TYPE DESIGN INFORMATION PAGE last updated on Mon Mar 10 18:21:55 EDT 2014
Type scene in Massachusetts
Aboutype is Joffre LeFevre's small Boston-based foundry and custom font bureau. LeFevre has been making typefaces for over thirty years. No fonts available from the web page. Joffre LeFevre's 1997 Volkswagen font series is floating around in web space however. As he says, The Volkswagen fonts were hand drawn by me to a specification based on a long neglected display version of Futura that was developed by a photo composition type foundry in the early seventies. Similar to the type used in the introduction of the first VW Beetle.
LeFevre's fonts include Antique Central (shop sign font), Bitters, Boot Stitch, Capital, Crombury (2006, elegant high-ascendered display family), Cullens Shoes, Downtown, Elongated Roman, Erasurehead, Everett Mill, Free Zone (2001, geometric sans), Granger (2007), Hemmings, Hunter (2001, a slab serif family in the style of Beton), Hunter Poster, Mac Sans Outline Poster, Max Stitch, Merchant, Minernil (2006, slab serif family), Mulsanne (race car font), New Horizon (inscriptional, Trajan), New Horizon Titling, New Prairie (2001, transitional family), Pemberton, Pitch Pipe (2001, modern, bold), Putney (shop sign font), Ravenna, Rays Cafe, Redeye (2001, a religiously condensed and quite unreadable face), Redeye Sans, Revenue, Saloon, Sparrow (2007), Vanquish (2001, geometric sans), Wade Vernacular, Whitingham, and Zone.
Some fonts now sold through MyFonts: Antique Central, Bitters, Boot Stitch, Capital, Crombury, Cullens Shoes, Downtown, Elongated Roman, Erasurehead, Everett Mill, Free Zone, Hemmings, Hunter, Hunter Poster, Max Stitch, Merchant, Mulsanne, New Horizon, New Prairie, Pemberton, Pitch Pipe, Putney, Ravenna, Rays Cafe, Redeye, Redeye Sans, Redeye Serif, Revenue, Saloon, Vanquish, Wade Vernacular, Zone, Sydney, Charles, Merrimac, Willem, Float, Proceed, Salonika.
This used to have alphadings and dingbats by Anastacia E. Zittel (b. 1976) from Douglas, Massachusetts, all made between 1990 and 2002: AEZ-American-Woman, AEZ-Americana, AEZ-April-Fool's-Day-dings, AEZ-I-saw-the-Sign, AEZ-Jon's-Handwriting, AEZ-Kate's-Handwriting, AEZ-Lacy-Hearts, AEZ-Native-American-Turtle, AEZ-Owls-for-Traci>, AEZ-Traci's-Handwriting, AEZ-Transportation-2005, AEZ-Vanity, AEZ-Where's-Harry?, AEZ-another-turtle-font, AEZ-batty, AEZ-beep-beep!, AEZ-black-cat, AEZ-blocky, AEZ-boats, AEZ-bunnies, AEZ-buzz-buzz, AEZ-camping, AEZ-celebrate, AEZ-chalkboard, AEZ-clothes, AEZ-curly-Q, AEZ-deco-dings, AEZ-ducks, AEZ-executive-hearts, AEZ-eyes-have-it, AEZ-fishie-fishie, AEZ-giraffes, AEZ-goldfish, AEZ-halloween-dingbats, AEZ-here-ducky,-ducky, AEZ-medieval-dings, AEZ-mother-daughter-ducks, AEZ-my-pet-fish, AEZ-no-name, AEZ-not-your-mom's-ariel-font, AEZ-outlinevertical, AEZ-owlness, AEZ-puppy-dog, AEZ-ruff,-ruff, AEZ-scrapbooking-dings, AEZ-scripty-2, AEZ-scripty, AEZ-seascape, AEZ-snowman, AEZ-spooky, AEZ-steeple, AEZ-sunflower-letters, AEZ-swim-away, AEZ-toy-dolls, AEZ-wedding-dings, AEZAnastacia's-Dings, AEZAnastaciaHW, AEZJanuary-1, AEZJanuarybold-1, AEZLeighHW, AEZSTPatricksDay, AEZanotherfont, AEZbasic-font, AEZbears, AEZbighearts, AEZblot-by-Jon-Zittel, AEZcircles, AEZclassicaltoys, AEZcrazycats, AEZcrimsonandclover, AEZcrochet, AEZdaisy, AEZdazzleme, AEZdollz, AEZdots, AEZfairies, AEZhearts, AEZholidaybears, AEZinsects, AEZlemonade, AEZmedievaldings2, AEZmmmcaffeine, AEZmonster, AEZmoonbeam, AEZoutlinefrenzy-1, AEZsegar, AEZsunflowers, AEZsweethearts, AEZturtle, AEZzipedity.
Alternate URL. There are also free handwriting fonts: AEZ-American-Woman, AEZ-country-girl, AEZLeighHW, AEZ-Traci's-Handwriting, AEZ-Jon's-Handwriting. Fontmaking tutorial [dead link]. The font pages seem to have disappeared.
During his graphic design studies at the New England School of Art and Design at Suffolk University near Boston, Alan Auger designed the circle-based typeface Abode (2013).
Punchcutter. From MyFonts: Scottish punchcutter (b. Edinburgh, 1829, d. 1894) active in the revival of oldstyle designs at Miller&Richard in the 1850s. He went to America in 1861, working at the Bruce typefoundry for two years, and then for the Dickinson foundry. In 1872 this foundry was ravaged by fire; Phemister was made a partner by its founder Samuel Nelson Dickinson and worked there until retirement in 1891. MyFonts missed the boat on this one! Phemister was the first man to design the famous Bookman. His typefaces include these:
A free on-line truetype font editor, developed by Golan Levin, with the help of Jonathan Feinberg and Cassidy Curtis. (Alphabet Synthesis Machine is a co-production of Art21, Inc., New York City, and The Arts Company, Cambridge, MA) It has a font archive with over 7,000 fonts created by visitors. All fonts created are of the inner city graffiti kind, so this is not meant to be a professional tool. I estimate that the archive gets about 50 fonts per day. See, e.g., here for M1. See here for Antarctica (2007) by Czar Choi. [Google] [More] ⦿
Anastacia E. Zittel
AramediA Group (Boston and Beirut)
George Hallak's outfit specializing in Arabic Fonts for Microsoft Arabic Windows 95 and Sakhr Windows. Glyph's Arabic Fonts (16) for Arabic Win 95, 3 in 1 package 59.00. Sakkal's Arabic&Islamic Calligraphic Designs (PC or Mac) $49.95. Sakhr's Modern Arabic True Type Font is $30.00. Sakhr's Al-Jawaher Fonts Scalable (Khuttout Tajmiliah) is $50.00. ASC's True Type Font Pack one for Ar. Win 3.x is $30.00. Programmers/Localizers/Consultants Arabization&Software Center, Arabic Educational Multimedia. Jawaher Al Horof 4.0 (Editor): Arabic Editor for Design Applications. Arabic Fonts. Arabic Keyboard Tutor. "The Jawaher Fonts Program provides more than fifty different font styles with all available effects, such as bold, italics, shading and molding. The Jawaher Fonts can be operated under the programs Ustaz 3.1 and Desktop Publishing 3.0 with no special operating requirements in working under Microsoft Arabic Windows and Sakhr Windows. 68USD. Other font families: Sakhr, Kofi, Naskh, Reqaa, Akhbar, Persian. [Google] [More] ⦿
Ari Weinkle (Brookline, MA) created the circle-and-straight segment typeface Sisyphus (2012).
Graduate from the Academy of Art and Design in Arnhem (1998) and of the Cranbrook Academy of Art (2000) who designed the gorgeous neo deco font New Amsterdam (2001), Deadgun (2000, as a past tribute to Raygun), Yeehaw, Blood Thirsty, Wanted Dead or Alive, Diamond, and Al Capone Was Here. At Union Fonts, he published New Amsterdam, Are You In?, and Roger That, fonts also showcased at Cranbrook. In 2005, he decided to go public and make his fonts available for free: Becoming Animal, Free Doughnut, Human Behavior, Deadgun, Yeehaw, Blood Thirsty, Wanted Dead or Alive, New Amsterdam, Are You In?, and Roger That. Noordeman is an art director and a designer, and has offices in North Adams, MA, and Brooklyn, NY. [Google] [More] ⦿
Arthur Baker Designs (or: Glyph Systems)
American calligrapher who worked for many foundries, and ran several studios. His fonts have calligraphic influences, of course. MyFonts page. Another MyFonts page. And still another MyFonts page. FontShop link. Some of his work, which is a bit scattered over many foundries:
Some explanations by Freddy Nader: The Baker Argentina and Danmark faces were variations on his Signet. Baker originally made Signet for Headliners International in the 1960s, where he worked full time. In 1972 he was approached by VGC and told that they would pay him royalties as well if he made the same face for them. Royalties were a relatively new thing back then - Tommy Thompson was the very first person to ever learn royalties in type (in 1944 for his Thompson Quill script for Photo Lettering Inc), and he wasn't a type designer per se, he was a calligrapher. Lured by the idea of royalties coming his way from two different directions for the same face, Baker did a Signet for VGC. When Bob Evans, owner of Headliners, found out, he threatened to sue VGC for trademark infringement (copyright for typefaces was unheard of at the time - every major photo type house had "similar" fonts, and whenever someone got exclusives made by outside designers under a royalty program, it was only a matter of weeks before they were knocked off and changed slightly by other type houses, big and small). So in order to avoid a trademark infringement lawsuit, VGC called their face Baker Signet, instead of just Signet, and went further by asking Arthur Baker to make a lighter version and a condensed version. The lighter version was called Baker Argentina, the condensed version was called Baker Danmark. The "Number One" prefix was added to both so that when the inevitable knockoffs happened, type buyers would know which type was made first. About Baker Sans, Freddy writes: The Baker Sans was a knockoff of Helvetica. It was a massive family of a lot of fonts, rendered very ugly by camera stretching and slanting. Eddie Bauer used it as their corporate face for a long time in order to avoid the expensive fees of licensing Helvetica. Tim Ryan ended up digitizing it for Arthur Baker in the mid 1990s for a lot of money. That digital version is now being sold by ITF under one of its many companies (either Arthur Baker Design, or Arthur Baker Designs, or maybe Maverick Designs).
Boston-based foundry dating from the 19th century. Nick Curtis made the Western billboard face New Boston WBW (2004) based on a 1826 Baker and Greele face. Baker and Greele were the first to cast some native Indian type. For example, in 1827-1829, they cast type for the Cherokee script, a syllabary composed of 85 unique glyphs, each representing a distinct phonetic component. This syllabary was invented by Sequoyah [or George Guess, or Gist, 1760-1843] in 1809. Of the characters finally used, only a few actually retain the original shape, or derivatives thereof. Those sharing Latinate forms may or may not have been suggested by the Rev. Samuel Worcester, who helped Sequoyah to improve and finally adapt the script for use as foundry type. Wm. Joseph Thomas from the Joyner Library of East Carolina University, Greenville, NC, writes; "I know that the American Board of Commissioners for Foreign Missions, which was also headquartered in Boston, arranged for the types to be cast, and they ordered a press to be sent to the Cherokee Nation. The first known printing in the syllabary was December 1827 in the Missionary Herald; the types and press were shipped to the Cherokee Nation in November 1827, according to letters between the ABCFM and the missionary in C.N. The Cherokees began printing their newspaper, the Cherokee Phoenix in February 1828." Harvard has an old type specimen book: "Specimen of printing types and metal ornaments, cast at the New England Type Foundry by Greele & Willis, Congress Street, Boston" (New England Type and Stereotype Foundry, Boston: Beals, Homer & Co., Printers, 1828). In this book, most specimens have imprint: Baker & Greele, Boston, some dated. [Google] [MyFonts] [More] ⦿
Born in 1958 in Brighton, MA, Gibb graduated in 1980 from the Southeastern Mass. University. She was a type lettering artist and supervisor of new type design at Compugraphic. She created Vela (1984, Compugraphic). [Google] [More] ⦿
Bilt Fonts (or: Aruban Font Foundry)
Established in 2003 by George Ryan in Arlington, MA, Bilt Fonts (Aruban Font Foundry) sells revivals and original designs through MyFonts. Typefaces include Pietin, Geo Sans, Netto, Rescue, Jingle, Geo Tablet, Lottsa Lotta, Big Stuff, Rainman, Depth Charge, Sansand, Bulla Bulla, Kappa Nappa, Kappa Sappa, Sarabella (2004, calligraphic), Marcus Texus (fun informal), Marcus Displaeus, and Spio Beo. George Ryan held senior positions at Linotype and Bitstream since 1979, where he has been involved in the production of over 2500 fonts. [Google] [MyFonts] [More] ⦿
Founded in 1981 by Mike Parker, Matthew Carter, Cheri Cone, and Rob Freedman, Bitstream is the first digital font foundry. Not without controversy, though, as many claim that the original digital collection was an illegal copy of Linotype fonts [Note: I disagree with that statement--take out "illegal"]. In 1999, Bitstream created MyFonts.com, a web site for finding, trying, and buying fonts on line. Bitstream was headquartered in Cambridge, Massachusetts, and led dfior some time by CEO Anne Chagnon.
Bitstream sold a nice 500-font CD for 39 USD around 1996, with all the great text families. This was a fantastic buy, as proved by this quote from John Hudson: I have said it before and I will say it again: I think the development of the original Bitstream library was one of the worst instances of piracy in the history of type, and it has set the tone for the disrespect for type shown today. (A bit of background: Bitstream asked Linotype if they could digitize Linotype's library of fonts. Linotype refused, but Bitstream went ahead anyway.) On this issue, read these pages by Ulrich Stiehl and Typophile.
New releases in July 2001: Artane Elongated, Cavalero, Drescher Grotesk, FM Falling Leaves Moon, FM Rustling Branches Moon, Picayune Intelligence (by Nick Curtis), Raven, Richfont, Rina, Sissy Boy, Stingwire, Tannarin. In November 2001, Serious Magic entered into a long-term agreement to license 25 Bitstream outline fonts for its new visual communication products.
Bitstream has been an exemplary corporate citizen, occasionally producing license-free fonts for the masses, such as their Vera collection.
Bitstream's own overstated blurb about itself: Bitstream Inc. (NASDAQ: BITS) is a software development company that makes communications compelling. Bitstream enables customers worldwide to render high-quality text, browse the Web on wireless devices, select from the largest collection of fonts online, and customize documents over the Internet. Its core competencies include fonts and font technology, browsing technology, and publishing technology.
Finally, together with its spin-off, MyFonts, Bitstream was sold to Monotype Imaging in 2011.
BluHead Studio LLC
Type design studio located in Norwood, MA, est. 2005. Fonts can be bought at MyFonts.
BluHead Studio LLC was founded in 2005 by a group of type designers, including Steve Zafarana, who founded Tail Spin Studio in 1999, also in Norwood, MA.
Steve Zafarana was senior type designer at Bitstream from 2006-2012 and at Monotype from 2012 onwards.
BluHead Studio was filling out the character sets and digitizing the font designs of New Zealand designer Joseph Churchward. These include the psychedelic Ta Tiki CW (2006), Conserif CW, Design CW (2006, geometric). Creations by Tallulah Bluhead include Soylent Blu BH (2006) and Conference Call BH (2006).
Between 2006 and 2008, several hand-printed typefaces were published. These include Barbara Script BH (2007, after the hand of Barbara Bemiss), Ciof Script BH (2008, a felt tip pen font after Susan Ciofolo Antico), Sally Script BH (2006, after Sally Muspratt), and Joanne Script BH (2007, by Joanne Paul). Sparkle Bluff BH (2007) is a ball and stick font for children. Notebook BH (2008) is a block letter face.
In 2007, BluHead started publishing fonts by Joseph Churchward: Churchward Asia, Churchward Brush, Churchward Chinatype, Churchward Heading, Churchward Maori, Churchward Maricia, Churchward Ta Tiki, Churchward Conserif, Churchward Design Lines, Churchward Freedom, Churchward Marianna (bubblegum face), Churchward Montezuma (2012, based on an Aztec-inspired design), Churchward Newstype (2008), Churchward Samoa, Churchward Supascript.
Free MS-DOS utility by Norm Walsh (at the time of publication at Small Planet Software, Sunderland, MA): it converts, on a PC, a Mac .bmap file (Mac screen font) into an AFM metrics file that can be used with type 1 fonts on any platform. Kerning information is preserved. [Google] [More] ⦿
Mac McGrew: Boston Breton was introduced by ATF about 1900. It was redrawn from the earlier Breton, originated by one of ATF's predecessors, the Boston Type Foundry, in the early or mid-1890s. It is a bold, rather wide square-serif face, suggestive of Stymie Bold which came thirty-some years later. But its large lowercase and short ascenders are suggestive also of the modifications designers have given such faces in phototype adaptations, seventy years or more later. Boston Breton Condensed and Extra Condensed came from the same source in 1909 or earlier. All have the same unusual sort of Q. In 2011, Nick Curtis created a digital version called Boston Breton NF. [Google] [More] ⦿
This firm originated as a branch of Elihu White's New York Foundry in 1817, but was sold and became the Boston Type Foundry in 1820. When stereotyping, a process which utilized printing plates made from set up type, was introduced in America, the Boston Type Foundry became a major producer of stereotype plates. Specimen book: "Specimen of Printing Types from the Boston Type and Stereotype Foundry" (Boston: Dutton and Wentwork, printer, 1828). Stephen O. Saxe edited Specimen of printing types from the Boston Type&Stereotype Foundry (New York, Dover, 1989, 184 pages). That original book dates back to 1832. [Google] [More] ⦿
Boston Type Foundry
Boston-based foundry, est. 1817 by Edward Pelouze. Also called Bedlington&Ewer, Boston Type&Stereotype Co. (1825-1845), and John K. Rogers, Agent (the latter happened when it was bought by John K. Rogers and Edward Pelouze in 1853). Acquired by ATF in 1892.
Free specimen books: Condensed specimen book from the Boston Type Foundry (1860, John K. Rogers&Co, Boston), Popular designs for artistic printers. Selected from the novelties manufactured by the Central type foundry, of St. Louis and Boston type foundry, of Boston. The only manufacturers of copper alloy type (1892).
Digital revivals: Monument is a Solotype revival of a 1893 face by the Boston Type Foundry (which was also cast at the Central Type Foundry). Boston Blackie (2004, Nick Curtis) is a blackletter revival from their 1832 catalog. Beantown Bounce NF (2007, Nick Curtis) is a revival of a quaint Victorian face shown in the 1898 catalog called Century. Moslem was revived in 2011 by Nick Curtis as Suffiya NF. [Google] [MyFonts] [More] ⦿
Boutros Arabic Typefaces
Boutros calligraphic Arabic fonts (sold by Glyph Systems of Andover, MD) are fonts designed by "Boutros International" a group of experts headed by Lebanese designers Mourad and Arlette Boutros. The blurb: These beautiful TrueType Fonts are designed to work in Microsoft's Arabic Windows versions 3.1 / 95 / 98 / NT as well as on the Mac OS with an Arabic Language Kit.
Their fonts include Boutros Decorative Kufic, Boutros Display, Boutros Koufic, Boutros MB Naskh, Boutros Modern, Boutros New Koufic Modern, Boutros Simplified Naskh, Boutros Asifa, Boutros Farah, Boutros Farasha, Boutros Fares, Boutros Najm, Boutros Thuluth (2012, based on Arabic bamboo calligraphy), Boutros Advertisers Naskh, Boutros Advertising, Boutros BBC Arabic, Boutros GE Tasmeem, Boutros Latin (Serif, Sans Serif), Boutros Maghribi, Boutros Minaret. See also here.
Mourad Boutros is an experienced Arabic creative director, calligrapher and typographer. From his bio: Since 1978, he has been Arabic typographical consultant to many international companies including Letraset. Mourad has designed more than 50 Arabic typefaces, some of which are available on IBM printers as core fonts. Typeface commissions have included corporate typefaces for Mercedes-Benz and for Al Anba, the leading Kuwaiti Arabic newspaper.
At Ascender, Mourad published Boutros Maghribi (2009, codesigned with Rana Abou Rjeily), based on the Arabic calligraphy bamboo classical Maghribi style.
Here you can download these 2004 fonts by Boutros: GEBox-Bold, GECapMedium-Medium, GEContrastBold-Bold, GECurvesMedium-Medium, GEDinarOne-LightItalic, GEDinarOne-Medium, GEDinarOne-MediumItalic, GEDinarTwo-Light, GEDinarTwo-LightItalic, GEDinarTwo-Medium, GEDinarTwo-MediumItalic, GEEast-ExtraBold, GEEast-ExtraboldItalic, GEElegant-Italic, GEElegantMedium-Medium, GEFlow-Bold, GEFlow-BoldItalic, GEFlow-Italic, GEFlow, GEHili-Book, GEHili-Light, GEJarida-HeavyItalic, GEJaridaHeavy-Heavy, GEMBFarahBold-Bold, GEMBFarashaLight-Light, GEMBFaresMedium-Medium, GEMBMBBold-CondensedBold, GEMBNajmBold-Bold, GEModernBold-Bold, GEModernLight-Light, GEModernMedium-Medium, GENarrowLight-Light, GESSTVBold-Bold, GESSTextBold-Bold, GESSTextItalic-LightItalic, GESSTextLight-Light, GESSTextMedium-Medium, GESSTextUltraLight-UltraLight, GESSThree-Italic, GESSThree-Light, GESSTwoBold-Bold, GESSTwoLight-Light, GESSTwoMedium-Medium, GESSUniqueBold-Bold, GESSUniqueLight-Light, GESmooth-LightItalic, GESmoothLight-Light, GETasmeem-Medium, GEThameen-Book, GEThameen-BookItalic, GEThameen-DemiBold, GEThameen-DemiBoldItalic, GEThameen-Light, GEThameen-LightItalic, GETye, GEUnique-ExpandedBold, GEWideExtraBold-ExtraBold. Here one can find Boutros-Ads-Pro-Bold, Boutros-Ads-Pro-Bold-Condensed, Boutros-Ads-Pro-Light, Boutros-Ads-Pro-Medium, and Boutros-Ads-Pro-Medium-Italic.
Graphic designer in Boston. His typefaces:
Type designer from Massachusetts who made Narcissus Roman (1995, Font Bureau), a strong bold titling face with upper and lower case characters---in its genre, one of the best faces on earth. He also designed the ultra-condensed face Barcode (1994, Font Bureau).
Font Bureau writes about Narcissus: In 1921, Walter Tiemann designed Narcissus for Klingspor after a suave set of ornamental inline capitals first cut by Simon Pierre Fournier about 1745. In 1925, Mergenthaler Linotype reproduced Tiemann's type, calling it Narciss. The elegance of Fournier's Louis XVI design created a vogue in late eighteenth-century Paris; Narciss and Narcissus sparked a revival in the twenties. Brian Lucid's cut reflects the urbane air of a master. [Google] [MyFonts] [More] ⦿
Commercial software from Sagittal Software Company in Brookline, MA. As they explain: "The ByHand Calligraphy and Handwriting Editor for Windows, a fully-functioning wordprocessor for calligraphy or your own personal handwriting. ByHand does not use or create new fonts. It is based on the new SagittalScript technology that draws characters exactly the way you do. It looks like human handwriting because it is human handwriting." [Google] [More] ⦿
Cade Type Foundry
Cade Type Foundry is the private foundry of Philip Cade. He cut his first (metal) typeface in 1972. Cade published a Specimen book Type Borders Ornaments and Bras Rule in 1976 (Juniper Press, 24 GinnRoad, Winchester, MA).
Carter & Cone
Boston-based company started in 1991 by Matthew Carter and Cherie Cone. Produced faces such as Mantinia, Elephant, Sophia and the beautiful Galliard CC.
They produced type on commission for Apple (Skia), Microsoft (the screen fonts Verdana, Georgia, Nina and Tahoma), Time, Newsweek (Vincent, 1999), Wired, U.S.News&World Report, Sports Illustrated, The Washington Post, The Boston Globe, The Philadelphia Inquirer, The New York Times, El País and the Walker Art Center.
Charles Gibbons (b. 1967, Lynn, MA) received an MFA in graphic design from the Rhode Island School of Design. Gibbons spent much of the nineties as a designer for the University of Minnesota in Minneapolis and later as assistant professor of Graphic Design at the University of Wisconsin / Stout where he taught typography and publication design. In 2001, he joined the Library of Congress as the chief designer for the United States Copyright Office.
Designer in 2001 of Aphasia at Bitstream. He co-designed Full Moon Suite with Mary Trafton at Bitstream in 2001. These include FM Black Cherry Moon, Alternate, Ligature, and Doubles. This family won an award at the TDC2 2003 competition.
In 2011, he helped out Stuart Sandler in his Filmotype project, and created the identical lively freestyle faces Filmotype Nemo (original from 1953), Filmotype Niro, and Filmotype Nero (2011), all three the same face but renamed under various scenarios of pressure. In 2011, he also made the signage face Filmotype Atlas.
In 2012, he created the art deco fat didone face Filmotype Rose, and the fine brush letter signage face Filmotype Havana. Filmotype Adonis (2012) is a clean hand-drawn typeface. Filmotype Royal (2012) is a transitional typeface family.
CT-born creator of Serious (2013), an avant garde sans typeface, during his studies at The Art Institute of Boston at Lesley University, where he is in the class of 2014.
Graphic design and illustrator in Boston, MA. She writes about her 2010 font Tubular Times: Tubular Times is a typeface that I designed during an independent study with Cyrus Highsmith at RISD. Inspired by the proportions of Adobe Garamond, I was curious to see if I could create a sans serif typeface that would be legible when used to set text in books. She also made some typographically interesting posters. [Google] [More] ⦿
Typophile discussion on the merits of Microsoft's ClearType font package. Some quotes:
Colorful Typhoon (or: Kitsch Labo)
Between 2000 and 2004, Futaba (Colorful Typhoon) designed BeeMarkerInk, Chocolatesyrup, MARUCHIBI, MyBrushwriting, MyMousewriting, MySimplewriting, NANTEN, Sunshine-normal, Sunshine-smart, ChimaChima7, Baby-blocks, DOSUKOI (pixel face), Kuchibue (pixel script), Mukokuseki Kitchen (nice brush face), Mrs-Kichinto (pixel face), Square-rough, homework-normal (handwriting), homework-smart, Baby-blocks, ChimaChima7, DOSUKOI, Go-Go-Go, HARIGANE-RETRO, HARIGANE, Have-a-break, Kuchibue.
This company existed as Compugraphic and Agfa Compugraphic from 1960-1995. The timeline:
MyFonts sells Garth Graphic (Compugraphic, and now Agfa/Monotype, by Constance Blanchard and Renee le Winter, based on earlier sketches of John Matt, 1979) and Phenix American (Agfa-Monotype), and named in honor of Bill Garth. Noteworthy is the 1988 catalog "The TypeBook".
Vincent Connare (b. 1960, Boston) is an ex-painter turned type designer, who holds an MA in typeface design from the University of Reading in 1999. In the late eighties/early nineties Connare worked in the Ikarus, Intellifont and TrueType teams for Agfa/Compugraphic, and was one of the first type designers to learn TrueType hinting. Then he joined Microsoft, where he designed or had a big hand in Trebuchet (1996) and Comic Sans (1995).
He designed WildStyle for the Agfa Creative Alliance. He created Fabula (a font for children's texts in Basque, Catalan, Dutch, English, French, Frisian, Irish, Spanish and Welsh), Amaze (for mazes), and Vixar ASCII (1995, for Microsoft).
Connare also enjoys a reputation as an expert font hinter.
Vincent Connare joined Dalton Maag in the spring of 2001 as production manager. At Dalton Maag he was part of the team that developed Ubuntu and Nokia Pure. Can Comic Sans look good in design? Check Markku Ylisirniö's Comic Sans poster. At Ampersand in 2011, he concluded "I just wanted to let it go; it just looks ridiculous" explaining why he was not involved with Ascender's Comic Sans Pro.
Born in 1954 in Athol, MA. Studied at the University of Vermont and the Mass. College of Art. Type designer and type design manager at Compugraphic at some point. The eight weight-Garth Graphic family was jointly designed by Renée LeWinter, John Matt and Constance Blanchard (1979, Agfa / Monotype). Fonshp link. [Google] [MyFonts] [More] ⦿
Editor of A web log of design and high drama which frequently comments on typographic matters such as web fonts (why pay for them?), traffic signs, and typeface use. He calls himself the world's toughest writer, and lives in the New England area (he graduated from Dartmouth, NH). In this piece entitled The Tell-Tale R Some Thoughts on Clearview, Cosmo writes this about the decision to start using Clearview for America's highway signs:
While I admit it's (much) easier to read, I can't say I'm exactly psyched about seeing it. There are a variety of reasons why. I suppose my gut reaction is that it no longer feels like I'm driving down a federally-funded expressway-it feels like I'm staring at ads.
While I've mentioned that Interstate has really picked up its public profile recently, Interstate isn't really the FHWA typeface. Tobias Frere-Jones got a lot of attention for Interstate because the edits he made were very subtle, yet somehow made the font tolerable for more than 12 characters at a time.
Clearview, on the other hand, was in use for advertising years before it ever appeared along the highway-most notably by megalith AT&T. I liked the old, ugly FWHA face because it was so odd and idiosyncratic. It was like watching a David Bowie in his "androgynous alien" days-no mistaking it for anything else, let alone a sweeping corporate rebranding.
FWHA's cold formlessness was also nice because it didn't encourage you to interact. One of Steve Jobs' most persistent design maxims is that products need to be anthropomorphic; it makes people want to engage with them.
Clearview is definitely more human than FHWA, but is that really a good thing? Do we really want people relating to and engaging with signage? Or do we want them to glance, comprehend, and get their eyes back on the road?
I'm also skeptical of the notion that legibility should be the only standard. Reading interstate signage-even with the old, weird FHWA face-is pretty damn easy. If you need the extra 200 feet to pick out an exit, what other details are you missing? Should you really be on the road? [Google] [More] ⦿
Author of Lessons in Engraver's Script (1914) and Ninety-five Lessons in Ornamental Penmanship (1914). Jones lived in Brockton, MA. The former book contains one full formal calligraphic alphabet by Jones himself. [Google] [More] ⦿
Cynthia Batty (formerly, Cynthia Hollandsworth) was born in Washington, DC in 1955 (MyFonts) or 1956. She studied at the California College of Arts and Crafts in Oakland, CA. She was the manager of the department of type design and development at Agfa Compugraphic in Massachusetts. Currently, she is the vice-presdident of Simon&Schuster in New York. For a few years, she was Executive Director of ATypI, involved, in particular in the ATypI meetings in Vancouver and Prague.
She designed Vermeer (1986), Hiroshige (1986), ITC Tiepolo (1987), Agfa Wile Roman (1990), Pompei Capitals (1995), and Synthetica (1996, with Philip Bouwsma).
Vineyard Haven MA-based designer of the free scratchy hand-printed typeface Sixty Four Dollar Question (2012).
Born in Providence, 1860, he died in Boston in 1941. Typographer, printer, historian and author, best known for his classic book Printing Types: their History, Forms and Use" (1922, Harvard University Press) which is based on a lecture series he gave at Harvard University from 1910 to 1916. The second edition isd from 1937.
He designed the Montallegro typeface.
David Berlow (b. Boston, 1955) entered the type industry in 1978 as a letter designer for the Mergenthaler, Linotype, Stempel, and Haas typefoundries. He joined the newly formed digital type supplier, Bitstream, Inc. in 1982. After Berlow left Bitstream in 1989, he founded The Font Bureau, Inc. with Roger Black. Font Bureau has developed more than 300 new and revised type designs for The Chicago Tribune, The Wall Street Journal, Entertainment Weekly, Newsweek, Esquire, Rolling Stone, Hewlett Packard and others, with OEM work for Apple Computer Inc. and Microsoft Corporation. The Font Bureau Retail Library consists mostly of original designs and now includes over 1,000 typefaces. In a video made for Mike Parker's TDC medal in 2011, Mike Parker says that David Berlow is the most talented type designer he ever met. David lives in Martha's Vineyard.
At ATypI 2004 in Prague, David spoke about Daily types. At ATypI 2009 in Mexico City, he spoke on The heart of my letter, (and the online version). Since that time he has been very active and vocal on the issue of high quality web fonts. Speaker at ATypI 2011 in Reykjavik.
David Berlow Type Specimens (free pdf). Another type specimen booklet. Interview by A List Apart in 2009. Speaker at ATypI 2010 in Dublin. FontShop link. www.typovideo.de/david-berlow. David Berlow on web fonts. Interview by The Boston Globe. His typefaces:
David Fleming Nalle
David Jonathan Ross
English stonecutter (b. Codicote, 1915; d. Cambridge, 1995). An ex-apprentice of Eric Gill, he set up his own shop in Cambridge in 1939. His carved plaques and inscriptions in stone and slate can be seen on many churches and public buildings in the United Kingdom. He and his third wife Lida Lopes Cardozo, also a stonecutter, designed the main gates of the British Library.
Kindersley's MoT Serif (1952) was submitted for use on UK signs to the British Ministry of Transport, which eventually selected designs of Jock Kinneir and Margaret Calvert. The book face Octavian was designed by Will Carter and David Kindersley for the Monotype Corporation in 1961. He also created Itek Bookface.
Kindersley was known for his letterspacing system. Author of Optical Letter Spacing for New Printing Systems (Wynkyn de Worde Society/Lund Humphries Publishers Ltd, 1976) and Computer-Aided Letter Design (with Neil E. Wiseman).
The Cardozo Kindersley workshop, which Kindersley founded and was later continued by Cardozo, is described as follows: Kindersley Street (aka Kindersley Grand Arcade; pictures found by people on typophile: I, II), our new face based on Kindersley Mot, is being designed, for the Grand Arcade, Cambridge. It will have a newly designed lower-case to fit the original capitals from David Kindersley's drawings which have now properly digitised.
London street signs that were designed by David Kindersley served as the basis of a complete lapidary typeface by Boris Kochan and Robert Strauch of Lazydogs Type Foundry, called Streets of London (2013).
Type designer and composer, born in St. Albans, VT, in 1958, who lives in Massachusetts. He was one of the early free/shareware type designers, well-known for creating revivals of 19th century typefaces. He is currently the Walter W. Naumburg Professor of Composition at Brandeis University, and has previously taught at Harvard University, Columbia University, and Stanford University.
List of Rakowski's fonts: 3-DWedgie, Aarcover, AdineKirnberg-Script, Ann-Stone, Beachman, Beffle (1991, after Fry's Ornamented No. 2 from Stephenson Blake), Bizarro, BrailleFont, BunnyEars, ChristensenCaps, Crackling, DaBigKeyCaps, DavysCrappyWriting, DavysDingbats, DavysKeyCaps, DavysNewOther, DavysOtherDingbats, DavysRibbons, DeBalme Initials, DieterCaps, Diner-Fatt, Diner-Obese, Diner-Regular, Diner-Skinny, Dobkin-Script, Dragonwick, Dubiel (1991), Dupuy-Light, DupuyBALloon, Eileen, EileenCaps, EileensMediumZodiac, Elizabeth-Ann, Elzevier, EraserDust, Firecat, Gallaudet, Garton (1993), Gessele-Script, GriffinOne, Harting (an old typewriter font), Headhunter, Holtzschue, Horst, Ian-Bent, Jeff-Nichols, Jumble, Kinigstein, Konanur, KoshgarianLight, Kramer, Lassus (1993), LeeCaps, Lemiesz (a free version of Publicity Gothic, 1916), Lilith-Heavy, Lilith-Initals, Lilith-Light, Lintsec, Logger, LowerEastSide, McGarey-Fractured, Multiform, Nauert, NixonInChina (oriental simulation), ParisMetro, Pixie, Pointage, Polo, Rechtman-Script, ReliefDeco, ReliefInReverse, Reynolds, Rockmaker, Rothman [note: poster by Lauren Buroker], Rounded, Rudelsberg (Munich Jugendstil style font), Salter, Shotling, Showboat, Shrapnel, Starburst, TejaratchiCaps, TenderleafCaps, ToneAndDebs, Tribeca, Uechi, UpperEastSide (1990), UpperWestSide (lettering from the New Yorker magazine), VarahCaps, Wedgie, Wharmby, WhatA-Relief, Will-Harris, Zaleski, and Zallman-Caps.
With Klaus Herrmann, of Intecsas in Düsseldorf, he started updating his fonts from 1992-1999. Those fonts can be bought at Will-Harris.
Here is an interview with David.
And finally, a text file with the names of most of his fonts.
Boston-based creator of the slightly grungy and appropriately named face Stress (2011).
Delve Fonts (was: Delve Media Arts)
Delve Withrington (Alameda, CA; b. 1970, Asheville, NC) studied at the Savannah College of Art and Design, designed signage, print projects and web pages in addition to designing custom typefaces, worked for Fontshop, and in 2004, joined the type team at Agfa Monotype, which morphed into Monotype Imaging, Redwood City, CA. From Asheville, NC, he moved around and ended up in San Francisco. In 1996, he founded Delve Fonts in Berkeley, CA (in fact, Delve Media Arts, and later renamed Delve Fonts). He has collected a virtually complete list of books on typography. Author index. New books. One of the first places to consult, in my view. New type books. MyFonts link. Designer of these typefaces:
American designer (b. Holyoke, Massachusetts, 1952) at Galapagos Design Group located in Littleton, MA, which he founded in 1994. Before that, he worked at Compugraphic and Bitstream. His typefaces:
Dickinson Type Foundry
Boston-based foundry, also called Phelps&Dalton, and Phelps, Dalton&Co. Founded by Samuel Nelson Dickinson in Boston in 1839. They published "Specimen of type for book printing, manufactured by Samuel N. Dickinson" (Boston, 1842), "Hand-book specimen of printing type, cuts, ornaments, etc., from the foundry of Samuel N. Dickinson" (Boston, 1847), and "Point specimen book. Specimens of printing types, rules, cuts, printing material" (Boston, 1893, 457 pages). See also The General Specimen Book of the Dickinson Type Foundry, Comprising Types for Letter-Press Printing of Every Variety (Boston: Phelps&Dalton, 1856). In 1872, a fire ravaged the company, and a skilled punchcutter, Alexander Phemister, became a partner. In 1891, Dickinson became part of ATF in the great meltdown. Joseph W. Phinney and Robert W. Nelson (1851-1926) made the transition from Dickinson to ATF.
Commentary by McGrew on Card Mercantile: Card Mercantile was produced by Dickinson Type Foundry in the 1890s or earlier. Except for a few letters, it appears to be a duplicate of Extended No. 3 of Stevens, Shanks in England. In 1901 Morris Benton redesigned the two smallest sizes for ATF, successor to Dickinson, for better compatibility with the other sizes. It is a very delicate, wide, thick-and-thin style without lowercase (but the English face has lowercase), somewhat similar to Engravers Roman, which supplanted it in popular use. An 1899 ad said, "For imitating the work of steel engravers there can be nothing more beautiful picked from a case, and it is difficult if not impossible to imagine how anything finer ever can." Compare Engravers Roman, Brandon, Litho series.
His fonts include Lavinia and Manicotti (an ultra reversed-stress Western-look display face), an untitled French Clarendon and and untitled semi-serif. Originally from Los Angeles, he was a student at Hampshire College in Amherst, MA, where he studied information design and typographic tradition. The fat Egyptian typeface DJR Manicotti (Western saloon style) won an award at TDC2 2007 (for a free lookalike, see Plagiacotti (2009, Saberrider)).
After graduation, he joined Font Bureau as a junior designer and is currently assisting with custom projects and expanding Font Bureau's retail library. In 2009, he published Trilby (Font Bureau), based on 19th century French Clarendon of wood type fame.
Turnip (2012) is an angular and manly text face, also published at Font Bureau.
Duxbury Systems Inc
Matt Sullivan's outfit in Littleton, MA that made some Braille fonts, including "Duxbury". See here for a free Braille font by them (1996). See also here. SimBraille (1996) and Braille (1996) are here. They also made Swell Braille (2007). See also here. [Google] [More] ⦿
Quoting MyFonts: Earl Biscoe was a Bitstream font designer who retired in the mid-1980s because of illness. Earl lost his battle with mesothelioma cancer in October of 2001 after surviving 16 years beyond all expectations due to alternative therapy. Earl inspired people with his determination for beating the odds with an unfaltering wit. His positive attitude for the gift of life gave him strength to endure and help others in similar situations. [Google] [MyFonts] [More] ⦿
Artist and lettering artist, 1925-2002. P22 writes: Ed Rogers came to public attention through David Greenberger's Duplex Planet magazine. Ed moved into the Duplex Nursing Home in Boston in 1981. Conversations and interviews with Ed appeared regularly in The Duplex Planet, which started in 1979 as a periodical, subsequently collected into books, adapted into a comic book series and staged monologues. Approximately 150 of Ed's drawings have been shown in an exhibition titled "An Exact Spectacular" at several museums and universities since 1994. Ed's work was featured in the packaging of R.E.M.'s Out Of Time CD. He appeared in the Duplex Planet documentaries "Your Own True Self" and "Lighthearted Nation." Ed lived his life pretty much hidden from view. Born in 1925, he was institutionalized some time in his twenties and then lived in nursing homes from his late forties until his death in 2002. He conducted his life at a remarkably slow pace but if you slowed down too, you would find he had an endearing purity and simplicity. Like most of us, Ed perceived drawing and writing and different tasks. His writing has a deep right slant and large loops with a clearly tentative hand. When asked to draw, Ed would most often work on the lettering seen is this font. He also drew a sort of teddy bear of other gentle animal shaped characters. His pencil, pen or crayon would touch the surface of the paper many times before a line might be drawn. And then several lines might be repeated as he worked through whatever mental process was underway. Sometimes he stopped with a clearly depicted character or word, other times the muse in his hand continued to mark the page until the images were all but obscured. And sometimes the finished product would be a dynamic mass of line work, eradicating the white space. He would, if requested, create a specific drawing, as he did for R.E.M. and other artists.
Born in 1799, died in 1876. Edward Pelouze was the second son of Edmund Pelouze, and a key figure in the Pelouze typefoundry family. In 1817, he worked for the Boston Type Foundry, and later in Boston, he worked for Phelps, Dalton and Co, He moved to New York to work as a typefounder for White's (1829) and set up his own foundry, the Pelouze Foubndry, in 1830. In the central part of his life, he moved type equipment to San Francisco and set up a foundry there in 1848. But he returned to Boston, where he bought the Boston Type Foundry in 1853 with John K. Rogers, to form the John K. Rogers Foundry. His three sons, whom he had introducted to typefounding, would all become successful typefounders as well. Not to be coinfused with his son, Edward Dalton Pelouze or his grandson, Edward Craige Pelouze. [Google] [More] ⦿
Sells handwriting-fonts designed to exactly replicate many educational handwriting styles. In particular, they have these:
Born in Cambridge, MA, in 1970, and educated at the Rhode Island School of Design (1988-1993), Eliabeth now lives near New York City where she is Principal of Elizabeth Cory Studios. From 1993-1995 she was senior font designer at Font Bureau, and from 1996-1998, she was font manager and designer at Meta design in Berlin.
Agfa Creative Alliance designer who made the art deco all caps face Brok (1995), which first appeared in 1919 as poster letters cut in wood by Chris Lebeau for the Willem Brok Gallery in Hilversum, Holland. At Font Bureau, she designed the heavy geometric slab serif family Constructa, which is based on Morris Fuller Benton's 1934 ATF design called Tower.
Elizabeth Kate Hartley
Emboss was founded in 1995 by Stephen Boss (b. 1969, Michigan), and is located in Beacon, NY, and Camillus, NY. Stephen Boss lived in Gloucester, MA, then in Brooklyn, NY, and finally near Syracuse, NY. His fonts are sold by Monotype Imaging / ITC and Myfonts.
Typefaces include Babalon, Oo La La, Chubbét (2010, sans family, +Distended), Tobago, Phervasans (pixel face), DNA, Elefont, Eurydome (2010, like Eurostile?), Thai One One (a Thai simulation font), Jerusalem Syndrome, Dramaminex, Crossell (2010, a sans family), FaxFont97, Embossanova (2012), Chubbét Extended (2012), EmBauhaus (2012), and Zyncho.
Erica is a graphic designer, Judaica artist, writer, community organizer, vocalist (mezzo-soprano) and performer. After 22 years in the Boston area, she relocated in September 2011 to the Upper West Side of Manhattan, where she lives with her partner, the actor Tom Giordano. Fontspace link.
Foxborough, MA-based designer of Nightcall (2012).
Andrew Newman (b. 1947) is a graphic designer in Cape Cod, who runs Andrew Newman Design and Fine Fonts. His font creations: Charade is based on the original lettering done for Sandra Brown's books, but has been refined and expanded. Handelbar Gothic (1998) is based on URW Handel Medium.
Founded in 1989 by noted publications designer and consultant Roger Black and type designer David Berlow, Boston-based Font Bureau is, in my humble view, the best and most professional font design company in the world. It is uncompromising in its quest for quality. They have a good hold on the North-American newspaper market. Sam Berlow manages the company. I am not listing their fonts here---they are listed under the various type designers who have contributed to Font Bureau.
Galapagos Design Group
Foundry headed by Larry Oppenberg (President) and Mark Batty (Director). It was founded in 1994, and is based in Littleton, Massachusetts. Its main designers are Alex Kaczun, Michael Leary, Dennis Pasternak, George Ryan and Steve Zefarana.
Makers of ITC Fontoon (1995), ITC Fontoonies (1995), ITC Gargoonies (1995), and ITC Backyard Beasties (1995). The web page of this foundry is simply superb. Web-O-Mints dingbats are free [see also here].
Other font families: AquaMintsGD, BackyardBeastiesITC, BaltraGD (lower case for a condensed style of Copperplate Gothic), BigClydeGD, FontoonITC-Regular, Fontoonies2, FontooniesITC, GargooniesITC, KennedyCusGD-Book, KennedyGD, KristenITC-Normal, KristenNotSoITC-Normal, MaiandraGD, MohawcsNoteGD, NikkiNewRomanGD-Normal, SafeFontGD, SpleenyDecafGD, StylusITC, TangientGD, TangientSerifGD, WakefieldGD-Regular.
Garon Rossignol (aka DarkAngelX) (b. 1985) is the MA-based designer of the Final Fantasy Script collection (2005), Triforce (2005), Arwing (2004), Kirby Classic (2004), Super Plumber Bros (Super Mario logo font made in 2004), Diskun (2004), Humanoid Typhoon (2003), the game face Pretendo (2004), and the comic book face Pocket Monsters (2004). In 2005 he created the Pokemon Script Collection (pixel fonts): PokemonFRLG, PokemonPinballGBPartB, PokemonPinballRSPartA, PokemonPinballRSPartB, PokemonPinballRSPartC, PokemonPinballGBPartA, PokemonPuzzleChallengePartB, PokemonPuzzleChallengePartA, PokemonRSPartB, PokemonGB, PokemonRS, PokemonTCGGBPartB, PokemonTCGGBPartA, PokemonUnownGB. [Google] [More] ⦿
Some examples from the book: Double English Alhambra, Double English Calligraphic Script, Double English Condensed Shaded Black, Double English Script New Style, Double Great Primer Anglo Saxon, Double Great Primer Condensed Black, Double Great Primer Grecian Condensed, Double Pica Italian Script, Double Pica Saxon Open, Double Pica Saxon Ornate Shaded, Four Line Pica Condensed Title, Four Line Pica Italian, Four Line Pica Ornamented, Four Line Pica Ornamented No2, Full Face, Great Primer, Great Primer Heavy Face Antique, Great Primer Lutetian, Great Primer Script, Nevada Silver Mining Company, OrnamentNo16-Boston, OrnamentNo20-Boston, Pica Hairline Italic, Pica Hancock Script, Pica Ionic, Pica Round Shaded, Three Line Pica Graphotype, Two Line English German Text, Two Line English Open Condensed Shaded, Two Line English Ornamented No1, Two Line English Ornamented No4, Two Line Great Primer Caledonian, Two Line Great Primer Ornamented No8, Two Line Great Primer Saxon Ornate, Two Line Great Primer Tuscan Shaded No1, Two Line Pica Ornamented No5, Two Line Pica Runic, Two Line Small Pica. [Google] [More] ⦿
American type designer (b. Cambridge, MA, 1886, d. Weston, MA, 1958). He designed Nova Script at Intertype in 1937. Other faces: Cornell (incl. Italic), Egmont Decorative Initials, Georgian Cursive, Trenholm Old Style&Cursive, Trenholm-Bold, Trenholm-Shaded Capitals, Waverly (incl. Italic). Some of his ornaments that appeared in ATF catalogs were digitized in American Pi NF (2006, Nick Curtis). Nova Script Recut One&Two (2011, Jim Spiece) revives Nova Script.
Mac McGrew writes:
American designer, b. Rockville Centre, NY, 1950. George Ryan held senior positions at Linotype and Bitstream since 1979, where he has been involved in the production of over 2500 fonts. In 2004, Ryan joined Agfa Monotype. Creator of these typefaces:
ATypI writes: Gerald Cinamon was born in Boston, received his MFA Degree in Design at the School of Art and Architecture, Yale University, and has lived in London since 1961. He freelanced for numerous publishers and eventually became Chief Designer at Penguin Books for almost 20 years. His books regularly were chosen for the Best Books of the Year shows. He has written studies of designers and is now especially interested in lettering and design history.
He wrote Rudolf Koch: Letterer, Type Designer, Teacher (2000, Oak Knoll Press and The British Library) and E.R. Weiss: The Typography of an Artist, Oldham: Incline Press, 201 and E.R. Weiss: The Typography of an Artist, Oldham: Incline Press, 2011. Speaker at ATypI 2003 in Vancouver on Koch's work. [Google] [More] ⦿
Graduate in 1992 from the Rochester Institute of Technology with a BS in Printing. While a co-op student for Monotype Typography in California, she hinted fonts. She has also carried out research at Microsoft with Robert Norton. She joined Font Bureau in 1994, but moved a few years later to Southern California.
Designer of Radio at T-26 in 2001. In 2005, he created ITC Stepp, a text and display family based on the 1930 logo for the Stetson Shoe Company of Weymouth, MA. See also here. In 2007, he designed Flexion Pro (Red Rooster), about which MyFonts writes: Flexion developed out of design philosophy and ambigramatic artwork of John Langdon. Based on the contents in Johns book Wordplay, author Dan Brown hired John to create ambigrams for his forthcoming novel Angels&Demons. Mr. Brown was so impressed with his work he even named the main character Robert Langdon after John. After the success of Angels&Demons, Dan Brown wrote The Da Vinci Code. When the movie adaptation of that book was in the works, Dan suggested that John create titles for the movie based on ambigrams. John contacted Hal Taylor to create a font based on the lettering treatment to be used for the credits at the end of the movie. Unfortunately, it was decided that the film was running long and the original title concept was scrapped. By this time, Hal was well into developing a full type family, including small caps, alternate characters, lining and ranging figures. John was impressed with the way the design was turning out and decided that it had enough merit to be released as Flexion. Jeeves (2009, Red Rooster) is an elegant script face. Wells Grotesque (2010, Red Rooster) was inspired by the H.G.Wells science fiction novel War of the Worlds, first published in 1898. FontShop link. [Google] [MyFonts] [More] ⦿
In 2012, scientist at Harvard University's Wyss Institute programmed DNA to interlock in such a way that certain shapes are made on a nanoscale. Their research, which was published in Nature, features a molecular picture with 107 designs, including emoticons, Chinese characters, numbers and letters from the Latin alphabet. The canvas is a rectangle measuring 64 nanometers by 103 nanometers, with 310 pixels. A nanometer is a billionth of a meter. [Google] [More] ⦿
Chameleon16 (2007) is a beautifully designed truetype pixel font by Icon Shoppe. The Shoppe is an offshoot of SimpleBits, LLC a tiny design studio founded by designer and author, Dan Cederholm. Located in Salem, MA, the company specializes mostly in icons. [Google] [More] ⦿
Boston-based designer who created the high-contrast display typeface Fade Out (2013) during his studies.
Typefounder, 1749-1831. Author of A Specimen of Isaiah Thomas's Printing Types. Being as Large and Complete an Assortment As Is to Be Met With in Any One Printing Office in America. Chiefly Manufactured by That Great Artist, William Caslon, Esq.; of London (Worcester, Massachusetts: Printed by Isaiah Thomas, 1785).
I cite a blurb from an exhibit at Columbia University: The experiences of Adam Mappa and John Baine show that American printers wanted a domestic typefounding industry, but only if it could produce type of the quality of the English and Scottish foundries. The year after Mappa's foundry was advertised for sale, Isaiah Thomas issued this printer's specimen of type, not for sale but available for use in his printing office. The title page makes the truthful boast that this was as large and complete an assortment "as is to be met with in any one Printing-Office in America," adding that the type was "Chiefly manufactured by that great Artist, William Caslon, Esq; of London." Writing to Thomas in 1793, Ebenezer T. Andrews, in Boston, thought that Baine's type was "by no means handsome." But Thomas had not only to pay dearly for the imported type, he also had to pay import duties. By 1792, when he tried, unsuccessfully, to have the tax on type waived, the duties stood at 7-1/2% of the value of imported goods of all kinds. Instead, Congress raised the import duties on all goods to 10% in 1794, and, in order to protect the foundling American typefounding industry, specified the following year that this included all imported printing types. [Google] [More] ⦿
Co-designer in 1993 with Richard Lipton at Bitstream of Cataneo (1991-1992; an elegant chancery cursive typeface, inspired by the work of Bennardino Cataneo, a 16th-century Italian writing master). She worked at Bitstream from 1982-1993, when she joined Galapagos as a type consultant. She lives in Massachusetts where she teaches art in an elementary school. She has a Masters degree in fine arts from the University of Massachusetts in Dartmouth (1980), and worked at the type drawing department of Compugraphic from 1980-1982. From 2001-2005, she created a fanciful display face in four weights, Minah (Font Bureau; +Black, Bold). FontShop link. [Google] [MyFonts] [More] ⦿
Jill Carrico (Boston, MA), a college publication specialist, created the circle-based Bully Typeface in 2013.
Designer who works near Boston and mostly worked for Font Bureau. Jill Pichotta's typefaces:
Boston-based software and web site developer for Bitstream and MyFonts, who was born in Leicester, England, in 1939. Since joining Bitstream in 1986, John Collins developed several pieces of font technology, including Fontware, Speedo, 4-in-1, TrueDoc and, most recently, the world's smallest stroke-based fonts for Chinese, Japanese and Korean languages. These developments have resulted in five U.S. patents. In 1999 John Collins became leader of the MyFonts team. He is also Vice President and Chief Technology Officer at Bitstream Inc., the parent company of MyFonts. Pic. [Google] [More] ⦿
Comment ny Mac McGrew on Howland: Howland was introduced by Dickinson in 1892 as a "companion series to DeVinne." The same design was called DeVinne Condensed (No.3) by Keystone Type Foundry, but differs from the De Vinne Condensed issued by other sources. Howland Open followed in 1894; it was copied by Linotype as Condensed Outline and suggested through the 1940s as a display face for classified advertising pages which banned bold types. Compare DeVinne Condensed, MacFarland Condensed.
Some digitizations exist: the nice fat pre-art deco face Binner is offered by Linotype, Elsner & Flake (as Binner EF), and Monotype (as Binner Poster MT). Kismet was digitized by Richard Beatty as Spiral. Viking Old Style No. 3 was revived in Ingvaeonic-Oldestyle (2007, Nick Curtis)).
Jenson Oldstyle No. 2 (1893) was designed by J.W. Phinney and cut by John F. Cumming.
Jonathan Hughes (b. Framingham, MA) is a graphic designer, musician and, now, type designer in Amherst/Buffalo, NY. Creator of Zandvoort (2008), an OpenType Font containing the numbers 1 through 99 in circles. Both open (black numbers in a black outlined circle) and closed (white numbers in a black circle) versions are included. Free. Fyra (2009) is another family of circled letters and numbers. MyFonts link. Home page. [Google] [MyFonts] [More] ⦿
Born in 1854, died in 1913. Boston-based book printer who is usually credited with the design of Cushing in 1896. McGrew writes: Cushing is a group of typefaces rather than a family, for some members have little in common with each other, and were not intended to work together. Some accounts credit the design of these faces to Josiah Stearns Cushing, who in the late nineteenth century was president of the Norwood Press Company in Norwood, Massachusetts. Cushing was one of the most prominent printers of the day, but it seems more likely that he merely spelled out what he wanted in typefaces for his particular purposes, and that they were executed by others.
Cushing and Cushing Italic were cut about 1897 by ATF. They are con- ventional roman and italic in basic design, but are almost completely uniform in weight of stroke throughout, with small oldstyle serifs, They were intended to provide a letter particularly adapted for book work, to print clearly and readably, and to reproduce well by electrotyping. A few years later they were shown as Lining Cushing No.2 and Italic, the added words probably indicating that some adjustment had necessarily been made to adapt them to the new standard alignment. BB&S had a copy of this roman under the name of Custer. in 1925 it was reissued as Bookman Lightface, in the same sizes. Compare Cardinal, Hunnewell. Frederic W. Goudy, the eminent type designer, includes Cushing Italic in his list of faces. In the book of his type designs, he says, "While in Hingham, Clarence Marder had me draw for him an italic to accompany the Cushing Roman already produced. ...Whether the italic shown in the specimen of today is the one I drew I cannot be sure. ..." It isn't; he went to Hingham in 1904; this Cushing Italic had been shown in 1898 or earlier.
Cushing Oldstyle (later known as Lining Cushing Oldstyle No.2) was cut in the mid-1890s by ATF, and copied by Monotype in 1901. It is a sturdy, compact face, with a large x-height. In small sizes it is medium weight; from 18-point up it is a little heavier. The large, bracketed serifs and general style are similar to the early lonics, Dorics, and Clarendons. A copy of this face was made by Keystone under the name of Richelieu (named for Cardinal Richelieu), Linotype had it as Title No.1, and BB&S had a very similar face, Custer Bold, which in 1925 was renamed Bookman Bold.
Lining Cushing Oldstyle Italic was cut about 1906 by ATF. It was cut for Monotype in 1910; the Monotype roman follows the original, being a little heavier in larger sizes, but the italic is wider than the original and uniform throughout, as patterns for the modified composition sizes were apparently used for display sizes as well.
Cushing Monotone was cut about 1899, a refinement of an earlier face of the same name. It is generally a lighter version of Cushing Oldstyle, but not as light as Cushing [No. 2]. It is neat but undistinguished for either text or display, somewhat similar to Bookman but lighter. Uniline was a similar face shown later by Linotype. Also compare Cardinal.
Cushing Antique was designed by Morris Benton for ATF in 1902, but not cut until 1905. An ATF announcement said of it, "Entirely redrawn and cut from new patterns. Conforms to approved outlines for antique face but modified to meet present-day requirements. Unquestionably the most complete and accurate series of antique made." It was copied by Ludlow in 1927. An italic was planned by ATF but not completed.
Type designer born in 1861 in New York. At the Boston Type Foundry, he created Coburg, Facade Condensed, Makart (ca. 1886), Mural (1881), Quincy Script (ca. 1885), Rogers, Samoa, Webster (ca. 1888). At A. D. Farmer, he did Fashion Extra Condensed (some time before 1892). Facade Condensed, which has Victorian influences, is available in digitized form from Monotype.
Designer of the art deco face Cinema (2002). No downloads. She received a B.S. in Electronic Media, Arts, and Communication from Rensselaer Polytechnic Institute in May of 2002, and is now working as a graphic designer at Stevens Design Studio in western Massachusetts. [Google] [More] ⦿
American designer of Belucian (Font Bureau, 1990, with David Berlow, after a 1928 design by Lucian Bernhard; +Ultra weight) and FB Empire (Font Bureau, 1989, with David Berlow). FontShop link. [Google] [MyFonts] [More] ⦿
Kelsey Gallan (Kelsey Ann's Art, a painting studio in Boston) is the American creator (b. 1994) of these free hand-printed typefaces in 2012: Traveling Through, Delicieux, Vite, Striped Sunshine, Mince, Demoi, Cantreach, Ann Brush, Chiifon & Bows, I Drawed This (sic) (children's hand), Thin Minty, Ann Marker.
In 2013, she made Karroo Smallcaps, Askeses, Quirking, Alphabet Soup, Rocky Creer, Kicking Gravel, Swing High Low, Always Right, Oh My Gouache, Karma Cycle, Wildfire, Lemonade Lazy Days, Jumping Jacks, Over The Moon, Spaghetti Strap, Coming kiddo?, Get Down, and Scribbles and Giggles (scratchy face).
Ken McTague is a sign artist working in Salem, Mass. He designed Boston Truckstyle, a nice old-fashioned lettering font, and Dog Bone Roman at Letterhead Fonts. Since 2000, he runs his own sign painting and logo design company called Concept Signs. [Google] [More] ⦿
Kent Lew Design (or: KL Type Foundry)
Kent Lew Design in Washington, Massassuchetts is where graphic designer and illistrator Kent Lew (b. California, 1962) publishes his work. He is a winner of an award at the TDC2 Type Directors Club's Type Design Competition 2002, with Whitman, an old style figures font family, published at Font Bureau in 2003. It includes Whitman Display. [Google] [More] ⦿
From the blurb at TypeCon 2009: Diane Collier has over 20 years experience in type design and development specializing in complex scripts, with technical expertise in font hinting and OpenType development. Collier started her professional career in 1988 as a type designer for Compugraphic Corp. in Massachusetts, where she worked with many of today's top designers and developers. Collier started Kigali Designs in 1998 and has established a reputation in the industry for providing high quality work, while developing long term relationships with companies like Microsoft, Ascender, Monotype Imaging and others. She has written several font development specifications and created training videos for Microsoft. In addition, Collier provides training in many of the industry's type development tools for companies and individuals. When not on the computer, Collier teaches pottery and drawing at a local art school. She made a font by Arthur Baker into an 8-set family in 1994, called Kigali, an African-look family in memory of the victims of the 1994 Ruanda genocide. Kigali Designs will also do custom font work from their office in Massachusetts. [Google] [More] ⦿
Authors in Pittsfield, MA, of Real Pen Work---Self Instructor in Penmanship (1881). Selected alphabets: Slanted Letters, Business Letters, Capitals, Ornamental Alphabet, Rustic Alphabet, German Text, Old English, Marking Alphabet, Steel Pen Capitals. Additional drawings: Fists, afish, a lion, a deer, a horse, two horses, flourished heads. [Google] [More] ⦿
Lance Hidy (b. 1946, Portland, Oregon) studied art at Yale in 1964. After Yale, he studied calligraphy with Lloyd Reynolds and printing with Leonard Baskin and Harold McGrath at Gehenna Press before co-founding the publishing house David R. Godine (Brookline, MA) in 1969. Art director for the Harvard Business Review. He designed monographs of the work of Ansel Adams and Arnold Newman. He also made some postage stamps and silk screen posters. A resident of Merrimac, and of Newburyport, MA, he is a freelance designer of posters and books. Designer of the Adobe multiple master font Penumbra (1994). In its four weights, from Sans Light to Serif Bold, we see a gradual interpolation between a geometric sans and a Trajan-like classical roman serif headline face. Discussion by Phinney. MyFonts link. [Google] [MyFonts] [More] ⦿
Lanston Type Co
The Lanston Type Co was based in PEI, Canada, moved in 2002 to Vancouver, and moved later that year to Espoo, Finland. In 2004, Lanston was sold to P22. It has classic and wonderful offerings such as Albertan, Bodoni, Caslon, Deepdene (Frederic Goudy, 1929-1934; see D690 Roman on the SoftMaker MegaFont XXL CD, or URW Deepdene, or Barry Schwartz's Linden Hill (a free font)), Goudy Oldstyle, Jacobean Initials, Kennerly, Kaatskill, Water Garden and Jefferson Gothic. Owned by Gerald Giampa (b. 1950, d. Vancouver, 2009), who wrote me this: Frederic Goudy worked for us for 29 years. We manufactured Monotype casters and keyboards. The English sister company sold casters to England and the Commonwealth and we sold to the Americas and wherever else practical. Tolbert Lanston, our founder, was the inventor of Monotype. We still sell matrices and were punching them until several years ago. Soon we expect to have the equipment moved and operational once again. We are placing it into America's largest printing museum which is in Andover close to Boston. However there is a possibility that it will end up in Hull Québec. Our previous type director was Jim Rimmer of Vancouver, noted type designer. He designs, cuts and cast type in lead. Our face Albertan was designed by Jim and is very successful. John Hudson and Ross Mills of Tiro were directly inspired by our facilities in Vancouver. I encouraged them towards type design. The beautiful Bodoni 26 (unicase) can be bought at FontShop. Atlantic 35 (1909-1935) is a modern family first used by the Atlantic Monthly in 1909.
The fonts: Albertan No. 977, Albertan Bold No. 978, Albertan Title No. 980,&Inline No. 979, Bodoni No. 175, Bodoni Bold No. 2175, Bodoni 26 (a Lanston unicase based on an interpretation by Sol Hess), No. 175, Caslon Old Style No. 337, Caslon Bold No's 637,&537, Deepdene No. 315, Figures Square No. 132, Flash No. 373, Fleurons C, Fleurons Granjon Folio, Fleurons Folio One, Forum No. 274, Francis No. 982, Garamont No. 248, Globe Gothic No's 240,&239,&230, Goudy Initials No. 296, Goudy Old Style No. 394, Goudy Thirty No. 392, Goudy Village (#2) No. 410, Hadriano Stone-Cut No. 409, Hadriano Title No. 309, Jacobean Initials, Jefferson Gothic No. 227, Jenson Old Style No. 508, Kaatskill No. 976, Kaufmann (Lanston Swing Bold) No. 217, Kennerley Old Style No. 268, Metropolitan No. 369, Obelisk No. 2577, Pabst Old Style No. 45, Pabst Old Style Open, Spire No. 377, 20th Century No. 605, Vine Leaves C, Vine Leaves Folio One, Vine Leaves Folio Two, Water Garden Ornaments. P22 writes this about Lanston: In the late 1800s, Tolbert Lanston licensed his technology to an English sister company and became a major international force. Lanston grew rapidly with America's pre-eminent type designer, Frederic Goudy, holding the position of art director from 1920-1947. The Philadelphia-based Lanston Monotype eventually parted ways with its English counterpart. English Monotype became simply known as Monotype from that time forth. Lanston was acquired by American Type Founders in 1969. After a series of other owners, the company found its way to master printer Gerald Giampa, who moved it to Prince Edward Island in 1988. During its time of transition, Lanston continued supplying the American market for monotype casters until January 21, 2000, when the hot-metal component of Lanston was tragically destroyed by a tidal wave. Giampa was one of the earliest developers of PostScript fonts. After the loss, he focused on digitization to an even greater extent. Under his stewardship, Lanston's classic faces were digitized in a style that was true to the sources, which are the brass and lead patterns from which the metal type was made. The past few years have seen Giampa and Lanston travel from Canada to Finland, and back again. Now, Lanston has completed another journey back to the United States to come under the care of a new steward: P22. Giampa is answering the call of the sea. He has traded his type founder's hat for that of a ship's captain to sail the northern Pacific coast. During his shore leaves, Giampa will act as typographic consultant to Lanston-P22. The P22 Lanston collection (2005-2006) includes this:
ATypI states: A thirty-five year veteran of the type industry, Larry began his career as a letter drawing artist for the Mergenthaler Linotype Company in 1968, where he honed his design and management skills. Departing Mergenthaler in 1982, Larry signed on with Bitstream, Inc to form and manage the explosive growth of their design staff in the 1980s. Larry concluded his Bitstream service as Vice President of Type Operations in 1994. Larry founded Galápagos Design Group, Inc immediately thereafter, where he still serves as President. Among other typographic pursuits, Larry serves as a member of the Board of Directors of the Museum of Printing in North Andover, Massachusetts. [Google] [MyFonts] [More] ⦿
Designer of the Bosox (2004) athletic lettering family, just after the Boston Red Sox won the World Series.
Boston-based designer of the Type Directors Club 1999 award-winning design Antionette, an "extreme Victorian" face. His Salome also won an award at the same competition. Hrant Papazian on Schulz when he wrote a piece on a CalArts exhibition: Then there was Lee Schulz with his dedicated craftsmanship and astonishing inspirational range: the hyper-decorative Antoinette; the gloriously organic Salome; the surprising low-res Batterie; the reserved Minister. [Google] [More] ⦿
Leo Charre Art&Design
Leo Charre Art&Design is founded by Leo Charre (b. 1976), who lived in Boston but now resides in Albany, NY. He created Gunlab (2001, dingbats; see also here), Pixelboy (2 pixel fonts), Chroma (pixel face). His site has a 200+ font archive as well. Alternate URL. [Google] [More] ⦿
WenQuanYi Zen Hei is a huge unicode-compatible Chinese/Korean/Japanese/Latin (CJK) truetype font, available for free under the Gnu license. From the web page: The WenQuanYi Zen Hei font is a Chinese (or CJK) outline font with Hei Ti style (a sans-serif style) Hanzi glyphs. This font is developed for general purpose use of Chinese for formating, printing and on-screen display. The non-Hanzi glyphs, including Latin, extended Latin, kana etc were merged from cmunss.ttf from the CM-Unicode project, and mplus-1p-medium.ttf from the M+ project. The embedded WenQuanYi bitmap song fonts were developed by WenQuanYi contributors and Qianqian Fang based on the bitmap fonts by firefly.
Lizzy Hartley Design
Lizzy Hartley Design (Hamilton, MA) is Elizabeth Hartley's foundry. Elizabeth was a student at Flagler College in Tallahassee, FL.
She created the hairline sans face Satin (2011).
American calligrapher whose blog contains almost 200 calligraphic alphabets drawn by her in 2013. lives in Boston, where she created the Boston Calligraphy Trail.
Author of Learn calligraphy, Learn World Calligraphy, Calligraphy Alphabets Made Easy, Using Calligraphy, Calligraphy Made Easy. She also wrote Capitals for Calligraphy: A Sourcebook of Decorative Letters (1981).
The alphabets from the first half of 2013: 4penheavyBookhand, 7-11Segmentdisplay, 7segmentdisplay, 8712Roman, A+C, AngularItalic, Antiquarr, AssortedGothicfromLC, Aura_caps, Backhand, Bamboo, Beady1, Benedictus, BigKid, Blister, BoldBookhand, Bookshelf, BrightIdeaupperleft, BrightIdeaupperright, Brightideaoverhead, Caroling, Celticcaps, Celticcommoncase, Celticlc, Coiltic, Continuo, Coopywithpens, Copperlight.png, Cuts, DNA, Database, DeadCenter, DecoMono, Deflated,inflatedshortGothic, DeflatedGothic, DisjoinedNeuland1, Double-cross, Dryland, Durercaps, Dx6Italic1, Dx7Italic, Easterncapitals, Echo, Endless, EnglishTwo-ply, FastForward, FatUnc, Fatshadow, FlatGothic, Fleurdelis, Fraktur, FriendlyRoman, Frills, Glisten, Gothichighlightblack+gold, HalfGothic, HappyKid, Hearty, HeavyCopper, Heavycoppercaps, Heavyland, Heavyland1, Heftybutnimble, Heraldrybasic, Houseplant, Icelandictwoply, Interruptus, Italicambigramat180, Italicextralean, Italicswashcapitals6PW, Jan2Waity, Jan7Mesh, Jan8Roadside, KingArthur, Legendelc, Letterbox, LightweightItalic, LowerKingdom, Magdalene, MargaretShepherd-Pic, Masquerades, Minimalist, Miscellaneous, Moneon, MonoItalic, Morse, Mx26initials, NewYorker, Optimal, Papyruscaps, Pencildraft, Pencilrough, PlainGothic, Radiantidea, RectangularGothic, RetouchedRomans, Robot, Roman6PW, Romanalphabet, Romanshadow, Rondecaps, Rondelc, RoundedGothic, Runes, ShadyGothic, Shamrock, Shamrockcap, Shatteredalphabet, Shortcuts, Simplesplitcaps, Simplestitalic, SkinnyGothic, SlantedBookhand, Softsquare, SplitItalic, SplitSwash, Spray, Sprung, StainedGlassGothic, StarsandStripes, Staves, Studs, Superceltic, Swashcaps, Swashitalic, Talluplight, Thistle, ThuPhapred, TouchedupGothic, TowelDry, Truncatecaps, Truncatelc, Twinings, Uprightitalic1.1, Versalcircles, Versals, VerylightRoman, Vivaldi, Vivaldicaps, Yeoman, Zap, abItalicfromlc, blot, bookhand, coopylc, donut, fatcaps, legendecaps, stringy, typewriter. [Google] [More] ⦿
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.
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.
Born in Boston, MA, in 1988, Melinda Jeffs designs type. She founded Melifonts in 2011 in Hampton, NH. Creator of Drama Queen (2011, handprinted), Belle Script (2011, curly letters), Pantsy Fance (2011, curly lettering), Rayna (2011), Donnia (2012), Sweet Cheeks (2012, hand-printed), Sariah (2011), Tandy Lee (2012, hand-printed), Polite Script, Meli Hand, and Weights and Measures (2011, slightly brushy). All her faces cover Cyrillic as well.
In 2004, Monotype Imaging Inc was created when TA Associates bought Agfa-Monotype from Agfa. Its headquarters are in Woburn, MA. Agfa had bought the previous incarnation of Monotype in 1998. Before that, Agfa, a well-known photographic film, chemicals and paper manufacturer and Bayer subsidiary, entered the typography scene in 1982 by acquiring an interest in Compugraphic Corporation, the American phototypesetter company. From the press release: Based in Wilmington, MA, with regional offices in the U.K., Chicago, Redwood City, Calif., Japan and China, Monotype Imaging provides fonts and font technologies to graphic professionals, software developers and manufacturers of printers and display devices. Formerly Agfa Monotype Corp., the company also provides print drivers and color imaging technologies to OEMs (original equipment manufacturers). Monotype Imaging is home to the Monotype typeface library, a collection that includes widely used designs such as the Arial, Times New Roman and Gill Sans typeface families (now in OpenType in 21 weights). Monotype Imaging offers fonts and industry-standard solutions for most of the world's written languages. Information about Monotype Imaging and its products can be found on the company's web sites at www.monotypeimaging.com, www.fonts.com, www.monotypefonts.com, www.customfonts.com, www.fontwise.com, www.itcfonts.com and www.faces.co.uk. [...] Robert M. Givens remains as president and chief executive officer of the company. [...] Senior vice presidents Doug Shaw and John Seguin of Monotype Imaging have been named to its board of directors along with Givens and Johnston. Jonathan Meeks, a principal at TA Associates, has also joined the board. Dave McCarthy remains as vice president and general manager of Printer Imaging, and Al Ristow continues as vice president of engineering. The senior management team of Monotype Imaging also includes Jeff Burk, vice president of finance, Geoff Greve, vice president of type development, John McCallum, managing director of Monotype Imaging Ltd., David DeWitt, general manager of the U.S. consumer division, and Pattie Money, director of human resources.
In 2006, Monotype Imaging acquires Linotype, one of the last truly dedicated and honest large type companies. In 2007, Doug Shaw succeeds Robert M. Givens as president and chief executive officer. In 2010, Monotype acquires Ascender. In 2011, Monotype buys Berthold Types, Bitstream and MyFonts.
Boston-based foundry, also called Baker&Greele, Greele&Willis, Henry Willis, Geo. A.&J. Curtis, Geo. A. Curtis, Hobart&Robbins, Bailey&Gilbert, and A.B. Packard. Its work can be seen in Specimen of Printing Types from the New England Type Foundry (Boston: Dutton&Wentworth, 1834). [Google] [More] ⦿
Nick Sherman (b. 1983) is from Hyannis Port and Boston, MA, and studied graphic design at MassArt in 2005. He is currently based in Brooklyn, NY, where he works with Font Bureau. His degree project there, entitled A Modern Day Specimen Book, is beautifully presented, and leads us through thoughts on type classification to the idea of type molecules, with the nodes in the molecules representing styles or descriptions or dates, and the edges representing typefaces. He is interested in wood type, and occasionally helps out the organizers of the TypeCon conferences. As a designer at MyFonts (from 2007-2010), he was in charge of the interviews, presentations, and web designs of their successful and useful pages. He lived in Brooklyn, NY, and taught typography at MassArt in Boston. In 2010, he joined Font Bureau. Flickr page. He is the founder of Woodtyper, an online journal focused on large and ornamented type and related matters. He also set up the type documentation project Type Record together with Indra Kupferschmid. His type designs:
Boston-based designer who focuses on architecture and branding. She created a nice logo for an architectural publication called Draft (2012), and designed a custom organic sans typeface for a non-profit company called Roxbury Gardens (2012). [Google] [More] ⦿
Boston-based photographer and typographer who is studying at Ringling College of Art and Design. The letter Y inspired her to create the experimental family Weye (2011). Behance link. [Google] [More] ⦿
Designer from Woburn, MA, who made the font "US Presidents", which contains autographs by ALL US presidents in the order in which they served. Demo versions are in various places, but while Onna Bondoc is asking to send your money to her for a full version, the copyright notice in the demo font says "Oliver Wiess", go figure. [Google] [More] ⦿
Park Street Studio
The display sans serif KathCondensed (1992) was made by this Boston-based designer. In 1995, he published ExtraCondensed, one of the first blocky ultra-fat faces, at FontFont. FF Extra Black is as black as you can get.
A family of typefounders, starting with Edward Pelouze in Boston in 1818 until the last of the third generation of Pelouzes sold out in September 1901 to ATF to become branch 5 of American Type Founders. The link has a reproduction of The Pelouze Family of Typefounders, an article by Steve L. Watts in PAGA, vol. 4, no. 2, pp. 29-35, 1956 and a Pelouze family tree courtesy of yours truly. [Google] [More] ⦿
Type designer born in Boston in 1948 who created many exquisite designs such as Alexia (1992), Sallando Italic, Dorothea or Cresci Rotunda. His work shows the influence of masters such as Arthur Baker.
Company in Wilmington, MA, founded by William Garth. MyFonts writes: In the 1950s, 1960s and 1970s, Photon, under Billy Garth, built a large and rambling library of low quality typefaces, original in nothing but scripts. A group of higher quality material created at Deberny&Peignot for Lumitype - Photon's European arm - under Higgonet and Moyroud was added when the younger Higgonet closed Deberny&Peignot. After Photon went out of business, the library was passed through Dymo (1975) to Itek (1979), and then to Unitex (1983), itself later acquired by Chorus Data Systems of New Hampshirer. [Google] [MyFonts] [More] ⦿
Graphic designer currently working at Pentagram Design in New York. He graduated from Savannah College of Art and Design, and is originally from Western Massachusetts. At the Typesites page, Matt McInerney looks at sites that have great typographic design. He created Raleway (2009, a free hairline sans; the Google Web Fonts typeface Raleway Dots (2012) is by McInerney and Pablo Impallari; see here for a complete extension of Raleway by Impallari), New Alphabet (2008), an octagonal font based on Wim Crouwel's New Alphabet, using FontStruct. (For a commercial version of New Alphabet, check Architype New Alphabet (The Foundry). He also made Pentagrid (2009, on a 5x5 grid; +Pentagrid v2, +Pentagrid Alphabet), Dotserif, and Neuescreen, typefaces that are in the mold of New Alphabet.
Orbitron (2009) is a great free futuristic sans family published at The League of Movable Type: it is a geometric sans related to both Eurostile and Bank Gothic. Romina Vespasiano made a great specimen poster for Orbitron in 2012.
Allerta (+Stencil) (2010) is an open source typeface designed for use in signage. Allerta was designed to be easily and quickly read from a distance. Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other.
Presidential Election Fonts 2008
Sam Berlow (Font Bureau) is interviewed on New York Public Radio (WNYC radio) about the candidates' fonts. On the same topic, he also published a piece in the Boston Globe. Quotes:
Rafael Dinner's fonts
MIT student who designed his own fonts at MIT, TrueType and PostScript. Illusion of 3D. Check out Reverb, ArgentumSilver, Daisy, StilettoBlack, StilettoSilver, Diamond, Grease (an oil slick typeface), Kontrast, and Rotondo Silver (texture face). Will do custom work. Type 1 versions.
Designer from Milton, Mass., who was born in New York, studied at Harpur College there (graduating in 1975), did some lettering in Syracuse until 1977, worked for Bitstream in Boston from 1983-1991, and made a career afterwards as a staff type designer at Boston's Font Bureau. Bitstream write-up. MyFonts interview in which his modesty comes to the fore. Picture. His typefaces:
British cartoon designer and type designer (b. London, 1945). He has redesigned the The Boston Herald American, the International Herald Tribune and Die Welt. In addition, he has been Art Director for The New York Times and the European edition of The Wall Street Journal. Images of some of Richard Yeend's typefaces. Agfa/Monotype designer of Abbot Uncial, Acorn, Bangor, Broad Street, Comix, Honerswerda (fraktur), Saxony Script, Ski Gothic (fraktur), Xmas and Maidenhead (2001). At Linotype, he made Plantagenet, Achispado, Bandolero, Linotype Buckingham Fraktur (2002, part of TakeType 4), Linotype Richmond Fraktur, Hoyerswerda Fraktur (Agfa) and Linotype Richmond Zierschrift (2002). In 2003, as part of Linotype's Taketype 5 collection, he published Achispado LT, AmherstFraktur LT Std Bold, AmherstFraktur LT Std Heavy, AmherstFraktur LT Std Regular, AmherstGothicSplit LT Std It, AmherstGothicSplit LT Std Rg, AmherstGothicSplit LT Std RgAlt, Anasdair LT Std Bold, Anasdair LT Std BoldAlt, Anasdair LT Std Regular, Anasdair LT Std RegularAlt (2003), Bandalero LT Std, BurgstaedtAntiqua LT (Regular, Italic: with deformed letters, this is in the necrocock style), Hawkhurst LT Std Bold (2003, after a face by Albert Kapr), Hawkhurst LT Std BoldItalic, Hawkhurst LT Std Italic, Hawkhurst LT Std Regular, Hawkhurst LT Std RegularAlt, Hawkhurst LT Std RegularSC, Italienne LT Std (a true Western face), NeuseidlerAntiqua LT Std Bd, NeuseidlerAntiqua LT Std BdAlt, NeuseidlerAntiqua LT Std Hv, NeuseidlerAntiqua LT Std HvAlt, NeuseidlerAntiqua LT Std Rg, NeuseidlerAntiqua LT Std RgAlt. The Neuseidler family has art nouveau influences.
Boston-based designer of an alien icons font called CVL Vector Symbols (2013).
Boston-based graphic designer. Creator of the rune simulation font Ragnarok (2012), a display face that uses forms from pagan runes.
Samuel Nelson Dickinson
Great discussion on Typophile regarding Scotch Roman. We have two different opinions on the source of Scotch Roman: Linotype gives it to Richard Austin, while DeVinne credits Samuel Nelson Dickinson with modelling the first Scotch in Boston in 1837. Both sources agree that it was first cut by Alexander Wilson and Son in Glasgow. In 1839, Dickinson opened his foundry with the Scotch matrices. Scotch is a great book and magazine face (short descenders, good width, strong capitals, bracketed serifs). It has always been more popular in the USA than elsewhere. Scan of 6-50pt Scotch Roman from the 1912 ATF book. And of 34-60pt. Summary of some Scotch faces:
Scriptorium (Ragnarok Press, Fontcraft)
Dave Nalle was born in Beirut in 1959, but lives and works in Texas. He is currently in Manor, TX. From his wiki page: Dave Nalle is a political writer, game author and font designer who was active in the early history of the development of the internet. He is Chairman of the Republican Liberty Caucus, a group that promotes libertarianism within the Republican Party and is Senior Politics Editor at Blogcritics online magazine and is the CEO of Scriptorium Fonts. A creative and prolific designer, he has made hundreds of beautiful (often historic) fonts. His outfit, Scriptorium (based near Austin, TX, est. 1989), also does custom font and logo design. At some points, Scriptorium was also known as Ragnarok Press and Fontcraft. It specializes in artsy and ancient faces. Some subset of the fonts is made by Michael Scarpitti. Free font demos.
Images of his best selling fonts. Special subpages:
Fots from 2014: Edifice (based on lettering by J.M. Bergling).
Sorkin Type (was: Eyebytes)
Sorkin Type (was: Eyebytes) is run by Eben Sorkin, the designer of Army Pool Tiles (2005) and No Step (2007, stencil). He is working on the extensive (200+ weights) Bahn family (see also here), which has pixel and monospace themes. Software Developer (2005) is along the same pixel/monospace theme (see also here). Just for fun, he made the dot matrix face Exp1 (2008). Signature font service. Eyebytes is (was?) located in Eagle River, Alaska.
His talk at ATypI 2008 in St. Petersburg was entitled Contextual alternatives. He obtained an MA in typeface design from The University of Reading (2009), based on his typeface Arrotino (2009), about which he writes: Arrotino begins with the forms of early Italian renaissance in the late 15th century. Their melody, generousity, and variety of shape and proportion are echoed in Arrotino. As a consequence of this Arrotino is not especially efficient, but it is comfortable.
Now, a personal confession: I am an avid photographer, and like most photographers, I am well aware that the world consists of 95% camera-shy people and 5% confident wide-angled happy camera-friendly puppies. Eben and I are at the epicenter of the second group. It's a silent club, but anyone in it is my friend for life.
About his Gelasio, he says: Gelasio is designed to be metrics compatible with Georgia. Gelasio is a "Reale" or Transitional design with many style cues coming from the period immediately after the Romain du Roi type was introduced.
In 2011, Eben put Nicole Fally's elegant art deco face Limelight and Hammersmith One on the Google Font Directory. Typefaces by Riccardo De Franceschi were added as well in 2011. Plaster (2011) is a Josef Albers-inspired stencil face, free at Google Web Fonts. And after that, there was a flood of additions to Google Web Fonts, best checked at Sorkin Type on Google Fonts.
Eben spent February and March 2011 learning how to carve letters in stone from Lida Cardozo at the Cardozo Kindesley workshop, Cambridge UK, and collaborating with Lida on the typeface Pulle. He currently lives in Boston and is a freelance type designer.
The photographer photographed (in 2011, by Ralph Herrmann).
The Stanhope Press, founded by F.H. Gilson in 1878, was named after Charles, third Earl Stanhope, the inventor of the stereotyping process. In 1906, this Boston-based company published a 452-page book: "The book of specimens / Stanhope Press" (Boston : F.H. Gilson Co). [Google] [More] ⦿
Stenso Lettering Company
Stone Type Foundry
The Stone Type Foundry in Guinda (ex-Rumsey and ex-Palo Alto), CA, is Sumner Stone's outfit, which he founded in 1990. Born in Venice, Florida in 1945, Sumner Stone is a major designer, and creator of the Stone family. He was type director at Autologic (1979) and Adobe (1985-1989 (or 1991?)). His typefaces:
At ATypI 2007 in Brighton, he spoke about The foundation of the humanistic sans serif. As of 2008, his entire collection can be licensed for 20 computers in an educational lab for just 300 dollars. Scripps College pages. CV at Agfa. Bio at Linotype. Page at Emodigi. His lecture in 2007 on W.A. Dwiggins. PDF file of his work. Signature. 2012 Newyear's card. [Google] [MyFonts] [More] ⦿
Designer (b. Boston, 1955) of a character in the September 11 charity font done for FontAid II. She co-designed Prima Sans Monotype with Jim Lyles at Bitstream (1998), Softie (2003, with Steve Zafarana), Rostra (2004, with Steve Zafarana), and Roger (2002, a quirky comic book style font done with Steve Zafarana).
SymbolMinded is Marie Flaherty's foundry in Scituate, MA. Her first typeface is Adinkra Symbols (2012), which is a set of 100 symbols from Ghana named after King Adinkra.
Hobo Symbols Mod and Hobo Symbols Chalk (2012) are hobo symbol fonts. She writes: During the period of the Great American Depression hobos created a system of symbols to communicate and assist fellow travelers. These symbols would mark a home, farm, fence or other structure to indicate what to expect in the area. They would tip off travelers on how to find food, stay safe and what to avoid and more. In some areas of the USA, these symbols are still visible and have also become part of the American popular culture. [Google] [MyFonts] [More] ⦿
Tail Spin Studio
Steve Zafarana (b. 1951, Wakefield, MA) Steve began his professional design career at Compugraphic in 1977 where over the next seven years he assisted in the production of their phototype library. In 1984, he moved to Bitstream and helped in the development of that early digital font library, which included standard and custom fonts. In 1994, Steve and four other designers founded the Galapagos Design Group. In 2001, he returned to Bitstream as the graphic designer for the two subsidiaries, MyFonts.com and Pageflex Inc. His studio is Tail Spin Studio (est. 1999, Norwood, MA). His fonts are available from MyFonts.
Steva Zafarana's type designs include
The Philidor Company
Scott-Martin Kosofsky is the Boston-based designer of the Type Directors Club 1999 award-winning designs Philidor Bell-Text (1995) (an absolutely fantastic family, after Richard Austin, London, 1788), and Philidor Hillel (Hebrew). At the Philidor Company in Boston. [Google] [More] ⦿
Celebrated type designer, born in 1970 in New York City. He graduated from the Rhode Island School of Design in 1992 and moved to Boston, where he worked at the Font Bureau Until 1999:
At FontFont, he designed the children's fonts FF Dolores (1991) and FF Dolores Cyrillic.
His custom work includes WorthGothic (1996), WorthLogo1996 (1995), WorthText (1995), GQGothic (1995), Halifax, Commonwealth (1995), Belizio-TwentySix (Font Bureau), HermanMillerLogo (1999, Font Bureau). Cassandra, Vitriol (1993), Quandry (1992-1994) and Chainletter (1993).
Since 1999, he designs for the Hoefler Type Foundry, which he joined as an equal partner (and the new company became Hoefler & Frere-Jones (in 2004), or H&FJ). He claims that he brought with him to H&FJ a lot of typefaces including Whitney, Whitney Titling, Elzevir, Welo Script, Archipelago (Shell Sans), Type 0, Saugerties, Greasemonkey, Vive, Apiana, and Esprit Clockface. It is not expicitly stated at the H&FJ site which typefaces he had a hand in, but one can safely assume that it must have been nearly every typeface made since he entered into the partnership. In 2014, Tobias sued Jonathan for half of the company in a 20-to-80 million dollar lawsuit since he claims that Hoefler reneged on his promise to give him his half. The typefaces at H&FJ he had a hand in include:
Born in Boston in 1976. Graduated with an MA in Typeface Design from-the University of Reading and studied at the Rhode Island School of Design. After graduation, he worked briefly for Jeremy Tankard and Font Bureau. In 2005, he worked briefly for Porchez Typofonderie. He currently lives in Heidelberg, Germany.
He designed these typefaces:
Thomas Kennedy started working for Baldwin Designs, a wood sign company in Concord, Massachusetts, in 1989, where he grew up. He specialized in signage and lettering, and hooked up with Letterhead Fonts in 2011. He now lives in Sweden. Designer at Letterhead of the Pilsner formal script font family (2002) (the lower case is now called Ballpark Script), Egyptian (2006: this is a gothic, not an Egyptian), Pilsner Swashes, CigarShop Corona, CigarShop Maduro (2002, caps), the Western billboard font Tonic (2002), LHF Thick and Thin (2002, sign painting caps in serif and sans styles), Ephemera and Ephemera Swashes (2002, calligraphic), Old Tom, Engravers Ornaments (a great set of filets), Cameo (copperplate), Confection Deco Caps (+Essentials), Corner Specimens, Colonial Roman (2003), Rawson&Evans (Victorian), Royal Script (2003), Cosmic Cursive (2004-2011, a drop dead gorgeous thick upright script), Bootcut (Victorian), LHF Billhead (2004, art nouveau / Victorian), Firehouse (2004, a Tuscan face) and Thick and Thin (2003, sans and serif).
Michel Bujardet's open list has been created as an electronic way to continuing the spirit found by participants at the TypeCon 98 conference, in Westborough, Massachussets, where type designers met in a relaxed setting, to discuss their hopes, concerns, and projects. The archives. [Google] [More] ⦿
Experiments in computational typography at MIT's Media Lab by John Maeda and his group, including Peter Cho. John Maeda's award-winning poster at the 1997 Tokyo Type Directors Club competition. [Google] [More] ⦿
TypeCon 2006 was held in Boston's Hyatt Regency from August 9-13. Speakers included: Audrey Bennett (Rensselaer Polytechnic Institute), John "Fud" Benson, Jared Benson (Punchcut / Typophile), Nick Benson (The John Stevens Shop), William Berkson, David Berlow (The Font Bureau), John D. Berry, Arlette Boutros (Boutros International), Mourad Boutros (Boutros International), Ronn Campisi (Ronn Campisi Design), Matthew Carter (Carter and Cone), Stephen Coles (Typographica / FontShop), Nancy Sharon Collins, Jon Coltz (Daidala), James Craig (Designing with Type), Keith Cross (Milk Row Studio), Simon Daniels (Microsoft Typography), David DeWitt (Monotype Imaging), Karen Dupré (Monotype Imaging), Dave Farey (HouseStyle Graphics), Norbert Florendo, Al Gowan, Maryanne Grebenstei (The Abbey Studio), Sibylle Hagmann (Kontour), Allan Haley (Monotype Imaging), Ted Harrison (FontLab), Cyrus Highsmith (The Font Bureau), Kit Hinrichs (Pentagram Partners), Mark Jamra (Type Culture), Bruce Kennett (Bruce Kennett Studio), Kent Lew, Brenda Lorenzo (Monotype Imaging), Jim Lyles (Bitstream), Steve Matteson (Ascender Corporation), Gillian Mothersill (Ryerson University), Megan O'Connell (University of Oregon / Dead Skin Press), Mike Parker (The Font Bureau), Joseph Pemberton (Punchcut / Typophile), Thomas Phinney (Adobe Systems), Ricard Marxer Piñón, Paul Shaw (LetterPerfect), Nancy Skolos and Tom Wedell (Skolos/Wedell), Brian Sooy (Altered Ego Fonts), Bruno Steinert (Linotype Library), Clif Stoltze (Stoltze Design (Inc.), Ilene Strizver (The Type Studio), George Thompson (No Bodoni Typography), Adam Twardoch (FontLab), Tiffany Wardle, Jim Wasco (Monotype Imaging), Robin Williams, Halstead York (Extensis), Steve Zafarana (Bitstream), Sue Zafarana (Bitstream). [Google] [More] ⦿
List of all (metal) typefaces available for sale from these six US typefounders:
Is it possible to design a typeface that is simultaneously octagonal and elliptical? The answer is an emphatic yes---as Verginiya Kadina shows in her 2011 creation called Kadina, which was finished while she was an MFA student at Lindenwood University in Saint Charles, MO.
Now located in Boston, she created a delicate experimental curved grid typeface in 2012.
American graphic designer (b. 1982) located in Medway, MA, who has created many free fonts, and some low cost commercial fonts. He is also known for his web comic, Dubmarine. Until 2006, all his fonts were free, but starting in 2006, he started selling them via MyFonts. Fontsy link. Font Squirrel link. Fontspace link. Kernest link . Devian Tart link. FontM link. Dafont link. Aka Xaviera Comics.
In 2004, he created Airstrip Four, AlphaEcho, BostonTraffic (stencil), Breakaway, CarbonType (old typewriter), Corporate HQ, DataControl (nice octagonal face), DataControlUnifon, Delta Echo, Eurocentric, FormerAirline, GangofThree (oriental simulation), Helsinki, IonicCharge (LCD simulation), JamPact, KarmaticArcade, KnowYourProduct (stencil), LandSpeedRecord, MajorSnafu (stencil; Major Snafu Pro (2012) is a cooperation with Cheap Pro Fonts), NervousRex, Osaka-SansSerif (techno), PillboxOpaque (dripping blood face), QuickEndJerk, Refrigeration, SiameseKatsong, Tetroserbogia, Umbrage, Virgo01, Whitehall1212, Xenophone (+Pro version in 2011), Yukarimobile, ZonaArmada. In 2005, he designed FrauleinUnifon, Fraulein, Fraulain II, Fraulein Hex, KarmaticArcade, NukuNuku (oriental simulation face), OffshoreBankingBusiness, PlannedObsolescence, TerryScript, Wunderbar, YachtingType, Zero&Zero-Is, Xerography, FrauleinHex, ICBMSS20, ICBMSS25 (stencil faces), Hydrogen Type, Gumbercules, Kremlin (Cyrillic letter simulation; followed in 2010 by Kremlin Pro at CheapProFonts), Johnny Homicide, Lilac Malaria, Motorway, Offshore Banking Business, Planned Obsolescence, Nuku Nuku Paradiso (Asian simulation), Quadrophonic, Ruth Script, Shoplifter (ransom note font), Under Influence (scratchy face), Viva Allende, KarmaticRevolution (with Mike "Karma" Alkire), RanmorianStd-B (artificial language script) and Ex (kana).
His 2006 additions, still free: Big in America, Maxine Script, Gisele Script, Siamese Katsong (oriental simulation), Pokopen, Grecian Formula (Greek simulation), Edo (brush; this became Edo Pro in 2010), Armalite Rifle (grunge stencil; a Pro version followed in 2010), Ruth Script, Terry Script, Oil Age Heiroglyphs (grunge), Nyamomobile (gorgeous futuristic stencil face), Q-Bert's Funeral, Xtreme Chrome, Fawn Script, Ukiah Caps (a hip all caps face), Banzai (fake Japanese), 106 Beats That, Azudings1, Fawn Script, Freelance Kamchatka, and Daisy Script.
Commercial fonts: Sixpak (2008, pixel face), Jaipur (2007, Indic script simulation), Santa Mensch (2006, brush face), Celonius Mark XIX (2006 geometric design), Argon Type (2006, futuristic), India Echo (2007, futuristic), How to Consume Oxygen (2007, grunge), Statue Of Liberty's Underwear (2007, Russian constructivist style), Moon Corps (2007, katakana), Underwood Champion (2008, distressed typewriter), Heavy Data (2008, computer simulation face). Perlmutter (2008) is a Hebrew and Yiddish font designed for the purpose of legibility at great distance (included are niqqud, letters with dagesh, punctuation, sheqel sign, and aleph-lamed ligature). In 2009, he created Edifice Wrecks (graffiti), Damon Script (comic book face) and Maritime Flags and Curses (dingbat face). Fonts made in 2010: Single Sleeve.
Fonts at FontStruct in 2009: Newhome (LED simulation).
They have also a gorgeous collection of eighteen blackletter fonts, called the Gutenberg Press, which includes the great old German script font Kurrent Kupferstich and the charming Zentenar Fraktur and the elegant Peter Schlemihl.
Their pages include a brief history of blackletter, as summarized in the PDF document The Gutenberg Press: Five Centuries of German Fraktur (1997).
Their Renaissance&Handwriting font pack has 9 different handwriting fonts from 1450 to 1700. Minuteman Printshop has colonial fonts.
Blackletter font list: Alte Schwabacher, Breitkopf Fraktur, Coelnisch Current, Fette Haenel Fraktur, Ganz Grobe Gotisch, Grossvater Kurrent, Gutenberg Bibelschrift, Kurrent Kupferstich, Luthersche Fraktur, Maximilian Gotisch, Neue Schwabacher, Peter Schlemihl, Suetterlin, Theuerdank Fraktur, Unger Fraktur, W'bg. Schwabacher, Zentenar Fraktur.
There are also many wood type fonts, such as Sawtooth WF (2002) and Wild West Press (2010). Gnomos is a grungified merovingian typeface [Walden Font claims that it was found in a 16th century house]. Astaroth is claimed to an 8th century face by Walden Font, but its origins are somewhere in the 11th century.
Wen Quan Yi
WenQuanYi Zen Hei is a huge unicode-compatible Chinese/Korean/Japanese/Latin (CJK) truetype font, available for free under the GNU license. From the web page: The WenQuanYi Zen Hei font is a Chinese (or CJK) outline font with Hei Ti style (a sans-serif style) Hanzi glyphs. This font is developed for general purpose use of Chinese for formating, printing and on-screen display. The non-Hanzi glyphs, including Latin, extended Latin, kana etc were merged from cmunss.ttf from the CM-Unicode project, and mplus-1p-medium.ttf from the M+ project. The embedded WenQuanYi bitmap song fonts were developed by WenQuanYi contributors and Qianqian Fang based on the bitmap fonts by firefly.
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.
Book designer, typographer and author (b. 1870, West Lebanon, d. 1953, Boston). Designer of French Round Face&Italic, Humanistic, Laurentian, Suburban French&Italic, and Verona. McGrew comments on each face:
A joke started by Mike Parker at the 1994 ATypI: In recent years Mike Parker has unearthed evidence showing that the famous design [Times New Roman] was probably not the original work of Lardent and Morison, but of the American yacht racer and designer, Starling Burgess (b. Boson, 1878, d. 1947). People are still falling for it in 2007 and 2008. I will quote Bill Troop from the latter article. As for Burgess - - has a shred of independent evidence emerged to support the theory that this man, never hitherto associated with type - - was capable of designing TNR or any other typeface? Has a single page of a single book in Times printed before 1932 emerged? Where are the secret 'bonds' between the corporations that Mike Parker talks about? I retain my belief that Mike Parker has perpetrated a marvellous prank. There is not a single piece of verifiable evidence to support it as history. If anything were more decisive than another, it would be Jim Rimmer's unimpeachable statement that the italic attributed to 'Burgess' was in fact designed by him. That's OK. We know Jim Rimmer is a type designer and a very, very good one. We know little of Starling Burgess except that he was never a type designer. Nobody has ever shown an original drawing. Everything we have been allowed to see has been digitized. And all the 'secret agreements' from 1960 which Mike Parker speaks of - - where are they? Why has nobody managed to photograph or scan one of them? And why has nobody, a hundred years later, been able to discover a single page printed in TNR before 1932? This is just an amusing hoax that doesn't even rise to the level of the pranks that are occasionally inserted into the august Grove Dictionary of Music and Musicians. However, it has served its purpose, which was to distentangle Giampa from Monotype's legal eagles. Now that Gerald's Lanston/Monotype establishment doesn't seem to exist anymore, why doesn't everyone just come clean? Even Trever-Roper admitted he had been had. It doesn't seem to have done irreparable harm, long-term, to his reputation. Joel Alas reports it differently, as he tells how Mike Parker created a new font, Starling, in 2009, in honor of Burgess, but a Times-Roman lookalike. Excerpts from his piece: William Starling Burgess was born into a wealthy Boston family in 1878, and is best remembered as an accomplished naval and aeronautical designer, the builder of yachts for the America's Cup and aircraft for the Wright brothers. But before embarking on his stellar career on wind and water, Parker believes Burgess had a short but brilliant dalliance with typography. An old photograph of William Starling William Starling Burgess When Giampa started investigating the Lanston Monotype archives, he claimed to have found correspondence between the company and Burgess, who, in 1904, ordered the manufacture of a font series to be used for company documents at his shipyard in Marblehead, Massachusetts. But before Lanston Monotype could complete the order, Giampa claimed, Burgess witnessed an early flight by the Wright brothers and abandoned his interest in type in favour of aviation. His original drawings were filed at the company as Number 54, and remained on a shelf for years. Parker says that in 1921 Lanston Monotype tried unsuccessfully to sell the Number 54 font to a fledgling news magazine called Time. Sometime after that, Burgess's drawings fell into the hands of Stanley Morison, a type consultant at the Monotype Corporation in Britain, by way of Frank Hinman Pierpont, an American who managed that company's factory in Surrey and who made a career out of reviving old fonts. In the early 1900s typography was progressing rapidly, but newspapers were failing to keep up with the advances. The Times of London used a chunky serif font that was hard on the eye and wasteful of ink and paper. When Morison criticised The Times for its typeface in 1929, the newspaper challenged him to come up with something better. In his writings, Morison says that he looked to old-style fonts for inspiration, and set upon modifying a 16th-century typeface called Plantin. A sketch sheet was handed to Victor Lardent, a staff illustrator for The Times, who finalised the design. The Morison-Lardent drawings were accepted, and on October 3 1932, The Times went to print with its proud new typeface. [...] "Morison knew no bounds," says Parker, who has numerous anecdotes about their many encounters that paint a picture of a cunning and devious man. Morison never took credit for designing the font himself, but claims only to have "excogitated" it. [...] To date, no one but Giampa and Parker have claimed to have seen most of the evidence that supports the Burgess story. Sadly, no one else is likely to have the chance to verify their claims. In 1918, a fire tore through Burgess's shipyard, incinerating any documents that might have shed light on his activities during 1904, when Parker suggests he made the original drawings for the new font. On the other side of the Atlantic, a bomb blast near the London offices of Monotype Corporation in 1941 destroyed much information about Morison's activities during the redesign of The Times's typeface. The surviving brass B pattern plate of Starling The surviving brass pattern plate at the centre of the font controversy All that remained were the Lanston Monotype archives in Giampa's possession, until they too met with disaster. In January 2000, Giampa's house was flooded, and a century's worth of printing history was lost. "The bulk of the files ended up in a dumpster," Giampa said. FontBureau perpetuates the joke: In 1904 William Starling Burgess, gifted American polymath, drew his second type for Lanston Monotype, designated Lanston No. 54. A few years later, Burgess would abandon type for a distinguished career designing experimental aircraft, racing yachts, and the Dymaxion automobile. The type languished for decades until Frank Hinman Pierpont, American head of the British Monotype factory, passed on proofs of the design to Stanley Morison, who was developing a new roman for The Times of London. Mike Parker found the original drawings, now housed at the Smithsonian Institution, to be superior and prepared the Starling series for Font Bureau.
As for Burgess - - has a shred of independent evidence emerged to support the theory that this man, never hitherto associated with type - - was capable of designing TNR or any other typeface? Has a single page of a single book in Times printed before 1932 emerged? Where are the secret 'bonds' between the corporations that Mike Parker talks about? I retain my belief that Mike Parker has perpetrated a marvellous prank. There is not a single piece of verifiable evidence to support it as history.
If anything were more decisive than another, it would be Jim Rimmer's unimpeachable statement that the italic attributed to 'Burgess' was in fact designed by him. That's OK. We know Jim Rimmer is a type designer and a very, very good one. We know little of Starling Burgess except that he was never a type designer. Nobody has ever shown an original drawing. Everything we have been allowed to see has been digitized. And all the 'secret agreements' from 1960 which Mike Parker speaks of - - where are they? Why has nobody managed to photograph or scan one of them? And why has nobody, a hundred years later, been able to discover a single page printed in TNR before 1932?
This is just an amusing hoax that doesn't even rise to the level of the pranks that are occasionally inserted into the august Grove Dictionary of Music and Musicians. However, it has served its purpose, which was to distentangle Giampa from Monotype's legal eagles. Now that Gerald's Lanston/Monotype establishment doesn't seem to exist anymore, why doesn't everyone just come clean? Even Trever-Roper admitted he had been had. It doesn't seem to have done irreparable harm, long-term, to his reputation. Joel Alas reports it differently, as he tells how Mike Parker created a new font, Starling, in 2009, in honor of Burgess, but a Times-Roman lookalike. Excerpts from his piece:
William Starling Burgess was born into a wealthy Boston family in 1878, and is best remembered as an accomplished naval and aeronautical designer, the builder of yachts for the America's Cup and aircraft for the Wright brothers. But before embarking on his stellar career on wind and water, Parker believes Burgess had a short but brilliant dalliance with typography.
An old photograph of William Starling William Starling Burgess When Giampa started investigating the Lanston Monotype archives, he claimed to have found correspondence between the company and Burgess, who, in 1904, ordered the manufacture of a font series to be used for company documents at his shipyard in Marblehead, Massachusetts. But before Lanston Monotype could complete the order, Giampa claimed, Burgess witnessed an early flight by the Wright brothers and abandoned his interest in type in favour of aviation. His original drawings were filed at the company as Number 54, and remained on a shelf for years.
Parker says that in 1921 Lanston Monotype tried unsuccessfully to sell the Number 54 font to a fledgling news magazine called Time. Sometime after that, Burgess's drawings fell into the hands of Stanley Morison, a type consultant at the Monotype Corporation in Britain, by way of Frank Hinman Pierpont, an American who managed that company's factory in Surrey and who made a career out of reviving old fonts.
In the early 1900s typography was progressing rapidly, but newspapers were failing to keep up with the advances. The Times of London used a chunky serif font that was hard on the eye and wasteful of ink and paper. When Morison criticised The Times for its typeface in 1929, the newspaper challenged him to come up with something better. In his writings, Morison says that he looked to old-style fonts for inspiration, and set upon modifying a 16th-century typeface called Plantin. A sketch sheet was handed to Victor Lardent, a staff illustrator for The Times, who finalised the design. The Morison-Lardent drawings were accepted, and on October 3 1932, The Times went to print with its proud new typeface. [...]
"Morison knew no bounds," says Parker, who has numerous anecdotes about their many encounters that paint a picture of a cunning and devious man. Morison never took credit for designing the font himself, but claims only to have "excogitated" it. [...]
To date, no one but Giampa and Parker have claimed to have seen most of the evidence that supports the Burgess story. Sadly, no one else is likely to have the chance to verify their claims. In 1918, a fire tore through Burgess's shipyard, incinerating any documents that might have shed light on his activities during 1904, when Parker suggests he made the original drawings for the new font. On the other side of the Atlantic, a bomb blast near the London offices of Monotype Corporation in 1941 destroyed much information about Morison's activities during the redesign of The Times's typeface. The surviving brass B pattern plate of Starling The surviving brass pattern plate at the centre of the font controversy All that remained were the Lanston Monotype archives in Giampa's possession, until they too met with disaster. In January 2000, Giampa's house was flooded, and a century's worth of printing history was lost. "The bulk of the files ended up in a dumpster," Giampa said. FontBureau perpetuates the joke: In 1904 William Starling Burgess, gifted American polymath, drew his second type for Lanston Monotype, designated Lanston No. 54. A few years later, Burgess would abandon type for a distinguished career designing experimental aircraft, racing yachts, and the Dymaxion automobile. The type languished for decades until Frank Hinman Pierpont, American head of the British Monotype factory, passed on proofs of the design to Stanley Morison, who was developing a new roman for The Times of London. Mike Parker found the original drawings, now housed at the Smithsonian Institution, to be superior and prepared the Starling series for Font Bureau.