TYPE DESIGN INFORMATION PAGE last updated on Sat Jun 22 20:41:31 EDT 2024






Type scene in New York

[Poster subtitled New York by John Fischetti (1948).]


[Jonathan Corum]

Graphics editor for Science at the New York Times. 13pt is the New York-based design and type studio founded by Jonathan Corum. In the early part f his career, he created typefaces such as FB Agency, Eagle (1994, after initial design by David Berlow in 1989, which in turn was based on M.F. Benton's [or Lucian Bernhard's?] 1933 face, Eagle Bold; a strong font!), Law Italic (1997, for Sam Antupit and Harry N. Abrams---a digitization from a specimen of ATF's Law Italic No. 520), Mesa (1994, a Font Bureau handprinting face), the 5-unit handwriting family Victoria's Secret (1997, from hand-drawn originals provided by Sisman Design), the Bodoni-esque font Winterthur Display (1997, drawn for Harry N. Abrams), Law Italic. Custom typefaces include 2x4 (as part of logos), Columbia University, Liz Claiborne, Miesdings (dingbats for the new student center of the Illinois Institute of Technology), Readers Digest Fleurons (1997), WCS Wildlife (2001, the corporate typeface of the Bronx Zoo and the Wildlife Conservation Society).

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


Part of Prototype Experimental Foundry in New York City, this outfit designed the commercial Hebrew simulation font Kaiju (2002). [Google] [More]  ⦿

6t6kix Font Factory

New York-based donationware font foundry. Site under construction. [Google] [More]  ⦿

A Victory for American Freedom of the Press

Richard Kinch discusses the ruling in 1988 of the US Copyright Office. From the Federal Register, Vol 53, No 189, Thursday, September 29, 1988: "The purpose of this notice is to inform the public that the Copyright Office has decided that digitized representations of typeface designs are not registrable under the Copyright Act because they do not constitute original works of authorship. The digitized representations of typefaces are neither original computer programs (as defined in 17 USC 101), nor original databases, nor any other original work of authorship. Registration will be made for original computer programs written to control the generic digitization process, but registration will not be made for the data that merely represents an electronic depiction of a particular typeface or individual letterforms. If this master computer program includes data that fixes or depicts a particular typeface, typefont, or letterform, the registration application must disclaim copyright in that uncopyrightable data." [Google] [More]  ⦿

Aaron Burns

Aaron Burns, designer/typographer, was President of Lubalin, Burns & Co., Inc., New York City. In 1970, Aaron Burns, Herb Lubalin and Edward Rondthaler (from Photo-Lettering Inc.) founded the International Typeface Corporation (ITC), and Aaron Burns became its President. In 1959 he founded the International Center for the Typographic Arts (ICTA), and was a founding member of the International Center for the Communication Arts and Sciences (ICCAS). He is the author of "Typography," published in 1961 by Reinhold Publishers, Inc. From 1955 to 1960 he taught Advanced and Experimental Typographic Design at Pratt Institute, New York.

He set up a type division at Rapid Typographers. There he helped promote the Typositor, or Photo Typositor (invented in Miami by Murray Friedel in 1959), which improved over the first photo type machine, the Rutherford. Rapid Typographers organized the Visual Graphics Corporation (or VGC) to make the best use of this new technology. Peter Bain writes: The owners of Rapid Typographers were impressed enough by Friedels invention to organize the new Visual Graphics Corporation. Initially the endeavor split its headquarters between the existing typographers address in midtown Manhattan and sunny South Florida. The Photo Typositor allowed an operator to see composition letter-by-letter as it was exposed, unlike the Rutherford. It also offered many of Photo-Letterings capabilities at a reduced price. The Typositor, as it became known, ingeniously used the same 2-inch film font format as the Filmotype. It speeded fashionably tight letter and word spacing, achievable in metal only with a razor blade after proofing, and had none of the size limitations of foundry type. VGC and its backers proceeded to convert metal typefaces to film, and pursued licensing with typefounders. [Google] [MyFonts] [More]  ⦿

Aaron Kneile

New York City-based designer of Viability (2013), a family of typefaces designed to function well in body copy: Moderate stroke contrast is designed to enhance legibility on lower quality paper prints and smaller digital screens. In 2015, he created the sans family Aanthem. [Google] [More]  ⦿

Aaron Pedersen

New York City-based designer of the hipster typeface Laser Gun Gothic (2014). Behance link. [Google] [More]  ⦿

Aashna Shah

During her studies at Pratt Institute in New York, Aasghan Shah created the handcrafted typeface Homemade (2015). [Google] [More]  ⦿

Abbey Ley

Great letterer and poster designer in Brooklyn, NY. Home page. I particularly like the music poster Peephole (2009) done for the Peephole Band. [Google] [More]  ⦿

Abby Leighton

Abby Leighton is from the New England town of Simsbury, Connecticut. Brooklyn, NY-based student at the Pratt Institute in 2017. Her typefaces:

  • The brain matter font Ego Sans (2017), which is created to evoke the memory of Sigmund Freud.
  • Olf Faithful (2021). A monoline script.
  • Red Sea (2021). A blocky all caps sans.
  • Rancher (2021). Inspired by ranch signage.
  • Miroa (2021). A fancy hand-lettered typeface.
[Google] [More]  ⦿

[Nazareno Crea]

ABC ETC INC. is a font and logo design service (est. 2018) based in New York City, run by Nazareno Crea. Nazareno Crea (b. Cinquefrondi near Reggio Calabria, 1983) is a Brooklyn, NY-based book and type designer, who studied at ECAL/University of Art and Design Lausanne (class of 2006) and the Royal College of Art in London (class of 2010). His typefaces:

  • At Lineto, he released LL Gulliver (2008-2018), which was renamed LL Catalogue in 2019. A new serif family with 3 weights/6 styles based on Miller & Richard's Antique Old Style (1858), LL Gulliver was first used in print in an early version in 2008, and was to be published by Lineto in early 2019.
  • The custom sans typeface Gabellini Sheppard.
  • Zug (Regular and Light). A custom typeface done for the Ski Brand Matek (matek.clothing). Inspired by Walter Haettenschweiler's lettering work for Lettera 2, published by Niggli in 1961.
  • Waldorf Astoria. Waldorf Astoria is a custom display typeface inspired by the façade engravings of the homonymous hotel building in New York City. Expanded into a full set of upper and lower cases. Designed for the relaunch of the residential project of the Waldorf Astoria in New York City. Inspired by the work of the architects Weaver & Schultze who designed the building and the original lettering in 1931.
  • Pan Display and Pan Text. Corporate typefaces designed for the jewellery brand Pandora A/S. Developed in collaboration with Chi-Long Trieu and engineered by Alphabet Type, Pan is loosely inspired by the work of Percy Smith.
  • BBB Neu. Created for the identity of French artist Stephane barbier Bouvet. A brutalist adaptation of Helvetica.
  • Olivetti (2020). Based on a 1934 logo design by Bauhaus artist Xani Schawinsky for the Italian typewriter company Olivetti.
  • Plantin Rounded (2020).
[Google] [More]  ⦿


Any Body's Custom Design Embroidery from New York City offers about 40 embroidery fonts. [Google] [More]  ⦿

Abdullrahman EL-Ghuff

Designer in New York, b. 1989. Creator of the fat finger typeface Sarcastica (2013).

Dafont link. [Google] [More]  ⦿

Abi Huynh

Graduate from the Emily Carr Institute (Vancouver) and the KABK in Den Haag in the Type and Media program (2009). Originally from Lethbridge, Alberta, Abi designed a modular type generator. At KABK, he created Arietta, a small family consisting of a simply constructed transitional roman and a bold roman, as well as multiple italic companions. He works as a graphic designer at Commercial Type in New York City. [Google] [More]  ⦿

Abrams Legacy
[George Abrams]

The Abrams Legacy Collection was established to preserve and promote the legacy of renowned type designer and lettering artist, George Abrams (d. 2001). It is headquartered in New York City. The digital typefaces are managed and executed by Charles Nix. There are two type families, Augereau (a garalde in 13 styles) and Abrams Venetian (a Venetian in 6 styles).

Abrams Venetian was designed in 1989 based on Nicolas Jenson's renaissance letterforms, but was not available until ten years later.

Augereau was designed and released by George Abrams in 1997. [Google] [MyFonts] [More]  ⦿

Abyss Type Company
[Mirko Velimirovic]

Or Mirko Velimirovic Iverson. Font engineer located in the greater New York City area, who has a BFA from Columbia College Chicago (class of 2013) and a type design diploma from The Cooper Union (class of 2017). From 2019 until 2021, he was the New York City chapter lead for Type thursday. In 2019, he set up Abyss Type Company. His typefaces:

  • In 2020, Mirko Velimirovic converted Spartan MB to a variable font downloadable at Google Fonts. Spartan is Matt Bailey's open-source typeface based on early 20th century American geometric sans serifs.
  • In 2021, Eben Sorkin (Sorkin Type) and Mirko Velimirovic designed the 5-style (+variable) Spline Sans (free at Google Fonts). They write: Spline Sans is a grotesque sans serif typeface family, purpose-built for UI interfaces, checkout processes, and paragraphs of text. Space efficiency is accomplished by condensing traditional grotesque proportions. This typeface oroginated from Spline Design. Github link.

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

Actual Objects

Illustration and design breau in Brooklyn, NY. They specialize in commercial display typefaces. Behance link. [Google] [More]  ⦿

A.D. Farmer
[Farmer, Little&Co.]

[MyFonts] [More]  ⦿

Adagio Type Foundry
[Bill Troop]

From Amagansett, NY, Bill Troop's webless foundry: Bill Troop designed Adagio Didot (130 USD for 4 weights). Bill Troop's present company is Addict Inc., but I could not find a web page. Get News Gothic MM from the Bitstream Type Odyssey CD. See also here. [Google] [More]  ⦿

Adam Augustyn

Brooklyn, NY-based designer and illustrator. He created these typefaces in 2009: Dutch Serif (black counter face), Dutch Serif Stencil, Hand Sign. Behance link. [Google] [More]  ⦿

Adam Gerard Mappa

Rotterdam-based typefounder, b. 1754, d. Oldenbarneveld, NY, 1828. He published Proeven van Letteren die Gevonden Worden in de van Ouds Beroemde Lettergieterye van Wylen de Heeren Voskens en Clerk, Nu van A. G. Mappa (Rotterdam, 1781). I cite from that link: In 1780, the father of Adam Gerard Mappa bought a large part of the Amsterdam typefounding firm of Voskens&Clerk, and Mappa soon discovered that he had talent for typefounding. He began his own business in Rotterdam where he issued this specimen book, but moved to Delft a few years later. There he become embroiled in the Patriot movement and led a volunteer regiment in the unsuccessful revolution of 1787. He was banished from Delft, spent a few years in France, and in 1789, emigrated to America with his type foundry on the advice of the Ambassador to France Thomas Jefferson. Mappa set up his new business in New York. According to a contemporary letter, and supported by the type in this specimen, his foundry contained not only "the Western, but the Oriental languages at the value of at least [pound sign] 3,500 New York currency." There was not much call for type in exotic languages, and while Isaiah Thomas considered his Dutch and German type "handsome," his "roman were but ordinary." Mappa was not skilled enough to produce the type needed by the new nation, and the foundry was advertised for sale on 1 February 1794. At least some of Mappa's equipments was acquired by Binny&Ronaldson, although their business did not start until 1 November 1796. This specimen book came to them with Mappa's typefounding equipment.

Harvard's Houghton Library has a copy of the 1781 publication which contains a handwritten note by Theo L. de Vinne (which I was not allowed to photograph by Harvard's tight-sphinctered librarians). So here is what this letter says: Dirk Voskens was a typefounder of Amsterdam, a coster of types, not a cutter of punches. In 1677 he bought the foundry of Bleau and it was kept by his heirs and successors, (1) Dirk Voskens (2) Weduwe van Dirk Voskens (3) Voskens&fils (4) Voskens + [illegible]. In 1780 the foundry was sued for 8974 francs. P[illegible] were J. Enschedé and Sons, Ploos van Amstel, Preiter, Posthmans, DeBruyn and deGroot. How Mappa acquired possession does not appear. [...] Mappa got into trouble and had to take refuge in New York, where he began business as a type founder. He did not succeed. It is not known which became of the material he had in New York. To this, Bullen added by hand: It was purchased by Binny&Ronaldson.

P.M. Kernkamp kindly sent me additional information on Mappa. He points out that Mappa was typefounder in these cities: Rotterdam (1780-1782), Delft (1782-1787) and New York (1789-1792). The 1780 date is also put into question because Mappa's father died in 1779. Mappa was active in a small army of patriots in Holland, and after a defeat in 1787 against Prussia, he was banned from Holland for six years. It may explain his emigration to America in 1789. He lived in New York until 1792, then in Second River, NJ, until 1794 and finally in Oldenbarneveld (Oneida Co., NY). His foundry, then in Albany, NY, was sold in 1803 for 1200 guilders. [Google] [More]  ⦿

Adam Turnbull
[Land Line]

[More]  ⦿

Adi Ben-Hur

New York-based designer of the fat comic book font The Dood (2019). It was designed to accompany his pen drawings. [Google] [More]  ⦿

[Christian Acker]

Adnauseum is an experimental design studio in Brooklyn, NY, run by Christian Acker, an American type designer (b. 1979, Norwalk, CT) who graduated from the Parsons School of Design in New York City in 2002. Christian occasionally guest lectures typography classes at Parsons. He set up Adnauseam in 2002 and Handselecta in 2003.

He designed Sailor Gothic (2003), the Spanish-looking font Sailor Jerry (2002), Joker Straight Letter (2006), Mene One NY Throwie (2006), Mesh One AOK (2006), Meskyle Laid Back (2006), Sabe Ghetto Gothic (2006), and 24Hrs (2002, Cubanica).

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

Adrien Lunel

Art director in New York City who created the decorative typeface Kadavra in 2014. [Google] [More]  ⦿

Adrien Menard
[Edition Studio]

[More]  ⦿

Aemin Shim

Graphic designer and illustrator in New York City, who created Bon Bon typeface in 2016. [Google] [More]  ⦿

[Brian Kent]

Aenigma is the free font foundry of New York-based Brian Kent. The fonts often carry the string BRK in the name. Yet another site. Fontspace link. Dafont link. Typosasis backup. Backup at Fontfreak. Backup at 1001 fonts. Backup at Fortunecity.

The free fonts: Arthritis BRK (2013), Alpha Beta BRK (2013), Amalgamate BRK (2013), Revert (2006), Gyneric (2006), Key Ridge (2006), 18 Holes (2006: Encircled letters and monograms), Double Bogey (2005), Hairball (2005), Whatever (2005), Dyphusion (2005), Blackonimaut (2005, blackletter), Snailets (2005), Vigilance (2005), Wager (2005), Janken (2005), Dented (2005), Syracuse (2005), Symmetry (2005), Nucleus (2005), Underscore (2004), Gesture (2004), Rough Day (2004), Sarcastic (2004), Galapogos (2004), Reason (2004), Slender (2004), Gather (2004), Quadratic (2004), Saunder (2004), NostalgiaBRK (2004), Kinkaid (2004), Jeopardize (2004), Pincers (2004), Fascii (2004), Grapple (2004), WaywardBRK, WaywardShadowBRK (2004), Obstacle (2004), False Positive (2004), Goosebumps (2003), Jargon (2003), Bewilder (2003), 90Stars (2003, snowflake font), Chumbly (2003), Synthetic (2003), Jawbreaker (2003), Mobilize (2003), GreatHeightsBRK (2003), Graveyard (2003), Bend 2 Squares (2003), Redundant (2003), Homespun (2003), Galvanize (2003), Dastardly (2003), Vantage (2003), Quarantine (2003), Knot Maker (2003, with a program for weaving Celtic knots), Combustion (2003), Knot (2003), Enthuse (2003), Weaver (2003), Foreshadow (2003), Rambling (2003), Mincer (2003), Intersect (2003), Technique (2003), Nominal (2003), Unlearned (2003), Brass Knuckle (2003), Quarterly (2003), Zirconia (2003), Zephyrean (2003), Whippersnapper (2003), Ryuker (2003), Discordance (2003), Graze (2003), Gravitate (2003), Edit Undo (2003), Persuasion (2003), Encapsulate (2003), Nymonak (2003), 36DaysAgo (2003), Vertigo (2003), Lights Out (2003), Sequence (2003), Rehearsal (2003), Yearend (2002), SupraGeniusCurvesBRK (2002), SupraGeniusLinesBRK (2002), Faux Snow (2002, snowflakes), Mishmash (2002), Brigadoom (2002), Gyrose (2002), Dystorque (2002), Upraise (2002), QuacksalverBRK (2002), Ravenous Caterpillar (2002), Bumped (2002), Tonik (2002), Jupiter Crash (2002), Mysterons (2002), Sideways (2002), Scalelines (2002), Pneumatics (2002), Granular (2002), Volatile (2002), Aspartame (2002), Bleak Segments (stencil font), Genotype, United, Lynx (2002), Lyneous (2002), Alpha Beta (2002, pixel font), Licorice Strings (2002), Syndrome (2002, futuristic font), Your Complex (2002), Nanosecond (2002), Binary (2002), Dynamic (2002, techno), Qbicle (2002), Flipside (2002), Amplitude (2002), Pindown (2002), Kurvature (2002), Euphoric (2002), Bobcaygeon (2002), Zoetrope (2002), Overhead (2002), Zelda DX (2002, pixel), Telephasic (2002), Hearts (2002), Lamebrain (2002), Compliant Confuse (2002), Line Ding (2002), AE Systematic, Acknowledge, Mini Kaliber, Upheaval (2002), The Code of Life font (2001), Amalgamate (2002), Bandwidth (2001), ClassicTrash (2001), XmasLights (2001, alphadings), Setback (2001), Qlumpy (2001), Regenerate (2001), Konector (2001), registry (2001), Stagnation (2001), Elsewhere (2001), Claw (2001), Cleaved, 8-bitLimit (4 weights), 10.15SaturdayNight-BRK-, Automatica-BRK (2001), Bendable-BRK (2001), BitBlocksTTF-BRK-, Kickflip-BRK-, Withstand-BRK-, Hyde-BRK-, Ecliptic (2000, a bold rounded monoline techno sans), Jekyll-BRK-, Larkspur-BRK-, NotQuiteRight-BRK-, Quandary-BRK- (an LCD font), Thwart-BRK-, Weathered-BRK-, AEnigmaScrawl, Aftermath, Blox (1999, 3d), CandyStripe (1999), Circulate, Collective (1999), Conduit, Corpulent Caps (2001), DarkSide, DashDot (1999), Dephunked (1999: halftone texture emulation), EmbossingTape (3 fonts), Exaggerate, Frizzed, FullyCompletely, Grudge, Hassle, Hillock, Impossibilium, Inertia, InkTank, Lethargic, MoronicMisfire, Numskull, Opiated, Phorfeit, PixelKrud, Powderworks, Pseudo, QuantumFlat, QuantumFlatHollow, QuantumRound, QuantumRoundHollow, QuantumTaper, Ravaged-By-Years-, Raydiate, Relapse, Sorawin-Plain, Spastic-, Splatz-, Stranded-, Swirled-, TRAGIC-, VacantCapz, Wobbly, XeroxMalfunction(BRK), Zenith, ZeroVelocity, Zoidal, simplton, Waver, SaffronColdWars, 3DLET, Bri's-Scrawl, TRAGIC-, AcidReflux, Arthritis, Ataxia (1999), AtaxiaOutline, BlockTilt, ChintzyCPU, ChintzyCPUShadow, Decrepit BRK (1999), Detonate, Draggle (2000), Draggle[overkerned], FatboySlimBLTC, Gasping, Hack&Slash, HeavyBevel, Jagged, Jasper, JasperSolid, Katalyst[active], Katalyst[inactive], LucidTypeA, LucidTypeB, LucidTypeBOutline, LucidTypeAOutline, Neural, NeuralOutline, ObloquyOutline, ObloquySolid, PlasmaDrip, PlasmaDrip[Empty], Queasy, QueasyOutline, Rotund, RotundOutline, SkullCapz (dingbats), Tearful, Tetricide, Turmoil, Ubiquity, Underwhelmed, UnderwhelmedOutline, Vanished, Xhume, Yonder, Yoshi'sStory, ZurklezOutline, ZurklezSolid, Gaposis, Naughts, Ink Swipes, Irritate, Perfect Dark, Forcible, Loopy, GaposisOutline(BRK), GaposisSolid(BRK), Head-DingMaker(BRK), JoltOfCaffeine(BRK), KirbyNoKiraKizzu(BRK), Orbicular(BRK), Xtrusion(BRK).

Commercial fonts at CheapProFonts: Lamebrain BRK Pro, Dynamic BRK Pro, Phorfeit Bundle, Phorfeit Slanted BRK Pro, Genotype Bundle, Genotype S BRK Pro, Genotype H BRK Pro, Classic Trash BRK Pro, Vigilance BRK Pro, Technique Bundle, Technique BRK Pro, Technique Outline BRK Pro, Galapogos BRK Pro, Visitor BRK Pro (pixelish). [Google] [More]  ⦿

Agnieszka Mielczarek-Orzylowski

New York-based designer of the experimental typeface Blue Notes (2011), which was inspired by the jazz of Billie Holiday. [Google] [More]  ⦿


Alex (Ahage16) lives in Western New York. He created the rough hand-printed typeface dkjasbnlkjfsa (2010). [Google] [More]  ⦿

Aida Novoa

Great graphic designer from Valencia, Spain. At Behance, she showed a trendy blingy smoky New York typographic poster (2009). In 2010, she made an equally fine poster for Berlin. [Google] [More]  ⦿

AIGA Annual Design Competition 2003

The typography awards in the AIGA competition [which are mostly but not exclusively for the creative use of type] in 2003 were: Archer (Hoefler), Retina (Frere-Jones at HTF), Interiors 3D type (Northern Illinois University, DeKalb, IL), Bjork Cocoon (Radical Media, NY), Copy magazine (Sagmeister, NY), AIGA "Voice" animation (Chermayeff&Geismar Inc, NY). [Google] [More]  ⦿

Aileen Hansen

Art director in New York City. Creator of Aileen Handwriting (2011). [Google] [More]  ⦿

[Antonio Carusone]

Interesting graphic design and typography news and blog site by Antonio Carusone. His CV in his own words: Born in Queens, NY into a colorful Italian family, Antonio Carusone has been in the creative arts since he was a child. His early artistic talents led him to NYCs esteemed, High School of Art and Design, where he graduated in 1997. He then attended Pratt Institute in Brooklyn, NY and The Academy of Art College in San Francisco, where he studied Computer Animation. Currently Antonio resides in NYC, where he is a Senior Art Director at Ogilvy. Prior to Ogilvy he was an Art Director at Atmosphere BBDO where he worked on projects which have included Lays, Dial, Red Stripe, AOL, NFL, Gillette, Cingular, Audi, Verizon, and Bank of America. Type subpage. Commercial typefaces: Enotmik (2008, a monocase display typeface available in two weights, Light and Bold. Designed on a grid, Enotmik (2008) is made up of 90 and 45 degree angles). See also here. [Google] [More]  ⦿

Akwele Vassall

Originally from the DC / Maryland / Virginia area, Akwele Vassall designed the squarish Western typeface Blackwood in 2016 during his studies at the School of Visual Arts in New York. [Google] [More]  ⦿

Alan Hoenig

The Computer Duerer fonts are a metafont family developed by Alan Hoenig (John Jay College, City University of New York). This is a set of roman capitals introduced in a TUGboat article in 1990, entitled A Constructed Dürer Alphabet. Alan extended Duerer's design to generate related fonts in a bold, sans serif, typewriter-like, slanted, and casual style.

Hoenig also developed Makor, a Hebrew TeX. The fonts in that package include OmegaSerifHebrew (like David), Ezra, Rashi and Hadassah. Another URL. [Google] [More]  ⦿

Alan Kegler

American designer of the very geometric typeface P22 Il Futurismo (1996), which was inspired by the graphic works of artists in the Italian Futurist movement (1908-1943), including Fortunato Depero, Fillippo T. Marinetti, Giacomo Balla, and C.V. Testi. [Google] [MyFonts] [More]  ⦿

Alan Peckolick

Connecticut-based graphic expressionist painter and typographer, b. 1940, Bronx, d. 2017, Connecticut. He developed typefaces for brands like New York University and Revlon. After graduating from Pratt in 1964, Peckolick briefly worked in advertising before becoming an assistant to Herb Lubalin, who would become his mentor and lifelong friend. Coauthor with Gertrude Snyder of Herb Lubalin Art Director, Graphic Designer and Typographer (New York, 1985). He began painting professionally in 1998, a few years before he learned he had Parkinson's disease. Huffington Post obituary. New York Times obituary. [Google] [More]  ⦿

Albert Du Bois

New York-based creator of the all caps slab serif alphabet Round Block that is featured on page 49 of John G. Ohnimus's Henderson's Sign Painter (1906). He also drew the wedge serif alphabet Romans for that book. [Google] [More]  ⦿

Aleksandar Nikolovski

Rochester, NY-based designer of Aligned (2012), a typeface that was influenced by the shapes of the Cyrillic letters of the Orthodox church. One could call it a Cyrillic simulation typeface. [Google] [More]  ⦿

Alessandra Bautista

Student at the Rhode Island School of Design, class of 2013. New York City-based creator of Luc (2013), a geometric sans serif typeface inspired by Jean-Luc Godard's film titles.

Behance link. [Google] [More]  ⦿

Alessandro Colizzi

Alessandro Colizzi (b. Rome, 1966) is associate professor at Milan's Politecnico, Department of Design, where he teaches graphic design history, typography, and type design. He was professor at the Ecole de design of UQAM (Montreal) from 2005 to 2019, and visiting professor at the Design Academy Eindhoven (2014/15). He holds a PhD from the University of Leiden (with a thesis on Bruno Minari), an MA in Type Design from The Hague's Koninklijke Academie van Beeldende Kunsten, a postgraduate diploma from the Atelier National de Recherche Typographique (Nancy, France, 2001), and an MLitt in English Literature from the University of Rome La Sapienza (1985-2000). He researches graphic design history, typography, and information design and interned in 1999 with Paul Shaw at Parsons School of Design in New York. He is a member of the Nebiolo History Project and has been a member of the cooperative Italian type foundry CAST since 2019.

His typefaces include:

  • Mignonne (2004, aka Mirabelle). This was specially designed for small text setting under modern printing conditions.
  • The condensed Offbeat (1998, T-26, with Marco Tancredi).
  • Neon Nbl (2019-2020, CAST). Neon Nbl is a display typeface working at its best for headlines, posters and logos. It is the faithful digital redesign of the original geometric monocase sans designed by Giulio da Milano and released by Nebiolo in 1933-1934. The original face had different proportions with varying widths for each type size, ranging from extra narrow (72 pt) to wide (6 pt), while Neon Nbl comes in a coordinated range of weights (Thin to Bold) and proportions (UltraCondensed to Normal). Neon Nbl also comes in a shaded titling version (Ombra) in four styles. Colizzi extended the oroginal character set which now contains 700 glyphs per font.

Speaker at ATypI 2013 in Amsterdam: Forma, Dattilo, Modulo. Nebiolo's last effort to produce a 'universal' typeface. Organizer of ATypI 2017 in Montreal. Speaker at ATypI 2018 in Antwerp. [Google] [MyFonts] [More]  ⦿

Alex Frukta
[Nord Collective (or: Fontfirma)]

[More]  ⦿

Alex Maranto

Student at the School of Visual Arts who lives in Brooklyn, NY. In 2012, she created an unnamed typeface based on the tall, thin shapes that make up the London Bridge, the Houses of Parliament, and Big Ben. In 2013, she published Modular Type. [Google] [More]  ⦿

Alex Merto

Creator of the erotic alphading alphabet Effing (2010). Alex lives in Brooklyn, NY, was born in New York City, and was raised in Los Angeles. [Google] [More]  ⦿

Alex O. Kaczun
[Type Innovations]

[MyFonts] [More]  ⦿

Alex Rodriguez

Alex Rodriguez (Bronx, NY) created Joust (2012), a typeface with gothic cathedral design elements. Cargocollective link. Behance link. [Google] [More]  ⦿

Alex Rosario
[Alex Rosario Type]

[MyFonts] [More]  ⦿

Alex Rosario Type
[Alex Rosario]

Alex Rosario (b. New York City) revived Roc Mitchell's retro-futuristic phototype Corporate as Corporatus (2018).

As Neologix on FontStruct, he made these pixelish or modular typefaces: Harpoon Art (2016, loosely based on Dan X. Solo's Lampoon), Negesis (2014-2017, after the Sega Genesis logotype), New Era Software (2014-2017), Trigger (2011-2018: a pure pixel family). Alex explains: Descended from the classic Chicago font, Trigger Bold is a recreation of the original dialogue font from the award-winning game, Chrono Trigger.

Other typefaces include Ensconce Sans (2017; free demo): Taking inspiration from the Univers family of typefaces, Ensconce is a project undertaken to recreate in a digital format the work originally performed by Girvin Design for the English branding of the Super Nintendo Entertainment System. Taking great measures to retain the design choices of the original logotype, Ensconce has been successfully used to recreate the SNES logo currently in use on Wikipedia. [Google] [MyFonts] [More]  ⦿

Alex Steinweiss

Born in 1917 in Brooklyn, NY, Steinweiss became famous for his music album covers and the lettering used on them. Designer in 1939 of the curly hand-printed Steinweiss Scrawl, which was purchased by Photolettering Inc in the 1950s. It was revived in 1993 by Christian Schwartz as Hairspray (in Blonde, Redhead and brunette weights). Nick Curtis's 2005 font, Whirled Peas NF, revives Whitestone Crawl by Steinweiss. Michael Doret, with the help of Patrick Griffin, made a 2200-glyph curly script typeface called Steinweiss Script (2010), which captures a lot of the spirit of Steinweiss's album covers.

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

Alex Trochut

Brooklyn, NY-based grandson of Joan Trochut of Super-Veloz fame, b. 1981, Barcelona. After completing his studies at Elisava Escola Superior de Disseny in Barcelona, Alex established his own design studio in Barcelona before relocating to New York City.

He is the codesigner with Andreu Balius of SuperVeloz (2005, TypeRepublic), a digital version of his grandfather's typeface. It won an award at the TDC2 2005 type competition. Balius says about this typeface originally created by Joan Trochut from 1920-1980: Super-Veloz could be considered as an Ornamental type design, but in its core it is an experimental typeface based on a set of modular features that, with the combining of its modules, a great range of typefaces, ornaments ---even illustrations---, could be made. That is perhaps the most interesting experiment in early modern type design ever made in Spain during the immediate years after the War. The lecture, considering the borders between type design and ornament design, will introduce the context where Joan Trochut's Super-Veloz was produced (from sketches to published brochures and speciments) in 1942. Also will explain how Super-Veloz works. It is really a "type-ornament" design that could be considered on the edge of what we call type design.

Alex has created design, illustration and typography for a diverse range of clients: Nike, Adidas, The Rolling Stones, Katy Perry, BBC, Coca-Cola, Pepsi, The Guardian, The New York Times and Time Magazine. Alex Trochut's lettering must be seen to be believed---it has to be genetic transmission. Recurring themes include adorned initials and modular types. His numerical all-caps alphabet for British Airways is phenomenal and pushes the bling-bling to the fashionable extreme. Stunning dollar sign drawn by him in 2007 for Acido Surtido.

In 2009, he published Neo Deco at HypeForType. Noteworthy type treatments of that year include Nixon and the Futurecraft logo.

In 2012, he designed Trojan Font (like Trajan). He also did some stunning multiline alphabet for V Magazine. Also noteworthy is a swashy calligraphic logo for Wiz Khalifa and Atlantic Records.

Typographic picture by TDC55.

In 2013, Barcelona-based creative agency, Herraiz Soto commissioned Alex Trochut to create an original typeface collection titled Raw for Notegraphy.

In 2017, he made the color font Megazero at Fontself in Opentype SVG format.

In 2018, Alex Trochut and Sudtipos cooperated on Utopian and Dystopian. Utopian is a color font family based on primary colors and pure geometric shapes, influenced by Bauhaus and De Stijl. Dystopian, its black and white companion with square features of Renner's original Futura drawings, emits a darker look and evokes Trumpian gloom and doom.

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

Alex Wiederin
[Buero New York]

[More]  ⦿

Alexander Gelman

Designer at Designmachine.net in New York of Breakdown (1994, 3d lettering), and Myrna (2001, co-designed with David Heasty), an LCD type font that was named after the New York Art Directors Club's executive director, Myrna Davis. [Google] [More]  ⦿

Alexander Girard

Alexander Girard (b.New York, 1907, d. 1993) was an architect, interior designer, furniture designer, industrial designer, and a textile designer. His most successful project was the colourful design of the planes and identity for Braniff International Airways in 1965. Typefaces honoring him or influenced by his designs include:

  • Ben Kiel's Girard Sky (2009). Girard Sky is based on Alexander Girard's original typeface for his redesign of Braniff Airways. Working with the original drawings for the photoset typeface found in the Girard archive, the design was revived as part of the Alexander Girard collection. Followed by Girard Slab (2009). At House Industries, we find Girard Sky and Slab, but also Girard Script, Girard Display and the curly Girard Sansusie. Girard was digitized at House Industries by Ben Kiel, Ken Barber, and Laura Meseguer.
  • Girard Sansusie (House Industries), designed by Laura Meseguer, who writes: In 2005, House Industries invited me to digitize the lettering used to announce the textile designs that Alexander Girard did for Herman Miller. Girard Sansusie is a reinterpretation of this design, based on the few letters that were available to me. Girard Sansusie combines a folk flair with a lettering style evident throughout the Girard oeuvre, most notably on his 1955 Herman Miller fabric catalogue. Alexander Girard was a master at utilizing lettering and type as practical, illustrative and readable elements.
[Google] [MyFonts] [More]  ⦿

Alexander Hartwell

Designer in Brooklyn, NY, who made some unnamed hand-drawn typefaces in 2012 during his studies at Pratt (class of 2015). [Google] [More]  ⦿

Alexander Jay
[Tenth Letter of The Alphabet]

[More]  ⦿

Alexander Langsang

Graphic designer and illustrator in New York City. He created the black counterless art deco typeface Gummo (2011). Behance link. [Google] [More]  ⦿

Alexander S. Lawson

Author, educator, historian and type personality who taught at Rochester Institute of Technology from 1947-1977. He wrote Anatomy of a Typeface (1990, David R. Godine). He died in 2002 in Sun City, FL. Obituary. [Google] [MyFonts] [More]  ⦿

Alexander Tochilovsky

Alexander Tochilovsky is a graphic designer, typographer, curator and educator, who graduated with a BFA from The Cooper Union (New York), and holds an MFA from Cranbrook Academy of Art (California). He is currently the Curator of the Herb Lubalin Study Center of Design and Typography. Since 2007 he has taught typography and design at the Cooper Union School of Art, and also teaches the history of typeface design at Type@Cooper, the postgraduate certificate program he co-founded in 2010. [Google] [More]  ⦿

Alexander W. White

New York-based designer of the revival fonts Preissig Antikva, Preissig Italika, Menhart Italika and Menhart Manuscript, which won awards at the TDC2 2001 competition (Type Directors Club). He is a professor of graphic design at the Hartford Art School of the University of Hartford, and specializes in publication design. Author of the bestseller How to Spec Type, Type In Use", The Elements of Graphic Design (2002, Allworth Press), and Thinking in Type (2005). [Google] [More]  ⦿

Alexandra Alonso

Designer at BA Graphics of Chicken Feet (2007). She was 11 years old whebn she drew this---the typeface was digitized by her grandfather Bob Alonso (1946-2007) who lived in the Bronx in New York. [Google] [MyFonts] [More]  ⦿

Alexandra Peters

Alexandra (Ellie) Peters is the Rochester, NY-based designer of Clockpunk Dingbats (2013), which are designed to be paired with any old style typeface. This typeface was a school project at the Rochester Institute of Technology. [Google] [More]  ⦿

Alexandra Renee

Graphic designer in Utica, NY. His typeface Neuro (2012) consists entirely of circular arcs. [Google] [More]  ⦿

Alexey Brodovitch

Russian-born graphic designer, 1898-1971, who taught at various art institutes in New York, such as the School of Visual Arts. He was art director at Harper's Bazaar from 1934 until 1958, and is perhaps best known for his use of white space and unconventional photography and for his fashion mag typography. His typefaces include the slinky modern Brodovitch Albro (1950, or Al-Bro, for Alexey Brodovitch; published by Photo-Lettering Inc) and the stylish Vogue (1950s). Albro has a digital revival by Nico Schweizer called Albroni (1992, Lineto). Brandon Alvarado used Al-Bro as a model for Brodovitch (2011). [Google] [More]  ⦿

Alexey Popov
[Popskraft Lab]

[MyFonts] [More]  ⦿

Alexis Graf

Alexis Graf (Brookly, New York) created the avant-garde family Courtney Crawford (2012).

Behance link. [Google] [More]  ⦿

[Joseph Miceli]

Graduate of the Rietveld Academie in Amsterdam. Born in Syracuse, Sicily, he spent half of his life in New York City, and studied for four years in The Netherlands. He worked in Lithuania with a group called Alfa60, and is now based in Turin.

His typefaces:

  • Equo (2006). A VAG Round style display family which also includes Equo Stencil Caps, Equo Extended and Equo Extra Fat.
  • Shaolin Caps.
  • Stout Caps (revised in 2015).
  • Frank-Latin. A wide wedge-serifed face.
  • Crasto. A serif family.
  • MM Vinny. A multiple master family designed for use by the cosa nostra.
  • Yorker. Based on The NewYorker.
  • MM Charlie or Charlie Grotesque (2013). A sans typeface family in the American style of Morris Fuller Benton.
  • Artissima Condensed. A dada poster font, now called Altissma Condensed.
  • Romano Grotesque. Angular, chiseled: revised in 2015.
  • Futura Passata. A rounded all caps version of Futura that combines two widths of a wood type version of Futura for use in posters.
  • Novalis Condensed.
  • Bianco. A bespoke sans created for Nero magazine). Accompanied by Bianco Serif (used in some sections of The New York Times).
  • Lago Sans. A geometric superfamily.
  • Arial Grotesque.
  • Tratto (2018). A sans.
  • Beaux. An all caps display typeface. /UL> [Google] [More]  ⦿

Alice B. Cabrera

During her studies, Alice B. Cabrera designed the textured typeface ABC Rhythm (2015). [Google] [More]  ⦿

Alina Zhen

During her studies in New York City, Alina Zghen created Super Sharp (2014, FontStruct). [Google] [More]  ⦿

Aliyah NC

During her studies in Queens, NY, liyah NC designed the pixelish typeface Pilar (2017). Tumblr link. [Google] [More]  ⦿

Almanac Design
[Matthew Moffatt]

New York City-based designer of Radio Corp (2015, an art deco family designed as a tributed to the 1920s New York City architect Ralph Thomas Walker), Circle Deco (2015), Insomnia Deco (2015) and the sketched art deco typeface Jingle Display (2015).

Typefaces from 2016: Logic (a puzzle display font), Marine Terminal (based on maritime signage). Creative Market link. Almanac Design link. Behance link. [Google] [More]  ⦿

Alonzo W. Kinsley&Co.

Albany-based foundry, also called Franklin Letter Foundry (not to be confused with the Franklin Type Foundry in Cincinnati). It opened in 1825 and closed in 1832 when Kinsley died. The 1829 specimen book led James Puckett to develop the beautiful ornamental didone fat typeface Sybarite (2011), which comes in many optical weights. [Google] [More]  ⦿

Alphabet Soup (or: Michael Doret)
[Michael Doret]

Michael Doret is a commercial hand lettering artist in Hollywood, CA, but born in New York in 1946. A graduate of The Cooper Union, he was interviewed by MyFonts in 2011. He worked at PhotoLettering as an assistant of Ed Benguiat. Klingspor link. Behance link. Veer writes: A graduate of the Cooper Union, Michael has run his own design studio for many years - first in New York City - and currently in Hollywood. An eight-time winner of the New York Art Directors Club Silver Award, Michael is a specialist in logos and letterforms. His unique typographic vision blends elements of lettering, illustration and graphic design. The inspiration for his work has come from such diverse sources as matchbook covers, theater marquees, enamel signs, early and mid-20th century packaging, and various other artifacts of this great land of ours. Although for much of his career he executed his work in traditional media, he now works almost exclusively in a digital format. In 2006, he set up his own foundry, Alphabet Soup.

Fonts sold by MyFonts. Behance link. FontShop link.

His typefaces:

  • Dark Angel (2013). A gloomy black blackletter hybrid.
  • Deliscript (2009): an upright connected script with accompanying slanted version. It was inspired by neon signs in from of Canter's restaurant in Hollywood. Winner at TDC2 2010. And a winner in the Type Design category, CA Magazine's Award of Excellence in their 2011 Typography issue.
  • Deluxe Gothic (2010), a Bank Gothic style face. DeLuxe Gothic was also the name that Intertype used for their version of Bank Gothic. Images: i, ii), iii.
  • Dynascript (2011). Patrick Griffin did the Opentype programming. Dynatype (2012) is the upright, slightly more formal cousin of Dynascript.
  • Grafika (2009): a gorgeous 1930s art deco typeface originally designed for the credits of the movie Savages. Doret calls it extreme deco.
  • Metroscript (2006, Alphabet Soup): a connected retro script.
  • Orion (2003): an upright, linear script, based on an enameled sign (probably of 1930s vintage) that designer Michael Doret picked up at a Paris flea market.
  • Power Station (2006): a 3-d athletic lettering and beveled family, with styles such as Block, Wedge, Block Low, Block High.
  • Steinweiss Script (2010): a 2200-glyph curly script typeface called Steinweiss Script (2010), which captures a lot of the spirit of Steinweiss's album covers from the late 1930s and 1940s. (Opentype programming help by Patrick Griffin).

Creative Market link. View Michael Doret's typefaces. The typeface libray at Alphabet Soup. [Google] [MyFonts] [More]  ⦿

Alphabet Synthesis Machine

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]  ⦿

Alphonse Mucha

Born in Ivancice, Moravia (Czechia), in 1860, died in Prague in 1939. Famous for his sleek posters of women at the height of the art nouveau movement. In 1885 he studied at the Munich Academy of Art and then moved to the Academie Julian in Paris. In Paris, he took commissions for illustrations, portraits and decorative projects, but became most famous for his poster designs for plays, especially under the patronage of Sarah Bernhardt in the 1890s. The success of his posters led to a commercial career in decorative design for commercial and advertising products. Mucha also created jewelry designs, and briefly taught art in New York. In 1910, Mucha returned to Prague to work on nationalistic art, including murals, postage stamps, stained glass and bank notes.

Digital fonts that were inspired by Mucha:

CV. One of his alphabets. Viennese Secession link.

View commercial fonts that descend from Mucha's work. [Google] [MyFonts] [More]  ⦿

Alpkan Kirayoglu

Alpkan (b. Istanbul) moved abroad and studied graphic design at several art schools such as School of Visual Arts in New York and Rhode Island School of Design in Providence. After finishing college, Alp worked for Poulin+Morris, a New York graphic design studio focusing on environmental design projects. He obtained a Masters in type and media program at KABK.

His graduation work at KABK was Baron or Grand Baron (2011): Baron is a modern display typeface inspired by super-ellipse shaped typefaces by Hermann Zapf such as Melior and Zapf Elliptical. Intended to be used in large sizes, Baron tries to differ from early pointed pen models with its friendly terminals and some asymmetric counters. Baron family consists of Baron Regular, Italic, and Bold.

In 201 at the KABK, he emabarked upon the revival of Silvertype, a 1914 typeface of Sjoerd Hendrik De Roos for The Silver Thistle, a private press in The Netherlands.

Vergi Regular and Vergi Stencil (2010) is a sans family created at RISD for the city of Istanbul.

Typecache link. [Google] [More]  ⦿

Altemus Creative
[Robert Altemus]

Altemus Creative Services sells dingbat fonts by Robert Altemus from New York, NY: Your premiere source for digital decorative fonts. Their commercial dingbats are sold by MyFonts. Partial list: AltemusBirds, AltemusBorders 1 through 4 (1992; Borders 4 containss pointing hands and flourishes), AltemusBursts 1 through 4, Altemus Bursts 1 through 4 (2002, contains snowflakes), AltemusChecks, AltemusChecksTwo, AltemusCorners, AltemusCrosses, AltemusCuts, AltemusCutsThree, AltemusCutsTwo, AltemusFlowers, AltemusHands, AltemusHolidaysOne, AltemusKitchen, AltemusPinwheels (1996), AltemusPointers, AltemusRays, AltemusRaysBold, AltemusRoughcuts, AltemusRounds, AltemusRules, AltemusSecurity, AltemusShields, AltemusSpirals, AltemusSpiralsBold, AltemusSpiralsBoldItalic, AltemusSpiralsItalic, AltemusSquares, AltemusStars 1 through 3, AltemusSuns, AltemusSunsBold, AltemusToolKit (2 fonts), Altemus Web Icons, EuropaArabesque, Games (cards, domino), Games 2 (mahjong, chess), Sports (balls), Sports 2, Leaves 1 and 2. Catalog, part I, part II. [Google] [MyFonts] [More]  ⦿

Alyson Aversa

Graphic designer in New York City who created Binghamton Sans (2012).

Behance link. [Google] [More]  ⦿

Alyssa Celentano

While studying at Washington University in St. Louis in the Sam Fox School of Design & Visual Arts, this New Yorker designed the experimental typeface Dry Martini (2012)---this typeface consists of thick circles and arcs, and thin sticks. [Google] [More]  ⦿

Alyssa Tasevoli

Alyssa Tasevoli (Lindenhurst, NY) created the handcrafted typeface Charmed in 2015. [Google] [More]  ⦿

Alyssa Tornese

During her studies at The School of Visual Arts in New York, Alyssa Tornese designed the thin sans display typeface ease (2018). [Google] [More]  ⦿

Alzbeta Capkova

Alzbeta Capkova (Squished Lizzard) is the New York-based designer (b. 1986) of Squished Lizzard Scrawl (2005, handwriting). Alternate URL. [Google] [More]  ⦿

Amanda Busch

Glen Spey, NY-based designer of a hand-drawn roman caps alphabet that was finished in Illustrator in 2013. In 2011, as abusch1 at FontStruct, she created the squarish typeface Mr. Roboto during her studies at York College in Pennsylvania. [Google] [More]  ⦿

Amanda Chung

As a student at Parsons in New York City, Amanda Chung designed the alphading typeface Alphabet Men (2016). Behance link. [Google] [More]  ⦿

Amanda de Giuseppe

Briarcliff Manor, NY-based graphic designer who created the scary Crow Font in 2013. [Google] [More]  ⦿

Amanda Morante

Recent graduate from the BFA program in Graphic Design at the Fashion Institute of Technology in New York City, who is currently living on Long Island and working at Curio Design in NYC. Proposer in 2007 of new letterforms that look a bit Armenian to me. [Google] [More]  ⦿

Amanda Riekstins

During her studies in Rochester, NY, Amanda Riekstins designed Strawberry Lemonade (2016), French Toast (2016), Whipped Cream (2016) and Pumpkin Spice Latte (2016, a curly typeface). In 2018, she published Jelly Jar. [Google] [More]  ⦿

Ambar del Moral

Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the connect-the-dots typeface Estrela (2013, Friday Fonts. [Google] [More]  ⦿

Amberlee Nguyen

Buffalo, NY-based designer of the experimental typefaces Henore (2014) and Rolex (2014). These were created during her studies at the University of Buffalo. [Google] [More]  ⦿

American Type Founders (or: ATF)

In 1892, twenty-three type foundries joined together to compete with the new typesetting machine, the Linotype [and later, the Monotype], to form ATF, which consolidated its type manufacturing facilities in a new plant in Jersey City in 1903. They were the dominant foundry in America until 1933, when ATF went bankrupt. Its collection remains intact at the American Type Founders Company Library&Museum at Columbia University in New York. The Smithsonian possesses most of the original type drawings and many of the matrices, and a number of other institutions and private individuals own matrices. Interestingly, despite the bankruptcy, it continued in operation until 1993, when the Elizabeth, NJ plant was finally liquidated. It was Kingsley's bankruptcy in 1993 that forced the final closure of ATF. In the early part of the 20th century, ATF was the dominant American foundry.

Their specimen books are classics:

MyFonts link.

A brief history of ATF by Carol Van Houten. Reference books.

View the digital typefaces that are based (fully, or in part) on ATF's typefaces. See also here, here, and here. [Google] [MyFonts] [More]  ⦿

American Wood Type Co.
[Frank Gerhardt]

One of two American wood type manufacturers with the same name. This one was started by Frank Gerhardt in Brooklyn, NY, in 1918. In 1922, the name was changed to American Brass and Wood Type Co. [Google] [More]  ⦿

American Wood Type Manufacturing Company

Wood type company that was located in Manhattan. Their catalogs include Wood Type Printers Equipment and Supplies (1938) and Printers Supplies Wood Type Metal Type (1960s). [Google] [More]  ⦿

American Wood Type Mfg Co.

Wood type manufacturing company located in New York and Chicago in the first half of the 20th century. Images below are from their Catalog No. 36. [Google] [More]  ⦿

American Wood Type Mgf Co.
[Rube Mandel]

American wood type manufacturer in New York City, est. 1932 by Rube Mandel. In 1936, it buys Empire Wood Type holdings. Around 1962, its name changed to American Printing Equipment and Supply Co. Its last catalog was printed in 1968, but the company lasted until 2001. [Google] [More]  ⦿

Amsterdam Continental Types and Graphic Equipment Co.

Typeface importer and vendor and foundry located on Fourth Avenue and Park Avenue South in New York City, with offices in Burbank, CA, and Chicago, IL. Their typefaces included Annonce Grotesque. Amsterdam Continental ceased operations.

A Handbook of Types (PDF catalog). [Google] [More]  ⦿

Amy Greenan

Co-designer with Christina Torre and Richard Kegler of P22 Victorian Gothic (2000), which was based on a typeface called Atlanta. [Google] [More]  ⦿

Amy Papaelias

Graphic designer who has worked at the McGill Daily in Montreal (1997-1999) and at SUNY (New Paltz, NY, 2003-2004), where she obtained an MFA in Intermedia Design in 2005. She wrote a thesis in which features of OpenType are used to replace bad words with good ones. From 2006 until 2009, Amy was an Assistant Professor of Graphic Design at the University of Bridgeport in Connecticut. Currently, Amy is an Assistant Professor of Graphic Design and Foundation at the State University of New York at New Paltz. She is one of the cofounders of Alphabettes.

Flash demo which does not work on several browsers. Scribbly handwriting fonts (no downloads) include Sugar and Spice, Shy Slacker, Francophile and Cranky Kid. [Google] [More]  ⦿

An daSeul

Graphic designer in New York City who created a calligraphic serif typeface called Tender (2012). [Google] [More]  ⦿

Ana Andreeva

New York City-based designer of a typeface made up entirely of logos (2017). [Google] [More]  ⦿

Ana Gomez Bernaus

Letterer, illustrator, art director and designer in Los Angeles (was: New York City). Creator of Octave (2011): Octave has been created with the intention of fusing together the graphical elements of written musical composition with the English alphabet.

In 2012, she created the tall high contrast fashion typeface Kilimanjaro. Her Textappeal lettering from 2014 is also noteworthy. Her experimental typeface Floating Typescapes won an award at ProtoType in 2016.

Behance link. Old Behance link. [Google] [More]  ⦿

Anastasia Allakhverdova

Prolific art director from Moscow who is now located in New York. Her work includes the fashion mag Latin/Cyrillic typeface Cadre (2014), the prismatic custom typeface Icon Face (2014, done for a make-up school) and a few other fashion industry fonts. Behance link. [Google] [More]  ⦿

Andi Jones/ Taylor Deupree

[More]  ⦿

Andrea Bianchi

Graduate of the European Institute of Design (IED) in Milan. Visual designer in New York and Milan, Italy, who revived the bullet hole typeface Lucky (André Pless, Mecanorma, 1973) in 2019. His version, also called Lucky, is free. [Google] [More]  ⦿

Andrea Braccaloni

[MyFonts] [More]  ⦿

Andrea Duquette

Pine Bush, NY-based designer of Sin Rough (2013), an informal sans typeface. Behance link. [Google] [More]  ⦿

Andrea Johansson

At Parsons School for Design in New York City, Andrea Johansson created the display typeface Dylan (2014). In 2016, she designed the art deco typeface family Garry and the octagonal typeface Michael. Behance link. [Google] [More]  ⦿

André de Castro

Reproducing his bio: I'm a graphic designer graduated from PUC-Rio and co-author of the illustration book "FUNK what beat is this," published in 2009 by Aeroplano. During 2010, I gave lectures on the development process of the book at PUC-Rio and ESDI. I have specialization in Printmaking at the Rhode Island School of Design and Business Management at IBMEC-Rio. I have worked at 19 design, O Globo Online and Yahoo! Brazil. I currently live in New York and attend the MFA in Communication Design at Pratt Institute. During the summer of 2012, I was part of the creative team of the Rio2016 Olympic and Paralympic games.

His typefaces include Ubique Infotype (2013, with Rob Gonzales). Ubique overlays several typefaces to create a special effect. [Google] [More]  ⦿

Andree Ljutica

Andree Ljutica is the design director of Origami Design Studio in New York City. Andree designed Own It Sans (2012).

Behance link. [Google] [More]  ⦿

Andrei Robu

[MyFonts] [More]  ⦿

Andres Maza

Brooklyn, NY-based designer of the free vintage all caps typeface Vienna Marble (2014). Behance link. [Google] [More]  ⦿

Andrew Babb
[Buzzbum (was: Andy Babb, or:Planet Buzz Font Foundry)]

[MyFonts] [More]  ⦿

Andrew Bellamy
[Otherwhere Collective (or: Ilott Type, Bellamy Studio)]

[MyFonts] [More]  ⦿

Andrew C. Scheiderich

West Harricon, NY-based student and graphic designer. Creator of Revolvo (2007), a sans with a surplus of testosterone. [Google] [More]  ⦿

Andrew Childs
[Andrew Childs Typography]

[More]  ⦿

Andrew Childs Typography
[Andrew Childs]

New York-based designer of the beautiful Internal Serif Bold, and of Printmaster (2002). While you are at it, check out his unbelievable work at AC/AC in Philadelphia, especially his web page for the Morimoto restaurant. He also made an unitled workhorse-type bitmap face, Pug (2004, another great bitmap face), and the great bitmap/pixel families Dumont (2004), Fourte (2004), Ledger (2004), Certive (2004), Düsseldorf (2004, a pixel serif family, including a slab serif), an unnamed cursive pixel face (2004), and Bitley (2004, a pixel serif face!). Andrew is one of the grandmasters of pixel typography. [Google] [More]  ⦿

Andrew Collette

Student at the School of Visual Arts who lives in New York City. Creator of the thin condensed octagonal typeface New York City (2012).

Behance link. [Google] [More]  ⦿

Andrew Little

Type designer from New York City, NY, who created an art nouveau typeface in 1886. [Google] [More]  ⦿

Andrew Teoh

New York-based designer who developed a display typeface as part of the rebranding of the American Museum of Natural History, which included logos, museum signage, retail, and website.

Behance link. [Google] [More]  ⦿

Andrew Walunas

Raised in New Jersey, Andrew Walunas lived in Savannah, GA, while attending SCAD for his BFA in Graphic Design, and currently lives in the greater NYC area. He created the slab serif typeface Kocan (2015) during his studies. Behance link. [Google] [More]  ⦿

Andrew Waterhouse

Graphic designer in New York City, who published the poster sans typeface Loop in 2019. [Google] [More]  ⦿

Andy Clymer

Andy Clymer grew up in Irvine, CA and studied at San Diego State University in 1998. At that time, he was working on Stencil Fraktur (2002). In 2004-2005, he studied type design in the Masters program of the KABK in Den Haag. He joined the typeface development department of Hoefler&Frere-Jones in New York in 2005. He has been an instructor in the Type@Cooper program in New York since 2011.

From 2005 until 2018, Andy worked at the Hoefler&Co. type foundry, where he contributed to the typefaces Vitesse, Forza, Ideal Sans, Archer, Surveyor, and spearheaded the design of Operator and Obsidian (2015: a decorative copperplate engraved emulation typeface---various kinds of 3d illumination in Obsidian were obtained by an algorithmic process.

In 2019, he co-developed Mingei Mono for the Mingei International Museum along with Yomar Augusto.

In 2020, he released Tilt. Tilt is a family of (variable) typefaces inspired by three dimensional lettering found in storefront signage. Subfamilies: Tilt Neon (mimics the construction of neon tube lettering), Tilt Prism (based on prismatic lettering, cast or cut in a material), Tilt Warp (resembles peeling vinyl stickers). The variable fonts have two axes, horizontal rotation and vertical rotation.

Github link. [Google] [More]  ⦿

Andy Lu

New York City-based designer of the extra-condensed font Dementia (2014). [Google] [More]  ⦿

Angel B. Lee

Freelance designer in New York City, who created the art nouveau typeface Mustache Gothic (2012). [Google] [More]  ⦿

Angel Rosario

Graphic designer in Ridgewood, New York, who created a few unnamed typefaces in 2013. [Google] [More]  ⦿

Angela Chan

Angela Chan (School of Visual Arts, New York City) designed the blocky 3d typeface Boxy (2016). Behance link. [Google] [More]  ⦿

Angela Riechers

Angela Riechers has an MFA in Design Criticism from SVA in New York City. She is an art director and writer and the coordinator of Typography as Language: Theory and Practice, an SVA Summer Residency Program. Author of Random Characters: The Past, Present and Future of Generative Typography (Visual Arts Journal, Fall 2016 issue). Her examples include randomized typefaces, programmed typefaces, dynamic typefaces and parametric fonts. [Google] [More]  ⦿

Angella Tham

Queens, NY-based designer of the monoline sans typeface Bittersweet (2017). [Google] [More]  ⦿

Angus B. Grieve-Smith
[Stokoe Tempo Font]

[More]  ⦿

Anjana Singhwi

Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of Fingerprint (2013, Friday Fonts.

Behance link. [Google] [More]  ⦿

Anne Marie Leahey

Graphic designer in Binghamton, NY, who created the squarish pixelish typeface Krunch in 2015. Behance link. [Google] [More]  ⦿

Anne-Gail Moreland

New York City-based designer of the free grunge font Hellvetica (2017). [Google] [More]  ⦿

Annie Jen

Annie Jen, a student at the School of Visual Arts in New York City, designed the fun Split Typeface (2012).

Behance link. [Google] [More]  ⦿

Anselm Dästner
[Boyz and Girls]

[More]  ⦿

Anthony Bayoneto

Brooklyn, NY-based designer. Created of the floriated caps typeface Flourish (2013). Behance link. [Google] [More]  ⦿

Anthony Bryant

Graphic designer from New York City, who made the ultra fat art deco typeface Booking (2009). Behance link. [Google] [More]  ⦿

Anthony Carlucci

Graphic designer from Massepaqua, NY, who proposed the avant-garde font Codegraphik in 2002. [Google] [More]  ⦿

Anthony DiVivo

Anthony hails from Northern New Jersey and studied design at the School of Visual Arts in New York, where he earned an MFA in 2001. He has worked as a designer in New York (where he currently lives), San Francisco and Miami. Author of Devil Type, a headline type specimen book. He designed many custom typefaces, which are showcased at his Behance site. [Google] [More]  ⦿

Anthony Elder

In the Type@Cooper Extended Program in 2014-2015, Brooklyn, NY-based Anthony Elder designed Benedictine, which is inspired by the first printed books in Italy by Konrad Sweynheym and Arnold Pannartz in the XVth century. Behance link. [Google] [More]  ⦿

Anthony Melice

Anthony Melice (AMelice Design, Buffalo, NY) created the stencil typeface Breeding Ground (2014). [Google] [More]  ⦿

Anthony Zukofsky

During his studies at the School of Visual Arts in New York, Anthony Zukofsky designed the display typeface Anode (2012). [Google] [More]  ⦿

Antoine Miquel

Illustrator and typographer in Paris, who created the modular display typeface Impulsif (2014). [Google] [More]  ⦿

Antoinette Fabricante

Graphic designer in New York, who made Fabrica (2012, an art deco typeface) and Invented (2010). [Google] [More]  ⦿

Anton Rhoden

Graphic designer in the Bronx. Behance link. Designer of the multilined typeface Pzooms (2010). [Google] [More]  ⦿

Anton Woll Söder

New York City-based designer of the 3d experiment Type My Face (2015). Home page for DFMN. [Google] [More]  ⦿

Antonio Carusone

[More]  ⦿

Antonio (Tony) DiSpigna

[MyFonts] [More]  ⦿

Anuthin Wongsunkakon
[Behaviour (was: type behaviour)]

[MyFonts] [More]  ⦿

Anya Monisoff

Graphic designer in Nyack, NY. Creator of Modular Alphabet (2012). [Google] [More]  ⦿

Aoife Mooney

Aoife is an Irish typeface designer and teacher. She has a BA degree in Visual Communications from Dublin Institute of Technology (2005) and an MA in Typeface Design from the University of Reading in 2010. Alongside her freelance practice, Aoife is an Assistant Professor at Kent State University, where she teaches typography and typeface design. Before moving to Akron, Ohio, Aoife worked as part of Hoefler & Co design team in New York (joining in 2011), developing Idlewild, Surveyor, and other typefaces. Most recently she worked with Frere-Jones Type on Mallory, and did some projects for Google.

She designed Magnimo while at Reading. Aoife writes: from the Latin Magna, meaning great or large, and the Indic Anima, meaning spirit or soul. Magnimo is a big-hearted typeface with many moods and voices. I am quite impressed by this three-style typeface (Regular, Italic, Upright Italic), which, with its lively angular design, seems just right for green party and energy drink magazines. All the extra features expected of a 2010 typeface are there, including a matching and nicely balanced Greek, and coverage of most European diacritics. Additional scans: i, ii, iii.

Old URL.

In 2016, she published the free Google Font family BioRhyme (+Expanded). See also Open Font Library.

Speaker at ATypI 2016 in Warsaw on Synoptic Translations. Speaker at ATypI 2017 Montreal, where she entertained the crowd with socially relevant typography and type for dissenting voices. Speaker at ATypI 2018 in Antwerp. [Google] [More]  ⦿

Apirah Infahsaeng

Designer and illustrator Apirah Infahsaeng ("Synthetic Automatic", Brooklyn, NY) made Elastic (2004), based on wrapping a series of rubber bands around a 3x3 pegboard grid. Four (2004) takes inspiration from the dot matrix display in the popular children's game Connect Four. Seven Board of Cunning (2004) is a modular paper fold typeface constructed with Chinese tangram puzzle tiles. In 2004, he also made an ascii typeface drawn from Helvetica Neue R, created and manipulated using Microsoft Word [sic], called Helvetica Neue R Microsoft Word. He studied art at the University of Connecticut. In 2008, he drew a custom didone display typeface for New York Magazine. [Google] [More]  ⦿

Applied Design Works

Applied Design Works was founded in 2015, with offices in New York and Los Angeles. In their own words, Applied specializes in design, planning, strategy, and implementation for a broad range of mission-driven organizations. Their team includes Craig Dobie, Founding Creative Director, Brad Scott, Founding Managing Director, and Elliott Scott, Creative Director.

Atkinson Hyperlegible (2019-2020) is a free neo-grotesque typeface created by Applied Design Works for Braille Institute of America, Inc, which is based in Los Angeles. Named after Braille Institute founder, J. Robert Atkinson, it has been developed specifically to increase legibility for readers with low vision, and to improve character recognition. The project was the winner of the Graphic Design category in Fast Company's 2019 Innovation by Design Awards. In this video, Craig Dobie, Brad Scott, and Elliott Scott provide a behind-the-scenes look at the development of Atkinson Hyperlegible. Google Fonts link.

The physical 4-style font family was designed by Elliott Scott, Megan Eiswerth, Linus Boman and Theodore Petrosky.

Atkinson Hyperlegible differentiates common misinterpreted letters and numbers using various design techniques:

  • Recognizable Footprints: Character boundaries clearly defined, ensuring understanding across the visual-ability spectrum.
  • Differentiated letterforms: similar letter pairs are differentiated from each other to dramatically increase legibility.
  • Unambiguous Characters: designed to increase legibility and distinction.
  • Exaggerated forms: shaping of letters is exaggerated to provide better clarity.
  • Opened Counterspace: open areas of certain letters are expanded to provide greater distinction.
  • Angled spurs and differentiated tails: they increase recognition and define distinctive style.

CTAN link. [Google] [More]  ⦿

April Pascua

April Pascua is a graphic design student at Pratt Institute. She resides in Brooklyn, NY. April created the floriated roman capitals typeface Dandi (2012). [Google] [More]  ⦿

[Saad Dean Abulhab]

Arabetics is run by the Iraqi-American New York-based type designer, librarian, and systems engineer Saad Dean Abulhab (b. 1958, Sacramento, CA, d. Brownstown, MI, 2021), who in 2000 patented the Mutamathil (unified and symmetric) type style for Arabic. He grew up in Karbala and Baghdad, Iraq, but was born in Sacramento, CA. He attended the University of Baghdad, and holds a Bachelors degree in electrical engineering from Polytechnic University and a masters degree in library and information science from Pratt Institute, both in New York. He resides in the USA since 1979. In 2004, he set up Arabetics. His type design work covers Arabic, Urdu, Persian, Kurdish, and Pashtu. Obituary.

His typefaces include Zena (2009), Layal (2007), Mehdi (2005: follows the guidelines of the Mutamathil Taqlidi type style), Sabine (2008: it too follows the guidelines of the Mutamathil Taqlidi type style), Fallujah (2005), Mutamathil Falujah, Yasmine Mutamathil, Mutamathil Taqlidi, Arabic Mutamathil, Arabic Mutamathil Mutlaq (2004), Arabic Mutamathil Tibaah, Arabic Mutamathil Mutlaq Tibaah, Arabic Mutamathil Muttasil and Arabic Mutamathil Tibbaah Muttasil. Mutamathil and Mutamathil Taqlidi include optional Lam-Alif ligatures. See also Kufa Mutamathil (2011). Other font families: Nasrallah, Silsilah, Yasmani, Mutamathil, Yasmine Mutamathil, Amudi, Amudi Mutamathil, Anbar (2008), Handasi, Yasmine Mutlaq, Jazm (2010), Jalil (2011).

In 2012, he added Nuqat, Nastarkib, Lahab, Ibrani, Hallock, Arabetics Latte (for Latin and Arabic), and Banan (Mutamathil Taqlidi type style).

In 2005, he created Handasi, about which he writes: The idea behind Handasi, Arabic word for engineered, was to design a font without a single curve that would at the same time resembles traditional curves-rich Nask style. The font strictly uses straight lines. The design of Handasi is based on the Mutamathil Taqlidi design style where each letter is represented by one normal glyph assigned the basic Unicode number and an additional final shape glyph to letters capable of dual connection within traditional Arabic text. No initial, medial, or standalone shapes are provided.

Arabetics Symphony (2012) is a sans serif Latin typeface with a comprehensive support for the Arabetic scripts, including Quranic texts.

In 2013, he published PF Nuyork Arabic at Parachute. His Arabetic fonts from 2013 include Nagham, Arabetics Harfi (for Latin and Arabic), Camille, Raqmi and Raqmi Monoshape.

In 2015, he published Hazim (in Mutamathil Taqlidi style), Sada (for small devices, in Mutamathil Taqlidi type style), Khatt, which follows the Arabetics Mutamathil Taqlidi style.

Typefaces from 2016 include Mashq, possibly the first typeface implementation ever of the early Quranic scripts of the Early Mashq, Mashq Kufi, and Mashq Ma'il. The font family design is primarily based on the scripts of the Quran manuscripts of the Topkapi Museum, the Bergstraesser Archive, and other scattered samples.

Typefaces from 2018: Arabetics Detroit.

Typefaces from 2020: Arabetics Aladdin.

Hiba Studio link. [Google] [MyFonts] [More]  ⦿

Arabic typography

Arabic type site. Displayed font families include AT (by Tarek Atrissi), Al-Futtaim (by Mamoun Sakkal), and work by Nadine Chahine. Corporate calligraphy by Samir Sayegh. He holds a MFA in design from the School of Visual Arts in New York, a MA in interactive multimedia from the Utrecht School of the Arts in the Netherlands, and a BA in graphic design in his homeland, Lebanon. [Google] [More]  ⦿

Aracely F. Calle

During her studies at Kingsborough Community College, Queens, NY-based Aracely F. Calle designed the colorful typeface Salvador Dali (2018). [Google] [More]  ⦿

[David Yoon]

Archaica is the foundry for the fonts created in 2005 by David Yoon for ancient languages. Yoon was born in Kalamazoo, MI in 1964, and resides in Woodside, NY. Archaica Nabataean50 (2005) provides a typical set of characters for the ancient Nabataean language, used in what is now Jordan and adjoining regions during the period of the Roman Empire, based on lapidary letter-forms of the first century of the present era. Archaica Aramaic-450 (2005) covers the ancient Imperial Aramaic language, which was used in the Persian Empire during the sixth to fourth centuries BC. [Google] [MyFonts] [More]  ⦿

Archer Hutchinson

New York City-based creator of the dot matrix typefaces Disorient (2010) and Disorient Pixels (2010), both made with FontStruct. FontStruct link, where he publishes as Archer03.

In 2018, he designed the free all caps Greek font Inititiation Ritual. [Google] [More]  ⦿

Ariela Gittlen

Brooklyn, NY-based creator of the very friendly rounded arts and crafts typeface Thistle Display (2014), which was inspired by the lettering of Charles Rennie Mackintosh and Margaret MacDonald. [Google] [More]  ⦿

Arjen Noordeman

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]  ⦿

Arrow Type (or: Typefloundry, or: Recursive Design)
[Stephen Nixon]

Stephen Nixon (b. South Dakota) was an undergraduate student at the University of Minnesota in the Twin Cities. After that, he moved to New York City to work as a product designer at IBM. There, he focused on visual design & UX for software products, then moved into brand experience design within IBM Watson. Stephen lives in Brooklyn, NY, where he operates Arrow Type, taking on freelance type design & development work. In 2018, he graduated from the TypeMedia program at KABK in Den Haag. He runs Arrow Type. His typefaces:

  • The free angular text typeface Killam (2012).
  • His KABK graduation typeface, Recursive (Mono, Sans), released in 2018. He explains its multiple uses: Recursive Mono & Sans is a variable type family inspired by casual script signpainting and designed for better code & UI. In programming, recursion is when a function calls itself, using its own output as an input. Recursive Mono was used as a tool to help build itself: it was used to write Python scripts to automate work and generate specimen images, and it was used in the HTML, CSS, and JS to create web-based proofs & prototypes. Through this active usage, Recursive Mono was refined to be not just warm, but also deeply useful for all-day work. Recursive Sans borrows characters from its parent mono but adjusts many key glyphs for comfortable readability in text. Its metrics are superplexed---glyphs take up the same horizontal space across all styles. As a 3-axis variable font, this allows for fluid transitions between weight, slant, and expression (casual to strict letterforms), all without text or layout reflow. In turn, this enables new interactive possibilities in UI and makes for a uniquely fun typesetting experience. This typeface was followed by Recurso Sans (2019; free at OFL). Github page where we learn that contributors besides Stephen Nixon include Katja Schimmel, Lisa Huang and Rafal Buchner. In 2019, these authors published Recursive as a variable font with five axes---mono, casual, weight, slant and italics. Dedicated page. Google Fonts link.
  • He contributed a variable font version to Nikita Prolopov's Fira Code.
  • Name Sans V2 was published by Future Fonts in 2020. Name Sans is a modern interpretation of the tile mosaic name tablets of the New York City subway.
  • Lang Syne (2021). A semi-slab family derived from grave carvings in the Green-Wood Cemetery of Brooklyn, NY.

Fontsquirrel link. [Google] [More]  ⦿

Arsalan Malik

Bronx, NY-based designer of the great connect-the-dots typeface Patience (2019). [Google] [More]  ⦿

Arunima Sinha

At Parsons School of Design in New York, Arunima Sinha designed a modular typeface in 2019. [Google] [More]  ⦿

A.S. Barnes

Author of the penmanship book Barnes's National Vertical Penmanship (New York: American Book Co., 1899). [Google] [More]  ⦿

Asaf Bochman

Graphic and editorial designer in Northport, NY. He made a few interesting type posters in 2010: Bembo, Futura, Zebrawood. [Google] [More]  ⦿

Asaki Okamura

During his studies at Parsons the New School of Design in New York City, Asaki Okamura created the typeface Arsenal (2014), which showcases parts of different firearms. Before that, he lived in Singapore, Tokyo and Rio de Janeiro. Behance link. [Google] [More]  ⦿

[Corinne Ang]

Asddf is a typographic practice founded in 2021 by Corinne Ang, a Filipino graphic and type designer based in Brooklyn, NY and Providence, RI, where she studied at the Rhode Island School of Design. In 2020, she released Mononbloc Sans and Fluoral. During a workshop at Type Cooper 2021, she developed Trickle, which she explains as follows: Trickle is a bastardisation of the italic form. The simple aim of it was to create a vivacious, lively rhythmic display typeface that utilised the calligraphic italic ductus as a jumping point. [Google] [More]  ⦿

Ash Silva

Ash Silva (New York City) scanned water drops laced with ink to create a super-experimental Ink Drop Alphabet (2013). [Google] [More]  ⦿

Ashley Breunich

Graphic designer in New York City, who created a font based on the mosaics of Gaudi called Barcelona (2012). It was used in an imaginary rebranding of that city. [Google] [More]  ⦿

Ashley Galante

Rhinebeck, NY-based designer of the origami typeface Ribbon (2014). [Google] [More]  ⦿

Ashley Holley

Albany, NY-based designer of the custom mechanical ornamental caps typeface Resistance (2013). [Google] [More]  ⦿

Ashley Myers

Designer of Ashley Marie (2009) and Ashley's Handwriting (2009). Ashley (b. 1994) is from New York. [Google] [More]  ⦿

Ashley Wayne

Designer in New York City who created the zipper-themed X Font in 2012. [Google] [More]  ⦿

Astrida Valigorsky

Designer of the dingbat font Fin de Siècle (2002, Garagefonts). She also the head designer at Funny Garbage. During a study program at Type@Cooper in New York, she designed the sans typeface Telesync (2012) specially for reading at small sizes. FontShop link. [Google] [More]  ⦿

[Glenn Parsons]

Commercial foundry in Oak View, CA, est. 2011, by Glenn Parsons (b. New York City). Creator of UXB Stencil and its companion UXB Spray in 2011, rough stencil typefaces. He also designed the tattoo typeface Dragon Fang (2011), Sugarbang (2012, comic book style), and the octagonal wedge typeface Spacepod (2012).

In 2013, Glenn created the comic book style typefaces Rocket Pop, Rocket Pop Outline and Koo Koo Puff. Signal 1885 (2013) is a vintage cursive script.

In 2014, he published Hexxes (a hexagonal typeface family), the retro futuristic mutant typography typeface Redrail Superfast.

Typefaces frrom 2015: Barn Owl (layered eroded wood style).

Typefaces from 2016: Bonewire, Tin Sign (vintage weathered style).

Typefaces from 2017: Digideco (retro-futuristic).

Typefaces from 2018: Fabbabi (a retro headline type), Surfoid, Smilodon (crayon font).

Typefaces from 2021: Fluffenhaus (a display typeface about which Glenn writes: The glyphs are soft serve ice cream, sorta Cooper Black after too much party. A fun playful look that suggests the 1960s and 1970s).

Typefaces from 2022: Monoicono (encircled icons related to environmental, health, weather, emergency, quality control, and synergy). [Google] [MyFonts] [More]  ⦿

Atomic Media (was: SmartDust)
[Matthew Bardram]

Matthew Bardram (b. New York City, 1965) is the Tucson, AZ-based [T-26] founder of Atomic Media, who specializes in bitmap fonts. He designed Atomic, Centrifuge, Bromide (at T-26), Crackle, Klaxon. At Nakedface (now gone), he made Arachnid, Bitpak, Bylinear, DhexInline, Genetica, Economy Large, Empiric, Hypersigna (2005, bitmap face), Montreal (the family) and two katakana fonts. His Bitpack includes the following pixel fonts: Bylinear (2000), Cellular (2000), Genetica (2000, free download), Genetrix, Macroscopic, Metodic, Microscopic, Noir, Scriptometer, Remote (2000), Monocule (2000), Joystik, Centrifuge, Quantaa (2000), Bionika, Megalon (2000), Wired, Badfish.

Bardram's Digipak includes Atomic-Inline, Atomic-Outline, Bionika-Black, Bionika, Genetrix-Crossed, Genetrix-Square, Genetrix-SquareCore, Genetrix-SquareHollow, Joystik, Macroscopic-A, Macroscopic-B, Macroscopic-C, Macroscopic-D, Macroscopic-E, Methodic-Bold, Methodic, Microscopic, Noir, Scriptometer-SanScript, Scriptometer.

Additional typefaces: a 3D pixel font called Boxer 3D (2002), Neuronic (2002-2004, nice outlined pixel font; see also here), Fusionaire (2002, a display font) and Wijdeveld, a squarish font based on the lettering of poster artist Wijdeveld from The Netherlands. In 2005, these fonts were added: Magnetica, Imperium, Ratio, Hypersigna, Sequence and Tempora, all by Matthew Bardram.

Sausan Kare's pixel fonts at Atomic Media: Mini Food, Kare Dingbats, Biology, Everett, Harry, Ramona, Kare Five Dots, Kare Five Dots Serif, Kare Six Dots, Kare Six Dots Serif.

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

Attention Earthling Font Foundry
[Greg Knoll]

Typefaces offered by this company include Sawdust Marionette by Bonefish Sam and Fax-O-Matic by Greg Knoll from Larchmont, NY. Other fonts: Blahaus, Brillo, Dunlux. At T-26, he did Rant. [Google] [MyFonts] [More]  ⦿

Audria Brumberg

Designer of Punkgaraphy (2010), an experimental face. Audria is into adverting and graphic design and lives in Brooklyn, NY. Behance link. [Google] [More]  ⦿

August E. Woerner

Punchcutter born in Frankfurt am Main (1844), who died in New York in 1896. He worked for some time at A.D. Farmer&Son in New York, as well as at Conner Type foundry, and at Bruce Type foundry after his emigration to the USA in 1868. In Germany, he was a punchcutter at Flinsch and from 1864-1868 at Haas in Basel.

McGrew says: Merrymount was designed by Bertram G. Goodhue for Daniel B. Updike's Merrymount Press in Boston, and was cut only in 18-point. This was used in an impressive Altar Book, which established the reputation of Updike and his Press. Steve Watts says the typeface was cut by Mr. [August] Woerner of A. D. Farmer&Son Type Foundry in New York. The original punches and matrices are preserved by the Providence (Rhode Island) Public Library as part of its extensive Updike Collection, where a note with the mats says, "Cut by A. Woener (sic), June 21st, 1895."

His typefaces: Bruce No. 11, No. 13 and No. 21 (Bruce Type foundry), German no.91 (1876, Bruce), Penman Script No.2053 (Bruce), Merrymount (1896, Merrymount Press), and the following typefaces published at Farmer, Little & Co: Card Gothic (1893), Gotham (ca. 1890), Lightface, Old Style No. 5 (ca. 1887), Old Style No. 5 Italic, and No. 6, 15, 17, 18, 20 21, 22 and 23. [Google] [More]  ⦿

August T. Horvath
[Military Aircraft Fonts]

[More]  ⦿

Austin Norman Palmer

Born at Fort Jackson, New York, in 1860, this well-known penman died in 1927. After studying at Gaskell's Business College in Manchester, NH, Palmer first worked in Indiana, Missouri and Iowa, before founding the A.N. Palmer Company in New York City to teach and practice penmanship. He introduced the Palmer Method of business penmanship, which soon became the most popular handwriting system in the United States. Author of these books:

Reference: In Spencerian Script and Ornamental Penmanship, Volume I (1989), by Michael R. Sull, we find a chapter on his life. [Google] [More]  ⦿

Austin Roesberg

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

Avana Vana

New York City-based designer of Hermetica (2018), a dingbat font that contains 750 cultural and religious symbols. [Google] [More]  ⦿

[Habib Khoury]

Israeli designer Habib Khoury (born in Fassouta, Upper Galilee, 1967) is presently Executive Creative Director of Avant Design Communications, which specializes in trilingual typography and communications. The type division, AvanType, offers commercial Latin, Arabic and Hebrew typefaces. He holds a Masters degree from Central Saint Martins College in London. Habib spent several years in Haifa, London, and New York, and is now based in Cathedral City, CA.

His Hebrew designs: Casablanca, Derby, Falafil, Girnata, Rituals, Talona. His Latin fonts include Adorey, Alluremda, Granada, Merkory and Stocky. He won an award at Bukvaraz 2001 for Maqsaf. At TDC2 2003, he won a Certificate of Excellence in Type Design for Falafil.

His Arabic typefaces include Chiaka, Ghirnata (1996), Sinan (1992), Alwadi (1996), Onwan (1998), Shallal Ultra Light (1995), Saljook (1997), Barhoom (1995), Alkhoury (1997), Sayaf, Maqsaf and Qasab (1998).

He won an award at TDC2 2006 for Hogariet (2005, a Hebrew face) and at TDC2 2008 for Al Rajhi (an Arabic text family). [Google] [More]  ⦿

Axel Lindmarker

Swedish Brooklyn, NY-based designer of Teknisk and Teknisk Stencil (2016), designed to capture the mechanical feeling of the early machines. Behance link. [Google] [More]  ⦿

Ayako Ito
[Ayako Ito (and: Type for Ukraine)]

[More]  ⦿

Ayako Ito (and: Type for Ukraine)
[Ayako Ito]

Ayako Ito is based in New York City and Tokyo, and graduated from Type@Cooper. She creates brand identities, books & magazines, typefaces, and illustratis in the fields of art, lifestyle and fashion. Ayako Ito set up Type for Ukraine in 2022 to help the people in Ukraine. All proceeds are donated to Doctors without Borders and the Voice of Children Foundation. Her typefaces:

  • Rinko.
  • Flora Roman (a headline serif) and Flora Display (2022). Simply exquisite.
  • Jasmine Display (2022). A calligraphic fashion mag serif.
  • Gabriel.
  • Luna.

Commissioned typefaces include Bubble Tea (a bubblegum typeface designed for Stone And Strand, a NYC based jewelry startup), Kafeteria (a phenomenal geometric sans as part of the brand identity for Kafeteria, a new café at the Statens Museum for Kunst in Copenhagen by renowned Danish restaurateur Frederik Bille Brahe; just like the menu and experience at Kafeteria, the typeface combines Japanese minimalism with Danish culture), Good Girl (a sans designed for Stone And Strand, a NYC based jewelry startup), August KBH (custom typefaces for August Journal Issue 05: Copenhagen), Moet Hennessy, Gemic (a custom stencil typeface for Gemic, a global growth strategy firm with offices in NYC, Helsinki, Toronto, and Berlin). [Google] [More]  ⦿

Ayman Hafez

Mansourah, Egypt (and/or New York City)-based designer of the Latin sans typeface Firsta (2012). Now based in New York City, he also designed the free font Burnit (2012), and the rounded typefaces Cobera (2013), Limon (2013), Over Sea (2013), Bazyl (2013), Fada (2013), Fagr (2013), Coll 3D (2013), Cool Bold (2013), Maw (2013), Awesome Outline (2013) and MyBold (2013). He also made Up Down (2013), Carpenter Tools (2013, dingbats), Stop It (2013), Bold Box (2013), Youm (2013), Quick Run (2013), Gangnam (2013), Prison Tattoo (2013), Web Tools (2013, icons), Labels (2013), Social Media Font (2013), Shehab (2013) and Social Font Icons (2013). He runs Fontm.com.

Home page. Dafont page. Behance link. Fontspace link. Another Behance link. [Google] [More]  ⦿

Aymie Spitzer

Aymie Spitzer created a Western typeface called Dumbo while studying type design at the Cooper Union in 2012: While studying typeface design at Cooper Union, I attempted to revive a French Clarendon. This design has always had a soft spot in my heart so I thought it was a perfect opportunity to make something fun for my first typeface. Taken from ATF's P.T. Barnum, I digitized this revival in about 2 months. [Google] [More]  ⦿

Ayushi Shah

During her graphic design studies in Brooklyn, NY, Ayushi Shah created a few pixel typefaces (2015). Behance link. [Google] [More]  ⦿

BA Graphics
[Robert Alonso]

Bob Alonso (b. Bronx, NY, 1946, d.2007), the founder of BA Graphics in 1994, was a prolific American type designer. With 33 years of experience at NewYork's Photo Lettering, he specialized in calligraphic script typefaces, but not exclusively so. BA Graphics was located in Chester, NY, and later in Toms River, NJ, and now sells its fonts through MyFonts. Many of its fonts published after Alonso's death in 2007 were completed by John Bomparte.

John Bomparte wrote this obituary: Throughout his career at the legendary Photo-Lettering, Inc. (one that spanned four decades), Bob created original typefaces and tailored type by modifying, revising and filling out families, fashioning pieces of type for hand-lettered jobs, as well as being involved with the updating of a number of well-known logotypes. Bob was blessed with natural teaching abilities; and those in social and professional circles who had the good fortune to know him considered him not just a type designer but a mentor and a friend. As one such person close to him put it, he was a graphic technician [...] back when computers were not even in site for graphic arts, he would take on any intricate&complex graphic project that others would shy away from and come up with a solution that achieved a masterpiece. I'll always remember someone saying "this can't be done" and Bob saying let me see it and a short time later, there it was---done&perfect. I would like to think that attitude rubbed off on me. Along with this gift for teaching and explaining the complex, Bob exhibited a level of professionalism that was unsurpassed. A number of years ago when the need came to make the transition from the traditional to digital way of creating fonts, he rose to the challenge admirably. Towards the last few years of Photo-Lettering, Bob played a vital role in the conversion to digital, of many of the typefaces within the collection, notably those fonts that carry the prefix PL. More recently, Bob Alonso released several fonts through ITC, Adobe and his independent foundry, BA Graphics. Bob was on the cutting edge of his best work, and in the circumstance of his untimely passing, left a measure of unfinished designs. However, the spirit of his typographic talents and his fine sense of humor lives on through the many much-loved, and popular fonts he has left us: fonts such as Cookie Dough, Equate, Elephant Bells and Pink Mouse, to name a few.

Alonso created these typefaces:

FontShop link. Klingspor link.

View Bob Alonso's typefaces. View the BA Graphics typeface collection. An alphabetic listing of Alonso's typefaces. [Google] [MyFonts] [More]  ⦿

Badson Studio
[Kyle Read]

Badson Studio is a type foundry in Buena Vista (was: Denver), CO, launched by Kyle Read in 2014. Kyle Read (b. 1987 or 1988) hails from the American Northeast and lived in Chatham, NJ. He studied graphic design and printmaking at Savannah College of Art and Design (class of 2010), and has created typefaces for Abercrombie & Fitch in Columbus, Ohio. He studied type design at the Type@Cooper Extended Type Design Program in New York. We believe, but are not sure, that Kyle started Proof&Co. In 2015, these commercial typeface families had been published by Read at Badson Studio:

  • Ermine: The Ermine Type Family is derived from one of the most illuminated eras in American History. President Franklin D. Roosevelt launched his New Deal in 1929 to get America back to work after the now infamous market crash and Great Depression. Between 1935 and 1943, the Works Progress Administration (WPA) was established by presidential order and employed more than 8 million workers. Some of the more visible projects were posters created to promote tourism in the country's National Parks. More than 2,000,000 posters were printed by the Federal Art Project's poster division. Almost all of these posters have been lost or destroyed. The Ermine Family is designed to be reminiscent of this era of public art, drawing from the wonderfully quirky lettering styles of the WPA National Parks Posters themselves.
  • Bota Display: a didone typeface.
  • Guilder: a multiline and outline typeface family.

Before Badson Studio, Kyle created the layered multiline typeface Pinscher (2013), the rounded sans typeface Penfield (2013), the experimental typeface Geoface (2013), the warm titling typeface Holden (2013), the multiline straight-edged typeface Countdown (2013), and the art deco family Flagpole (2013).

In 2013, he received the 2013 SOTA Catalyst Award. Home page for Kyle Read. [Google] [More]  ⦿

Bailey Knapton

During her studies at Rochester Institite of Technology in Rochester, NY, Bailey Knapton showcased the transitional typeface Neuton (2015), which was created by Brian Zick in 2010. [Google] [More]  ⦿

Baily Crawford

As an illustration major at Pratt Institute in New York, Baily Crawford created a decorative caps typeface (2015), and a set of decorative vignettes called Horseradish (2015). Behance link. [Google] [More]  ⦿

Barnhart Brothers&Spindler (or: BB&S)

Chicago-based foundry, which grew out of The Great Western Type Foundry in 1868 when the Barnhart brothers (newspaper publishers in Iowa who came to Chicago as advertising agents) bought out the Toepfer family in 1868. They retained Herman Spindler as the foreman, since he was the only typefounder in the group. Aggressive in business, BB&S became the largest foundry in Chicago. Book of type specimens. Comprising a large variety of superior copper-mixed types, rules, borders, galleys, printing presses, electric-welded chases, paper and card cutters, wood goods, book binding machinery etc., together with valuable information to the craft. Specimen book no.9 (1907) is a 1048-page monster catalog (see also here and here and here). Some pictures from Type Barnhart Type Foundry Co. New York City: Superior Copper-Mixed Type (1908). In 1913, they published Preferred Type Faces.

BB&S was purchased by ATF about 1911 and it operated independently until about 1930. Typophile page on them. Text file with a list of the typefaces in their Catalog 25 (1925). Discussion of some of their typefaces and digitizations:

  • Engravers Upright Script, a ronde style alphabet, was revived in 2006 by Nick Curtis as Bon Mot NF.
  • Hazel Script, a primary school didactic connected script, digitized in 2006 by Paul Hunt as P22 Allyson (discussed here).
  • They made the (sloppy) old-look garalde typeface Fifteenth Century in 1897, which turned into Caslon Antique (American Type Founders). A digital version can be had at MyFonts, but who made it? MyFonts also offers Caslon Open Face (originally, 1915).
  • One of their best known designers was Oswald B. Cooper who made Cooper Black (1921) and Cooper Old Style (1919-1924), with characteristically blurred rounded serifs. He also made Cooper Hilite (shaded), Cooper 570 (fat), Cooper 579 (outline), Cooper Tooled Italic (shaded) and Cooper Black Italic 571.
  • Delysian NF (2004, Nick Curtis) revives their Greeting Card typeface from the BBS catalog of 1923.
  • Lining Gothic No. 71 (1907) is a grotesque typeface with panache. It was digitized by Nick Curtis as Cerulean NF (2007).
  • Mazurka NF (2004, Nick Curtis) is a combination of two typefaces from the same catalog, Swagger Capitals, designed by Carl S. Junge, for the uppercase and Gothic Novelty Title for the lowercase.
  • Racine (1903) was revived by Nick Curtis as Kenosha Antique (2004).
  • Archer (1905) was revived by Nick Curtis as Grand Rapids (2005).
  • Umbra (1907) was revived by Nick Curtis as Shady Lady NF (2005). Monotype's Umbra is based on a later metal version by Ludlow though.
  • One of their blackletter typefaces is Waldorf Text (1914).
  • Steelplate, a monocase engraved US dollar bill-style face, ca. 1900 at BBS, was revived by Nick Curtis as Smackeroo NF (2005).
  • Ernst Lauschke designed the oriental look typeface Dormer in 1888 at the Great Western Foundry. BB&S renamed it Pekin. HiH digitized it in 2005. Pekin also is the name of Dan Solo's revival.
  • Freak (1889, The Great Western Type Foundry) was renamed Bamboo by BB&S. A digital version by Tom Wallace is also called Freak (2005).
  • Parsons (1918, Will Ransom) was digitized by Jess Latham.
  • Wedge Gothic ML (1893). An oriental simulation font. It was not in the 1907 catalog but reappeared in 1925 as Japanette. According to McGrew, Wedge Gothic was originally created for the Chicago Herald newspaper. Digital versions: Japanette (Infinitype), OPTI Japanette 5 (CastCraft), Wedge Gothic (2010, Tom Wallace), Japanette (2012, SoftMaker).
  • Clearcut Shaded Capitals (1920s, Will Ransom). Extended to a full font by Nick Curtis in 2005 as Ransom Clearcut NF).
  • Dotted Roman (1897, a Victorian typeface) was revived as Miss Dottie NF by Nick Curtis in 2014.
  • The decorative wood type typeface French Antique, featured in the 1905 catalog, and originally due to William H. Page. Digital versions by Woodentype (Jordan Davies) and Nick Curtis (whose version of French Antique Extended is called Fran Tique NF (2008)).
  • The wedge-serifed typeface Vulcan (1884) was revived by Nick Curtis in 2014 as Vulkan NF.
  • Jeff Levine's Millinery JNL (2022) is based on the art nouveau font Sterling showcased in the 1907 Barnhart Brothers & Spindler specimen book.
Wiki page. List of all BB&S typefaces compiled by the American Amateur Press Association in 2009. This includes a PDF file and an Excel spreadsheet.

Digital typefaces that descend from Barnhart / BBS. [Google] [MyFonts] [More]  ⦿

Barry Blitt

American cartoonist and illustrator, b. Cote Saint-Luc, Quebec, 1958, who grew up in Montreal, graduated from The Ontario College of Art and Design, and moved to the US in 1989. He is known for his New Yorker covers and as a regular contributor to the op-ed page of The New York Times. One of his favorite cartoon subjects is Donald Trump. Blitt creates his works in traditional pen and ink, as well as watercolors. His shaky handlettering is distinctive, yet unexplored by the type design community. Home page. [Google] [More]  ⦿

Barry Deutsch

Born in Brooklyn in 1940, he graduated from New York City Community College. Barry worked for Sandgren & Murtha, New York as a graphic designer.

Creator of typefaces at VGC, such as Deutsch Black (1966). This unicase piano key typeface was revived in digital format by Nick Curtis as Blackbarry NF (2011). [Google] [More]  ⦿

Baruch Gorkin

New York-based designer of the Type Directors Club 1999 award-winning design Arial Hebrew, Monotype. He works as a designer and cross-media branding specialist. Venecia Hebrew won an award at TDC 2014. [Google] [More]  ⦿

Bauersche Schriftgiesserei

Frankfurt-based foundry started in 1837 by Johann Christian Bauer. At the end of the 19th century, the new owner was Georg Hartmann. On its staff, it had designers such as Konrad F. Bauer [Alpha (1954), Beta (1954), Folio (1956-63), Imprimatur (1952-55), Volta (1956), Verdi (1957), Impressum (1963), all made with Walter Baum], Lucian Bernhard [Bernhard Condensed, 1912], Hugo Steiner-Prag [Batarde, 1916], Julius Diez [vignetten, 1910-1912], Henri Wieynck [Trianon, 1906; Cursive Renaissance, 1912; Wieynck-Kursiv, 1912], Georg Hartmann, Paul Renner [Futura, 1937], Emil Rudolf Weiß [Weiß Fraktur, 1924], Berthold Wolpe [Handwerkerzeichen, 1936; Hyperion, 1931; Rundgotisch, 1938] and F.H. Ernst Scheidler [Legend, 1937]. In its glory period, Bauer's leader was Heinrich Jost (1889-1949), from 1922 until 1948, who with punchcutter Louis Hoell made a beautiful version of Bodoni, now known as Bauer Bodoni. A New York office was set up in 1927, but after the 1960s, the foundry declined and finally closed its doors in 1972. Its typefaces were passed on to its Barcelona branch, Fundición Tipográfica Neufville. See also here. Digitized typefaces include Futura ND (Paul Renner, redigitized by Marie-Therésè Koreman at Neufville in 1999), Edison Swirl SG (late 1800s, digitized by Spiece Graphics), Gable Antique Condensed SG (late 1800s, digitized by Spiece Graphics), Weiß (Bitstream, based on a family made in 1924-1931 by Emil Rudolf Weiss), Bauer Bodoni (1926, FT Bauer, made by Heinrich Jost and Louis Hoell), Bauer Bodoni (Adobe version), Candida (1936, now digitized at FT Bauer), Charme (1957, now available from FT Bauer), Impressum, Imprimatur, Venus (1907-1927, now at FT Bauer), Venus and Hermes (both available at Linotype; Venus is also at URW), Volta (1955), and Phyllis (1911, aka Wieynck Cursive). Other typefaces: Bernhard Cursive (1962), Constantia, Hellenic Wide (1962), Lucian (1962), Cantate (1962), Gillies Gothic (1962), Horizon (1962), Folio (1962), Bauer Beton (1962), Bauer Topic (1962), Bauer Classic (1962), Elizabeth (1962), Cartoon (1962), Trafton Script, Astoria, Lilith, Legend (1937), Fortune, Folio Kursiv, Folio Grotesk (1960), Cantate (1958), Papageno (1958), Verdi (1957), Amalthea (1957), Magic (1955), Steile Futura Kursiv (1955), Columna (1955), Maxim (1955), Tivolischmuck (1950), Symphonie (1938, by Imre Reiner, in 1945 called Stradivarius), Weiß Antiqua (1950), Legende (1950), Quick (1950), Ballé Initials (1940), Beton (1940), Corvinus (1934), Bernhard Roman (1930), Hyperion (1931), Volta Kursiv (1955), Rundgotisch (1938), Hoyer Fraktur (1935), Gotika (1934), Jubilaeums-Initialen (1902), Jubilaeums Antiqua (1902), Victoria Antiqua (1902), Künstler Grotesk, Lichte Futura (1931), Weiß Fraktur (1924), Reklameschrift Herkules, Herkules-Gotisch (1898), Enge Gotisch (ca. 1880: digital version by Gerhard Helzel), Ehmcke Antiqua (1921), Batarde (1916), Wieynck-Kursiv (1912), Zweifarbige Grotesk Kursiv, Cursive Renaissance (1912), Manuskript Gotisch (1899; after Wolfgang Hopyl, 1514), Graziosa (1914 or earlier, script face), Kleukens Antiqua (1910), Barlösius Schrift (1906-1907, H. Barlösius), Trianon (1906), Hohenzollern (1902, + Initialen), Telefunken (1959), Sinfonia (script), Amerikanische Alt-Gotisch (1903, influenced by Henry William Bradley's and Joseph Warren Phinney's 1895 art nouveau face, Bradley). Some of their vignettes were captured in Dieter Steffmann's Schluss Vignetten (2002). In house samples: AntiquaBrotschriften-IX-Garnitur, Einfache Kanzlei (ca. 1830), Enge halbfette Zeitungsfraktur, Fette Gotisch, Moderne halbfette Fraktur, Gotisch. [Google] [MyFonts] [More]  ⦿

Beatrice L. Warde

Born in New York in 1900, she died in London in 1969. A typographer, writer, and art historian, she worked for the British Monotype Corporation for most of her life, and was famous for her energy, enthusiasm and speeches. Collaborator of Stanley Morison. She created a typeface called Arrighi. She is famous for The Crystal Goblet or Printing Should be Invisible (The Crystal Goblet, Sixteen Essays on Typography, Cleveland, 1956, and Sylvan Press, London, 1955), which is also reproduced here and here. The text was originally printed in London in 1932, under the pseudonym Paul Beaujon. Here are two passages:

  • Imagine that you have before you a flagon of wine. You may choose your own favorite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than to hide the beautiful thing which it was meant to contain.
  • Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type which may work well enough, and yet keep the reader subconsciously worried by the fear of 'doubling' lines, reading three words as one, and so forth.

Drawing of her by Eric Gill. Life story.

Beatrice Warde was educated at Barnard College, Columbia, where she studied calligraphy and letterforms. From 1921 until 1925, she was the assistant librarian at American Type Founders. In 1925, she married the book and type designer Frederic Warde, who was Director of Printing at the Princeton University Press. Together, they moved to Europe, where Beatrice worked on The Fleuron: A Journal of Typography (Cambridge, England: At the University Press, and New York: Doubleday Doran, 1923-1930), which was at that time edited by Stanley Morison. As explained above, she is best known for an article she published in the 1926 issue of The Fleuron, written under the pseudonym Paul Beaujon, which traced types mistakenly attributed to Garamond back to Jean Jannon. In 1927, she became editor of The Monotype Recorder in London. Rebecca Davidson of the Princeton University Library wrote in 2004: Beatrice Warde was a believer in the power of the printed word to defend freedom, and she designed and printed her famous manifesto, This Is A Printing Office, in 1932, using Eric Gill's Perpetua typeface. She rejected the avant-garde in typography, believing that classical forms provided a "clearly polished window" through which ideas could be communicated. The Crystal Goblet: Sixteen Essays on Typography (1955) is an anthology of her writings. Wood engraved portrait of Warde by Bernard Brussel-Smith (1950). [Google] [MyFonts] [More]  ⦿

Beatriz Lozano

Brooklyn-based Michigander, currently exploring custom type, coding, and motion design. Her typefaces include Ancho (2020), which includes a variable cut. Ancho is a wide-stanced sans with forms inspired by the Teotihuacan pyramids in Mexico.

At Type Cooper 2020, she developed the vernacular display typeface Aguas, an experimental variable font that shifts in width and curvature and is inspired by hand-painted signs in Mexican food markets. [Google] [More]  ⦿

Behaviour (was: type behaviour)
[Anuthin Wongsunkakon]

Behaviour was founded in 1996 by Anuthin Wongsunkakon and Nirut Krusuansombat in Bangkok. They do graphic design, mainly. Type Behaviour is the font library of Behaviour. Anuthin teaches graphic design at School of Art and Design, Bangkok University and Chulalongkorn University.


Fonts include OCRX, Aspirin, Interviewer, Songothic (1999), Behaviour, Keystonestate, Effectra, Hydrous, Ideologica, Waveeweekend, Matamorphosis, Berlidin (1999). Commercial fonts available at T26 and PsyOps (where he did Hydrous). Also, many dingbats by Nirut Krusuansombat, again without downloads. Custom-made Thai fonts too.

[T-26] designer of Aspirin, Aspirin Advance, Aspirin Refill (hairline), Automate (2008), Behaviour, Berlidin (1999), Carbon, Cellular One, Cellular Two, Cellular three, Coupe, Datum, Dotto, Dotto Deluxe, Effectra, Harbinger, Hydrous (2009, PsyOps and T-26), Ideologica, Interviewer, Keystone State, Labelo Ext, Labelo Rom, Labelo Uni, Myers Sans, OCRBe, OCRX, QR-Type, Son Gothic (+New Son Gothic), Wavee Weekend (upright script, Foto (2006, dingbats), Harbinger (2004, stencil), Myers Sans (2005), Aspirin, Carbon (2003, an octagonal font, which reappeared in 2006 as Carbon C6 and in 2008 at Cadson Demak as carbon Plus), Coupe (2006, 4-weight sans family), Labelo (2003, octagonal, +Varsity), Dotto, Dotto Deluxe (2002, dot matrix font), Behaviour, Berlidin (1999: nice serifs), Ideologica (2000), Interviewer, KeystoneState (1999: a license plate font), Metamorphosis, SonGothic, WaveeWeekend (2000), OCRX (2001, T-26), and Effectra (2001, T-26), Cellular-Complete (2002, T-26), POBox (2002, T-26, dingbats of postal imprints), Datum (2002, pixel font), Baked (2007, T-26), Board (2004, T-26), OCR-Be (2006).

Free font: Katan U Kata Way T (Thai font).

Dingbats: Arvaiyava, Bahnpaburut, I'm Icons, Monsoon, Pixxo (pixel-based icons), Prajanbarn, SO-6.

MyFonts sells the athletic lettering fonts Labelo Ext (2007, T-26), Option Sans (2009, T-26), Labelo Varsity and Board Deluxe, Enzyme (2010, Cadson Demak), Amino (2010, Cadson Demak: an organic family).

Typefaces at Katatrad include Ra Bobb Thai (2012, octagonal).

Typefaces from 2013: EQ Pro (+Rounded: Cadson Demak).

Anuthin Wongsunkakon collaborated with Akira Kobayashi and Monotype Studio on Avenir Next Thai (2021).

FontShop link. Klingspor link.

View Anuthin Wongsunkakon's typefaces. [Google] [MyFonts] [More]  ⦿

Belén La Rivera

Chilean codesigner (with Dominique Tetzner) of the icon typeface Pictos Latinos, which won an award at Tipos Latinos 2014. In 2015, she published the serif typeface Manola from her new home in New York City, as well as the text typeface Ramiro and the angular italic typeface Violeta, which were created during her studies at Type@Cooper. Behance link. [Google] [More]  ⦿

Ben Buysse

Art director, type designer and illustrator working in Brooklyn, New York, who does mainly custom work for clients such as Entertainment weekly, ESPN, Fortune Magazine, grantland, GQ and NBC. His typefaces include

  • Zeedraak (2012). A free typeface inspired by sea monsters and blackletter typography.
  • World Cup Typeface (2016). For ESPN Magazine World Cup special issue.
  • Fancy Pants (2016). A classy stylish sans.
  • Beach Drink Icons (2016).

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

Ben Dunkle

Buffalo, NY-based designer, b. 1971, of the fat typeface Kong Quest (2018, a somewhat retro, bubbly and fun cartoon font), the drop cap typeface Sir Guppy (2017) and the liquid contour typeface Stone Skip (2008).

In 2019, he designed the bone font Bone Brigade. In 2020, he released Alphabit Soup. [Google] [More]  ⦿

Ben Goetting

Ben Goetting hails from Brooklyn, but is now based in southern California. In 2014, he designed an all caps rounded blackletter typeface called Grandmaster Clash. [Google] [More]  ⦿

Ben Shahn

American lettering artist, painter and social realist, b. Kovno, Lithuania, 1898, d. New York City, 1969. He is best known for his works of social realism, his left-wing political views, and his series of lectures published as The Shape of Content. Author of Love and Joy about Letters (1963) and of The Alphabet of Creation: An Ancient Legend From the Zohar (1954, reprinted in 1972, Shocken Books, NY).

In 1995, Maurizio Osti reconstructed and redesigned Ben Shahn's Folk Alphabet, which was originally created as lettering in 1940, with the consent and approval of Bernarda Shahn, Shahn's second wife, and the Estate of Ben Shahn, under license from VAGA (New York). FF Folk (2003, Marizio Osti and Jane Patterson) is the only authorized and officially endorsed digital version of Shahn's well-known protest poster lettering. In the same style, we also have the fonts Bensfolk (2000) and Bensfolk Condensed (2000) by Harold Lohner.

Jean Evans's Hatmaker (1996, Agfa Creative Alliance and later ITC) consists of two all caps typefaces, one of which was inspired by Ben Shahn's hand-constructed alphabet.

Nick Curtis's Outgribe NF (2011) is a rough, raw typeface that is based on the lettering in Ben Shahn's iconic poster protesting the execution of Nicolo Sacco and Bartolomeo Vanzetti in 1927. That same poster also inspired Daniel Pelavin in his Book Country (2010).

Charles Leroux created the Tuscan typeface Rendezvous GRP (2008) based on Ben Shahn's cover of Rendezvous with Destiny.

At Esos tipos de la UTEM, one can download Nahueltoro (2007), an exceptionally beautiful comic book style headline face by Santiago Toro, based on the credits of the movie El Chacal de Nahueltoro by Vicente and Antonio Larrea, and on Ben Shahn's lettering. [Google] [More]  ⦿

Benjamin Critton

Benjamin Critton (b. 1983) is an American designer, typographer, art director, publisher, writer, editor and curator. He lived in New Haven, Connecticut, where he studies towards an MFA in graphic design at the Yale School of Art, and is now based in Brooklyn, NY. In 2010, he joined the British type foundry Colophon.

Raisonné is a contemporary sans-serif typeface, designed by Benjamin Critton over the course of several months during the summer of 2010. It can be bought at Colophon Foundry.

In 2012, Colophon published his Value Serif typeface.

In 2013, the angular typeface Lydia Bold Condensed was published at Colophon: The typeface is a calligraphic sans-serif re-drawn and developed by Benjamin Critton after Warren Chappell's 1938-1946 designs. It is concurrently fluid and sharp; intended to appear wrought by both pen and machine.

In 2016, Critton designed the Google Font typeface family Space Mono, which follows in the footsteps of 1960s headline typefaces such as Microgramma and Eurostile. He also designed the sans typeface Sunset in 2016. Github link. [Google] [More]  ⦿

Benjamin Tuttle

Brooklyn-based graphic designer with an interest in lettering and typeface design. He studied graphic design in Raleigh, North Carolina and received a certificate in typeface design from the Cooper Union in 2019. Benjamin Tuttle is a volunteer at the collectively-run microcinema Spectacle Theater since 2017, contributing film programming, poster design, trailer editing, and more. He is Design Director at Ultravirgo. His typefaces:

  • Clark (2006).
  • Plebeian (2021). An experimental text sans that started as a formal experiment with the modularity of Frank E. Blokland's letter model. Plebeian can be purchased at Order Type Foundry.
  • Pastiche Grotesque (2021). Released at Order Type Foundry. He explains: Pastiche Grotesque is type design fanfiction looking at late 19th century Gothics through the lens of mid-20th century Neo-grotesques. It hypothesizes what a Neo-grotesque might look like if lower contrast forefathers like Akzidenz or Venus didn't exist.
  • Amalgam. A knife-edged typeface originally drawn for a poster designed for the 9th Annual Spectacle Shriek Show, a day-long horror movie marathon.
  • No Gothic. A digital revival of the American Type Founders Gothic No. 578, which was originally released by Inland Type Foundry as Gothic No. 8 and Keystone Type Foundry as Standard Gothic. While staying faithful to the original outlines, the revival adds a few modernizations like kerning, an expanded character set and OpenType stylistic sets that reflect the changes in design between the Inland and Keystone releases.
  • Spectacle (2019). A text face designed during his studies at Type@Cooper for the Spectacle Theater and its cheaply printed monthly calendar of programming.
[Google] [More]  ⦿

Berton Hasebe

Berton Hasebe (b. 1982, Honolulu, HI) moved from Hawaii to study and work in Los Angeles, where he obtained a BA from Otis College of Art and Design in 2005.

In 2007 he moved to the Netherlands to study type design through the Type and Media Masters course at The Royal Academy of Art in the Hague (KABK). Berton has resided in New York since 2008, and was a staff designer with Commercial Type from 2008 to 2013, when he left to start his own studio. Berton's typefaces have been awarded by the New York and Tokyo Type Directors Club, the ATypI, and the Brno Biennial. In 2012 he was awarded Print magazine's 20 Under 30 Award. Berton currently teaches typography at Parsons and has taught type design at The University of the Arts in Philadelphia and the Type@Cooper Extended Program at The Cooper Union in New York.

His typeface Alda was designed to function at very small sizes while remaining expressive. The bold is macho and delicate at the same time. Alda won an award at TDC2 2009. In the same year Alda was also selected by the Tokyo Type Directors Club to be included in its annual publication. It was published by Emigre.

At Commercial Type he co-designed the extensive family Stag with Christian Schwartz and Ross Milne. Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional special effects display variants. Stag Stencil followed in 2009.

In 2010, he published the geometric sans serif family Platform at Commercial Type. It has a gorgeous circle-based hairline.

In 2013, he published a 4-family 20-style French Renaissance typeface family called Portrait (+Text, +Inline, +Text), still at Commercial Type: Portrait started out as an experiment in drawing a display typeface that managed to be both beautiful and brutal, and both classical and minimalist. While its lighter weights are quietly elegant, the heavier weights show the influence of chiseled woodcut forms. Portrait draws its primary inspiration from the Two-line Double Pica Roman (equivalent to 32pt in contemporary sizes) cut by French punchcutter Maître Constantin around 1530 for the printer Robert Estienne. Portrait replaces the delicately modeled serif treatments of Constantin's original with simple, triangular Latin serifs, reimagining the Renaissance forms in a contemporary light. Portrait Text resembles the text types attributed by the printing historian Hendrik Vervliet to Constantin and used by the printer Estienne in the 1530s, which had a lighter and more open texture than the text types that preceded them, and marking the move to more elegant type that culminated in the work of Claude Garamont. The stripped-back simplicity of the Latin serifs gives Portrait a cleaner and sharper tone than a typical Renaissance oldstyle-influenced text face, bringing an active personality to text.

In 2015, he created the sans headline typeface families Druk, Druk Text, Druk Wide, Druk Condensed and Druk Text Wide: Druk is a study in extremes, featuring the narrowest, widest, and heaviest typefaces in the Commercial Type library to date. Starting from Medium and going up to Super, Druk is uncompromisingly bold. It was meant as a companion of Neue Haas Grotesk. Of the families in the Druk collection, Druk Condensed is the most explicit homage to Willy Fleckhaus. Originally designed for the 2011 Year in Review issue of Bloomberg Businessweek, its flat sides make letters and words snap together in a clean and satisfying way.

For MittMedia, he made the corporate sans typeface Duplex (2016).

Still in 2016, Berton Hasebe published Styrene at Commercial Type. Their blurb: Styrene, a new sans serif by Berton Hasebe, is his latest exploration of proportion and simplicity in type design. The initial inspiration for the family was a charmingly awkward sans serif shown in an early 20th century Dutch type specimen. However, Styrene has an entirely ahistorical attitude. Its name was inspired by the purposefully synthetic feeling to its curves and geometry. The family is characterized by its proportions: typically narrow characters like f j r and t are hyperextended and flattened, adding openness in unexpected places. Styrene's two widths offer different textures in text: version A is dogmatically geometric, with a stronger overall personality, while version B is narrower for more reasonable copyfit, though not truly condensed.

Schnyder (Commercial Type) was designed by Berton Hasebe and Christian Schwartz for the 2013 redesign of T, the New York Times Style Magazine by creative director Patrick Li and his team. Schnyder has the high contrast typical of a fashion typeface and has a large number of alternates. The stem thicknesses in each weight are identical across the widths, an unusual feature that allows the widths to be mixed freely in headlines, even within single words. It features three weights, four widths, and four optical sizes. Production assistance by Hrvoje Zivcic and Miguel Reyes. Schnyder Wide, Condensed and X Condensed were published in 2018.

In 2020, he released Review (Condensed, Poster, Regular) at Commercial Type, which writes: Berton Hasebe originally drew Review (née Kippenberger) for T: The New York Times Style Magazine. In 2018, a new editor in chief pushed for a complete reimagining of the magazine. What had primarily been an image-focused publication evolved into a text-driven one, with the squarish, commanding Review doing much of the heavy lifting. To facilitate tight setting both horizontally and vertically, Hasebe sheared off Review's overshoots and blunted its exterior curves, producing a dynamic tension with its round counters.

Produkt (2014, Christian Schwartz and Berton Hasebe) is Graphik with slabs added on.

Christian Schwartz and Berton Hasebe originally designed Feature for T: The New York Times Style Magazine in 2018, and wrote: Diagonal stress, mismatched contrast between main strokes and serifs, and sharply angled head serifs conspire to give the face tension, dynamism, and immediacy. The collection has been expanded in 2021 for release by Hrvoje Zivcic, who expanded the weight range and drew italics for the entire collection. Feature Collection now includes Feature Text, Feature Display and Feature Deck. Feature [Google] [MyFonts] [More]  ⦿

Bertram Grosvenor Goodhue

New York architect, designer and artist. Born in Pomfret, Connecticut in 1869 and died in New York in 1924. He is most famous for designing Cheltenham (1896) for the Cheltenham Press in New York, a long-ascender classical American typeface created initially for Ingalls Kimball at the Cheltenham Press. He also designed Merrymount (1894-1896, Merrymount Press, a medieval-look humanist typeface cut by Woerner of A.D. Farmer&Son).

Cheltenham was adapted, extended, and revisited by many, starting with Morris Fuller Benton from 1904-1911, who created a full family of Cheltenhams for ATF---Benton's Cheltenham is the Cheltenham we have today. The (British) Monotype version was Gloucester [it had an italic p with the normal closed bowl]. Stephenson Blake had Winchester [which may be distinguished by the curl of the ear in the g and the serifs of the s]. Intertype had Cheltonian. Berthold originally called their version Sorbonne (1905). In 1975, Tony Stan increased the x-height in his revival for ITC.

Digital Cheltenham versions can be found at SoftMaker (Cheltenham Pro, and S790), Elsner&Flake (Cheltenham OldStyle EF), Berthold (as Sorbonne BQ), Adobe (ITC Cheltenham by Tony Stan), URW (Cheltenham Old Style, and the 2001 typeface Cheltenham D Bold Extra Condensed), Castcraft (as OPTI Cheltenham Old Style), Monotype (as Gloucester Old Style, Monotype's version of Cheltenham), Paratype (the 1997 Academy typeface family by Lyubov Kuznetosova and Alexander Tarbeev), Cheltenham Pro (2012, Softmaker), Bitstream (Cheltenham; also under the names Stubserif 705 and Stubserif 205 for the Extra Condensed versions), Font Bureau (FB Cheltenham by Jane Patterson, 1992), ITC (Tony Stan's 1975 version of Cheltenham; and ITC Cheltenham Handtooled, a 1993 openface family by Tony Stan and Ed Benguiat), and Scangrapghic (Chelten or Cheltenham Old Style SB).

Mac McGrew on Cheltenham: The design of Cheltenham Oldstyle and Italic is credited to Bertram Grosvenor Goodhue, an architect who had previously designed Merrymount, a private press type. For Cheltenham he had the assistance of Ingalls Kimball, director of the Cheltenham Press in New York City, who suggested and supervised the face. Original drawings were made about 14 ' inches high, and were subjected to much experimentation and revision. Further modification of the design was done by the manufacturers. Some historians credit this modification or refinement to Morris F. Benton; another source says it was done at the Boston branch of ATF, which suggests that the work may have been done by Joseph W. Phinney. In fact, Steve Watts says the typeface was first known as Boston Oldstyle. Mergenthaler Linotype also claims credit for developing the face, but it was first marketed by ATF. Trial cuttings were made as early as 1899, but it was not completed until about 1902, and patented in 1904 by Kimball. It was one of the first scientifically designed typefaces. The thin lines were strengthened to avoid the emaciated look of many types of the period. It is almost a monotone, but with just enough difference between light and heavy lines to avoid monotony. The small serifs and short, compact lowercase make a high character count. Ascenders are unusually long, while descenders are quite short. This was done as a result of studies that showed the greater importance of the upper half of a line of type in creating readily recognizable word shapes and result ing readability. The typeface has had much adverse criticism, especially because of its short descenders and the unusual design of several characters---notably A with the extension of its thick stroke at the top, G with the curve extended at the bottom, and g with its angular, unclosed tail. The alternate form of r, with its arm raised above x-height, has also been criticized, but this is mostly the result of misuse. It is disturbing within a word, but adds a bit of grace at the end of a word. Oddly, original fonts had only this form, with the more regular r added later; most fonts for handsetting include both forms of r, but those for machine setting include only the normal form or in a few cases only the more exotic form. Morris Benton, ATF's chief designer, produced Cheltenham Bold in 1904 and a score of variations up to 1913, methodically exploring the possibilities of various combinations of weight and width, and making this the first true large type family. Benton's variations include Cheltenham Bold Condensed, 1904; Cheltenham Bold Italic, Cheltenham Bold Condensed Italic, Cheltenham Wide and Cheltenham Bold Outline, 1905; Cheltenham Bold Extra Condensed and Cheltenham Bold Extended, 1906; Cheltenham Inline, Inline Extra Condensed and Inline Extended, 1907; Cheltenham Oldstyle Condensed, 1909; Cheltenham Medium, 1909; Medium Italic, 1910; Cheltenham Extrabold, 1910; Cheltenham Bold Shaded, Bold Italic Shaded and Extrabold Shaded, 1912; and Cheltenham Medium Condensed and Expanded, 1913. Linotype, Monotype, and Ludlow each have duplicates of a dozen or more Cheltenhams, while Intertype has the same under the name Cheltonian. Nearly all of these are essentially the same, except for the addition of ligatures and diphthongs in some display fonts (as shown for Cheltenham Bold), and the modification of keyboard sizes to fit mechanical requirements, but this is substantial in some cases. A curious exception is C heltenham Bold Outline; in the original foundry version it is cut from the same patterns as Bold so they will register for two-color work, while Monotype display sizes have several characters rather crudely redesigned---note H, P, R, e, h, u shown separately. Some of these other sources have also added versions of their own, notably Cheltenham Cursive, designed by Robert H. Middleton for Ludlow, and Cheltenham Wide Italic on Monotype, probably designed by Sol Hess. The latter carries the modifications required for machine-set sizes into display sizes as well. There are several oddities in the Cheltenham family. Cheltenham Wide is identical with Cheltenham Oldstyle except for the lowercase, in handset fonts. The same figures and punctuation marks from these two typefaces are also shared by Cheltenham Oldstyle Condensed, again in handset fonts. In the specimens shown here, compare Oldstyle and Wide. The former, set in ATF type, has two forms of cap C, which that foundry supplied with both typefaces, while the latter, set in Monotype, has two forms of cap W, which that company made only for that face. The unusual paragraph, prime and double prime marks, as well as parentheses and brackets, were made by ATF in some sizes of all three typefaces, but by Monotype only in Cheltenham Oldstyle. There is no Cheltenham Condensed Italic, but Linotype has a Cheltenham Extra Condensed Italic (so-called), which is actually a little wider than Cheltenham Condensed (roman)---why it is called extra condensed is not known. It suffers from adaptation to straight matrices, with annoying gaps between some letter combinations. But Cheltenham Medium Italic was designed more successfully by Benton to fit straight type bodies without kerns. Figures in the medium, bold, and extrabold weights differ from those of the Oldstyle; also notice how the x-height increases with weight. Ludlow Cheltenham is distinguished by the greater slant of some of its italics, and by the rounder top on the roman lowercase a and the rounder lower spur on capital G, as shown in some of the specimens. Western Type Foundry copied several members of this family as Chesterfield. Hansen had the Craftsman series, differing most noticeably in the few characters shown; and other foundries around the world copied it under a variety of names. Also see Kenilworth, Lowell, Venetian.

Books on Cheltenham include one by Thomas Hailing: Specimens of General Printing . Cheltenham (1882, Oxford Printing Works).

Posters created on Cheltenham include one by Anna Brooks (2013).

Klingspor link. Linotype link. FontShop link.

View various digital versions of Cheltenham. See also here. [Google] [MyFonts] [More]  ⦿

Beth Nellis

During her studies, Syracuse, NY-based Beth Nellis created the heavy counterless display typeface Hawd (2013). [Google] [More]  ⦿

Bethany Lesko

Bethany Lesko (Brooklyn, NY) made the cat alphabet Helveticat in 2013. [Google] [More]  ⦿

Bhanu Arbuaratna

Bhanu Arbuaratna is a New York based Art Director, designer and illustrator. Behance link.

Creator of the slab typeface Number & Symbols (2012). [Google] [More]  ⦿

Bianca Alcantara

During her studies in New York City, Bianca Alcantara designed the geometric solid caps style Box Alphabet (2015). Earlier, at UFMA (Federal University of Maranhao, Brazil), in 2014, she created the vernacular typeface Traço together with Ana Carolina Aquino. [Google] [More]  ⦿

Bienvenido Cruz

Brooklyn, NY-based designer of the free blocky font BC Block 25 (2018). [Google] [More]  ⦿

Bill Bogusky

[MyFonts] [More]  ⦿

Bill Davis

Bill Davis graduated from the Rochester Institute of Technology with a Printing Management degree. He was Vice President for Marketing at Agfa Monotype in 2003, and quit around early 2004. In 2004, he co-founded Ascender Corporation, where he was VP Business Development. Wnen Ascender was bought by Monotype, Bill made the jump to Monotype.

At ATypI 2003 in Vancouver, his talk was entitled Steal this font: Fonts are at risk now more than ever before compared to traditional forms of software piracy. Type designers may not understand all the new software applications and technologies that allow End Users to distribute fonts with their documents on the Internet. What can type designers and font vendors do to address the threats and opportunities of these new technologies? This presentation will review the role of the EULA (End User License Agreement) and a variety of software applications and formats such as PDF, Flash and SVG. This abstract is subversive, starting with the innocent-sounding phrase "software piracy", as if fonts are software---they are not: they are just tables of data representing geometric forms. When I vectorize a Picasso painting, the data are not a program! This misreprentation is typical of Agfa and now Monotype. On various Agfa web sites (some of which pretended to be something else), the word "download" was used to invite friendly clickers, only to discover that in Agfa speak, "download" means "buy". It is ironic, then, that this deceptive marketing company joined forces in 2003 with the heavy-handed FAST (Federation Against Software Theft), as if "theft" is bad and "misleading" is not. On Typographica, Bill Davis says: We have worked for some time now to get FAST to recognize fonts in their software compliance programs. Fonts are software too. Almost every message of his pumps out this fiction, since, clearly, if fonts are not software, then there is no software copyright protection. On his web site, he is proud to be a policeman: Bill led the company's efforts to develop custom software to track unauthorized use of its trademarks and copyrights on the Internet, and to evolve their font software licenses to target the needs of e-books, web servers and other applications.

Speaker at ATypI 2013 in Amsterdam: Enhanced Web Typography with OpenType fonts. [Google] [MyFonts] [More]  ⦿

Bill Johnston

New York-based creator (b. 1986) of the freescratchy fonts Screw This (2009) and Ink Bleed (2009), the fat finger font Lednar (2011), and the wood cut typeface Wood Is Good (2012). [Google] [More]  ⦿

Bill Troop

Bill Troop, a phenomenal wordsmith, runs Graphos. Just read this quote: Typeface Design is obtuse, incomprehensible, unsuitable, unremunerable, and irresistable. With the aid of the computer, it has never been easier to design a typeface, and never easier to manufacture one. Because of PostScript, TrueType, and font creation programs like Fontographer, Font Studio, and Font Lab, there have never been more typeface designs available, nor have there ever been so many typeface designers active. Yet, just as at all times and places there is very little good of anything to be had, so there are remarkably few fine typefaces available today. Printers now have merely a fraction of the first rate types they had in 1930. He is active in the typophile community, where he is a fervent supporter of high quality and ethical typography. Bill Troop (b. Montreal) grew up in New York and London. He studied classical piano, type design, photography and writing. He is married to the novelist Elspeth Barker, and lives in England.

Bill designed Busted (2008, Canada Type: grunge family) and the luxurious families Didot Headline (2009, Canada Type) and Didot Display.

From 2009 until 2011, he cooperated with Patrick Griffin at Canada Type on a monumental revival of Alessandro Butti's Semplicità typeface---the new family is called Semplicità Pro. The designers write: Bill and I spent some time looking closely at Futura, the instant popularity of which in the late 1920s triggered Butti's design. This was for the most part a pleasant process of rehashing what constitues a geometric typeface, musing over the fundamental phallacy of even having such a classification in type while in reality very little geometry is left after the application of the optical adjustments inherently needed in simplified alphabet forms, trying to understand how far such concepts can go before entering into minimalism, and scoping the relativity between form simplicity and necessary refinement. Mostly academic, but very educational and definitely worth the ticket. [...] For an answer to Futura, Semplicità was certainly quite adventurous and ahead of its time. It introduced aesthetic genetics that can be seen in popular typefaces to this very day, which is to say eighty years later. Though some of that DNA was too avant-garde for the interwar period during which Semplicità lived out its popularity, much of it remains as an essential aesthetic typographers resort to whenever there is call for modern, techno, or high-end futuristic appeal. The most visibly adventurous forms at the time were the f and t, both which having no left-side crossbar, with the f's stem also extended down to fully occupy the typeface's descender space. Aside from those two letters, Semplicità's radical design logic and idiosyncracy become more apparent when directly compared with Futura. [...] Futura attempted to go as far as geometry could take it, which ultimately made it too rigid and considerably hurt its viability for text setting. Renner himself acknowledged some of its flaws, and even proposed alternate fucntionality treatments, with a more humanist aproach applied to some forms, all of which went nowhere because Futura's momentum and revenue were deemed undisruptable by some- thing so trivial as aesthetic or functionality. William Dwiggins' Metro design, a direct descendent of the Renner's design, went almost diametrically the opposite way of Futura, with the deco facets considerably magnified and the geometry toned down. Butti decided a design that finds the middle ground in that aesthetic tug of war was probably a better idea than either extreme.

In 2016, Patrick Griffin and Bill Troop co-designed Bunyan Pro, which is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s---the most popular Gill text face in Britain from its release until well into the 1980s. [Google] [MyFonts] [More]  ⦿

Bill Troop
[Adagio Type Foundry]

[More]  ⦿

Bjorn Ramberg

[More]  ⦿

Black Graphics
[Karen Parry]

New York City-based typographer and designer. She studied at the Queensland College of Art in Brisbane, Australia, and moved to Berlin in 1988, where she held the position of Art Director for the English-language magazine The Edge and later Art Director for The Berliner. In 1991 she relocated to San Francisco, where she started web design in 1996, doing a lot of branding for many years. In 2008, Karen relocated Black Graphics from San Francisco to New York. During her studies at Type@Cooper (2011-2012) she created the text typeface Reguat. [Google] [More]  ⦿

Black Plum
[Trent Williams]

Trent Williams runs Black Plum in Brooklyn, NY. He designed several logotypes but is mostly concerned with graphic design and corporate identity. One of his typefaces is Olivo Verde (organic). [Google] [More]  ⦿

Blake E. Marquis

Graphic designer who was first in New York City and later in Venice, CA. Artist who sells via YouWorkForThem. He designed several interesting typefaces in 2008 such as Figo (experimental Spanish-style face), Penny (hand-drawn), Dubby, Circus Maximus, and Boar. Farnum (2010) and Clairemy (2010) are hand-printed EPS format alphabets. In 2012, Clairemy was also published in OpenType format. Beautifully advertized in gonzo style: Hand-drawn in the night air with a DC-3 propeller blade, YWFT Clairemy is 327 glyphs of pure, bistromathic glory, and contains OpenType alternates that would make DeGaulle perm his moustache. York (2013) is an ornamental caps typeface family that can be used to layer and create 3d effects.

Another URL. Behance link. [Google] [More]  ⦿

Blake Olmstead

New York City-based designer. During his studies at Type@Cooper (2011-2012), he designed the angular text typeface Quarry, which evokes Czech type design masters such as Menhart and Preissig. [Google] [More]  ⦿


Graphic Design student at the Fashion Institute of Technology in New York. She created the über-curlified thin hand-drawn typeface Wanderlust in 2012. [Google] [More]  ⦿

Bob Byrd

Illustrator whose work has appeared in many children's books and in magazines such as Fortune, Esquire and Graphis. In U&LC vol. 11, No. 4, he published an interesting all caps Alphabet Puzzle (1984). [Google] [More]  ⦿

[Bill Bogusky]

Bill Bogusky runs the design studio Bogusky 2 in Miami, together with his brother. He created Gonzo Bruno, Gonzo Monza and Gonzo Grosso (2007), Sundial (2006, Trajan lettering), Condo (2006, condensed), Ar Deco 1, 2, 3 and Deep (2006), Technia 1 and 2 (2006, athletic lettering or MICR applications), Sport (2006, dingbats), Macarena (2005: art deco), Zanzibar (2006: decorative), 42nd Street (2005: Broadway style lettering), Boffo (2005), Bronco Rose (2005, Wild West style), Decora (2005), Switchback (2005, a computerish face), Capzule (2005, a condensed black face), Tulip (2005, a decorated stencil face), Kondor (2005), Mah Jongg (2005, with many ornaments), Metro (2005, LCD face), Squircle (2005), Zeke (2005, artsy display font), Baby Blox (2005), Kurly (2005), Pipeline (2005), Dealer's Choice (2005), Stencille (2005), Terra, GogoBig and GogoSquat (were free at FontFreak site), Nouville (2006, art deco sans), Back Fence (2005, comic book face), Gogo Latin (2005, condensed), Zandakas (2006), Ameche Pisa (2005), Gogo Serif (2005), Bolo (2005), Hyline (2005), Compado (2005), Ameche Padua (2005), Tera (2005), Xtera (2005), Tudor New (2005), Boffo (2005), Byline (2005), Quazar (2005), Grafo Graffiti (2005), Acid Bath (2005), Benz (2005), Hulk (2005). These fonts are now commercial and can be obtained at MyFonts.com. A graduate of the School of Industrial Arts in New York City, he worked as an industrial designer in New York before moving to Miami, FL, where he opened Studio Bogusky 2. Dixie Bogusky designed Esquimaux Graphics (2006). [Google] [MyFonts] [More]  ⦿

Bold Version
[Victor Coreas]

Victor Coreas (Bold Version, Long Island, NY) designed these typefaces: Slim Kid (2015), Wild Pitch (2015: a free handcrafted baseball font), Donuts (2014), Cut Out The Jams (2014: free paper cut typeface), Cut Out Jams 2 (2013), and Version (2013, free hand-drawn poster typeface, Empire One Studios, VCAD), Version Type Pro (2016).

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

Bonnie Clas

Bonnie Clas has completed her B.F.A. and M.F.A. at Savannah College of Art and Design as a major in Graphic Design with a minor in Drawing. She has been developing her career by taking positions as a designer, illustrator, and letterer for SpotCo, Rodrigo Corral Design, and Hsu+Associates in Manhattan. She lives in New York City. Creator of TWD Sans (2011, semi-blackletter), Mecano Neue (2011), Kule Script (calligraphic, for a clothing brand), Kule Slab (2011, didone), Lady Chatterly (curly fashion mag face), Lacie (curly typeface for Latin and Cyrillic), Methodenstreit (2011, arts and crafts face), Habana (2011, Lost Type), Feverish (2011, experimental), Burlesque (art deco). She also did the lettering for tens of projects. [Google] [More]  ⦿

Boston Type and Stereotype Foundry

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]  ⦿

Bowery Studio (was: Hipster Font)
[Rachid Aitouaissi]

Art director in New York Mills, NY, and/or Rabat, Morocco, whose web site was called Hipster Font, and is now called Bowery Studio. Designer of Adasmine (2017), Denarrio Script (2017), Arminia Script (2017), Blanca Script (2016, brush script), Amazing (2016), Anatalia Brush (2016), Grace Elegant Script (2016), Daisy Script (2016), Miraluna (2016), Antype Script (2016), Antype Sans (2016), Saser Script (2016), Asmae (2015, brush script), Rinoshare (2014, a sketched font), the octagonal typeface Hipster Grunge One (2014), the poster font Ice Cube (2014), the spurred tattoo font Athena (2014), Bushcraft (2014, free old letterpress emulation typeface), Inside (2014: rounded sans), Handy Vintage Font (2014), So Brush (2014), Picaso Font (2014), Close Hand Made (2014), Stump Font (2014, old letterpress emulation font), and Bear&Loupe (2014).

Creative Market link for Bowery Studio. Behance link. Yet another Creative Market link. [Google] [More]  ⦿

Bowfin Printworks
[Mike Yanega]

Links to commercial foundries. Site done by Michael Yanega, who now lives in Washington State. Has an interesting script font identification guide. It also has a bibliography on type. [Google] [More]  ⦿

Boyung Yang

Korean communication design student at Parsons in New York. Creator of the Bozzle typeface (2012). [Google] [More]  ⦿

Boyz and Girls
[Anselm Dästner]

Boyz and Girls is Anselm Dästner's successful New York-based design studio. His fonts include Omen, Boyz and Girls, Zygote, Ballistic, Kitchen and Pollen. [Google] [More]  ⦿

Bran Dougherty-Johnson
[Grow Design Work]

[More]  ⦿

Brandon Bayer

New York City-based designer, who created a blackletter typeface called Black Bayer (2013). He also made the über-frilly All Frills (2013). [Google] [More]  ⦿

Brandon Schwartz

During his studies, Brandon Schwartz (Old Bethpage, NY) created Pink Flamingo (2013, a script typeface). Behance link. [Google] [More]  ⦿

Brandon Sugiyama

Brooklyn-based Brandon Sugiyama made a New York Subway Tile Font in 2013, based on pictures and research done on the NY subway. Squire J. Vickers was an architect and lead designer for the subway system from 1908 to 1942 and was responsible for 300 station designs. The New York Times identifies architects George C. Heins and Christopher Grant La Farge as those who designed, hand-lettered and manufactured the tiles in a Copperplate-like style.

Behance link. [Google] [More]  ⦿

Brandon Tyler Fields

During his studie at Fashion Institute of Technology in New York, NY, Tyler Fields designed the experimental typeface 5ive-Se7en (2014), which was inspired by 1980's rockband logos, and type styles such as Babyteeth and Glaser Stencil by Milton Glaser. [Google] [More]  ⦿

Brandon Underwood

During his studies, Brandon Underwood (Hempstead, NY) designed the ornamental Utopian Alphabet (2014). [Google] [More]  ⦿

Brendan Murphy

Hudson Falls, NY-based designer of the pixel typefaces Mectra (2017) and Swiss Vapor (2017). [Google] [More]  ⦿

Brenden Ying

New York City-based designer of the connected Convival Script (2014). [Google] [More]  ⦿

Brendon Park

At Parsons School of Design, manhattan-based Brendon park created the decorative typeface Coil (2016). [Google] [More]  ⦿

Brent Philhower

Graphic designer in New York City. In 2012, he created a beautiful modular geometric display typeface called Swag X. [Google] [More]  ⦿

Bresnan Type Foundry

New York-based foundry, also called Walker&Pelouze (set up in 1855 by Henry Lafayette Pelouze), Walker&Bresnan, and P.H. Bresnan type Foundry. [Google] [More]  ⦿

Brian Crick

Brian Crick (b. Jamestown, NY, 1976) is working on a very original font, Positronic Effigy. His Ironweaver (2003) is the thinnest of the thin (almost gothic or bewitched) beauties. Check also Oberto (2003). Positronic Toaster (2009) is a very nice modern interpretation of the French upright scripts of the nineteenth century. Brian runs Brian Crick Web Site Design in Cleveland Heights, OH.

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

Brian Gartside

Graphic designer from Virginia who graduated at Virginia Commonwealth University in 2011. He works at DDB in New York. Creator of Gabrian Sans (2012), Krieger Slab (2012), and Bartali Sans (2012, a cycling-inspired typeface).

Brian created the outlined art deco typeface Silver Spectacular (2014) for the New York Lottery. He explains: This outdoor campaign for the New York Lottery conveys the notion of spectacular wealth with custom art deco typography and illustration. Each execution features a different art deco style, inspired by the monuments of New York City art deco architecture; Rockefeller Center, the Empire State Building, and the Chrysler Building.

Behance link. [Google] [More]  ⦿

Brian Kent

[More]  ⦿

Brian LaRossa

Raised in Atlanta, Brian earned his Bachelor's and Master's degrees from MICA in Baltimore, MD. He currently lives in Brooklyn, NY. He is an alumnus of Milton Glaser's Summer Program and a founding member of The Children's Publishing Design Forum. A designer, artist and illustrator recognized by many awards, Brian designed these art-historical typefaces in 2014:

  • Dada Tank: A condensed, rounded display typeface with a curious combination of thick and thin strokes designed. The alphabet was extrapolated from the title lettering on Dragan Aleksic's International Dada review (1922).
  • Irradiador: The heavy rectangle almost constructivist alphabets were extrapolated from the title lettering of Fermín Revueltas's 1923 journal which was a major early voice for the Mexican avant-garde movement called Estridentismo. It features two full alphabets of uppercase characters and common accents with eighteen ligatures between them.
  • Say So: Created in response to Robert Rauschenberg's This is a portrait of Iris Clert if I say so. It features full sets of uppercase and lowercase characters, numbers, punctuation, and symbols. All of the characters are a portrait of Iris Clert.

In 2018, Brian LaRossa and Erica Carras co-designed the Bauhaus typeface Staatliches. The alphabet revives and extends Herbert Bayer's title lettering on the cover of the first Bauhaus exhibition catalogue from 1923. It features full sets of capitals, numbers, punctuation, and symbols, in addition to alternate widths, discretionary ligatures, and common Latin accents. Staatliches is free at Google Fonts. [Google] [More]  ⦿

Brian Lemus

During his studies at School of Visual Arts in New York, Brian Lemus (Bayside, NY) created the thin typeface Slab Lace (2014) and the plumpish Nueva York Sans (2014). [Google] [More]  ⦿

Brian McSherry

Digital and graphic artist from Buffalo, NY. Creator of a font based on broken arms of an umbrella and the umbrella itself. [Google] [More]  ⦿

Brian Xiao

Brian Xiao (Brian Xiao Design, Hacienda Heights, CA) designed the text typefaces Keyserling (2014) and Galatea Bold Italic (2014). [Google] [More]  ⦿

Briana Scripture

During her studies at St John's University, New York City-based Briana Scripture designed the multiline typeface Roads (2017). Behance link. [Google] [More]  ⦿

Bridget Richardson

Fairport, NY-based designer of the curly (school project) typeface Regnant (2014). [Google] [More]  ⦿

Brigid Griffin

Graphic designer in Waitsfield, VT, who created the display typeface family Blanch (2014). Behance link. [Google] [More]  ⦿

Brigitta Martiana

Born in Australia and raised in Indonesia, she is currently based in New York City to pursue a degree in Advertising and Graphic Design at the School of Visual Arts (class of 2017). In 2017, she designed a nice poster entitled Ella Fitzgerald. Behance link. [Google] [More]  ⦿

Brixton Doyle

Designer and illustrator in Tuxedo Park, NY. Creator of a rounded sans logo and logotype, Nakamichi (2014). [Google] [More]  ⦿

Bruce Newman
[Precision Type]

[More]  ⦿

Bruce Type Foundry
[George Bruce]

Founded in New York in 1813, and acquired by ATF in 1901, this foundry made fonts such as Bruce Old Style (now Bitstream), Madisonian (now available from Présence Typo), Ornamented No. 1007 (Mac McGrew: Old Bowery is an ATF revival, in 1933 and again in 1949, of Round Shade No.2, originated by Bruce, one of its predecessor companies, about 1854, as Ornamented No. 1007.), and Old Style 7 (Linotype, Adobe). Also called D.&G. Bruce, George Bruce, George Bruce&Co., George Bruce's Son, George Bruce's Son&Co., and V.B. Munson. They published a 592-page specimen book in 1901: Bruce Type Foundry: Our Handy Book of Types, Borders, Brass Rule and Cuts, Printing Machinery&General Supplies.. In 1869, George Bruce (b. 1791, Edinburgh, Scotland; d. 1866, New York) published An abridged specimen book Bruce's New York Type-Foundry (1869), now available as a free Google book. Page with specimen of Great Primer Ornamented No. 5, Meridian Black Open (blackletter), Canon Teutonic Ornamented, Small Pica No. 2, Double Pica Graphotype, all taken from An Abridged Specimen of Printing Types Made at Bruce's New-York Type-Foundry (1868) and stolen from Luc Devroye's web site. Fists by the Bruce Foundry.

Revivals: Bruce Ornamented No. 6 was digitized by Iza W from Intellecta Design in 2006 as GeodecBruceOrnamented. Gold Rush (2008, FontMesa) is a family of Western style typefaces based on a Bruce type family from 1865. FontMesa also made Belgian (2008) based on a Bruce Type Foundry design from the 1860s. Bruce 532 Blackletter (2011, Paulo W, Intellecta Design) is an excessively ornamental blackletter face. Michael Hagemann's slab serif family Gold (2011) is based on Bruce's Gold Rush (1865) after removing the shadows. RMU Bowery (2019, Ralph M. Unger revives Old Bowery). [Google] [MyFonts] [More]  ⦿

Bruno Perotto

Art director in Nw York City, who was in Saltillo, Mexico, before that. His neo-grotesque typeface Cities (2010-2017) is free. Old Behance link. Newest Behance link. [Google] [More]  ⦿

Bryce Wilner

New York-based designer of the free sans serif typeface Standard (2017-2019), Counter (2017), Evening (2017: a flared, incised typeface), Section (2017), Half (2016: a rectangular monospaced typeface), TCA (2015: a modular tape font), FontlabFont (2013: a pixel font). Github link.

Library Stack link. [Google] [More]  ⦿

Buero New York
[Alex Wiederin]

New York City-based studio founded in 2001 by creative director Alex Wiederin. Creator of the fashion mag display typeface Carine (2014). Behance link. [Google] [More]  ⦿

Bunny Dojo
[Tim Gengler]

New York-based type foundry, est. 2003 by graphic and web designer Tim Gengler. Creator of Rummy (2015, an octagonal mechanical font based on sports branding and 1940s films) and Rummy Tall (2016).

In 2019, Gengler designed Kempt (a stencil family), Torch (a display sans), Guile (a squarish typeface family) and Pluot, which is characterized by mini-wedge serifs.

In 2020, he released Afire (a thorny sans family).

Typefaces from 2021: Upona (a 12-style Victorian family inspired by 19th century storybook lettering). [Google] [MyFonts] [More]  ⦿

Burn Type
[Michael Bagnardi]

BurnType is a small studio specializing in creating bold fonts that balance function with expression. The studio is run by founder Michael Bagnardi in Brooklyn, New York. At The Designers Foundry, they relaesed BT Brik in 2018. [Google] [More]  ⦿

Bushwick Happy Hour

Bushwick Happy Hour is an American type foundry, est. 2014 in Brooklyn, NY, by Brian Haines (b. 1983). Before that, he was one of the parners in One by Four out of South Florida and then Brooklyn. Creator of the octagonal signage typeface Merchantry (2014) and of Matchbook (2009, a retro sans at One by Four).

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

Buzzbum (was: Andy Babb, or:Planet Buzz Font Foundry)
[Andrew Babb]

Fonts by Brooklyn, NY-based art director Andrew Babb: Dog Eared (2012, a paper fold typeface), Lava Vision (a great rounded original font), Polygon (2009, octagonal, gridded structure), First Attempt, Tuskey-San (2000), Gear Crank (2013), Oh Balloney (2000), Lestat (2001), and QuietInfinity (2000).

Old site. [Google] [MyFonts] [More]  ⦿

Caitlin Burke

Rochester, NY-based designer of the handcrafted condensed typeface PJM (2016). [Google] [More]  ⦿

Caitlin Cordtz

Designer at Kikkerland Design in New York City. She designed the geometric outline typeface Captured (2012).

Behance link. [Google] [More]  ⦿

Calligraphy Designs by Julia

Julia has a calligraphy service in New York City. She also seems to have some calligraphic and other handwriting fonts, and makes custom handwriting type. Font names on her site: Iva, Ethan, Beverly, Zachary, Laura, Pearl, Keifer. [Google] [More]  ⦿

Calrin Yam

Flushing, NY-based designer of the display typeface Splinter (2013). [Google] [More]  ⦿

Calvin Waterman
[Violet Office]

[More]  ⦿

Camile Weihsin Lin

Camile Weihsin Lin is a designer in New York City. She graduated from National Taipei Education University. Taipei and the Pratt Institute, New York. Behance link.

In 2012, she created the purely geometric outline typeface called Cube Typography.

Another Behance link. Cargo Collective link. Mysite link. [Google] [More]  ⦿

Candice Ralph

During her studies at Parsons in New York, Candice Ralph created an art nouveau-inspired typeface called Vienna Neue (2007). [Google] [More]  ⦿

Caoimhe O'Byrne

IADT graduate who works in Brooklyn, NY. Behance link.

She created the caps typeface Triangles (2012). [Google] [More]  ⦿

Carima El Behairy

Cofounder of the P22 type foundry (in 1994), and, until 2017, CFO of P22, born in Buffalo in 1967. Designer at P22 of Art Deco Chic, Art Deco Display (2002) and Art Deco Extras (2002, with James Grieshaber and her husband and principal of P22, Richard Kegler). Co-designer (with Richard Kegler and Denis Kegler) of P22 Hieroglyphic.

At ATypI 2004 in Prague, she spoke about the value of a font. Speaker at ATypI 2016 in Warsaw. [Google] [MyFonts] [More]  ⦿

Carla Marques

At St. John's University in New York City, Carla Marques created the Victorian typeface Slender (2015), which is sprinkled with small teardrops. [Google] [More]  ⦿

Carleen Borsella

Chief Operating Officer, Director of Licensing and Marketing, Hoefler & Frere-Jones, located in New York City. Carleen Borsella holds both a Master of Business Administration in Marketing and Management and a Bachelor of Science degree in Marketing and International Business from New York University's Stern School of Business. She joined H&FJ in 2002 with ten years of marketing and management experience in the financial services (JP Morgan Chase) and entertainment Industries (Time Warner, Bertelsmann AG). As Chief Operating Officer, Carleen supervises all aspects of the business, and is charged with continuing its growth and development. As Director of Licensing and Marketing, she oversees all of H&FJ's promotional activities, and directs H&FJ's Enterprise Licensing program which is responsible for providing customized licenses to corporate end-users. She is married to Jonathan Hoefler.

In 2009, Carleen was credited with the design of Sentinel at H&FJ. Sentinel is a 12-weight slab serif family with italics. Some type designers think that Sentinel was not created by Borsella. In fact, both Sara Soskolne and Jesse Ragan claim that they did work on Sentinel. The motto at H&FJ has always been smoke and mirrors. They do not list any designers with their typefaces. [Google] [More]  ⦿

Carlos Aponte

New York-based Puerto Rican artist, who designed the sports dingbat font DF Energetics (1995). Versions at Elsner&Flake, ITC and Esselte (original). This font was inspired by Picasso.

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

Carly Rumpf

Designer of the informal typeface Fluxy Sans (2014). This typeface was developed during her studies in Rochester, NY. Behance link. [Google] [More]  ⦿

Carmen Mei

During her studies, Brooklyn, NY-based Carmen Mei designed an experimental typeface (2018). [Google] [More]  ⦿

Carol Wahler

Carol Wahler (Westport, CT) has been Executive Director with the Type Directors Club since 1983. She has a B.A. degree in Art History from from William Paterson University. Her husband Allan is president of A to A Studio Solutions in Stamford, CT. Carol is best known for her involvement, passion and hard work for the Type Directors Club competitions and exhibitions. Carol Wahler was honored with the 2018 SOTA Typography Award. [Google] [More]  ⦿

Carolina Steele

Graphic designer in Queens, NY, who created the squarish typeface Dexter (2015). [Google] [More]  ⦿

Carolyn Presti

Textile designer Carolyn Presti (Queens, NY) was inspired by illuminated manuscript when she designed the display typeface Manuscript (2015). [Google] [More]  ⦿

Cary Graphic Arts Collection

The Melbert B. Cary, Jr. Graphic Arts Collection, a library on printing history located at the Rochester Institute of Technology in Rochester, N.Y. Check out the 18th century collection. The original collection of 2,300 volumes was assembled by the New York City businessman Melbert B. Cary, Jr. during the 1920s and 1930s. Cary was director of Continental Type Founders Association, a former president of the American Institute of Graphic Arts, and proprietor of the private Press of the Woolly Whale. Today the library houses some 20,000 volumes and a growing number of manuscripts and correspondence collections. Also included are impressive holdings on bookbinding, papermaking, type design, calligraphy and book illustration. The goal of developing the digital image database is to enable users all over the world to sample the wealth of rich materials housed in the collection. [Google] [More]  ⦿

Cassandra Fountaine

Brooklyn, NY-based designer of Illustrated Type (2014, a hand-lettered poster). Behance link. [Google] [More]  ⦿

Catherine Casalino

Catherine Casalino is an Art Director at Grand Central Publishing and a book cover designer in New York City. Creator of the art nouveau script typeface Mandalay (2012).

Behance link. [Google] [More]  ⦿

Catherine Mouttet

[MyFonts] [More]  ⦿

Catriona DiNero

New York-based designer (b. 2000) of the fat finger font Catriona (2014) and the handwriting font School Writing (2014) and of the hand-drawn Outline (2014). In 2016, she made the crayon font Art Class. Dafont link. [Google] [More]  ⦿

Cecilia Maurin

Graphic designer in New York City. Creator of the Mondriaan-inspired typeface Awchitek (2011). [Google] [More]  ⦿

Cesca Santa

Art student in Harrison, NY, b. 1990. She used Fontcapture to make Nerd Girl Chickenscratch (2009). [Google] [More]  ⦿

[Andi Jones/ Taylor Deupree]

About 15 original fonts by New York-based Andi Jones and Taylor Deupree: Smargana (great smeared white on black face), Miasm-Infection, Bento Box (Ichi and Ni), Hacker Argot (1998, a hacker face), Dead Letter (dingbats), Miasm, Beatbox, Broken Wing, Carpal Tunnel, Drum Komputer (another hacker face), Formation, Intercom, Keyboard Plaque, Seraphic Organism, Tarnished Halo, Volt (1998, see also here). Dafont link. [Google] [More]  ⦿

Chantra Malee

Malee attended Parsons the New School of Design and graduated with a BBA in Design and Management. She is an entrepreneur and worked in branding in New York City before co-founding Sharp Type with Lucas Sharp in 2015 where, as CEO, she handles strategy, brand management, graphic design, sales, and communication. Malee is the founder of The Malee Scholarship, a non-profit offering financial support, and mentorship to women of color entering the type industry. [Google] [More]  ⦿

[Herbert F. Van Brink]

Prolific Woodland Hills, CA-based typophile and type designer (1937-2013) whose portfolio consisted largely of revivals and who used the alias Character for his typographic work. The Los Angeles Times posted this obituary: Herb passed away after a brief fight against esophageal cancer. He was a 42 year resident of Woodland Hills CA. Son of the late Jean and Mary Van Brink, he was born in Manhattan, graduated from Stuyvesant High School (1952) and Queens College (1956) and always considered himself a New Yorker. He had a long career in Information Technology and retired from Arco. He loved traveling, bowling, genealogy, and was a bridge Life Master among his many interests. He was a trickster and a perfectionist. He leaves his wife, Paula, his son, David Van Brink and DIL Deb Culmer of Santa Cruz CA, his daughter Qarin Van Brink and SIL James Ray of Burien WA, grandchildren Amelia and Wilhelmina Ray Van Brink, brother and sister-in-law Jeffrey and Louise Van Brink of E. Northport NY and nephews Matthew and Jordan Van Brink.

His typefaces:

  • Animal dingbat fonts: AbecedarianZoo (2003, created from an alphabet in Art Explosion 200,000), Turf&surf (2005).
  • Alphadings: Jennifer's train (2011), ABCPlay (2005), DiddleTheMouse (2005), Silly Set (2005), Stone Carving (2005), Snow Persons (2005), Alaskan Ice (2005), Peppermin Canes (2005), USStarsNStripes (2003, first called USFlags), XmasTree (2002), XmasTree II (2004), Xmas Alpha (2005).
  • Erotic alphabets: Flotner (2002, based on a scan of the human character alphabet by Peter Flötner (1534)), SilvestreBodies (2006, based on a figurative alphabet designed by Joseph Balthazar Silvestre in 1834, with engravings made by Girault), ErotiCaps Outline (2007), ErotiCaps Solid (2007), WeygelBodies (2006, adapted from Martin Weygel's 1560 interpretation of Peter Flotner's 1534 figurative alphabet).
  • Stained glass themed fonts: ModernStainedGlass (2007), ModernStainedGlass2Tone (2007).
  • Capital alphabets: Cameo Antique (2011, after Cameo Antique on page 17 of The Solotype Catalog of 4,147 Display Typefaces---a shaded outline version of the typeface called NightShade, on the same page of Dan Solo's book; the only known digitized fonts of NightShade are "Shadowed Serif" by James Fordyce (1994) and NigelSadeSH, from Soft Horizons (1993)), Modern French Capitals (2010, after a set of capitals drawn by Alphonse Mucha), Mucha French Capitals (2010, similar?), Marcel Caps (2007; based on "Crossroads" by August Will (1891)), WoodLook (2007, an improvement of 101's Wooden Alpha BlockZ), 3DAlphabet (2008, based on an alphabet coloring book designed by Jean Larcher, 1978), RomantiqueInitials (2007, based on work by Aridi), Blistered, BlisteredFramed, BlisteredReverse (2005, based on Marwan Aridi's Blister from the Initial Caps Vol I), ChiseledRound, Contemporary CH (2010), CourierInitials (2005, based on an alphabet by Johan)), Eclectica (2003, party-theme), FeathersInYourCaps (2002), FlowerSketches (2002), LACETRIM (2002), LeafyStencil (2003), QuiltedStippled (2004, based on an embroidery alphabet created by DesignsInStitches), RetroCapsBW (2004), RetroCapsWB (2004), Rope5 (2004, rope font), Rustic Black Shadow (2011. He explains: In the Solotype Catalog of 4,147 typefaces, RUSTIC is shown with a black shadow. RUSTIC WHITESHADOW has a white shadow. However, the Solotype digital font named RUSTIC has no shadow. Similar no-shadow fonts are also available as Pinewood (by Rick Mueller and one by Dieter Steffmann) and as Woody (by DincType). As of October, 2011, no digitized version of Rustic Whiteshadow is known. Character has produced a font named RusticBlackShadow, which matches the font named Rustic in the Solotype Catalog. Dick Pape had created an earlier version named Pepin Press Caps FA204, based on fonts contained in the Pepin Press book Fancy Alphabets. ), THINROPE (2002), VALENTINEHEARTS (2002), Printed Circuit (2005), SportsABC (2005), Feathered Flight (2005), Joe Clement (2007, Western pixel face), Ribbon Shadow (2007).
  • Fonts based on scans from Awesome Alphabets (Mike Artell, 1999, Good Year): SketchBoards, SketchBones, SketchClothes, SketchLogs (2005), SketchPencils, SketchPipes, SketchTools, all done in 2005.
  • Athletic lettering: Collegiate Heavy Outline (2006), Real Madrid 2011-2012 (2011, an expansion of a font by "Adriano"), The Football League (2011), Adidas Euro 2008 (2011), Puma World Cup 2010 (2010: based on Crepello, a custom-made font by Paul Barnes for Puma, that was used on the jersey of Italy, Switzerland and Uruguay during the 2010 FIFA World Cup), Adidas Unity (2010), LINKEB+Regular (2008) uses the lettering of the Geaux font used by LSU.
  • Pixel or dot matrix style fonts: Dash It All (2007, based on Cooper Black), Even Hearted (2007, an improvement of CK More Hearts), Square 9x9 (2007).
  • Brush typefaces: Skippingbrush (2006), GraffitiPaintBrush (2008).
  • Dingbats: Being Sport Pictograms (2008).
  • Scanbats: PilobusSilhouettes (2010) is based upon a human alphabet photographed by John Kane.
  • Techno: BultacoDual (2010), Dr Who 42 (2007), London MMXII (2008), ArrowheadLake (2009, +Shadows, +Sunlit; based on the nearly blackletter typeface Arrowhead from the Solotype Catalog and alphabet books).
  • Historic typefaces: Driftwood 67 (2011, Driftwood on page 67 of The Solotype Catalog of 4,147 Display Typefaces), ArrowheadLake and ArrowheadLakeShadows (2011, based on Solotype Catalog p.74), Cutin (2011, a simple rounded monoline sans called Cut-in Medium on page 163 of The Solotype Catalog of 4,147 Display Typefaces),Cutin (2011, a simple rounded monoline sans called Cut-in Medium on page 163 of The Solotype Catalog of 4,147 Display Typefaces), Pepin FA288 (2011, based on Matra, or Bifur, on page 54 of The Solotype Catalog of 4,147 Display Typefaces by Dan X. Solo), Varicka (2010, from "Decorative Condensed Alphabets", by Dan Solo, p. 94. It is similar to Red Rooster's Triple Gothic Condensed, but the Solo's font has different features), MaxfieldParrish140 (2007: From an incomplete (no "N") hand-drawn alphabet by Maxfield Parrish. See figure 140 of "Letters&Lettering" by Frank C. Brown, 1921. This is a different source than the P22 Parrish font family.), Ronde Antique (2009, based on page 110 of the Verlag Gerlach 1881 catalog).
  • Other: Scramble Mixed (2006, scrabble face), Happy Fourth, Emperor AN (2009: this semi-art nouveau typeface is Emperor on page 42 of The Solotype Catalog of 4,147 Display Typefaces---not the same as Dan Solo's Emperor at MyFonts), Wood Gothic Caps (2011, blackletter), WoodWud (2011), Gallia Two (2010, based on a font found on page 55 of The Solotype Catalog of 4,147 Display Typefaces as Gallia No. 2), Charleston (2010, based on page 46 of The Solotype Catalog of 4,147 Display Typefaces), Azteca Regular (2010: based on Azteca Condensed by Dan X. Solo, page 74 of The Solotype Catalog of 4,147 Display Typefaces), Othello Fill and Solid (2011, derived from Othello on page 155 of The Solotype Catalog of 4,147 Display Typefaces), Sharons Shadows (2010, +Bold), Masked Menace (2012, based on Bodoni Poster).

Fontspace link. Dafont link. Fontspace link. And another one. See also at abfonts. Dafont link. [Google] [More]  ⦿

Charles & Thorn
[Spencer Charles]

Charles&Thorn (Brooklyn, NY) is the design and illustration studio of husband-and-wife team Spencer Charles and Kelly Thorn. They first met as designers at Louise Fili Ltd, and have been collaborating ever since. Regina Black (2016, Lost Type) is Charles&Thorn's debut typeface.

Spencer Charles, a graduate of the University of Utah, worked as a Sign Artist for Whole Foods before moving to New York City to work as Senior Designer at Louise Fili Ltd (2011-2014). He currently teaches Typography at the School of Visual Arts and is enrolled in the Type@Cooper Extended Program at The Cooper Union.

In 2018, Charles&Thorn published the (variable) backslanted Mollydooker at Future Fonts. [Google] [More]  ⦿

Charles Bae

New York-based designer of the free truetype bitmap fonts: Civil01B, Civil01R, Civil02B, Civil02R, Dukie01B, Dukie01E, Dukie01R, Pookie01, Pookie02, Pookie03. [Google] [More]  ⦿

Charles Ephraim Burchfield

Charles Ephraim Burchfield (b. 1893, Salem, Ohio-d. 1967, Gardenville, NY) was an American painter and semi-surrealist artist, known for his watercolors of nature scenes and townscapes. The largest collection of Burchfield's paintings, archives and journals are in the collection of the Burchfield Penney Art Center in Buffalo, New York, the city he moved to in 1921 and lived in for the rest of his life.

In 2013, Richard Kegler (P22 Type Foundry) was commissioned by the Burchfield Penney to create the Charles E. Burchfield font to honor the artist. It is based on handwriting samples from the extensive archives. Kegler tried to imitate ther irregular style of the painter in his P22 Burchfield font, which was published in 2015. [Google] [More]  ⦿

Charles Nix
[New Fonts]

[MyFonts] [More]  ⦿

Charles Percival Bluemlein

Charles Percival (or just Percy) Bluemlein (b. 1891) served in the 346th Infantry in World War I. In 1920, he married Mildred Vanderbilt and settled in Brooklyn, NY. He died in 1944 and is buried in the Long Island National Cemetery in Farmingdale, NY. Famous for his scripts and penmanship, his best known book is Script and Manuscript Lettering (1947, Higgins Ink Co, Brooklyn). Earlier editions are from 1943 and 1944 and have Bertram Cholet and Dorothy Sara (1943 edition only) as co-authors.

Modern revivals of his scripts include

  • KolinskySable SG (Jim Spiece, 2004), based on a 1944 brush design called Mr. Ronald G. Sheppards.
  • Bender Script (2008) by Alison Argento. She writes: Would you hire one of the top hand lettering artists that worked for companies like Max Factor for your designs? Of course you would! Chas Bluemlien passed away many years back, and you couldn't have afforded his services anyway, but his lettering prowess which graced many advertisements, primarily cosmetic ads, has been pulled together from numerous samples to make this font.
  • Alejandro Paul's Bluemlein Scripts (2004-2005, Umbrella and Veer) are based on Bluemlein's alphabets from the book cited above: Miss Le Gatees, Mr Rafkin, Mr Keningbeck, Mr Lackboughs, Lady Dawn, Mrs Von Eckley, Mr Sheppards, Mr Dafoe, Mr Canfields, Mr Stalwart, Mr Sandsfort, Mr Leopolde (and later, Mr. Leopolde Pro), Mr DeHaviland, Mr Blaketon, Miss Stanfort, Miss Packgope, Miss Fajardose, Mrs Saint-Delafield, Mrs Blackfort, Mr Sopkin, Mr Sheffield, Miss Lankfort, Herr Von Muellerhoff, Dr Sugiyama, Dr Carbfred. In 2011, that series was made available at Google Web Fonts. Al;ejandro writes: From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct.
  • Soft Horizon's Lainie Day (1993) is an earlier free font in the style of Paul's Lady Dawn and Mr Lackboughs.
  • In 2012, Intellecta Design got into the act and promised to digitize the entire series under the name Bluelmin instead of Bluemlein. They created Bluelmin Kisaburo, Bluelmin Ralph (2012), Bluelmin Ronald (2012), Bluelmin Sandsfort (2012) and Bluelmin Benedict (2012).

Credits: Several of the images below, as well as some biographical information, are courtesy of Charles's grandson, David Musgrave. [Google] [MyFonts] [More]  ⦿

Charles Rollinson

Author of Alphabets and Other Materials Useful to Letters (1912, publ. D. Van Nostrand Co, New York). [Google] [More]  ⦿

Charles S. Wilkin
[Prototype Experimental Foundry]

[MyFonts] [More]  ⦿

Charlotte Simons

During her studies in New York City, Charlotte Simons designed the fun brush-stroked typeface Nimis Absurdam (2016), which is named after a papal law to remove the Jews from Rome. [Google] [More]  ⦿

Chen Longo

Designer and illustrator in New York City, whho created the delicate wedge serif typeface Aspirin (2012). [Google] [More]  ⦿

Cheng Cheng

During her studies in Buffalo, NY, Vivian Cheng created the 3d typeface Cubes (2014). [Google] [More]  ⦿

Chengyu Liu

Designer in New York City. In 2016, she created a Chinese brush typeface called Alphebats. [Google] [More]  ⦿

Cheryl Ambrosio

During her graphic design studies at The College of Saint Rose, Cheryl Ambrosio (Albany, NY) created a logotype (2014). [Google] [More]  ⦿

Chester Jenkins
[Cooper Hewitt]

[More]  ⦿

Chester Jenkins

[More]  ⦿

Chester Jenkins

[MyFonts] [More]  ⦿

Chester Jenkins

With just one name (the other one was lost in an accident!), Chester, the type designer, was born in Montreal in 1971. In 1995 Chester moved to Chicago to work with Rick Valicenti and eventually become a partner in his digital type foundry, Thirstype. In 2004, he started up the type coop Village in New York together with his wife and partner, tracy Jenkins. Chester's published designs have been used for branding programs including AT&T, Starwood Hotels, CBS Television, Nike, the San Francisco Ballet, Columbia University Business School, and the National September 11 Memorial & Museum. He has created bespoke typefaces for Blackberry, Cooper Hewitt Smithsonian Design Museum, and the National Football League.

His fonts include Syzygy, Schmelvetica (at FontShop), Psyche (unreleased), Orbit (2003, with Rob Irrgang), Rheostat (1996, a grunge dot matrix font family), HateNote, Panderella (2000-2001, ultra geometric), Eclogues (1999, an absolutely stunning romantic high-ascender-descender family), LoveHateCollection, JohnHadANightmareLastNight (2001), Alexey (2003, a stencil family, with Rick Valicenti), Apex Serif (2003, with Rick Valicenti), Exchange (dot matrix), Pizzelle Italic, Phatso (2003), Satchel Paige (2003, a wood type typeface made with Tracy Jenkins), Pixella (2003, pixel font), Nillennium (2000, an octagonal family), Freedumb (2004), Galaxie Polaris (2004, a sans) and Virgil, the last twelve fonts at Thirstype. At Village, he published Mavis (2005), Apex Sans (2004, with Rick Valicenti), and then Apex New (2006), which has a hairline weight, Apex Thin, and Apex Rounded (2010). In 2009, he co-designed the large x-height text family Galaxie Copernicus with Kris Sowersby at Village. In 2010, he and Jeremy Mickel made the poster type family Aero, which took inspiration from Roger Excoffon's Antique Olive. It won an award at TDC2 2011.

His custom-made typefaces from 2006-2007 include these: Rewards (with Kris Sowersby), Always Radio (with Markus Rakeng), 2Wice Egyptian, Apex Compact, Apex New Condensed, Baro Heavy, Baro Light, Baro Medium, Baro Super, DPA Gothic, Endzone, Galaxie Ariane, Galaxie Copernicus, LMVDR, Modernismo, Snickers. [Google] [MyFonts] [More]  ⦿

Chia Lynn Kwa

Student at Pratt Institute, class of 2013, who grew up in Singapore and Vietnam. Brooklyn-based creator of a faux Mandarin typeface called Imitasian (2013). [Google] [More]  ⦿

Childers, Gristci and Leben

In 2013, Taylor Childers, Jessica Griscti and Liberty Leben wrote the type classification survey paper 25 Systems for Classifying Typography: A Study in Naming Frequency in Parsons Journal for Information Mapping. They conclude with their own proposal, which I summarize here (text below quoted from the article).

  • Serif There are four main categories of serif typefaces: Old Style, Transitional, Modern, and Slab Serif. Our subclasses of Old Style typefaces, can be described as follows. Venetian types are humanist serif typefaces developed in the 15th century. These type are characterized by short, thick, bracketed serifs, and ascenders with slanted serifs. There is little contrast between horizontals and verticals, and the lowercase e often has a stylized slanted cross stroke. Examples are Bembo and Jenson. Gerald is a term coined by Maximilien Vox, a nod to Claude Garamond and Aldus Manutius, two prolific typographers who practiced in the fifteenth and sixteenth centuries. The category could also have been called French, but we felt that was too limiting to its intention. The section meant to hold typefaces made in the Gerald style, rather than only those that were cut in France. Geralde typefaces have more contrast between the thickness and thinness of strokes and more delicate proportions than the Venetian types. The axis of the curve in most letters is oblique as compared to the vertical axis of the next movement in old style typography, the Transitionals. Eighteenth century Transitional types like Deberny & Peignot's Baskerville had an even stronger contrast between thick and thin strokes, so much so that the letters almost glitter on the page. These typefaces marked the difference between the Geralde and Modern didone typography. At the time that they were cutting types, typographers wouldn't have considered themselves in a transitional period. The term was only given to those typefaces after the beginning of Modern typography. As such, many find issue with the name. However, the alternate name for these types, Realist, never caught on with the same fervor that Transitional did, and so here, we revert to the most popular name. We've also included a section for Revival Old Style typefaces, for those types designed post 19th century in the style of either Venetian, Geralde, or Transitional typefaces. Modern typography started with typographers Giambattista Bodoni and Firmin Didot. Modern typography has almost become synonymous with Didone typography, which is of course takes its name from Didot and Bodoni. Modern types have the strongest contrast between thick and thin lines. The serifs are hairline thin and unbracketed. The final category in serif typefaces is Slab Serifs. These typefaces grew out of Modern typefaces. Slab serifs are heavy, often rectilinear serifs a thick or thicker than the rest of the letter. Clarendon slabs are of similar or smaller size to the body of the letter, and they are bracketed. Italienne slabs are also bracketed, but thicker than the body of the letter. We created the category Uniform Slab Serifs to cover slab typefaces that are of similar weight to the body of the letter, but left unbracketed.
  • Sans. These four Sans Serif subcategories have been standard since the Vox ATypI system in 1961. Grotesques, like Berthold's Azkidenz Grotesk were the first sans serif typeface. They originated in the nineteenth century, and therefore have some holdover from their predecessors; there is a degree of contrast between thick and thin strokes. From there, the Neo-Grotesque typefaces evolved in the 1950s. They were cleaner, and more mechanical than the Grotesques. The Neo-Grotesque was a large part of Swiss typography; in the beginning, they were used as display typefaces. Their stroke contrast was minimal, the letters were set wider and the x-height was raised. Many grotesque typefaces, like Helvetica, have been drawn with a great degree of varying weights and widths to accommo- date for their different uses in display design. Geometric Sans Serifs left behind all of their historical connotations. They were the most mechanical of all of the sans serifs, made to look as if they were developed by machine. The body of the letters are constructed from simple geometric shapes, often they are monoline, and there is little differentiation between each letter. Whereas the geometric abandons all notion of being derived from earlier typography, the humanist sans serif draws from the classical manuscript hand. The design is often informed by the classical Roman letter, and informs the decisions the designer makes to his fresh, monoline letter. The most celebrated humanist sans serif is Eric Gill's Gill Sans.
  • Topicals. While in the days of Johannes Gutenberg, the blackletter was the most common text face, now, as a modern civiliza- tion, we are no longer trained to read letters so dense and alligraphic. Therefore, blackletter typefaces are now regarded as decorative. Textura is the most calligraphic form of blackletter. The letters are tall, narrow, and drawn with sharp, angular lines. Textura was used in France, England, and parts of Germany. Schwabacher blackletters are the earliest German print typefaces. It is closer to the manu- script handwriting that the Textura face. By 1530, it was replaced by the Fraktur, as the most oft-used text face in Germany. Fraktur typefaces were so common that almost all German blackletters of the time carried Fraktur somewhere in their name. The capital letters are created from a rounded C-shape, and S-shaped strokes. Rotunda, also know as Cursiva, blackletters is much like modern script, there are no real standards except that the letters run together. Scholars of all sorts have pulled the Script typefaces out of the general display sections because they can be qualified, classified and separated from display typography. Formal scripts are based on the writing of calligraphy masters. The letters are drawn either with a metal pen nib or quill. Handwritten scripts come from the more active modern hand. Strokes vary in width, and are generally not created with pen nib or quill. The most difficult task any typo- graphic scholar has set out to do is classify the display types, and every scholar fails, whether because he has chosen to attempt classification or ignore the types entirely. We felt that neither solution was acceptable. Display typefaces are becoming more and more popular, and as we march father into Open Type, only more are expected to appear. There are simply too many typefaces to qualify, and far too many typefaces to leave them absent from our system. So we’ve carved out a place for them in our Graphic category. Graphic, because Display is a tired term that has failed too many times before. These typefaces often reference the style of something else, they are bold, statement pieces that aren't meant for paragraphs of text, and so they need a bold category. [Google] [More]  ⦿

Ching An Wu

Ching An Wu (New York, NY) created the handcrafted alphabet Wonderland (2014). [Google] [More]  ⦿

Ching-Mai Yu

Ching-Mai (Miko) Yu is a graphic design / advertising student in New York. Behance link. Creator of the ultra-fat square-sized typeface Funpix (2012). [Google] [More]  ⦿

Chloe Bush

During her studies at the SVA in New York City, Chloe Bush created the dot matrix typeface 9x9 Dot Alphabet (2013). [Google] [More]  ⦿

Chloe Y. Zhang

During her graphic design studies in New York, Chloe Zhang created the pixelish typeface Find H (2015). [Google] [More]  ⦿

Choosing a font editor in 2014
[Micah Rich]

Micah Rich (Brooklyn, NY), the founder of The League of Movable Type, discusses the choice of a font editor in his newsletter of August 2014:

  • FontLab. A lot of pro's use FontLab, because it's been around for practically forever. It does everything, though the interface is a little outdated. It's on Mac & Windows, which is handy, and there's a free trial, but the cost to really buy it is a hefty $649.
  • Glyphs. This one is my personal favorite---it's Mac only, but the interface is really nice, and it feels modern. It's really flexible, too, and can do everything you'll need. There's a free trial, with the full version sitting at $299, which I suppose in font-editor-world is really reasonable. And if you're so included, there's a mini version with a handful of important features restricted, but at an easier-to-swallow $45. For the record, there's a 50% student or volume discount, too.
  • FontForge. Our list would not be complete without the oldest and only open-source font editor---the all-pervasive FontForge. Our friend Dave has been spearheading some awesome updates, so despite the fact that it's been around for a super long time, there's a lot of new features from the last couple months. It's got some bugs, and a bit of a funky interface, but it works on all platforms, and is totally free.
[Google] [More]  ⦿

Chris Costello

Chris Costello (b. 1959, Poughkeepsie, NY) graduated from Northeastern University in Boston. Since 1989, he works as a graphic, web and font designer and illustrator from his base in watertown, MA. From 2002 onwards, he has worked as a creative director and senior graphic designer for Coldwell Banker Residential Brokerage in Woburn, MA. Since 2010, hae also creates artistic designs and renderings for United States coinage and medal programs for the U.S. Department of the Treasury. He runs Costello Art, and is involved in graphic design and handlettering. His typefaces:

  • The simultaneously gorgeous and overused Papyrus (1983, Letraset). One variant is sold by Elsner&Flake as Papyrus EF Regular, and another is in the Linotype library. The Avatar 2009 movie poster features Papyrus, and many are getting tired of the ubiquity.
  • Letterpress Text. An antiqued rough outline family based on Caslon.
  • Mirage (2001).
  • Blackstone (2001). A medieval (blackletter) typeface. Winner of the Chartpak typeface design competition in 1988.
  • Virus (2001).
  • In the planning stage: Driftwood (great lettering!), Sheriden's Letters (writing by a 5-year old), Costello (text font).

Klingspor link. Bio. MyFonts entry. Papyrus blog. FontShop link. Linotype link. [Google] [MyFonts] [More]  ⦿

Chris Creptix

Rochester, NY-based designer of the handcrafted typeface Swagr (2016). [Google] [More]  ⦿

Chris Kim

In Richard Mehl's course at the School of Visual Arts in New York City, Chris Kim designed the hairy glyph typeface Tunisia (2011). [Google] [More]  ⦿

Chris Langford

Buffalo, NY-based designer of the futuristic typeface Futur (2016). Behance link. [Google] [More]  ⦿

Chris MacFarlane

New York City-based graphic designer (b. New Jersey), art director and illustrator who studied at The Rhode Island School of Design. Creator of the rounded hexagonal typeface Extinction in 2015. Behance link. [Google] [More]  ⦿

Chris Nosenzo

Graduate of the Pratt Institute in New York. His typeface project in Jesse Ragan's class was called Slothrop (2010, sans). [Google] [More]  ⦿

Chris Papasadero

[More]  ⦿

Chris Philson

Chris Philson's foundry, est. 2013, is located in Rochester, NY. Chris studied Graphic Design at the Rochester Institute of Technology. Designer of Philson Block (2013). [Google] [MyFonts] [More]  ⦿

Chris Risdon

[MyFonts] [More]  ⦿

Chris Ro

Located in New York, Chris holds an MFA in Graphic Design from the Rhode Island School of Design, and an undergraduate degree in Architecture from UC Berkeley. Creator of Gauze (2009), Clique (2009, ultra-geometric), Hoop (2009, Helvetica on bubbles) and Mr Aves (2009; an ornithological spoof of Mrs. Eaves). [Google] [More]  ⦿

Chris Rogers

Christopher Rogers is a multidisciplinary designer in New York. After working for three years as a sign maker in Virginia, Chris moved to New York, attending SVA for Graphic Design, studying in the area of graphic identity, information design, illustration, packaging, and book design. Chris Rogers made the sans typeface Indicator in 2010 for Best Made. [Google] [More]  ⦿

Chris Wright

San Diego, CA (and before that, Brooklyn, NY)-based creator (b. 1982) of the hand-drawn 3d typeface Hey (2014). Behance link. [Google] [More]  ⦿

Chrisley Luiz Santana

During his studies at St John's University in New York City, Chrisley Luiz Santana created a curvy display typeface (2015). [Google] [More]  ⦿

Christian Acker

[MyFonts] [More]  ⦿

Christian Acker

[MyFonts] [More]  ⦿

Christian D

New York-based creator of the hand-printed CD Writing (2009, Fontcapture) and The Kool Font (2009, Fontcapture). [Google] [More]  ⦿

Christian Oppenberg

Type designer born in Patchogue, NY, in 1976. He worked at Galápagos Design Group until 2004, when he joined Agfa Monotype. [Google] [MyFonts] [More]  ⦿

Christian Schwartz

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 type foundry, simply called Commercial.

FontShop link. Font selection at MyFonts.

A partial list of his creations:

  • FF Bau (2001-2004): Art direction by Erik Spiekermann. Released by FontShop International. He says: Bau is based on Grotesk, a typeface released by the Schelter&Giesecke type foundry in Leipzig, Germany at the end of the 19th century and used prominently by the designers at the Bauhaus. Each weight was drawn separately, to give the family the irregularity of the original, and the Super is new.
  • Neutraface (2002, House Industries) and Neutraface Condensed (2004). Art directed by Ken Barber and Andy Cruz. MyFonts offers Neutraface Slab Text, Neutraface Slab Display, Neutraface Display and Neutraface Text. Schwartz states: Neutraface was an ambitious project to design the most typographically complete geometric sans serif family ever. We didn't have many actual samples of the lettering that the Neutras used on their buildings, so it ended up taking a lot of interpretation. There was no reference for the lowercase, so it's drawn from scratch, looking at Futura, Nobel, and Tempo for reference. Stephen Coles reports: Reminiscent of the recent FB Relay and HTF Gotham, Neutraface is an exaggerated Nobel with nods to Bauhaus and architectural lettering. Yes, and maybe Futura? Maggie Winters, Ioana Dumitrescu, Nico Köckritz, Nico Kockritz and Michelle Regna made great Neutraface posters.
  • Neutraface No. 2 (2007), discussed by Stephen Coles: By simply raising Neutrafaces low waist, most of that quaintness is removed in No. 2, moving the whole family (which is completely mixable) toward more versatile, workhorse territory. This release is surely Houses response to seeing so many examples of Neutraface standardized by its users. Also new is an inline version. Who doesn't love inline type? It so vividly recalls WPA posters and other pre-war hand lettering. There are other heavy, inlined sans serifs like Phosphate, but one with a full family of weights and text cuts to back it up is very appealing. A typophile states: Designed by Christian Schwartz for House Industries, Neutraface captures the 1950s stylings of architect Richard Neutra in a beautiful typeface meant for application on the screen, in print, and in metalwork. If you are ever in need of a classy retro face, they don't get any more polished than this.
  • At House Industries, Christian Schwartz, Mitja Miklavcic and Ben Kiel co-developed Yorklyn Stencil.
  • Farnham (2004, Font Bureau) and Farnham Headline (2006, Schwartzco). Commissioned by Esterson Associates and de Luxe Associates. Winner of an award at TDC2 2004. Based on work by Johannes Fleischman, a German punchcutter who worked for the Enschedé Foundry in Haarlem in the mid-to-late 1700s. Schwartz: Truly part of the transistion from oldstyle (i.e. Garamond) to modern (i.e. Bodoni) Fleischman's romans are remarkable for their energy and "sparkle" on the page, as he took advantage of better tools and harder steel to push the limits of how thin strokes could get. In the 1800s, Fleischman's work fell into obscurity as tastes changed, but interest was renewed in the 1990s as digital revivals were designed by Matthew Carter, the Hoefler Type Foundry, and the Dutch Type Library, each focusing on a different aspect of the source material. I think the DTL version is the most faithful to the source, leaving the bumps and quirks inherent to metal type untouched. I've taken the opposite approach, using the source material as a starting point and trying to design a very contemporary text typeface that uses the basic structure and character of Fleischman without duplicating features that I found outdated, distracting, or unttatractive (i.e., the extra "spikes" on the capital E and F, or the form of the y).
  • FF Unit (2003-2004, Fontshop, designed with Erik Spiekermann). A clean and blocky evolution of FF Meta intended as a corporate typeface for the Deutsche Bahn (but subsequently not used).
  • Amplitude (2001-2003, Font Bureau), Amplitude Classified and Amplitude Headline. A newspaper-style ink-trapped sans family, unfortunately given the same name as a 2001 font by Aenigma. Winner of an award at TDC2 2004. The typeface selected by the St Louis Post Dispatch in 2005. One of many agates (type for small text) successfully developed by him. This page explains that they've dumped Dutch 811 and Bodoni and Helvetica and Franklin Gothic and News Gothic (whew!) for various weights of Amplitude, Poynter Old Style Display and Poynter Old Style Text. AmplitudeAubi was designed in 2002-2003 by Schwartz and Font Bureau for the German mag AutoBild.
  • Simian (2001, House Industries): SimianDisplay-Chimpanzee, SimianDisplay-Gorilla, SimianDisplay-Orangutan, SimianText-Chimpanzee, SimianText-Gorilla, SimianText-Orangutan. Designed at Font Bureau. Art Direction by Ken Barber and Andy Cruz. Schwartz: "Although Simian's roots are in Ed Benguiat's logos for the Planet of the Apes movies, Simian wound up veering off in its own direction. The display styles look very techno, and we really went nuts with the ligatures, since this was one of House's first Opentype releases."
  • Publico (2007): A predecessor of Guradian Egyptian. Schwartz writes: During the two year process of designing the typeface that would eventually become Guardian Egyptian, Paul Barnes and I ended up discarding many ideas along the way. Some of them were decent, just not right for the Guardian, including a serif family first called Stockholm, then renamed Hacienda after the legendary club in the Guardian's original home city of Manchester. Everyone involved liked the family well enough, but it didn't fit the paper as the design evolved, and several rounds of reworking left us more and more unsure of what it was supposed to look like. In the summer of 2006, Mark Porter and Esterson Associates were hired to redesign Publico, a major Portuguese daily newspaper, for an early 2007 launch. He asked us to take another look at Hacienda, to see if we might be able to untangle our many rounds of changes, figure out what it was supposed to look like in the first place, and finish it in a very short amount of time. Spending some time away from the typeface did our eyes a world of good. When we looked at it again, it was obvious that it really needed its "sparkle" played up, so we increased the sharpness of the serifs, to play against softer ball terminals, and kept the contrast high as the weight increased, ending up with an elegant and serious family with some humor at its extreme weights. As a Spanish name is not suitable for a typeface for a Portuguese newspaper, Hacienda was renamed once more, finally ending up as Publico. Production and design assistance by Kai Bernau. Commissioned by Mark Porter and Esterson Associates for Publico
  • Austin (2003): Designed by Paul Barnes at Schwartzco. Commissioned by Sheila Jack at Harper's&Queen.
  • Giorgio (2007): Commissioned by Chris Martinez at T, the New York Times Sunday style magazine. Small size versions produced with Kris Sowersby. Not available for relicensing. A high contrast condensed "modern" display typeface related to Imre Reiner's Corvinus. Ben Kiel raves: Giorgio, like the fashion models that it shares space with in T, the New York Times fashion magazine, is brutal in its demands. It is a shockingly beautiful typeface, one so arresting that I stopped turning the page when I first saw it a Sunday morning about a year ago. [...] Giorgio exudes pure sex and competes with the photographs beside it. The designers at T were clearly unafraid of what it demands from the typographer and, over the past year, kept on finding ways to push Giorgio to its limit. Extremely well drawn in its details, full of tension between contrast and grace, it is a typeface that demands to be given space, to be used with wit and courage, and for the typographer to be unafraid in making it the page.
  • Empire State Building (2007): An art deco titling typeface designed with Paul Barnes for Laura Varacchi at Two Twelve Associates. Icons designed by Kevin Dresser at Dresser Johnson. Exclusive to the Empire State Building.
  • Guardian (2004-2005): Commissioned by Mark Porter at The Guardian. Designed with Paul Barnes. Not available for relicensing until 2008. Based on an Egyptian, this 200-style family consists of Guardian Egyptian (the main text face), Guardian Sans, Guardian Text Egyptian, Guardian Text Sans and Guardian Agate.
  • Houston (2003): Commissioned by Roger Black at Danilo Black, Inc., for the Houston Chronicle. Schwartz: As far as I know, this typeface is the first Venetian Oldstyle ever drawn for newspaper text, and only Roger Black could come up with such a brilliant and bizarre idea. The basic structures are based on British Monotype's Italian Old Style, which was based on William Morris's Golden Type. The italic (particularly the alternate italic used in feature sections) also borrows from Nebiolo Jenson Oldstyle, and there is a hint of ATF Jenson Oldstyle in places as well.
  • Popular (2004): Commissioned by Robb Rice at Danilo Black, Inc., for Popular Mechanics. An Egyptian on testosterone.
  • Stag (2005): Commissioned by David Curcurito and Darhil Crooks at Esquire. Yet another very masculine slab serif family. Schwartz writes I showed them a range of slab serifs produced by French and German foundries around 1900-1940, and synthesized elements from several of them (notably Beton, Peignot's Egyptienne Noir, Georg Trump's Schadow, and Scarab) into a new typeface with a very large x-height, extremely short ascenders and descenders, and tight spacing. Also, we find Stag Sans (2007, Village) and Stag Dot (2008, Village).
  • Plinc Hanover (2009, House Industries). A digitization of a blackletter font by Photo Lettering Inc.
  • Fritz (1997, Font Bureau). Schwartz: "Fritz is based on various pieces of handlettering done in the early 20th century by Ozwald Cooper, a type designer and lettering artist best known for the ubiquitous Cooper Black. Galapagos Type foundry's Maiandra and Robusto are based on the same pieces of lettering."
  • Latino-Rumba, Latino-Samba (2000, House Industries). Art Direction by Andy Cruz. Designed with Ken Barber. Jazzy letters based on an earlier design of Schwartz, called Atlas (1993).
  • Pennsylvania (2000, FontBureau). A monospaed family inspired by Pennsylvanian license plates. Schwartz: "Thai type designer Anuthin Wongsunkakon's Keystone State (1999, T26) is based on the exact same source."
  • Plinc Swiss Interlock (by Christian Schwartz and Adam Cruz for House Industries). Based on originals by PhotoLetteringInc.
  • Luxury (2002, Orange Italic, co-designed with Dino Sanchez). Gold, Platinum and Diamond are the names of the 1930s headline typefaces made (jokingly) for use with luxury items. The six-weight Luxury family at House Industries in 2006, contains three serif text weights called Luxury Text, as well as three display typefaces, called Platinum (art deco), Gold, and Diamond (all caps with triangular serifs).
  • Los Feliz (2002, Emigre). Based on handlettered signs found in LA.
  • Unfinished typefaces: Masthead, Reform, Bitmaps, Bilbao, Boyband, Addison, Elektro, Sandbox, Vendôme, Bailey.
  • Fonts drawn in high school: Flywheel (1992, FontHaus), Atlas (1993, FontHaus, a "a fairly faithful revival of Potomac Latin, designed in the late 1950s for PhotoLettering, Inc"), Elroy (1993, FontHaus), ElroyExtrasOrnaments, Hairspray (1993, "a revival of Steinweiss Scrawl, designed in the mid-1950s by Alex Steinweiss, best known for his handlettered record covers": HairsprayBlonde, HairsprayBrunette, HairsprayPix, HairsprayRedhead), Twist (1994, Precision Type and Agfa), Zombie (1995, Precision Type and Agfa), Morticia (1995, Agfa/Monotype), Gladys (1996, an unreleased revival of ATF's turn-of-the-century Master Script).
  • Ant&Bee&Art Fonts (1994-1995): three dingbat fonts, Baby Boom, C'est la vie, and Raining Cats&Dogs, based on drawings by Christian's aunt, Jill Weber. Released by FontHaus.
  • Digitizations done between 1993-1995: Dolmen (Letraset), Latino Elongated (Letraset), Regatta Condensed (Letraset), Fashion Compressed (Letraset), Jack Regular (Jack Tom), Tempto Openface (Tintin Timen).
  • Hand-tuned bitmap fonts: Syssy, Zimmer's Egyptian, Elizzzabeth, Newt Gothic, Trags X, Tibia, Fibula, Tino, Digest Cyrillic (based on Tal Leming's Digest). Free downloads of the pixel typefaces Newt Gothic, Tibula and Fibia here.
  • At Village and Orange Italic, one can get Local Gothic (2005), now in OpenType, a crazy mix of Helvetica Bold, Futura Extra Bold, Franklin Gothic Condensed and Alternate Gothic No. 2. It is a collection of alternates one can cycle through---thus a for of randomization.
  • FF Oxide (2005), a Bank Gothic style stencil family. FF Oxide Light is free!
  • Graphik (2008), a sans between geometric and grotesk made for thew Wallpaper mag. Kris sSwersby writes: In a sweltering typographic climate that favours organic look-at-me typefaces bursting with a thousand OpenType tricks, Graphik is a refreshing splash of cool rationality. Its serious, pared-back forms reference classic sans serifs but remain thoroughly modern and never get frigid. Any designer worth their salt needs to turn away from the screen&pick up the latest copy of Wallpaper magazine. There you will find one of the most beautiful, restrained sans serifs designed in a very long time. See also Graphik Wide (2018).
  • In 2011, he created a 22-style revival of Helvetica called Neue Haas Grotesk (Linotype), which offers alternates such as a straigt-legged R and a differently-seriffed a. It is based on the original drawings of Miedinger in 1957.
Schwartz also made numerous custom fonts:
  • Houston (2003). Winner of an award at TDC2 2004, a type family done with Roger Black for the Houston Chronicle. Schwartz: This typeface is the first Venetian Oldstyle ever drawn for newspaper text, and only Roger Black could come up with such a brilliant and bizarre idea. The basic structures are based on British Monotype's Italian Old Style, which was based on William Morris's Golden Type.).
  • Popular (2004). A thick-slabbed typeface drawn for Popular Mechanics, commissioned by Robb Rice at Danilo Black, Inc.
  • FF Meta 3 (2003, hairline versions of type drawn by Richard Lipton and Erik Spiekermann).
  • Eero (2003). Based on an unnamed typeface drawn by Eero Saarinen for the Dulles International Airport. Art Directed by Ken Barber and Andy Cruz. Commissioned by House Industries for the Dulles International Airport.
  • ITC Officina Display (2003). The Regular, Bold and Black weights of this typeface were originally developed by Ole Schäfer for Erik Spiekermann's redesign of The Economist in 2000 or 2001. The ITC conglomerate decided to release it in 2003. I revised parts of Ole's fonts, and worked with Richard Lipton to adapt the Light from a version of Officina Light that Cyrus Highsmith had drawn several years earlier for a custom client. I also added more arrows and bullets than anyone could possibly need, but they were fun to draw. Released by Agfa.
  • Symantec (2003). Designed with Conor Mangat based on News Gothic by Morris Fuller Benton (Sans) and Boehringer Serif by Ole Schäfer, based on Concorde Nova by Günter Gerhard Lange (Serif). Advised by Erik Spiekermann. Commissioned by MetaDesign for Symantec Corporation.
  • Harrison (2002). Based on the hand of George Harrison, was commissioned in 2002 by radical.media.
  • Chalet Cyrillic (2002, House Industries).
  • Benton Modern (2001). Based on Globe Century by Tobias Frere-Jones and Richard Lipton. Commissioned by Font Bureau for the Readability Series. Designed at Font Bureau. Microsite.
  • Caslon's Egyptian (2001). Commissioned by Red Herring. Designed at Font Bureau. Around 1816, William Caslon IV printed the first know specimen of a sans serif typeface: W CASLON JUNR LETTERFOUNDER. A complete set of matrices for captials exists in the archives of Stephenson Blake, and Miko McGinty revived these as a project in Tobias Frere-Jones's type design class at Yale. In 1998, Cyrus Highsmith refined Miko's version, giving it a more complete character set for Red Herring magazine. In 2001, they came back for a lowercase and 3 additional weights. I looked at Clarendon and British vernacular lettering (mainly from signs) for inspiration, and came up with a lowercase that does not even pretend to be an accurate or failthful revival.
  • David Yurman (2001). Based on a custom typeface by Fabien Baron. Commissioned by Lipman Advertising for David Yurman. Designed at Font Bureau.
  • Coop Black lowercase (2001). Based on Coop Black by Ken Barber and Coop. Commissioned by House Industries for Toys R Us. Designed at Font Bureau.
  • Interstate Monospaced (2000-2001). Based on Interstate by Tobias Frere-Jones. Commissioned by Citigroup. Designed at Font Bureau.
  • Vectora Thin (2000). Based on Vectora by Adrian Frutiger. Commissioned by O Magazine. Not available for licensing. Designed at Font Bureau.
  • LaDeeDa (2000). Informal lettering, art directed by Mia Hurley. Commissioned by gURL.com. Designed at Font Bureau.
  • Poynter Agate Display (2000). Based on Poynter Agate by David Berlow. Commissioned by the San Jose Mercury News classified section. Designed at Font Bureau.
  • FF DIN Condensed (2000). Based on FF DIN by Albert-Jan Pool. Commissioned by Michael Grossman for Harper's Bazaar. Designed at Font Bureau.
  • VW Headline Light&VW Heckschrift (1999). Based on Futura by Paul Renner and VW Headline by Lucas de Groot. Art directed by Erik Spiekermann and Stephanie Kurz. Commissioned by MetaDesign Berlin for Volkswagen AG.
  • 5608 (1999). Stencil typeface for Double A Clothing.
  • Bureau Grotesque (1996-2002). Designed with FB Staff including David Berlow, Tobias Frere-Jones, Jill Pichotta, Richard Lipton, and others. Mostly unreleased. Some styles commissioned by Entertainment Weekly. Designed at Font Bureau.
  • Guardian Egyptian (2005). A 200-font family by Schwartz and Paul Barnes for The Guardian.
  • In 2007, Schwartz and Spiekermann received a gold medal from the German Design Council for a type system developed for the Deutsche Bahn (German Railway).
  • Zizou or Clouseau (2011). A reworking (from memory) of Antique Olive (1960, Roger Excoffon). This was published at the end of 2013 as Duplicate (2013, with Miguel Reyes). In three styles, Slab, Sans and Ionic. Commercial Type writes: Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive and a handful of details, like the shape of the lowercase a, Duplicate Sans is not a revival, but rather a thoroughly contemporary homage to Excoffon. Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of Fast Company. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes's creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. Mark Porter and Simon Esterson were the first to use the family, in their 2013 redesign of the Neue Züricher Zeitung am Sonntag. Because the Ionic genre has ll ong been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts. Duplicate Ionic won an award at TDC 2014.
  • In 2014, Christian Schwartz and Dino Sanchez co-designed the roman inscriptional typeface Gravitas. The name was already in use by Riccardo de Franceschi (since 2011), Laura Eames (since 2013) and Keith Tricker (since earlier in 2014), so there may be some emails flowing between these type designers. They write: The primary inspiration for Gravitas was Augustea Nova, Aldo Novarese's quirky and spiky Latin interpretation of the Roman inscriptional caps for the Nebiolo Type Foundry, released in a single weight in the 1950s. It's fairly common to see Augustea Open these days, but his lowercase apparently didn't survive the transition to phototype. Many designers have tackled the problem of matching a lowercase to the classical Roman capitals, with decidedly mixed results. The Bold Italic was drawn by Jesse Vega.
  • Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies.

    Also in 2014, Christian designed the custom typeface Poets Electra for the American Academy of Poets. It extends and modifies W.A. Dwiggins's Electra (1940).

  • Tanja (2016). A dot matrix typeface designed by Christian Schwartz and Paul Barnes and based on the monolinear Marian 1554, Tanja began life as the proposed logo for a German publisher.
  • Le Jeune (2016, Greg Gazdowicz, Christian Schwartz and Paul Barnes): a crisp high-contrast fashion mag didone typeface family in Poster, Deck, Text and Hairline sub-styles, with stencils drawn by Gazdowicz. This large typeface family comes in four optical sizes, and was originally developed for Chris Dixon's refresh of Vanity Fair.
  • MoMA Sans (2017). For the Museum of Modern Arts.
  • Zombie (2022, at FontHaus).
[Google] [MyFonts] [More]  ⦿

Christian Schwartz
[Commercial Type (Was: Schwartzco)]

[MyFonts] [More]  ⦿

Christie Morrison

Graphic designer in New York City who created the ornamental caps typeface Lavish (2013). [Google] [More]  ⦿

Christina Huang

Christina Huang (Minneapolis, MN, and later Brooklyn, NY) created the Latin typeface Fold (2013), which takes inspiration from the calligraphic strokes of Chinese. In 2015, she designed the karate chop alphading typeface Katatype. Home page. [Google] [More]  ⦿

Christina Nahas

During her studies at the Pratt Institute in New York City, Christina Nahas created the ultra-black all caps typeface 100 Bottles (2014). [Google] [More]  ⦿

Christina Ruggiero

During her studies in New York City, Christina Ruggiero created the multilined all caps typeface Wander (2014). Behance link. [Google] [More]  ⦿

Christina Sharp

During her BFA studies at SUNY New Paltz, Christina Sharp (Rome, NY) created a hand-lettered poster in 2012 entitled Filling The Void.

Behance link. [Google] [More]  ⦿

Christina Torre

Co-designer with Richard Kegler of several fonts at P22 type foundry, which she joined in 2000. She graduated from the State University of New York at Buffalo with a BA in Communication Design. She worked at the Pushpin Group in NYC and at Dog Eat Dog Advertising, Inc. in Buffalo, NY. Her typefaces:

[Google] [MyFonts] [More]  ⦿

Christina Wall

Rochester, NY-based designer of the curly decorative didone typeface Gardina (2014). Behance link. [Google] [More]  ⦿

Christine Aaron

Christine Aaron is a New York-based designer specializing in lettering and typography. She studied graphic design at the School of Visual Arts, with a focus in editorial design, branding, and motion graphics.

She created Conjure (2013). [Google] [More]  ⦿

Christine Carforo

Designer in Pleasantville, NY. She created the geometric monoline avant-garde typeface Lemoncake (2012).

Behance link. [Google] [More]  ⦿

Christine Thompson

Coauthor with Steven Heller in 2000 of "Letterforms: Bawdy, Bad and Beautiful: The Evolution of Hand-Drawn, Humorous, Vernacular, and Experimental Type", Watson-Guptill, New York. Christine Thompson, designer at the New York Times on the Web since the site's inception in 1995, has won multiple awards for her work in interactive media. She lives in New York. [Google] [More]  ⦿

Christopher J. Lee

During his graphic design studies in Brooklyn, NY, Christopher Lee published the free 6-font sans family Canter (2013, Fontfabric) which can be used for layering. Ana (2014) is a bilined display typeface. [Google] [More]  ⦿

Christopher K. Wright

Originally from Brooklyn, Christopher K. Wright now teaches graphic design, web design and typography at Indian River State College in Florida. He created the commercial curly Victorian typeface family Exposition (2014). Creative Market link. [Google] [More]  ⦿

Christopher Sperandio

New York-based designer of fonts at Garagefonts, including Train Wreck (1997, with Simon Grennan). He designed Rant in 1996 at [T-26].

Homepage. [Google] [MyFonts] [More]  ⦿

Chung-Deh Tien

American designer in Jackson Heights, NY (b. 1965), associated with the Cherokee Nation. He created the graffiti font Chase Zen Jackulator (2015), Chase Zen Jingletruck Karachi (2015), the tattoo font Chase Zen Holy Monkey (2015), the art nouveau typeface Chase Zen Paris (2014), Chase Zen Sprawl (2014), Chase Zen Blight (2014), Chase Zen Punjabi (2014), Chase Zen Basmati (2014), and Chase Zen Bangladesh (2014).

Designer in 2011-2012 of the following free Latin / Cherokee fonts: Nikwasi, Tsiquilisda, Danisvdanvsgv, Alewisdodi, Gola Unole, Nvdaasdawadidohi, Atuyasdodi, Tsi yu gunsini (a copperplate design for Unicode Cherokee, named after a Cherokee chief called Dragging Canoe), Wilma Mankiller Old (2012, also for Cherokee), Gadaquali (flared face), Gageda (Cherokee font).

Further typefaces: Grendel (2011), the tattoo fonts Maelstrom (2011) and Reign Sample (2010), the mechanical typeface Dans Hardware (2010), the graffiti typeface Stone Angel (2010), the Western typeface Mary's Cherry&Co (2010), the squarish typeface Dashboard Jesus (2010), the fat wood style typeface John Brown (2010), Dantone (2010), the fat roundish typeface Creamy (2010), Thermobaric (2011, Star trek face).

Chung-deh Tien created a few Cherokee fonts including Nikwasi San (2012), Sequoya Bold (2012), Oconosota (2012), Kanagota (2012), and Tsalagi Ameliga (2010).

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


At FIT, New York City-based "Ci" designed the straight-edged typeface C33 (2018). [Google] [More]  ⦿

Ciaran Brandin

Ciaran is a Brooklyn-based designer who set up Rip Type in 2019 with Nick Losacco.

Designer of the wide sans typeface Oddjob (2019) ans the blackletter typeface Klostro (2020, Rip Type), which was commercially released in 2022. [Google] [More]  ⦿

Cinderella Man

Joe Clark about a storefront sign in Cinderella Man, a 2005 movie set in New York in the 1920s: Why why, thats [ITC] Benguiat, circa 1978. [Google] [More]  ⦿

C.J. Dunn
[CJ Type]

[More]  ⦿

CJ Type
[C.J. Dunn]

C.J. Dunn has a background in graphic design and typeface design, and studied under Ed Benguiat at The School of Visual Arts in New York. He worked on typefaces for Font Bureau, and continued his relationship with the Berlows at Type Network. He is a graduate of Type@Cooper, a postgraduate certificate program in typeface design, where he also assisted Sumner Stone & Sara Solskone in teaching typeface design. He started TypeNY.com to keep track of type related events in New York City. In 2016, he launched CJ Type. Some time later, CJ Type started selling their typefaces via Type Network.

In 2017, he released the stunning 2-axis variable font Dunbar and writes: Dunbar is an exuberant geometric sans with a unique structure, including Tall and Low display versions for large sizes and a Text version for smaller sizes. Inspired by Jakob Erbar's Erbar-Grotesk, it is not a strict revival but interprets the design for contemporary applications, rediscovering some of Erbar's innovative ideas of alternate letterforms and proportions. Dunbar comes in large and small x-heights, Dunbar Tall and Dunbar Low.

His other major typeface is Louvette (2017), a typeface with four optical sizes (Banner, Display, Text, Deck) and five weights. He explains: Louvette is a sharp, stylish, modern serif including a range of optical sizes from Banner to Text. The design of Louvette is optimized to maintain thin, elegant hairlines at a wide range of sizes. Ideal for publications and cultural institutions, exhibitions and fashion. The design process for Louvette started during Type at Cooper in 2010, under the guidance of Jesse Ragan, with an interest in reviving ATF Louvaine by Morris Fuller Benton for contemporary usage. After some helpful feedback from Christian Schwartz, the project soon evolved away from the source material to include a large optical size version with ultra thin hairlines, and to expand the weight into the fatface range of designs such as Ultra Bodoni, also by M. F. Benton. Further research into the italics led to sources such as Doppel Tertia Cursiv from J. F. Unger, Berlin, and the small heavy sizes drew inspiration from Compacte Romain by Enschedé, Haarlem.

Typefaces from 2021: Pennypacker (a contemporary take on the Neue Moderne Grotesk lineage of early grotesks).

Speaker at ATypI 2016 in Warsaw on A Proposal for a Common EULA. [Google] [More]  ⦿

Claes Oldenburg

Celebrated Swedish sculptor, b. Stockholm, 1929, who lives and works in New York. His work influenced many (mostly modular) type designs. A partial list:

  • Architype Catalogue Outline and Architype Catalogue Solid (2016, The Foundry). Architype Catalogue originates from Wim Crouwel's Stedelijk Museum exhibition catalogue for Claes Oldenburg, 1970. The cover's soft padded letterforms evoke the artist's work. Oldenburg was so taken with the design, that he asked Wim Crouwel to complete the alphabet.
  • During her graphic design studies at the University of Huddersfield, UK, Georgia Chipchase created the foliate typeface Petal (2013) for which she took inspiration from Claes Oldenburg.
  • Trench Rounded and Trench Slab (2016, Shiva Nallaperumal) were inspired by Wim Crouwel's exhibition poster for Oldenburg.
  • Claes by Mike farboe (Reserves).
[Google] [More]  ⦿

Claire Altomari

Graphic designer in Brooklyn, NY. Behance link. Creator of the display poster typeface Stay True Chief (2011). [Google] [More]  ⦿

Claire Jardin

During her studies at Pratt, Claire Jardin (Brooklyn, NY) created the handwriting typeface Carly (2014). [Google] [More]  ⦿

Claire Shin

Claire is a New York-based graphic designer. Graduate of TypeWest, class of 2021. Her graduation typeface, Matchstick, was inspired by inky pools that form at the beginning and end of calligraphic strokes. [Google] [More]  ⦿

Clare Carroll

Clare Marie Carroll studied at New York University. Still based in New York City, she designed the free handcrafted typeface Clar3 (2016). Behance link. [Google] [More]  ⦿

Claude Fayette Bragdon

Claude Fayette Bragdon (b. Oberlin, OH, 1866-1946) was an American architect, writer, and stage designer based in Rochester, New York, up to World War I, and in New York City after that. He was known for his creative geometric ornaments. At some point, he proposed this modern American italic for architectural plans. Check also his set of modern small letters. This page shows his art nouveau art. [Google] [More]  ⦿

Claude Persons
[Empire Type Foundry]

[More]  ⦿

Claudia de Almeida

Claudia grew up in the south of Brazil and moved to the USA to attend college. She has BFA in Graphic Design from the School of Visual Arts in New York City where she has also taught. Claudia worked for nearly 10 years as a designer and Art Director in New York before moving to San Francisco in 2013 to serve as Design Director at WIRED. She has worked for The New York Times, T: The New York Times Style Magazine, Blender, More Magazine, New York Magazine, Domino Special Editions, Gourmet Special Editions and Men's Health. In 2012, Claudia redesigned Real Simple Magazine, marking the beginning of her design studio with WIRED pal Margaret Swart.

She created some remarkable ornamental caps, such as Dessert Rose, and a dollar sign. At Type Paris in 2015, she designed Iño, a humanist typeface influenced by Garamond. Type Paris link. [Google] [More]  ⦿

Clay Matthewman

During his studies in New York City, Clay Matthewman designed the thin hand-printed stencil typeface Split Type (2012) and the monoline geometric typeface Skywork (2012).

Behance link. [Google] [More]  ⦿

Clinton H. Clark

American penman, b. New York, 1864, d. 1937. He taught in business schools in san Antonio, TX, Buffalo, NY, Hutchinson, KS, and Sioux City, IA. From 1916 until his death he was at the Strayer's Business School in Philadelphia. In 1893 he won first prize in a world-wide contest conducted by the Penman's Art Journal. Author of The Clinton Clark Scrapbook. Parts two and three are here and here. [Google] [More]  ⦿

[Jason Forrest]

Musician and designer in New York City, who created the free punk /dada font Dead Block, the free dot matrix font Handdigital, the free experimental Half-Helvetica, the wacky Psyche Wide (free download) and Psyche Serif (free download), and the free handcrafted 57 Futura in 2017. He started the type magazine Curious Type. Behance link. Graphicriver link. [Google] [More]  ⦿

Coleman Collins

Designer in New York City. Creator of Alpha Mail (2012, a rhombic typeface). [Google] [More]  ⦿

Colin Crose

Illustrator from Poughkeepsie, NY, aka Zenand Groove. He made the free comic book font Strange Worlds (2009). [Google] [More]  ⦿

Colin Kahn

Type designer from Buffalo, NY. His typefaces were mostly developed at P22. Klingspor link. A partial list of his fonts:

  • In 2008, he revived and extended Cigno, a 1950s script typeface by Aldo Novarese, and called it P22 Cigno.
  • LTC Circled Caps.
  • P22 Civilité is a joint effort of Colin Kahn, Richard Kegler and Milo Kowalski.
  • P22 Curwen. P22 Curwen Poster is a digitized version of a rare wood type used by the Curwen Press in England in the early 20th Century for poster work. P22 Curwen Maxima is a new hyper-stylized re-interpretation of Curwen Poster.
  • The great display/comic book font Ebin (and Ebin Outline).
  • In 2006, he created the P22 Gauguin font family (Regular, Alternate, Brush and Extras), a script font set based on the writings and sketches of post-impressionist artist Paul Gauguin.
  • Glamour (2006, P22/Lanston; also called LTC Glamour Grotesque) is based on the 1948 design by the same name done at Lanston Monotype, which in turn is based on Imre Reiner's Corvinus.
  • P22 Goudy Aries (2004, P22, by Richard Kegler and Colin Kahn). This typeface revives Goudy's aries from 1926.
  • Goudy Sans (2006, P22/Lanston, 6 styles): Goudy Sans Bold was originally designed by Frederic Goudy in 1922 as a less formal gothic and finished in 1929. The Light was designed in 1930 and the Light Italic in 1931. Colin Kahn digitized them in 2006 to make a 6-style Goudy Sans family, which includes a Goudy Sans Hairline.
  • In 2008, he revisited Richard Kegler's P22 Platten, which was based on lettering found in German fountain pen practice books from the 1920s, and created the extended typeface P22 Platten Neu.
  • Internship (2003), or St G Schrift. P22 swrites: St. G Schrift (2005, P22) is a font based on the type designs of German poet Stefan George. This sans-serif typeface features a few variations found in books published by George in Berlin. Includes P22 St. G Schrift One, P22 St. G Schrift Two and P22 St. G Italic (an art nouveau version of the roman, newly designed). The original font was cast in 1907 by a small foundry in Germany and was used primarily for the works of George as well as other books including a monumental edition of Dante's Divine Comedy. This may or may not contradict the fact that Marcus Behmer designed Stefan George-Schrift in 1904.
  • P22 Tuscan Expanded is a digitization of the mid-19th century wood type font Antique Tuscan Expanded - Wells&Webb 1854.
  • P22 Vale (2007, in Roman and Kings Fount styles) are based on types by Charles Ricketts that were used by the Vale Press (which in turn were based on Jenson). The Kings Fount is originally dated 1903.
  • In 2007 still, he revived Zebra (P22), a font originally designed in 1963-1965 by Karlgeorg Hoefer.

View Colin Kahn's typefaces. [Google] [MyFonts] [More]  ⦿

Colophon Foundry
[Edd Harrington]

Colophon Foundry was a London and Los Angeles-based digital type foundry established in 2009. Its members comprised Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design was complemented by independent and interdependent initiatives in editorial design, publishing, curation, and pedagogy. It grew out of the Brighton-based design studio, The Entente (Anthony Sheret&Edd Harrington) in April 2009. Benjamin Critton (Brooklyn, NY) joined them later. In December 2023, it was acquired by Monotype.


  • Aperçu (2010, +Mono), a sans family by Anthony Sheret / The Entente.
  • Archive (2013). A text family by Anthony Sheret and Edd Harrington.
  • Basis Grotesque (2015). Influenced by Akzidenz Grotesk.
  • Burgess (2014). A Times-Roman-like typeface family by The Entente and Benjamin Critton.
  • Castledown (2014). A sans family for educational purposes. They write: From 2012-2014 we collaborated closely with Castledown Primary School, Hastings, UK. The project began as a custom typeface commission for the school but soon developed into an initiative to develop and unify typography within primary education. Extended in 2020.
  • Central Avenue (2011). By Studio Makgill.
  • Coign (2018-2021). An extensive study of ultra condensed forms based on the DeLittle type foundry's Elongated Sans.
  • DM Mono (2020). A free 3 weight, 3 style family designed for DeepMind. DM Mono was loosely based off of Jonny Pinhorn's DM Sans, with a reduction in contrast and less geometric proportions. The type design and font development was commissioned from Colophon Foundry, with Creative Direction from the DeepMind team. Design by Edd Harrington and Anthony Sheret. They also developed DM Sans, DM Serif Text and DM Serif Display (2019). The Serif families are derived from Source Serif Pro. The Sans family is derived from Jonny Pinhorn's Poppins (2014-2017). Github link. Google Fonts link.
  • Fann Grotesque (2019). A 9-weight sans family inspired by the 19th century British Grotesque types from British type foundries such as Stephenson Blake, Day & Collins and Miller & Richard.
  • Fortescue (2009): a text family with triangular serifs commissioned for the identity of artist and printmaker, Jake Spicer.
  • La Fabrique Pro (2012-2017). A sans by The Entente.
  • Goodall. A 10-style take on the geometric slab serif genre; bringing together a melting pot of 19th century wood type influences and more contemporary reference points such as Memphis (Rudolf Wolf, 1929) and Rockwell (Monotype, 1934).
  • Grenette (2020). Colophon writes: Combining influences from Windsor (from Stephenson Blake & Co's Wood Letter Specimen, 1915) and Richmond Old Style (from DeLittle's Wood Type Specimens, 1966), Grenette's imposing serifs contrast with the serif-less interiors of certain forms such as n, h and v.
  • Leroy (2012). By Stockholm-based Oscar & Ewan.
  • Lisbon (2013, Anthony Burrill). Lisbon is a geometric stencil typeface based on an original metal stencil that Burrill found in a sign makers shop in Lisbon, Portugal. The font was first used in a series of posters commissioned by the British Council for Experimenta cultural biennale in Lisbon (2010).
  • Lydia Bold Condensed (2013, Benjamin Critton) revives an angular typeface by Warren Chappell from 1946.
  • Mabry (2018, Benjamin Critton): Originally commissioned in 2014 for Los Angeles-based apparel company Nasty Gal---named as such after the 1975 album and song of the same name by influential funk singer Betty Davis (b. Betty Mabry, 1945)---Mabry is the commercial iteration of the former NG Grotesque.
  • MAD Sans and MAD Serif (2011-2017) by Dries Wiewauters.
  • Marché (2014). By The Entente, inspired by Eurostile.
  • Midnight sans (2021). Colophon writes: Midnight Sans was initially drawn for Gary Green's "When Midnight Comes Around", published by our friends at Stanley/Barker in 2020. The condensed-only style embodied a warm but idiosyncratic flavour: a reflection of the publication's photographs, which document the burgeoning downtown alternative music scene of 1970s New York City.
  • Monosten (2011). A rounded monospace sans by Anthony Sheret that includes a couple of stencil styles.
  • Montefiore (2009): a grotesque with wood type influences.
  • One Night Sans (2020). A bespoke typeface for condom manufacturer Durex.
  • Pantograph: Pantograph is an authentic redraw of the typeface employed by the British pantograph etching process. Designed by Hamish Makgill in 2009.
  • Peggs (2009): typewriter style for the identity of Peggs&Son, designed by Edd Harrington.
  • PDU (2010). By Dries Wiewauters. PDU stands for Plaque Découpée Universelle, a stencil system patented in 1876 by Joseph A. David.
  • Perçu (2010): a full sans family that is---in their own words---an amalgamation of classic humanist typefaces such as Johnston and Gill Sans with Neuzeit and Franklin Gothic.
  • Perfin (2009, by Alison Haigh).
  • PIN (2015). By Hoon Kim / Why Not Smile LLC.
  • Raisonné (2010). By Benjamin Critton. Raisonné is a 7-weight geometric sans-serif type initially designed in 2010 and subsequently expanded upon, first in 2012 and again in 2018-2019. Colophon writes: The typeface is parodic-serious, intended to be blunt, candid, and affable all at the same time. It outwardly pays homage to noteworthy precedents, among them Rudolf Koch's Kabel (1927) and Victor Caruso's later redrawing for ITC (1976), Joseph Churchward's Crossbred (1970s), Paul Renner's Futura (also 1927), and Herb Lubalin's Avant Garde (1968).
  • Reader (2009): Reader is a neo-grotesque typeface initially created in a medium weight, and now re-cut into a base family of six weights with an additional seventh in the form of Reader Black. The typeface itself has been referenced from an RSPB letter dating 1972. The original typeface, which is unknown, was a monospaced, rounded face. It had geometric proportions which felt like they wanted to break free of the restrictions of a monospaced grid.
  • Relative (2011). By The Entente: Initially drawn in August 2010 for Outside In by Stephen Gill; a book designed for the Brighton Photo Biennale 2010. Includes monospaced styles.
  • System85 (+Mono). A sans family.
  • Transcript Pro (2017).
  • Value Sans and Value Serif (2012): Value Sans borrows in style and behaviour from precedents like Elegant Grotesk and Granby. Value Serif pays homage to forebears like Plantin Infant and Italian Old Style. The Sans was drawn first by The Entente (Edd Harrington & Anthony Sheret, UK). The Serif was drawn shortly after, by Benjamin Critton (US). Each borrows their geometries from the other, and nuances were finalised by all parties as Colophon Foundry.
  • Visuelt (2013-2016, The Entente). Originally created as a bespoke face for the 2013 and 2014 identity for Visuelt, Oslo, Norway, Visuelt spawned from a more considered and constrained version of Aperçu. Visult Pro (2019) covers Cyrillic and Greek as well.

Bespoke projects:

  • Battlebridge for the area of King's Cross, London (2016).
  • Burberry Apercu Bespoke (2010-2017).
  • Chelsea Basis (2015) and Chelsea Basis Chiselled (2018). For FC Chelsea.
  • Corona Headline for Corona (2016).
  • Europa Nuova & Europa Mono (2016). For UEFA's Europa League.
  • Fanta Playful for Fanta (2017).
  • Fulham First XI & Substitute XI for Fulham Football Club (2013). Stencil types.
  • FQ Value for New Covent Garden Market (2016).
  • GF Smith for paper manufacturer and merchant G.F. Smith (2014).
  • Grey Goose for the French Vodka Producer (2014).
  • Helen for Race Against Dementia (2016).
  • Mondial for Rapha's Magazine (2015).
  • NG Grotesque for LA-based fashion label, Nasty Gal, with Benjamin Critton (2014).
  • Poynings, for printer Generation Press (2014).
  • Tesco Modern, Tesco Modern Condensed, Tesco Slab and Tesco Serif for supermarket chain Tesco (2016-2017).
  • Ubisoft Sans for French games publisher, Ubisoft (2016).
  • Unify for the English Rugby Football Union (2013).
  • Wales and Cymru Sans for Visit Wales / Welsh Government (2015).
[Google] [More]  ⦿

Columbia University

Search for type books in Columbia University's extensive type collection (which comes mainly from Bullen and ATF). [Google] [More]  ⦿

Commercial Type (Was: Schwartzco)
[Christian Schwartz]

Foundry, est. 2009 or 2010 by Paul Barnes (London and New York) and Christian Schwartz (New York). Their own blurb: Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Schwartz and Barnes, their staff, and outside collaborators, and also represents the two when they work together on typedesign projects. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Schwartz and Barnes were awarded the Black Pencil from the D&AD. The team were also nominated for the Design Museum's Designer of the Year prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper. Klingspor link.

In house type designers in 2010: Paul Barnes, Christian Schwartz, Berton Haasebe, and Abi Huynh.

Typefaces sold by them:

  • Austin (+Cyrillic): Designed for British style magazine Harper's&Queen, Austin is a loose revival of the typefaces of Richard Austin of the late 18th century for the publisher John Bell. Working as a trade engraver Austin cut the first British modern and later the iconoclastic Scotch Roman. Narrow without being overtly condensed, Austin is a modern with the styling and sheen of New York in the 1970s. Designed by Paul Barnes and Ilya Ruderman from 2007 until 2009. Has a Cyrillic.
  • Giorgio (+Sans): Giorgio and its matching sans were designed for Chris Martinez at T, the New York Times Style Magazine, bringing runway proportions to the page in contrasting ways. Designed by Christian Schwartz, 2008-2009.
  • Graphik: The dominant trend of the mid twentieth century simple sans serifs still reverberates in visual culture. Graphik proves that it is still possible to create something refreshing inspired by this era. Taking cues from the less-known anonymous grotesques and geometric sans serifs, Graphik is perfectly suited for graphic and publication design. Originally designed for the Schwartz's own corporate identity, it was later finished for Condé Nast Portfolio and then expanded for Wallpaper and later T, the New York Times Style Magazine. Designed by Christian Schwartz in 2009.
  • Guardian (Egyptian Headline, Sans Headline, Egyptian Text, Agate Sans): What happens when you try to make a new sans serif by chopping the slabs off of an Egyptian? That was the original inspiration behind this modern classic designed for Mark Porter and the Guardian newspaper. Comprised of several interrelated families: Sans and Egyptian for headlines; a Text Egyptian; and an Agate Sans, every possible typographic need of a daily paper is fulfilled. Serious news headlines, expressive features, readable text, tiny financial listings, info graphics, and everything in between can be capably handled with ease. Designed by Paul Barnes and Christian Schwartz, 2009.
  • Lyon Text: Begun as Kai Bernau's degree project on the Type + Media course at the Royal Academy of Art (KABK) in The Hague, Bernau extensively revised the typeface in time for its debut in the New York Times Magazine in 2009. Like many of the great seriffed typefaces it draws intelligently from the work of Robert Granjon, the master of the Renaissance, while having a contemporary feel. Its elegant looks, are matched with an intelligent, anonymous nature, making it excellent for magazines, book and newspapers. Designed by Kai Bernau, 2009.
  • Neue Haas Grotesk (2011).
  • Stag (+Sans, Dot, Stencil, Sans Round): Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional display variants that are probably best described as special effects. Designed by Christian Schwartz, Berton Hasebe and Ross Milne, 2008, 2009.
  • Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). A revival of Dick Dooijes's Mercator. Extended to Atlas Typewriter in 2012.
  • VF Didot (2013) is a custom Didot by Paul Barnes and Christian Schwartz for Vanity Fair, as requested by its design director, Chris Dixon. Based on work of Molé Le Jeune, a punchcutter used by the Didot family in the early part of the 19th century, VFDidot has 7 optical sizes and up to 5 weights in each size, plus small caps and even a stencil style.
  • Zizou or Clouseau (2011). A reworking (from memory) of Antique Olive (1960, Roger Excoffon). This was published at the end of 2013 as Duplicate (2013, with Miguel Reyes). In three styles, Slab, Sans and Ionic. Commercial Type writes: Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive and a handful of details, like the shape of the lowercase a, Duplicate Sans is not a revival, but rather a thoroughly contemporary homage to Excoffon. Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of Fast Company. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes's creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. Mark Porter and Simon Esterson were the first to use the family, in their 2013 redesign of the Neue Züricher Zeitung am Sonntag. Beecause the Ionic genre has ll ong been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts.
  • Kommissar (2014, Schwartzco). A condensed sans family with little contrast that was inspired by 1920s type styles like Vertikal and Paul Renner's Plak.
  • Produkt (2014, Christian Schwartz and Berton Hasebe). This is Graphik with slabs added on.
  • Sanomat (2013-2017). This custom typeface by Paul Barnes was originally commissioned by Sami Valtere in 2013 for his acclaimed redesign of Helsinging Sanomat in Finland. Sanomat is now available for retail via Commercial Type in two subfamilies, Sanomat (serif) and Sanomat Sans.
  • Schnyder (Commercial Type) was designed by Berton Hasebe and Christian Schwartz for the 2013 redesign of T, the New York Times Style Magazine by creative director Patrick Li and his team. Schnyder has the high contrast typical of a fashion typeface and has a large number of alternates. The stem thicknesses in each weight are identical across the widths, an unusual feature that allows the widths to be mixed freely in headlines, even within single words. It features three weights, four widths, and four optical sizes. Production assistance by Hrvoje Zivcic and Miguel Reyes.
  • The Commercial Classics series from 2019:
    • Brunel (Paul Barnes): Elegant and hardworking, Brunel is the Anglo variant of the high contrast Modern style. Based on designs that were cut first for Elizabeth Caslon at the end of the eighteenth century, we have expanded them to encompass a range of weights and sizes: from a roman to an emphatic black and from a text to a hairline for the largest sizes.
    • Caslon Doric (Paul Barnes): The sans was the natural progression of nineteenth-century innovations. From the pioneering faces of Caslon and Figgins in the second and third decades, they quickly became a phenomenon across Europe and the United States, but it was only in the second half of the century that the British foundries would embrace lowercase forms and make faces that could be used in multiple sizes. Caslon Doric is the synthesis of these styles, from narrow to wide and from thin to heavy.
    • Caslon Italian (Paul Barnes, Tim Ripper, Christian Schwartz): Perhaps the strangest and ultimate example of experimentation in letterforms during the early nineteenth century was the Italian. Introduced by Caslon in 1821, it reverses the fat face stress---thins becomes thicks and thicks become thins---turning typographic norms on their heads. This new version extends the forms into new territory: a lowercase, an italic, and another one of the more unusual ideas of the time, the reverse italic or Contra.
    • Isambard (Paul Barnes and Miguel Reyes): The boldest moderns were given the name fat face and they pushed the serif letterform to its extremes. With exaggerated features of high contrast and inflated ball terminals, the fat face was the most radical example of putting as much ink on a page to make the greatest impact at the time. These over-the-top forms make the style not only emphatic, but also joyful with bulbous swash capitals and a wonderfully characterful italic.
    • Caslon Antique (Paul Barnes and Tim Ripper): The slab serif or Egyptian form is one of the best letters for adding a drop shadow to. Its robust nature and heaviness support the additional weight of a prominent shading. First appearing in the 1820s, the style was pioneered and almost exclusively shown by the Caslon foundry, who introduced a wide range of sizes and, eventually, a lowercase.
    • Caslon Sans Serif Shaded (Jesse Vega and Paul Barnes): The addition of graphic effects to typefaces was one of the most popular fashions of the nineteenth century, with the most common being the shaded form. Fashionable throughout this period, they largely disappeared from the typographic landscape, but their simple graphic qualities offer much potential today.
    • Christian Schwartz collaborated with Richard Turley, the art director behind the famous redesign of Bloomberg Businessweek (for which Druk was initially commissioned), in 2019 on a custom typeface for the windows of Barneys, a near-century-old New York department store, which recently filed for bankruptcy. AIGA link.
    • In 2019, Christian Schwartz, Paul Barnes and Mark Porter were asked by the Nature journal to develop a new typeface, Harding.

The crew in 2012 includes Paul Barnes (Principal), Christian Schwartz (Principal), Vincent Chan (type designer), Berton Hasebe (type designer, who worked at Commercial type from 2008 until 2013) and Mark Record (font technician). Miguel Reyes joined in 2013. Greg Gazdowicz joined in 2014. Hrvoje Zivcic helps with font production.

View Christian Schwartz's typefaces. [Google] [MyFonts] [More]  ⦿

Coniglio Type
[Joseph Coniglio]

Delta, CO (and, earlier, Stamford, CT)-based Joseph Coniglio (b. Niagara Falls, NY, 1955) and a small group of designers. Check out the typewriter families Carbon 14, Passport, Vintage Type, Garnet Euro Typewriter (2004, grungy), and Telepath.

Other fonts: Aspersion, Grasshopper (dada), Burnt Toast (rounded fat finger face), Yardbord Numerals, Snyder Speed, Autocrat, NudE, Jack Rabbit, Felt Marker, Oregon Dry, Sublime, Omaha, Nomad, Aquacia (stencil), Rainmaker (stencil), Dirty Numbers (2021).

Showcase of Joseph Coniglio's typefaces at MyFonts. The Coniglio Type typeface library. [Google] [MyFonts] [More]  ⦿

Conner, Fendler&Co

New York-based foundry, also agents for Inland and Keystone type foundries. Specimens of printing types, borders, ornaments, brass rules, &c. made by Conner, Fendler&Co (New York, ca. 1898). [Google] [More]  ⦿

Conner Type Foundry

New York-based foundry, also called the United States Type Foundry, Conner&Cooke, James Conner&Son, James Conner&Sons, and James Conner's&Sons. [Google] [More]  ⦿

Connor Fitzgerald

Graphic designer and artist in New York City. He created The Tenderloin (2012), a yummy typeface. [Google] [More]  ⦿

Connor Fitzgerald

Connor Fitzgerald (New York City) created the hand-printed poster typeface Ginga Freestyle (2011) for a series of ads for Ginga, a soccer company based in Toronto. [Google] [More]  ⦿

Conor Schmitz

Ballston Spa, NY-based designer of the handwriting font Diamond (2017). [Google] [More]  ⦿

[Chester Jenkins]

Constellation is a creator and publisher of contemporary typefaces and is run by its two partners, Chester Jenkins (based in New York, born in Montreal) and Tracy Jenkins. They also feature typefaces by Magnus Rakeng, Patrick Giasson, Kris Sowersby, Rick Valicenti, and Jeremy Mickel. Constellation contains the main elements of the previous Village and Thirstype foundries. Typefaces including bespoke typefaces by Chester Jenkins:

  • Aero (2011, Chester Jenkins and Jeremy Mickel). Based on Roger Excoffon's Antique Olive.
  • Apex Sans (2003), Apex Serif (2003), Apex New (2005) and Apex Rounded (2010). All by Chester Jenkins. Apex Serif and Apex Sans were co-designed with Rick Valicenti.
  • Apollo. A bespoke multiline typeface for the Apollo Theater.
  • Arbor (2010). Arbor was originally commissioned by the New York Times magazine for use in their 2008 Hollywood special issue. The source was Rob Roy Kelly's book of woodtype samples, and the D and H from Caslon's Italian of the 1820s. An original representative of this Western genre.
  • Barclays Center (2012). A bespoke athletic lettering and stencil family.
  • Brooklyn (2013, a brutalist typeface) and Brooklyn Stencil (2013, an octagonal stencil). The original was commissioned in 2007 by Michael Bierut for a sports complex.
  • The Cooper Hewitt Smithsonian Design Museum in New York City is giving away for free its bespoke house typeface, a sans designed in 2014 by Chester Jenkins. Even the original UFO files are made available.
  • Cosmica (2018).
  • Endzone Slab (+Condensed) and Endzone Sans (2017) are bespoke typeface done for the NFL.
  • Galaxie Cassiopeia (2006). A round connected upright script. By Chester Jenkins.
  • Galaxie Copernicus (2009). An interpretation of Christophe Plantin's Plantin (cut by Robert Granjon) and Frank Hinman Pierpont's Monotype revival of Plantin. By Chester Jenkins and Kris Sowersby.
  • Indestructible Language (2006, with Mary Ellen Carroll): The Precipice Alliance, a non-profit corporation collaborating with artists to direct public attention to global warming, launched with this inaugural artwork by the contemporary artist Mary Ellen Carroll. This lettering was a collaboration with Ms. Carroll to design letterforms that could be rendered 8-feet tall in neon tubing. Each neon letter was to be placed, in a 900-foot-long installation, in the window bays of all five former American Can factory buildings in Jersey City, New Jersey to be exhibited from November 2006 to April 2007. The 8-foot high, carbon neutral neon letters were clearly visible (and legible) to drivers on both the Pulaski Skyway and the New Jersey Turnpike, and by planes heading to and from Newark International Airport.
  • Maharam (ca. 2017). A bespoke Futura revival typeface for Maharam.
  • A bespoke sans titling typeface for the NYC Opera.
  • Galaxie Polaris, Galaxie Polaris Condensed (2004-2013). Two sans families by Chester Jenkins.
  • Oz (1999). A round typeface family by Patrick Giasson. Designed as an homage to Oswald Cooper (whose nickname was Oz), whose Oswald Cooper inspired the fat shapes.
  • Pink Sans, Pink Slab and Pink Outline are bespoke typefaces for Victoria's Secret Pink campaign.
  • Radio (1998). A retro script family by Magnus Rakeng.
  • Robledo Stencil. For Slanted Magazine.
  • Sharpie Script. a bespoke script typeface for the identiy of Michael Kors.
  • A revival of Frederic Goudy's lost Sherman type for Syracuse University with Michael Bierut and his team at Pentagram.
  • For Snickers, Chester designer Chiat Day.
[Google] [More]  ⦿

Continental Typefounders Association
[Melbert Cary]

Continental Type Founders Association was founded by Melbert Brinckerhoff Cary Jr. (1892-1941) in 1925 to distribute foundry type imported from European foundries. Beginning in 1927 Continental also distributed typefaces cast by Frederic Goudy, and two typefaces for Doug McMurtrie. Doug McMurtie and Frederic Goudy were the vice-presidents in 1925 and 1927, respectively. At first Goudy's type was cast at his own Village Letter Foundry, but after 1929 these were cast by the New England Foundry. Despite imports being virtually cut-off during the war years, Continental was still issuing Goudy's types as late as 1944 and may have continued functioning even later. Located at 216 E. 45th street, New York around 1930. They published Specimen Book of Continental Types in 1929. Cary collected 2300 books about printing. After his death, the Cary Collection was presented to the Rochester Institute of Technology in 1969 by the Mary Flagler Cary Charitable Trust as a memorial to Melbert Cary. Its collection of 20,000 volumes is described as one of America's premier libraries on the history and practice of printing.

Their typeface Nova Bold was revived by Nick Curtis as Maple Leaf Rag NF (2005).

The European foundries represented by them:

[Google] [More]  ⦿

Cooper Hewitt
[Chester Jenkins]

The Cooper Hewitt Smithsonian Design Museum in New York City is giving away for free its bespoke house typeface, a sans designed in 2014 by Chester Jenkins, the founder of the Village type foundry. Even the original UFO files are made available. They write: Cooper Hewitt is a contemporary sans serif, with characters composed of modified-geometric curves and arches. Initially commissioned by Pentagram to evolve his [Galaxy] Polaris Condensed typeface, Chester Jenkins created a new digital form to support the newly transformed museum. The museum's director, Caroline Baumann, says distributing the typeface for free was a way to demonstrate the Cooper Hewitt's commitment to its mission. Quoting her: We're all about giving the public access to great design---to our collection online, to our typeface, to our programs---and this was a natural step for us. Open Font Library link.

Cristiano Sobral's Tanohe Sans (2020) has re-worked style numbers, a shorter J, and a true italic lower case a.

Fontsquirrel link. [Google] [More]  ⦿

Corey James

New York City-based designer who is originally from Perth, Australia. Designer of these typefaces: Vinum (2014: a gothic psychedelic typeface inspired by Electric Wizard's "Dopethrone" album), Inflated (2015, an oily bubblegum typeface), and 375 (2015: a striped experimental typeface in 3 weights, Window, Facade and Earthquake). Behance link. Old URL. [Google] [More]  ⦿

Corinne Ang

[More]  ⦿

Coully Traore

The Bronx, NY-based designer of the fat octagonal typeface Bark type (2015). [Google] [More]  ⦿

Cozy Fonts Foundry
[Tom Nikosey]

Type designer (b. 1951, New York) in New York City, who studied at Pratt. His type foundry, Cozy Fonts, is located in Bell Canyon, CA.

Creator of the Arabic simulation typeface Aladdin (2012), Skratchbook (2012), Toms Finger (2013, hand-printed cartoon typeface, +Toms Pinky, +Toms Thumb), Noodlerz (2013), Posterface (2014, +Sans; modular poster font family), Speener (hand-printed), Victory Script (2015), Archiva (2016: a useful rounded yet squarish condensed typeface family, +Stencil, +Dropline), Slenderz (2016: a handcrafted sans family), and Ds Hand (2016, based on the hand of Danielle Nikosey).

Typefaces from 2017: Civic Sans (a 13-style sans family for billboards).

Typefaces from 2018: Irongate.

Typefaces from 2019: Flintlock.

Typefaces from 2020: Planetype (futuristic, modular), Slatz (an ultra-condensed sans and serif family).

Typefaces from 2021: CF Cozyscript (a monolinear retro school script), CF Nixt (a seven-style simple monolinear geometric sans in the mid-century American and Swiss traditions, perhaps leaning closest to Avenir).

Typefaces from 2022: Neuliner (a 7-style metro-retro font). [Google] [MyFonts] [More]  ⦿

Craig Hazan
[Twenty Six Types]

[MyFonts] [More]  ⦿

Craig Ward

Craig Ward is a British graphic designer and art director wjho moved to New York City in 2009, where he set up Words and Pictures in 2011. In 2015, he created the experimental typeface Fe203, and wrote: To form the glyphs, a tiny amount of ferrofluid was placed between two glass plates and subjected to a combination of spinning vertical and horizontal magnetic fields. The result is an array of complex hieroglyphics and shapes - each one as unrepeatable as a snowflake - that simultaneously call to mind ancient indigenous markings or symbols from science fiction.

Designer of nice typographic examples, such as his Hairy Futura (2008). He designed the fat didone display typeface Lovechild (2009) and the spurred typeface Killer (2013). Other typefaces: Go Vote (2012, a brush poster and modular typeface for the American elections), Dark White (didone), Epitaph (alchemic), NM Serif (2015, for the branding of Dior's new perfume, Sauvage), England World Cup Kit (2018).

Home page. [Google] [More]  ⦿

Cristina Vasquez

Brooklyn, NY-based designer of the art deco typeface TypeSketch 02 (2010).

Behance link. [Google] [More]  ⦿

Cruz Fonts
[Ray Cruz]

Cruz Fonts was established in Oakland, NJ, in 2004 by Ray Cruz, who has been a designer of custom lettering and custom typefaces to major ad agencies, publishers and corporate clients in the New York City area for almost 30 years. He has created many display typefaces for Agfa/Monotype, Bitstream, Phil's Fonts and Garage Fonts. Presently Ray Cruz is working as Type Director at Y&R NY, and is an adjunct professor at FIT and Kean University teaching type design. Bio at Garagefonts.

His oeuvre:

Bio at Garagefonts. P22 link. FontShop link. PDF catalog.

View Ray Cruz's typefaces. Klingspor link. [Google] [MyFonts] [More]  ⦿

Crystal Cowhig

Staten Island-based creator of the fat finger children's script Crystal (2012). [Google] [More]  ⦿

Crystalyn Choong

During her graphic design studies, Crystalyn Choong (Queens, New York) created the display typeface Velune (2015). [Google] [More]  ⦿

C.S. Farrington

New York-based creator of the spurred Tuscan alphabet Ornamental Roman and Italics that is featured on page 25 of John G. Ohnimus's Henderson's Sign Painter (1906). He also drew Old English for Ohnimus's book. [Google] [More]  ⦿

CSA Creative Studio
[Curtis Canham]

Curtis Canham (CSA Creative Studio, est. 2010, upstate New York) designed the vector-format typeface Chloe in 2015. In 2015, he started work on the book A-Holes: A Type Book. Home page. [Google] [More]  ⦿

Curtis Canham
[CSA Creative Studio]

[More]  ⦿


Illustrator, graphic designer and concept artist based in Brooklyn, NY. Creator of a geometric solid typeface called Natho (2013). Behance link. [Google] [More]  ⦿

Cynthia Batty

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:

  • Hiroshige (1986). Versions sold by Linotype and Adobe. Hiroshige was designed in 1986 by Cynthia Hollandsworth at AlphaOmega Typography, Inc. The typeface was originally commissioned for a book of woodblock prints by nineteenth-century Japanese artist Ando Hiroshige, whose work influenced many impressionist artists.
  • Pompeii Capitals (1995). Designed by Philip Bouwsma for ITC. It is unclear what Cynthia Hollandsworth's role was in the design.
  • Synthetica (1996). With Philip Bouwsma at Agfa.
  • ITC Tiepolo (1987). By Cynthia Hollandsworth and Arthur Baker at AlphaOmega.
  • Vermeer (1986).
  • Agfa Wile Roman (1990). Marketed by Monotype as Agfa Wile Roman and simply Wile.

Bio at ATypI. Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Cynthia Jacquette

New York-born and Los Angeles-based designer at the Typebox foundry, where she designed Wirish, and co-designed the funny dingbat typeface TX Signal Simplifier (2002). Obtained an MFA in graphic design in 2000 from the California Institute of the Arts, and worked for some time after that at Disney. She also created the Medusa typeface. CV. FontShop link. [Google] [MyFonts] [More]  ⦿

Cynthia Yin

New York City-based designer of the decorative caps typeface Clockwork Alphabet (2014) and of Mirrors (2014). [Google] [More]  ⦿

D. Jules Gianakos

D. Jules Gianakos (Zapruder Design, Brooklyn, NY) is the Houston-born creator of Dealey (2012), an outline font based on HelveticaNeue LT 65 Medium.

Behance link. [Google] [More]  ⦿

Dailey Crafton

Dailey Crafton (Brooklyn, NY) is the principal of Live from Bklyn, and lectures at Shillington School, NY. In 2013, he designed the poster typeface Bypass Sans (2013).

Behance link. [Google] [More]  ⦿

Daisy Alcock

Phototype designer for Photo Lettering Inc in New York. Her typefaces there include the uncial / medieval style family Alcock, which includes Alcock Roman, (+Inline), Alcock Light Italic and Alcock Versal. [Google] [More]  ⦿

Daisy Dalhae Lee

During her studies in Forest Hills, NY, Daisy Dalhae Lee designed the display typeface Marilyn (2013), which is named after Marilyn Monroe. [Google] [More]  ⦿


New York-based foundry, also called Damon Peets Co., George Damon&Sons, and Damon Type Founders Co., Inc. [Google] [More]  ⦿

Dan Cassaro
[Young Jerks]

[More]  ⦿

Dan Rhatigan

Daniel Rhatigan (Ultrasparky) was born on Staten Island in 1970. He finished the MA Typeface Design program at the University of Reading, UK, in 2007. Before that, he briefly taught type design at the City College of New York. He briefly was type director at Monotype Imaging, based in the UK, and is scheduled to replace David Lemon as the new Senior manager of the Adobe Type team at the beginning of 2017. In 2021, Dan Rhatigan joined Type Network where he curates Type Network's typeface library and oversees its foundry relationships.

Dan is an expert on Indic scripts, and spoke about that at ATypI 2011 in Reykjavik.

His graduation typeface at Reading was Gina (2007), a serif about which the reactions are generally good (a Minion with character according to Stephen Coles, and an awful lot of Unger in one gulp according to Joe Clark). Gina covers not only Greek, but most European languages. I especially appreciate its attention to mathematical symbols and typesetting. In 2009, Ian Moore and Dan Rhatigan created Sodachrome, a typeface designed at The Colour Grey for Sodabudi, a forthcoming online store for art work inspired by folk art from India. Dan Rhatigan blogged about it here. When the two parts of the typeface are screenprinted in different colours on top of each other, they produce an optical effect. In 2010, his (free) rounded bold serif typeface Copse font was published at Kernest (free downloads).

Kernest link. Google Web Font Directory carries his free typeface Astloch, a monoline blackletter face.

Another download link. Clear Sans (2013) was designed by Daniel Ratighan at Monotype under the direction of the User Experience team at Intel's Open Source Technology Center. Clear Sans is available in three weights (regular, medium, and bold) with corresponding italics, plus light and thin upright (without italics). Clear Sans has minimized, unambiguous characters and slightly narrow proportions.

Ryman Eco is a free multilined typeface created in 2014 by Dan Rhatigan and Gunnar Vilhjálmsson at Monotype that satisfies its two design goals---beauty and economy (it uses 33% less ink than a normal text font).

Speaker at ATypI 2017 Montreal.

Fontsquirrel link. CTAN download link. Klingspor link. Monotype link. Google Plus link. [Google] [More]  ⦿

Dana Tanamachi

Lettering artist from Texas who is based in Brooklyn, and specializes in chalk lettering and shop signage. [Google] [More]  ⦿

Dana Weiss

New York-based designer of the handcrafted 3d typeface Box (2014). [Google] [More]  ⦿

Daniel Benjamin Miller

Daniel Benjamin Miller (b. 2000, New York) is an undergraduate student in philosophy at McGill University. His type design work:

  • BMucicFont (2020). Based on the Steinberg Media music fonts for LilyPond music software.
  • Salieri (2020). A revival of Jan Tschichold's Sabon (1964-1967).
  • GFS Heraklit. This started out from Zapf's Heraklit Greek (1954). A digital revival was first done by George Matthiopoulos. Later improvements by Antonis Tsolomitis and in 2020 by Daniel Benjamin Miller.
  • NX Baskerville Bold Italic (2020). An addition to Libre Baskerville (2012, Rodrigo Fuenzalida and Pablo Impallari).
  • He added OpenType support and made some minor adjustments to ET Bembo (2002, Dmitry Krasny / Deka Design), releasing the result as XETBook (2019). In 2020, that font family was extended by Michael Sharpe as ETbb.
  • In 2019, he started working on Regis, an original face inspired by the work of Pierre-Simon Fournier and Monotype 178 Barbou.
  • RW Garamond (2019) is a freeware Garamond font in OpenType format. RW stands for Rudolf Wolf, the designer who created Stempel's version of Garamond from the Egenolff-Berner specimen. RW Garamond is a modified version of URW Garamond No. 8. and GaramondX, with changes being made to support OpenType (better vertical metrics, added diacritics, better kerning, more mathematical symbols, Greek for mathematics, character variants). Copyrights: 2000, URW++; 2005, Ralf Stubner; 2009, Gaël Varoquaux; 2012-2017, Michael Sharpe; 2019, Daniel Benjamin Miller.
  • Domitian (2019). Based on URW's Palladio which in turn is based on Hermann Zapf's Palatino. Domitian is a project to develop a full-featured, free and open-source implementation of Palatino design. "Domitian" refers to the builder of the Flavian Palace, which is located on the Palatine Hill. Miller added true small caps and old style figures to URW's Palladio. The metrics have been adjusted to more closely match Adobe Palatino, and hinting has been improved.
  • Garamond Libre (2019). Based on Unicode Fonts for Ancient Scripts (George Douros, 2017). CTAN link. Miller writes: Garamond Libre is a free and open-source old-style font family. It is a "true Garamond," i.e., it is based on the designs of 16th-century French engraver Claude Garamond. The roman design is Garamond's; the italics are from a design by Robert Granjon. The upright Greek font is after a design by Firmin Didot; the "italic" Greek font is after a design by Alexander Wilson. The font family includes support for Latin, Greek (monotonic and polytonic) and Cyrillic scripts, as well as small capitals, old-style figures, superior and inferior figures, historical ligatures, Byzantine musical symbols, the IPA and swash capitals. Miller added a bold italic.
  • The STEP fonts (2019), free at CTAN and Github, created to be metrically compatible with Adobe's digitization of Linotype Times. STEP is based on the STIX and XITS fonts, and includes support for OpenType mathematical typesetting, usable with LuaTeX, XeTeX and Microsoft Office. It contains an original STEP Greek (2020) in Elzevir style.
  • Courier Ten (2020). This is Courier 10 Pitch BT, made available by Bitstream, offered here in OpenType format as well as Type 1 for use with LaTeX. Package maintained by Daniel Benjamin Miller starting in 2020.
  • MLModern (2021). He explains: MLModern is a text and math font family with (LA)TEX support, based on the design of Donald Knuth's Computer Modern and the Latin Modern project [note: 2003-2009, by B. Jackowski and J. M. Nowacki]. Some find the default vector version of Computer Modern used by default in most TEX distributions to be spindly, sometimes making it hard to read on screen as well as on paper; this is in contrast with the older bitmap versions of Computer Modern. MLModern provides a sturdy rendition of the Computer Modern design. [...] A script by Chuanren Wu was used to blacken the fonts before manual adjustment.

Miller is a supporter of free and open-source fonts, as well as free and open-source software. He uses FontForge for design, and releases all his work under free licenses: I really just want people to be able to use my designs, improve them and share them. First, on a pragmatic level, I know that my work will be imperfect, and I'd like others to be able to use their judgment to make adjustments (which I hope they'll also release under a free license). Second, I think that too much material (and not just fonts) is behind barriers of restricted access and artificial scarcity. This kind of thing---useful tools and information---wants to be free, so let it out for everybody to use.

Github link. [Google] [More]  ⦿

Daniel Birch

Brooklyn, NY-based FontStructor who made Skinny (2011) and a few other experimental typefaces. In 2013, he made Monster Face.

Behance link. [Google] [More]  ⦿

Daniel Brokstad

Daniel Brokstad lived in Australia where he graduated from RMIT University in Bachelor of Design. He returned to Stavanger, Norway, in 2011, and later joined Sagmeister & Walsh in New York City.

Daniel created the extreme-contrast art deco / fashion mag typeface Casanova (2011), which features two choices of tilt---positive and negative. The way in which this typeface is used by Brokstad is sheer genius.

In 2013, he designed the decorative caps typeface Medic Type.

In 2019, he published Lucifer Sans. This mammoth 162-style typeface family is rooted in Scandinavian geometry and minimalism, mixed with a healthy dose of black metal and irreverent attitude. Harsh vertical cuts and angles throughout the font creates a very strict and hard look, that can either be amplified or loosened up through its stylistic sets.

In 2020, he designed the 10-style rounded octagonal typeface Geometrisk. [Google] [MyFonts] [More]  ⦿

Daniel Doernemann

Executive Creative Director at loyalkaspar in New York City, who studied at Art Center College of Design. Designer of the Disney movie font XDRA. This font was digitized by Alan Greene. Free download. [Google] [More]  ⦿

Daniel Figueiredo

At KABK, supervised by Just van Rossum, Daniel Figueiredo (Sao Luis, Brazil) designed Modular Typeface (2016). [Google] [More]  ⦿

Daniel Gelberg

At Photo Lettering Inc in New York, Daniel Gelberg designed these mostly handcrafted or script typefaces: Chipper, Falcon Bold, Flurry, Grotesque, Informal, Sequin, Swifty Light, Swifty Bold, Swifty Upright. [Google] [More]  ⦿

Daniel Guillermo

Graphic designer in Brooklyn, NY. He designed interesting typographic identities such as for the Publican Brewing Company. His calligraphic book covers for texts by Gabriel Garcia Marquez are also remarkable. [Google] [More]  ⦿

Daniel Hunyady

As a young artist and film font manufacturer in New York City, Daniel Hunyady (b. 1941) designed the piano key typeface Hunyday Gothic for John N. Schaedler Inc. in 1974. Schaedler suggested the name Hunyady Parquet. That great typeface was digitized in 2017, with Hunyady's permission, by Tobias Herz. Presently, Hunyady runs Hunyady Graphics in West Kill, NY. [Google] [More]  ⦿

Daniel Ortega
[IC Fonts]

[MyFonts] [More]  ⦿

Daniel Pelavin

American type designer, born in Detroit, who lives in New York City. His early typefaces include

  • ITC Kulukundis (1997).
  • ITC Anna (1991). Pelavin's first typeface. The Cyrillic version of ITC Anna was done by Svetlana Yermolayeva, Vladimir Yefimov and Alexander Tarbeev in 1993. There is also a (rather poor) derived font from 1993 by Thomas E. Harvey called Tall Deco.
  • Canton Market (1995). An oriental simulation font.
  • Test (1996).
  • The geometric patter fonts Sindbad, Circles, Triangles, and Squares.

Pelavin was Chairman of the Type Directors Club, 2002-2003.

In 2009, he designed the 1940s art deco face Bokar.

In 2010, he created Marquue Faceted and Marquee Solid (which can be layered to make a 3d effect), China Market (oriental simulation), Setsuko, an oriental simulation face, Rilke (an adaptation of the lettering used by Gustav Klimt on his poster for the 1st Vienna Secession exhibition in 1898 and is named for Klimt's contemporary the poet Rainer Maria Rilke: caps only), Tribeca Script, Monograph (as if written with a Speedball B pen), Book Country (crude octagonal folksy face), Bing (art nouveau), HiFi (retro script), Twentieth Century (an art deco headline sans), and Safety (1930s style).

In 2011, he added Tiki (a pair of Hawaiian typefaces), Salty Dog.

In 2012, he created the monoline uprigt connected script typeface Mimosa, which was inspired by the packaging for Moulinard Jeune, a line of French toiletries from the 1920s.

Typefaces from 2013: Forgia (Pelavin writes: Forgia is a result of my fascination with the beauty I find in utilitarian industrial objects like the riveted stanchions in New York subway stations, decorative ironwork in Grand Central terminal and the eloquent construction details of the urban infrastructure of the 19th and early 20th century.) Perhaps the steampunk typeface Rivets (2016) is an outgrowth of Forgia.

Typefaces from 2016: Oscar (tri-lined art deco typeface that pays trbute to the Acadmy Awards), Plot (brushed or lined wood style), Camp (a wooden log typeface), Rosa (art deco).

Typefaces from 2017: Neroli (2017, formal art deco), Taos (2017, a cactus font).

Typefaces from 2018: Trilight (trilined typeface).

Typefaces from 2019: Noir et Blanc (a deco poster typeface).

Typefaces from 2020: Molly Louie (a patterned decorative caps typeface).

Typefaces from 2021: Bedazzle (a movie marquee font), Bankster (a spurred bank note or financial document font with various hatched and shadow styles).

Typefaces from 2022: Mr Porter (a robust monolinear rounded slab serif rooted in 17th century England: rich and full-flavored with notes of coffee, licorice and molasses). [Google] [MyFonts] [More]  ⦿

Daniel Petrino

Buffalo, NY-based designer of Pascal Pixel (2017). [Google] [More]  ⦿

Daniel T. Ames

American penman. Author of Compendium of Practical and Ornamental Penmanship (New York, ca. 1883) and Ames' Guide to Self-Instruction in Practical and Artistic Penmanship (1884). The latter book contains some explicit alphabets: Roman, Italic Roman, Gothic, German text, Old English, Church Text, Medieval, Egyptian, German Round Hand, Marking and Rustic (elaborate caps). One of the initial caps in that text led Robert Fauver to create the free font Dirty Ames (2006).

In 1890, Ames wrote Ames' Book of Flourishes.

Handdrawn portrait of Ames found in "Real Pen Work" (1881, Knowles and Maxim). [Google] [More]  ⦿

Daniela Carusone

Queens, NY-based designer of the deco typeface Bare (2015). This typeface was finished during her studies at St. John's University. [Google] [More]  ⦿

Daniele Politini

A native of Italy, Daniele Politini graduated from the Politecnico di Milano with a degree in Design of Visual Communication in 2001. Currently, he is a graphic designer living and working in NYC, where he works as Design Director at FutureBrand New York. Creator of Lady First (2010, an informal sans typeface developed at Bauer School in Milan). Behance link. [Google] [More]  ⦿

Daniella Circelli

During her graphic design studies, Daniella Circelli (Bronx, NY) created an untitled art nouveau typeface (2015). [Google] [More]  ⦿

Danielle Baptiste

Graduate of Queens Borough College. Rosedale, New York-based designer of the squarish typefaces Bold Brick (2014) and the dot matrix typeface Regular Spot (2014). [Google] [More]  ⦿

Danielle Dunker

Foundry in Jamestown, NY. [Google] [MyFonts] [More]  ⦿

Danielle Probst

Queens, NY-based designer of the fine display typeface Malibu (2017). Home page. [Google] [More]  ⦿

Danielle Yoon

New York City-based student creator of a mechanical ransom font, Broken Angel (2013), and of an untitled ornamental typeface (2013). [Google] [More]  ⦿

Danny Rutledge

Brooklyn, NY-based designer of the blocky typeface system Chunkfunker (2017). Behance link. [Google] [More]  ⦿

Danny Strazzera

Elmont, New York-based designer of a barcode-inspired typeface in 2013. [Google] [More]  ⦿

Daon Dani Kim

New York City-based designer of the kitchen tile typeface Waffle (2014) and the thin techno typeface Angle Font (2014). Behance link. [Google] [More]  ⦿

Darden Studio
[Joshua Darden]

Joshua Darden is an exceptionally gifted typeface designer with a studio in Brooklyn, NY. Joshua Darden (b. 1979, Northridge, CA) founded the ScanJam Design Company in 1993, together with Tim Glaser. At ScanJam, he designed numerous retail and custom typefaces. In 2000, Josh Darden left Scanjam to work for the Hoefler Type Foundry. In 2004, he founded Darden Studio. In 2005, he joined the type coop Village. He has lectured at the University of California Santa Barbara and at Parsons School of Design and School of Visual Arts. Interview with Josh Darden. Old URL. FontShop link.

Typefaces designed by Darden:

  • Index (Garage, with Tim Glaser), review by Fred Showker).
  • Birra Stout (2008): a free chunky beer label font. Followed by Birra Bruin (2019, by Elena Schneider at darden Studio): a German expressionist typeface.
  • Jubilat (2008). Darden writes: Commissioned by Michael Picon for First; further development underwritten by Tatler Asia&La Semaine. Recipient of a Type Directors Club award as Untitled. Jubilat explores the history of the slab serif in six weights, with generous curves and efficient spacing in both dimensions. Its large lowercase and high contrast make it suitable for headlines, decks, and sidebars.
  • Bergamot (under development).
  • Profundis (1999, with Timothy Glaser; Profundis andd Profundis Sans in three styles each, all accompanied by Ornaments).
  • Vittoria.
  • OUT (Garage, with Tim Glaser).
  • Grosvenor.
  • Firth.
  • di Valzer.
  • Hauteur.
  • Cassandra.
  • GarageFont.
  • HolyCalliope (1999, with Timothy Glaser).
  • Omnes (2005, Village). This has a hairline weight.
  • Diva (Garage, with Tim Glaser, 1996). See also Omnes Cyrillic (designed by Eben Sorkin, John Hudson, Joshua Darden, Maxim Zhukov, and Viktoriya Grabowska) and Omnes Arabic (designed by Joshua Darden and Titus Nemeth).
  • Locus.
  • Interact (Garage).
  • Freight (2004-2009, Garage): an extensive, all-round family of typefaces including Freight Sans Pro, Freight Display Pro, Freight Micro Pro, Freight Text Pro, and Freight Big Pro (2005; its heavier weights are high-contrast didones). The slab serif, sans and serif versions are related and derived from each other, in some cases, by snap-on technology (in the spirit of Thesis or Scala or Nexus). Freight Sans Condensed Pro followed in 2012 and Freight Sans Compressed Pro in 2015. Freight Micro Pro (2009) was specifically created for use in phone books and small size applications. Freight Macro Pro is more suited for corporate branding. Review by John Berry. Freight Neo Pro (a humanist sans) was published in 2013. In 2015, he offered the free font Freight Big Bold (2005) via Open Font Library. Freight Round Pro was added in 2016. Finally, in 2017, Freight moved to Type Network.
  • Josh Darden collaborated with Chrstian Schwartz on Erik Spiekermann's FF Meta Headline (2005).
  • Virtuoso Life (2005): a proprietary custom display typeface for the Virtuoso Limited magazine.
  • Corundum Text (2006): a fantastic and full family based on Fournier's pre-modern alphabet from 1742. It covers all European languages and comes with almanac symbols, ligatures, zodiac symbols, the works. Corundum Text won an award at TDC2 2007.
  • Untitled (2006, Joshua Darden Studio). It won an award at TDC2 2007.
  • Dapifer (2011) and Dapifer Stencil (2015). Commissioned by Mucca Design for One Atlantic. By Joshua Darden, with design and production assistance by Thomas Jockin, Scott Kellum, Noam Berg, and Lucas Sharp.
  • Halyard (2017). An information design sans typeface family by Joshua Darden, Lucas Sharp and Eben Sorkin.
[Google] [MyFonts] [More]  ⦿

Darius Wang Dazhi

New York City-based designer of the stunning deco display typeface Ophelia (2017). [Google] [More]  ⦿

Darius Wells

This New York printer, was the first to produce wood type commercially, in 1827, after having invented the lateral router with David Bruce. Saxe says that the preferred woods were maple, pear, and cherry, and to a lesser extent boxwood, mahogany, and holly. Maple won out by 1850. His first specimen book (1828) now resides at Columbia University. Wells, the inventor, was born in Johnstown, NY, in 1800, and died in Paterson, NJ, in 1875. His company was first called D. Wells&Co., but becomes Wells&Webb in 1839 when Wells forms a partnership with E.R. Webb, who had earlier that year bought the company of Leavenworth and Debow from George Bruce. In 1854, Wells sells his partnership to Webb, and so we have E.R. Webb&Co. Webb dies in 1864, and the company reverts to Heber Wells, the youngest son of Darius Wells, Alexander Vanderburgh and Henry Low---it is now Vanderburgh, Wells&Co. Hever Wells buys out the others, and the company becomes just Heber Wells. This last company was absorbed by Hamilton in 1898.

Revivals of the wood types of Darius Wells include AWT Page Antique Black (2013, Dick Pape; after an 1828 typeface by Darius Wells) and AWT Wells Roman Extrabold (2013, Dick Pape; after an 1828 fat typeface typeface by Darius Wells). [Google] [MyFonts] [More]  ⦿

Darren Crescenzi

Successful graphic designer in New York City. As a student in Corvallis, OR, Darrin Crescenzi designed Darrin Type (2006), a roman caps face. Later, he created the octagonal typeface Gratton. [Google] [More]  ⦿

Darren McPherson

Designer from Chicago, IL, who is now in New York City. Home page. Creator of the Western typeface in the Italian style, called Umidità 1832 (2009), about which Darren writes: This re-interpretation of an 1832 wood cut by Caslon was created for the Spring 2009 edition of the literary-arts journal Ninth Letter.

With Will Miller, he created the structural experimental typeface Skky (2011).

Behance link. [Google] [More]  ⦿

Darshan Jasani

Graphic designer in New York. Creator of Dash (2010), a slab experiment developed during a course given by Tonty di Spigno. [Google] [More]  ⦿

Daryl Paz

New York City-based graphic designer who created Concept (2012), an extreme contrast headline or poster face. [Google] [More]  ⦿

David Bergsland
[Hackberry Font Foundry (Was: NuevoDeco Typography, or: Bergsland Design)]

[MyFonts] [More]  ⦿

David Bruce

Born in Edinburgh, Scotland, David Bruce was the brother of George Bruce. Together, they ran the Bruce Type Foundry in New York from 1818 onwards. George gave his attention to the enlargement and development of the type-founding business, while David concentrated on stereotyping, a process he was the first to introduce in North America. [Google] [MyFonts] [More]  ⦿

David Bruce Jr.

Nephew of George Bruce and son of David Bruce, the founders of the Bruce Type Foundry in New York. Inventor of the Pivotal Typecasting machine in 1838. [Google] [MyFonts] [More]  ⦿

David Carson

David Carson (b. 1955, Corpus Christi, TX) graduated from San Diego State University. Arguably one of the world's most famous graphic designers, he created a few fonts and is credited with launching the typographic grunge style in the 1990s. When people talk of "David Carson" fonts, they usually mean fonts he used in publications he helped realize, like Ray Gun and Eye magazines, and the End of Print book. A number of these fonts that have appeared in Ray Gun (for which he worked from 1992 until 1995) while Carson was art director are available for sale from Garage Fonts. A font designed by Carson (emulating hand/finger gestures) is included in one of Neville's FUSE series. At FUSE 7, he published Fingers. In 1995, Carson left Ray Gun to found his own studio, David Carson Design, in New York City. In 2000, Carson closed his New York City studio and followed his children to Charleston, South Carolina, where their mother had relocated them. Since then he has lived in San Diego, Seattle, Zurich, and Tortola. Currently he lives and works in NYC.

Joe Clark ends an interview like this: I sent David Carson a copy of my published story via poste escargot, only to have it returned unopened with a handwritten note declaring: "Joe-- I'm not interested in your type of 'journalism.'" The design prima donna's antics are increasingly irrelevant now that he has been dismissed from Ray Gun (ding-dong!) and is now a meta-personality famous for being famous, rather like Zsa Zsa Gabor on The Hollywood Squares. No quantity of hagiographic Apple and other advertisements, David, can substitute for a genuine career. And your new magazine Speak comes dangerously close to monomania. Letting you lay it out and edit it and write it is the Peter principle brought to life. Though you're not interested in my type of "journalism," more and more readers are losing interest in yours.

First, a font list of fonts attributed to David Carson (but read on about that after the list): Australis, BigEd, BigLazyBoy, ChicaShica, ChickenPlain, Coniption, Contrary, Copper, Cystfun, Darwin, Dead, Evangelic, FragileReg, Freeway, Fux, Gangly, Gunnnn, Hawkwindps, Heroin, JapanNetta, Johndvl, Manifesto, Macanuda Pro, Magical, Mexican, Newcent, Note, O, OCROver, One, Ooombabold, PhaseGothic, Pizzaface, Public, PublicEnemy, Serifedsans, Seven, Shurpa, SignSystem, Spicadog, Temblorosa, Thaitrade, Times, Timstypo, Wingnut, Wrongfont, Yoyoyo, Zwigaforma.

This text was found on the web, by an anonymous poster: By Carson's own admission, he has designed "only a few typefaces." In fact, only one face from his own digital foundry (he is the founder of Garage Fonts) is credited to him---and even then it is in conjunction with Betsy Kopshina (Chicken Scratch). He has however, modified some existing faces from various designers for his own design work. Yet the majority of what you see labled Carson is "in the manner of," as he is generally recognized as the father of deconstructive (grunge) type and style, having lead the design of RayGun magazine and most notably being the author of "The End of Print." His style is literally taught at many design schools such as American Applied Arts, CalArts, and Cranbrook; where he is often a featured speaker. A substantial amount of work from schools such as these are incorrectly credited to Carson, when they're actually student assignments following his style. Still another portion are thought to be rejected submissions to Garage Fonts. And yet others are just misfilings (where no one took the time to get info). I have identified the source of many of the [fonts] credited to Carson. They are as follows:

    Addmorph - should be - Cranbrook (student: Schorn)
  • Big Eds Used Type - should be - American Applied Arts (student: Edwin Utermohlen at CalArts)
  • Boutime - should be - CalArts (student: Smith)
  • Canadian Photographer - should be - Font Police/RSF (Rodney Sheldon Fehsenfeld) - note: this is a pre-Garage version
  • Caustic Biomorph - should be - Fuse by FontShop (Barry Deck)
  • Coppertop - should be - CalArts (student: unkn)
  • EveFace - should be - CalArts (student: unkn)
  • Freeway - should be - American Applied Arts (student: unkn)
  • Ghettout - should be - Font Police/RSF (Rodney Sheldon Fehsenfeld)
  • One Ioda - should be - Laport, Sue (probably a student at one of the schools)
  • Sacred Cow - should be - Cranbrook (student: D. Shields)
  • Spiker - should be - CalArts (student: unkn)
  • STA Portable - should be - American Applied Arts (student: Christa Skinner)
  • Swimblur - should be - Tozzi, Craig (probably a student at one of the schools)

Author of the successful text The End of Print: The Graphic Design of David Carson (Chronicle, 1995).

Wikipedia link. Interview with Joe Clark (Toronto). Very readable bio. %d Apr 19 2000 [Google] [MyFonts] [More]  ⦿

David Chung

New York-based designer of the pixel and dot matrix fonts 01-DigitGraphics (2002), 01-Digit (2002), 01-Digit2000 (2002), 01DigitMono (2002), 01Digitall (2002).

Dafont link. [Google] [More]  ⦿

David Estep

New York City-based designer of the tuxedo typeface Altitude (2011). David says that he was inspired by skyscrapers in the design.

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

David Gonzalez

David Gonzlaez (Pencildrifter Studios, New York City) is an illustrator who uses great hand-drawn typography on his posters. Behance link. [Google] [More]  ⦿

David J. Perry
[Fonts for Scholars]

[More]  ⦿

David Kim

During his studies at the School of Visual Arts in New York City, David Kim created the deli shop typeface Charlito's Cocina (2014). [Google] [More]  ⦿

David Michael Gettis

New York City-based writer and editor who designed several nice book covers that employ innovative typographic styles. [Google] [More]  ⦿

David Platt
[Martian Design]

[More]  ⦿

David Quay

British type and graphic designer (b. 1948, London) who graduated from Ravensbourne College of Art&Design in 1967, and after working as a graphic designer in London, founded Quay&Gray Lettering with Paul Gray in 1983. David Quay Design started in 1987, and finally, in 1990, he co-founded The Foundry with Freda Sack and Mike Daines in London. The Foundry also develops custom typefaces, marks and logotypes for companies inernationally these include a special typeface to be readable at very small sizes for Yellow pages, corporate fonts for BGplc (British Gas) NatWest Bank, and signage typefaces for both RailTrack in the UK and the Lisbon Metro system in Portugal. After Freda's death, he set up The Foundry Types with Stuart de Rozario. He taught typography and design at the Academie St. Joost, Hogeschool Brabant from 2001-2003. He taught part-time at IDEP in Barcelona, and lives and works in Amsterdam. In 2009, he started selling his fonts at MyFonts. He is also a designer at Retype in Den Haag, The Netherlands. His fonts, in chronological order:

  • Custom lettering and type for the Penthouse calendar.
  • 1983: Santa Fe (monoline script), Agincourt (1983, Letraset and ITC, blackletter), Blackmoor (1983, ITC, English-style blackletter).
  • 1984: Titus, Vegas.
  • 1985: Quay, Milano.
  • 1986: Bronx (brush script).
  • 1987: Bordeaux (a skyline font family, Letraset), Bordeaux Script.
  • 1988: Latino Elongated, Mekanik.
  • 1989: Aquinas, Robotik, Helicon (1989, Berthold).
  • 1990: Quay Sans (a humanist sans based on Syntax), Digitek, Teknik.
  • 1991: Letraset Arta.
  • 1992: Coptek, La Bamba, Lambada (1992, Victorian; Letraset), Scriptek (angular design, ITC).
  • 1993: Marguerita (curly vampire script).
  • 2010: Kade (Re-Type---it is a display/semi display sans family of fonts based on vernacular lettering photographed around the harbours of Amsterdam and Rotterdam).
  • 2011: Bath (2010-2011), a typeface developed with Ramiro Espinoza for the signage and orientation of the city of Bath. It comes in Bath Serif and Bath Sans versions.
  • Foundry Gridnik (2016, The Foundry). Influenced by Wim Crouwel's work: Foundry Gridnik was developed from the single weight monospaced typewriter face, originally created by Dutch designer Wim Crouwel in the 1960s.
  • Foundry Tiento (2020). A magnificent very Latin didone family with exquisite hairline ligatures.
  • Fernhout (2021). The prototypical kitchen tile typeface. Quay was inspired by an icomplete alphabet Wim Crouwel designed in 1963 for an exhibition poster font the Dutch painter Edgar Fernhout at the Van Abbemuseum.

List of his typefaces, or revivals, at MyFonts: Bordeaux (Elsner+Flake), Bronx (Elsner+Flake), Agincourt (ITC), Aquinas (ITC), Blackmoor (ITC), Bordeaux (ITC), Bronx (ITC), Coptek (ITC), Digitek (ITC), La Bamba (ITC), Lambada (ITC), Latino Elongated (ITC), Letraset Arta (ITC), Marguerita (ITC), Mekanik (ITC), Milano (ITC), ITC Quay Sans (ITC), Robotik (ITC), Santa Fe (ITC), Scriptek (ITC), Teknik (ITC), Vegas (ITC), Titus (Linotype), Kade (Re-Type), Metallic Sky (SoftMaker), Foundry Sans (The Foundry), VLNL Hollandsche Nieuwe (VetteLetters).

View David Quay's typefaces. Klingspor link. FontShop link. Linotype link. View David Quay's typefaces. [Google] [MyFonts] [More]  ⦿

David Rosa

Stony Brook, NY-based designer of the experimental typeface Spotlight (2014). [Google] [More]  ⦿

David S. Rose

New York-born founder of the wireless publishing company AirMedia, who designed a character in the September 11 charity font done for FontAid II.

CV at MyFonts. Author of An Annotated Bibliography of Typography, Letterpress Printing & Other Arts of the Book (2003, Five Roses Press, New York), of Overviews of Printing Types, and of Introduction to Letterpress Printing. [Google] [MyFonts] [More]  ⦿

David Sagorski

Born in Kansas, David Sagorski moved to southern Florida to study at the Art Institute of Fort Lauderdale. He then moved to New York City and created several display typefaces and picture fonts for ITC and Letraset. David worked on oil rigs and pipelines in the bayous of Louisiana. He was encouraged to peruse type design based on the suggestions of friends and associates who admired his handlettering and other works of art.

His typefaces: Dancin' (1995), the dingbat ITC Dave's Raves One (1994), Expressions (1995), Faithful Fly (1994), ITC Juice (1995), Bang (1993), Mo Funky Fresh (1993, now at Linotype), Moderns (1994, influenced by masters such as Picasso and Kandinsky), ITC Snap (1995), Tag (1994), Bluntz (1994), DF Wildlife LET Plain (1994), and Kool Beans (2008, Umbrella Type).

Linotype link. FontShop link. Klingspor link.

View david sagorski's typefaces. [Google] [MyFonts] [More]  ⦿

David Soto

David Soto (DS Designs, Forest Hills, NY, b. 1986) created Box Bend DS (2009, octagonal face) and Square Nic (2009), an experimental face. [Google] [More]  ⦿

David Villouta

New York-based illustrator and graphic designer who made the octagonal typeface Quadratus (2011) and the wiry typeface Monte (2011). [Google] [More]  ⦿

David W. Shields

Shields holds a BFA from Memphis State University and a MFA from Cranbrook Academy of Art. He lived in Brooklyn where he co-founded the design studio Viewers Like You, and was a design consultant in New York. He designed Goofypop and Frank Rounded. Now an assistant professor at the University of Texas at Austin, Shields researches and catalogues wood type, and organizes the extensive Rob Roy Kelly wood type collection there. Speaker at ATypI 2009 in Mexico City, and at TypeCon 2012 in Milwaukee. [Google] [More]  ⦿

David Wise

David Wise is currently (2013-2014) enrolled as a MFA candidate in 2D Design at Cranbrook Academy of Art in Bloomfield Hills, Michigan. Creator of the geometric sans typeface Peter (2013): A geometric sans-serif inspired equally by Futura, Kabel, and Benjamin Crittion's trendy and ubiquitous typeface Raissonne (see trendlist.org). He also designed Krimhilde (2013). [Google] [More]  ⦿

David Yoon

[MyFonts] [More]  ⦿

Dawn Balhorn

New York, NY-based designer of the vintage railroad car and/or Far West font Cash West (2019). [Google] [More]  ⦿

D.C. Scarpelli
[The Ampersand Forest]

[MyFonts] [More]  ⦿

Dean Morris

Born in Bay City, MI. New-York based designer of Quicksilver (1976, Letraset), a neon / glass tube chrome all caps display typeface from the disco era.

He writes: I am Dean Morris, the designer of the typeface "Quicksilver" that came out in 1976 as part of Letraset's Letragraphica range of rub-down fonts, the stylishly aggeressive ones in the yellow pages of the catalog. I named the typeface "Quicksliver" because it looked like bent thermometers - quicksilver being a nickname for mercury (I never meant it to suggest neon), and because "Quicksilver" had some of the cooler letters such as Q, K, E, and R. The name was my second choice, however. Letraset Englishly felt that my first choice, "Polished Sausage", would be "rather unpopular iln foreign markets".

About the genesis, e says: I designed it as a 16 year-old kid in John Glenn High School in Bay City, Michigan, and sent Letraset a xerox of a tight sketch of 3" letters kerned with the heavy outlines slightly overlapping as I originally intended. I drew only the skinny S without an alternate and submitted no punctuation (what did I know?). Letraset must have wanted it real fast (fifties nostalgia and disco were WHITE HOT then, remember), because they did the finished art themselves at 5" high (they can't have known my age, maybe they had no confidence in my technical talent), starting with the E as did I in the design stage. And what a gorgeous rendering job they did in the pre-Mac days of ruling pens, straightedges, and hand-drawn curves (those aren't compass curves)! Letraset stayed very close to my tight sketch, designed the punctuation, and suggested an alternate but wierd wide S, which I approved, figuring there was probably no other decent way to design it. I imagined the punctuation would match the stroke width of the letters but they drew them narrower and slightly oddly, but I figured what the hell. If you wondered, "What was I thinking?" when you looked at the A, B, E, F, K, N, Q, R, and Y, I'll tell you. I was simply trying to describe part of the letter being drawn in the wrong direction. I thought I was so clever. For instance the E cross-stroke goes from right to left rather than from left to right like, oh, any other Roman cap E in history. R and Q diagonals came from waaaaaaaay on the other side, N goes waaaaaaay around the wrong way before starting the diagonal. "Chrome" letters can branch but these "glass tube" letters don't!

And then the seventies ended. Dean: Alas, digitization came along eventually and fontographer technology followed. Crash went sales of rub-down type, and control of artwork was pirated without my knowledge and beyond my control, which I don't condone but I totally understand. The first album cover I saw with Quicksilver was Men At Work's first smash LP, then punk pioneer Stiff Records' logo appeared on 45 rpm labels with a clearly Quicksliver-inspired F. For about ten years I, family, and friends collected food packages, posters, took photos of signs, etc. with Quicksliver from around the world. I think it's about the easiest typeface to mishandle ever. Eventually I stopped trying to keep track of it. Maybe I'm overestimating its popularity now after 30 years (I totally forgot about it for about a decade), but to me seeing it around at all is itself a rave.

Ray Larabie published Tight in 2007 at Typodermic, which is a digital revival of Quicksilver.

Dean Morris's photo stream at Flickr. Klingspor link. [Google] [MyFonts] [More]  ⦿

Deanna McGeown

Vintage seed packaging from the 19th century inspired Deanna McGeown in the design of a Victorian ornamental caps typeface in 2012. Deanna was a student in Queens, New York, at the time of that design. [Google] [More]  ⦿

Deanna Strait

Albany, NY-based designer of Thatched (2016). [Google] [More]  ⦿

Deep Shah

Graphic designer from New City (not New York City), NY, who graduated in 2011 with a BA in Graphic Design from Binghamton University. He created Malai Sans (2011). [Google] [More]  ⦿

Deka Design
[Dmitry Krasny]

Dmitry Krasny is the founder and creative director of Deka Design, a visual communications firm in New York City. He has been teaching courses in typography, information design, and book design since 1994, and served as Chair of Communication Design Department of Kanazawa International Design Institute (KIDI), Japan. He served on the jury of the TDC2 Type Directors Club's Type Design Competition 2004.

In 2002, he designed the Venetian typeface family ET Bembo for Edward Tufte / Graphics Press. Tufte says that Bonnie Scranton and he himself co-designed the font but the extent of this collaboration is unclear. That typeface family is now available for free download from Tufte's Github site, where it is catalogued under the name ET Book. Later extensions enclude Daniel Benjamin Miller's XETBook (2019) and Michael Sharpe's ETbb (2020). [Google] [More]  ⦿

Deliberate Design
[Eric Eaton]

Eric Eaton is a graduate from the California College of Arts and Crafts, San Francisco, CA (1997). He is a design director at Wired Digital in San Francisco, since 1996. He has made some experimental fonts (not downloadable): Bricks Are is a 2001 take on Akzident Grotesque, JAT is a 2000 serif face. Deliberately (2001) is a stencil face, Labyrinth (1999) is the ultimate pixel face, 3 by 3. Popva (1993) is based on a version of a logo for the City of New York (Street Cinema). [Google] [More]  ⦿

Demetrio E. Cabarga

Codesigner of Cabarga Cursiva (ITC, 1982) with his son Leslie Cabarga. Demetrio lives in New York. FontShop link. [Google] [MyFonts] [More]  ⦿

Demetrios Vallas

Brooklyn, NY-based designer of the counterless display typeface Dopeography (2015). Behance link. [Google] [More]  ⦿

Demian Yoon

New York City-based designer of Sinclair Old Style (2013). [Google] [More]  ⦿

Denis Kegler

American designer of the fonts P22 Bauhaus Extras, P22 Bauhaus Extras, P22 Bayer Shadow, P22 Bayer Universal, P22 Cage Extras, P22 Da Vinci, P22 Da Vinci Extras, P22 Escher, P22 Escher Extras, P22 Folk Art Extras, P22 Hopper Josephine, Koch Signs (astrological, Christian, medieval and runic iconography from Rudolf Koch's The Book of Signs), P22 Michelangelo, P22 Michelangelo Extras, P22 Hieroglyphic, P22 Petroglyphs, P22 Rodin, P22 Rodin Extras, P22 Vienna Extras, P22 Vienna (1997: art nouveau and expressionist style based on the Vienna Workshop), P22 Way Out West, P22 WayOutWest Critters. [Google] [MyFonts] [More]  ⦿

Dennis Ortiz-Lopez

Prolific NY-based designer (born in East Los Angeles) who specializes in faithful revivals of old masters and logotype, in Latin and Hebrew. He made over 500 fonts including. He is also a translator and illuminator of Biblical period Hebrew and Aramaic. His clients include The Vatican (Pope John Paul II's Holocaust commemerative CD) and Hadassah, the Women's Zionist Organization of America. His specialties are translations worded in the language and style of the period in which the Biblical text was composed. His translation and enumeration of kabbalistic writings, otherwise known as Hebrew Mysticism and numerology, demonstrate the mathematical base of Biblical miracles.

MyFonts wrote this analysis of his work: Dennis Ortiz-Lopez is a hugely talented New York type designer. lettering artist&typographer, with around 600 typefaces to his credit. Typographic quality in the magazine market doesn't get much better than Rolling Stone magazine---well, guess who was their typographer (as well as InStyle, Sports Illustrated, People, etc.). Dennis made a successful transition to the digital era around 1989, keeping up his prodigious output. Dennis is also known by his Hebrew name, Siynn bar-Diyonn. Dennis follows the footsteps of great American type designers such as Morris Fuller Benton and Herb Lubalin. And he likes contrasts, too: his typefaces are very narrow or very wide, very thin or very fat. If you love Franklin Gothic but always felt like it's not fat and wide enough. try [Google] [MyFonts] [More]  ⦿

Dennis Palumbo

Original fonts as well as font links (about 1800). All fonts made by Dennis Palumbo, a writer from New York, who used to make fonts for Atari. Some fonts were free, but most are now pay fonts, it seems.

Commercial fonts: Vector 3d (1996), Flash Cards Addition (1998), Clock-Digital, Film Strip, BabyBlock, DecorativeBorders (4 fonts), OldWest, Ceramic Tile (2005), I Beam (2005), Porthole (2000), SanSerifUltra Condensed, SanSerifOutline, OldWest 3D, Brick, ZebraLumber, SerifOutline, Dalmation, Vector (4 fonts), Brick3D, OldEnglishEmbellished (1999, Fraktur), ChainLink, Fractions, SanSerif 3DShadow, Serif3D Shadow, Marquee, First Grade (lined school font), Pennant, USA States, USA Map, Piano Keyboard, Gallya Ornamented (1995), Diamond Plate (2000), Clock Digital (1997), Picket Fence (2000).

Shareware: Bobcat (2 fonts), Panther (4 fonts), Caracal Backslant (2 fonts), Lynx (4 fonts), Ocelot (4 monowidth fonts), Cheetah (2 fonts), Serval (2002), Puma (2000, 4 weights), Ceramic Tile (2005), Film Font (2006), One Stroke (2007, octagonal, hairline), Gallya (2008).

The list of his fonts: Baby Block Brick, Brick 3D, Ceramic Tile, Chain Link, Clock - Digital, Dalmation, Decorative Borders, Decorative Borders 2, Decorative Borders 3, Decorative Borders 4, Diamond Plate, Filmfont, FilmStrip, First Grade, Flash Cards - Addition, Fractions, Gallya, Gallya Ornamented, Highway Broken Line, I Beam, Marquee, Old English Embellished, Old English Embellished Bold, Old English Embellished Bold Italic, Old English Embellished Italic, Old West, Old West 3D, One Stroke, Pennant, Piano Keyboard, Picket Fence, Porthole, PVC Pipe, San Serif 3D Shadow, San Serif Outline, San Serif Ultra Condensed, San Serif Ultra Condensed Bold, Serif 3D Shadow, Serif Outline, Vector, Vector 3D, Vector Bold, Vector Bold Italic, Vector Italic, PVC Pipe, USA Map, USA States, Zebra Lumber.

Klingspor link. [Google] [More]  ⦿

Dennis Pelli

Creator of the free eye chart font Sloan (1990-1994, Metropia Ltd), which is based on Louise Sloan's design, which in turn has been designated the US standard for acuity testing by the National Academy of Sciences, National Research Council, Committee on Vision (1980, Adv Ophthalmol, 41, 103-148). The standard specifies only the letters CDHKNORSVZ, whereas the font file provides a complete uppercase alphabet A-Z. This font was developed for the Pelli-Robson Contrast Sensitivity Chart. It is made available at the Pelli Lab in the Psychology Department of New York University. He also created the free font Yung (2006): 26 Chinese characters a-z based on high-resolution scans of Yung Chih-sheng's beautiful calligraphy in a beginning Chinese primer (DeFrancis, J., 1976, Character Text for Beginning Chinese, Second Ed. New Haven, CT: Yale University Press). [Google] [More]  ⦿

Derek Munn

Brooklyn, NY-based graphic designer, who also claims Norfolk, VA, as his home. He deconstructed a hairdryer---its pieces made up the glyphs of Split Ends (2011). About Silverback (2011), he says: Using the economical downturn of 2008 as a point of inspiration, I created a font that captured historical monetary references and personal feelings toward Wall Street. I studied old stock certificates and began to simplify the forms. Keeping the design cold and intimidating, I included nods to razor blades and the illuminati.

He made the copperplate-look typeface Thick Block (2012) for the upstart Brooklyn restaurant The Brooklyn Sandwich Society.

Still in 2012, he combined the copperplate and Western signage styles in his Applewine typeface.

In 2013, he created the Venetian typeface Stonewall Roman. He will extend this elegant and promising typeface to a full-fledged family in 2014.

Ragehaus is the web presence of Derek and his wife Kim.

Behance link. [Google] [More]  ⦿

Des Barzey

New York City-based graphic designer, who has worked in London. Behance link. In 2010, he created the Model T Ford Face (2010), a typeface based on bent frames of glasses. The Porsche sunglasses led to Porsche Carrera Rear Ended (2010). [Google] [More]  ⦿

Design Culture (was: Cubanica Fonts)
[Pablo A. Medina]

Pablo A. Medina designs all fonts at Cubanica Fonts in New York. He is a Communication Design professor at Parsons the New School for Design and lives in the East Village of New York City. He has also taught at Maryland Institute College of Art. MyFonts page. Cubanica became Design Culture in 2016.

Cubanica fonts:

  • 24hrs.
  • Calaveras (2011). Based on a signage style in Buenos Aires called Fileteado.
  • Cuba (1996). A 3d signage typeface based on a sign for the restaurant La Flor de Cuba on Bergenline Avenue in Union City, New Jersey. It evokes of hand-painted signs on glass.
  • Dekalb (2017).
  • Diablitos (2011).
  • First Avenue (2000). Based on an old metal neon sign, it was first published at Plazm.
  • Imbalance (2002). An experimental sans.
  • Marquee.
  • Medina Gothic (2005). A clean sans family.
  • North Bergen (1996). A vernacular sans.
  • Sailor Gothic (2003).
  • Sombra.
  • Vitrina (1996). A connected signage typeface first published at Plazm.
  • Union Square. A bold stitching font, and at the same time a nice homage to the mosaic typography in the New York subway system.

Klingspor link.

View Cubanica's library of typefaces. View Pablo Medina's typefaces. [Google] [MyFonts] [More]  ⦿

Design Observer
[Michael Bierut]

A design site where one sometimes finds discussions on type. The founding writers are Michael Bierut, William Drenttel (an ex-typographer practicing law), Jessica Helfand and Rick Poynor.

From Bierut's CV: Michael Bierut studied graphic design at the University of Cincinnati's College of Design, Architecture, Art and Planning. Prior to joining Pentagram in 1990 as a partner in the firm's New York office, he worked for ten years at Vignelli Associates, ultimately as vice president of graphic design. His clients at Pentagram have included The Council of Fashion Designers of America, Harley-Davidson, The Minnesota Children's Museum, The Walt Disney Company, Mohawk Paper Mills, Motorola, Princeton University, the Brooklyn Academy of Music, and the New York Jets. Bierut's work is represented in the permanent collections of the Museum of Modern Art and the Metropolitan Museum of Art in New York, and the Musee des Arts Decoratifs, Montreal. He has served as president of the New York Chapter of the American Institute of Graphic Arts (AIGA) from 1988 to 1990 and is president emeritus of AIGA National. Michael was elected to the Alliance Graphique Internationale in 1989, and was elected to the Art Directors Club Hall of Fame in 2003. Michael is a Senior Critic in Graphic Design at the Yale School of Art. He writes frequently about design and is the co-editor of the four-volume series Looking Closer: Critical Writings on Graphic published by Allworth Press. In 1998 he co-edited and designed the monograph Tibor Kalman: Perverse Optimist. His commentaries about graphic design in everyday life can be heard nationally on the Public Radio International program "Studio 360."

He received the AIGA Medal in 2006, and was a winner in the Design Mind category at the 2008 Cooper-Hewitt National Design Awards. He is a cofounder of the website Design Observer. Michael's book 79 Short Essays on Design was published in 2007 by Princeton Architectural Press. His collection of new essays, Now You See It, was published in the fall of 2017.

In 2018, Michael Bierut and Village type director Chester Jenkins talk collaborated on the Sherman typeface designed as the linchpin of the new identity for Syracuse University. The typeface revives a design created by Frederic Goudy in 1912 which ended up in the possession of the University.

Additional material and links on Bierut: The Atlantic Talks Typography: interview with M. Bierut, Pentagram link, Reasons to Choose a Particular Typeface For a Project.

In 2013, Bierut redesigned the New York City parking signs. [Google] [More]  ⦿

Devin Rosado

Broolyn, NY-based designer (b. 1987) of the free typeface Discharge (2015, brush type). Dafont link. [Google] [More]  ⦿

Devon Bain

During his studies in New York City, Devon Bain designed the hexagonal typeface Hexagon (2017). [Google] [More]  ⦿

DIA (Dreamers Ink Aesthetics)
[Mitch Paone]

Creative production studio in New York City led by Mitch Paone. In 2012, they created the sans typefaces MP Margot (inspired by art deco typefaces seen in the streets of Paris), MP Monte (inspired by wood type) and MP Roger.

In 2016, Monkey Type and Mitch Paone designed the typeface family Banana Grotesk and the wide monolinear all caps sans typeface Albert. In 2020, they released the sans typeface family Marcel. [Google] [More]  ⦿

Dian Feng

Dian Feng (Chicago, IL, then New York City, and then Hong Kong) designed the delicate oriental simulation typeface Hybrid and the shadow typeface Space in 2013 during his studies at UIUC in Chicago. Before that, he worked as an architectural assistant at the Beijing Institute Of Architecture Design, 1A3 Studio, Beijing, China. [Google] [More]  ⦿

Diana Corredin

Graphic designer and lettering artist in Brooklyn, NY. In 2016, she designed the Victorian era ornamental typeface Bushwick Brooklyn, and drew a decorative all caps typeface. Behance link. [Google] [More]  ⦿

Diana Marianovsky

Originally from Jerusalem and based in New Jersey. During her studies in New York City, Diana Marianovsky designed the experimental Mondriaan-inspired typeface Chiaroscuro (2016). Behance link. [Google] [More]  ⦿

Diana Sanchez

Designer from Brooklyn, NY [now living in Helsinki], who graduated from The School of Visual Arts in 2007. Creator of Numbers (2013), a beautiful circuit-inspired octagonal set of numbers. She also made the Peignotian fashion mag typeface Victoria (2013). Other typefaces include Travel Type (outlined style) and Gemma (2014, beveled).

Behance link. [Google] [More]  ⦿

Dick Higgins

Composer, poet and founder of Something Else Press. He designed Kenster (named after Fluxus Mail-artist Ken Friedman) and Magwitch. Marilyn Stablein's High in the Himalayas is set in Kenster. Interview. He was from Barrytown, NY, and died in Quebec in 1998. If anyone can track down these fonts, please let me know! [Google] [More]  ⦿

Dick Skinner
[Nicolas Guagnini]

New York City-based publisher of Dickface (2012), a font apparently made by Nicolas Guagnini and Bill Hayden. It can be bought for one dollar. Discussion at Typophile. Behance link. [Google] [More]  ⦿

Diddle Doodle

New York City-based designer of the connect-the-dots typeface Dotty (2016). [Google] [More]  ⦿

Digital Scriptorium

Housed at Columbia University, The Digital Scriptorium is a growing image database of medieval and renaissance manuscripts that unites scattered resources from many institutions into an international tool for teaching and scholarly research. [Google] [More]  ⦿

Dilan Emre

New York City-based designer of the handcrafted typeface Enfantin (2015). Behance link. [Google] [More]  ⦿

Dilhan Kushan

Creator in Brooklyn, NY, of a paperclip typeface in 2011. [Google] [More]  ⦿

Dillon Coyne

Creator in New York City of the retro gaming font Retroact (2015). [Google] [More]  ⦿

Dimenzioned Studio

Free pixelated fonts (for now) by "Ree Kee". Some commercial pixel fonts too. Fantastic web presentation! The free fonts: Arcadepix, Chicpix, RegupixBold, Regupix, ZXpix. Commercial: Mobypix, Sixpix, Fivepix, Slimpix, Flatpix, Xtrapix, Tinypix, Grandpix. John Johnson is Ree Kee's business partner at Dimenzioned Studio. [Google] [More]  ⦿

Disappearing Inc
[Jeff Prybolsky]

With Jason Lucas, Jeff Prybolsky (who designed Cowpoke, [T-26]) runs Disappearing Inc in New York. Commercial fonts: Thumtax, Supersonic, Desideratum, Ephemeral, Storybook, Cowpoke, Spoilsport, Cirque Detroit. Dead link. [Google] [More]  ⦿

Display Material Company

Company located in New York City, and St. Paul, MN, which sold stencils as standard equipment with the Style A-029 Stencillor. In 1930, they published the lettering book Display material catalogue.

In 2013, Jeff Levine designed the typeface Floorwalker JNL, which is based on stencils made in 1926 by Display Material Company. [Google] [More]  ⦿

Dmitry Krasny
[Deka Design]

[More]  ⦿

Dominika Kramerova

Graphic designer in New York City. Behance link. She created the delicate Stained Glass Rosette type family in 2011. [Google] [More]  ⦿

Don Citarella

Based in New York City, Don Citarella created the squarish typeface Donline (2009) and the roundish condensed typeface Era 404 (2011), which was a new identity for era404 Creative Group, Inc.

In 2015, he published the (beautiful!) architecturally inspired hairline sans typeface Citarella Gothic and Citarella Gothic Ultra Light. MyFonts link. Dafont link. [Google] [MyFonts] [More]  ⦿

Don Munson

Ex-art director at Ballentine Books. Creator of MGB Patrician (1980, Letraset). Digital revivals or remakes include Verve (Dieter Steffmann), Mazama Plain (Harris Type), Aegina (Brendel Informatik GmbH), and Protea (Castcraft/Opti),

In the MyFonts forum of 2005, J-Louise Heron writes: Don Munson, former Art Director of Ballantine Books, NYC---designed MGB Patrician. (The initials I believe were for him, his wife and partner, the Patrician for his daughter) At first it was a typositor exclusive at Haber. They would bill out 2 dollars a letter for each letter they set. Eventually, it was turned over to Letraset and made a rub-on transfer---with those great alternative "S"s... Mr. Munson left his job, Haber's shop moved into Image's shop, and old man Haber, left the office one night, took 4 steps outside the door, had a heart attack, and was found dead on the floor later that night. Lynda Graham-Barber informed us that MGB Patrician was co-designed by Ray Barber, her late husband, and Don Munson. The letters MGB refer to Don Munson, Lynda Graham and Ray Barber. [Google] [More]  ⦿

Don Rice

Don Rice in New York made four truetype fonts (all formats, 65 USD) for jazz sheet music: GoldenAgeMusic, GoldenAgeText, GoldenAgeTitle, GoldenAgeXtras. [Google] [More]  ⦿

Donald Partyka

Donald Partyka is the Creative Director of the policy journal Americas Quarterly, which he launched in 2007 and still oversees. Previously he has art directed numerous consumer and academic magazines, including the National Magazine Award-winning Linguafranca. Other recent projects include the design of the monograph Typography, Referenced. A graduate of The Rhode Island School of Design, he is also an adjunct faculty member at The City College of New York.

At Type@Cooper in 2012, he reinterpreted Jaroslav Benda's 1952 typeface Betu, and published it as Benda. [Google] [More]  ⦿

Douglas and Lloyd Morgan

Wood type collectors weho started building a collection in 1940 in Dobbs Ferry, New York. [Google] [More]  ⦿

Douglas Hayes

Douglas Hayes is from Buffalo, lives in Brooklyn, and is involved in graphic design and type design. He cooperated on several typefaces at MCKL Type, Jeremy Mickel's typefoundry in Los Angeles. [Google] [More]  ⦿

Douglas Knapton

Brooklyn, NY-based designer of the neon typeface Duodash (2015). Behance link. [Google] [More]  ⦿

DownHill Publishing
[Ramón Abajo]

Free and commercial school fonts by Ramón Abajo, all made in 1999 or 2000: Ramon is a high school Spanish teacher in California. His fonts are floating around in cyberspace. His fonts were also for sale at Fonts 4 Teachers (or: Tiende Escolar). They are now available via New York City-based DownHill Publishing, which was founded in 1998 in Los Angeles, California. A list: AbcAlegria, AbcAmSignLang, AbcAmSignLangLetter, AbcBulletin, AbcClocks, AbcCursive, AbcCursiveArrow, AbcCursiveArrowDotted, AbcCursiveDotted, AbcCursiveDottedLined, AbcCursiveLined, AbcDNManus (AbcDNManusArrow, AbcDNManusArrowDotted, AbcDNManusDotted, AbcDNManusDottedLined, AbcDNManusLined, AbcDNManuscript), AbcDomino, AbcFaces, AbcHeadlines, AbcKids, AbcMath, AbcPhonicsOne, AbcPhonicsTwo, AbcPrint, AbcPrintArrow, AbcPrintArrowDotted, AbcPrintDotted, AbcPrintDottedLined, AbcPrintLined, AbcTeacher.

The DownHill Publishing fonts are grouped into Print Writing, D'Nealian, Box Writing, Cursive Writing, Phonics, Sign Language, Seasonal, Decorative. [Google] [More]  ⦿

DP Fonts
[Jennifer DeAngelis]

DP Fonts (est. 2010) sells fonts created by two New York college friends, Jennifer DeAngelis and Amanda Pastenkos. Jennifer (b. 1985) lives in New Jersey, and runs the graphic and web design company Jennifer DeAngelis Design (est. 2008), which is also listed on MyFonts. The first DP Fonts font on MyFonts is the dingbat typeface Wintery Mix (2010). In 2011, Jennifer published the hand-printed 3d outline typeface Marquee and Mermaid NY (2011, dingbats). [Google] [MyFonts] [More]  ⦿

Dresser Johnson
[Kevin Dresser]

Corporate identity and print design company in New Paltz, NY, est. 2003 in New York City by Kevin Dresser and Kate Johnson. Kevin Dresser (b. 1971, Rochester, NY), its head, was a type designer at Hoefler Type Foundry from 1997 until 2000, when he started Dresser & Sons. His work there included art deco typefaces and iconography for the signage program at Radio City Music Hall, a redesign of the classic Cheltenham typeface for The New York Times Magazine, a custom typeface in Hebrew for the Rodeph Sholom Synagogue, a grunge typeface for Florent Restaurant, custom typefaces for Architectural Design Magazine, iconography for The Museum of Modern Art, lettering for TypeCon 2005, and a few retail typefaces. In 2003, he published the 15-weight sans family General at Thirstype, which is now also available for licensing from Dresser Johnson. Kate Johnson is a graphic designer who graduated from the Rhode Island School of Design.

Typefaces from 2012: Terminus (dot matrix face). [Google] [MyFonts] [More]  ⦿

Dribble Graphics

Art director in New York City. The fonts shown on his/her site are made by others. [Google] [More]  ⦿

Dunwich Type Founders
[James Walker Puckett]

Dunwich Type Founders (or: DTF) in Boulder, CO (was: New York City) is run by James Walker Puckett (b. 1978, Virginia), who graduated from the Corcoran College of Art and Design in Washington, DC. Blog. Behance link. Fontspring link. Type Library. Typefaces:

  • Armitage (2010). A grotesque sans family.
  • The squarish signpainting family Downturn (2009).
  • He is working on a (nice!) revival of Fry's Baskerville, which is based on a scan of types cut in 1768 by Isaac Moore.
  • Lorimer (2011) is a gothic sans serif that was inspired by 19th century inscriptions in the yard of New York's St. Mark's Church. Some weights are free. In 2011, this was followed by Lorimer No. 2 and Lorimer No. 2 Condensed. In 2012, there was an announcement that Lorimer was no longer being distributed. But that was contradicted in 2015, when James placed Lorimer No. 2 Stencil (2011) at the Dafont site for free download.
  • New Constructivist Beta (2007).
  • Recovery (2008, TypeTrust). The grunge version of Recovery is Black Monday (2009, with Silas Dilworth): it has several glyphs for randomization.
  • The 1829 specimen book of Alonzo W. Kinsley's Franklin Letter Foundry led James Puckett to develop the splendid ornamental didone fat face Sybarite (2011), which comes in many optical weights.
  • The friendly superelliptical black poster typeface Gigalypse (2012).
  • Becker Gothics (2013). A revival of five typefaces from Ornamental Penmanship (1854, George Becker): Egyptian, Egyptian Rounded, Stencil, Tuscan and Concave. All have Western and wood type influences.
  • Ironstrike and Ironstrike Stencil (2014). Ironstrike pays homage to industrial and constructivist lettering.
  • Uniblok (2015). A free blocky font.
  • Rhodium Libre (2015, free at Google Fonts), designed for use on screens at small sizes and the Latin and Devanagari scripts. Historical models for Rhodium's design are Fortune (aka Volta; by Konrad Bauer and Walter Baum) and Rex (by Intertype).
  • Padyakke (2015) is a libre Kannada font.
  • Antarctican (2017, Dunwich Type Founders): Antarctican hybridizes ruler and compass geometry and American wood type. Some styles are monospaced.
  • Barteldes (2018). A fashion mag typeface family.
  • Margherita (2021). A free sturdy typeface family based on urban lettering in Italy.

Creative Market link. https://fonts.ilovetypography.com/fonts/dunwich-type-founders">I Love Typography link. Github link. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

Dwi Yudha

[More]  ⦿

Easel Design
[Kasey Stevenson Buck]

New York City-based designer of the beveled typeface Emerald Cut (2017). [Google] [More]  ⦿

Eastern Brass&Wood Type
[Frederick Gerken]

American wood type manufacturer, est. 1910 in New York City by Frederick Gerken. At some point it was in Queens, but it is unknown when it ceased operations. [Google] [More]  ⦿

Edd Harrington
[Colophon Foundry]

[More]  ⦿

Edgard Cirlin

Type designer from Jackson Heights, NY, who created an ornamental caps face for Oxford University Press in 1944. [Google] [More]  ⦿

Edition Studio
[Adrien Menard]

Adrien Menard is a graphic and type designer first based in Paris and now in Brooklyn, NY, where he set up Edition Studio. Adrien studied at the ECV Paris and at the KABK in Den Haag, The Netherlands. He holds a Master in Art Direction. His typefaces:

  • Haarlem AM (2015). A serif typeface family based on the letters used in Origines Typographicae, Meerman Fleishman, 1765, from the Enschedé font foundry.
  • Paraag AM (2015). A monospaced sans.
  • Keller Stencil (2015). A classy stencil typeface based on a Garamond skeleton. Developed with Xavier Lecuyer and Anton Haesendonck. Perhaps renamed Klod AM in 2016, and republished at Edition Studio in 2018.
  • Continua (2018). A modulated display sans.
  • Sample and Sample Cursive (2018).

Custom typefaces were done via Edition Studio for NY Nike Headquarters and Darcstudio. [Google] [More]  ⦿

Edward A. Capen
[Empire Wood Type Co.]

[More]  ⦿

Edward Benguiat

Born in New York in 1927, Ed grew up in Brooklyn. He died in 2020. Ed was once a very prominent jazz percussionist playing in several big bands with Stan Kenton and Woody Herman, among others. He has created a large number of typefaces between 1970 and 1995. About his career, he once said: I'm really a musician, a jazz percussionist. One day I went to the musician's union to pay dues and I saw all these old people who were playing bar mitzvahs and Greek weddings. It occurred to me that one day that's going to be me, so I decided to become an illustrator. He designed more than 400 typefaces for PhotoLettering. He played a critical role in establishing The International Typeface Corporation (or ITC) in the late '60s and early '70s. Founded in 1971 by designers Herb Lubalin, Aaron Burns, and Ed Ronthaler, ITC was formed to market type to the industry. Lubalin and Burns contacted Benguiat, whose first ITC project was working on Souvenir. Ed became a partner with Lubalin in the development of U&lc, ITC's famous magazine, and the creation of new typefaces such as Tiffany, Benguiat, Benguiat Gothic, Korinna, Panache, Modern No. 216, Bookman, Caslon No. 225, Barcelona, Avant Garde Condensed, and many more. With Herb Lubalin, Ed eventually became vice-president of ITC until its sale to Esselte Ltd.

Ed Benguiat taught at SVA in New York for more than fifty years.

Ed is a popular keynote speaker at major type meetings, including, e.g., at TypeCon 2011, where he entertained the crowd with quotes such as I do not think of type as something that should be readable. It should be beautiful. Screw readable. His typefaces---those from PhotoLettering excepted:

  • ITC Avant Garde Gothic (1971-1977, with Andre Gurtler, Tom Carnase, Christian Mengelt, and Erich Gschwind).
  • ITC Modern No. 216 (1982: a didone text family). The Softmaker versions are called M791 Modern and Montpellier. Ed writes: It's a revival of the classic British Modern design. I tried to capture the dignity and grace of the original designs, but not make it look stuffy. Moderns were often numbered to distinguish different versions. 216 East 45th street was where I worked when I drew the ITC Modern No. 216 font.
  • Modern No. 20, after the Stephenson Blake original from 1905. [Image by Kristen Cleghorn]
  • ITC Barcelona (1981). Ed writes: I was one of the design consultants for the 1992 Olympics in Barcelona, Spain. What could be more appropriate then to design a typeface for the event? The design of the ITC Barcelona font family, with its soft triangular serifs set the mood for the soft-spoken Catalan people.
  • ITC Bauhaus (1974-1975). ITC Bauhaus was co-designed with Victor Caruso. The Softmaker versions are called R790 Sans and Dessau. The Infinitype version is Dessau. The Bitstream version is Geometric 752.
  • ITC Benguiat (1977) and ITC Benguiat Gothic (1977-1979). This eponymous comic book (or art nouveau style) typeface family appeared in the 1980s on the covers of Stephen King novels and Choose Your Own Adventure books, in the copyright notice at the beginning of all Paramount Pictures' VHS tapes and in title sequences for Quentin Tarantino's films, the Next Generation series of Star Trek films in the mid-to-late '90s, and the recent Netflix series Stranger Things. It was revived as Benjamin and Benjamin Gothic on the SoftMaker MegaFont XXL CD (2002). Softmaker also has fonts called B693 Roman and B691 Sans that are identical. Benguiat Pro ITC was published in 2008.
  • Benguiat Roman (1960s).
  • PL Bernhardt (Photo-Lettering, 1970), modeled after a 1930-1931 design by Lucian Bernhard.
  • ITC Bookman (1975). See B791 Roman on the SoftMaker MegaFont XXL CD (2002).
  • Calendar (1960s).
  • ITC Caslon 224 (1983). In 1960, he added Benguiat Caslon Swash, and in 1970, Caslon 223 followed. See C790 Roman on the SoftMaker MegaFont XXL CD (2002), and Caslon CP (2012, Claude Pelletier). Christian Schwartz and Bas Smidt at House Industries digitized Benguiat Caslon.
  • ITC Century Handtooled (1993).
  • ITC Cheltenham Handtooled (1993).
  • ITC Edwardian Script (1994).
  • ITC Garamond Handtooled.
  • ITC Korinna (1974): after a 1904 typeface called Korinna by Berthold. Michael Brady thinks it is very close to the Berthold original.
  • Laurent (1960s).
  • Lubalin Graph (1974, ITC). By Herb Lubalin, Ed Benguiat, Joe Sundwall, and Tony DiSpigna.
  • ITC Panache (1987-1988). Ed writes: I put my heart, soul, sweat and tears into the design of the ITC Panache font family. I was striving to create an easy to read, legible typeface. I know in my heart that I accomplished what I set out to do. Not only is it easy to read, it's also sophisticated.
  • Scorpio (1960s).
  • ITC Souvenir. Kent Lew: Benguiat revived Benton's Souvenir for ITC in the '70s and that was well-received for a while. On the other hand, look what happened after that. Souvenir in the ATF 1923 catalog looks really nice, IMO. Souvenir in the '70s seems cliché now. Souvenir these days would be downright dorky. Souvenir was done by Benguiat in 1967 at PhotoLettering. Morris Fuller Benton's original model was from 1914. It was described by Simon Loxley as follows: Souvenir is a typeface that is intractably rooted in style to a particular era, although one a half-century after its creation. It is a quintessential late 1960s and 1970s typeface, informal, with full rounded character shapes and rounded serifs, a laid-back Cheltenham. The Bitstream version of ITC Souvenir was called Sovran.
  • ITC Tiffany (1974), a fashion mag typeface family. Adobe says that it is a blend of Ronaldson, released in 1884 by the MacKellar Smiths&Jordan foundry, and Caxton, released in 1904 by American Type Founders.
  • PL Torino (1960, Photo-Lettering), a blackboard bold didone-inspired typeface.
  • In 2004, House Industries released five typefaces based on the lettering of Ed Benguiat: Ed Interlock (1400 ligatures---based on Ed's Interlock, Photolettering, 1960s), Ed Roman (animated bounce), Ed Script, Ed Gothic and Bengbats.
  • He did logotypes for many companies, including Esquire, New York Times, Playboy, Reader's Digesn, Sports Illustrated, Look, Estée Lauder, AT&T, A&E, Planet of the Apes, Super Fly.
  • Lesser known Photolettering typefaces include Benguiat Bounce, Benguiat Boutique, Benguiat Bravado, Benguiat Brush, Benguiat Buffalo (+Ornaments: a western wood type font), Benguiat Century, Benguiat Cinema, Benguiat Congressional, Benguiat Cooper Black, Benguiat Cracle, Benguiat Crisp, Benguiat Debbie, (Benguiat) Montage (a fat face didone revived in 2018 at House Industries by Jess Collins and Mitja Miklavic), Benguiat Roman. Scorpio, Laurent and Charisma, all done in the 1960s, are psychedelic types. In 2021, Donald Roos digitized Plinc Buffalo for House Industries.

Links: Linotype, CV by Elisa Halperin. Daylight Fonts link (in Japanese). Catalog by Daylight, part I, part II.

Pics harvested from the web: Portrait With Ilene Strivzer at ATypI 1999. One more with Strivzer. With Jill Bell at ATypI 1999. In action. At TypeCon 2011 with Matthew Carter and Alejandro Paul. At the same meeting with Carole Wahler and with Roger Black.

FontShop link. Klingspor link.

View Ed Benguiat's typefaces. Ed Benguiat's fonts. [Google] [MyFonts] [More]  ⦿

Edward C. Mills

Master of business writing and business penmanship, b. 1872, Illinois, d. 1962. He worked mostly in Rochester, NY first for The Williams & Rogers Company and later as an independent penman. Author of Modern Business Penmanship (1903, American book Company). [Google] [More]  ⦿

Edward Dalton Pelouze
[San Francisco Type Foundry]

[More]  ⦿

Edward Everett Winchell

Art director of the Matthews-Northrup Printing Works in Buffalo, New York and designer of Winchell. McGrew writes: [Winchell was] introduced by Inland Type Foundry in 1903 as especially adapted for use in fine catalog and booklet printing, as well as for commercial stationery, where something out of the ordinary is demanded. It is a bold, thick-and-thin display face, but more like a nineteenth-century design, with some characters seeming to be poorly proportioned or having awkward shapes. These faults are less noticeable in Condensed Winchell, introduced by Inland the following year, but patented by William Schraubstadter in 1905. Neither is a distinguished typeface by later standards. Compare John Hancock, Bold Antique. The Winchell typeface is a Clarendon styled slab serif that clearly has distinctive pre-modernist sensibilities. It was also made in wood by the Hamilton Manufacturing company in the mid 20th Century.

In 2009, Richard Kegler made a digital typeface Winchell that is free for those who become members of the WNY Book Arts Center in Buffalo. In 2015, P22 Winchell became available for purchase. In 2021, Kegler released LTC Winchell. In 2014, Robert Donona also did a revival. [Google] [More]  ⦿

Edward McKnight Kauffer

Edward McKnight Kauffer (b. 1890, Great Falls, MT; d. 1954) was an American artist and graphic designer who lived for much of his life in the United Kingdom. He worked mainly in poster art, but was also active as a painter, book illustrator and theatre designer. He studied at the Art Institute of Chicago (1912/1923) and moved to London in 1914. He is known for the 140 posters that he produced for London Underground, and later London Transport, covering diverse styles---from abstract, futurist, cubist and vorticist to impressionist and art deco. He returned to New York City in 1940 where his main client was American airlines between 1947 and 1954.

Type designs that were influenced by his poster lettering:

[Google] [More]  ⦿

Edward P. Cogger

Designer of the decorative Funny Alphabet, some time between 1850 and 1864. It was published by McLoughlin Brothers in New York. [Google] [More]  ⦿

Edward Pelouze

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]  ⦿

Edward Penfield

American illustrator, b. Brooklyn, 1866-1925, considered as the father of the American poster. Well-known for his art nouveau style posters, he created several alphabets.

Penfield's posters inspired several digital typefaces. André Zottolo's AZ Harpers July was inspired by Edward Penfield's poster art. BU Penfield Deco by Michael Bosen (or Michael Bolen) is also based on Penfield's typography. [Google] [More]  ⦿

Edward Rondthaler

New Yorker, b. Bethlehem, PA, 1905. In 1928, Rondthaler and Harold Horman cofounded Photo-Lettering Inc in New York City---it started for real in 1936. An excellent typographer, he cofounded ITC in 1970 with with Herb Lubalin and Aaron Burns.

Editor/author of Life with Letters--As They Turned Photogenic, and Alphabet thesaurus; a treasury of letter designs (1960, Reinhold, NY). Volume 3 was published in 1971.

In 1975 he was awarded the TDC Medal, the main prize of the Type Directors Club. In 2007, House Industries made this funny clip. Sadly, Ed died in August 2009. [Google] [MyFonts] [More]  ⦿

Edward Rondthaler
[Photo-Lettering Inc.]

[MyFonts] [More]  ⦿

Edward Taylor

Brooklyn, NY-based creator (b. 1989) of the ornamental caps typeface Cityscape (2012). Other typefaces done for various clients in 2013 include Seabeam, Neon and Songbird Thin (a stencil face).

Behance link. [Google] [More]  ⦿

Edwin Allen

Edwin Allen manufactured wood type for newspapers in South Windham, CT, from 1837-1840, after having invented in 1836 his own version of the router/pantograph for wood type manufacture. His wood types were sold exclusively through George Nesbitt in New York City. In 1845, two of his employees, William and Samuel Day, left to set up their own company in Ohio. Two other employees, Horatio and Jeremiah Bill, from Lebanon, CT, left in 1850 to start their own business as well. In 1852, Allen's company was purchased by John G. Cooley and production moved to New York City.

Typefaces by Edwin Allen include Antique Open Shaded (1828), Antique Rose Ornamental (1838) and Antique English Ornamental (1838). [Google] [More]  ⦿

Ege Dalaman

During his studies in New York City, Ege Dalaman created an art tape typeface (2015). [Google] [More]  ⦿

Elaine Chng

Graphic designer in New York City, who created the display typeface Tactile (2015), which comes in Combined (overlayed), Regular and Stylized versions. [Google] [More]  ⦿

Elaine Lustig Cohen

Modern American design pioneer in New York City, b. 1927, Jersey City, d. 2016. Wife of Alvin Lustig (1915-1955). In his book, Elaine Lustig Cohen: Biography, Steven Heller writes: Pioneering graphic designer, artist and archivist, Elaine Lustig Cohen is recognized for her body of design work integrating European avant-garde and modernist influences into a distinctly American, mid-century manner of communication. She is a living link between design's modernist past and its continually changing present. Wikipedia link. Codesigner of Lustig Elements (2016) with Craig Welsh (Lancaster, PA). Welsh and Lustig Cohen extended Alvin Lustig's 1939 geometric typeface Euclid, and named it Lustig Elements. It was cut in wood by Hamilton Wood Type & Printing Museum in 2015, and produced as a digital typeface in 2016 by P22. [Google] [MyFonts] [More]  ⦿

Elba Lopez

During her studies in New York City, Elba Lopez designed the display typeface Sylvia Plath (2016). [Google] [More]  ⦿

Elda Hadajain

Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of Slant (2013, Friday Fonts. [Google] [More]  ⦿

Elen Winata

New York City-based graphic designer. Behance link. Creator of the mechanically inspired Protopipe (2009). [Google] [More]  ⦿

Elena Anderson

Designer of a hand-printed typeface in 2012 during her studies at the Pratt Institute in New York City. [Google] [More]  ⦿

Eli Heuer

Font engineer and open source software advocate located in Seattle, WA. Before that, he studied mathematics at CUNY in New York. His typefaces:

  • Epistle. An old-style typeface.
  • Toren Mono, Toren Proportional, Toren Rotalic. Use Modify link for Toren.
  • Contributed to Titillium Web VF.
  • Contributed to Orbitron VF.
  • Contributed to Staatliches (a Google font).
  • Micro Grotesk (2021). He writes: A classic sans-serif typeface as a 256-UPM variable font, designed to have a small file size.
  • GTL Naskh (2020), is a contemporary Naskh typeface for the Perso-Arabic script.
  • Isotherma (2015). A free blackletter font.
  • Rena (2021).
  • Gnu Grotesk.

Interview. Use Modify link. Github link. [Google] [More]  ⦿

Elianna Vann

As a student in New York City, Elianna Vann designed the techno typeface Huxley (2016). Behance link. [Google] [More]  ⦿

Eliza Gwendalyn

[MyFonts] [More]  ⦿

Elizabeth Carey Smith

Lettering artist and graphic designer in Brooklyn, NY, who runs the design studio, The Letter Office, and teaches typography and design at City College. She specializes in text-heavy publications and information graphics. Her typefaces:

  • At Type@Cooper (2011-2012), she designed the crisp, elegant and feminine geometric sans typeface Brightcut.
  • In 2011, she created Howland New at Type@Cooper. This is a revival of a typeface from 1892 by John F. Cumming. Mac McGrew comments 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.
  • Various typefaces that are part of Elizabeth's Imaginary Alphabets: Marguerite (Victorian), Harlemite (vernacular).
  • Typefaces in the works (as of 2017): Jada (a great rounded sans), Avedon.

Home page. Imaginary Alphabets link at Alphabettes. [Google] [More]  ⦿

Elizabeth Cory Holzman

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 Dantzler

Native New York City artist who studied at Pratt Institute. Brookly-based designer of these typefaces in 2016: Beltoni (handcrafted, liquid), Pixatron, Mieszko, Noveta, Hideout (pirate font), Artigan (calligraphic). Behance link. [Google] [More]  ⦿

Elizabeth Kenney

Brooklyn, NY-based graphic designer who created the text typeface Charlie in 2014. [Google] [More]  ⦿

Elizabeth McGuirl

Elizabeth McGuirl (Sea Cliff, NY) studies graphic design at Rochester Institute of Technology. She created Deadly Decay (2012, an all caps ornamental typeface inspired by coral). [Google] [More]  ⦿

Ellen Lupton

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

Author of Thinking with Type (Princeton Architectural Press, 2004). Visit also the interesting Thinking with type web page, which features a fun section on "crimes against typography", notes on type classification, a course outline, and tons of other educational material. See also here and here. Author of Laws of the Letter (with J. Abbott Miller).

Ellen Lupton was the keynote speaker at AypI2006 in Lisbon. In that talk, summarized here, Ellen Lupton discusses the benefits of truly free fonts (Perhaps the free font movement will continue to grow slowly, along the lines in which it is already taking shape: in the service of creating typefaces that sustain and encourage both the diversity and connectedness of humankind.) and provides key examples: Gaultney's Gentium, Poll's Linux Libertine, Peterlin's Freefont, Bitstream's Titus Cyberbit, and Jim Lyles' Vera family. She is the editor of D.I.Y.: Design It Yourself (2006).

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

Elliott Burford

Multidisciplinary designer, b. Melbourne, Australia, 1984. Currently working at R/GA, New York. Creator of the experimental dot-to-dot typeface Freckles (2012).

Behance link. [Google] [More]  ⦿

Elysia Berman

Art director living in Williamsburg, VA, who studied at the Pratt Institute and the School of Visual Arts in New York. Creator of the experimental typeface Incognita (2012). [Google] [More]  ⦿

Emalis Robateau

New York City-based design student who created the art deco all caps typeface Darling (2012). [Google] [More]  ⦿

[Stephen Boss]

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]  ⦿

Emil J. Klumpp

Lettering artist from New York. ATF sales manager and director of typeface design. He created the often-copied calligraphic Murray Hill (now available as Murray Hill EF) in 1956. Versions of Murray Hill are in different places, including most shareware archives. Commercial versions at SoftMaker (Melville Pro), ICG and Bitstream, for example.

Mac MGrew: Murray Hill and Murray Hill Bold were designed by Emil Klumpp for ATF about 1956. They are smart, free flowing, modern scripts, nearly vertical, and letters are not connected. Their refreshing informality has made them popular for advertising as well as for stationery and announcements, while their nearly complete lack of kerns has made them durable, practical, and easy to set. The name, incidentally, is said to have come from a New York telephone exchange, before the days of all-numeric dialing, serving an area of the same name in which many large advertising agencies were located.

He also made the informal script font Catalina (1955) as well as many photolettering typefaces. Catalina was digitized as Enamel Brush by Ray Larabie in 2009. His life and work are discussed in the link.

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

Emil Ruder

Swiss typographer (b. Zürich 1914, d. Basel, 1970), and type guru in the 50s and 60s. Ruder taught at the Basel School of Design (Kunstgewerbeschule), and founded the International Center for the Typographic Arts in New York, 1962.

Author of Typographie: Ein Gestaltungslehrbuch - A Manual of Design - Un Manuel de Creation (Teufen: Niggli, 1967), and Typographie. Ein Gestaltungslehrbuch. Mit über 500 Beispielen (7th edition in 2001, Niggli). The Road to Basel (Helmut Schmid) is an homage to Emil Ruder by Helmut Schmid, one of Ruder's students, who headed a group of other ex-students and organized their contributions. The former students who participated are Harry Boller, Roy Cole, Heini Fleischhacker, Fritz Gottschalk, André Gürtler, Hans-Jürg Hunziker, Hans-Rudolf Lutz, Fridolin Müller, Marcel Nebel, Åke Nilsson, Bruno Pfäffli, Will van Sambeek, Helmut Schmid, Peter Teubner, Wolfgang Weingart, and Yves Zimmermann. Karl Gerstner and Kurt Hauert also contributed. Paul Shaw reviews this book and Ruder's contributions.

Quotes from Shaw's piece:

  • It is clear that those lucky enough to study under Ruder found him as exciting and demanding as they had expected. With a few exceptions these former students quickly and permanently fell under the sway of the charismatic and ambitious Ruder.
  • Ruder promised a new functionalism derived from the Bauhaus. His was a new approach to typography that went beyond the technical fundamentals of metal type composition to embrace modern art (especially that of Paul Klee and Piet Mondrian). Ruder focused on the point, the line, the plane, and the way in which typography activated space. His article Die Flache (the plane or the space), following lessons he had learned from The Book of Tea by Kakuzo Okakura and from modern art, stressed the activation and destruction of space as the goal of typography as well as of art and architecture.
  • Ruders typography is defined by asymmetry and an emphasis on counter, shape, and negative space.
  • Harry Boller writes that Ruder and his students were Puritans on a mission, serious, humorless. We had been led to a morality, and strong convictions remain. Banality, lack of imagination, and swiping of ideas were all ridiculed, while sincerity of expression was encouraged. Gottschalk says that Ruder taught courtesy, ethics, and modesty as much as he taught typography.

IDEA Mag's special issue #332 entitled Ruder Typography Ruder Philosophy (2009), with articles by Leon Maillet (Tessin), Armin Hofmann (Lucerne), Karl Gerstner (Basel), Kurt Hauert (Basel), Lenz Klotz (Basel), Wim Crouwel (Amsterdam), Adrian Frutiger (Paris), Hans Rudolf Bosshard (Zurich), Andre Gutler (Basel), Juan Arrausi (Barcelona), Ake Nilsson (Uppsala), Fridolin Muller (Stein am Rhein), Harry Boller (Chicago), Maxim Zhukov (New York), Taro Yamamoto (Tokyo), Fjodor Gejko (Düsseldorf), Helmut Schmid (Osaka), and Susanne Ruder-Schwarz (Basel).

Article on Ruder by Shane Bzdok, 2008. [Google] [MyFonts] [More]  ⦿

Emily Atwood

Emily Atwood is an independent designer based in New York City. She has previously worked as a Senior Designer at Pentagram Design in New York City for Paula Scher, leading identity, editorial, campaign and web design projects. In 2014, she earned her Bachelor of Arts in Visual Art at Fordham University in the Bronx, New York, and obtained a BFA in Graphic Design + Digital Media at Laguna College of Art + Design in 2017. She is currently involved in the Type at Cooper Extended Program Certificate in Type Design at The Cooper Union in New York City. She is also an adjunct instructor in the design departments for Laguna College of Art and Design in Laguna Beach, California and The School of Visual Arts in New York City. Her typefaces:

  • Uraniya. A book typeface inspired by a book printed in 1928---an almanac called Uraniya containing the literary works and life of Fyodor Tyutchev, who was an acclaimed Russian poet and diplomat.
  • A typeface planned for release by Order Type Foundry in 2022.
[Google] [More]  ⦿

Emily Borden

At Nazareth College of Rochester, Emily Borden (Honeoye Falls, NY) designed the elegant display typeface Aurea Script (2017). [Google] [More]  ⦿

Emily Chan

Buffalo, NY-based designer, who created the experimental typeface Lines (2012). [Google] [More]  ⦿

Emily K. Moore

Emily Moore (Rochester, NY) created an experimental shadow caps typeface called Houdin (2012), based on Avenir.

During a type design class of Kris Holmes, Emily Moore (Rochester, NY) designed Sanscery (2013), a calligraphic sans. [Google] [More]  ⦿

Emily Mendoza

During her studies, Utica, NY-based Emily Mendoza designed the handcrafted typeface Humble Bumble (2017). Behance link. [Google] [More]  ⦿

Emily Simpson

During her studies in New York City, Emily Simpson designed Fragmented (2017). [Google] [More]  ⦿

Emma Brooks

During her studies in Rochester, NY, Emma Brooks designed the ornamental caps typeface Seals (2012). [Google] [More]  ⦿

Emma Grey: Newspaper and magazine typefaces

Emma Grey (Brooklyn, NY) surveys typeface choices for various media. She compiled he following lists:

  • Newspapers:
    • Moderno FB: Used by Reforma, El Norte, Baltimore Sun, Montreal Gazette.
    • Houston: Used by the Houston Chronicle.
    • Guardian: Used by The Guardian.
    • Letras Oldstyle: Used by Letras Libres.
    • Miller Headline: The Boston Globe.
    • Miller Daily: Used by The Guardian.
    • Stilson: Used by The Washington Post.
    • Sky News HD: Used by Sky News.
    • Rocky: For Rocky Mountain News.
  • Magazines:
    • Moderno FB: Used by Esquire Gentleman.
    • Salvo Sans and Serif: Used by AARP Publications.
    • Stainless: See Premiere Magazine.
    • Garamond FB and Skyline: Used by Conde Nast.
    • Popular: Used by Popular Mechanics.
    • Heron Sans: Used by Men's Health.
    • Tangier and Miller Banner Black: Used by Glamour.
    • Reactor FB: Used by Fuse Magazine.
    • High Tower Used by AIGA Journal.
[Google] [More]  ⦿

Emma Hanson

Manhattan, NY-based designer of the thin modular typeface Gem (2014). [Google] [More]  ⦿

Empire Type Foundry
[Claude Persons]

The Empire Type Foundry of Delevan, New York was established in 1893 remaining active until it's demise in 1970. According to Annenberg, this foundry was not a part of, or affiliated with, The older Empire State Foundry, which apparently closed at least a year prior to the opening of The Empire Type Foundry. Even though the casters used by Empire were Monotype machines, the type produced was well formed and of a high quality. It was initially owned by Wilbur F. Persons and Claude Persons. A picture of fists from the catalog #18, published in 1923.

[Google] [More]  ⦿

Empire Wood Type Co.
[Edward A. Capen]

American wood type manufacturer in New York City, est. 1901 by Edward A. Capen. In 1936, the holdings were sold to American Wood Type Co., which was also in New York City.

Examples of typefaces: Bulletin Script (1870, back slanted, a simulated psychedelic brush face). [Google] [More]  ⦿

Enoch Noyes

Author of Noyes's Penmanship (1839, Jenks&Palmer, New York). Samples from that book: calligraphy, German text, hand exercises, Old English. [Google] [More]  ⦿

Eric Eaton
[Deliberate Design]

[More]  ⦿

Eric VanDycke
[Omega Font Labs]

[More]  ⦿

Eric Vasquez

Eric Vasquez is a Brooklyn-based graphic designer. Eric has a BA in Graphic Design from the New England Institute of Art in Boston. In 2012, he created the ornamental caps typeface Royal Highness. Creattica link. [Google] [More]  ⦿

Eric Warner

Brooklyn, NY-based designer of Shell Type (2013). [Google] [More]  ⦿

Erica Carras

In 2018, Brian LaRossa and Erica Carras (Brooklyn, New York) co-designed the Bauhaus typeface Staatliches. The alphabet revives and extends Herbert Bayer's title lettering on the cover of the first Bauhaus exhibition catalogue from 1923. It features full sets of capitals, numbers, punctuation, and symbols, in addition to alternate widths, discretionary ligatures, and common Latin accents. Staatliches is free at Google Fonts.

During her studies at Type@Cooper in 2018, Erica Carras developed the calligraphic foliated text typeface Pyk and wrote: Inspired by Helmut Salden's brush lettering, the process of uniting a running hand (italic) system of calligraphy into an upright text face gave Pyk its unconventional letter shapes. Looking at the o, e, c and s, these traditionally round letters instead follow a triangular model, echoing the n's counter shape and the bouncing upstrokes that connect the stems. This upward motion directs the eye forward and also creates an even diagonal rhythm across the line of text. To increase legibility as a text face, Pyk has low contrast, uniform letter widths, and generous spacing. Pyk stands at the crossroads between calligraphy and type design, with a bounce in its step. Pyk won an award at the Type Directors Club's Type Design Competition 2019.

Future Fonts link. [Google] [More]  ⦿

Erica Schultz

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]  ⦿

Erik Jarlsson

New York City-based designer of the Peignotian display typeface Accessories (2016). Behance link. [Google] [More]  ⦿

Erika Hinostroza

New York City-based designer of the squarish display typeface Neolithic (2014). [Google] [More]  ⦿

Erin Fitzsimmons

Brooklyn-based book and type designer. During her studies at Type@Cooper in New York (2011-2012), she designed the elegant text typeface family Spright. [Google] [More]  ⦿

Erin McLaughlin
[Fontwala (was: Hindi Rinny)]

[MyFonts] [More]  ⦿

Erin Redfield

During her communication design studies in Buffalo, NY, Erin Redfield created the experimental typeface Cable (2014). [Google] [More]  ⦿

Esther Klingbiel

At Parsons School of Design, Brooklyn, NY-based Esther Klingbiel designed the modular shaded typeface Schoolteacher (2015, FontStruct). FontStruct link. [Google] [More]  ⦿

Esther Lee

During her studies, Esther Lee (Brooklyn, NY) created the thin octagonal display typeface Moda (2015). [Google] [More]  ⦿

Etcetera Type Company (or: ETC; was: Finck Font Co)
[Tyler Finck]

Graphic designer and musician (b. 1982) at the New York studio AWP who grew up in Maine and is currently based in Ithaca, NY. In 2018, he founded Etcetera Type Company, which is based in Spencer, NY.

His typefaces:

  • The fat counterless caps typefaces Blackout and Blackout Midnight (2008). Blackout Sunrise (2013) is an outlined face and Blackout 2am is a reversed font. Blackout Noon followed in 2014. Free download of Blackout at the League of Movable Type.
  • Ostrich Sans (2011). This typeface comes in many weights, including a beautiful Ostrich Sans Inline and a hairline. In 2016, this was followed by the layered monoline sans typeface family Ostrich Proper (+Inline).
  • Knewave (2011, Google Web Fonts). A brush signage face. League of Movable Type link.
  • Porter Sans (2013). A large wide headline type family. It has a free inline outline weight. Later additions include Porter Sans Ink (2014) and Porter Rough (2016). Porter FT, which includes new rounded styles, was added in 2017.
  • Elm (2013). Hand-printed.
  • Lickety Split (2013). A crayon or brush face.
  • Almost (2013). A poster typeface.
  • Guilder (2011-2013). A free typeface family with an inline thrown in.
  • Ithaca Sans (2013).
  • Fartlek Sans (2014). A handcrafted poster typeface.
  • Katahdin (2014). A free font.
  • Upstater (2014). A a classical American gothic with shaded and layered styles.
  • Grandstander (2014). A comic book face. Grandstander Classic (2017). In 2020, Grandstander became a free Google font---and a two-axis variable font was added for the occasion.
  • Boo City (2014). A pixel face.
  • Didactic Display (2014). A grungy typeface.
  • Upstater Ink (2014). A grungy typeface.
  • Finck32A (2014).
  • Saturnight (2014). A heavy brush typeface.
  • Typocopia (2014). A letterpress emulation typeface.
  • Taurus Mono (2014). An outline font.
  • Southpaw (2014). A nice informal hand.
  • Chawp (2014). A crayon face.
  • Mr. Brunch (2014). A brush face.
  • Gluten FT (2014).
  • Flabbergast (2015). A didone.
  • Korsque (2015). A layered typeface.
  • Bico (2015). A rounded condensed organic typeface.
  • Ichabod (2016). An antiqued serif typeface.
  • Altitude Condensed (2016).
  • Imbue (2016). A condensed didone poster typeface (also called a skyline typeface) at Google Fonts. See also Imbue FT (2017). ETC Imbue (2019) is a variable font version of Imbue with a variation in optical size from Text to Display.
  • Retrograde (2016). A monoline and monospaced organic sans.
  • Plainview (2016). A squarish and fat typeface.
  • Nonesuch (2016). A condensed sans.
  • Juju (2016). An octagonal layered typeface family.
  • Atiga (2017).
  • Mr Brunch FT (2017). A children's book font.
  • League Mono (2017). A free font.
  • ETC Gluten (2018). An organic font family.
  • ETC Epilogue (2018). A variable sans font. Github link. Google Fonts link. Prologue (2020) is a reworking of ETC Epilogue.
  • ETC Anybody (2018-2020). A 72-style variable font with weight, width and slant axes. Free at Google Fonts. He writes: Anybody is a big family that combines an affinity for Eurostile plus a heavy dose of 90s inspiration. It's flexible enough to adapt to a variety of situations. From UltraCondensed to ExtraExpanded, type set in Anybody can take up a tiny amount of horizontal space or so much space that you'll need several lines. Its high x-height and low cap height help exaggerate extreme widths and weights. Github link.
  • Furrow (2018). A grungy sans.
  • Cease (2018). A squarish techno typeface.
  • ETC Trispace (2019). A variable font with weight and width axes, based on League Mono.
  • ETC Tourney (2019). A variable octagonal font, playing on the theme of outline versus inline. Free Google Fonts download (2020-2021). Github link.
  • Struthio (2019). A rounded sans.
  • Birdo (2020). An inline typeface.
  • Gluten (2021). A free script font family at Google Fonts.

Alternate URL, called The League of Movable Type. Typedia link. Kernest link. League of Movable Type link. Creative Market link, Klingspor link. Dafont link. Home page. Creative Market link. Abstract Fonts link. Google Plus link. YWFT link. Old home page. Behance link. Github link. [Google] [MyFonts] [More]  ⦿

Ethan Callender

Brooklyn-based creator of Monel 400 (2011), a multiline art deco poster typeface commissioned by Duke University. [Google] [More]  ⦿

Ethan Cohen

Typeface designer and calligrapher from New York City, where he worked at Mucca and studied typeface design at The Cooper Union's Type@Cooper Extended Program. Graduate of the Type Media program at KABK in Den Haag, The Netherlands, class of 2019. Presently located in Berlin. His typefaces:

  • Sig (2018). An update and extension of Rudolf Koch's blackletter typeface, Wallau. Sig won an award at the Type Directors Club's Type Design Competition 2019. It covers Latin and Cyrillic and features a Basque capital A.
  • His KABK graduation typeface, Decibel (+Text, +Display) (2019). He writes that Decibel embodies the ethos of 1960's and 1970's American funk music: it is quirky, flavorful and syncopated. He writes that Decibel Text was inspired by the charming but naive 19th century British slab serif designs of Caslon, Figgins and Thorowgood.
  • Contrakt (2017). A text typeface family for contracts. He writes: Contrakt is a warm, but sturdy and authoritative, text typeface family inspired by the limited palette of typefaces that were available to me in my former life, when I worked in the legal department at a NYC record label. Contrakt was my final project for the 2016-2017 Type@Cooper Extended Program.
  • Melantius (2016). A revival of Bulmer as it appeared in Cheshire House's 1932 edition of Beaumont & Fletcher's The Maide's Tragedy. Melantius was Ethan's first semester project for the Type@Cooper Extended Program.

Future Fonts link. [Google] [More]  ⦿

Ethan Paul Dunham
[Fonthead Design]

[MyFonts] [More]  ⦿

EunJee Kim

EunJee Kim, also known as Joy, graduated from the Rhode Island School of Design with a BFA in graphic design, in 2012. She is actively working on her personal projects, and as a freelance graphic designer in New York. She did an experimental shaky version of Futura in 2013. [Google] [More]  ⦿

Eunjee Kim

Graduate of the Rhode Island School of Design in 2012, who works in New York City. Creator of Experimental Typeface 01 and 02 (2012). [Google] [More]  ⦿

Eunsung Do

During her studies at the School of Visual Arts in New York, Long Island City, NY-based Eunsung Do created Fontissimo (2014, a Peignotian typeface) and Ink (2014, a plump didone typeface). In 2011 and 2012, she studied interior design at Kookmin University in Korea. [Google] [More]  ⦿

Eva Cassetta (was: Eva Kamieniak)

Eva Kamieniak Cassetta is a graphic and web designer who studied at Virginia Commonwealth University in Richmond, VA. She now lives in New York City (was: Pearl River, NY).

Her typefaces include

  • Acoma (2010). Acoma has a native American Indian look---it is based on the motifs and style of the Acoma Pueblo's traditional pottery. The type was applied as an identity system for the National Museum of the American Indian.
  • Lean (2010). A typeface made to illustrate a book on a fight between a whale and a squid.
[Google] [More]  ⦿

Eva D'Ignazio

In Kris Holmes's class in Rochester, NY, Eva D'Ignazio designed the blackletter-inspired typeface Mandel (2013). [Google] [More]  ⦿

Evan Pittson

New York City-based designer of Harvest Display (2015: an Italian art deco-inspired geometric sans typeface) and Orbit Display (2015, an all caps fashion mag didone typeface). It seems that Harvest Display was renamed Precita after one day. In 2017 he designed Meca. [Google] [More]  ⦿

Evan Pokrandt

During his studies at School of Visual Arts, New York City, Evan Pokrandt created the hexagonal typeface Honeycomb (2014) and the tall typeface Toothsome (2014). Behance link. [Google] [More]  ⦿

Evelyn Bellreng

During her studies, Evelyn Bellreng (Niagara Falls, NY) used pieces of a can opener to design the experimental typeface Obscura (2017). [Google] [More]  ⦿

Ever Morera

Larchmont, New York-based graphic designer. During his Electronic Design and Multimedia (EDM) studies at The City College of New York in 2012, he designed the simple monoline font Ever's Typeface. [Google] [More]  ⦿

Excelsior Publishing

New York-based publisher of Scroll Book (1876), which showcases some ornaments and borders. [Google] [More]  ⦿

Expert Alphabets
[George Abrams]

George Abrams (b. 1919 or 1920, Brooklyn, d. 2001, Manhasset, NY) is the designer of the gorgeous font families Augereau, Abrams Caslon and Venetian, at Expert Alphabets in Great Neck, NY. Abrams taught lettering and typeface design at the Parsons School of Design, the New School for Social Research and at the Columbia University Teachers College. He had over 50 years of Madison Avenue experience designing ads, logos, typography and lettering for Fortune 500 companies and more. His early typefaces were photo types published by Headliners in New York City. He died on June 7, 2001 at age 81.

About Augereau: This is the only digitized typeface by George Abrams [in fact, the digitization is due to Charles Nix, for George Abrams]. Its 28 weights include over 2,000 sorts including expert, OsF,&alts. Augereau is named for Antoine Augereau, who was a typographer who had a few claims to fame - one was that he was Claude Garamonds teacher, and two was that he was sentenced to death for heresy in 1544. Heresy for a typographer in 1544 meant that he printed something that the king or the Pope didn't like and died for it.

I would like to thank Poul Steen Larsen for clarifying the history of Abrams' Venetian: The Abrams Venetian was donated to Mr. Poul Kristensen of Herning (in Jutland), then Printer to the Royal Court (which he has ceased to be in 1995). You are right about the font being today locked to Poul Kristensen' old Linotron, from which not even Linotype experts brought in to unlock it, could get it out for conversion into an up-to-date digital font. So the font will disappear from the type arena when Kristensens Linotron one day breaks down. You can trust me, for I was the one who established the contact between George and Mr. Kristensen back in 1986. The font was first used in 1989 in a book by Martin Lowry, British renaissance historian, with the title Venetian Printing. George Abrams' chalk drawings of the entire alphabet in regular and italic were scanned, more precisely vectorised on-screen and downloaded in Denmark by the Kristensens and therefore, in one sense, could be called the first Danish complete font. A sample of the first use of Abrams' Venetian. A second sample from "Venetian Printing". Abrams Venetian was digitized at some point by Jorgen Kristensen for Poul Kristensen Grafisk Virksomhed Printer.

Apostrophe wrote this about Abrams Caslon: This was actually reviewed by Caflish and, if I remember correctly, Mark vonBronkhorst, so there are at least 3 or 4 copies of it out there, other than the Abrams' estate original data. Sumner Stone once said that this is the best Caslon he has ever seen. At least he has seen it; I haven't.

The typefaces by Abrams (Abrams Venetian and Augereau) are preserved in the New York City-based Abrams Legacy Collection (see also here).

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

Faire Type Foundry
[Sabrina Nacmias]

Sabrina Nacmias is a New York-based graphic designer, who graduated from Pratt Institute, and started studies at Type@Cooper in 2020. She co-founded Faire Projects in 2016 and Faire Type Foundry in 2020 with her partner Maxime. Based in Brooklyn, Faire Type Foundry published these typefaces in 2020:

  • Knotel. An all caps display sans.
  • Ladonia. Hipster style.
  • Myron. A lapidary typeface.
  • Octave. A text typeface.
  • Palme. A sans typeface.
  • Sprig. A text typeface.
  • Via. An angular text typeface.
[Google] [More]  ⦿


A phonetic roman-character based proposal by L. Craig Schoonmaker (New York). [Google] [More]  ⦿

Farhana Ali

New York City-based creator of the nicely tuned squarish typeface Sharp Turns (2011). [Google] [More]  ⦿

Farmer, Little&Co.
[A.D. Farmer]

New York-based foundry, also called White's Type Foundry and A.D. Farmer Foundry. It was created in New York in 1862, and sold to ATF in 1892. Many of its typefaces were digitized in recent years, such as the art nouveau typeface Palm (1887), which resurfaced as Palmetto (2005, Solotype Foundry). Arbor was revived by Nick Curtis as Surely You Jest NF (2005). The slab serif (almost wood type) typefaces Antique No. 2 and Antique Light Extended live on in digital form as Old Mac Donald NF (2011, Nick Curtis) and Spade (2012, Canada Type). Monotype's Scotch Roman MT [link] is based on a typeface from A.D. Farmer. The art nouveau typeface Vassar (1887) was recreated in digital form as Foxcroft and Foxcroft Shaded (2005, Nick Curtis). Specimen book (1867) can be consulted freely on-line or here. From that book: ornament of a horse and cart.

Catalogs published by Farmer include Specimens from the A. D. Farmer&Son Type Founding Co. Including Book, Newspaper and Jobbing Type, Brass Borders and Rules, with Complete Price List, &c, New York, 1897. Farmer and Little published The Reduced Price List and Latest Specimens of Printing Types Etc. (In an Abridged Form.) Cast by Farmer, Little&Co., Type Founders in New York in 1882. In 1900, A.D. Farmer & Son published Typographic specimens: illustrated catalogue. Farmer, firm, type-founders, New York, a 607-page catalog.

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

Federico Perez Villoro

Federico Perez Villoro is a Mexican artist and designer based in Brooklyn, NY. Interested in the sociopolitical implications of communication technologies, his work focuses on the relationship between language and identity. Federico holds an MFA from Rhode Island School of Design (RISD). In 2016 he was an artist in residence at California College of the Arts (CCA), where he taught in the MFA Design program. He is a critic at RISD, where he started teaching in spring 2017.

As a student at Rhode Island School of Design, class of 2013, he created the display typeface Eme. [Google] [More]  ⦿

Felecia Wolff

Graduate from the Rochester Institute of Technology in 2009 with a BFA in Graphic Design. Designer and art director in Brooklyn, NY, who created the experimental typeface Crushes (2014). Behance link. [Google] [More]  ⦿

Felipe Giglio

Designer of the geometric New York City Typeface (2012), and of London (2012). [Google] [More]  ⦿

Felitasari Rekso

Aka Tata. Indonesian graphic designer and illustrator based in Jakarta and New York. She was born and raised in Jakarta, Indonesia and studied at Parsons School of Design in New York. Her typefaces from 2021: Sans Skript (Sans-Skript is a display typeface that is inspired by Javanese Script (or Sanskerta in Bahasa Indonesia), one of Indonesia's many traditional scripts that were commonly used by Javanese people from ca. 1450 until ca. 1950). [Google] [MyFonts] [More]  ⦿

[Nicholas Felton]

New York-based Nicholas Felton's fonts at FELTRON: the pixel fonts Remove (OpenType), Foss (caps inspired by Icelandic writing), Whip, Amtrix S (pixel type), Megabit, Sibilance, Amtrix 4, Amtrix 5, Amtrix 6. He also made the experimental geometric typeface Shipflat (2004, T-26), which won an award at the TDC2 2005 type competition.

Klingspor link. [Google] [More]  ⦿

Femi Ford

Artist in Warwick, NY, who created the hand-printed typeface Femi Ford (2012, iFontMaker). [Google] [More]  ⦿

Fernando Castello Branco

During his studies at UFC in Fortaleza, Brazil, Fernando Castello Branco created Niemeyer (2013), a display typeface that was influenced by Oscar Niemeyer's architecture. [Google] [More]  ⦿

Fielding Schofield

Off-hand flourishing artist, b. Poughkeepsie, NY, 1845, d. 1924. He worked in many eastern states but reached the peak of his craft while teaching from 1883 until 1890 at the Gem City Business College in Quincy, IL. After that, he taught in San Francisco, Utica, NY and Boston, MA. [Google] [More]  ⦿

Filmotype Sales Company

Filmotype Sales Company was located at 4 West 40th Street in New York City. In 1955, they published a catalog entitled Lettering Styles Display Types, from which some samples are shown in the link. The catalog has no full alphabet specimen and is thus of limited value for type historians and type revival experts. Frank J. Romano writes here: In 1952, Al and Beatrice Friedman [the founders of Filmotype] introduced the Filmotype, a simple manual phototypesetter that was not much bigger than a shoebox and used 2-inch filmstrips with all glyphs in linear order, with marks below them so that the operator could position the letter and expose it to the photo paper. The process was blind in that you could not see the letters as they were exposed. The Friedmans would go on to introduce the Alphatype phototypesetter. The Sybold Report mentions: Filmotype has a 35-year history as a supplier of filmstrip headline setters. Its founders later moved on to start Alphatype Corporation, keeping Filmotype as a subsidiary. In 1987, Harry and Seta Brodjian, who were Alphatype employees, acquired Filmotype with the intention of rejuvenating the company. In 1989, the firm began development of a digital headliner. A year later, it began digitizing its fonts. The company was renamed Filmotype Corporation. The fonts were at one point sold in packages such as a 30 dollar TrueType Font Package of 100 designer typefaces and an EZ Effects Windows program. Typefaces were renamed: Clarendon becomes Clarion, and so forth. At that point, Filmotype had offices in Glenview, IL, and was run by Gary Bunsell. About the renaming practices, the typophiles mention that Filmotype fonts were given letters&numbers by VGC when they pirated a substantial number of them. Their original names were attached by someone going through a dictionary and just picking arbitrary words for Filmotype fonts that were initially just letters and numbers also.

In 2006, the Filmotype collection was bought by Font Diner. In 2007, Font Diner started publishing digitizations of the collection: Glenlake (condensed Bank Gothic, by Mark Simonson), MacBeth (script), Alice (casual script), Zanzibar (calligraphic), La Salle (brush writing originally by Ray Baker in the 1950s, named after Chicago's LaSalle Street), Quiet, Ginger (Mark Simonson; masculine headline typeface genetically linked to Futura), Austin (paintbrush), Brooklyn (hand-printed), Honey (handlettered script), Jessy (handwriting), Modern (i), Vanity.

In 2010, Stuart Sandler published a book entitled Filmotype by the Letter, in which he details the company's history. He also set up Filmotype as a foundry in Eau Claire, WI. Additions to the Filmotype collection in that year include the signage typefaces Filmotype Kentucky, Filmotype Kingston, Filmotype Harmony and Filmotype Hamlet, and the geometric sans Filmotype Fashion (orig. 1953). The signage typefaces were originally made by Ray Baker for Filmotype in the 1950s, and were digitized by Patrick Griffin and Rebecca Alaccari.

Activity in 2011. Patrick Griffin and Rebecca Alaccari revived the condensed sans typeface Filmotype Giant (2011) and its italic counterpart, Filmotype Escort (2011), as well as Filmotype Prima (a sho-card face from 1955). Neil Summerour contributed Filmotype Horizon after an original signage typeface from 1954. Mark Simonson created Filmotype Gay, a tall monoline sans originally from 1953. Filmotype Ford (2011) and Filmotype Jamboree (2012, an informal script based on a 1965 original) are due to Stuart Sandler. Filmotype Quartz is an inline face.

Activity in 2012. Alejandro Paul contributed two scripts, Filmotype Yukon (based on Palmer style penmanship) and Filmotype Zephyr (formal italic roman). Later in 2012-2014, the production took off, with many contributions by Patrick Griffin and Charles Gibbons (who created Filmotype Zeal in 2013 for example).

Typefaces from 2021: Filmotype Kinzie (by Lily Feinberg), Filmotype Andrew (by Patrick Griffin; a bold and wide extension of the retro casual script font Filmotype Athens). [Google] [MyFonts] [More]  ⦿

Fine Art in Print

Books on graphic design and typography. This store is located in New York (159 Prince Street, Soho), and takes electronic orders (free shipping in the USA). [Google] [More]  ⦿

Flavia Zimbardi
[Zimbardi (was: Zimbardi Calomino)]

[More]  ⦿

Flavia Zimbardi

Flavia Zimbardi is a type designer and visual artist from Rio de Janeiro, based in Berlin. From 2005 to 2013 she worked for some of the leading magazines in Brazil. Flavia is a graduate of the Type@Cooper Extended Program at the Cooper Union, class of 2017. In 2018, she started Zimbardi Calomino together with Caetano Calomino, and in 2020 she co-founded Undercase Type with Phaedra Charles in Brooklyn, NY. Her typefaces:

  • Her graduation project, Lygia. It was awarded by the Type Directors Club and at Tipos Latinos 2018. Released in 2019 by Future Fonts, she writes: Lygia explores the duality of sharp and round forms with stylish cues and historical references from 16th-century masterpieces by Robert Granjon to the geometric approach of W.A. Dwiggins. An homage to Brazilian neo-concrete artist Lygia Clark, originally designed in 2017 as Flavia Zimbardi's degree project for the Type@Cooper extended program in New York. Lygia is a variable font with a weight axis. After Type@Cooper, Flavia settled in Berlin, Germany. In 2021, she released the companion typeface family Lygia Sans.
  • The piano key typeface Joschmi (2018). An Adobe Originals font designed as part of an effort to revive Bauhaus treasures, and named after Joost Schmidt.
  • In 2018, using a speed stroke technique, Caetano Calomino developed the signpainter font ZC Casual together with Flavia. It was re-released at Undercase in 2020.
  • In 2020, Phaedra Charles and Flavia Zimbardi co-designed the free decorative text typeface Fraunces at Undercase Type. Google Fonts link for Fraunces.
  • At Lost Type and Undercase Type, Phaedra Charles, Kelly Thorn, and Flavia Zimbardi published the chunky art nouveau typeface Regina Black (2020).

Future Fonts link. Older Future Fonts link. Note: MyFonts incorrectly calls her Flavia Zambardi. [Google] [MyFonts] [More]  ⦿

[Vit Abramov]

Founder and creative director at Flëve in New York City.

Mobispot Regular (2013) is a beautiful contemporary geometric grotesque for Latin and Cyrillic, designed by Olga Balina and Vit Abramov at Flëve for Mobispot Social Systems, a company that creates cool applications for life and business based on NFC technology.

Behance link. Behance link for Flëve. [Google] [More]  ⦿

Flëve Partners
[Vit A]

Brand design consultants in New York City. In 2014, under the guidance of partner Holga Balina and founder and creative director Vit A, they designed Mobispot Regular (Latin & Cyrillic), a contemporary geometric grotesque, which was created for Mobispot Social Systems, a company that creates applications for life and business based on NFC technology.

Bwehance link for Vit A. Behance link for lëve Partners. [Google] [More]  ⦿

Flor Baumann

During her graphic design studies in Utica, NY, Flor Baumann created the display typeface Ents (2013). [Google] [More]  ⦿

Florian Fangohr

Principal and founder of Fangohr LLC in Brooklyn, NY. iFontMaker who created Handvetica (2011). [Google] [More]  ⦿

Font & Co
[Francesco Gianesini]

Font & Co. is an independent type foundry established in 2017 by Francesco Gianesini, co-founder and Creative Director of Gianesini Design, a multidisciplinary design studio based in New York City. He started Gianesini Design with his wife Tina in 1994. In 2018, he published Wah Wah Narrow (a condensed logo or headline font), the Italian art deco typeface Via Roma Display, and the geometric display font Lingotto Black, which was by early 70s Italian lettering.

In 2021, he released Timbro (Italian for rubber stamp), an all-caps, decorative display typeface with flared terminals based on lettering from old Land Registry records. [Google] [MyFonts] [More]  ⦿

[Miguel Reyes]

Miguel Reyes (b. 1984) is a graphic and type designer from Puebla, Mexico, who studied at Benemérita Universidad Autónoma de Puebla. He obtained a Masters in Type Design from Centro de Estudios Gestalt Veracruz. Since 2010, he cooperates with Typerepublic in Barcelona. Founder of Fontaste. Graduate of the TypeMedia program at KABK Den Haag in 2012.

His graduation project consisted of two display typefaces, Naila (a wedge serif) and Rocco (a fattish round sans face).

Typefaces at Fontaste, ca. 2013: Plastilina (+Display, +Deco: signpainter family), Sancho, Candela (signpainter script).

He joined Commercial Type in New York City in 2013. Miguel's grandest achievement to date is Duplicate (2013, Commercial Type: with Christian Schwartz), a typeface family that comes in three substyles, Slab, Sans and Ionic. Commercial Type writes: Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive and a handful of details, like the shape of the lowercase a, Duplicate Sans is not a revival, but rather a thoroughly contemporary homage to Excoffon. Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of Fast Company. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes's creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. Mark Porter and Simon Esterson were the first to use the family, in their 2013 redesign of the Neue Züricher Zeitung am Sonntag. Because the Ionic genre has long been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts. Duplicate Ionic won an award at TDC 2014.

Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies.

Gabriello (2015) is a soccer shirt font designed by Paul Barnes and Miguel Reyes: Inspired by brush lettering, Gabriello was commissioned by Puma. First used by their sponsored teams at the 2010 Africa Cup of Nations, it was later used at that year's World Cup, held in South Africa. It was used on the kits worn by Algeria, Cameroon, Cote d'Ivoire, and Ghana.

Marian Text (2014-2016) is a grand collection of ultra thin typefaces designed at Commercial Type by Miguel Reyes, Sandra Carrera, and Paul Barnes. Marian Text 1554 depicts the old style of Garamond & Granjon; John Baskerville's transitional form becomes Marian Text 1757; the modern of Bodoni, with swash capitals and all, becomes Marian Text 1800, and the early Moderns of the Scottish foundries of Alexander Wilson & Son of Glasgow, and William Miller of Edinburgh, become Marian Text 1812. And like the original, a black letter: Marian Text Black, referencing the forms of Hendrik van den Keere.

In 2015, Miguel Reyes designed the high-contrast sharp-edged yet curvy typeface family Canela at Commercial Type. It was followed in 2018 by Canela Condensed and Canela Text.

Ayer is an elegant condensed display typeface designed by Miguel Reyes between 2016 and 2019 for the fashion magazine W. Ayer (Commercial Type) was designed to be malleable and to assert a strong personality at a variety of scales. Commercial Type writes: Ayer Poster has the extremely high contrast that is typical of a fashion typeface and features four different italic styles: the workmanlike italic featured in all optical sizes, a chaotically beautiful Cursive with a full complement of swash capitals, a sharply stylish Angular, and Miguel's decidedly non-traditional interpretation of the staid Blackletter genre. In comparison, Ayer also has high contrast, though less so than the Poster. Finally, Ayer Deck is a low-contrast sans serif with gentle flaring.

Co-designer in 2019 with Paul Barnes of the fat face Isambard: The boldest moderns were given the name fat face and they pushed the serif letterform to its extremes. With exaggerated features of high contrast and inflated ball terminals, the fat face was the most radical example of putting as much ink on a page to make the greatest impact at the time. These over-the-top forms make the style not only emphatic, but also joyful with bulbous swash capitals and a wonderfully characterful italic.

In 2021, he designed the inky script typeface Candy Darling (with Christian Schwartz; commissioned by Richard Turley for Interview magazine) and Canela Blackletter (inspired by the long tradition of blacketter in Mexico) at Commercial Type.

In 2022, he designed the italic script typeface Eugenia at Commercial Type. Its four distinct fonts were derived from the 18th century work of Giambattista Bodoni. Eugenia was drawn to accompany Eugenio Serif, the design created for La Repubblica's weekly women's magazine D. [Google] [More]  ⦿

Fonthead Design
[Ethan Paul Dunham]

FontHead Design (Wilmington, DE) sells cool fonts designed by Ethan Dunham (b. 1972, Glens Falls, NY), who now heads Fontspring. A partial list: Mother Goose (2008), Allise, GoodDogCool, Fontheads (dingbats), Randisious, Greyhound (1997, an arts and crafts face), Rochester, Samurai, AsimovSans, Gurnsey20, Scrawl, BadDog, Holstein, SlackScript, Bessie, SloppyJoe (gone?), Blearex, HandSkriptOne, SmithPremier, BlueMoon, HolyCow, SororityHack, Bonkers, HotCoffeeFont, SpillMilk, BraveWorld, Isepik, Sputnik, Brolga, TekStencil, Carnation, Mekanek (1995), Teknobe (1995), Merlin, Toucan Grunge (gone?), Tycho, TypewriterOldstyle, MotherGoose, Croissant, Democratika (now Americratika--I think Emigre forced FontHead to change the name), Noel (1996-1997, Lombardic all caps face, with an open version added), LillaFunk (gone?), Margo Gothic (gone?), Toddler (gone?), NoelBlack, WashMe, Diesel, Orion, Gritzpop, Pesto, BattleStation, CircusDog, Dandelion, DraftHand, Flowerpot, Navel, ShoeString, Stiltskin, ZipSonik. Plus JohnDoe, and old typewriter font. Free fonts: Font Heads (dings), Smith Premier, Vladimir, Tycho, Typewriter Oldstyle, ScareCrow, Millennia, SpillMilk, GoodDog, Holstein, Red Five. All formats, Mac and PC. In the comic font series, look for Stan Lee (now Comic Talk), FH Excelsior (now Titlex), Grimmy (now Flim Flam), and Kirby (now Grit).

Dafont link.

Fonts created in 1999: AppleSeed, Caterpillar, Chinchilla, ChinchillaBlack, ChinchillaDots, CrowBeak, CrowBeakLight, CyberMonkey, DanceParty, DingleHopper, FourScore, FourScoreTitling, Hopscotch, HopscotchPlain, Ladybug, Leaflet-Regular, LeafletBold, LeafletLight, ReadOut, ReadOutSuper, Smoothie, Swizzle, TwoByFour, VeryMerry. Made in 2001: ButterFinger, ButterFingerSerif, CatScratch, Catnip, FighterPilot, FrenchRoast, Handheld, HandheldItalic, HandheldRaised, HandheldRaisedItalic, HandheldRound, HandheldRoundItalic, Kingdom, OldGlory, Quadric, QuadricSlant. MyFonts page.

In 2006, several dingbats fonts were added, such as the ClickBits Arrow series and the ClickBits Icon series.

In 2008, he created InfoBits Things and InfoBits Symbols, Abigail, Assembler, Click Clack, Drawzing (children's font, crayon or chalk style), El Franco (grunge), Good Dog New (hand-printed), Helion (futuristic), Lead Paint (brush), Schema (architectural lettering), Skizzors (paper cut font), Tachyon (2008, techno, futuristic). Free font download. This place has Allise, Americratika, AppleSeed, AsimovSans, Asterix-Blink-Italic, Asterix-Blink, Asterix-Italic, Asterix-Light-Italic, Asterix-Light, Asterix, BadDog, BattleStation, Beckett, Bessie, BlackBeard, Blearex, BlueMoon, Bonkers, BraveWorld, Brolga, BrownCow, Carnation, CatScratch, Caterpillar, Chinchilla, ChinchillaBlack, ChinchillaDots, CircusDog, CornDog (2004), Croissant, CrowBeak, CrowBeakLight, CyberMonkey, DanceParty, Dandelion, Dannette-Outline, Dannette, DayDream, Democratika, Diesel, DingleHopper, DoomsDay, DraftHand, Flowerpot, Font-Heads, FourScore, FourScoreTitling, FunkyWestern, Goliath, GoodDog-Bones, GoodDog-Cool, GoodKitty, Greyhound, Grimmy, Gritzpop, GritzpopGrunge, Gurnsey20, HandskriptOne, Holstein-Bold, Holstein, HolyCow, Hopscotch, HopscotchPlain, HotCoffeeFont, HotTamale, Isepik, JohnDoe, JollyJack, Keener, Klondike-Bold, Klondike, Ladybug, Leaflet-Regular, LeafletBold, LeafletLight, LillaFunk, Log Jam (+Inline), MargoGothic, MarvelScript, MatrixDot-Condensed, MatrixDot, Mekanek, Merlin, Millennia, Mondo-Loose, MotherGoose, Navel, Network, Noel, NoelBlack, Oatmeal, Orion, Pesto, Randisious, ReadOut, ReadOutSuper, RedFive, Rochester, Samurai, Scarecrow, Scrawl, ShoeString, ShoeStringRound, SlackScript, SloppyJoe, SmithPremier, Smock, Smoothie, SororityHack, SpaceCowboy, SpillMilk, Sputnikk, StanLee-Bold, StanLee-BoldItalic, StanLee-Regular, Stiltskin, Submarine, Swizzle, TekStencil, Teknobe, Torcho, ToucanGrunge, TwoByFour, Tycho, Typewriter2, TypewriterOldstyle, VeryMerry, Vladimir, WashMe, Watertown-Alternate, Watertown-Black, Watertown-Bold, Watertown, ZipSonik-Italic, ZipSonik, ZipSonikSketch-Italic, ZipSonikSketch.

Font Squirrel carries ElliotSix (simple handwriting), GoodDog (children's hand) and Millennia (squarish). In fact, in 2009-2010, Ethan Dunham became a very active web font persona, offering a commercial web font service, Fontspring, and a free font service, Fontsquirrel.

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

Fonts for microtonal music
[Ted Mook]

New York-based designer of shareware music fonts. From his page: "MICRO 2ß is a Postscript(c) font designed for the 1/12th-tone notation system developed by Ezra Sims for his own music and now taught in the microtone classes of New England Conservatory. " [Google] [More]  ⦿

Fonts for Scholars
[David J. Perry]

Cardo is a Unicode font under development by David J. Perry from Rye, New York. Covering European languages, as well as Hebrew, Greek/Coptic and Greek Extended, it is free for non-commercial use. He writes: "This font is my version of a typeface cut for the Renaissance printer Aldus Manutius and first used to print Pietro Bembo's book De Aetna. This font has been revived in modern times under several names (Bembo, Aetna, Aldine 401). I chose it mainly because it is a classic book face, suitable for scholarship, and also because it is easier to get various diacritics sized and positioned for legibility with this design than with some others. I added a set of Greek characters designed to harmonize well on the page with the Roman letters as well as many other characters useful to classicists and medievalists."

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

Fontwala (was: Hindi Rinny)
[Erin McLaughlin]

Hindi Rinny is a great Indian type blog and news place run by Erin McLaughlin (b. 1985), a graphic designer in Wichita, KS (and before that, Minneapolis, MN). After graduation from the type design program at the University of Reading in 2010, she joined Hoefler&Frere-Jones in New York. Erin has worked with independent foundries Frere-Jones Type, Universal Thirst, TypeTogether, as well as Adobe, IBM, Microsoft, and Google.

She designed Katari for her thesis.

Originally from Milwaukee, she received a BFA in Graphic Design from the Minneapolis College of Art & Design before her MA at Reading. Erin created an angular typeface---à la Oldrich Menhart---, and added a matching Devanagari style---the harmonious ensemble is called Katari. This typeface earned her the 2011 SoTA Catalyst award.

In 2015, she published the free Google Web Font typeface Khula for Latin and Devanagari. The Latin is based on Steve Matteson's Open Sans. GitHub link. Still in 2015, she published the useful free Devanagari typeface family Yantramanav at Google Web Fonts, to accompany Christian Robertson's Roboto. Adobe Kannada was also designed in 2015---the Latin part of that font was by Robert Slimbach.

Typefaces from 2016 include Hubballi (a free monolinear typeface for Kannada; Google Fonts link).

In 2019, she aided with the Devanagari part of the free Google Fonts typeface IBM Plex Sans Devanagari (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Erin McLaughlin).

In 2021, Erin McLaughlin and Wei Huang developed the traditional workhorse sans serif typeface Tenorite for Microsoft for use as one of the default fonts in Office apps and Microsoft 365 products. Elements such as large dots, accents, and punctuation make Tenorite comfortable to read at small sizes on screen.

In 2020, she published BhuTuka Expanded One at Google Fonts. BhuTuka Expanded One, originally designed in 2017, is a Gurmukhi companion to Aoife Mooney's BioRhyme Expanded Light typeface.

Home page. Github link. Personal home page. [Google] [MyFonts] [More]  ⦿

[Israel Seldowitz]

"Quality-crafted multiple language fonts." Based in New York and run by Mark Seldowitz, they sell Arabic, Russian, Greek, Vietnamese, Hebrew, Baltic and Central European typefaces. Mark sold the Hebrew fonts made by his brother Israel Seldowitz, who studied in Israel with Henry Friedlaender, the creator of the Hadassah typeface. [Google] [More]  ⦿

[Robert Engle]

Described as a "Typographic Asset Management System", and owned by The Fontypes Corporation (Astoria, NY), this is a vendor of fonts from foundries like Adobe, Monotype, LucasFonts, HVDfonts, Commercial Type, Font Bureau, House Industries, ProcessType, Village and You Work For Them. Fonts can no longer be viewed. No designer info. Fonts are marked up (40 percent typically) from the original source (MyFonts, whatever). [Google] [More]  ⦿

Fortunato Depero

Fortunato Depero (1892-1960) was an Italian futurist painter, writer, sculptor and graphic designer. Born in Fondo/Malosco, Depero grew up in Rovereto serving as an apprentice to a marble worker. On a 1913 trip to Florence that he discovered a copy of the paper Lacerba and an article by one of the founders of the futurism movement, Filippo Tommaso Marinetti. In 1914, Depero moved to Rome and met fellow futurist Giacomo Balla. In 1915, Depero and Balla coauthored the manifesto Ricostruzione futurista dell universo. In the same year he was designing stage sets and costumes for a ballet. In 1919 Depero founded the Casa d'Arte Futurista in Rovereto, which specialised in producing toys, tapestries and furniture in the futurist style. In 1925 he represented the futurists at the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Modern Industrial and Decorative Arts).

In 1927, he published the monograph Depero Futurista, aka The Bolted Book, because it is famously bound together by two large industrial aluminum bolts. In 2016, a kickstarter movement was started to publish a new facsimile edition of this groundbreaking book.

In 1928, Depero moved to New York City, where [acccording to Wikipedia] he experienced a degree of success, doing costumes for stage productions and designing covers for magazines including MovieMaker, The New Yorker and Vogue, among others. He also dabbled in interior design during his stay, working on two restaurants which were later demolished to make way for the Rockefeller Center. He also did work for the New York Daily News and Macy's, and built a house on 23rd Street. In 1930 he returned to Italy.

In the 1930s and 40s Depero continued working, although due to futurism being linked with fascism, the movement started to wane. The artistic development of the movement in this period can mostly be attributed to him and Balla. One of the projects he was involved in during this time was Dinamo magazine, which he founded and directed. After the end of the Second World War, Depero had trouble with authorities in Europe and in 1947 decided to try New York again. This time he found the reception not quite as welcoming. In New York, he published So I Think, So I Paint, a translation of his autobiography initially released in 1940, Fortunato Depero nelle opere e nella vita. From the winter of 1947 to late October 1949 Depero lived in a cottage in New Milford, CT. His host was William Hillman, an associate of the then-President, Harry S. Truman. After New Milford, Depero returned to Rovereto. In August 1959 Galleria Museo Depero opened. Depero died in 1960 a bout of diabetes and spending the last two years unable to paint due to hemiparesis.

Alan Kegler at P22 created a typeface, P22 Futurismo (1996) and P22 Futurismo Extras, based on Depero's work. P22 link.

A second digital typeface is based on his work, Emporium NF by Nick Curtis. It is based on this poster by Fortunato Depero (1927). [Google] [MyFonts] [More]  ⦿

Foundry Group
[Jon Armstrong]

Grunge type, digital art. New York-based. Fonts created by Jon Armstrong. About 15 dollars per face. Fonts: BadNovel, Bizheads, HighSodium, Insecurity, Jiggy, MildHeadache, NoBleach, Rash, ToxicMarker. All formats except Windows PostScript. [Google] [More]  ⦿

Frances MacLeod

A native of Wichita, Kansas, Frances MacLeod completed a Bachelor of Fine Arts in Advertising Art Direction and Graphic Design at Columbia College Chicago. She also studied at Type@Cooper and has worked with teams in Chicago and New York, most notably the Department of Design at Leo Burnett. She is currently based in Brooklyn.

She created the free font Abraham Lincoln (2012, Lost Type). [Google] [More]  ⦿

Francesco Gianesini
[Font & Co]

[MyFonts] [More]  ⦿

Francis Stephen Lestingi
[Signs of Gold]

[MyFonts] [More]  ⦿

Francisco Vivar

Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the calligraphic script typeface Forty Five (2013, Friday Fonts). [Google] [More]  ⦿

Frank Gerhardt
[American Wood Type Co.]

[More]  ⦿

Frank H. Riley

Advertising artist (b. 1894, Joseph, Missouri) influenced by Oswald Cooper and Frederic Goudy, with whom he collaborated. He worked first as a lettering artist in New York and then as a free-lancer in Chicago. Designer at American Typefounders of the condensed and stocky slab serif typeface Contact (1944: see the TS Colonel family by TypeShop for a digital version) and the calligraphic script font Grayda (1939, ATF; +Initials). Grayda was digitized, expanded and modernized by Rebecca Alaccari as Genesis (2007). McGrew writes:

  • Contact Bold Condensed and Italic were designed by Frank H. Riley for ATF about 1942, but not released until 1948 because of war-time conditions. They are narrow and vigorous, with a large x-height and short ascenders and descenders, intended for newspaper and general advertising display. Other widths and weights were projected, but there is no evidence that they were completed. Compare John Hancock Condensed, Bold Antique Condensed.
  • Grayda is an unusual and striking script designed by Frank H. Riley and introduced in 1939 by ATF. Lowercase letters are weighted at top and bottom. giving a strong horizontal emphasis; they are close fitting but not connected. Two sets of capital letters are available, designated Narrow and Swash. The IS-point size is cast on a 24-point body, the smallest size for which angle-body molds are used.

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

Frank Marciuliano
[Marciuliano Design]

[MyFonts] [More]  ⦿

Frank Romano

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]  ⦿

Franklin Photolettering

Photolettering foundry in the 1970s, located at 211 43rd Street, New York City 10017. One of my correspondents explains: Franklin Photolettering was the smaller film type joints catering to the major publishing and advertising industries in New York City in the 60s and 70s. They started out with a few originals to get into the game, but within a year or so they started putting out copies or slight modifications of existing stuff from Photolettering and VGC (you can see how that happens---someone comes in for some ad copy in Barker Flare, for example, and he asks if they have something like Eightball, so they say "sure, we can do that"). Even though they did have a bit of original stuff, they didn't have not enough to stand out like PL, Mecanorma, VGC or Letraset---also the sheer number of film fonts available on the market by the mid-70s meant that unless you dumped a lot of money on marketing, big-time design would ignore you----so not much room was left for smaller film type houses.

Their catalog is published in binder form in Film Alphabet Compendium Franklin Photolettering. In 1974, Paul E. Kennedy published Modern Display Alphabets: 100 Complete Fonts Selected and Arranged from the Franklin Photolettering Catalogue (Dover).

Typefaces by them included

  • Barker Flare, one of their early 1970s retro typefaces. Digitally revived as Plywood (2007, Patrick Griffin, Canada Type).
  • Pinto Flare. Digitized as Jazz Gothic (2005) by Patrick Griffin at Canada Type.
  • Urban (early 1970s), a Curvy Blocked Lettering typeface in the Alfred Roller / Wes Wilson style popular in the hippie era. Digital revivals include Rebecca Alaccari's Jonah (2005) at Canada Type.
  • Viola Flare. Digitized as Omaha Bazoo NF in 2007 by Nick Curtis and in 2005 by Canada Type as Tomato.
[Google] [More]  ⦿

Franz Heigemeir

Painter, sculptor and type designer, b. ca. 1930. Graduate of the Kunstschule Augsburg, Germany. Since 1976, he is an active member of the Woodstock Artists Association and Museum. Based in Rifton, NY, his paintings can be seen in many places, such as Fine Art in Ulster County, New York.

Creator of typefaces at VGC, such as Heigemeir Bold and Bold Open, Modula (1972) and the art deco typeface Organda (1972). Organda became a Mecanorma face.

Digital revivals of Organda include Organ Grinder (2019, SoftMaker). [Google] [MyFonts] [More]  ⦿

Fred George

At Photo Lettering Inc in New York, Fred George designed Blowoulded. [Google] [More]  ⦿

Fred Shallcrass

Type designer active at New York-based Frere-Jones Type, who grew up in New Zealand, designing magazines, lettering and type for cultural and commercial clients. His typefaces:

  • Exchange (2006-2017) was designed by Tobias Frere-Jones, with contributions by Nina Stössinger, Fred Shallcrass, Tim Ripper and Graham Bradley: Originally designed for newspaper text, Exchange strives for clarity and efficient copyfit across multiple platforms. Its strategy relies on an unorthodox collection of historical references, from nineteenth-century Britain to Depression-era America. The strategy for word shape coherence comes from the early Ionic style of slab serifs, while Bell Gothic offers a lesson in reinforcing the individual identities of letters. Sure-footed sobriety, inherited from Victorian text faces, runs throughout. The deep notches and amplified details make Exchange a kind of cousin to Retina, bringing the same defensive strategy to more traditional text settings. Early inspiration came from the British Ionic style of slab serif, Lynn B. and M.F. Benton's Century Expanded, and C.H. Griffith's Bell Gothic.
  • In 2018, Tobias Frere-Jones and Nina Stössinger co-designed the modernized roman inscriptional typeface Empirica Headline (with contributions by Fred Shallcrass). It has original lower case letters and italics, and is largely based on Louis Perrin.
  • In 2021, Tobias Frere-Jones, Nina Stössinger and Fred Shallcrass designed Seaford for use in Microsoft's Office. They write: Seaford is a robust, versatile sans serif that evokes the familiarity and comfort of old-style seriffed type. With everyday Office users in mind---professionals typing up reports or correspondence, preparing school handouts or corporate presentations---we designed Seaford to be inviting, engaging, and effortlessly readable. A good font family for a miserable piece of software.
  • Conductor (2018). A stocky irregular sans designed by Tobias Frere-Jones, Nina Stössinger, and Fred Shallcrass.
  • Community Gothic (2022). A design by Tobias Frere-Jones, Nina Stössinger, Julia Ma and Fred Shallcrass.
  • IntelOne and IntelOne Mono. Design by Fred Shallcrass, Tobias Frere-Jones, Anuthin Wongsunkakon (Thai), Liron Lavi Turkenich (Hebrew), Ilya Ruderman (Cyrillic), and Nadine Chahine (Arabic). Published in 2020 by Frere-Jones Type.
[Google] [More]  ⦿

Freddy E. Lopez

New York City-based designer of Game Point (2017), a typeface commissioned by the NFL. [Google] [More]  ⦿

Frederic Warde

Born in Wells, Minnesota as Arthur Frederick Ward, 1894, d. New York, 1939. He enlisted in the United States Army in 1915 and attended the Army School of Military Aeronautics at the University of California, Berkeley during 1917-1918. On demobilisation he worked as a book editor for Macmillan&Co before undergoing training on the Monotype machine, after which he worked for the printers Edwin Rudge. He had met Beatrice Becker in 1919 and they married in December 1922. Warde was Printer for Princeton University (1922-1924). The couple moved to England in late 1924 for Warde had been offered work by the typographer Stanley Morison, designing for The Fleuron and the Monotype Recorder. The marriage did not last; they separated in 1926, and quickly divorced, though the break-up was an amicable one. Afterward Warde lived in France and Italy, where he became involved in Giovanni Mardersteig's Officina Bodoni. In 1926 Mardersteig printed The Calligraphic Manual of Ludovico Arrighi - complete Facsimile, with an introduction by Stanley Morison, which Warde issued in Paris while working for the Pleiad Press. He had his name changed several times, first his last name to Warde, and then his first name first to Frederique and then to Frederic. Warde returned to America permanently and he worked again for Edwin Rudge from 1927 to 1932, and also designed for private presses such as Crosby Gaige, the Watch Hill Press, Bowling Green Press, the Limited Editions Club and Heritage Press. Warde worked as production manager for the American office of the Oxford University Press from 1937 until his death in 1939.

His typographic work:

  • Based on the fifteenth century letters of Nicolas Jenson, Centaur (originally called Arrighi) was first designed by Bruce Rogers in 1914 for the Metropolitan Museum, and parts of the typeface (like the italic) were done by Warde in 1925. This was called Arrighi Italic (a smooth version of Blado) but became Centaur Italic (Monotype, 1929). Warde was inspired by the italic forms on the Italica of Ludovico Vicentino, a 16th century typeface. However, his capitals are more freely formed (not vertical, for example). Warde designed a revival of the chancery cursive letter forms of Renaissance calligrapher Ludovico degli Arrighi. This italic, titled Arrighi, was designed as a companion to Bruce Roger's roman typeface Centaur.

Author of Monotype Ornaments (1928, Lanston Monotype Corp) [this book is freely available on the web thanks to Jacques André]. Many ornaments in this book have been digitized; see, e.g., Arabesque Ornaments (for the 16th century material) and Rococo Ornaments (for the 18th century ornaments). Warde also published the following privately in 1926 with Stanley Morison: The calligraphic models of Ludovico degli Arrighi, surnamed Vicentino---a complete facsimile and introduction by Ludovico degli Arrighi.

Digital fonts based on his work include LTC Metropolitan (Lanston), Centaur (Monotype and Linotype versions) and Arrighi BQ (Berthold; this font has romans by Bruce Rogers and an italic by Frederic Warde).

Wiki page. Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Frederic William Goudy

One of the great type designers of the twentieth century, 1865-1947. Born in Bloomington, IL, he made over 125 typefaces. He founded the Village Press with Will H. Ransom at Park Ridge, IL, in 1903. From 1904 until 1906, it was in Hingham, MA, and from 1906-1913 at 225 Fourth Avenue, New York City, where a fire destroyed everything except the matrices on January 10, 1908. From 1913 until 1923, it was located in Forest Hill Gardens, Long Island, and from 1923 until his death in 1947 at Deepdene, in Marlborough-on-Hudson, NY. He was an art consultant for Lanston Monotype from 1920-1940.

His life's work and his ideas on typography can be found in his great book, Typologia, Studies in Type Design \& Type Making (1940, University of California Press, Berkeley), but his views are already present in Elements of Lettering (1922, The Village Press, Forest Hill Gardens, New York). His own work is summarized, shown and explained in his last book, A Half-Century of Type Design and Typography 1895-1945, Volume One (1946, The Typophiles, New York). See also Frederic Goudy by D.J.R. Bruckner for Harry N. Abrams Publishers, New York.

In 1936, Frederic Goudy received a certificate of excellence that was handlettered in blackletter and immediately stated, Anyone who would letterspace blackletter would steal sheep. He also wrote: All the old fellows stole our best ideas, and Someday I'll design a typeface without a K in it, and then let's see the bastards misspell my name.

His 116 fonts include

  • Camelot (1896, Dickinson Type Foundry). He sold another design in 1897 to that foundry, but it was never published. McGrew writes: Camelot or Camelot Oldstyle was the first typeface designed by Frederic W. Goudy. He offered it to Dickinson Type Foundry (part of ATF) in Boston, which accepted it and sent him $10, twice what he had modestly asked for it. This was in 1896; it was apparently cut and released the following year as drawn, without lowercase. In February 1900 a design patent was issued in the names of Goudy and Joseph W. Phinney, and assigned to ATF. Phinney was a well-known designer for Dickinson-ATF, and apparently it was he who added the lowercase alphabet. Its success encouraged Goudy to make a distinguished career of type designing, and this typeface was included in ATF specimen books as late as 1941. Compare Canterbury.
  • De Vinne Roman (1898)
  • Copperplate (1901): See Copperplate Gothic Hand (2009, Gerd Wiescher), Copperplate URW, or Copperplate EF (Elsner&Flake).
  • Pabst Roman (1902)
  • Village (1902). Some say 1903. Village was originally designed by Frederic Goudy in 1903 for Kuppenheimer & Company for advertising use, but it was decided it would be too expensive to cast. It was later adopted as the house face for Goudy's and Will Ransom's Village Press. The matrices were cut and the type cast by Wiebking. The design was influenced by William Morris's Golden Type. This Venetian typeface was digitized by David Berlow (1994, FontBureau), by Paul D. Hunt (2005), and by Steve Matteson (2018), who simply called his revival Village. Hunt's version was eventually released in 2016 by P22 as LTC Village. Ivan Louette (Belgium) is working on a fine version of Village as well.
  • Bertham (1936), his 100th typeface, named for his wife, Bertha.
  • Copperplate Gothic (ATF, 1905): The Bitstream version was done by Clarence Marder.
  • Goudy Old Style (ATF, 1914-1915): A 15% heavier weight was made by Morris Fuller Benton in 1919. Bitstream and URW++ sell that as Goudy Catalogue. See also Goudy Catalogue EF (Elsner&Flake), Bitstream's Goudy Old Style, Scangraphic's Goudy Old Style SB (2004), Infinitype's Goudy Old Style, Bitstream's Venetian 522, and Softmaker's G790.
  • ATF Cloister Initials (1917-1918). This was revived digitally by several foundries: Alter Littera did Initials ATF Cloister (2012). Group Type created Cloister Initials (2006).
  • Goudy Handtooled (1916): A decorative font. Elsner&Flake and Bitstream have a digital version. The Bitstream version used to be called Venetian 523.
  • Goudy Modern (Lanston, 1918): Goudy Modern MT is the Agfa-Monotype version. Adobe's version is confusingly called Monotype Goudy Modern.
  • Hadriano (1918): Agfa-Monotype has a digital version, as does Adobe.
  • Goudy Heavyface (ATF, 1925-1932): Created as a possible competitor of Cooper Black. Bitstream has a digital version.
  • Goudy Newstyle (1921): additional letterforms are provided to distinguish different pronunciations. This legible semi-Venetian typeface was cut by Wiebking and recut in 1935. It was sold to Monotype in 1942. Revival by Steve Matteson in 2018 as Newstyle.
  • Italian Oldtyle (+Italic) (ca. 1925): made after Dove, Monotype's president, prompted Goudy to make a Venetian typeface to compete with ATF's Cloister Old Style.
  • Venezia Italic (1925), to accompany Venezia. George W. Jones of the English Linotype company had it made by Linotype.
  • Aries (1925-1926): a kind of blackletter typeface in the style of Subiaco done for Spencer Kellogg for his new private press (he never used it).
  • Goudy Dutch: based on handwriting on an envelope from Holland. Goudy lost the drawings.
  • Companion Old Style and Italic
  • Deepdene (1927). See D690 Roman on the SoftMaker MegaFont XXL CD, 2002. Deepdene became a Berthold font, and at Berthold it was digitized and refreshed by G.G. Lange from 1982-1983. URW also has a Deepdene family. But above all, one could pick up a free two-style revival by Barry Schwartz, Linden Hill (2010, OFL). View various Deepdene implementations.
  • Goudy Text (1928). Based on the textura blackletter types of by Johann Gutenberg in the fifteenth century, Goudy Text has a narrow, ordinary lowercase. It can be used in display advertising and on certificates and invitations. Goudy Text is a "blackletter" type first used in 1928 by Goudy in a Christmas card from type cast at his own foundry. Among the digital versions, see LTC Goudy Text (P22 and Lanston; by Paul D. Hunt; this family includes LTC Goudy Text Lombardic Caps) and Goudy Text CT (Jason Castle).
  • Kaatskill (1929, Lanston Monotype): a beautiful old style figures font originally done for an edition of Rip van Winkle. Mac McGrew: Kaatskill is a private typeface designed and cut by Frederic W. Goudy for use in an edition of Rip Van Winkle which he made for The Limited Editions Club, in 1929. Goudy says that what he had in mind was merely to design a type "as simple, legible, vigorous, clear, and effective in detail as could, and which would at the same time show no note of strangeness in the mass. ...I feel that Kaatskill owes nothing in its design to any existing face. and the type therefore is as truly an American type as anything so hidebound by tradition as type can be." It is named for the Catskill mountains, which were the locale of Goudy's home and workshop as well as of the story. See Trajan Title.
  • Remington Typewriter (1929)
  • Kennerley (1930) (see his book A Novel Type Foundery for specimens). The Berthold foundry, where the types can now be bought in digital form, mentions the dates 1911-1924.
  • Ornate Titling (1931). See LTC Goudy Ornate (Lanston) and Goudy Ornate (2002, Ascender).
  • Kennerley Bold and Bold Italic, and Kennerley Open Caps, to accompany Kennerley Old Style.
  • Goudy Heavy Face (+Italic), made to please Harvey Best, the successor of Dove at Lanston Monotype.
  • Marlborough (1930s): a typeface whose design was sold in 1942 to Monotype, but nothing came of it.
  • Tory Text (1935). A blackletter typeface inspired by the lettre batarde used by Geoffroy Tory in his Champs Fleury.
  • University (of California) Old Style (1938). Also called Californian (1938). A commercial version of this is ITC Berkeley Oldstyle by Tony Stan (1983). Font Bureau published FB Californian (1994, Carol Twombly, David Berlow, Jane Patterson).
  • Bulmer (1939)
  • Goudy Sans: ITC Goudy Sans (1986), LTC Goudy Sans (2006, Colin Kahn), Goudy Elegant (SoftMaker), Moon Cresta (Ray and Chikako Larabie, 2010) and Goudy Sans EF (now gone?) are digital revivals of Goudy's Goudy Sans family from 1929. GoudySorts MT, an Agfa Monotype font consisting of beautiful ornaments.
  • Goudy Thirty. Mac McGrew: When Monotype suggested that Goudy design a type that that company might bring out after his death, to be called Goudy Thirty (from the newspaper term for the end of a story), he thought of a design he had started for a western college. That commission had fallen through, so the design was unfinished. Then, as Goudy relates, "This design struck me as particularly adapted to the purpose. As I worked on it I had determined to make it, as far as I was able, my last word in type design, a type in which would give my imagination full rein, and a type by which as a designer would be willing to stand or fall." Completed in 1942, it was kept under cover by Monotype and not released until 1953-long after his death in 1947. But he designed several types after this one, so it was not the last one from his hands. Goudy Thirty is a fine recreation of a fifteenth-century round gothic, excellent for period pieces. For digital versions, see LTC Goudy Thirty (Lanston, now P22 Lanston) and Goudy Thirty (a free font by Dieter Steffmann).
  • Nabisco (1921).
  • Garamont (1921).
  • Goudy Initials. These are floriated caps.
  • New Village Text (1938). A hybrid consisting of the capitals of Tory Text and the lower case of Deepdene.

Several foundries specialize in Goudy's types. These include P22/Lanston, which has an almost complete digital collection, Ascender Monotype, and Castle Type, which offers Goudy Trajan (2003), Goudy Text, Goudy Stout and Goudy Lombardy. WTC Goudy was digitized ca. 1986 by WTC.

Links: Bio by Nicolas Fabian. Alternate URL. Andrew R. Boone's article on Goudy in Popular Science, 1942. Goudy's typefaces listed by Paulo W. Obituary, May 13, 1947, New York Times, Time Magazine, November 6. 1933, Amy Duncan's thesis at BSU entitled "Howdy Goudy: Frederic W. Goudy and the Private Press in the Midwest", A 2009 lecture on Goudy by Steve Matteson (TypeCon 2009, Atlanta), Melbert B. Cary Jr. collection of Goudyana. Wikipedia: List of typefaces designed by Frederic Goudy. Linotype link. FontShop link. [Google] [MyFonts] [More]  ⦿

Frederick Gerken
[Eastern Brass&Wood Type]

[More]  ⦿

Freeman Jerry Craw

Or Freeman Godfrey Craw. Type designer from East Orange, New York, born in 1917, who was associated with ATF. He died in 2017.

Excerpts of his obituary in the Star Ledger: Graphic artist and designer renowned internationally as innovator in visual identity field, created many recognizable typefaces that bear his name. Freeman Godfrey Craw, 100, of Tinton Falls, N.J., passed away peacefully on Monday, May 1, 2017. Mr. Craw had lived in Tinton Falls since 2001. Prior to that, he had been a long-time resident of Short Hills, N.J. Known to family and friends as Jerry, he forged a highly distinguished and decorated career in graphic art, calligraphy, and topography. Born and raised in East Orange, N.J., Jerry graduated from Cooper Union For The Advancement of Science and Art in 1939. Upon graduation he became a designer with the American Colortype Company in New York City. In 1943, he joined Tri-Arts Press Inc. as its art director, and in 1958, he was named vice president of the company. In that capacity, he had complete graphic control over the most interesting and impressive printing produced in the U.S. during the 1950s and 1960s. During this time, he created unique visual identity programs for numerous prestigious business and institutional clients, including CBS and IBM. In 1968, he left Tri-Arts to establish his own company, Freeman Craw Design as a specialist in design-for-printing. As an independent design consultant and art director, Jerry maintained a full-time office of designers and artists to better serve the complete needs of his clientele. He provided a broad range of graphic and production services, including photography, typography, illustration, composition, platemaking and printing. He also served as manager of production and graphics for Rockefeller University Press at that time. Jerry was considered one of the best graphic artists in the world, and his body of work has been described by colleagues and industry insiders as "legendary." He was best known to fellow topographers for his many type designs commissioned by American Type Founders Company. Among these are Craw Clarendon, Craw Clarendon Book, Craw Clarendon Condensed, Craw Modern, Craw Modern Bold, Craw Modern Italic, Ad Lib, Canterbury, Chancery Cursive, Classic, CBS Sans and CBS Didot. Jerry's calligraphic works were held in such high regard that permanent collections were established at the of the Museum of Modern Art and the Cooper-Hewitt Museum of New York, a division of the Smithsonian Institution, as well as the Whitney Museum of American Art. He also had a number of one-man exhibitions in New York, Chicago, and London, and was an honorary member of the Gutenberg Museum in Mainz, Germany. Additionally, in 1946, he was a founding member of the Type Directors Club, which today is still the leading international organization devoted to excellence in topography. He was also the recipient of numerous national and international awards and citations for excellence in graphic design. Jerry wrote and designed for the following publications: American Artist, Fortune, Graphis, Print Magazine and the Saturday Evening Post, to mention only a few. He even found time as a guest lecturer at institutions including Yale University, Rensselaer Polytechnic Institute, Kean University, The New York School of Visual Arts, as well as the Universities of Alabama, Utah, and Maryland.

His obituary contains this paragraph about Jerry's great personality: Jerry was warmhearted, gregarious, and passionate about his art. His intelligence and gentle nature always shined through. He was good humored, loved to be around people, and always seemed to get along with everyone, even strangers. He considered himself a "hopeless Francophile," and was heavily influenced by School of Paris painters like Degas, Braque, Picasso, and particularly Modigliani. Having traveled extensively throughout France, he developed a keen appreciation of French culture, French architecture and, of course, French wine. He even taught himself the language and became fluent in it. Jerry loved a good bottle of Chateauneuf du Pape, but would love sharing it with family and friends even more. His warmth, humor, and creativity will be sorely missed by all who knew and loved him.

Designer of

  • Craw Clarendon (ATF, 1955-1960), based on the Benjamin Fox/Robert Besley Clarendon of 1845. Now available as OPTI Craw Clarendon (Castcraft), Craw Clarendon EF (Elsner & Flake), or Craw Clarendon (2013, Jordan Davies), for example. Mac McGrew writes: In 1955, ATF commissioned Freeman Craw to develop an American version of the Clarendon letter, resulting in Craw Clarendon. The following year Craw Clarendon Book, a lighter weight, was released, and Craw Clarendon Condensed in 1960. Craw has commented that as a designer of type he faced different problems than as a designer with type. Perhaps this and the alleged rush production resulted in unfortunate compromise, as some sizes are small for the body, with excess shoulder. Otherwise they are excellent and deservedly popular typefaces. The normal widths are also made by Monotype. Also see Clarendon.
  • Craw Modern (1958). Mac McGrew writes: Craw Modern is a contemporary interpretation of the modern roman style, designed by Freeman Craw for ATF in 1958. It is a very wide face, with large x-height and short ascenders and descenders, otherwise somewhat the character of Bodoni but a little less formal. Craw Modern Bold followed, and in 1964 Craw Modern Italic was introduced. These typefaces have the same general proportions and some of the general design characteristics as the same artist's Craw Clarendon, but the similarity ends there and the typefaces should not be considered part of the same family. Compare Modern Roman, Litho series. Digital versions include Craw Modern (2012, Group Type) and OPTI Craw Modern (Castcraft).
  • Ad Lib (ATF, 1961). This was revived as Ad Lib in 2010 by SoftMaker. Nick Curtis remade it as Oo Boodlio Doo NF (2011). Bitstream's version is simply called Ad Lib. Vladimir Pavlikov made a Cyrillic version at Paratype in 1999. Mac McGrew writes: Ad Lib is an irregular, novel gothic letter, designed by Freeman Craw in 1961 for American Type Founders, probably in response to the new-found freedom of photolettering techniques. The effect, suggestive of a woodcut technique, was reportedly achieved by cutting the letters out of a black sheet material with scissors. The complete font as shown features alternate designs for a number of characters; in addition, it is aligned so that several characters can be inverted to form additional alternates, such as u for n and vice versa. It is made only in three sizes. The alternate characters were later discontinued. Samoa, a nineteenth-century typeface, had somewhat similar invertible characters.
  • Special commissions: Canterbury, Chancery, Classic, CBS Sans, and CBS Didot (1970s; for private users and manufacturers of film and digital type equipment). CBS Didot (2009, Daylight Fonts) is a revival of Craw's CBS Didot. For other digitizations, see K22 My Didot (2012, by Toto), Opti Didot CBS Special by Castcraft Software and an unattributed free font called CBS Didot.
He received a TDC medal in 1988 for lifetime achievement in typography. Link at TDC. FontShop link. [Google] [MyFonts] [More]  ⦿

Freight Collection

Freight Collection is simply a place to sell Joshua Darden's successful Freight superfamily. Freight was originally developed at Garage Fonts between 2004 and 2009. This extensive all-round family of typefaces includes Freight Sans Pro, Freight Display Pro, Freight Micro Pro, Freight Text Pro, and Freight Big Pro (2005; its heavier weights are high-contrast didones). The slab serif, sans and serif versions are related and derived from each other, in some cases, by snap-on technology (in the spirit of Thesis or Scala or Nexus). Freight Sans Condensed Pro followed in 2012 and Freight Sans Compressed Pro in 2015. Freight Micro Pro (2009) was specifically created for use in phone books and small size applications. Freight Macro Pro is more suited for corporate branding. Review by John Berry. Freight Neo Pro (a humanist sans) was published in 2013. In 2015, Darden offered the free font Freight Big Bold (2005) via Open Font Library. Freight Round Pro was added in 2016. Finally, in 2017, Freight moved to Type Network and started selling on myFonts from early 2022 onwards. [Google] [MyFonts] [More]  ⦿

Frere Jones Type
[Tobias Frere-Jones]

After his break-up with Jonathan Hoefler, Tobias Frere-Jones set up shop as Frere Jones Type in Brooklyn, NY, in 2015, and joined Type Network in 2020. His first typeface in his new skin is the sans typeface Mallory (2015: contributions by Graham Bradley, Erin McLaughlin, Aoife Mooney and Tim Ripper). Mallory is an all-purpose font but is motivated by small mobile devices. It is legible on screen and in print. It includes currencies for countries that have released new symbols like the Indian rupee and Turkish lira.

In 2016, he published the sans family for screen, mobile app and desktop, Retina, in seven weights, three widths and two sizes. Retina's MicroPlus styles are engineered to occupy the same space in any weight. To remain legible, deep notches and exaggerated carefully studied ink traps are applied. The Museum of Modern Art has recognized Retina as a milestone in type design, and acquired it for its Architecture and Design Collection. Retina was designed by Tobias Frere-Jones, with contributions by Graham Bradley, Nina Stössinger, Tim Ripper, Dave Foster, Octavio Pardo, Ksenya Samarskaya and Colin Ford.

Exchange (2006-2017) was designed by Tobias Frere-Jones, with contributions by Nina Stössinger, Fred Shallcrass, Tim Ripper and Graham Bradley: Originally designed for newspaper text, Exchange strives for clarity and efficient copyfit across multiple platforms. Its strategy relies on an unorthodox collection of historical references, from nineteenth-century Britain to Depression-era America. The strategy for word shape coherence comes from the early Ionic style of slab serifs, while Bell Gothic offers a lesson in reinforcing the individual identities of letters. Sure-footed sobriety, inherited from Victorian text faces, runs throughout. The deep notches and amplified details make Exchange a kind of cousin to Retina, bringing the same defensive strategy to more traditional text settings. Early inspiration came from the British Ionic style of slab serif, Lynn B. and M.F. Benton's Century Expanded, and C.H. Griffith's Bell Gothic.

In 2018, Tobias Frere-Jones and Nina Stössinger co-designed the modernized roman inscriptional typeface Empirica Headline (with contributions by Fred Shallcrass). It has original lower case letters and italics, and is largely based on Louis Perrin.

Conductor (2018, Tobias Frere-Jones and Nina Stoessinger) is originally based on the delicate, blocky numerals from vintage Bulgarian lottery tickets. It also incorporates elements of vernacular shopfront lettering and mid-century type design. Conductor has power and pizzazz in all of its four widths, from condensed to wide.

Custom typefaces: Sixty Thirty (for Cooper Hewitt), Donors Choose (with Nina Stössinger), TD Ameritrade Sans, Culver (for Hyperakt), Bosca, Essex Market (with Nina Stössinger), ACLU, Tableau (with Tim Ripper; for Tableau Software), AdAge (for OCD), Mallory Condensed (for Academy Sports), Topic (a piano key typeface), MSL Elzevir (for Martha Stewart Weddings).

In 2021, Tobias Frere-Jones, Nina Stössinger and Fred Shallcrass designed Seaford for use in Microsoft's Office. They write: Seaford is a robust, versatile sans serif that evokes the familiarity and comfort of old-style seriffed type. With everyday Office users in mind---professionals typing up reports or correspondence, preparing school handouts or corporate presentations---we designed Seaford to be inviting, engaging, and effortlessly readable. A good font family for a miserable piece of software.

At Frere Jones / Type Network, one can buy Tobias's older typefaces: Armada, Asphalt, Cafeteria, Citadel, Epitaph, Garage Gothic, Grand Central, Griffith Gothic, Hightower, Interstate, Interstate Mono, Interstate Pi, Niagara, Nobel, Pilsner, Reiner Script, Stereo. [Google] [More]  ⦿

Frere Jones Type
[Tobias Frere-Jones]

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.

His Font Bureau typefaces:

  • Armada (1987-1994). A rigid elliptical sans in many styles. This is a surprisingly beautiful family despite its self-imposed design restrictions. The Compressed Black is a piano key typeface in the style of Wim Crouwel. Font Bureau: An experiment in algorithmic design, Armada follows the verticals and flat arches so often to be found in the architectural geometry of cast iron and brickwork in 19th century American cityscapes.
  • Asphalt (1995). Font Bureau: Who hasn't admired the energy of Antique Olive Nord? All other ultrabolds seem sluggish in comparison. Nord exudes Excoffon's animation and Gallic impatience with the rules. Tobias Frere-Jones cross-bred the weight, proportion, and rhythms of Nord with the casual grace of his own Cafeteria, gaining informality and a dancing vitality on the page.
  • Benton Sans (1995-2003). Created by Tobias frere-Jones and Cyrus Highsmith, it is a revival of Benton's 1903 family, News Gothic, and one of Font Bureau's bestsellers. It is a very complete family, ranging from regular widths to Condensed, Compressed and ExtraCompressed subfamilies. The Small Caps set is complete as well.
  • Benton Modern (1997-2001). Benton Modern was originally undertaken by Tobias Frere-Jones to improve text at The Boston Globe. Widening the text face for the Detroit Free Press, he returned Century's proportions to Morris Fuller Benton's turn-of-the-century ATF Century Expanded, successfully reviving the great news text type. The italic, based on Century Schoolbook Italic, was designed by Richard Lipton and Christian Schwartz, who also added the Bold.
  • Cafeteria (1993). Font Bureau about this cartoonish font: The irregularities normally found in script can enliven sans-serif letterforms. In Cafeteria, Tobias Frere-Jones took special care to balance activity with legibility on the paper napkin that served as his sketchpad, drawing a freeform sans-serif that is condensed but in no way stiff.
  • Citadel (1995).
  • CochinOldstyle (1992), CochinBlack (1991).
  • Eldorado (1993-1994).
  • Epitaph (1993). Drawn around 1880 at the Boston Type Foundry (the Boston branch of American Type Founders), Epitaph was modeled on a graceful Art Nouveau letterform that was bringing a new vitality to gravestone inscriptions at the time. The energy and life of the Vienna Secession alphabet drew the attention of Tobias Frere-Jones, who digitized the original set of titling capitals and added alternate characters for its Font Bureau release.
  • Garage Gothic (1992). In three weights, it is based on parking garage ticket lettering but very reminiscent of license plate characters.
  • Grand Central (1998). Grand Central was designed for 212 Associates from late-twenties capitals hand-painted on the walls of Grand Central Station. Font Bureau writes: The design is a distinguished Beaux Arts descendant of the great French Oldstyle originated by Louis Perrin in Lyons in 1846, known across Europe as Elzevir and in the U.S. as De Vinne.
  • Griffith Gothic (1997-2000). A revival of Chauncey Griffith's telephone book directory typeface, Bell Gothic (1937-1938).
  • Hightower (1994-1996). A Venetian typeface originally done for the Journal of the American Institute of Graphic Arts. Font Bureau: Dissatisfied with others' attempts to bring Nicholas Jenson's 1470 roman up to date, Frere-Jones prepared his version of this calligraphic roman, with his own personal italic.
  • Interstate (1993, Font Bureau). Done for the United States Federal Highway Administration, but later released as a type family by Font Bureau. Interstate Mono (done with Christian Schwartz) followed in 2000, also at Font Bureau. The family is a reinterpretation of Highway Gothic, which has been the official typeface for American highway signage for decades. Its design is ultimately based on signage alphabets developed in the late 1940s by Dr. Theodore Forbes, assisted by J.E. Penton and E.E. Radek.
  • Miller. A Scotch Roman finished in 1997 together with Matthew Carter and Cyrus Highsmith at Font Bureau.
  • Niagara (1994). Almost a skyline typeface. Contains Niagara engraved.
  • FB Nobel (1993). An exquisite geometric sans family based on old ideas of De Roos at Amsterdam who explored alternative character sets to enliven basic Futura forms. Frere-Jones views Nobel as Futura cooked in dirty pots and pans. FB Nobel showcased. The Extra Lights were added by Cyrus Highsmith and Dyana Weissman.
  • Pilsner (1995). A beer bottle typeface. Font Bureau: Sitting in a Paris cafe with a bottle of beer, Tobias Frere-Jones gave his attention to the label. It was set in a roman design wearing blackletter-like clothes, probably to suggest an origin in Alsace or points to the East. Unable to forget the design, with its blocky, straight line emphasis, Tobias designed Pilsner, an exercise in straight lines in an angle-centered scheme.
  • Poynter Old Style (1997, Font Bureau).
  • FB Reactor (1996). This was first a FUSE7 font in 1993). Reactor destroys itself as it is put to use.
  • Reiner Script (1993). Based on a 1951 brush script by Imre Reiner (ATF).
  • Stereo (1993). After a typeface by Karlgeorg Hoefer, 1963 (Font Bureau says 1968).

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:

    Archer (2001, by Jonathan Hoefler and Tobias Frere Jones). A humanist slab serif originally designed for Martha Stewart Living. It has a great range of features, including a classy hairline style. Some say that Archer is just Stymie with some ball terminals. Nevertheless, it became a grand hit, and has been used by Wes Anderson in The Budapest Hotel, and by Wells Fargo for its branding. David Earls on Archer: with its judicious yet brave use of ball terminals, and blending geometry with sexy cursive forms, all brought together with the kind of historical and intellectual rigour you fully expect from this particular foundry, Archer succeeds where others falter.
  • HTF Retina (2002). For use in the Wall Street Journal.
  • Gotham (2001). A sans serif done with the help of Jesse M. Ragan. In fact, the orignal design in 2000 was for GQ magazine. Read about it here. In 2007, he published the rounded version Gotham Round. Gotham was used in 2008 by Obama in his presidential campaign. Joshua Brustein (Business Week): Gotham is one hell of a typeface. Its Os are round, its capital letters sturdy and square, and it has the simplicity of a geometric sans without feeling clinical. The inspiration for Gotham is the lettering on signs at the Port Authority, manly works using "the type of letter that an engineer would make," according to Tobias Frere-Jones, who is widely credited with designing the font for GQ magazine in 2000. Critics have praised Gotham as blue collar, nostalgic yet exquisitely contemporary, and simply self evident. It's also ubiquitous. Gotham has appeared on Netflix (NFLX) envelopes, Coca-Cola (KO) cans, and in the Saturday Night Live logo. It was on display at the Museum of Modern Art from 2011 to 2012 and continues to be part of the museum's permanent collection. It also helped elect a president: In 2008, Barack Obama's team chose Gotham as the official typeface of the campaign and used it to spell out the word HOPE on its iconic posters. Hoefler produced versions in 2016 such as Gotham Office and Gotham Narrow Office.
  • Cyclone (2003).
  • In 2010, he and Jonathan Hoefler designed the sans family Forza.
  • Giant (2003).
  • Knoz (2003).
  • Topaz (2003).
  • Verlag (2006). Developed together with Jonathan Hoefler.
  • Whitney (2004). This is an amazing 58-style sans family designed for the Whitney Museum, but now generally avalaible from Hoefler, and touted as a great family for infographics. A derivative, Whitney-K, is the house font of Kodak. Whitney's sales blurb: While American gothics such as News Gothic (1908) have long been a mainstay of editorial settings, and European humanists such as Frutiger (1975) have excelled in signage applications, Whitney bridges this divide in a single design. Its compact forms and broad x-height use space efficiently, and its ample counters and open shapes make it clear under any circumstances.
  • With Hoefler, he collaborated on projects for The Wall Street Journal, Martha Stewart Living, Nike, Pentagram, GQ, Esquire, The New Times, Business 2.0, and The New York Times Magazine. In all, he has designed over five hundred typefaces for retail publication, custom clients, and experimental purposes. His clients have included The Boston Globe, The New York Times, The Cooper-Hewitt Museum, The Whitney Museum, The American Institute of Graphic Arts Journal, and Neville Brody. He has lectured at Rhode Island School of Design (from which he graduated with a BFA in 1992), Yale School of Art, Pratt Institute, Royal College of Art, and Universidad de las Americas. His work has been featured in How, ID, Page, and Print, and is included in the permanent collection of the Victoria&Albert Museum, London.

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]  ⦿

Fresh Pressed Fonts
[Ryan Welch]

Fresh Pressed Fonts is the foundry of Ryan Welch, who graduated from RIT in 2013. Based in New York City, he created the blackboard bold multi-textured font family Octomorf (2013), the free athletic lettering typeface Matchup (2013), Hickory (2013, a copperplate typeface in which all lowrcase characters are of the same size), Corduroy Slab (2013, free), Matchup Light (2013, free), Parliament (2013, spurred typeface), Grip2X (2013) and Brassie (2013, free regular weight).

In 2014, he published the rounded techno sans typeface Calvaux, Seaside Script, the vintage display typeface Privateer, Sourdough (a creamy script), the wood simulation typeface Fair Trade, the poster typeface Landscaper, and the octagonal typeface Cracker Jack.

In 2015, he published the display sans typeface family Animus and the octagonal typeface Mylodon.

Typefaces from 2016: Machinist (weathered industrial style), Halberd (semi-blackletter), Rematch (slab serif), Life Is Gouda (cheese-themed vector format font).

Typefaces from 2017: Promises, Clout (octagonal and industrial).

Behance link. Creative Market link (for buying his fonts). A newer creative Market link. [Google] [More]  ⦿

Fritz L. Amberger

Artist and printer, 1899-1950, who was based in New York City. He designed Bam-Stencil in 1937 for Ruttle, Shaw and Wetherill. Mac McGrew: Bam-Stencil was designed by F. L. Amberger and reportedly cut by Ruttle, Shaw&Wetherill, a Philadelphia typographic firm, about 1937. It follows the general style of Corvin us (Glamour) Bold, but is heavier and has stencil-like breaks in the strokes. No lowercase was made. [Google] [More]  ⦿

Funny Garbage
[Peter Girardi/Chris Capuozzo]

New York City foundry, making mostly grungy or cartoony typefaces and dingbats. Partners Peter Girardi and Chris Capuozzo designed current fonts: 291, Alvin, Bild, Diary..., DirtDevil (1995, a T-26 font), Infidel, and KennelDistrict (1995). Cartoon fonts by Gary Panter to be added. [Google] [MyFonts] [More]  ⦿

[Chris Papasadero]

Fwis is a graphic design group in Portland, Cupertino and Brooklyn. One of its art directors is Chris Papasadero. As a sideline, they will design an occasional font. Pylon (2007, art deco) is their first production. No downloads. 2009 fonts, again without downloads: Omnistroke Sans, Omnistroke Square, Eurochair, Paratype and Nuit. Koolhand (2009) is a free experimental typeface designed by Chris Papasadero inspired by some of the architecture of Rem Koolhaas. [Google] [More]  ⦿

G. C. Heins, C. G. LaFarge and S. J. Vickers

Designers of various tile-based fonts for New York's subway in 1901. Read about it in Lee Stokey's book, Subway Ceramics (1992). Two fonts by Nick Curtis were inspired by that tiling in New York's subway, Downtown Tessie NF (2006) and Midtown Tessie NF (2006). [Google] [More]  ⦿

Gabriel Gonzalez

During his studies at the School of Visual Arts in New York, Gabriel Gonzalez designed Characterize (2013, an experimental typeface). [Google] [More]  ⦿

Gabriel Lopes

Gabriel Lopes (New York City) designed 3d Analglyph (2013), an experimental geometric typeface. [Google] [More]  ⦿

Gail Anderson

Gail Anderson is well-known for her typography at Rolling Stone magazine. Coauthor with Steve Heller of New Ornamental Type and Type Speaks: A Lexicon of Expressive, Emotional, and Symbolic Typefaces (2021). [Google] [More]  ⦿

Gail Sihan Zhao

Flushing, NY-based student designer of the decorative caps typeface Style (2014). [Google] [More]  ⦿

Gangs of New York

Mark Simonson discusses the anachronisms in the type choices for Scorsese's Gangs of New York (2002), set in the 1860's--they were even using Avenir! [Google] [More]  ⦿

Garnett Megee

Type designer at Photo Lettering Inc in New York. His (phototype) typefaces there include Biscayne Vertical, Floridian, Greenwich and Miami. [Google] [More]  ⦿

Gary Sumner

Designer in New York, NY, who created Steampunk Teletyped (2016) from small circles. [Google] [More]  ⦿

Gavin Potenza
[Script and Seal]

[More]  ⦿


GE Inspira (2004, free under conditions spelled out in an EULA) is a typeface designed for GE's brand based on ideas of Patrick Giasson (who worked at Wolff Olins and is now with Agfa Monotype UK). Giasson writes: A number of people were involved. I did the initial typographic development on the regular Latin weight, with Adam Throup (London) and Douglas Sellers (NYC) art directing the project. Further development was subsequently done by Mike Abbink (SF). Agfa Monotype US was then involved to create additional weights, and expand the family to cover roughly the WGL4 character set and finalize the fonts. [Note: the Agfa team consisted of Jim Wasco, Carl Crossgrove and others.] Mike Abbink writes: I actually spent over a year working on the design of Inspira. It was Patrick's [Patrick Giasson] early concept that GE was drawn to, but at that time, it was way too funky and more display like then they wanted. I then took patricks original thoughts and spent several months refining the roman and created an italic (which Patrick did not do) which was then handed to monotype to create more weights and refine a bit. What you see in Inspira now, is quit different from Patrick's original concept. However, the more unique forms from Inspira are indeed driven by patricks original drawings and are the interesting forms of the font (v, x, z, y). I was also involved with art directing and working with the Monotype team (for over a year) in developing all the other iterations of inspira. All told, there were many people involved in the refinement of the Inspira font family, but I must say I would have to take a large credit in the design of inspira along with Patrick. I believe Patrick's designs and my designs created a nice balance that has made Inspira what it is today and of course let's not forget the hard work of monotype in really taking the font to the next level with all the weights, the condensed version, and exotics (Greek, Cyrillic, Turkish, etc.). Mike now works at Wolff Olins in New York.

GE Inspira Sans and Serif (Mike Abbink, Paul van der Laan and Pieter van Rosmalen, Bold Monday) won an award in the TDC 2015 Type Design competition. [Google] [More]  ⦿

Gems of Penmanship by Williams&Packard

Penmanship book written in New York in 1867 by D. Williams and S.S. Packard. It has a few blackletter and other alphabets, and many freehand drawings of birds and animals. Selected alphabets: Grand Capitals, Italian Capitals, Ladies Hand, Roman Capitals, Italian, Half Block, Williams Style German Text, Williams and Packard's Steel Pen German Text, Old English, Williams and Packard's Church Text [this inspired C. Lee's Ornate Alphabet], Beveled Alphabet, Ribbon Alphabet, (continued), Soft and Twisted Alphabet, (continued), Rustic Alphabet, (continued). Selected drawings: a hand, a bird, a deer, a swan.

Digital revivals include Vintage Ornamental (2016) and Gothic Ornamental (2016) by Ludmila Riumina. [Google] [More]  ⦿

General Type Studio
[Stéphane Elbaz]

General Type Studio is a New York-based type foundry founded by Stéphane Elbaz, a graduate of ENSAD in Paris, class of 2004. Since 2008, he lives in New York, where he is a freelance designer and teaches at Cooper Type. As of 2018, the font production is in the hands of Mathieu Réguer.

In 2003 at ENSAD, Elbaz co-designed the experimental typeface Caffeine with Benjamin Raimbault and Eric Bricka. His Geneo (2008: an eight style nearly transitional serif) won an award at TDC2 2009. Geneo was published in 2012 by Typofonderie.

Now an established designer, he created didone titling typefaces for the Stiletto mag in 2008.

Other typefaces designed before General Type Studio was started: Sephora Pro (2015, ZeCraft), Galante (2005, a text typeface), Primota (2008, a strong grotesque), Etan (2008, an eroded text face), and PSFournier (2016, Typofonderie: a great revival of Fournier's French transitional typefaces).

Typefaces at General Type Studio:

  • Mier A and Mier B (40 styles, 2018). A sans family that marries the grotesque and geometric styles.
  • Cambon (16 styles). A contemporary flared serif influenced by Louis Perrin (1795-1865) and Berthold Wolpe (1905-1989).
  • Pilat (48 styles). They write: Pilat is a constructed grotesque developed with a large range of weight and width variations. Its base structure, commonly called a superellipse or Lamé curve, could be described as a circle trapped inside a box. Though the letter-shape predates the 20th century, it is mostly seen as an expression of the post World War II era---a glorifying combination of craft and technology. Pilat won an award at the Type Directors Club's Type Design Competition 2019.
[Google] [MyFonts] [More]  ⦿

Genevieve Van Dussen

Rochester, NY-based creator of a great set of single letter logos in 2011 for Modovare. Home page. [Google] [More]  ⦿

Geoffrey Krawcczyk

Geoffrey Krawcczyk is Creative Director at TVP Studio in New York City. In 2018, he designed the free all caps sans typeface Vain Capital. [Google] [More]  ⦿

Georg Salter
[George Salter]

[More]  ⦿

George Abrams
[Abrams Legacy]

[MyFonts] [More]  ⦿

George Abrams
[Expert Alphabets]

[MyFonts] [More]  ⦿

George Bruce

Type-founder (b. Edinburgh, Scotland, 1781, d. New York City, 1866). He and his brother David emigrated to the United States, where they started the Bruce Type Foundry in New York City in 1813. David was precoccupied with a new printing process, stereotyping, while George was the type-founder who created many beautiful and refined designs. Together, they invented a useful type-casting machine. In 1865, George Bruce published An abridged specimen of fonts of type. In 1848, they published Specimens of printing types / cast by Geo. Bruce&Co. Samples of typefaces: Bruce Script and Bruce Copperplate Script (1842 and 1858), Bruce Copperplate Script No. 2003 (1857), Bruce Italian Swash Script No. 2007 (1858), Victoria Textura (1865).

Quoting From Appleton's Cyclopedia of American Biography, edited by James Grant Wilson and John Fiske. 6 vols. New York: D. Appleton and Company, 1887-1889.:

Bruce, George, type-founder (proprietor of the Bruce foundry), born in Edinburgh, Scotland, 5 July, 1781: died in New York City, 6 July, 1866. He immigrated to the United States, where his brother David had preceded him in July, 1795, and at first attempted to learn the bookbinder's trade, but, his master being tyrannical and exacting, he left him, and by his brother's persuasion apprenticed himself to Thomas Dobson, printer in Philadelphia. In 1798 the destruction of Dobson's office by fire, and the prevalence of yellow fever, led the brothers to leave the city. George had yellow fever at Amboy, but recovered through his brother's care. The two went to Albany and obtained employment there, but after a few months returned to New York. In 1803 young Bruce was foreman and a contributor to the Daily Advertiser, and in November of that year printer and publisher of the paper for the proprietor. In 1806 the two brothers opened a book printing office at the corner of Pearl street and Coffeehouse slip. The same year they brought out an edition of Lavoisier's Chemistry, doing all the work with their own hands. Their industry and personal attention to business soon brought them abundant employment, and in 1809, removing to Sloat lane, near Hanover square, they had nine presses in operation, and published occasionally on their own account. In 1812 David went to England, and brought back with him the secret of stereotyping. The brothers attempted to introduce the process, but encountered many difficulties, which it required all their ingenuity to surmount. The type of that day was cast with so low a beveled shoulder that it was not suitable for stereotyping, as it interfered with the molding and weakened the plate. They found it necessary, therefore, to cast their own type. They invented a planing-machine for smoothing the backs of the plates and reducing them to a uniform thickness, and the mahogany shifting-blocks to bring the plates to the same height as type. Their first stereotype works were school editions of the New Testament in bourgeois, and the Bible in nonpareil (1814 and 1815). They subsequently stereotyped the earlier issues of the American Bible society, and a series of Latin classics. In 1816 they sold out the printing business, and bought a building in Eldridge street for their foundry. Here, and subsequently in 1818, when they erected the foundry still occupied by their successors in Chambers Street, George gave his attention to the enlargement and development of the type-founding business, while David confined his labors to stereotyping. In 1822 David's health failed, and the partnership was dissolved. George soon relinquished stereotyping, and gave his whole attention to type-founding, and introduced valuable improvements into the business, cutting his own punches, making constantly new and tasteful designs, and graduating the size of the body of the type so as to give it a proper relative proportion to the size of the letter. In connection with his nephew, David Bruce, Jr., he invented the only typecasting machine That has stood the test of experience, and is now in general use. His scripts became famous among printers as early as 1832, and retained their pre-eminence for a generation. The last set of punches he cut was for a great primer script. He was at the time in his seventy-eighth year, but for beauty of design and neatness of finish, the type in question has rarely been excelled. Mr. Bruce was a man of large benevolence, of unflinching integrity, and great decision of character. He was president for many years of the Mechanics' Institute, and of the type-founders' association, and an active member of and contributor to, the historical society, St. Andrew's society, the typographical society, and the general society of mechanics and tradesmen. [Google] [MyFonts] [More]  ⦿

George Bruce
[Bruce Type Foundry]

[MyFonts] [More]  ⦿

George Buxton Lothian
[Lothian Type Foundry]

[More]  ⦿

George Clark

New York-based art director and type brander. He created the identoty for New York-based industrial designer Lucy Tupu in which he makes frequent use of squares and quarter circles in his kitchen tile types (2008). [Google] [More]  ⦿

George Hauser

New York artist and letterer (b. Brooklyn, 1893) and designer of the brush typeface Hauser Script (Ludlow, 1934), in script and cursive versions. This typeface is now available from Red Rooster as Hauser Script RR, digitization by Steve Jackaman (1998), and from URW++.

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

George Michael Brower

Chappaqua, NY-based designer who is working on this strong-willed sans (2007). [Google] [More]  ⦿

George Ryan

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:

  • The amazingly beautiful text font Kennedy GD (1995, Galapagos).
  • Other Galapagos fonts: McLemore (2002), Geis (2002), Jorge (2002), Culpepper (2002, an extension and interpretation of Rudolf Koch's Neuland, 1923), the elegant formal script font Tiamaria (2002, connected script), the fat art nouveau font Robusto (2002, based on letters found in a book about Oswald Cooper), Prop Ten (2002).
  • The hand-printed comic book style typeface ITC Kristen (1995).
  • The legible Nikki New Roman GD (1996).
  • The handwriting font MohawcsNote GD.
  • The Bitstream font Oz Handicraft BT (1991). This was created by George Ryan in 1990 from a showing of Oswald Cooper's hand lettering found in The Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago). A refresh was done in 2016.
  • Migrate GD (now ITC Migrate).
  • ITC Eborg.
  • The fine dingbat font Web-O-Mints GD.
  • The clean sans serif Wyle GD.
  • 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.
  • Semaphore (Bitstream, with Dave Robbins).
  • In 2007, at Monotype, he made Givens Antiqua, named after Robert Givens, the co-founder and first president of Monotype Imaging---it is a soft and elegant serif family in 16 styles.
  • In 2012, he published the comic book felt tip marker typeface Koorkin (Monotype).
  • In 2013, he worked on an Ethiopic typeface at Monotype.
  • In 2015, Monotype set out to remaster, expand and revitalize Eric Gill's body of work, with more weights, more characters and more languages to meet a wide range of design requirements. As part of that effort, George Ryan extended the popular Gill Sans from 18 to 43 fonts in his Gill Sans Nova (2015). Several new display fonts are available, including a suite of six inline weights, shadowed outline fonts that were never digitized and Gill Sans Nova Deco that was previously withdrawn from the Monotype library. Greek and Cyrillic coverage.

FontShop link. Klingspor link.

View George Ryan's typefaces. [Google] [MyFonts] [More]  ⦿

George Salter
[Georg Salter]

Georg Salter was a German graphic designer and illustrator, b. Bremen, 1897. After studies at Kunstgewerbeschule Berlin-Charlottenburg, he worked in Berlin as a book designer. In 1934, he emigrated to the United States and changed his first name to George. He became famous for his book jackets. Designer of the ribbon type Flex at Lettergieterij Amsterdam in 1937. He lived mainly in New York, where he died in 1967. Reference: Juergen Holstein: Georg Salter Bucheinbände und Schutzumschläge aus Berliner Zeit 1922--1934, (Berlin 2003).

In 2021, Lucas Sharp created Salter Italic, which was inspired by the book jacket calligraphy of Georg Salter for The Transposed Heads (Thomas Mann, Alfred A. Knopf), published in 1941.

Biography of George Salter by Sara Kratzok and Devyani Parameshwar. [Google] [More]  ⦿

Gerald E. Stahl

Type designer in New York City who created a display face in 1969 for Pennwalt Corporation in Philadelphia. Google patent link. [Google] [More]  ⦿

Geraldson Chua

New York City-based designer of a great set of fat didone numerals (2014). Behance link. [Google] [More]  ⦿

Gerard Huerta
[Gerard Huerta Design]

[MyFonts] [More]  ⦿

Gerard Huerta Design
[Gerard Huerta]

Lettering artist, b. 1952, head of Gerard Huerta Design in Southport, CT. Lettering and logos of Huerta were used by Swiss Army Brands, MSG Network, CBS Records Masterworks, Waldenbooks, Spelling Entertainment, Nabisco, Calvin Klein's Eternity, Type Directors Club, the mastheads of Time, Money, People, The Atlantic Monthly, PC Magazine, Adweek, Us, Condé Nast's Traveler, Working Mother, WordPerfect, Scientific American Explorations and Architectural Digest, as well as corporate alphabets for Waldenbooks, Time-Life and Conde Nast. Designer and vice-president of New York's Type Directors Club. Based in Southport, CT.

He made many famous logos and created several logo-fonts. Huerta worked for some time at CBS Records. His type designs include a custom Franklin Gothic in the late 1970s as part of Walter Bernard's redesign of Time Magazine. [Google] [MyFonts] [More]  ⦿

Geri McCormick
[Virgin Wood Type]

[More]  ⦿

Germain Ricardo

During his studies in New York City, Germain Ricardo designed Tangle (2013). [Google] [More]  ⦿

[Michael Yunat]

Ukrainian-born Michel Yunat is content curator at GetVoIP in New York City. In 2014, he was involved in the commissioning of a free 2-style typeface family simply called GetVoIP Grotesque. The typeface was made by Sergiy S. Tkachenko.

Behance link. GetVoIP link. Dafont link. [Google] [More]  ⦿

Gilbert Powderly Farrar

[MyFonts] [More]  ⦿

Gina Mattioli

Web and graphic designer in Buffalo, NY. In 2015, she created the display typeface Cosmiqu. [Google] [More]  ⦿

Giovanna Pineda

Brooklyn, NY-based designer of the squarish typeface Lissitzky (2019). [Google] [More]  ⦿

Girlie Mac

Tomomi, a Japanese designer living in New York, made a RubberDuckie alphading font (free). [Google] [More]  ⦿

Gisella Anzaldi

Coram, NY-based creator of the Soda Pop typeface in 2012. [Google] [More]  ⦿

Glenda de Guzman

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 at Font Bureau of Bradley Initials (1994, after spectacular art deco capitals originally designed by William H. Bradley---see the 1934 ATF catalog, where it is called Bradley Ultra Modern Initials).
  • She also designed Math1-Bold, Math1, Math1Mono-Bold, Math1Mono, Math2-Bold, Math2, Math2Mono-Bold, Math2Mono, Math3, Math3Bold, Math3Mono-Bold, Math3Mono, Math4-Bold, Math4, Math4Mono-Bold, Math4Mono, Math5, Math5Bold, Math5Mono, Math5MonoBold for Wolfram's Mathematica package in 1996 (truetype versions here or here or here).
FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Glenn Munoz

Graduate of Florida International University. Brooklyn, NY-based designer of the squarish typeface Fprmat (2017). [Google] [More]  ⦿

Glenn Pajarito

Born in Seattle, raised in San Diego, and working in NYC, Glenn Pajarito currently is Senior Art Director at Saatchi & Saatchi X. Creator of a corporate hand-printed typeface family for Wendy's called Wendy's Breakfast (2012). [Google] [More]  ⦿

Glenn Parsons

[MyFonts] [More]  ⦿

Glenn Wolk

New York based creative director. Designer of a typographic portrait of Nicki Minaj (2013).

Behance link. [Google] [More]  ⦿

GoldenAge font set

Four fonts for 65USD by Donald Rice Music Preparation (75 Park Terrace E. #D-54 New York, NY 10034). Advertised for "professionally hand-copied sheet music ... for use in big band charts, lead sheets, jingles, record dates, ...". [Google] [More]  ⦿

Graeme Kilshaw

New York City-based designer Friendship Code (2020). Kilshaw is the CEO of the Friendship Cube Group, 51 Astor Place, NY, NY. [Google] [More]  ⦿

[Lee Iley]

Lee Iley (Grafikarto) is the New York City and/or Mexico City-based designer of Bolonat (2014). His commercial foundry and design studio is called Grafikarto. In 2018, he published Cobalt 27, a monoline typeface that is influenced by early constructivist posters, and Bolonat Hand and Bolonat Wash, two OpenType SVG fonts drawn and originally used for Bar Bolonat restaurant in NYC after vernacular cafe signage in Jaffa, Israel. Also from 2018 is the vernacular Mexicamn diner font family Comida. [Google] [MyFonts] [More]  ⦿

Graham Bradley

[More]  ⦿

Graham Clifford

Graham Clifford is a type director and graphic designer in New York City. He was trained by his father before working for some of London's creative advertising agencies such as CDP and GGT. He moved to New York ca. 1993. President of TDC in 2013.

Creator of Clifford AOL, a font made for AOL. In 2014, his typeface Amplify won an award at the Communication Arts 4th Typography Competition. Other (mostly custom) typefaces by Clifford include Tanqueray, Kmart Bold Italic, Digital, Moët&Chandon, Putnam Semi Sans. [Google] [More]  ⦿

Greg Knoll
[Attention Earthling Font Foundry]

[MyFonts] [More]  ⦿

Greg Mihalko
[Partners and Partners]

[More]  ⦿

Greg "Seso" Ortiz

New York City-based designer (b. 1996) of the free futuristic stencil typeface Quantum (2018). [Google] [More]  ⦿

Gregory Shutters
[Typetanic Fonts]

[MyFonts] [More]  ⦿

Griffin Moore
[Monolith Foundry (was: Pilgrim Fonts)]

[MyFonts] [More]  ⦿

Grolier Club

"Founded in 1884, the Grolier Club of New York is America's oldest and largest society for bibliophiles and enthusiasts in the graphic arts. Named for Jean Grolier, the Renaissance collector renowned for sharing his library with friends, the Club's objective is to foster "the literary study and promotion of the arts pertaining to the production of books." The Club maintains a research library on printing and related book arts, and its programs include public exhibitions as well as a long and distinguished series of publications." [Google] [More]  ⦿

Ground Control (was: Penny Font Foundry, or: Pennyzine)
[Jason Ramirez]

As part of the (ex-) Chank Army, Jason Ramirez (b. 1978, Wisconsin) offers free and commercial fonts. He started out as Pennyzine or Penny Fonts, or Penny Font Foundry, with free fonts that were typically made with the Data Becker software program. Later, his fonts became commercial, and the new site changed its name to Ground Control.

The list of their free fonts, which are mostly in the grunge style that was in vogue ca. 2000: Locals Only (2011), Cocaine Nosejob (2008), Made (2004, grunge blackletter), Strip Club Motion Sickness (2003), One Fell Swoop (2003, scratchy calligraphic), Fear of a Punk Planet (2005), Futon Revolutionist (2002), Bill Hicks (2002, grungy blackletter), Elliot Swonger (2002), Elliots Bad Day (grunge), Don Giovonni (2006, grungy typewriter), Don Giovonni Makin Enemies (2006), Gumuski (2002), DUMMY (1999), Acid Reflux Baby (2002), Avenge Me (2004, multiline, octagonal), Times-New-Omen (1999), punk rock rummage sale (2001), Thatluvinfeelin1 (2001, a sexual positions font), cut-n-paste (1999), Maydogg (1999-2002, handwriting), My-wife-sucks (1999), Stamped-out (1999), Stank (1999), StankII (1999), uncle-tom (1999), uno (1999), Coopdeville (2002), Dirtysocks, FourMoreYears (2003), Punkrockrummagesale (2001), Theregoestheneighborhood (2003), Thiskettle (2002, handwriting), Mr. Rogers (2003), Regime Change (2004), Hotel Coral Essex (2006, grunge), Limp Noodle (2006).

Commercial fonts: Sparkle House (2011), Chompsky Fancy (2011), Redneck Superstar (2002, Chank's).

Dafont link. Yet another URL. Fontspace link. Abstract Fonts link. Alternate URL. Direct downloads. Alternate direct download path. Ground Control web site. [Google] [More]  ⦿

Group Type
[Mark Solsburg]

Mark Solsburg's outfit located in Westport, CT. Before GroupType, Solsburg worked at ITC, which he left in 1989 to start FontHaus. Later he started TypoBrand and Grosse Pointe Group LLC. Solsburg headed the Type Directors Club for a few years. He is presently located in Ann Arbor, MI. He is President / CEO of DsgnHaus (1989-present), and partner in TypoBrand LLC (2004-present), a specialized typographic consulting firm founded by type designer, Mark van Bronkhorst; former type designer for Adobe, Linnea Lundquist, and Mark Solsburg. It seems that the FontHaus collection is now being marketed under the Group Type label at MyFonts. Group Type does technology consultation in the field of providing software and type typeface fonts for designers, publishers and typographers, related to the selection, purchase and use of design software and type typeface fonts for use in graphic, industrial, interactive and communications design. They specialize in revivals. Their fonts include

  • Aquiline. An absolutely wonderful 16th century script.
  • Arbor Brush (2012). A brush font that seems almost painted.
  • Aries. A 1995 revival of a lapidary typeface by Eric Gill.
  • Bank Gothic (1994). A revival of Morris Fuller Benton's original---see also Bank Gothic BT. Now also Bank Gothic Distressed.
  • Bristol (1994). In Adornado and Solid substyles. Based on a design by Stevens Shanks.
  • Broadway Poster.
  • Carpenter Script (1995). Revival of an old connected ATF script by James West.
  • Caslon Antique (1993). Based on an original by Bernd Nadall.
  • Cloister Initials (2006). A revival of an illuminated caps typeface by Goudy.
  • Cooper Poster.
  • Corvinus Skyline (1991). By Ann Pomeroy. A revival of a condensed modern family by Imre Reiner by the same name.
  • Craw Modern (2012). A revival of Craw Modern by Freeman Craw (1958, ATF).
  • Diane Script.
  • Fortis (2012), formerly Atlas. In the wood style of Latin Wide, with heavy sharp triangular serifs.
  • Girder Poster.
  • Gotico Black. A blackletter.
  • Grosse Pointe Metro (2006-2009). A great Bauhaus style sans family based on William Addison Dwiggins' Metro #2). See also Detroit Metro.
  • Grotesca (1995).
  • Laughin. Andrew Smith contributed his Laughin, which was earlier at FontHaus.
  • Maxim.
  • Ovidius Script. A medieval simulation script, dated 2006, designed by Thaddeus Szumilas. Comis in Light, Medium and Bold.
  • Poster Gothic.
  • Raleigh Gothic (1995). A typeface based on Morris Fuller Benton's design. See also Raleigh Gothic RR for a different revival.
  • Regular Joe (2006). An out-of-place childish handwriting font.
  • Ronde Script (2012). This ronde comes from the French side. Group ype says that it was modeled after Parisian Ronde by the Chappelle foundry in Paris, but its roots go back to Nicolas Gando.
  • Schneidler Initials (1995). Revival of Friedrich Hermann Ernst Schneidler's Trajan-style typeface.
  • Sitcom. Ann Pomeroy contributed Sitcom.
  • Spire. By Ann Pomeroy. A condensed didone family heavily based on Sol Hess's Spire (Lanston).
  • Stradivarius.

View the Group Type typeface libary. [Google] [MyFonts] [More]  ⦿

Grow Design Work
[Bran Dougherty-Johnson]

Bran Dougherty-Johnson runs a film-making studio specializing in motion-graphics, broadcast design, short film and typography called Grow Design Work. It is located in Shelter Island Heights, NY. Designer of the free fonts Change (2007, outline face), Chellovek (2006) and Grow Fat (2005), ultra fat art deco fonts. Fontspace link. [Google] [More]  ⦿


Grym is an art director based in New York City. She studied Advertising/Graphic Design at the School of Visual Arts and graduated in 2011. In 2008, she created the geometric typeface Tiptoe. [Google] [More]  ⦿

[Takaaki Goto]

GT&CANARY, a New York City design lab, was founded in 2004 by Takaaki Goto (b. 1966, Japan), a.k.a. GT, who specializes in global brand identity and package design. Takaaki Goto designed the slightly arched Kana Sans type family (2012). In 2014, he created the organic sans typeface Morebi Rounded (+Stencil). In 2015, he added the beautiful geometric sans typeface family Mirai (meaning, the future). [Google] [MyFonts] [More]  ⦿

Guilherme Schneider Denzin

Talented Bauru, Brazil (and now, New York City)-based creator of the free font Kraftstoff (2013), which was inspired by an old gas pump meter.

In 2014, during his studies at Parsons in New York, he created the wedge serif typeface Eckford.

In 2015, he published the free font Marsh Stencil (a revival of a stencil typeface produced by the American company Marsh Stencil Machines during WWII).

Behance link. Graphic River link. Specimen of Kraftstoff. Another Behance link. [Google] [More]  ⦿

Gulay Inceoglu

Brooklyn, NY-based creator of BAMQ (2013) and Brkln Regular (2013), a set of free fonts that were inspired by the modern minimalist architecture, and have an art deco feel. She also made Bklyn Iconic (2013).

Behance link. Hellofont link. [Google] [More]  ⦿

Guy Jeffrey Nelson

New Yorker who did custom work for Font Bureau. He made these typefaces:

  • FF Providence (1993). A children's hand.
  • Interstate Pi (1994). Four fonts with US highway signs, done at Font Bureau.
  • Tasse (1994, Font Bureau). This is a revival of Paul Renner's steile Futura (1952).

Guy shared the following story with me from his days at Font Bureau (reprinted here with his permission): I was one of the kids who pushed points around developing Font Chameleon. I worked for the Font Bureau at the time, under the great David Berlow. Tobias Frere-Jones was there with me along with Elizabeth Holzman and Kelly Ehrgot Milligan, working obscene hours to get hundreds of fonts hinted. Never eating, barely sleeping, we lived in the studio at 18 Tremont at the time. At one point we picked up some gag "old lady" tourist sunglasses to shield our burning eyes from the glare of the old CRT monitors. Our "conference room" was empty beyond eight folding beach chairs, and at least one of us would be getting a tight 30 minutes of sleep in there through the days. But through it all there was time for meeting girls in the hall (I married the one I met. She is beside me now 28 years later.) smoking cigarettes and eating Junior Mints, dropping 60 pound monitors down the stairs, playing practical jokes on David, Sam Berlow and Harry Parker (I left and cut my hair for the first time in years and returned as my twin brother) and just general insanity in the Golden Age of digital font foundries. What fun it was to have Eric Spiekerman, Neville Brody, Matthew Carter, Roger Black and other design greats come by in the fog of war during the Font Chameleon project and others. [Google] [MyFonts] [More]  ⦿

Ha Lim Kim

During his studies at the School of Visual Arts in New York City, Ha Lim Kim designed the display typeface family Blah (2012). [Google] [More]  ⦿

Ha Yoon Kim

Graduate of the School of Visual Arts, New York, class of 2014. New York City-based designer of a modular typeface in 2013. Behance link. [Google] [More]  ⦿

Habib Khoury

[More]  ⦿

Hackberry Font Foundry (Was: NuevoDeco Typography, or: Bergsland Design)
[David Bergsland]

In 2009, Hackberry Font Foundry grew out of NuevoDeco Typography, which in turn was a commercial foundry that formed part of Bergsland Design located in Mankato, MN, and before that, Las Lunas, NM, and run by David Bergsland (b. 1944, Buffalo, NY), a 1971 graduate of the University of Minnesota. Author of Practical Font Design: 2nd Edition: Rewritten for FontLab 5. Klingspor link. Creative Market link, as Radiqx Press. His fonts:

View David Bergsland's typefaces. Behance link. Creative Market link. [Google] [MyFonts] [More]  ⦿

Hagar Type Foundry

New York-based foundry, also called Hagar&Pell, W.&H. Hagar, Wm. Hagar, Jr.,&Co., William Hagar&Co., Hagar&Sons, and Hagar&Co. Specimen in Specimens of printing types, ornaments, borders, &c. from the type foundry&printers' emporium of Wm. Hagar, jr.&co. (French&Wheat, 18 Ann street, New York, 1858), Specimens of printing types, ornaments, borders, &c. from the type and stereotype foundry of W.&H. Hagar (New York: No.38 Gold street, between Fulton and John streets, 1854), and Specimen of printing types and ornaments, from the type and stereotype foundry of William Hagar (New York, 1850). [Google] [More]  ⦿

Hailey Lawrence

Graphic designer in Alfred, NY, who designed a display typeface in 2016. [Google] [More]  ⦿

Haleema Nur

Originally from Brooklyn, NY, graphic designer Haleema Nur is now located in West Palm Beach, Florida. In 2018, she designed the script typeface Georgia Roads. [Google] [More]  ⦿

Haley Fiege
[Kingdom of Awesome]

[MyFonts] [More]  ⦿

Halle King

During her studies at St. John's University, Latham, NY-based Halle King designed the squarish typeface Digi (2016). [Google] [More]  ⦿

Hamilton Wood Type (HWT)
[Richard Kegler]

Hamilton Wood Type (HWT), established in 2012, is a joint venture between P22 type foundry and the Hamilton Wood Type & Printing Museum. The designs in this collection are based on printed specimens and actual wood type from the historic Hamilton Museum in Two Rivers, WI. HWT is based at P22 headquarters in Buffalo, NY. Typefaces are contributed by its founder, Richard Kegler, but also by Miranda Roth and Terry Wüdenbachs.

In 2012, they published HWT American Chromatic (Richard Kegler, Terry Wüdenbachs), a multilayered Western or circus font based on 19th Century Chromatic.

HWT Antique Tuscan No. 9 (2012) is a very condensed 19th century Tuscan style wood type design with a full character set and ligatures. This font was first shown by Wm H Page Co in 1859. It is the first digital version of this font to include a lowercase and extended European character set.

HWT Borders One (2012) contains 80 modular decorative elements that are based on the designs offered by the Hamilton Manufacturing company at the end of the 19th Century.

In 2013, Richard Kegler released the refreshing retro typeface HWT Bon Air, which is one of a series of script typefaces cut into wood by the Hamilton Manufacturing Company for the Morgan Sign Machine Co. (makers of the Line-o-Scribe showcard press) ca. 1950). He also digitized HWT Star Ornaments and HWT Republic Gothic (with Miranda Roth).

In 2013, James Todd designed the wood type revival family HWT Unit Gothic for Hamilton Wood Type Foundry. The Unit Gothic series was released by Hamilton Manufacturing Co. in 1907, and comprises a flexible range of widths from compressed to very wide.

Still in 2013, William Page's Antique No. 4 is revived as HWT Slab (Antique, Columbian), one with unbracketed square serifs, and one with bracketed serifs as in Clarendons.

In 2020, they added HWT Showcard Script (Terry Wüdenbachs) [Google] [MyFonts] [More]  ⦿

Hana Tanimura

Designer and art director currently working at Google Creative Lab in New York (previously in London). Her typefaces:

  • In 2011, Mother London and Thames & Hudson published a children's book titled The Ministry of Letters: Operation Alphabet. Its purpose was to get kids excited about words, language, and the power of storytelling. Hana designed a colorful children's alphabet for that publication.
  • Notable (2018, Google Fonts). Co-designed by Eli Block, Hana Tanimura and Noemie Le Coz, the art deco typeface Notable is an uppercase sans serif display font; its letterforms are based on those found on U.S. currency. Notable was designed for Notable Women, an initiative by former Treasurer of the United States Rosie Rios. Notable Women is an augmented reality experiment that lets anyone see 100 historic American women where they have historically been left out: U.S. currency.
[Google] [More]  ⦿

[Christian Acker]

Christian Acker (b. 1979, Norwalk, CT) and Kyle Talbott, two graphic designers in New York City, set up Handselecta on Long Island in 2003 as a division of Adnauseum, Inc. They have pages on graffiti art, graffiti and calligraphy, and graffiti-based typefaces: Espo, Joker (done with Jerry Inscoe), Sabe, Mesk, Mesk AOK. Run by Brooklyn-based Christian Acker. They are selling the graffiti fonts. MyFonts link. MyFonts sells HSMene One NYThrowie (2006), 24 HRS, Joker Straight Letter, Mene One Mexicali, Mesh One AOK, Meskyle Laid Back, Sabe Ghetto Gothic, and Sailor Gothic.

Behance link. Interview by Ping Mag in 2006.

In 2008, he made a custom graffiti font called Lebron6 for the launch of Lebron James's Sixth Shoe.

View Christian Acker's typefaces. [Google] [MyFonts] [More]  ⦿

Hanna Kregling

Brooklyn, NY-based art director. Creator of the primitive script typeface Starbucks Barista (2014). Behance link. [Google] [More]  ⦿

Hannah Ahn

New York City-based creator of a watercolored roman capital set of letters in 2014. This was done during her studies at the School of Visual Arts. [Google] [More]  ⦿

Hannah Frank

Hannah Frank (Rochester, NY) is a Graphic Design student at Rochester Institute of Technology. She experimented with type design during her studies. [Google] [More]  ⦿

Hannes Famira
[Studio Hannes Famira (or: Famira Fonts)]

[MyFonts] [More]  ⦿

Hannibal Ingalls Kimball

New York-based proprietor of private presses, first in partnership with Herbert Stuart Stone, then on his own as the Cheltenham Press in New York (1874-1933). At his instigation, Bertram Grosvenor Goodhue drew the Cheltenham design (ATF, around 1896). Available from Bitstream and Font Bureau. [Google] [MyFonts] [More]  ⦿

Hans Brehmer
[Henry Brehmer]

Type designer, b. 1840 Magdeburg, Germany. He went to the USA in 1865 to work at James Conner&Sons, and then moved on to other foundries, all in New York. He was for some time located in Stapleton, NY> Aka Henry Brehmer. His typefaces:

  • At Conner: Sideographic (Shaded 1872, Ornate 1879).
  • At Bruce Type Foundry (between 1876 and 1885): Ornamented Black No. 543, Ornamented No. 1053, Ornamented No. 1057, Ornamented No. 1067, Ornamented No. 1076, Ornamented No. 1078, Ornamented No. 1079, Ornamented No. 1080, Ornamented No. 1081, Ornamented No. 1082, Ornamented No. 1084, Ornamented No. 1085, Ornamented No. 1086, Ornamented No. 1091, Ornamented No. 1540, Ornamented No. 1553, Ornamented No. 1557, Ornamented No. 1559, Ornamented No. 1560, Ornamented No. 1562, Priscilla, Sarah, Shaded 1067, Shaded 1076, Shaded 1079, Shaded 1553.
  • At Dickinson Type Foundry, he designed Renaissant (ca. 1879). That typeface was digitally revived by Paul Smith in 2012 as Ressonant.
  • At Lindsay Type Foundry (1888-1890): Alma, Caroline, Crayonette (revived by David Jonathan Ross in 2017 as Crayonette; Crayonette is based on Hermann Ihlenburg's Crayon, 1886), Elizabeth, Frances, Gretchen, Irene, Julie (1868, a decorative Western / Victorian typeface called Eclair by Dan X. Solo; revived in 2010 by Toto as K22 Eclair), Katherine, Marguerite, Maria, Martha, Mathilde.
Patent office link. [Google] [More]  ⦿

Hans-Jörg Hunziker

Type designer (b. 1938, Switzerland, based in Paris) who studied typesetting in Zürich from 1954-1958. Later he studied with Emil Ruder and Armin Hofmann in Basel (1965-1967). From 1967 until 1971, he was a type designer with Mergenthaler Linotype in Brooklyn, NY, where he worked with Matthew Carter. From 1971 until 1975, he worked with Frutiger in Paris, and became a freelance designer in 1976. From 1990 until 2006, he led some labs at the Atelier de Recherche Typographique, NRT, in Nancy. From 1998 until 2002, he had his own design bureau together with Ursula Held: Atelier H. He has also taught at the Hochschule für Gestaltung und Kunst in Zürich.

He codesigned CGP (used in Centre Georges Pompidou; 1974-94, with Jean Widmer, and Adrian Frutiger), Centre Pompidou Pictograms (1974, for the same project in Paris), Cyrillic (in 1970 with Adrian Frutiger for IBM Composer), Frutiger (in 1976 with Adrian Frutiger at Stempel), Gando Ronde (a formal script, with Matthew Carter in 1970; Linotype; called French 111 at Bitstream), Helvetica (with Matthew Carter in 1970; Linotype), Helvetica Compressed (with Matthew Carter, ca. 1974?), Iera Arabic and Iera Roqa Arabic (1983, Institut d'étude et de recherches pour l'arabisation; Honeywell Bull), Metro (in 1970 with Adrian Frutiger; used in the RATP), Univers and Univers Cyrillic (in 1970 with Adrian Frutiger; Linotype), and the Siemens custom type family (in 2001, a cooperation with URW).

Siemens (2001-2007, URW++), the project he is best known for, won an award at the TDC2 Type Directors Club's Type Design Competition 2002. Siemens Sans, Siemens Slab and Siemens Serif are here. Siemens Sans Global (4000 Euros) covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew.

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

Harbor Bickmore
[That That Creative (or: Utah Type Foundry)]

[MyFonts] [More]  ⦿

Harold Horman

Co-founder with Edward Rondthaler of Photo-Lettering Inc in 1936 in New York City. He designed the firm's initial collection of typefaces by photographing existing metal designs. These included Carnival (a Western reverse stress typeface). Carnival was digitally revived at House Industries in 2013 by Dan Reynolds. [Google] [More]  ⦿

Harold Lohner
[Harold's Fonts]

[More]  ⦿

Harold's Fonts
[Harold Lohner]

Harold Lohner was born in upstate New York in 1958. He received an MFA in printmaking from the University at Albany and is Professor of Visual Arts at Sage College of Albany. He began making fonts in 1997 and starting distributing them the next year through Harold's Fonts. He lives in Albany, NY, with his partner, Al Martino. Originally, most of his typefaces were freeware or shareware, but gradually, he started selling most on his site or via FontBros. His typefaces:

  • Famous fonts: Boom Chicka (2013: a set of three cartoon fonts inspired by the poster for the Marilyn Monroe film, The Prince and the Showgirl (1957), designed by Bill Gold), Auteur (2007, after the handwriting in the opening titles of Jean Cocteau's The Beauty and the Beast, 1946), 12 to the Moon (2000, runes based on the Columbia Pictures movie "12 to the Moon"), Aardvark Café (2000, extrapolated from the famous Hard Rock Café logo), Bensfolk (2000, adapted from the work of Ben Shahn, in turn adapted from "folk or amateur" alphabets. Originally developed for The Arts Center of the Capital Region), Bensfolk Condensed (2000), Bensgothic (1998), BensgothicLigatures (1998), Calaveras (2002, a take on Daisyland), Comet Negative (2000, based on the logo of Country Music Television (CMT)), Comet Positive (2000), HonestJohns (2000, based on the lettering in the classic Howard Johnson's restaurants logo), Metrodf (2000, based on the Mexico City subway's lettering), Radio (2002, derived from the old NPR (National Public Radio) logo), Subway Mosaic (inspired by the classic mosaic tile signs of the New York City subway system).
  • Handlettering: Empress Monograms (2014), National Archive (2009, calligraphic), Rough Draft (2009, sketched font), Greg's Hand (2009), Rudland Hand (2007, inspired by the work of the British artist and designer Peter Rudland), Gamera (2006), Directors Script (2006, based on a film credits script from the 1940s), National Archive (2005, based on the lettering of Timothy Matlack, who wrote the Declaration of Independence), Frank the Architect (2004, based on Frank Ching's lettering, which also gave rise to the Tekton family), Imitation (2003, inspired by the handlettered titles of the film Imitation of Life (1959), directed by Douglas Sirk and artdirected by Richard H. Riedel), Imitation Two (2004), antiestablishment (2000), Christmas Card (2000, based on the handlettered opening titles of the film "It's a Wonderful Life", Art Director: Jack Okey. This font was retired and replaced in 2006 by Testimonial), Espangle (2002, as the lettering for El Corte Ingles), Dad's Recipe (2000, based on his dad's handwriting), Greg's Hand (2001, Greg Smith's writing), Greg's Other Hand (2002), Kaela (1998, reshaped and extended in 2006), Marker Man (1999), Synch (2000, with Phil Campbell, inspired by the work of the artist Stuart Davis), Synchronous (2000, based on Syncopated Script, again made with Phil Campbell), Syncopated Script (1999).
  • Blackletter: Waldorf Text (2011, after a 1914 original), Waldorf Heavy Illuminated (2011), Manucrypt (2011), Rude Goth (2007, grunge blackletter), Alsace-Lorraine, Benighted, Chinese Gothic, Christmas Card II, Kombine Regular, Kombine Kursiv (2000), Olde Chicago.
  • Woodtype: Blacktops (caps, 1999), Blacktop Small Caps (1999), Blacktop Regular (2014), Captain Hook, Captain Hook Crackle (2020), Cinderella (1998). The Western font Cattle Annie (2006) is an unauthorized digital interpretation of the analog font "Les Catalanes." According to ABZ: More alphabets and other signs by Rothenstein and Gooding, it was designed in 1952 by Enric Crous-Vidal (1908-1987) but was never produced.
  • Stencil fonts: JJ Stencil, JJStencilLight (2000, inspired by the work of Jasper Johns), JJStencil Wet, JJStencilMedium, Sideshow (2000, based on the stencilled lettering on a vintage Ouija board), JJStencilSolid (2003), StencilFour (2001, inspired by the logo of Channel 4 (UK); reworked in 2006 into Oaktag), StencilFourReversed (2001).
  • Western: Oklahoma (2006, based on the title of the film by that name), Captain Howdy (1999, 2000, Western font based on the lettering on a Ouija board).
  • Fraktur fonts: Benighted (2002), AlsaceLorraine (2000), Chinese Gothic (2000), Kombine Regular (2000), Kombine Kursiv (2000).
  • Revived Letraset fonts: BLOCK UP family (2000, based on the font family by the same name by Sally Ann Grover (1974) for Letraset), Good Vibes (2001, based on the analog font "Good Vibrations" by Trevor Hatchett for Letraset, 1973), GoodVibesBackbeat (2001), ObliqueTextBold (2000, based on a Letraset font called Obliq, 1984), ObliqueTextLight (2000), ObliqueTextMedium (2000), Wireframe (2000, based on the Letraset font Bombere designed by Carla Bombere (or Carla Ward)).
  • Art deco fonts: Cartel (2005, simply gorgeous), based on the lettering of the 1936 movie by that name), Crazy Harold (2009), Road Jester (2009), Onion (2003), Roberta (2003, based on a font of Bob Trogman, 1962), Roberta Raised Shadow (2003), Boomerang family (1998-2000), LeFilmClassic family (2000, based on the classic Art Deco font of the same name, originally designed by Marcel Jacno and released by Deberny&Peignot, 1927), LeFilmLetters (2000), LeFilmShadow (2000), PopUps (1998, a 3-d art deco font for signboards), Tapeworm (1998, based on the work of artist Ed Ruscha), Farouk (2001, a five-line art deco font, based on an analog font of the same name, as illustrated in Paul E. Kennedy's "Modern Display Alphabets"; in fact, the original source should be Fatima, a font designed by Karl Hermann Schaefer in 1933 at Schriftguss, and a copy of it at FT Française was called Atlas (1933). Lohner renamed Fatima to Atlas at some point, and added Atlas Solid, still in 2001).
  • MICR fonts: CMC7 (1998).
  • Dingbats: Everyday People (2013, silhouettes), Bingo Dingo (2011, inspired by the classic Mexican game, Loteria), Essene Dingbats (2005), Chapeau (2005, inspired by the 1902 Sears Catalog), Corset (2005, inspired by the 1902 Sears Catalog), Harold's Pips (2004), Alpha Bravo (2003), Rebus, AmericanCheese (1999), Candide Dingbats (1999, a reclinming women dingbat typeface based on decorations designed by Rockwell Kent for "Candide," circa 1928), Maritime Flags (2000), New Year Dingbats (1999: Japanese patterns).
  • Monospace fonts: Chica Mono (2000, based on Apple's Chicago; not really monospaced, by the way), Queer Theory Black, Bold, Regular and Light (1999).
  • Arabic simulation typefaces: Alhambra (2006), Alhambra Deep (2006).
  • Oriental simulation fonts: Bruce Mikita (+Solid) (after a metal font by the same name; Dan Solo calls it Lantern), Pad Thai (2006), Mystic Prophet (2002, inspired by Ouija boards), Chines Gothic, Font Shui (inspired by a style of hand-lettering illustrated in Alphabets: Ancient&Modern, compiled by J. B. Russell (Padell, 1946), Rubaiyat Shadow and Inline, Seoul (Korean font simulation), Shazi, Twelve to the moon, Chow Fun (2001, an oriental simulation typeface based on a sample of hand lettering identified as "Crooks' Stencil Designed Alphabet" in Alphabets: Ancient&Modern, compiled by J. B. Russell and published in 1945 by Padell Book Co), Quasi (1998).
  • Cartoon fonts: Laughtrack (2009, based on the work of the cartoonist Jerry Robinson), CokerOne (2000, based on the work of cartoonist Paul Coker Jr), Coker Two (2000) (note: therse fonts were erroneously named. They were renamed to Denney because of this: "The lettering in the fonts you have was developed by Alan Denney at Hallmark in the late 1950s. He also worked for American Greetings Hi Brows from 1960 - 1966 and then returned to Hallmark.... And he later went to a different lettering style when Shoe Box cards became Hallmark's funny card line replacing Contemporary Cards. Alan retired from Hallmark in 1993 and died two years later."), ZITZ (2000, based on the hand lettering in the King Features daily strip "Zits" by Jim Borgman and Jerry Scott), Ohmigosh (2007: 12 styles of comic book lettering).
  • Dot matrix fonts: Fortuna Dot (2001).
  • Pixel fonts: Larcher (based on a modular font designed by Jean Larcher).
  • Medieval script fonts: Sonnet Italic&Swash (2009), Galathea (2000, based on a classic analog font of the same name, "Originalerzeugnis von J. S. Schelter&Giesecke, Leipzig").
  • Fonts made in 2015: Ace of Clubs, Roberta (after Bob Trogman's art nouveau font Roberta, 1962).
  • Fonts made in 2013: OK Monograms (retro-futuristic), Splunge (based on Franklin Gothic).
  • Fonts made in 2012: Humerus (Halloween font inspired by the opening credit sequence of Abbott and Costello Meet Frankenstein, 1948), Retrospace (inspired by the hand-lettered opening credits of the film Some Came Running (1958)), Toynbee Idea (free font based on Toynbee tiles), Hymn (scanbat).
  • Fonts made in 2011: Institute Stamps (grunge), Magic Carpet, Shoemaker (shoe stitch face).
  • Fonts made in 2010: Salmagundi (grunge), Dynamotor (like Dynamo, which was designed by K. Sommer and first released in 1930), Poignant (inspired by the hand-lettered film titles of certain mid-1900s films from Twentieth-Century Fox, including "All About Eve", "Gentleman's Agreement" and "No Way Out."), Pharmacy MMX (unicase), Karta (3d face), Flores MMX.
  • Fonts made in 2009: Wexley (revival of a VGC font called Wexford), Sonnet (based on the printed text of Shakespeare, 1609), Fashion Brush, Fashion Script, Imitation One, Two, and Three, Generation B (all at Font Bros), Gainsborough (2009, an art deco typeface inspired by the hand-lettered titles of an Alfred Hitchcock film, The Lady Vanishes (1938)), Comfy (FontBros: inspired by an example of "Pinselschrift" (brush lettering) by Wilhelm Dechert), Sirena (FontBros: inspired by the hand-lettered opening titles of the film I Married a Witch).
  • Fonts made in 2008: Alumino (inspired by Saul Bass's design for the aluminum company Alcoa), République (four fonts inspired by Paris Metro signs---not the familiar Art Nouveau "Metropolitain" signs, but the later Art Deco design by Adolphe Dervaux), Handbill (based on rubber stamps), Flash Mob, Pen Script Monograms, Royal Wedding (commercial set at Font Bros), 2 Clover Monograms, 4 Heart Monograms, Silverliner (based on the opening titles of the 1951 Hitchcock movie Strangers on a Train), Tricot (lettering as done on a sweater, after a design by Nancy Stahl), Silverliner (based on the opening titles of the 1951 Hitchcock movie Strangers on a Train), Carbon Copy, Bracelet Mongrams.
  • Fonts made in 2007: Aeolian, Pub Bites, Barril and Barril Doble (a digital interpretation of the 1970s Neufville font Barrio), Circle Monograms, XOXO (grunge), Safety Pin (inspired by the cover of the June 1946 Ladies Home Journal), Swizzle Script (a script based on Stylescript, 1940, Sol Hess: compare with Coronet and Trafton), New England (script), Madfont (after MAD magazine's logo), Quince (a brush version of Klumpp's Murray hill), Plumber's Gothic, Gamera.
  • Fonts made in 2006: Humdinger (comic book lettering), Stella Dallas (a Koch Antiqua style typeface based on he hand-lettered titles of the film Stella Dallas), Foam Light, Mean 26 Sans, Mean 26 Serif, Gaudi, Lapis Lazuli (3 calligraphic fonts based on Dan X. Solo's Papyrus), Garden, Boston Line and Philadelphia Line (inspired by Boston Line Type, developed in the 1830s by Samuel Gridley Howe for use in raised-letter printing for the blind; the Philadelphia Line fonts were inspired by another raised-print font, this one developed by Julius Friedlander and adopted in 1837 by his Philadelphia school, now the Overbrook School for the Blind), Honeymoon (a script based on the Holiday Inn lettering), Blooper and Bloop Script (after Cooper Black and Brush Script), Roman monograms.
  • Fonts made in 2005: Don Semiformal, Fabulous Prizes, Valentin (inspired by the work of Valentin Haüy, creator of the first books for the blind), Chelt Press (a grungy Cheltenham), National Debt, Pub Smooth (followed in 2007 by Pub Bites), Baronial Monograms, Vine Monograms, Thaleia (revival of Thalia), Harold's Monograms Bold, Blockograms, CarmenMonograms, Profiler, Goya, Jest, Chaser, Rebus (dingbats), Dilemma, The Birds, CVelestial Alphabet.
  • Fonts made in 2004: Snowflake Monograms, Upbeat Demi, Pessima, White Birch, Artistamp, Entwined Monograms, Project, Dirty Finger, Koch Dingbats, Yard Sale, Shield Monograms, Gainsborough (inspired by the hand-lettered titles of the Alfred Hitchcock film "The Lady Vanishes", 1938), Jim Dandy (an interpretation of the 19th century typeface Jim Crow), Gaumont (based on the hand-lettered titles of the film The 39 Steps (1935), a Gaumont-British Picture, directed by Alfred Hitchcock), Imitation2, Sunset, Bend It, Pretz, Cantabile, Echo, Skidz, Columbia Stamp, Trudeau Sans (a companion of his architectural typeface Trudeau), Frank the Architect (2004, a Frank Ching-inspired typeface not unlike Tekton).
  • Fonts made in 2003: Card Characters, Pieces, Harlequin, Hexagrams&Octograms, Popstars, Level, Peace, Collegiate Monograms, Bead Chain, Marquee.
  • Fonts made in 2002: Level, Backhand Brush, Joggle, Script Monograms, Brickletter, Font Shui (oriental simulation), Heartland (for Valentine's day), Melodymaker (for music), Antiestablishment, Penmanship, RingTV, Cabaletta (now called Roosevelt), Graceful Ghost (caps based on an 18th century French design by Pouget&fils), the Ixat family (grunge fonts), PalimpsestBlack (grunge font), PalimpsestDark, PalimpsestLight, PalimpsestRegular, Pearlie, Repent (based on the work of American folk artist Jesse Howard), WillingRace (upper and lower case together).
  • Fonts made in 2001: Carmen Caps, Crazy Harold (2001, based on a font of the same name, as illustrated in Paul E. Kennedy's "Modern Display Alphabets"; extended to 8 weights in 2006), Easter Parade (brush script), Famous Label (pen lettering), FLORES (based on a florist's sign in Valencia, Spain), FONT ERROR, Guadalupe (Mexican simulation face), GuadalupeDos, HMBlackDiamondThree, HMBlackDiamondTwo, HMBlackOvalThree, HMBlackOvalTwo, HMWhiteDiamondThree, HMWhiteDiamondTwo, HMWhiteOvalThree, HMWhiteOvalTwo, Handmedown, Hymn, KaffeehausNeon (based on Kaufmann), PubSmooth (a variant of the classic font Publicity Gothic), Roselyn (a script font based on a font in "Lettering and Alphabets" by John Albert Cavanagh), RubaiyatDoubleLine, RubaiyatEngraved, RubaiyatInline, RubaiyatOutline, RubaiyatShadow, RubaiyatSolid, SanitaryBoldCaps, SanitaryDemi, SanitaryRegular, Shazi, ShaziGhost, Subtext (grunge font).
  • Fonts made in 2000: Arrobatherapy, Barbeque, Black Oval Monogram, Bruce Mikita (oriental simulation), Bruce Mikita2, Cantabile, CantabileAlternate, Celestial Alphabet, the Goya family (extrapolated from the logo of the GOYA food products company), King Harold (inspired by the lettering on the Bayeux Tapestry), KingXmas, KingXmasStars, KochQuadratFill, KochQuadrat, KochQuadratGuides, KochQuadratInline, KochQuadratOutlines, Koch Rivoli, Lab Rat, Law School (based on the architectural lettering at Albany Law School, Albany, NY, now named Trudeau, after a design by architect Robert Louis Trudeau), Milky Way (based on a style of hand lettering by Ross F. George included in 1930s Speedball lettering books), MilkyWayTwo (2001), Neurotoxin, Pharmacy, Punchhappy (holes in letters, influenced by Apostrophe's Toolego?), Punchhappy Shadow, Quarterround, Quarterround Tile (a kitchen tile font), RedCircle (based on the lettering on Eight O'Clock brand coffees), Ringpin, ScarletRibbons (inspired by a Speedball lettering book from the 30s by Ross F. George), Screwball (font in memory of Madeline Kahn), Solemnity (an uncial font modeled on the analog font SOLEMNIS by Günter Gerhard Lange, 1952), ThreePartySystemA, ThreePartySystemB, ThreePartySystemC, Vasarely (named in honor of Op artist Victor Vasarely; based on a modular font by Jean Larcher).
  • Fonts made in 1999: BrideOfTheMonsterStencil, Bubble Gum Rock A and B (1999-2002), CheltPressDark, CheltPressDarkVariegated, CheltPressLigh, CheltPressLightVariegated, CheltPress, Esquivel, EsquivelEngraved, Fulton Artistamp, MADFONT, Smellvetica, SmellveticaOutline, Vedette Blanche (movie roll font), VedetteNoire.
  • Fonts made in 1998: BrideOfTheMonster (caps and numbers are based on Rudolph Koch's Neuland), Cheapskate family, Dominican (coffee bean bag font), Landmark, OldeChicago (based on the Apple Chicago font), Ricecakes, SavingsBond extended in 2006 to National Debt, National Debt Hilite and National Debt 3D), StampAct, StampActJumbled, Thanksgiving, Virile Open, Virile Solid.
  • Typefaces from 2011: Bingo Dingo (dingbats inspired by the classic Mexican board game, Lotería), ManuCrypt (blackletter), Waldorf Text (blackletter).
  • Typefaces from 2012: Albanita (date unclear though), Curator (a compact handwriting font), Seafare (circus style face), Hardline (op art prismatic style), London (inspired by London, Susan Kare's bitmap-style Olde English designed for Apple in the early 1980s. Variations include cross-stitch, harlequin (black and white diamonds), and shaded (diagonal lines)).
  • Typefaces from 2015: Gilded Age (inspired by the opening titles of the 1952 French film Casque d'Or.
  • Typefaces from 2016: Mr. Kite (weathered wood type), Schnapps (blackletter), Egyptian Monograms, Bluelakehawk (with Jason Martinez, inspired by Southwest Pueblo pottery patterns and tribal art).

    Typefaces from 2016: Bogo (a digital version of Morris Fuller Benton's Hobo Light, 1915).

  • Typefaces from 2017: Asian Flavor, Time Lock, Flying Circus (a Western style slab serif modeled after Circo, which was made in 1971 by Jan Solpera at Berthold AG), Traftoon (after Howard Allen Trafton's Cartoon (1936)), Art Deco Monograms, Stage Left (with interlocking capitals), Intermittent (experimental: vertical lines only; inspired by West Side Story).
  • Typefaces from 2018: Niche, Licorice Whip, Mineral City (grungy), Cascade Monograms, Trails End (grungy), Maze Monograms, Harmonium, Tidal Wave.
  • Typefaces from 2019: Black Iris (blackletter), Headstand.
  • Typefaces from 2020: Jimmy Leg, Labelous, Divity Rose Monograms, Peaceful Protest, Headstand (Headstand was inspired by the logo for Melania Trump's Be Best campaign, reportedly designed by the First Lady herself), Tablet Monograms, Don Piano (an early computer-inspired monospaced typeface), Trente Neuf (hand-lettered with art deco roots), Vineyard (an art nouveau typeface inspired by two early 20th-century fonts from American Type Founders, Virile and Erratic Outline), Pheather, Gothic Vine Monograms, Vine Monograms, Money Tree (a currency font), Sonnet, Cantabile, Neurotoxin, Screwball. Typefaces from 2021: Tessera (a mosaic font), Diploma Monograms, Wet Ink (oily).

Link at Dafont. . Abstract Fonts link. [Google] [More]  ⦿

Harriet G. Goren

Harriet Goren (Brooklyn, NY) holds a Bachelor of Arts degree in Art (concentration in Painting) from Yale University. Type designer of the Morire (1994, emotional grunge) family sold by [T-26]. It is inspired by the Moiré effect [a pattern created by the overlaying of lines or grids at slightly different angles]. She tells the story of Morire here: "When I made Morire, I had been a designer for a couple of years and was really bored with what I was doing. I spent a lot of time looking at contemporary typography and observing what was going on. I didn't really consider myself part of any movement. I read an article, in Time magazine of all places, of a school in Camden, Maine called the Center for Creative Imaging. The article said it was like being in Florence during the Renaissance. I immediately thought I have to go there. It was incredibly expensive, like $1,700 for three days, and there was an intensive weekend course called something like Experimental Typography. Now this is 1994 or 1993, so th