination. This site explains the origin of this symbol.

To preserve the font, Neda gave me permission to store it at my site so that it can be distributed world-wide.

Chalice.zip contains the original TrueType file by Neda Juraydini, together with her original readme file. In addition, it contains an Opentype version and a PostScript type 1 version generated by Luc Devroye in March 2009. No guarantees! [Google] [More]  ⦿

Neon Gray

Graphic design and art direction studio. They created the custom art deco typeface Olimpyc (2007). It is a cooperative run from Baltimore and San Francisco by Liam Devowski, Benjamin Domanico, Joyce Kim, and Samuel Ortiz-Payero. [Google] [More]  ⦿

Nick Curtis

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.

Home page. Dafont link. FontShop link. Klingspor link. Abstract Fonts link.

View the typefaces designed by Nick Curtis. [Google] [MyFonts] [More]  ⦿

Nick Curtis
[Nick Curtis: Commercial faces]

[MyFonts] [More]  ⦿

Nick Curtis: Commercial faces
[Nick Curtis]

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]  ⦿

Nikki Eastman

Baltimore, MD-based creator of Sectinel (2013), a dissected version of Sentinel Book. [Google] [More]  ⦿

Noah Feldman

Baltimore, Maryland-based designer of Frimbo (2004) and Frimbo Serif (2004). He also made the wonderful Preissig-Antikva influenced NsfBook, the sans typeface Nisamuel Sans (2005), KisbefeSans (2005), FineGold (2005), Kisbefe2 (2005) and the handwriting typeface ASLetters (2005). [Google] [More]  ⦿

Pablo A. Medina
[Cubanica Fonts]

[MyFonts] [More]  ⦿

Peggy Re

Peggy Re is an Associate Professor in the Visual Arts Department at UMBC (Maryland) where she teaches graphic design and typography. She curated Typographically Speaking: The Art of Matthew Carter, and edited a publication with the same title. At ATypI 2005 in Helsinki, she spoke on Matthew Carter's typefaces. [Google] [More]  ⦿

Phil's Fonts
[Ralph Smith]

Original designs, and a great general site on typography. Sells over 65,000 fonts from over 55 foundries. Font families (typically 4 faces) in the 100USD to 300USD range. Makes custom fonts as well. Run by Ralph Smith. Browse by foundry or by designer. [Google] [More]  ⦿

Prescott Foland

Baltimore, MD-based designer of Waco (2014). Behance link. [Google] [More]  ⦿

Ralph Smith
[Phil's Fonts]

[More]  ⦿

Raymond Stanley Nelson

Maryland-based typefounder, punchcutter and historian at the Smithsonian's National Museum of American History, b. 1948, who made the 24-point Robin typeface.

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

Renae Hill

Graphic designer in Ellicott City, MD, who graduated from Monmouth University. Caligari (2011) is an angular typeface that was inspired by the 1920 silent German film, The Cabinet of Dr. Caligari (Das Cabinet des Dr. Caligari). [Google] [More]  ⦿

Reserves (or: AE Type)
[Michael Jarboe]

Reserves (and, since 2012, AE Type) is a commercial foundry offering mostly techno faces. It is located in Carlsbad and Cardiff-by-the-Sea, CA, and run by Michael Jarboe. He graduated from the Maryland Institute College of Art, and now lives and works in San Diego.

The earliest typefaces: Base (stencil), Evac (octagonal), Claes (a heavy blacked out display typeface named after Swedish sculptor Claes Oldenburg), Raider, Error (LED simulation face), Reserves03 (2009), Output II (2009), Scape (octagonal stencil), Void, Vacant (2009, monoline stencil), Debacle (2009), Scam (2009; a fun geometric experiment), Immortality, Asecs, Analog SE, Scheme (pixel face).

Typefaces made in 2010: Idiom (2010, a piano key family inspired by P22 Albers), Vector RG (2010, an octagonal typeface inspired by the 1979 Atari Asteroids video game UI screen font), Sevigne (2010, monoline geometric avant-garde sans that looks a bit like a stencil), Velvet (2010, a heavy rounded block retro typeface inspired by the typeset album covers of the protopunk rock band The Velvet Underground), Monocle (2010, monospaced and monoline geometric sans).

Typefaces made in 2011: Scape (2011, rounded monoline stencil family), Velvet (2011), Defense (2011, octagonal slabbed stencil), Offense (2011, strong octagonal mechanical family), Vanitas Bold (2011, Peignotian fashion mag typeface rooted in didones).

In 2012, Mike published Enamel (a condensed sans family---the inline version of Sorren), Sorren (a condensed sans influenced by neo-grotesque designs, and dada in style), Sorren Ex, Vanitas Stencil and Memoire (a charming fashion mag monoline hairline stencil).

Typefaces from 2013: A large Neue Haas Grotesk / Helvetica-style sans family called Acronym, from Hairline to Extra Black and Outline.

Typefaces from 2014: Reload (octagonal), Reload Stencil (military stencil).

Klingspor link. Behance link. Flickr site. Behance link. MyFonts link.

View Mike Jarboe's typefaces. [Google] [MyFonts] [More]  ⦿

Richard Sigler
[Finale Jazz font]

[More]  ⦿

Rob McConnell

Designer of the modular typeface Brick (2014). Rob is a graduate student in Baltimore, MD. [Google] [More]  ⦿

Rob Sugar
[Auras Design]

[More]  ⦿

Ronnie Boy
[Ross Shapland]

Ronnie Boy is a typefoundry in Chicago set up by Ross Shapland (b. 1984, Bethesda, MD). Ross designed the stealth airplane techno font Flyover in 2012. [Google] [MyFonts] [More]  ⦿

Ross Shapland
[Ronnie Boy]

[MyFonts] [More]  ⦿

Sam Kittinger

Graphic designer in Baltimore, MD, who has a BFA in Graphic Design from The Maryland Institute College of Art. Behance link.

Creator of a custom typeface called Balmer Display (2012, + Balmer Needlepoint Display). [Google] [More]  ⦿

Sarah Khan

Founder and creative director of iKhan Design in Silver Spring, MD. Behance link. She created the experimental typeface Bobby Pinned (2011). [Google] [More]  ⦿

Sean Lake

Graphic designer in Ijamsville, MD. He created Hanging Helmond (2010). [Google] [More]  ⦿

Sergei Egorov

Born in Moscow in 1963. Graduated from Moscow Institute of Physics and Technology in 1985. He became a TeX specialist. Since 2003, he creates his own typefaces. Gaithersburg, MD-based designer of a Cyrillic Venetian typeface (2004) called Bucentoro. At TypeArt 05, he received awards for Bucentero and SPQR Caps. He is working on Bucentoro Greek (2006). In Bucentoro's low-contrast design, we can find influences of Nicholas Jenson, Francisco Griffo and Vadim Lazursky.

His Neacademia (2009, +Kursiv) won an award at Paratype K2009. It was published in 2011 at Rosetta Type: Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century Italian punch-cutter Francesco Griffo da Bologna for the famous Venetian printer and publisher Aldus Pius Manutius. The family is designed for lengthy texts.

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

Shawna Crolley

Art student from Odenton, MD, b. 1988. Designer of Digital Class (2009, FontStruct). She runs Crouch Design and has a web site at Devian tart. [Google] [More]  ⦿

Shiva Nallaperumal

Graphic designer in Chennai, who created the octagonal typeface Adian Grid (2012) as a student at DJ Academy of Design, Coimbatore, India. He also made Struktur (2012), a typeface based on Herbert Bayer's Universal Alphabet.

After graduating from DJ Academy of Design, he stated studying graphic design (MFA) at the Maryland Institute College of Art (MICA). One of his school projects there was the angular fat stencil typeface Enemy (2014, available at Lost Type).

At the Indian Type Foundry, Shiva helped with Rozha One (2014, free Google web font). This is a heavy didone typeface with large x-height, high contrast, and a harmonious balance between its Devanagari (designed by Tim Donaldson and Jyotish Sonowal) and Latin (designed by Shiva Nallaperumal). Github link.

The Indian Type Foundry published several typefaces at Google Web Fonts in 2014, including Rajdhani. Rajdhani is an Open Source typeface supporting both the Devanagari and the Latin scripts. The font family was developed for use in headlines and other display-sized text on screen. Its initial release includes five fonts. Satya Rajpurohit and Jyotish Sonowal developed the Devanagari component in the Rajdhani fonts together, while the Latin was designed by Shiva Nallaperumal.

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

Stenso Lettering Company
[Jeff Levine]

Jeff Levine writes up the history of the Stenso Lettering Company, started in 1940 by Ruth Hormats and her husband, Robert Libauer. [Google] [More]  ⦿

Susan Lee

Susan Lee (Bethesda, MD) is a graphic designer. In 2010, she created the avant garde typeface Modania. [Google] [More]  ⦿

Swansbury
[Nan Jay Barchowsky]

Educator Nan Jay Barchowsky from Aberdeen, MD, designed many fine handwriting fonts. She wrote "BFH, a Manual for Fluent Handwriting" and runs Swansbury Inc. Her connected and didactical fonts are part of a commercial package, BFH. In 2002, John Butler made a connected OpenType version of Barchowsky Fluent Hand. MyFonts sells Barchowsky Dot and Barchowsky Fluent Hand. [Google] [MyFonts] [More]  ⦿

Tal Leming
[Type Supply]

[MyFonts] [More]  ⦿

Taylor Mulitz

Originally from Washington, DC, Taylor is a graphic designer and illustrator. Durinh his studies at Maryland Institute College of Art in Baltimore, MD, in 2013, he designed Penrose, an Escher-like optical illusion typeface. Folio is a display typeface from 2012. [Google] [More]  ⦿

Taylor Yoder

While studying graphic design in Baltimore, MD, Taylor Yoder designed an impossible 3d alphabet aclled Penrose (2013). [Google] [More]  ⦿

Ted Suwalsky

Creator of the curvy display typeface DIN Grotesk Fermata (2013), which is not a DIN at all, but Ted Suwalsky (Baltimore, MD) has a reason for calling it like that. [Google] [More]  ⦿

Thomas Divita

Rockville, MD-based designer of the Gladius typeface (2013). [Google] [More]  ⦿

Tim Browning

Tim Browning (Baltimore, MD) was inspired by Rockwell and Futura when he designed the hybrid half-slab serif typeface Rocura in 2013. [Google] [More]  ⦿

Travoy Harvey

Aberdeen, MD-based frander and graphic designer. He created the in (or blood) splat typeface Cereal Killer (2009). [Google] [More]  ⦿

Tre Seals

During his studies at Stevenson University in Washington, DC, Tre Seals (Baltimore, MD) created the Kesura bitmap typeface (2013), the sheared techno typeface Seized (2013), and the free vector format ribbon typeface Unveil (2013).

Behance link. Older Behance link. Creative Market link. [Google] [More]  ⦿

Trial by Cupcakes
[Laura Condouris]

Laura Condouris is a calligrapher, illustrator, and occasional comedienne from Baltimore, Maryland. She offers commercial fonts via Trial By Cupcakes. The first font is the calligraphic Katie Rose (2012). Anna Clara (2013) is a casual connected script with plenty of optional swashes. Quickpen (2014) is a connected script. [Google] [MyFonts] [More]  ⦿

Type Supply
[Tal Leming]

Tal Leming is a graphic designer, type designer and letterer who lived in Wilmington, DE, but moved his stakes to Baltimore, MD. He graduated from Louisiana State University in 1997. Python scripting guru working mainly with Letterror and House Industries on projects using FontLab and Robofab. An avid RoboFog scripter, he joined Erik van Blokland and Just van Rossum to initiate the RoboFab project in 2003. After graduation in 1997 from the Louisiana State University Graphic Design program, he worked as a designer at two agencies in south Louisiana. In September of 2001, Tal joined the House Industries staff as a designer in the Type Development, Product Promotions and Python Systems Implementation Department. He worked on the Ed Benguiat collection, for example.

In 2005, he left House and started his own company eventually called Type Supply. Type Supply designs typefaces for corporations and publications. Their typefaces:

  • Baxter. An informal typeface used as a casula typeface in MyPublisher's BookMaker software. Commissioned by Christian Schwartz.
  • Bullet (House). Bullet is based on a bit of lettering drawn by Ken Barber for the House Industries Pop Art package.
  • Burbank (2007), a bouncy signage, animation, and package lettering family, about which Christian Schwartz writes: Well-drawn one-off display faces are easy to find, especially bouncy sans serifs. Complete suites of faces in this genre, however, are nearly impossible to find, especially families that are crafted with as much care as Burbank. I really appreciate seeing the attention to detail that usually goes into serious text family put into a family primarily intended for display use.
  • House Gothic 23. Tal Leming writes: The family was originally designed by Allen Mercer for use on the company's commissions, most notably the legendary promotions for Custom Papers Group. In 1995, House released the family to the public with modest success, but it was largely relegated to the back of House's catalogs. House went through a bit of a sans serif obsession in the early 2000s and decided that it was time to give House Gothic its time in the spotlight. Rich Roat asked me to polish up House Gothic and make it a bit more usable. I completely reworked Allen's original drawings, making the letterforms work better in headlines, added accented glyphs, reorganized the styles and more. Once that was done, I added completely new Extended and Text styles. The family more than doubled its size into 23 total fonts and was rechristened House Gothic 23.
  • Marigny (2014). He writes about this pleasant casula roundish typeface: Marigny, designed by Tal Leming, is a casual typeface that was drawn with serious typography in mind. It has the same basic proportions as classical oldstyle typefaces (think of Garamond and friends) and these give it a similar typographic rhythm to one that we have known for several hundred years. The hand-rendered forms transform this familiar texture into something very warm and pleasant. In a way, dipping into a block of text set in Marigny is like putting on your favorite pair of comfortable slippers.
  • Mission and Control. An athletic lettering family commissioned by Reebok for their 2008 NFL Sideline and NHL Center Ice collections.
  • Ohm (2009). A neon type family.
  • Runway (House). Runway is an ode to House's sans serif obsession of the early 2000s.
  • Shag Lounge. a signage family: When I was working at House Industries, we decided that we should develop a font kit inspired by the work of Josh "Shag" Agle. Josh hadn't done much lettering work so we asked him to send us samples of lettering that he liked. Many of the things he sent featured whimsical, hand-cut lettering from the 1960s. We were really into this as well, so that formed the starting point for Shag Lounge. The typeface evolved into an amalgamation of a neo-grotesque style sans serif and hand-cut lettering.
  • Timonium (2012) can be bought from Type Supply.
  • Torque. An octagonal family with a great inline style. Torque (2009) began its life as an amalgamation of an American athletic lettering style and classic space lettering styles. There were also references to the video games, laser games and 1980s pre-teen sci-fi action movies of my youth.
  • United Ark. A military stencil face: Clint Schultz hired me to create a custom version of United for use on props in a Paramount feature film. The main goal of the project was to perfectly match stenciled lettering seen in a film released 27 years earlier. How exciting was it to make a typeface for a sequel to a classic film that I grew up with? Very, very, very, very exciting. This font is not, and will never be, available for relicensing, so please don't ask.
  • United. House industries commissioned me to develop the United family as an homage to stereotypical U.S. Military lettering styles. [...] United has become quite popular since its release and it has been seen just about everywhere from NFL coverage on FOX to the New York Times editorial page.
  • Balto (2007-2014) is a large American Gothic family.

At ATypI 2008 in St. Petersburg, his talk (shared with Ken Barber) was entitled Pac-Man fever, quantum mechanics and the design of digital type.

Tal Leming's personal web site. Village link. [Google] [MyFonts] [More]  ⦿

Uppercase Type
[Zach Risso]

Baltimore, MD-based foundry of Zach Risso (b. 1988), an American novelist who is attended Maryland Institute College of Art for a BFA in graphic design. Risso designed the dot matrix typeface Found Receipt (2008), Schriftbild Grotesk (2008), and the rune typeface Elder Futhark (2008).

Alternate URL. Home page. Dafont link. [Google] [MyFonts] [More]  ⦿

Vy Vu

Graphic designer in Baltimore. During her studies in 2012, she made the informal sans typeface CàPhê (Coffee). [Google] [More]  ⦿

WeWorkForThem

Commercial faces at this site: 6x7OCT (I think, it's hard to read: anyway, it's a dot matrix font made in 1997), Blackgold (2000, pixel), Blessed (2001, pixel), Formation (1999, octagonal font), Macil (1999, octagonal), Pakt (1999), Reversion (1999, pixel), Trisect (1998, tri-line font), Ultramagnetic2 (1996), Unfinished (2001, pixel), Unisect (1998). One of the subdivisions is YouWorkForThem. Offices in Baltimore, MD, and Minneapolis, MN. The fonts are all (I think) by Mike Cina. [Google] [More]  ⦿

William S. Peterson

William S. Peterson is a University of Maryland professor, who had some nice pages on modern fine printing, with interesting contributions on George Allen, William Morris, Charles Ricketts, Henry Stevens, Daniel Berkeley Updike, and Emery Walker. Reservocation publishes an interview regarding his book The Well-Made Book (2003, a collection of Daniel Berkeley Updike Essays).

I quote a passage: In the first half of the twentieth century, the best faces were almost always produced by Monotype, but that firm unfortunately fumbled the ball when the era of hot metal came to an end. Monotype's digital versions (and, slightly earlier, the versions for phototypesetting) of its own library of typefaces were often embarrassingly bad: Perpetua, Bembo, Bell, and Centaur, for example - all great Monotype triumphs in the days of letterpress printing - seem to me, now essentially unusable in their present forms. The Monotype faces that still look good in the twenty-first century are mainly ones that were a bit heavy to begin with, such as Poliphilus, Bulmer and Erhardt. [...] Of the faces designed since the digital revolution, my favorites for bookwork are Adobe Caslon, Founder's Caslon, Minion, Galliard, and Miller. [Google] [More]  ⦿

YouWorkForThem (was: Cinahaus, or TrueIsTrue)
[Michael Cina]

Michael Cina (Minneapolis) is the cofounder of WeWorkForThem and YouWorkForThem (in 2002), also known as YWFT. Before that, he ran TrueIsTrue, and before that was partner in Test Pilot Collective (which he left in 2001), and before that he ran Cinahaus. YWFT is located in Baltimore, MD. The creative director is Michael Paul Young.

Cina's fonts include the pixel fonts Caliper (1998), 6x7oct (1998) and BlackGold; the handwriting font Cinahand; Blessed (1999, techno), Cam (1998), CommunityService, Crossover (1998, dot matrix with stars instead of dots), Composite (1998, octagonal), Formation (1999, a big octagonal family), Jute, Maetl (1999, octagonal, angular family), Novum, Pakt, Reversion (1997, squarish), Selector, Selek (1998, pixelish), Service (2001-2002, an octagonal family), Trisect (1999, three-lined family, now also available at Veer), Unisect (1999, organic monoline sans), Ultramagnetic (1998), Ultramagnetic2 (1999), Unfinished. Bastard (1998), Kcap6 (with Matt Desmond), Cheese (1998), Novum (2002), Overcross (2002, unfocused letters), Stem (1998), Testacon (with Kral and Desmond, 1999). Alternate URL. Interview. Other typefaces: Praun (2002, pixel faces), OneCross (2002, pixelish stitching family), Estenceler (2004, a great stencil family), Graphium (2004, octagonal Western style family), Expos (2004, graffiti or poster face), Vox (2007, monoline sans), Militia Sans (2007, like a Russian constructivist stencil), Jupiter (roman), Militia (2007, heavier stencil), Merc (2007, grunge), Guild (2007), Clarendon Text (2007, a complete revival), Jezebel (2007, script), Ambassador Script (2007, a digital revival of Novarese's typeface by that name), Enam (2002, influenced by Crouwel), Enigmatic Hand (2007), Dusty (2007, a Tuscan-eared Western font), Poplock (2007, experimental), Pakt (2007, geometric sans), Sudsy (2007), Black Sabbath (2008, ultra black slab serif, by Stefan Kjartansson), Agostina (2008), Bitwood (2009, pixelish western face), Mullino (2009), Trithart (2008, grunge by Emma Trithart), Tapscott (2008, in the style of Rennie Mackintosh), Habano (2008, script), Amorinda (signage script), Retron (2008, connected script), MD01 (medical-themed dingbats), Adelaide (script), Centennial Script (calligraphic), Alexia (calligraphic), Ultramagnetic (experimental), Nash (1997, grunge), Amber (kitchen tile), Fab (3d), 6x7 Oct (1998, pixels and dots), Wool (2009, stencil), Matter (2009, a wide bold grotesque), Merriam (2009, slab serif).

Blog. His lovely g poster (2010).

House fonts at YWFT by unknown designers: Dogma (22012, alchemic), Attic (spooky poster face, in EPS format), YWFT Yoke (textured all-caps), Riblah (2003, dot matrix), YWFT Fraktur (tattoo face).

View Michael Cina's typefaces. [Google] [MyFonts] [More]  ⦿

Zach Risso
[Uppercase Type]

[MyFonts] [More]  ⦿

Zachary Font Page
[Edward A. Leach]

Kid's writing fonts designed by Edward Leach from Greensboro, MD. These include Adonais (1994, chisel font), McParland and Franks (1994). Here, we find his Cygnet (1994). Leach also made Zachary (1997), Odin (1995, with K. Brubaker) and Marcie (1994, with Marcie Sophir). Fontica carries his font Athletic (1994).

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

Zak Crapo

Graphic designer from Burlington, Vermont, who, during his studies at the Maryland Institute College of Art in Baltimore, created Espresso Alphabet (2014). Behance link. [Google] [More]  ⦿

Zehra Sikandar

Zehra Batool Sikandar is a recent graduate from The Art Institute of Washington where sheobtained a Bachelors of Fine Arts in Graphic Design. She specializes in illustration, brand identity, typography, layout, package design and print, and lives in Lanham, MD. Behance link. She created the poster typeface Zesana (2010). [Google] [More]  ⦿