TYPE DESIGN INFORMATION PAGE last updated on Sat Mar 25 10:06:39 EDT 2023
FONT RECOGNITION VIA FONT MOOSE
Type scene in Massachusetts
Boston, MA-based designer of Hermes (2012). Behance link. [Google] [More] ⦿
Aboutype (est. 1991) is Joffre LeFevre's small Boston-based foundry and custom font bureau. LeFevre (b. 1945, Muskegon, WI, d. 2022, Proctorsville, VT) has been making typefaces since about 1970. He studied Fine Arts (illustration) at Kendall College of Art and Design and Fine Arts (graphic design) at Grand Valley State University. He also received an honorary Masters in Fine Arts from Babson College. For twenty years serving as principal type designer and type product designer for Compugraphic/Agfa Corporation before founding Aboutype Associates, Inc., a type design studio and custom digitizing service in 1989. He retired to Vermont in 2009. 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.
View Aboutype's typefaces. Obituary. [Google] [MyFonts] [More] ⦿
Boston, MA-based designer at Cloudflare and freelance film composer. Author of The Magic of CSS, a fantastic introduction to CSS. Github link. [Google] [More] ⦿
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.
Dafont link. Klingspor link. [Google] [More] ⦿
Located in Boston, MA, Ahern Laurinat created the multiline display typeface Well That's Just The Way It Goes (2012). [Google] [More] ⦿
Beverly, MA-based designer of the school project font Corporate Thug (2013). Behance link. [Google] [More] ⦿
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).
Behance link. [Google] [More] ⦿
Albert Angus Turbayne (b. 1866, Boston, MA, d. 1940, London) was an American book designer and bookbinding artist. He worked in London for the London County Council School of Photoengraving and Lithography and also for Carlton Studio. He wrote Monograms and Ciphers (republished by Dover in 1968 and by Mayflower Books in 1978 with the title A Complete Book of Monograms & Ciphers). Designer of an initial caps face at the end of the 19th century. One of his typefaces inspired Ben Noe's typeface Turbayne (2021). [Google] [More] ⦿
Codesigner with Donald Tarallo at Tarallo Design of FormPattern Color (2018),d FormPattern Color Three (2019: a typeface for creating borders and frames) and FormPattern Color Six (2020), Varese Outlined (an all caps geometric outline font) (2020). [Google] [MyFonts] [More] ⦿
Graphic designer in Boston, MA. In 2015, he designed the deco typeface Sevenpoint for silkscreen printing. [Google] [More] ⦿
During his studies, Boston, MA-based Alexander Bartlett designed Caslon Remixed (2019) and created hilarious animated gifs in the process. [Google] [More] ⦿
Punchcutter. From MyFonts: Scottish punchcutter (b. Edinburgh, 1829, d. Chelsea, MA, 1894) active in the revival of oldstyle designs at Miller&Richard in the 1850s. He went to America in 1861, working at the Bruce type foundry 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:
Some images below by Alex Delgado. FontShop link. Klingspor link.
View and compare Bookman-style commercial typefaces. [Google] [MyFonts] [More] ⦿
Boston-based designer of the bold slab serif typeface Astral (2012) and of Ahoy Sailor (2012). [Google] [More] ⦿
Boston-based designer of the spindly neurotic typeface Rehab (2013). [Google] [More] ⦿
During her studies at the University of Massachusetts Dartmouth, Milford, MA-based Alicia Boulos designed the outlined sans typeface Outline (2016), and the display sans typeface Next (2016), which is characterized by teardrop-shaped counters. Behance link. [Google] [More] ⦿
Graphic designer at The Improper Bostonian Magazine. She created a great Broadway-style art deco marquee typeface called McQueen (2012). [Google] [More] ⦿
Graduate of MassArt, class of 2015. Boston, MA-based designer of Spitaels Display (2015), a calligraphic old style typeface influenced by the work of José Mendoza de Almeida. [Google] [More] ⦿
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] ⦿
During her studies at Endicott College, Hanover, MA-based Alyssa Richmond designed the Peignotian all caps typeface Oakland (2015). [Google] [More] ⦿
During her studies at Art Institute of Pittsburgh, Buzzards Bay, MA-based Amanda Bonnar designed the brush script typeface Roman Holiday (2016), which was inspired by the 1953 movie starring Audrey Hepburn and Gregory Peck. Behance link. [Google] [More] ⦿
During her studies at Northeastern University, Amanda McAllister (Boston, MA) created the sans typeface Harlan (2014). [Google] [More] ⦿
Anastacia E. Zittel
San Francisco-based MIT graduate, designer of the iconized alphabet font Anillo. [Google] [More] ⦿
During his computer science studies in Cambridge, MA, Anji Ren programmed an experimental font, Gru Grammar (2014), using only a quarter circle and its negative. [Google] [More] ⦿
Bridgewater, MA-based designer of an art deco school project typeface done at Lasell College in Newton, MA in 2016. [Google] [More] ⦿
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.
Al Rassam Al Arabi is the same as Kalimat but for Windows. Al Rassam AlArabi lets you add Arabic text into non Arabic photo retouching and illustration programs such as Adobe Photoshop, Illustrater, Freehand. Corel. Al Rassam Al Arabi comes bundled with 20 Arabic fonts. [Google] [More] ⦿
Ari Weinkle (Brookline, MA) created the circle-and-straight segment typeface Sisyphus (2012).
Behance link. [Google] [More] ⦿
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 in Andover, MA, who worked for many foundries, and ran several studios. He ran Glyph Systems in Andover, MA, and before that, Alpha Omega and Maverick Designs. Baker grew up in Berkeley, CA, and attended school on the West Coast and New York City. After serving in the U.S. Army, he studied under calligrapher Oscar Ogg and had private lessons with George Salter and Tommy Thompson. Some of Baker's earliest designs were made available through Photo-Lettering Inc., and his first widely-available commercial typeface was published in 1965. Baker's first book was published in 1973. Arthur Baker died in 2016 at the age of 86. Tribute by Allan Haley. His typefaces were all calligraphic:
Some explanations by Freddy Nader: The Baker Argentina and Danmark typefaces 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 typeface for them. Royalties were a relatively new thing back then - Tommy Thompson was the very first person to ever earn 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 typeface 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 typeface 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).
MyFonts link. Klingspor link. View Arthur Baker's typefaces. Linotype link. MyFonts page. Another MyFonts page. And still another MyFonts page. FontShop link. View Arthur Baker's typefaces. [Google] [MyFonts] [More] ⦿
An old wooden boardgame inspired Ashley Leuci (from Douglas, MA) in her creation of the Aligaram typeface (2012). [Google] [More] ⦿
Maynard, MA-based designer of the pixel typeface Mad-E (2015). [Google] [More] ⦿
Report by Luc Devroye of the ATypI '99 meeting held in Boston, 7-10 October 1999. Great pictures by Jill Bell, including two close-up shots of BenguiatFrisky. [Google] [More] ⦿
Monson, MA-based designer of the decorative caps typeface Supernova (2017). Behance link. [Google] [More] ⦿
Graduate of the School of Design at Rochester Institute of Technology. East Billerica, MA-based designer of the calligraphically-inspired Plumeria (2015) and Plumeria Sans (2015). Behance link. Dafont link. [Google] [More] ⦿
Boston-based foundry dating from the 19th century. Nick Curtis made the Western billboard typeface 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] ⦿
Print designer in Cambridge, MA. Becka created the hand-drawn poster typeface Beckler in 2014. Dafont link. [Google] [More] ⦿
Boston-based designer. He occasionally designs custom typefaces, such as, e.g., for Mattel Hot Wheels. Behance link. [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 wrote on the origins of the collection: The Bitstream Typeface Library was developed under the supervision of Matthew Carter, the creator of such esteemed typefaces as ITC Galliard; Snell, Bitstream Charter and Swiss Compressed. Carter, who also serves as Bitstream's Senior Vice President of Design, set uncommonly high standards for the company's highly-skilled design staff. Working from the earliest-generation artwork available, each character of every typeface is hand-digitized on advanced workstations specially programmed by Bitstream's engineers. In building the library, Carter has overseen the licensing of typefaces from such respected international sources as the International Typeface Corporation (ITC), Kingsley-ATF Type Corporation, and Fundicion Tipografica Neufville SA, among others. Bitstream also develops new and original designs. Many countries provide for the legal protection of typeface names only, not the designs themselves. This means that the original names of many typefaces can only be used with a license from the owner. The majority of Bitstream typefaces in this catalog have licensed names (on which royalties are paid), or have historical names that reside in the public domain, or have names to which Bitstream owns the rights. In these cases, the name is used. When the original name is not available for use by Bitstream, an alternative name appears. For example, Swiss 721 is the name that Bitstream uses for its version of the typeface popularly known as Helvetica? Because the original name of that typeface is not widely licensed, there are many offerings of the design with completely different names. It is important to note that the use of an alternative name has no bearing on the inherent quality or authenticity of the typeface design.
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.
Bitstream was offering a 250-font CD. Type Odyssey Font CD (2001). Bitstream has added Greek, Cyrillic, OldStyle versions to many of its families.
New releases in July 2001: Artane Elongated, Cavalero, Drescher Grotesk BT, 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.
Catalog of typefaces [large web page warning]. [Google] [MyFonts] [More] ⦿
Boston, MA-based designer of the Cherokee typeface Tsalagi (2014). [Google] [More] ⦿
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) and Conserif CW, Design CW (2006, geometric). Creations by Tallulah Bluhead include Soylent Blu BH (2006: a bouncy cartoony wedge serif)) and Conference Call BH (2006).
Roy Preston published the Prenton RP humanist sans family in 2006 and the comic book style families Comixed RP and Roy Hand RP in 2007.
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 Lorina (2014---the original by Churchward goes back to 1996), Churchward Maori, Churchward Maricia, Churchward Ta Tiki, Churchward Conserif, Churchward Design Lines, Churchward Freedom, Churchward Isabella (2015, a sans), Churchward Marianna (bubblegum face), Churchward Montezuma (2012, based on an Aztec-inspired design), Churchward Newstype (2008), Churchward Samoa, Churchward Supascript, Churchward Typestyle (2022; a 12-style sans).
FontShop link. Creative Market link. Klingspor link.
View the BluHead typeface library. [Google] [MyFonts] [More] ⦿
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 typefaces 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).
View digital typefaces derived from the Boston Type Foundry. [Google] [MyFonts] [More] ⦿
Boutros International (or: 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, who run Boutros Foundry out of London, UK. 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.
The early ITC collection in the 1980s had six Arabic typefaces: ITC Latif, ITC Boutros Calligraphy, ITC Boutros Setting, ITC Boutros Kufic, ITC Boutros Modern Kufic, ITC Boutros Rokaa.
At Ascender, Mourad published Boutros Maghribi (2009, co-designed with Rana Abou Rjeily), based on the Arabic calligraphy bamboo classical Maghribi style.
In 2008, Boutros co-designed Tanseek Modern and Tanseek Traditional with Richard Dawson and Dave Farey.
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.
In 2017, Mourad Boutros and Soulaf Khalifeh published the free low contrast Tajawal sans typeface family for Latin and Arabic. Google Fonts link. Github link.
In 2018, Boutros Fonts published URW Geometric Arabic.
FontShiop link. [Google] [MyFonts] [More] ⦿
Graphic and web designer in Boston who studied at Hampshire College 2006-2007). He wrote the Fontly app for finding and preserving the typographic culture all around us. In 2014, he founded of Cuseum, a company that powers mobile-first experiences that help museums engage their visitors. His software platform makes it easy for museums, cultural institutions, and public attractions to publish mobile apps, manage their collections, access visitor analytics, and generate new revenue opportunities. Brendan specialized for a couple of years in revivals of classical typefaces but seems to have left the domain of type design permanently:
During her studies, Boston-based Brenna Arnold designed the pixelish typeface Curvy (2018, FontStruct). [Google] [More] ⦿
Bolton, MA-based designer of a counterless experimental typeface in 2013. [Google] [More] ⦿
Type designer from Massachusetts who made Narcissus Roman (1995, Font Bureau), a strong bold inline titling typeface with upper and lower case characters---in its genre, one of the best typefaces on earth. He also designed the ultra-condensed typeface 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.
Klingspor link. FontShop link. Font Bureau link. [Google] [MyFonts] [More] ⦿
Springfield, MA-based Brian Page (b. 1977) created the glaz krak typeface Brokn Rage (2015). [Google] [More] ⦿
South Hadley, MA-based designer (b. 1983) of Brian' Font (2006, handwriting font) and Briana's Handwriting Jesus (2006). [Google] [More] ⦿
Easthampton, MA-based designer of the hand-drawn Tea (2013), which is based on the handwriting of her aunt. [Google] [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. The foundry is an outgrowth of the Juniper Press. Cade published a Specimen book Type Borders Ornaments and Bras Rule in 1976 (Juniper Press, 24 GinnRoad, Winchester, MA). Local download.
Typefaces include Jenson Old Style No. 58, Goudy Lanston No. 279, and Caslon Old Style Italic 3371. [Google] [More] ⦿
During his studies at Boston University, Cameron Mac Wylie designed the Bauhaus-style poiano key typeface Broadway Black (2019). [Google] [More] ⦿
Carter & Cone
Boston-based company started in 1991 by Matthew Carter and Cherie Cone that published typefaces such as Mantinia, Elephant, Sophia (1993) 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.
In particular, these are their typefaces for The New York Times: NYT Cheltenham (2001, 2008-2014), NYT Franklin (2012-2014), NYT Imperial (2007, 2008-2014), NYT Karnak (1993-2014: Font Bureau and later Carter and Cone), NYT Stymie (1990-2014).
MyFonts site. Type Network link. Linotype link.
Somerville, MA-based outfit that created Arboreal, a PostScript font for making syntax trees. It also released fonts for linguists. [Google] [More] ⦿
For a student project, Boston, MA-based Catherine Cameron designed the text typeface Brett (2017). [Google] [More] ⦿
As a student at Boston University, Chanida Kittimethee designed the experimental typeface (2018) based only on lines and circles. [Google] [More] ⦿
Charles L.H. Wagner was the founder and director of the Wagner School of Sign and Commercial Art, Boston, Massachusetts. Formerly instructor in Show Card Writing at Northeastern University and Young Men's Catholic Association, Boston, and University Extension, Department of Education, Commonwealth of Massachusetts, and Principal, Wagner-Sprague Correspondence School. Wagner wrote six volumes of poetry and was a frequent contributor to technical magazines and metropolitan newspapers. He was a landscape and oil portrait artist as well. In 1926 he published Blue Print Text Book of Sign and Show Card Lettering (at Fellowcrafters Inc, Boston, MA). [Google] [More] ⦿
Boston, MA-based fine artist, illustrator and surface designer who created the calligraphic brush script typeface Ellie Mae in 2015. Creative Market link. [Google] [More] ⦿
Boston, MA-based designer of these hand-printed typefaces in 2019: Jump Start, Playdate, Just Curious, Bountiful, Simplicity, Hello Monday, Happy Day, Easy Street. In 2015, she drew Ellie Mae. [Google] [More] ⦿
During his studies in Boston, Chris Bowers designed the typeface family Ketman Display (2015), a revival of the German art deco typeface Patria (1938, Henry Reinhard Moeller). On the project page, users can interpolate between several different masters of Ketman. [Google] [More] ⦿
CT-born creator of Serious (2013), an avant garde sans typeface, during his studies at The Art Institute of Boston at Lesley University, where he is in the class of 2014.
Behance link. [Google] [More] ⦿
During his studies at Mount Ida College in Newton, MA, Chris Lenzi (Franklin, MA) designed the curly display typeface Ionic (2016). [Google] [More] ⦿
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] ⦿
Easton, MA-based designer of the alchemic typeface Geo Easton (2013). [Google] [More] ⦿
Originally from Northern Ireland, Ciaran Crawley studied at Massachusetts College of Art & Design. Now located in Boston, MA, Ciaran designed the pixel typeface Bit Noire (2018, FontStruct). FontStruct link. [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.
Fontspace link. Old URL. [Google] [More] ⦿
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".
Images of some typefaces: CG Garamond (now Monotype; see also Garamond Antiqua and Garamond Kursiv), CG Times (now Monotype).
Timeline at the Monotype Imaging site.
Compugraphic collection of fonts (with CG in the name). [Google] [MyFonts] [More] ⦿
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 typeface 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] ⦿
Ashburnham, MA-based designer of the bold counterless geometric typeface LOT (2013). [Google] [More] ⦿
Weymouth, MA-based designer and illustrator. Creator of these display typefaces in 2020: Old Money (free), Milk Carton, Numbskull.
Jones lived in Brockton, MA. Author of Alphabets for Practical and Ornamental Engrossing (1914), Lessons in Engraver's Script (1914), American Method of Business Writing, and Ninety-five Lessons in Ornamental Penmanship (1914). The second 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, and managed the department of type design and development at Agfa Compugraphic in Massachusetts. She was President of AlphaOmega, a design studio dedicated to typeface development. She was also the Director of Typeface Development at High Technology Solutions, in Poughkeepsie, New York. 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.
Her typefaces show calligraphic influences:
Bio at ATypI. Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿
Lowell, MA-based designer of Broken Bones Alphabet (2015). [Google] [More] ⦿
D. Sandi Sjahputra
Creator of Bastardville (1994) at Dewitt&Anthony, which was (is?) located in Northampton, MA. [Google] [More] ⦿
Based in Boston, Dan Forbes is a graphic designer with a keen interest in tyography. In 2009, he created the log-themed Woody Display. [Google] [More] ⦿
Vineyard Haven MA-based designer of the free scratchy hand-printed typeface Sixty Four Dollar Question (2012).
In 2012, she set up her own commercial foundry, Dana Jacobs. [Google] [MyFonts] [More] ⦿
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; second edition at Harvard University Press in 1951) which is based on a lecture series he gave at Harvard University from 1910 to 1916. The second edition is from 1937.
In 1893 (some say 1894), he founded the Merrymount Press in Providence, Rhode Island. He designed the Montallegro typeface. In 1896, Daniel Berkeley Updike and Bertram G. Goodhue co-designed a bold text typeface.
Britannica entry. Abebooks link.
Volume 1 and Volume 2 of his book have been scanned in. Patent office link. [Google] [More] ⦿
Boston-based designer of a nice imaginary Lord of the Flies movie poster (2011). [Google] [More] ⦿
At Mount Ida College, Holbrook, MA-based Danielle Demers designed a honeycomb grid-based typeface in 2017. [Google] [More] ⦿
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 and at ATypI 2014 in Barcelona.
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:
View David Berlow's typefaces. Another catalog of David Berlow's fonts. Speaker at ATypI 2018 in Antwerp. [Google] [MyFonts] [More] ⦿
Type designer and composer, born in St. Albans, VT, in 1958. He was one of the early free/shareware type designers, well-known for creating revivals of 19th century typefaces. He was 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 (a sign language font), 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 (a Munch 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.
Some downloads: Uechi, Rothman, Tejaratchi, Eileen Caps and Elzevier Caps, Paris Metro, Davy's Dingbats (see also here).
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.
Download 120 of his fonts here.
And finally, a text file with the names of most of his fonts.
Mark Johansson explains the history of Rakowski's fonts. Dafont link. MyFonts page. Abstract Fonts link. Font Squirrel link. Fontspace link. Klingspor link. [Google] [MyFonts] [More] ⦿
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.
In 1952 Kindersley submitted MoT Serif to the British Ministry of Transport, which required new lettering to use on United Kingdom road signs. The Road Research Laboratory found Kindersley's design more legible than Transport, a design by Jock Kinneir and Margaret Calvert, but nevertheless chose Transport. Many of the street signs in England, especially in Cambridge use Kindersley's fonts.
The book typeface 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, publishes a number of typefaces based on Kindersley's work. They include Kindersley Street (2005, aka Kindersley Grand Arcade) which is based on Kindersley Mot Serif (1952). It was designed for the Grand Arcade, Cambridge.
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).
Image: Stone cut alphabet from 1979 displayed in the University of Amsterdam' Special collections.
Linotype link. FontShop link. MyFonts link. Wikipedia. Klingspor link. [Google] [MyFonts] [More] ⦿
Boston-based creator of the slightly grungy and appropriately named typeface Stress (2011).
Behance link. [Google] [More] ⦿
Delve Fonts (was: Delve Media Arts)
Delve Withrington (Alameda, CA; b. 1970, Asheville, NC) studied at 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. MyFonts link. Designer of these typefaces:
Adobe link. [Google] [MyFonts] [More] ⦿
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:
View Dennis Pasternak's typefaces. [Google] [MyFonts] [More] ⦿
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.
Scans of typefaces shown in the 1923 ATF catalog: Roycroft Tinted, Card Mercantile (1890s).
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 typeface 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.
Digital revivals include Renaissant NF (2014, Nick Curtis: a Victorian typeface).
Wikipedia link. [Google] [MyFonts] [More] ⦿
DJR Type (Conway, MA, and before that, Deerfield, MA, and before that Los Angeles, CA, and before that, Lowell, MA) stands for David Jonathan Ross Type. Originally from Los Angeles, he was a student at Hampshire College in Amherst, MA, where he studied information design and typographic tradition. In 2007, he joined Font Bureau as a junior designer and was assisting with custom projects and expanding Font Bureau's retail library. Soon after that, het set up DJR Type. In 2016, DJR Type joined Type Network and pulled all his typefaces from MyFonts. He also runs Font of the Month Club.
In 2018, he was the tenth winner of the Charles Peignot Prize. His typefaces:
Speaker at ATypI 2016 in Warsaw and at ATypI 2017 in Montreal. Klingspor link. Home page. Adobe link. [Google] [MyFonts] [More] ⦿
Graphic designer in Sprinfield, MA, who created the modular sci-fi typeface Space Cube (2014). [Google] [More] ⦿
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] ⦿
Graphic design student at the University of Massachusetts. Creator of the Headache Alphabet (2010). [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.
In 2004, Richard Kegler and Colin Kahn co-designed P22 Ed Rogers, based on ed Rogers's lettering. [Google] [MyFonts] [More] ⦿
Born in 1799, died in 1876. Edward Pelouze was the second son of Edmund Pelouze, and a key figure in the Pelouze type foundry 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:
Medford, MA-based designer of a colorful alphabet poster in 2015. [Google] [More] ⦿
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 until 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 typeface 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.
Font Bureau link. Klingspor link. FontShop link. [Google] [MyFonts] [More] ⦿
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. [Google] [MyFonts] [More] ⦿
Chelmsford, MA-based designer of the sketched typeface Patches Print (2015). [Google] [More] ⦿
Plainville, Massachusetts-based Emily Spadoni (b. 1979), runs her own foundry, simply called Emily Spadoni. She specilaizes in scripts, and in partucular, curly, frilly, mischievous scripts and vavoom vampire handwriting. In 2014, she made these hand-printed typefaces: Drawing With Markers, Peanutbutter Smoothies (curly), What I Want For Christmas, Sweethearts Love Letters (curly script), Strawberry Whipped Cream, Silver Bellybutton Ring (cute curly script), Betty, Pink Ladies and Peanutbutter (a curly teatime script), Tall Tulips, Doodle Dings 1 Birds Cages.
Typefaces from 2015: Storybook, Fashionista Black, Sophia (brush script, free), Ke Aloha (Hawaiian vibe script), Fashionista (calligraphic connected script), Annabella Calligraphy Script (a great calligraphic curly wedding script typeface family), So Lovely, Velvet Berries (curly script), Butterfly Waltz Script (curly script), Secret Garden Script, Lettres Douces, Starstruck, Berrylicious, Portabello Script, Smoothie Shoppe (free), Sweet Peony, Margherite, Mirabella Script, Lilly Belle, Sweet Pea, Ballerina Script (curly script), Tippy Toes, Doodle Dings 2 Retro Flowers, Ralphie Brown (curly script), Because I Am Happy (hairline script), Give Me Some Sugar (a lovely boudoir-curly typeface), Dandelion Soup, Noteworthy (a connected signature script), Gardenia (+flower ornaments), Country Chic, Clementine, Daydreamer, Tickled Pink (very curly), Sugar Plums Script, Abigail Brush, Hello Sunshine Script, Ink Blossoms Script, Carried Away, and Beautiful Day.
Typefaces from 2016: Lemons Mangos Sunshine (a swashy feature-laden script), Smoothie Shoppe (free), Romantic Script, Clementine Script.
Typefaces from 2017: Dandelion Soup, Peony Blooms.
Typefaces from 2018: Roseroot Cottage (a 22-style font collection).
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.
Creator of Erica's Handwriting (2007, Fontifier). [Google] [More] ⦿
Foxborough, MA-based designer of Nightcall (2012).
Behance link. [Google] [More] ⦿
During her studies at the Art Institute of Boston, Erin Gwozdz created the wide slab serif typeface Mild Salsa (2013) and the modular typeface Kiyo (2013). Behance link. [Google] [More] ⦿
Eyes Wide Open
Calligrapher and book designer in Amherst, Massachusets. At Type Cooper 2021, she designed a flared stroke font, Bambo, that showcases her calligraphic background. [Google] [More] ⦿
Art student in Boston. Designer of the hand-printed typeface Tima's Font (2011, iFontMaker) and of Blocks (2011, iFontMaker). [Google] [More] ⦿
Andrew Newman (b. 1947) is a graphic designer in Cape Cod and Boston, 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.
Dafont link. Behance link. [Google] [More] ⦿
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.
Catalog of Font Bureau's typefaces. [Google] [MyFonts] [More] ⦿
American author (b. 1867, Worcester, MA) of The Francis B. Courtney Scrapbook. Elsewhere, in 1896, he showed these swashy penman's capital alphabets drawn by him: i, ii, iii. [Google] [More] ⦿
Rochester Institute of Technology Professor Emeritus Frank Romano had a long career in the printing and publishing industries. He was the editor and publisher of TypeWorld between 1977 and 1990, and later Electronic Publishing, Computer Artist, and Color Publishing magazines.
He is the author of sixty books, including the 10,000-term Encyclopedia of Graphic Communications (with Richard Romano). His books were among the first on digital printing, computer-to-plate, workflow, PDF, QuarkXPress, InDesign, and new media. His latest books include History of the Linotype Company (RIT Press, 2013) and History of the Phototypesetting Era (California PolyTechnic Institute GRcL Press, 2014).
He is president of the Museum of Printing in Haverhill, MA which houses the only collection of cold type systems. [Google] [More] ⦿
Frere Jones Type
Celebrated type designer, born in 1970 in New York City. Frere-Jones received a BFA in Graphic Design from the Rhode Island School of Design in 1992. He moved to Boston, where he worked at the Font Bureau until 1999. He joined the faculty of the Yale University School of Art in 1996 and has lectured throughout the United States, Europe and Australia. From 1999 until 2014, he worked for and with Jonathan Hoefler in New York. In 2015, he set up his own type foundry, Frere Jones Type. His old Font Bureau typefaces can be bought since 2020 at Frere Jones / Type Network. His work is in the permanent collections of the Victoria & Albert Museum in London and the Museum of Modern Art in New York. In 2006, The Royal Academy of Visual Arts in The Hague (KABK) awarded him the Gerrit Noordzij Prijs, for his contributions to typographic design, writing and education. In 2013 he received the AIGA Medal, in recognition of exceptional achievements in the field of design.
At FontFont, he designed the children's fonts FF Dolores (1991) and FF Dolores Cyrillic.
At FUSE 15, he designed Microphone (1996). At FUSE 10, he published Fibonacci, a font consisting just of lines.
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).
Retina Agate (2001, specially made for small-print stock listings at the Wall Street Journal) netted him a Bukvaraz 2001 award and an AIGA 2003 Design Award.
From 1999 until 2014, he designed 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:
Interview. Interviewed by Dmitri Siegel. He created Estupido Espezial for fun, but it actually made it into an issue of Rollingstone. Catalog of his typefaces at Font Bureau. Keynote speaker at Typecon 2014.
View typefaces designed by Tobias frere-Jones. Another page with typefaces created by Tobias Frere-Jones. [Google] [MyFonts] [More] ⦿
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.
View Dennis Pasternak's typefaces. View typefaces designed by Galapagos. [Google] [More] ⦿
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 typeface Pretendo (2004), and the comic book typeface 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] ⦿
Printer in Boston who published Specimens in Boston in 1861 and in 1865. Free scan by the Boston Public Library.
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] ⦿
At Assumption College in Worcester, MA, George Burrelle-Wentworth designed the Peignotian typeface Medial (2016). [Google] [More] ⦿
American type designer (b. Cambridge, MA, 1886, d. Weston, MA, 1958). He designed Nova Script at Intertype in 1937. Other typefaces: 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:
Klingspor link. [Google] [MyFonts] [More] ⦿
Graphic designer who studies visual communication at Endicott College in Beverly, MA. He create the techno typeface PakTek (2008). [Google] [More] ⦿
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, and is now a Monotype typeface designer. Creator of these typefaces:
FontShop link. Klingspor link.
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), E.R. Weiss: The Typography of an Artist (Oldham: Incline Press, 2011) and German Graphic Designers in the Hitler Period. He spoke about Koch at ATypI 2003 in Vancouver. [Google] [More] ⦿
Boston, MA-based designer of the school project font Azua Sans (2014). Behance link. [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. Klingspor link. [Google] [MyFonts] [More] ⦿
Greenfield, MA-based designer of The Voice of Bennu (2019: decorated caps). [Google] [More] ⦿
Manchester, UK-based Hannah Tyson created several hipster alphabets in 2014 and 2015. Behance link. [Google] [More] ⦿
Harry Gage lived in the village of Annisquam on Cape Ann, Massachusetts after he left corporate and academic life in the printing business. He produced a great deal of fine art in his later years---watercolors, designs for commemorative medals, and designs for the Christmas cards that were sent out by the village committee.
Author of Vel Vet Show Cards (1924). Some of his alphabets can be seen in Thomas Woods Stevens's book Lettering (1916). All of the alphabets in the latter book were digitized by Dick Pape in 2012 and 2013, and are free and downloadable from this site: TWS Heavy Capitals 49, TWS Italian Gothic Caps 80 (Lombardic), TWS Renaissance Alphabet 39, TWS Robinson Caps 23, TWS Roman Caps 13, TWS Slab Capitals 22, TWS The Japanese 32. Futher digitizations of the 1916 alphabets include Jeff Levine's Tenement JNL (2020: of the Cooper Black style alphabet TWS Heavy Capitals 49), Da ABF Mafia's Yoshi Toshi (2003) and David Nalle's Yoshitoshi (2003), both of TWS The Japanese 32. [Google] [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] ⦿
Hex was founded by Nick Sherman (b. 1983). Nick is a typographer and typographic consultant based in New York City and Los Angeles. He is a co-founder of Fonts In Use and a graduate of the Type@Cooper typeface design program at Cooper Union. He serves on the board of directors for the Type Directors Club, the Adobe Typography Customer Advisory Board, as well as the artistic board for the Hamilton Wood Type & Printing Museum. He has taught typography, typeface design, letterpress printing, and responsive design at MassArt and Cooper Union. He previously worked at Font Bureau, Webtype, and MyFonts, directing web design and promotional material for typefaces.
Originally from Hyannis Port and Boston, MA, he studied graphic design at MassArt in 2005. 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 until 2010), he was in charge of the interviews, presentations, and web designs of their successful and useful pages.
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:
He wrote Type from the Crypt about horror fonts. He started the Flickr group called Manicule about pointing hands (fists; see, e.g., here and here). He wrote the long essay on printing fists called Toward a History of the Manicule (2005). Check out this pic he took of Lucha Libre posters in Mexico City in 2009. He also designed the poster for the 2008 documentary on wood type called Typeface.
Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. Future Fonts link. [Google] [More] ⦿
Boston-based foundry, also called E.A. Curtis, and Curtis&Mitchell. [Google] [More] ⦿
At Harvard University (Cambridge, MA) Humphrey Obuobi designed Origami X1 (2016). Behance link. [Google] [More] ⦿
As a student at Harvard, Cambridge, MA-based Humphrey Obuobi designed the circle-based typeface Centroid (2016). [Google] [More] ⦿
Boston, MA-based designer of Retro Futura (2018). [Google] [More] ⦿
Boston-based designer who created the high-contrast display typeface Fade Out (2013) during his studies.
Behance link. [Google] [More] ⦿
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). Local download.
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] ⦿
Boston, MA-based designer of the free fat finger fonts Blocky Sans (2016) and Middle School Essay (2016). [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 until 2005, she created a fanciful display typeface in four weights, Minah (Font Bureau; +Black, Bold). FontShop link. [Google] [MyFonts] [More] ⦿
Boston, MA-based designer of the squarish display typeface Toast (2014). [Google] [More] ⦿
Boston and St. Louis-based typefounder, 1841-1901. He created the DeVinne series and many other 19th century typefaces. [Google] [More] ⦿
Chemistry professor at the University of Massachusetts, Amherst. Designer of the free font Academicons (2015), which can be downloaded from CTAN and Github. The academicons TeX package was written by Diogo A. B. Fernandes. Home page. [Google] [More] ⦿
Boston-based designer who was born in Cuba and raised in Venezuela. Behance link. He created the geometric outline typeface Jeroglifico (2011), and the Bauhaus-inspired outline typeface Dessau (2012).
Boston, MA-based designer of the sans typeface Cumulus (2015). Behance link. [Google] [More] ⦿
As a student at Boston University, Jewelson Fernandes designed the typographic Bauhaus Manifesto poster (2016). [Google] [More] ⦿
Jill Pichotta began working for Font Bureau as an apprentice with David Berlow in 1991, honing her skills on projects for Rolling Stone, Esquire, Condé Nast Traveller, The New York Times and Apple Computer. She has managed the production of retail releases for independent designers since 1993, and has contributed several typefaces at Font Bureau. In 2016, Jill Pichotta became Principal Product Manager for Type Network, overseeing type development and quality for the company's global alliance of foundry partners. Jill Pichotta's typefaces:
FontShop link. [Google] [MyFonts] [More] ⦿
Boston, MA-based designer with Jill Pichotta at Font Bureau of Gangly (1996-1998, organic). Behance link. [Google] [MyFonts] [More] ⦿
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] ⦿
Massachusetts-based punchcutter, b. 1852, Harrisville, PA.
Comment by 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 typeface for classified advertising pages which banned bold types. Compare DeVinne Condensed, MacFarland Condensed.
Some digitizations exist: the nice fat pre-art deco typeface Binner is offered by Linotype, Elsner & Flake (as Binner EF), and Monotype (as Binner Poster MT). Kismet was digitized by Linotype and separately by Richard Beatty as Spiral. Viking Old Style No. 3 was revived in Ingvaeonic-Oldestyle (2007, Nick Curtis)). Howland was revived by Elizabeth Carey Smith as Howland New.
Jenson Oldstyle No. 2 (1893) was designed by J.W. Phinney and cut by John F. Cumming.
Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿
John Giannopoulos has been in and around the type industry since 1983, going back to the phototypesetting days with Compugraphic. Currently, he is Monotype's Director of Strategic Alliances responsible for partnering with major internet companies to advance the use of excellent typography across the web. He writes: John's personal goal is to see industry-wide web font adoption hit and exceed 25% by the end of 2013. This will ensure web font use will quickly move past early adopters and into the mainstream.
Speaker at ATypI 2013 in Amsterdam: The Rapid Adoption of the Web Fonts & The Opportunities that Lie Ahead. His talk at ATypI 2014 in Barcelona was on a similar topic. John is based in Woburn, MA. [Google] [More] ⦿
Self-proclaimed writing master who wrote the pompous, childish and utterly useless The Art Of Writing (1813). [Google] [More] ⦿
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] ⦿
Boston-based designer of the colorful geometric shape typeface Party Down (2017) and Stone Henge (2017). Creative Market link. Behance link. [Google] [More] ⦿
Born in the Dominican Republic, Jose Gonzalez lives in Peabody, near Boston, MA. During his studies, he created the alchemic vector format typeface Trian (2013). [Google] [More] ⦿
American type designer, 1848-1934. He worked in Boston, first at the Dickinson foundry, and later at ATF, where he was vice-president. He designed these typefaces:
Wiki. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿
Born in 1854, died in 1913. Boston-based book printer who is usually credited with the design of Cushing in 1896 at Monotype. 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 typefaces 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 conventional 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 typefaces. 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 typeface 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 typeface 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 typeface 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 typeface 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.
Digital interpretations include ITC Cushing by Vincent Pacella (1982), Revival 721 (Bitstream), Calgary (SoftMaker), Bushing by David Bergsland (2010), and File Clerk (2020, Jeff Levine). [Google] [MyFonts] [More] ⦿
Boston, MA-based designer of a typographically interesting cover for the Hearh Annual Report 2017. [Google] [More] ⦿
Duxbury, MA-based designer of Bonespur (2018). [Google] [More] ⦿
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. [Google] [More] ⦿
Designer of the art deco typeface 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] ⦿
Kellie Jayne Design
Boston, MA-based designer of the handcrafted coffee table typeface Oatmeal Raisin (2018), Cinnamon Twist (2018) and Creme Brulee (2019: brush script). Other fonts from 2019 and 2020, all hand-drawn, include Parsnips, Key Lime, Parsnips, Jamberry, Whimsical Handwriting, Dusky Pines (Script+Serif), Happy Dance, Wagon Wheel Script, Strawberry Cake, and Boston Cream.
Graphic designer in Massachusetts. Creator of the display typeface Panogram (2013) and Circuit (2013). [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).
Dafont link. [Google] [More] ⦿
Graphic artist who worked for Agfa Monotype and then Monotype from 1988 until 2008, mainly as a hinting expert. Currently, he is a freelance designer in North Andover, MA. He made the scary handwriting font GitschHand (2001).
Setimo (2015) was co-designed by Fernando Caro, Ken Gitschier, Fabio Haag and Lukas Paltram at Dalton Maag in Brazil, and won an award at Tipos Latinos 2016. [Google] [MyFonts] [More] ⦿
Ken McTague is a sign artist working in Salem, Mass. He designed LHF Boston Truckstyle in 2002, 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] [MyFonts] [More] ⦿
Kent Lew Design (or: KL Type Foundry)
Kent Lew Design in Washington, Massassuchetts is where graphic designer and illustrator 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.
In 2018, he designed and released the sans typeface family Clarimo at Morisawa. Interview about Clarimo.
FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿
American type designer, b. 1980, who graduated from the RISD, and worked at Font Bureau (as Senior Custom Designer) and Type Network (as Custom Type Director) in Boston. She set up Kerns & Cairns, also in Boston. Interview at Daidala. Interview by Christian Palino. Her typefaces:
FontShop link. Type Network link. [Google] [MyFonts] [More] ⦿
MA-based designer of the pixel font 51291pix (2008). [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.
They also wrote Golden Gems of Penmanship (1884).
Digital typefaces influenced by Knowles & maxim include Holly Initials (2010, David Nalle). [Google] [More] ⦿
Boston, MA-based designer of the ornametal caps typeface Tentacle Font (2013). [Google] [More] ⦿
Graphic design student at Boston University. During her studies in 2012, she created a warm readable typeface family called Penmanship. [Google] [More] ⦿
Graphic designer in Boston, who made a typographic poster called Gunsling Birds (2012) to promote Gunsling Birds, a future-noir rock band based in Brooklyn, New York. [Google] [More] ⦿
Illustrator and graphic designer in Wakefield, MA. She created the modular ornamental typeface Arabian Nights (2011). [Google] [More] ⦿
Brighton, MA-based creator of the monoline display sans typeface Mona Surf (2014). Behance link. [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 styles, from Penumbra sans to Penumbra Flare, Penumbra Half Serif and Penumbra Serif, 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 typeface 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 typefaces 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) was designed wih the help of people such as Paul Hunt and Colin Kahn. It includes these typefaces:
Fonts can be purchased from MyFonts where all fonts have the prefix LTC. Obituary of Giampa and links to obituaries.
Catalog of the Lanston typeface library. View the typefaces designed by Lanston. A more extensive page of Lanston Monotype typefaces. [Google] [MyFonts] [More] ⦿
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.
Fontspace link. Dafont link. [Google] [More] ⦿
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] ⦿
Boston, MA-based designer of the squarish typeface Solia Sans (2017), which was inspired by the architecture and modernism of Seoul. In 2018, Linseed Studio designed Nosferatu (a tall shivery Halloween font with ornmaments), Belknap, 3d Sketch and the handcrafted Time Will Tell. [Google] [More] ⦿
Lipton Letter Design
Calligrapher, sign painter, and graphic and type designer from Milton, Mass., who was born in New York, studied design and photography 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. In 2016, he joined Type Network, where his fonts can be bought. MyFonts page. MyFonts interview in which his modesty comes to the fore. His typefaces:
I Love Typography link. Klingspor link. FontShop link. Type Network link. MyFonts interview.
View Richard Lipton's typefaces. [Google] [MyFonts] [More] ⦿
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 typeface Satin (2011).
Dafont link. [Google] [MyFonts] [More] ⦿
Prussian-American printer and lithographer, 1824-1909. Boston-based author of Prang's Standard Alphabets (1878) and Prang's Standard Alphabets (1901, publ. Taber-Prang Art Co, Springfield, MA).
Typefaces based on Prang's examples include Prangs (2016, Alejandro Paul, Sudtipos), a thinly connected italic didone. [Google] [More] ⦿
A set of metrics for the Lucida math fonts. Done by Sebastian Rahtz (CERN) and Karl Berry (University of Massassuchetts at Boston). [Google] [More] ⦿
Type designer based in Malden, MA. In 1903, he patented two typefaces for ATF, and many people believe that he therefore was the designer at ATF of ATF Florentine Old Style (1896). Mac McGrew writes: Florentine or Florentine Oldstyle was advertised by ATF in 1896 as a caps-and-small-caps design, but quickly replaced by Florentine Oldstyle No.2. with lowercase instead of small caps. Florentine Heavyface followed in 1898. The latter was renamed Florentine Bold, and condensed and extra condensed widths were added in 1903, and became popular advertising typefaces. Some of these were patented in the name of Ludvig S. Ipsen, and presumably he was the designer. ATF said of the Oldstyle: "Many of the characters are transcripts of the lettering of a famous Italian monument of the sixth century," although it is a rather bizarre novelty series.
The advertizing for Florentine Old Style was in The Inland Printer, March 1896.
In the digital age, we have these revivals and interpretations:
At he Type @ Cooper program in 2012, Maggie Putnam (Boston, MA) created the Monocle typeface. In 2012, she started the MA book design program at Reading in the UK. [Google] [More] ⦿
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] ⦿
Boston, MA-based designer of the hand-printed typeface Popsicle (2014). [Google] [More] ⦿
Mariah Leah Beard grew up in Beverly, Massachusetts and currently resides in Boston, as a student at the Massachusetts College of Art and Design, she created the clean handcrafted monoline sans typeface Mariah Papaya (2016). Behance link. [Google] [More] ⦿
Boston, MA-based creator of the mini-serifed typeface Mantina (2013), which blends features of Gotham Bold and Goudy Old Style Bold. Behance link. [Google] [More] ⦿
Boston, MA-based designer of a set of display typefaces in 2015. [Google] [More] ⦿
Architectural intern Marissa Fabrizio (Carlisle, MA) created Offset Dim (2012), a typeface with the squarish regularity and artistic rhythm of a beautiful architectural project. [Google] [More] ⦿
Type designer based in Brooklyn, NY. In 2014, as an intern at Typefounding (St. Louis, MO), he developed a typeface pending distribution by House Industries. In 2015, he joined Font Bureau, where he designed MF Ambulia Text (his graduation project at Type@Cooper in 2015), MF Abagnale (original headline sans from 2014), and MF Gaussian, under the umbrella of Font Bureau's Senior Font Designer, Cyrus Highsmith.
MF Gaussian (2015) is a multiple-master didone named after the mathematical averaging process, since its bold regular weight is the average between a Didot and a Clarendon. MF Ferrans Sans and MF Alizarin were small projects from 2013. Buffalo (2014), mentioned above, is a digitization of Ed Benguiat's Benguiat Buffalo Ornamental. Based on Donald Roos's digitization of Benguiat Buffalo, it was created for Ben Kiel during an internship at Typefounding. This typeface is pending online distribution by House Industries. The luxury brand logo typeface MF Flair (2014) was the precursor of MF Gaussian.
In 2016, he became graphic designer at BuzzFeedNews. Just before Election Day in 2016, he used samples of Donald Trump's scribbles to make the free comic book font BF Tiny Hand. Read what BuzzFeedNews's Ben King has to say.
Behance link. Twitter link. Fontspace link for BF Tiny hand. [Google] [More] ⦿
A programmer, music composer and performing musician living in Randolph, Massachusetts. Designer of the programming font Borg Sans Mono (2016), which is based on Google's Droid Sans (2007). [Google] [More] ⦿
Boston, MA-based student-designer of a decorative blackletter typeface in 2015. [Google] [More] ⦿
Boston-based American type designer who joined MyFonts as a foundry specialist in 2016. She is also one half of Type Sisters (with Lily Feinberg). Mary has a BA in International Business from Rollins College, class of 2016.
Mary designed the beautiful pottery-style fattish poster typeface Dumpling (2012, Positype). This was a cooperation with Neil Summerour during her internship at Positype (2011-2016), but I let him explain the experience:
Dumpling was drawn, digitized and mastered by an 18-year old over a semester-long Senior Concentration in Graphic Design at the South Carolina Governor's School for the Arts. Seriously, think about that! What were you doing when you were a senior in high school? I watched this unfold as her teacher, guiding where I needed to, encouraging when necessary, but ultimately putting her through a ridiculously tedious, painful and compressed process. She did not falter, she did not complain, she worked. In her own words (taken from an excerpt of her concentration paper), "In the middle of all this, I went to Charlotte, NC and saw and opera, the set designer was Jun Kaneko, [and afterwards] went to the Mint where we attended his talk (subsequently meeting him) and then perused a gallery of his work. His large ceramic forms made me realize how connected type is to sculpture. The medium may be different, but the ideas of negative space and forms interacting with each other and the view to convey a message are essentially the same. Architecture too, is surprisingly connected to type. I find myself gravitating towards the word, entasis a way of describing my letterforms, though they have no reference to the Parthenon or Classicism. In type you need balance, continuity, a little unexpectedness, and a good amount of math." [...] Mary Catherine, after completing her digitization, final tweaks, etc. in FontLab, turned the font over to me for OpenType coding and testing.
In 2015, she co-designed Couture with Neil Summerour. This elegant typeface was inspired by Corvinus (Imre Reiner).
On August 26, 2017, she presented the results of the second Font Purchasing Habits Survey in a 40-minute talk at TypeCon in Boston, MA.
Twitter link. Dribble link. FontShop link. Home page. [Google] [MyFonts] [More] ⦿
During her studies at SCAD in Savannah, GA, Randolph, MA-based Mary Curtis created Liquid (2014), a soft typeface with rounded out joints in the limbs of the glyphs. [Google] [More] ⦿
Type designer at Font Bureau since 1998. Calligrapher. [Google] [MyFonts] [More] ⦿
Occasionally, one can follow a course on type design at the Massachusetts College of Art&Design in Boston. The faculty includes Brian Lucid. [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.
John Berry on Carter's art (2002). Apostrophe comments on Berry's article. Interview. His fonts:
Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2019 in Tokyo on the topic of Expressing Vocal Tones through Typography.
Linotype link. FontShop link. Favorite quote: Watching me work is like watching a refrigerator make ice. Another quote: A typeface is a beautiful collection of letters, not a collection of beautiful letters.
View Matthew Carter's typefaces. Matthew Carter's fonts. The typefaces made by Matthew Carter. See also here. Wikipedia page. Klingspor link. [Google] [MyFonts] [More] ⦿
Graduate from The College at Brockport, State University of New York. Boston, MA-based designer of the art deco typeface Gunnen (2014). Behance link. [Google] [More] ⦿
Rockport, MA-based designer of Anedda (2011), a psychedelic typeface done at Endicott College. [Google] [More] ⦿
North Dartmouth, MA-based designer of Willow Script (2015). Creative Market link. [Google] [More] ⦿
During her studies at the The School Of The Museum Of Fine Arts in Boston, Melanie Chambers created a very detailed ornamental caps typeface called Exotica (2013). [Google] [More] ⦿
Born in Boston, MA, in 1988, Melinda Jeffs designs type. She founded Melifonts in 2011 in Hampton, NH. Creator of Drama Queen (2011, hand-printed), 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 typefaces cover Cyrillic as well.
Fontspace link. Klingspor link. [Google] [MyFonts] [More] ⦿
Designer (b. 1939, Bebington, UK) of the free Hebrew font family Mike Hebrew (2005). See also here. He is located in Lunenburg, MA, and works as a painter since 2002.
Klingspor link. [Google] [More] ⦿
Worcester, MA-based designer of the Arabic simulation typeface Muad'Dib (2015), which is inspired by Frank Herbert's Dune. [Google] [More] ⦿
During his studies at Northeastern University, Michael Ogulnick (Allston, MA) created the sans typeface Median (2013). [Google] [More] ⦿
This was the digital typography course of John Maeda at MIT, Cambridge, MA. Maeda has left MIT, and I have no idea if this course is still being offered. [Google] [More] ⦿
Or Mitchell Foster. Boston, MA-based designer of the mini-stencil typeface San Vicente (2017). Behance link. [Google] [More] ⦿
Designer in Boston, MA, who created the Farsi / Arabic typeface Mehraz in 2014. Behance link. [Google] [More] ⦿
Graduate of The Art Institute of Boston. Boston, MA-based designer of the avant garde sans typeface Clip (2016) and the monoline sans family Hook (2012). [Google] [More] ⦿
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.
Images of their best-selling typefaces in 2011: i, ii, iii. Full catalog of Monotype's typefaces [large web page warning]. View the Monotype typeface library. [Google] [MyFonts] [More] ⦿
Located in Beverly, 20 miles north of Boston, you can take here. [Google] [More] ⦿
Boston, MA-based creator of the classy didone typeface Dallaglio (2014). [Google] [More] ⦿
Illustrator and designer in Longmeadow, MA. In 2010, he made a bicolored cutout alphabet. [Google] [More] ⦿
Originally from Boston, Nelle McDade studied communicatrion design at Parsons in New York. Creator of an experimental pixelish CSS3-based typeface (2013). Behance link. [Google] [More] ⦿
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] ⦿
Originally from the greater Boston area, Nicole Bogochow graduated with a BFA in Graphic and Interactive Communications from Ringling College of Art and Design. She is currently a freelance graphic designer residing in Sarasota, FL. Nicole experimented with hybrid typefaces. Her Industrial Sans (2014) blends Industria Std LT and Cottonwood, while Haiku combines Fette Fraktur with Ex Ponto in the strangest of marriages. [Google] [More] ⦿
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] ⦿
Winchester, MA-based designer of the slab serif typeface Blacktop (2017). [Google] [More] ⦿
Boston, MA-based author of American Text Book For Letters (1873). [Google] [More] ⦿
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. Chuck has partnered with various typefoundries such as Bitstream, Filmotype, Sideshow, Tart Workshop, Device, and Cultivated Mind. The Ciao Bella ornaments he designed with Cultivated Mind's Cindy Kinash represent the first commercially available auto-chromatic fonts: each font can be set in two colors. Working with Stuart Sandler and Crystal Kluge at Tart Workshop, he developed the method by which their Aya Script delivers its characteristic curlicue ribbons. His types grace book covers, greeting cards, film titles, museum façades, and the seal of the United States Copyright Office. At present, he teaches typography and type design at Tufts University in Boston. In 2015, he set up Oddsorts. His typefaces, in more or less chronological order:
FontShop link. Oddsorts link. [Google] [MyFonts] [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
Type foundry in Melrose, MA run by Jim Lyles. In 2014, Lyles designed the hand-drawn outlined typeface family Minotte and the rapid brush script Sanzio (2015). In 2016, Jim designed the extensive clean sans typeface family Belle Sans, which ranges from extra Condensed to Extra Wide. Creative Market link. [Google] [MyFonts] [More] ⦿
Partners and Partners
A design practice in New York City focusing on print, exhibition, interactive and identity work with clients and collaborators in art, architecture, public spaces and activism. Designer in 2015 at MIT of the (free) Caslon 44 typeface family, and Sans 44 (which is based on GNU Free Sans). [Google] [More] ⦿
Boston-based designer. His typefaces:
FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿
Under freebies, we find the free font Rainbow Fragments (2011, geometric, experimental) made by Boston-based web designer Paul Webb. [Google] [More] ⦿
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] ⦿
Book published in 1864 by George N. Comer and Oliver E. Linton in Boston, MA. They were affiliated with Comer's Commercial College in Boston. Image from that book. [Google] [More] ⦿
East Boston, MA-based designer (b. Colombia) of the free black metal band typeface Black Drops (2014), which was developed during his studies at Montserrat College of Art in Beverly, MA. [Google] [More] ⦿
Phil Pham (of Phil Pham Design) lives in Boston. He created Legion Slab (2011), which can be downloaded here. Behance link. [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.
View Philip Bouwsma's typefaces. [Google] [MyFonts] [More] ⦿
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 Brenda Gallo, Matt McInerney, Rodrigo Fuenzalida and Pablo Impallari; see here for a complete extension of Raleway between 2010-2013 by Matt McInerney, Pablo Impallari and Rodrigo Fuenzalida), 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.
Google Directory link. FontStruct link. Abstract Fonts link. Klingspor link. Home page of Matt McInerney. [Google] [More] ⦿
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:
Somerville, MA-based creator of the elementary sans typeface Cubby (2014). [Google] [More] ⦿
Quinn Field, a graphic designer in Boston, created the hodge-podge typeface Blue Walle (2013) and the colorful experimental typeface Field (2014). [Google] [More] ⦿
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.
Graduate of Montserrat College, who lives in Beverly, MA. Creator of the paper fold / octagonal typeface Modern Square (2012). [Google] [More] ⦿
Khobar, Saudi Arabia-based designer of Arabic Greeky (2014). A the College of Design at UOD, now located in Boston, MA, Rawan Hammad designed the modular experimental typeface ABMK (2015). [Google] [More] ⦿
A penmmanship instruction manual with the subtitle Self-Instructor In Penmanship, published by Knowles & Maxim, Pittsfield, Mass., and St. Catharines, Ontario, Canada. PDF file. [Google] [More] ⦿
East Longmeadow, MA-based designer of the ornamental caps typeface Bone To Pick (2017). Behance link. [Google] [More] ⦿
British cartoon designer and type designer (b. London, 1945), who lives in Fourqueux, France. 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 typeface 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.
View Richard Yeend's typefaces. Klingspor link. FontShop link. Linotype link. [Google] [MyFonts] [More] ⦿
Boston-based designer of an alien icons font called CVL Vector Symbols (2013).
Behance link. [Google] [More] ⦿
Boston-based graphic designer. Creator of the rune simulation font Ragnarok (2012), a display typeface that uses forms from pagan runes.
Behance link. [Google] [More] ⦿
Type designer from Boston, who created Shatterboxx and Ocho8. [Google] [More] ⦿
Graphic designer and illustrator in Worcester, MA. Creator of the free rounded sans and slab typefaces Jekyll (2015) and Hyde (2015), both finished during his studies at Becker College. [Google] [More] ⦿
The New Aesthetic is the page of Boston-based designer Ryan Struhl, the creator of the beautiful and warm free text typeface Cappucino Serif (2010) and of the free text typeface Kei Serif Book (2009).
Devian Tart link. [Google] [More] ⦿
Boston, MA-based designer of a great display typeface in 2016. Behance link. [Google] [More] ⦿
Boston-based designer of the ornamental caps typeface Fringe (2013). [Google] [More] ⦿
Graphic designer in Massachusetts, who created the informally printed typeface Scraplifter (2010). [Google] [More] ⦿
Samuel Nelson Dickinson
During her studies at University Of Massachusetts, Dartmouth, Sarah Dorman (Townsend, MA) designed the deconstructed typeface Neverland (2018). [Google] [More] ⦿
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 typeface (short ascenders and descenders, good width, strong capitals, bracketed serifs, moderate contrast, calligraphic italics). Scotch typefaces initially come from Scottish foundries, which were popular in the United States in the late 18th century, through the Victorian era and even most of the 20th century among books, magazines, newspapers, and advertisements. 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 typefaces:
Boston, MA-based designer of the decorative initial caps alphabet Initial Print (2016). Behance link. [Google] [More] ⦿
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 typefaces. Some subset of the fonts is made by Michael Scarpitti. Free font demos.
Images of his best selling fonts. Special subpages:
Fonts from 2013: Doge (a Venetian font based on a J.M. Bergling revival), Original Django (after the titling font in Quentin Tarantino's movie Django Unchained).
Fonts from 2014: Highball, Carillon (based on a typeface by Samuel Welo), Edifice (based on lettering by J.M. Bergling).
Fonts from 2015: Gods of Mars (an inline sci-fi typeface), Rykov (based on a 1930s Ukrainian constructivist style; Latin and Cyrillic), Vie Moderne (French art deco), Dahlgren, Grand Concours (art deco), Tantalus, Power Tie (art deco), Marquis Greeking.
Fonts from 2016: Ekberg Modern (based on lettering samples by Samuel Welo from poster designs of the 1920s), Knuckleduster, Tzaphkiel, Sarandiel, Primrose Initials, Elizabethan Script (chancery style), Zeitschrift (an art nouveau font based on the Ver Sacrum magazine), Wendingen (Dutch deco), Memento Mori (Tuscan), Rounders (art deco).
Fonts from 2017: Buzzmill (wooden plank font), Pumpkin Patch Initials, Talinn, Reliquary, Nopalito, Scattershot (script).
Typefaces from 2018: Marionettas (a Mexican horror movie poster font), Fascination, Architextura, Santa Sangre, Glyphos.
Typefaces from 2019: Cafe Corso (art nouveau), Comic Classix.
Fnts released in 2020: Epigramatic (based on lettering by Dard Hunter for the Roycroft Press in the early 1900s), Cryptos (graffiti).
Klingspor link. Abstract Fonts link. Dafont link.
View David Nalle's typefaces. Scriptorrium's library. [Google] [MyFonts] [More] ⦿
Boston, MA-based designer of Rinko Display (2015), a flared all-caps typeface inspired by labeling on food crates of the early 1900's. [Google] [More] ⦿
Sebastian Ebarb (New Bedford, MA) created the Tuscan typeface Dent (2012). [Google] [More] ⦿
During her studies in Boston, MA, Shen Gao designed the outlined display typeface Gao Round (2016). [Google] [More] ⦿
SimpleBits (or: Icon Shoppe)
Dan Cederholm (Salem, MA) founded Dribble and set up the SimpleBits web page. The Shoppe is an offshoot of SimpleBits, LLC, a design studio founded in 2002 by Cederholm. SimpleBits specializes mostly in icons. Typefaces by Icon Shoppe include Chameleon16 (2007), a beautifully designed truetype pixel font. Icons by Icon Shoppe include Ballroom, Chameleon, Stockholm and Overcast. Typefaces by SimpleBits comprise Ships Whistle (2020: a rounded monolinear sans), Parkly (2021: a national parks font), Cartridge (2021: based on 1980s style video game labels such as those used for the Atari 2600 console), Captain Edward (2021: named after Captain Edward Teach, aka Blackbeard, this font takes cues from Cooper Black's lighter-weight siblings and draws inspiration from the rugged New England coast), Vault Alarm (2021: chunky) and Rotundo (2021).
Typefaces from 2022: Easy Coast.
Author of Twenty Bits I learned About Making Fonts (2021). [Google] [MyFonts] [More] ⦿
Designer of Buhari Slab (2013), who is based in Lowell, MA. Behance link. [Google] [More] ⦿
American comic artist from Massassuchetts. Creator of Pen of Truth (2008, handwriting). [Google] [More] ⦿
Sorkin Type (was: Eyebytes)
Eben Sorkin obtained an MA in typeface design from The University of Reading (2009), based on his typeface Arrotino (2009). In 2015, he joined the faculty at Lesley University near Boston, MA, and lives in Easthampton, MA. Sorkin Type (was: Eyebytes, in Eagle River, Alaska) is run by him. His talk at ATypI 2008 in St. Petersburg was entitled Contextual alternatives. He writes about Arrotino: 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. His typefaces and those by contributors at Sorkin Type:
Fontspace link. Fontsquirrel link. FontStruct link. Klingspor link. Dafont link.
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.
The photographer photographed (in 2011, by Ralph Herrmann).
An orphaned bold sans typeface made in 2017 by a young designer in Arlington Heights, MA, who wished to remain anonymous. [Google] [More] ⦿
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] ⦿
During her studies at Endicott College, Stephanie Brune (Lakeville, MA) designed the modular typefaces Curl (2013) and Perspective (2013). [Google] [More] ⦿
Stoneham, MA-based creator of the Popsicle typeface in 2014 during her studies at Salem State University. [Google] [More] ⦿
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 studied calligraphy with Lloyd Reynolds at Reed College in Portland, Oregon, and then went to work for Hallmark cards as a lettering artist. In 1979, he became type director at Autologic, and in 1984, he became the Director of Typography at Adobe Systems (until 1989). His typefaces:
At ATypI 2007 in Brighton, he spoke about The foundation of the humanist 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. Interview by MyFonts in 2014. FontShop link. Klingspor link.
View Sumner Stone's typefaces. Summary overview of Sumner Stone's typefaces. [Google] [MyFonts] [More] ⦿
Born in Boston in 1955, Sue zafarana started at Compugraphic in 1977 redrawing metal type specimens for phototypesetters, and converting fonts for use in their digital equipment. She relocated to Bitstream Inc in 1984 to participate in the development of the first digital font library. After two years as a Senior Designer, she moved into the custom font group where she is still the Director of Custom Font Production.
Her fonts include Prima Sans (+Monospace), which was done with Jim Lyles at Bitstream (1998, a humanist sans family). She also made Softie (2003, with Steve Zafarana), Rostra (2004, with Steve Zafarana), and Roger (2002, a quirky comic book style font done with Steve Zafarana at Tail Spin Studio).
FontShop link. [Google] [MyFonts] [More] ⦿
Aka Fleisch. Graduate of Johns Hopkins University. Codesigner, with Apostrophe at Apostrophic Laboratory, of Colwell and Hadley (2000), based on 1916 hand lettering by Ned Hadley. She also made Heraldic Crests, Heraldic Shields, Landes Fraktur, Blocky Sideways, High Hat (a pixel font), Wood Relief (2000), Sample (2007: a pixel font) and Woodcut Resawn (2009, at FontStruct). [Google] [More] ⦿
Metal type foundry in Northfield, MA. It is located at 15 Warwick Road, Northfield, MA 01360. Some of its types are listed here. [Google] [More] ⦿
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
FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿
Donald Tarallo obtained a BA in Studio Arts and Graphic Design from Clark University, and an MFA in Graphic Design from Rhode Island School of Design (RISD). He also studied with André Gürtler and Wolfgang Weingart in the Weiterbildungsklasse at the Basel School of Design in Switzerland. Since 1998, Don has maintained a freelance practice working on projects in identity, publication, and web design. He has taught at Clark University, Guangzhou Academy of Fine Art, Rhode Island School of Design, Samsung Art and Design Institute, Siena Art Institute, and Bridgewater State University. Don currently teaches at Fitchburg State University in Fitchburg, MA.
In 2017, he published the geometric sans serif typeface Binario. Donald writes: The design was inspired by elements of Italian Art Deco, early 1900s advertising, and shop signage. Binario pays homage to early modernism's optimism, modularity, and efficiency. Binario was followed in 2019 by Binario Soft.
He also designed the geometric solid dingbat font FormPattern (+FormPattern Color, 2018; by Donald and Alex Tarallo) and the dingbat fonts Poeta and Poeta Color in 2017.
In 2018, he designed the 8-weight sans family Scanno.
In 2019, he released the zodiac sign font Starsigns, the art deco typeface Varese and FormPattern Color Three (2019: a typeface for creating borders and frames; with Alex Tarallo).
In 2020, he released FormPattern Color Six (done with Alex Tarallo) and the plump bubblegum art deco typeface Varese Soft.
Typefaces from 2021: East (a condensed sans in six weights; includes a variable font). [Google] [MyFonts] [More] ⦿
Outfit in Merrymac, MA that offers free commercial fonts to its clients. TNT helps with the typesetting of books and offers to make custom fonts.
For example, their ZephText fonts were commissioned in 1994 by the Harvard University Press for use in the HUP's printing of Greek and Latin books in the Loeb Classical Library Series. The fonts have never been publicly released or sold. But it is in the manufacturer's index of font samples (http://www.tekntype.com/tntfonts/). They support Latin, Greek, Cyrillic, Hebrew, Coptic, runes and many miscellaneous symbols. The Greek font is based on Porson's design. [Google] [More] ⦿
Publisher of Specimen of Typefaces (Thompson's Island, Boston, MA, 1925). [Google] [More] ⦿
This museum is located in North Andover, MA. It contains material on machine composition of hot metal, hand composition of hot type, cold composition, phototypesetting, typewriters, plate-making, and printing and bookbinding in general. It also has an important collection of 500 books from the collection of Mac McGrew. [Google] [More] ⦿
The collection of books donated by Mac McGrew to The Museum of Printing in North Andover, MA. These books are part of the material that was used to research details for his book, American Metal Typefaces of the Twentieth Century:
The Philidor Company
Scott-Martin Kosofsky (b. 1953) was based in Boston for 40 years, and is now located in Rhinebeck, NY, where he heads The Philidor Company. Among many other things, he was also the principal designer of most Titanic Records packaging, and designed a book on the holocaust. He designed a number of Hebrew types for his own use---several are licensed to various major rabbinic organizations. Over the years he has become the leading designer, producer, and editor of the bilingual Jewish prayer books that are used by the majority of Jews in the English-speaking world. Some of his type designs:
Free ascii fonts by Boston-based Shmuel Ross: Calvin, CalvinLight, CalvinSmCaps, Classic, and Hobbes. [Google] [More] ⦿
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:
Speaker at ATypI 2017 Montreal.
Behance link. Old URL. Klingspor link.
View Tom Grace's typefaces. [Google] [MyFonts] [More] ⦿
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), LHF Bootcut (2010, Victorian), LHF Billhead (2004, art nouveau / Victorian), Firehouse (2004, a Tuscan face) and Thick and Thin (2003, sans and serif).
Letterhead Fonts link. Klingspor link. [Google] [MyFonts] [More] ⦿
Boston, MA-based creator of the elegant piano key typeface Blok Tab (2013). Behance link. [Google] [More] ⦿
During his graphic design studies in Lowell, MA, Tommy Suy created the modular round sans typeface Cubo (2014). [Google] [More] ⦿
Boston, MA-based designer of the pixel typeface Chunky Serif (2004). [Google] [More] ⦿
Boston-based designer who has produced graphics for a number of design firms, business organizations, and institutions, including WGBH, The Carpenter Center for Visual Arts, Harvard University, D.C. Heath, Houghton Mifflin and Little, Brown & Company. In 1983, he published a 3d outline alphabet, called Alphabet Rendezvous, in U&LC, vol. 10, No. 3. [Google] [More] ⦿
Aka avendrakon. American creator (b. 1995, MA) of the experimental typefaces Subzero (2013) and Katfyred (2012). All were made with FontStruct. [Google] [More] ⦿
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, Massachusets, 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] ⦿
In 2016, Font Bureau launched Type Network in partnership with Carter & Cone, Typetr (Petr van Blokland), DJR (David Jonathan Ross), Occupant Fonts (Cyrus Highsmith), Richard Lipton, Cabarga Type, Victoria Rushton, and Greg Thompson. TN Custom: a sub-site for custom type design.
As of 2020, Type network had 30 partners: Bold Monday, Brody Fonts, CabargaType, Carter & Cone, CJ Type, CSTM Fonts, DJR, Font Bureau, Frere-Jones Type, Garage Fonts, Greg Thompson, The Ivy Foundry, Kerns & Cairns, Kontour, Lipton Letter Design, LudwigType, Mark Simonson, Monokrom, Newlyn, Occupant Fonts, Plau, Retype, Revolver Type Foundry, Roger Black, Supertype, Type-o-Tones, Typetr, Underware, Victoria Rushton, XYZ Type. [Google] [More] ⦿
Type design duo consisting of Mary Catherine Pflug (Boston, MA) and Lily Feinberg (Nw York City). [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] ⦿
TypeCon 2017 took place on August 23-27, 2017 at the Park Plaza Hotel in Boston, MA. The theme was The Olde and the Neue. The keynote speech was given by Martina Flor. The list of speakers includes Peter Bella, Nancy Bernardo, Scott Boms, Nadine Chahine, Spencer Charles, Lucas Czarnecki, Carolina de Bartolo, Meaghan Dee, Petra Docekalova, John Downer, Martina Flor, Amelia Fontanel, Laura Franz, Allan Haley, Ryan Hamrick, Masataka Hattori, Franz Hoffman, Richard Kahwagi, Bruce Kennett, Joyce Ketterer, Akira Kobayashi, Yoon Soo Lee, Andrea Leksen, Briar Levit, Grendl Löfkvist, Geri McCormick, Jennifer McKnight, Tucker McLachlan, Jess Meoni, Ana Monroe, Mark Jamra, Linh O'Briant, Constanza Pacher, Jason Pamental, Hrant Papazian, Neil Patel, Yves Peters, Mary Catherine Pflug, Thomas Phinney, Jill Pichotta, Yin Qiu, Charlotte Quin, John Roshell, David Jonathan Ross, Ina Saltz, Catherine Schmidt, Lisa Schultz, Alessandro Segalini, Georg Seifert, Paul Shaw, David Shields, Radek Sidun, Elizabeth Carey Smith, Perrin Stamatis, Sumner Stone, James Walker, Douglas Wilson and Lynne Yun. [Google] [More] ⦿
List of all (metal) typefaces available for sale from these six US typefounders:
As the result of work done at MassArt, Sebastian Yepes's Typespecimen App allows users to explore similar typefaces and zoom in on a typeface for a specific project.
Sebastian Yepes is a graphic design student at the Massachusetts College of Art and Design. He received his previous college education at the University of Caldas, in Manizales, Colombia, where he is from. Yepes is currently working as a Graphic Artist for the organic foods retailer Whole Foods Market in Jamaica Plain, Massachusetts. Sebastian Yepes: Home page. [Google] [More] ⦿
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.
Kadina Design link. [Google] [More] ⦿
Victor Morse is a designer from Medford, MA. His work includes the typeface New Bedford Mercury (2010). Behance link. [Google] [More] ⦿
After attending high school in Singapore, Victoria Rushton (New York City) studied at RISD (the Rhode Island School of Design) and graduated in 2013 with a degree in Illustration. In 2014 she joined Font Bureau and later Type Network as a staff designer, and lived in Boston. Under the guidance of Cyrus Highsmith at RISD, she created the text typeface Sylvia in 2012 for the poems of Sylvia Plath who committed suicide in 1963.
In 2015, she designed the Font Bureau font Marcia, a didone with many quirks and curvy surprises.
In 2016, she designed Embury Text. Victoria explains: Contrasting characteristics like soft round curves, sharp end strokes, exaggerated oval counters, punched in slab-like serifs, and swelling swashes play subtly off of each other, offering an unexpectedly immersive experience to the reader.
In 2017, she designed the connected script typeface Gautreaux, which is inspired by a lettering style from Tommy Thompson's The Script Letter called "free style lettering."
In 2021, Victoria, together with Type Network and Kerns&Cairns, designed the corporate typeface Peacock Sans for NBC.
At Future Fonts in 2021, she released the Spencerian script typeface Kadabra, which was started by (her late partner) Dai Foldes, who in turn was inspired by the work of calligrapher Jean Larcher.
Lovegrove (2021) is a display typeface designed by Dai Foldes and Victoria Rushton for their wedding invitations. It was inspired by the calligraphy of Raymond DaBoll and has been expanded into a variable font with a swash axis.
Interview in 2015 by Type Thursday. Font Bureau link. Type Network link. Future Fonts link. [Google] [More] ⦿
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 Trebuchet (1996) and Comic Sans (1995).
At Connare.com (Seattle), he designed the transitional book text typeface Magpie in 2000. 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. His own Magpie typeface was published in 2008 at Dalton Maag as Magpie Typo.
Lesser known fonts by Connare include WildStyle (done for the Agfa Creative Alliance), 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.
There is a movement by Isaac Stanfield to ban Comic Sans, discussed at Typographica and Typophile. Interview by Karen Huang. Piece by Emily Steel. 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.
Video: Influencers and Innovation: Comic Sans (2013). [Google] [More] ⦿
Boston, MA-based designer who made a constructivist typeface called Propaganda (2010). [Google] [More] ⦿
Walden Font (est. 1997) sells historical typefaces&clip-art by Oliver Weiss from Winchester, MA. Walden's site includes a brief history of blackletter, as summarized in the PDF document The Gutenberg Press: Five Centuries of German Fraktur (1997). Typefaces by categories:
Dafont link. [Google] [MyFonts] [More] ⦿
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.
Zen Hei download link. [Google] [More] ⦿
WenQuanYi Zen Hei
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. His papers:
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. Noteworthy also is Stefan Hattenbach's Dwiggins Script (2018), developed together with Glenn Sjökvist.
Books about Dwiggins include Bruce Kennett's W.A. Dwiggins A Life in Design (2017, Letterform Archive).
Linotype link. FontShop link. Klingspor link. MyFonts link. Bio by Nicholas Fabian. Flickr picture group for Dwiggins.
View digital typefaces based on the work of Dwiggins. View W.A. Dwiggins's typefaces. [Google] [MyFonts] [More] ⦿
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:
Book designer, poster designer and typographer, born in Boston (1868). He died in 1962. His typefaces include the following:
A Booklet of Designs (1915, New York) contains many of his interesting drawings for typefaces. [Google] [MyFonts] [More] ⦿
Designer based in Watertown, MA USA. He made CourierX, CourierOE and CourierWeb for use in web pages. A beautiful home page as well! [Google] [More] ⦿
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 (see also here) perpetuates the story: 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. [Note: Images below by Alex Delgado.] [Google]
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 (see also here) perpetuates the story: 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.
[Note: Images below by Alex Delgado.] [Google] [MyFonts] [More] ⦿
Winston Type Co.
Aka Sandi Dez. Designer (b. 1985) based in Bandung, Indonesia. Creator of the free vintage spurred decorative blackletter typeface WT Bradford (2018), which includes Inline and Press styles. Winston also designed the vintage display typeface family WT Kingsbury (2018).
In 2019, Winston Type Co published the distinguished early art deco typeface WT Bellochero, the Tuscan circus font WT Scotch, and the great formal calligraphic typeface WT Hilton Script. [Google] [MyFonts] [More] ⦿
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.
In 2004, he created Airstrip Four, AlphaEcho, Boston Traffic (a freestencil typeface), Breakaway, CarbonType (old typewriter), Corporate HQ, DataControl (nice octagonal face), DataControlUnifon, Delta Echo, Eurocentric, FormerAirline, GangofThree (oriental simulation), Helsinki (comic book font), 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, NukuNuku (oriental simulation face), OffshoreBankingBusiness, PlannedObsolescence, TerryScript, Wunderbar, YachtingType, Zero&Zero-Is, Xerography, FrauleinHex, ICBMSS20, ICBMSS25 (stencil typefaces), Hydrogen Type, Gumbercules, Kremlin (Cyrillic letter simulation; followed in 2010 and 2014 by Kremlin Pro and Kremlin II 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, free distressed typewriter), Heavy Data (2008, a 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. In 2015, he created Extended Play.
Fonts at FontStruct in 2009: Newhome (LED simulation).
Free fonts made in 2011: Death to Smudgey (grunge), Lino Chisel (2011).
Fontsy link. Font Squirrel link. Fontspace link. Kernest link . Devian Tart link. FontM link. Dafont link. Aka Xaviera Comics. [Google] [MyFonts] [More] ⦿
During his studies at Fitchburg State University in Fitchburg, MA, Zachary Sawtelle (Southwick, MA) created an ornamental typeface for playing cards (2014). [Google] [More] ⦿