TYPE DESIGN INFORMATION PAGE last updated on Sun May 29 04:57:56 EDT 2016
FONT RECOGNITION VIA FONT MOOSE
Type scene in New Hampshire
New Hampshire-based graphic designer whose company is called Build Interactive. In 2015, he created the rugged hand-crafted all caps signage typeface Northern Passage. Creative Market link. [Google] [More] ⦿
Born in 1959 in Concord, Carol Twombly studied at the Rhode Island School of Design and under Charles Bigelow at Stanford, and joined the Bigelow&Holmes studio for four years. In 1988, she joined Adobe and started designing typefaces. She was featured in 5 American Type Designers by Spurius Press. In 1994, she won the Prix Charles Peignot. In 1999, she retired from type design.
Christian Schwartz was born in 1977 in East Washington, NH, and grew up in a small town in New Hampshire. He attended Carnegie Mellon University in Pittsburgh, Pennsylvania, where he graduated in 1999 with a degree in Communication Design. After graduation, he spent three months as the in-house type designer at MetaDesign Berlin, under the supervision of Erik Spiekermann. In January 2000, he joined Font Bureau. Near the end of 2000, he founded Orange Italic with Chicago-based designer Dino Sanchez, and left Font Bureau in August 2001 to concentrate full-time on developing this company. Orange Italic published the first issue of their online magazine at the end of 2001 and released their first set of typefaces in the beginning of 2002. Presently, he is an independent type designer in New York City, and has operated foundries like Christian Schwartz Design and Commercial Type (the latter since 2009). He has designed commercial fonts for Emigre, FontShop, House Industries and Font Bureau as well as proprietary designs for corporations and publications. In 2005, Orange Italic joined the type coop Village.
His presentations. At ATypI 2004 in Prague, he spoke about "The accidental text face". At ATypI 2006 in Lisbon, he and Paul Barnes explained the development of a 200-style font family for the Guardian which includes Guardian Egyptian and Guardian Sans. FontShop's page on his work. Bio at Emigre. At ATypI 2007 in Brighton, he was awarded the Prix Charles Peignot. Jan Middendorp's interview in October 2007. Speaker at ATypI 2009 in Mexico City, where he announced his new typefoundry, simply called Commercial.
A partial list of his creations:
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] ⦿
Student at Yale University's School of Art. In 2010, Eric hu designed a 17-foot poster celebrating the works of a 1960's avant-garde architecture group named Archigram. The poster features a customized typeface, stacked vertically and then collaged and intermixed with pieces and artifacts of Archigram's drawings. Metaphorically, this creates an entirely new megastructure and through the scale of the poster, the work reflects the rigor and passion of Archigram. [Google] [More] ⦿
Frajil Farms Productions
Aunt of Christian Schwartz who designed the dingbats for Christian Schwartz's dingbat typefaces Baby Boom, C'est la vie, and Raining Cats & Dogs (1994-1995). She ran Frajil Farms Productions out of Mount Vernon, NH, and had her work distributed originally by FontHaus under the label Ant and Bee Art Fonts, where her fonts included the dingbat typefaces Baby Boom One and Two, C'est la vie, Raining Cats and Dogs.
Golgonooza Letter Foundry
Dan Carr (b. Cranston, RI, 1951-2012) was an American poet, type designer, typographer, printer, teacher, punchcutter, environmentalist, human rights activist and New Hampshire State Representative (2008-2010). Carr received his BA at Clark University in Worcester, Massachusetts. In Boston, in 1979 he and his partner Julia Ferrari, started the Golgonooza Letter Foundry & Press, a hot metal Monotype graphic design and composition house, which they moved to Ashuelot, NH, in 1982. Together they created Trois Fontaines Press in 1997, a limited edition fine press. Carr taught typography, and the history of typography at Keene State University in Keene, NH. He died after a struggle with cancer.
At Golgonooza they produced high-quality letterpress books for a wide variety of clients. Dan Carr is the designer of the great-looking text fonts Lyons and Cheneau, 1990-1994, as well as Regulus (a metal font created in 1998 that earned him the title of Master Typographic Punchcutter of France in 1999), Philosophie, Genesis Numerals, and Beckett Bodoni, at the Golgonooza Letter Foundry. He won a Bukvaraz 2001 award for Parmenides (a metal type for archaic Greek). His digital typeface "Cheneau" was chosen for a judges' choice award by the Type Directors Club in 2000. Both Dan Carr's Parmenides Greek and Christopher Stinehour's Diogenes Greek were commissioned by the printer Peter Koch for The Fragments of Parmenides.
Type designer who is credited with Feinen (1983, Compugraphic), a Celtic look font in four styles. Recreations include Feinen by Datascan, APT Feinen Inline (1997, Alan Prescott), FC-Feinen (company unknown), Furst (or OPTIFurst; made by OptiFont/Castcraft Software), and Baldur (by Mad Irishman Productions).
On Usenet, someone wrote this: I first encountered Feinen in 1982 in a Compugraphic type book. I believe it was designed by Henry Mikiewicz. As far as I know, only Compugraphic offered it until Opti Castcraft did their version and named it Furst. I believe that Feinen was offered in three weights plus an inline version. I don't know if it was ever released as a PostScript font. I can find only two weights of the Opti Castcraft version. They were/are offered as TrueType and Open Type fonts. See also here. On the web, we find a reference to Henry Mikiewicz Design and Development URW America P.O. Box 700 Barrington, NH 03825, so that could well be the designer of Feinen. [Google] [More] ⦿
Graduate of Ringling College of Art and Design. Wilton, NH-based creator of Simple Dandy (2014), Perlines (2014, textured all caps typeface), Xack (2014, a tall geometric hairline sans) and the counterless black typeface Blooky (2014). Dafont link. [Google] [More] ⦿
A graduate from the University of Iowa (1959), John had been a student of Father Edward Catich at St. Ambrose College, in Iowa, and had also worked with Ray Da Boll and R. Hunter Middleton. He worked from 1959-1965 at IBM on type design for typewriters in the era of IBM's Selectric typewriters. He was the designer of the typefaces IBM Script, Adjutant, and Delegate.
From 1967 until 1971 he was director of type design at Ludlow Typograph Co. He was manager of typeface design at the Chicago office of Compugraphic (1971-1973) and director of typography at Sun Chemical (1973-1976) and type and art director at Itek Composition Systems (1979-1984). He retired in Nashua, NH.
Kimberly Warzelhan from Nassau, NH, aka the Frogfrau, has designed Frog Dings 1 and Frog Mess 1, that used to be available from OMEGA Font Labs. Under the name OmegaFrog in the late 90s, she created the dingbats Frog Dings, Frog on Edge, Frog Flourishes, Froggi Giggles, FrogGothic, and Froggi. Her frogfrau.com domain moved to Erratic Frog ca. 2003. She wasn't offering any fonts from there until 2005 when she decided to bring back her FroggiX series (dingbats: FroggiX3, FroggiX4, FroggiX5, FroggiX6, all made 1998), but we are still waiting. [Google] [More] ⦿
Lance Hidy (b. 1946, Portland, Oregon) studied art at Yale in 1964. After Yale, he studied calligraphy with Lloyd Reynolds and printing with Leonard Baskin and Harold McGrath at Gehenna Press before co-founding the publishing house David R. Godine (Brookline, MA) in 1969. Art director for the Harvard Business Review. He designed monographs of the work of Ansel Adams and Arnold Newman. He also made some postage stamps and silk screen posters. A resident of Merrimac, and of Newburyport, MA, he is a freelance designer of posters and books. Designer of the Adobe multiple master font Penumbra (1994). In its four weights, from Sans Light to Serif Bold, we see a gradual interpolation between a geometric sans and a Trajan-like classical roman serif headline face. Discussion by Phinney. MyFonts link. [Google] [MyFonts] [More] ⦿
Lara has a Bachelor of Arts, Sociology (1993) from UCLA, a Masters in Fine Arts from the chool of Visual Arts in New York City (2007), and a certificate in typography from the Cooper Union in New York (2011). She taught at Pratt in New York from 2007 until 2009, at the School of Visual Arts in New York from 2007 until 2011, and at the New Hampshire Institute of Art from 2012 onwards. Lara designed a few typefaces during her career. Behance link. [Google] [More] ⦿
Matthew Butterick (b. 1970, Michigan) grew up in New Hampshire. He got his B.A. degree from Harvard University in visual&environmental studies, also studying mathematics and letterpress printing. His work is in the permanent collection of the Houghton Library at Harvard. Butterick started his design career at the Font Bureau as a typeface designer and engineer. At the beginning of the Internet era, he moved to San Francisco and founded website design and engineering company Atomic Vision. Atomic Vision was later acquired by open-source software developer Red Hat. More recently, Butterick got a law degree from UCLA and has been practicing civil litigation in Los Angeles, Butterick Law Corporation. He operates a web site called Typography for Lawyers and another one called Butterick's Practical Typography.
In 2010, he published Typography for Lawyers. MyFonts link. FontShop link. Klingspor link. Font Bureau link. He has some great one-liners, such as The only good Copperplate is a dead Copperplate. Matthew Butterick's creations:
P22, which sells Parrish Roman, Parrish Hand and Parrish Extras (dingbats), writes this about the Phildalphia-born artist Maxfield Parrish: Maxfield Parrish (1870-1966), whose career spanned nearly ninety years, holds a unique place in American art and culture. He was enormously accomplished and successful in both fine art and commercial endeavors. Parrish's hand-drawn letters were a significant part of his works, which bridged the familiar with a startling otherworldliness. P22 has created the Parrish font set in cooperation with the National Museum of American Illustration. See also here. Character made a font called MaxfieldParrish140 in 2007 and writes this: From an incomplete (no "N") hand-drawn alphabet by Maxfield Parrish. See figure 140 of "Letters&Lettering" by Frank Chouteau Brown, 1921. This is a different source than the P22 Parrish font family. Examples of Parrish's lettering: Modern American letters, Modern American capitals. Maxfield died in 1966 in Plainfield, NH. [Google] [MyFonts] [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.
Gothic font designer in Littleton, NH. Creations include the free font DBYD (2011), and the commercial typefaces Dynasty Belt (2011), Steel Heart (2011), Killer Saints Hymn (2011), Red Bill Farts, and an unnamed gothic face (2011). Snake Dick and Witch Eyes are free.
Typefaces from 2014: Ninja Scorpion Penis, Appalachian Force, Future Sperm, Bulgarian Mustache, Blunderbuss, King Slayer.
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] ⦿
The type design work of Manchester, NH's Andy Krahling, features handwriting fonts and grungy typefaces. Free typefaces include Elementric, AndyHand, Matta, Bobcat, MrHanky, Ruffian Outline, Ruffian Bold, Pointed, PointedOut, FatLefty, Jinx, Strait, Cyprian, Primer, Schooldaze, CrudHeads, Squish, Skimpus, Schooldaze, Simpleton, Squish, Sigmund, Bobcat, Dot2Dot, Kilroy Was Here, Matt9, Scrawllege, Simpleton, Lockjaw, Zag, Stockquote, Type Block (2012), HesitantShadow, Bloated, Jailbird and NotsoSkimpus.
Andy also makes handwriting and signature fonts. Logo fonts custom-made at about 100USD a font.
Commercial fonts at 10USD a shot include Britta Regular, Class Bold, Class, Cowpoker, Fred Regular, Jerko Bold, Jerko Outline, Jerko Regular, Joe, Lockjaw Bold, Marko Heavy, Marko Regular, Maryhand, Minerva Bold, Minerva, Norm Write Bold, Norm Write Left, Norm Write, Scripto Hand Bold, Scripto Hand, Tape, Wallaby.
Founded in 1989 by Sampo Kaasila. Based in Plaisted, New Hampshire, the contacts of this typography outfit are Ed Edman and Amy Hensiek. They offer font engines and type software. It markets type software, and has fantastic web presentations, such as this page showing Gothic Kanji output in small type. On December 2, 1998 Bitstream bought Type Solutions, Inc. for $600,000 US. There are some occasional fonts by them out in cyberspace, but they stopped making fonts. [Google] [More] ⦿
Born near London in 1912, he designed Klang (1955; this typeface at lanston Monotype was bought by Stephenson Blake from Monotype), Dartmouth (1961), Dartmouth Titling (for Letraset) and Octavian (1961, with David Kindersley). He died in 2001. Catalog of his typefaces. Obituary: Founder of the Rampant Lions Press, who kept Cambridge supplied with fine printing and lettering of all kinds begun by Will Carter more than 60 years ago and continued by his son Sebastian, the Rampant Lions Press has been the leading English private press of the postwar period, following handsomely in the tradition of the Golden Cockerel and Nonesuch Presses. The Rampant Lions location in Cambridge and its close ties to the university guaranteed a stream of jobbing work in the early years---supporting it financially and spreading its reputation, as well as making it the obvious choice of printer for many books conceived within academia's groves. Both Will and Sebastian have been notable for their wide circle of friends and collaborators from the worlds of typography and lettercutting, fine printing, literary criticism, scholarly publishing and good bookselling. In addition to its own books, the Rampant Lions Press has always taken on work for other publishers, making printing not a solitary obsession, but a co-operative and convivial pleasure. Their customers have included Lord Rothschild, Dadie Rylands, Brooke Crutchley, Douglas Cleverdon and Ted Hughes, while those who produced illustrations for the press have included John Piper, Michael Ayrton, Anthony Gross, Leonard Baskin and John Buckland Wright. At a time when commercial publishing was increasingly done by lithographic methods, the Rampant Lions kept before the public examples of how much deeper, crisper and blacker good presswork from metal type can be. In reaction to photocomposition and then computer setting, there has been something of a revival of private printing, with presses of various degrees of accomplishment and preciousness emerging around the country; but the Rampant Lions was a crucial link back to the days when metal type was in everyday use. The changes in technology also gave it the opportunity to build up a collection of specialist fonts of type from foundries and from other presses, including the Golden Cockerel Roman. William Nicholas Carter was born in Slough into a very bookish family. He was, for instance, a great-great-nephew of the Eton master William Johnson Cory, famous for the Eton Boating Song and his translation of Callimachus' Epigram, "They told me, Heraclitus, they told me you were dead." Cory's Lucretilis was in due course handsomely printed at the Rampant Lions, with an introduction by John Sparrow. Will was the younger brother by seven years of the bookseller, biblio-historian and Housman scholar John Carter, who with Graham Pollard exposed the T. J. Wise forgeries of 19th-century pamphlets, in the classic case of bibliographic detection. Their cousin was the outstanding wood-engraver Reynolds Stone, who was to cut one of several devices for the Rampant Lions, as he previously had for Frances Meynell's Nonesuch. Will Carter's interest in printing began when he visited Oxford University Press in 1924 at the age of 12, where he was allowed to print a visiting card for himself using the 17th-century Fell type. A few days later, John Johnson, who was shortly to become Printer to the University of Oxford, sent the boy some type to experiment with, hoping that it would make for an amusing and useful hobby. After his schooling at Radley, Carter worked as a trainee with the printers Unwin Brothers for two years. He transferred to the Shenval Press, under James Shand, and then to Heffer's printing works in Cambridge in 1934, where he rose to be a designer. In his spare time, he began jobbing printing in Jordan's Yard on an octavo flat-bed Adana press, an Albion hand-press and later an Adana platten press. His first book, in an edition of just 50 copies, was the printer John Baskerville' Preface to his 1758 edition of Paradise Lost. "The pathetic part about it was that I took the text from Updike" wrote Carter years later, "and, beyond noticing a certain abruptness in the ending, didn't realise that it wasn't complete." The slump in the prices of rare books and modern first editions at the beginning of the 1930s made life difficult for private presses. Book-collecting had been fashionable in the giddy 1920s. Books had been bought as financial speculations and there were many eager customers, so it was possible to sell comparatively long runs. "Nonesuch limited editions sold to the full of their hundreds," wrote Sir Frances Meynell in My Lives in 1971. But after the crash of 1929-30, the next two decades saw a retrenchment in book collecting and publishing. Most of the successful new enterprises of the period were in the form of popular editions, such as Penguins, rather than fine collectors' items, and Carter could not support himself with Rampant Lions work alone. He married Barbara Digby in 1939 and moved to Chesterton Road, where they were to live for the rest of their lives. During the war he served in the Royal Navy in the South Atlantic and the Eastern Mediterranean, commanding a converted Greek sailing ship, transporting undercover agents around occupied Greece, until his demobilisation in 1946. Back in England he returned to Heffers, but in 1949 he steeled himself to pursue his passion, and the Rampant Lions Press, named after the family arms, became his full-time occupation. Happily, he was soon commissioned by Geoffrey Keynes to print 75 copies of Emblems of Experience by Siegfried Sassoon, for the author. Although much of his work consisted of printing wedding invitations, change-of-address cards and suchlike announcements, rather than books, it was so conspicuously fine that five years later an entire issue of the typographic world's house magazine, The Monotype Recorder, was devoted to Carter. In 1961 he served as president of the fine printers and typophiles dining society the Double Crown Club. And his life in letters extended beyond printing, into calligraphy, letter-cutting and type-design. In 1936 he had carved some lettering on a round breadboard for Brooke Crutchley, and he was to continue carving decorative alphabets---often of his own design---into different shaped panels for 60 years. In 1948, the year he published an essay on Chancery Italics in Printing Review, he met Eric Gill's last apprentice, the lettercutter David Kindersley, and learnt to cut in slate. The first of his commissions was the war memorial at Magdalene College, and he went on to produce many elegant gravestones and tablets. His lettering in stone and wood was exhibited in Frankfurt, Prague and New York, and his hand and eye were chosen for the foundation stone of the new British Library, cut and installed while St Pancras was still a building site. As he wrote, "the handling of type and the setting out of carved inscriptions came to influence each other. The setting of printer's caps in particular has reached a fine point of sensitivity as a result."
This feeling for the shapes of letters led naturally to his designing his own. His typeface Klang was released by Monotype in 1955, and showed the influence of Rudolf Koch and his son Paul, in whose studio Carter had spend some months in 1938. (The type designer Hermann Zapf had been working nearby in Frankfurt at the time, and Carter considered him a major influence on his own lettering.) Later Carter and Kindersley collaborated on the design of another face, Octavian.
Around 1963 Douglas Cleverdon approached the Rampant Lions to print an edition of The Rime of the Ancient Mariner, with ten copper-engravings that had been exe cuted by the artist and writer David Jones in 1928. This partnership was to lead to a series of books under the Clover Hill imprint, culminating in 1981 in the mighty (and mighty expensive) Engravings of David Jones. In 1974 Clover Hill Editions published William Morris's poem The Story of Cupid and Psyche, with wood-engravings designed by Edward Burne-Jones. The blocks for this large two-volume set had been engraved, mostly by Morris, for the Kelmscott Press in 1865 but had never been printed. Fortunately, Brooke Crutchley, by then the Cambridge University Printer, was able to persuade the University Library to lend Will and Sebastian the Kelmscott collection's black-letter Troy type for this edition, the most ambitious collaboration between father and son. Will Carter was artist-in-residence at Dartmouth College, New Hampshire, in 1969, where for Letraset he designed Dartmouth Titling, a slightly swaggering set of Roman capitals. He served on the Royal Mint's advisory committee from 1971 to 1991, and the architectural advisory panel of Westminster Abbey from 1979 to 1992. He was elected an honorary Fellow of Magdalene College in 1977, and appointed OBE in 1984.
In the summer of 1982 a Rampant Lions retrospective was held at the Fitzwilliam Museum in Cambridge, for which the Carters wrote and printed a useful catalogue and checklist of the 172 books printed up to that time. By then the press had largely been handed over to Sebastian, and Will was devoting his time to carving and lettering. Over the years he produced many calligraphic book-jackets and title-pages, particularly for Cambridge University Press and Chatto&Windus. He also accepted commissions for book-labels for private collectors, many of which were doubtless pasted into volumes from the Rampant Lions Press. Will Carter's wife died in 1994, but he is survived by his son and three daughters. Will Carter, OBE, printer, type designer and lettercutter, was born on September 24, 1912. He died on March 17, 2001, aged 88.
Mac McGrew on Dartmouth: Dartmouth may be the last new typeface cut in metal. Paul Duensing says it was designed by Will Carter as a titling letter for the college of that name for signage and other display uses. It was based on Octavian Roman which Carter and David Kindersley had co-designed in 1960-61 for English Monotype. New figures for this cutting were drawn by Will Rueter of Toronto. Dartmouth was cut and cast in 22-point in 1991 at Duensing's Private Press and Typefoundry.
New Hampshire-based creator of UWJack8 (2005), an old typewriter font based on a mid 1930s Underwood typewriter.
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: