TYPE DESIGN INFORMATION PAGE last updated on
Tue May 22 04:23:02 EDT 2012 TYPE DESIGN INFORMATION PAGE last updated on
Tue May 22 04:23:02 EDT 2012
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Part of Prototype Experimental Foundry in New York City, this outfit designed the commercial Hebrew simulation font Kaiju (2002). [Google] [More] ⦿ | |
New York-based donationware font foundry. Site under construction. [Google] [More] ⦿ | |
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] ⦿ | |
An expert typographer from the film type era, 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 faces to film, and pursued licensing with typefounders. Burns guided the development of the type library at Rapid Typographers / VGC. In 1970, ITC was founded by Aaron Burns, Herb Lubalin and Edward Rondthaler (from Photo-Lettering Inc.). [Google] [MyFonts] [More] ⦿ | |
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] ⦿ | |
Any Body's Custom Design Embroidery from New York City offers about 40 embroidery fonts. [Google] [More] ⦿ | |
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] ⦿ | |
Illustration and design breau in Brooklyn, NY. They specialize in commercial display typefaces. Behance link. [Google] [More] ⦿ | |
Adagio Type Foundry
| 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] ⦿ |
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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 typefoundry 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 equipment 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 fascist 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), 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] ⦿ | |
Adnauseum
| Adnauseum is an experimental design studio in Brooklyn, NY, run by Christian Acker, an American type designer who graduated from the Parsons School of Design in New York City in 2002. Christian occasionally guest lectures typography classes at Parsons. He designed SailorGothic (2003), the Spanish-looking font Sailor Jerry (2002) and 24Hrs (Cubanica). [Google] [MyFonts] [More] ⦿ |
Aenigma
| 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: Revert (2006), Gyneric (2006), Key Ridge (2006), 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-, 3DLET(BRK), Automatica-BRK-, Bendable-BRK-, BitBlocksTTF-BRK-, Kickflip-BRK-, Withstand-BRK-, Hyde-BRK-, Jekyll-BRK-, Larkspur-BRK-, NotQuiteRight-BRK-, Quandary-BRK- (an LCD font), Thwart-BRK-, Weathered-BRK-, AEnigmaScrawl, Aftermath, Blox-, CandyStripe (1999), Circulate, Collective (4 weights), Conduit, DarkSide, DashDot, Dephunked-, 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, AtaxiaOutline, BlockTilt, ChintzyCPU, ChintzyCPUShadow, Decrepit, Detonate, Draggle, 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] ⦿ |
New York-based designer of the experimental face 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 handprinted face dkjasbnlkjfsa (2010). [Google] [More] ⦿ | |
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 good poster for Berlin. [Google] [More] ⦿ | |
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] ⦿ | |
Art director in New York City. Creator of Aileen Handwriting (2011). [Google] [More] ⦿ | |
AisleOne
| 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 faces: 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] ⦿ |
The Computer Duerer fonts are a metafont family developed by Alan Hoenig (City University of New Tork). Hoenig also developed Makor, a Hebrew TeX. The fonts in that package include OmegaSerifHebrew (like David), Ezra, Rashi and Hadassah. Another URL. [Google] [More] ⦿ | |
American designer of the very geometric face 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] ⦿ | |
Italian designer (b. Rome, 1966) who studied at KABK in Den Haag in 2004, and was at the Atelier National de Recherche Typographique in Nancy, France, in 2001 and Parsons School of Design in New York in 1999, after a design career Venice, Milan, and Switzerland. He is teaching type design at UQAM in Montreal. He created Mignonne (2004, aka Mirabelle Mignone), which was "especially designed for small text setting under modern printing conditions". He also did the condensed Offbeat (1998, T-26, with Marco Tancredi). [Google] [MyFonts] [More] ⦿ | |
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. [Google] [More] ⦿ | |
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. Behance link. [Google] [More] ⦿ | |
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 handprinted 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 face called Steinweiss Script (2010), which captures a lot of the spirit of Steinweiss's album covers. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Designer at Designmachine.net in New York of Breakdown (1994, 3d lettering), and Myrna (2001, codesigned with David Heasty), an LCD type font that was named after the New York Art Directors Club's executive director, Myrna Davis. [Google] [More] ⦿ | |
Graphic designer and illustrator in New York City. He created the black counterless art deco face Gummo (2011). Behance link. [Google] [More] ⦿ | |
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] ⦿ | |
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 at the University of Hartford, specializes in publication design. Author of the bestseller "How to Spec Type", he lives in New York City. He also wrote "Type In Use", "The Elements of Graphic Design" (2002, Allworth Press), and Thinking in Type (2005). [Google] [More] ⦿ | |
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] ⦿ | |
Graphic designer in Utica, NY. His typeface Neuro (2012) consists entirely of circular arcs. [Google] [More] ⦿ | |
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Alexis Graf (Brookly, New York) created the avant-garde family Courtney Crawford (2012). Behance link. [Google] [More] ⦿ | |
AlfaType
| Ex-student at the Rietveld Academie in Amsterdam. Italian designer of Equo (2006), a VAG Round style display family which also includes Equo Stencil Caps and Equo Extra Fat. Other creations: Shaolin Caps, Stout, Frank-Latin, Crasto (serif family). Some fonts are free or have a free test version. Born in Sicily, he spent half of his life in New York City, and studied for four years in The Netherlands. Currently, he worked in Lithuania with a group called Alfa60, and is now based in Turin. 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 face Sybarite (2011), which comes in many optical weights. [Google] [More] ⦿ |
Alphabet Soup (or: Michael Doret)
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Fonts sold by MyFonts. Behance link. FontShop link. His typefaces:
View Michael Doret's typefaces. The typeface libray at Alphabet Soup. [Google] [MyFonts] [More] ⦿ |
A free on-line truetype font editor, developed by Golan Levin, with the help of Jonathan Feinberg and Cassidy Curtis. (Alphabet Synthesis Machine is a co-production of Art21, Inc., New York City, and The Arts Company, Cambridge, MA) It has a font archive with over 7,000 fonts created by visitors. All fonts created are of the inner city graffiti kind, so this is not meant to be a professional tool. I estimate that the archive gets about 50 fonts per day. See, e.g., here for M1. See here for Antarctica (2007) by Czar Choi. [Google] [More] ⦿ | |
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:
View commercial fonts that descend from Mucha's work. [Google] [MyFonts] [More] ⦿ | |
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 (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. [Google] [More] ⦿ | |
Altemus Creative
| 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] ⦿ |
Alzbeta Capkova (Squished Lizzard) is the New York-based designer (b. 1986) of Squished Lizzard Scrawl (2005, handwriting). Alternate URL. [Google] [More] ⦿ | |
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] ⦿ | |
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:
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. [Google] [More] ⦿ | |
American Wood Type Co.
| 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 Mgf Co.
| 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. | Foundry located on Fourth Avenue in New York City. Their faces include Annonce Grotesque. [Google] [More] ⦿ |
Co-designer with Christina Torre and Richard Kegler of P22 Victorian Gothic (2000), which was based on a typeface called Atlanta. [Google] [More] ⦿ | |
Graphic designer who has worked at the McGill Daily in Montreal (1997-1999) and 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. Discussion at Typographica. Flash demo which does not work on several browsers. Scribbly handwriting fonts (no downloads) include Sugar and Spice, Shy Slacker, Francophile and Cranky Kid. Not updated since 2005. [Google] [More] ⦿ | |
Graphic designer in New York City who created a calligraphic serif typeface called Tender (2012). [Google] [More] ⦿ | |
Letterer, illustrator and designer in 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. n 2012, she created the tall high contrast fashion typeface Kilimanjaro. Behance link. [Google] [More] ⦿ | |
Andree Ljutica is the design director of Origami Design Studio in New York City. Andree designed Own It Sans (2012). Behance link. [Google] [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 Typography
| 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] ⦿ |
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] ⦿ | |
Type designer from New York City, NY, who created an art nouveau face in 1886. [Google] [More] ⦿ | |
Andy Babb (was: Planet Buzz Font Foundry)
| 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, Oh Balloney (2000), Lestat (2001), and QuietInfinity (2000). Old site. Dafont link. Aka Buzzbum. [Google] [MyFonts] [More] ⦿ |
This graphic design student in The Netherlands (formerly at San Diego State University) is working on his own face, Stencil Fraktur (2002). In 2004-2005, he became a grad student at the KABK in Den Haag. He joined the typeface development department of Hoefler&Frere-Jones in New York in 2005. [Google] [More] ⦿ | |
Freelance designer in New York City, who created the art nouveau typeface Mustache Gothic (2012). [Google] [More] ⦿ | |
Graphic designer from New York City, who made the ultra fat art deco face Booking (2009). Behance link. [Google] [More] ⦿ | |
Graphic designer from Massepaqua, NY, who proposed the avant-garde font Codegraphik in 2002. [Google] [More] ⦿ | |
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Graphic designer in New York, who made Fabrica (2012, an art deco typeface) and Invented (2010). [Google] [More] ⦿ | |
Graphic designer in the Bronx. Behance link. Designer of the multilined face Pzooms (2010). [Google] [More] ⦿ | |
Typefaces: ITC Serif Gothic (designed in 1972 by Herb Lubalin and Tony DeSpigna for the International Typeface Corporation, it is a "cold" typeface), Playgirl, ITC Lubalin Graph (with Herb Lubalin), Fattoni, ITC Korinna (1974, with Ed Benguiat), WNET. FontShop link. Another MyFonts link. Logo. [Google] [MyFonts] [More] ⦿ | |
Graphic designer in Nyack, NY. Creator of Modular Alphabet (2012). [Google] [More] ⦿ | |
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 face 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] ⦿ | |
AquaToad
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Klingspor link. [Google] [More] ⦿ |
Arabetics
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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, and Banan (Mutamathil Taqlidi type style). [Google] [MyFonts] [More] ⦿ |
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] ⦿ | |
Archaica
| 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] ⦿ |
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] ⦿ | |
Graphic and editorial designer in Northport, NY. He made a few interesting type posters in 2010: Bembo, Futura, Zebrawood. [Google] [More] ⦿ | |
Designer of Ashley Marie (2009) and Ashley's Handwriting (2009). Ashley (b. 1994) is from New York. [Google] [More] ⦿ | |
Atomic Media (was: SmartDust)
| Matthew Bardram (b. New York City, 1965) is the Tucson, AZ-based [T-26] founder of Atomic Media, and designer of 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: Arachnid, 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. Bitmap font specialist. Alternate URL. Interview. His 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. And he did 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. [Google] [MyFonts] [More] ⦿ |
Attention Earthling Font Foundry
| Sells display fonts at about 29 dollars per font. Personal favorites: 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] [More] ⦿ |
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 | Typographer 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. 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 face 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." [Google] [More] ⦿ |
Born at Fort Jackson, New York, in 1860, this penman died in 1927. He ran the A.N. Palmer Company in New York City. Author of Palmer's Penmanship Budget (1919). He introduced the Palmer Method of business penmanship, which soon became the most popular handwriting system in the United States. Author of Portfolio of Ornate Penmanship [see also here]. In Spencerian Script and Ornamental Penmanship, Volume I (1989), by Michael R. Sull, we find a chapter on his life. [Google] [More] ⦿ | |
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 face Knucklepuck (2009). Noupe link where one can download an EPS version of this font. Behance link. [Google] [More] ⦿ | |
AvanType
| 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. His web page is impossible to access on most browsers though. 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. Arabic typefaces include 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] ⦿ |
BA Graphics
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The complete list: ITC Aftershock, Alexandra Script (a formal script), Allure, Alons Antique, Alons Classic, Angular, Animated Gothic, Barnboard, Bedrock, Bodoni Roma (1993), Cabernet Sauvignon (2007, a take on Didot---I can't believe BA Graphics trademarked this name!), Cafe Aroma, California Sans, Calafragalistic (1992), Caslon Manuscript (1992), Champ Ultra (1995, Western billboard font), Chunky Monkey, Cookie Dough, Crackers, Crescent, Down Under, Elegante, Elephant Bells, Ellington Manor, Equate (1993), Extreme (chalk writing, 1996), Felicity Script, Flix, Freaky Friday Extreme, French Vanilla, Galactic, Geo (2000), Granny Smith, Gusto Black, Headline Gothic, High Intensity, Island Sans, Italian Didot, Kresson Black, Linear Gothic, Lorraine Script, Mardi Gras, Mega, Milano, Nightmare, ITC Outback, Pecos, Ravenwood, Red Dawg, Relaxed Fit, Richmond Hill, Road Gothic (1996), Robertson, Senegal, ITC Serengetti, Shazam, Sign Gothic Bold Condensed, Slam Dunk, Sleepy Hollow, Swank Gothic, Title Gothic Light, Torino Modern, Triumph Gothic, Vinchenso Regular, Wackado, Yakety Yak (1994), Zany, ITC Ziggy, Zipty Do, Queen of Hearts (1991, script), Steel Magnolias (1995, blackletter family), Steeplechase (1992, wild West saloon font), Waimea (1992, poster font), Black Rising (2006, a black military style face), Summer Nights (1993, script), Sugar Shack (1995, curly script), Beaches and Cream (1996, a sans turned into a connected script), Jr High (1994, sports lettering). Alonso Flair with its flared pants (2008) and Squat (2011, a stunted black wood style face) were started by Alonso, but finished after his death by John Bomparte, who 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. The final font listing at MyFonts: ITC Aftershock, Alex, Alexandra Script, Allure, Alons Antique, Alons Classic, Alonso Flair, Angular, Animated Gothic, Bad Boy, Barnboard, Bedrock, Bodoni Roma, Brawn, Cabernet Sauvignon, Cafe Aroma, Calafragalistic, California Sans, Cedar Key, CEO Roman, Champ Ultra, Chardonnay, Chicken Feet, Chicken Soup, Chunky Monkey, Clearmont, Coffee Black, Cookie Dough, Crescent, Deco Inline, Deep Rising (2006, constructivist), Down Under, Elegante, Elephant Bells, Ellington Manor, Equate, Extreme, Fashion Didot, Felicity Script, Flix, Fraggle, Freaky Friday Extreme, French Vanilla, Galactic, Geo, Grandeur, Granny Smith, Gusto Black, Hatari, Headline Gothic, High Intensity, Island Sans, Italian Didot, Jr High, Ka Boink, Ker Pow, Key West, Klingon, Kresson Black, Linear Gothic, Lorraine Script, Malibu Heights, Manchester, Mardi Gras, Mega, Metro Gothic, Milano (2004, a didone face), Mission Hills, National Gothic, Nightmare, Oh Sweet Pea, ITC Out of the Fridge, ITC Outback, Paladium Gothic, PC Gothic, Pecos, Pink Mouse, Queen Of Hearts, Radiance Brush, Rancho Grande, Range Gothic, Ravenwood, Relaxed Fit, Road Gothic, Robertson, Rust Bucket, S&L Gothic, Sahara Bodoni, Senegal, Serendipity, ITC Serengetti, Shadow Gothic, Shangrala, Shazam, Shore Bodoni, Sign Gothic Bold Condensed, Slam Dunk, Sleepy Hollow, Sleezy, Snaggle, Snip Tuck, South Beach, Spice, Steel Magnolias, Steeplechase, Summer Nights, Swank Gothic, Tequila, Thats Amore, Title Gothic Light, Triple Condensed Gothic, Triumph Gothic, Vinchenso Regular, Wackado, Waimea, Wall Street Gothic, Wonka, Yakety Yak, Zany, ITC Ziggy, Zipty Do. FontShop link. Klingspor link. View Bob Alonso's typefaces. View the BA Graphics typeface collection. [Google] [MyFonts] [More] ⦿ |
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). 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:
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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. [Google] [More] ⦿ | |
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, 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, 1950; 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 faces 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). Other faces: 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 (1956), Volta Kursiv (1955), Rundgotisch (1938), Hoyer Fraktur (1935), Gotika (1934), Jubilaeums-Initialen, Künstler Grotesk, Lichte Futura (1931), Weiß Fraktur (1924), Reklameschrift Herkules, Herkules-Gotisch (1898), 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). In house samples: AntiquaBrotschriften-IX-Garnitur, Einfache Kanzlei (ca. 1830), Enge halbfette Zeitungsfraktur, Fette Gotisch, Moderne halbfette Fraktur, Gotisch. [Google] [MyFonts] [More] ⦿ | |
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 face 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:
Beatrice Warde was educated at Barnard College, Columbia, where she studied calligraphy and letterforms. From 1921-1925, 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] ⦿ | |
Behaviour (was: type behaviour)
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Fonts include OCRX, Aspirin, Interviewer, Songothic (1999), Behaviour, Keystonestate, Effectra, Hydrous, Ideologica, Waveeweekend, Matamorphosis, Berlidin. 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, 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, Metamorphosis, 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 (nice serifs), Ideologica (2000), Interviewer, KeystoneState, 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). FontShop link. Klingspor link. View Anuthin Wongsunkakon's typefaces. [Google] [MyFonts] [More] ⦿ |
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New York architect, designer and artist. Born in 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 face created initially for Ingalls Kimball at the Cheltenham Press. He also designed Merrymount (1894-1896, Merrymount Press, a medieval-look humanist face cut by Woerner of A.D. Farmer&Son). Cheltenham was adapted, extended, and revisited by many, starting with Morris Fuller Benton, who created a full family of Cheltenhams for ATF---Benton's Cheltenham is the Cheltenham we have today. In 1975, Tony Stan increased the x-height in his revival. Cheltenham versions can be found at SoftMaker (Cheltenham Pro), Elsner&Flake (Cheltenham OldStyle EF), Font Bureau (FB Cheltenham), and Bitstream. [Google] [MyFonts] [More] ⦿ | |
Bhanu Arbuaratna is a New York based Art Director, designer and illustrator. Behance link. Creator of the slab face Number & Symbols (2012). [Google] [More] ⦿ | |
From 2009-2011, 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 faces 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 acknow- ledged some of its flaws, and even proposed alternate fucntionality treatments, with a more humanistic 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. [Google] [MyFonts] [More] ⦿ | |
Black Plum
| 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 faces is Olivo Verde (organic). [Google] [More] ⦿ |
Another URL. [Google] [More] ⦿ | |
Bogusky2
| 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), Decora (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] ⦿ |
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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] ⦿ | |
Links to commercial foundries. Site done by Michael Yanega, who now lives in Washington State. Has an interesting script font identification guide. [Google] [More] ⦿ | |
Boyz and Girls
| 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] ⦿ |
Graphic designer in New York City. In 2012, he created a beautiful modular geometric display face called Swag X. [Google] [More] ⦿ | |
Irene Scala is a fellow typophile and graduate of The Cooper Union for the Advancement of Science and Art, where she had the opportunity to study with educators such as Paul Rand, Lou Dorfsman, and Milton Glaser. After earning a B.F.A. from the Cooper Union, she went on to postgraduate study at The Bezalel Academy of Art and Design in Jerusalem. She now lives in New York City, where she is associated with Designing with Type: Designingwithtype.com is a web site devoted to the art and appreciation of typography. It offers a unique typographic resource for students, educators, and professionals, showcasing talent from around the world. Originally created by James Craig as a supplement to his popular textbook Designing with Type specifically for his Cooper Union students, it has grown to include contributions presented by fellow educators and designers to embrace a wider audience. Designer of a wonderful logotype entitled Cognac One (2012). [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] ⦿ |
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Digital and graphic artist from Buffalo, NY. Creator of a font based on broken arms of an umbrella and the umbrella itself. [Google] [More] ⦿ | |
Bruce Type Foundry
| 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), 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. Bruce Ornamented No. 6 was digitized by Iza W from Intellecta Design in 2006 as GeodecBruceOrnamented. (2008, FontMesa) is a family of Western style faces 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. [Google] [MyFonts] [More] ⦿ |
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] ⦿ | |
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 face called Cube Typography. [Google] [More] ⦿ | |
IADT graduate who works in Brooklyn, NY. Behance link. She created the caps face Triangles (2012). [Google] [More] ⦿ | |
New York-based Puerto Rican artist, who designed the sports dingbat font DF Energetics (1995). Versions at Elsner&Flake, ITC and Esselte (original). [Google] [More] ⦿ | |
Executive Director of Type Directors Club in New York, who lives in Stamford, CT. Type and graphic designers know her best for her involvement, passion and hard work for the Type Directors Club competitions and exhibitions. Typographic picture from the TDC55 competition. [Google] [More] ⦿ | |
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] ⦿ | |
Graphic designer in New York City. Creator of the Mondriaan-inspired typeface Awchitek (2011). [Google] [More] ⦿ | |
Art student in Harrison, NY, b. 1990. She used Fontcapture to make Nerd Girl Chickenscratch (2009). [Google] [More] ⦿ | |
Channelzero
| About 15 original fonts by New York-ased 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] ⦿ |
New York-based designer of the free truetype bitmap fonts: Civil01B, Civil01R, Civil02B, Civil02R, Dukie01B, Dukie01E, Dukie01R, Pookie01, Pookie02, Pookie03. [Google] [More] ⦿ | |
New York-based designer (b. Buffalo, NY) who made the free font Creep. He set up the commercial foundry Prototype Experimental Foundry in 1994 where one can buy his other fonts: Sequence, Policy, Velvet (1995, also at Plazm), Superchunk (which includes funny Picasso-esque dingbats of faces), Spin (1994), Spaceboy, Phink, DeScripto (1994, grunge calligraphy), Decline, Broken, Dink (1994), Euphoria, Fatboy, Interstate60, Verie (2003), MagnetoHalfSerif. MyFonts link. [Google] [MyFonts] [More] ⦿ | |
Designer and illustrator in New York City, whho created the delicate wedge serif face Aspirin (2012). [Google] [More] ⦿ | |
His custom-made faces 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] ⦿ | |
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] ⦿ | |
In 1983, Costello (b. 1959, Poughkeepsie, NY) designed the simultaneously gorgeous and overused Papyrus typeface (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. He runs Costello Art, and is involved in graphic design and handlettering. Bio. MyFonts entry. Papyrus blog. FontShop link. Linotype link. Other fonts by Costello: Letterpress Text (a rough outline family based on Caslon), Mirage, Blackstone (medieval), Virus. In the planning stage: Driftwood (great lettering!), Sheriden's Letters (writing by a 5-year old), Costello (text font). [Google] [MyFonts] [More] ⦿ | |
Graduate of the Pratt Institute in New York. His typeface project in Jesse Ragan's class was called Slothrop (2010, sans). [Google] [More] ⦿ | |
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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 face Indicator in 2010 for Best Made. [Google] [More] ⦿ | |
New York-based creator of the handprinted CD Writing (2009, Fontcapture) and The Kool Font (2009, Fontcapture). [Google] [More] ⦿ | |
Type designer born in Patchogue, NY, in 1976. He worked at Galápagos Design Group until 2004, when he joined Agfa Monotype. [Google] [MyFonts] [More] ⦿ | |
His presentations. At ATypI 2004 in Prague, he spoke about "The accidental text face". At ATypI 2006 in Lisbon, he and Paul Barnes explained the development of a 200-style font family for the Guardian which includes Guardian Egyptian and Guardian Sans. FontShop's page on his work. Bio at Emigre. At ATypI 2007 in Brighton, he was awarded the Prix Charles Peignot. Jan Middendorp's interview in October 2007. Speaker at ATypI 2009 in Mexico City, where he announced his new typefoundry, simply called Commercial. FontShop link. Font selection at MyFonts. A partial list of his creations:
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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] ⦿ | |
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] ⦿ | |
American designer in Jackson Heights, NY (b. 1965) of the free wedge serif face Grendel (2011). Dafont link. He created the tattoo fonts Maelstrom (2011) and Reign Sample (2010), the mechanical face Dans Hardware (2010), the graffiti face Stone Angel (2010), the Western face Mary's Cherry&Co (2010), the squarish face Dashboard Jesus (2010), the fat wood style face John Brown (2010), Dantone (2010), the fat roundish face Creamy (2010), Thermobaric (2011, Star trek face), Tsalagi Ameliga (2010, a font for Cherokee). [Google] [More] ⦿ | |
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] ⦿ | |
Graphic designer in Brooklyn, NY. Behance link. Creator of the display poster face Stay True Chief (2011). [Google] [More] ⦿ | |
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] ⦿ | |
Designer in New York City. Creator of Alpha Mail (2012, a rhombic typeface). [Google] [More] ⦿ | |
Illustrator from Poughkeepsie, NY, aka Zenand Groove. He made the free comic book font Strange Worlds (2009). [Google] [More] ⦿ | |
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Search for type books in Columbia University's extensive type collection (which comes mainly from Bullen and ATF). [Google] [More] ⦿ | |
Commercial Type
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In house type designers in 2010: Paul Barnes, Christian Schwartz, Berton Haasebe, and Abi Huynh. View Christian schwartz's typefaces. [Google]
[MyFonts]
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Coniglio Type
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`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). Showcase of Joseph Coniglio's typefaces at MyFonts. [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 |
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Graphic designer and artist in New York City. He created The Tenderloin (2012), a yummy typeface. [Google] [More] ⦿ | |
Connor Fitzgerald (New York City) created the handprinted poster face Ginga Freestyle (2011) for a series of ads for Ginga, a soccer company based in Toronto. [Google] [More] ⦿ | |
Continental Typefounders Association | Located at 216 E. 45th street, New York around 1930. Their face Nova Bold was revived by Nick Curtis as Maple Leaf Rag NF (2005). This is also called elsewhere the Continental Typefounders of Chicago, and we find that they are the American agents for the Caslon Letter Foundry, ca. 1930. [Google] [More] ⦿ |
Craig Hazan (Brooklyn, NY) created a gridded experimental typeface called Wembley Stadium (2012). [Google] [More] ⦿ | |
Cruz Fonts
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Staten Island-based creator of the fat finger children's script Crystal (2012). [Google] [More] ⦿ | |
Cubanica Fonts
| Pablo A. Medina designs all fonts at Cubanica Fonts in New York. He is a Communication Design professor at Parsons the New School for Design and lives in the East Village of New York City. He has also taught at Maryland Institute College of Art. MyFonts page. Cubanica fonts: Medina Gothic (2005, a clean sans family), Diablitos (2011), Calaveras (2011), Sailor Gothic (2003), Imbalance (2002, an experimental sans), North Bergen (1996, a vernacular sans), Cuba (1996, 3d signage face based on a sign for the restaurant La Flor de Cuba on Bergenline Avenue in Union City, New Jersey), Vitrina (1996, connected lettering signage face), 1st Avenue, Sombra, 24hrs, Union Square (a bold stitching font), Calaveras (2011, based on a signage style in Buenos Aires called Fileteado), and Marquee. At Plazm, he made First Avenue (Plazm, 2000, based on an old metal neon sign) and Vitrina. [Google] [MyFonts] [More] ⦿ |
Cynthia Batty (formerly, Cynthia Hollandsworth) was born in Washington, DC in 1955 (MyFonts) or 1956. She studied at the California College of Arts and Crafts in Oakland, CA. She was the manager of the department of type design and development at Agfa Compugraphic in Massachusetts. She designed Vermeer (1986), Hiroshige (1986), ITC Tiepolo (1987), Agfa Wile Roman (1990), Pompei Capitals (1995), and Synthetica (1996, with Philip Bouwsma). 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. Bio at ATypI. Bio at Linotype. [Google] [MyFonts] [More] ⦿ | |
New York-born and Los Angeles-based designer at the Typebox foundry, where she designed Wirish, and co-designed the funny dingbat face 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] ⦿ | |
Damon&Peets | New York-based foundry, also called Damon Peets Co., George Damon&Sons, amd Damon Type Founders Co., Inc. [Google] [More] ⦿ |
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] ⦿ | |
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; Bing poster), HiFi (retro script), Twentieth Century (art deco headline sans), and Safety (1930s style). In 2011, he added Tiki (a pair of Hawaiian faces), Salty Dog. Behance link. MyFonts link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Darden Studio
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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. [Google] [More] ⦿ | |
Graphic designer in New York. Creator of Dash (2010), a slab experiment developed during a course given by Tonty di Spigno. [Google] [More] ⦿ | |
New York City-based graphic designer who created Concept (2012), an extreme contrast headline or poster face. [Google] [More] ⦿ | |
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] ⦿ | |
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 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). [Google] [More] ⦿ |
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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] ⦿ | |
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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] ⦿ | |
New York-based illustrator and graphic designer who made the octagonal face Quadratus (2011) and the wiry typeface Monte (2011). [Google] [More] ⦿ | |
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. [Google] [More] ⦿ | |
Born in Bay City, MI. New-York based designer of Quicksilver (1976, Letraset). He writes: I'm 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". 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! 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. I can't remember why I Googled "Quicksilver Letraset" a few days ago and what I found was a whole community of sites for font identification and original name lists (where they bothered to accurately credit me as designer which gets me RIGHT HERE). It makes me feel less forgotten even though I don't see royalties. BTW, I never did, nor did Letraset ask me to, design a lower case version. Feel free to pass along this modest piece of graphic microhistory to any Letraheads. The story has a sad ending, because Ray Larabie published Tight in 2007 at Typodermic, which is a copy of Quicksilver. Dean Morris's photo stream at Flickr. [Google] [MyFonts] [More] ⦿ | |
Graphic designer from New City (nott New York City), NY, who graduated in 2011 with a BA in Graphic Design from Binghamton University. He created Malai Sans (2011). [Google] [More] ⦿ | |
Deliberate Design
| 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] ⦿ |
Codesigner of Cabarga Cursiva (ITC, 1982) with his son Leslie Cabarga. Demetrio lives in New York. FontShop link. [Google] [MyFonts] [More] ⦿ | |
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, P22 Michelangelo, P22 Michelangelo Extras, P22 Hieroglyphic, P22 Petroglyphs, P22 Rodin, P22 Rodin Extras, P22 Vienna Extras, P22 Vienna, P22 Way Out West, P22 WayOutWest Critters. [Google] [MyFonts] [More] ⦿ | |
His typefaces: OL Braggadocio (Braggadocio is a 1930 design by William A. Woolley), OL Candida Medium Condensed / Extra Condensed, OL Caslon Light / Bold, OL Chamfer Woodtype, OL Contact Bold Condensed, OL Contact Deco Caps, OL Corvinus Bold Condensed, OL Corvinus Versailles, OL Edenesque, OL Egiziano (+Comstock, 2005), OL Egmont (2005, +Medium, Medium Italic, Condensed: after Sjoerd Hendrik de Roos), OL Engraver's Roman, OL Engraver's Classic Roman (2009), OL Franklin Wide, OL Franklin Extra Bold / Extra Bold Italic, OL Franklin Triple Condensed, OL Garamond (2003), OL Gotham Gothic, OL Grecian Classic Bold Condensed / Bold Extra Condensed, OL Grecian Display, OL Grecian Modern (the Grecian series imitates wood type), OL Gothic Wide and Bold, OL Hairline Gothic (2009), OL Headline Gothic Triple Condensed, OL Heavy Metal Grecian, OL Jenson Bold Condensed / Extra Bold Condensed, OL Latin Classic Condensed, OL Lightline Gothic, OL Marksman Shot, OL Marla Bold, OL Miehle Classic (2009, +Condensed), OL Newsbytes Gothic, OL Purrrbank Gothic, OL Qumran Torah Hebraic Set, OL Racer Roman, OL Raleigh Gothic, OL Roman Compressed (2004), OL Roman Wide Deco Caps, OL Smokler (2006), OL Sharon Gothic Stoned, OL Sinead Stoned and Pointy, OL Smokler, OL Smokler Deco Caps, OL Thorne with Shadow, OL Twenty-five Deco Semicondensed, OL Windowpane Gothic, OL Woody Blocked, OL Avril Roman (2003, a flared face, after Emil Rudolf Weiss), OL Brierwood Grecian, OL Butterfly, OL Egyptian, OL Franklin, OL Garamond, OL London Black, OL Machina Black (2003, octagonal, mechanical), OL Manhattan, OL Marquee, OIL Newsbytes (2003, bold and black newsprint faces), OL Radiant, OL Round Gothic, OL Siynnamin Gothic, OL Skeleton Gothic, and HispanicHeritage (1999). His fonts are sold through Phil's Fonts, Dshnhaus and International Typefounders. His 2001 fonts are signed Siynn bar-Diyonn, which is his Hebrew name. His Hebrew fonts published in 2007 include OL Hebrew Formal Script, OL Hebrew Neo Black, OL Hebrew Block, OL Hebrew Calligraphica, OL Hebrew Chisel, OL Hebrew Cursive, OL Hebrew Deco, OL Hebrew Handwriting, OL Hebrew Handwriting Deco, OL Hebrew Headline, OL Hebrew Prismatic, OL Hebrew With Tagin, and OL Qumran Torah. Buy his fonts at MyFonts. Interview at the end of 2002, in which he recalls the start of his career at Rolling Stone magazine in 1979. Showcase of Dennis Ortiz-Lopez's typefaces at MyFonts. [Google] [MyFonts] [More] ⦿ | |
Original fonts as well as font links (about 1800). All fonts made by Dennis Palumbo, a writer from New York. Some fonts are free, others are not. Easy downloads, all formats. A wonderful source of information, to be bookmarked by everyone. 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, 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 fonts), Cheetah (2 fonts), Serval (2002), Puma (2000, 4 weights), Ceramic Tile (2005), Film Font (2006), One Stroke (2007, octagonal, hairline). [Google] [More] ⦿ | |
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Ragehaus is the web presence of Derek and his wife Kim. [Google] [More] ⦿ | |
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 Observer
| 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 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." Additional material on Bierut: The Atlantic Talks Typography: interview with M. Bierut , Pentagram link, Reasons to Choose a Particular Typeface For a Project. [Google] [More] ⦿ |
Composer, poet and founder of Something Else Press. He designed Kenster (named after Fluxus Mail-artist Ken Friedman) and Magwitch. 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] ⦿ | |
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] ⦿ | |
Creator in Brooklyn, NY, of a paperclip face in 2011. [Google] [More] ⦿ | |
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
| 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] ⦿ |
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 serves on the jury of the TDC2 Type Directors Club's Type Design Competition 2004. [Google] [More] ⦿ |
Graphic designer in New York City. Behance link. She created the delicate Stained Glass Rosette type family in 2011. [Google] [More] ⦿ | |
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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] ⦿ |
Douglas and Lloyd Morgan | Wood type collectors weho started building a collection in 1940 in Dobbs Ferry, New York. [Google] [More] ⦿ |
DP Fonts
| 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 face Wintery Mix (2010). In 2011, Jennifer published the handprinted 3d outline face Marquee. [Google] [MyFonts] [More] ⦿ |
Dresser Johnson
| Corporate identity and print design company, est. 2003 in New York City by Kevin Dresser and Kate Johnson. The foundry is located in New Paltz, NY. 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 face in Hebrew for the Rodeph Sholom Synagogue, a grunge face for Florent Restaurant, custom faces for Architectural Design Magazine, iconography for The Museum of Modern Art, lettering for TypeCon 2005, and a few retail faces. 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] ⦿ |
Dunwich Type Founders
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Klingspor link. [Google] [MyFonts] [More] ⦿ |
Eastern Brass&Wood Type
| 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] ⦿ |
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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:
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. | |
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 face by later standards. Compare John Hancock, Bold Antique. In 2009, Richard Kegler made a digital fdace Winchell that is free for those who become members of the WNY Book Arts Center in Buffalo. [Google] [More] ⦿ | |
Born in Detroit, 1938. A teacher of graphic design at the California Institute of the Arts in Valencia, he designed Out West on a 15 degree Ellipse in 1993. He published FellaParts (dingbats) and OutWest in 1993 at Emigre. He wrote Edward Fella: Letters on America, Photographs and Lettering. In 1997 he received the Chrysler Award, and in 1999 he got an Honorary Doctorate from CCS in Detroit. His work is in the National Design Museum and MOMA in New York. Claire Agopia wrote Edward Fella "I am the vernacular" (2007) for her graduation from Ecole Estienne. [Google] [MyFonts] [More] ⦿ | |
Born in 1799, died in 1876. Edward Pelouze was the second son of Edmund Pelouze, and a key figure in the Pelouze typefoundry family. In 1817, he worked for the Boston Type Foundry, and later in Boston, he worked for Phelps, Dalton and Co, He moved to New York to work as a typefounder for White's (1829) and set up his own foundry, the Pelouze Foubndry, in 1830. In the central part of his life, he moved type equipment to San Francisco and set up a foundry there in 1848. But he returned to Boston, where he bought the Boston Type Foundry in 1853 with John K. Rogers, to form the John K. Rogers Foundry. His three sons, whom he had introducted to typefounding, would all become successful typefounders as well. Not to be coinfused with his son, Edward Dalton Pelouze or his grandson, Edward Craige Pelouze. [Google] [More] ⦿ | |
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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. [Google] [More] ⦿ | |
New York City-based graphic designer. Behance link. Creator of the mechanically inspired Protopipe (2009). [Google] [More] ⦿ | |
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 is a writer, curator, and graphic designer. She is director of the MFA program in graphic design at Maryland Institute College of Art (MICA) in Baltimore. She also is curator of contemporary design at Cooper-Hewitt National Design Museum in New York City. Author of Thinking with Type (Princeton Architectural Press, 2004). Visit also the interesting Thinking with type web page, which features a fun section on "crimes against typography", notes on type classification, a course outline, and tons of other educational material. See also here and here. Ellen Lupton was the keynote speaker at AypI2006 in Lisbon. In that talk, summarized here, Ellen Lupton discusses the benefits of truly free fonts (Perhaps the free font movement will continue to grow slowly, along the lines in which it is already taking shape: in the service of creating typefaces that sustain and encourage both the diversity and connectedness of humankind.) and provides key examples: Gaultney's Gentium, Poll's Linux Libertine, Peterlin's Freefont, Bitstream's Titus Cyberbit, and Jim Lyles' Vera family. She is the editor of D.I.Y.: Design It Yourself (2006). In 2007, she received the AIGA Gold Medal. Her introduction to the major typefaces. Speaker at ATypI 2010 in Dublin. [Google] [More] ⦿ | |
Embossdesign.com
| 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) and Zyncho. Behance link. [Google] [MyFonts] [More] ⦿ |
MyFonts link. [Google] [MyFonts] [More] ⦿ | |
Swiss typographer (b. Zürich 1914, d. Basel, 1970), and type guru in the 50s and 60s. 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 Ruders 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:
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] ⦿ | |
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Empire Type Foundry
| American foundry set up by brothers Claude and Wilbur Persons in Buffalo, NY, in 1893. In 1916, it started production of wood type in Delvan, NY. The foundry closed in 1970. [Google] [More] ⦿ |
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. It was initially owned by Wilbur F. Persons and Claude Persons. A picture of fists from the cartalog #18, published in 1923. [Google] [More] ⦿ | |
Empire Wood Type Co.
| 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. [Google] [More] ⦿ |
Author of Noyes's Penmanship (1839, Jenks&Palmer, New York). Samples from that book: calligraphy, German text, hand exercises, Old English. [Google] [More] ⦿ | |
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 face Royal Highness. Creattica link. [Google] [More] ⦿ | |
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] ⦿ | |
Brooklyn-based creator of Monel 400 (2011), a multiline art deco poster face commissioned by Duke University. [Google] [More] ⦿ | |
Expert Alphabets
| George Abrams (b. Brooklyn) 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 face 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". 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). [Google] [MyFonts] [More] ⦿ |
A phonetic roman-character based proposal by L. Craig Schoonmaker (New York). [Google] [More] ⦿ | |
New York City-based creator of the nicely tuned squarish face Sharp Turns (2011). [Google] [More] ⦿ | |
Farmer, Little&Co.
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FELTRON
| 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 face Shipflat (2004, T-26), which won an award at the TDC2 2005 type competition. Klingspor link. [Google] [More] ⦿ |
Artist in Warwick, NY, who created the handprinted face Femi Ford (2012, iFontMaker). [Google] [More] ⦿ | |
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 face genetically linked to Futura), Austin (paintbrush), Brooklyn (handprinted), 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 faces Filmotype Kentucky, Filmotype Kingston, Filmotype Harmony and Filmotype Hamlet, and the geometric sans Filmotype Fashion (orig. 1953). The signage faces 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 face 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 oroginal signage face from 1954. Mark Simonson created Filmotype Gay, a tall monoline sans originally from 1953. Filmotype Ford (2011) is due to Stuart Sandler. Filmotype Quartz is an inline face. [Google] [MyFonts] [More] ⦿ | |
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] ⦿ | |
Principal and founder of Fangohr LLC in Brooklyn, NY. iFontMaker who created Handvetica (2011). [Google] [More] ⦿ | |
FontHead Design
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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), El Franco (grunge), Good Dog New (handprinted), Helion (futuristic), Lead Paint (brush), Schema (architectural lettering), Skizzers (handprinted), 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, LogJam-Inline, LogJam, 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. [Google] [MyFonts] [More] ⦿ |
Music fonts by Ted Mook: "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
| 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] ⦿ |
Fontworld
| "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 faces. 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] ⦿ |
FONTypes
| Described as a "Typographic Asset Management System", and owned by The Fontypes Corporation (Astoria, NY), this is just a vendor of (mostly Adobe, but also other) fonts. Fonts can be viewed. No designer info. Fonts are marked up (40 percent typically) from the original source (MyFonts, whatever). [Google] [More] ⦿ |
Foundry Group
| 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] ⦿ |
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 face Contact (1944: see the TS Colonel family by TypeShop for a digital version) and the calligraphic script font Grayda (1939, ATF; +). Grayda was digitized, expanded and modernized by Rebecca Alaccari as Genesis (2007). McGrew writes:
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Links: Graphion's site. 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 entitled "Howdy Goudy: Frederic W. Goudy and the Private Press in the Midwest" [dead], 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. [Google] [MyFonts] [More] ⦿ | |
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Funny Garbage
| 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] ⦿ |
Fwis
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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] ⦿ |
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] ⦿ | |
GE Inspira (2004, free under conditions spelled out in an EULA) is a face 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. [Google] [More] ⦿ | |
Gems of Penmanship by Williams&Packard |
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Rochester, NY-based creator of a great set of single letter logos in 2011 for Modovare. Home page. [Google] [More] ⦿ | |
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] ⦿ | |
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] ⦿ | |
New York artist and letterer (b. Brooklyn, 1893) and designer of the brush face Hauser Script (Ludlow, 1934), in script and cursive versions. This face is now available from Red Rooster as Hauser Script RR, digitization by Steve Jackaman (1998), and from URW++. FontShop link. [Google] [MyFonts] [More] ⦿ | |
George Michael Brower | Chappaqua, NY-based designer who is working on this strong-willed sans (2007). [Google] [More] ⦿ |
American designer, b. Rockville Centre, NY, 1950. Creator of the amazingly beautiful text font Kennedy GD, of McLemore, Geis, Jorge and Culpepper (all four at Galapagos, 2002), of the elegant formal script font Tiamaria (Galapagos, 2002, connected script), of the fat art nouveau font Robusto (Galapagos, 2002, based on letters found in a book about Oswald Cooper), of Prop Ten (Galapagos, 2002), of the handprinted ITC Kristen (1995, available here), of the legible Nikki New Roman GD, of the handwriting font MohawcsNote GD, of Bitstream Oz Handicraft (1991, 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), of Migrate GD (now ITC Migrate), of ITC Eborg, of the fine dingbat font Web-O-Mints GD, of the clean sans serif Wyle GD, of Sarabella (2004, Aruban Font Foundry), and of Semaphore (Bitstream, with Dave Robbins). In 2004, Ryan joined Agfa Monotype. In 2007, still 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. [Google] [MyFonts] [More] ⦿ | |
George Salter | Designer (1897-1967) of the ribbon type Flex at Lettergieterij Amsterdam in 1937. He lived mainly in New York. [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] ⦿ |
Gerard Huerta Design
| 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] ⦿ |
Tomomi, a Japanese designer living in New York, made a RubberDuckie alphading font (free). [Google] [More] ⦿ | |
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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] ⦿ |
New York based designer of Clifford AOL, a font made for AOL. [Google] [More] ⦿ | |
"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] ⦿ | |
Group Type
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View the Group Type typeface libary. [Google] [MyFonts] [More] ⦿ |
Grow Design Work
| 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] ⦿ |
GT&Canary
| 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). [Google] [MyFonts] [More] ⦿ |
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Hackberry Font Foundry (Was: NuevoDeco Typography, or: Bergsland Design)
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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] ⦿ |
Handselecta
| 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, 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. Interview by Ping Mag in 2006. [Google] [MyFonts] [More] ⦿ |
Hannah Frank (Rochester, NY) is a Graphic Design student at Rochester Institute of Technology. She experimented with type design during her studies. [Google] [More] ⦿ | |
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] ⦿ | |
Type designer, b. 1840 Magdeburg, Germany. Went to the USA in 1865 to work at James Conner&Sons, and then moved on to other foundries, all in New York. Aka Henry Brehmer. His typefaces:
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Typographer (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 1967-1971, he was a type designer with Mergenthaler Linotype in Brooklyn, NY, where he worked with Matthew Carter. From 1971-1975, he worked with Frutiger in Paris, and became a freelance designer in 1976. From 1990-2006, he led some labs at the Atelier de Recherche Typographique, NRT, in Nancy. From 1998-2002, 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), 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, the project he is best known for, won an award at the TDC2 Type Directors Club's Type Design Competition 2002. [Google] [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. [Google] [More] ⦿ |
Harold's Fonts
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Link at Dafont. [Google] [More] ⦿ |
Illustrator in New York. Dafont link. She created the trendy fat techno face Fatsini (2009). [Google] [More] ⦿ | |
New York City-based and New York City-born student at the Parsons School of Design, 2011. Dafont link. He created a grungified Helvetica Bold called Smuckers (2011) and Numbafont (2011, glyphs are crafted out of numbers). [Google] [More] ⦿ | |
Harun Zankel (Brooklyn, NY) created the calligraphic Maya's Alphabet (2012). Behance link. [Google] [More] ⦿ | |
Brooklyn, NY-based designer of the medieval sword and dagger-inspired face Royal Guard (2011). Devian Tart link. [Google] [More] ⦿ | |
Headliners Inc. | Defunct film type era foundry started in 1954 in New York City. Its 1959 catalog has 458 typefaces, and its 1984 catalog had blossomed to 1319 photo types. George Abrams started out at Headliners. Headliners is also famous for its release of The Morgan Press collection of wood faces. Headliners moved to the suburbs of New York City and set the trend for some years with its Neo series in 1979. ITC and Headliners were then known for their typefaces with large x-height. [Google] [More] ⦿ |
Heber Wells | Youngest son of Darius Wells, and, just like his father, a wood type manufacturer in New York. His father's company had fallen into the hands of E.R. Webb, who died in 1864. It was then that Heber Wells, together with Alexander Vanderburgh and Henry Low took over, to form Vanderburgh, Wells&Co. Heber Wells buys out the others some time later, and the company becomes just Heber Wells. It was absorbed by Hamilton in 1898. [Google] [More] ⦿ |
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Henry L. Pelouze Foundry (or: Richmond Type Foundry)
| Richmond-based foundry, also called Henry L. Pelouze. It was established in 1859 by Henry Lafayette Pelouze (b. 1831). Later it was renamed the Henry L. Pelouze&Son Foundry in Baltimore when his son Edward Craige Pelouze joined as a junior partner. The latter foundry was sold to ATF in 1901. Henry Lafayette Pelouze (b. 1831) started out in New York City at Walker&Pelouze (1855). That company was sold to Walker&tuthill, which then became Walker&Bresnan, and then P.H. Bresnan Type Foundry. He bought the Lucas Foundry in 1880. [Google] [More] ⦿ |
His fonts: Pistilli Roman (VGC, see here), L&C Hairline (ca. 1966, VGC, with Tom Carnase), ITC Avant Garde Gothic (with Tom Carnase, Gschwind, Gürtler and Mengelt, 1970-77; see Avignon on the SoftMaker MegaFont XXL CD, 2002), ITC Busorama (1970), Ronda (1970), ITC Lubalin Graph (1974; see Square Serif on the SoftMaker MegaFont XXL CD, 2002), ITC Serif Gothic (with Tony DiSpigna, 1974; see Serenade Two on the SoftMaker MegaFont XXL CD, 2002). His companies: Herb Lubalin Inc (1964-1969), Lubalin, Smith&Carnase Inc (from 1975 onwards). In 1985, Gertrude Snyder and Alan Peckolick published Herb Lubalin. Art Director, Graphic Designer and Typographer (New York). Retrospective at ITC. Revivals: Pudgy Puss (2007, Nick Curtis) is an ultra-fat modern digital display type based on Fat Face (Herb Lubalin, Tom Carnase). Linotype link. Klingspor link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Dedicated web site. FontShop link. Picture. Klingspor link. Revivals of his work:
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Apostrophe made the font Nero based on Hermann Esser's 1878 Rustic Capitals. Exclusive at the Fontsanon site. He explains: "Specimens of the mid-to-late 1800s Herman Esser types were collector's items for the longest time. Between 1910 and 1925, Esser specimens was a craze of almost the same magnitude that comic books were in the 1980s. George Abrahms, a book and old typography collector from New York City, made a fortune from auctioning off his Esser collection. All of Esser's art vanished for a bit more than a decade after World War II came to a stop, and the majority of it never saw the light again. Much of it was burnt among Nazi propaganda material (the 1800s artist's name was the same as that of the Nazi secretary of state during the 1940s, so all of the Esser art found in Germany after WWII was mistakenly attributed to the Nazi Esser as opposed to the true originator of almost half a century prior to the war -- much like most of the watercolour paintings made by an artist named Adolf Hitler were mistakenly burned because they were thought to have been the work of the Nazi leader). In the late 1950s, there was a revival of typogprahy specimen publications, caused by some, according to certain circles, inexplicable demand for "more than the standards defined by Jannon, Bodoni, Goudy, Gill, and their heritage" (Influence of Symbolism, by Frank P. Marshall, pp. 186). The wave that started in 1957 with the re-publication of a few George Bickham sample calligraphy books continues to this present day. Specimen books are quite popular among typography and calligraphy enthusiasts, as well as more expensive than most other genres of publication relation to design in general. The only Herman Esser type that can be seen in any of the specimen books published during the past 55 years is called Rustic, and it consists of the capital alphabet made out of burned trees. One can speculate about how Rustic escaped the Nazi propaganda burnings, and how an originating date was attributed to it, but aside from a few theories out there, no "official" answer was reached. Rustic is still as starkly mysterious now as it may have been in 1878. Nero is an attempt at reviving Rustic and completing Esser's work. Esser's 25 capitals (he never did a J for Rustic) was turned into a typeface of more than 200 characters. Due to postscript limitations about the number of points in each glyph, only a true type version was produced." David Nalle revived Esser's Belphebe (1998, Scriptorium). [Google] [More] ⦿ | |
List of his typefaces:
Pictures of Hermann Zapf: with Lefty, with Rick Cusick, in 2003, with Frank Jonen, with Jill Bell, with Linnea Lundquist and Marsha Brady , with Rick Cusick, with Rick Cusick, with Rick Cusick, with Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, with Rick Cusick, at his 60th birthday party. [Google] [MyFonts] [More] ⦿ | |
New York-based graphic designer and calligrapher. Agfa Creative Alliance designer who made the wacky Waddy families. [Google] [MyFonts] [More] ⦿ | |
Hijinx
| Hijinx Design is located in New York City. Under the Hijinx label, Catherine Mouttet designed the dingbat font Haircult (2006), which can be bought at MyFonts. [Google] [MyFonts] [More] ⦿ |
Hindi Rinny
| Great Indian type blog and news place run by Erin McLaughlin (b. 1985), a graphic designer in Minneapolis. After graduation from the type design program at the University of Reading in 2010, she joined Hoefler&Frere-Jones in New York. She designed Katari for her thesis. Originally from Minnesota, Erin created an angular typeface---à la Oldrich Menhart---, and added a matching Devanagari style---the harmonious ensemble is called Katari. |
Hiscott Foundry
| Located in Ithaca, NY, the Hiscott Foundry started producing fonts in 2008: Piano (2008, inspired by piano keys), Asimov (2008, handwriting), Kopa (2008, handprinted). Additions in 2009: Vapor (curly hand). MyFonts link. [Google] [MyFonts] [More] ⦿ |
Hoefler&Frere-Jones (was: Hoefler Type Foundry)
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In 2003, they published Retina (which was originally designed for the stock listings in the Wall Street Journal), Gotham, and Shades (in Cyclone, Topaz, Giant and Knox weights). The Geometer Screen Fonts are free Mac fonts. In 2004, they produced an amzing 58-weight sans serif family, Whitney (by Tobias Frere-Jones), designed for use in infographics. Hoefler received Bukvaraz 2001 awards for HTF Guggenheim, HTF Knockout, HTF Mercury (1997, no relationship with Goudy's Mercury of 1936) and HTF Requiem. In the 1996 Morisawa Awards competition, Hoefler received a bronze prize for Ideal Sans (a slightly flared humanist sans family). In 2011, HFJ writes it up beautifully: Typefaces are born from the struggle between rules and results. Squeezing a square about 1% helps it look more like a square; to appear the same height as a square, a circle must be measurably taller. The two strokes in an X aren't the same thickness, nor are their parallel edges actually parallel; the vertical stems of a lowercase alphabet are thinner than those of its capitals; the ascender on a d isn't the same length as the descender on a p, and so on. For the rational mind, type design can be a maddening game of drawing things differently in order to make them appear the same. Twenty-one years ago, we began tinkering with a sans serif alphabet to see just how far these optical illusions could be pushed. How asymmetrical could a letter O become, before the imbalance was noticeable? Could a serious sans serif, designed with high-minded intentions, be drawn without including a single straight line? This alphabet slowly marinated for a decade and a half, benefitting from periodic additions and improvements, until in 2006, Pentagram's Abbott Miller proposed a project for the Art Institute of Chicago that resonated with these very ideas. As a part of Miller's new identity for the museum, we revisited the design, and renovated it to help it better serve as the cornerstone of a larger family of fonts. Since then we've developed the project continuously, finding new opportunities to further refine its ideas, and extend its usefulness through new weights, new styles, and new features. Today, H&FJ is delighted to introduce Ideal Sans, this new font family in 48 styles. Ideal Sans is a meditation on the handmade, combining different characteristics of many different writing tools and techniques, in order to achieve a warm, organic, and hand-crafted feeling. At ATypI in 2002, he received the Charles Peignot award. Time.com provides previews of fonts made for Esquire, Lever House, eCompany Now, The Guggenheim Museum, The New York Times, and the Whitney Museum. He has worked on custom fonts for The New York Times Magazine, Times Mirror, Esquire and McGraw-Hill (1995, free download). Hoefler has made many more custom fonts, but he asked me to remove the names of these fonts from my pages. From 2005-2007, they made the custom font General GG (available for free here, here and here. In 2006, HFJ published the Numbers family, 15 fonts with nothing but numbers from various sources: Bayside, Claimcheck, Delancey, Depot, Deuce, Dividend, Greenback, Indicia, Premium, Prospekt, Redbird, Revenue, Strasse, Trafalgar, Valuta. They also made a 30-style art deco-inspired geometric sans family called Verlag in 2006 based on six typefaces originally designed for the Guggenheim. In 2007, HFJ published the "blended Scotch" newspaper serif text family Chronicle. Still in 2007, we find the gorgeous 30-style semi-Bauhaus sans family Verlag about which HFJ writes: From the rationalist geometric designs of the Bauhaus school, such as Futura (1927) and Erbar (1929), Verlag gets its crispness and its meticulous planning. Verlag's fairminded quality is rooted in the newsier sans serifs designed for linecasting machines, such as Ludlow Tempo and Intertype Vogue (both 1930), both staples of the Midwestern newsroom for much of the century. But unlike any of its forbears, Verlag includes a comprehensive and complete range of styles: five weights, each in three different widths, each including the often-neglected companion italic. In 2008, they released Archer, a slab serif originally designed for Martha Stewart Living. It has a great range of features, including a classy hairline style. However, I see trouble down the road with the name Archer which has been used previously by several other foundries such as SignDNA, Arts&Letters and Silver Graphics. One can say that Archer is just Stymie with some ball terminals---maybe this should been mentioned on the HTF pages. 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. Sentinel (2009) is HFJ's take on a Clarendon. Yet again, I can't understand why they picked a name already taken by many foundries such as Graphx Edge Fonts, alus, Comicraft, Dieter Steffmann, not to speak of a foundry called Sentinel Type. And they repeated that daredevil naming of fonts with Tungsten (2009), which has been around---as a font name---since 2005 at Sparklefonts. Their sales pitch: That rarest of species, Tungsten is a compact and sporty sans serif that's disarming instead of pushy - not just loud, but persuasive. Douglas Wilson compares Tungsten with Alternate Gothic No. 3 (Morris Fuller Benton). Naming fonts is Hoefler's weakness. In 2010, they again took an existing name, Vitesse, for their newest font family. The typophiles react to the slab family with praise: I think they're chasing Cyrus Highsmith, Dispatch and Christian Schwartz, Popular on this one. Doing a pretty good job of it too! [...] Looks to me like the love-child of Eurostile and City. To continue the trend, they published Forza in 2010, a sans family, not to be confused with the 2007 font Forza by Michel Luther at Die Gestalten--surely, there must be a way to choose original names. St. Augustin Civilité: St. Augustin Civilité is a digitization of Robert Granjon's extraordinary type of 1562, now in the collection of the Enschedé type foundry, Haarlem. This typeface is reproduced in Civilité Types by Harry Carter and H. D. L. Vervliet (Oxford Bibliographical Society, by the Oxford University Press, 1966.) As figures and punctuation were lacking in the original, these have been borrowed from two other Granjon types, the Courante and Bastarde of 1567. (The remainder of the character set has been invented.) [Google] [MyFonts] [More] ⦿ |
Honey Design
| Rina Miele (Honey Design, Sleepy Hollow, NY) is a web designer and art director. She created Pug (2010, free here), Razor Blade (2010, futuristic), Untitled Fat Font (2010), Honey Hand (2010), and Honeyfit 250 (2010, octagonal). She also made the iFontmaker font Cloud Doodle (2010). She sells through I am a design whore. [Google] [More] ⦿ |
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Howard Allen Trafton |
Dan X. Solo has made a version of Trafton Script at Dover. That script font is called Quick in Germany and Etoile in France. Anton Scholtz's Pacific Script (2011) is also inspired by one of Trafton's alphabets. Klingspor link. [Google] [More] ⦿ |
Illustrator and book designer (b. 1880, Prague, d. 1945, New York). He became German in 1907. From 1907-1933, he was professor of graphics at the Staatlichen Akademie fü Graphische Künste und Buchgewerbe in Leipzig. He fled Germany in 1933 and after a long voyage, ended up in the USA, where he died. Blackletter typefaces designed by him include Steiner-Prag-Schrift (1912, Genzsch&Heyse), Batarde (Bauersche Giesserei, 1916). Some of his work is archived at the Department of Rare Books and Special Collections of the Princeton University Library. [Google] [More] ⦿ | |
Rego Park, NY-based creator of the free techno face Acid Structure (2011). Behance link. [Google] [More] ⦿ | |
Born in 1989, Ian Bates (iBates Designs) is a Graphic Design major at York College of Pennsylvania. He is from Fort Salonga, NY. FontStructor who made Blacktop (2010) as part of a typography project in school. Behance link. [Google] [More] ⦿ | |
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Graduate of the Pratt Institute in New York. His typeface project in Jesse Ragan's class was called Laser New Roman (2010, slab serif). [Google] [More] ⦿ | |
IC Fonts
| IC Fonts is graphic artist Daniel Ortega's foundry in New York City. They specialize in fun non-text typefaces. In 2012, IC Fonts published Lumps, Nubby, High Sky (puffy cloud face), Megalith, Brick City, Dopey (2012, an outlined graffiti face), Eye Bets (2012, fat bubblegum letters), Dough Nuts (2012), and Bonerfied. [Google] [MyFonts] [More] ⦿ |
Ilektra holds a Bachelors in graphic arts from the Technological Educational Institute of Athens, Greece and a Masters in industrial design engineering from Aalborg university, Denmark. She works in Astoria, NY. Creator of an unnamed script family in 2012. Behance link. [Google] [More] ⦿ | |
Typographer, architect, designer and type designer, b. Versec, Hungary, 1900, d. Lugano, Switzerland, 1987. He emigrated from Hungary, and studied at the Staatliche Bildhauerschule Zalatua, the Kunstgewerbeschule Frankfurt, and the Kunstgewerbeschule in Stuttgart, where Prof. F. H. Ernst Schneidler was his teacher. After a brief stint (1923-1925) as a graphic designer in London, Paris, New York and Chicago, he returned to study with Schneidler, and from 1931 onwards, he worked in Ruvigliana near Lugano as painter, graphic designer and illustrator. His list of fonts includes:
Reiner wrote several books, including Modern and Historical Typography An Illustrated Guide (1946, Paul A. Struck, New York, and 1948, Zollikofer and Comp., St. Gallen). Linotype page on him. [Google] [MyFonts] [More] ⦿ | |
in the habit
| Design firm of Tiziana Haug, a Swiss designer who lives in New York. Tiziana has made some custom type such as Typographica (2001, a circle and crosshair dingbat face) and a folded paper-theme alphabet font in 2007 called ADC Paper Expo. Other faces: Built (2005), Home Sweet Home (2005, stitching face), Trace (2004, Neon light simulation). [Google] [More] ⦿ |
New York-based print designer who made the cover for William Gibson's text book Pattern Recognition (2010). [Google] [More] ⦿ | |
Inaam Alvi Computers | Firm based in New York [Artistic Computers, 601 8th Ave., 2nd floor, New York, NY 10018] which in the early 1990s sold high-quality fonts for Bengali, Gujarati, Gurmukhi, Hindi and Urdu. [Google] [More] ⦿ |
Incipit (or: Peter Bain)
| Peter Bain's typeface design and typography studio in Brooklyn, New York. He was type director at Saatchi&Saatchi in New York, and teaches at the Parsons/The New School for Design and Pratt Institute in New York. He is best known for his wonderful book Blackletter: Type and National Identity (1998, with Paul Shaw). Check his photocomposition display faces, which are reedited and available in "reproduction proofs" (whatever that means, probably not as fonts). PDF format list. Text format of Bain's file. Bain says he built this from the Typositor type libraries formerly offered by Techni-Process Lettering and Pastore DePamphilis Rampone, which he bought at an auction. Report on his talk in London on blackletter type (2003). MyFonts sells the 4-weight Josef Albers-inspired stencil family Gridiot (2003-2011). His thoughts about the art of Albers: Remember, any idiot can design a typeface on a grid: Gridiot. Speaker at ATypI 2006 in Lisbon. MyFonts link. [Google] [MyFonts] [More] ⦿ |
The RX fonts for the pharmacy (commercial). Barcode fonts (commercial). Signature/logo fonts. Based in Rochester, NY. [Google] [More] ⦿ | |
Interrobang | A punctuation mark to convey surprise and exclamation and wonder at the same time (as in ?!), which was introduced by Martin K. Speckter in 1962 in an article written for TYPEtalks Magazine. Quoting Jim Richardson: "American Type Founders issued a metal typeface in 1966 called Americana which included the INTERROBANG. Remington Rand included the key as an option on its 1968 typewriters, commenting that the INTERROBANG "expresses Modern Life's Incredibility." In 1996, a New York art studio designed variations of the mark for each of the fonts in its computer library." The Interrobang can be found in Wingdings2, for example. [Google] [More] ⦿ |
Isabel Urbina is a graphic design graduate from ProDiseño School of Design and Visual Communications in Caracas, Venezuela. She was born in New York City, grew up in Venezuela and is currently working as a freelancer in Brooklyn, NY, where she also attended Cooper Type. Her main interests include typography and book design. She created the children's book font Quentos (2010) and an animal caps alphabet called Animaletters (2011). While studying at Cooper Type, she designed the quaint serifed face Olivia (2012), and the revival face Laureate (2012), which was based on a 1906 typeface from Keystone Type Foundry. Behance link. [Google] [More] ⦿ | |
Letterer and calligrapher Ismar David (b. Breslau, 1910, d. New York City, 1996) designed David Hebrew in the 1950s (published by Intertype and Stempel). He emigrated to Israel in 1932 and lived in Jerusalem until 1952. During this period he worked as a graphic designer and developed the David Hebrew typeface. From 1953 onwards, he lived and worked in New York City as a book designer, lettering artist, calligrapher and architectural designer, and as an instructor at the Cooper Union and Pratt Institute. Ismar David's prolific design career was donated in 1997 to the Cary Graphic Arts Collection at RIT. Zapf wrote about him: The work of Ismar David can always be identified by his characteristic style. [...] His expressive drawings, with their undulating linear quality and unusual construction, show his elegant style in every detail. Helen Brandshaft and David Pankow wrote and edited the text The Work of Ismar David (RIT Cary Graphic Arts Press, 2005), which covers his entire oeuvre. Typophile discussion. One of his types, David, became a huge success in the digital era, thanks to a digitization by Zvika Rosenberg, although some say that it is not as elegant as the original pre-digital version. In 2012, Monotype published David Hadash (or New David). Substyles include David Hadash Formal, David Hadash Sans, David Hadash Script, and David Hadash Biblical. [Google] [More] ⦿ | |
Manhattan-based visual and graphic designer. He also works as an illustrator. His Yellow Typeface (2010) is made with lines and arcs of circles. [Google] [More] ⦿ | |
They also published the magazine U&lc online, an online companion to ITC's printed publication, Upper and Lower Case. ITC's site was run by Tom Dunbar. ITC is mainly known for display type and for type families with large x-height, in vogue in the 1970s and early 1980s. On March 2, 2000, Agfa-Monotype acquired ITC for an undisclosed sum from Esselte. [Google] [MyFonts] [More] ⦿ | |
Ivan J. Melendez | New York City-based designer of this serif face (2004), this serif face (2004), and this sans (2004). [Google] [More] ⦿ |
James Nash (b. 1987, Poughkeepsie, NY) is a designer in New York City. He created the stencil face Breath (2011). Behance link. [Google] [More] ⦿ | |
James Conner's&Sons United States Type Foundry | 19th century New York-based foundry, also called the United States Type Foundry, Conner&Cooke, James Conner&Son, James Conner&Sons, and James Conner's&Sons. Only a few faces have been digitized thus far. Among those, we have Helena Handbasket NF (2005, Nick Curtis) which was modeled after Antique Light (1888). Buffalo Bill (2007, FontMesa) revives a decorative Western style poster font from 1888. Railhead (2007, FontMesa: 4 styles) is a revival of an 1870s type style that was originally available from both Bruce's New York and James Conner's&Sons type foundries. Warp Three NF (2008, Nick Curtis) is a Bank Gothic-style font that borrows its lowercase from Square Gothic (1888, James Conner). Gunsmoke (2010) is a revival of a James Conner's Sons font that has been around the block under different names such as Extended Clarendon Shaded, Original Ornamented and Galena. Ysleta NF (2010, Nick Curtis) revives Conner's Aetna (1888), also known as Painter's Gothic. Conners Corners NF (2010, Nick Curtis) was gleaned from the 1888 specimen books of James Conner's Sons United States Type Foundry. Fists dating from 1888. [Google] [More] ⦿ |
Buffalo, NY-based digital artist. Creator of the modular experimental AI Typeface (2010). [Google] [More] ⦿ | |
James Zachman (Chicago, IL) created the marker face Natalie (2012), which is sufficiently well-mannered for uses on architectural plans and technical or semi-official presentations. [Google] [More] ⦿ | |
Australian creator of the informal monoline sans family Aerolite (2010), a font family designed by Jan Paul and digitized by Brian Kent in New York. A bit later, CheapProFonts made it commercial. Another URL. Fontspace link. MyFonts link. [Google] [MyFonts] [More] ⦿ | |
Graphic designer in Brooklyn, NY, who has sold his soul to the devil: he made a custom typeface for the NRA (National Rifle Association) in 2010. [Google] [More] ⦿ | |
Not to be confounded with Jasonm Ramirez (Pennyzine, Brooklyn, New York). Jason R. Ramirez (who also happens to be in Brooklyn, NY, where he does book covers and book design atr St. Martin's Press) did an experimental alphabet (2009) made on the basis of photocopies of a single string, and another one based upon cracks in stones called Urban Decay (2009). [Google] [More] ⦿ | |
Typographer who emigrated from New York to Montreal. His mostly unreleased fonts are of the "extreme" type: Compounda, Michalski Glacial Roman, and X-Height. He released Treble (2002), a techno font, at T-26. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Designer Jed Heuer (Brooklyn, NY) has done quite a bit of typographic work, short of making an actual font. Behance link. I quite like his anatomical alphabet (2010). [Google] [More] ⦿ | |
New York City-based graphic designer who created ObamaBats in January 2008, ten months before Obama's election as President of the United States on November 4, 2008. Since Jeff's font is only in "suit" format, I generated a bunch of other file styles without offering any guarantees: ObamaBats.zip. [Google] [More] ⦿ | |
Jeff Jarvis (Brooklyn, NY) makes custom typefaces (such as Elizabet Dee (2012)) as well as experimental ones. In 2012, he created the Western face Ye Olde Geometric. Behance link. [Google] [More] ⦿ | |
Jeff Vorzimmer is the New York-based designer of Vassallo (1993, handwriting), and the dymo font Plastique (1993, free). He writes about Vassallo: Vassallo was created from the handwriting of the girl who wrote the specials at the restaurant America on 18th Street (near 5th Ave.) in NYC. I thought her handwriting was very distinctive and I asked her if I could make a computer font of it. She seemed flattered by my asking. The font is named however for a girl was is an artist on the island of Malta. | |
Designer in Elmont, NY. In 2012, he used Futura as a basis for Arcade, a typeface used for wayfinding on a campus. [Google] [More] ⦿ | |
New York-based graphic designer. He created Frame Light (2008, glyphs inspired by frames). [Google] [More] ⦿ | |
Jeff's Fonts
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Fontsy link. Picture. Dafont link. Abstract Fonts link. MyFonts link. [Google] [MyFonts] [More] ⦿ |
Jenn Sager (Brooklyn, NY) works at a branding company. She created the tall condensed monoline face Sweet Heart (2011). [Google] [More] ⦿ | |
Calligraphic blog and calliggraphy service in Brooklyn, NY. [Google] [More] ⦿ | |
New York City-based graphic designer who made an alphabet that sure looks like it was made from clippings of pubic hair (2010). [Google] [More] ⦿ | |
Art director and illustrator in Brooklyn, NY. Behance link. She created the display face Lady Luck (2010). [Google] [More] ⦿ | |
MyFonts link. Behance link. She also has a site called Daily Drop Cap Cap, in which she adds a free drop cap every day (but this lasted four days only). Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Communication design student in Utica, NY. Behance link. Creator of the outline typeface Bubbly (2012). [Google] [More] ⦿ | |
New York-based photographer and artist. She created an alphabet out of pictures of folded glasses in 2009. [Google] [More] ⦿ | |
New York City-based designer who did several art deco type treatments for her clients in 2010. Behance link. [Google] [More] ⦿ | |
Print and web designer in Brooklyn, NY. Home page. The project Oiseaux Retro (2011) is based on the art nouveau period and the 1974 French flick, Emmanuelle, and resulted in a great calligraphic poster by the same name. [Google] [More] ⦿ | |
Designed Healthcare Symbols dingbats (1994). Located at The Communications Shop in Rochester, NY. [Google] [More] ⦿ | |
Graphic and type designer in Brooklyn, NY. He made the constructivist / psychopathic dictator font Evill Labs (2009). Horn Design In. [Google] [More] ⦿ | |
Student at the School of Visual Arts in New York City. Creator of an architectural column typefaces called Erechtheum (2012). [Google] [More] ⦿ | |
Student at Parsons the New School for Design majoring in Communication Design. Behance link. Creator of the ultra fot blocky face Little Blocks (2011). You 've got to love her Whalee illustration. [Google] [More] ⦿ | |
Joe Finocchiaro Design
| Joe Finocchiaro runs a corporate identity studio in New York, and specializes in custom typeface, symbol and logo design. His corporate font families include Roma 2002, the sans serif Ernst and Young family (1999), Air Canada (1994), the sans serif font Etna (2002), the sans serif family Largo (2002), a stencil font for the Performing Arts Center of Greater Miami (1999, based on Futura), the CHW font (1997) for Catholic Healthcare West (serif), Cargill (1994), the beautiful flared sans serif Wunderman Cato Johnson (1997), the PNC font (1993, for the PNC Bank, based on Fry's Baskerville, 1768), the Lincoln Life font (1994, in all-caps style like Bank Gothic), the Scotiabank corporate alphabet, the serifed Clinique (1997) for Clinique Laboratories Inc, Colgate (1993, based on Eras), the didone font Formica (1996), the didone family Tiffany, Tiffany Numerals, Tiffany SmallCaps (2000) for Tiffany&Co, the condensed sans family Schlumberger (1998), the sans family Orazio (2002), a logotype for Iberia (1997) and Univers AirService (1997), The NewYorkTimes (2000, a logo-matching typeface), some type for Avis (1999). He cleaned up the Cunard typeface (by Eric Gill), the Arthur Andersen typeface (1999) and the Deloitte Touche corporate typeface. Joe accepted money from the unscrupulous polluter Monsanto, the Sultan Bin Abdulaziz Al-Saud Foundation and the crooks at Arthur Andersen. [Google] [More] ⦿ |
New York-based advertising designer. Codesigner with Herb Lubalin and Antonio DiSpigna of the rigid slab serif face ITC Lubalin Graph (1974). [Google] [MyFonts] [More] ⦿ | |
Scottish type founder from Edinburgh who was active during the second half of the 17th century. He started out in St. Andrews in 1742 in partnership with Alexander Wilson when thwey co-founded the Wilson Foundry there, but moved in 1744 to Glasgow and in 1749 to London (when his partnership with Wilson ended) and in 1768 to Edinburgh. In 1787, he published "A Specimen of Printing Types, By John Baine&Grandson in Co", and emigrated to Philadelphia, where he set up a foundry. The elder Baine died in 1790, and his grandson continued until 1799, when he sold the equipment to Binny&Ronaldson for $300. [Google] [More] ⦿ | |
John Bark | John Bark founded the Bark Design Studio in Stockholm in 1988, after several jobs in New York at the School of Visual Arts, Milton Glaser Inc, and Esquire. With Örjan Nordling, he designed DN Bodoni for use as headlines in the Swedish newspaper "Dagens Nyheter". [Google] [More] ⦿ |
Ex-developer of U&lc, the type magazine at ITC in New York. After ITC's demise, he moved to San Francisco, and is best known nowadays for his excellent articles on typography at CreativePro.com. He is the author and designer of Dot-font: Talking About Fonts and Dot-font: Talking About Design (Mark Batty Publisher, 2006), and the editor of Language Culture Type (ATypI/Graphis, 2002), Contemporary Newspaper Design, and U&lc: influencing design&typography. He writes and consults extensively on typography, and he has won numerous awards for his book designs. He lives in Seattle with the writer Eileen Gunn. He has been on the board of the Type Directors Club since 1999. At ATypI in Rome in 2002, he spoke about the Bukvaraz type competition. At ATypI 2004 in Prague, he spoke about newspaper type. Editor of "Language Culture Type", ATypI / Graphis, New York, 2002, and "Now Read This" (Microsoft, 2004), a book about Microsoft's ClearType project. Closing plenary speaker at ATypI 2007 in Brighton. President of ATypI from 2007-2010. In 2008, he joined Microsoft as a Program Manager in the typography team. Pic. [Google] [MyFonts] [More] ⦿ | |
New York City-based designer of the fat face Slabalphabet (2010). [Google] [More] ⦿ | |
John E. Snitzel | Designer in Rochester, NY, of an American flag-themed face (1972) done for The Singr Company. [Google] [More] ⦿ |
John G. Cooley | American wood type designer/manufacturer from the 19th century, whose company started out in 1852 by taking over Edwin Allen in South Windham, CT. In 1864, he partners with Robert Lindsay, sells the South Windham factory, and moves to New York City as John B. Cooley and Co. In 1866, he enters into a partnership with Samuel T. Dauchy to become Cooley&Dauchy. In 1869, however, that company was bought by William Page, who ironically, had been Cooley's employee in 1855-1856. Jeff Levine's Winnetka JNL (2009) was inspired by Cooley Antique Tuscan Condensed from 1859. He published Specimens of Wood Type. [Google] [More] ⦿ |
American typographer. In 1954, he wrote Hammer Creek. The Hammer Creek Press Type Specimen Book (NY). [Google] [MyFonts] [More] ⦿ | |
John Schaedler |
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Charles S. Hazlett of Boone, IA, and John West, of Chicago, codesigned a script face for BBS in 1890. When he patented stencil face in 1885, he was listed as living in Brooklyn, NY. [Google] [More] ⦿ | |
Lettering expert in New York City. [Google] [More] ⦿ | |
JonahFonts
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Jonathan Hughes (b. Framingham, MA) is a graphic designer, musician and, now, type designer in Amherst/Buffalo, NY. Creator of Zandvoort (2008), an OpenType Font containing the numbers 1 through 99 in circles. Both open (black numbers in a black outlined circle) and closed (white numbers in a black circle) versions are included. Free. Fyra (2009) is another family of circled letters and numbers. MyFonts link. Home page. [Google] [MyFonts] [More] ⦿ | |
Designer of the handprinting font Notepad. Lives in Valley Stream, NY. [Google] [More] ⦿ | |
Creator of Brixie, a serifed face with calligraphic roots, which was developed in 2012 while Jorge was studying type design at The Cooper Union under Hannes Famira. [Google] [More] ⦿ | |
Located in New York City, Jose Antonio Contreras designed a colorful kitchen tile style typographic poster called Arts WFC Fall 2010 poster. Behance link. [Google] [More] ⦿ | |
New Yorker (1897-1990) who wrote frequently about typography and made Emerson in 1936 at Monotype. Jerry Kelly writes about his contributions in David Pankow's edited book, "American Proprietary Typefaces". Mac McGrew: Emerson and Emerson Italic---a completely different style, unrelated to the one above---were designed by Joseph Blumenthal, New York printer and book designer. The original version was hand-cut by Louis Hoell in Germany, and the face was cast by the Bauer Foundry in 1930. It was called Spiral for the press at which this distinguished typographer produced many notable books, and was renamed Emerson when the Monotype Corporation of London recut it in 1935. It is a modernized oldstyle letter, adapted for photogravure reproduction, but retaining a reasonably light face, fairly condensed. Wiklipedia on Emerson: The typeface's first appearance was in a special, private-press edition of Ralph Waldo Emerson's essay Nature, and so the Monotype version became known as Emerson. Emerson can be recognised for its distinctive foot serifs on the lowercase a, d and u, and its wide capitals (especially the M). The typeface shares characteristics with the classic renaissance types, and its soft, blunt appearance was designed to suit photogravure reproduction. [Google] [MyFonts] [More] ⦿ | |
Joseph J. Knight | New York-based designer who is working on this sans face (2006, see also here) and on Rapture (2006, display face). [Google] [More] ⦿ |
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Designer and illustrator (b. 1988) who is based in New York City. Her Metropolis (2010) is a hand drawn typeface created for a group project, incorporating the adjectives "friendly," "architectural," "hi-tech" and "Officina serif." [Google] [More] ⦿ | |
Julian was born in Brasil and grew up in New York City where he practices design and photography. Neu Kahlon (2012) is an italic-based sans serif font made up of thick geometric lines. Its design was influenced by fonts like Akkurat and Avant Garde. Behance link. [Google] [More] ⦿ | |
Swiss type design student at ECAL. Creator of the techno face Kreislauf (OFL, 2010) and Dumbo (OFL, 2010). Some of the typefaces he is working on got started under the direction of Ed Benguiat during Julien's exchange semester at the School of Visual Arts in New York. Not to be confused with the other Swiss type designer called Julien Mercier. Open Font Library link. [Google] [More] ⦿ | |
Type designer from New York City who created pre-art nouveau faces for Barnhart&Barnhart in 1886 and 1888, and display faces in 1883 and 1888. For Bruce Type Foundry, he created a condensed face in 1890 and an art nouveau face in 1888. [Google] [More] ⦿ | |
Julius Herriet Jr | Type designer born in 1861 in New York. At the Boston Type Foundry, he created Coburg, Facade Condensed, Makart (ca. 1886), Mural (1881), Quincy Script (ca. 1885), Rogers, Samoa, Webster (ca. 1888). At A. D. Farmer, he did Fashion Extra Condensed (some time before 1892). Facade Condensed, which has Victorian influences, is available in digitized form from Monotype. Klingspor link. [Google] [More] ⦿ |
Born in 1818 in Braunschweig, Germany. He emigrated to the United States where he worked as a type designer for various foundries in New York. His work includes these typefaces:
Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Kyoto-born Creative Alliance designer of Monolith, marketed as a Zen font. [Google] [MyFonts] [More] ⦿ | |
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Born in 1965. Designed Koko (1998, FontFont). Since 1995, he runs Monkey See Monkey Do, Inc., a small design company based in New York City. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Graphic designer in Brooklyn, NY. Behance link. She created the squarish typeface EAV (2012) out of the East Atlanta Village logo identity. [Google] [More] ⦿ | |
She wri tes: Karolina Lach is a graphic designer, web designer and typographer residing in New York. She currently works as the Senior Designer for Kiwibox Media, a social network and online magazine for teens. A graduate of The Cooper Union for the Advancement of Science and Art, she has studied under Mike Essl, Emily Oberman, James Craig, Maxim Zhukov and Hannes Famira. Graduate from the type design program at the University of Reading in 2010. She created Sora there in 4 styles, Regular, Italic, Black and Arabic. Karolina tried to give Sora a distinctive Oz Cooper / Frederic Goudy American look. Pompiere (2011, a free font at Google Font Directory, is a low contrast condensed sans serif font with tall ascenders and small x-height, which is based on lettering outside a new York firehouse. Arbutus (2011, a free spiky slab face at Google Web Fonts) is a sturdy medium contrast slab serif cactus skin font. In 2012, she designed Amarante (art nouveau). Behance link. Home page in New York City. Behance link. Klingspor link. [Google] [More] ⦿ | |
Handwriting repairwoman living in Albany, NY, born in Brooklyn in 1963. "Yours for better letters." Another page on her. [Google] [MyFonts] [More] ⦿ | |
Kathrin Ayer | Based in Brooklyn, NY, Kathrin designed the synthetic Hindi typeface Sprue (2003). [Google] [More] ⦿ |
Born in 1972 and located in New York City, Keith Alan Morris created the handwriting font lucygooseyblack (2009). Home at Brand Architecture Inc. [Google] [More] ⦿ | |
American designer of the dingbat font P22 ToyBox and of the curly handwriting font P22 Aglio (2003). [Google] [MyFonts] [More] ⦿ | |
Kingdom of Awesome
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Ksenya Samarskaya | Type designer at Hoefler&Frere-Jones in New York. [Google] [More] ⦿ |
K-Type
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Commercial faces:
His free fonts are here:
Custom / corporate typefaces: With Liverpool-based art director Liz Harry, Bates created a personalized font, loosely based on Coco Sumner's handwritten capitals, for the band I Blame Coco. Medium and Semibold weights of Gill New Antique were commissioned by LPK Design Agency. Stepping Hill Hospital and Bates created Dials, a pictorial font to help hospital managers input data about improvements. A custom font was designed for Bolton Strategic Economic Partnership. [Google] [MyFonts] [More] ⦿ |
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Kyuwon Lee studied Communication Design at the Pratt Institute of Brooklyn, New York. Currently, he is a graphic designer in New York. Jyuwon made the groovy typeface SFRW (2012). [Google] [More] ⦿ | |
Branding specialist based in New York City. Born in Newark, NJ, he is a graduate from Pratt in Brooklyn with a degree in Industrial Design. He made the Tipo Metro font in 1969 for Mexico City's subway, an adaptation of Eurostile. That font was revived later as Metro DF by Harold Lohner. A pixel version of this (by Kemie, is called Balderas). Bio. [Google] [More] ⦿ | |
FontStructor who made the dort matrix faces R160 exterior Side (2011, after lettering on NYC subway cars), R160 Find (2011), and NCTA R46 (2011, based on the LCD displays found on the MTA NYC Transit R46 trains). [Google] [More] ⦿ | |
Hopewell Junction, NY-based graphic designer who has created some custom typefaces such as Birds (2009). The alphabet. [Google] [More] ⦿ | |
Graphic designer in New York City. Behance link. Creator of Laced (2010), an experimental face. She also made the logotype Women Between Peace And War (2010). [Google] [More] ⦿ | |
Designer at Font Bureau of Loupot, an angular bold connected script done in 1997 with Cyrus Highsmith. Born in 1955 in New York City. FontShop link. [Google] [More] ⦿ | |
Leftloft
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Lena Wang, a graphic communication specialist for the United Nations in New York City, created Cactus Typeface (2012). [Google] [More] ⦿ | |
Leo Charre Art&Design
| Leo Charre Art&Design is founded by Leo Charre (b. 1976), who lived in Boston but now resides in Albany, NY. He created Gunlab (2001, dingbats; see also here), Pixelboy (2 pixel fonts), Chroma (pixel face). His site has a 200+ font archive as well. Alternate URL. [Google] [More] ⦿ |
LePine Studios
| Illustration and font creation studio. Commercial fonts by them include Sweety Pie (2010, curly), Rapière (sharp-edged comic book face), Métropole (condensed), Fökker, Gothique (grotesque), Phillip LePine is located in Williamsville, NY. [Google] [MyFonts] [More] ⦿ |
Biannual newsletter of the Type Directors Club in New York. Very informative, with a nice book review section by Paul Shaw. His brief bio mentions that "he is a calligrapher and typographer working in New York City. In his 18 professional years as a lettering designer he has created custom lettering and logos for many leading companies, including Avon, Lord&Taylor, Rolex, Clairol and Esté Lauder. Paul has taught calligraphy&typography at New York's Parsons School of Design for over ten years and conducted workshops in New York and Italy. His work has been exhibited throughout the United States and Europe. His publishing credits include "Blackletter Primer" and "Letterforms", as well as articles for Print, Fine Print, Design Issues and Letter Arts Review. He is the recipient of awards from the Type Directors Club, AIGA, the New York Art Directors Club, Print and How magazines. He won a National Endowment for the Humanities fellowship to study the type designs of Morris Fuller Benton, and a Newberry Library fellowship to study the work of George Salter. Paul's experience in using research libraries to study historical manuscripts will be shared with tour participants wishing to visit the Vatican Library. He has been a partner in LetterPerfect since 1995." [Google] [More] ⦿ | |
New York City-based web and graphic designer (b. 1984, Los Angeles) who created the bilined headline face Doubletri (2011). She studied first at Tel Aviv University and then Instituto Europeo di Design i Barcelona. Home page. [Google] [More] ⦿ | |
New York-based graphic designer. She created the curly hairline script face DogDays (2012) and the display typeface Botanica (2012). [Google] [More] ⦿ | |
Lindsay Type Foundry | New York-based foundry, also called R.&J.&A.W. Lindsay, A.W. Lindsay, and Robert Lindsay&Co. [Google] [More] ⦿ |
Loaded Fonts
| Raymond Michael Mullin III (b. Schenectady, NY, 1982) designed Bong God, Born Of Fire, Caliber, Cubie, Presidential Dingbats (2007), Scribal (2008). His outfit in Schenectady is Loaded Fonts. [Google] [MyFonts] [More] ⦿ |
Lothian Type Foundry
| Type foundry that operated in New York from 1829-1842, founded by the eccentric George Buxton Lothian (d. 1851), a perfectionist with an incurable temper, but also one of the finest type founders of his generation. Before 1829, he had worked with John Watts (the first stereotyper of the United States), with Collins and Hanna, in his own foundry in Pittsburgh with the help of Peter C. Cortelyou (1819-1820), with the David and George Bruce Type Foundry, and again in his own foundry, Lothar&Pell (which existed from 1822-1823, with investor Alfred Pell). The equipment of the plant was bought by Peter Cortelyou in 1850. [Google] [More] ⦿ |
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He created a gorgeous tall octagonal monoline typeface called Hudson Terminal (2012), which was apparently designed for Grove Street Bicycles. [Google] [More] ⦿ | |
Louise Fili Ltd is a New York-based graphic design firm specializing in food packaging, restaurant identities, logos, and book design. The web page is just out of this world, and the calligraphy and type exquisite. With Steve Heller, she published "Typology Type Design from the Victorian Era to the Digital Age" (Chronicle Books, San Francisco, 1999), "Italian Art Deco", "Dutch Moderne, "Streamlne, "British Modern", "French Modern", "German Modern", "Deco Type", "Deco Espana", "Typology", "Belles Lettres" and "Cover Story". Her book cover (done with Jessica Hische) won a design award at TDC 55. [Google] [More] ⦿ | |
MyFonts link. Klingspor link. Behance link. Another Behance link. Lucas Sharp is involved with Typeslashcode in New York. He designed the free fat counterless face Doughboy (2010). Lucas Sharp does penmanship drawings such as Go Big Or Go Home (2010) and We're on a roll (2010). His talent shines through his award-quality ornamental didone family, Hera Big (2010), which I guess is an extenion of his earlier thesis work. Images of Hera Big: Black, Bold, Extra Light, Extra Thin. In 2011, he and Juan Carlos Pagan set up Pagan&Sharp in Brooklyn, NY. Foundry link at MyFonts. Together, Pagan and Sharp published Malleable Grotesque Regular (2011). [Google] [MyFonts] [More] ⦿ | |
Lucas Cobb Designs
| Lucas Cobb (b. 1980) lives in New York. A designer and photographer, he made a few [still incomplete] fonts, including Blur (2009, handprinted) and Jacked (2009, an art deco Broadway face). [Google] [More] ⦿ |
Posters by Bernhard: An advertising exhibition in 1929 (with Fritz Rosen), Manoli Cigarettes (1912). View Lucian Bernhard's typefaces. [Google] [MyFonts] [More] ⦿ | |
Student at Parsons in New York City in 2011. He created soe experimental alphabets in 2011. [Google] [More] ⦿ | |
Student at the Fashion Institute of Technology in New York. Creator of the grungy ink splash face Phobia (2011). [Google] [More] ⦿ | |
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Graphic designer in Newburgh, NY. She created the experimental geometric typefaces Jazz and Caps in 2010. [Google] [More] ⦿ | |
MADType (mattdesmond.com)
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Free types as of 2010: Marble Roman, Environ regular, Dorkbutt, Europa, Exsect, Inthacity, Liquidy Bulbous, Lustria (2012, Google Web Fonts), Stomper. Commissioned types: 77kids (2007, for the children's brand; the sketched faces were done with Justin Thomas Kay), AE Aerie (2005-206, American eagle Outfitters), AE Newburgh (2005-206, American eagle Outfitters), AE Summer Fonts (2007, all for American Eagle Outfitters), EEL Futura (2006, for Enjoying Everyday Life), Nike World Cup (2006), Virgin America (2006). Orphaned types that disappeared or were planned but never executed: BrotherMan, Caprice, Convolve, HipstersDelight, Lugubrious, ModestaSmallCaps, Serifity, Skitzoid, Sliver, ThrowupSolid, Auresh (1998, futuristic; Test Pilot Collective), Kcap6 (1998, with Cina; Test Pilot Collective), Epiphany (1997; Test Pilot Collective), Testacon (with Kral and Cina; Test Pilot Collective), Civicstylecom (1999; Test Pilot Collective), Lutix (1998; Test Pilot Collective), Xerian (1997; Test Pilot Collective), Swoon, Furtive (2004, a sans), the display face Flathead (2004), the blackletter face Bahn (2004), Mesotone BT (2006, Bitstream, a monoline sans), Practical (a monoline connec script, planned in 2007 but not published), Poliphili (planned in 2007, as a revival of an Aldus/Griffo font), Wutupdo (1996, Garage Fonts), GFDesmond (Garage Fonts), Drone. |
Student in New York who created the dymo label typeface Lightbox (2012). [Google] [More] ⦿ | |
Graphic designer in New York City. She created some faces with letters, such as Shakespeare (2009). [Google] [More] ⦿ | |
MapInfo Corporation | Corporation in Troy, NY, who made map and travel symbols in 1995, such as MapInfoShields, Map-Symbols, SPSSMarkerSet, MapInfoArrows, MapInfoCartographic, MapInfoMiscellaneous, MapInfoOil&Gas, MapInfoSymbols, MapInfoRealEstate, MapInfoTransportation, MapInfoWeather. Some can be found here. [Google] [More] ⦿ |
Marciuliano Design
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FontShop link. Klingspor link. View Frank Marciuliano's typefaces. [Google] [MyFonts] [More] ⦿ |
Margot Laborde (New York) designed the thin swashy didone face called Bon Bon (2011). [Google] [More] ⦿ | |
Maria Gambino (Astoria, NY) created a modular typeface in 2012 that is based on apartment key tags. [Google] [More] ⦿ | |
American designer of the dingbat font P22 ToyBox. [Google] [MyFonts] [More] ⦿ | |
Ex-president of International Typeface Corporation (ITC) and of ATypI from 1995-2004. In 2004, he became Honorary President of ATypI. He published a book on the life and work of Gudrun Zapf von Hesse: Gudrun Zapf von Hesse Bindings - Handwritten Books - Typefaces Examples of Lettering and Drawings (West, New York, 2002). He published WARNING (2005) on the warning signs and the multitude of funny/sad ways in which people can end their lives. [Google] [More] ⦿ | |
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Designer of the pixel face Vade (2000, FontStruct), a font used in game development. Mary Ann teaches at Brooklyn Poly. [Google] [More] ⦿ | |
Teacher (b. 1964) of Visual Communication at the Politecnico di Milano and of Tools and Techniques of Graphic Design at the Rome University, La Sapienza. In 1995 he founded the Vitamina studio with Aldo Buscalferri, where he does graphic design work, calligraphy, photography, and illustration for industrial clients. In 2002, he became the creative director at Landor Associates in Milan. He is the vice-president of BEDA. His clients include MTV, Heineken, Onyx, Sony, Mediaset (TV network) and Blu (an Italian mobile phone company), for whom he created a company typeface, Blutype. He also made a hip version of Agenda, called Diario. At ATypI in Rome in 2002, he spoke about type for branding and communication. Scan of some posters made in 2010. Behance link. [Google] [More] ⦿ | |
Matt Owens is the principal of Brooklyn-based design studio Volumeone established in 1997. He created DustUp (2007), a cloudy typeface. [Google] [More] ⦿ | |
Student at the Rochester Institute of Technology who created the asymmetrically serifed Blandish V1 (2006). [Google] [More] ⦿ | |
Matt Terich | Type designer and poster artist who digitized Hitchcock (1997), a font based on the movie poster lettering of the famous New York-born type designer and film director Saul Bass. Hitchcock (1997) is an irregular font (2002), based on lettering by Saul Bass (click on Saul Bass, and the Soul Food, then Hitchcock Font). Nick Shinn mentions that Bass didn't do the actual lettering and Robert Trogman adds that Dave Nagata did most of the drawings. Poster art by Terich. Stephen Coles mentions these fonts in the same vein as Hitchcock:
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Brooklyn, NY-based graphic designer who has his own studio, Ampersanderson. Has a BFA in graphic design from the Cornish College of the Arts. Designer of this art deco typeface (2007). [Google] [More] ⦿ | |
Cooperstown, NY-based designer of Tabor Handwriting (2007). [Google] [More] ⦿ | |
Brooklyn-based blogger, editor and writer, who was born in Dallas and studied law at the University of Florida. She used iFontMaker to create the clean handprinted typeface Maud Print (2012). [Google] [More] ⦿ | |
Swiss type designer and calligrapher, born in Winterthur in 1916. He died in 2004. Designer of Columna (Bauersche Giesserei, 1952-1955, originally a private face of the Benteli publishing house in Switzerland; revived in 2006 by Ari Rafaeli, and in 2011 by URW), a slightly-serifed roman capitals face. His teachers included Jan Tschichold and Imre Reiner. Trained as a compositor (1932-1936), het set some jobs from 1936-1943. In 1941-1942, he taught typography at the Allgemeine Gewerbeschule in Basle, and was art director of the Benteli printing works in Bern from 1943-1962. From 1962-1981, he was head of the graphics department and typography teacher at the Kunstgewerbeschule in Zürich He consulted on type design for IBM in New York from 1962-1966, for the Bauersche Gießerei in Frankfurt am Main from 1965-1966, and for the Dr. Rudolf Hell company in Kiel from 1972-1989. He worked as type consultant at Adobe since from 1990. Adobe published Caflisch Script (designed by Robert Slimbach). Columna is available from Elsner&Flake (as ColumnaEF), Linotype and URW. Linotype bio. Max Caflisch, Albert Kapr, Antonia Weiss and Hans Peter Willberg published F.H.Ernst Schneidler Schriftentwerfer, Lehrer, Kalligraph (SchumacherGebler a.o., München, 2002). This publication was thoroughly mangled by SchumacherGebler, to the dismay of Caflisch. This story was written up in "Die Chronologie der Schneidler-Monographie 1985-2002: Die 16 Jahredauernde, mühselige Entstehungsgeschichte" (Max Caflisch, 2002, Theo Leuthold Press). Other publications include: "William Morris, der Erneuerer der Buchkunst", Bern 1959; "Kleines Spiel mit Ornamenten", Angelus-Druck, Bern, 1965; "Fakten zur Schriftgeschichte", Zürich1973; "Schrift und Papier", Grellingen 1973; "Typography braucht Schrift", Kiel 1978. A Berlincourt et al "Max Caflisch. Typographia practica", Hamburg 1988. MyFonts page. Rudolf Bosshard's article about Caflisch's life (Comedia, 2004, vol. 2). Linotype link. [Google] [MyFonts] [More] ⦿ | |
Maxim Zhukov (b. Moscow, 1943) was a typographic coordinator for the United Nations in New York from 1977 until 2003. Solomon Telingater was one of his mentors. Early on, he designed some typefaces such as Meandr (1972). He taught at the Moscow Printing Institute in 1984-1985, and is now affiliated with the Type Directors Club and ATypI. He teaches a course on world scripts at Parsons School of Design, and a course on advanced typography at The Cooper Union, both in New York. He is interested in multilingual typography. Alternate URL. He co-authored (with George Sadek, who died in 2007) Typography: Polyglot (1991) and its second edition, Typographia Polyglotta (1997). Bio in Russian. Maxim lives in the Bronx. [Google] [More] ⦿ | |
Graphic designer in Brooklyn, NY. Creator of the humanist sans family Albion (2011). Behance link. [Google] [More] ⦿ | |
Designer in Brooklyn, NY, who made Pinned (2011). [Google] [More] ⦿ | |
Meg Paradise (b. Scranton, PA) and Lauren Sheldon created the typeface for this flowery Chopard poster (2010). Meg lives in New York City. [Google] [More] ⦿ | |
New York City-based designer (b. 1984) who graduated from the Pratt Institute in 2009. Creator in 2008-2010 of custom hand-drawn typefaces such as a roman inscriptional typeface, Neo Rounded (organic), and D-Code. [Google] [More] ⦿ | |
Brooklyn, NY-based designer and photographer who created the handwriting font Chalky (2004) with Fontifier. Alternate URL. [Google] [More] ⦿ | |
Type designer at OurType in Belgium, who was born in The Netherlands and studied at KABK in Den Haag. She lives and works in New York. OurType Eva (2006) is a 36-style sans type family designed by Merel Matzinger and Fred Smeijers, characterized by script-like lower case v and w that stand out among the sea of sans glyphs. From OurType's documentation: It is informal and warm in character, thanks to the contrast in its strokes and the freedom with which they have been drawn. The friendly personality provides added interest at larger sizes. Yet its forms also have a notable clarity, and it works well for setting continuous text. Eva can be used in a wide variety of contexts, from personalised messages to mass-circulation publications. The name of the typeface comes from the ceramicist Eva Zeisel (born in 1906 in Hungary). It was the delicate, humane forms of Zeisel's industrially produced ceramics that gave inspiration to Merel Matzinger as she designed the first, one-weight version of Eva in 1999. Eva Zeisel's ceramics are warm and approachable for their fluid curving lines, for their simplicity, but also for their playful, whimsical nature. Indeed, it is Zeisel's 'playful search for beauty' that is the crucial connection between her and her audience. It is Matzinger and Smeijers' hope that the Eva typeface achieves a similar feeling and a similar connection. Eva finds a distinct place among existing 'informal sanserifs'. The contrast it shows between thick and thin strokes is less marked than with designs such as Optima or Pascal. So too the flairs at the terminals of its strokes are less marked than in the case of Optima. One could position it somewhere between these 'semi-sanserifs' and typefaces like Gill Sans, Scala Sans or Fresco Sans, which we now identify as belonging to the category of 'humanist sanserif'. The variety in the ways in which the stroke terminals are treated gives Eva much of its character. FontShop link. [Google] [More] ⦿ | |
Mergenthaler
| The Mergenthaler company was formed in 1886 to develop and market Ottmar Mergenthaler's (1854-1899) invention of the linecaster. Under Chauncey Griffith's typographic direction from 1915 to 1949 the company assumed the leading position in the Americas in both book and newspaper production, originating a large and varied library. Under the direction of Allied Corporation, the company lost control of the overseas companies and became the American marketing arm of Allied Linotype, which was based in Frankfurt. Some types, both metal and photo, were developed at the company by William Addison Dwiggins, Chauncey Griffith, Jackson Burke and others. Also called Mergenthaler Linotype. German postage stamp showing Ottmar Mergenthaler in 1954, designed by Hermann Zapf. [Google] [MyFonts] [More] ⦿ |
Designer of the sans serif family FF Kievit (2000). This font family is also in the FontBureau collection, and is by many seen as the long-term replacement of Helvetica and Frutiger. FF Kievit won the typeface award at the ISTD TypoGraphic Awards 2001. It was also used to make the house font CDU Kievit for the CDU party in Germany. At Agfa Monotype, he and others designed the large GE Inspira family (2003-2005), about which Michael 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.). Michael now works at Wolff Olins in New York. From 2000-2006, he created MichaelAbbink-FFMilo-2000-2006.gif">FF Milo (FontFont), which was followed in 2009 by FF Milo Serif. These faces were developed for magazine and newspaper print and have therefore short ascenders and descenders. Paul van der Laan helped with the production. Klingspor link. FontShop link. FontFont link. [Google] [MyFonts] [More] ⦿ | |
Michael Bixler | Designer of Bixler Roman (1968). He was a student at Rochester Institute of Technology. Matrices were cut in Japan and the face was cast privately. The Michael and Winifred Bixler metal type foundry in Skaneateles, NY, is still operational in 2007. It is located at Box 820, Skaneateles, NY 13153. Some of its types are listed here. [Google] [More] ⦿ |
Michelle Godfrey (b. 1988) lives in Buffalo, NY. I guess the city of Buffalo inspired her to make the dingbat / scanbat face BuffalO (2011). In 2012, she created Mustache Gallery. [Google] [More] ⦿ | |
Graphic design student in Rochester, NY. She designed a typeface based on outline crossovers in 2011. [Google] [More] ⦿ | |
Mickel Design
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Klingspor link. [Google] [More] ⦿ |
Fontstructions by the Studio Of ME/AT in New York City [Mike Essl and Alexander Tochilovsky]: Delicate Essen (2009, blackletter, tiled), Rowland Grotesk (jazzy piano key face). Previously, Mike Essl worked at The Chopping Block Inc, a graphic design bureau in New York, and graduated from the Cranbrook Academy of Art, where he designed Eat Lightning (2001). [Google] [More] ⦿ | |
Nova Scotian who works at GrammaTech in Ithaca, NY. Mike McDougall (ex-University of Pennsylvania Ph.D. student) created a random type 3 font called "Tekla" as an undergraduate student at McGill University, under the supervision of Luc Devroye. He used several handwritten samples as parents to create random offspring. A companion article entitled Random Fonts for the Simulation of Handwriting has appeared in "Electronic Publishing" in 1995. See also here. [Google] [More] ⦿ | |
Mike Perry works in Brooklyn, NY, where he makes books, magazines, newspapers, clothing, drawings, paintings, and illustrations. He has drawn a number of ornamental alphabets that as far as I know have not been turned into fonts (yet). These include Porn Beyond Sex (2010), Alphabet Town (2010), Animalphabet (2010), and Bikini Type (2010). Examples of his illustrations: Six (2009). Amsterdam (2009). [Google] [More] ⦿ | |
Milan Zrnic (b. 1984) is a self-taught graphic designer who now lives in New York. In 2002, Milan created Idyll (2002, commercial sans serif font) while in the Chank Army. In 2003, Milan created and released the free typeface Raedr. [Google] [More] ⦿ | |
Musings about life (dead link). Linotype link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Creator of an alphabet with photographic light painting. Behance link. Miranda is a graphic designer in Albany, NY. [Google] [More] ⦿ | |
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Morgans&Wilcox Mfg Co.
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Mucca Design
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Muccatypo.com
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Mussett Letterworks
| Neil Mussett (b. 1975, Denver, CO) is a computer programmer located in Amherst, NY. He created Debug (2007), a monospaced handprinted typeface. In 2010, he added the flared display face Mickey Mono. [Google] [MyFonts] [More] ⦿ |
Graphic designer in New York. Creator of a nice 3d typography poster in 2011. Behance link. [Google] [More] ⦿ | |
Graphic designer from Elba, New York. He created this excellent type poster in 2009. Behance link. [Google] [More] ⦿ | |
Nathan Rader | Canton, NY-based designer of the roman majuscule font shown here (2007). [Google] [More] ⦿ |
National Printers Materials Co. | American wood type manufacturer that existed from 1876-1895, and was set up by John Stevens and William Wood in New York City. They In 1874, they had patented a process for laminating celluloid to wood to produce celluloid wood type. [Google] [More] ⦿ |
New Fonts
| New York-based foundry run by Charles Nix (b. 1967, Ohio). Fonts: Melaka, Batak, Nani, Tuk Tuk, Christmas, Nix Rift (serif), Huta Bulon, Samosir, Island Special. Batak became ITC Batak (2002). MyFonts write-up. Charles Nix digitized the Augereau family for George Abrams. The company consists of Charles Nix (font design), Stefano Arcella (ornament design), and Wong Chee Yee (digitizing). and Wong Chee Yee (digitizing). Typefaces in the New Fonts collection are derived from a rich variety of sources - from 15th century Spain to 21st century Sumatra. The Sumatran Series of fonts is inspired by hand-painted letterforms from commercial signage in the tiny village of Tuk Tuk on the island of Samosir in Northern Sumatra. The series consists of six faces: Batak, Nani, Tuk Tuk, Samosir, Melaka, and Huta Bolon. [Google] [MyFonts] [More] ⦿ |
New York Pulbic Library (NYPL) | Some specimen books at the NYPL listed by Thomas G. Lannon. [Google] [More] ⦿ |
A Ph.D. in linguistics, Ngo Thanh Nhan is involved in the standardization of Quoc Ngu, Nom, an ideographic script used in Vietnam for more than 1000 years, which is facing extinction, and Cham script. He is member of the Vietnamese Nom Preservation Foundation. Now a computational linguist at New York University, who built the Nom font used in the book of Ho Xuan Huong's poetry. He spoke at ATypI in Copenhagen in 2001. [Google] [More] ⦿ | |
Communication design major at the Pratt Institute in New York. He lives in Brooklyn and deserves attention: will consider any work offered free of charge. His industrial-look typeface Curfew (2011) certainly is worth noting. [Google] [More] ⦿ | |
Brooklyn, NY-based letterer, illustrator and type designer. Behance link. Creator of nice type posters, as well as a few typefaces such as Copola Stencil (2009). [Google] [More] ⦿ | |
Graduate of the College for Creative Studies, who works in Brooklyn, NY. He created Gooder (2011), a 3d beveled headline face. Behance link. Devian Tart link. [Google] [More] ⦿ | |
Nick Sherman (b. 1983) is from Hyannis Port and Boston, MA, and studied graphic design at MassArt in 2005. He is currently based in Brooklyn, NY, where he works with Font Bureau. His degree project there, entitled A Modern Day Specimen Book, is beautifully presented, and leads us through thoughts on type classification to the idea of type molecules, with the nodes in the molecules representing styles or descriptions or dates, and the edges representing typefaces. He is interested in wood type, and occasionally helps out the organizers of the TypeCon conferences. As a designer at MyFonts (from 2007-2010), he was in charge of the interviews, presentations, and web designs of their successful and useful pages. He lived in Brooklyn, NY, and taught typography at MassArt in Boston. In 2010, he joined Font Bureau. Flickr page. His type designs:
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Codesigner with Chank of the handwriting font Darling Nikki (2006). Nicole Blackman is a New York City-born performance artist, poet, author, vocalist, teacher, and former music industry publicist. She is also a top voice-over artist for television and radio. [Google] [MyFonts] [More] ⦿ | |
Graphic designer in Brooklyn, NY. He made the fat face Folded Stone (2010). Behance link. [Google] [More] ⦿ | |
Communication design student in New York, NY. She created Tritype (2011), a triangle-themed typeface remotely inspired by graffiti. [Google] [More] ⦿ | |
Noisecore Type (was Guerilla Type)
| Artsy free fonts for Windows (TTF and type 1): the out of focus Optik, HandW, the HackD series, MinaD, Flud, RustD and WeatherD. By Yuri Jossa from East Setauket, NY. Now also Yuri's Handwriting. [Google] [More] ⦿ |
Graduate from the Cooper Union who created the abstract experimental commissioned face Open Lo in 2010. [Google] [More] ⦿ | |
NYC Type
| Photographed vernacular type in New York City. By Luke Connolly. [Google] [More] ⦿ |
Okaytype
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In 2012, he created The Harriet Series, a full didone family. Jackson Cavanaugh is a freelance graphic designer and independent type designer based in Brooklyn, NY. Okaytype was founded by him in 2009. [Google] [MyFonts] [More] ⦿ |
New York City-based designer. She created Penny Font (2010). [Google] [More] ⦿ | |
Omega Font Labs
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Archive at Font-A-Sea. Archive at Mouser Fonts. Alternate URL. And another one. Fontspace link. Dafont link. [Google] [More] ⦿ |
Aka O2Creative, based in New York. Creator of an untitled black typeface in 2011. [Google] [More] ⦿ | |
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Designer at RailFonts, who hails from Westchester County, New York, and has been interested in model trains and railroading since age five. Otto attended Rochester Institute of Technology where he received his BFA in Graphic Design. While at RIT, he founded the RIT Model Railroad Club, and has been an active volunteer with the Rochester Chapter NRHS, and the New York Museum of Transportation. Since leaving Rochester, he moved back to Westchester where he is currently production manager for Hudson Valley Magazine, and designer for Westchester Magazine. Otto is also a partner in the popular railfan web site RAILROAD.NET, where he is Creative Director. Many of his articles, track plans and illustrations have appeared in Railroad Model Craftsman over the years, and he is also a regular contributor to Railpace News magazine. In his free time, Otto is a leader for his local Boy Scout troop, and enjoys camping and the outdoors. His railroad-related fonts: JadeGreen (compare to the lettering once used by Penn Central), Consolidated (compare to the lettering once used by Conrail). [Google] [More] ⦿ | |
P22 Type Foundry
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Pagan&Sharp
| Queens, New York-based designer and art director. At Behance, he is showing some typefaces he created, such as Malleable Grotesque (2009), and Powell (2009, roman letters). Some of his posters, such as Three Olives Vodka, are also nice. In 2011, Lucas Sharp and Juan Carlos Pagan set up Pagan&Sharp in Brooklyn, NY. Foundry link at MyFonts. Together, Pagan and Sharp published Malleable Grotesque Regular (2011). [Google] [MyFonts] [More] ⦿ |
Parsons The New School for design (was: Parsons School of Design) | Design school in New York. Experimental typography course by Charles Nix. Experimental Typography: Spring 2002. Experimental Typography: Fall 2001. Book Design: A History in Latin. Current type design professors include James Montalbano. [Google] [More] ⦿ |
New York-based designer of Fellman Type (2011). [Google] [More] ⦿ | |
Patrick Branigan (Albany, NY) received my BFA in Communication Design from the University at Buffalo in 2010. Behance link. In 2010, he made the experimental geometric typefaces Mouse, Refresh, and EDM. [Google] [More] ⦿ | |
Bayville, NY-based graphic designer who created the hairline monoline sans typeface Sly (2012). [Google] [More] ⦿ | |
Pen name of 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 face 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:
Beatrice Warde was educated at Barnard College, Columbia, where she studied calligraphy and letterforms. From 1921-1925, 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] ⦿ | |
American type designer. He published the grunge face Decomic Oblique at Volcano: Decomic Oblique is one of the handmade fonts of illustrator Paul Hoppe who lives in New York. The font was digitized by Boris Kahl in 2005. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
New York-born graphics design consultant (1914-1996). He is the author of Thoughts on Design, Design and the Play Instinct, The Trademarks of Paul Rand, and Paul Rand Miscellany, as well as numerous papers on design, art, typography. An inspiring speaker. Interview. Art Chantry called him a corporate whore and explained it this way: "He sort of invented the term in graphic design circles. He even designed logos that went on nuclear warheads. His final project was the Enron logo. Despicable, really." His typefaces include Westinghouse Gothic and Westinghouse Gothic Light. A squarish corporate alphabet he did for Alcoa was digitized by Michael Hernan in 1996. MyFonts writes: A giant of American graphic design, with the logos of IBM, Westinghouse, American Broadcasting Co., United Parcel Service, and NeXT Computer to his credit. Author of several books on the graphic design process. From 1935 he ran his own studio in New York. From 1956 he was a professor of graphic design at Yale. He continued designing until well into the 1990s. In his 1999 biography of Rand, Stephen Heller writes: She was the channel through which European modern art and design Russian Constructivism, Dutch De Stijl and the German Bauhaus was introduced to American commercial art. In 1984 he was awarded the TDC Medal, the award from the Type Directors Club. [Google] [MyFonts] [More] ⦿ | |
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Graphic designer and typographer in Big Flats, NY. Behance link. He created a squarish logotype for Streeter Associates Inc (2010). [Google] [More] ⦿ | |
New York-based graphic designer who created Melodia (2011). [Google] [More] ⦿ | |
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Penny Font Foundry (or: Pennyzine)
| As part of the Chank Army, Jason Ramirez (Penny Fonts, Brooklyn, NY) offers mainly grunge fonts, many of which were made with the Data Becker software program. 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), Elliot Swonger (2002), Elliots Bad Day (grunge), Don Giovonni (2006), 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). Alternate URL. Direct downloads. Alternate direct download path. Commercial fonts: Redneck Superstar (2002, Chank's). Dafont link. Yet another URL. Another link. Fontspace link. [Google] [More] ⦿ |
Pentagram (new York) has about 20 partners, including Michael Bierut. In 2011, Michael Bierut, Daniel Weil and Jennifer Kinon developed a new identity for Benetton. In this project, Gill Sans was replaced by Benetton Sans, a face created by them. The partners (in 2011): Lorenzo Apicella, Michael Bierut, Michael Gericke, Luke Hayman, Angus Hyland, Domenic Lippa, Abbott Miller, Justus Oehler, Eddie Opara, Harry Pearce, Naresh Ramchandani, John Rushworth, William Russell, Paula Scher, DJ Stout, Daniel Weil. Michael Bierut studied graphic design at the University of Cincinnati's College of Design, Architecture, Art and Planning, graduating summa cum laude in 1980. 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. Bierut's clients at Pentagram have included the Alliance for Downtown New York, Benetton, the Council of Fashion Designers of America, Alfred A. Knopf, the Walt Disney Company, Mohawk Paper Mills, Motorola, MillerCoors, the Toy Industry Association, Princeton University, Yale School of Architecture, New York University, the Fashion Institute of Technology, the Brooklyn Academy of Music, the Library of Congress, the Museum of Sex, and the New York Jets. His projects have ranged from the design of "I Want to Take You Higher," an exhibition on the psychedelic era for the Rock and Roll Hall of Fame and Museum, to serving as design consultant to United Airlines. Bierut's recent activities have included the development of a new identity and signage for the expanded Morgan Library and Museum; the development of environmental graphics for The New York Times Building; the design of an identity and public promotion for Philip Johnson's Glass House; the creation of marketing strategies for the William Jefferson Clinton Foundation; the development of a new brand strategy and packaging for luxury retailer Saks Fifth Avenue; and the redesign of the magazine The Atlantic. He has won hundreds of design awards and his work is represented in the permanent collections of the Museum of Modern Art (MoMA), the Metropolitan Museum of Art, and the the Cooper-Hewitt, National Design Museum, all in New York; the Library of Congress in Washington, D.C.; the Museum für Kunst und Gewerbe, Hamburg, Germany; 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. He currently serves as a director of the Architectural League of New York and of New Yorkers for Parks. In 1989, Bierut was elected to the Alliance Graphique Internationale, in 2003 he was named to the Art Directors Club Hall of Fame, and in 2006 he received the profession's highest honor, the AIGA Medal, in recognition of his distinguished achievements and contributions to the field. In 2008 he received the Design Mind Award in the National Design Awards presented by the Cooper-Hewitt, National Design Museum, Smithsonian Institution. Bierut is a Senior Critic in Graphic Design at the Yale School of Art. He is co-editor of the anthology series Looking Closer: Critical Writings on Graphic Design, published by Allworth Press, and in 1998 he co-edited and designed the monograph Tibor Kalman: Perverse Optimist. He is a co-founder of the weblog Design Observer and his commentaries about graphic design in everyday life can be heard nationally on the Public Radio International program "Studio 360." His book Seventy-nine Short Essays on Design was published by Princeton Architectural Press in 2007. [Google] [More] ⦿ | |
Peter Bain surveys the era of photo-typography. His introduction: In the 20th century photo-typography fully displaced a 500-year-old tradition of metal type, only to be superseded itself shortly thereafter. Yet most appraisals of type technology and histories of proprietary typefounding still favor type for text instead of eye-catching display. One characteristic feature of 20th century typography was the great effort devoted to ephemera and advertising. This survey is a local view of a half-century, concentrating on display type in New York City. Since New Yorkers have been said to believe they are at the center of the planet, it is fascinating to find a time when it could appear nearly so, typographically. He goes on to explain why and how New york became the typographic center of the globe: The city in the first half of the 20th century was an established communications center for a burgeoning national market. There is ample evidence of local interest in unique letterforms. Sometime Queens-borough resident and typeface designer Frederic Goudy received a commission from retailer Saks Fifth Avenue. The successful New York illustrator and letterer Fred G. Cooper had his distinctive forms included in the same publications that featured an unrelated Windy City designer, Oswald Cooper. Architect H. Van Buren Magonigle and industrial designer Walter Dorwin Teague had both skillfully rendered capitals for print, while their Manhattan offices pursued projects in three dimensions. One of the more curious examples of this fluency in letterforms was a 1943 booklet issued by the Brooklyn-based Higgins Ink Co. The largest portion was a portfolio of thirty-two script alphabets and fictitious signatures by Charles Bluemlein, each accompanied by a handwriting experts interpretation of the admittedly invented specimens. The requirements of publicity and publishing helped drive the demand for handlettering. By 1955, one knowledgeable estimate placed over 300 professional lettering artists working in New York at both comprehensive (layout) and finished levels. It was in a landscape of album covers and bookjackets, magazine and newspaper advertising, trademarks and slogans, store signatures and letterheads, billboards and signs (created by sign artists, not usually graphic designers) that display phototype was emerging in sharp focus. This may have been the peak of market demand for lettering. [Google] [More] ⦿ | |
Graphic designer from New York. Creator of the slabbed shadowed outline caps face Quadrus (Letraset, 1990). [Google] [MyFonts] [More] ⦿ | |
Ph. Heinrich | New York-based foundry, which later became the Manhattan Type Foundry. [Google] [More] ⦿ |
New York City-based designer of the grungy Disabuser (2011). Home page at CLR Printing Plus. [Google] [More] ⦿ | |
French type designer (b. Paris, 1962) who designed the experimental fonts Carré, Octobre and Aleph in 1994. [The digital versions of these fonts are due to Franck Montfermé.] First prize at the Tokyo Type Directors Club in 1995, and a Judges' Special Prize at the same competition in 1999. Poster exhibition. Bio. Since 1992, he has been teaching typography at the Ecole Nationale Superieure des Arts Decoratifs. Alternate URL. Photograph. Winner in 2009 of the typographic design award of the International Society of Typographic Designers (ISTD). [Google] [More] ⦿ | |
Photo-Lettering Inc.
| New York based photocomposition, lettering and digital type business active from 1936-1997, cofounded by Harold Horman and Edward Rondthaler in 1936. Its designers included Bob Alonso, Vincent Pacella, Vic Caruso, Herbert Post, Holly Goldsmith, and Ed Benguiat. It sold type drawn by the likes of Herb Lubalin, Milton Glaser, Seymour Chwast and many others. It was one of the earliest and most successful type houses to utilize photo technology in the production of commercial typography and lettering. Ed Benguiat: The alphabet styles in this collection, many of which took over 200 hours to complete, were drawn with pen and ink to exacting standards by veteran lettering artists. I know....during my 35 years employed by Photo-Lettering I produced over 500 complete fonts. In all, 6500 fonts were produced. A partila time line as offered by Peter Bain (italics are quotes from Bain):
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Pierre Robillard's fonts | Several years ago, the "DPalatino" and "DTimes" fonts for Pali (Mac only) were available as part of Robillard's "Tibetan on the Macintosh" font package, at a cost of about US$70 from Snow Lion Publications (PO Box 6483, Ithaca, NY 14851-6483; Tel: 800-950-0313 or 607-273-8519). No web page known. [Google] [More] ⦿ |
Pink Broccoli
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New Yorker. Designer of the dingbat family Linotype Facts of Life (1999). [Google] [MyFonts] [More] ⦿ | |
Pixelspread
| Graphic designer currently working at Pentagram Design in New York. He graduated from Savannah College of Art and Design, and is originally from Western Massachusetts. At the Typesites page, Matt McInerney looks at sites that have great typographic design. He created Raleway (2009, a free hairline sans), New Alphabet (2008), an octagonal font based on Wim Crouwel's New Alphabet, using FontStruct. (For a commercial version of New Alphabet, check Architype New Alphabet (The Foundry). He also made Pentagrid (2009, on a 5x5 grid). Orbitron (2009) is a great free futuristic sans family published at The League of Movable Type: it is a geometric sans related to both Eurostile and Bank Gothic. Romina Vespasiano made a great specimen poster for Orbitron in 2012. Allerta (+Stencil) (2010) is an open source typeface designed for use in signage. Allerta was designed to be easily and quickly read from a distance. Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other. Google Directory link. [Google] [More] ⦿ |
Polygraph
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Poole Foundry
| Wesley Poole's foundry based in Kaneohe, HI, and established in 2006. Wesley Poole (b. California, 1952) was a sign painter and wine label designer in the Napa Valley (his companies were called Oasis Graphics and then Titus&Poole, and Poole Aert&Design) for almost 25 years before moving to Hawaii in 2002 due to multiple sclerosis. Pagoda International (2006, designed with his son Samuel Poole) is a comic book font based on the lettering of the Pagoda Hotel in Honolulu. They also designed Poole Standard (2006), a stylish headline face, followed in 2007 by Poole Chiselcut. Digitizations with the help of Rod Cavazos (PsyOps). The latest designs are Polynesiac (2007, Wesley and Samuel together, simulation of Easter Island lettering), Contempo Elan (Grand Script and Ornamental) (2006), a festive and assertive calligraphic script done by Wesley and Samuel Poole, and Alphaluxe (2008, a calligraphic script by both again). Klingspor link. [Google] [MyFonts] [More] ⦿ |
Postage Stamps by Type Designers
| Kat Ran Press (Cambridge, MA) has an extensive collection of postage stamps by type designers such as Peter Bil'ak, Neville Brody, Walter Brudi, Wim Crouwel, S.H. de Roos, Adrian Frutiger, Eric Gill, S.L. Hartz, Lance Hidy, Max Kisman, Jan Van Krimpen, Jean-Benoit Lévy, Gerrit Noordzij, Erik Spiekermann, Reynolds Stone, Georg Trump, Gerard Unger, Julian Waters, and Hermann Zapf. The Kat Ran Press was founded in 1994 by Michael and Katherine Russem. [Google] [More] ⦿ |
Free Bishnupriya Manipuri language fonts called Pouri and Uttam Singha (1999, truetype). By Pouri Computers, Jamaica, NY. Uttam Singha is the designer/owner. [Google] [More] ⦿ | |
Authors in 1879 of New Spencerian Compendium of Penmanship (1879), in which they continue the work of their famous father, Platt Rogers Spencer. [Google] [More] ⦿ | |
Some typography is taught in the Graphic Design program at New York's Pratt Institute. At one point, Jesse Ragan was a visiting instructor. [Google] [More] ⦿ | |
Precision Type
| Font vendor active from 1994 until 2004, when it closed. It was located at 47 Mall Drive, Commack, NY 11725, USA, and distributed the fonts of hundreds of designers. Michel Bujardet from Match Software whose fonts are partially sold by them complained that no sales were reported to him. His posting on a type list: "since TypeCon 98, the word was in the type design community that they never seemed to report any sales to the authors." Contact: Brenda Newman. This site reports the following in May 2006: Protocall Technologies Incorporated (OTCBB: PCLI) http://www.protocall.com/ today announced that Bruce Newman, the company founder and a member of the board of directors, has assumed the post of President and Chief Executive Officer, effective immediately. Mr. Newman succeeds former Chief Executive Officer Donald J. Hoffmann, who will continue in an advisory capacity with Protocall. [...] Protocall to Focus on Developing Opportunities in Entertainment DVD Market. [...] During Mr. Newman's earlier tenure at Protocall, he assembled the company's management, product development, operations and sales teams; managed equity financings; and secured first-time ever licensing agreements from Symantec, Intuit, Corel, Atari, Vivendi Universal and many other software companies to reproduce their products at point-of-sale locations. Additionally, Mr. Newman structured first-time electronic distribution deals with CompUSA and other major resellers. Prior to Protocall, Mr. Newman founded a software distribution company that became one of the world's largest niche distributors of high-end font software products to the book publishing and professional design industries. Mr. Newman is an inventor of record on two U.S. patents in the area of electronic product delivery and co-author of a book on computer typeface software for professional users. [Google] [More] ⦿ |
Projective Solutions | Henry Pinkham's company in New York that published fonts like Poor Richard in 1994. Poor Richard is based on the Ben Franklin typeface by Keystone Type Foundry, ca. 1919. Possible download site for Poor Richard. The company was still active around 1996, but probably disappeared soon after that. [Google] [More] ⦿ |
Prototype Experimental Foundry
| Commercial foundry, est. 1994 in Brooklyn by Charles Wilkin (b. Buffalo, NY). Designers selling their fonts through them include
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Prototype-NY
| Original fonts, clip art, signature fonts by New Yorker (and ex-Philadelphian) Jonathan Macagba, and Gregory La Vardera. Macgaba used to run Handcraftedfonts, then adcrobatics, and finally Prototype-NY. Most fonts are shareware. Look for Weatherfont, Dotleaders, Talkballoons, Starburst, Rulesfont, Smileyface, MostlyWaves, MorseCodeFont, MetrolinerCaps, Instantlogo, Hobofont, Handyfont, Logofont, Freudfont, and Buncholines. Original, and high-quality creations! Jonathan also makes commercial fonts available via Phil's Fonts, such as the interesting Murder Mystery Font, EdoFont (great Japanese decoratives), Frankenfont, Frankenfont Careers, FunToUseFonts, American Diner, Broadstreet, Exposition, Antique Row, Doodle, Libris (great!!!), Edofont (Japanese crests), Newgarden (more!!), and Poster. At Umbrella Type, he published Exposition and Exposition Rounded (2004, a type revival influenced by an Italian poster designed by Leopoldo Metlicovitz in 1906 for the opening of the Simplon Tunnel), Libris (2004, a great and very clean revival of a 12th century Spanish script), and Poster (2004, partially influenced by Egon Schiele's hand-lettered poster for the 1918 Vienna Secession. He also makes custom fonts, logos and signatures. Dafont link. [Google] [More] ⦿ |
Pucker(type)
| Chris Risdon (b. 1972, New York, NY) founded Pucker(type) in 2004. Rison holds an MFA in type design. Pucker(type) is located in Savannah, GA. He designed Cheek (techno family), SAV Display (2005, T-26), and Satellite (3-weight octagonal family). MyFonts sells Cheek PT, Satellite PT (octagonal) and SAV PT (2005, medieval). These fonts can also be found at T-26 and Monotype Imaging. Klingspor link. [Google] [MyFonts] [More] ⦿ |
FontStructor who made R160 Interior (2011), a dot matrix face that is based on an LED face used in the R160 MTA NYCT subway cars. He also made R160 Int Resize (2011), R160 Exterior (2011), R142 Interior (2011, a grid face based on actual R142 font. Used on New York City Transit Subway cars) and R142A (2011, a dot matrix face used on the R142/A MTA NYCT subway cars. It is the interior LED sign). [Google] [More] ⦿ | |
Rachel Ake (New York, NY) created the informal and bouncy display face Jambo (2012). [Google] [More] ⦿ | |
New York City-based creator of Cubed Display Font (2012). [Google] [More] ⦿ | |
Production designer in New York. He created two monoline sans typefaces called Prototype (2012). The first one has a geometric avant-garde look. The second set falls in the rounded squarish category. Behance link. [Google] [More] ⦿ | |
Great handletterer (b. 1929 on Long Island of Russian parents) who grew up in New York City. He graduated from Cooper Union in 1951. He worked at the same studio as Milton Glaser for the next three years. In 1969 he patented a squarish face for Tyco Laboratories in Waltham, MA. In 1972, he moved to Newport, RI and resumed his career in lettering, calligraphy and graphic design. His typeface Avia (VGC) was an expansion of a logofont he did for Abex Corporation, almost like a stencil. It is now at Font Bureau, where Jill Pichotta has added the Light and Bold in 2000. Sources say that his typeface Visa (1966, VGC) got the Second Prize in the 1966 VGC National Type Face Design Competition, and others (thanks, Alexander Tochilovsky) confirm what I thought---that Visa and Avia are the same thing. Finally, Sloop Script One (1994, Richard Lipton, Font Bureau) is based on Boguslav's designs. FontShop link. MyFonts link. [Google] [MyFonts] [More] ⦿ | |
New York-based handlettering artist. Samples of his work. He designed the stencil-like face Avia (Visual Graphics Corporation), which developed from a logotype he did for the Abex Corporation. Jill Pichotta dded the Light and Bold for Font Bureau in 2000. [Google] [More] ⦿ | |
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Resident
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Graphic design student at SUNY Purchase, NY. Creator of a dot matrix exerimental face in 2011. [Google] [More] ⦿ | |
Designer in New York. Creator of a beautiful squarish poster font called Barrio (2006). As SquarePeg at FontStruct, he made the Braille font family Braille Basic (2008), as well as blob, Ligne Claire (2009, tri-line font), Bonset (based loosely on a 1919 alphabet by Theo van Doesburg, whose pseudonym for Dada poetry was I.K. Bonset), ribbon_inline, Ribbon (octagonal stencil), Tape Writer (shadow font based on the Dymo label writers), InstaFrieze, International Morse Code Stacked, Prometheus, Prometheus Light and Prometheus Shadow (2008, all inspired by a Fonderie Peignot typeface simply called No. 1229, dated 1896, and on condensed Grecian typefaces by Darius Wells and William Hamilton Page), Brite Lite (white on black billboard light font), strata_blocks, strata_dots, strata_dots_inverted, Chocobot Solid (Dark, Milk, White; cloned from the Chocobot series by Lex Kominek), Strata Blocks Caps (2009), Strata Dots Caps (2009), and Strat Blocks 2.0 (fountain effect dot matrix font). [Google] [More] ⦿ | |
Rice Music Preparation | Don Rice's 65USD jazz or show type font called Golden Age. [Google] [More] ⦿ |
View Richard Lipton's typefaces. [Google] [MyFonts] [More] ⦿ | |
New York and Pasadena, CA-based designer of the display family Hierarchy, which won an award at the TDC2 2001 competition (Type Directors Club). Rie studied with Jens Gehlhaar at the Art Center College of Design. [Google] [More] ⦿ | |
Rina Miele (Sleepy Hollow, NY) created the free handprinted vector art alphabet Pug (2009). She also made the curly family Acrylic, and the free handprinted poster face Thin Things (2011). [Google] [More] ⦿ | |
Robert Arnow Design Studio
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Linotype link. [Google] [MyFonts] [More] ⦿ | |
Roger Black (New York) is a media guru extraordinaire, and professional "content brander". Black was chief art director of Newsweek, The New York Times, New York Magazine and Rolling Stone. He is a partner in The Font Bureau, Inc., which he started with David Berlow in 1989. In 1989, with Eduardo Danilo, he set up Danilo Black, a publication consulting firm. Recently, Roger Black redesigned the Houston Chronicle, Popular Mechanics and the Los Angeles Times. Frequent speaker at type meetings, including, for example, ATypI 2006 in Lisbon, and ATypI 2009 in Mexico City (as co-organizer and session chair). Home page. His current interests include web typography, typeface delivery for the web and small portable devices, newspaper design, and newspaper web design. [Google] [MyFonts] [More] ⦿ | |
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American designer in New York associated with ITC. Creator of ITC Bolt (1970), ITC Machine (1970, octagonal font), ITC Grizzly (1970), ITC Ronda (1970), ITC Gorilla (1970), ITC Grouch (1970), ITC Pioneer (1970), ITC Honda, ITC Tom's Roman (1970, with Tom Carnase). His fonts are available from ITC, Bitstream and Elsner&Flake (such as Pioneer No2 EF). ITC Machine equivalences: Machine, Motor (Corel-branded version of Bitstream's Machine), Automaton Caps (SSK), Mechanic (Softmaker), Pittsburgh (SWFTE), Metal Encasement (SWFTE), Monotone (WSI/IMSI). Linotype link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Born in the Ukraine in 1982, Ros Knopov is creative director and type designer, and runs Anti/Anti, a NYC design studio. Ros has lived in New York for 20 years and studied graphic design at the School of Visual Arts, before working for various NYC creative agencies and founding Anti/Anti in the summer of 2007. His first typeface is Opera (2005), a sans done with rick Granados at Stereo Type Haus---it is a lively sans with creative counter spaces. [Google] [MyFonts] [More] ⦿ | |
This New Yorker created an alphabet with flapjacks, and then digitized his Pancake Type (2010). I think that this had already been done many years earlier by Jason Lewis. [Google] [More] ⦿ | |
Graphic designer in Brooklyn, NY. Behance link. Creator of a very oroginal threaded face called Burning Man Bold (2010). [Google] [More] ⦿ | |
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New York-based graphic designer who created an ornamental typeface based on his chest hair: Wax (2005). With Seth Labenz, he created the origami family Grus (2009, T26). [Google] [More] ⦿ | |
This machine was developed in New Jersey from 1928-1936 for the banknote industry. It feartured master alphabets on glass plates, effectively stating the photo-lettering era. Peter Bain writes: Only a mere handful of the Rutherford machines had been sold and put into use. The Electrographic Corporation, then owner of one of New York City's leading typographers, decided to launch a start-up proposed and staffed by departing Rutherford employees, notably Edward Rondthaler and Harold Horman. The new midtown firm of Photo-Lettering Inc., starting in 1936, took advantage of the underutilized technology, and claimed an early commercialization of phototype. While not text photocomposition, Photo-Lettering was never handlettering as the name implied. Photography freed the typographic image from the historic constraints of metal, allowing flexibility in scale, dimension, and position, variations which had previously required letter-drawing skills. [Google] [More] ⦿ | |
rwpstudio
| Robert Petrick (RWP Studio, New York) used to sell 20 fonts for 750 bucks. His creations include Boink (Letraset, 1994), Tusk, Tutti Frutti, Blowfish, Facade Caps, Angelica and a few others. View his oeuvre here. Through FontHaus, get Blowfish, Gargoyle, Rhino, Streets, and Tusk. MyFonts sells Mirror (2011, +Mirror Two, 2012), Boink, Africana (2011, fat family), Pepino (2012, loosely based on the classic font Hobo), and Blowfish. FontShop link. [Google] [MyFonts] [More] ⦿ |
Ryan Wesley Brown is a New York City-based actor. He studied at Muhlenberg College in Allentown, PA. He graduated in 2009 with a BA in Theatre, Dance, and Russian Studies. He created Passé Simple (2011, iFontMaker), a condensed handprinted typeface. [Google] [More] ⦿ | |
Designer based in Montreal, New York and Bern. Devian Tart link. He created the roundish high-contrast art deco face Artificial Timepiece (2011). [Google] [More] ⦿ | |
Designer of Addressograph. Sam Potts and Sam Potts Inc are located in Brooklyn, NY. [Google] [More] ⦿ | |
New York-based creator of Sam's Sharpie Marker (2009, Fontcapture). Aka Stray. [Google] [More] ⦿ | |
Design student at the City College of New York. She created the smooth modular display face Chynna Cali (2012). [Google] [More] ⦿ | |
Samuel Winfield Tommy Thompson | New York-based letterer and type designer, b. 1906, Blue Point, NY. [Some sources have 1905]. He had a studio in New York City and was the author of several books on type and lettering. His oeuvre includes
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San Francisco Type Foundry
| Edward Dalton Pelouze was a typefounder, 1824-1864. Son of Edward Pelouze, Edward Dalton set up the San Francisco Type Foundry in 1853. His father had a few years before that moved type machinery to San Francisco fromn the East Coast. Edward Dalton returned to New York City in 1858 to work for James Conner. He was killed in a battle in the Civil war in 1864. The San Francisco Type Foundry was sold to Painter in 1866. [Google] [More] ⦿ |
Sansani Fonts
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Environmentally responsible designer in New York. Behance link. She created an animal alphabet for Wolf Awareness Week (2010). [Google] [More] ⦿ | |
Canadian type designer best known for her work at Hoefler&Frere-Jones type foundry on such typefaces as Gotham. Ex-student at the University of Reading (MA, 2003) who designed Motet (2003), a text family including a sans and an italic. In 2005, she joined Hoefler&Frere-Jones in their typeface development department. She is working on a superfamily, and has written an in-depth study of the evolution of the sans serif lowercase in the types of the nineteenth century. She has taught type design at Yale School of Art, the Book Arts Institute at Wells College, and New York's School of Visual Arts and the Cooper Type Certificate Program. Her typefaces:
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Jennifer Bass (his daughter) and Pat Kirkham published Saul Bass: A Life in Film&Design (2011). The book's blurb: This is the first book to be published on one of the greatest American designers of the 20th Century, who was as famous for his work in film as for his corporate identity and graphic work. With more than 1,400 illustrations, many of them never published before and written by the leading design historian Pat Kirkham, this is the definitive study that design and film enthusiasts have been eagerly anticipating. Saul Bass (1920-1996) created some of the most compelling images of American post-war visual culture. Having extended the remit of graphic design to include film titles, he went on to transform the genre. His best known works include a series of unforgettable posters and title sequences for films such as Alfred Hitchcock's Vertigo and Otto Preminger's The Man With The Golden Arm and Anatomy of a Murder. He also created some of the most famous logos and corporate identity campaigns of the century, including those for major companies such as AT&T, Quaker Oats, United Airlines and Minolta. His wife and collaborator, Elaine, joined the Bass office in the late 1950s. Together they created an impressive series of award-winning short films, including the Oscar-winning Why Man Creates, as well as an equally impressive series of film titles, ranging from Stanley Kubrick s Spartacus in the early 1960s to Martin Scorsese s Cape Fear and Casino in the 1990s. Designed by Jennifer Bass, Saul Bass's daughter and written by distinguished design historian Pat Kirkham who knew Saul Bass personally, this book is full of images from the Bass archive, providing an in depth account of one of the leading graphic artists of the 20th century. [Google] [MyFonts] [More] ⦿ | |
German company of Wolfgang Scheppe and Florian Böhm in München, with offices in Venice and New York. They are working on some type projects such as the minimalist face AmBig (2003), in which just seven glyphs suffice, by rotation, to cover all letters of the alphabet. The type project part is called Scarface. AmBig will be part of the FontShop library at the end of 2003. [Google] [More] ⦿ | |
Foundry created in 1993 by Tim Glaser and Josh Darden. Retail and custom fonts. Josh Darden left to work for Hoefler Type Foundry. The current contact person is Rob Irrgang. [Google] [MyFonts] [More] ⦿ | |
Howard Schatz (New York) has made an alphabet picture collection of a nude couple. Very artistic stuff. The files. [Google] [More] ⦿ | |
New York based design school where Steven Heller and Stefan Sagmeister teach. There does not seem to be a specific type design program at the moment. [Google] [More] ⦿ | |
Script and Seal
| Script and Seal consists of the duo of Gavin Potenza and Liz Meyer (a Type@Cooper graduate). In 2010, they created an animal alphabet. [Google] [More] ⦿ |
Script Software International | Company located at CAE Lake Shandalee Road, Livingston Manor, NY 12758-0131. In the early 1990s, they published bitmap and type 1 fonts for Hindi and Sanskrit for the Mac. [Google] [More] ⦿ |
Illustrator and art director in New York City. Behance link. In 2009, he created the squarish family Shock The Monkey, which includes shadow and 3d styles. [Google] [More] ⦿ | |
Graduate of the School of Visual Arts who lives in Brooklyn, NY. He created an experimental font in 2011. [Google] [More] ⦿ | |
Type and print conference with some great talks, all transcripted here. Most interesting is Font Free For ALL, a session with David Berlow, The Font Bureau, moderator, Matthew Carter, of Carter & Cone, BC Krishna, Microsoft's Robert Norton, Mike Parker of Design Intelligence, and Peter Vanblacklen. [Google] [More] ⦿ | |
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Brooklyn-based creator (b. 1993) of the handwriting font Dorkified Distortion (2009). Fontsy link. [Google] [More] ⦿ | |
Sheldon R. Shepard | Designer in New York City, of a sketched typeface (1958). [Google] [More] ⦿ |
Shen Design
| Juliet Shen (Shen Design) graduated from the University of Reading in 2006. Creator of Bullen (2006), named after Henry Lewis Bullen of ATF fame. It was inspired by typefaces found in the ATF catalogs. This quirky face was added to the Font Bureau catalog in 2011. Juliet was a speaker at ATypI 2007 in Brighton on Searching for Morris Fuller Benton. She currently is the principal of Shen Design, a graphic design studio she founded in 1989, and has taught design and typography at School of Visual Concepts, Cornish College of the Arts and Art Institute of Seattle. Current projects include type design for the University of Oxford Press children's division: in 2007, she made the Earlybird type family for Oxford University Press's educational division. In 2009, she made Lushootseed School and Lushootseed Sulad fonts for the Tulalip Tribes, Washington State. Speaker at TypeCon in 2007 and 2008 and at ATypI 2009 in Mexico City. Her Font Bureau bio mentions that she started out as a painter and became a graphic designer later. Juliet was born in New York where her father was a translator for the United Nations. MyFonts link. [Google] [MyFonts] [More] ⦿ |
Signal
| Signal Type Foundry & Drawing Office is a type foundry in New York City, est. 2012 by Max Phillips (b. 1957, New York City), a typographer, graphic designer, toy designer, creative director and novelist who developed FF Spinoza (2011, FontShop), his first type design, over a period of eleven years. FontShop: With the goal of readability in mind, Phillips named the typeface after 17th century rationalist and lens-grinder Baruch Spinoza, a man whose job it was to help people see clearly. The type family is meant as an elegant workhorse, a classic text family with just enough individual character to hold its own in display sizes. It was inspired by mid-century German book faces like Trump Mediaeval and Aldus, and by the types of Nicolas Kis. The forms are narrow and economical, with open counters. The line is firm and distinct. Strong, thick strokes and serifs help it grip the page. He also made the prismatic / hypnotic multilined typeface Vibro (2011), which received the Type Directors Club Certificate of Excellence in 2012. Behance link. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Signs of Gold
| Francis Lestingi (b. 1963, Long Island City, NY) started out in type design at Letterhead Fonts, where he made the calligraphic script faces Pierre (2006) and LHF Pierre Fancy (2007). In 1994, while teaching physics at the State University College at Buffalo, he started Sign of Gold, Inc. with his son Stephen. He enjoyed it so much, he took early retirement and went full time carving. As a "recovering college professor", Francis has garnered nine First Place Awards from the USSC Sign Design Competition and the International Sign Association since 1999, and has been profiled in Signs of the Times, Sign Business, and SignCraft magazines. His first commercial face at Signs of Gold is Fran Hand (2009), an architct's font. In 2010, he added the signage face Stefano. He lives in Williamsville, NY. [Google] [MyFonts] [More] ⦿ |
Silo Design
| Brooklyn, NY-based multidisciplinary design company of New Yorker Susanne Cerha and her Norwegian husband Terje Vist. In the type world best known for their spectaculrly beautiful Flash-based web page Type Is Art, where one can interactively make art from parts of typefaces. [Google] [More] ⦿ |
Exhibition of accessible typography in January-February 2002 at Lighthouse International in New York, and in August 2002 at Parsons School of Design (66 Fifth Avenue, New York). [Google] [More] ⦿ | |
Small Cap Graphics
| Holly Goldsmith has a BA in Art from Brooklyn College. She worked first at (Mergenthaler) Linotype, then at Photo Lettering and World Typeface Center before moving to Los Angeles. In LA, she worked at Xerox's type design department for a few years before starting her own company, Small Cap Graphics, where she is engaged in both graphic design and custom type design, with clients such as Agfa Monotype, ITC, DsgnHaus, Disney Corporation and Margo Chase Design. She designed Novella (1996, DsgnHaus), ITC Bodoni Six (1994, with Jim Parkinson, Sumner Stone, Janice Fishman), ITC Bodoni Twelve (1994, with Sumner Stone, Jim Parkinson and Janice Fishman), ITC Bodoni Seventy-Two (1994, with Sumner Stone, Jim Parkinson, Janice Fishman), Bossa Nova MvB (at MvB Design), MVB Peccadillo (2002, with Alan Dague-Greene), Havergal (1994, Agfa), and ITC Vintage (1996, with Ilene Strizver). At Bitstream, she designed Melanie, Liorah, Hank, Missy, Ryan, Raven, Raven Evermore. She now runs Small Cap Graphics in Los Angeles. Bios: at Bitstream, at Agfa/Monotype. View Holly Goldsmith's typefaces. [Google] [MyFonts] [More] ⦿ |
Foundry established in March 2003 by Jayne Moschella and located in New York City. They acquired the complete dincTYPE library (so they say in the press release, even though Dinc Type still shows many free fonts). The fonts sold by SnapFonts are made by a variety of designers, not named on the web page. I assume that most of the initial fonts were made by Diane DiPiazza. A list of (mostly fifties style) fonts: Boltimore, Factor Max, Pop's Type, Retro Clips, Soho, ToyType, Cowboy Angels, Snappy, Lollipop, Suffragette, Brighton, Chelsea, Liverpool, Carnaby Street, Kings Road, Piccadilly, Mersey, Portobello, Regent Street, Manchester, Belair, Jaguar, Cruiser, Stingray, Pink Caddy, Mini, Woody, Riviera, Mustang, Metropolitan, Happy Motoring Clips, Abandonado, CheerDown, DevilInHerHeart, FeverInFeverOut, GenericGirl, Georgia, LaVidaLoca, LessThanZero, RideSallyRide, Seven, ShyFatBoy, SnapOMatic, Woof, YoursSincerely, Big Easy, Bourbon Street, Cajun, Crawfish, Creole, French Quarter, Gumbo, Remy, Zydeco, Clifton Chenier, Benjamin, Color of Money, Euro, Fifty Xu, Galileo, Hell Notes, JFK Font, Sri Lanka, Two Pounds, Yen, Incense&Peppermints, Jeepster, Maria, Prebby Enough, Rent, Survive, Then Year Lie, Thirteen, Time ot Season, Time's Changin', Book of Love, Betrayal, Honor, Judas Mon Coeur, Kiss, Lovers&Liars, PPSI, Tattooed Fingers, Three Cigarettes, True Love Ways. Comments on Typographica: "Are these meant to be original fonts? On this page alone I can see Benguiat Frisky renamed "Metropolitan", House Industries' "Strike!" cunningly disguised as "Woody", and "ITC Anna" masquerading as "Cruiser". Amongst others. (Say, isn't that Brush Script?) Following a couple of links, I see that I can purchase all of these fonts, despite the egregious flouting of copyright laws. [...] They seem to have a good grasp of the import, transformation and weight-change functions in Fontographer (and little else). [...] This Snapfonts thing contains a boatload of crude knockoffs of commercial fonts-Murray Hill, Coronet, TF Avian, and others." So far for Typographica. I only disagree with the Murray Hill comment by John Butler: Elsner&Flake, ICG, Bitstream and others have versions of Murray Hill--can John Butler give us a list of the knockoffs among these, and devote equal time to all knockoffs? [Google] [More] ⦿ | |
Barcode professionals in New York selling, e.g., BarCodePro 3.5. [Google] [More] ⦿ | |
New York-based designer. He made a TrueType version of the old Apple bitmap font Venice in 2006 and placed it at Dafont as VeniceClassic. Another Apple bitmap font, Athens, was revived in 2007 as Athens Classic. Alternate URL.nd he also remade Fixedsys 62 (2007), an old Windows systems font, complete with Greek and Cyrillic characters. [Google] [More] ⦿ | |
New York-based youngster, b. 1994, who created Nowai (2006), a paper-cut simulation font. He also made SonicChao Handwriting -CAPS (2006). [Google] [More] ⦿ | |
Student at Parsons in New York. Creator of Dynamic (2009, experimental). [Google] [More] ⦿ | |
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The sons of Platt Rogers Spencer are the authors of Theory of Spencerian Penmanship (1874), New Standard Practical Penmanship (1881) and New Spencerian Compendium (1879). See also here. [Google] [More] ⦿ | |
30USD font family by PF Systems (Brooklyn, NY). "SquiggleFont is a font package for Mac's or PC's, compatible with all desktop publishing software. With computer generated layouts typeset copy becomes a distraction at certain phases of presentation. Scroll over your copy and let SquiggleFont turn text into hand comped squiggle type." Note: the font just adds squiggly things to text. [Google] [More] ⦿ | |
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Type designer (b. New Jersey, 1967). He is involved in ornament design at the foundry of Charles Nix, New Fonts in New York, where he helped create Nani, NixRift and Tuk Tuk. [Google] [MyFonts] [More] ⦿ | |
Designer (Brooklyn, NY) who is getting a second degree in Ecological Engineering. He made the comic book face Rhsxyn Kqrtwn in 2010 at You Work For Them. He also made the paper fold face Packing Tape (2011), Melting Beads (2011), and the feathered face Featherhead (2011). Home page. Behance link. [Google] [More] ⦿ | |
Stereo Type Haus
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Steve Haslip is a graphic designer originally from a small village in the South of England, UK. He is currently in his final year on the MFA Design course at the School of Visual Arts New York. Since completing his undergraduate studies at Central Saint Martins he has undertaken internships and been working as a freelance designer. His type designs include Ave An Ear (2009, a black-bowl face based on the proportions of Avenir), and Flickird (2009, semi-sans). Behance link. [Google] [More] ⦿ | |
Graphic designer in Brooklyn, NY. He made the custom logortype Chimaera (2010) for a mediaeval-style cafe. Behance link. [Google] [More] ⦿ | |
Prolific author, art director of the New York Times Book Review and founder and coChair of the School of Visual Arts, New York MFA/Design Program. He is the former editor of the AIGA Journal of Graphic Design and author or editor of over 80 books on popular culture, graphic design history, and political art. He has written over 80 books on popular culture, graphic design history, and political art. MyFonts page on him. Editor of The Education of a Typographer (2004, Allsworth Press). Some of his books closest to type design and typography:
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Graphic designer in Brooklyn, NY. While working at Mucca Design and under the creative direction of Matteo Bologna, he designed a face for the identity of an Atlantic City restaurant called Teplitzky's (2009). He also made the art deco numerals called Lined Numerals (2009). [Google] [More] ⦿ | |
Non-profit free font project, which started in 2001. The (free) fonts were released in May 2010. From the web page: The mission of the Scientific and Technical Information Exchange (STIX) font creation project is the preparation of a comprehensive set of fonts that serve the scientific and engineering community in the process from manuscript creation through final publication, both in electronic and print formats. Toward this purpose, the STIX fonts will be made available, under royalty-free license, to anyone, including publishers, software developers, scientists, students, and the general public. The project is supported by six publishers, the American Chemical Society (ACS), the American Institute of Physics (AIP), the American Mathematical Society (AMS), the American Physical Society (APS), Elsevier Science, and the Institute of Electrical and Electronic Engineers (IEEE). The fonts are unicode-compatible. They are designed to be useful for mathematical documents in XML pages on all browsers. They say that they have awarded the font development contract to a respected font development company. Press release. Chairman: T.C. Ingoldsby, American Institute of Physics, Melville, NY. AMS page on STIX. Truetype versions of the family (2007) by Oleguer Huguet Ibars: STIXGeneral-Bold, STIXGeneral-BoldItalic, STIXGeneral-Italic, STIXGeneral, STIXIntegralsDisplay-Bold, STIXIntegralsDisplay, STIXIntegralsSmall-Bold, STIXIntegralsSmall, STIXIntegralsUp-Bold, STIXIntegralsUp, STIXIntegralsUpDisplay-Bold, STIXIntegralsUpDisplay, STIXIntegralsUpSmall-Bold, STIXIntegralsUpSmall, STIXNonUnicode-Bold, STIXNonUnicode-BoldItalic, STIXNonUnicode-Italic, STIXNonUnicode, STIXSize1Symbols-Bold, STIXSize1Symbols, STIXSize2Symbols-Bold, STIXSize2Symbols, STIXSize3Symbols-Bold, STIXSize3Symbols, STIXSize4Symbols-Bold, STIXSize4Symbols, STIXSize5Symbols, STIXVariants-Bold, STIXVariants. OpenType versions at the official site: STIXGeneral-Regular, STIXGeneral-Bold, STIXGeneral-BoldItalic, STIXGeneral-Italic, STIXIntegralsD-Bold, STIXIntegralsD-Regular, STIXIntegralsSm-Bold, STIXIntegralsSm-Regular, STIXIntegralsUp-Bold, STIXIntegralsUpD-Bold, STIXIntegralsUpD-Regular, STIXIntegralsUp-Regular, STIXIntegralsUpSm-Bold, STIXIntegralsUpSm-Regular, STIXNonUnicode-Regular, STIXNonUnicode-Bold, STIXNonUnicode-BoldItalic, STIXNonUnicode-Italic, STIXSizeFiveSym-Regular, STIXSizeFourSym-Bold, STIXSizeFourSym-Regular, STIXSizeOneSym-Bold, STIXSizeOneSym-Regular, STIXSizeThreeSym-Bold, STIXSizeThreeSym-Regular, STIXSizeTwoSym-Bold, STIXSizeTwoSym-Regular, STIXVariants-Regular, STIXVariants-Bold. Not all unicode ranges are covered, but math symbols, Greek and Cyrillic are. There are also monospace, blackletter, calligraphic scipt, informal script, and sans styles. But small caps are still missing. The general look is that of a Times font. The fact that any publisher can use these fonts free of charge (after signing a license though) is positive. The main negative is that the style chosen is slightly boring, but that is not unexpected for scientific publications. [Google] [More] ⦿ | |
Stokoe Tempo Font
| StokoeTempo is a variant of TempoFont, a public-domain font by David Rakowski, for the Stokoe notation used in transcribing signed languages, particularly American Sign Language. This font was developed by Angus B. Grieve-Smith, and is free for individuals and educational institutions. Angus lives in Woodside, NY, and teaches languages and literature at Saint John's University in Jamaica, NY, since 2008. He obtained a PhD in linguistics from the University of New Mexico in 2009. [Google] [More] ⦿ |
New York-based graphic designer. Creator of the graffiti families Form+Kaos (2004) and Fk (2006). [Google] [More] ⦿ | |
Studies in Pen Art
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Additional link. Another PDF file. Examples of Dennis's hand: a bird (1896), his signature (1896), Austin N. Palmer's name handprinted (1896). [Google] [More] ⦿ |
Design studio in New York City. They propose Stencilano, a typeface in which Zapfino is made into a stencil font. [Google] [More] ⦿ | |
Born in 1954 in Ithaca, NY, Susan designed some of the original bitmap fonts for the original Mac in 1983-1984, including Chicago, New York, Monaco (download), FiveDots, Geneva, Cairo, LosAngeles, Athens and San Francisco, while being a Creative Director at Apple (1982-1985). For Danger Research, she created the bitmap fonts Hamilton 5, Hamilton 6, Waverley 5, Waverley 6, Bryant 7 (2000). Interview with Cybergrrl. Atomic Media sells these pixel fonts of hers: Kare Five Dots (family), Ramona (script pixel font), Harry, Everett, Kare Six Dots (family), Biology (dings), Kare Dingbats, MiniFood, Ned, Sampler. She explains the choice of names for the original Mac fonts: The first Macintosh font was designed to be a bold system font with no jagged diagonals, and was originally called "Elefont". There were going to be lots of fonts, so we were looking for a set of attractive, related names. Andy Hertzfeld and I had met in high school in suburban Philadelphia, so we started naming the other fonts after stops on the Paoli Local commuter train: Overbrook, Merion, Ardmore, and Rosemont. (Ransom was the only one that broke that convention; it was a font of mismatched letters intended to evoke messages from kidnappers made from cut-out letters). One day Steve Jobs stopped by the software group, as he often did at the end of the day. He frowned as he looked at the font names on a menu. "What are those names?", he asked, and we explained about the Paoli Local. "Well", he said, "cities are OK, but not little cities that nobody's ever heard of. They ought to be WORLD CLASS cities!" So that is how Chicago (Elefont), New York, Geneva, London, San Francisco (Ransom), Toronto, and Venice (Bill Atkinson's script font) got their names. [Google] [MyFonts] [More] ⦿ | |
Swiss Miss
| Design blog by Tina Roth Eisenberg (Switzerland&New York City). Has subpages on type design. [Google] [More] ⦿ |
swissmiss
| Type blog by "Swiss Miss" Tina Roth Eisenberg, who now lives in NYC. [Google] [More] ⦿ |
Tabitha Ueblacker (Fashion Institute of Technology, New York) designed the experimental face Gnarled (2011) and the edieval outline face Secret (2011). [Google] [More] ⦿ | |
Tabo (Gustavo) Garcia (alternate URL) is based in New York. He designed these fonts:
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New York City-based graphic designer. He created the aristocratic sans face Colonia in 2009. [Google] [More] ⦿ | |
The annual TDC2 competition. The jury was headed by Gary Munch, and consisted of Jill Bell, John Downer, Dennis Pasternak and Richard Weltz. The winners are
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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] ⦿ | |
Tenth Letter of The Alphabet
| Type, lettering and typography blog by Alexander Jay (New York City). For example, in mid-October 2011, the pages feature images from Samuel Welo's book. [Google] [More] ⦿ |
Terminal Design
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Designer and illustrator who makes his own types (typically comic book style faces) for his work. He studied TV and film at Howard University in Washington, DC, and communications design at the Pratt Institute in New York. He lives in Washington, DC. Creations include Bizzle Chizzle (2006). [Google] [More] ⦿ | |
Photographer and designer in Brooklyn, NY. She created several typefaces, including the art deco face Trueheart (2011). [Google] [More] ⦿ | |
Thaddeus Typographic Center
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New York-based programmer who created the free sans family Tuffy (2005). Dafont link. See also here. Open Font Library link. In 2010, Barta Karoly updated the Tuffy package and placed it here. Kernest link. Klingspor link. Dafont link. Abstract Fonts link. [Google] [More] ⦿ | |
Nicholas Fabian on the American point system. [Google] [More] ⦿ | |
The Cooper Union School of Art is a famous design (and type design) school in New York City. Starting in the fall of 2010, the Continuing Education Department of The Cooper Union, in conjunction with the Type Directors Club, offers a Certificate Program in Typeface Design, called Type @ Cooper. The faculty includes Jesse Ragan, Ken Barber, Stephen O. Saxe, Roger Black, Mark Jamra and Christian Schwartz. Cooper Union Typography is a jump site for many typographic treasures. [Google] [More] ⦿ | |
Article by New York-based calligrapher and type specialist Paul Shaw. It talks about the main events in the timeline of digital type (but forgets to mention Computer Modern, does not stress Metafont enough, and omits any mention of the work of Bezier and de Casteljau on Bezier curves), and ends by formulating a strategy for increasing the price of type. [Google] [More] ⦿ | |
On-line version of the 1918 book by William Strunk, Jr. (1869-1946), entitled "The Elements of Style" (W.P. Humphrey, Ithaca, NY, 1918), reprinted by Batleby.com, New York, 1999. [Google] [More] ⦿ | |
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. For a long period, the owners were Wilber and Claude Persons. [Google] [More] ⦿ | |
Darry Rehr on the history of typewriters. I cite: ... "It was called the "Sholes&Glidden Type Writer," and it was produced by the gunmakers E. Remington&Sons in Ilion, NY from 1874-1878." ... "The idea began at Kleinsteuber's Machine Shop in Milwaukee, Wisconsin in the year 1868. A local publisher-politician-philosopher named Christopher Latham Sholes spent hours at Kleinstuber's with fellow tinkerers." ... "Sholes proceeded to construct a machine to do the whole alphabet. The prototype was eventually sent to Washington as the required Patent Model. The original still exists, locked up in a vault at the Smithsonian." ... "Sholes lacked the patience required to penetrate the marketplace, and sold all of his rights to Densmore, whose belief in the machine kept the enterprise afloat. Remington agreed to produce the device beginning in 1873. The "Glidden" part of the name came from Carlos Glidden, one of the Kleinstuber Machine Shop gang, who had been something of a help to Sholes." [Google] [More] ⦿ | |
At The Cooper Union School of Art, New York. [Google] [More] ⦿ | |
The Keystone Design Union (or: KDU) is a design studio in Brooklyn, NY. Behance link. Creative diurectors David Gensler, Jared Liner, Josh Vanover, and Zach Shuta created some fine retro posters in 2010. [Google] [More] ⦿ | |
The Living End
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Dafont link. Fontspace link. Another Fontspace link. Klingspor link.i In 2011, she went commercial at MyFonts as Lauren Ashpole Foundry, located in Brooklyn, NY. Her fonts there include Starry Night (1998), Sewing Patterns (2010, silhouettes of women), Origami Bats (2010), Horseshoes And Lemonade (1998), Forgotten Playbill (2011), Bikes (2011, dingbats), and Candy Randy (1998). [Google] [MyFonts] [More] ⦿ |
This manual by William Dana Orcutt and Edward E. Bartlett, dated 1923, and published by the Mergenthaler Company in Brookly, NY, is available for free download. The quality of the scanning is relatively poor though. [Google] [More] ⦿ | |
The Offices of Kat Ran Press
| Beautiful pages on typography by Michael and Katherine Russem, Syracuse, NY. They also print, and sell type ephemera. Of particular interest is a collection of images of postage stamps created by type designers. [Google] [More] ⦿ |
The Type Studio
| Author of Type Rules!: The Designer's Guide to Professional Typography (2010, Ilene Strivzer Inc). Ilene Strivzer (b. 1953), the founder of The Type Studio in Westport, CT, writes: The Type Studio is a unique and innovative studio specializing in all aspects of typography and visual communications. Our services range from the technical to the aesthetic, and include font development, type direction and consulting, type-oriented graphic design, copy writing, workshops and seminars. She wrote this article as an advertisement for OpenType (read: make people pay once again for fonts they already have). She was production director of Upper and Lower Case Magazine and director of type production at ITC in New York City, where she developed more than 300 text and display faces in cooperation with Sumner Stone, Erik Spiekermann, Jill Bell, Jim Parkinson, Phill Grimshaw and others. She organizes Gourmet Typography workshops. [Google] [More] ⦿ |
The Village Press and Letter Foundery | Frederic Goudy's foundry based in New York [2 East 29th Street] published a delightful little specimen book, A Novel Type Foundry (1914), which is about type in general, and presents Village Press borders, florets and ornaments, as well as type designs by Frederic Goudy such as Kennerley and Forum Title. [Google] [More] ⦿ |
American printer (b. Stamford, CT, 1828, d. 1914). In 1848, he entered the shop of Francis Hart in New York City, where he became owner after Hart's death in 1877. It continued as Theo. L. De Vinne&Company until 1908, when it was incorporated as the De Vinne Press. De Vinne was the best-known American printer of his day. His books include The Invention of Printing (1876), The roman and italic printing types in the printing house of Theodore L. De Vinne&co (1891, De Vinne Press, New York), The practice of typography: a treatise on the processes of type-making, the point system, the names, sizes, styles and prices of plain printing types (4 vol., 1900-1904, Century Co., New York), Types of the De Vinne press; specimens for the use of compositors, proofreaders and publishers (1907), and Notable Printers of Italy during the Fifteenth Century (1910). Biography by Nicholas Fabian. Bio at Britannica. Bio at Infoplease. His types were revved in 2010 by Jeff Levine as Publication JNL. [Google] [MyFonts] [More] ⦿ | |
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Scientific lettering expert, 1871-1944. The Essentials of Lettering (1912, McGraw-Hill, New York), coauthered with Robert Meiklejohn, has many historical examples and takes the reader on a grand tour of lettering. The tease. [Google] [More] ⦿ | |
In 2012, he designed the large award-quality copperplate family called Garçon Grotesque. [Google] [MyFonts] [More] ⦿ | |
Hymn writer and typefounder (b. New York City, 1812, d. Philadelphia, 1889). At age 14, MacKellar entered the printing company of Harper Brothers. In 1833, he moved to Philadelphia, Pennsylvania, and joined the type foundry of Johnson&Smiths as a proofreader. He subsequently became a foreman, then a partner, in the firm, which from 1860 was known as MacKellar, Smiths and Jordan. [Google] [More] ⦿ | |
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Creator of typefaces at VGC, such as Lincoln Gothic (1965), which won the National Typeface Competition. His clients over the years include Acoustic Sciences Corporation, AT&T, Continental Packaging Co., The Ford Foundation, GE, IBM, PepsiCo, RCA, Showtime, Abrams, Colliers, Harpers Magazine, Macmillan, McGraw-Hill, Random House, Harcourt/ Brace, New York Times, Simon and Schuster, and Viking Press. In 2006, Bitstream published New Lincoln Gothic, a 24-weight family starting with a hairline weight. This digital version was made in Fontographer from the old typositor strips by Lincoln himself. In 2011, Canada Type and Thomas Lincoln cooperated in the production of the roman sans family Roma. This typeface was published in 2012 at P22. Lincoln himself tells the story: My intention in designing Roma was to create a definitive, contemporary sans serif expression of the classic Roman majuscule as depicted in the Trajan Inscription at the base of the Trajan Column in Rome. The Capitalis Monumentalis letter forms of the Trajan Inscription, which date to 113 Ad, have been described by the noted type scholar, calligrapher and his- torian, Father Edward Catich, as "the best roman letter designed in the western world, and the one which most nearly approaches the alphabetic ideal." And in the 1902 publication, "The Practice of Typography", Edmund F. Strange stated: "No single designer, or the aggregate influence of all the generations since has been able to alter the form, add to the legibility, or improve the proportion of any single letter there in." Mr. Strange's pronouncement was true in 1902 and it is true today. Through the years various type designers have been inspired by the Trajan Roman to offer their own interpretations. Most notably, perhaps, Frederick Goudy's Trajan Title (1930), Warren Chappell's Linotype Trajanus (1940) and more recently, Carol Twombly's literal rendition of Adobe Trajan (1989) and John Stevens' spirited Stevens Titling (2011). There have been many other nice interpretations by other contemporary designers, yet it may still be said that none has improved the form, the legibility or the proportion of any single letter---though it can be said that the letters J, K, U, W, Y and Z, nonexistent in the ancient alphabet, have been added. Less common has been the interpretation of Trajan in sans serif form. Hermann Zapf's Optima (1953), Sumner Stone's ITC Stone (1987) and Ronald Arnholm's Legacy Sans (2000), among other nice sans serifs, reflect characteristics of Trajan but seem influenced by other factors as well, including fonts such as Gill Sans and Syntax. And, while I don't presume to speak for their designers, none of these typefaces seem designed specifically with Trajan in mind. My own Lincoln Gothic (1965), and its subsequent expansion as New Lincoln Gothic (2006), was a deliberate attempt to interpret the particular characteris- tics of the Trajan majuscule in a contemporary sans serif face. The most significant change in the later version was the addition of a lower case; a challenge that had simmered on my personal bucket list for several years. Roma, though, differs from Lincoln Gothic in one significant way: while the terminals of Lincoln Gothic are flat, in Roma the vertices of letters such as A,M,N,V and Z are pointed. I believe this change is the critical difference that moves Roma closer to my objective of honoring the original Trajan. As with Lin- coln Gothic, Roma's strokes have an almost imperceptible entasis that termin- ate in a subtle flare; a vestige of the serif. The importance of this feature is that it imbues the font with a humanist quality. The serif, as Father Catich points out in his book, "The Origin of The Serif", almost certainly derives from a combina- tion of the flat brush and the human hand; it is what ties the letterform directly to human anatomy and craftsmanship, integrating it in a fundamental way with the nature of man---as distinct from the machine. [Google] [MyFonts] [More] ⦿ | |
At FontFont, he designed the children's handwriting fonts Dolores and 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. Since 1999, he designs for the Hoefler Type Foundry:
In 2004, The Hoefler Type Foundry became Hoefler&Frere-Jones, New York's main contempiorary foundry. 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. In 2006, Frere-Jones received the prestigious Gerrit Noordzij Prize. He created Estupido Espezial for fun, but it actually made it into an issue of Rollingstone. Catalog of his faces at Font Bureau. View typefaces designed by Tobias frere-Jones. [Google] [MyFonts] [More] ⦿ | |
New York-based designer at ITC of the dingbats Primitives (1993), inspired by the work of 14th Century painter Pieter Breughel and 19th Century British illustrator Dick Doyle. The ITC site calls him Tom Lulevitch. [Google] [More] ⦿ | |
Tomoko Takeue (b. 1975, Osaka) is the designer at Tomotomo.net of Exercise (2000), where the letters are made up of exercising figures. She studied at the Kyoto College of Art, did character design for Mach5 Design in New York, and now lives in Tokyo. [Google] [More] ⦿ | |
New York-based type designer at ITC, 1917-1988. Tony Stan did a version of Jean Jannon's Garamond (ITC Garamond, 1977). Other faces: ITC American Typewriter (1974, with Joel Kaden), ITC Garamond (1977), ITC Cheltenham (1978), ITC Century (1980), ITC Berkeley Old Style (1983), Pasquale, Ap-Ap. About ITC Garamond, Andreas Seidel writes: That one is a modern recreation that in my view breathes much of the 1970s feel and is generally considered the least historical "Garamond". The high x-height does not improve readability, as you will have to adjust the line-spacing accordingly. The Garamond wiki is equally negative about ITC Garamond. Happy (2005, Canada Type, Patrick Griffin) is the digital version of one the most whimsical takes on typewriters ever made, an early 1970s Tony Stan film type called Ap-Ap. Some of the original characters were replaced with more fitting ones, but the original ones are still accessible as alternates within the font. We also made italics and bolds to make you Happy-er (quote by Canada Type). The 1975 revival of Cheltenham by Goodhue (1896) and later by Morris Fuller Benton, resulted in a Cheltenham with increased x-height. Not everyone was pleased with that. Linotype link. FontShop link. Klingspor link. View Tony Stan's typefaces. [Google] [MyFonts] [More] ⦿ | |
Williamsurg, NY-based designer of the paper fold family Grus (2010). Behance link. [Google] [More] ⦿ | |
Brooklyn, NY-based type and graphic designer. He created the spurred typeface Haymaker (2012, free at Lost Type Co-op) and the bold display face Laika (2012). | |
German designer from Düsseldorf, who moved to New York City in 2011 to work as senior designer at Chermayeff & Geismar. Creator of the sans typeface Kwartier (2012). [Google] [More] ⦿ | |
At Google Web Fonts, he republished Knewave (2011), a brush signage face. Alternate URL, called The League of Movable Type. Typedia link. Kernest link. League of Movable Type link. Klingspor link. Dafont link. [Google] [More] ⦿ | |
Meeting on September 25 1999 at the Tishman Auditorium, The New School, 66 West 12th Street, NYC, organized by the Type Directors Club. Speakers: Roger Black, Robin Williams, Fred Woodward, Allan Haley, Stephen Farrell, Frank Martinez, John Hudson, Brock Bohonas, Petra Weitz. 225USD. [Google] [More] ⦿ | |
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The students at Pratt Institute in New York formed a chapter of the TDC. Behance link. The typeface design projects in Jesse Ragan's clas include Laser New Roman (2010, by Ian Rousey) and Slothrop (2010, by Chris Nosenzo). [Google] [More] ⦿ | |
David J. Perry (Rye High School, Rye, New York) provides links to the main fonts for Latin and Greek. [Google] [More] ⦿ | |
Type Innovations
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Typefaces from 2011: New Age Gothic (a kind of 21st century copperplate), Scion (wide techno logo family), Dexter (2011, an artsy grotesque), Metalica (2011, a pointy cult type family). Typefaces from 2012: Ekeras V2 (inline face), Mecanica. At MyFonts he writes: Much of Alex's career was spent at the premier type foundry, Linotype-Hell, where he was the principal type designer and worked on many font projects aimed at modernizing the Linotype Library. Alex managed the development of The Adobe PostScript Font Library and created multiple master fonts for Apple Computer's QuickDraw technology. In 1980, he joined a small group of entrepreneurs and pioneered the development of the world's first digital font library at Bitstream, then located in Cambridge, Massachusetts. Afterwards, Alex took a position at Bozell-Worldwide, a large international advertising company, where he was type director and managed the front desk at the CPS Group. The company is well known for their successful "Got Milk" ad campaign. At Bozell, Alex honed his skills in graphic design, desktop publishing, prepress print production and the web. Showcase of Alex Kaczun's typefaces. [Google] [MyFonts] [More] ⦿ |
Typeco.com
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The annual SoTA meeting held on July 13-15 2001, at the Four Points Sheraton in Rochester, NY. Main speakers include Ed Benguiat, Matthew Carter, Joshua Darden, Chank Diesel, John Downer, Rodney Shelden Fehsenfeld, Tobias Frere-Jones, Frank Romano, Brian Sooy, Terri Stone, and El Mack de los Toros. Third event organised by the Society of Typographic Aficionados, to include discussion groups, panels, presentations, exhibition and social events. A bit too much emphasis in "this" TypeCon on the business and legal aspects of type, and not enough on the art. Report by Stephen Coles. Picture gallery by Tony de Marco. [Google] [More] ⦿ | |
TypeCon 2005 was held at the Parsons School of Design in New York City from 20-24 July. Speakers included Peter Bain, Ed Benguiat, Peter Bruhn, Louise Fili, Stefan Hattenbach, Alessio Leonardi, Yves Peters, and Paula Scher. Mark Simonson's report. Yves Peters' report. [Google] [More] ⦿ | |
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Typefaces available from US foundries | List of all (metal) typefaces available for sale from these six US typefounders:
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Ultrasparky
| 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. Currently, he is a senior type designer at Monotype Imaging, based in the UK. He is an expert on Indic scripts, and will speak about that at ATypI 2011 in Reykjavik. His first typeface 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 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 face Copse font was published at Kernest (free downloads). Kernest link. Google Web Font Directory carries his free face Astloch, a monoline blackletter face. [Google] [More] ⦿ |
Unifonts (or: Unitype)
| Vendor of 1100 fonts, PC and Mac. Type 1 and truetype. The fonts have names that end with UT. This is yet another place that sells renamed or slightly modified fonts from the major foundries, although this one is a bit more careful in its delivery and details. No truly original stuff here. For example, there is no designer info, and no explanations of how or why the fonts were created, according to which models, and so on--stuff one typically finds in truly innovative foundries. Furthermore, the 150 USD price tag for a family of about 8 weights is quite steep. And finally, in a trademark of such hypocritical places, "download" means "click here to order". Owned by Victor de Castro from Monroe, NY. A sampling of their font families: Adriana, Aspecq, ArjorieMix, Alvarus, Audrey, ArjorieTall, Andrew, Arturis, Alessi, Andrew Sans, Arjorie, Ayres, Baltaz, Bonnick, Benton, Bonnick Condensed, Becker, Bueno, Caslon, Conde, Cyrano Modern, Caligra, Conde Serif, Ciantar, Camilla, Ciantar, Distin, Dodico Tall, Dodico, Dexter, Distin, Dodico Tall, Duhamel (+Condensed), Dyna (+Tall), Delgado, Escriba, Ednna, Every Condensed, Ebony, Every, Every Old Style, Fidalgo, Fernand (+Tall, Condensed, Sans Condensed), Felix, Florina, Fionelly, Garamond, Gloria Tall, Gloria, Gloria Condensed, Garrido, Gusman, Gibran, Gonzal, Grafia (+_Script), Heloisa, Heloisa Sans, Hudson (+Brush, Rough, Serif), Ismael, Ivano, Ivano Condensed, Jupiter, Juanito, Jonize, Kadlec Serif Condensed, Kandra, Kristin, Kadlec, Kadlec Serif, Manutius, McKay, Marcion, Moacyr, Munik, Munik Sans, Nanus Sans, Nanus, Nanus Tall, Nashua, Nerol Sans, Nerol Serif, Nerol Condensed, Neruda, Omaha, Odell, Oldorion, Phelps (+ Condensed, Olden, Sans), Pompeia (+ Inline, Setif), Popowitz (+ Sans), Quinte (+ Sans, Mix, Condensed, Sans Condensed), Quadrante, Rubert, Ryani (+Condensed), Sayuri (+Condensed), Sanlio, Sereno, Simonell (+ Condensed, Sans, SansCond), Stavros (+Condensed), Stedge, StedgeSans, Stubbs, Susset, Tarbone, TarboneSerif, TarcisSans, Tarcis, Tinga, TorniaiSansOS, Torniai, TorniaiSans, TrigleCond, Trigle, Unicentur, UnitechCond, Unichancer, UnitechSerif, Uniorion, Unitech, UnichancerInl, Verena, Vidon, Virginia, Winodell, Wizard, Wagner, WizardZig, WagnerSans, Zetron, Ziano, ZuccaMediaeval, ZetronSansCond, ZuccaSans, ZuccaSerif, ZetronCond, ZianoTall, ZetronSans. Free fonts: AndrewUTBoldItalic.*[abmd] CaslonUTLightItalic, EbonyUT, EdnnaUTBold, EscribaUTItalic, GibranUTDemiBold, KadlecUTBold, SanlioUTBoldItalic, UnisanShineUT, UnitechCondUTLight. [Google] [More] ⦿ |
Free fonts made by New York-based Untype include the destructionist faces FutureDirt, BodoniBoldPieces, Tuertest, BodoniScratchedBold, Velvetica. All these fonts were made in early 2004 with the help of Fontifier. [Google] [More] ⦿ | |
Vanderburgh, Wells & Co. | |
Vanguard Media
| Based in New York, Michael Pinto designed a comic book font ComicBook in 1992-1993. Other faces, all techno: Freak, Hardcore, Radikal. [Google] [More] ⦿ |
Version Type Foundry (was: Industrial-Organic.Net)
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He was forced to emigrate from Vienna to the USA in 1939, where he settled in Aurora, NY. His life is described in Victor Hammer. Artist and Craftsman (by Carolyn Hammer, Lexington, 1981) and in Notes on the Stamperia del Santuccio (by Carolyn Hammer, Lexington, 1963). Mac McGrew: American Uncial was designed and cut by hand by Victor Hammer in 1943. This artist, who was born in Austria, had built a reputation for craftsmanship as a type designer, punch cutter, and printer in Italy. In 1939 he became professor of fine arts at Wells College in Aurora, New York, where he cut punches for this face. Matrices were made and type was cast by the Dearborn Typefoundry in Chicago, last of the small independent founders. Later the design was recut and cast by Klingspor in Germany. Uncial letters date to times before the common use of separate capital and lowercase alphabets. They are the basis for the lowercase of this font, to which Hammer has added a set of capitals. There is also a set of Initials, which follow mostly the lowercase design but with some modifications. Compare Hammer Samson Uncial, Worrell Uncial.. [Google] [MyFonts] [More] ⦿ | |
Victory Type Foundry
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Original designs include the free TrueType fonts Acme, Bark, Boxsoo, Markerz, Psychosis, Seventy, Splurge, Refund and Refund-Bold, Freon, Gaseous, Seriesorbit, Transit, Runamuck, Quarky, Mr Wick, Rat Poison, Muddy, Morkman, Year2000Boogie, Year2000Replicant, and Arena. Not-so-free original designs such as the weathered font Mauvais, the jerky Junkyard, and many other fonts such as Alfalfa (2001, felttip pen), Quattro (medieval letter simulation), Industrial, Sloshed, Saturn, Badhaus, Basuhand, Lysosome, Friction, Balance (2000, a squarish face; +unicase), BayerSans, Beanstalk, Chlorine Sans/Serif, Dungerees, Embargo, Farmhouse, Grizzly, Jaggers, Lysosome, Mechanikschrift (nice!), Metrogothic, Nolkster, Quattro (grunge font), Sign Gothic. In 2009, she published Bayer Modern, which was modeled after Herbert Bayer's universal alphabet designed in 1925 (she based her letters on P22 Bayer Universal). Fonts from 2010: Surfside (2010) is pure Miami South Beach art deco. MCM Hellenic Wide (2010) is a revival of Hellenic Wide. MCM Monogram (2010) is an art deco / Bauhaus face. Cosmo (2010) is a set of two inline fonts inspired by the CNN logo and Toronto Blue Jays uniforms. Production in 2011: Barnum (a good old slabby Western poster face), Asteroid (the inline space age alphabet on the CNN logo, in the Sega Genesis, and on old Toronto Blue Jays uniforms). [Google] [MyFonts] [More] ⦿ |
Village
| Foundry of Chester and Tracy Jenkins, which is based in the East Village of New York City. Under their own label, established in 2005, they published Galaxie Polaris (2005, geometric sans; the Light is very thin). Village is also a type coop for these foundries:
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Art director and graphic designer from New York City. He created some great type posters in 2009. [Google] [More] ⦿ | |
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A graduate of the Shillington School of Graphic Design, Vivian also holds an M.F.A. in Spatial design from HDK, University of Gothenburg, Sweden, and a BPS in Architecture from the University at Buffalo. Behance link. She created the thin Tuscan display face Split Ends (2011). [Google] [More] ⦿ | |
Graduate from Polytechnics University in Zagreb, and student at the New York Online School for Design. Behance link. He created the fat counterless face Geometry Circle (2010). MyFonts link. Vjeko Sumic Design Studio, located in Serbia. [Google] [MyFonts] [More] ⦿ | |
New York designer (1901-1956) of Columbia (1956-1961, Amsterdam; 1957, Intertype Berlin) and Heritage (1952, ATF, a calligraphic face). Columbia is a roman family with modern touches. Not to be confused with Morland's Columbia from 1906. Heritage was digitally revived as Walter in 2007 by Rebecca Alaccari at Canada Type. . [Google] [MyFonts] [More] ⦿ | |
Type designer (b. New York, 1890, d. 1955) who created the ultra-condensed Huxley Vertical (1935, American Typefounders), now sold by vendors such as The Font Company, URW, Bitstream and ICG. The name Aldous Vertical is sometimes used as well. Tom Wallace (HiH) extended this first to Huxley Alt (2005), and then to the 5-style Huxley Amore and later to Huxley Cyrillic (2008). FontShop link. As an afterthgought, I can't see why people even bother with an ugly duckling and unreadable goat such as Huxley Vertical. Well, URW did, in its URW Huxley Vertical (2011). [Google] [MyFonts] [More] ⦿ | |
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We Are Not You
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Web Museum of Wood Types
| This web museum is run by Robert Lee of Unicorn Graphics in Garden City, NY. It has pictures of several wood type catalogs, such as those of Hamilton (#14, from 1899, #25, and #38), Morgans and Wilcox (1890), Day and Collins (1904), Delittle's (1967), am Wm. H. Page (1870, 1872, 1878, 1890). [Google] [More] ⦿ |
Weston Bingham | Creative director, graphic designer with a BFA from the Pratt Institute and an MFA from the California Institute of the Arts. Typography and design teacher at the School of Visual Arts and the Pratt Institute. Also working for Wolff Olins, NY. Designer of Baudrillard in the early 1990s at the California Institute of the Arts. Quoting Claudio Piccinini: Baudrillard is very methodic and sports even a set of connected numerals (!). [Google] [More] ⦿ |
White's Type Foundry
| New York-based foundry, also called Farmer, Little&Co., White, Hagar&Co., John T. White, Norman T. White, and Charles T. White&Co. Farmer, Little&Co. was created in New York in 1862, and sold to ATF in 1892. John T. White existed before that, as they published "Specimen of printing types and ornaments cast by John T. White no. 45 Gold Street, New York" in 1845. [Google] [MyFonts] [More] ⦿ |
William Hagar | New York-based typefounders who published their work in Specimen of printing types and ornaments, from the type and stereotype foundry of William Hagar (New York, 1850). William Hagar was born in 1798 in Rutland, VT. He moved to New York in 1816 where he worked with Elihu White at the White Type Foundry. In 1823, he took over George B. Lothian's part of the foundry of Lothian&Pell to form Hagar&Pell, who were the first to introduce Scotch to American printersi (Hagar had asked David Bruce Jr. to cut the punches for the lightface series). This company was dissolved in 1830. Hagar's Scotch never sold well---the first successful Scotch family was credited to James Conner, who had bought the original punches and a few more cuts by Edwin Starr. In 1835 Hagar returned to typefounding to buy an interest in the foundry of his friend, Elihu White. This became White&Hagar. White died in 1836, and Hagar continued until 1839. From 1840 until 1842 he was a partner of George B. Lothian, who had a legendary temper. The company William Hagar was established a bit later thanks to the purchase by Caleb Bartlett, Hagar's friend, of the machinery of James Conner who had financial problems. In 1845 Hagar purchased his partner's interests, and he was the sole owner until 1852 when he sold the foundry to his sons, William and John. He died in 1863. The business declined due to the inexperience of the children and the mounting competition of would later become ATF. In 1887, the business was sold to three other New York typefounders. Among digital revivals of its faces, we cite Apple Pie (2009, William Hagemann, FontMesa), an extension of an ornate Bodoni all caps face by Hagar, ca. 1850. [Google] [More] ⦿ |
William Leavenworth | New York-based inventor (with A.R. Gillmore) of the pantograph, which allowed fast and accurate copying of wood type, in 1834. He enters into a partnership with his father in law, J.M. Debow, to manufacture wood type commercially in Allentown, NJ. Production starts in 1836 under the supervision of E.R. Webb. George Bruce buys out Leavenworth and Debow and sells it to E.R. Webb, who promptly goes into a partnership with Darius Wells in 1839, at which time Wells&Webb was formed. Specimen of Leavenworth's Patent Wood Type Manufactured by J.M. Debow (1840s) is on-line at the NYPL. [Google] [More] ⦿ |
Designer of the Renault family in 1978 at Mecanorma, a Times-like serif family [R690 Roman on the SoftMaker MegaFont XXL CD, 2002]. He founded the famous design company Wolff Olins in 1965. Presently, it has offices in London, San Francisco, Barcelona, New York and Tokyo. This company is guilty of many custom typefaces, and employed at some point people such as Jeremy Tankard. WO specializes in brand typing. For example, in 1993, National Westminster contracted them to make the NatWest corporate family, which was then drawn by David Quay and Freda Sack, and digitized by Bruno Maag. Wolff also designed the beautiful Tate Gallery Corporate Typeface. During his employment at Wolff Olins (UK), Michael Barbosa started work on Metroplis (1995) for Metroplisboa, the Lisbon subway. This face was subsequently drawn by Freda Sack and David Quay at The Foundry, London. Typedia link. [Google] [MyFonts] [More] ⦿ | |
Type designer who works as a digitizer at the foundry of Charles Nix, New Fonts in New York. [Google] [MyFonts] [More] ⦿ | |
Wordshape
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Klingspor link. [Google] [MyFonts] [More] ⦿ |
New York company that has produced a few font families, such as WTC Our Bodoni (1990, Massimo Vignelli) and Goudy WTC. WTC Veritas was designed by Ron Arnholm for WTC. The president seems to be Bert DePamphilis, who as director of Presstek has been sued for securities/stock violations. DePamphilis was a member of ATypI. [Google] [MyFonts] [More] ⦿ | |
MacArthur-award winner in 1999 for calligraphy. He was born in Chongqing, China in 1955 and grew up in Beijing. In 1975 he was relocated to the countryside for two years during the Cultural Revolution. In 1977 he enrolled in the Central Academy of Fine Art in Beijing where he studied printmaking. He received an MFA from the Central Academy in 1987. In 1990 he moved to the United States and he still lives there today, making his home in Brooklyn, New York. [Google] [More] ⦿ | |
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Designer in New York City who, I think, has made some typefaces in 2011. Not sure though. [Google] [More] ⦿ | |
Yip Yop
| YipYop offers free and commercial fonts by designer and illustrator Mike Langlie, who specializes in playful and even grungy type. Free: Spandy (pixel font), Sparky (pixel font), Foofah. Commercial fonts designed in 1998-1999: Chicken Parts (at Garage), Mongo (at T-26), Rezin (handwriting à la Treefrog, T-26), Sidewalk (T-26). Link at T-26. FontShop link. MyFonts link. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Young and Morgans Mfg Co.
| American wood type manufacturer from the 19th century. William T. Morgans invented his own version of the router/pantograph for wood type manufacture and with George Young, he set up Young and Morgans Mfg Co. in Napanech, NY, to start producing wood type. A few years later, fire destroys the plant. Young sells his shares to H.K. Wilcox, at which point the company moves to Middletown, NY. In 1880, it becomes Morgans&Wilcox Mfg Co. [Google] [More] ⦿ |
Young Jerks
| Young Jerks is Dan Cassaro's studio in Brooklyn, NY. Dan designed a copperplate style typeface Highway (2012) about which he writes: Highway is an attempt to capture the charm of hand-done early to mid-century Futura clones, the kind of beautiful lettering that happens when a human hand tries to recreate something mechanical. His blog. [Google] [More] ⦿ |
Youngha Park (Karim Rashid Inc, New York) created the experimental Quarterhaus typeface in 2011. [Google] [More] ⦿ | |
YR Soft | Commercial Chinese truetype font family for use with Yangtze Bridge 95 (YB95). 70 USD. From YR Soft in Brooklyn, NY. [Google] [More] ⦿ |
Born in Japan. Designer who studied at the Parsons School of Design, New York City. Creator of this experimental typeface. Behance link. In 2010, she created New International. [Google] [More] ⦿ | |
Creator of these fonts: Directions (upright connected script), Doghaus (upright unconnected script), PaperCut (a sans with ends cut off; discussed here), Bully (2006, a lively display face, discussed here). Gage lives in Pound Ridge, NY, and is a student. [Google] [More] ⦿ | |
Born and raised in Turkey, Zeynpep moved to New York City to study at the Parsons The New School for Design. She graduated in 2010. She lives in Brooklyn, NY. Designer of Venice Door Dingbats (2012) and Colombo (2012, text face). Behance link. [Google] [More] ⦿ | |
NewYorker, who made the Zoeknots (1995), Zoestationary (1995) and Zoeboxes (1994) dingbat fonts. [Google] [More] ⦿ | |
Brooklyn, NY-based creator of the simple handprinted font Cometbus (2010), which was based on Aaron Cometbus's handwriting in the Cometbus zine. Blokus (2011) is a gridded face. Home page. [Google] [More] ⦿ |
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New York design and type studio founded by 
Brooklyn, NY-based designer and illustrator. He created these typefaces in 2009: 
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 
Michael Doret is a commercial hand lettering artist in Hollywood, CA, but 
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 
Italian type designer, born in 1942 or 1943. Emigrated to the USA. His first design job was at Bonder&Carnase. In 1969, he joined Lubalin Smith Carnase Inc. He ran his own studio, Tony DiSpigna Inc. (since 1973). He teaches typography at the Pratt Institute, the School of Visual Arts and the New York Institute of Technology. 
Randy Jones, who runs AquaToad, is a free lance graphic designer who was in New York, but now lives in Santa Clara, CA, where her is a freelance graphic designer and principal of Aquatoad Design. Creator of Eason (2007, 
Arabetics is run by the Iraqi-American New York-based type designer, librarian, and systems engineer 
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. 
Graphic designer in New York City. Artist who sells via 
Bonnie Clas has completed her B.F.A. and M.F.A. at the 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 
With just one name (the other one was lost in an accident!), Chester, the type designer, was born in Montreal in 1971, and worked at Thirstype in Chicago. In 2005, he started up the type coop 
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 
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 
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. 
Type designer from Buffalo, NY. His typefaces were mostly developed at P22. 
Foundry, est. 2009 or 2010 by Paul Barnes (London) 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. 
Delta, CO (and, earlier, Stamford, CT)-based 
New York-based foundry, also called the United States Type Foundry, Conner&Cooke, James Conner&Son, James Conner&Sons, and James Conner's&Sons. [
American type designer, born in Detroit, who lives in New York City. Designed ITC Kulukundis (1997), and ITC Anna (1991), the Cyrillic version of which was done by Svetlana Yermolayeva, Vladimir Yefimov and Alexander Tarbeev in 1993. 
British type and graphic designer (b. 1948, London) who graduated from Ravensbourne College of Art&Design in 1968, 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 
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. 
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. 
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 
Brooklyn, NY-based graphic designer. He deconstructed a hairdryer---its pieces made up the glyphs of 
Based in New York City, 
Type designer from Jackson Heights, NY, who created an 
Born in New York in 1927, Ed grew up in Brooklyn. He 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 faces 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. 
New Yorker, b. Bethlehem, PA, 1905. In 1936, 
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 ICG and Bitstream, for example. He also made the informal script font Catalina (1955) as well as many photolettering faces. Catalina was digitized as 
Emily Moore (Rochester, NY) created an experimental shadow caps face called 
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 faces were digitized in recent years, such as the art nouveau face Palm (1887), which resurfaced as 
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 
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 1904-1906, 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 1913-1923, it was located in Forest Hill Gardens, Long Island, and from 1923 until his death in 1947 at Deepdene, in Marlborough-on-Hudson. 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 
Type designer from East Orange, New York, born in 1917, who was associated with ATF. Designer of 
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. 
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: 
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 
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. 
New Yorker who made FF Providence (1993, a children's hand), Interstate Pi (1994, four fonts with US highway signs done at Font Bureau) and 
In 2009, 
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 
Hector Guimard (b. Lyon, 1867, d. New York, 1942) was an architect, who is widely considered today to be the most prominent representative of the French Art Nouveau movement (1890-1905). Designer in 1901 of the art nouveau font Metropolitaines used in the Paris metro (see 
Born in New York in 1918, Herbert Frederick Lubalin died there in 1981. Founding editor and art director of U&lc from 1973-1981. Co-founder of ITC in 1970. Professor at the Cooper Union in New York from 1976-1981. 
The prolific master designer (born in Nuremberg, 1918, lives in Darmstadt), who made many Antiqua faces and Grotesk faces at URW++ (such as URW Grotesk) and is best known for Palatino, Optima, Melior, Zapf Dingbats, and ITC Zapf Chancery. From 1990 dates 
Born in 1970 in New York, Jonathan Hoefler ran the 
Illustrator and graphic designer in New York City. Using Georgia and a bit of Garamond as a model, he molded and uniformized the serifs and tyerminals in the creation of his free font 
Trafton (b. New York, 1897, d. 1964 or 1946) spent most of his life in New York as an artist, teacher and designer. At the Bauersche Giesserei, he created typefaces such as: 
Graphic designer (b. Plattsburgh, NY, 1972) and type designer who studied graphic design at Portland State University and the California Institute of the Arts. He currently runs a multidisciplinary creative studio specializing in unique solutions for international clients. The studio has been based in Tokyo since 2005. Lynam writes for a number of design, typography, and cultural publications including Font Magazine, This American Life, PingMag, and Neojaponisme. In 2008, he released his book Parallel Strokes, an investigation into the intersection of type design and graffiti. He created these commissioned fonts: Diesel Sans, Tri (dot matrix as in billboard lights). He also made Rubber Vloeren (Dutch modernist face based on wooden type as used by Piet Zwart--very nice!!!), Hanger, Garland Sans (based on stencil letters used by British designer, educator and theorist Ken Garland), Inversion (uncial), Cruller (a fantastic handlettered face based on a German lettering book from 1910), Bon Appetit (a custom cut Antique Olive for Bon Appetit magazine), Cooper Pink, Cooper Swash Italic Traditional & Cooper Swash Italic Custom, Cooper Italic (2010, after Cooper's original from 1924), Cooper Initials (2010), 
International Typeface Corporation, located at 228 East 45th Street / 12th Floor, New York, NY 10017. Established in 1970 by Aaron Burns, 
Prolific type designer in Florida, b. 1952. His fonts were originally free and consisted largely of dingbats. Around 2005 he went commercial, and now sells his work (over 350 fonts as of 2009) via 
Studio in New York. In the 1970s, it produced Swinger, a film type by Ray Cruz. Around the same time, the psychedelic face Loose New Roman was designed. In 2010, Nick Curtis revived the latter face as 
Type and logotype company in Polanco, Mexico, run by 
Founder of 
New York-based Garagefonts designer who made 
New York-based designer of dingbat faces at Outside the Line (with Rae Kaiser): Hearts and Swirls Too (2009), Just Christmas (2009), Just Flower Pots (2009), Crowns (2009), Hearts And Swirls (2009), 
Polish / American designer who used 
Born in Reedly, CA in 1950. She studied calligraphy at Reed College with Lloyd Reynolds and Robert Palladino, and worked as a staff designer at Compugraphic Corporation in type design. She was part of the team that helped design the city fonts for Apple: Chicago, Geneva, Monaco, New York. She founded the Bigelow&Holmes foundry in 1976 with Charles Bigelow. Creator of the unbiquitous Lucida family around 1985 (with Charles Bigelow): 
New York City-based illustrator and designer who drew an 
Leftloft is a visual communications studio in Milan, founded in 1997 by graphic designer Andrea Braccaloni (b. Bologna, 1973), Francesco Cavalli, Bruno Genovese and David Pasquali. The studio is mainly engaged in corporate identity, and now also has an office in New York. Andrea Braccaloni teaches visual communication at the III Faculty of Architecture/Design at the Politecnico di Milano. At 
Penman, b. 1859, San Antonio, TX, from Hungarian parents. His maternal grandfather, Ladislaus Ujhazi, was Governor of Kameron and the Count of Saros. He traveled a lot and was a versatile and multi-dimensional person. He spent most of his life in New York, and died in 1910 in San Francisco. Author of 
Graphic designer in New York City, who heads the St. George Press. Born in manhattan, and raised on Staten Island, he attended The School of Visual Arts in New York. 
Designer (b. 1986, San Francisco) who lives in San Francisco, but is listed at 
Vienna-born type designer who lived from 1883-1972, and whose real name was Emil Kahn. He died in New York, where he lived most of his life. He studied at the Munich Academy, which became a center of poster design. In 1910 he co-founded the magazine Das Plakat. During WWI he designed posters for the German War effort. In 1920 he was appointed as the first professor of poster design at The Akedemie der Kunst, Berlin. He moved to New York in 1923 and continued his poster work. He also continued his teaching at the Art Students League and at New York University. 
New York-based designer. Creator of the 
Fonts made by New Yorker Frank Marciuliano: at Linotype, Abstract, Automat, Bordeaux, 
Mark Solsburg is the head of the Type Directors Club and of Fairfield, CT-based 
Mike Abbink (b. 1967) earned a BFA in Fine Arts, and another one in Graphic Design and Packaging from Art Center in Pasadena. Born in 1967, he was a graphic designer at Meta Design San Francisco doing corporate and web design. In March 1999 he co-founded Method, Inc., a San Francisco-based company specializing in communication strategy, interaction and graphic design. Michael now works at Wolff Olins in New York. 
Born in New York in 1929, Milton Glaser is an important American graphic designer who founded Push Pin Studios in New York where he worked with Seymour Chwast. He left in 1970 and founded Milton Glaser Inc in New York in 1974. He taught classes at SVA, where according to 
New York City-based 
New York City-based graphic design student. She created 
American wood type manufacturer from the 19th century, set up in 1880 by William T. Morgans and H.K. Wilcox. The latter had taken over Young's shares at Young and Morgans Mfg Co., prompting a company name change. It was located in Middletown, NY. 
Born in Milan in 1965, Matteo Federico Bologna emigrated to the United States, where he founded Mucca Design in 1999, a company involved 
Established in 2005, Muccatypo's is a group of three type designers that form a subgroup of Mucca Design in New York: 
New Yorker who designed 
Freeware fonts by Eric VanDycke from Warnerville, NY, aka Dr. Nimbus. Original and very very enjoyable creations from 1997-1998. OmegaSwirls is a neat collection of spirals and swashes. Curbature is an earthy outline font. Lyarith and 
American artist in New York, 1871-1956. He studied with the well-known anatomist, J. H. Vanderpoel, at the Art Institute of Chicago, Illinois. He moved from Chicago to New York in 1893. Known for the richness of his work in pen and ink, he drew in 1898 fifty illustrations for The Choir Invisible. By 1907, he was employed at Life magazine, at that time a 
Located in Ronkonkoma, NY, this outfit published Middleton, Rick, 
Foundry located in Westbury, NY, and run by Phil Bracco (b. 1981, Big Horn, MT), a graduate of the Pratt Institute. Creator of the festive signage fonts Charming Charlie PB (2009), Hip Hopper PB (2008, inspired by the lettering on an art poster by Patrick Owsley for the cartoon character Hoppity Hooper), 
Jason Mannix is a graphic designer from New York, who lives in Washington, DC. He is a German Chancellor Fellow, currently working on a new typeface at the Typographische Gesellschaft München e. V. (Munich Typographic Society). 
Rea Irvin (b. San Francisco, 1881, d. US Virgin Islands, 1972) was an art director for the New Yorker magazine. In 1925, he designed Irvin, the typeface that became the alphabet used by 
Designer from Milton, Mass., who was born in New York, studied at Harpur College there (graduating in 1975), did some lettering in Syracuse until 1977, worked for Bitstream in Boston from 1983-1991, and made a career afterwards as a staff type designer at Boston's Font Bureau. 
Artist an art director in New York, b. 1910, Chicago. As a lettering designer, he was associated with ATF from 1933-1942. He created 
Professor of Art Graphic Design at Lamar Dodd School of Art, part of the University of Georgia, Athens. Born in 1939, Arnholm designed the ITC Legacy Sans family (1992, a remake of the 1960s Arnholm Sans), and the ITC Legacy Serif family (1992). In 2009, ITC Legacy Square Serif and ITC Legacy Serif Condensed were added. 
Graphic designer located in New York City. 
New York-born type designer and film director, 1920-1996, known for movie title sequences, famous logos (like that of Minolta), and that mid-20th century look. He designed the artsy 
Graphic designer born in New York in 1931. Worked with Milton Glaser at Push Pin Studios in New York from 1954. Designed 
The Society of Typographic Aficionados (SOTA) was founded in 1997 by Bob Colby. One of its first presidents was Tony Di Pietro. He was succeeded by Tamye Riggs, and Deborah Gonet. [The presidents were originally called directors and then chairs.] The main activity nowadays is the organization of the annual TypeCon conference. Its current mission: "The Society of Typographic Aficionados" is an international not-for-profit organization dedicated to the promotion, study, and support of type, its history and development, its use in the world of print and digital imagery, its designers, and its admirers." The board is entirely North-American. [
American designer of Stan Free (VGC, 1973) and the liquid font 
Ex-student at ENSAD in Paris, graduating in 2004. Since then, he moved to New York, where he is a freelance designer. In 2003 at ENSAD, he co-created the experimental typeface 
A PDF file of the book Studies in Pen Art (by Brooklyn, NY-based penman William E. Dennis, 1914, A.N. Palmer Co). This 95-page booklet has beautiful specimens of alphabets, from display faces to calligraphic scripts, blackletter types and ornamental types. There are also reproductions of 
Terminal Design is the company of 
Free fonts made by Huntington Beach, CA-based Lauren Ashpole (b. 1982, Corpus Christi, TX): 
American type designer, born in Rochester in 1966, who has worked for various foundries including Monotype. He lives in Madison, WI. Co-designed a revival of W.A. Dwiggins' beautiful Eldorado family, Amanda (1996), Hamilton, the Western font Buffalo Gal (1992-1994, TTGX variations font done while he was at Apple). He worked at Monotype from 1994 onwards, where he hinted Carter's Georgia, Tahoma, Nina and Verdana fonts, for example, commissioned by Microsoft. While employed by Apple Computer, Tom oversaw the development of the first TrueType fonts to ship with Apples System 7. He worked on a freelance basis for Font Bureau for the last 12 years. He has worked on custom font solutions for companies such as Adobe Systems, Apple Computer, Hewlett-Packard, IBM, Lexmark, Lotus, Microsoft and Nokia. His custom fonts include a revival of Bodoni to serve Lexmark as their new corporate typeface. His experience with non-Latin scripts is broad, having designed fonts for the Greek, Cyrillic, Hebrew, Thai, Thaana and Cherokee scripts. Tom also played a key role in the development of fonts for Agfa Monotype's proprietary stroke font format. In his own words, However I did the bulk of the drawing for Siegel's Graphite, and I did about 1/2 of the Tekton MultipleMaster (with Jill Pichotta and Tobias Frere-Jones on the other half of the masters) while in Palo Alto. In 2004, he co-founded 
Type designer in Holbrook, NY, b. 1986, who is in the first generation of Type@Cooper graduates. 
New York-born book designer, painter, type designer and illustrator, b, Brooklyn, NY, 1880, d. Danbury, CT, 1964. He was mainly involved with ATF. 
Graphic designer and lettering artist, born in 1939 in Eugene, OR. He studied with Douglas Lynch at the Museum Art School in Portland and later apprenticed with Lynch. Lincoln studied calligraphy with Lloyd Reynolds and Arnold Bank at Reed College. After a stiwt as an agency art director producing national ads for Pendletons womens fashions, Lincoln moved to New York City, where he joined the studio of Herb Lubalin. In NYC he continued his involvement with academia, exploring film at The New School and an intensive workshop with Milton Glaser. Eventually Lincoln started his own studio (occupying the space on east 32nd Street where New York Magazine was born), combining a design practice with teaching at New Yorks School of Visual Arts. Lincoln has served as Art Director at TCA (Benton & Bowles) in Westport, CT, as Creative Director, Redington, Inc., Stamford, CT, as Principal, Thomas Lincoln Design & Motion Graphics Communication, Westport, CT, as Freelance in residence Art Director, Baden & Co., Eugene, OR, and in 1992 returned to consulting and design through his own design office, Lincoln Design, based in Eugene/Springfield, OR. 
Celebrated type designer, born in 1970 in New York City. Until 1999, he worked mainly at 
Graphic designer (b. 1982) at the New York studio AWP. He created the fat counterless caps faces Blackout and Blackout Midnight (2008), the fat finger font 
Type Directors Club is an international organization for all people who are devoted to excellence in typography, both in print and on screen. Founded in 1946, today's TDC is involved in all contemporary areas of typography and design, and welcomes graphic designers, art directors, editors, multimedia professionals, students, entrepreneurs, and all who have an interest in type: in advertising, communications, education, marketing, and publishing. This New York-based organization is currently headed by James Montalbano. Former presidents include Mark Solsburg. [
Brooklyn-based 
Austrian designer, printer, type engraver and teacher (b. Vienna 1882, d. Lexington, 1967) who made mainly uncial typefaces at Klingspor such as Hammerschrift (1923, a modern pseudo-Gaelic uncial), Hammer Unziale (1921). Other faces include Samson (1926, an uncial cut Paul Koch, son of Rudolf Koch) or Hammer Samson Uncial (1931), Pindar (1933, a modern pseudo-Gaelic uncial), 
Foundry st. 1998 by 
American lettering designer from New York. Creator of ITC Cushing (1982) and 
Born in Richmond, VA, 1904, d. Charlottesville, VA, 1991. Typographer, illustrator, letterer. He made two type families: 
Los Angeles-based group interested in art direction, typography, print design, branding and graphic design. They designed these typefaces: 
Commercial fonts at this boutique type foundry and publisher operating in Tokyo. 
French graphic designer who moved to New York in 2007. 
