TYPE DESIGN INFORMATION PAGE last updated on Mon Mar 25 14:26:54 EDT 2024

SEARCH THIS SITE:

IMAGE SEARCH:

FONT RECOGNITION VIA FONT MOOSE

LUC DEVROYE


ABOUT







Type scene in New York



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








SWITCH TO INDEX FILE


13pt
[Jonathan Corum]

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

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

52mm

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

6t6kix Font Factory

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

A Victory for American Freedom of the Press

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

Aaron Burns

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

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

Aaron Kneile

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

Aaron Pedersen

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

Aashna Shah

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

Abbey Ley

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

Abby Leighton

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

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

ABC ETC INC
[Nazareno Crea]

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

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

ABCDE-Fonts

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

Abdullrahman EL-Ghuff

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

Dafont link. [Google] [More]  ⦿

Abi Huynh

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

Abrams Legacy
[George Abrams]

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

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

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

Abyss Type Company
[Mirko Velimirovic]

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

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

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

Actual Objects

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

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

[MyFonts] [More]  ⦿

Adagio Type Foundry
[Bill Troop]

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

Adam Augustyn

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

Adam Gerard Mappa

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

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

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

Adam Turnbull
[Land Line]

[More]  ⦿

Adi Ben-Hur

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

Adnauseum
[Christian Acker]

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

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

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

Adrien Lunel

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

Adrien Menard
[Edition Studio]

[More]  ⦿

Aemin Shim

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

Aenigma
[Brian Kent]

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

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

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

Agnieszka Mielczarek-Orzylowski

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

Ahage16

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

Aida Novoa

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

AIGA Annual Design Competition 2003

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

Aileen Hansen

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

AisleOne
[Antonio Carusone]

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

Akwele Vassall

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

Alan Hoenig

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

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

Alan Kegler

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

Alan Peckolick

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

Albert Du Bois

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

Aleksandar Nikolovski

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

Alessandra Bautista

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

Behance link. [Google] [More]  ⦿

Alessandro Colizzi

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

His typefaces include:

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

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

Alex Frukta
[Nord Collective (or: Fontfirma)]

[More]  ⦿

Alex Maranto

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

Alex Merto

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

Alex O. Kaczun
[Type Innovations]

[MyFonts] [More]  ⦿

Alex Rodriguez

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

Alex Rosario
[Alex Rosario Type]

[MyFonts] [More]  ⦿

Alex Rosario Type
[Alex Rosario]

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

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

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

Alex Steinweiss

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

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

Alex Trochut

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

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

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

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

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

Typographic picture by TDC55.

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

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

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

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

Alex Wiederin
[Buero New York]

[More]  ⦿

Alexander Gelman

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

Alexander Girard

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

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

Alexander Hartwell

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

Alexander Jay
[Tenth Letter of The Alphabet]

[More]  ⦿

Alexander Langsang

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

Alexander S. Lawson

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

Alexander Tochilovsky

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

Alexander W. White

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

Alexandra Alonso

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

Alexandra Peters

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

Alexandra Renee

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

Alexey Brodovitch

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

Alexey Popov
[Popskraft Lab]

[MyFonts] [More]  ⦿

Alexis Graf

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

Behance link. [Google] [More]  ⦿

AlfaType
[Joseph Miceli]

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

His typefaces:

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

Alice B. Cabrera

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

Alina Zhen

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

Aliyah NC

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

Almanac Design
[Matthew Moffatt]

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

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

Alonzo W. Kinsley&Co.

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

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

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

Fonts sold by MyFonts. Behance link. FontShop link.

His typefaces:

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

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

Alphabet Synthesis Machine

A free on-line truetype font editor, developed by Golan Levin, with the help of Jonathan Feinberg and Cassidy Curtis. (Alphabet Synthesis Machine is a co-production of Art21, Inc., New York City, and The Arts Company, Cambridge, MA) It has a font archive with over 7,000 fonts created by visitors. All fonts created are of the inner city graffiti kind, so this is not meant to be a professional tool. I estimate that the archive gets about 50 fonts per day. See, e.g., here for M1. See here for Antarctica (2007) by Czar Choi. [Google] [More]  ⦿

Alphonse Mucha

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

Digital fonts that were inspired by Mucha:

CV. One of his alphabets. Viennese Secession link.

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

Alpkan Kirayoglu

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

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

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

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

Typecache link. [Google] [More]  ⦿

Altemus Creative
[Robert Altemus]

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

Alyson Aversa

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

Behance link. [Google] [More]  ⦿

Alyssa Celentano

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

Alyssa Tasevoli

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

Alyssa Tornese

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

Alzbeta Capkova

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

Amanda Busch

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

Amanda Chung

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

Amanda de Giuseppe

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

Amanda Morante

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

Amanda Riekstins

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

Ambar del Moral

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

Amberlee Nguyen

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

American Type Founders (or: ATF)

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

Their specimen books are classics:

MyFonts link.

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

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

American Wood Type Co.
[Frank Gerhardt]

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

American Wood Type Manufacturing Company

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

American Wood Type Mfg Co.

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

American Wood Type Mgf Co.
[Rube Mandel]

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

Amsterdam Continental Types and Graphic Equipment Co.

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

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

Amy Greenan

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

Amy Papaelias

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

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

An daSeul

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

Ana Andreeva

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

Ana Gomez Bernaus

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

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

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

Anastasia Allakhverdova

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

Andi Jones/ Taylor Deupree
[Channelzero]

[More]  ⦿

Andrea Bianchi

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

Andrea Braccaloni
[Leftloft]

[MyFonts] [More]  ⦿

Andrea Duquette

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

Andrea Johansson

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

André de Castro

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

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

Andree Ljutica

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

Behance link. [Google] [More]  ⦿

Andrei Robu
[Typeverything]

[MyFonts] [More]  ⦿

Andres Maza

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

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

[MyFonts] [More]  ⦿

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

[MyFonts] [More]  ⦿

Andrew C. Scheiderich

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

Andrew Childs
[Andrew Childs Typography]

[More]  ⦿

Andrew Childs Typography
[Andrew Childs]

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

Andrew Collette

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

Behance link. [Google] [More]  ⦿

Andrew Little

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

Andrew Teoh

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

Behance link. [Google] [More]  ⦿

Andrew Walunas

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

Andrew Waterhouse

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

Andy Clymer

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

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

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

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

Github link. [Google] [More]  ⦿

Andy Lu

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

Angel B. Lee

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

Angel Rosario

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

Angela Chan

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

Angela Riechers

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

Angella Tham

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

Angus B. Grieve-Smith
[Stokoe Tempo Font]

[More]  ⦿

Anjana Singhwi

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

Behance link. [Google] [More]  ⦿

Anne Marie Leahey

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

Anne-Gail Moreland

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

Annie Jen

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

Behance link. [Google] [More]  ⦿

Anselm Dästner
[Boyz and Girls]

[More]  ⦿

Anthony Bayoneto

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

Anthony Bryant

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

Anthony Carlucci

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

Anthony DiVivo

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

Anthony Elder

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

Anthony Melice

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

Anthony Zukofsky

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

Antoine Miquel

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

Antoinette Fabricante

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

Anton Rhoden

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

Anton Woll Söder

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

Antonio Carusone
[AisleOne]

[More]  ⦿

Antonio (Tony) DiSpigna
[Thinstroke]

[MyFonts] [More]  ⦿

Anuthin Wongsunkakon
[Behaviour (was: type behaviour)]

[MyFonts] [More]  ⦿

Anya Monisoff

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

Aoife Mooney

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

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

Old URL.

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

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

Apirah Infahsaeng

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

Applied Design Works

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

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

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

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

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

CTAN link. [Google] [More]  ⦿

April Pascua

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

Arabetics
[Saad Dean Abulhab]

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

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

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

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

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

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

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

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

Typefaces from 2018: Arabetics Detroit.

Typefaces from 2020: Arabetics Aladdin.

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

Arabic typography

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

Aracely F. Calle

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

Archaica
[David Yoon]

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

Archer Hutchinson

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

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

Ariela Gittlen

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

Arjen Noordeman

Graduate from the Academy of Art and Design in Arnhem (1998) and of the Cranbrook Academy of Art (2000) who designed the gorgeous neo deco font New Amsterdam (2001), Deadgun (2000, as a past tribute to Raygun), Yeehaw, Blood Thirsty, Wanted Dead or Alive, Diamond, and Al Capone Was Here. At Union Fonts, he published New Amsterdam, Are You In?, and Roger That, fonts also showcased at Cranbrook. In 2005, he decided to go public and make his fonts available for free: Becoming Animal, Free Doughnut, Human Behavior, Deadgun, Yeehaw, Blood Thirsty, Wanted Dead or Alive, New Amsterdam, Are You In?, and Roger That. Noordeman is an art director and a designer, and has offices in North Adams, MA, and Brooklyn, NY. [Google] [More]  ⦿

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

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

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

Fontsquirrel link. [Google] [More]  ⦿

Arsalan Malik

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

Arunima Sinha

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

A.S. Barnes

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

Asaf Bochman

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

Asaki Okamura

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

ASDDF
[Corinne Ang]

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

Ash Silva

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

Ashley Breunich

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

Ashley Galante

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

Ashley Holley

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

Ashley Myers

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

Ashley Wayne

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

Astrida Valigorsky

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

Astrolux
[Glenn Parsons]

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

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

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

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

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

Typefaces from 2017: Digideco (retro-futuristic).

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

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

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

Atomic Media (was: SmartDust)
[Matthew Bardram]

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

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

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

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

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

Attention Earthling Font Foundry
[Greg Knoll]

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

Audria Brumberg

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

August E. Woerner

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

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

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

August T. Horvath
[Military Aircraft Fonts]

[More]  ⦿

Austin Norman Palmer

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

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

Austin Roesberg

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

Avana Vana

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

AvanType
[Habib Khoury]

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

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

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

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

Axel Lindmarker

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

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

[More]  ⦿

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

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

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

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

Ayman Hafez

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

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

Aymie Spitzer

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

Ayushi Shah

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

BA Graphics
[Robert Alonso]

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

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

Alonso created these typefaces:

FontShop link. Klingspor link.

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

Badson Studio
[Kyle Read]

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

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

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

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

Bailey Knapton

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

Baily Crawford

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

Barnhart Brothers&Spindler (or: BB&S)

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

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

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

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

Barry Blitt

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

Barry Deutsch

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

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

Baruch Gorkin

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

Bauersche Schriftgiesserei

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

Beatrice L. Warde

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

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

Drawing of her by Eric Gill. Life story.

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

Beatriz Lozano

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

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

Behaviour (was: type behaviour)
[Anuthin Wongsunkakon]

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

Interview.

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

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

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

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

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

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

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

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

FontShop link. Klingspor link.

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

Belén La Rivera

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

Ben Buysse

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

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

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

Ben Dunkle

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

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

Ben Goetting

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

Ben Shahn

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

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

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

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

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

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

Benjamin Critton

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

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

In 2012, Colophon published his Value Serif typeface.

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

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

Benjamin Tuttle

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

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

Berton Hasebe

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

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

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

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

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

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

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

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

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

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

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

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

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

Bertram Grosvenor Goodhue

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

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

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

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

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

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

Klingspor link. Linotype link. FontShop link.

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

Beth Nellis

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

Bethany Lesko

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

Bhanu Arbuaratna

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

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

Bianca Alcantara

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

Bienvenido Cruz

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

Bill Bogusky
[Bogusky2]

[MyFonts] [More]  ⦿

Bill Davis

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

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

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

Bill Johnston

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

Bill Troop

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

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

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

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

Bill Troop
[Adagio Type Foundry]

[More]  ⦿

Bjorn Ramberg
[Lederhosen]

[More]  ⦿

Black Graphics
[Karen Parry]

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

Black Plum
[Trent Williams]

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

Blake E. Marquis

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

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

Blake Olmstead

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

Blaurice

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

Bob Byrd

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

Bogusky2
[Bill Bogusky]

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

Bold Version
[Victor Coreas]

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

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

Bonnie Clas

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

Boston Type and Stereotype Foundry

This firm originated as a branch of Elihu White's New York Foundry in 1817, but was sold and became the Boston Type Foundry in 1820. When stereotyping, a process which utilized printing plates made from set up type, was introduced in America, the Boston Type Foundry became a major producer of stereotype plates. Specimen book: "Specimen of Printing Types from the Boston Type and Stereotype Foundry" (Boston: Dutton and Wentwork, printer, 1828). Stephen O. Saxe edited Specimen of printing types from the Boston Type&Stereotype Foundry (New York, Dover, 1989, 184 pages). That original book dates back to 1832. [Google] [More]  ⦿

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

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

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

Bowfin Printworks
[Mike Yanega]

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

Boyung Yang

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

Boyz and Girls
[Anselm Dästner]

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

Bran Dougherty-Johnson
[Grow Design Work]

[More]  ⦿

Brandon Bayer

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

Brandon Schwartz

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

Brandon Sugiyama

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

Behance link. [Google] [More]  ⦿

Brandon Tyler Fields

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

Brandon Underwood

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

Brendan Murphy

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

Brenden Ying

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

Brendon Park

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

Brent Philhower

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

Bresnan Type Foundry

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

Brian Crick

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

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

Brian Gartside

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

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

Behance link. [Google] [More]  ⦿

Brian Kent
[Aenigma]

[More]  ⦿

Brian LaRossa

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

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

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

Brian Lemus

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

Brian McSherry

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

Brian Xiao

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

Briana Scripture

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

Bridget Richardson

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

Brigid Griffin

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

Brigitta Martiana

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

Brixton Doyle

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

Bruce Newman
[Precision Type]

[More]  ⦿

Bruce Type Foundry
[George Bruce]

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

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

Bruno Perotto

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

Bryce Wilner

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

Library Stack link. [Google] [More]  ⦿

Buero New York
[Alex Wiederin]

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

Bunny Dojo
[Tim Gengler]

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

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

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

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

Burn Type
[Michael Bagnardi]

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

Bushwick Happy Hour

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

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

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

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

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

Caitlin Burke

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

Caitlin Cordtz

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

Behance link. [Google] [More]  ⦿

Calligraphy Designs by Julia

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

Calrin Yam

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

Calvin Waterman
[Violet Office]

[More]  ⦿

Camile Weihsin Lin

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

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

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

Candice Ralph

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

Caoimhe O'Byrne

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

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

Carima El Behairy

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

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

Carla Marques

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

Carleen Borsella

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

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

Carlos Aponte

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

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

Carly Rumpf

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

Carmen Mei

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

Carol Wahler

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

Carolina Steele

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

Carolyn Presti

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

Cary Graphic Arts Collection

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

Cassandra Fountaine

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

Catherine Casalino

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

Behance link. [Google] [More]  ⦿

Catherine Mouttet
[Hijinx]

[MyFonts] [More]  ⦿

Catriona DiNero

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

Cecilia Maurin

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

Cesca Santa

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

Channelzero
[Andi Jones/ Taylor Deupree]

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

Chantra Malee

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

Character
[Herbert F. Van Brink]

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

His typefaces:

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

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

Charles & Thorn
[Spencer Charles]

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

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

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

Charles Bae

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

Charles Ephraim Burchfield

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

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

Charles Nix
[New Fonts]

[MyFonts] [More]  ⦿

Charles Percival Bluemlein

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

Modern revivals of his scripts include

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

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

Charles Rollinson

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

Charles S. Wilkin
[Prototype Experimental Foundry]

[MyFonts] [More]  ⦿

Charlotte Simons

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

Chen Longo

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

Cheng Cheng

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

Chengyu Liu

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

Cheryl Ambrosio

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

Chester Jenkins
[Cooper Hewitt]

[More]  ⦿

Chester Jenkins
[Constellation]

[More]  ⦿

Chester Jenkins
[Village]

[MyFonts] [More]  ⦿

Chester Jenkins

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

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

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

Chia Lynn Kwa

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

Childers, Gristci and Leben

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

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

Ching An Wu

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

Ching-Mai Yu

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

Chloe Bush

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

Chloe Y. Zhang

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

Choosing a font editor in 2014
[Micah Rich]

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

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

Chris Costello

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

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

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

Chris Creptix

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

Chris Kim

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

Chris Langford

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

Chris MacFarlane

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

Chris Nosenzo

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

Chris Papasadero
[Fwis]

[More]  ⦿

Chris Philson

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

Chris Risdon
[Pucker(type)]

[MyFonts] [More]  ⦿

Chris Ro

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

Chris Rogers

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

Chris Wright

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

Chrisley Luiz Santana

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

Christian Acker
[Handselecta]

[MyFonts] [More]  ⦿

Christian Acker
[Adnauseum]

[MyFonts] [More]  ⦿

Christian D

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

Christian Oppenberg

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

Christian Schwartz

Christian Schwartz was born in 1977 in East Washington, NH, and grew up in a small town in New Hampshire. He attended Carnegie Mellon University in Pittsburgh, Pennsylvania, where he graduated in 1999 with a degree in Communication Design. After graduation, he spent three months as the in-house type designer at MetaDesign Berlin, under the supervision of Erik Spiekermann. In January 2000, he joined Font Bureau. Near the end of 2000, he founded Orange Italic with Chicago-based designer Dino Sanchez, and left Font Bureau in August 2001 to concentrate full-time on developing this company. Orange Italic published the first issue of their online magazine at the end of 2001 and released their first set of typefaces in the beginning of 2002. Presently, he is an independent type designer in New York City, and has operated foundries like Christian Schwartz Design and Commercial Type (the latter since 2009). He has designed commercial fonts for Emigre, FontShop, House Industries and Font Bureau as well as proprietary designs for corporations and publications. In 2005, Orange Italic joined the type coop Village.

His presentations. At ATypI 2004 in Prague, he spoke about "The accidental text face". At ATypI 2006 in Lisbon, he and Paul Barnes explained the development of a 200-style font family for the Guardian which includes Guardian Egyptian and Guardian Sans. FontShop's page on his work. Bio at Emigre. At ATypI 2007 in Brighton, he was awarded the Prix Charles Peignot. Jan Middendorp's interview in October 2007. Speaker at ATypI 2009 in Mexico City, where he announced his new type foundry, simply called Commercial.

FontShop link. Font selection at MyFonts.

A partial list of his creations:

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

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

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

Christian Schwartz
[Commercial Type (Was: Schwartzco)]

[MyFonts] [More]  ⦿

Christie Morrison

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

Christina Huang

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

Christina Nahas

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

Christina Ruggiero

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

Christina Sharp

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

Behance link. [Google] [More]  ⦿

Christina Torre

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

[Google] [MyFonts] [More]  ⦿

Christina Wall

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

Christine Aaron

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

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

Christine Carforo

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

Behance link. [Google] [More]  ⦿

Christine Thompson

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

Christopher J. Lee

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

Christopher K. Wright

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

Christopher Sperandio

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

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

Chung-Deh Tien

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

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

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

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

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

Ci

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

Ciaran Brandin

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

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

Cinderella Man

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

C.J. Dunn
[CJ Type]

[More]  ⦿

CJ Type
[C.J. Dunn]

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

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

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

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

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

Claes Oldenburg

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

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

Claire Altomari

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

Claire Jardin

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

Claire Shin

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

Clare Carroll

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

Claude Fayette Bragdon

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

Claude Persons
[Empire Type Foundry]

[More]  ⦿

Claudia de Almeida

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

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

Clay Matthewman

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

Behance link. [Google] [More]  ⦿

Clinton H. Clark

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

Cockrockdisco
[Jason Forrest]

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

Coleman Collins

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

Colin Crose

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

Colin Kahn

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

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

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

Colophon Foundry
[Edd Harrington]

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

Fonts:

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

Bespoke projects:

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

Columbia University

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

Commercial Type (Was: Schwartzco)
[Christian Schwartz]

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

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

Typefaces sold by them:

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

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

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

Coniglio Type
[Joseph Coniglio]

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

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

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

Conner, Fendler&Co

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

Conner Type Foundry

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

Connor Fitzgerald

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

Connor Fitzgerald

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

Conor Schmitz

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

Constellation
[Chester Jenkins]

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

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

Continental Typefounders Association
[Melbert Cary]

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

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

The European foundries represented by them:

[Google] [More]  ⦿

Cooper Hewitt
[Chester Jenkins]

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

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

Fontsquirrel link. [Google] [More]  ⦿

Corey James

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

Corinne Ang
[ASDDF]

[More]  ⦿

Coully Traore

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

Cozy Fonts Foundry
[Tom Nikosey]

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

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

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

Typefaces from 2018: Irongate.

Typefaces from 2019: Flintlock.

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

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

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

Craig Hazan
[Twenty Six Types]

[MyFonts] [More]  ⦿

Craig Ward

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

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

Home page. [Google] [More]  ⦿

Cristina Vasquez

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

Behance link. [Google] [More]  ⦿

Cruz Fonts
[Ray Cruz]

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

His oeuvre:

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

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

Crystal Cowhig

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

Crystalyn Choong

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

C.S. Farrington

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

CSA Creative Studio
[Curtis Canham]

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

Curtis Canham
[CSA Creative Studio]

[More]  ⦿

Cybèle

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

Cynthia Batty

Cynthia Batty (formerly, Cynthia Hollandsworth) was born in Washington, DC in 1955 (MyFonts) or 1956. She studied at the California College of Arts and Crafts in Oakland, CA, and managed the department of type design and development at Agfa Compugraphic in Massachusetts. She was President of AlphaOmega, a design studio dedicated to typeface development. She was also the Director of Typeface Development at High Technology Solutions, in Poughkeepsie, New York. Currently (?), she is the vice-presdident of Simon&Schuster in New York. For a few years, she was Executive Director of ATypI, involved, in particular in the ATypI meetings in Vancouver and Prague.

Her typefaces show calligraphic influences:

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

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

Cynthia Jacquette

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

Cynthia Yin

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

D. Jules Gianakos

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

Behance link. [Google] [More]  ⦿

Dailey Crafton

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

Behance link. [Google] [More]  ⦿

Daisy Alcock

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

Daisy Dalhae Lee

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

Damon&Peets

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

Dan Cassaro
[Young Jerks]

[More]  ⦿

Dan Rhatigan

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

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

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

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

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

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

Speaker at ATypI 2017 Montreal.

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

Dana Tanamachi

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

Dana Weiss

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

Daniel Benjamin Miller

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

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

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

Github link. [Google] [More]  ⦿

Daniel Birch

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

Behance link. [Google] [More]  ⦿

Daniel Brokstad

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

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

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

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

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

Daniel Doernemann

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

Daniel Figueiredo

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

Daniel Gelberg

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

Daniel Guillermo

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

Daniel Hunyady

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

Daniel Ortega
[IC Fonts]

[MyFonts] [More]  ⦿

Daniel Pelavin

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

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

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

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

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

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

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

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

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

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

Typefaces from 2018: Trilight (trilined typeface).

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

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

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

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

Daniel Petrino

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

Daniel T. Ames

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

In 1890, Ames wrote Ames' Book of Flourishes.

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

Daniela Carusone

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

Daniele Politini

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

Daniella Circelli

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

Danielle Baptiste

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

Danielle Dunker

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

Danielle Probst

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

Danielle Yoon

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

Danny Rutledge

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

Danny Strazzera

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

Daon Dani Kim

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

Darden Studio
[Joshua Darden]

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

Typefaces designed by Darden:

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

Darius Wang Dazhi

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

Darius Wells

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

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

Darren Crescenzi

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

Darren McPherson

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

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

Behance link. [Google] [More]  ⦿

Darshan Jasani

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

Daryl Paz

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

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

[MyFonts] [More]  ⦿

David Bruce

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

David Bruce Jr.

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

David Carson

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

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

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

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

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

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

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

David Chung

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

Dafont link. [Google] [More]  ⦿

David Estep

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

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

David Gonzalez

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

David J. Perry
[Fonts for Scholars]

[More]  ⦿

David Kim

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

David Michael Gettis

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

David Platt
[Martian Design]

[More]  ⦿

David Quay

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

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

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

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

David Rosa

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

David S. Rose

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

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

David Sagorski

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

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

Linotype link. FontShop link. Klingspor link.

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

David Soto

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

David Villouta

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

David W. Shields

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

David Wise

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

David Yoon
[Archaica]

[MyFonts] [More]  ⦿

Dawn Balhorn

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

D.C. Scarpelli
[The Ampersand Forest]

[MyFonts] [More]  ⦿

Dean Morris

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

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

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

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

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

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

Deanna McGeown

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

Deanna Strait

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

Deep Shah

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

Deka Design
[Dmitry Krasny]

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

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

Deliberate Design
[Eric Eaton]

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

Demetrio E. Cabarga

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

Demetrios Vallas

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

Demian Yoon

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

Denis Kegler

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

Dennis Ortiz-Lopez

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

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

Dennis Palumbo

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

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

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

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

Klingspor link. [Google] [More]  ⦿

Dennis Pelli

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

Derek Munn

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

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

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

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

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

Behance link. [Google] [More]  ⦿

Des Barzey

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

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

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

Cubanica fonts:

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

Klingspor link.

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

Design Observer
[Michael Bierut]

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

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

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

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

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

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

Devin Rosado

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

Devon Bain

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

DIA (Dreamers Ink Aesthetics)
[Mitch Paone]

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

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

Dian Feng

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

Diana Corredin

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

Diana Marianovsky

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

Diana Sanchez

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

Behance link. [Google] [More]  ⦿

Dick Higgins

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

Dick Skinner
[Nicolas Guagnini]

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

Diddle Doodle

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

Digital Scriptorium

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

Dilan Emre

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

Dilhan Kushan

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

Dillon Coyne

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

Dimenzioned Studio

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

Disappearing Inc
[Jeff Prybolsky]

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

Display Material Company

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

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

Dmitry Krasny
[Deka Design]

[More]  ⦿

Dominika Kramerova

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

Don Citarella

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

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

Don Munson

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

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

Don Rice

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

Donald Partyka

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

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

Douglas and Lloyd Morgan

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

Douglas Hayes

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

Douglas Knapton

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

DownHill Publishing
[Ramón Abajo]

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

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

DP Fonts
[Jennifer DeAngelis]

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

Dresser Johnson
[Kevin Dresser]

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

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

Dribble Graphics

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

Dunwich Type Founders
[James Walker Puckett]

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

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

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

Dwi Yudha
[Indograph]

[More]  ⦿

Easel Design
[Kasey Stevenson Buck]

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

Eastern Brass&Wood Type
[Frederick Gerken]

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

Edd Harrington
[Colophon Foundry]

[More]  ⦿

Edgard Cirlin

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

Edition Studio
[Adrien Menard]

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

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

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

Edward A. Capen
[Empire Wood Type Co.]

[More]  ⦿

Edward Benguiat

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

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

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

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

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

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

FontShop link. Klingspor link.

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

Edward C. Mills

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

Edward Dalton Pelouze
[San Francisco Type Foundry]

[More]  ⦿

Edward Everett Winchell

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

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

Edward McKnight Kauffer

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

Type designs that were influenced by his poster lettering:

[Google] [More]  ⦿

Edward P. Cogger

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

Edward Pelouze

Born in 1799, died in 1876. Edward Pelouze was the second son of Edmund Pelouze, and a key figure in the Pelouze type foundry family. In 1817, he worked for the Boston Type Foundry, and later in Boston, he worked for Phelps, Dalton and Co, He moved to New York to work as a typefounder for White's (1829) and set up his own foundry, the Pelouze Foubndry, in 1830. In the central part of his life, he moved type equipment to San Francisco and set up a foundry there in 1848. But he returned to Boston, where he bought the Boston Type Foundry in 1853 with John K. Rogers, to form the John K. Rogers Foundry. His three sons, whom he had introducted to typefounding, would all become successful typefounders as well. Not to be coinfused with his son, Edward Dalton Pelouze or his grandson, Edward Craige Pelouze. [Google] [More]  ⦿

Edward Penfield

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

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

Edward Rondthaler

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

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

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

Edward Rondthaler
[Photo-Lettering Inc.]

[MyFonts] [More]  ⦿

Edward Taylor

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

Behance link. [Google] [More]  ⦿

Edwin Allen

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

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

Ege Dalaman

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

Elaine Chng

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

Elaine Lustig Cohen

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

Elba Lopez

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

Elda Hadajain

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

Elen Winata

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

Elena Anderson

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

Eli Heuer

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

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

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

Elianna Vann

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

Eliza Gwendalyn
[Studioways]

[MyFonts] [More]  ⦿

Elizabeth Carey Smith

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

  • At Type@Cooper (2011-2012), she designed the crisp, elegant and feminine geometric sans typeface Brightcut.
  • In 2011, she created Howland New at Type@Cooper. This is a revival of a typeface from 1892 by John F. Cumming. Mac McGrew comments on Howland: Howland was introduced by Dickinson in 1892 as a "companion series to DeVinne." The same design was called DeVinne Condensed (No.3) by Keystone Type Foundry, but differs from the De Vinne Condensed issued by other sources. Howland Open followed in 1894; it was copied by Linotype as Condensed Outline and suggested through the 1940s as a display typeface for classified advertising pages which banned bold types. Compare DeVinne Condensed, MacFarland Condensed.
  • Various typefaces that are part of Elizabeth's Imaginary Alphabets: Marguerite (Victorian), Harlemite (vernacular).
  • Typefaces in the works (as of 2017): Jada (a great rounded sans), Avedon.

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

Elizabeth Cory Holzman

Born in Cambridge, MA, in 1970, and educated at the Rhode Island School of Design (1988-1993), Eliabeth now lives near New York City where she is Principal of Elizabeth Cory Studios. From 1993 until 1995 she was senior font designer at Font Bureau, and from 1996-1998, she was font manager and designer at Meta design in Berlin.

Agfa Creative Alliance designer who made the art deco all caps typeface Brok (1995), which first appeared in 1919 as poster letters cut in wood by Chris Lebeau for the Willem Brok Gallery in Hilversum, Holland. At Font Bureau, she designed the heavy geometric slab serif family Constructa, which is based on Morris Fuller Benton's 1934 ATF design called Tower.

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

Elizabeth Dantzler

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

Elizabeth Kenney

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

Elizabeth McGuirl

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

Ellen Lupton

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

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

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

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

Elliott Burford

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

Behance link. [Google] [More]  ⦿

Elysia Berman

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

Emalis Robateau

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

Embossdesign.com
[Stephen Boss]

Emboss was founded in 1995 by Stephen Boss (b. 1969, Michigan), and is located in Beacon, NY, and Camillus, NY. Stephen Boss lived in Gloucester, MA, then in Brooklyn, NY, and finally near Syracuse, NY. His fonts are sold by Monotype Imaging / ITC and Myfonts.

Typefaces include Babalon, Oo La La, Chubbét (2010: sans family, +Distended), Tobago, Phervasans (pixel face), DNA, Elefont, Eurydome (2010, like Eurostile?), Thai One One (a Thai simulation font), Jerusalem Syndrome, Dramaminex, Crossell (2010, a sans family), FaxFont97, Embossanova (2012), Chubbét Extended (2012), EmBauhaus (2012), and Zyncho. [Google] [MyFonts] [More]  ⦿

Emil J. Klumpp

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

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

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

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

Emil Ruder

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

Author of Typographie: Ein Gestaltungslehrbuch - A Manual of Design - Un Manuel de Creation (Teufen: Niggli, 1967), and Typographie. Ein Gestaltungslehrbuch. Mit über 500 Beispielen (7th edition in 2001, Niggli). The Road to Basel (Helmut Schmid) is an homage to Emil Ruder by Helmut Schmid, one of Ruder's students, who headed a group of other ex-students and organized their contributions. The former students who participated are Harry Boller, Roy Cole, Heini Fleischhacker, Fritz Gottschalk, André Gürtler, Hans-Jürg Hunziker, Hans-Rudolf Lutz, Fridolin Müller, Marcel Nebel, Åke Nilsson, Bruno Pfäffli, Will van Sambeek, Helmut Schmid, Peter Teubner, Wolfgang Weingart, and Yves Zimmermann. Karl Gerstner and Kurt Hauert also contributed. Paul Shaw reviews this book and Ruder's contributions.

Quotes from Shaw's piece:

  • It is clear that those lucky enough to study under Ruder found him as exciting and demanding as they had expected. With a few exceptions these former students quickly and permanently fell under the sway of the charismatic and ambitious Ruder.
  • Ruder promised a new functionalism derived from the Bauhaus. His was a new approach to typography that went beyond the technical fundamentals of metal type composition to embrace modern art (especially that of Paul Klee and Piet Mondrian). Ruder focused on the point, the line, the plane, and the way in which typography activated space. His article Die Flache (the plane or the space), following lessons he had learned from The Book of Tea by Kakuzo Okakura and from modern art, stressed the activation and destruction of space as the goal of typography as well as of art and architecture.
  • Ruders typography is defined by asymmetry and an emphasis on counter, shape, and negative space.
  • Harry Boller writes that Ruder and his students were Puritans on a mission, serious, humorless. We had been led to a morality, and strong convictions remain. Banality, lack of imagination, and swiping of ideas were all ridiculed, while sincerity of expression was encouraged. Gottschalk says that Ruder taught courtesy, ethics, and modesty as much as he taught typography.

IDEA Mag's special issue #332 entitled Ruder Typography Ruder Philosophy (2009), with articles by Leon Maillet (Tessin), Armin Hofmann (Lucerne), Karl Gerstner (Basel), Kurt Hauert (Basel), Lenz Klotz (Basel), Wim Crouwel (Amsterdam), Adrian Frutiger (Paris), Hans Rudolf Bosshard (Zurich), Andre Gutler (Basel), Juan Arrausi (Barcelona), Ake Nilsson (Uppsala), Fridolin Muller (Stein am Rhein), Harry Boller (Chicago), Maxim Zhukov (New York), Taro Yamamoto (Tokyo), Fjodor Gejko (Düsseldorf), Helmut Schmid (Osaka), and Susanne Ruder-Schwarz (Basel).

Article on Ruder by Shane Bzdok, 2008. [Google] [MyFonts] [More]  ⦿

Emily Atwood

Emily Atwood is an independent designer based in New York City. She has previously worked as a Senior Designer at Pentagram Design in New York City for Paula Scher, leading identity, editorial, campaign and web design projects. In 2014, she earned her Bachelor of Arts in Visual Art at Fordham University in the Bronx, New York, and obtained a BFA in Graphic Design + Digital Media at Laguna College of Art + Design in 2017. She is currently involved in the Type at Cooper Extended Program Certificate in Type Design at The Cooper Union in New York City. She is also an adjunct instructor in the design departments for Laguna College of Art and Design in Laguna Beach, California and The School of Visual Arts in New York City. Her typefaces:

  • Uraniya. A book typeface inspired by a book printed in 1928---an almanac called Uraniya containing the literary works and life of Fyodor Tyutchev, who was an acclaimed Russian poet and diplomat.
  • A typeface planned for release by Order Type Foundry in 2022.
[Google] [More]  ⦿

Emily Borden

At Nazareth College of Rochester, Emily Borden (Honeoye Falls, NY) designed the elegant display typeface Aurea Script (2017). [Google] [More]  ⦿

Emily Chan

Buffalo, NY-based designer, who created the experimental typeface Lines (2012). [Google] [More]  ⦿

Emily K. Moore

Emily Moore (Rochester, NY) created an experimental shadow caps typeface called Houdin (2012), based on Avenir.

During a type design class of Kris Holmes, Emily Moore (Rochester, NY) designed Sanscery (2013), a calligraphic sans. [Google] [More]  ⦿

Emily Mendoza

During her studies, Utica, NY-based Emily Mendoza designed the handcrafted typeface Humble Bumble (2017). Behance link. [Google] [More]  ⦿

Emily Simpson

During her studies in New York City, Emily Simpson designed Fragmented (2017). [Google] [More]  ⦿

Emma Brooks

During her studies in Rochester, NY, Emma Brooks designed the ornamental caps typeface Seals (2012). [Google] [More]  ⦿

Emma Grey: Newspaper and magazine typefaces

Emma Grey (Brooklyn, NY) surveys typeface choices for various media. She compiled he following lists:

  • Newspapers:
    • Moderno FB: Used by Reforma, El Norte, Baltimore Sun, Montreal Gazette.
    • Houston: Used by the Houston Chronicle.
    • Guardian: Used by The Guardian.
    • Letras Oldstyle: Used by Letras Libres.
    • Miller Headline: The Boston Globe.
    • Miller Daily: Used by The Guardian.
    • Stilson: Used by The Washington Post.
    • Sky News HD: Used by Sky News.
    • Rocky: For Rocky Mountain News.
  • Magazines:
    • Moderno FB: Used by Esquire Gentleman.
    • Salvo Sans and Serif: Used by AARP Publications.
    • Stainless: See Premiere Magazine.
    • Garamond FB and Skyline: Used by Conde Nast.
    • Popular: Used by Popular Mechanics.
    • Heron Sans: Used by Men's Health.
    • Tangier and Miller Banner Black: Used by Glamour.
    • Reactor FB: Used by Fuse Magazine.
    • High Tower Used by AIGA Journal.
[Google] [More]  ⦿

Emma Hanson

Manhattan, NY-based designer of the thin modular typeface Gem (2014). [Google] [More]  ⦿

Empire Type Foundry
[Claude Persons]

The Empire Type Foundry of Delevan, New York was established in 1893 remaining active until it's demise in 1970. According to Annenberg, this foundry was not a part of, or affiliated with, The older Empire State Foundry, which apparently closed at least a year prior to the opening of The Empire Type Foundry. Even though the casters used by Empire were Monotype machines, the type produced was well formed and of a high quality. It was initially owned by Wilbur F. Persons and Claude Persons. A picture of fists from the catalog #18, published in 1923.

[Google] [More]  ⦿

Empire Wood Type Co.
[Edward A. Capen]

American wood type manufacturer in New York City, est. 1901 by Edward A. Capen. In 1936, the holdings were sold to American Wood Type Co., which was also in New York City.

Examples of typefaces: Bulletin Script (1870, back slanted, a simulated psychedelic brush face). [Google] [More]  ⦿

Enoch Noyes

Author of Noyes's Penmanship (1839, Jenks&Palmer, New York). Samples from that book: calligraphy, German text, hand exercises, Old English. [Google] [More]  ⦿

Eric Eaton
[Deliberate Design]

[More]  ⦿

Eric VanDycke
[Omega Font Labs]

[More]  ⦿

Eric Vasquez

Eric Vasquez is a Brooklyn-based graphic designer. Eric has a BA in Graphic Design from the New England Institute of Art in Boston. In 2012, he created the ornamental caps typeface Royal Highness. Creattica link. [Google] [More]  ⦿

Eric Warner

Brooklyn, NY-based designer of Shell Type (2013). [Google] [More]  ⦿

Erica Carras

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

During her studies at Type@Cooper in 2018, Erica Carras developed the calligraphic foliated text typeface Pyk and wrote: Inspired by Helmut Salden's brush lettering, the process of uniting a running hand (italic) system of calligraphy into an upright text face gave Pyk its unconventional letter shapes. Looking at the o, e, c and s, these traditionally round letters instead follow a triangular model, echoing the n's counter shape and the bouncing upstrokes that connect the stems. This upward motion directs the eye forward and also creates an even diagonal rhythm across the line of text. To increase legibility as a text face, Pyk has low contrast, uniform letter widths, and generous spacing. Pyk stands at the crossroads between calligraphy and type design, with a bounce in its step. Pyk won an award at the Type Directors Club's Type Design Competition 2019.

Future Fonts link. [Google] [More]  ⦿

Erica Schultz

Erica is a graphic designer, Judaica artist, writer, community organizer, vocalist (mezzo-soprano) and performer. After 22 years in the Boston area, she relocated in September 2011 to the Upper West Side of Manhattan, where she lives with her partner, the actor Tom Giordano. Fontspace link.

Creator of Erica's Handwriting (2007, Fontifier). [Google] [More]  ⦿

Erik Jarlsson

New York City-based designer of the Peignotian display typeface Accessories (2016). Behance link. [Google] [More]  ⦿

Erika Hinostroza

New York City-based designer of the squarish display typeface Neolithic (2014). [Google] [More]  ⦿

Erin Fitzsimmons

Brooklyn-based book and type designer. During her studies at Type@Cooper in New York (2011-2012), she designed the elegant text typeface family Spright. [Google] [More]  ⦿

Erin McLaughlin
[Fontwala (was: Hindi Rinny)]

[MyFonts] [More]  ⦿

Erin Redfield

During her communication design studies in Buffalo, NY, Erin Redfield created the experimental typeface Cable (2014). [Google] [More]  ⦿

Esther Klingbiel

At Parsons School of Design, Brooklyn, NY-based Esther Klingbiel designed the modular shaded typeface Schoolteacher (2015, FontStruct). FontStruct link. [Google] [More]  ⦿

Esther Lee

During her studies, Esther Lee (Brooklyn, NY) created the thin octagonal display typeface Moda (2015). [Google] [More]  ⦿

Etcetera Type Company (or: ETC; was: Finck Font Co)
[Tyler Finck]

Graphic designer and musician (b. 1982) at the New York studio AWP who grew up in Maine and is currently based in Ithaca, NY. In 2018, he founded Etcetera Type Company, which is based in Spencer, NY.

His typefaces:

  • The fat counterless caps typefaces Blackout and Blackout Midnight (2008). Blackout Sunrise (2013) is an outlined face and Blackout 2am is a reversed font. Blackout Noon followed in 2014. Free download of Blackout at the League of Movable Type.
  • Ostrich Sans (2011). This typeface comes in many weights, including a beautiful Ostrich Sans Inline and a hairline. In 2016, this was followed by the layered monoline sans typeface family Ostrich Proper (+Inline).
  • Knewave (2011, Google Web Fonts). A brush signage face. League of Movable Type link.
  • Porter Sans (2013). A large wide headline type family. It has a free inline outline weight. Later additions include Porter Sans Ink (2014) and Porter Rough (2016). Porter FT, which includes new rounded styles, was added in 2017.
  • Elm (2013). Hand-printed.
  • Lickety Split (2013). A crayon or brush face.
  • Almost (2013). A poster typeface.
  • Guilder (2011-2013). A free typeface family with an inline thrown in.
  • Ithaca Sans (2013).
  • Fartlek Sans (2014). A handcrafted poster typeface.
  • Katahdin (2014). A free font.
  • Upstater (2014). A a classical American gothic with shaded and layered styles.
  • Grandstander (2014). A comic book face. Grandstander Classic (2017). In 2020, Grandstander became a free Google font---and a two-axis variable font was added for the occasion.
  • Boo City (2014). A pixel face.
  • Didactic Display (2014). A grungy typeface.
  • Upstater Ink (2014). A grungy typeface.
  • Finck32A (2014).
  • Saturnight (2014). A heavy brush typeface.
  • Typocopia (2014). A letterpress emulation typeface.
  • Taurus Mono (2014). An outline font.
  • Southpaw (2014). A nice informal hand.
  • Chawp (2014). A crayon face.
  • Mr. Brunch (2014). A brush face.
  • Gluten FT (2014).
  • Flabbergast (2015). A didone.
  • Korsque (2015). A layered typeface.
  • Bico (2015). A rounded condensed organic typeface.
  • Ichabod (2016). An antiqued serif typeface.
  • Altitude Condensed (2016).
  • Imbue (2016). A condensed didone poster typeface (also called a skyline typeface) at Google Fonts. See also Imbue FT (2017). ETC Imbue (2019) is a variable font version of Imbue with a variation in optical size from Text to Display.
  • Retrograde (2016). A monoline and monospaced organic sans.
  • Plainview (2016). A squarish and fat typeface.
  • Nonesuch (2016). A condensed sans.
  • Juju (2016). An octagonal layered typeface family.
  • Atiga (2017).
  • Mr Brunch FT (2017). A children's book font.
  • League Mono (2017). A free font.
  • ETC Gluten (2018). An organic font family.
  • ETC Epilogue (2018). A variable sans font. Github link. Google Fonts link. Prologue (2020) is a reworking of ETC Epilogue.
  • ETC Anybody (2018-2020). A 72-style variable font with weight, width and slant axes. Free at Google Fonts. He writes: Anybody is a big family that combines an affinity for Eurostile plus a heavy dose of 90s inspiration. It's flexible enough to adapt to a variety of situations. From UltraCondensed to ExtraExpanded, type set in Anybody can take up a tiny amount of horizontal space or so much space that you'll need several lines. Its high x-height and low cap height help exaggerate extreme widths and weights. Github link.
  • Furrow (2018). A grungy sans.
  • Cease (2018). A squarish techno typeface.
  • ETC Trispace (2019). A variable font with weight and width axes, based on League Mono.
  • ETC Tourney (2019). A variable octagonal font, playing on the theme of outline versus inline. Free Google Fonts download (2020-2021). Github link.
  • Struthio (2019). A rounded sans.
  • Birdo (2020). An inline typeface.
  • Gluten (2021). A free script font family at Google Fonts.

Alternate URL, called The League of Movable Type. Typedia link. Kernest link. League of Movable Type link. Creative Market link, Klingspor link. Dafont link. Home page. Creative Market link. Abstract Fonts link. Google Plus link. YWFT link. Old home page. Behance link. Github link. [Google] [MyFonts] [More]  ⦿

Ethan Callender

Brooklyn-based creator of Monel 400 (2011), a multiline art deco poster typeface commissioned by Duke University. [Google] [More]  ⦿

Ethan Cohen

Typeface designer and calligrapher from New York City, where he worked at Mucca and studied typeface design at The Cooper Union's Type@Cooper Extended Program. Graduate of the Type Media program at KABK in Den Haag, The Netherlands, class of 2019. Presently located in Berlin. His typefaces:

  • Sig (2018). An update and extension of Rudolf Koch's blackletter typeface, Wallau. Sig won an award at the Type Directors Club's Type Design Competition 2019. It covers Latin and Cyrillic and features a Basque capital A.
  • His KABK graduation typeface, Decibel (+Text, +Display) (2019). He writes that Decibel embodies the ethos of 1960's and 1970's American funk music: it is quirky, flavorful and syncopated. He writes that Decibel Text was inspired by the charming but naive 19th century British slab serif designs of Caslon, Figgins and Thorowgood.
  • Contrakt (2017). A text typeface family for contracts. He writes: Contrakt is a warm, but sturdy and authoritative, text typeface family inspired by the limited palette of typefaces that were available to me in my former life, when I worked in the legal department at a NYC record label. Contrakt was my final project for the 2016-2017 Type@Cooper Extended Program.
  • Melantius (2016). A revival of Bulmer as it appeared in Cheshire House's 1932 edition of Beaumont & Fletcher's The Maide's Tragedy. Melantius was Ethan's first semester project for the Type@Cooper Extended Program.

Future Fonts link. [Google] [More]  ⦿

Ethan Paul Dunham
[Fonthead Design]

[MyFonts] [More]  ⦿

EunJee Kim

EunJee Kim, also known as Joy, graduated from the Rhode Island School of Design with a BFA in graphic design, in 2012. She is actively working on her personal projects, and as a freelance graphic designer in New York. She did an experimental shaky version of Futura in 2013. [Google] [More]  ⦿

Eunjee Kim

Graduate of the Rhode Island School of Design in 2012, who works in New York City. Creator of Experimental Typeface 01 and 02 (2012). [Google] [More]  ⦿

Eunsung Do

During her studies at the School of Visual Arts in New York, Long Island City, NY-based Eunsung Do created Fontissimo (2014, a Peignotian typeface) and Ink (2014, a plump didone typeface). In 2011 and 2012, she studied interior design at Kookmin University in Korea. [Google] [More]  ⦿

Eva Cassetta (was: Eva Kamieniak)

Eva Kamieniak Cassetta is a graphic and web designer who studied at Virginia Commonwealth University in Richmond, VA. She now lives in New York City (was: Pearl River, NY).

Her typefaces include

  • Acoma (2010). Acoma has a native American Indian look---it is based on the motifs and style of the Acoma Pueblo's traditional pottery. The type was applied as an identity system for the National Museum of the American Indian.
  • Lean (2010). A typeface made to illustrate a book on a fight between a whale and a squid.
[Google] [More]  ⦿

Eva D'Ignazio

In Kris Holmes's class in Rochester, NY, Eva D'Ignazio designed the blackletter-inspired typeface Mandel (2013). [Google] [More]  ⦿

Evan Pittson

New York City-based designer of Harvest Display (2015: an Italian art deco-inspired geometric sans typeface) and Orbit Display (2015, an all caps fashion mag didone typeface). It seems that Harvest Display was renamed Precita after one day. In 2017 he designed Meca. [Google] [More]  ⦿

Evan Pokrandt

During his studies at School of Visual Arts, New York City, Evan Pokrandt created the hexagonal typeface Honeycomb (2014) and the tall typeface Toothsome (2014). Behance link. [Google] [More]  ⦿

Evelyn Bellreng

During her studies, Evelyn Bellreng (Niagara Falls, NY) used pieces of a can opener to design the experimental typeface Obscura (2017). [Google] [More]  ⦿

Ever Morera

Larchmont, New York-based graphic designer. During his Electronic Design and Multimedia (EDM) studies at The City College of New York in 2012, he designed the simple monoline font Ever's Typeface. [Google] [More]  ⦿

Excelsior Publishing

New York-based publisher of Scroll Book (1876), which showcases some ornaments and borders. [Google] [More]  ⦿

Expert Alphabets
[George Abrams]

George Abrams (b. 1919 or 1920, Brooklyn, d. 2001, Manhasset, NY) is the designer of the gorgeous font families Augereau, Abrams Caslon and Venetian, at Expert Alphabets in Great Neck, NY. Abrams taught lettering and typeface design at the Parsons School of Design, the New School for Social Research and at the Columbia University Teachers College. He had over 50 years of Madison Avenue experience designing ads, logos, typography and lettering for Fortune 500 companies and more. His early typefaces were photo types published by Headliners in New York City. He died on June 7, 2001 at age 81.

About Augereau: This is the only digitized typeface by George Abrams [in fact, the digitization is due to Charles Nix, for George Abrams]. Its 28 weights include over 2,000 sorts including expert, OsF,&alts. Augereau is named for Antoine Augereau, who was a typographer who had a few claims to fame - one was that he was Claude Garamonds teacher, and two was that he was sentenced to death for heresy in 1544. Heresy for a typographer in 1544 meant that he printed something that the king or the Pope didn't like and died for it.

I would like to thank Poul Steen Larsen for clarifying the history of Abrams' Venetian: The Abrams Venetian was donated to Mr. Poul Kristensen of Herning (in Jutland), then Printer to the Royal Court (which he has ceased to be in 1995). You are right about the font being today locked to Poul Kristensen' old Linotron, from which not even Linotype experts brought in to unlock it, could get it out for conversion into an up-to-date digital font. So the font will disappear from the type arena when Kristensens Linotron one day breaks down. You can trust me, for I was the one who established the contact between George and Mr. Kristensen back in 1986. The font was first used in 1989 in a book by Martin Lowry, British renaissance historian, with the title Venetian Printing. George Abrams' chalk drawings of the entire alphabet in regular and italic were scanned, more precisely vectorised on-screen and downloaded in Denmark by the Kristensens and therefore, in one sense, could be called the first Danish complete font. A sample of the first use of Abrams' Venetian. A second sample from "Venetian Printing". Abrams Venetian was digitized at some point by Jorgen Kristensen for Poul Kristensen Grafisk Virksomhed Printer.

Apostrophe wrote this about Abrams Caslon: This was actually reviewed by Caflish and, if I remember correctly, Mark vonBronkhorst, so there are at least 3 or 4 copies of it out there, other than the Abrams' estate original data. Sumner Stone once said that this is the best Caslon he has ever seen. At least he has seen it; I haven't.

The typefaces by Abrams (Abrams Venetian and Augereau) are preserved in the New York City-based Abrams Legacy Collection (see also here).

Klingspor link. [Google] [MyFonts] [More]  ⦿

Faire Type Foundry
[Sabrina Nacmias]

Sabrina Nacmias is a New York-based graphic designer, who graduated from Pratt Institute, and started studies at Type@Cooper in 2020. She co-founded Faire Projects in 2016 and Faire Type Foundry in 2020 with her partner Maxime. Based in Brooklyn, Faire Type Foundry published these typefaces in 2020:

  • Knotel. An all caps display sans.
  • Ladonia. Hipster style.
  • Myron. A lapidary typeface.
  • Octave. A text typeface.
  • Palme. A sans typeface.
  • Sprig. A text typeface.
  • Via. An angular text typeface.
[Google] [More]  ⦿

Fanetiks

A phonetic roman-character based proposal by L. Craig Schoonmaker (New York). [Google] [More]  ⦿

Farhana Ali

New York City-based creator of the nicely tuned squarish typeface Sharp Turns (2011). [Google] [More]  ⦿

Farmer, Little&Co.
[A.D. Farmer]

New York-based foundry, also called White's Type Foundry and A.D. Farmer Foundry. It was created in New York in 1862, and sold to ATF in 1892. Many of its typefaces were digitized in recent years, such as the art nouveau typeface Palm (1887), which resurfaced as Palmetto (2005, Solotype Foundry). Arbor was revived by Nick Curtis as Surely You Jest NF (2005). The slab serif (almost wood type) typefaces Antique No. 2 and Antique Light Extended live on in digital form as Old Mac Donald NF (2011, Nick Curtis) and Spade (2012, Canada Type). Monotype's Scotch Roman MT [link] is based on a typeface from A.D. Farmer. The art nouveau typeface Vassar (1887) was recreated in digital form as Foxcroft and Foxcroft Shaded (2005, Nick Curtis). Specimen book (1867) can be consulted freely on-line or here. From that book: ornament of a horse and cart.

Catalogs published by Farmer include Specimens from the A. D. Farmer&Son Type Founding Co. Including Book, Newspaper and Jobbing Type, Brass Borders and Rules, with Complete Price List, &c, New York, 1897. Farmer and Little published The Reduced Price List and Latest Specimens of Printing Types Etc. (In an Abridged Form.) Cast by Farmer, Little&Co., Type Founders in New York in 1882. In 1900, A.D. Farmer & Son published Typographic specimens: illustrated catalogue. Farmer, firm, type-founders, New York, a 607-page catalog.

Linotype link. [Google] [MyFonts] [More]  ⦿

Federico Perez Villoro

Federico Perez Villoro is a Mexican artist and designer based in Brooklyn, NY. Interested in the sociopolitical implications of communication technologies, his work focuses on the relationship between language and identity. Federico holds an MFA from Rhode Island School of Design (RISD). In 2016 he was an artist in residence at California College of the Arts (CCA), where he taught in the MFA Design program. He is a critic at RISD, where he started teaching in spring 2017.

As a student at Rhode Island School of Design, class of 2013, he created the display typeface Eme. [Google] [More]  ⦿

Felecia Wolff

Graduate from the Rochester Institute of Technology in 2009 with a BFA in Graphic Design. Designer and art director in Brooklyn, NY, who created the experimental typeface Crushes (2014). Behance link. [Google] [More]  ⦿

Felipe Giglio

Designer of the geometric New York City Typeface (2012), and of London (2012). [Google] [More]  ⦿

Felitasari Rekso

Aka Tata. Indonesian graphic designer and illustrator based in Jakarta and New York. She was born and raised in Jakarta, Indonesia and studied at Parsons School of Design in New York. Her typefaces from 2021: Sans Skript (Sans-Skript is a display typeface that is inspired by Javanese Script (or Sanskerta in Bahasa Indonesia), one of Indonesia's many traditional scripts that were commonly used by Javanese people from ca. 1450 until ca. 1950). [Google] [MyFonts] [More]  ⦿

FELTRON
[Nicholas Felton]

New York-based Nicholas Felton's fonts at FELTRON: the pixel fonts Remove (OpenType), Foss (caps inspired by Icelandic writing), Whip, Amtrix S (pixel type), Megabit, Sibilance, Amtrix 4, Amtrix 5, Amtrix 6. He also made the experimental geometric typeface Shipflat (2004, T-26), which won an award at the TDC2 2005 type competition.

Klingspor link. [Google] [More]  ⦿

Femi Ford

Artist in Warwick, NY, who created the hand-printed typeface Femi Ford (2012, iFontMaker). [Google] [More]  ⦿

Fernando Castello Branco

During his studies at UFC in Fortaleza, Brazil, Fernando Castello Branco created Niemeyer (2013), a display typeface that was influenced by Oscar Niemeyer's architecture. [Google] [More]  ⦿

Fielding Schofield

Off-hand flourishing artist, b. Poughkeepsie, NY, 1845, d. 1924. He worked in many eastern states but reached the peak of his craft while teaching from 1883 until 1890 at the Gem City Business College in Quincy, IL. After that, he taught in San Francisco, Utica, NY and Boston, MA. [Google] [More]  ⦿

Filmotype Sales Company

Filmotype Sales Company was located at 4 West 40th Street in New York City. In 1955, they published a catalog entitled Lettering Styles Display Types, from which some samples are shown in the link. The catalog has no full alphabet specimen and is thus of limited value for type historians and type revival experts. Frank J. Romano writes here: In 1952, Al and Beatrice Friedman [the founders of Filmotype] introduced the Filmotype, a simple manual phototypesetter that was not much bigger than a shoebox and used 2-inch filmstrips with all glyphs in linear order, with marks below them so that the operator could position the letter and expose it to the photo paper. The process was blind in that you could not see the letters as they were exposed. The Friedmans would go on to introduce the Alphatype phototypesetter. The Sybold Report mentions: Filmotype has a 35-year history as a supplier of filmstrip headline setters. Its founders later moved on to start Alphatype Corporation, keeping Filmotype as a subsidiary. In 1987, Harry and Seta Brodjian, who were Alphatype employees, acquired Filmotype with the intention of rejuvenating the company. In 1989, the firm began development of a digital headliner. A year later, it began digitizing its fonts. The company was renamed Filmotype Corporation. The fonts were at one point sold in packages such as a 30 dollar TrueType Font Package of 100 designer typefaces and an EZ Effects Windows program. Typefaces were renamed: Clarendon becomes Clarion, and so forth. At that point, Filmotype had offices in Glenview, IL, and was run by Gary Bunsell. About the renaming practices, the typophiles mention that Filmotype fonts were given letters&numbers by VGC when they pirated a substantial number of them. Their original names were attached by someone going through a dictionary and just picking arbitrary words for Filmotype fonts that were initially just letters and numbers also.

In 2006, the Filmotype collection was bought by Font Diner. In 2007, Font Diner started publishing digitizations of the collection: Glenlake (condensed Bank Gothic, by Mark Simonson), MacBeth (script), Alice (casual script), Zanzibar (calligraphic), La Salle (brush writing originally by Ray Baker in the 1950s, named after Chicago's LaSalle Street), Quiet, Ginger (Mark Simonson; masculine headline typeface genetically linked to Futura), Austin (paintbrush), Brooklyn (hand-printed), Honey (handlettered script), Jessy (handwriting), Modern (i), Vanity.

In 2010, Stuart Sandler published a book entitled Filmotype by the Letter, in which he details the company's history. He also set up Filmotype as a foundry in Eau Claire, WI. Additions to the Filmotype collection in that year include the signage typefaces Filmotype Kentucky, Filmotype Kingston, Filmotype Harmony and Filmotype Hamlet, and the geometric sans Filmotype Fashion (orig. 1953). The signage typefaces were originally made by Ray Baker for Filmotype in the 1950s, and were digitized by Patrick Griffin and Rebecca Alaccari.

Activity in 2011. Patrick Griffin and Rebecca Alaccari revived the condensed sans typeface Filmotype Giant (2011) and its italic counterpart, Filmotype Escort (2011), as well as Filmotype Prima (a sho-card face from 1955). Neil Summerour contributed Filmotype Horizon after an original signage typeface from 1954. Mark Simonson created Filmotype Gay, a tall monoline sans originally from 1953. Filmotype Ford (2011) and Filmotype Jamboree (2012, an informal script based on a 1965 original) are due to Stuart Sandler. Filmotype Quartz is an inline face.

Activity in 2012. Alejandro Paul contributed two scripts, Filmotype Yukon (based on Palmer style penmanship) and Filmotype Zephyr (formal italic roman). Later in 2012-2014, the production took off, with many contributions by Patrick Griffin and Charles Gibbons (who created Filmotype Zeal in 2013 for example).

Typefaces from 2021: Filmotype Kinzie (by Lily Feinberg), Filmotype Andrew (by Patrick Griffin; a bold and wide extension of the retro casual script font Filmotype Athens). [Google] [MyFonts] [More]  ⦿

Fine Art in Print

Books on graphic design and typography. This store is located in New York (159 Prince Street, Soho), and takes electronic orders (free shipping in the USA). [Google] [More]  ⦿

Flavia Zimbardi
[Zimbardi (was: Zimbardi Calomino)]

[More]  ⦿

Flavia Zimbardi

Flavia Zimbardi is a type designer and visual artist from Rio de Janeiro, based in Berlin. From 2005 to 2013 she worked for some of the leading magazines in Brazil. Flavia is a graduate of the Type@Cooper Extended Program at the Cooper Union, class of 2017. In 2018, she started Zimbardi Calomino together with Caetano Calomino, and in 2020 she co-founded Undercase Type with Phaedra Charles in Brooklyn, NY. Her typefaces:

  • Her graduation project, Lygia. It was awarded by the Type Directors Club and at Tipos Latinos 2018. Released in 2019 by Future Fonts, she writes: Lygia explores the duality of sharp and round forms with stylish cues and historical references from 16th-century masterpieces by Robert Granjon to the geometric approach of W.A. Dwiggins. An homage to Brazilian neo-concrete artist Lygia Clark, originally designed in 2017 as Flavia Zimbardi's degree project for the Type@Cooper extended program in New York. Lygia is a variable font with a weight axis. After Type@Cooper, Flavia settled in Berlin, Germany. In 2021, she released the companion typeface family Lygia Sans.
  • The piano key typeface Joschmi (2018). An Adobe Originals font designed as part of an effort to revive Bauhaus treasures, and named after Joost Schmidt.
  • In 2018, using a speed stroke technique, Caetano Calomino developed the signpainter font ZC Casual together with Flavia. It was re-released at Undercase in 2020.
  • In 2020, Phaedra Charles and Flavia Zimbardi co-designed the free decorative text typeface Fraunces at Undercase Type. Google Fonts link for Fraunces.
  • At Lost Type and Undercase Type, Phaedra Charles, Kelly Thorn, and Flavia Zimbardi published the chunky art nouveau typeface Regina Black (2020).

Future Fonts link. Older Future Fonts link. Note: MyFonts incorrectly calls her Flavia Zambardi. [Google] [MyFonts] [More]  ⦿

Flëve
[Vit Abramov]

Founder and creative director at Flëve in New York City.

Mobispot Regular (2013) is a beautiful contemporary geometric grotesque for Latin and Cyrillic, designed by Olga Balina and Vit Abramov at Flëve for Mobispot Social Systems, a company that creates cool applications for life and business based on NFC technology.

Behance link. Behance link for Flëve. [Google] [More]  ⦿

Flëve Partners
[Vit A]

Brand design consultants in New York City. In 2014, under the guidance of partner Holga Balina and founder and creative director Vit A, they designed Mobispot Regular (Latin & Cyrillic), a contemporary geometric grotesque, which was created for Mobispot Social Systems, a company that creates applications for life and business based on NFC technology.

Bwehance link for Vit A. Behance link for lëve Partners. [Google] [More]  ⦿

Flor Baumann

During her graphic design studies in Utica, NY, Flor Baumann created the display typeface Ents (2013). [Google] [More]  ⦿

Florian Fangohr

Principal and founder of Fangohr LLC in Brooklyn, NY. iFontMaker who created Handvetica (2011). [Google] [More]  ⦿

Font & Co
[Francesco Gianesini]

Font & Co. is an independent type foundry established in 2017 by Francesco Gianesini, co-founder and Creative Director of Gianesini Design, a multidisciplinary design studio based in New York City. He started Gianesini Design with his wife Tina in 1994. In 2018, he published Wah Wah Narrow (a condensed logo or headline font), the Italian art deco typeface Via Roma Display, and the geometric display font Lingotto Black, which was by early 70s Italian lettering.

In 2021, he released Timbro (Italian for rubber stamp), an all-caps, decorative display typeface with flared terminals based on lettering from old Land Registry records. [Google] [MyFonts] [More]  ⦿

Fontaste
[Miguel Reyes]

Miguel Reyes (b. 1984) is a graphic and type designer from Puebla, Mexico, who studied at Benemérita Universidad Autónoma de Puebla. He obtained a Masters in Type Design from Centro de Estudios Gestalt Veracruz. Since 2010, he cooperates with Typerepublic in Barcelona. Founder of Fontaste. Graduate of the TypeMedia program at KABK Den Haag in 2012.

His graduation project consisted of two display typefaces, Naila (a wedge serif) and Rocco (a fattish round sans face).

Typefaces at Fontaste, ca. 2013: Plastilina (+Display, +Deco: signpainter family), Sancho, Candela (signpainter script).

He joined Commercial Type in New York City in 2013. Miguel's grandest achievement to date is Duplicate (2013, Commercial Type: with Christian Schwartz), a typeface family that comes in three substyles, Slab, Sans and Ionic. Commercial Type writes: Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive and a handful of details, like the shape of the lowercase a, Duplicate Sans is not a revival, but rather a thoroughly contemporary homage to Excoffon. Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of Fast Company. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes's creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. Mark Porter and Simon Esterson were the first to use the family, in their 2013 redesign of the Neue Züricher Zeitung am Sonntag. Because the Ionic genre has long been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts. Duplicate Ionic won an award at TDC 2014.

Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies.

Gabriello (2015) is a soccer shirt font designed by Paul Barnes and Miguel Reyes: Inspired by brush lettering, Gabriello was commissioned by Puma. First used by their sponsored teams at the 2010 Africa Cup of Nations, it was later used at that year's World Cup, held in South Africa. It was used on the kits worn by Algeria, Cameroon, Cote d'Ivoire, and Ghana.

Marian Text (2014-2016) is a grand collection of ultra thin typefaces designed at Commercial Type by Miguel Reyes, Sandra Carrera, and Paul Barnes. Marian Text 1554 depicts the old style of Garamond & Granjon; John Baskerville's transitional form becomes Marian Text 1757; the modern of Bodoni, with swash capitals and all, becomes Marian Text 1800, and the early Moderns of the Scottish foundries of Alexander Wilson & Son of Glasgow, and William Miller of Edinburgh, become Marian Text 1812. And like the original, a black letter: Marian Text Black, referencing the forms of Hendrik van den Keere.

In 2015, Miguel Reyes designed the high-contrast sharp-edged yet curvy typeface family Canela at Commercial Type. It was followed in 2018 by Canela Condensed and Canela Text.

Ayer is an elegant condensed display typeface designed by Miguel Reyes between 2016 and 2019 for the fashion magazine W. Ayer (Commercial Type) was designed to be malleable and to assert a strong personality at a variety of scales. Commercial Type writes: Ayer Poster has the extremely high contrast that is typical of a fashion typeface and features four different italic styles: the workmanlike italic featured in all optical sizes, a chaotically beautiful Cursive with a full complement of swash capitals, a sharply stylish Angular, and Miguel's decidedly non-traditional interpretation of the staid Blackletter genre. In comparison, Ayer also has high contrast, though less so than the Poster. Finally, Ayer Deck is a low-contrast sans serif with gentle flaring.

Co-designer in 2019 with Paul Barnes of the fat face Isambard: The boldest moderns were given the name fat face and they pushed the serif letterform to its extremes. With exaggerated features of high contrast and inflated ball terminals, the fat face was the most radical example of putting as much ink on a page to make the greatest impact at the time. These over-the-top forms make the style not only emphatic, but also joyful with bulbous swash capitals and a wonderfully characterful italic.

In 2021, he designed the inky script typeface Candy Darling (with Christian Schwartz; commissioned by Richard Turley for Interview magazine) and Canela Blackletter (inspired by the long tradition of blacketter in Mexico) at Commercial Type.

In 2022, he designed the italic script typeface Eugenia at Commercial Type. Its four distinct fonts were derived from the 18th century work of Giambattista Bodoni. Eugenia was drawn to accompany Eugenio Serif, the design created for La Repubblica's weekly women's magazine D. [Google] [More]  ⦿

Fonthead Design
[Ethan Paul Dunham]

FontHead Design (Wilmington, DE) sells cool fonts designed by Ethan Dunham (b. 1972, Glens Falls, NY), who now heads Fontspring. A partial list: Mother Goose (2008), Allise, GoodDogCool, Fontheads (dingbats), Randisious, Greyhound (1997, an arts and crafts face), Rochester, Samurai, AsimovSans, Gurnsey20, Scrawl, BadDog, Holstein, SlackScript, Bessie, SloppyJoe (gone?), Blearex, HandSkriptOne, SmithPremier, BlueMoon, HolyCow, SororityHack, Bonkers, HotCoffeeFont, SpillMilk, BraveWorld, Isepik, Sputnik, Brolga, TekStencil, Carnation, Mekanek (1995), Teknobe (1995), Merlin, Toucan Grunge (gone?), Tycho, TypewriterOldstyle, MotherGoose, Croissant, Democratika (now Americratika--I think Emigre forced FontHead to change the name), Noel (1996-1997, Lombardic all caps face, with an open version added), LillaFunk (gone?), Margo Gothic (gone?), Toddler (gone?), NoelBlack, WashMe, Diesel, Orion, Gritzpop, Pesto, BattleStation, CircusDog, Dandelion, DraftHand, Flowerpot, Navel, ShoeString, Stiltskin, ZipSonik. Plus JohnDoe, and old typewriter font. Free fonts: Font Heads (dings), Smith Premier, Vladimir, Tycho, Typewriter Oldstyle, ScareCrow, Millennia, SpillMilk, GoodDog, Holstein, Red Five. All formats, Mac and PC. In the comic font series, look for Stan Lee (now Comic Talk), FH Excelsior (now Titlex), Grimmy (now Flim Flam), and Kirby (now Grit).

Dafont link.

Fonts created in 1999: AppleSeed, Caterpillar, Chinchilla, ChinchillaBlack, ChinchillaDots, CrowBeak, CrowBeakLight, CyberMonkey, DanceParty, DingleHopper, FourScore, FourScoreTitling, Hopscotch, HopscotchPlain, Ladybug, Leaflet-Regular, LeafletBold, LeafletLight, ReadOut, ReadOutSuper, Smoothie, Swizzle, TwoByFour, VeryMerry. Made in 2001: ButterFinger, ButterFingerSerif, CatScratch, Catnip, FighterPilot, FrenchRoast, Handheld, HandheldItalic, HandheldRaised, HandheldRaisedItalic, HandheldRound, HandheldRoundItalic, Kingdom, OldGlory, Quadric, QuadricSlant. MyFonts page.

In 2006, several dingbats fonts were added, such as the ClickBits Arrow series and the ClickBits Icon series.

In 2008, he created InfoBits Things and InfoBits Symbols, Abigail, Assembler, Click Clack, Drawzing (children's font, crayon or chalk style), El Franco (grunge), Good Dog New (hand-printed), Helion (futuristic), Lead Paint (brush), Schema (architectural lettering), Skizzors (paper cut font), Tachyon (2008, techno, futuristic). Free font download. This place has Allise, Americratika, AppleSeed, AsimovSans, Asterix-Blink-Italic, Asterix-Blink, Asterix-Italic, Asterix-Light-Italic, Asterix-Light, Asterix, BadDog, BattleStation, Beckett, Bessie, BlackBeard, Blearex, BlueMoon, Bonkers, BraveWorld, Brolga, BrownCow, Carnation, CatScratch, Caterpillar, Chinchilla, ChinchillaBlack, ChinchillaDots, CircusDog, CornDog (2004), Croissant, CrowBeak, CrowBeakLight, CyberMonkey, DanceParty, Dandelion, Dannette-Outline, Dannette, DayDream, Democratika, Diesel, DingleHopper, DoomsDay, DraftHand, Flowerpot, Font-Heads, FourScore, FourScoreTitling, FunkyWestern, Goliath, GoodDog-Bones, GoodDog-Cool, GoodKitty, Greyhound, Grimmy, Gritzpop, GritzpopGrunge, Gurnsey20, HandskriptOne, Holstein-Bold, Holstein, HolyCow, Hopscotch, HopscotchPlain, HotCoffeeFont, HotTamale, Isepik, JohnDoe, JollyJack, Keener, Klondike-Bold, Klondike, Ladybug, Leaflet-Regular, LeafletBold, LeafletLight, LillaFunk, Log Jam (+Inline), MargoGothic, MarvelScript, MatrixDot-Condensed, MatrixDot, Mekanek, Merlin, Millennia, Mondo-Loose, MotherGoose, Navel, Network, Noel, NoelBlack, Oatmeal, Orion, Pesto, Randisious, ReadOut, ReadOutSuper, RedFive, Rochester, Samurai, Scarecrow, Scrawl, ShoeString, ShoeStringRound, SlackScript, SloppyJoe, SmithPremier, Smock, Smoothie, SororityHack, SpaceCowboy, SpillMilk, Sputnikk, StanLee-Bold, StanLee-BoldItalic, StanLee-Regular, Stiltskin, Submarine, Swizzle, TekStencil, Teknobe, Torcho, ToucanGrunge, TwoByFour, Tycho, Typewriter2, TypewriterOldstyle, VeryMerry, Vladimir, WashMe, Watertown-Alternate, Watertown-Black, Watertown-Bold, Watertown, ZipSonik-Italic, ZipSonik, ZipSonikSketch-Italic, ZipSonikSketch.

Font Squirrel carries ElliotSix (simple handwriting), GoodDog (children's hand) and Millennia (squarish). In fact, in 2009-2010, Ethan Dunham became a very active web font persona, offering a commercial web font service, Fontspring, and a free font service, Fontsquirrel.

Klingspor link. Creative Market link. [Google] [MyFonts] [More]  ⦿

Fonts for microtonal music
[Ted Mook]

New York-based designer of shareware music fonts. From his page: "MICRO 2ß is a Postscript(c) font designed for the 1/12th-tone notation system developed by Ezra Sims for his own music and now taught in the microtone classes of New England Conservatory. " [Google] [More]  ⦿

Fonts for Scholars
[David J. Perry]

Cardo is a Unicode font under development by David J. Perry from Rye, New York. Covering European languages, as well as Hebrew, Greek/Coptic and Greek Extended, it is free for non-commercial use. He writes: "This font is my version of a typeface cut for the Renaissance printer Aldus Manutius and first used to print Pietro Bembo's book De Aetna. This font has been revived in modern times under several names (Bembo, Aetna, Aldine 401). I chose it mainly because it is a classic book face, suitable for scholarship, and also because it is easier to get various diacritics sized and positioned for legibility with this design than with some others. I added a set of Greek characters designed to harmonize well on the page with the Roman letters as well as many other characters useful to classicists and medievalists."

Fontspace link. Klingspor link. [Google] [More]  ⦿

Fontwala (was: Hindi Rinny)
[Erin McLaughlin]

Hindi Rinny is a great Indian type blog and news place run by Erin McLaughlin (b. 1985), a graphic designer in Wichita, KS (and before that, Minneapolis, MN). After graduation from the type design program at the University of Reading in 2010, she joined Hoefler&Frere-Jones in New York. Erin has worked with independent foundries Frere-Jones Type, Universal Thirst, TypeTogether, as well as Adobe, IBM, Microsoft, and Google.

She designed Katari for her thesis.

Originally from Milwaukee, she received a BFA in Graphic Design from the Minneapolis College of Art & Design before her MA at Reading. Erin created an angular typeface---à la Oldrich Menhart---, and added a matching Devanagari style---the harmonious ensemble is called Katari. This typeface earned her the 2011 SoTA Catalyst award.

In 2015, she published the free Google Web Font typeface Khula for Latin and Devanagari. The Latin is based on Steve Matteson's Open Sans. GitHub link. Still in 2015, she published the useful free Devanagari typeface family Yantramanav at Google Web Fonts, to accompany Christian Robertson's Roboto. Adobe Kannada was also designed in 2015---the Latin part of that font was by Robert Slimbach.

Typefaces from 2016 include Hubballi (a free monolinear typeface for Kannada; Google Fonts link).

In 2019, she aided with the Devanagari part of the free Google Fonts typeface IBM Plex Sans Devanagari (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Erin McLaughlin).

In 2021, Erin McLaughlin and Wei Huang developed the traditional workhorse sans serif typeface Tenorite for Microsoft for use as one of the default fonts in Office apps and Microsoft 365 products. Elements such as large dots, accents, and punctuation make Tenorite comfortable to read at small sizes on screen.

In 2020, she published BhuTuka Expanded One at Google Fonts. BhuTuka Expanded One, originally designed in 2017, is a Gurmukhi companion to Aoife Mooney's BioRhyme Expanded Light typeface.

Home page. Github link. Personal home page. [Google] [MyFonts] [More]  ⦿

Fontworld
[Israel Seldowitz]

"Quality-crafted multiple language fonts." Based in New York and run by Mark Seldowitz, they sell Arabic, Russian, Greek, Vietnamese, Hebrew, Baltic and Central European typefaces. Mark sold the Hebrew fonts made by his brother Israel Seldowitz, who studied in Israel with Henry Friedlaender, the creator of the Hadassah typeface. [Google] [More]  ⦿

FONTypes
[Robert Engle]

Described as a "Typographic Asset Management System", and owned by The Fontypes Corporation (Astoria, NY), this is a vendor of fonts from foundries like Adobe, Monotype, LucasFonts, HVDfonts, Commercial Type, Font Bureau, House Industries, ProcessType, Village and You Work For Them. Fonts can no longer be viewed. No designer info. Fonts are marked up (40 percent typically) from the original source (MyFonts, whatever). [Google] [More]  ⦿

Fortunato Depero

Fortunato Depero (1892-1960) was an Italian futurist painter, writer, sculptor and graphic designer. Born in Fondo/Malosco, Depero grew up in Rovereto serving as an apprentice to a marble worker. On a 1913 trip to Florence that he discovered a copy of the paper Lacerba and an article by one of the founders of the futurism movement, Filippo Tommaso Marinetti. In 1914, Depero moved to Rome and met fellow futurist Giacomo Balla. In 1915, Depero and Balla coauthored the manifesto Ricostruzione futurista dell universo. In the same year he was designing stage sets and costumes for a ballet. In 1919 Depero founded the Casa d'Arte Futurista in Rovereto, which specialised in producing toys, tapestries and furniture in the futurist style. In 1925 he represented the futurists at the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Modern Industrial and Decorative Arts).

In 1927, he published the monograph Depero Futurista, aka The Bolted Book, because it is famously bound together by two large industrial aluminum bolts. In 2016, a kickstarter movement was started to publish a new facsimile edition of this groundbreaking book.

In 1928, Depero moved to New York City, where [acccording to Wikipedia] he experienced a degree of success, doing costumes for stage productions and designing covers for magazines including MovieMaker, The New Yorker and Vogue, among others. He also dabbled in interior design during his stay, working on two restaurants which were later demolished to make way for the Rockefeller Center. He also did work for the New York Daily News and Macy's, and built a house on 23rd Street. In 1930 he returned to Italy.

In the 1930s and 40s Depero continued working, although due to futurism being linked with fascism, the movement started to wane. The artistic development of the movement in this period can mostly be attributed to him and Balla. One of the projects he was involved in during this time was Dinamo magazine, which he founded and directed. After the end of the Second World War, Depero had trouble with authorities in Europe and in 1947 decided to try New York again. This time he found the reception not quite as welcoming. In New York, he published So I Think, So I Paint, a translation of his autobiography initially released in 1940, Fortunato Depero nelle opere e nella vita. From the winter of 1947 to late October 1949 Depero lived in a cottage in New Milford, CT. His host was William Hillman, an associate of the then-President, Harry S. Truman. After New Milford, Depero returned to Rovereto. In August 1959 Galleria Museo Depero opened. Depero died in 1960 a bout of diabetes and spending the last two years unable to paint due to hemiparesis.

Alan Kegler at P22 created a typeface, P22 Futurismo (1996) and P22 Futurismo Extras, based on Depero's work. P22 link.

A second digital typeface is based on his work, Emporium NF by Nick Curtis. It is based on this poster by Fortunato Depero (1927). [Google] [MyFonts] [More]  ⦿

Foundry Group
[Jon Armstrong]

Grunge type, digital art. New York-based. Fonts created by Jon Armstrong. About 15 dollars per face. Fonts: BadNovel, Bizheads, HighSodium, Insecurity, Jiggy, MildHeadache, NoBleach, Rash, ToxicMarker. All formats except Windows PostScript. [Google] [More]  ⦿

Frances MacLeod

A native of Wichita, Kansas, Frances MacLeod completed a Bachelor of Fine Arts in Advertising Art Direction and Graphic Design at Columbia College Chicago. She also studied at Type@Cooper and has worked with teams in Chicago and New York, most notably the Department of Design at Leo Burnett. She is currently based in Brooklyn.

She created the free font Abraham Lincoln (2012, Lost Type). [Google] [More]  ⦿

Francesco Gianesini
[Font & Co]

[MyFonts] [More]  ⦿

Francis Stephen Lestingi
[Signs of Gold]

[MyFonts] [More]  ⦿

Francisco Vivar

Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the calligraphic script typeface Forty Five (2013, Friday Fonts). [Google] [More]  ⦿

Frank Gerhardt
[American Wood Type Co.]

[More]  ⦿

Frank H. Riley

Advertising artist (b. 1894, Joseph, Missouri) influenced by Oswald Cooper and Frederic Goudy, with whom he collaborated. He worked first as a lettering artist in New York and then as a free-lancer in Chicago. Designer at American Typefounders of the condensed and stocky slab serif typeface Contact (1944: see the TS Colonel family by TypeShop for a digital version) and the calligraphic script font Grayda (1939, ATF; +Initials). Grayda was digitized, expanded and modernized by Rebecca Alaccari as Genesis (2007). McGrew writes:

  • Contact Bold Condensed and Italic were designed by Frank H. Riley for ATF about 1942, but not released until 1948 because of war-time conditions. They are narrow and vigorous, with a large x-height and short ascenders and descenders, intended for newspaper and general advertising display. Other widths and weights were projected, but there is no evidence that they were completed. Compare John Hancock Condensed, Bold Antique Condensed.
  • Grayda is an unusual and striking script designed by Frank H. Riley and introduced in 1939 by ATF. Lowercase letters are weighted at top and bottom. giving a strong horizontal emphasis; they are close fitting but not connected. Two sets of capital letters are available, designated Narrow and Swash. The IS-point size is cast on a 24-point body, the smallest size for which angle-body molds are used.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Frank Marciuliano
[Marciuliano Design]

[MyFonts] [More]  ⦿

Frank Romano

Rochester Institute of Technology Professor Emeritus Frank Romano had a long career in the printing and publishing industries. He was the editor and publisher of TypeWorld between 1977 and 1990, and later Electronic Publishing, Computer Artist, and Color Publishing magazines.

He is the author of sixty books, including the 10,000-term Encyclopedia of Graphic Communications (with Richard Romano). His books were among the first on digital printing, computer-to-plate, workflow, PDF, QuarkXPress, InDesign, and new media. His latest books include History of the Linotype Company (RIT Press, 2013) and History of the Phototypesetting Era (California PolyTechnic Institute GRcL Press, 2014).

He is president of the Museum of Printing in Haverhill, MA which houses the only collection of cold type systems. [Google] [More]  ⦿

Franklin Photolettering

Photolettering foundry in the 1970s, located at 211 43rd Street, New York City 10017. One of my correspondents explains: Franklin Photolettering was the smaller film type joints catering to the major publishing and advertising industries in New York City in the 60s and 70s. They started out with a few originals to get into the game, but within a year or so they started putting out copies or slight modifications of existing stuff from Photolettering and VGC (you can see how that happens---someone comes in for some ad copy in Barker Flare, for example, and he asks if they have something like Eightball, so they say "sure, we can do that"). Even though they did have a bit of original stuff, they didn't have not enough to stand out like PL, Mecanorma, VGC or Letraset---also the sheer number of film fonts available on the market by the mid-70s meant that unless you dumped a lot of money on marketing, big-time design would ignore you----so not much room was left for smaller film type houses.

Their catalog is published in binder form in Film Alphabet Compendium Franklin Photolettering. In 1974, Paul E. Kennedy published Modern Display Alphabets: 100 Complete Fonts Selected and Arranged from the Franklin Photolettering Catalogue (Dover).

Typefaces by them included

  • Barker Flare, one of their early 1970s retro typefaces. Digitally revived as Plywood (2007, Patrick Griffin, Canada Type).
  • Pinto Flare. Digitized as Jazz Gothic (2005) by Patrick Griffin at Canada Type.
  • Urban (early 1970s), a Curvy Blocked Lettering typeface in the Alfred Roller / Wes Wilson style popular in the hippie era. Digital revivals include Rebecca Alaccari's Jonah (2005) at Canada Type.
  • Viola Flare. Digitized as Omaha Bazoo NF in 2007 by Nick Curtis and in 2005 by Canada Type as Tomato.
[Google] [More]  ⦿

Franz Heigemeir

Painter, sculptor and type designer, b. ca. 1930. Graduate of the Kunstschule Augsburg, Germany. Since 1976, he is an active member of the Woodstock Artists Association and Museum. Based in Rifton, NY, his paintings can be seen in many places, such as Fine Art in Ulster County, New York.

Creator of typefaces at VGC, such as Heigemeir Bold and Bold Open, Modula (1972) and the art deco typeface Organda (1972). Organda became a Mecanorma face.

Digital revivals of Organda include Organ Grinder (2019, SoftMaker). [Google] [MyFonts] [More]  ⦿

Fred George

At Photo Lettering Inc in New York, Fred George designed Blowoulded. [Google] [More]  ⦿

Fred Shallcrass

Type designer active at New York-based Frere-Jones Type, who grew up in New Zealand, designing magazines, lettering and type for cultural and commercial clients. His typefaces:

  • Exchange (2006-2017) was designed by Tobias Frere-Jones, with contributions by Nina Stössinger, Fred Shallcrass, Tim Ripper and Graham Bradley: Originally designed for newspaper text, Exchange strives for clarity and efficient copyfit across multiple platforms. Its strategy relies on an unorthodox collection of historical references, from nineteenth-century Britain to Depression-era America. The strategy for word shape coherence comes from the early Ionic style of slab serifs, while Bell Gothic offers a lesson in reinforcing the individual identities of letters. Sure-footed sobriety, inherited from Victorian text faces, runs throughout. The deep notches and amplified details make Exchange a kind of cousin to Retina, bringing the same defensive strategy to more traditional text settings. Early inspiration came from the British Ionic style of slab serif, Lynn B. and M.F. Benton's Century Expanded, and C.H. Griffith's Bell Gothic.
  • In 2018, Tobias Frere-Jones and Nina Stössinger co-designed the modernized roman inscriptional typeface Empirica Headline (with contributions by Fred Shallcrass). It has original lower case letters and italics, and is largely based on Louis Perrin.
  • In 2021, Tobias Frere-Jones, Nina Stössinger and Fred Shallcrass designed Seaford for use in Microsoft's Office. They write: Seaford is a robust, versatile sans serif that evokes the familiarity and comfort of old-style seriffed type. With everyday Office users in mind---professionals typing up reports or correspondence, preparing school handouts or corporate presentations---we designed Seaford to be inviting, engaging, and effortlessly readable. A good font family for a miserable piece of software.
  • Conductor (2018). A stocky irregular sans designed by Tobias Frere-Jones, Nina Stössinger, and Fred Shallcrass.
  • Community Gothic (2022). A design by Tobias Frere-Jones, Nina Stössinger, Julia Ma and Fred Shallcrass.
  • IntelOne and IntelOne Mono. Design by Fred Shallcrass, Tobias Frere-Jones, Anuthin Wongsunkakon (Thai), Liron Lavi Turkenich (Hebrew), Ilya Ruderman (Cyrillic), and Nadine Chahine (Arabic). Published in 2020 by Frere-Jones Type.
[Google] [More]  ⦿

Freddy E. Lopez

New York City-based designer of Game Point (2017), a typeface commissioned by the NFL. [Google] [More]  ⦿

Frederic Warde

Born in Wells, Minnesota as Arthur Frederick Ward, 1894, d. New York, 1939. He enlisted in the United States Army in 1915 and attended the Army School of Military Aeronautics at the University of California, Berkeley during 1917-1918. On demobilisation he worked as a book editor for Macmillan&Co before undergoing training on the Monotype machine, after which he worked for the printers Edwin Rudge. He had met Beatrice Becker in 1919 and they married in December 1922. Warde was Printer for Princeton University (1922-1924). The couple moved to England in late 1924 for Warde had been offered work by the typographer Stanley Morison, designing for The Fleuron and the Monotype Recorder. The marriage did not last; they separated in 1926, and quickly divorced, though the break-up was an amicable one. Afterward Warde lived in France and Italy, where he became involved in Giovanni Mardersteig's Officina Bodoni. In 1926 Mardersteig printed The Calligraphic Manual of Ludovico Arrighi - complete Facsimile, with an introduction by Stanley Morison, which Warde issued in Paris while working for the Pleiad Press. He had his name changed several times, first his last name to Warde, and then his first name first to Frederique and then to Frederic. Warde returned to America permanently and he worked again for Edwin Rudge from 1927 to 1932, and also designed for private presses such as Crosby Gaige, the Watch Hill Press, Bowling Green Press, the Limited Editions Club and Heritage Press. Warde worked as production manager for the American office of the Oxford University Press from 1937 until his death in 1939.

His typographic work:

  • Based on the fifteenth century letters of Nicolas Jenson, Centaur (originally called Arrighi) was first designed by Bruce Rogers in 1914 for the Metropolitan Museum, and parts of the typeface (like the italic) were done by Warde in 1925. This was called Arrighi Italic (a smooth version of Blado) but became Centaur Italic (Monotype, 1929). Warde was inspired by the italic forms on the Italica of Ludovico Vicentino, a 16th century typeface. However, his capitals are more freely formed (not vertical, for example). Warde designed a revival of the chancery cursive letter forms of Renaissance calligrapher Ludovico degli Arrighi. This italic, titled Arrighi, was designed as a companion to Bruce Roger's roman typeface Centaur.

Author of Monotype Ornaments (1928, Lanston Monotype Corp) [this book is freely available on the web thanks to Jacques André]. Many ornaments in this book have been digitized; see, e.g., Arabesque Ornaments (for the 16th century material) and Rococo Ornaments (for the 18th century ornaments). Warde also published the following privately in 1926 with Stanley Morison: The calligraphic models of Ludovico degli Arrighi, surnamed Vicentino---a complete facsimile and introduction by Ludovico degli Arrighi.

Digital fonts based on his work include LTC Metropolitan (Lanston), Centaur (Monotype and Linotype versions) and Arrighi BQ (Berthold; this font has romans by Bruce Rogers and an italic by Frederic Warde).

Wiki page. Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Frederic William Goudy

One of the great type designers of the twentieth century, 1865-1947. Born in Bloomington, IL, he made over 125 typefaces. He founded the Village Press with Will H. Ransom at Park Ridge, IL, in 1903. From 1904 until 1906, it was in Hingham, MA, and from 1906-1913 at 225 Fourth Avenue, New York City, where a fire destroyed everything except the matrices on January 10, 1908. From 1913 until 1923, it was located in Forest Hill Gardens, Long Island, and from 1923 until his death in 1947 at Deepdene, in Marlborough-on-Hudson, NY. He was an art consultant for Lanston Monotype from 1920-1940.

His life's work and his ideas on typography can be found in his great book, Typologia, Studies in Type Design \& Type Making (1940, University of California Press, Berkeley), but his views are already present in Elements of Lettering (1922, The Village Press, Forest Hill Gardens, New York). His own work is summarized, shown and explained in his last book, A Half-Century of Type Design and Typography 1895-1945, Volume One (1946, The Typophiles, New York). See also Frederic Goudy by D.J.R. Bruckner for Harry N. Abrams Publishers, New York.

In 1936, Frederic Goudy received a certificate of excellence that was handlettered in blackletter and immediately stated, Anyone who would letterspace blackletter would steal sheep. He also wrote: All the old fellows stole our best ideas, and Someday I'll design a typeface without a K in it, and then let's see the bastards misspell my name.

His 116 fonts include

  • Camelot (1896, Dickinson Type Foundry). He sold another design in 1897 to that foundry, but it was never published. McGrew writes: Camelot or Camelot Oldstyle was the first typeface designed by Frederic W. Goudy. He offered it to Dickinson Type Foundry (part of ATF) in Boston, which accepted it and sent him $10, twice what he had modestly asked for it. This was in 1896; it was apparently cut and released the following year as drawn, without lowercase. In February 1900 a design patent was issued in the names of Goudy and Joseph W. Phinney, and assigned to ATF. Phinney was a well-known designer for Dickinson-ATF, and apparently it was he who added the lowercase alphabet. Its success encouraged Goudy to make a distinguished career of type designing, and this typeface was included in ATF specimen books as late as 1941. Compare Canterbury.
  • De Vinne Roman (1898)
  • Copperplate (1901): See Copperplate Gothic Hand (2009, Gerd Wiescher), Copperplate URW, or Copperplate EF (Elsner&Flake).
  • Pabst Roman (1902)
  • Village (1902). Some say 1903. Village was originally designed by Frederic Goudy in 1903 for Kuppenheimer & Company for advertising use, but it was decided it would be too expensive to cast. It was later adopted as the house face for Goudy's and Will Ransom's Village Press. The matrices were cut and the type cast by Wiebking. The design was influenced by William Morris's Golden Type. This Venetian typeface was digitized by David Berlow (1994, FontBureau), by Paul D. Hunt (2005), and by Steve Matteson (2018), who simply called his revival Village. Hunt's version was eventually released in 2016 by P22 as LTC Village. Ivan Louette (Belgium) is working on a fine version of Village as well.
  • Bertham (1936), his 100th typeface, named for his wife, Bertha.
  • Copperplate Gothic (ATF, 1905): The Bitstream version was done by Clarence Marder.
  • Goudy Old Style (ATF, 1914-1915): A 15% heavier weight was made by Morris Fuller Benton in 1919. Bitstream and URW++ sell that as Goudy Catalogue. See also Goudy Catalogue EF (Elsner&Flake), Bitstream's Goudy Old Style, Scangraphic's Goudy Old Style SB (2004), Infinitype's Goudy Old Style, Bitstream's Venetian 522, and Softmaker's G790.
  • ATF Cloister Initials (1917-1918). This was revived digitally by several foundries: Alter Littera did Initials ATF Cloister (2012). Group Type created Cloister Initials (2006).
  • Goudy Handtooled (1916): A decorative font. Elsner&Flake and Bitstream have a digital version. The Bitstream version used to be called Venetian 523.
  • Goudy Modern (Lanston, 1918): Goudy Modern MT is the Agfa-Monotype version. Adobe's version is confusingly called Monotype Goudy Modern.
  • Hadriano (1918): Agfa-Monotype has a digital version, as does Adobe.
  • Goudy Heavyface (ATF, 1925-1932): Created as a possible competitor of Cooper Black. Bitstream has a digital version.
  • Goudy Newstyle (1921): additional letterforms are provided to distinguish different pronunciations. This legible semi-Venetian typeface was cut by Wiebking and recut in 1935. It was sold to Monotype in 1942. Revival by Steve Matteson in 2018 as Newstyle.
  • Italian Oldtyle (+Italic) (ca. 1925): made after Dove, Monotype's president, prompted Goudy to make a Venetian typeface to compete with ATF's Cloister Old Style.
  • Venezia Italic (1925), to accompany Venezia. George W. Jones of the English Linotype company had it made by Linotype.
  • Aries (1925-1926): a kind of blackletter typeface in the style of Subiaco done for Spencer Kellogg for his new private press (he never used it).
  • Goudy Dutch: based on handwriting on an envelope from Holland. Goudy lost the drawings.
  • Companion Old Style and Italic
  • Deepdene (1927). See D690 Roman on the SoftMaker MegaFont XXL CD, 2002. Deepdene became a Berthold font, and at Berthold it was digitized and refreshed by G.G. Lange from 1982-1983. URW also has a Deepdene family. But above all, one could pick up a free two-style revival by Barry Schwartz, Linden Hill (2010, OFL). View various Deepdene implementations.
  • Goudy Text (1928). Based on the textura blackletter types of by Johann Gutenberg in the fifteenth century, Goudy Text has a narrow, ordinary lowercase. It can be used in display advertising and on certificates and invitations. Goudy Text is a "blackletter" type first used in 1928 by Goudy in a Christmas card from type cast at his own foundry. Among the digital versions, see LTC Goudy Text (P22 and Lanston; by Paul D. Hunt; this family includes LTC Goudy Text Lombardic Caps) and Goudy Text CT (Jason Castle).
  • Kaatskill (1929, Lanston Monotype): a beautiful old style figures font originally done for an edition of Rip van Winkle. Mac McGrew: Kaatskill is a private typeface designed and cut by Frederic W. Goudy for use in an edition of Rip Van Winkle which he made for The Limited Editions Club, in 1929. Goudy says that what he had in mind was merely to design a type "as simple, legible, vigorous, clear, and effective in detail as could, and which would at the same time show no note of strangeness in the mass. ...I feel that Kaatskill owes nothing in its design to any existing face. and the type therefore is as truly an American type as anything so hidebound by tradition as type can be." It is named for the Catskill mountains, which were the locale of Goudy's home and workshop as well as of the story. See Trajan Title.
  • Remington Typewriter (1929)
  • Kennerley (1930) (see his book A Novel Type Foundery for specimens). The Berthold foundry, where the types can now be bought in digital form, mentions the dates 1911-1924.
  • Ornate Titling (1931). See LTC Goudy Ornate (Lanston) and Goudy Ornate (2002, Ascender).
  • Kennerley Bold and Bold Italic, and Kennerley Open Caps, to accompany Kennerley Old Style.
  • Goudy Heavy Face (+Italic), made to please Harvey Best, the successor of Dove at Lanston Monotype.
  • Marlborough (1930s): a typeface whose design was sold in 1942 to Monotype, but nothing came of it.
  • Tory Text (1935). A blackletter typeface inspired by the lettre batarde used by Geoffroy Tory in his Champs Fleury.
  • University (of California) Old Style (1938). Also called Californian (1938). A commercial version of this is ITC Berkeley Oldstyle by Tony Stan (1983). Font Bureau published FB Californian (1994, Carol Twombly, David Berlow, Jane Patterson).
  • Bulmer (1939)
  • Goudy Sans: ITC Goudy Sans (1986), LTC Goudy Sans (2006, Colin Kahn), Goudy Elegant (SoftMaker), Moon Cresta (Ray and Chikako Larabie, 2010) and Goudy Sans EF (now gone?) are digital revivals of Goudy's Goudy Sans family from 1929. GoudySorts MT, an Agfa Monotype font consisting of beautiful ornaments.
  • Goudy Thirty. Mac McGrew: When Monotype suggested that Goudy design a type that that company might bring out after his death, to be called Goudy Thirty (from the newspaper term for the end of a story), he thought of a design he had started for a western college. That commission had fallen through, so the design was unfinished. Then, as Goudy relates, "This design struck me as particularly adapted to the purpose. As I worked on it I had determined to make it, as far as I was able, my last word in type design, a type in which would give my imagination full rein, and a type by which as a designer would be willing to stand or fall." Completed in 1942, it was kept under cover by Monotype and not released until 1953-long after his death in 1947. But he designed several types after this one, so it was not the last one from his hands. Goudy Thirty is a fine recreation of a fifteenth-century round gothic, excellent for period pieces. For digital versions, see LTC Goudy Thirty (Lanston, now P22 Lanston) and Goudy Thirty (a free font by Dieter Steffmann).
  • Nabisco (1921).
  • Garamont (1921).
  • Goudy Initials. These are floriated caps.
  • New Village Text (1938). A hybrid consisting of the capitals of Tory Text and the lower case of Deepdene.

Several foundries specialize in Goudy's types. These include P22/Lanston, which has an almost complete digital collection, Ascender Monotype, and Castle Type, which offers Goudy Trajan (2003), Goudy Text, Goudy Stout and Goudy Lombardy. WTC Goudy was digitized ca. 1986 by WTC.

Links: Bio by Nicolas Fabian. Alternate URL. Andrew R. Boone's article on Goudy in Popular Science, 1942. Goudy's typefaces listed by Paulo W. Obituary, May 13, 1947, New York Times, Time Magazine, November 6. 1933, Amy Duncan's thesis at BSU entitled "Howdy Goudy: Frederic W. Goudy and the Private Press in the Midwest", A 2009 lecture on Goudy by Steve Matteson (TypeCon 2009, Atlanta), Melbert B. Cary Jr. collection of Goudyana. Wikipedia: List of typefaces designed by Frederic Goudy. Linotype link. FontShop link. [Google] [MyFonts] [More]  ⦿

Frederick Gerken
[Eastern Brass&Wood Type]

[More]  ⦿

Freeman Jerry Craw

Or Freeman Godfrey Craw. Type designer from East Orange, New York, born in 1917, who was associated with ATF. He died in 2017.

Excerpts of his obituary in the Star Ledger: Graphic artist and designer renowned internationally as innovator in visual identity field, created many recognizable typefaces that bear his name. Freeman Godfrey Craw, 100, of Tinton Falls, N.J., passed away peacefully on Monday, May 1, 2017. Mr. Craw had lived in Tinton Falls since 2001. Prior to that, he had been a long-time resident of Short Hills, N.J. Known to family and friends as Jerry, he forged a highly distinguished and decorated career in graphic art, calligraphy, and topography. Born and raised in East Orange, N.J., Jerry graduated from Cooper Union For The Advancement of Science and Art in 1939. Upon graduation he became a designer with the American Colortype Company in New York City. In 1943, he joined Tri-Arts Press Inc. as its art director, and in 1958, he was named vice president of the company. In that capacity, he had complete graphic control over the most interesting and impressive printing produced in the U.S. during the 1950s and 1960s. During this time, he created unique visual identity programs for numerous prestigious business and institutional clients, including CBS and IBM. In 1968, he left Tri-Arts to establish his own company, Freeman Craw Design as a specialist in design-for-printing. As an independent design consultant and art director, Jerry maintained a full-time office of designers and artists to better serve the complete needs of his clientele. He provided a broad range of graphic and production services, including photography, typography, illustration, composition, platemaking and printing. He also served as manager of production and graphics for Rockefeller University Press at that time. Jerry was considered one of the best graphic artists in the world, and his body of work has been described by colleagues and industry insiders as "legendary." He was best known to fellow topographers for his many type designs commissioned by American Type Founders Company. Among these are Craw Clarendon, Craw Clarendon Book, Craw Clarendon Condensed, Craw Modern, Craw Modern Bold, Craw Modern Italic, Ad Lib, Canterbury, Chancery Cursive, Classic, CBS Sans and CBS Didot. Jerry's calligraphic works were held in such high regard that permanent collections were established at the of the Museum of Modern Art and the Cooper-Hewitt Museum of New York, a division of the Smithsonian Institution, as well as the Whitney Museum of American Art. He also had a number of one-man exhibitions in New York, Chicago, and London, and was an honorary member of the Gutenberg Museum in Mainz, Germany. Additionally, in 1946, he was a founding member of the Type Directors Club, which today is still the leading international organization devoted to excellence in topography. He was also the recipient of numerous national and international awards and citations for excellence in graphic design. Jerry wrote and designed for the following publications: American Artist, Fortune, Graphis, Print Magazine and the Saturday Evening Post, to mention only a few. He even found time as a guest lecturer at institutions including Yale University, Rensselaer Polytechnic Institute, Kean University, The New York School of Visual Arts, as well as the Universities of Alabama, Utah, and Maryland.

His obituary contains this paragraph about Jerry's great personality: Jerry was warmhearted, gregarious, and passionate about his art. His intelligence and gentle nature always shined through. He was good humored, loved to be around people, and always seemed to get along with everyone, even strangers. He considered himself a "hopeless Francophile," and was heavily influenced by School of Paris painters like Degas, Braque, Picasso, and particularly Modigliani. Having traveled extensively throughout France, he developed a keen appreciation of French culture, French architecture and, of course, French wine. He even taught himself the language and became fluent in it. Jerry loved a good bottle of Chateauneuf du Pape, but would love sharing it with family and friends even more. His warmth, humor, and creativity will be sorely missed by all who knew and loved him.

Designer of

  • Craw Clarendon (ATF, 1955-1960), based on the Benjamin Fox/Robert Besley Clarendon of 1845. Now available as OPTI Craw Clarendon (Castcraft), Craw Clarendon EF (Elsner & Flake), or Craw Clarendon (2013, Jordan Davies), for example. Mac McGrew writes: In 1955, ATF commissioned Freeman Craw to develop an American version of the Clarendon letter, resulting in Craw Clarendon. The following year Craw Clarendon Book, a lighter weight, was released, and Craw Clarendon Condensed in 1960. Craw has commented that as a designer of type he faced different problems than as a designer with type. Perhaps this and the alleged rush production resulted in unfortunate compromise, as some sizes are small for the body, with excess shoulder. Otherwise they are excellent and deservedly popular typefaces. The normal widths are also made by Monotype. Also see Clarendon.
  • Craw Modern (1958). Mac McGrew writes: Craw Modern is a contemporary interpretation of the modern roman style, designed by Freeman Craw for ATF in 1958. It is a very wide face, with large x-height and short ascenders and descenders, otherwise somewhat the character of Bodoni but a little less formal. Craw Modern Bold followed, and in 1964 Craw Modern Italic was introduced. These typefaces have the same general proportions and some of the general design characteristics as the same artist's Craw Clarendon, but the similarity ends there and the typefaces should not be considered part of the same family. Compare Modern Roman, Litho series. Digital versions include Craw Modern (2012, Group Type) and OPTI Craw Modern (Castcraft).
  • Ad Lib (ATF, 1961). This was revived as Ad Lib in 2010 by SoftMaker. Nick Curtis remade it as Oo Boodlio Doo NF (2011). Bitstream's version is simply called Ad Lib. Vladimir Pavlikov made a Cyrillic version at Paratype in 1999. Mac McGrew writes: Ad Lib is an irregular, novel gothic letter, designed by Freeman Craw in 1961 for American Type Founders, probably in response to the new-found freedom of photolettering techniques. The effect, suggestive of a woodcut technique, was reportedly achieved by cutting the letters out of a black sheet material with scissors. The complete font as shown features alternate designs for a number of characters; in addition, it is aligned so that several characters can be inverted to form additional alternates, such as u for n and vice versa. It is made only in three sizes. The alternate characters were later discontinued. Samoa, a nineteenth-century typeface, had somewhat similar invertible characters.
  • Special commissions: Canterbury, Chancery, Classic, CBS Sans, and CBS Didot (1970s; for private users and manufacturers of film and digital type equipment). CBS Didot (2009, Daylight Fonts) is a revival of Craw's CBS Didot. For other digitizations, see K22 My Didot (2012, by Toto), Opti Didot CBS Special by Castcraft Software and an unattributed free font called CBS Didot.
He received a TDC medal in 1988 for lifetime achievement in typography. Link at TDC. FontShop link. [Google] [MyFonts] [More]  ⦿

Freight Collection

Freight Collection is simply a place to sell Joshua Darden's successful Freight superfamily. Freight was originally developed at Garage Fonts between 2004 and 2009. This extensive all-round family of typefaces includes Freight Sans Pro, Freight Display Pro, Freight Micro Pro, Freight Text Pro, and Freight Big Pro (2005; its heavier weights are high-contrast didones). The slab serif, sans and serif versions are related and derived from each other, in some cases, by snap-on technology (in the spirit of Thesis or Scala or Nexus). Freight Sans Condensed Pro followed in 2012 and Freight Sans Compressed Pro in 2015. Freight Micro Pro (2009) was specifically created for use in phone books and small size applications. Freight Macro Pro is more suited for corporate branding. Review by John Berry. Freight Neo Pro (a humanist sans) was published in 2013. In 2015, Darden offered the free font Freight Big Bold (2005) via Open Font Library. Freight Round Pro was added in 2016. Finally, in 2017, Freight moved to Type Network and started selling on myFonts from early 2022 onwards. [Google] [MyFonts] [More]  ⦿

Frere Jones Type
[Tobias Frere-Jones]

After his break-up with Jonathan Hoefler, Tobias Frere-Jones set up shop as Frere Jones Type in Brooklyn, NY, in 2015, and joined Type Network in 2020. His first typeface in his new skin is the sans typeface Mallory (2015: contributions by Graham Bradley, Erin McLaughlin, Aoife Mooney and Tim Ripper). Mallory is an all-purpose font but is motivated by small mobile devices. It is legible on screen and in print. It includes currencies for countries that have released new symbols like the Indian rupee and Turkish lira.

In 2016, he published the sans family for screen, mobile app and desktop, Retina, in seven weights, three widths and two sizes. Retina's MicroPlus styles are engineered to occupy the same space in any weight. To remain legible, deep notches and exaggerated carefully studied ink traps are applied. The Museum of Modern Art has recognized Retina as a milestone in type design, and acquired it for its Architecture and Design Collection. Retina was designed by Tobias Frere-Jones, with contributions by Graham Bradley, Nina Stössinger, Tim Ripper, Dave Foster, Octavio Pardo, Ksenya Samarskaya and Colin Ford.

Exchange (2006-2017) was designed by Tobias Frere-Jones, with contributions by Nina Stössinger, Fred Shallcrass, Tim Ripper and Graham Bradley: Originally designed for newspaper text, Exchange strives for clarity and efficient copyfit across multiple platforms. Its strategy relies on an unorthodox collection of historical references, from nineteenth-century Britain to Depression-era America. The strategy for word shape coherence comes from the early Ionic style of slab serifs, while Bell Gothic offers a lesson in reinforcing the individual identities of letters. Sure-footed sobriety, inherited from Victorian text faces, runs throughout. The deep notches and amplified details make Exchange a kind of cousin to Retina, bringing the same defensive strategy to more traditional text settings. Early inspiration came from the British Ionic style of slab serif, Lynn B. and M.F. Benton's Century Expanded, and C.H. Griffith's Bell Gothic.

In 2018, Tobias Frere-Jones and Nina Stössinger co-designed the modernized roman inscriptional typeface Empirica Headline (with contributions by Fred Shallcrass). It has original lower case letters and italics, and is largely based on Louis Perrin.

Conductor (2018, Tobias Frere-Jones and Nina Stoessinger) is originally based on the delicate, blocky numerals from vintage Bulgarian lottery tickets. It also incorporates elements of vernacular shopfront lettering and mid-century type design. Conductor has power and pizzazz in all of its four widths, from condensed to wide.

Custom typefaces: Sixty Thirty (for Cooper Hewitt), Donors Choose (with Nina Stössinger), TD Ameritrade Sans, Culver (for Hyperakt), Bosca, Essex Market (with Nina Stössinger), ACLU, Tableau (with Tim Ripper; for Tableau Software), AdAge (for OCD), Mallory Condensed (for Academy Sports), Topic (a piano key typeface), MSL Elzevir (for Martha Stewart Weddings).

In 2021, Tobias Frere-Jones, Nina Stössinger and Fred Shallcrass designed Seaford for use in Microsoft's Office. They write: Seaford is a robust, versatile sans serif that evokes the familiarity and comfort of old-style seriffed type. With everyday Office users in mind---professionals typing up reports or correspondence, preparing school handouts or corporate presentations---we designed Seaford to be inviting, engaging, and effortlessly readable. A good font family for a miserable piece of software.

At Frere Jones / Type Network, one can buy Tobias's older typefaces: Armada, Asphalt, Cafeteria, Citadel, Epitaph, Garage Gothic, Grand Central, Griffith Gothic, Hightower, Interstate, Interstate Mono, Interstate Pi, Niagara, Nobel, Pilsner, Reiner Script, Stereo. [Google] [More]  ⦿

Frere Jones Type
[Tobias Frere-Jones]

Celebrated type designer, born in 1970 in New York City. Frere-Jones received a BFA in Graphic Design from the Rhode Island School of Design in 1992. He moved to Boston, where he worked at the Font Bureau until 1999. He joined the faculty of the Yale University School of Art in 1996 and has lectured throughout the United States, Europe and Australia. From 1999 until 2014, he worked for and with Jonathan Hoefler in New York. In 2015, he set up his own type foundry, Frere Jones Type. His old Font Bureau typefaces can be bought since 2020 at Frere Jones / Type Network. His work is in the permanent collections of the Victoria & Albert Museum in London and the Museum of Modern Art in New York. In 2006, The Royal Academy of Visual Arts in The Hague (KABK) awarded him the Gerrit Noordzij Prijs, for his contributions to typographic design, writing and education. In 2013 he received the AIGA Medal, in recognition of exceptional achievements in the field of design.

His Font Bureau typefaces:

  • Armada (1987-1994). A rigid elliptical sans in many styles. This is a surprisingly beautiful family despite its self-imposed design restrictions. The Compressed Black is a piano key typeface in the style of Wim Crouwel. Font Bureau: An experiment in algorithmic design, Armada follows the verticals and flat arches so often to be found in the architectural geometry of cast iron and brickwork in 19th century American cityscapes.
  • Asphalt (1995). Font Bureau: Who hasn't admired the energy of Antique Olive Nord? All other ultrabolds seem sluggish in comparison. Nord exudes Excoffon's animation and Gallic impatience with the rules. Tobias Frere-Jones cross-bred the weight, proportion, and rhythms of Nord with the casual grace of his own Cafeteria, gaining informality and a dancing vitality on the page.
  • Benton Sans (1995-2003). Created by Tobias frere-Jones and Cyrus Highsmith, it is a revival of Benton's 1903 family, News Gothic, and one of Font Bureau's bestsellers. It is a very complete family, ranging from regular widths to Condensed, Compressed and ExtraCompressed subfamilies. The Small Caps set is complete as well.
  • Benton Modern (1997-2001). Benton Modern was originally undertaken by Tobias Frere-Jones to improve text at The Boston Globe. Widening the text face for the Detroit Free Press, he returned Century's proportions to Morris Fuller Benton's turn-of-the-century ATF Century Expanded, successfully reviving the great news text type. The italic, based on Century Schoolbook Italic, was designed by Richard Lipton and Christian Schwartz, who also added the Bold.
  • Cafeteria (1993). Font Bureau about this cartoonish font: The irregularities normally found in script can enliven sans-serif letterforms. In Cafeteria, Tobias Frere-Jones took special care to balance activity with legibility on the paper napkin that served as his sketchpad, drawing a freeform sans-serif that is condensed but in no way stiff.
  • Citadel (1995).
  • CochinOldstyle (1992), CochinBlack (1991).
  • Eldorado (1993-1994).
  • Epitaph (1993). Drawn around 1880 at the Boston Type Foundry (the Boston branch of American Type Founders), Epitaph was modeled on a graceful Art Nouveau letterform that was bringing a new vitality to gravestone inscriptions at the time. The energy and life of the Vienna Secession alphabet drew the attention of Tobias Frere-Jones, who digitized the original set of titling capitals and added alternate characters for its Font Bureau release.
  • Garage Gothic (1992). In three weights, it is based on parking garage ticket lettering but very reminiscent of license plate characters.
  • Grand Central (1998). Grand Central was designed for 212 Associates from late-twenties capitals hand-painted on the walls of Grand Central Station. Font Bureau writes: The design is a distinguished Beaux Arts descendant of the great French Oldstyle originated by Louis Perrin in Lyons in 1846, known across Europe as Elzevir and in the U.S. as De Vinne.
  • Griffith Gothic (1997-2000). A revival of Chauncey Griffith's telephone book directory typeface, Bell Gothic (1937-1938).
  • Hightower (1994-1996). A Venetian typeface originally done for the Journal of the American Institute of Graphic Arts. Font Bureau: Dissatisfied with others' attempts to bring Nicholas Jenson's 1470 roman up to date, Frere-Jones prepared his version of this calligraphic roman, with his own personal italic.
  • Interstate (1993, Font Bureau). Done for the United States Federal Highway Administration, but later released as a type family by Font Bureau. Interstate Mono (done with Christian Schwartz) followed in 2000, also at Font Bureau. The family is a reinterpretation of Highway Gothic, which has been the official typeface for American highway signage for decades. Its design is ultimately based on signage alphabets developed in the late 1940s by Dr. Theodore Forbes, assisted by J.E. Penton and E.E. Radek.
  • Miller. A Scotch Roman finished in 1997 together with Matthew Carter and Cyrus Highsmith at Font Bureau.
  • Niagara (1994). Almost a skyline typeface. Contains Niagara engraved.
  • FB Nobel (1993). An exquisite geometric sans family based on old ideas of De Roos at Amsterdam who explored alternative character sets to enliven basic Futura forms. Frere-Jones views Nobel as Futura cooked in dirty pots and pans. FB Nobel showcased. The Extra Lights were added by Cyrus Highsmith and Dyana Weissman.
  • Pilsner (1995). A beer bottle typeface. Font Bureau: Sitting in a Paris cafe with a bottle of beer, Tobias Frere-Jones gave his attention to the label. It was set in a roman design wearing blackletter-like clothes, probably to suggest an origin in Alsace or points to the East. Unable to forget the design, with its blocky, straight line emphasis, Tobias designed Pilsner, an exercise in straight lines in an angle-centered scheme.
  • Poynter Old Style (1997, Font Bureau).
  • FB Reactor (1996). This was first a FUSE7 font in 1993). Reactor destroys itself as it is put to use.
  • Reiner Script (1993). Based on a 1951 brush script by Imre Reiner (ATF).
  • Stereo (1993). After a typeface by Karlgeorg Hoefer, 1963 (Font Bureau says 1968).

At FontFont, he designed the children's fonts FF Dolores (1991) and FF Dolores Cyrillic.

At FUSE 15, he designed Microphone (1996). At FUSE 10, he published Fibonacci, a font consisting just of lines.

His custom work includes WorthGothic (1996), WorthLogo1996 (1995), WorthText (1995), GQGothic (1995), Halifax, Commonwealth (1995), Belizio-TwentySix (Font Bureau), HermanMillerLogo (1999, Font Bureau). Cassandra, Vitriol (1993), Quandry (1992-1994) and Chainletter (1993).

Retina Agate (2001, specially made for small-print stock listings at the Wall Street Journal) netted him a Bukvaraz 2001 award and an AIGA 2003 Design Award.

From 1999 until 2014, he designed for the Hoefler Type Foundry, which he joined as an equal partner (and the new company became Hoefler & Frere-Jones (in 2004), or H&FJ). He claims that he brought with him to H&FJ a lot of typefaces including Whitney, Whitney Titling, Elzevir, Welo Script, Archipelago (Shell Sans), Type 0, Saugerties, Greasemonkey, Vive, Apiana, and Esprit Clockface. It is not expicitly stated at the H&FJ site which typefaces he had a hand in, but one can safely assume that it must have been nearly every typeface made since he entered into the partnership. In 2014, Tobias sued Jonathan for half of the company in a 20-to-80 million dollar lawsuit since he claims that Hoefler reneged on his promise to give him his half. The typefaces at H&FJ he had a hand in include:

    Archer (2001, by Jonathan Hoefler and Tobias Frere Jones). A humanist slab serif originally designed for Martha Stewart Living. It has a great range of features, including a classy hairline style. Some say that Archer is just Stymie with some ball terminals. Nevertheless, it became a grand hit, and has been used by Wes Anderson in The Budapest Hotel, and by Wells Fargo for its branding. David Earls on Archer: with its judicious yet brave use of ball terminals, and blending geometry with sexy cursive forms, all brought together with the kind of historical and intellectual rigour you fully expect from this particular foundry, Archer succeeds where others falter.
  • HTF Retina (2002). For use in the Wall Street Journal.
  • Gotham (2001). A sans serif done with the help of Jesse M. Ragan. In fact, the orignal design in 2000 was for GQ magazine. Read about it here. In 2007, he published the rounded version Gotham Round. Gotham was used in 2008 by Obama in his presidential campaign. Joshua Brustein (Business Week): Gotham is one hell of a typeface. Its Os are round, its capital letters sturdy and square, and it has the simplicity of a geometric sans without feeling clinical. The inspiration for Gotham is the lettering on signs at the Port Authority, manly works using "the type of letter that an engineer would make," according to Tobias Frere-Jones, who is widely credited with designing the font for GQ magazine in 2000. Critics have praised Gotham as blue collar, nostalgic yet exquisitely contemporary, and simply self evident. It's also ubiquitous. Gotham has appeared on Netflix (NFLX) envelopes, Coca-Cola (KO) cans, and in the Saturday Night Live logo. It was on display at the Museum of Modern Art from 2011 to 2012 and continues to be part of the museum's permanent collection. It also helped elect a president: In 2008, Barack Obama's team chose Gotham as the official typeface of the campaign and used it to spell out the word HOPE on its iconic posters. Hoefler produced versions in 2016 such as Gotham Office and Gotham Narrow Office.
  • Cyclone (2003).
  • In 2010, he and Jonathan Hoefler designed the sans family Forza.
  • Giant (2003).
  • Knoz (2003).
  • Topaz (2003).
  • Verlag (2006). Developed together with Jonathan Hoefler.
  • Whitney (2004). This is an amazing 58-style sans family designed for the Whitney Museum, but now generally avalaible from Hoefler, and touted as a great family for infographics. A derivative, Whitney-K, is the house font of Kodak. Whitney's sales blurb: While American gothics such as News Gothic (1908) have long been a mainstay of editorial settings, and European humanists such as Frutiger (1975) have excelled in signage applications, Whitney bridges this divide in a single design. Its compact forms and broad x-height use space efficiently, and its ample counters and open shapes make it clear under any circumstances.
  • With Hoefler, he collaborated on projects for The Wall Street Journal, Martha Stewart Living, Nike, Pentagram, GQ, Esquire, The New Times, Business 2.0, and The New York Times Magazine. In all, he has designed over five hundred typefaces for retail publication, custom clients, and experimental purposes. His clients have included The Boston Globe, The New York Times, The Cooper-Hewitt Museum, The Whitney Museum, The American Institute of Graphic Arts Journal, and Neville Brody. He has lectured at Rhode Island School of Design (from which he graduated with a BFA in 1992), Yale School of Art, Pratt Institute, Royal College of Art, and Universidad de las Americas. His work has been featured in How, ID, Page, and Print, and is included in the permanent collection of the Victoria&Albert Museum, London.

Interview. Interviewed by Dmitri Siegel. He created Estupido Espezial for fun, but it actually made it into an issue of Rollingstone. Catalog of his typefaces at Font Bureau. Keynote speaker at Typecon 2014.

View typefaces designed by Tobias frere-Jones. Another page with typefaces created by Tobias Frere-Jones. [Google] [MyFonts] [More]  ⦿

Fresh Pressed Fonts
[Ryan Welch]

Fresh Pressed Fonts is the foundry of Ryan Welch, who graduated from RIT in 2013. Based in New York City, he created the blackboard bold multi-textured font family Octomorf (2013), the free athletic lettering typeface Matchup (2013), Hickory (2013, a copperplate typeface in which all lowrcase characters are of the same size), Corduroy Slab (2013, free), Matchup Light (2013, free), Parliament (2013, spurred typeface), Grip2X (2013) and Brassie (2013, free regular weight).

In 2014, he published the rounded techno sans typeface Calvaux, Seaside Script, the vintage display typeface Privateer, Sourdough (a creamy script), the wood simulation typeface Fair Trade, the poster typeface Landscaper, and the octagonal typeface Cracker Jack.

In 2015, he published the display sans typeface family Animus and the octagonal typeface Mylodon.

Typefaces from 2016: Machinist (weathered industrial style), Halberd (semi-blackletter), Rematch (slab serif), Life Is Gouda (cheese-themed vector format font).

Typefaces from 2017: Promises, Clout (octagonal and industrial).

Behance link. Creative Market link (for buying his fonts). A newer creative Market link. [Google] [More]  ⦿

Fritz L. Amberger

Artist and printer, 1899-1950, who was based in New York City. He designed Bam-Stencil in 1937 for Ruttle, Shaw and Wetherill. Mac McGrew: Bam-Stencil was designed by F. L. Amberger and reportedly cut by Ruttle, Shaw&Wetherill, a Philadelphia typographic firm, about 1937. It follows the general style of Corvin us (Glamour) Bold, but is heavier and has stencil-like breaks in the strokes. No lowercase was made. [Google] [More]  ⦿

Funny Garbage
[Peter Girardi/Chris Capuozzo]

New York City foundry, making mostly grungy or cartoony typefaces and dingbats. Partners Peter Girardi and Chris Capuozzo designed current fonts: 291, Alvin, Bild, Diary..., DirtDevil (1995, a T-26 font), Infidel, and KennelDistrict (1995). Cartoon fonts by Gary Panter to be added. [Google] [MyFonts] [More]  ⦿

Fwis
[Chris Papasadero]

Fwis is a graphic design group in Portland, Cupertino and Brooklyn. One of its art directors is Chris Papasadero. As a sideline, they will design an occasional font. Pylon (2007, art deco) is their first production. No downloads. 2009 fonts, again without downloads: Omnistroke Sans, Omnistroke Square, Eurochair, Paratype and Nuit. Koolhand (2009) is a free experimental typeface designed by Chris Papasadero inspired by some of the architecture of Rem Koolhaas. [Google] [More]  ⦿

G. C. Heins, C. G. LaFarge and S. J. Vickers

Designers of various tile-based fonts for New York's subway in 1901. Read about it in Lee Stokey's book, Subway Ceramics (1992). Two fonts by Nick Curtis were inspired by that tiling in New York's subway, Downtown Tessie NF (2006) and Midtown Tessie NF (2006). [Google] [More]  ⦿

Gabriel Gonzalez

During his studies at the School of Visual Arts in New York, Gabriel Gonzalez designed Characterize (2013, an experimental typeface). [Google] [More]  ⦿

Gabriel Lopes

Gabriel Lopes (New York City) designed 3d Analglyph (2013), an experimental geometric typeface. [Google] [More]  ⦿

Gail Anderson

Gail Anderson is well-known for her typography at Rolling Stone magazine. Coauthor with Steve Heller of New Ornamental Type and Type Speaks: A Lexicon of Expressive, Emotional, and Symbolic Typefaces (2021). [Google] [More]  ⦿

Gail Sihan Zhao

Flushing, NY-based student designer of the decorative caps typeface Style (2014). [Google] [More]  ⦿

Gangs of New York

Mark Simonson discusses the anachronisms in the type choices for Scorsese's Gangs of New York (2002), set in the 1860's--they were even using Avenir! [Google] [More]  ⦿

Garnett Megee

Type designer at Photo Lettering Inc in New York. His (phototype) typefaces there include Biscayne Vertical, Floridian, Greenwich and Miami. [Google] [More]  ⦿

Gary Sumner

Designer in New York, NY, who created Steampunk Teletyped (2016) from small circles. [Google] [More]  ⦿

Gavin Potenza
[Script and Seal]

[More]  ⦿

GE

GE Inspira (2004, free under conditions spelled out in an EULA) is a typeface designed for GE's brand based on ideas of Patrick Giasson (who worked at Wolff Olins and is now with Agfa Monotype UK). Giasson writes: A number of people were involved. I did the initial typographic development on the regular Latin weight, with Adam Throup (London) and Douglas Sellers (NYC) art directing the project. Further development was subsequently done by Mike Abbink (SF). Agfa Monotype US was then involved to create additional weights, and expand the family to cover roughly the WGL4 character set and finalize the fonts. [Note: the Agfa team consisted of Jim Wasco, Carl Crossgrove and others.] Mike Abbink writes: I actually spent over a year working on the design of Inspira. It was Patrick's [Patrick Giasson] early concept that GE was drawn to, but at that time, it was way too funky and more display like then they wanted. I then took patricks original thoughts and spent several months refining the roman and created an italic (which Patrick did not do) which was then handed to monotype to create more weights and refine a bit. What you see in Inspira now, is quit different from Patrick's original concept. However, the more unique forms from Inspira are indeed driven by patricks original drawings and are the interesting forms of the font (v, x, z, y). I was also involved with art directing and working with the Monotype team (for over a year) in developing all the other iterations of inspira. All told, there were many people involved in the refinement of the Inspira font family, but I must say I would have to take a large credit in the design of inspira along with Patrick. I believe Patrick's designs and my designs created a nice balance that has made Inspira what it is today and of course let's not forget the hard work of monotype in really taking the font to the next level with all the weights, the condensed version, and exotics (Greek, Cyrillic, Turkish, etc.). Mike now works at Wolff Olins in New York.

GE Inspira Sans and Serif (Mike Abbink, Paul van der Laan and Pieter van Rosmalen, Bold Monday) won an award in the TDC 2015 Type Design competition. [Google] [More]  ⦿

Gems of Penmanship by Williams&Packard

Penmanship book written in New York in 1867 by D. Williams and S.S. Packard. It has a few blackletter and other alphabets, and many freehand drawings of birds and animals. Selected alphabets: Grand Capitals, Italian Capitals, Ladies Hand, Roman Capitals, Italian, Half Block, Williams Style German Text, Williams and Packard's Steel Pen German Text, Old English, Williams and Packard's Church Text [this inspired C. Lee's Ornate Alphabet], Beveled Alphabet, Ribbon Alphabet, (continued), Soft and Twisted Alphabet, (continued), Rustic Alphabet, (continued). Selected drawings: a hand, a bird, a deer, a swan.

Digital revivals include Vintage Ornamental (2016) and Gothic Ornamental (2016) by Ludmila Riumina. [Google] [More]  ⦿

General Type Studio
[Stéphane Elbaz]

General Type Studio is a New York-based type foundry founded by Stéphane Elbaz, a graduate of ENSAD in Paris, class of 2004. Since 2008, he lives in New York, where he is a freelance designer and teaches at Cooper Type. As of 2018, the font production is in the hands of Mathieu Réguer.

In 2003 at ENSAD, Elbaz co-designed the experimental typeface Caffeine with Benjamin Raimbault and Eric Bricka. His Geneo (2008: an eight style nearly transitional serif) won an award at TDC2 2009. Geneo was published in 2012 by Typofonderie.

Now an established designer, he created didone titling typefaces for the Stiletto mag in 2008.

Other typefaces designed before General Type Studio was started: Sephora Pro (2015, ZeCraft), Galante (2005, a text typeface), Primota (2008, a strong grotesque), Etan (2008, an eroded text face), and PSFournier (2016, Typofonderie: a great revival of Fournier's French transitional typefaces).

Typefaces at General Type Studio:

  • Mier A and Mier B (40 styles, 2018). A sans family that marries the grotesque and geometric styles.
  • Cambon (16 styles). A contemporary flared serif influenced by Louis Perrin (1795-1865) and Berthold Wolpe (1905-1989).
  • Pilat (48 styles). They write: Pilat is a constructed grotesque developed with a large range of weight and width variations. Its base structure, commonly called a superellipse or Lamé curve, could be described as a circle trapped inside a box. Though the letter-shape predates the 20th century, it is mostly seen as an expression of the post World War II era---a glorifying combination of craft and technology. Pilat won an award at the Type Directors Club's Type Design Competition 2019.
[Google] [MyFonts] [More]  ⦿

Genevieve Van Dussen

Rochester, NY-based creator of a great set of single letter logos in 2011 for Modovare. Home page. [Google] [More]  ⦿

Geoffrey Krawcczyk

Geoffrey Krawcczyk is Creative Director at TVP Studio in New York City. In 2018, he designed the free all caps sans typeface Vain Capital. [Google] [More]  ⦿

Georg Salter
[George Salter]

[More]  ⦿

George Abrams
[Abrams Legacy]

[MyFonts] [More]  ⦿

George Abrams
[Expert Alphabets]

[MyFonts] [More]  ⦿

George Bruce

Type-founder (b. Edinburgh, Scotland, 1781, d. New York City, 1866). He and his brother David emigrated to the United States, where they started the Bruce Type Foundry in New York City in 1813. David was precoccupied with a new printing process, stereotyping, while George was the type-founder who created many beautiful and refined designs. Together, they invented a useful type-casting machine. In 1865, George Bruce published An abridged specimen of fonts of type. In 1848, they published Specimens of printing types / cast by Geo. Bruce&Co. Samples of typefaces: Bruce Script and Bruce Copperplate Script (1842 and 1858), Bruce Copperplate Script No. 2003 (1857), Bruce Italian Swash Script No. 2007 (1858), Victoria Textura (1865).

Quoting From Appleton's Cyclopedia of American Biography, edited by James Grant Wilson and John Fiske. 6 vols. New York: D. Appleton and Company, 1887-1889.:

Bruce, George, type-founder (proprietor of the Bruce foundry), born in Edinburgh, Scotland, 5 July, 1781: died in New York City, 6 July, 1866. He immigrated to the United States, where his brother David had preceded him in July, 1795, and at first attempted to learn the bookbinder's trade, but, his master being tyrannical and exacting, he left him, and by his brother's persuasion apprenticed himself to Thomas Dobson, printer in Philadelphia. In 1798 the destruction of Dobson's office by fire, and the prevalence of yellow fever, led the brothers to leave the city. George had yellow fever at Amboy, but recovered through his brother's care. The two went to Albany and obtained employment there, but after a few months returned to New York. In 1803 young Bruce was foreman and a contributor to the Daily Advertiser, and in November of that year printer and publisher of the paper for the proprietor. In 1806 the two brothers opened a book printing office at the corner of Pearl street and Coffeehouse slip. The same year they brought out an edition of Lavoisier's Chemistry, doing all the work with their own hands. Their industry and personal attention to business soon brought them abundant employment, and in 1809, removing to Sloat lane, near Hanover square, they had nine presses in operation, and published occasionally on their own account. In 1812 David went to England, and brought back with him the secret of stereotyping. The brothers attempted to introduce the process, but encountered many difficulties, which it required all their ingenuity to surmount. The type of that day was cast with so low a beveled shoulder that it was not suitable for stereotyping, as it interfered with the molding and weakened the plate. They found it necessary, therefore, to cast their own type. They invented a planing-machine for smoothing the backs of the plates and reducing them to a uniform thickness, and the mahogany shifting-blocks to bring the plates to the same height as type. Their first stereotype works were school editions of the New Testament in bourgeois, and the Bible in nonpareil (1814 and 1815). They subsequently stereotyped the earlier issues of the American Bible society, and a series of Latin classics. In 1816 they sold out the printing business, and bought a building in Eldridge street for their foundry. Here, and subsequently in 1818, when they erected the foundry still occupied by their successors in Chambers Street, George gave his attention to the enlargement and development of the type-founding business, while David confined his labors to stereotyping. In 1822 David's health failed, and the partnership was dissolved. George soon relinquished stereotyping, and gave his whole attention to type-founding, and introduced valuable improvements into the business, cutting his own punches, making constantly new and tasteful designs, and graduating the size of the body of the type so as to give it a proper relative proportion to the size of the letter. In connection with his nephew, David Bruce, Jr., he invented the only typecasting machine That has stood the test of experience, and is now in general use. His scripts became famous among printers as early as 1832, and retained their pre-eminence for a generation. The last set of punches he cut was for a great primer script. He was at the time in his seventy-eighth year, but for beauty of design and neatness of finish, the type in question has rarely been excelled. Mr. Bruce was a man of large benevolence, of unflinching integrity, and great decision of character. He was president for many years of the Mechanics' Institute, and of the type-founders' association, and an active member of and contributor to, the historical society, St. Andrew's society, the typographical society, and the general society of mechanics and tradesmen. [Google] [MyFonts] [More]  ⦿

George Bruce
[Bruce Type Foundry]

[MyFonts] [More]  ⦿

George Buxton Lothian
[Lothian Type Foundry]

[More]  ⦿

George Clark

New York-based art director and type brander. He created the identoty for New York-based industrial designer Lucy Tupu in which he makes frequent use of squares and quarter circles in his kitchen tile types (2008). [Google] [More]  ⦿

George Hauser

New York artist and letterer (b. Brooklyn, 1893) and designer of the brush typeface Hauser Script (Ludlow, 1934), in script and cursive versions. This typeface is now available from Red Rooster as Hauser Script RR, digitization by Steve Jackaman (1998), and from URW++.

FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

George Michael Brower

Chappaqua, NY-based designer who is working on this strong-willed sans (2007). [Google] [More]  ⦿

George Ryan

American designer, b. Rockville Centre, NY, 1950. George Ryan held senior positions at Linotype and Bitstream since 1979, where he has been involved in the production of over 2500 fonts. In 2004, Ryan joined Agfa Monotype, and is now a Monotype typeface designer. Creator of these typefaces:

  • The amazingly beautiful text font Kennedy GD (1995, Galapagos).
  • Other Galapagos fonts: McLemore (2002), Geis (2002), Jorge (2002), Culpepper (2002, an extension and interpretation of Rudolf Koch's Neuland, 1923), the elegant formal script font Tiamaria (2002, connected script), the fat art nouveau font Robusto (2002, based on letters found in a book about Oswald Cooper), Prop Ten (2002).
  • The hand-printed comic book style typeface ITC Kristen (1995).
  • The legible Nikki New Roman GD (1996).
  • The handwriting font MohawcsNote GD.
  • The Bitstream font Oz Handicraft BT (1991). This was created by George Ryan in 1990 from a showing of Oswald Cooper's hand lettering found in The Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago). A refresh was done in 2016.
  • Migrate GD (now ITC Migrate).
  • ITC Eborg.
  • The fine dingbat font Web-O-Mints GD.
  • The clean sans serif Wyle GD.
  • Established in 2003 by George Ryan in Arlington, MA, Bilt Fonts (Aruban Font Foundry) sells revivals and original designs through MyFonts. Typefaces include Pietin, Geo Sans, Netto, Rescue, Jingle, Geo Tablet, Lottsa Lotta, Big Stuff, Rainman, Depth Charge, Sansand, Bulla Bulla, Kappa Nappa, Kappa Sappa, Sarabella (2004, calligraphic), Marcus Texus (fun informal), Marcus Displaeus, and Spio Beo.
  • Semaphore (Bitstream, with Dave Robbins).
  • In 2007, at Monotype, he made Givens Antiqua, named after Robert Givens, the co-founder and first president of Monotype Imaging---it is a soft and elegant serif family in 16 styles.
  • In 2012, he published the comic book felt tip marker typeface Koorkin (Monotype).
  • In 2013, he worked on an Ethiopic typeface at Monotype.
  • In 2015, Monotype set out to remaster, expand and revitalize Eric Gill's body of work, with more weights, more characters and more languages to meet a wide range of design requirements. As part of that effort, George Ryan extended the popular Gill Sans from 18 to 43 fonts in his Gill Sans Nova (2015). Several new display fonts are available, including a suite of six inline weights, shadowed outline fonts that were never digitized and Gill Sans Nova Deco that was previously withdrawn from the Monotype library. Greek and Cyrillic coverage.

FontShop link. Klingspor link.

View George Ryan's typefaces. [Google] [MyFonts] [More]  ⦿

George Salter
[Georg Salter]

Georg Salter was a German graphic designer and illustrator, b. Bremen, 1897. After studies at Kunstgewerbeschule Berlin-Charlottenburg, he worked in Berlin as a book designer. In 1934, he emigrated to the United States and changed his first name to George. He became famous for his book jackets. Designer of the ribbon type Flex at Lettergieterij Amsterdam in 1937. He lived mainly in New York, where he died in 1967. Reference: Juergen Holstein: Georg Salter Bucheinbände und Schutzumschläge aus Berliner Zeit 1922--1934, (Berlin 2003).

In 2021, Lucas Sharp created Salter Italic, which was inspired by the book jacket calligraphy of Georg Salter for The Transposed Heads (Thomas Mann, Alfred A. Knopf), published in 1941.

Biography of George Salter by Sara Kratzok and Devyani Parameshwar. [Google] [More]  ⦿

Gerald E. Stahl

Type designer in New York City who created a display face in 1969 for Pennwalt Corporation in Philadelphia. Google patent link. [Google] [More]  ⦿

Geraldson Chua

New York City-based designer of a great set of fat didone numerals (2014). Behance link. [Google] [More]  ⦿

Gerard Huerta
[Gerard Huerta Design]

[MyFonts] [More]  ⦿

Gerard Huerta Design
[Gerard Huerta]

Lettering artist, b. 1952, head of Gerard Huerta Design in Southport, CT. Lettering and logos of Huerta were used by Swiss Army Brands, MSG Network, CBS Records Masterworks, Waldenbooks, Spelling Entertainment, Nabisco, Calvin Klein's Eternity, Type Directors Club, the mastheads of Time, Money, People, The Atlantic Monthly, PC Magazine, Adweek, Us, Condé Nast's Traveler, Working Mother, WordPerfect, Scientific American Explorations and Architectural Digest, as well as corporate alphabets for Waldenbooks, Time-Life and Conde Nast. Designer and vice-president of New York's Type Directors Club. Based in Southport, CT.

He made many famous logos and created several logo-fonts. Huerta worked for some time at CBS Records. His type designs include a custom Franklin Gothic in the late 1970s as part of Walter Bernard's redesign of Time Magazine. [Google] [MyFonts] [More]  ⦿

Geri McCormick
[Virgin Wood Type]

[More]  ⦿

Germain Ricardo

During his studies in New York City, Germain Ricardo designed Tangle (2013). [Google] [More]  ⦿

GetVoIP
[Michael Yunat]

Ukrainian-born Michel Yunat is content curator at GetVoIP in New York City. In 2014, he was involved in the commissioning of a free 2-style typeface family simply called GetVoIP Grotesque. The typeface was made by Sergiy S. Tkachenko.

Behance link. GetVoIP link. Dafont link. [Google] [More]  ⦿

Gilbert Powderly Farrar
[Intertype]

[MyFonts] [More]  ⦿

Gina Mattioli

Web and graphic designer in Buffalo, NY. In 2015, she created the display typeface Cosmiqu. [Google] [More]  ⦿

Giovanna Pineda

Brooklyn, NY-based designer of the squarish typeface Lissitzky (2019). [Google] [More]  ⦿

Girlie Mac

Tomomi, a Japanese designer living in New York, made a RubberDuckie alphading font (free). [Google] [More]  ⦿

Gisella Anzaldi

Coram, NY-based creator of the Soda Pop typeface in 2012. [Google] [More]  ⦿

Glenda de Guzman

Graduate in 1992 from the Rochester Institute of Technology with a BS in Printing. While a co-op student for Monotype Typography in California, she hinted fonts. She has also carried out research at Microsoft with Robert Norton. She joined Font Bureau in 1994, but moved a few years later to Southern California.

  • Designer at Font Bureau of Bradley Initials (1994, after spectacular art deco capitals originally designed by William H. Bradley---see the 1934 ATF catalog, where it is called Bradley Ultra Modern Initials).
  • She also designed Math1-Bold, Math1, Math1Mono-Bold, Math1Mono, Math2-Bold, Math2, Math2Mono-Bold, Math2Mono, Math3, Math3Bold, Math3Mono-Bold, Math3Mono, Math4-Bold, Math4, Math4Mono-Bold, Math4Mono, Math5, Math5Bold, Math5Mono, Math5MonoBold for Wolfram's Mathematica package in 1996 (truetype versions here or here or here).
FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Glenn Munoz

Graduate of Florida International University. Brooklyn, NY-based designer of the squarish typeface Fprmat (2017). [Google] [More]  ⦿

Glenn Pajarito

Born in Seattle, raised in San Diego, and working in NYC, Glenn Pajarito currently is Senior Art Director at Saatchi & Saatchi X. Creator of a corporate hand-printed typeface family for Wendy's called Wendy's Breakfast (2012). [Google] [More]  ⦿

Glenn Parsons
[Astrolux]

[MyFonts] [More]  ⦿

Glenn Wolk

New York based creative director. Designer of a typographic portrait of Nicki Minaj (2013).

Behance link. [Google] [More]  ⦿

GoldenAge font set

Four fonts for 65USD by Donald Rice Music Preparation (75 Park Terrace E. #D-54 New York, NY 10034). Advertised for "professionally hand-copied sheet music ... for use in big band charts, lead sheets, jingles, record dates, ...". [Google] [More]  ⦿

Graeme Kilshaw

New York City-based designer Friendship Code (2020). Kilshaw is the CEO of the Friendship Cube Group, 51 Astor Place, NY, NY. [Google] [More]  ⦿

Grafikarto
[Lee Iley]

Lee Iley (Grafikarto) is the New York City and/or Mexico City-based designer of Bolonat (2014). His commercial foundry and design studio is called Grafikarto. In 2018, he published Cobalt 27, a monoline typeface that is influenced by early constructivist posters, and Bolonat Hand and Bolonat Wash, two OpenType SVG fonts drawn and originally used for Bar Bolonat restaurant in NYC after vernacular cafe signage in Jaffa, Israel. Also from 2018 is the vernacular Mexicamn diner font family Comida. [Google] [MyFonts] [More]  ⦿

Graham Bradley
[Roxaboxen]

[More]  ⦿

Graham Clifford

Graham Clifford is a type director and graphic designer in New York City. He was trained by his father before working for some of London's creative advertising agencies such as CDP and GGT. He moved to New York ca. 1993. President of TDC in 2013.

Creator of Clifford AOL, a font made for AOL. In 2014, his typeface Amplify won an award at the Communication Arts 4th Typography Competition. Other (mostly custom) typefaces by Clifford include Tanqueray, Kmart Bold Italic, Digital, Moët&Chandon, Putnam Semi Sans. [Google] [More]  ⦿

Greg Knoll
[Attention Earthling Font Foundry]

[MyFonts] [More]  ⦿

Greg Mihalko
[Partners and Partners]

[More]  ⦿

Greg "Seso" Ortiz

New York City-based designer (b. 1996) of the free futuristic stencil typeface Quantum (2018). [Google] [More]  ⦿

Gregory Shutters
[Typetanic Fonts]

[MyFonts] [More]  ⦿

Griffin Moore
[Monolith Foundry (was: Pilgrim Fonts)]

[MyFonts] [More]  ⦿

Grolier Club

"Founded in 1884, the Grolier Club of New York is America's oldest and largest society for bibliophiles and enthusiasts in the graphic arts. Named for Jean Grolier, the Renaissance collector renowned for sharing his library with friends, the Club's objective is to foster "the literary study and promotion of the arts pertaining to the production of books." The Club maintains a research library on printing and related book arts, and its programs include public exhibitions as well as a long and distinguished series of publications." [Google] [More]  ⦿

Ground Control (was: Penny Font Foundry, or: Pennyzine)
[Jason Ramirez]

As part of the (ex-) Chank Army, Jason Ramirez (b. 1978, Wisconsin) offers free and commercial fonts. He started out as Pennyzine or Penny Fonts, or Penny Font Foundry, with free fonts that were typically made with the Data Becker software program. Later, his fonts became commercial, and the new site changed its name to Ground Control.

The list of their free fonts, which are mostly in the grunge style that was in vogue ca. 2000: Locals Only (2011), Cocaine Nosejob (2008), Made (2004, grunge blackletter), Strip Club Motion Sickness (2003), One Fell Swoop (2003, scratchy calligraphic), Fear of a Punk Planet (2005), Futon Revolutionist (2002), Bill Hicks (2002, grungy blackletter), Elliot Swonger (2002), Elliots Bad Day (grunge), Don Giovonni (2006, grungy typewriter), Don Giovonni Makin Enemies (2006), Gumuski (2002), DUMMY (1999), Acid Reflux Baby (2002), Avenge Me (2004, multiline, octagonal), Times-New-Omen (1999), punk rock rummage sale (2001), Thatluvinfeelin1 (2001, a sexual positions font), cut-n-paste (1999), Maydogg (1999-2002, handwriting), My-wife-sucks (1999), Stamped-out (1999), Stank (1999), StankII (1999), uncle-tom (1999), uno (1999), Coopdeville (2002), Dirtysocks, FourMoreYears (2003), Punkrockrummagesale (2001), Theregoestheneighborhood (2003), Thiskettle (2002, handwriting), Mr. Rogers (2003), Regime Change (2004), Hotel Coral Essex (2006, grunge), Limp Noodle (2006).

Commercial fonts: Sparkle House (2011), Chompsky Fancy (2011), Redneck Superstar (2002, Chank's).

Dafont link. Yet another URL. Fontspace link. Abstract Fonts link. Alternate URL. Direct downloads. Alternate direct download path. Ground Control web site. [Google] [More]  ⦿

Group Type
[Mark Solsburg]

Mark Solsburg's outfit located in Westport, CT. Before GroupType, Solsburg worked at ITC, which he left in 1989 to start FontHaus. Later he started TypoBrand and Grosse Pointe Group LLC. Solsburg headed the Type Directors Club for a few years. He is presently located in Ann Arbor, MI. He is President / CEO of DsgnHaus (1989-present), and partner in TypoBrand LLC (2004-present), a specialized typographic consulting firm founded by type designer, Mark van Bronkhorst; former type designer for Adobe, Linnea Lundquist, and Mark Solsburg. It seems that the FontHaus collection is now being marketed under the Group Type label at MyFonts. Group Type does technology consultation in the field of providing software and type typeface fonts for designers, publishers and typographers, related to the selection, purchase and use of design software and type typeface fonts for use in graphic, industrial, interactive and communications design. They specialize in revivals. Their fonts include

  • Aquiline. An absolutely wonderful 16th century script.
  • Arbor Brush (2012). A brush font that seems almost painted.
  • Aries. A 1995 revival of a lapidary typeface by Eric Gill.
  • Bank Gothic (1994). A revival of Morris Fuller Benton's original---see also Bank Gothic BT. Now also Bank Gothic Distressed.
  • Bristol (1994). In Adornado and Solid substyles. Based on a design by Stevens Shanks.
  • Broadway Poster.
  • Carpenter Script (1995). Revival of an old connected ATF script by James West.
  • Caslon Antique (1993). Based on an original by Bernd Nadall.
  • Cloister Initials (2006). A revival of an illuminated caps typeface by Goudy.
  • Cooper Poster.
  • Corvinus Skyline (1991). By Ann Pomeroy. A revival of a condensed modern family by Imre Reiner by the same name.
  • Craw Modern (2012). A revival of Craw Modern by Freeman Craw (1958, ATF).
  • Diane Script.
  • Fortis (2012), formerly Atlas. In the wood style of Latin Wide, with heavy sharp triangular serifs.
  • Girder Poster.
  • Gotico Black. A blackletter.
  • Grosse Pointe Metro (2006-2009). A great Bauhaus style sans family based on William Addison Dwiggins' Metro #2). See also Detroit Metro.
  • Grotesca (1995).
  • Laughin. Andrew Smith contributed his Laughin, which was earlier at FontHaus.
  • Maxim.
  • Ovidius Script. A medieval simulation script, dated 2006, designed by Thaddeus Szumilas. Comis in Light, Medium and Bold.
  • Poster Gothic.
  • Raleigh Gothic (1995). A typeface based on Morris Fuller Benton's design. See also Raleigh Gothic RR for a different revival.
  • Regular Joe (2006). An out-of-place childish handwriting font.
  • Ronde Script (2012). This ronde comes from the French side. Group ype says that it was modeled after Parisian Ronde by the Chappelle foundry in Paris, but its roots go back to Nicolas Gando.
  • Schneidler Initials (1995). Revival of Friedrich Hermann Ernst Schneidler's Trajan-style typeface.
  • Sitcom. Ann Pomeroy contributed Sitcom.
  • Spire. By Ann Pomeroy. A condensed didone family heavily based on Sol Hess's Spire (Lanston).
  • Stradivarius.

View the Group Type typeface libary. [Google] [MyFonts] [More]  ⦿

Grow Design Work
[Bran Dougherty-Johnson]

Bran Dougherty-Johnson runs a film-making studio specializing in motion-graphics, broadcast design, short film and typography called Grow Design Work. It is located in Shelter Island Heights, NY. Designer of the free fonts Change (2007, outline face), Chellovek (2006) and Grow Fat (2005), ultra fat art deco fonts. Fontspace link. [Google] [More]  ⦿

Grym

Grym is an art director based in New York City. She studied Advertising/Graphic Design at the School of Visual Arts and graduated in 2011. In 2008, she created the geometric typeface Tiptoe. [Google] [More]  ⦿

GT&Canary
[Takaaki Goto]

GT&CANARY, a New York City design lab, was founded in 2004 by Takaaki Goto (b. 1966, Japan), a.k.a. GT, who specializes in global brand identity and package design. Takaaki Goto designed the slightly arched Kana Sans type family (2012). In 2014, he created the organic sans typeface Morebi Rounded (+Stencil). In 2015, he added the beautiful geometric sans typeface family Mirai (meaning, the future). [Google] [MyFonts] [More]  ⦿

Guilherme Schneider Denzin

Talented Bauru, Brazil (and now, New York City)-based creator of the free font Kraftstoff (2013), which was inspired by an old gas pump meter.

In 2014, during his studies at Parsons in New York, he created the wedge serif typeface Eckford.

In 2015, he published the free font Marsh Stencil (a revival of a stencil typeface produced by the American company Marsh Stencil Machines during WWII).

Behance link. Graphic River link. Specimen of Kraftstoff. Another Behance link. [Google] [More]  ⦿

Gulay Inceoglu

Brooklyn, NY-based creator of BAMQ (2013) and Brkln Regular (2013), a set of free fonts that were inspired by the modern minimalist architecture, and have an art deco feel. She also made Bklyn Iconic (2013).

Behance link. Hellofont link. [Google] [More]  ⦿

Guy Jeffrey Nelson

New Yorker who did custom work for Font Bureau. He made these typefaces:

  • FF Providence (1993). A children's hand.
  • Interstate Pi (1994). Four fonts with US highway signs, done at Font Bureau.
  • Tasse (1994, Font Bureau). This is a revival of Paul Renner's steile Futura (1952).

Guy shared the following story with me from his days at Font Bureau (reprinted here with his permission): I was one of the kids who pushed points around developing Font Chameleon. I worked for the Font Bureau at the time, under the great David Berlow. Tobias Frere-Jones was there with me along with Elizabeth Holzman and Kelly Ehrgot Milligan, working obscene hours to get hundreds of fonts hinted. Never eating, barely sleeping, we lived in the studio at 18 Tremont at the time. At one point we picked up some gag "old lady" tourist sunglasses to shield our burning eyes from the glare of the old CRT monitors. Our "conference room" was empty beyond eight folding beach chairs, and at least one of us would be getting a tight 30 minutes of sleep in there through the days. But through it all there was time for meeting girls in the hall (I married the one I met. She is beside me now 28 years later.) smoking cigarettes and eating Junior Mints, dropping 60 pound monitors down the stairs, playing practical jokes on David, Sam Berlow and Harry Parker (I left and cut my hair for the first time in years and returned as my twin brother) and just general insanity in the Golden Age of digital font foundries. What fun it was to have Eric Spiekerman, Neville Brody, Matthew Carter, Roger Black and other design greats come by in the fog of war during the Font Chameleon project and others. [Google] [MyFonts] [More]  ⦿

Ha Lim Kim

During his studies at the School of Visual Arts in New York City, Ha Lim Kim designed the display typeface family Blah (2012). [Google] [More]  ⦿

Ha Yoon Kim

Graduate of the School of Visual Arts, New York, class of 2014. New York City-based designer of a modular typeface in 2013. Behance link. [Google] [More]  ⦿

Habib Khoury
[AvanType]

[More]  ⦿

Hackberry Font Foundry (Was: NuevoDeco Typography, or: Bergsland Design)
[David Bergsland]

In 2009, Hackberry Font Foundry grew out of NuevoDeco Typography, which in turn was a commercial foundry that formed part of Bergsland Design located in Mankato, MN, and before that, Las Lunas, NM, and run by David Bergsland (b. 1944, Buffalo, NY), a 1971 graduate of the University of Minnesota. Author of Practical Font Design: 2nd Edition: Rewritten for FontLab 5. Klingspor link. Creative Market link, as Radiqx Press. His fonts:

View David Bergsland's typefaces. Behance link. Creative Market link. [Google] [MyFonts] [More]  ⦿

Hagar Type Foundry

New York-based foundry, also called Hagar&Pell, W.&H. Hagar, Wm. Hagar, Jr.,&Co., William Hagar&Co., Hagar&Sons, and Hagar&Co. Specimen in Specimens of printing types, ornaments, borders, &c. from the type foundry&printers' emporium of Wm. Hagar, jr.&co. (French&Wheat, 18 Ann street, New York, 1858), Specimens of printing types, ornaments, borders, &c. from the type and stereotype foundry of W.&H. Hagar (New York: No.38 Gold street, between Fulton and John streets, 1854), and Specimen of printing types and ornaments, from the type and stereotype foundry of William Hagar (New York, 1850). [Google] [More]  ⦿

Hailey Lawrence

Graphic designer in Alfred, NY, who designed a display typeface in 2016. [Google] [More]  ⦿

Haleema Nur

Originally from Brooklyn, NY, graphic designer Haleema Nur is now located in West Palm Beach, Florida. In 2018, she designed the script typeface Georgia Roads. [Google] [More]  ⦿

Haley Fiege
[Kingdom of Awesome]

[MyFonts] [More]  ⦿

Halle King

During her studies at St. John's University, Latham, NY-based Halle King designed the squarish typeface Digi (2016). [Google] [More]  ⦿

Hamilton Wood Type (HWT)
[Richard Kegler]

Hamilton Wood Type (HWT), established in 2012, is a joint venture between P22 type foundry and the Hamilton Wood Type & Printing Museum. The designs in this collection are based on printed specimens and actual wood type from the historic Hamilton Museum in Two Rivers, WI. HWT is based at P22 headquarters in Buffalo, NY. Typefaces are contributed by its founder, Richard Kegler, but also by Miranda Roth and Terry Wüdenbachs.

In 2012, they published HWT American Chromatic (Richard Kegler, Terry Wüdenbachs), a multilayered Western or circus font based on 19th Century Chromatic.

HWT Antique Tuscan No. 9 (2012) is a very condensed 19th century Tuscan style wood type design with a full character set and ligatures. This font was first shown by Wm H Page Co in 1859. It is the first digital version of this font to include a lowercase and extended European character set.

HWT Borders One (2012) contains 80 modular decorative elements that are based on the designs offered by the Hamilton Manufacturing company at the end of the 19th Century.

In 2013, Richard Kegler released the refreshing retro typeface HWT Bon Air, which is one of a series of script typefaces cut into wood by the Hamilton Manufacturing Company for the Morgan Sign Machine Co. (makers of the Line-o-Scribe showcard press) ca. 1950). He also digitized HWT Star Ornaments and HWT Republic Gothic (with Miranda Roth).

In 2013, James Todd designed the wood type revival family HWT Unit Gothic for Hamilton Wood Type Foundry. The Unit Gothic series was released by Hamilton Manufacturing Co. in 1907, and comprises a flexible range of widths from compressed to very wide.

Still in 2013, William Page's Antique No. 4 is revived as HWT Slab (Antique, Columbian), one with unbracketed square serifs, and one with bracketed serifs as in Clarendons.

In 2020, they added HWT Showcard Script (Terry Wüdenbachs) [Google] [MyFonts] [More]  ⦿

Hana Tanimura

Designer and art director currently working at Google Creative Lab in New York (previously in London). Her typefaces:

  • In 2011, Mother London and Thames & Hudson published a children's book titled The Ministry of Letters: Operation Alphabet. Its purpose was to get kids excited about words, language, and the power of storytelling. Hana designed a colorful children's alphabet for that publication.
  • Notable (2018, Google Fonts). Co-designed by Eli Block, Hana Tanimura and Noemie Le Coz, the art deco typeface Notable is an uppercase sans serif display font; its letterforms are based on those found on U.S. currency. Notable was designed for Notable Women, an initiative by former Treasurer of the United States Rosie Rios. Notable Women is an augmented reality experiment that lets anyone see 100 historic American women where they have historically been left out: U.S. currency.
[Google] [More]  ⦿

Handselecta
[Christian Acker]

Christian Acker (b. 1979, Norwalk, CT) and Kyle Talbott, two graphic designers in New York City, set up Handselecta on Long Island in 2003 as a division of Adnauseum, Inc. They have pages on graffiti art, graffiti and calligraphy, and graffiti-based typefaces: Espo, Joker (done with Jerry Inscoe), Sabe, Mesk, Mesk AOK. Run by Brooklyn-based Christian Acker. They are selling the graffiti fonts. MyFonts link. MyFonts sells HSMene One NYThrowie (2006), 24 HRS, Joker Straight Letter, Mene One Mexicali, Mesh One AOK, Meskyle Laid Back, Sabe Ghetto Gothic, and Sailor Gothic.

Behance link. Interview by Ping Mag in 2006.

In 2008, he made a custom graffiti font called Lebron6 for the launch of Lebron James's Sixth Shoe.

View Christian Acker's typefaces. [Google] [MyFonts] [More]  ⦿

Hanna Kregling

Brooklyn, NY-based art director. Creator of the primitive script typeface Starbucks Barista (2014). Behance link. [Google] [More]  ⦿

Hannah Ahn

New York City-based creator of a watercolored roman capital set of letters in 2014. This was done during her studies at the School of Visual Arts. [Google] [More]  ⦿

Hannah Frank

Hannah Frank (Rochester, NY) is a Graphic Design student at Rochester Institute of Technology. She experimented with type design during her studies. [Google] [More]  ⦿

Hannes Famira
[Studio Hannes Famira (or: Famira Fonts)]

[MyFonts] [More]  ⦿

Hannibal Ingalls Kimball

New York-based proprietor of private presses, first in partnership with Herbert Stuart Stone, then on his own as the Cheltenham Press in New York (1874-1933). At his instigation, Bertram Grosvenor Goodhue drew the Cheltenham design (ATF, around 1896). Available from Bitstream and Font Bureau. [Google] [MyFonts] [More]  ⦿

Hans Brehmer
[Henry Brehmer]

Type designer, b. 1840 Magdeburg, Germany. He went to the USA in 1865 to work at James Conner&Sons, and then moved on to other foundries, all in New York. He was for some time located in Stapleton, NY> Aka Henry Brehmer. His typefaces:

  • At Conner: Sideographic (Shaded 1872, Ornate 1879).
  • At Bruce Type Foundry (between 1876 and 1885): Ornamented Black No. 543, Ornamented No. 1053, Ornamented No. 1057, Ornamented No. 1067, Ornamented No. 1076, Ornamented No. 1078, Ornamented No. 1079, Ornamented No. 1080, Ornamented No. 1081, Ornamented No. 1082, Ornamented No. 1084, Ornamented No. 1085, Ornamented No. 1086, Ornamented No. 1091, Ornamented No. 1540, Ornamented No. 1553, Ornamented No. 1557, Ornamented No. 1559, Ornamented No. 1560, Ornamented No. 1562, Priscilla, Sarah, Shaded 1067, Shaded 1076, Shaded 1079, Shaded 1553.
  • At Dickinson Type Foundry, he designed Renaissant (ca. 1879). That typeface was digitally revived by Paul Smith in 2012 as Ressonant.
  • At Lindsay Type Foundry (1888-1890): Alma, Caroline, Crayonette (revived by David Jonathan Ross in 2017 as Crayonette; Crayonette is based on Hermann Ihlenburg's Crayon, 1886), Elizabeth, Frances, Gretchen, Irene, Julie (1868, a decorative Western / Victorian typeface called Eclair by Dan X. Solo; revived in 2010 by Toto as K22 Eclair), Katherine, Marguerite, Maria, Martha, Mathilde.
Patent office link. [Google] [More]  ⦿

Hans-Jörg Hunziker

Type designer (b. 1938, Switzerland, based in Paris) who studied typesetting in Zürich from 1954-1958. Later he studied with Emil Ruder and Armin Hofmann in Basel (1965-1967). From 1967 until 1971, he was a type designer with Mergenthaler Linotype in Brooklyn, NY, where he worked with Matthew Carter. From 1971 until 1975, he worked with Frutiger in Paris, and became a freelance designer in 1976. From 1990 until 2006, he led some labs at the Atelier de Recherche Typographique, NRT, in Nancy. From 1998 until 2002, he had his own design bureau together with Ursula Held: Atelier H. He has also taught at the Hochschule für Gestaltung und Kunst in Zürich.

He codesigned CGP (used in Centre Georges Pompidou; 1974-94, with Jean Widmer, and Adrian Frutiger), Centre Pompidou Pictograms (1974, for the same project in Paris), Cyrillic (in 1970 with Adrian Frutiger for IBM Composer), Frutiger (in 1976 with Adrian Frutiger at Stempel), Gando Ronde (a formal script, with Matthew Carter in 1970; Linotype; called French 111 at Bitstream), Helvetica (with Matthew Carter in 1970; Linotype), Helvetica Compressed (with Matthew Carter, ca. 1974?), Iera Arabic and Iera Roqa Arabic (1983, Institut d'étude et de recherches pour l'arabisation; Honeywell Bull), Metro (in 1970 with Adrian Frutiger; used in the RATP), Univers and Univers Cyrillic (in 1970 with Adrian Frutiger; Linotype), and the Siemens custom type family (in 2001, a cooperation with URW).

Siemens (2001-2007, URW++), the project he is best known for, won an award at the TDC2 Type Directors Club's Type Design Competition 2002. Siemens Sans, Siemens Slab and Siemens Serif are here. Siemens Sans Global (4000 Euros) covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Harbor Bickmore
[That That Creative (or: Utah Type Foundry)]

[MyFonts] [More]  ⦿

Harold Horman

Co-founder with Edward Rondthaler of Photo-Lettering Inc in 1936 in New York City. He designed the firm's initial collection of typefaces by photographing existing metal designs. These included Carnival (a Western reverse stress typeface). Carnival was digitally revived at House Industries in 2013 by Dan Reynolds. [Google] [More]  ⦿

Harold Lohner
[Harold's Fonts]

[More]  ⦿

Harold's Fonts
[Harold Lohner]

Harold Lohner was born in upstate New York in 1958. He received an MFA in printmaking from the University at Albany and is Professor of Visual Arts at Sage College of Albany. He began making fonts in 1997 and starting distributing them the next year through Harold's Fonts. He lives in Albany, NY, with his partner, Al Martino. Originally, most of his typefaces were freeware or shareware, but gradually, he started selling most on his site or via FontBros. His typefaces:

  • Famous fonts: Boom Chicka (2013: a set of three cartoon fonts inspired by the poster for the Marilyn Monroe film, The Prince and the Showgirl (1957), designed by Bill Gold), Auteur (2007, after the handwriting in the opening titles of Jean Cocteau's The Beauty and the Beast, 1946), 12 to the Moon (2000, runes based on the Columbia Pictures movie "12 to the Moon"), Aardvark Café (2000, extrapolated from the famous Hard Rock Café logo), Bensfolk (2000, adapted from the work of Ben Shahn, in turn adapted from "folk or amateur" alphabets. Originally developed for The Arts Center of the Capital Region), Bensfolk Condensed (2000), Bensgothic (1998), BensgothicLigatures (1998), Calaveras (2002, a take on Daisyland), Comet Negative (2000, based on the logo of Country Music Television (CMT)), Comet Positive (2000), HonestJohns (2000, based on the lettering in the classic Howard Johnson's restaurants logo), Metrodf (2000, based on the Mexico City subway's lettering), Radio (2002, derived from the old NPR (National Public Radio) logo), Subway Mosaic (inspired by the classic mosaic tile signs of the New York City subway system).
  • Handlettering: Empress Monograms (2014), National Archive (2009, calligraphic), Rough Draft (2009, sketched font), Greg's Hand (2009), Rudland Hand (2007, inspired by the work of the British artist and designer Peter Rudland), Gamera (2006), Directors Script (2006, based on a film credits script from the 1940s), National Archive (2005, based on the lettering of Timothy Matlack, who wrote the Declaration of Independence), Frank the Architect (2004, based on Frank Ching's lettering, which also gave rise to the Tekton family), Imitation (2003, inspired by the handlettered titles of the film Imitation of Life (1959), directed by Douglas Sirk and artdirected by Richard H. Riedel), Imitation Two (2004), antiestablishment (2000), Christmas Card (2000, based on the handlettered opening titles of the film "It's a Wonderful Life", Art Director: Jack Okey. This font was retired and replaced in 2006 by Testimonial), Espangle (2002, as the lettering for El Corte Ingles), Dad's Recipe (2000, based on his dad's handwriting), Greg's Hand (2001, Greg Smith's writing), Greg's Other Hand (2002), Kaela (1998, reshaped and extended in 2006), Marker Man (1999), Synch (2000, with Phil Campbell, inspired by the work of the artist Stuart Davis), Synchronous (2000, based on Syncopated Script, again made with Phil Campbell), Syncopated Script (1999).
  • Blackletter: Waldorf Text (2011, after a 1914 original), Waldorf Heavy Illuminated (2011), Manucrypt (2011), Rude Goth (2007, grunge blackletter), Alsace-Lorraine, Benighted, Chinese Gothic, Christmas Card II, Kombine Regular, Kombine Kursiv (2000), Olde Chicago.
  • Woodtype: Blacktops (caps, 1999), Blacktop Small Caps (1999), Blacktop Regular (2014), Captain Hook, Captain Hook Crackle (2020), Cinderella (1998). The Western font Cattle Annie (2006) is an unauthorized digital interpretation of the analog font "Les Catalanes." According to ABZ: More alphabets and other signs by Rothenstein and Gooding, it was designed in 1952 by Enric Crous-Vidal (1908-1987) but was never produced.
  • Stencil fonts: JJ Stencil, JJStencilLight (2000, inspired by the work of Jasper Johns), JJStencil Wet, JJStencilMedium, Sideshow (2000, based on the stencilled lettering on a vintage Ouija board), JJStencilSolid (2003), StencilFour (2001, inspired by the logo of Channel 4 (UK); reworked in 2006 into Oaktag), StencilFourReversed (2001).
  • Western: Oklahoma (2006, based on the title of the film by that name), Captain Howdy (1999, 2000, Western font based on the lettering on a Ouija board).
  • Fraktur fonts: Benighted (2002), AlsaceLorraine (2000), Chinese Gothic (2000), Kombine Regular (2000), Kombine Kursiv (2000).
  • Revived Letraset fonts: BLOCK UP family (2000, based on the font family by the same name by Sally Ann Grover (1974) for Letraset), Good Vibes (2001, based on the analog font "Good Vibrations" by Trevor Hatchett for Letraset, 1973), GoodVibesBackbeat (2001), ObliqueTextBold (2000, based on a Letraset font called Obliq, 1984), ObliqueTextLight (2000), ObliqueTextMedium (2000), Wireframe (2000, based on the Letraset font Bombere designed by Carla Bombere (or Carla Ward)).
  • Art deco fonts: Cartel (2005, simply gorgeous), based on the lettering of the 1936 movie by that name), Crazy Harold (2009), Road Jester (2009), Onion (2003), Roberta (2003, based on a font of Bob Trogman, 1962), Roberta Raised Shadow (2003), Boomerang family (1998-2000), LeFilmClassic family (2000, based on the classic Art Deco font of the same name, originally designed by Marcel Jacno and released by Deberny&Peignot, 1927), LeFilmLetters (2000), LeFilmShadow (2000), PopUps (1998, a 3-d art deco font for signboards), Tapeworm (1998, based on the work of artist Ed Ruscha), Farouk (2001, a five-line art deco font, based on an analog font of the same name, as illustrated in Paul E. Kennedy's "Modern Display Alphabets"; in fact, the original source should be Fatima, a font designed by Karl Hermann Schaefer in 1933 at Schriftguss, and a copy of it at FT Française was called Atlas (1933). Lohner renamed Fatima to Atlas at some point, and added Atlas Solid, still in 2001).
  • MICR fonts: CMC7 (1998).
  • Dingbats: Everyday People (2013, silhouettes), Bingo Dingo (2011, inspired by the classic Mexican game, Loteria), Essene Dingbats (2005), Chapeau (2005, inspired by the 1902 Sears Catalog), Corset (2005, inspired by the 1902 Sears Catalog), Harold's Pips (2004), Alpha Bravo (2003), Rebus, AmericanCheese (1999), Candide Dingbats (1999, a reclinming women dingbat typeface based on decorations designed by Rockwell Kent for "Candide," circa 1928), Maritime Flags (2000), New Year Dingbats (1999: Japanese patterns).
  • Monospace fonts: Chica Mono (2000, based on Apple's Chicago; not really monospaced, by the way), Queer Theory Black, Bold, Regular and Light (1999).
  • Arabic simulation typefaces: Alhambra (2006), Alhambra Deep (2006).
  • Oriental simulation fonts: Bruce Mikita (+Solid) (after a metal font by the same name; Dan Solo calls it Lantern), Pad Thai (2006), Mystic Prophet (2002, inspired by Ouija boards), Chines Gothic, Font Shui (inspired by a style of hand-lettering illustrated in Alphabets: Ancient&Modern, compiled by J. B. Russell (Padell, 1946), Rubaiyat Shadow and Inline, Seoul (Korean font simulation), Shazi, Twelve to the moon, Chow Fun (2001, an oriental simulation typeface based on a sample of hand lettering identified as "Crooks' Stencil Designed Alphabet" in Alphabets: Ancient&Modern, compiled by J. B. Russell and published in 1945 by Padell Book Co), Quasi (1998).
  • Cartoon fonts: Laughtrack (2009, based on the work of the cartoonist Jerry Robinson), CokerOne (2000, based on the work of cartoonist Paul Coker Jr), Coker Two (2000) (note: therse fonts were erroneously named. They were renamed to Denney because of this: "The lettering in the fonts you have was developed by Alan Denney at Hallmark in the late 1950s. He also worked for American Greetings Hi Brows from 1960 - 1966 and then returned to Hallmark.... And he later went to a different lettering style when Shoe Box cards became Hallmark's funny card line replacing Contemporary Cards. Alan retired from Hallmark in 1993 and died two years later."), ZITZ (2000, based on the hand lettering in the King Features daily strip "Zits" by Jim Borgman and Jerry Scott), Ohmigosh (2007: 12 styles of comic book lettering).
  • Dot matrix fonts: Fortuna Dot (2001).
  • Pixel fonts: Larcher (based on a modular font designed by Jean Larcher).
  • Medieval script fonts: Sonnet Italic&Swash (2009), Galathea (2000, based on a classic analog font of the same name, "Originalerzeugnis von J. S. Schelter&Giesecke, Leipzig").
  • Fonts made in 2015: Ace of Clubs, Roberta (after Bob Trogman's art nouveau font Roberta, 1962).
  • Fonts made in 2013: OK Monograms (retro-futuristic), Splunge (based on Franklin Gothic).
  • Fonts made in 2012: Humerus (Halloween font inspired by the opening credit sequence of Abbott and Costello Meet Frankenstein, 1948), Retrospace (inspired by the hand-lettered opening credits of the film Some Came Running (1958)), Toynbee Idea (free font based on Toynbee tiles), Hymn (scanbat).
  • Fonts made in 2011: Institute Stamps (grunge), Magic Carpet, Shoemaker (shoe stitch face).
  • Fonts made in 2010: Salmagundi (grunge), Dynamotor (like Dynamo, which was designed by K. Sommer and first released in 1930), Poignant (inspired by the hand-lettered film titles of certain mid-1900s films from Twentieth-Century Fox, including "All About Eve", "Gentleman's Agreement" and "No Way Out."), Pharmacy MMX (unicase), Karta (3d face), Flores MMX.
  • Fonts made in 2009: Wexley (revival of a VGC font called Wexford), Sonnet (based on the printed text of Shakespeare, 1609), Fashion Brush, Fashion Script, Imitation One, Two, and Three, Generation B (all at Font Bros), Gainsborough (2009, an art deco typeface inspired by the hand-lettered titles of an Alfred Hitchcock film, The Lady Vanishes (1938)), Comfy (FontBros: inspired by an example of "Pinselschrift" (brush lettering) by Wilhelm Dechert), Sirena (FontBros: inspired by the hand-lettered opening titles of the film I Married a Witch).
  • Fonts made in 2008: Alumino (inspired by Saul Bass's design for the aluminum company Alcoa), République (four fonts inspired by Paris Metro signs---not the familiar Art Nouveau "Metropolitain" signs, but the later Art Deco design by Adolphe Dervaux), Handbill (based on rubber stamps), Flash Mob, Pen Script Monograms, Royal Wedding (commercial set at Font Bros), 2 Clover Monograms, 4 Heart Monograms, Silverliner (based on the opening titles of the 1951 Hitchcock movie Strangers on a Train), Tricot (lettering as done on a sweater, after a design by Nancy Stahl), Silverliner (based on the opening titles of the 1951 Hitchcock movie Strangers on a Train), Carbon Copy, Bracelet Mongrams.
  • Fonts made in 2007: Aeolian, Pub Bites, Barril and Barril Doble (a digital interpretation of the 1970s Neufville font Barrio), Circle Monograms, XOXO (grunge), Safety Pin (inspired by the cover of the June 1946 Ladies Home Journal), Swizzle Script (a script based on Stylescript, 1940, Sol Hess: compare with Coronet and Trafton), New England (script), Madfont (after MAD magazine's logo), Quince (a brush version of Klumpp's Murray hill), Plumber's Gothic, Gamera.
  • Fonts made in 2006: Humdinger (comic book lettering), Stella Dallas (a Koch Antiqua style typeface based on he hand-lettered titles of the film Stella Dallas), Foam Light, Mean 26 Sans, Mean 26 Serif, Gaudi, Lapis Lazuli (3 calligraphic fonts based on Dan X. Solo's Papyrus), Garden, Boston Line and Philadelphia Line (inspired by Boston Line Type, developed in the 1830s by Samuel Gridley Howe for use in raised-letter printing for the blind; the Philadelphia Line fonts were inspired by another raised-print font, this one developed by Julius Friedlander and adopted in 1837 by his Philadelphia school, now the Overbrook School for the Blind), Honeymoon (a script based on the Holiday Inn lettering), Blooper and Bloop Script (after Cooper Black and Brush Script), Roman monograms.
  • Fonts made in 2005: Don Semiformal, Fabulous Prizes, Valentin (inspired by the work of Valentin Haüy, creator of the first books for the blind), Chelt Press (a grungy Cheltenham), National Debt, Pub Smooth (followed in 2007 by Pub Bites), Baronial Monograms, Vine Monograms, Thaleia (revival of Thalia), Harold's Monograms Bold, Blockograms, CarmenMonograms, Profiler, Goya, Jest, Chaser, Rebus (dingbats), Dilemma, The Birds, CVelestial Alphabet.
  • Fonts made in 2004: Snowflake Monograms, Upbeat Demi, Pessima, White Birch, Artistamp, Entwined Monograms, Project, Dirty Finger, Koch Dingbats, Yard Sale, Shield Monograms, Gainsborough (inspired by the hand-lettered titles of the Alfred Hitchcock film "The Lady Vanishes", 1938), Jim Dandy (an interpretation of the 19th century typeface Jim Crow), Gaumont (based on the hand-lettered titles of the film The 39 Steps (1935), a Gaumont-British Picture, directed by Alfred Hitchcock), Imitation2, Sunset, Bend It, Pretz, Cantabile, Echo, Skidz, Columbia Stamp, Trudeau Sans (a companion of his architectural typeface Trudeau), Frank the Architect (2004, a Frank Ching-inspired typeface not unlike Tekton).
  • Fonts made in 2003: Card Characters, Pieces, Harlequin, Hexagrams&Octograms, Popstars, Level, Peace, Collegiate Monograms, Bead Chain, Marquee.
  • Fonts made in 2002: Level, Backhand Brush, Joggle, Script Monograms, Brickletter, Font Shui (oriental simulation), Heartland (for Valentine's day), Melodymaker (for music), Antiestablishment, Penmanship, RingTV, Cabaletta (now called Roosevelt), Graceful Ghost (caps based on an 18th century French design by Pouget&fils), the Ixat family (grunge fonts), PalimpsestBlack (grunge font), PalimpsestDark, PalimpsestLight, PalimpsestRegular, Pearlie, Repent (based on the work of American folk artist Jesse Howard), WillingRace (upper and lower case together).
  • Fonts made in 2001: Carmen Caps, Crazy Harold (2001, based on a font of the same name, as illustrated in Paul E. Kennedy's "Modern Display Alphabets"; extended to 8 weights in 2006), Easter Parade (brush script), Famous Label (pen lettering), FLORES (based on a florist's sign in Valencia, Spain), FONT ERROR, Guadalupe (Mexican simulation face), GuadalupeDos, HMBlackDiamondThree, HMBlackDiamondTwo, HMBlackOvalThree, HMBlackOvalTwo, HMWhiteDiamondThree, HMWhiteDiamondTwo, HMWhiteOvalThree, HMWhiteOvalTwo, Handmedown, Hymn, KaffeehausNeon (based on Kaufmann), PubSmooth (a variant of the classic font Publicity Gothic), Roselyn (a script font based on a font in "Lettering and Alphabets" by John Albert Cavanagh), RubaiyatDoubleLine, RubaiyatEngraved, RubaiyatInline, RubaiyatOutline, RubaiyatShadow, RubaiyatSolid, SanitaryBoldCaps, SanitaryDemi, SanitaryRegular, Shazi, ShaziGhost, Subtext (grunge font).
  • Fonts made in 2000: Arrobatherapy, Barbeque, Black Oval Monogram, Bruce Mikita (oriental simulation), Bruce Mikita2, Cantabile, CantabileAlternate, Celestial Alphabet, the Goya family (extrapolated from the logo of the GOYA food products company), King Harold (inspired by the lettering on the Bayeux Tapestry), KingXmas, KingXmasStars, KochQuadratFill, KochQuadrat, KochQuadratGuides, KochQuadratInline, KochQuadratOutlines, Koch Rivoli, Lab Rat, Law School (based on the architectural lettering at Albany Law School, Albany, NY, now named Trudeau, after a design by architect Robert Louis Trudeau), Milky Way (based on a style of hand lettering by Ross F. George included in 1930s Speedball lettering books), MilkyWayTwo (2001), Neurotoxin, Pharmacy, Punchhappy (holes in letters, influenced by Apostrophe's Toolego?), Punchhappy Shadow, Quarterround, Quarterround Tile (a kitchen tile font), RedCircle (based on the lettering on Eight O'Clock brand coffees), Ringpin, ScarletRibbons (inspired by a Speedball lettering book from the 30s by Ross F. George), Screwball (font in memory of Madeline Kahn), Solemnity (an uncial font modeled on the analog font SOLEMNIS by Günter Gerhard Lange, 1952), ThreePartySystemA, ThreePartySystemB, ThreePartySystemC, Vasarely (named in honor of Op artist Victor Vasarely; based on a modular font by Jean Larcher).
  • Fonts made in 1999: BrideOfTheMonsterStencil, Bubble Gum Rock A and B (1999-2002), CheltPressDark, CheltPressDarkVariegated, CheltPressLigh, CheltPressLightVariegated, CheltPress, Esquivel, EsquivelEngraved, Fulton Artistamp, MADFONT, Smellvetica, SmellveticaOutline, Vedette Blanche (movie roll font), VedetteNoire.
  • Fonts made in 1998: BrideOfTheMonster (caps and numbers are based on Rudolph Koch's Neuland), Cheapskate family, Dominican (coffee bean bag font), Landmark, OldeChicago (based on the Apple Chicago font), Ricecakes, SavingsBond extended in 2006 to National Debt, National Debt Hilite and National Debt 3D), StampAct, StampActJumbled, Thanksgiving, Virile Open, Virile Solid.
  • Typefaces from 2011: Bingo Dingo (dingbats inspired by the classic Mexican board game, Lotería), ManuCrypt (blackletter), Waldorf Text (blackletter).
  • Typefaces from 2012: Albanita (date unclear though), Curator (a compact handwriting font), Seafare (circus style face), Hardline (op art prismatic style), London (inspired by London, Susan Kare's bitmap-style Olde English designed for Apple in the early 1980s. Variations include cross-stitch, harlequin (black and white diamonds), and shaded (diagonal lines)).
  • Typefaces from 2015: Gilded Age (inspired by the opening titles of the 1952 French film Casque d'Or.
  • Typefaces from 2016: Mr. Kite (weathered wood type), Schnapps (blackletter), Egyptian Monograms, Bluelakehawk (with Jason Martinez, inspired by Southwest Pueblo pottery patterns and tribal art).

    Typefaces from 2016: Bogo (a digital version of Morris Fuller Benton's Hobo Light, 1915).

  • Typefaces from 2017: Asian Flavor, Time Lock, Flying Circus (a Western style slab serif modeled after Circo, which was made in 1971 by Jan Solpera at Berthold AG), Traftoon (after Howard Allen Trafton's Cartoon (1936)), Art Deco Monograms, Stage Left (with interlocking capitals), Intermittent (experimental: vertical lines only; inspired by West Side Story).
  • Typefaces from 2018: Niche, Licorice Whip, Mineral City (grungy), Cascade Monograms, Trails End (grungy), Maze Monograms, Harmonium, Tidal Wave.
  • Typefaces from 2019: Black Iris (blackletter), Headstand.
  • Typefaces from 2020: Jimmy Leg, Labelous, Divity Rose Monograms, Peaceful Protest, Headstand (Headstand was inspired by the logo for Melania Trump's Be Best campaign, reportedly designed by the First Lady herself), Tablet Monograms, Don Piano (an early computer-inspired monospaced typeface), Trente Neuf (hand-lettered with art deco roots), Vineyard (an art nouveau typeface inspired by two early 20th-century fonts from American Type Founders, Virile and Erratic Outline), Pheather, Gothic Vine Monograms, Vine Monograms, Money Tree (a currency font), Sonnet, Cantabile, Neurotoxin, Screwball. Typefaces from 2021: Tessera (a mosaic font), Diploma Monograms, Wet Ink (oily).

Link at Dafont. . Abstract Fonts link. [Google] [More]  ⦿

Harriet G. Goren

Harriet Goren (Brooklyn, NY) holds a Bachelor of Arts degree in Art (concentration in Painting) from Yale University. Type designer of the Morire (1994, emotional grunge) family sold by [T-26]. It is inspired by the Moiré effect [a pattern created by the overlaying of lines or grids at slightly different angles]. She tells the story of Morire here: "When I made Morire, I had been a designer for a couple of years and was really bored with what I was doing. I spent a lot of time looking at contemporary typography and observing what was going on. I didn't really consider myself part of any movement. I read an article, in Time magazine of all places, of a school in Camden, Maine called the Center for Creative Imaging. The article said it was like being in Florence during the Renaissance. I immediately thought I have to go there. It was incredibly expensive, like $1,700 for three days, and there was an intensive weekend course called something like Experimental Typography. Now this is 1994 or 1993, so these concepts were fairly new. The teacher was P. Scott Makela, who died fairly young but was brilliant and part of that whole David Carson school. Not really knowing anything about the course, I registered, and paid the massive amount of money. The workshop turned out to be three people and the teacher in the class, and it was basically a three-day intensive experience. We didn't even sleep. It was just three straight days of type design. They had state-of-the-art computers, at that time Macintoshes, and I had never had facilities like that. Makela gave us an assignment and over the weekend I designed the whole typeface. I wasn't even on drugs." Makela was impressed enough to suggest sending the font to Carson. Goren, flattered and flush with doubt, copied it to a disc and sent it through the mail. A few months later, she bought a copy of Ray Gun; Morire was emblazoned all over the pages, fully credited and even used on the cover. Carson had previously left a voicemail expressing interest in the typeface, but had never guaranteed its inclusion. That was the nature of things: fast, inspired, and without pretense or hierarchy.

Personal home page. [Google] [More]  ⦿

Harriet Golden

Illustrator in New York. Dafont link. She created the trendy fat techno typeface Fatsini (2009). [Google] [More]  ⦿

Harrison Weber

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]  ⦿

Harry Araten

Designer (1936-2001) who studied at the School of Visual arts in New York. At Photolettering Inc, he made the phototype font Alef-Bet (Hebrew). [Google] [More]  ⦿

Harry B. Wright

Author of the instruction book Lettering 60 Plates in a Variety of Alphabets (1950, Pitman Publishing Corporation. New York, NY). Reprinted in 1962.

Digital revivals were undertaken by Jeff Levine. These include

[Google] [More]  ⦿

Harry W. Jacobs

Director of art education in Buffalo, NY. In 1924, he published several lettering alphabets in his book, Alphabets and Letters for Lettering (Milton Bradley Co, Springfield, MA). [Google] [More]  ⦿

Harun Zankel

Harun Zankel (Brooklyn, NY) created the calligraphic Maya's Alphabet (2012).

Behance link. [Google] [More]  ⦿

Hasani Noel

Brooklyn, NY-based designer of the medieval sword and dagger-inspired typeface Royal Guard (2011). Devian Tart link. [Google] [More]  ⦿

Haxon
[Shokouh Razavi]

New York City-based designer of the decorative floral caps alphabet Magic Forest (2017). Behance link. Behance link for Shokouh Razavi. [Google] [More]  ⦿

Hélène Zünd

Swiss/French graduate of Ecole Cantonale d'Art de Lausanne (ECAL), who designed Chiavari (2011), a typeface that won an award at TDC 2012. Hélène Zünd (b. 1983) lives in New York.

In 2014, she complained that Studio AnagramaGoogle] [More]  ⦿

Headliners International

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 typefaces. 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]  ⦿

Heather DiFiore

New York City-based designer of the prismatic / geometric typeface Extension (2016). [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.

Digital typefaces based on Heber Wells's work include Mansard ExtraBold (2005, Jordan Davies) and the following typefaces by Dick Pape: AWT Heber Well Teniers Unique (2013), AWT Page No. 851 (2013, after a font by William H. Page from 1878, but essentially the same as Mansard by Heber Wells), AWT Page Roman Aetna (2013, after an 1870 typeface by William Page, which is essentially Painter's Roman by Heber Wells; see also Doric by Morgans & Wilcox). Paul Hunt's HWT Bulletin Script Two (2014) is based upon William Page No. 111-113 and Heber Wells' Bulletin Condensed No. 1. [Google] [MyFonts] [More]  ⦿

Hector Guimard

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 here). His lettering was based on work done by Auriol for the Peignot foundry. Entrance of a metro station in Paris.

Digital implementations of Metropolitaines:

Site by Le Cercle Guimard. [Google] [MyFonts] [More]  ⦿

Heidi Kim

Brooklyn, NY-based student-designer of the modular typeface Veronica (2015), which was inspired by the curves of the art nouveau period. [Google] [More]  ⦿

Hello Velocity
[Laurianne Froesel]

Laurianne Froesel is based in Strasbourg, France. iDuring an internship at Hello Velocity, a digital brand identity studio based in New York and Boston, founded by ex-RISD classmates Kevin Wiesner, Lukas Bentel and JS Tan, Laurianne designed the free color font Brand New Roman (2018), which consists of colored company logos, and pokes fun at capitalism. In 2019, Laurianne released Brand New Roman V2. [Google] [More]  ⦿

Henry Brehmer
[Hans Brehmer]

[More]  ⦿

Henry L. Pelouze Foundry (or: Richmond Type Foundry)
[Henry Lafayette Pelouze]

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]  ⦿

Henry Lafayette Pelouze
[Henry L. Pelouze Foundry (or: Richmond Type Foundry)]

[More]  ⦿

Herb Lubalin

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 1969, together with Edward Roundthaler and Aaron Burns, as a result of the marriage of Lubalin Burns & Co (est. 1969) and PhotoLettering Inc. Professor at the Cooper Union in New York from 1976-1981. Director of the avant garde magazine Fact between 1965 and 1967.

His fonts: Pistilli Roman (VGC, see here; with John Pistilli), 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; poster by Pablo Monachese), 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: Receding Hairline NF (2014, Nick Curtis) revives L&C Hairline. 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.

View Herb Lubalin's typefaces. [Google] [MyFonts] [More]  ⦿

Herbert Bayer

Austrian type designer and artist, 1900-1985. A very inflential artist, Bayer joined the Bauhaus in Weimar as a student in 1921, and was a professor ("young master" they called those ex-students who became professors) there from 1925-1928. Bayer was head of the workshop of Graphic Design and Printing at the Bauhaus school of architecture and art in Dessau. He fled Nazi Germany in 1938, and worked in New York until 1946 for such clients as Dorland International, Thompson, Wanamaker's, and developing exhibitions and general graphic design for large corporations. In 1946 he moved to Aspen, Colorado and continued as consultant to firms such as Container Corporation of America. He died in Montecito, near Santa Barbara, CA, in 1985. His typefaces include Universalschrift or Universal Alphabet (1925-1930) and Bayer-Type (for Berthold, 1930-1936). See also this image. He is best known for his unicase proposal (as in Universalschrift).

Dedicated web site. FontShop link. Picture. Klingspor link.

Revivals of his work:

  • At P22: P22 Bayer Fonetik (1997, Michael Want), P22 Bayer Shadow, P22 Bayer Universal.
  • By Jonathan Hill: WerkHaus (2008) is a 5-style revival.
  • Victory Type published Bayer Modern in 2009, and Bayer Sans a decade earlier.
  • Nick Curtis: Debonair Inline NF (2008) expands Herbert Bayer's 1931 experimental, all-lowercase "universal modern face," Architype Bayer-Type, by adding an uppercase and adding an architectural inline treatment.
  • Architype Bayer by The Foundry.
  • Arthaus (2015, Johgn Moore).
  • Paulo Heitlinger did Sturmblund (2008) and Bayer Condensed (2008).
  • Bauhouse Universal (2017, Stephen Bau.
  • Universal Regular (2016, Luca Taddeo).
  • Bayer Next (2014, Sascha Lobe).
  • Struktur (2012, Shiva Nallaperumal).
  • New Universal Tall (2011, Henry La Voo).
  • Bauhaus 93 (URW++).
  • K-haus 105, K-haus 205 (2019). Two typeface families by Adrian Talbot of Talbot Type to celebrate 100 years of Bauhaus. The style is influenced by Herbert Bayer's universal alphabet.

A list of commercial typefaces based on Herbert Bayer's work. [Google] [MyFonts] [More]  ⦿

Herbert F. Van Brink
[Character]

[More]  ⦿

Herman Spinadel

Type designer at PhotoLettering in New York. His typefaces there include Bagatelle, Brush, City Script, Functional and Park. [Google] [More]  ⦿

Hermann Esser

Author of Draughtsman's Alphabets (1877).

Apostrophe made the font Nero based on Hermann Esser's 1878 Rustic Capitals. Exclusive at the (now defunct) 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 typogpraphy 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, p. 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]  ⦿

Hermann Zapf

Prolific master calligrapher and type designer, born in Nuremberg in 1918. Most of his life, he lived in Darmstadt, where he died in 2015. He is best known for Palatino, Optima, Melior, Zapf Dingbats, Zapfino, and ITC Zapf Chancery. He created alphabets for metal types, photocomposition and digital systems.

He studied typography from 1938 until 1941 in Paul Koch's workshop in Frankfurt. From 1946 until 1956, he was type director at D. Stempel AG type foundry, Frankfurt. In 1951 he married Gudrun von Hesse. From 1956 until 1973, he was consultant for Mergenthaler Linotype Company, Brooklyn and Frankfurt. From 1977 until 1987, he was vice president of Design Processing, Inc., New York (which he founded with his friends Aaron Burns and Herb Lubalin), and professor of Typographic Computer Programs, Rochester Institute of Technology, Rochester, New York. Students at RIT included Kris Holmes and Charles Bigelow, who together created the Lucida type family. Other prominent students include calligrapher/font designer Julian Waters and book designer Jerry Kelly. From 1987 until 1991, he was chairman of Zapf, Burns&Company, New York. He retired in Darmstadt, Germany, but consulted on many font projects until a few years before his death. In the 1990s, Zapf developed the hz program for kerning and typesetting. It was acquired by Adobe who used ideas from it in InDesign.

Awards:

  • 1969 Frederic W. Goudy Award, Rochester Institute of Technology, Rochester, New York.
  • 1973 Gutenberg Prize, City of Mainz.
  • 1975 Gold Medal, Museo Bodoniano, Parma.
  • 1985 Honorary Royal Designer for Industry, Royal Society of Arts, London.
  • 1987 Robert Hunter Middleton Award, Chicago.
  • 1994 Euro Design Award, Oostende.
  • 1996 Wadim Lazursky Award, Academy of Graphic Arts, Moscow.
  • 1999 Type Directors Club award for Zapfino (1998), New York.
  • 2010 Bundesverdienstkreuz 1. Klasse.

Some publications by Hermann Zapf:

  • Feder und Stichel (1949, Trajanus Presse, Frankfurt)
  • About Alphabets (1960)
  • Manuale Typographicum (1954 and 1968). Only 1000 copies were printed of the original.
  • Typographic Variations (1964), or Typografische Variationen (1963, Stempel), of which only 500 copies were printed.
  • Orbis Typographicus (1980)
  • Hermann Zapf and His Design Philosophy (Chicago, 1987)
  • ABC-XYZapf (London, 1989)
  • Poetry through Typography (New York, 1993)
  • August Rosenberger (Rochester, NY, 1996).
  • Alphabet Stories (RIT Cary Graphic Arts Press, Rochester, 2008). Review by Hans Hagen and Taco Hoekwater.
  • My collaboration with Don Knuth and my font design work [just an article], TUGboat 22:1/2 (2001), 26-30. Local download.

    List of his typefaces:

    • Alahram Arabisch.
    • Arno (Hallmark).
    • Aldus Buchschrift (Linotype, 1954): Italic, Roman. Digital version by Adobe.
    • Alkor Notebook.
    • Attika Greek.
    • Artemis Greek.
    • Aurelia (1985, Hell).
    • AT&T Garamond.
    • Book (ITC New York). Samples: Book Demi, Book Demi Italic, Book Heavy, Book Heavy Italic, Book Medium Italic. The Zapf Book, Chancery and International fonts are under the name Zabriskie on the SoftMaker MegaFont XXL CD, 2002.
    • Brush Borders.
    • Comenius Antiqua (1976, Berthold; see C792 Roman on the SoftMaker MegaFont XXL CD, 2002).
    • Crown Roman and Crown Italic (Hallmark).
    • Chancery (officially called ITC Zapf Chancery): Bold, Demi, Italic, Light, Liht Italic, Mediu Italic, Roman.
    • Civilité (Duensing). Mac McGrew on the Zapf Civilité: Zapf Civilite is perhaps the latest typeface to be cut as metal type, having been announced in January 1985, although the designer, Hermann Zapf, had made sketches for such a typeface as early as 1940, with further sketches in 1971. But matrices were not cut until 1983 and 1984. The cutting was done by Paul Hayden Duensing in Kalamazoo, Michigan. The first Civilité typeface was cut by Robert Granjon in 1557, based on a popular French handwriting style of the time. Other interpretations have been made from time to time, notably the Civilité (q.v.) designed by Morris Benton in 1922 for ATF. The new Zapf design has the same general character but with a more informal and contemporary feeling. A smooth flow between weights of strokes replaces the stark contrast of thick-and-thin in older interpretations. There are several ligatures, and alternate versions of a number of characters, including several terminals. Only the 24-point Didot size is cut or planned.
    • Charlemagne (Hallmark).
    • Digiset Vario (1982, Hell): a signage face.
    • Edison (Hell), Edison Cyrillic. Scans: Bold Condensed, Book, Semibold Italic, Semibold, Book Italic.
    • Euler (American Mathematical Society). Zapf was also consultant for Don Knuth on his Computer Modern fonts. In 1983, Zapf, Knuth and graduate students in Knuth's and Charles Bigelow's Digital Typography program at Stanford University including students Dan Mills, Carol Twombly, David Siegel, and Knuth's computer science Ph.D. students Scott Kim and John Hobby, completed the calligraphic typeface family AMS Euler for the American Mathematical Society (+Fraktur, Math Symbols, +script). Taco Hoekwater, Hans Hagen, and Khaled Hosny set out to create an OpenType MATH-enabled font Neo-Euler (2009-2010), by combining the existing Euler math fonts with new glyphs from Hermann Zapf (designed in the period 2005-2008). The result is here. The Euler digital font production was eventually finished by Siegel as his M.S. thesis project in 1985.
    • Firenze (Hallmark).
    • Festliche Ziffern (transl: party numbers).
    • Frederika Greek.
    • Gilgengart Fraktur (1938, D. Stempel). Some put the dates as 1940-1949. It was released by Stempel in 1952. Revivals include RMU Gilgengart (2020, Ralph M. Unger), and Gilgengart by Gerhard Henzel.
    • Heraklit Greek (1954). A digital revival was first done by George Matthiopoulos, GFS Heraklit. Later improvements followed by Antonis Tsolomitis and finally in 2020 by Daniel Benjamin Miller.
    • Hunt Roman (1961-1962, Pittsburgh). A display typeface exclusively designed for the Hunt Botanical Library (Hunt Institute for Botanical Documentation since 1971), situated on campus of Carnegie Mellon University in Pittsburgh, to accompany their text typeface Spectrum. Review by Ferdinand Ulrich.
    • International (ITC, 1977). Samples: Demi, Demi Italic, Heavy, Heavy Italic, Light, Light Italic, Medium, Medium Italic.
    • Janson (Linotype).
    • Jeannette Script (Hallmark).
    • Kompakt (1954, D. Stempel).
    • Kalenderzeichen (transl: calendar symbols).
    • Kuenstler Linien (transl: artistic lines).
    • Linotype Mergenthaler.
    • Melior (1952, D. Stempel; see Melmac on the SoftMaker MegaFont XXL CD, 2002). Samples: Bold, Bold Italic, Italic, Roman.
    • Michelangelo (1950, D. Stempel, a roman caps face; a digital version exists at Berthold and at The Font Company).
    • Marconi (1975-1976, Hell; now also available at Elsner&Flake and Linotype; according to Gerard Unger, this was the first digital type ever designed---the original 1973 design was intended for Hell's Digiset system; Marconi is a highly readable text face).
    • Medici Script (1971).
    • Musica (Musiknoten, transl: music symbols; C.E. Roder, Leipzig).
    • Magnus Sans-serif (Linotype, 1960).
    • Missouri (Hallmark).
    • Novalis.
    • Noris Script (1976; a digital version exists at Linotype).
    • Optima (1955-1958, D. Stempel--Optima was originally called Neu Antiqua), Optima Greek, Optima Nova (2002, with Akira Kobayashi at Linotype, a new version of Optima that includes 40 weights, half of them italic). Samples: Poster by Latice Washington, Optima, Demibold Italic, Black, Bold, Bold Italic, Demibold, Extra Black, Italic, Medium, Medium Italic, Regular, Italic. Digital clones: Zapf Humanist 601 by Bitstream, O801 Flare on the SoftMaker MegaFont XXL CD (2002), Opus by Softmaker, Columbia Serial by Softmaker, Mg Open Cosmetica, Ottawa by Corel, October by Scangraphic, CG Omega by Agfa compugraphic, Chelmsford by URW, Classico by URW and Optus by URW.
    • Orion (1974).
    • Palatino (1948, D. Stempel; the original font can still be found as Palazzo on Softmaker's XXL CD, 2002), Palatino Nova (2005, Linotype), Palatino Sans (2006, Linotype, with Akira Kobayashi), Palatino Greek, Palatino Cyrillic. Palatino was designed in conjunction with August Rosenberger, In 2013, Linotype released Palatino eText which has a larger x-height and wider spacing. Palatino samples: black, black italic, bold, bold italic, italic, medium, roman, light, light italic. Poster by M. Tuna Kahya (2012). Poster by Elena Shkarupa. Poster by Wayne YMH (2012). Zapf was particularly upset about the Palatino clone, Monotype Book Antiqua. Consequently, in 1993, Zapf resigned from ATypI over what he viewed as its hypocritical attitude toward unauthorized copying by prominent ATypI members.
    • Phidias Greek.
    • Primavera Schmuck.
    • Pan Nigerian.
    • Quartz (Zerox Corporation Rochester, NY).
    • Renaissance Antiqua (1985, Scangraphic). Samples: Regular, Bold, Book, Light Italic, Swashed Book Italic, Swash Italic.
    • Saphir (1953, D. Stempel, see now at Linotype).
    • Sistina (1951, D. Stempel).
    • Scriptura, Stratford (Hallmark).
    • Sequoya (for the Cherokee Indians), ca. 1970. This was cut by Walter Hamady and is a Walbaum derivative.
    • Linotype Trajanus Cyrillic (1957).
    • Textura (Hallmark).
    • URW Grotesk (1985, 59 styles), URW Antiqua, URW Palladio (1990).
    • Hallmark Uncial (Hallmark).
    • Virtuosa Script (1952, D. Stempel). Zapf's first script face. Revived in 2009 as Virtuosa Classic in cooperation with Akira Kobayashi.
    • Venture Script (Linotype, 1966; FontShop says 1969).
    • Winchester (Hallmark).
    • World Book Modern.
    • ITC Zapf Dingbats [see this poster by Jessica Rauch], Zapf Essentials (2002, 372 characters in six fonts: Communication, Arrows (One and Two), Markers, Ornaments, Office, based on drawings of Zapf in 1977 for Zapf Dingbats).
    • Zapfino (Linotype, 1998, winner of the 1999 Type Directors Club award), released on the occasion of his 80th birthday. This is a set of digital calligraphic fonts. Zapfino Four, Zapfino Three, Zapfino Two, Zapfino One, ligatures, Zapfino Ornaments (with plenty of fists). Poster by Nayla Masood (2013).

    Books and references about him include:

    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 Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, at his 60th birthday party. Pictures of his 80th birthday party at Linotype [dead link].

    Linotype link. Klingspor link. [Google] [MyFonts] [More]  ⦿

  • Hex
    [Nick Sherman]

    Hex was founded by Nick Sherman (b. 1983). Nick is a typographer and typographic consultant based in New York City and Los Angeles. He is a co-founder of Fonts In Use and a graduate of the Type@Cooper typeface design program at Cooper Union. He serves on the board of directors for the Type Directors Club, the Adobe Typography Customer Advisory Board, as well as the artistic board for the Hamilton Wood Type & Printing Museum. He has taught typography, typeface design, letterpress printing, and responsive design at MassArt and Cooper Union. He previously worked at Font Bureau, Webtype, and MyFonts, directing web design and promotional material for typefaces.

    Originally from Hyannis Port and Boston, MA, he studied graphic design at MassArt in 2005. His degree project there, entitled A Modern Day Specimen Book, is beautifully presented, and leads us through thoughts on type classification to the idea of type molecules, with the nodes in the molecules representing styles or descriptions or dates, and the edges representing typefaces. He is interested in wood type, and occasionally helps out the organizers of the TypeCon conferences.

    As a designer at MyFonts (from 2007 until 2010), he was in charge of the interviews, presentations, and web designs of their successful and useful pages.

    In 2010, he joined Font Bureau. Flickr page.

    He is the founder of Woodtyper, an online journal focused on large and ornamented type and related matters. He also set up the type documentation project Type Record together with Indra Kupferschmid. His type designs:

    • Ambient (2005): a simple geometric monoline logotype for Ambient Devices.
    • Sargent (2004): inspired by the lettering on the gravestones at Boston's Old Granary Burial Ground.
    • Meatland (2004): a grotesk inspired by the lettering on a shop in Jamaica Plain.
    • Plan 9 (2005): a squarish masculine sans typeface originally designed for a TV program called 3-B which would feature B-movies, including many horror flicks.
    • HWT Brylski (2017, P22 Hamilton Wood Type Collection), named for retired wood type cutter Norb Brylski and designed to be cut as wood type at the Hamilton Wood Type & Printing Museum. It incorporates several themes that were common in 19th-century type design, including split Tuscan serifs with angled mansard-style sides, heavy weight placement at the top and bottom of letters (traditionally referred to as French or Italian/Italienne), and an extended overall width. The design was started in 2011 and released in 2017. David Jonathan Ross assisted with the final digital font production.
    • Cleaner. Inspired by casual lettering seen in everyday settings: laundromats, work trucks, comics, parking signs and diners.
    • Flight Center Gothic, designed for Michael Bierut's team at Pentagram as part of a restoration of the TWA Flight Center, Eero Saarinen's 1962 icon of modernist architecture at JFK airport in New York City. The typeface is a reinterpretation of the building's original signage lettering, with origins in Johannes John's Fette Kursiv-Grotesk, originally released as a standalone italic in 1892 by the J. John Söhne type foundry. David Jonathan Ross assisted with the final font production.
    • Forester (2019), a typeface inspired by rounded lettering on signage at many parks in North America.
    • French Tuscan. A Tuscan typeface modeled after a wood type-like typeface in the collection of Lanes Press.
    • Horn Please. Inspired by a quirky, chamfered lettering style often used for Horn OK Please truck signs in India. The widths are drawn for variable interpolation.
    • Kobodaishi. Kobodaishi is a digital interpretation of Electra, originally designed by W.A. Dwiggins.
    • Kultur. An ultra-condensed grotesquea: It follows the ultra-narrow flat-sided headline typeface genre sometimes referred to as Inserat.
    • Curvature.
    • Laureate. A digital revival of Laureate, a typeface originally released by the Keystone Type Foundry at the turn of the 20th century. Sherman's version is based on an adaptation by the Ludlow Typograph Company.
    • Lauweriks. Lauweriks was inspired by the Quadratuuralfabet, designed by Dutch architect and designer J.L. Mathieu Lauweriks in 1900. The new typeface adds a lowercase and refines or replaces the forms from the original caps-only design.
    • Lupino Sans and Serif. Influenced by newspaper type.
    • Manifold Sans and Serif. An expansion of the original manifold monospaced typeface for IBM Selectric typewriters.
    • Margo. Margo is inspired by classic hand-lettered movie titles and book jackets from the 1940s and 1950s. Many of its distinctive features follow lettering from films art directed by Lyle R. Wheeler, including All About Eve, The Gunfighter, The Secret of Convict Lake, and dozens more.
    • NYC Sans. NYC Sans is a typeface originally commissioned by New York City's official tourism agency, NYC & Company, as their brand typeface. The design began with my digitization of the type system from the 1970 NYCTA Graphics Standards Manual. In collaboration with Jeremy Mickel and with design direction from Emily Lessard, additional weights and refinements were developed.
    • Papanek. Inspired by the energetic handwriting of industrial designer and social critic, Victor Papanek, this typeface began as a commission for use in a book on Papanek by Al Gowan. Many characteristics of the design come directly from samples of Papanek's writing.
    • Phive. Based on Stephenson Blake's Condensed Sans Serifs No. 5, including a range of optical size variations.
    • Plastic Script.
    • Service Gothic (2020). A vernacular sans with a variable font thrown in.
    • Skelter. Based on a piece of blackletter calligraphy by Jaki Svaren.
    • Strike. A hairline sans based on an alphabet found in 50 Alphabete fuer Techniker und Fachschulen by Eric-Jean Müller.

    He wrote Type from the Crypt about horror fonts. He started the Flickr group called Manicule about pointing hands (fists; see, e.g., here and here). He wrote the long essay on printing fists called Toward a History of the Manicule (2005). Check out this pic he took of Lucha Libre posters in Mexico City in 2009. He also designed the poster for the 2008 documentary on wood type called Typeface.

    Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. Future Fonts link. [Google] [More]  ⦿

    Hideaki Wada

    New York-based graphic designer and calligrapher. Agfa Creative Alliance designer who made the wacky Waddy typeface families in 1996. FontShop link. [Google] [MyFonts] [More]  ⦿

    Hijinx
    [Catherine Mouttet]

    Hijinx Design is located in New York City. Under the Hijinx label, Parsons graduate Shelsey Catherine Mouttet designed the dingbat font Haircult (2006), which can be bought at MyFonts. [Google] [MyFonts] [More]  ⦿

    Hilda Wong

    During her studies at the School of Visual Arts in New York, Hilda Wong designed the all caps sans typeface Anderson (2018). Behance link. [Google] [More]  ⦿

    Hinterland Studio

    New York City-based multidisciplinary design studio. For the dentity and stationery system for Devona, an interactive agency, Hinterland created Devona Stencil Display (2015). Behance link. [Google] [More]  ⦿

    Hiroshi Yamashita

    Designer of the phototype poster font Alpha Midnight for John N. Schaedler (Liberty house Schaedler Inc, New York City) ca. 1969. It was digitally revived by Alan Jay Prescott as APT New Alpha Midnight (1996). [Google] [More]  ⦿

    Hiscott Foundry
    [Jonathan Hiscott]

    Located in Ithaca, NY, the Hiscott Foundry started producing fonts in 2008: Piano (2008, inspired by piano keys), Asimov (2008, handwriting), Kopa (2008, hand-printed). Additions in 2009: Vapor (curly hand). [Google] [MyFonts] [More]  ⦿

    Hoa Nguyen

    During her studies at Nazareth College of Rochester, NY, Hoa Nguyen performed plastic surgery on the O's and Q's of Caslon to create a fun children's storybook text face, Not So O Style (2013). Bulkie (2014) is a plump display typeface. [Google] [More]  ⦿

    Hoefler (was: Hoefler&Frere-Jones, and Hoefler Type Foundry)
    [Jonathan Hoefler]

    Born in 1970 in New York, Jonathan Hoefler ran the Hoefler Type Foundry (or: HTF) in New York. It employed Tobias Frere-Jones, Josh Darden, and Jesse Ragan. In 2004, it was renamed Hoefler&Frere-Jones, or HFJ for the cognoscenti. However, a legal problem between Jonathan and Tobias led to a corporate divorce in 2014---the company is renamed again The Hoefler Type Foundry. In September 2021, Monotype acquired Hoefler, and that is the end of that chapter. Their typefaces:

    • Acropolis.
    • Archer (2001, by Jonathan Hoefler and Tobias Frere Jones). A humanist slab serif originally designed for Martha Stewart Living. It has a great range of features, including a classy hairline style. 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. Some say that Archer is just Stymie with some ball terminals. Nevertheless, it became a grand hit, and has been used by Wes Anderson in The Budapest Hotel, and in Wells Fargo's branding. David Earls on Archer: with its judicious yet brave use of ball terminals, and blending geometry with sexy cursive forms, all brought together with the kind of historical and intellectual rigour you fully expect from this particular foundry, Archer succeeds where others falter.
    • Champion Gothic.
    • Chronicle Text. In 2007, HFJ published the "blended Scotch" newspaper serif text family Chronicle, which led to Chronicle ScreenSmart in 2015. See also Chronicle Display. In 2016, Hoefler published Chronicle Hairline. In Wired Magazine, Margaret Rhodes writes that it is for men who wear dress shoes without socks. Chronicle Hairline is a didone that breaks the didone rules. It is rounder, asymmetric (as in the mouth of the C), and as Hoefler puts it, more musical. As of 2016, the Chronicle typeface family consists of the display styles Chronicle Hairline, Chronicle Display (+Condensed, +Compressed), and Chronicle Deck (+Condensed), and the 60-style Chronicle Text family, which comes in G1, G2, G3 and G4 subfamilies.
    • Many custom and branding typefaces, including, e.g., General GG (2005-2007) and typefaces for The New York Times Magazine, Times Mirror, Esquire and McGraw-Hill (1995, free download). Time.com provides previews of fonts made for Esquire, Lever House, eCompany Now, The Guggenheim Museum, The New York Times, and the Whitney Museum.
    • Cyclone.
    • Decimal (2019). A sans based on early wristwatch typefaces, i.e., the microscopic letters used by Swiss watchmakers in La Chaux-de-Fonds.
    • Didot. HTF carefully designed and complete families include HTF-Didot (1991) in 42 weights/variations, originally designed for Harper's Bazaar; based on the grosse sans pareille no. 206 of Molé le jeune.
    • Eyes Only (2019). A stencil typeface.
    • Forza (2010). A sans typeface. Not to be confused with the 2007 font Forza by Michel Luther at Die Gestalten.
    • Geometer Screen Fonts. Free Mac fonts.
    • Giant.
    • Gotham (2003). The stylish sans typeface made famous by Obama. See also Gotham Rounded.
    • Historical Allsorts. This includes Historical-EnglishTextura, Historical-FellType, Historical-GreatPrimerUncials and Historical-StAugustin.
    • Hoefler Text (+Ornaments). This antiqua text typeface consists of 27 fonts made in 1991-1992, and is distributed with many Apple products.
    • Hoefler Titling.
    • Ideal Sans. A slightly flared humanist sans. In the 1996 Morisawa Awards competition, Hoefler received a bronze prize for Ideal Sans. 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 handcrafted feeling.
    • Idlewild (2012). A wide sans typeface family.
    • Isotope (2018). A squarish typeface family. Not to be confused with Isotope by Fábio Duarte Martins, designed six years earlier.
    • Inkwell (2017). Hoefler writes: Inkwell is provided in a range of styles with which readers already have clear associations: a bookish Serif and a cleanly printed Sans, a conversational Script, a ceremonial Blackletter, a fancy Tuscan for decoration, and a stately Open for titles. Each style is offered in six weights, from a technical pen Thin to a graffiti marker Black. Inkwell is a name used as far back as 1992 by Sam Wang, and additional older fonts called Inkwell exist by Dan Solo, Philip Cronerud and MXB Foundry.
    • Knockout. The Knockout collection was designed to celebrate the beauty and diversity of nineteenth century sans serif wood types.
    • Knox.
    • Landmark (2013). In Regular, Inline, Shadow and Dimensional styles. A collection of architectural caps which started out as a custom typeface for Lever House in New York.
    • Leviathan.
    • Mercury Text and Mercury Display.
    • Nitro & Turbo (2016). Hoefler writes: We designed Nitro for Pentagram's Michael Bierut, as part of a new identity for the New York Jets football team. Originally named Jets Bold, Nitro is rooted in the styles of lettering used by the team throughout its fifty-year history: even as its logotype evolved, it consistently used heavy, slanting forms to imply force and movement. and ends with corporate babble: Nitro embodies this indomitable spirit in the context of a fresh, contemporary design. About the naming: AF Nitro was made by Sylvia Janssen at the very popular Die Gestalten Studio in Germany, in 2001. It will be fun to watch that battle between giants. Not to mention that lesser known players also made commercial fonts called Nitro more than a decade earlier---these include Jack Wills at Sign DNA and Markus Schroeppel (in 2004).
    • Numbers. In 2006, HFJ published the Numbers family, 15 fonts with nothing but numbers from various sources: Bayside (based on a set of house numbers produced around 1928 by H. W. Knight & Son of Seneca Falls, New York), Claimcheck (inspired by ticket stubs), Delancey (from tenement doorways), Depot (modeled on vintage railcars), Deuce (based on playing cards), Dividend (from an antique check writer), Greenback (based on U. S. currency), Indicia (inspired by rubber stamps), Premium (after vintage gas pumps), Prospekt (based on Soviet house numbers), Redbird (inspired by New York subways), Revenue (from cash register receipts), Strasse (after European enamel signs), Trafalgar (inspired by British monuments), Valuta (after Hungarian banknotes).
    • Obsidian. In 2015, Jonathan Hoefler and Andy Clymer cooperated on the decorative copperplate engraved emulation typeface Obsidian. Various kinds of 3d illumination in Obsidian were obtained by an algorithmic process. Not to be confused with about ten other fonts called Obsidian--for example, we have Obsidian (pre 2003, Silver Graphics), Obsidian (2014, Steffi Strick), Obsidian (2012, Krzysztof Stryjewski), Obsidian Deco (2013, Yautja), Obsidian (2005, Sparklefonts), and Obsidian Chunks (pre 2002, Jeni Pleskow).
    • Operator, Operator Mono, Operator Screensmart and Operator Screensmart Mono. The non-typewriter typewriter type..
    • Peristyle (2017). A stylish condensed typeface family with piano key elements, and described by Hoefler as dramatic.
    • Quarto.
    • Requiem (1991-1994).
    • In 2003, they published Retina (which was originally designed for the stock listings in the Wall Street Journal), but that font disappeared from their listing.
    • Ringside.
    • 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.)
    • Sagittarius (2021). A soft-edged compact semi-futuristic headline sans. In keeping with tradition, Hoefler dismisses or ignores the fact that the name Sagittarius was taken by a handful of other fonts since about 22 years ago.
    • Saracen.
    • Sentinel. Sentinel (1999) is HFJ's take on a Clarendon. I can't understand why they picked a name already taken by many foundries such as Graphx Edge Fonts, Comicraft, Dieter Steffmann and Sentinel Type. Anyway, in 2020, Sentinel got un upgrade (with smallcaps and ornaments) in 2020 in Sentinel Pro.
    • Shades (2003). In Cyclone, Topaz, Giant and Knox weights.
    • Surveyor (2014). An exquisite mapmaker and newsprint didone font family with Fine, Display and Text subfamilies.
    • The Proteus Project.
    • Topaz.
    • Tungsten (2009) and Tungsten Rounded. 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). Not to be confused with Tungsten (2005, Sparklefonts).
    • Uncategorized early typefaces: Gestalt-HTF, Fetish-HTF (blackletter modernized, 1995), Ehmcke-HTF.
    • Verlag (2006). A 30-style art deco-inspired semi-Bauhaus geometric sans family based on six typefaces originally designed for the Guggenheim. 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.
    • Vitesse (2010). 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. In 2020, Jonathan Hoefler added the inline Cesium, which forced him to modify the glyphs somewhat.
    • Whitney. In 2004, they produced an amazing 58-weight sans serif family, Whitney (by Tobias Frere-Jones), designed for use in infographics. Whitney's sales blurb: While American gothics such as News Gothic (1908) have long been a mainstay of editorial settings, and European humanists such as Frutiger (1975) have excelled in signage applications, Whitney bridges this divide in a single design. Its compact forms and broad x-height use space efficiently, and its ample counters and open shapes make it clear under any circumstances. See also Whitney Condensed and Whitney Narrow.
    • Ziggurat.

    Hoefler received Bukvaraz 2001 awards for HTF Guggenheim, HTF Knockout, HTF Mercury (1997, no relationship with Goudy's Mercury of 1936) and HTF Requiem. At ATypI in 2002, he received the Charles Peignot award.

    FontShop link. [Google] [MyFonts] [More]  ⦿

    Hollis Holland

    Born in Memphis, TN, in 1908, Holland had a studio in New York. From 1926 to 1936 he traveled across the country, designing theatrical posters for various motion picture companies. He was art director for several advertising agencies, notably J. Walter Thompson. He specialized in lettering and typographic design for publishers and taught calligraphy and letter design at Columbia University.

    For Photolettering in New York in the 1970s, he created the film typefaces Holland Antiqua, Holland Seminar (a transitional typeface family from 1973, and the first typeface family released by Compugraphic), Holland Title, Beleza (a script) and Squire. Digital descendants of his typefaces include Holland Seminar by Monotype. [Google] [More]  ⦿

    Holly Goldsmith
    [Small Cap Graphics]

    [MyFonts] [More]  ⦿

    Honey Design
    [Rina Miele]

    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]  ⦿

    Hoon Kim
    [Why Not Smile LLC]

    [More]  ⦿

    Horatiu Radoiu

    New York City-based designer of Atletico BK Jersey Font (2016). For the 2016 NFL draft he created two brush typefaces, Draft 16 and Digidraft. Behance link. [Google] [More]  ⦿

    Hoseok Lee

    During his studies at School of Visual Arts in New York, Hoseok Lee designed the modular molecular typeface HS Bio (2016). Behance link. [Google] [More]  ⦿

    Housseynou Fall

    Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the curvy didone typeface Jaz (2013, Friday Fonts. [Google] [More]  ⦿

    Housseynou Fall

    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 terminals in the creation of his free font Selfa (2011). [Google] [More]  ⦿

    Howard Allen Trafton

    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:

    • Cartoon (1936, freehand font). Mac McGrew writes: Cartoon is an informal letter, preserving the freedom of handlettering, with its name apparently suggested by the lettering in comic strips. Its two weights were drawn by Howard Allen Trafton, New York designer, in 1936. It is one of the few typefaces by American designers that was not cut and cast in this country; this was hand-cut (probably in one size, with other sizes derived from it) and cast by Bauer Type Foundry in Germany. Compare Balloon. For an accurate digital revival and extension, see Harold Lohner's Traftoon typeface family (2017).
    • Fresko (1936, freehand font).
    • Quick (1933, Bauer). This script, which is called Etoile (1935, Deberny & Peignot) in France and Quick in Germany, was digitally revived in 2013 by Ralph M. Unger as Parfum and by Dan X. Solo as Trafton Script.
    • Trafton Script (Bauer, 1933, a script font with long ascenders and descenders). Mac McGrew writes: Trafton Script was designed by Howard Allen Trafton, New York artist and designer, in 1933, and cut by Bauer Type Foundry in Germany. It is a delicate script with letters not quite connected, having large, flourished capitals and small lowercase with long ascenders and descenders. It has a crisp, precise appearance, but is not rigidly formal. Early advertising paired it with light monotone romans, but it is more at home with modern or transitional typefaces, and is one of the more popular contemporary scripts. Compare Coronet.

    Anton Scholtz's Pacific Script (2011) is also inspired by one of Trafton's alphabets.

  • Calendar Silhouettes (1944, ATF).

    Klingspor link. [Google] [More]  ⦿

  • Hubert and Fischer
    [Sebastian Fischer]

    Founded by Philipp Hubert (based in New York) and Sebastian Fischer (based in Stuttgart), Hubert & Fischer is a design studio with offices in New York and Stuttgart, Germany with a global client base. The studio specializes in creating editorial design, type design, visual identity, print, application, websites and e-commerce design from concept to production.

    Google Creative Lab approached them to design a typeface for the branding of the Rubik's Cube Exhibition "Beyond Rubik's Cube" the Liberty Science Center, Jersey City. They designed a slightly rounded heavyweight font (Rubik, 2015, Rubik One, 2014, and Rubik One Mono, 2014) in which the letters fit perfectly in a single cubelet of the Rubik's Cube. The font was expanded to include Cyrillic and Hebrew characters for the exhibition. Free downloads at Google Web Fonts (see also here), Github and Open Font Library. Rubik One was created by Elvire Volk Leonovitch under the art direction of Hubert and Fischer. Bickerton (2014) is a rhombic typeface.

    Other commissioned typefaces: Dumpling Grotesk (based on a hand-painted sign of a Chinese restaurant in New York and characterized by a two-legged m), Bickerton (based on the work of artist Ashley Bickerton), Akzidenz Grotesk Mono, Unterwirt Regular, Cold Comfort (2010, a sharp-edged typeface for the exhibition catalogue Cold Comfort of artist Rudolf Reiber), Stripe (by Sebastian Fischer: A signage system typeface developed for the high school Quinta das Flores in Coimbra, Portugal), EDP (by Sebastian Fischer: a thick geometric sans for Latin, Chinese, Hindi and Cyrillic), Oberkofler (a pixel script for the publication Blut im Schuh for artist Gabriela Oberkofler), Tiptop (a sans designed as headline for the publication Jugend Forscht), Morus (a hipster typeface family), Swollen.

    Behance link. Fontspace link. [Google] [More]  ⦿

    Hugo Steiner-Prag

    Illustrator and book designer (b. 1880, Prague, d. 1945, New York). He became German in 1907. From 1907 until 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). Designer of Akzidenz und Kalender Schmuck (1912, C.F. Rühl, Leipzig). Some of his work is archived at the Department of Rare Books and Special Collections of the Princeton University Library. [Google] [More]  ⦿

    Human Readable Type

    At the Goethe Institute in New York City, Julieta Aranda, Fia Backström and R. Lyon co-designed a free hacker font in 2013, which they called Human Readable Type. Human Readable Type is also an open source international keyboard that protects human language from data mining. The Human Readable Type was available at humanreadabletype.com, but that site has now been hijacked by a Chinese company. [Google] [More]  ⦿

    Hyun Joong (Hardy) Lee

    Queens, NY-based designer of the display typeface Daddy Long Legs (2016). Behance link. [Google] [More]  ⦿

    Ian Acid

    Rego Park, NY-based creator of the free techno typeface Acid Structure (2011). Behance link. [Google] [More]  ⦿

    Ian Bates

    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]  ⦿

    Ian Cox

    New Yorker who is experimenting with type design in 2012. [Google] [More]  ⦿

    Ian Cruz

    During his studies, Bronx, NY-based Ian Cruz designed Next Alphabet (2015), a squarish typeface that was influenced by Wim Crouwel. [Google] [More]  ⦿

    Ian Lynam
    [Wordshape]

    [MyFonts] [More]  ⦿

    Ian Lynam

    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 Hanger, Garland Sans (based on stencil letters used by British designer, educator and theorist Ken Garland, 1929-2021), Inversion (uncial), Cruller (a fantastic handlettered typeface 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), Cooper Old Style (2010), Cooper Capitals (2010), Cooper Text (2010), Cooper Fullface (2010), Clobber (2010, is a stencil typeface designed for readability at very small sizes), Hanger, Rubber Vloeren (a geometric display typeface adapted from an alphabet used by Piet Zwart in the Netherlands for a series of advertisements for rubber flooring), Ensenada (a typeface designed based on hand-cut lettering that adorns businesses throughout the city of Ensenada in Baja California in Mexico) and BeautifulDecay.

    Before Ian Lynam Creative Direction and Design, Ian was involved in Wordshape, and I guess he still is. The main people are Ian Lynam, Simon Gane and Selena Hoy. MyFonts link. Creative Market link. [Google] [MyFonts] [More]  ⦿

    Ian Rousey

    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
    [Daniel Ortega]

    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 Devils Own Type, Alphabet Citi, Crown Peaks, Milf Man Drips, Lumps (a blood drip font), 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.

    Typefaces from 2013: Hip Mob (graffiti font), Graff3rd Row, Indian Joe (ornamental Indian-themed caps), Crown Decay 3D, Graffrow (graffiti face).

    Typefaces from 2014: Hip High, Crown Decay, Olds Cool (2014, a graffiti font), Oldscool Rock. [Google] [MyFonts] [More]  ⦿

    Ilana Griffo
    [Sugar and Type]

    [More]  ⦿

    Ilektra Mandragou

    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]  ⦿

    Ilene Strivzer
    [The Type Studio]

    [More]  ⦿

    Iliana Siegel
    [Peacelettering]

    [More]  ⦿

    Imori Oto

    New York City-based designer of the bicolored typeface The Other Side (2018). [Google] [More]  ⦿

    Imre Reiner

    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:

    • Bazaar or Bazar (1956, D. Stempel; this brush typeface was revived in 2005 by Patrick Griffin, Canada Type, as Boondock).
    • The brush script Contact (Deberny&Peignot, 1952; Ludwig&Mayer, 1968 (according to Jaspert), and 1963 according to others).
    • Corvinus (Bauersche Giesserei, 1934; Swisstypedesign mentions 1932-1935). See also here. Corvinus Skyline (1934). Digital typefaces derived from this include Corvinus Skyline (1991, Group Type), Skyline (1992, Jane Patterson, Font Bureau).
    • Figaro (1940).
    • Floride or Florides Initiales (Deberny&Peignot, 1938): 3d horizontally shaded caps.
    • The Gotika fraktur font (Bauersche Giesserei, 1933), revived as Gotika by Petra Heidorn (2005, no downloads) and as Leather by Canada Type (2005). Manfred Klein created Gotika Buttons (2005) based on Petra Heidorn's Gotika. Gotika discussion on Typophile. Eric West intends to do a digitization as well, and Neufville is not cooperating.
    • London Script (1957). This was digitized twice at Canada Type, once by Phil Rutter in 2004 as Almanac, and once in 2007 by Rebecca Alaccari as Reiner Hand.
    • Matura MT (1938, Monotype), Matura Swash (1938).
    • Mercurius MT (1957).
    • Meridian (1930, Klingspor: a fat display face). Swisstypedesign says 1929.
    • Mustang (1956, D. Stempel, a brush script revived in 2005 by Canada Type as Hunter).
    • Pepita MT (1959).
    • Reiner Black (1955, Berthold, a brush script). For a digital vrsion, see Rough Script (2012, SoftMaker).
    • Reiner Script (1951, Amsterdam). Digitizations of this brush script under the same name include those of Dieter Steffmann and Tobias Frere-Jones (Font Bureau, 1993).
    • Sassa (1939).
    • Stradivarius (1945, identical to his Symphonie; Bauersche Giesserei, 1938), a formal script font with a compressed straightened lower case alphabet. [Note: Neufville copied it in its Sinfonia later, and in 2005, Petra Heidorn made a digitized version called Symphonie.] Martin Z. Schröder discusses its origins here. Also called Neue Symphony (1938). Digitizations include the free font Symphonie (2015, Peter Wiegel) and the commercial typeface by Group Type (1993) called Stradivarius.
    • Amsterdam Primula Ornaments. A digital version by Ari Rafaeli is called Ornaments 5 (2010).

    In 1992, Manfred Klein made Tokay-MK after one of Reiner's ideas. In 2004, he added VariationsForImre, a playful typeface based on Reiner's lettering, and this was followed in 2005 by Magyarish.

    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. FontShop link. Klingspor link.

    View Imre Reiner's typefaces. [Google] [MyFonts] [More]  ⦿

    in the habit
    [Tiziana Haug]

    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 typefaces: Built (2005), Home Sweet Home (2005, stitching face), Trace (2004, Neon light simulation). [Google] [More]  ⦿

    Ina Dimitrova

    New York-based print designer who made the cover for William Gibson's text book Pattern Recognition (2010). In 2013, she designed the fashion mag high-contrast typeface Rounda (AI format---free). [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]  ⦿

    Indograph
    [Dwi Yudha]

    New York-based designer of the brush script typeface Galpacink (2017). [Google] [More]  ⦿

    Intercon

    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]  ⦿

    Intertype
    [Gilbert Powderly Farrar]

    Defunct foundry. One of its typographic directors was Gilbert Powderly Farrar (1886-1957), who designed Bert Black. Intertype's typefaces include Monterey (1958, Rand Holub, its "version" of Murray Hill; available from Bitstream now), Imperial (designed by Ed Schaar; now a Bitstream font), Intertype Vogue (ca. 1930, see Am Sans by Volker Busse for a free digital version), Stuyvesant (1940, now available from Bitstreeam), and Nuptial Script (now an Adobe font).

    MyFonts writes: Harris inherited the Harris-Intertype library, made up of the typefaces cut by Intertype to compete with Mergenthaler from the First World War. A small group of original typefaces centers on newspaper typefaces and scripts. In the thirties C.H. Griffith at Mergenthaler believed the linecaster to be unsuitable for the development of scripts, which led Ed Schaar at Intertype to claim this market as their own. Intertype became Harris-Intertype ca. 1960, and Harris ca. 1975.

    Cyrillic typefaces in their library, ca. 1930. The firm still exists as Harris Corporations in Melbourne, FL, but is no longer producing fonts.

    Leonard Spencer, in his article Linotype / Intertype Linecasting Machines How They Differ writes: Intertype started as International Typesetting Machine Company in 1911. Many of first machines were rebuilt Linotype bases with improvements patented by the new company. When World War I broke out, International Typesetting Machine Company was reorganized as the Intertype Corporation, and by 1917 had three machines for sale: Model A one magazine, Model B two magazine, Model C three magazine. Intertype was first in cold type with its Fotosetter in 1950. This machine continued the circulating matrix principle but had film image instead of the punched character. Stuart Sandler adds this piece of information: The Harris-Intertype Fotosetter was the first photo typesetting machine invented. It marks the beginning of the Cold Type era and is the machine responsible for it . . . Incidentally this is the machine that inspired the creation of the Filmotype by its inventor Allan Friedman when he saw it unveiled to US audiences in 1948. Instead of lead slugs, the Intertype which was a Linotype machine had replaced them with small film negatives and proceeded to set type as you would imagine the bastardization of a lead type and photo type machine only could. There are many reasons Cold Type caught on and it became the standard some time after that period till digital typesetting machines like the Alphatype came into their own. It wasn't until the release of the first MacIntosh in 1984 when Cold Type was eclipsed by desktop publishing.

    Mac McGrew: Ideal (originally called Ideal News) was designed by Herman R. Freund for Intertype in 1926, for the New York Times. It has much the appearance of Century Schoolbook, but with shorter ascenders and squattier capitals. The italic is a little closer to Century Expanded Italic, providing more contrast with the roman. Sturdy serifs, substantial hairlines, and open loops make it a practical typeface for the demanding production requirements of high-speed newspaper use. Ideal Bold is heavier than the Century bold typefaces.

    View a few digital typefaces with roots in the Intertype collection.

    Another famous type is Cairo. Mac McGrew: Cairo is Intertype's adaptation of Memphis, originally designed by Rudolf Weiss for Stempel in Germany about 1929, and first imported into the United States as Girder. Except for Litho Antique, this was the first of the modern square-serif typefaces, which are revivals of older typefaces known as Egyptians. The Intertype typefaces appeared in 1933 to 1940. Lining Cairo features several sizes of caps on 6- and 12-point bodies in the manner of Copperplate Gothic. Compare Memphis, Stymie, Karnak.

    Farrar is also the author of The Typography of Advertisements That Pay (1917, D. Appleton and Co., New York). Local download. [Google] [MyFonts] [More]  ⦿

    Ion Lucin
    [Ionyc type]

    [More]  ⦿

    Ionyc type
    [Ion Lucin]

    New York City (and before that, Madrid)-based illustrator who created the minimalist typeface Minim (2012), the scratchy typeface Displaced (2013), the free geometric sans all caps typeface family consisting of Big John (2014-2016, with Carlos de Toro), Regular Jim and Slim Joe (2014). In 2018, he published the animated stencil typeface Randomize and the kinetic modular color typeface Ionyc (2018). [Google] [More]  ⦿

    Ira Oksman

    New York City (was: Toronto)-based designer of the free naughty script typeface Sansual (2013). [Google] [More]  ⦿

    Irene Korol Scala

    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.

    In 2006, James Craig and Irene Korol Scala published the blockbuster book Designing with Type, 5th Edition: The Essential Guide to Typography (published by Watson-Guptill).

    Designer of a wonderful logotype entitled Cognac One (2012). [Google] [More]  ⦿

    Irin Kim

    Graduate of the TDi program in 2018 at the University of Reading. Kim Irin is a visual designer in the Google Fonts team, based in New York City. She has focused on developing design systems and visual identities, and has contributed to UX/UI projects such as the Material Design guidelines, the SPAN design and technology conference, and surfacing variable fonts in Google Fonts. She recently led a project to add more Korean fonts to the Google Fonts library.

    Speaker at ATypI 2019 in Tokyo, on the topic of variable fonts in Google Fonts. [Google] [More]  ⦿

    Irin Kim

    Irin Kim is a visual designer on the Material Design team at Google, based in New York City. She has focused on developing design systems and visual identities, and worked on variable fonts in Google Fonts. Kim recently led a project to add more Korean fonts to the Google Fonts library. Speaker at ATypI 2018 in Antwerp. [Google] [More]  ⦿

    Irina Lee

    Irina Lee received a Masters of Fine Art from the School of Visual Arts, a post-graduate certificate in Typeface Design from the Cooper Union, and a Bachelors of Art in Studio Art from the University of Maryland. She designed the vontage typeface Auggie (2016) and writes: Auggie is a serif typeface with contrast that mimics a ballpoint pen, ball terminals, and serifs inspired by merangue. It can be used for display, packaging, corporate identity and signage. Auggie has warm, friendly, humanistic characteristics, with sweet details in the glyphs, slightly curved forms, and exaggerated merengue peaks. [Google] [More]  ⦿

    Iris Sprague

    Graphic designer in New York City, who created Hennes Modular Stencil (2014). Behance link. [Google] [More]  ⦿

    Iryna Korshak

    Graphic designer in New York City who created the Times-Roman-inspired floriated typeface Tenar in 2015. [Google] [More]  ⦿

    Isabel Urbina Peña

    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. Letra Type is a type foundry started by Isabel in 2014 in Brooklyn, NY.

    Isabel 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 typeface Olivia (2012), the elegant old-fashioned serif family Galea (2012: featured in the book Playing with Type: 50 Experiments by Rockport Press, 2013), and the revival typeface Laureate (2012), which was based on a 1906 typeface from Keystone Type Foundry. Galea Display won an award at Tipos Latinos 2016.

    Behance link. [Google] [MyFonts] [More]  ⦿

    Isabelle Podrasky

    During her studies in Levittown, NY, Isabelle Podrasky created the grungy typeface 8Bit (2013). [Google] [More]  ⦿

    Ismar David

    Letterer and calligrapher Ismar David (b. Breslau, 1910, d. New York City, 1996) designed the immensely popular David Hebrew in 1954 (published by Intertype and Stempel). He emigrated to Palestine 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.

    Meir Sadan was the lead designer in the David Libre project. David Libre, published in 2016 by Google Fonts, is a Libre David Hebrew, based on David Hadash Formal. Google has worked with Monotype to release the three book weights (Regular, Medium and Bold) under the SIL Open Font License and create a new version for use by the public. Some glyphs were updated, such as the Sheqel symbol---it was redesigned to be recognizable by contemporary Hebrew readers, since the original Sheqel symbol is too far from today's standard. Open Font Library link for David Libre.

    At the University of Reading, Shani Avni wrote a Masters thesis on David. In it, she presents David's design process and ground-breaking results, and tells the story of this lost design and offers reasons for its disappearance. Her graduation typeface there in 2016 was Gozalle. [Google] [More]  ⦿

    Israel Seldowitz
    [Fontworld]

    [More]  ⦿

    Itamar Kornowski

    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]  ⦿

    ITC

    International Typeface Corporation, located at 228 East 45th Street / 12th Floor, New York, NY 10017. Established in 1970 by Aaron Burns, Herb Lubalin and Ed Rondthaler. From their page: One of the world's most prolific and respected type foundries, ITC has developed and released more than 800 typeface designs from designers such as Sumner Stone, Matthew Carter, Kris Holmes, Ed Benguiat, Hermann Zapf, Erik Spiekermann, David Berlow, and Herb Lubalin. From the ad for their web site: This new and improved site allows you to preview, compare and purchase typefaces from ITC's venerable typeface library, which now includes the Fontek collection of display typefaces. There are currently more than 600 typefaces available online, and we will be adding more typefaces each month.

    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. Some time later, Agfa-Monotype became Monotype.

    Catalog of ITC's typefaces. Alphabetic listing of ITC's typefaces. [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]  ⦿

    Ivy Fuld

    Designer in Brooklyn, NY, who created the fifties diner typeface Luncheonette in 2012, while studying at SVA in New York City. [Google] [More]  ⦿

    Ivy Liu

    Zuwei (or Ivy) Liu is the Bayside, NY-based creator of Minimal (2013), a didone caps typeface with extreme contrast to the poit that the thin strokes actually disappear. [Google] [More]  ⦿

    J. W. Payson

    American penman. J. W. Payson, S. Dunton, W. M. Scribner, G. H. Shattuck and A. S. Manson published The Payson, Dunton, & Scribner manual of penmanship (1873, Woolworth, Ainsworth, and company, New York). See also here.

    Several typefaces are named after Payson: Payson Script (1882, Cincinnati Type Foundry), Payson Script (Chicago Type Foundry), and payson (2009, Jeff Levine).

    Local download. [Google] [More]  ⦿

    Jaamal Benjamin

    Jaamal Benjamin is founder and designer at Studio Grand. Formerly a dancer/choreographer in Hip-Hop dance theatre, Jaamal's interests as a designer, artist and educator lie mostly in crafting parallels between the black experience, mark-making, social change, movement, and music. Jaamal holds a bachelors degree in Graphic Design and graduated in 2021 from the Type Design at Cooper Union's Extended program. At the Cooper Program in a Principle of Display Type workshop at Cooper in 2020, he developed Harlemecc: Inspired by the Harlem Renaissance in New York City, Harlemecc is a contemporary display typeface which aims to interpret the commercial lettering of black fine artist and painter, Aaron Douglas. His 2021 Type@Cooper project was called Garvey after black liberator, Marcus Mosiah Garvey. [Google] [More]  ⦿

    Jack Curry

    New York City-based type and brand designer, who has a BFA (2008-2011) from California State University at Long Beach, and used to work in Los Angeles. He studied typeface design at The Cooper Union for the Advancement of Science and Art in 2011.

    Author of articles Typodarium 2012 (Verlag Hermann Schmidt Mainz, August 2011), The 3D Type Book (Laurence King Publishing, June 2011), and Typography 31 / TDC 2010 Annual (Collins Design, Dec. 2010). He published Foundation: Process and Reflection (2011, The Cooper Union).

    His typefaces:

    • Foundation Grotesque (2011-2012). Developed at The Cooper Union, it is vaguely based on an early 20th century typeface by Linotype called Philadelphia Gothic.
    • Dash (2010). A free octagonal typeface.

    His blog. [Google] [More]  ⦿

    Jack Jennings

    Brooklyn, NY-based designer, who created several typefaces, such as Pixineo (2013, an avant-garde sans co-designed with with Marija Radisavljevic for a Boston-based startup), Marx (an ink-trap serif typeface), Valence Grotesque (a school project typeface at RISD), HJ Round (2011, a dot matrix typeface), Neruda Modern (2011, RISD: a fat didone), and Saecularis (an angular text face). [Google] [More]  ⦿

    Jackelyne Castillo

    During her graphic design studies in New York City, Jackelyne Castillo created Industrial Font (2014). [Google] [More]  ⦿

    Jackson Cavanaugh
    [Okay Type]

    [MyFonts] [More]  ⦿

    Jackson D. Green

    During studies in New York City, Jackson Green (or just Jack Green) designed the sci-fi typeface Memphis Sans (2016) and the blackletter typefaces Heutig (2016) and Iron-On Blackletter (2016). Behance link. [Google] [More]  ⦿

    Jackson Pollock

    Paul Jackson Pollock (b. 1912, Cody, WY-d. 1956, Springs, NY) was an influential and celebrated American painter and a major figure in the abstract expressionist movement. He was well known for his unique style of drip painting. An alcoholic, he died in a car accident while driving drunk.

    Several typefaces were made using or emulating Pollock's drip style:

    [Google] [More]  ⦿

    Jacob I. Biegeleisen

    Instructor at the New York School of Industrial Art. Coauthor with Dan X. Solo of Classic Type Faces And How To Use Them: Including 91 Complete Fonts (reprinted in 1995 by Dover Press), a book which includes 91 typefaces. He also wrote The ABC of Lettering (5th edition in 1940; reprint, New York: Harper & Row, 1976). The book of 100 type typeface alphabets A guide to better lettering (1965, The Signs of the Times Publ. Co., Cincinnati, OH), Art Directors' Book of Type Faces (1973), and Poster Design (1945 or 1946, Greenberg Publisher, New York). [Google] [More]  ⦿

    Jacqueline Lavitt

    During her studies at Towson University, New York City-based Jacqueline Lavitt designed the thin display sans typeface LineUp (2016). Behance link. [Google] [More]  ⦿

    Jaime Nathan Nash

    James Nash (b. 1987, Poughkeepsie, NY) is a designer in New York City. He created the stencil typeface 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 of its typefaces have been digitized thus far. Among those, we have AWT Connor Tuscan Italian (2013, Dick Pape), 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]  ⦿

    James Grieshaber
    [Typeco]

    [MyFonts] [More]  ⦿

    James Hultquist-Todd
    [James Todd (or: JTD Type)]

    [MyFonts] [More]  ⦿

    James McDonough

    Graduate of SUNY Fredonia. Ithaca, NY-based designer of the squarish typeface Bear Sans (2013). [Google] [More]  ⦿

    James Meeks

    Buffalo, NY-based digital artist. Creator of the modular experimental AI Typeface (2010). [Google] [More]  ⦿

    James Montalbano
    [Terminal Design]

    [MyFonts] [More]  ⦿

    James Todd (or: JTD Type)
    [James Hultquist-Todd]

    Chicago, IL, and/or Fredonia, NY, and/or Philadelphia, PA-based designer, who runs James Todd Design.

    Creator of the text family Garvis (2012), which was inspired by didones and the Dutch Fleischmann types.

    In 2013, he designed the wood type revival family HWT Unit Gothic for Hamilton Wood Type Foundry. The Unit Gothic series was released by Hamilton Manufacturing Co. in 1907, and comprises a flexible range of widths from compressed to very wide.

    In 2015, he published the contemporary didone optically corrected typeface family Essonnes [MyFonts link].

    In 2016, James Todd designed the 6-style sans typeface family Cresta and his garalde take on the (normally didone) fat faces, Gastromond.

    In 2017, he co-designed Biwa and Biwa Display, a grotesk typeface family, with Ian Lynam.

    Typefaces from 2018: Chapman (a large Scotch roman typeface family with lots of pizzazz), Stack.

    Typefaces from 2019: Elfreth (an informal blackletter), Glot (a 10-style flared terminal sans family by James Todd and Ian Lynam; see also Glot Round from 2020).

    In 2021, he was part of a big effort by P22 to revive and extend Johnston's Underground to P22 Underground Pro [13 styles: Richard Kegler (1997), Paul D. Hunt (2007), Dave Farey (2021), James Todd (2021) and Patrick Griffin (2021) contributed at various stages].

    In 2021, he released Cambium---a text family based on roman inscriptional lettering in which special attention was paid to trhe lowercase---at Future Fonts.

    YTypefaces from 2022: Oculi.

    Behance link. Dribble link. Old Fontspring link. Old URL. Future Fonts link. [Google] [MyFonts] [More]  ⦿

    James Walker Puckett
    [Dunwich Type Founders]

    [MyFonts] [More]  ⦿

    James Zachman

    James Zachman (Chicago, IL) created the marker typeface Natalie (2012), which is sufficiently well-mannered for uses on architectural plans and technical or semi-official presentations. [Google] [More]  ⦿

    Jan Paul

    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.

    In 2012, he designed the free brush stencil typeface Bombora (which was digitized by Brian Kent). Bombora is based upon designs for surfing. See also Bombora Pro (2012, Cheap Pro Fonts). [Google] [MyFonts] [More]  ⦿

    Janon Co

    Authors of Fine Hand Embroidery (1914, New York). This book contains many embroidered alphabets and monograms. Janon Co had offices in Paris and New York.

    Digital typefaces based on their work include Antoinette Monogrammes (2013, Ryoichi Tsunekawa). [Google] [More]  ⦿

    Jared Bell

    Designer of the LeWitt typeface family (2013, Angular, Wave, Regular). Student at the Pratt Institute (New York) in 2013. [Google] [More]  ⦿

    Jared Eberhardt
    [We Are Not You]

    [More]  ⦿

    Jarred Joly

    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]  ⦿

    Jasmine Kounang

    Graphic designer in Brooklyn, NY. Using Glypha 55 Light as a skeleton, she created the Sequence typeface (2012, experimental). [Google] [More]  ⦿

    Jasmine Zhang

    New York City-based designer of the sans typeface Strange (2015). [Google] [More]  ⦿

    Jason Anderson

    Art director, senior designer and illustrator in New York City. Creator of the following fonts, ca. 2013: Phys Ed Dept (grungy athletic lettering), Monogram, Wild Modern (spurred), Queendsbridge (bubblegum face), Motown USA, Wild Modern, Catholic Guilt (spurred).

    Behance link. [Google] [More]  ⦿

    Jason Forrest
    [Cockrockdisco]

    [More]  ⦿

    Jason Gonzalez

    New York City-based designer of the wavy typeface Current (2019). [Google] [More]  ⦿

    Jason Mannix
    [Polygraph]

    [MyFonts] [More]  ⦿

    Jason R. Ramirez

    Not to be confounded with Jason Ramirez (Pennyzine, Brooklyn, New York). Jason R. Ramirez (who also happens to be in Brooklyn, NY, where he does book covers and book design at 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]  ⦿

    Jason Ramirez
    [Ground Control (was: Penny Font Foundry, or: Pennyzine)]

    [More]  ⦿

    Javier Stanislas Michalski

    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. [Google] [MyFonts] [More]  ⦿

    Javier Viramontes

    Javier Viramontes (Brooklyn, NY) was born and raised in El Paso, Texas. He holds a B.F.A. in Design from the University of Texas at Austin. He has worked for various multi-cultural advertising agencies including LatinWorks (Austin, TX), XL Alliance, and BBDO Contrapunto in Madrid. He also studied at The Cooper Union for the Advancement of Science and Art, and is presently Lecturer at the University of New Haven.

    His typefaces include Aldine (2011, Lost Type), a wood-look headline typeface based on original proofs of a 19th Century American Wood Type alphabet, Aldine Expanded, and embellished by Javier Viramontes at the University of Texas, Austin.

    In 2016, he published the display sans typeface Kawak that is characterized by an asymmetric mouth of its C, at Latinotype, which wrote: Kawak is a sans inspired by Mayan glyphs from the Tzolk'in ritual cycle. Kawak marries modernist typographic tradition with Pre-Hispanic formalism, creating a perfect blend between cleanliness, readability, objectivity, and the Mayan super-ellipse. Kawak was designed by Javier Viramontes during the Type@Cooper, Extended Program under the careful guidance of Jesse Reagan and an amazing repertoire of visiting critics. The project was finalized by Alfonso Garcia and the Latinotype team. [Google] [MyFonts] [More]  ⦿

    Javon Lavar

    Rochester, NY-based designer of the circle-based typeface Chanel (2015). [Google] [More]  ⦿

    Jay H. Schechter

    Jay Schechter (b. 1941, New York) studied art, design, and lettering at Hunter College. He managed photographic reproduction at TypoGraphic Communications in New York from 1966 until its demise in 1984 [TGC was a successor to Rapid Typographers]. He became the Director of Typographic Design at Characters, which also bought up the fonts from Techni Plus, until that company too closed its doors, ca. 1992.

    Creator of phototype typefaces at VGC, such as Jay Gothic and Jay Gothic Bold (1965) [these typefaces are available as OPTI Jaffa from Castcraft]. After TGC, he worked for Characters (which also bought up the fonts from Techni Plus) until that closed (approx. 1992). [Google] [More]  ⦿

    Jayde Garrow

    Buffalo, NY-based creator of the logotype typeface NHL (2013). It includes the logos of all the NHL teams. He also made Warzone Stencil (2020), Get Rekt (2020: grungy), Warzone 99 (2020), Jersey 716 (octagonal, a varsity font), Big Marker (2019), Ancient One (2019: a labyrinthine font), Secret Files (2019), Deadlist (2019: a glitch font), VG Knights (2019), Bills Mafia (2019), Charred Zard (2019: octagonal), Z28 (2019), nWorder (2019: grunge), Pirate Scroll (2019), Dark Knight (2018), Clean Sports (2018), Sharp Core (2015), Bold Killer (2015), 10 Bucks (2014, engraved lettering for money), Jersey Sharp (2014), Blacklisted (2014), Be a Pro (2014), NFL Red Zone (2014), Pirate Ship (2014), Monsterz (2014, a hairy font), Caution (2014), Hard Grunge (2014), Royalty Savior (2014, possibly a tattoo font), Damage Inc (2014, a grungy stencil), Angry Letter (2014), Bold Curse (2014), Sweet Jersey (2014: athletic lettering), Cash Currency (2014: a textured money font), King of the Hill (2014, shadow font), Print Oldyz (2014: a textured typeface), Bob's Burgers (2014), Earth Bound (2014), Grungy (2014), Kill Em All (2014, grunge), LMAO (2014, circle-based font), Dark Ministry (2014), Hard Sports (2014), Rugrats (2014, comic book style), Break It (2013, a glaz krak face), Kenan&Kel (2013, cartoon font), Merrie Melodies (2013, cartoon font), Zany Sharp (2013), American Dad (2013), Wrestle Mania (2013), Survivor Series (2013), Hogan Mania (2013, gothic), Wrist Tat (2013, spurred constructivist), Destroy Humans (2013, grunge), NHL Wild (2013), Bang 4 Ya Buck (2013, grungy stencil), WWE Raw (2013), Army Rust (2013, a grungy military stencil face), Bad Grunge (2013), NHL Bruins (2013), NHL Flames (2013), NHL Ducks (2013), Royal Rumble (2013, stencil face), Write It Right (2013, fat finger typeface), Exp Font (2013, stencil), NHL Sabres (2013), Battleground (2013), Power Rangers (2013), Papa Grape (2013, hand-printed), How Bout That, EZ Sharpz (2013, angular and octagonal), Payback (2013), High Def (2013, sci-fi), Ridiculousness (2013), Rusto (2013, grunge) and We Wrestle (2013, a scratchy typeface).

    Dafont link. Old URL. [Google] [More]  ⦿

    Jayla Cheng

    New York City-based creator of the display typefaces Ouija (2013) and J Crystal (2013). Another Behance link. [Google] [More]  ⦿

    Jean M. Wojciechowski

    During his studies at Parsons The New School for Design in New York, Jean M. Wojciechowski designed the free sans typeface Axis (2014). [Google] [More]  ⦿

    Jean Marques

    New York City-based designer of Sans Bass (2015), a dadaist typeface created in honor of Saul Bass. In 2015, Marques was studying at the Institute of Technology in New York, after earlier studies at Sao Paulo State University. [Google] [More]  ⦿

    Jean Wojciechowski

    Curitiba, Brazil-based graphic designer, who spent some time in New York City. His typefaces:

    • Massimo (2018). A bespoke wide sans typeface family for Massimo Studio in Curitiba.
    • Linsingen (2017), co-designed with Renato Bertao. It comes in Vintage, Moderna and Stencil styles, and was inspired by Brazilian lithographic tea barrel labels from the early 1900s.
    • St Monique (2015). An antiqua typeface.
    • Axis (2014). A stunning (and free!) sans typeface.
    [Google] [MyFonts] [More]  ⦿

    Jeannie Zhang

    During her studies in New York City, Jeannie Zhang designed the experimental modular typeface Blaxes (2013). [Google] [More]  ⦿

    Jed Heuer

    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]  ⦿

    Jeff Domke

    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 Levine

    Prolific type designer in Florida, b. New York, 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 MyFonts. He has branched out into several font styles, with a soft spot for stencil fonts, fonts for signage, art deco, and fonts for advertising. Born in New York, his family moved to Florida in 1963, where he has been ever since.

    An interview. Alternate URL. Yet another URL with his early free fonts. My pages on him. Dafont link. Abstract Fonts link. MyFonts link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Jeff Prybolsky
    [Disappearing Inc]

    [More]  ⦿

    Jeff Rogers

    Jeff Rogers (or Rodgers in some publications) was born in Texas and lives in New York City where he works as a designer and illustrator. He has created custom lettering for such clients as Nike, The New York Times, Good Magazine, Metropolis Magazine, Blue Q and others. Jeff is also a partner at Abidesco, a Texas based design collective. With the help of the crew at YWFT, he created three typeface families: YWFT Shade (2015), YWFT Owen (2014, dadaist overlay font), YWFT Tall Tex (2014, Western), and YWFT Merry (2014, a hand-drawn poster type with the possibility of stacking). [Google] [MyFonts] [More]  ⦿

    Jeff T. Jarvis

    Jeff Jarvis (Brooklyn, NY) makes custom typefaces (such as Elizabet Dee (2012)) as well as experimental ones. In 2012, he created the Western typeface Ye Olde Geometric, Strypeface (a beautiful multiline display typeface) and the rounded stencil typeface Alphabits.

    Typefaces from 2014 include the 3d cubic typeface IsoType.

    Behance link. [Google] [More]  ⦿

    Jefferson J. Vorzimmer

    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.

    Dafont link. Abstract Fonts link. [Google] [More]  ⦿

    Jeffrey Betts

    Designer in Elmont, NY. In 2012, he used Futura as a basis for Arcade, a typeface used for wayfinding on a campus. [Google] [More]  ⦿

    Jeffrey Docherty

    New York-based graphic designer. He created Frame Light (2008, glyphs inspired by frames). [Google] [More]  ⦿

    Jenn Sager

    Jenn Sager (Brooklyn, NY) works at a branding company. She created the tall condensed monoline typeface Sweet Heart (2011). [Google] [More]  ⦿

    Jenna

    Calligraphic blog and calliggraphy service in Brooklyn, NY. [Google] [More]  ⦿

    Jenna Josepher

    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]  ⦿

    Jenna Myer

    New York City-based designer of the custom textured typeface Identity (2014). [Google] [More]  ⦿

    Jennifer Cordova

    Art director and illustrator in Brooklyn, NY. Behance link. She created the display typeface Lady Luck (2010). [Google] [More]  ⦿

    Jennifer DeAngelis
    [DP Fonts]

    [MyFonts] [More]  ⦿

    Jennifer Kinon
    [OCD: Original Champions of Design]

    [More]  ⦿

    Jennifer Yan

    New York City-based designer of Cyclops (2015, stencil typeface). [Google] [More]  ⦿

    Jensine Eckwall

    During her studies in New York City, illustrator Jensine Eckwall designed the typeface Pixolita (2013), which was inspired by the pixacao (graffiti) in Sao Paulo.

    Behance link. [Google] [More]  ⦿

    Jenson Marklund

    At the School of Visual Arts, Jenson Marklund (Brooklyn, NY) designed the piano key typeface Winson (2016). Behance link. [Google] [More]  ⦿

    Jeremy Mickel
    [MCKL (was: Mickel Design)]

    [More]  ⦿

    Jerome Revived Studio

    Designer in New York City who made Cash West in 2021. [Google] [More]  ⦿

    Jerry Inscoe

    American type designer who co-designed (drew?) the great hand-printed memo-note typeface family Joker Straight Letter (2006, Handselecta). [Google] [MyFonts] [More]  ⦿

    Jesse M. Ragan

    Originally from North Carolina (b. 1979), Jesse Ragan studied type design at Rhode Island School of Design. After college, Jesse designed typefaces at Hoefler&Frere-Jones, where he had a hand in Gotham, Archer, and several other families. Since 2005, he has worked independently in Brooklyn, developing typefaces and lettering for a variety of clients. His work can be found at Font Bureau, House Industries, and Darden Studio. He also teaches typeface design at Pratt Institute and Cooper Union. He won an award at Bukvaraz 2001 for Gotham, co-designed with Jonathan Hoefler and Tobias Frere-Jones. In 2017, he set up XYZ Type with Ben Kiel, who is based in Saint Louis, MO. XYZ Type is part of Type Network since 2018.

    His typefaces:

    • Afri Sans (2011). A custom typeface for the Museum for African Art in Manhattan.
    • Athenian Extended (2011). By Matteo Bologna and Jesse Ragan. This "playfully peculiar face" (their words) was custom designed for Typography 32, the annual of the Type Directors Club. A revival of the 19th century classic Athenian.
    • Cedar. An angular typeface designed during his studies at RISD. It was later published at XYZ Type.
    • Epiphany (2001). A hookish face.
    • Export (2012). A vernacular typeface based on signage seen in New York's Chinatown. This all caps typeface features square counters and comes with a stencil version.
    • Hoefler & Frere-Jones, 2001-2005. Assistance with the production of several typefaces at HFJ: As a full-time typeface designer for Hoefler & Frere-Jones from 2001 to 2005, I designed a full type family for Smirnoff Vodka (art directed by J. Walter Thompson and H&FJ). Working closely with Tobias Frere-Jones and Jonathan Hoefler on a number of other typefaces, I designed bits and pieces such as hairline weights, Italics, and news grades. These include Mercury, Chronicle, Hoefler Titling, Sentinel, Surveyor (2014)), Gotham, and Archer (a type family done for Martha Stewart Living and designed with Hoefler and Frere-Jones).
    • Omnes (2006). A monowidth rounded sans designed by Joshua Darden. Ragan assisted in the production and design process.
    • Ruzicka Collection (2012). Digital versions of the alphabets shown in Rudolf Ruzicka's 1968 portfolio Studies in Type Design. This collection led in 2018 to the robust 12-style typeface family Study at XYZ and in 2020 at MyFonts.
    • Showcard Stunt (2008). Lower case of a comic book/signage typeface originally drawn by Ken Barber, House Industries. Inspiration from Dom Casual (1950s, Peter Dombrezian).
    • Smirnoff (2003). A custom typeface commissioned by J. Walter Thompson for Smirnoff.
    • The Bruins (2006). An athletic lettering typeface commissioned by Reebok for The Boston Bruins in 2007-2008.
    • USA Today Condensed (2012). He writes: I designed this headline typeface for the dramatic relaunch of USA TODAY, which was overseen by Wolff Olins. The condensed style complements the paper's proprietary version of Futura, but without resorting to the familiar elliptical shapes of Futura Condensed.
    • V Magazine (2011). A condensed high-contrast fashion mag headline typeface done for V Magazine.
    • Carlstedt Script (2013, with Ben Kiel: a custom signage typeface for Aldo Shoes based on the handwriting of Swedish illustrator Cecilia Carlstedt). Cortado Script (2014) was designed by Jesse Ragan and Ben Kiel. It too was inspired by Cecilia Carlstedt's hand-painted lettering and is quite close to Carlstedt Script.
    • In 2017, Jesse Ragan published Aglet Slab and Export at XYZ Type. In 2019, he added Aglet Sans, and in 2020 Aglet Mono. The three Aglet families explore roundness. Aglet Mono, in particular is quite striking, and could be useful for programmers.
    • Escalator and Elevator (2021). Two multipurpose geometric sans families following in the footsteps of Block and Futura. Ragan writes: Escalator & Elevator grew from a client commission to replicate existing signage for the renovation of a landmark New York City skyscraper. They take inspiration from prefabricated letterforms of the 1950s, which manufacturers offered in so-called Block and Futura styles, by swapping in a few different shapes. Our interpretation increases the distinction between the two styles, pulling from surplus glyphs created for customizations of the design for other clients. No one really needs another geometric sans, but Escalator & Elevator claim their own aesthetic territories in an abundant genre. Both families are delivered as variable fonts, providing full access to a wide weight range. The optical size axis addresses the specific needs of different type sizes with adjustments to the structure, tapering, and spacing. From small text to the appropriately-named Huge, these typefaces evoke architectural lettering and the era of phototypesetting.
    • Polymode Sans (2021, by Jesse Ragan and Ben Kiel). A variable font with a realness axis.

    Interview. Behance link. Interview by Lovers Magazine. [Google] [MyFonts] [More]  ⦿

    Jesse Vega

    Jesse Vega, born 1976, is a type designer based in New York. He has an industrial background in Fine Arts and is a graduate of the Type @ Cooper type design program at Cooper Union. Vega began crafting letterforms in 2009 and has since collaborated with several New York-based foundries, assisting in the design and production of typefaces for both corporate and editorial use. In 2014, he co-designed FF Milo Slab with Mike Abbink.

    In 2019, he co-designed Caslon Sans Serif Shaded with Paul Barnes: The addition of graphic effects to typefaces was one of the most popular fashions of the nineteenth century, with the most common being the shaded form. Fashionable throughout this period, they largely disappeared from the typographic landscape, but their simple graphic qualities offer much potential today. [Google] [More]  ⦿

    Jessica Bronson

    Jessica Bronson graduated from Parsons School of Design in 2009 with a BBA in Design+Management. She lives in Savannah, GA, where she pursues an MFA in graphic design at Savannah College of Art and Design. Creator of the slab serif typeface Embargo (2012). [Google] [More]  ⦿

    Jessica Cabrera

    New York City-based designer of the modular techno typeface Quimica (2013). [Google] [More]  ⦿

    Jessica Hische

    Jessica Hische was born in Charleston, SC, in 1984. She is a Brooklyn-based hand-letterer and illustrator, who has worked for clients such as Tiffany&Co., Victoria's Secret, American Express, Target, The New York Times, The Boston Globe, Chronicle Books, Random House, and Penguin Books. Blog. She created various calligraphic and hand-lettered scripts such as Valentine Script (2009), Buttermilk (2009, a calligraphic connected script) and New York Times Buzzwords (2009). Creations in 2010: Snowflake, Snowflake ornaments. Typefaces from 2011: Bryan Who (quaint, antique). Fonts made in 2011: Brioche (a dessert menu script face).

    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).

    Her drop caps typeface family Minot (2013) and her initals Penguin Drop Caps (2013: a series of twenty-six collectible hardcover editions of fine works of literature, each featuring on its cover a specially commissioned illustrated letter of the alphabet by Jessica in collaboration with Penguin Art Director Paul Buckley) won awards in 2014 at the Communication Arts 4th Typography Competition: 2014.

    In 2014, Jessica Hische created the script typeface Tilda at Font Bureau for Moonrise Kingdom.

    Klingspor link. MyFonts link. Behance link. [Google] [MyFonts] [More]  ⦿

    Jessica Joiner

    Communication design student in Utica, NY. Behance link. Creator of the outline typeface Bubbly (2012). [Google] [More]  ⦿

    Jessica Libby

    During her studies at School of Visual Arts in New York City, Jessica Libby designed the foliated typeface Barley (2019) and the sci-fi typeface Interstellar (2019). [Google] [More]  ⦿

    Jessica Moon

    New York-based photographer and artist. She created an alphabet out of pictures of folded glasses in 2009. [Google] [More]  ⦿

    Jessica Smith

    During her studies at SUNY The College at Brockport, Jessica Smith created a experimental geometric typeface (2014). [Google] [More]  ⦿

    Jessica Svendsen

    Jessica Svendsen is a designer working in identity, editorial design, and illustration. She is currently an Associate Creative Director at Dropbox (2016-). Jessica previously worked as a designer at Pentagram in New York for partner Michael Bierut (2013-2015) and at Apple (2015-2016) on the global communications team. She teaches design as adjunct faculty at Parsons The New School and the Pratt Institute. She received a MFA in Graphic Design from the Yale School of Art and a BA in English Literature from Yale University.

    For a project at Yale, she digitized Paganini (2010), an Italian typeface originally drawn by Alessandro Butti and Raffaello Bertieri in 1928. [Google] [More]  ⦿

    Jessica Turcotte
    [Matchbook Press]

    [More]  ⦿

    Jessica Walsh

    New York City-based designer who did several art deco type treatments for her clients in 2010.

    Behance link. [Google] [More]  ⦿

    Jessie Fu-Chieh Wu

    Taiwan-born designer in New York City, who created the display caps typeface Gazlia (2013). She obtained a Masters of Fine Arts in Graphic Design degree from SCAD in March 2013.

    Behance link. [Google] [More]  ⦿

    Ji Seo

    Korean graphic designer based in New York City. Creator of the experimental Hangul typeface Semo Nemo (2013). [Google] [More]  ⦿

    Jie Yun Roe

    Graduate of Seoul Women's University (2003), School of Visual Arts (New York, 2007: BFA) and Parsons The New School of Design (New York, 2011: MFA). She designed an unnamed display typeface in 2011. [Google] [More]  ⦿

    Jillian Adel

    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]  ⦿

    Jillian Barkley

    Brooklyn, NY-based designer of the deconstructed didone typeface Lunera (2015). Behance link. [Google] [More]  ⦿

    Jillian Hobbs

    Web designer in New York City, who created the floral decorative caps typeface Les Bois (2014). Behance link. [Google] [More]  ⦿

    Jim Chiello

    Designer of Healthcare Symbols dingbats (1994). Located at The Communications Shop in Rochester, NY. [Google] [More]  ⦿

    Jim Parrillo

    Graduate of Rochester Institute of Technology. Rochester, NY-based designer of the squarish all caps typeface Materialish Hue (2019). [Google] [More]  ⦿

    Jimmy Horn

    Graphic and type designer in Brooklyn, NY. He made the constructivist / psychopathic dictator font Evill Labs (2009). Horn Design In. [Google] [More]  ⦿

    Jin Jin Xin

    New York-based designer. In 2021, he released the sharp-edged typeface Kik, which was inspired by the violence in Quentin Tarantino's movies. [Google] [More]  ⦿

    Jin Young Yoo

    New York City-based designer of the modular display typeface Fishbone (2013). [Google] [More]  ⦿

    Jinhee Kim

    Korean type designer. Graduate of the School of Visual Arts in New York City. Creator of an architectural column typefaces called Erechtheum (2012).

    He was part of a Sandoll team that designed Typotheque's Greta Sans Korean (together with Yejin We, under the supervision of Chorong Kim).

    At Seoul, Korea-based Woohahan Brothers (Woowa Brothers Corp), Jinhee participated in the design of the Hangul typeface BM Hanna Air (2018: Woowa Brothers: Cheoljun Lim; Soyoung Lee; Taehyun Cha; Byungsun Park; Minjin Kim; Hyesun Chae; Myungsoo Han; Bongjin Kim; & Sandoll: Jooyeon Kang; Jinhee Kim; Dokyung Lee). [Google] [More]  ⦿

    Jiyun Lou

    New York City-based designer of Punch Font (2014). Behance link. [Google] [More]  ⦿

    Joanna Behar

    Student at Parsons the New School for Design majoring in Communication Design. Behance link. Creator of the ultra fat blocky typeface Little Blocks (2011). You 've got to love her Whalee illustration. [Google] [More]  ⦿

    Joao Miranda

    Brooklyn, NY-based designer of the flowing typeface family Souq (2018). [Google] [More]  ⦿

    Jodi Van der Kruik

    Wurtsboro, NY-based designer of the brush typefaces Sweetstuff (2017), Time To Celebrate (2017), Chalk Menu (2017, free), April Thaw (2017) and Organic Hand (2017), and the watercolor brush typeface Breakthrough (2017). The latter font is an Opentype Color font. Behance link. [Google] [More]  ⦿

    Joe Finocchiaro
    [Joe Finocchiaro Design]

    [More]  ⦿

    Joe Finocchiaro Design
    [Joe Finocchiaro]

    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 questionable Sultan Bin Abdulaziz Al-Saud Foundation and the crooks at Arthur Andersen. [Google] [More]  ⦿

    Joe Sundwall

    New York-based advertising designer. Codesigner with Herb Lubalin, Ed Benguiat and Antonio DiSpigna of the rigid slab serif typeface ITC Lubalin Graph (1974). Klingspor link. [Google] [MyFonts] [More]  ⦿

    Joel Kaden

    American designer (b. 1914, New York, d. 2003, Orlando, FL) of ITC American Typewriter (1974). Joel Kaden designed the light and medium styles. Tony Stan made the bold weight. Ed Benguiat finished the italic in 1989. Other digital fonts that mimic ITC American Typewriter: Typewriter (Softmaker), Modern Typewriter (Softmaker), Typewriter 911 (Bitstream), Memorandum (Corel). Posters of ITC American Typewriter by Sophia Dragoudi (2011): i, ii, iii.

    Linotype link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Joey Navedo

    Rochester, NY-based designer of Chipotle (2017). [Google] [More]  ⦿

    John Baine

    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]  ⦿

    John D. Berry

    Ex-developer of U&lc, the well-known 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 also wrote Now Read This (Microsoft, 2004), a book about Microsoft's ClearType project.

    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.

    John Berry was on the board of the Type Directors Club from 1999 to 2003, and was President of ATypI from 2007 until 2013. In 2008, he joined Microsoft as a Program Manager in the typography team. He is the founder and director of Scripta Typography Institute.

    At ATypI in Rome in 2002, he spoke about the Bukvaraz type competition. At ATypI 2004 in Prague, he spoke about newspaper type. John was the closing plenary speaker at ATypI 2007 in Brighton. Speaker at ATypI 2013 in Amsterdam and at ATypI 2019 in Tokyo. [Google] [MyFonts] [More]  ⦿

    John de Guzman

    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 F. Irwin

    New York-based creator of the art nouveau alphabet Rustic Roman that is featured on page 79 of John G. Ohnimus's Henderson's Sign Painter (1906). This typeface was digitally revived in 2018 by Brian J. Bonislawsky and Jim Lyles as MFC Sansome Monogram (at Monogram Fonts Co). Other alphabets in Ohnimus's book include Brush Letters (page 85). [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. He published Specimens of Wood Type.

    Examples of their wood types: Antique Tuscan No. 1 (1859).

    Digital revivals: Jeff Levine's Winnetka JNL (2009) was inspired by Cooley Antique Tuscan Condensed from 1859. Compressed Wood JNL (2020, Jeff Levine) is extrapolated from J.G. Cooley's Roman Triple Extra Condensed Fifty Line. Finally, AWT Cooley Ant Tuscan XX Cond (2013) and AWT Cooley Grecian XX Condensed were released by Dick Pape. [Google] [More]  ⦿

    John Jackson

    Author of The theory and practice of handwriting (1894, New York: William Beverley Harison). Google] [More]  ⦿

    John Nahmias
    [Jonah Fonts]

    [MyFonts] [More]  ⦿

    John S. Fass

    American typographer. In 1954, he wrote Hammer Creek. The Hammer Creek Press Type Specimen Book (NY). [Google] [MyFonts] [More]  ⦿

    John S.C. Simpson

    Art director in New York City. Born in Britain, he is a typographer, illustrator, painter, branding specialist and graphic artist. His largely experimental type design work includes the retro techno typeface Magazine No. 33 (2013), Salt (2013), Echo 08 (2013, a multilined logotype family), Digit 002 (2013), Can Pull Regular (2013), Loser 003 (2013), Wurm Digitail (2013, pixelish), Cant Blok (2013), Fac 003 (2013), Fac (2013), Pramb (2013), 12 Blocks New York (2013), Intro (2013), and Fast Forward (2013).

    Typefaces from 2014: Leonardo (grunge and geometry experiment).

    In 2015, he made the squarish typeface Cronin, the circle-based Can Pull, Flic Flim, the counterless typeface Winston, and the film noir typeface Cinema.

    Typefaces from 2016: Aeon (a custom pixel typeface family for Nike New York), Radford (a squarish modular typeface family), Pig, Loser (squarish).

    Behance link. Another Behance link. Old URL. [Google] [More]  ⦿

    John Schaedler

    John N. Schaedler was an old school New York type designer, who had his own studio in the city. In the 1970s, Schaedler published Swinger, a film type by Ray Cruz. Around the same time, the psychedelic typeface Loose New Roman was designed. In 2010, Nick Curtis revived the latter typeface as Loo Snoo Roman NF.

    Tabasco and Paprika, geometric oddities with Paprika being the bilined variant, were revived in 2010 by SoftMaker as Tabasco and Tabasco Twin, respectively. Download Tabasco Twin here.

    Hiroshi Yamashita's Alpha Midnight (ca. 1969) was revived by Alan Jay Prescott as APT New Alpha Midnight. [Google] [More]  ⦿

    John Soat

    New York City-based designer of the monoline typeface Miselu (2014). Behance link. [Google] [More]  ⦿

    John Solimine

    Brooklyn-based illustrator and designer who created a great typographic poster for a Bon Iver performance in 2009.

    Behance link. [Google] [More]  ⦿

    John T. White
    [White's Type Foundry]

    [MyFonts] [More]  ⦿

    John West

    Charles S. Hazlett of Boone, IA, and John West, of Chicago, co-designed a script typeface for BBS in 1890. When he patented the stencil face in 1885, he was listed as living in Brooklyn, NY. This Stencil-Gothic appeared for the first time in the Eleventh Book of Specimens of printing types and every requisite for typographical use and adornment (1885, MacKellar, Smiths & Jordan). In the following years it was also offered by Shniedewend, Lee & Co. of Chicago as well as Barnhart, Brothers & Spindler of Chicago---in the later under the name Cleft Gothic. For a revival, see Stencil Gothic (2014, Johannes Lang and Stefan Ellmer; MyFonts link).

    In 1885, he patented another typeface.

    John west became manager of the small Chicago-based typefoundry, Indestructibe Type Co towards the end of the century. [Google] [MyFonts] [More]  ⦿

    Jon Armstrong
    [Foundry Group]

    [More]  ⦿

    Jon Contino

    Lettering expert in New York City. [Google] [More]  ⦿

    Jon H. Clinch
    [Justified Type (or: Clinch Advertising)]

    [MyFonts] [More]  ⦿

    Jon Newman

    New York City-based designer. He created the display typeface New Aviv in 2013 and wrote: This week is a collaborative project with designer Rami Moghadam, who hails from Germany but is currently based in Tel Aviv. He is also one of Print Magazine's New Visual Artists and a good friend of mine. Inspired by the cities that both of us live in, we decided to create a font that embodies some of the city characteristics that are most symbolic to us. Rami focused on Tel Aviv's Bauhaus Architecture Style with its clean lines and smooth curves, whereas I focused on my morning commute, typically met with a funneling of traffic slowly moving through the Lincoln Tunnel. Rami created the structure of the font and I traced over it by hand to create a pattern of abstract vehicles that are waiting in a never-ending line. We named our font New Aviv. Free download of New Aviv [broken link].

    Behance link for Daydreams and Nightschemes. [Google] [More]  ⦿

    Jonah Fonts
    [John Nahmias]

    Type and logotype company in Polanco (and now Mexico City), Mexico, run by John Nahmias (b. 1935, New York City). John is a graphic designer who started his career in 1952 in a New York studio with Lucian Bernhard. He left that company in 1958. He now lives in Mexico where he paints and runs his own studio. John's typefaces, mostly but not exclusively scripts, are sold by MyFonts.

    View John Nahmias's typefaces. [Google] [MyFonts] [More]  ⦿

    Jonathan Bush

    Artist, illustrator, designer, hand letterer, and sign painter living in Brooklyn, New York. Jon has a BFA from Carnegie Mellon University. He currently works as a senior artist and designer for Trader Joe's.

    Creator of the striped art deco typeface Hotpot (2012). [Google] [More]  ⦿

    Jonathan Corum
    [13pt]

    [MyFonts] [More]  ⦿

    Jonathan Corum

    Graphics editor for Science at the New York Times. Founder of 13 pt, a New York design and type studio. Designer of FB Agency, Eagle (1994, after initial design by David Berlow in 1989, which in turn was based on M.F. Benton's 1933 face, Eagle Bold; a strong font!), Law Italic (1997, for Sam Antupit and Harry N. Abrams---a digitization from a specimen of ATF's Law Italic No. 520), Mesa (1994, a Font Bureau handprinting face), the 5-unit handwriting family Victoria's Secret (1997, from hand-drawn originals provided by Sisman Design), the Bodoni-esque font Winterthur Display (1997, drawn for Harry N. Abrams), Law Italic. Custom typefaces include 2x4 (as part of logos), Columbia University, Liz Claiborne, Miesdings (dingbats for the new student center of the Illinois Institute of Technology), Readers Digest Fleurons (1997), WCS Wildlife (2001, the corporate typeface of the Bronx Zoo and the Wildlife Conservation Society).

    Font Bureau link.

    Klingspor link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Jonathan Dhondt

    Graduate of the Pratt Institute. New York City-based designer who created a nice unnamed display typeface in 2013. [Google] [More]  ⦿

    Jonathan Hiscott
    [Hiscott Foundry]

    [MyFonts] [More]  ⦿

    Jonathan Hoefler
    [Hoefler (was: Hoefler&Frere-Jones, and Hoefler Type Foundry)]

    [MyFonts] [More]  ⦿

    Jonathan Hughes

    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]  ⦿

    Jonathan Key

    Art director in New York City. Creator of the painter's typefaces Matisse (2015) and Kline (2015), which are based on children's interpretations of the work of Henri Matisse and Franz Kline in 2015. [Google] [More]  ⦿

    Jonathan Macagba
    [Prototype-NY (was: Handcraftedfonts)]

    [MyFonts] [More]  ⦿

    Jonathan Stampf

    Valley Stream, NY-based designer of the handprinting font Notepad. [Google] [More]  ⦿

    Joo Young Park

    During her studies in Brooklyn, NY, Joo Young Park (b. 1991) created a needle and thread typeface (2013). [Google] [More]  ⦿

    Jorge George

    Jorge José George Guerrero is a creative director in Mexico City. Designer of Brixie, a serifed typeface with calligraphic roots, which was developed in 2012 while Jorge was studying type design at The Cooper Union under Hannes Famira. [Google] [More]  ⦿

    Jose Antonio Contreras

    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]  ⦿

    Jose V. Rodriguez

    Freelance graphic designer and illustrator in Brooklym, NY. Creator of the geometric solid typeface Moonman (2012). [Google] [More]  ⦿

    José Maria Almeida Neves

    Graduate of the Faculty of Fine Arts University of Lisbon, class of 2014. During his BFA studies at the School of Visual Arts in New York City, and a crash course at the University of London, he designed the scratchy typeface Impatient (2015), about which he writes: In 2014, at the Graphic Summer School at the CSM in the London University, José Maria was challenged to create a typeface in less than a day that had, as a theme, something to do with his personality. For this he chose his extreme levels of impatience. With the challenge of not using any digital media for this exercise José created a brush that would drop China ink relentlessly without any way of stopping it from the moment you started to the moment it would empty out, so as to impatiently complete it throughout. [Google] [More]  ⦿

    Joseph Blumenthal

    New York printer and book designer (1897-1990), who designed Emerson for his own Spiral Press. In 1931, he traveled to Germany to have Louis Hoell cut the punches, which were then cast by the Bauer foundry for hand composition. First known as Spiral and exclusive to the Press, the typeface was renamed Emerson when Monotype released it commercially, with a companion italic, for machine composition in 1935. Reynold Stone wrote that it avoided the rigidity of a modern face and preserved some of the virtues of the classic Renaissance types. Signature, cited its "open counters, absence of fine lines and sturdy, though not heavy serifs." Monotype deemed it among the twenty classic faces.

    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 typeface 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. Wikipedia 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.

    For a digital revival of Spiral / Emerson, see Spiral (2014) by AR Types / Ari Rafaeli, or Emerson by Nonpareil Type. [Google] [MyFonts] [More]  ⦿

    Joseph Botero

    New York City-based graphic and print designer. In 2013, he created the techno typeface Rubikface. [Google] [More]  ⦿

    Joseph Bui

    Brooklyn, NY-based designer of Stanloon (2014, a hand-printed typeface). [Google] [More]  ⦿

    Joseph Coniglio
    [Coniglio Type]

    [MyFonts] [More]  ⦿

    Joseph D'Alessio

    Staten Island, NY-based designer of the all caps headline typeface Valen (2016). His company is called Sagittarian Design. Behance link. [Google] [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]  ⦿

    Joseph Lara

    Designer in New York City of the squarish typeface Ombre Pointu (2013).

    Behance link. [Google] [More]  ⦿

    Joseph Miceli
    [AlfaType]

    [More]  ⦿

    Joseph Owens

    Graphic designer and photographer in New York City, who during his Communications Design studies at the Pratt Institute created the custom typefaces Eaves Junior (2017) and Proudface (2017: a heavy rounded sans). [Google] [More]  ⦿

    Joseph Shields

    Art director in Brooklyn, NY, who designed the experimental minimalist geometric typeface Croc in 2015. Behance link. [Google] [More]  ⦿

    Joseph Volpicelli

    Designer of a decorative bird alphabet in 1989 at Pratt Institute, Brooklyn. [Google] [More]  ⦿

    Josephine Encarnacion

    Brooklyn, NY-based designer of Eyre (2017), a Victorian font influenced by the books of Charlotte Brontë. [Google] [More]  ⦿

    Josephine Tansara
    [Market Sans]

    [More]  ⦿

    Josh Finklea

    Josh Finklea grew up in Austin, Texas. Finklea received a Bachelor of Fine Arts in Graphic Design at Art Center College of Design (Los Angeles). He has worked as a designer in Los Angeles, Amsterdam, New York City (where he worked at Design:MW), and is currently based in Austin, Texas. His typefaces were published at Incubator and Sharp Type:

    [Google] [More]  ⦿

    Josh Levi

    Originally from Michigan, Josh Levi moved to New York City in 2005. He worked briefly at the Benetton Group's communication's research center in Treviso, Italy, and served as a designer and art director for Colors Magazine. In 2011-2012, during his studies at type@Cooper in New York, he designed the strong text typeface Denali. [Google] [More]  ⦿

    Joshua Appelbaum

    Brooklyn-based graphic designer who created a squarish typeface called Joyce Dance Studio (2013). [Google] [More]  ⦿

    Joshua Darden
    [Darden Studio]

    [MyFonts] [More]  ⦿

    Joshua Langman
    [Orbis Typographicus]

    [More]  ⦿

    Joshua Lunsk

    New York-based Garagedesigners who made Lobat (hand-printed), Plastered (grungy stencil), Supermodel, and Break, all in 1996. FontShop link. [Google] [More]  ⦿

    Joshua Lynne

    Brooklyn, NY-based creator of the comic book style display typeface Ginga Caps (2014), advertized as a typeface designed for the 2014 World Cup in Brazil. Behance link. [Google] [More]  ⦿

    Joyce S. Lim

    Illustrator and designer in Queens, NY. She created two illustrative typefaces in 2012. [Google] [More]  ⦿

    Juan Carlos Pagan
    [Pagan&Sharp]

    [MyFonts] [More]  ⦿

    Juan Carlos Rodriguez-Rivera

    New York City-based designer of the text typeface Huracan (2016). [Google] [More]  ⦿

    Juan Carlos Vazquez Padilla

    New York-based designer of the sans headline typeface Exilia (2016). Behance link. [Google] [More]  ⦿

    Juan Kafka

    Originally from Peru, Juan Kafka graduated from the Type@Cooper Extended Program in 2014. His typefaces:

    • Gregorio (2014: a sturdy text typeface).
    • Horacio (2014: derived from roman capitals, this a great book typeface family).
    • Flatbush Grotesk (conceived in Flatbush Brooklyn).
    • Porter Gothic (an exploration on vernacular NYC typography).
    • Motto. A revival of Morris Fuller Benton's Motto (ATF, 1915).
    [Google] [More]  ⦿

    Juan Pilar

    Illustrator in Bronx, NY, who created the sans titling typeface Capibold (2014). [Google] [More]  ⦿

    Juan Villanueva
    [Type Cooper: Display Type Design]

    [More]  ⦿

    Juan Villanueva

    Peruvian type designer who grew up in Clifton, NJ, studied at Type@Cooper in 2014 and has a BFA from Montclair State University. He is currently based in Brooklyn, NY, works for Monotype, and teaches typography at The City College of New York. His typefaces:

    • Typefaces at Type@Cooper: Gregorio (2014), Horacio (2014), Motto (2013: a revival).
    • Porter (2014).
    • Flatbush Grotesk (2014).
    • Sagrantino (2017). A breezy script typeface designed at by Karl Leuthold, Juan Villanueva and Carl Crossgrove. It comes in Highlight and Shadow substyles.
    • Trilce (2018).
    • Walbaum (2018). Co-designed at Monotype by Carl Crossgrove, Charles Nix, Juan Villanueva and Lynne Yun. This is a reimagined superfamily with 69 total fonts, in five optical sizes. Monotype writes: Walbaum was meticulously crafted by Monotype's Carl Crossgrove, Charles Nix, and Juan Villanueva to bring Justus Erich Walbaum's high contrast didone style masterpiece to the 21st century. Walbaum has over 600 glyphs with OpenType typographic features like small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures. Also included in the family are three decorative and ornament fonts.
    • Futura Now (2020). A 107-style family by Steve Matteson, Terrance Weinzierl, Monotype Studio and Juan Villanueva, that includes variable fonts as well as subfamilies called Text, Display, Headline, Inline, Outline, Shadow and Script).

    In 2020, he accused the TDC, of which he was a board member, of racism and resigned. A few days later, the TDC shut down, at least temporarily. [Google] [MyFonts] [More]  ⦿

    Julia Benedetti Rutzen

    At Parsons School for Design in New York City, Julia Benedetti Rutzen created the experimental typeface Sum1 (2017). [Google] [More]  ⦿

    Julia Gordon

    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]  ⦿

    Julia Hanna Chea

    Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the connect-the-dots font Wanderer (2013, Friday Fonts). [Google] [More]  ⦿

    Julia Rothman

    Voltage writes: Born and raised in NYC, Julia has created illustrations for the New York Times, Urban Outfitters, Target, and Victoria's Secret, to name just a few. In contrast to her firm city roots, she wrote and illustrated Farm Anatomy, a beautiful and all-inclusive look at agricultural life. Julia enjoys going on walks with her terrier Rudy, playing Boggle on the iPhone and rating Bloody Marys on a scale of 1-10.

    Creator of the hand-printed typeface Juker (2012). [Google] [MyFonts] [More]  ⦿

    Julian Fama

    Graphic designer in New York City who created the Peignotian typeface Oddlong in 2017. [Google] [More]  ⦿

    Julianos Kahlonos

    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]  ⦿

    Julie Green
    [Up Up Creative]

    [MyFonts] [More]  ⦿

    Julien Mercier

    Swiss type design student at ECAL. Creator of the techno typeface 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]  ⦿

    Juliet Shen
    [Shen Design]

    [MyFonts] [More]  ⦿

    Julio Pacheco Coronel

    Brooklyn, NY-based designer of a molecular alphabet in 2019. [Google] [More]  ⦿

    Julius E.F. Gipkens

    German industrial graphic designer, b. Emmerich, Hannover, 1883, d. New York, 1968. A disciple of poster artist Lucian Bernhard, he started his career in Berlin, and settled later in New York after he emigrated there in the 1930s.

    Typefaces by him at the Bauersche Giesserei include Femina (1913) and Majestic (1914). At the Wilhelm Woellmers Schriftgiesserei, Berlin, he designed Admiral and Admiral Halbfett in 1906.

    Revivals of Majestic include Chistoso (2019, Chuck Mountain). [Google] [More]  ⦿

    Julius Guildenstine

    Type designer from New York City who created pre-art nouveau typefaces for Barnhart&Barnhart in 1886 and 1888, and display typefaces in 1883 and 1888. For Bruce Type Foundry, he created a condensed typeface in 1890 and an art nouveau typeface 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. [Google] [More]  ⦿

    Julius Herriet Sr

    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:

    • Bruce Type Foundry: Black (Extended, Extra Condensed, Slope, Italian), Circular Italic, German Text 580, Harrington, Italian Antique, Italian Black Ornamented (1872), Ornamented No. 1025, Bruce's Ornamented no. 1048 (faux Chinese), Ornamented No. 1060 (1878), Ornamented No. 1515 (1867), Ornamented No. 1522 (1871), Ornamented No. 1526 (1871), Ornamented No. 1528 (1873), Ornamented No. 1532 (1875), Ornamented No. 1533 (1873), Ornamented No. 1542 (1876), Ornamented No. 1543 (1876), Ornamented No. 1545 (1876), Ornamented No. 1549 (1868), Ornamented No. 1551 (1878), Ray Shaded Black, Rustic 1048, Soutache (1873, a Tuscan typeface revived by Font Mesa as Main Street), St. Clair (1875), Stephen Ornate (1877).
    • Conner Type Foundry: Cosmopolitan, Curved Antique, Latin Ornate (+Shaded), Mayflower, Nero, Octagon (1885, +Shaded, 1883), Old Style Title, Ornamented Text (+Shaded), Pilgrim, Roman Shaded, Text (+Italic).
    • Johnson Type Foundry: Gothic Tuscan, Modern Text (+Open), National (1856), Recherche.

    In 2021, Alejandro Paul paid homage to Julius Herriet's Old Style Ornamented in his Plethora, an 18-style family and two variable fonts by adding various frills, ligatures, weights, exaggerating the design in true Victorian spirit. [Google] [MyFonts] [More]  ⦿

    Jumyoung Lee

    Graphic designer in New York City. He designed these typefaces:

    • Reptile (2020). display serif.
    • Ju+ (2019). A sans family that evolved from his earlier typeface, Ju Sans (2018).
    • Morfos (2019). A custom sans done for the South Lorean mattress company Morfos.
    [Google] [More]  ⦿

    JUN

    Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the connect-the-dots font Clutch (2013). [Google] [More]  ⦿

    Jun Tomita

    Kyoto-born Creative Alliance designer of Monolith, marketed as a Zen font. [Google] [MyFonts] [More]  ⦿

    June Shin

    June is a Seoul-born, NYC-based designer who joined Occupant Fonts in 2017 and stayed on for three and a half years. After graduating from Cornell University with a BA in Art History, she studied graphic design at Parsons School of Design and later RISD, where she received her master's degree and has taught typography. Her work has been recognized by Type Directors Club, Art Directors Club, Communication Arts, and more. Co-designer with Cyrus Highsmith at Occupant Fonts of the informal typeface Occupant Oldstyle (2021). [Google] [More]  ⦿

    JungYeon Woo

    Creator in Utica, NY, of the display typeface Water Drop (2013). [Google] [More]  ⦿

    Junichi Ishikawa

    New York City-based designer of the sci-fi typeface Luna (2014). Behance link. [Google] [More]  ⦿

    Junko Kitano

    Photographer in Brooklyn, NY, who created Coffee Stain Alphabet (2014). Behance link. [Google] [More]  ⦿

    Justified Type (or: Clinch Advertising)
    [Jon H. Clinch]

    Jon H. Clinch (b. New York) is the award-winning author of Finn and Kings of the Earth. As an aside, he is also a type designer. Most, but not all, of his typefaces were published by Monotype, ca. 1994-1995. These include:

    • The dingbat fonts JC Bingo, JC Bongo and JC Celebrate.
    • The children's handwriting font Mithros.
    • The grungy Howl and the blood splattered Bludgeon.
    • Cyphertext.
    • Sticker, Zounds.

    Resellers of his fonts include(d) Phil's Fonts, Precision Type, FontHaus, and Atomic Type.

    FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Justin Dong

    Graphic designer in New York City who created the thin display typeface NYC in 2014. Behance link. [Google] [More]  ⦿

    Justin Thomas Kay
    [Version Type Foundry (was: Industrial-Organic.Net)]

    [More]  ⦿

    Justine Childs

    New York-based designer of dingbat typefaces 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), Just Fall Holidays (2009), Just Frames (2009), Just Shoes And Purses (2009), Justine (2009), Just People (2010), Just Animals (2010).

    In 2020, she co-designed The Justine Collection with Rae Kaiser. It includes dingbat fonts including Crowns, Shoes, Christmas, Hearts+Swirls, Animals, People, Fall Holidays, Shoes+Purses, Flowerpots and Frames, basically all the fonts she designed eleven years earlier. [Google] [MyFonts] [More]  ⦿

    Juyeon Lee

    During his studies in Brooklyn, NY, Juyeon Lee (b. Korea) created the circle-based typeface Metamorphous (2013-2015). Behance link. [Google] [More]  ⦿

    Kacey Visser

    Ilion, NY-based designer of the futuristic typeface Galactix (2017). [Google] [More]  ⦿

    Kai Zimmermann

    German designer, b. 1965. He created FF 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]  ⦿

    Kailey KillDone

    From the fingertips of a guy in Brooklyn comes the cartoonish Helvedicka (2012), an alphabet that celebrates all dicks in the world. [Google] [More]  ⦿

    Kanny Yeung

    Over 600 million people in the world are dyslexic. Kanny Yeung (New York City) started a typography project in 2012 to address two types of Dyslexia. Kanny introduced an alphabet that has very different glyphs, and is remotely related to Latin.

    In 2014, she made the organic typeface Kanny Sans. Behance link. [Google] [More]  ⦿

    Karan Singh

    New York City-based illustrator and digital artist, who created the typefaces Pivot Regular and Pivot Deco in 2013. Karan is of Indian and Australian origins. Behance link. [Google] [More]  ⦿

    Karen Necelis

    Designer of a shoelace alphabet in 1989 at Pratt Institute, Brooklyn. [Google] [More]  ⦿

    Karen Parry
    [Black Graphics]

    [More]  ⦿

    Kari Rimell

    Graphic designer in Brooklyn, NY. Behance link.

    She created the squarish typeface EAV (2012) out of the East Atlanta Village logo identity. [Google] [More]  ⦿

    Karin Kunori

    Graduate of the Rhode Island School of Design, class of 2010, who worked at Cocoroe in Tokyo (2010-2015) and then at Todd Oldham Studio in New York (2015-). New York City-based designer of the text typeface Chorus (2016). She explains: Chorus was designed to be used as a text face in Haruki Murakami's novels. The letterforms were inspired by musical and rhythmic references used in his stories. Behance link. [Google] [More]  ⦿

    Karissa Wright

    Duriing her studies, Karissa Wright (Minerva, NY) designed Pixel Dust (2017). [Google] [More]  ⦿

    Karolina Lach

    Polish / American designer who writes: 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.

    Her typefaces:

    Behance link. Home page in New York City. Behance link. Klingspor link. Google Plus link. [Google] [More]  ⦿

    Kasey Stevenson Buck
    [Easel Design]

    [More]  ⦿

    Kate Brady

    New York City-based creator of the lipstick crayon font Fierce (2013). Kate writes: Fierce is a decorative sans-serif typeface inspired by drag queens and Lil Kim. This typeface was made by applying lipstick, making a shape with my mouth then pressing paper to my lips to create the letter forms.

    Kate also made a partial typeface called Electric Forest (or Maya) in 2013. [Google] [More]  ⦿

    Kate Capone

    New York-based designer of the handcrafted typeface Pumpernickel (2016). [Google] [More]  ⦿

    Kate Gladstone
    [Kate Gladstone: Handwriting Repairwoman]

    [MyFonts] [More]  ⦿

    Kate Gladstone: Handwriting Repairwoman
    [Kate Gladstone]

    Handwriting repairwoman living in Albany, NY, born in Brooklyn in 1963. "Yours for better letters." Another page on her. Author of Read Cursive Fast. [Google] [MyFonts] [More]  ⦿

    Katharina Hoerath

    In 2014, Katharina Hoerath studied graphic design and architecture in New York. For the Milosz typeface competition, Katharina Hoerath designed a poster typeface called Milosz (2014) and wrote: The typeface Milosz is intended to reflect the spirit of Milosz writing - mystical and sensuous, conquerors and subtle, serious and still spontaneous. . [Google] [More]  ⦿

    Kathleen Kahres

    During her studies in New York City, Kathleen Kehres designed the organic typeface Stems (2016). [Google] [More]  ⦿

    Kathleen Rothschild

    New York City-based designer of the all-caps font Godly (2014) on the theme Greek Mythological Gods from Alpha to Omega. While studying at Parsons in 2014, she also created Etiquette Icons. [Google] [More]  ⦿

    Kathrin Ayer

    Based in Brooklyn, NY, Kathrin designed the synthetic Hindi typeface Sprue (2003). [Google] [More]  ⦿

    Katie Klasmeier

    During her studies, Katie Klasmeier (Brooklyn, NY) designed the hand-drawn typeface Birthday (2013). [Google] [More]  ⦿

    Katie Kosciolek

    Graduate of the University of Buffalo, who lives in Batavia, NY. She created the ornamental typeface Systems Theory (2013). [Google] [More]  ⦿

    Katie Shelly

    New York City-based designer who created the heavy round hand-printed caps typeface Avocado (2013). [Google] [More]  ⦿

    Kayana Ternize

    During her studies St. John's University in Queens, NY, Kayana Ternize designed the display typeface Hyper (2017). [Google] [More]  ⦿

    Kayla Tompkins

    Visual communication student at Farmingdale State College who lives in East Meadow, New York. During her studies in 2012, she created the fat counterless typeface Strand. [Google] [More]  ⦿

    Kayleigh Falconio

    Gansevoort, NY-based designer of the comic book typeface Pow (2016). [Google] [More]  ⦿

    Kee Wei Chin

    At the School of Visual Arts in New York, Kee Wei Chin designed the semi-octagonal typeface Jinxed (2019). She also created Helvetica Redsign (2019), a pucker-and-bloat experimental treatment of Helvetica. [Google] [More]  ⦿

    Keith Alan Morris

    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]  ⦿

    Keith Bates
    [K-Type]

    [MyFonts] [More]  ⦿

    Kelli Mosher

    Syracuse, NY-based designer of the monospaced sans typeface Moshion (2017). Behance link. [Google] [More]  ⦿

    Kelly Bryan

    Brooklyn, NY-based designer of the bilined typeface Eclipse (2017), which is based on Futura. Behance link. [Google] [More]  ⦿

    Kelly Chilton

    Illustrator and art director in Arlington, VA, who hails from upstate New York and studied in Glasgow, Scotland.

    Creator of three-style art deco family Baby Cakes (2012, TenDollar Fonts).

    Behance link. HypeForType link. [Google] [More]  ⦿

    Kelly Maggio

    New York City-based designer of a typeface constructed based on squares, triangles and circles called Trinagle Circle square (2014). [Google] [More]  ⦿

    Kelly Shami

    Kelly Shami (New York City) is studying at The School of Visual Arts for a BFA in Graphic Design. She created the ball terminal experimental typeface Revolver (2012) and the flourished curly typeface Baby Jane (2012) during her studies at SVA.

    Behance link. [Google] [More]  ⦿

    Kelly Thorn

    Charles&Thorn (Brooklyn, NY) is the design and illustration studio of Spencer Charles and Kelly Thorn. They first met as designers at Louise Fili Ltd, and have been collaborating ever since. Regina Black (2016, Lost type) is Charles&Thorn's debut typeface. [Google] [More]  ⦿

    Kelsey Jensen

    During her graphic design studies in New York City, Kelsy Jensen created the art deco-inspired display typeface Rapture (2013). [Google] [More]  ⦿

    Kelsey Lynch

    During her studies at the Pratt Institute, Kelsey Lynch (Brooklyn, NY) created an untitled informal sans typeface in 2014. [Google] [More]  ⦿

    Kelvin Kottke

    Brooklyn, NY-based designer of Incheon (2015), a fantastic poster typeface that is inspired by Seoul and emulates Hangul, and Retrograde (2014, an astrologically-inspired alphabet). Behance link. [Google] [More]  ⦿

    Kelvin Ma
    [Letterpunch]

    [More]  ⦿

    Kenneth Cruz

    During his fgraphic design studies at SUNY Buffalo, Kenneth Cruz created a great natural handcrafted typeface, Ascending (2014). [Google] [More]  ⦿

    Kenta Yoshioka

    Graphic designer in New York City. At Type Cooper 2021, he designed the heavy exaggerated reverse strees typeface Jellyfish. [Google] [More]  ⦿

    Keren Hasson

    During her studies at Parsons in New York City, Keren Hasson created the art nouveau tyle event poster Bacchanalia (2013). [Google] [More]  ⦿

    Kevin Cole

    Graphic designer on Staten Island, NY, who created the straight-edged typeface KC Lines in 2014. [Google] [More]  ⦿

    Kevin Dresser
    [Dresser Johnson]

    [MyFonts] [More]  ⦿

    Kevin Kegler

    Kevin Kegler is a Professor of Graphic Design at Daemen College in Amherst, New York. In addition, he is a practicing designer and sculptor. He created the dingbat font P22 ToyBox (Regular, Blocks, Animals; with Michael Want and Richard Kegler) and of the curly handwriting font P22 Aglio (2003). [Google] [MyFonts] [More]  ⦿

    Kevin Yudha
    [Prototype Studio (or: Equinox Studio, or: Kensington)]

    [More]  ⦿

    Keyborders

    Foundry in Bay Shore, NY. Cretor of Bank Borders (1992). [Google] [MyFonts] [More]  ⦿

    Kia Delgado

    During her studies in the Macaulay Honors Program at the City College of New York, while pursuing a BFA in Electronic Design and Multimedia, Kia Delgado created the modular typeface Endelia (2014, FontStruct). [Google] [More]  ⦿

    Kim Le

    Or Ngan Le Kim. Or Ngan Le. Albany, NY-based designer, as a student at The College of Saint Rose, of the curly calligraphic piece called Anna Belle (2016) and the experimental typeface Potcharu (2017). [Google] [More]  ⦿

    Kingdom of Awesome
    [Haley Fiege]

    Toronto and New York-based Canadian graphic designer and art director, who graduated from Otis College of Art and Design. On Dafont, she claims to be from or in Singapore. Designer of these display typefaces:

    • Advice Dog (2009).
    • Belshaw Donut Robot (2007). A free monospace sans.
    • Cairo is a free remastered true type version of the Mac OS6 classic (pixel) font originally designed by Susan Kare. It includes all your favourites, like cow dog, grapes and omelet.
    • League Script (2010, League of Movable Type). A free connected script.
    • Metaphor (2007). A reverse italic.
    • Parakeet (2010). A connected script that could also pass for a signage face.
    • Patagonia (2006-2009). A rounded sans.
    • Rolo Contreras (2010). A high-contrast script face).
    • Snek (2017).
    • The gorgeous fat rounded display typefaces Sniglet (2008, League of Movable Type). See also here and at Open Font Library. It was co-designed with Pablo Impallari and Brenda Gallo.
    • Soft Serve (2008). A comic book or ice cream cone ad typeface designed by Haley Fiege and James Arboghast at Sentinel Type.
    • Teaspoon (2007). Published at Canada Type in 2008. She writes: Teaspoon came out of a custom type piece I did for a Toronto based ad agency. Futura Extra Bold was everywhere at that time and I was extremely sick of looking at it, so did my own cute version.
    • Other typefaces: Mahalo, Ass Cape (2008), TBFM Billboard (2008: letters composed of veggies), Soft&Bouncy (2008, rounded sans), Renard (2008), Antarctica.

    Old URL for Kingdom of awesome. Photos of her designs at Flickr. Behance link. Fontspace link. Fontsy link. Web Font Directory link. Klingspor link. Dafont link. Google Plus link. Newest Dafont link. [Google] [MyFonts] [More]  ⦿

    Kirstin Huber

    Graphic designer in Brooklyn, NY, and associate partner of Paula Scher at Pentagram. At Type Cooper 2021, she developed the playful blackletter typeface Regina. [Google] [More]  ⦿

    Klajdi Robo

    Designer and illustrator in New York City, who made a great stencil poster entitled New York Fucking City (2012). [Google] [More]  ⦿

    Kobi Benezri

    Kobi Benezri was born in Jerusalem, Israel, in 1976. He studied graphic design at the Bezalel Academy of Arts and Design in Jerusalem and completed his studies at the Cooper Union School of Art in New York. In 2003 he started working at I.D., the International Design Magazine in New York, and in 2004 he became the Art Director of the magazine. During his work at I.D. he has redesigned the magazine together with Nico Schweizer. In 2008 he opened his own studio, focusing on books, editorial, type, identities, and web design.

    LL Lettera (2008, Lineto) and Lettera Text (2012, Lineto) are sans serif typefaces designed by Kobi Benezri. They are based on Candia, a typewriter type created in the 1950s for Olivetti typewriters by Josef-Müller Brockmann and cover many languages. He added LL Lettera Mono (2019) and a new version of LL Lettera (2019).

    Typecache link. Lineto link. [Google] [More]  ⦿

    Krahovnet

    New York City-based studio. They created a decorative ironwork all caps typeface in 2014. [Google] [More]  ⦿

    Kris Holmes

    Born in Reedly, CA, in 1950. She studied calligraphy at Reed College with Lloyd Reynolds and Robert Palladino, and she studied roman brush writing in a workshop with Fr. Edward Catich. In New York, she studied lettering with Ed Benguiat at the School of Visual Arts. Later she studied calligraphy and type design with Hermann Zapf at Rochester Institute of Technology. She received her B.A. from Harvard University and her MFA from UCLA School of Theater, Film and Television, specializing in Animation. In 2012, she was honored with the Frederic W. Goudy Award in Typography from Rochester Institute of Technology, for her achievements in the lettering and typographic arts. Kris Holmes teaches type design at the Rochester Institute of Technology.

    Kris Holmes 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. [Kris did the truetype versions.]

    She founded the Bigelow&Holmes foundry in 1976 with Charles Bigelow. Kris Holmes has created over 300 typefaces, including the scripts Isadora, Kolibri, Apple Chancery, and Apple Textile. With Charles Bigelow, she co-designed Apple Capitals.

    Creator of the ubiquitous Lucida family around 1985 (with Charles Bigelow): Lucida Blackletter, Lucida Bright, Lucida Calligraphy, Lucida Casual, Lucida Console, Lucida Fax (1985), Lucida Handwriting, Lucida Math, Lucida Mono, Lucida Sans, Lucida Sans Typewriter, Lucida Typewriter (1994), Lucida. includes Greek, Cyrillic, Arabic, Hebrew, Thai, and Devanagari scripts. In addition to their popularity in computer operating systems like Macintosh OS X, Microsoft Windows, and Plan 9 from Bell Labs, Lucida typefaces have been widely used for scientific and technical publishing in Scientific American, Notes of the American Mathematical Society, and other mathematical, technical and scholarly books. Also with Bigelow, Kris designed the Lucida Icons, Stars, and Arrows fonts, which Microsoft later purchased and reassembled into Wingdings fonts. Other type designs by Holmes include ITC Isadora (1983), Sierra (1983, Hell: font now sold by Linotype), Leviathan (1979), Baskerville (revival in 1982), Caslon (revival, 1982), Galileo (1987), Apple New York (1991), Apple Monaco (1991), Apple Chancery (1994 [the Bitstream version is Cataneo]), Kolibri (1994, URW, since 2005 available as OpenType Pro with over 1200 glyphs), Wingdings (1990-1992, a dingbat font made with Charles Bigelow, now owned by Microsoft and Ascender) and AT Shannon (a simple lapidary sans family, with Janice Prescott, 1982, Agfa; now owned by Monotype Imaging).

    For the Go Project, Kris Holmes and Charles Bigelow designed the free typeface families Go and Go Mono in 2016. The font family, called Go (naturally), includes proportional- and fixed-width faces in normal, bold, and italic renderings. The fonts have been tested for technical uses, particularly programming. These fonts are humanist in nature (grotesques being slightly less legible according to recent research) and have an x-height a few percentage points above that of Helvetica or Arial, again to enhance legibility. The name Go refers to the Go Programming Language. . Fontsquirrel link.

    FontShop link. Klingspor link. Kernest link.

    View Kris Holmes's typefaces. [Google] [MyFonts] [More]  ⦿

    Kris Lee

    Junior art director and graphic designer in New York City. Creator of the drop cap typeface Story Type (2012). [Google] [More]  ⦿

    Kristen Myers

    Graduate of the Pratt Institute in New York. Inspired by the vernacular type found in Brooklyn, NY, specially on the awnings of bodegas, Kristen Myers created Bodega Sans (2015). Behance link. [Google] [More]  ⦿

    Kristen Sorace

    During her studies at School of Visual Arts in New York City, Kristen Sorace created Cavatappi Script (2015, a decorative display script, named after the restaurant it was designed for). [Google] [More]  ⦿

    Kristen Wadleigh

    Queensbury, NY-based student-designer of Mellow (2017, handcrafted) and Hacked (2017, pixelish). [Google] [More]  ⦿

    Kristina Snyder
    [Snyder Studio]

    [More]  ⦿

    Krysten Tom

    New York-based designer of the hand-printed typefaces Swagger (2012), and Pick and Roll (2012). [Google] [More]  ⦿

    Krysten Tom
    [Kten Fonts]

    [MyFonts] [More]  ⦿

    Ksenya Samarskaya

    Ksenya Samarskaya (b. Saint Petersburg, Russia) studied at the University of Oregon and New York University (class of 2010). From 2007 until 2011, she worked for Hoefler&Frere-Jones in New York. After a brief stint as type consultant for Apple in Cupertino, CA (2012-2013), she set up her own design studio, Samarskaya & Partners, in 2015, in Brooklyn, NY. That same year, she co-founded Alphabettes. Samarskaya has taught typography and design at Harbour.Space University in Barcelona, University of the Arts in Philadelphia, and the School of Visual Arts in New York. She splits her time between Brooklyn, NY, and Lisbon, Portugal. The typefaces she worked on at Hoefler include Exchange, Ideal Sans, Landmark, Retina, Sentinel, Sterling, Verlag, Archer, Forza, Gotham, Historical Allsorts, Numbers, Shades, Tungsten, Vitesse and Whitney. Her contributions covered design direction, drawing, kerning, interpolation, opentype features, hinting, production, testing and troubleshooting.

    Ksenya created the decorative layered display typeface Blesk (2015).

    In 2019, at Rosetta Type, she published the rugged informal typeface Corsair Latin. [Google] [MyFonts] [More]  ⦿

    Kten Fonts
    [Krysten Tom]

    New York-based type foundry. Designer of the handcrafted typeface Pig Scratch. [Google] [MyFonts] [More]  ⦿

    K-Type
    [Keith Bates]

    K-Type is Keith Bates' (b. 1951, Liverpool) foundry in Manchester, UK, est. 2003. Keith works as an Art&Design teacher at a Salford High School. They custom design type, and sell some of their own creations.

    Commercial typefaces:

    • Adequate (2012). A basic geometric monoline sans family.
    • Adventuring (2010, comic book style)
    • Alan Hand (2005, based on some blobby lettering, handwritten by printer and mail artist, Alan Brignall)
    • Alex (2002-2004)
    • Alright (2004, cursive script)
    • Anna (2002-2007).
    • Argot (2019). Characterized by square counters, this typeface family exhales brutalism and industrialism. See also Argot Machine (2019).
    • Artist Hand (2019).
    • Axis
    • Bank of England (2012, blackletter): Bank of England is loosely based on blackletter lettering from the Series F English twenty pound banknote introduced in 2007. The font also takes inspiration from German Kanzlei (Chancery) typefaces and the 17th century London calligrapher, John Ayres.
    • Banks & Miles (2018). Inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, which included Double Line and Single Line alphabets. The new digital typeface is a reworking and extension of both alphabets.
    • Barbica (2015). A glyphic typeface.
    • Bricola (2020).
    • Brush Hand New (2013): Brush Hand New is a full font based on a copy of Flash Bold called Brush Hand marketed by WSI in the 1990s and more recently distributed through free font sites. Brush Hand was an anonymous redrawing of Flash which simplified, slightly lightened, smoothed out ragged edges, and improved the legibility of the original classic created by Edwin W. Shaar in 1939.
    • Building&Loan (2007, engaved face)
    • Bigfoot (2005, a Western font based on the slab capitals used by Victor Moscoso in his 1960s psychedelic rock posters)
    • Bolshy (2009)
    • Bolton750 (2003, a mechanical typeface done with John Washington).
    • Chancery Lane (2021). An italic text typeface that is based on chancery scripts.
    • Charles Wright (2016). A set of fonts based on the UK license plate fonts.
    • Chock (2009)
    • Circa (geometric sans)
    • Cloudbuster (2019). Inspired by Imre Reiner's Corvinus Skyline of 1934.
    • Club.
    • Coinage Caps (2017). Coinage Caps is a trilogy of small caps fonts based on the roman lettering used for the designs of British coinage. Coinage Caps Eric Gill is a regular weight, spur serif style drawn by Eric Gill for silver coin designs in the 1920s which were rejected by the Royal Mint. Coinage Caps Humphrey Paget is a medium weight serif based on the lettering of Thomas Humphrey Paget, designer of the Golden Hind Halfpenny first struck in 1937. This font simulates the soft, slightly rounded corners of the minted letterforms. Coinage Caps Kruger Gray is a glyphic, flare serif font typical of the bold style engraved by George Kruger Gray for numerous British and Commonwealth coins during the 1920s and 30s. This font also simulates the slightly rounded corners of the minted letterforms.
    • Collegiate (2009)
    • Component (2012). A font for lost civilizations and dungeon rituals.
    • Context (experimental)
    • Credit Card (2010, font for simulating bank cards)
    • Curwen Sans (2018). A monoline sans from the early 1900s originally created for in-house use at the Curwen Press in London.
    • Cyberscript (2006, connected squarish face)
    • Deansgate (2015). Deansgate and Deansgate Condensed are based on the clearest and most distinctive of the sans-serif letterforms used on Manchester street nameplates, and easily identified by a pointy Z and pointed middle vertices on M and W.
    • Designer
    • Digitalis
    • English
    • Enamela (2013). Keith writes: Enamela (rhymes with Pamela) is based on condensed sans serif lettering found on vitreous enamel signage dating from the Victorian era and widely used in Britain for road signs, Post Office signs, the plates on James Ludlow wall postboxes, railway signs, direction signs and circular Automobile Association wayfinding plaques throughout the first half of the twentieth century. The original model goes back to Victorian times, ca. 1880.
    • Engravia (2018). Engravia is a didone display typeface supplied in three varieties of engraving---Inline, Shaded and Sawtooth---plus a plain basic font.
    • Example (2017). A workhorse neo-grtesque typeface family.
    • Excite
    • Flip (2011), a western grotesk billboard face.
    • Flyer (2009, techno)
    • Frank Bellamy (2009, an all-capitals family based on the hand lettering of English artist Frank Bellamy, who is most famous for his comic art for Eagle and TV21, and his Dr Who illustrations for Radio Times)
    • Future Imperfect
    • Gill New Antique (2003)
    • Greetings
    • Helvetiquette
    • Hapshash (2010): an all capitals font inspired by the 1960s psychedelic posters of British designers Hapshash and the Coloured Coat (Michael English and Nigel Waymouth), in particular their 1968 poster for the First International Pop Festival in Rome. A dripping paint font.
    • Irish Penny (2016). An uncial typeface based on the lettering from Percy Metcalfe's influential pre-decimal coinage of Ireland, the Barnyard Collection.
    • Ivan Zemtsov (2009)
    • Kato (2007, oriental simulation face)
    • Keep Calm (2015). A geometric sans inspired by a British war poster from 1939.
    • Keith's Hand
    • Klee Print (2010, Klee Print is based on the handwriting of American artist Emma Klee)
    • Latinate (2013). A vintage wedge serif wood style typeface, and a rough version.
    • Lexie (an improved or "adult" version of Comic Sans) and Lexie Readable (2006, modified in 2015). Keith writes: Lexie Readable (formerly Lexia Readable) was designed with accessibility and legibility in mind, an attempt to capture the strength and clarity of Comic Sans without the comic book associations. Features like the non-symmetrical b and d, and the handwritten forms of a and g may help dyslexic readers.
    • Licencia (2016). A blocky typeface inspired by the tall, soft-cornered lettering on vehicle licence and registration plates world-wide.
    • Londinia (2016).
    • Matchbox
    • Max
    • Ming
    • Modernist Stencil (2009).
    • Monterey Pop (2020). A psychedelic / popart typeface based on Tom Wilkes's poster lettering for the Monterey International Pop Festival in June 1967.
    • Mythica (2012). A slightly condensed lapidary roman with copperplate serifs.
    • Modulario (2010): a contemporary sans.
    • New Old English (2010, blackletter)
    • Norton (2006)
    • Nowa (2004, a play on Futura)
    • NYC (octagonal)
    • Openline (2008, an art deco pair)
    • Oriel Chambers Liverpool: A Lombardic small caps font based on the masonry lettering on Peter Ellis's 1864 building, Oriel Chambers, on Water Street in Liverpool.
    • Pentangle (2008, based on album lettering from 1967)
    • Pixel
    • PixL (2002-2004)
    • Plasterboard (2004-2005)
    • Pop Cubism (2010) is a set of four texture fonts, combining elements of cubism and pop art.
    • Poster Sans (2006). A wood type family based on Ludlow 6 EC. See also Poster Sans Outline.
    • Rick Griffin (2006, more psychedelic fonts inspired by a 1960s Californian artist)
    • Rima (2020). A stencil typeface with heavy slabs.
    • Roundel (2009, white on black)
    • Runestone (2010, runic).
    • Sans Culottes (2008, grunge)
    • Serifina
    • Solid State (2008, art deco blocks)
    • Solus (2004, a revival of Eric Gill's 1929 typeface Solus which has never been digitized; read about it here)
    • Stockscript (2008, down-to-earth script based on the pen lettering of the writer, Christopher Stocks)
    • Susanna (2004)
    • Ticketing (2011): pixelish.
    • Total and Total Eclipse (2004, squarish display typefaces based on the four characters of Jaroslav Supek's title lettering for his 1980s mailart magazine, Total)
    • Transport New (2009: a redrawing of the typeface designed for British road signs. In addition to the familiar Heavy and Medium weights, Transport New extrapolates and adds a previously unreleased Light weight font originally planned for back-lit signage but never actually applied. Originally designed by Jock Kinneir and Margaret Calvert beginning in 1957, the original Transport font has subtle eccentricities which add to its distinctiveness, and drawing the New version has involved walking a tightrope between impertinently eliminating awkwardness and maintaining idiosyncrasy.)
    • Union Jack (octagonal)
    • Victor Moscoso (2008, psychedelic)
    • Wanda (2007, art nouveau)
    • Waverly
    • Wes Wilson (2007, psychedelic, inspired by 1960s psychedelic poster artist Wes Wilson).
    • 3x5
    • Zabars (2001): a Western face.

    His free fonts:

    • Blue Plaque (2006: a distressed font based on English heritage plaques)
    • Blundell Sans (2009)
    • Celtica (2007) has Celtic influences
    • Dalek (2005, stone/chisel face: Dalek is a full font based on the lettering used in the Dalek Book of 1964 and in the Dalek's strip in the TV21 comic, spin-offs from the UK science fiction TV show, Doctor Who. The font has overtones of Phoenician, Greek and Runic alphabets). See also Dalek Pinpoint (2018).
    • Designer Block (2006)
    • Flat Pack (2006)
    • Future Imperfect (2006, grunge)
    • Gommogravure (2005)
    • Greetings (2006), Greetings Bold (2006)
    • Insecurity (2005, experimental) won an award at the 2005 FUSE type competition.
    • International Times (2006, inspired by the masthead of the International Times underground newspaper of the 1960s and 1970s)
    • Keep Calm (2011). Related to London Underground.
    • Kindersley Sans (2017). A modernized version of David Kindersley's 1950s type used for many street name plates in Britain, about which Bates writes: Kindersley Sans is a humanist sans-serif that conserves the Gill-inspired character and some of the calligraphic qualities of Kindersley's lettering, it retains the Roman proportions and its Britishness, but traditional prettiness and intricacy are discarded in favour of a clean modernity.
    • Klee Capscript (2005: based on the handwriting and capitals drawn by artist Emma Klee (USA) for her Color Museum Mail Art invitation. The upper case is based on Emma's capitals and the lower case is freely adapted from her script)
    • Lexia and Lexia Bold (2004)
    • MAGraphics (2004)
    • Magical Mystery Tour (2005, outlined shadow face), Magical Mystery Tour Outline Shadow (2005), Magica (2015, a serifed titling typeface family).
    • Mailart (2004), Mailart Rubberstamp (2004), Mailart Rubberstamp Sans (2018).
    • Mandatory (2004, a UK number plate font based on the Charles Wright typeface used in UK vehicle registration plates).
    • McKnight Kauffer (2021). A retro poster font in the style of poster artist Edward McKnight Kauffer.
    • Motorway (2015), a companion typeface to Transport, the British road sign lettering. This is an extension of an original design by Jock Kinneir and Margaret Calvert: The Motorway alphabet was created for the route numbers on motorway signage, and is taller and narrower than the accompanying place names and distances which are printed in Transport. However, for Motorway Jock Kinneir and Margaret Calvert created only the numbers 0 to 9, the capitals A, B, E, M, N, S and W, ampersand, slash, parentheses and a comma. So, although the lettering made its first appearance on the Preston bypass in 1958, K-Type Motorway is the first complete typeface and contains all upper and lower case letters, plus a full complement of punctuation, symbols and Latin Extended-A accented characters. As with the Transport alphabet the starting point was Akzidenz Grotesk, Motorway taking inspiration from condensed versions. Changes were mainly driven by a quest for legibility, resulting in some reduced contrast between horizontal and vertical strokes, and Gill-esque straight diagonal limbs on the 6 and 9, and high vertex for the M.
    • Penny Lane (2014). A a sans serif derived from twentieth-century cast-iron signs displaying Liverpool street names.
    • Possible (2020). A 10-style mini-serif typeface.
    • Provincial (2014). A Victorian set of outline fonts.
    • Ray Johnson (2006-2008)
    • Roadway (2005, based on New York roadside lettering).
    • Romanica (2017). A humanist sans.
    • Sam Suliman (2020). A condensed squarish typeface which was inspired by lowercase lettering on a Sarah Vaughan album cover designed by Sam Suliman in 1962. Suliman was born in Manchester, England in 1927. After working for McCann Erikson in London, he moved to New York where he took on freelance work designing album covers, particularly celebrated are his striking minimalist designs for jazz records. He moved back to England in the early 1960s, designing many book jackets, film titles and fabrics, also working in Spain and India before settling in Oxford in the 1980s.
    • Savor (2011). An art nouveau family.
    • Sgt Peppers Lonely Hearts Club (2014).
    • Sinkin Sans (2014, free) and Sinkin Sans Narrow (2015, commercial). Open Font Library link.
    • Soft Sans (2010)
    • Subway Ticker (2005)
    • Taxicab (2016). A squarish style.
    • This Corrosion (2005).
    • Toppler (2018). A modern and full range top-heavy cartoon font family that includes a Popdots style. Bates was striving to improe on 1990s clasics such as Baby Kruffy (Ben Balvanz), Comix Heavy (WSI) and Startling (Dave Bastian).
    • Wildcat (2016). An athletics typeface family.
    • Zinc (2018). A monoline sans with diagonal nubs.
    • Colnage Caps Kruger Gray (2018). Coinage Caps is a trilogy of lapidary small caps fonts based on the Roman lettering used for the designs of British coinage.
    • Dalek Pinpoint (2018). Based on Dalek comic book lettering from the 1960s.
    • Icky Ticket Mono (2018). IckyTicket Mono is a monospaced font based on the coarsely printed numbering from 1960s bus tickets.
    • Sexbomb (2018). A psychedelic typeface family.
    • Mancunium (2019). A monoline sans family.
    • Straight Line (2020). An outlined font with chamfered corners and straight edges, possibly useful as a blackboard bold type.
    • We The People (a blackletter font based on the peamble of the American constitution).
    • Bowdon (2021). A six-style warm, Bodoni-inspired English Modern, influenced by the 1930s lettering of designer Barnett Freedman.
    • Oxford Street (2021). A condensed grotesque with horizontal and vertical stem terminals; it is a street a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster, which in turn were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger's Univers 69 Bold Ultra Condensed.

    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.

    Abstract Fonts link. View Keith Bates's typefaces. Dafont link. Yet another URL. Fontspace link. Fontsy link. Behance link. [Google] [MyFonts] [More]  ⦿

    Kumbee Choi

    New York City-based illustrator and designer who drew an ornamental floriated alphabet called Pencil Letters (2011). [Google] [More]  ⦿

    Kurt H. Volk

    Author of Type Specimens and Decorative Materials of America France Germany Holland and Great Britain (New York, NY). This book contains 275 specimens of borders and ornaments. [Google] [More]  ⦿

    Kyle Golemb

    Rochester, NY-based designer of Grimletter (2016, a vampire script). [Google] [More]  ⦿

    Kyle Griffin

    Based in Rochester, NY, this 3d motion designer created a brush stroke typeface in 2015. Behance link. [Google] [More]  ⦿

    Kyle Osterhoudt

    Marlboro, NY-based designer of the informal typeface Black Lotus (2016). Behance link. [Google] [More]  ⦿

    Kyle Read
    [Badson Studio]

    [More]  ⦿

    Kyuwon Lee

    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]  ⦿

    Ladislav Sutnar

    Steven Heller writes this about this Czech designer who was born in Pilsen in 1897, went on to become professor at UMPREM in Prague in 1923, emigrated to the United States in 1939, and died in 1976 in New York: Ladislav Sutnar was a progenitor of the current practice of information graphics, the lighter of a torch that is carried today by Edward Tufte and Richard Saul Wurman, among others. For a wide range of American businesses, Sutnar developed graphic systems that clarified vast amounts of complex information, transforming business data into digestible units. He was the man responsible for putting the parentheses around American telephone area-code numbers when they were first introduced. [...] Overshadowed by two contemporaries, El Lissitsky and Moholy-Nagy, Sutnar is a relatively unsung leader of Modern objective typography. Yet he was a household name in Prague. Exhibition about his work in Prague (2003).

    In 2013, Tomas Brousil created the roundish sans family Ladislav. He writes: The Ladislav font revitalises Sutnar's legacy, while not explicitly copying any of his original fonts. It however keeps true to their technicist character and initial principles of character creation - a simple modular system of combined geometrical segments. This approach affects all round shapes of capital and lowercase letters, as well as the shapes of the majority of numbers.

    In 2015, Robyn Henry created the modular typeface Ladislav Sutnar. [Google] [More]  ⦿

    Lalit Sitta

    Brooklyn, NY-based designer of the compass-and-ruler typeface Bares (2017). Behance link. [Google] [More]  ⦿

    Lama Younes

    Graphic designer in Brooklyn, NY, who created an art deco Arabic typeface called Abjad in 2018. [Google] [More]  ⦿

    Lana (Lunalexx)

    New York-based designer of the handcrafted typefaces Multifloral (2017), Cherry Blossom (2017) and Birthday Cake (2017). [Google] [More]  ⦿

    Lance Wyman

    Designer who became famous because of his work on wayfinding and branding projects, and his designs for massive urban systems, airports, zoos, and museums. Over the course of his career he has created systems for the Mexico 1968 Olympics, Mexico City Metro, National Zoo, American Museum of Natural History, New York Penn Station, National Mall, Minnesota Zoo and Jeddah International Airport. Wyman taught corporate and wayfinding design at Parsons the New School for Design in New York for forty years, from 1973 until 2013. He lectures internationally and is still designing. The first compendium of his work, Lance Wyman: The Monograph, was published by Unit Editions.

    Creator of the identity, logos, fonts, and design elements for the Mexico 1968 Olympics in the op-art or prismatic style. The multilined font, called Mexico Olympic, is due to Photoscript Ltd (I think). A digital font inspired by it is Olio Inline (2012, Max Little). For a free version, see Steve Harrison's Sixty Eight and Sixty Eight Plus (2021).

    Wyman, who is a branding specialist based in New York City, is known for his many excellent icons and logos for companies and events. Born in Newark, NJ, he is a graduate of 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).

    Lance Wyman worked with Rick Banks at F37 Foundry on the design of F37 Wyman (2021), which showcases his famous lettering style that goes back to the 1968 Olympics.

    Bio. [Google] [More]  ⦿

    lance22

    FontStructor who made the dort matrix typefaces 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]  ⦿

    Land Line
    [Adam Turnbull]

    Adam Turnbull is an artist and graphic designer from Sydney, Australia, who is based in Brooklyn, NY. In 2016, he created the outlined and solid 3d typeface Luddite (2016). Behance link. [Google] [More]  ⦿

    Lanston Monotype Machine Company
    [Tolbert Lanston]

    Extinct but influential foundry from the 19th and 20th centuries. P22, the present owner of the Lanston collection, writes: The Lanston Monotype Company was founded in Philadelphia at the end of the nineteenth century by Tolbert Lanston (d. 1913). In 1887 he received his first patent for a mechanical typesetting device. Later refinements led to the Monotype casting machine and the emergence of the Lanston Monotype Company as one of the most renowned type supply companies in the world. The Monotype caster was revolutionary and along with other automated typesetting machines helped to usher in a new age of printing technology. Typesetting had, until this time, remained the same as Gutenberg's first hand-set movable type.

    In the late 1800s, Tolbert Lanston licensed his technology to an English sister company and became a major international force, competing with the Mergenthaler company, whose Linotype was a slightly different approach to the same problem. Both cast type from molten lead alloy on demand, fresh for each job, then recycled it. But whereas the Linotype cast whole lines (or slugs) at a time, the Monotype cast single letters, composing them into a page with an action that is a joy to behold.

    Lanston Monotype grew rapidly with America's pre-eminent type designer Frederic Goudy as art director from 1920 to 1947. The type library was directed by Sol Hess, who also designed some of the typefaces.

    The Philadelphia-based company eventually parted ways with its English counterpart. The thriving English Monotype became simply known as Monotype. By contrast Lanston went through mixed fortunes and lost ground to Mergenthaler. A long-lasting labor dispute interfered with production and servicing of the Monomatic (an absolutely incredible typesetting machine) according to the man who would later own the company, master printer Gerald Giampa. Customers were upset, and the firm was sold on several times until American Type Founders bought it in 1969. Giampa continues the story: "They stopped manufacturing casters because they had always competed with their foundry sales. Then it became a department of Hartzel Machine Works that also manufactured moulds and re-built casters. Then on to Mackenzie and Harris, a type foundry in San Francisco, then purchased by myself and re-located in Vancouver."

    Lanston continued supplying the American market for monotype casters until January 21, 2000, when the hot-metal component of Lanston was tragically destroyed by a tidal wave. After this time Giampa, who was one of the earliest developers of PostScript fonts, focussed much more on digitization. Under his stewardship, Lanston's classic typefaces were digitized in a style that was true to the sources, which are the brass and lead patterns from which the metal type was made. The company relocated to Finland, then back to Canada.

    In November 2004 P22 type foundry of Buffalo, NY acquired Lanston Type. P22 studios will re-master Lanston's fonts, including the classic designs of Frederic Goudy and Sol Hess, along with newer designs by such contemporary masters as Jim Rimmer, Dave Farey, and Gerald Giampa himself.

    The Monotype specimen book of type typefaces (1922, Philadelphia) is a specimen book that is now on the web. View the typefaces designed by Lanston. [Google] [MyFonts] [More]  ⦿

    Lara McCormick

    Lara has a Bachelor of Arts, Sociology (1993) from UCLA, a Masters in Fine Arts from the School of Visual Arts in New York City (2007), and a certificate in typography from the Cooper Union in New York (2011). She taught at Pratt in New York from 2007 until 2009, at the School of Visual Arts in New York from 2007 until 2011, and at the New Hampshire Institute of Art from 2012 onwards. Lara designed a few typefaces during her career. Behance link. [Google] [More]  ⦿

    Laura Betti

    Hopewell Junction, NY-based graphic designer who has created some custom typefaces such as Birds (2009). The alphabet. [Google] [More]  ⦿

    Laura C. Temple

    Creator of a photo-play font called Fingerhot Pepper (2012). Born and raised in Miami, she is presently in New York City.

    Behance link. [Google] [More]  ⦿

    Laura Tien

    As a student in New York City, Laura Tien designed the experimental typefaces CSS (2015; inspired by sound waves) and Faze (2015). [Google] [More]  ⦿

    Laurel Beyers

    Brooklyn, NY-based illustrator and graphic designer who created the floriated typeface Merci Beaucoup (2015). Behance link. [Google] [More]  ⦿

    Laurel Perry

    During her studies in Brooklyn, NY, Laurel Perry created the monoline organic sans typeface Perry Sans (2014). [Google] [More]  ⦿

    Lauren Ashpole
    [The Living End]

    [MyFonts] [More]  ⦿

    Lauren Gilleland

    At the Partt Institute in Brooklyn, NY, Lauren Gilleland designed a handcrafted typeface in 2015. [Google] [More]  ⦿

    Lauren Goldblum

    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]  ⦿

    Lauren Lee

    Lauren Eliza Lee is the Manhattan, NY-based designer of the connected script typeface Wildera (2016) and the free rounded sans typeface Somatic (2016, Modular and Rounded styles). Behance link. [Google] [More]  ⦿

    Lauren Pedrosa

    Graphic designer in Brooklyn, NY, who created the pixel typeface Fuck Off in 2017. Behance link. [Google] [More]  ⦿

    Lauren Sullivan

    During her studies, Oceanside, NY-based Lauren Sullivan created the paper-fold typeface Paper (2014). [Google] [More]  ⦿

    Laurianne Froesel
    [Hello Velocity]

    [More]  ⦿

    Laurie Rosenwald

    New York City-based illustrator and designer (b. 1955) who co-created Loupot, an angular bold connected script in 1997 with Cyrus Highsmith at Font Bureau. Loupot is based on a logo for St. Raphael mineral water designed by Charles Loupot in 1948.

    FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Lazy Dog Foundry (or: Franklin Type Founders)
    [Willie Ford]

    St. Paul, MN-based foundry run by Willie Ford, who at one point headed the graphic design deartment at Sarah Lawrence College in Yonkers, NY. Franklin Type Founders includes a collection of fonts from Lazy Dog Foundry but has also a library of fonts licenced from International Typeface Corporation (ITC) and, with the backing of URW++, from a number of smaller foundries. Some Lazy Dog fonts: Belmondo, Berliner, BigBlack, Boomerang, Bostonia (a gothic font), Chieftain Solid / Inline, Cypress, Durango, Emporium, Glorietta, GrecoDeco Solid / Inline, Harpers, Isadora, Little Louis, Manhattan, Medina, Minneapolis, Mississippi, Neuland Solid / Inline, Nova Bold, Riverboat, Schwere, Shrifteen, Socrates, Tombstone Outline / Solid, Thermo, Uptown, Yitsui. All fonts made in 1992. I have been looking for Willie Ford. The most interesting match is here. Font Factory sells these Franklin Type Founders fonts: Aster, Augustea, Barcelona, Baskerville Hancut, Berliner, Beton, Big Black, Blackboard, ITC Bolt Bold, Boomerang, Bordeaux, Bostonia, Brody, Bullfinch, Busorama, Cabaret, Camellia, Castle, Catherine, Chelmsford, Chieftan, Chisel, Colwell, Cypress, Diskus, Durango, Einhorn, Emporium, Erin Lynn, Fat Face, Flash, Glorietta, Greco, Harpers, Harris, Herald, Honda, Horndon, Ice Age, Isadora, Latin Tall, Lazy Script, Legriffe, Liberty, Lindsay, Little Louis, Madison, Magna, Magnus, Manhattan, Marker, Medina, Minneapolis, Mississippi, Nadall, national Modern, National Oldstyle, Nevision Casual, Nova, Pajamas, Phyllis Script, Piccadilly, Plaza, Primus, Punch, Quentin, Railroad, Recess, Riverboat, Rumpus, Scaffold, Schwere, Schrifteen, Slipstream, Socrates, Sophie, Sterling, Superstar, Synchro, Thermo, Timeless, Times Coop, Titus Light, Tombstone, Uptown, Victorian Script, Vienna, Weifz Rundfchrift, Windsor, Worcester, Yitsui. [Google] [More]  ⦿

    Lederhosen
    [Bjorn Ramberg]

    Founded in 2006, Lederhosen is a small design studio in New York City specializing in typeface design. Principal and designer is Bjorn Ramberg. Ramberg's typefaces include Bowery (a vintage squarish signage font), Propaganda 54 (in styles called Serif, Menace (brush) and Typewriter), and Fette Sau (a super-fat typeface that I will not translate for my readers). These were made in or before 2013. [Google] [More]  ⦿

    Ledi Lalaj

    Designer in New York City who studied at the School of Visual Arts there. Now at McCann NY, she created several custom typefaces in 2012-2013. [Google] [More]  ⦿

    Lee Iley
    [Grafikarto]

    [MyFonts] [More]  ⦿

    Leftloft
    [Andrea Braccaloni]

    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 ATypI in Rome in 2002, he spoke about new typefaces he designed the old-fashioned way, as a handicraft. Within the studio, there is a small lab for type design, called "Die kleine Fonderie", at which Andrea Braccaloni and Veronika Burian are active. Designs include LL Egeo (1999, shifted letters), LL Mila (2002, a condensed sans with a trademark "g"), LL Etica (2001-2002, a sans family that derives its name from Helvetica, and has soft strokes and wide apertures---in 2009, Etica Seriffo was published by Type Together as the "trappist type family"; see also LFT Etica Sheriff in 2016, and LFT Etica Mono in 2019), LL Chicane (2001, geometric and experimental, between paperclip and neon sign), LL Impresa (2001, octagonal-themed font), LL SanSiro (masculine sans family), LL EU (a delicate sans), LL Alice ditalunghe (transitional text face), LL Officiel (extreme didone titling face, developed for French fashion magazine L'Officiel, in collaboration with Patricia Sartori), LL Crudo (experimental, now LFT Crudo), LL Ubu Re (2002, made by lines and circles only), Lemon (1998), L'Amante Perduto (1999), Solferino Text (2007, with Luciano Perondi, for Corriere della Sera), Brera (2007, a sans family by Leftloft and Molotro).

    In 2014, Leftloft published the semi-techno wayfinding typeface family LFT Iro Sans at Type Together. It has a unicase set of styles.

    In 2020, he released the flared humanist sans typeface LFT Arnoldo at TypeTogether.

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Lemon Line

    New York City-based designer (b. 1994) of the free cartoon font Powerhouse Era (2015), which is based on The Powerhouse Era lettering shown on the Cartoon Network and originally made by Primal Screen. [Google] [More]  ⦿

    Lena Wang

    Lena Wang, a graphic communication specialist for the United Nations in New York City, created Cactus Typeface (2012). [Google] [More]  ⦿

    Leo Charre
    [Leo Charre Art&Design]

    [More]  ⦿

    Leo Charre Art&Design
    [Leo Charre]

    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
    [Phil LePine]

    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]  ⦿

    Lesley Johnson

    Illustrator and calligrapher in New York City, who won an award in 2014 for her experimental alphabet Planter (2013) at the Communication Arts 4th Typography Competition: 2014. Other alphabets by her include the hand-drawn Cloudy Day (2013) and Funny Together (2013).

    Behance link. [Google] [More]  ⦿

    Leta Sobierajski

    Leta Sobierajski is a multidisciplinary designer living and working in Brooklyn, NY. Creator of the spurred fashion mag typeface Marle (2012), which can be bought at The Designers Foundry. Behance link. [Google] [More]  ⦿

    Letterpunch
    [Kelvin Ma]

    Letterpunch, Kelvin Ma's web site, makes a strong and convincing case for font freedom and open source fonts. At Behance, Kelvin Ma is Kelvin Song from Riverhead, NY. American creator in Long Island of Wumbology (2012, sans family), Compass (2012, sans), Maritime Sans (2012), Bam It's Andrea (2012, hand-printed), The Blurry Effect (2012, hand-printed), Maritime Tropical (2012, clean hand-printing), AFE Jen's Handwriting (2012), Pineapples don't have sleeves (2012), Schmitacular (2012, hand-printed), Cassini (2012, a fat finger font) and Cassini Marker (2012).

    Typefaces from 2013: Liberty Sans, Maritime Tropical Neue (monoline informal script).

    Typefaces from 2014: Free Monogram, Rainbow Mansion, Sugarcubes.

    Typefaces from 2015: In Screaming Color (script face).

    Behance link. Dafont link. [Google] [More]  ⦿

    Letterspace
    [Paul Shaw]

    Biannual newsletter of the Type Directors Club in New York. Very informative, with a nice book review section by Paul Shaw. His brief bio: 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.

    Paul Shaw's home page. [Google] [More]  ⦿

    Lexi Schroppe

    New York City-based designer of a decorative geometric typeface in 2017. [Google] [More]  ⦿

    Liat Anan

    New York City-based web and graphic designer (b. 1984, Los Angeles) who created the bilined headline typeface Doubletri (2011). She studied first at Tel Aviv University and then Instituto Europeo di Design i Barcelona. Home page. [Google] [More]  ⦿

    Lili Emtiaz

    Brooklyn, New York-based designer of Connectivity (2013), an alchemic typeface. Behance link. [Google] [More]  ⦿

    Lilian Romero

    New York City-based creator of the condensed display typeface Patra (2011). [Google] [More]  ⦿

    Lily Campbell

    New York-based graphic designer. She created the curly hairline script typeface DogDays (2012) and the display typeface Botanica (2012). [Google] [More]  ⦿

    Lily Feinberg

    Lily Feinberg grew up in Georgia and studied at the University of Georgia, class of 2011. She presently works as a graphic designer in New York City. With Mary Catherine Pflug, she is one half of Type Sisters. Twitter link. Her typefaces:

    • In 2014, she co-designed the decorative multiline typeface Delphi (Dio and Tria) with Neil Summerour at Positype.
    • She helped Neil out with the production of Filmotype Dancer.
    • Filmotype Kinzie (2021). A revival of Filmotype Kinzie, which was released by Filmotype in 1955s as an attractive informal casual pen-script, also known as a jewelers script based on its use in department store catalogs and luxury store signage.
    [Google] [MyFonts] [More]  ⦿

    Linda Fung

    New York City-based designer of the circle-based typeface Cut It Out (2014). [Google] [More]  ⦿

    Linda Montanez

    New York City-based designer of experimental typographical pieces in 2012. [Google] [More]  ⦿

    Lindsay Guim

    Brooklyn, NY-based designer of the heavy display typeface Dad (2015) and its skeletal version, Chachki (2015). [Google] [More]  ⦿

    Lindsay James Soto

    During his studies, Lindsay Soto (Long Island City, NY) created the custom graffiti typeface Splittina Maul (2014). Behance link. [Google] [More]  ⦿

    Lindsay Muir

    During her studies, Lindsay Muir (New Paltz, NY) created the decorative outlined blackletter typeface Smackletter (2015). Behance link. [Google] [More]  ⦿

    Lindsay Type Foundry

    New York-based type foundry, also called R.&J.&A.W. Lindsay, A.W. Lindsay, and Robert Lindsay&Co, active in the 19th century. Publishers of Lindsay Type Foundry Specimens of Printing Types. [Google] [More]  ⦿

    Ling Tsui

    Ling studied graphic design and art direction at Portfolio Center in Atlanta, Georgia. She holds a B.S. in Marketing from Clemson University. In New York City, she created a Fournier Revival in 2014. Later in 2014, now from San Francisco, she created Terrarium. Behance link. [Google] [More]  ⦿

    Lipton Letter Design
    [Richard Lipton]

    Calligrapher, sign painter, and graphic and type designer from Milton, Mass., who was born in New York, studied design and photography at Harpur College there (graduating in 1975), did some lettering in Syracuse until 1977, worked for Bitstream in Boston from 1983-1991, and made a career afterwards as a staff type designer at Boston's Font Bureau. In 2016, he joined Type Network, where his fonts can be bought. MyFonts page. MyFonts interview in which his modesty comes to the fore. His typefaces:

    • Alhambra: a calligraphic typeface.
    • Apotek: based on lettering on old medicine bottles seen in Oslo.
    • Arrus BT (Bitstream, 1991). This is a serif typeface with heavy calligraphic influences. The capitals are roman inscriptional. More typefaces in this style are to come, he promised in 2010.
    • Avalon (1995, calligraphic): based on the calligraphic writing of Austrian artist Friedrich Neugebauer.
    • Bennet Text, Bennet Display (36 styles: a wedge serif news text family), Bennet Banner (36 styles). This high contrast didone-themed superfamily (but for the wedge serifs) can't shed that "look at me" vibe. The initial idea for Bennet came from Moth Design's logotype and stationery system for the North Bennet Street School in Boston.
    • Benton Modern Display (2008, co-designed with Richard Lipton at Font Bureau: Benton Modern Text was first prepared by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton's turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook.). See also here.
    • Bickham Script (1997, Adobe): The 2004 OpenType Pro version has hundreds of ligatures and substitute forms. See also Bickham Script 3 (2014). Review of Bickham by Timothy Rolands. Bickham Script is based on examples from Bickham's The Universal Penman. Poster by Fernanda D'Andrea (2013). Bickham Script 3 won an award at Modern Cyrillic 2014.
    • Bodoni FB (1992, Font Bureau, a headline bold based on Benton's 1933 Ultra Bodoni).
    • Bremen (Bitstream), Bremen (1992, Font Bureau). This German art deco face was influenced by the poster lettering of Ludwig Hohlwein in 1922. Munich is an angular version of Bremen.
    • Bureau Grot. One of Font Bureau's bestsellers.
    • Canto (2011, Font Bureau) is a 32-style roman family that started out from the Trajan inscriptions via a few styles called Canto Brush to smooth and delicate styles such as Canto Pen. New styles were added in 2017.
    • Cataneo BT (Bitstream, 1993; with Jacqueline Sakwa): an elegant chancery cursive based on the calligraphic work of the 16th-century writing master Bernardino Cataneo.
    • Ecru
    • Escrow Banner (2016). An extension of Cyrus Highsmith's Scotch Roman, Escrow (2006).
    • Hoffmann (1993): a display family that is based on lettering by Lothar Hoffmann.
    • Meno (1994, Font Bureau). Lipton explains his oldstyle design: the romans gain their energy from French baroque forms cut late in the sixteenth century by Robert Granjon, the italics from Dirk Voskens' work in seventeenth-century Amsterdam. In 2016, he extended Meno to a 78-style superfamily. In 2021, MyFonts released Meno Text and in 2022 Meno Display (36 styles) and Meno Banner (36 styles).
    • Miller Banner (2010, Font Bureau): a completion of Matthew Carter's Scotch family Miller, that has banner and titling styles, and adds styles with extreme contrast and hairline serifs.
    • Moderno FB
    • Munich.
    • Nutcracker.
    • Rocky (2008, Font Bureau, with Matthew Carter).
    • Savanna Script (2013). A connected tightly spaced calligraphic script in three weights.
    • Shimano: an industrial geometric font.
    • Shogun (with Margo Chase, 1995).
    • Sloop Script (a penmanship script, 1994), inspired by the lettering of Raphael Boguslav. Sloop Script won an award at Modern Cyrillic 2014. Type Network published Sloop Script Pro in 2018. MyFonts relesed Sloop Script Pro in 2021.
    • Talon

    • Tangier (2010, Font Bureau): a Spencerian calligraphic family that was part of the 2008 redesign of Glamour Magzine.

      A redesign of Matthew Carter's Postoni (1997), called Stilson (2009, with Jill Pichotta and Dyana Weissman): Since 1997, The Washington Post's iconic headlines have been distinguished by their own sturdy, concise variation on Bodoni, designed by Matthew Carter. For the 2009 redesign, Richard Lipton, Jill Pichotta, and Dyana Weissman expanded the family with more refined Display & Condensed styles for use in larger sizes. Originally called Postoni, the fonts were renamed in honor of The Post's founder, Stilson Hutchins.

    • Delaney (2016).
    • Collier (2018). A 150+-style lapidary flared stem typeface family ranging from Compressed to Extra Extended widths.
    • Englewood (2022). A script whose inspiration for Englewood came from the calligraphic hand of Philip Grushkin.

    I Love Typography link. Klingspor link. FontShop link. Type Network link. MyFonts interview.

    View Richard Lipton's typefaces. [Google] [MyFonts] [More]  ⦿

    Liron Ashkenazi

    Based in New York City, Liron Ashkenazi designed the display typeface Homilia (2014). Behance link. [Google] [More]  ⦿

    Lisa Champ

    Graphic designer in Brooklyn, who created Orbic Sans (2013).

    Behance link. [Google] [More]  ⦿

    Lisa Wong

    During her studies in New York City, Lisa Wong designed the modular typeface Wisper (2016, FontStruct). [Google] [More]  ⦿

    Liz Bartucci
    [Tuccicursive]

    [MyFonts] [More]  ⦿

    Liz Meyer

    A graduate of Type@Cooper in New York, she created Harper during Jesse Ragan's course. [Google] [More]  ⦿

    Liz Wells

    During her studies at RIT in Rochester, NY, Liz Wells designed Kooi (2014, a calligraphic typeface) under the guidance of Kris Holmes. Behance link. [Google] [More]  ⦿

    Loaded Fonts
    [Raymond Mullin]

    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. Klingspor link/ [Google] [MyFonts] [More]  ⦿

    Logan Mata

    New York City-based designer of the hairline display sans typeface Bisurk (2013). Dafont link. [Google] [More]  ⦿

    Loren Kulesus

    New York City-based designer of an untitled 3d typeface (2014). [Google] [More]  ⦿

    Lothian Type Foundry
    [George Buxton Lothian]

    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]  ⦿

    Louis Dorfsman

    Or Lou Dorfsman. Celebrated graphic designer, b. 1918, Manhattan, d. 2008, Roslyn, NY. U&LC wrote in 1988: For more than forty years, Lou Dorfsman was responsible for much of the design and advertising done by CBS, Inc. As Vice President and Creative Director of Advertising and Design, his work has set a standard aspired to by corporate communicators around the world. This retrospective exhibition also includes graphic design, exhibition design and advertising done for other clients, including Dansk Designs International. The recipient of many design awards, Lou Dorfsman was elected to the Art Directors Club Hall of Fame in 1978, the same year that he was awarded the annual medal of the American Institute of Graphic Arts.

    By 1964, he was selected as the director of design for all of CBS and was later promoted to senior vice president and creative director for marketing communications and design in 1968. In this role he maintained creative control over the network's use of the CBS Eye logo to its proprietary CBS Didot typeface created in the 1970s by Freeman Craw. He would go on to win the TDC Medal in 1995. [Google] [More]  ⦿

    Louis Madarasz

    Penman, b. 1859, San Antonio, TX, from Hungarian parents. [Some say January 20, 1860] 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 worked in Sterling, IL, Jersey City, NJ, and Poughkeepsie, NY. He spent most of his life in New York, and died in 1910 in San Francisco. Author of Lessons in Advanced Engraver's Script, published by C.W. Jones in Brockton, MA. Zaner&Bloser published The Madarasz Book - The Secret of the Skill of Madarasz in 1911, based on documents and sources given to them by Louis Madarasz's widow, Clara K. Madarasz. Scan of a calligraphic alphabet called Commercial College. Scans from the 1911 book: capitals drawn in 1909, death notice from 1910, engraved capitals, instructions, image, letter in 1902 to zaner and Bloser, lower case alphabet, Madarasz Script, Plate five alphabet, sample, signature, another signature, yet another signature, teachable capitals, portraits at ages 25, 35 and 45.

    His work influenced Burgues Script (2007, Sudtipos) and Jamaica script (2018, Alex Ivanov, Vates Design). [Google] [More]  ⦿

    Louis Rivera

    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. Behance link.

    He created a gorgeous tall octagonal monoline typeface called Hudson Terminal (2012), which was apparently designed for Grove Street Bicycles. [Google] [More]  ⦿

    Louise Fili

    Founded in 1989, Louise Fili Ltd is a graphic design studio specializing in brand development for food packaging and restaurants. Formerly senior designer for Herb Lubalin, Louise Fili was art director of Pantheon Books from 1978 to 1989, where she designed close to 2,000 book jackets. She has received Gold and Silver Medals from the Society of Illustrators and the New York Art Director's Club, the Premio Grafico from the Bologna Book Fair, and three James Beard award nominations. Fili has taught and lectured extensively, and her work is in the permanent collections of the Library of Congress, the Cooper Hewitt Museum, and the Bibliothèque Nationale.

    She is co-author, with Steven Heller, of Italian Art Deco, British Modern, Dutch Moderne, Streamline, French Modern, Deco Type, Deco España, German Modern, Design Connoisseur, "Typology Type Design from the Victorian Era to the Digital Age" (Chronicle Books, San Francisco, 1999), Typology, Stylepedia, Euro Deco, Scripts, Shadow Type, Belles Lettres, Cover Story, and Stencil Type. Fili has also written Elegantissima, Grafica della Strada, Graphique de la Rue, The Cognoscenti's Guide to Florence, and Italianissimo. A member of the Art Directors Hall of Fame, she has received the medal for Lifetime Achievement from the AIGA and the Type Directors Club.

    Her book cover (done with Jessica Hische) won a design award at TDC 55. Fili was also honored with the 2018 SOTA Typography Award.

    In 2015, she made a futuristic counterless typeface, Mardell, which is named after retired Hamilton type cutter Mardell Doubek. It was published in 2016 as HWT Mardell in the HWT (Hamilton Wood Type) collection over at P22.

    In 2017, Louise Fili, Nicholas Misani and Rachel Michaud co-designed the art nouveau typeface Montecatini, which is inspired by Italian travel posters from that era. In 2019, Louise Fili, Nicholas Misani and Andy Anzollitto expanded this typeface to the 24-style Montecatini Pro.

    Marseille (2017) is co-designed with Nicholas Masani and Andy Anzollitto. It is an art deco-inspired letterform that is based on Louise Fili's cover design for the Marguerite Duras novel The Lover.

    Keynote speaker at TypeCon 2018 in Portland, OR. [Google] [MyFonts] [More]  ⦿

    Loyalkaspar

    New York City-based design agency (est. 2003) specializing in commissioned fonts and brand design. Their custom typefaces include

    • ABC Modern (for ABC News).
    • Aeronaut (sci-fi).
    • CTV Sans and CTV Serif (2020). For the CTV television station in Canada.
    • Comedy Sans (for Comedy Central).
    • Impacta LK (for ESPN).
    • Karma. A sans for in-house use.
    • Proxy Mono (for Promax). A techno sans developed together with Type Network.
    • SYFY Hero (an octagonal typeface; for NBC Universal).
    • Solis (2020, for Accuweather in 2019; type design by Laura Meseguer).
    • USA (for USA Network).
    [Google] [More]  ⦿

    Lucas Benjamin Sharp
    [Sharp Type]

    [MyFonts] [More]  ⦿

    Lucas Cobb
    [Lucas Cobb Designs]

    [MyFonts] [More]  ⦿

    Lucas Cobb Designs
    [Lucas Cobb]

    Lucas Cobb (b. 1980) lives in Niagara Falls, New York. A designer and photographer, he made a few [still incomplete] fonts, including Blur (2009, hand-printed) and Jacked (2009, an art deco Broadway face). [Google] [MyFonts] [More]  ⦿

    Lucian Bernhard

    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. Short biography of Lucian Bernhard. Biography. MyFonts link. His typefaces:

    • Bernhard and especially Bernhard Modern (1937) are gorgeous high-legged typefaces. Bernhard Modern is used in classy magazines for ads, and adds a touch of style to many documents or presentations.
    • Aigrette (1939).
    • Lucian (1925, Bauersche Giesserei). I have also seen the date 1932. See also the digital version by Tilde, 1990. Lucian is very close in spirit to Bernhard Modern. As far as digital versions go, one can check out the Font Bureau contribution from 1990 by Kelly Ehrgott Milligan and David Berlow called Belucian, which comes in several weights, including Demi and Ultra. There are many other ones as well, such as Bernhard Modern FS (2011, Sean Cavanaugh).
    • Lilith [or Lilli] (1930, Bauersche Giesserei).
    • Bernhard Antiqua (1912, Flinsch). This is the titling typeface on my own web site! For a handcrafted revival in 2016 by Pintassilgo Prints, see Botanique.
    • Bernhard Brush Script (Bauersche Giesserei, 1926).
    • Madonna Ronde (1925: this is the Stephenson Blake name, after it acquired this typeface from Bauersche Giesserei).
    • Bernhard Cursive (Bauersche Giesserei, 1925). Didgeree Doodle NF (2006, Nick Curtis) is a curly cursive originally released as Bernhard Heavy Antique Cursive by the Bauersche Giesserei.
    • Bernhard Fraktur (+Extrafette; +Initialen) (1912, Flinsch; 1922, Bauersche Giesserei). The sublist of typefaces and dates: Bernhard Fraktur schmalfett, Bernhard Fraktur fett, Bernhard Fraktur extrafett (1921), Bernhard Kursiv extrafett (1927), Bernhard Antiqua extrafett (1924), Bernhard Antiqua zart (1925), Bernhard Antiqua Kursiv zart, Bernhard Handschrift (1928), Bernhard Schönschrift (1925), Bernhard Schönschrift kräftig (1928). Extrafette Bernhard Fraktur was revived in 2013 by Christoph Schwedhelm and in 2016 by Ralph M. Unger as Bernhard Blackletter.
    • Bernhard Privat (also called Flinsch-Privat, 1919; Flinsch, Bauersche Giesserei).
    • The Reklameschrift Bernhard Block.
    • Bernhard Schönschrift (1925; see EF Bernhard Schonschrift). A free interpretation is Reliant (2010, Iza W and Dmitrij Greshnev).
    • Bernhard Fashion (1929). This has been digitized by many, including SoftMaker (as Bernhard Fashion, in 2010), Peter Wiegel (as the free font family Bernardo Moda (2014)), by Infinitype, and by Bitstream (as Bernhard Fashion BT in 1990). It has been extended and played with, like for example, in Nick Curtis's Quoi Chou NF (2006) and in Peter Wiegel's Bernardo Moda Contrast (2014). Poster by Merle Perle.
    • Bernhard Gothic (1929, ATF; see Bernhard Gothic SG by Spiece Graphics, Bernhard Gothic Medium (2017, Jordan Davies), or Samosata NF by Nick Curtis in 2009). Mac McGrew writes: Bernhard Gothic was one of the first contemporary American sans-serifs, designed in 1929-30 by Lucian Bernhard for ATF to counter the importation of the new European designs such as Futura and Kabel. It features long ascenders and a number of unusual design details, which perhaps prevented it from achieving the popularity of other such typefaces. Capitals are low-waisted, with the crossbars or arms of E, F, and H being below center. M is widely splayed in some weights. Lowercase a is roman in design, and the cross-stroke of t is wide and below the mean line. All but the Title versions have a number of alternate characters, later discontinued. The comma, semicolon and apostrophe, usually comparable, have three different forms. Bernhard Gothic was made only by ATF, but some weights could be simulated with special characters of Monotype Sans-Serif and Ludlow Tempo. The Title versions, several sizes of caps on each body in the manner of Copperplate Gothics, were added in 1936, and copied by Intertype as Greeting Gothic. Around 1938 Bernhard Gothic Medium Condensed was added.
    • Bernhard Tango (1933, ATF). Bernhard Tango was imitated by Corel (Ballroom Tango), SSi (Petticoat), Greenstreet (Felicita) and Agfa (Carmine Tango).
    • He also did a Magnetype font series that has been left untouched. Jonahfonts is the first to start reviving this series. In 2010, Bernhard's Community Low and Community Condensed started their digital life as Harpsichord (Jonah Fonts).
    • According to Font Bureau, Bernhard also did an art deco display sans series in the 1930s, which David Berlow and Jonathan Corum at Font Bureau revived as Eagle from 1989-1994.
    • Lucian lettered a concert program in the 1920, which was used by Jim Spiece in 2002 to create the elegant rounded sans display typeface Concerto Rounded.
    • Lucian Bernhard's award-winning poster, Priester (1906), had angular lettering. Jonahfonts did LB Priester in 2009 based on it. In 2018, Ivan Moreno published anotherr extension, Presta.
    • In the Bitstream collection, we find Bernhard Bold, with unknown origins. However, I have this rare 2002 public statement by John Warnock, Adobe's founder, in reaction to a question by M. Johansson (What happened to the Lo-Type font in Adobe Font Folio? It was included with Font Folio 8 but it's not in Font Folio 9. In Font Folio 9 there's Bernhard Bold Condensed, which is a reasonable replacement. I'm just wondering if anyone knows why Lo-Type was dropped; I prefer it myself.): Cuz LoType is a Berthold Type font and Adobe and Berthold had a lovers quarrel. A ton of Bertie's in FF8, no Bertie typefaces at all on FF9. Bye-bye Bertie. Love, J. Warnock.
    • Lucian's small two-tiered logo with the letters BERN HARD led John Nahmias to extend it to Bernhard Signature (2019).

    Posters by Bernhard: An advertising exhibition in 1929 (with Fritz Rosen), Manoli Cigarettes (1912).

    Linotype link. FontShop link. Klingspor link.

    View Lucian Bernhard's typefaces. Showcasing the digital legacy of Lucian Bernhard. [Google] [MyFonts] [More]  ⦿

    Lucky Drop

    New York City-based FontStructor, born in The Philippines and raised in california, who made the modular typefaces Duo (2013) and Death Trap (2014). FontStruct link. Behance link. [Google] [More]  ⦿

    Lucy Chen

    Lucy Chen is a New York City-based based graphic designer who works for Pentagram. She has degress from the School of Visual Arts (2018), Fashion Institute of Technology (2017), and Isenberg School of Management, UMass Amherst (2013). At Type Cooper 2020, she designed the experimental hybrid display typeface Lilin, which interpolates between Times New Roman Condensed Bold and the hiragana font Matisse EB. [Google] [More]  ⦿

    Ludi Sun

    Ludi Sun (New York City) created several experimental typefaces in 2013, including one based on a grid of circles, and a connect-the-dots typeface. Lolo (2013) is a delightful fat titling face. [Google] [More]  ⦿

    Luis Domingo

    Student at Parsons in New York City in 2011. He created some experimental alphabets in 2011. [Google] [More]  ⦿

    Luke Aiello

    Student at the Fashion Institute of Technology in New York. Creator of the grungy ink splash typeface Phobia (2011). [Google] [More]  ⦿

    Luke Connolly
    [NYC Type]

    [More]  ⦿

    Luke Guyer

    Designer of Heights (2015), a squarish bilined typeface based on a bird's eye view of Manhattan. Luke is based in New York City. Behance link. [Google] [More]  ⦿

    Lynne Yun

    Lynne Yun is a type designer based in Brooklyn who specializes in lettering and calligraphy. She holds a BFA from School of Visual Arts and a postgraduate certificate in typeface design from Type@Cooper. Lynne has worked with a broad range of clients (including Anheuser-Busch, Samsung, Sherwin-Williams and London Book Review to name a few) and held positions at Apple, Publicis, Deutsch, and was a full-time type designer at Monotype, starting in 2017. Lynne Yun is the founder of the Brooklyn-based studio Space Type Continuum (with Kevin Yeh), which operates at the intersection of type, design, and technology. The studio specializes in creating experiential letterforms of all kinds, from typeface design to generative typography. Speaker at TypeCon 2018. Lynne Yun also made an on-line course called Foundations oof Type Design (2021).

    Her typefaces:

    • Trade Gothic Display (2017, Monotype). Two multi-layer display styles. Based on Jackson Burke's classic Trade Gothic (1948), and in particular, Trade Gothic Condensed Heavy, Trade Gothic Display adds five embossed, beveled, layerable and colorable styles.
    • Constant (2018). A playful didone inspired by a specimen from Constantin in 1834.
    • Ampersandist (2018). In the angular calligraphic style that characterizes the work of Oldrich Menhart and Villu Toots.
    • Walbaum (2018, Monotype). Walbaum is a reimagined superfamily with 69 total fonts, in five optical sizes. Monotype writes: Walbaum was meticulously crafted by Monotype's Carl Crossgrove, Charles Nix, and Juan Villanueva to bring Justus Erich Walbaum's high contrast didone style masterpiece to the 21st century. Walbaum has over 600 glyphs with OpenType typographic features like small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures. Also included in the family are three decorative and ornament fonts. In the font's credits, Lynne Yun is also mentioned.
    • Trade Gothic Inline (2018, Linotype).
    • HWT Etta (2020, Lynne Yun and Maxime Gau). The HWT Etta font (in East and West versions) is part of the Hamilton Wood Type and Printing Museum's Type Legacy Project.
    [Google] [MyFonts] [More]  ⦿

    Mack Hawthorne

    Saratoga Springs, NY-based cartoonist. Designer of the handcrafted typeface Obligation (2017) and the creepy pixel font 6Cents (2017). [Google] [More]  ⦿

    Mackenzie Palma

    Mackenzie Palma is a graphic designer from New York who studied in New York and Scotland, and has a BFA degree in graphic design. Since 2011, she has been working as a design intern at various companies, including the Food Network and Cooking Channel. In 2015, she created the decorative caps typeface Charlotte. Behance link. [Google] [More]  ⦿

    Madame Lolo

    New York-based designer. Creator of the iFontMaker font Madame Lolotica (2010, a hand-printed face). [Google] [More]  ⦿

    Madeline Quinn

    Graphic designer in Newburgh, NY. She created the experimental geometric typefaces Jazz and Caps in 2010. [Google] [More]  ⦿

    Madeline Simon

    New York City-based designer of several untitled typefaces in 2014. Behance link. [Google] [More]  ⦿

    Magaly Riera

    New York City-based designer of the display typeface Hit (2014). [Google] [More]  ⦿

    Magdiel Ortiz

    Student in New York who created the dymo label typeface Lightbox (2012). [Google] [More]  ⦿

    Maggie Tsao

    Graphic designer in New York City. She created some typefaces with letters, such as Shakespeare (2009). [Google] [More]  ⦿

    Maire Phelan

    New York City-based designer of Tetris (2017). [Google] [More]  ⦿

    Maleeha Ibrahim

    During her studies, Maleeha Ibrahim (Oyster Bay, NY) created the sans typeface Lyte (2015). [Google] [More]  ⦿

    Man-Ping Wu

    Together with Wendy Garcia, Nancy Martinez and Cindy Tan, Taiwanese designer Man-Ping Wu (New York City) created the Peignotian all caps typeface 3E in 2016 for a school project. [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
    [Frank Marciuliano]

    Fonts made by New Yorker Frank Marciuliano: at Linotype, Abstract, Automat (1997), Bordeaux, Breeze (nice), Charleston, Constitution, Isilda (1997), Labyrinth, Mediterraneo (1997), Lindy (very avant-garde). At ITC, ITC Jaft (1996), ITC Jambalaya (1996, party time!), and ITC Schizoid (1997). Finally, from Frank directly: Burst, CurlyWurly, GellyBelly, Display, Goo-Goots, Isilda Italic, Stiletto, JellyBelly and Sprockets.

    FontShop link. Klingspor link.

    View Frank Marciuliano's typefaces. [Google] [MyFonts] [More]  ⦿

    Mareena Jacob

    Mareena Jacob (Mareena Design, Brooklyn, NY) created the experimental additive and subtractive typeface Sphota in 2014. She studied at the Pratt Institute in New York. Sadly, On October 15, 2014, Mareena Jacob committed suicide by jumping from her ninth floor dorm room. Linkedin page. [Google] [More]  ⦿

    Margot Laborde

    Margot Laborde (New York) designed the thin swashy didone typeface called Bon Bon (2011). [Google] [More]  ⦿

    Maria Balli

    During her studies at The College of Saint Rose, Albany, NY-based Maria Balli designed the outline typeface Totally (2015). [Google] [More]  ⦿

    Maria Barbieri

    Or Maria Smith. Or Maria B. Paints. New York-based designer of the outlined handcrafted typeface Pitter Patter (2015). Creative Market link. [Google] [More]  ⦿

    Maria Gambino

    Maria Gambino (Astoria, NY) created a modular typeface in 2012 that is based on apartment key tags. [Google] [More]  ⦿

    Maria Lawlor

    Graduate of the communication design program at the University of Buffalo, NY. She created the slab serif typeface Jane Doe (2013). [Google] [More]  ⦿

    Mariah Foley

    Lake Grove, NY-based creator of an untitled octagonal typeface in 2014. Behance link. [Google] [More]  ⦿

    Mariah Kegler

    American designer of the dingbat font P22 ToyBox. [Google] [MyFonts] [More]  ⦿

    Mariah Lamb

    During her graphic design studies at Rochester Institute of Technology, Mariah Lamb created the italc sans typeface Virginia (2013). [Google] [More]  ⦿

    Mariana Bukvic

    Brazilian graphic designer who lives and works in New York at Fluid NY. Creator of the bold display typeface Cestaria (2012). [Google] [More]  ⦿

    Mariana Guilarducci

    During her studies at St John's University, New York City-based Mariana Guilarducci created these typefaces: Angels (2016: handcrafted), Homi (2016: based on an antique tobacco package seen in Casa Loma, Toronto), Escorrega (2016: a fancy typeface based on the lettering on old cachaca bottles). At the Universidade Federal de Pernambuco in 2014, she designed the pixelish typeface Tetris (2014). [Google] [More]  ⦿

    Marie Graboso

    Graphic designer who studied at the School of Visual Arts in New York City. Creator of the monster-inspired typeface Aaahh (2012), and of Hexaface (2012). [Google] [More]  ⦿

    Mariko Futamura

    Art director in New York City. In 2017, she designed several stylish deco display typefaces. [Google] [More]  ⦿

    Mario Almaraz

    Born in Monterrey, Mexico, in 1989, Mario Almaraz designed the prismatic art deco poster typeface New York in 2012.

    Behance link. [Google] [More]  ⦿

    Marium Khan

    Graphic designer in Brooklyn, NY. During her studies at Brooklyn's Pratt Institute, she created an unnamed spurred all-caps typeface in 2013. [Google] [More]  ⦿

    Mark Batty

    Ex-president of International Typeface Corporation (ITC) and of ATypI from 1995-2004. In 2004, he became Honorary President of ATypI. In 2002, he set up Mark Batty publisher LLC. 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 also published Warning (2005) on the warning signs and the multitude of funny/sad ways in which people can end their lives. [Google] [MyFonts] [More]  ⦿

    Mark Davis

    Type designer based in Brooklyn, NY. In 2014, as an intern at Typefounding (St. Louis, MO), he developed a typeface pending distribution by House Industries. In 2015, he joined Font Bureau, where he designed MF Ambulia Text (his graduation project at Type@Cooper in 2015), MF Abagnale (original headline sans from 2014), and MF Gaussian, under the umbrella of Font Bureau's Senior Font Designer, Cyrus Highsmith.

    MF Gaussian (2015) is a multiple-master didone named after the mathematical averaging process, since its bold regular weight is the average between a Didot and a Clarendon. MF Ferrans Sans and MF Alizarin were small projects from 2013. Buffalo (2014), mentioned above, is a digitization of Ed Benguiat's Benguiat Buffalo Ornamental. Based on Donald Roos's digitization of Benguiat Buffalo, it was created for Ben Kiel during an internship at Typefounding. This typeface is pending online distribution by House Industries. The luxury brand logo typeface MF Flair (2014) was the precursor of MF Gaussian.

    In 2016, he became graphic designer at BuzzFeedNews. Just before Election Day in 2016, he used samples of Donald Trump's scribbles to make the free comic book font BF Tiny Hand. Read what BuzzFeedNews's Ben King has to say.

    Behance link. Twitter link. Fontspace link for BF Tiny hand. [Google] [More]  ⦿

    Mark Delgallo

    New York City-based designer of the glaz krak all caps font Splatter (2014). Behance link. [Google] [More]  ⦿

    Mark Dilena

    Type designer from Bay Shore, NY. [Google] [MyFonts] [More]  ⦿

    Mark McCormick
    [Naked Fowl]

    [More]  ⦿

    Mark Solsburg
    [Group Type]

    [MyFonts] [More]  ⦿

    Mark Solsburg

    Mark Solsburg is the head of the Type Directors Club and of Fairfield, CT-based FontHaus (DsgnHaus). Mark Solsburg has been working in the type business since 1985 when he joined International Typeface Corporation in New York. Prior to leaving ITC to launch FontHaus in 1989, he was ITC's Worldwide Marketing Director. Solsburg was responsible for ITC client marketing support and assisted in developing early OEM licensing agreements with Apple Computer, Adobe Systems, Canon, Linotype, Compugraphic and Xerox. In 1989 he founded FontHaus, which has since grown into one of the largest independent suppliers of digital fonts to large and small design firms, advertising agencies and other media producers in the industry. FontHaus was among the first to offer online sales of digital fonts (1994) and online sales of additional user licenses. In 1993, FontHaus began publishing the typographic magazine X-HEIGHT. In 1994, FontHaus expanded its dealer network in Europe by acquiring Faces Ltd., the UK's first independent font reseller. Faces was sold to Agfa Monotype after nine years as a FontHaus subsidiary. Solsburg served as a board member and as the president of the Type Directors Club (New York), and is a co-founder and principal of TypoBrand. Solsburg lives and works in Westport, CT. In 2008, Mark Solsburg and Mark Simonson cooperated on the digital revival of the calligraphic Diane Script, originally designed in 1956 by Roger Excoffon. [Google] [More]  ⦿

    Market Sans
    [Josephine Tansara]

    eBay's new typeface in 2017 is called Market Sans. It was co-designed by Form&, and Swiss Typefaces, and, if I parse her text correctly, Josephine Tansara, who explains in advertising jargon: Market Sans captures the surprise of stumbling upon your perfect purchase, while conveying the optimism you feel while navigating eBay experiences. Review of eBay's redesign and Market Sans by Brand Design. Erik Spiekermann laments on that blog: The typeface combines the worst parts of both Arial and Helvetica.

    Born and raised in Jakarta, Indonesia, Josephine is a designer currently based in New York City. She graduated with a BFA in Interaction Design and Branding from the School of Visual Arts in New York. [Google] [More]  ⦿

    Marlborough

    A typeface designed by Frederic Goudy in 1925. Mac McGrew: Marlborough was designed in 1925 by Frederic W. Goudy for a printer who lost interest before it was completed. As matrices for the 16-point size had been cut by Robert Wiebking, Goudy cast a few fonts, but was not pleased with the results. Revisions were drawn, but were not completed before his I. workshop was destroyed by fire in 1939. In 1942 the design was sold to Monotype, but there is no evidence that they did anything with it. The name is from the town in New York where Goudy lived and worked. In fact, Goudy died in 1947 in Marlborough-on-Hudson, NY. [Google] [More]  ⦿

    Marlon Hurtado

    Island Park, NY-based designer of the handcrafted typeface Hellen (2018). [Google] [More]  ⦿

    Martian Design
    [David Platt]

    Martian Design is the studio of David Platt, a Creative/Art Director, consultant and designer based in New York, with experience in both digital and traditional communications. Creator of the pixel typeface Martian (2012). [Google] [More]  ⦿

    Martin Flores

    New York City-based designer of the beveled typeface Impetus (2016). [Google] [More]  ⦿

    Maru Jimenez
    [Maryann Jiménez]

    Maryann Jiménez is a graphic designer in New York City and North Bergen, NJ. She began her studies at Altos de Chavón School of Design and obtained a BFA in Communication Design at Parsons The New School, NYC. While living in New York City, she worked as Creative Coordinator for renowned British fashion label, Ben Sherman Clothing Inc. and currently is working freelance, specializing in Communication Design, Visual Identity, Branding, Print and Editorial.

    Creator of the MICR font Numbers (2012). [Google] [More]  ⦿

    Mary Ann Benedetto

    Designer of the pixel typeface Vade (2000, FontStruct), a font used in game development. Mary Ann teaches at Brooklyn Poly. [Google] [More]  ⦿

    Mary Kate Baker

    Mary Kate Baker (Amherst, NY) works for Apple. In 2015, she created the squarish sci-fi typeface Qube. [Google] [More]  ⦿

    Maryann Jiménez
    [Maru Jimenez]

    [More]  ⦿

    MaryGrace Sickles

    Albany, NY-based designer of the experimental geometric typeface Angle (2016). [Google] [More]  ⦿

    Massimo Pitis

    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.

    Founder of Pitis e Associati, a design and consultancy studio based in Milan and Paris, and art director for Wired Italia. At ATypI in Rome in 2002, he spoke about type for branding and communication. [Google] [More]  ⦿

    Massimo Vignelli

    Famous Italian typographer and graphic designer, b. 1931, Milan, d. 2014. Designer, with Tom Carnase, of WTC Our Bodoni (1989). In 1966, he set up Unimark International in New York City, which became the largest disign firm of its day. He left Unimark in 1971, to set up Vignelli Associates in New York City with his wife Lelli.

    He dismissed Emigre as a garbage pail of design. Famous for his designs and opinions, he once said that a designer should only use these five typefaces: Bodoni, Helvetica, Times Roman, Century and Futura. Another quote along the samne lines: In the new computer age, the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest.

    In his Vignelli Canon (free PDF book on design), he mentions these six: Garamond (1532), Bodoni (1788), Century Expanded (1900), Futura (1930), Times Roman (1931) and Helvetica (1957) [However, in that booklet he uses 8 different type families: the above six, and Gill Sans and Univers]. Yves Peters' reaction: Massimo Vignelli clearly hasn't got a clue. It's not the first time a quote of his makes me cringe. I hope you appreciate I'm trying real hard to stay polite. Frankly, if I ever heard anyone say: "a music lover should only listen to 5 artists: Elton John, Celine Dion, Billy Joel, Whitney Houston and Luciano Pavarotti" I'd go to great lengths to ridicule the billy sastard. Nevertheless, in the eyes of many designers, he is a role model and an icon. Vignelli published New York City Transit Authority Graphics Standards Manual (1970, New York, as Unimark International).

    Famous quotes:

    • I like the instant gratification that design gives---a continuous orgasm.
    • At the end of the day there is time for everybody. The one thing that unifies the good guys is their sense of responsibility.
    • The life of a designer is a life of fight: fight against the ugliness.
    • I don't think that type should be expressive at all. I can write the word 'dog' with any typeface and it doesn't have to look like a dog. But there are people that [think that] when they write 'dog' it should bark.
    • Unfortunately, there are designers and marketing people who intentionally look down on the consumer with the notion that vulgarity has a definite appeal to the masses, and therefore they supply the market with a continuos flow of crude and vulgar design. I consider this action criminal since it is producing visual pollution that is degrading our environment just like all other types of pollution.
    • If you do it right, it will last forever.
    • A grid is like underwear. You wear it but it's not to be exposed.
    • If you design one thing, you can design everything.
    • I like it to be visually powerful, intellectually elegant, and above all, timeless.
    • A designer without a sense of history is worth nothing.
    • In the new computer age, the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest.
    • The life of a designer is a life of fight: fight against the ugliness.

    Discussion of his work by the typophiles. Report of his presentation at ATypI 2006 in Lisbon.

    Wikipedia link. FontShop link. Klingspor link. [Google] [More]  ⦿

    Matchbook Press
    [Jessica Turcotte]

    Jessica Turcotte (Matchbook Press, Glens Falls, New York) designed the hairline display typefaces Retrograde and Susanna, and the paperclip typeface Squalor in 2017. Behance link. Dafont link. Another Behance link. [Google] [More]  ⦿

    Matt Barnes

    Brooklyn, NY-based designer of these display typefaces: Cybergoth Chinese Food (2019), Dark Scripture (2019), Steak and Lemonade (2016: a geometric solid family). [Google] [More]  ⦿

    Matt Bortz

    New York City-based designer of the Escher style illusion typeface Prism (2016). Behance link. [Google] [More]  ⦿

    Matt McInerney
    [Pixelspread]

    [More]  ⦿

    Matt Owens

    Matt Owens is the principal of Brooklyn-based design studio Volumeone established in 1997. He created DustUp (2007), a cloudy typeface. [Google] [More]  ⦿

    Matt Stein

    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. 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:

    [Google] [More]  ⦿

    Matteo Bologna
    [Mucca Typo]

    [MyFonts] [More]  ⦿

    Matteo Federico Bologna
    [Mucca Design (or: Mucca Typo)]

    [More]  ⦿

    Matter of Sorts
    [Vincent Chan]

    Melbourne, Australia-based Vincent Chan trained as a graphic designer at Monash University in Melbourne and worked as a type designer at Commercial Type in New York between 2012-2014. He is currently a PhD candidate and teaching associate at Monash University. Speaker at ATypI 2018 in Antwerp.

    At Commercial Type, he helped with the designs of Giorgio Sans, Kommissar, Sanomat Sans, and Guardian Sans.

    Other typefaces by him include Recollection (2016), Quadrant Slab (2020), Quadrant Text (2020), and Mongrel Grotesque. He writes about Recollection: Recollection Text and Display were drawn in close collaboration with Dominic Hofstede: designer, teacher and adjunct senior research fellow at Monash University. They was designed specfically for the launch of the third iteration of the Re:collection archive in October 2016. The Recollection typefaces attempt to capture the spirit of Australian graphic design between 1960 and 1990. It refers to this rich period by looking inward, through the well-established intentions and aesthetic tropes of the time, to arrive at a familiar typographic form. [Google] [More]  ⦿

    Mattew Carrera

    At the College of Saint Rose in Albany, NY, in 2017, Mattew Carrera designer a great monogram. [Google] [More]  ⦿

    Matthew Aaron Desmond
    [Matthew Desmond]

    MADtype (est. 1996) is Matt Desmond's place in the type world. He has had a prolific career that started out with shareware fonts while Matt was at the Minneapolis Technical and Community College. His page back then said A haven for quality shareware type for the Mac. Later, Matt started mattdesmond.com, and co-founded the Test Pilot Collective (est. 1998 with Joseph Kral and Mike Cina). Many of his early typefaces were experimental and/or futuristic. In late 2003, mattdesmond.com disappeared, and MADtype, commercial now, resurfaced at the MyFonts site. Currently, Matt is based in Minnetnka, MN. He has also lived in Atlanta, GA, Fayetteville, GA, Rochester, NY, Redwood City, CA, and San Francisco, CA. His fonts can also be purchased via You Work For Them. He also does commissioned type design. Some fonts are freely available at the Google Font Directory.

    Retail types as of 2011:

    • Abel (2011, Google Font Directory). Abel Pro was published in 2013.
    • Aldrich (2011). A Bank Gothic style face, free at OFL.
    • Amber (2000): kitchen tile face.
    • American Gothic (1998): squarish.
    • Audebaud (2010): a 19-th century style French Clarendon (wood type look). The design was inspired by the work of Constant Audebaud, an engraver of wooden type that was used for posters. Audebaud's work appeared in the 1880s in the Deux-Sèvres département of France.
    • Beat (1998): rounded OCR face.
    • Brauhaus (2004): Textura face.
    • Cagliostro (2011). A free font at Google Web Fonts that is based on the handlettering of Ozwald Cooper.
    • Curbdog (1998).
    • Desmond Text (1998): a roman that has features of University Roman.
    • Distill (2009): a De Stijl font that shouts 1920s.
    • Dunelm (1996): emulation of 17th century printing styles.
    • Dwiggins Deco (2009): This typeface was originally designed in 1930 by W.A. Dwiggins as the cover for the book "American Alphabets" by Paul Hollister. Only the 26 letters of the alphabet were included on the cover, so the rest of the numbers, punctuation, symbols, and accented characters have been crafted in a matching [art deco] style.
    • Findon (2007): stencil.
    • Futuristic category: ER9 (1999), KAH (2005, LCD style), Lunarmod (1997), Retron (1997; can be considered as a retro upright connected script as well), Shifty (1998).
    • Grunge category: Bulletin (1997), Gothico Antiqua (1999), Rubba (1997), Stomper (1997--a rubber stamp font), Zapatista (1998-2007).
    • Handwriting, handprinting category: Casino Hand (2005), Ghouliez (1996), Handegypt (2002---hand-drawn slab serif), Handy Sans (1997, hand-drawn sans), Joppa (1997), Pufficlaude BT (1998).
    • Hessian (2009): Tuscan style wood type.
    • Hydrochlorica (2004): organic.
    • Invoice (1997).
    • Ironside Crosses (2004): dingbat face.
    • Marble Roman (2004-2009): angular roman all caps type.
    • Matterhorn (2013). A 9-style sans family created with Michael Cina for Disney. Not to be confused with the many retail typefaces that are also called Matterhorn, such as Paratype's PT Matterhorn (1993) and Treacyfaces' TF Matterhorn (1990s).
    • Pacioli or Luca Pacioli Caps (2007: emulating a mathematically constructed caps font by Pacioli (1509) published in his treatise De divina proportione.
    • Pixel category: Basis (1999), Mang (1997).
    • Plenti (2004): ultra plump.
    • Quantico (2007): octagonal.
    • Stencil category: Bandoleer (2009, +Tracer: a couple of stencil fonts with art deco and army influences), Madison (2007, slab serif stencil), Mercado (2005; has a non-stencil Mercado Sans).
    • Urbandale (2018). A basic sans family.
    • Variable (2004-2010): a sans-serif monoline typeface that includes ultra thin weights.
    • Vexed (2005): sketched face.
    • Wolfsburg (2007): blackletter stencil.
    • Wooddale (1999): wood type emulation.

    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 typefaces 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).

    Typefaces from 2019: Starfire (2019, a retro geometric sans).

    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 typeface Flathead (2004), the blackletter typeface 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, Golden Times (2014, a corporate small caps typeface for the University of Minnesota), Vapiano (2014: hand-printed typeface for Vapiano International).

    Behance link. View Matt Desmond's typefaces. Fontspring link. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

    Matthew Anderson

    Or Matthew Hinders-Anderson. Climate activist and lead designer for 350.org. His abridged CV in his own words: Born in Columbus, Ohio. Played with Legos. Loved to draw. Played drums in a high school band. Started messing around in Photoshop. Became a vegetarian. Studied green architecture at Western College (Oxford, OH). Discovered that making posters and websites was more fun than building models. Moved to Washington DC to intern at Free Range. Moved to San Francisco to work for 350. Made some good friends. Ate too many burritos. Moved to Brooklyn for the hell of it.

    In 2014, Matthew created the free sans typeface family Klima for the climate movement: Klima is my version of a more relaxed DIN: slightly wider, with a similar geometric foundation but more plainspoken. In three weights with obliques, free for non-commercial, non-climate denial use. It is exquisite and quite good, except perhaps that the italics are just obliques (slanted romans).

    In 2015, he made OCR-B, extending Adrian Frutiger's 1968 design towards more languages (by adding accents of all sorts) and making the weight lighter.

    The all caps sans typeface Graph was used in websites, signs and posters for the 2014 People's Climate March in New York City. It is designed to be a display-oriented companion to Klima. It was inspired by typefaces like DIN 1451 Engschrift, Tungsten and Trade Gothic Bold Condensed.

    In 2015, Graph was supplemented with Graph Paris in view of the major U.N. climate conference in Paris. It is characterized by the curvy elliptical A, V and W.

  • Graph FF Condensed (2017). A flat-sided, condensed display face, good for headlines and titles. Originally created for the Fossil Free project identity. Includes icons from the Fossil Free icons set.
  • Katwijk Mono (2018).
  • Folsom (2018). Matthew writes: Wide, chunky, and super-double-extra-bold. Modern, but with a little bit of that old-time wood type flavor. Great for giant, unignorable headlines. Probably horrible for paragraphs or fine print. Originally created for the 'RISE' mass climate action happening around the Global Climate Action Summit in 2018. [Google] [More]  ⦿

  • Matthew Bardram
    [Atomic Media (was: SmartDust)]

    [MyFonts] [More]  ⦿

    Matthew Desmond
    [Matthew Aaron Desmond]

    [MyFonts] [More]  ⦿

    Matthew Erson

    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]  ⦿

    Matthew K. Tabor

    Cooperstown, NY-based designer of Tabor Handwriting (2007). [Google] [More]  ⦿

    Matthew Krupitsky

    Matthew Krupitsky (Brooklyn, NY) created the hand-printed Process Display Typeface (2013) at the Pratt Institute. Mathhew hails from Orlando, FL. Behance link. [Google] [More]  ⦿

    Matthew Moffatt
    [Almanac Design]

    [More]  ⦿

    Matthew Romanski

    During his studies at SUNY Purchase, Matthew Romanski (NY) created the Peignotian all-caps typeface Ingram95 (2013). [Google] [More]  ⦿

    Matthew Smith
    [Morning Type]

    [More]  ⦿

    Matthew Yu

    Graduate of York University, 2007. Now located in Brooklyn, Matthew Yu designed the experimental typeface FourEyes (2013). [Google] [More]  ⦿

    Matthijs van Leeuwen

    Better known as Matt instead of Matthijs. Dutch designer who studied at ArtEZ Institue of the Arts,in Arnhem, The Netherlands, 1998-2002. He made a career in the United States as a successful and award-winning graphic designer, and is presently located in New York City. He created these typefaces:

    • Inegalé (1999, Psy Ops). A sans serif font.
    • Synchrony (2015). An experimental logotype created as part of the identity project for GE / Synchrony Financial, which also involved Jessica Staley and Craig Stout at Interbrand, New York.

    FontShop link. Klingspor link. Behance link. [Google] [More]  ⦿

    Maud Newton

    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 hand-printed typeface Maud Print (2012). [Google] [More]  ⦿

    Maurice Dusault

    Dutch multidisciplinary designer and design strategist. During his studies at Parsons School of Design in New York City, he created Kollektiv (2017), an amalgam of the top 40 sans serif typefaces. Behance link. [Google] [More]  ⦿

    Mauro Carichini

    Born in Rimini in 1965, studied in Ravenna, and lived in Milan. He designed BabyMine (1997) and EctoPlasm (2001) at T-26 and Orbit Light (2002), Bioplasm (2002), Glass Flag (2002), Water Flag (2002), and Arab Stroke (2002) at Linotype.

    Mauro is a freelancer in New York. Before that, he and Stefano Domizi co-founded Limbo, a graphic design studio in which they worked mainly for fashion and furniture companies. At ATypI in Rome in 2002, he spoke about the fluidity of the typographic process. [Google] [MyFonts] [More]  ⦿

    Max Caflisch

    Swiss type designer and calligrapher, born in Winterthur in 1916. He died in 2004. Designer of Columna (Bauersche Giesserei, 1952-1955, originally a private typeface 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 until 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", Zürich, 1973; "Schrift und Papier", Grellingen 1973; "Typography braucht Schrift", Kiel 1978; "Die Schriften von Renner, Tschichold und Trump. Aus Rede und Diskussion", Typographische Gesellschaft, 1990; Schriftanalysen, Band 1 + 2, St. Gallen 2003. Also see the book by 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]  ⦿

    Max Phillips
    [Signal Type Foundry]

    [MyFonts] [More]  ⦿

    Maxim Smith

    Designer in New York City, who created a piano key typeface in 2014. [Google] [More]  ⦿

    Maxim Zhukov

    Maxim Zhukov (b. Moscow, 1943) specializes in multilingual typography. He 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 at the British School of Art and Design in Moscowand is affiliated with the Type Directors Club and ATypI. He now teaches at Parsons School of Design in New York. He also taught a course on advanced typography at The Cooper Union, also New York.

    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.

    Codesigner with John Hudson, Joshua Darden, Eben Sorkin, and Viktoriya Grabowska, of Omnes Cyrillic. [Google] [MyFonts] [More]  ⦿

    Maxime Gau

    Maxime Gau is a French graphic and type designer, living and working in New York City. He co-founded Faire Type, a foundry based in Brooklyn that offers custom type design and retail typefaces, with his partner, Sabrina Nacmias. Together they also run Faire Projects, a graphic design studio focusing on typographic solutions to graphic design projects; primarily branding and visual identity work, websites, and packaging design. Maxime studied graphic design at the Ecole Supérieure d'Arts et Design in Valence, France and pursued a postgraduate in typeface design from the Type@Cooper Extended Program. His typefaces:

    • The monoline sans typeface Gitane (2015).
    • HWT Etta (2020, Lynne Yun and Maxime Gau). The HWT Etta font (in East and West versions) is part of the Hamilton Wood Type and Printing Museum's Type Legacy Project.
    [Google] [MyFonts] [More]  ⦿

    Maximilian Kerr

    Type designer in the photo type era, who worked for Photo Lettering Inc and was based in New York. His typefaces include Bigtown Bold, Casual, Christmas (blackletter), Crayon Casual, Kerr Lightline, Madison Avenue, Kerr Stencil (+Bold) and Ultra Slim Light. [Google] [More]  ⦿

    Maxwell Chambers

    During his studies at Pratt MWP in Utica, NY, Maxwell Chambers created the hand-printed typeface Anarchy (2013) which was influenced by graffiti in New York City and Los Angeles. [Google] [More]  ⦿

    Maxwell L. Beucler

    During his studies at The School of Visual Arts in New York, Maxwell Beucler created the all caps typeface Bones (2013) and the scary typeface Slime Sans (2013).

    In 2014, he published Nautikal Nonsense. [Google] [More]  ⦿

    Mayuko Soga

    Graphic designer in Brooklyn, NY. Creator of the humanist sans family Albion (2011). Behance link. [Google] [More]  ⦿

    MCKL (was: Mickel Design)
    [Jeremy Mickel]

    Jeremy Mickel runs a design studio in Los Ange;les, where he moved to from Minneapolis in 2015. Before that, he was located in Brooklyn, New York and Providence, RI. Originally called Mickel Design, the studio and foundry was renamed MCKL in 2012. Mickel has taught at RISD and the Minneapolis College of Art and Design.

    He is working on this VAR-Rounded sans serif style face (2007) that was based on plastic cut letters seen in New York's subway. See also here and here. Mickel's typefaces:

    • Router (2008, Jeremy Mickel): a rounded sans family.
    • Baro (2010, Chester Jenkins and Jeremy Mickel): Baro is inspired by memories of Antique Olive Nord, Roger Excoffon's landmark design originally commissioned for Air France in 1956. Nord, the heaviest weight of Antique Olive, was the starting point, but Baro shares DNA with other Village designs, including Apex New and Mavis.
    • Eventide (2009, Jeremy Mickel): octagonal and 3d family based on ideas by Paul Carlyle in the early 1940s. That Carlyle typeface had also made it into the PhotoLettering collection in 1971. Eventide was developed into a family at House Industries under the art direction of Ken Barber and Christian Schwartz, and won an award at TDC2 2011.
    • Superior (2010, Jeremy Mickel): a high-contrast transitional "nearly didone" face. Superior Title (2013) is described as a high-contrast missing link between Times and Bodoni. It was designed for fashion publications.
    • Shift (2010, Jeremy Mickel): a slab serif family that won an award at TDC2 2011.
    • Gonesh (2009, Jeremy Mickel): a great new sans family.
    • Aero (2010, Village Type) was developed in cooperation with Chester Jenkins. This poster family, inspired by Excoffon's Antique Olive, was awarded at TDC2 2011.
    • Letterboxes (2008). A stencil typeface that was part of a collaborative project with John Caserta at the Design Office.
    • Plinc Flourish (a 2011 digitization by Jeremy Mickel for House Industries). Based on William Millstein's Millstein Flourish, an upright script first designed for PhotoLettering Inc in the early 1940s.
    • Union (2011). A basic sans family, ideal for corporate design.
    • Jeremy Mickel created a digital version L.Harl Copeland's (prismatic, beveled, roman caps) Trillium typeface [originally done at Photolettering] in 2011 at the new digital Photolettering / House Industries.
    • Fort is a sans family published in 2012 by Village.
    • Playoff Sans and Playoff Serif (2015).
    • Adidas has partnered with MCKL to create an innovative suite of variable fonts. These fonts are being used across a wide spectrum of applications, including Creative Direction, Product Design, Graphics, Communications, Digital Experiences, and the brand campaign for the upcoming World Cup. In 2015, Mickel expansed the Adineue Pro family. In 2017 they started the first Adidas Variable Font, Adineue CHOP Variable, an octagonal athletic sans in a wide range of weights from hairline to black, and widths from extra-condensed to extra-wide. In 2018, Mickel embarked on Adineue Pro Variable.
    • Rosa Sans (2019: by Jeremy Mickel and Pentagram). A free geometric grotesk (in their own words) sans family.
    • Trust (2020). A flared typeface first used for the identity of the Commission on Presidential Debates (Trump versus Biden).
    • Logic Monospace and Logic Monoscript (2020). Mickel writes: Logic Monospace takes inspiration from midcentury typewriter fonts, including IBM Selectric's Advocate and the ubiquitous Courier, with additional references in slab serifs like Stephenson Blake's Scarab. While there are many great script typewriter fonts, including Olympia and Aristocrat, Logic Monoscript is a novel creation, with few examples of true connecting monospace scripts in existence.
    • Uber (2020). A custom job for Uber.
    • Owners (2021). iJeremy explains: Owners is an expressive family of fonts that takes inspiration from the dynamic energy of handmade signage as seen around Los Angeles.
    • RedHat Display, Text and Mono subfamilies. The open source fonts were originally commissioned by Paula Scher / Pentagram and designed by Jeremy Mickel / MCKL for the new Red Hat identity. Mickel writes: Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles, made for headlines and big statements, are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. In 2021 we added Light and Light Italic styles, and a Monospace family. Variable fonts with a weight axis are available. RedHat's official site.

    Klingspor link. Village link. Speaker at ATypI 2018 in Antwerp. [Google] [More]  ⦿

    McLoughlin Bros

    New York City-based publishers of (1884) which was printed in linen and showcases an ornamental caps typeface. [Google] [More]  ⦿

    mderpth
    [Michelle Devlin]

    Michelle Devlin (b. Guam) moved to New York in 2010, and currently lives in London. She graduated from RISD with a BFA in Graphic Design and a focus in HPSS (History, Philosophy, Social Sciences). Currently, Michelle is a graduate student studying Communication Design through the Royal College of Art's MRes programme, where she researches the intercultural collaboration behind the development of Korean typefaces for multilingual font families published by American tech giants such as Adobe, Google, and IBM. Graduate of TypeWest, class of 2021. Her typefaces:

    • Arcadia (2022). An unconventional, three-style display font family inspired by video-games of the early 21st century. Arcadia was her graduation project at Type West, where she was guided by Graham Bradley, Lynne Yun and James Edmondson.
    • Candida (2021). A decorative geometric slab serif revival of Candida Antiqua (Jakob Erbar, 1936). Guided by Graham Bradley and Kel Troughton of Type West.
    • Augustine (2020-2021). An interpretation of 18th-century punchcuttings inspired by minor inconsistencies found in metal type. Guided by Frank E. Blokland of Plantin Instituut voor Typografie.
    • Stencil (2020). A Korean/Hangeul stencil-style display font inspired by the work of Laura Meseguer, Ken Lunde, and event branding of ATypI 2020. Guided by Chorong Kim of Sandoll.
    • Ribbon (2020). A horizontal-contrast sans.
    • Bridge (2018-2020). A 9-style pixel font illustrating the history of cultural assimilation on Guam inspired by the speech Paradox in Paradise.
    • Canoe (2017). A humanist serif text font inspired by the book IBM and the Holocaust: The Strategic Alliance between Nazi Germany and America's Most Powerful Corporation. Guided by Richard Lipton of RISD.
    [Google] [More]  ⦿

    Meagan Driscoll

    During her studies at St. John's University in Queens, NY, Meagan Driscoll designed the prismatic typeface Handmade (2015). [Google] [More]  ⦿

    Meagan Kelly

    Rochester, NY-based designer of the hipster typeface Fleur (2015). [Google] [More]  ⦿

    Meagan Ross

    Designer in Brooklyn, NY, who made Pinned (2011). [Google] [More]  ⦿

    Meg Paradise

    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]  ⦿

    Megan Baggett

    Californian designer of Ruban (2016) for a project at St. John's University in New York City. [Google] [More]  ⦿

    Megan Broyles

    In 2016, Megan Broyles (Noblesville, IN) extrapolated the four letters CODA on a Led Zeppelin album cover to a full-fledged multiline art deco typeface. From 2013 until 2017, she studied at Ball State University. In 2018, she moved to New York to work for The Participation Agency. [Google] [More]  ⦿

    Megan Daley

    At the School of Visual Arts in New York City, Megan Daley designed the squarish tilted display typeface Folden (2015). She also created a squarish typeface for a children's book in 2015. Behance link. [Google] [More]  ⦿

    Megan Doty

    New Paltz, NY-based designer of the Latin wedge-serif typeface Décongelant (2014). Behance link. [Google] [More]  ⦿

    Megan Mosehauer

    During her studies at Rochester Institute of Technology under Kris Holmes, Megan Mosehauer designed the angular semi-blackletter typeface Lally (2013). [Google] [More]  ⦿

    Meghan Forsyth

    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]  ⦿

    Mei Cheng Wang

    Brooklyn, NY-based creator of an imaginary book cover for a text on Thomas Edison in 2012. This was done during her studies at the Pratt Institute. [Google] [More]  ⦿

    Melanie Davroux

    New York City-based designer of the school project font Wave (2013). No downloads. [Google] [More]  ⦿

    Melanie Leonard

    New York City-based designer of the display typeface Elo (2017). Its design is inspired by the music produced by the Electric Light Orchestra in the seventies. Behance link. [Google] [More]  ⦿

    Melbert Cary
    [Continental Typefounders Association]

    [More]  ⦿

    Melissa Lu

    As student at the School of Visual Arts in New York City, Melissa Lu designed the boxy experimental typeface Calendar (2016). Behance link. [Google] [More]  ⦿

    Melissa Osterweil

    Plainview, NY-based creator of Bitmap Typeface (2013) and Modular Typeface (2013, experimental). [Google] [More]  ⦿

    Melissa Pendill

    Brooklyn, NY-based designer and photographer who created the handwriting font Chalky (2004) with Fontifier. Alternate URL. [Google] [More]  ⦿

    Melody Newcomb

    New York City-based designer of a typographic tattoo lettering poster entitled Rock the Belles (2013). Behance link. [Google] [More]  ⦿

    Merel Matzinger

    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
    [Ottmar 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]  ⦿

    Merone Tesfaye

    Brooklyn, NY-based designer of the pixel-based display typeface Cake (2016). Behance link. [Google] [More]  ⦿

    Mete Erdogan

    Mete Erdogan (Brooklyn, NY) writes about his free typeface Mete (2014): Mete is a sans serif typeface inspired by my world travels. From Arabic curves to tall broadway characters, each letter is a sum of all parts of the world.

    Behance link. Dafont link. [Google] [More]  ⦿

    Mi Chen

    Mi Chen is a graphic designer, typographer, filmmaker and tattooist based in New York. She was born and raised in Mainland China, and moved to New York City in 2017. She is currently enrolled in Parsons School of Design's BFA program for Communication Design and Film Production. Mi works on branding, editorial design, typeface design and motion graphics.

    In 2020, she released Aperture Display, an ink-trapped sans with a hipster lower case t. [Google] [MyFonts] [More]  ⦿

    Micah Rich
    [Choosing a font editor in 2014]

    [More]  ⦿

    Micah Rich

    Brooklyn, NY-based contributor and administrator of The League of Moveable Type. Home page. In 2020, League Spartan Variable was released, thanks to Micah Rich and Tyler Finck. League Spartan was an early free font of The League of Moveable Type. Github link. Google Fonts link. [Google] [More]  ⦿

    Micah Stupak

    Stupak studied under Charles Bigelow at RIT from 2008 until 2010. Brooklyn, NY-based designer involved in several type projects:

    • Montserrat. He writes: Julieta Ulanovsky began this project in 2010 while a post-graduate student of typeface design at the FADU, University of Buenos Aires. She launched it as a Kickstarter project in 2011, in order to complete the first public release and share it with the world through Google Fonts. Since then it has been developed by Julieta in collaboration with several designers. In 2015, a full set of weights and italics were developed by Julieta in collaboration with Ale Paul, Carolina Giovagnoli, Andrés Torresi, Juan Pablo del Peral and Sol Matas. In 2017, Jacques Le Bailly reworked the entire Latin design, and in parallel Juan Pablo del Peral and Sol Matas developed the initial Cyrillic extension with review and advise from Maria Doreuli and Alexei Vanyashin. Technical reviews were made by Lasse Fister, Kalapi GajjarBordawekar and Marc Foley. Special thanks also to Thomas Linard, Valeria Dulitzky, Belen Quiros, and German Rozo. The latest version, commissioned by Google Fonts, principally due to Jacques Le Bailly. Stupak's contribution is unclear.
    • Russolo (2019). He describes it as a typeface combining Bodoni and Futura into a high-contrast geometric sans.
    • Life Savers (2019). Originally due to Pablo Impallari, Rodrigo Fuenzalida and Brenda Gallo. Later contributions by Igino Marini and Micah Stupak.

    Github link. [Google] [More]  ⦿

    Michael Abbink

    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. Mike Abbink is the Executive Creative Director of the Brand Experience and Design Team within IBM Studios. Before that, he worked as a Creative Director for the Museum of Modern Art, Wolff Olins (New York), Saffron Consultants, Method (also co-founder) and as a Design Director at Apple Computer. His typefaces:

    • 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. With Paul van der Laan, he co-designed FF Kievit Slab in 2013 in nine styles. In 2019, Abbink and van der Laan released FF Kievit Serif, which has wide apertures and large counters that make it quite legible.
    • 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. GE Inspira Sans and Serif (Mike Abbink, Paul van der Laan and Pieter van Rosmalen, Bold Monday) won an award in the TDC 2015 Type Design competition.
    • From 2000 until 2006, he created FF Milo, which was followed in 2009 by FF Milo Serif. These typefaces were developed for magazine and newspaper print and have therefore short ascenders and descenders. Paul van der Laan helped with the production. In 2014, the series was augmented with FF Milo Slab (by Mike Abbink and Jesse Vega).
    • In 2014, Abbink finished Brando (Bold Monday), which won third prize in the TDC 2015 Type Design competition. It was followed in 2016 by Brando Sans (Bold Monday).
    • IBM Plex (2017). A large free font family created by Mike Abbink and Bold Monday for IBM's new corporate identity. It includes IBM Plex Sans, IBM Plex Serif and IBM Plex Mono subfamilies. Direct download at Github. Aneliza (2018) is a fork that has a single storey g in the italics.

    Klingspor link. FontShop link. FontFont link. [Google] [MyFonts] [More]  ⦿

    Michael Ann Cohimia

    During her graphic design studies in Brooklyn, NY, Michael Ann Cohimia designed the display typeface Refractor (2013). [Google] [More]  ⦿

    Michael Bagnardi
    [Burn Type]

    [More]  ⦿

    Michael Bernal

    Graphic designer in Medford, NY. He created the soccer shirt number typeface Tuzografia for the Mexican soccer team Club Pacheco (2015-2018). [Google] [More]  ⦿

    Michael Bierut
    [Design Observer]

    [More]  ⦿

    Michael Bixler
    [The Letterfoundry of Michael & Winifred Bixler]

    [More]  ⦿

    Michael DiFabio

    Oswego, NY-based designer of Lyuda Sans (2018). [Google] [More]  ⦿

    Michael Doret
    [Alphabet Soup (or: Michael Doret)]

    [MyFonts] [More]  ⦿

    Michael Gray

    During his graphic design studies at the Cooper Union in New York, Michael Gray created the monoline geometric typefaces Monticello and Monticello Dash (2012), and the flared Helvetica caps called Helvidot (2012).

    Behance link. [Google] [More]  ⦿

    Michael Mitzman

    Designer and art director originally from Indianapolis who woeks in New York City since 2010. His typefaces include Wax (2014: a heavy techno typeface) and Keystone (2014: designed for a pitch for a vodka brand). [Google] [More]  ⦿

    Michael Pinto
    [Vanguard Media]

    [More]  ⦿

    Michael Russem
    [The Offices of Kat Ran Press]

    [More]  ⦿

    Michael Russem
    [Postage Stamps by Type Designers]

    [More]  ⦿

    Michael Sasorith

    Minneapolis, MN-based and Rochester, NY-born designer of the rounded Lao typeface Nok (2016) and the Lao font Fohn Thohk (2016). Behance link. [Google] [More]  ⦿

    Michael Scarso

    During his graphic design studies, Michael scarso (Staten Island, NY) created an unnamed circle-based typeface (2013). [Google] [More]  ⦿

    Michael Yunat
    [GetVoIP]

    [More]  ⦿

    Michelle Chan

    During her studies in New York City, Michelle Chan designed a hairy typeface (2016). [Google] [More]  ⦿

    Michelle Devlin
    [mderpth]

    [More]  ⦿

    Michelle Godfrey

    Michelle Godfrey (b. 1988) lives in Buffalo, NY. I guess the city of Buffalo inspired her to make the dingbat / scanbat typeface BuffalO (2011). In 2012, she created Mustache Gallery. [Google] [More]  ⦿

    Michelle Mattar

    During her graphic design studies, Brooklyn-based Michelle Mattar designed the stylish sans display typeface Oslo (2011). She will send it to you if you ask---it is askware.

    Euler Sans (2013) is based on an Euler graph representation of the letters (all vertices have even degree).

    Behance link. [Google] [More]  ⦿

    Michelle Samuels

    Graphic design student in Rochester, NY. She designed a typeface based on outline crossovers in 2011. [Google] [More]  ⦿

    Michelle Sjoberg

    Michelle Sjoberg (b. 1987) has lived and worked in Hong Kong, DSweden and New York City. Currently located in New York, she created the modular typeface Tic Tac (2012). [Google] [More]  ⦿

    Michelle Wang

    During her graphic design studie at the Pratt Institute, Michelle Wang (Brookyn, NY) created Synthetic (2013, a display typeface) and Cambridge (2014, a wedge serifed typeface that emulates wood type). Behance link. [Google] [More]  ⦿

    Michelle Yu

    During her studies in New York City, Michelle Yu created the blackboard bold typeface 2Boxy4U (2014, FontStruct). [Google] [More]  ⦿

    Miguel Ibarra
    [Miguel Ibarra Design]

    [MyFonts] [More]  ⦿

    Miguel Ibarra Design
    [Miguel Ibarra]

    Miguel Ibarra (Miguel Ibarra Design, New York) created the spurred Tuscan Western typeface Urban Cowboy (2013), the scary Halloween font Rebels (2015), and the heavy blackletter typeface Schwarz (2013). [Google] [MyFonts] [More]  ⦿

    Miguel Reyes
    [Fontaste]

    [More]  ⦿

    Mika Saito

    New York City-based designer who practices Japanese minimalism and simplicity. She created the squarish typeface Mik (2014). Behance link. [Google] [More]  ⦿

    Mikaela Elle

    During her studies at Pratt Institute, Brooklyn, NY-based Mikaela Elle (b. Hong Kong) designed the pixelish typeface Martian (2015). [Google] [More]  ⦿

    Mike Burroughs

    Graphic designer in Queens, NY, who created the decorative caps typeface appendages (2014). Behance link. [Google] [More]  ⦿

    Mike Essl

    Mike Essl is a graphic designer and educator, who co-founded at The Chopping Block Inc in 1996, a graphic design bureau in New York, and graduated from the Cranbrook Academy of Art, where he designed Eat Lightning (2001). At The Chopping Block, Essl-led projects have been featured by the AIGA, ComicCon, the Cooper Hewitt, and MoMA.

    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).

    Presently, he is Dean of the School of Art at The Cooper Union in New York. [Google] [More]  ⦿

    Mike Fortress
    [Symbolset]

    [More]  ⦿

    Mike Langlie
    [Yip Yop]

    [MyFonts] [More]  ⦿

    Mike McDougall

    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 (1994) 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

    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]  ⦿

    Mike Tapia

    Graphic designer in Brooklyn, NY. Creator of the Firestarter typeface (2013, lava lamp font). [Google] [More]  ⦿

    Mike Yanega
    [Bowfin Printworks]

    [More]  ⦿

    Milan Zrnic

    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]  ⦿

    Miles Long-Dodley

    New York City-based designer of the squarish typeface Labolt (2018). [Google] [More]  ⦿

    Military Aircraft Fonts
    [August T. Horvath]

    Airplane photographer August T. Horvath is from Windsor, Canada, and lives in the United States, where he works as an antitrust and false-advertising lawyer in New York City. Around 2001, August T. Horvath published his Military Aircraft Fonts series: RAF_45D_851ATH, RAF_45D_841ATH, RAF_PW_ATH, RAF_WW2_841ATH, RAF_WW2_641ATH, RAF_WW2_851ATH, RCAF_60O_ATH, RCAF_60SQO_ATH, RCN_8O_ATH. These truetype fonts have letters taken from RAF, RCN and RCAF airplanes, but they are limited in two respects---all fonts have the name "New", and all glyphs are hidden in the Private Use Area, and thus not easily accessible to the amateur user. They were free, but all sites that had them disappeared.

    Link to August T.Horvath's airplane photography. Linkedin link. [Google] [More]  ⦿

    Millie Tien-Hui Lin

    Millie Tien-Hui Lin is an art director and graphic designer who has worked in New York City, and in Taiwan (as art director of Ogilvy Action Taipei, since 2010). Her design studio is called From M.

    Creator of Chinese English Typeface (2012), an oriental simulation font. [Google] [More]  ⦿

    Milton Glaser

    Milton Glaser (b. 1919, New York, d. 2020) was an important American graphic designer who founded Push Pin Studios (in 1954) 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 Michael Samuel he said to his students: There are three responses to a piece of design---yes, no, and WOW! Wow is the one to aim for. One of his most iconic designs is the New York City logo from 1977 set in ITC American Typewriter. Glaser designed type on art boards. In the 1973 monograph Milton Glaser Graphic Design, George Leavitt is credited for lettering execution. Author of Sketch & Finish: The Journey from Here to There (2020, Princeton architecural Press). Glaser's typefaces:

    • Baby Teeth (1968, Photolettering). Milton Glaser's inspiration for his Babyteeth typeface came from a hand-painted advertisement for a tailor he saw in Mexico City. He was inspired by that E drawn as only someone unfamiliar with the alphabet could have concieved. So he set about inventing a completely legible alphabet consistent with this model. Available in the grapevine as BabyTeats. Cyrillically extended by Alexey Kustov (1993, TypeMarket) as Bebit. For a variation of Glaser's psychedelic Baby Teeth Baroque, see Nick Curtis's Aint Baroque NF (2009). Other digital versions include OPTI Buford (Castcraft: after Baby Teeth Ajar) and Baby Teeth (2009, Daylight). Drew Maughan's Wisdom Teeth (2020) is a modern and personal take on the original Baby Teeth, made in response to the large number of hideously bad clones of Baby Teeth (in Drew Maughan's own words). Finally, in 2021, Richard Kegler at P22 published P22 Glaser Babyteeth. Kegler writes: In 2019, P22 Type Foundry met with Milton Glaser to initiate the official digital series of typefaces designed by Glaser in the 1960s and 70s. P22 Glaser Babyteeth is the first family released in the series. P22 Glaser Babyteeth was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official Babyteeth fonts approved by Milton Glaser Studio and the Estate of Milton Glaser. The solid and open versions are designed to overlap for two-color font effects and can even be mixed and matched for multi layer chromatic treatments.
    • Glaser Stencil (1967, avant-garde typeface available at URW, Elsner&Flake, Linotype, and Apply Interactive). The Cyrillic version is due to A. Kustov (1993). For another digital version, see F37 Glaser Stencil by Rick Banks (2015). Glaser Stencil is sometimes referred to as Neo Futura and Futura Stencil.
    • Hologram (1970). For a revival see Capital Ideas NF (2012, Nick Curtis).
    • Baby Fat (1964). Glaser's first typeface. Digitized by Nick Curtis as Keepon Truckin NF (2007) and Baby Curls, and by Richard Keglet at P22 as P22 Glaser Babyfat (2021), which introduces six additional variations to allow the user to easily colorize the type as Glaser envisioned: Keyline, Fill, Glyph, Left, Right, and Down.
    • Test (1996, a Braille simulation face).
    • Houdini (1964). Milton Glaser commented about this type family: The typeface is called Houdini after the famous American magician. I wanted to produce a letterform that would gradually disappear as one line after another was removed. For a digital revival, see Richard Kegler's layerable family P22 Glaser Houdini (2021).
    • Kitchen or Big Kitchen (1976), an art deco shadow caps face. It was digitally revived by Nick Curtis as Coochie Nando NF (2011) and by Richard Kegler as P22 Glaser Kitchen (2021).
    • Einstein (1970s).
    • Film Sense (1968, Photolettering, with Seymour Chwast). This typeface was digitized and extended by Adrian Candela in 2013 as Newsense.
    • Sesame Place (1980).

    Musings about life (dead link). Linotype link. FontShop link. A brief tour of Milton Glaser's typography. [Google] [MyFonts] [More]  ⦿

    Mina Tung

    Mina Tung (Sweet Travelling Mina, New York City) designed the connected upright script typeface Amavi (2017). Creative Market link. [Google] [More]  ⦿

    Minhee Kim

    Alexandria, VA-based designer of the clean sans typeface Extraclear (2013) for a final project in a lettering and typography class taught by Bruce Willen and Nolen Strals at MICA. In 2016, she designed the free sans typeface Minee Sans.

    Behance link. Old Behance link. [Google] [More]  ⦿

    Mira Khandpur

    Designer in Brooklyn, NY, who created the circular compass-and-ruler virtual identity typeface Brooklyn Bridge Park in 2016. Its glyphs are sectioned for easy coloring and stretching. Behance link. [Google] [More]  ⦿

    Miranda Sehl

    Creator of an alphabet with photographic light painting. Behance link. Miranda is a graphic designer in Albany, NY. [Google] [More]  ⦿

    Mirek Janczur

    Mirek Janczur (Mirekulous, Albany, NY) created the free vector format halftone-themed texture typeface Burst (2015). Behance link. [Google] [More]  ⦿

    Mirko Velimirovic
    [Abyss Type Company]

    [More]  ⦿

    Mirna Everett

    New York City-based graphic designer. She studied graphic design at the Art Institute of New York City and at the Academy of Fine Arts Zagreb, Croatia. In 2010, she designed the great ornamental all caps face Mevlida. [Google] [More]  ⦿

    Mitali Mehta

    At Parsons School of Design in New York City in 2018, Mitali Mehta designed Geometrique Grotesque. [Google] [More]  ⦿

    Mitch Paone
    [DIA (Dreamers Ink Aesthetics)]

    [More]  ⦿

    Mo Lebowitz
    [Quad Typographers]

    [More]  ⦿

    Mohammed Nadeemuddin

    New York-based designer (b. 1992) of Tight Pixel (2014, a pixel typeface created with the help of FontStruct). [Google] [More]  ⦿

    Molly Fehr

    As a student in Brooklyn, New York, Molly Fehr [who grew up in Philadelphia] created the floriated caps typeface Botanical (2015). Behance link. [Google] [More]  ⦿

    Monica Alisse

    Graphic designer in New York. Behance link.

    She created Three Kilometer Type (2012) by emptying her ballpoint pen (which apparently runs for three kilometers). [Google] [More]  ⦿

    Monique Meckelburg

    During her studies at St. John's University in New York City, Monique Meckelburg designed the caps-only display typeface Alpine (2016). [Google] [More]  ⦿

    Monique Sterling

    Queens, NY-based designer of the hand-printed caps typeface Diana (2013), named after the Princess of Wales. [Google] [More]  ⦿

    Monkey Type

    Type foundry based in Berlin and New York. In 2016, Monkey Type and Mitch Paone designed the typeface family Banana Grotesk and the wide monolinear all caps sans typeface Albert. In 2020, they released the sans typeface family Marcel. [Google] [More]  ⦿

    Monolith Foundry (was: Pilgrim Fonts)
    [Griffin Moore]

    Griffin Moore is a designer based in Brooklyn, New York. While studying at Rochester Institute of Technology he was taught and inspired by Charles Bigelow. In 2014, Moore launched Pilgrim Fonts. Griffin Moore designed the versatile monospaced / programming font Range Mono in 2015. [Google] [MyFonts] [More]  ⦿

    Morgan Press

    Morgan Press is located in High Point Road, Scarsdale, New York. They published wood type specimen books such as Morgan Press Wood Type Catalog, Morgan Press Presents A First Showing of Wood Type Specimens (1955) and Wood Type Specimens for Reproduction from the Morgan Press (1964). [Google] [More]  ⦿

    Morgan Sobel

    New York City-based graphic design student. She created Arielle (2010) and some stunning pattern tiles (2010). [Google] [More]  ⦿

    Morgans&Wilcox Mfg Co.
    [William T. Morgans]

    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. Morgans and Wilcox was absorbed by Hamilton Manufacturing.

    On-line 1890 catalog by Robert Lee. On page 22, that 1890 catalog even shows a typeface called Belgian.

    Digitizations:

      HWT Geometric (2013, James Grieshaber, Hamilton Wood Type Foundry). This is a squarish wood type family based on a design by Gustave F. Schroeder from 1881, as explained by HWT: Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version.
    • Dick Pape designed AWT Morgans Wilcox Doric Cond in 2013.
    • Matt Braun (Wood Type Revival) designed French Octagon (2016) based on a Morgans&Wilcox model.
    • Cosmopolitan (1890s) was revived by Matt Braun in 2016.
    • HWT Tangent (2021, Patrick Griffin at P22) revives a Morgans & Wilcox wood typeface known as Tangent in the Hamilton Manufacturing collection (after Hamilton took over Morgans & Wilcox).
    [Google] [MyFonts] [More]  ⦿

    Morning Type
    [Matthew Smith]

    Morning Type was set up in Brooklyn, NY, by Matthew Smith. During his studies in Plainview, NY, Matthew Smith designed the curly display typeface Mystic (2016). [Google] [More]  ⦿

    Mortimer Leach

    Mortimer Leach was a lettering specialist. He worked on national accounts both in New York and in Los Angeles, and for twenty years maintained his own freelance studio. He was best known for his work in advertizing, and won many awards for lettering. During the 1950s, Mortimer Leach became Director of the Lettering Department at Art Center School, Los Angeles. He wrote Lettering for Advertising (1956) and Letter Design in the Graphic Arts (1960). The former book deals with American display lettering techniques in the Mid-Twentieth Century. Leach uses Caslon, Bodoni and Futura to demonstrate how, and how not, to create beautiful headline lettering for advertisements.

    His influence cannot be underestimated. His students include type designers like Rick Cusick. Inspired by Mortimer's lettering, Riley Cran named a 56-style didone typeface family after him, Mort Modern (2017). [Google] [More]  ⦿

    Moshik Nadav

    Extraordinarily talented type and graphic designer in New York City, who is the uncontested fashion magazine type designer. Before New York, he was in Jerusalem, where he studied at Bezalel Academy of Art and Design. He also did one exchange student term at OCAD in Toronto. His work is geared toward the fashion industry and fashion publications in general. Behance link. He created these typefaces:

    • Moshik Hebrew (2010).
    • Some Latin display faces (2009).
    • His Moshik typeface (2010) has upper and lower cases that emulate chic jewelry.
    • In 2011, he created an extraordinarily beautiful didone display family called Paris (followed in 2013 by Paris Pro) about which he writes: Paris is a new typeface that inspired by the world of fashion. Paris Typeface should be in use by the most popular fashion magazines and super luxury brands. Paris typeface include awesome ligatures and sexy numerals. Paris typeface include 9 different styles: Paris Regular, Paris Regular Exit, Paris Regular Strip, Paris Regular White, Paris Ultra Light, Paris Bold, Paris Bold Exit, Paris Bold, Strip, Paris Bold White.
    • A few months after Paris came the art deco marquee version called Paris Strip (2011).
    • In 2015, the ultra-sharp high-contrast fashion mag decorated didone typeface Lingerie was published. Advertized as the sexiest, most powerful typeface yet, it was upgraded to Lingerie XO in 2017, and Lingerie Wild Pro in 2019.
    • In 2020, he released Segol, a stunning 24,000 glyphs in an orgy of swirls and seductive curves.
    [Google] [More]  ⦿

    Mr Ramon (was: Gorillaroni Mockup)

    New York City (was: Zaporizhzhia, Ukraine)-based designer of color display typefaces for Latin and Cyrillic such as Fargo (2019), Baku (2019: rounded, fat, textured and layerable), Arco (2019), Ryde (2019: an engraved "money font"), Wellington (2019: SVG format), Fairbanks (2019), Frat (2018: layerable, octagonal, athletic lettering) and Moscow (2019: Western style). [Google] [More]  ⦿

    Mucca Design (or: Mucca Typo)
    [Matteo Federico Bologna]

    Born in Milan in 1965, Matteo Federico Bologna emigrated to the United States, where he founded Mucca Design in 1999, a company involved in logos, type, and corporate identity. He teaches font design at the Parsons School of Design in New York.

    His typefaces include Food Mucca, Hair Updown, Littoria, Filo Mucca, Mirra Mucca (gorgeous lettering), Mongo Mucca, Rigid Mucca, Rubens Mucca, Vox Mucca, Egizio Mucca, Latina Mucca, Joung Mucca and Pravda (cyrillic simulation font). Free fonts: Geo Mucca, Fax Mucca, Melt Mucca, Updown Mucca, Pepina Mucca (curly lettering). Mucca Design custom-designed Balazs, Decora, Moranda Serif and Grotesque, One Atlantic (a slabbed Garamond done by Joshua Darden), Faux Cyrillic (done for Manhattan's Pravda restaurant), Victoria's Secret Logotype. At iFontMaker, he did ItalianoAMano, and ItalianoAManoPieno.

    In 2015, he created the industrial squarish vernacular typeface NoExit. Originally designed for the Chicago Athletic Association Hotel, its inspiration was an old sign that said STAIRWAY found the hotel's old building.

    In 2017, Mucca Design (via Schriftlabor) created the custom typeface Sephora (Sans, Serif). [Google] [More]  ⦿

    Mucca Typo
    [Matteo Bologna]

    Established in 2005, Muccatypo's is a group of three type designers that form a subgroup of Mucca Design in New York:

    • Matteo Bologna, the principal of Muccatype, made Liminal (2011: a beautiful Venetian text typeface family inspired by Centaur), NoExit (2014, a variable width industrial vernacular signage sans typeface family, originally designed for the Chicago Athletic Association Hotel), Grotto Ironic (2010), Decoro (Victorian Tuscan ornamental face), Sportivo (a sports font family), and Infidelity Pro.
    • Will Staehle designed Warren and Valhalla.
    • Roberto de Vicq created Bastardo, Wet and Genealogy.
    • Matteo Bologna and Jesse Ragan created Athenian Extended in 2011. This "playfully peculiar face" (their words) was custom-designed for Typography 32, the annual of the Type Directors Club. A revival of the 19th century classic Athenian.

    Free typefaces at Muccatypo include the useless grunge typefaces Fax Mucca, Geo Mucca, Pepina Mucca, Melt Mucca and Up Down Mucca.

    In 2014, Matteo Bologna served as President of Type Directors Club. He is an associate faculty member at the School of Visual Arts and Kean University. [Google] [MyFonts] [More]  ⦿

    Munazza Khan

    Farmingdale, NY-based creator of a great Fengshui poster (2019). [Google] [More]  ⦿

    Murray Fuchs

    Creator of phototype typefaces at VGC, such as Accant (1978) and Erwin (a comic book / psychedelic style face). Erwin was digitized by Nick Curtis and extended to Nerwyn NF (2010).

    At Photo Lettering (New York), he designed Erwin, Joanie, Off Beat (beatnik style), Space Age, Space Age A and Space Age Outline B. [Google] [More]  ⦿

    MUSE

    Mag by Hoefler Type Foundry in New York. [Google] [More]  ⦿

    Mussett Letterworks
    [Neil Mussett]

    Neil Mussett (b. 1975, Denver, CO) is a computer programmer located in Amherst, NY. He created Debug (2007), a monospaced hand-printed typeface. In 2010, he added the flared display typeface Mickey Mono. [Google] [MyFonts] [More]  ⦿

    Myldwin Pierre

    Graphic designer in New York. Creator of a nice 3d typography poster in 2011. Behance link. [Google] [More]  ⦿

    Myungwon Seo

    During his graphic design studies in Manhattan, NY, Myungwon Seo created Handmade font (2014). Behance link. [Google] [More]  ⦿

    Nadine Muhtadi

    Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the Bauhaus (piano key) stencil typeface Haeckel (2013, Friday Fonts), which was named after the German naturalist, philosopher, biologist and artist Ernst Haeckel, who promoted the idea of structure and symmetry in marine organisms and nature.

    She also created the experimental typeface Eliminated (2013). [Google] [More]  ⦿

    Naked Fowl
    [Mark McCormick]

    Naked Fowl is Brooklyn, NY-based Mark McCormick. He created a revival typeface called Latin Antique (2012), the quaint typeface Alfonso (2012), and produced several interesting pieces of lettering. Student at The Cooper Union. [Google] [More]  ⦿

    Namhee Kim

    Creator of Locked Typeface (2015), which appears to be a school project at the School of Visual Arts in New York City. Behance link. [Google] [More]  ⦿

    Nana Nozaki

    New York City-based designer of Bauchstaben (2013), a Bauhaus-inspired decorative caps typeface. Behance link. [Google] [More]  ⦿

    Nancy Mazzei

    Nancy Mazzei and Brian Kelly designed Backspacer (a white-on-black old typewriter font) for Smoke Bomb Studio in 1993. This was subsequently published at Emigre. They designed GLADYS and Teenager (1994) at GarageFonts.

    Nancy Mazzei works as the VP of off-air creative at VH1 in New York City. She was a partner in her own studio, Smokebomb, in the early 90's for 6 years. Her shop created original fonts for Emigre and David Carson/Raygun magazine. She taught typography for four years at The School of Visual Arts where she earned her BFA with honors in Media Arts. Mazzei lives in Manhattan with her husband Michael Wong.

    FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Naomie Ross

    Brooklyn, NY-based creator of Lovechild (2012), a typeface that uses the shapes of Gotham and is filled with frilly patterns.

    Behance link. [Google] [More]  ⦿

    Nari Park

    Designer in New York City who created the grungy typeface Metropolis (2013), which was inspired by Fritz Lang's movie Metropolis.

    Behance link. [Google] [More]  ⦿

    Natalia Grosner

    Toronto-based freelance graphic designer who moved to New York City. Creator of the multiline typeface Neon (2007), the hairline avant garde typefaces Gisele (2014) and Daria (2014), and the display typeface Electro Font (2014). Behance link. [Google] [More]  ⦿

    Natalie Skopelja

    Graphic designer in New York City, who created Dizney World Gothic in 2014. She calls this style make believe alphabets: fill in the missing letters in found lettering. Dizney World gothic, for example, is based on lettering found on the campus of her school, The City College of New York. [Google] [More]  ⦿

    Natasha Jen

    Natasha Jen (BFA 2003) and her team at Pentagram designed the stretchable typeface Herita Geo in 2015 for the AIA New York Heritage Ball.

    Type designs from 2017: Closed Worlds (mechanical, octagonal; Closed Worlds is a new exhibition at the Storefront for Art and Architecture in New York), Open View Stencil (for the Boston-based venture capital firm Open View).

    In 2019, she released the multiline custom typeface family Building Cycles, and the custom pixel typeface Droit.

    Behance link. Pentagram link. [Google] [More]  ⦿

    Natasha Maria Fernandez-Fountain
    [One by Four]

    [MyFonts] [More]  ⦿

    Nate Hillabush

    Graphic designer from Elba, New York. He created this excellent type poster in 2009.

    Behance link. [Google] [More]  ⦿

    Nate Jacoski

    Binghamton, New York-based creator of the artsy typeface Jacoski Inverse (2015). [Google] [More]  ⦿

    Nathan Crandall

    New York City-based designer of the dot matrix typeface Bloc (2014). [Google] [More]  ⦿

    Nathan Duso

    During his studies at SUNY Potsdam, Malone, NY-based Nathan Duso designed a fun handcrafted typeface (2016). [Google] [More]  ⦿

    Nathan Hauenstein

    Nathan Hauenstein (b. 1985) is an artist living and working in New York. He created a hand-drawn typeface, Dewey Library Hand Font (2013), and wrote: Following the instructions of Melvil Dewey in his 1887 publication "Library Notes: Improved Methods and Labor-Savers for Librarians, Readers and Writers," Craycroft practiced her library hand handwriting while Hauenstein transformed each written letter into a typeable digital font. [Google] [More]  ⦿

    Nathan Rader

    Canton, NY-based designer of the roman majuscule font shown here (2007). [Google] [More]  ⦿

    Nathaniel C. Knapp & Levi Rightmeyer

    Publishers of Rapid Writing: Rightmeyer's Penman's Paradise (1852, New York). [Google] [More]  ⦿

    National Printers Materials Co.

    American wood type manufacturer that existed from 1876 until 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. Example of that: No. 20 Eureka (1888), Clarendon X Condensed (1890). [Google] [More]  ⦿

    Nazareno Crea
    [ABC ETC INC]

    [More]  ⦿

    Ne Davius

    New York City-based designer of the dot matrix typeface Trypo (2018). [Google] [More]  ⦿

    Nechama Zukin

    Brooklyn, NY-based designer of the Mondrian-inspired bilined typeface Mondri (2016). [Google] [More]  ⦿

    Ned Semoff

    During his graphic design studies in New York City, Ned Semoff (b. 1990) created the free experimental octagonal typeface Octo (2013).

    Dafont link. Behance link. [Google] [More]  ⦿

    Neil Mussett
    [Mussett Letterworks]

    [MyFonts] [More]  ⦿

    Nelle McDade

    Originally from Boston, Nelle McDade studied communicatrion design at Parsons in New York. Creator of an experimental pixelish CSS3-based typeface (2013). Behance link. [Google] [More]  ⦿

    Nemek
    [Tom Grunwald]

    Tom Grunwald is the Brooklyn, NY-based type founder of Nemek. Creator of the beefy ultra-heavy slab typeface Nemek (2013) and the blackletter typeface Nemek Gothic (2014).

    There is also a Tom Grunwald foundry on MyFonts. Behance link. [Google] [MyFonts] [More]  ⦿

    New Fonts
    [Charles Nix]

    New York-based foundry run by Charles Nix (b. 1967, Ohio), who studied tye design at The Cooper Union. Charles Nix is professor of Typography and Book Design at the Parsons School of Design, New York. His foundry was helped by Wong Chee (digitization) and Stefano Arcella (ornament design). Fonts: Melaka, Batak, Nani, Tuk Tuk, Christmas (a softened blackletter with Christmas ornaments), Nix Rift (serif: the official typeface of the Cooper Union), Huta Bulon, Samosir, Island Special. Batak became ITC Batak (2002).

    Charles Nix digitized the Augereau family for George Abrams in 1997 and manages the Abrams Legacy Collection, which also offers Abrams Venetian.

    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 typefaces: Batak, Nani, Tuk Tuk, Samosir, Melaka, and Huta Bolon.

    In May, 2015, Charles joined Monotype as a Senior Type Designer, and later became its Type Director. His work at Monotype:

    • In 2017, Charles Nix designed the free typeface family D-DIN that is based on DIN 1451. He writes: Datto uses a DIN-font as primary corporate font and commissioned Monotype to create several styles, for internal use and to be open sourced under a SIL OFL v1.1 license. Nix then went on to design these for Monotype, and thus for Datto Inc.
    • In 2018, he published Hope Sans (Monotype), which mixes retro sans styles with 1970s playfulness. Hope Sans won an award at the Type Directors Club's Type Design Competition 2019.

      In 2018, Monotype's Carl Crossgrove, Charles Nix, Juan Villanueva and Lynne Yun co-designed Walbaum, a reimagined superfamily with 69 total fonts, in five optical sizes. Monotype writes: Walbaum was meticulously crafted by Monotype's Carl Crossgrove, Charles Nix, and Juan Villanueva to bring Justus Erich Walbaum's high contrast didone style masterpiece to the 21st century. Walbaum has over 600 glyphs with OpenType typographic features like small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures. Also included in the family are three decorative and ornament fonts.

    • He was part of a team at Monotype that developed Helvetica Now in 2019 at Monotype, together with Jan Hendrik Weber and others. Monotype writes: Every single glyph of Helvetica has been redrawn and redesigned for this expansive new edition which preserves the typeface's Swiss mantra of clarity, simplicity and neutrality, while updating it for the demands of contemporary design and branding. Helvetica Now comprises 48 fonts, consisting of three distinct optical sizes: Micro, Text and Display.
    • Ambiguity (2019, Charles Nix for Monotype). This large typeface family comes in five distinct subfamilies, Tradition, Radical, Thrift, Generous and Normate.
    • Helvetica Now Variable (2021). Helvetica Now Variable was designed by Max Miedinger, Charles Nix, Monotype Studio, Friedrich Althausen, Malou Verlomme, Jan Hendrik Weber and Emilios Theofanous and published by Monotype. Monotype writes: Helvetica Now Variable gives you over a million new Helvetica styles in one state-of-the-art font file (over two-and-a-half million with italics!). Use it as an extension of the Helvetica Now family or make custom-blends from its weights (Hairline to ExtraBlack), optical sizes (four point to infinity), and new Compressed and Condensed widths. It contains 144 static styles.

    FontShop link. Klingspor link.

    View Charles Nix's typefaces. Fontsquirrel link for D-DIN and Datto. [Google] [MyFonts] [More]  ⦿

    New York City Signs

    Sign photography in New York City. [Google] [More]  ⦿

    New York Design Studio

    Commercial fonts eXposure and Delta. [Google] [More]  ⦿

    New York Pulbic Library (NYPL)

    Some specimen books at the NYPL listed by Thomas G. Lannon. [Google] [More]  ⦿

    Newton Copper-faced Type Co

    Typefounder located at 14 Frankfort Street in New York which was active in the latter part of the 19th century. [Google] [More]  ⦿

    Nghia Nguyen

    New York City-based designer of the Super F typeface (2012), a rounded monoline sans with exaggereted art nouveau descenders. [Google] [More]  ⦿

    Ngo Thanh Nhan

    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]  ⦿

    Nicholas Bond

    New York City-based graphic designer. He created a geometric rounded monoline typeface in 2012 called GRD. [Google] [More]  ⦿

    Nicholas Coughlin

    Clay, NY-based designer of the decorative Panda Food Font (2014). [Google] [More]  ⦿

    Nicholas Felton
    [FELTRON]

    [More]  ⦿

    Nicholas Misani

    New York City-based designer of several great mosaic-based lettering pieces in 2017. In 2017, Louise Fili, Nicholas Misani and Rachel Michaud co-designed the art nouveau typeface Montecatini, which is inspired by Italian travel posters from that era. In 2019, Louise Fili, Nicholas Misani and Andy Anzollitto expanded this typeface to the 24-style Montecatini Pro.

    Marseille (2017) is co-designed with Louise Fili. It is an art deco-inspired letterform that is based on Louise Fili's cover design for the Marguerite Duras novel The Lover. Behance link. [Google] [MyFonts] [More]  ⦿

    Nicholas Weltyk

    Communication design graduate from the Pratt Institute in New York. He joined Karma in 2016 as a designer, and taught typography for some time at Parsons after 2015. He lived in Brooklyn. Designer of the industrial typeface Curfew (2011). [Google] [More]  ⦿

    Nick Keppol

    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]  ⦿

    Nick Moore

    Graduate of the College for Creative Studies, who works in Seattle, WA (and before that, in Brooklyn, NY). He created Gooder (2011), a 3d beveled headline face, and the art deco Tomboy (2017).

    Behance link. Devian Tart link. [Google] [More]  ⦿

    Nick Paquin

    During his studies at The College of Saint Rose, Albany, NY-based Nick Paquin designed the beveled textured typeface Avaitor (2017). [Google] [More]  ⦿

    Nick Perry

    During his studies at School of Visual Art in Manhattan, NY, Nick Perry designed the sharp-edged modular typeface Sweden (2017). Behance link. [Google] [More]  ⦿

    Nick Sherman
    [Hex]

    [More]  ⦿

    Nicla Marino

    Graphic and web designer in Kingston, NY, who created the free font Crazy Cat Lady in 2016. Behance link. [Google] [More]  ⦿

    Nico Schweizer

    New Yorker (b. 1969) who graduated from the School of Visual Arts in New York in 1993 and set up a studio in Hoboken, NJ. In 2004, Nico moved to Tuscany, and then Switzerland with his young family. He started a line of wooden children's toys in 2005, and later he ran a small agency for identity and website design in Zurich. He returned to the NY area in 2013, and since 2016, he has been a design director at The New Yorker magazine.

    He designed Albroni (1992, a revival of the slinky 1950 typeface Albro by Alexey Brodovitch), Hoboken-High (1998: an octagonal typeface), Typ1451 (1999, a very airy and open-bowled sans serif), LeCorbusier (great stencil font, 1999), Le Corbusier Condensed (1999), Gigaflop (1999) and Ultrateens (1999) at Lineto.

    Lineto link. [Google] [More]  ⦿

    Nico Syjuco Siy

    As a student at Parsons School of Design, New York, Nico Syjuco Siy (Richmond, BC) designed the futuristic typeface Interstellar (2016). [Google] [More]  ⦿

    Nicola Householder

    During her graphic design studies at Pratt, Brooklyn, NY-based Nicola Householder (originally from San Francisco) designed the display typeface Adler (2014) and Moiré typeface (2016). [Google] [More]  ⦿

    Nicolas Guagnini
    [Dick Skinner]

    [More]  ⦿

    Nicole Blackman

    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]  ⦿

    Nicole Garcia

    Graphic designer in Brooklyn, NY, who created the art deco typeface Au Papier in 2014. During TypeParis 2019, she designed the 4-style brush typeface Ambulante, which was inspired by the vernacular signage seen in old Chilean buses. [Google] [More]  ⦿

    Nicole Kercado

    Graphic designer in North Babylon, NY. In 2012, she created the hand-drawn Monospaced Unicase Typeface. [Google] [More]  ⦿

    Nicole Narvaez

    During her studies at Miami Ad School, Nicole Narvaez (Brooklyn, NY) created Headphone Type (2013). [Google] [More]  ⦿

    Nicolette Seeback

    New York City-based designer of Stamp Type (2016). This is a physical derivation of a didone font, as she explains: This type was created by drawing designs into the thick strokes of Bodoni letters. I transferred the designs onto linoleum and carved stamps. I then used black acrylic paint to stamp onto paper. The results are imperfect and messy. Behance link. [Google] [More]  ⦿

    Nijel Taylor

    Graphic designer in New York City who created the neon typeface simply called Neon (2016). Behance link. [Google] [More]  ⦿

    Niko Skourtis

    Niko Skourtis is a graphic designer practicing in New York since earning a BFA from California College of the Arts. For his thesis, he developed an interactive program called Typograph, which earned him the SOTA Catalyst Award in 2012. [Google] [More]  ⦿

    Nikolaos Georgantas

    Designer in Brooklyn, NY, who drew many ornamental capital letters in 2013 during his graphic design studies. [Google] [More]  ⦿

    Nim Ben-Reuven

    Graphic designer in Brooklyn, NY. He made the fat typeface Folded Stone (2010). Behance link. [Google] [More]  ⦿

    Ninze Chen-Benchev

    Born in Kuala Lumpur, Malaysia, in 1987. Graphic designer in Brooklyn, NY, who created Kama (2015), an experimental typeface inspired by the work of Russian suprematist Kazemir Malevich. She also drew great cosmic typographic illustrations for Bullett Magazine in 2015. Behance link. [Google] [More]  ⦿

    Nisa Silva

    New York City-based designer of the modular typeface Inclined (2017). [Google] [More]  ⦿

    Nishna Shah

    During her studies at the School of Visual Arts in New York, Nishna Shah designed the script typeface Rush (2019) and the Indic style Latin typeface Mumbai (2019). [Google] [More]  ⦿

    Niti Shah

    Graduate of the Parsons School of Design. In 2013, she created a children's typeface of the kitchen tile style called Celio.

    Behance link. [Google] [More]  ⦿

    Noah Rothschild
    [Victory Type Foundry]

    [MyFonts] [More]  ⦿

    Nobi Kashiwagi

    In 1995, Nobi Kashiwagi moved to Brooklyn, New York City, from Japan to study photography at Parsons School of Design where she graduated with a Bachelors in Fine Art. Nobi has been working at the acclaimed fashion-advertising agency AR New York, she has worked on many different projects across advertising, branding and design. His experience at AR includes editorial design of Influences Magazine which received a Typographic Excellence at TDC and Distinctive Design merit at ADC. Nobi also holds a black belt in Brazilian Jiu-jitsu. His design studio, Endash Space, is based in Brooklyn.

    He designs mostly commissioned typefaces, such as a rounded sans typeface for Art Asia Pacfic Magazine (2013), Didot Sans (2017), and Carl Fischer Font (2016). In 2014, she designed a lowercase for Trajan. In 2017, she tweaked Avant Garde and called it Avant Garde Grotesque. In 2018, he published the text typeface family Wintour, and in 2019 the text typefaces Saggio and France. [Google] [More]  ⦿

    Noelia Camilo

    New York City-based designer of the display typeface Evelene (2015) and the textured typeface Counterclockwork (2017). [Google] [More]  ⦿

    Noelle Smith

    Communication design student in New York, NY. She created Tritype (2011), a triangle-themed typeface remotely inspired by graffiti. [Google] [More]  ⦿

    Noemie Le Coz

    Noemie Le Coz is an Australian, independent designer, living and working in New York City. With Eli Block and Hana Tanimura, she co-designed the art deco typeface Notable (2018, Google Fonts): Notable is an uppercase sans serif display font; its letterforms are based on those found on U.S. currency. Notable was designed for Notable Women, an initiative by former Treasurer of the United States Rosie Rios. Notable Women is an augmented reality experiment that lets anyone see 100 historic American women where they have historically been left out: U.S. currency. [Google] [More]  ⦿

    Noisecore Type (was Guerilla Type)
    [Yuri Jossa]

    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]  ⦿

    Nord Collective (or: Fontfirma)
    [Alex Frukta]

    A joint venture by Alex Frukta (Moscow; b. 1992, Saint Petersburg) and Vladimir Tomin in New York City, est. 2014. Their first typeface is Nord (2014, free). Together, they they created all the (constructivist style) graphics and typography for a Russian documentary called Kronshtadt (2014).

    In 2015, they published the great free Latin / Cyrillic headline sans typeface Kolikö.

    Typefaces from 2016: Bonecrusher, Turum (free).

    Typefaces from 2017: Kankin (a free Hitchcock era movie font).

    In 2018, he designed the free font Kirke.

    Typefaces from 2019: Kengo (handcrafted).

    Typefaces from 2020: Oko (pixelish), Accent, Skepta (a spurred horror font family).

    Typefaces from 2021: Ioto Animation (Alex Frukta).

    Earlier typefaces by Alex Frukta added to the collection: Kaori (2010: floral caps), Silverfake (2012). [Google] [More]  ⦿

    Norel Hassan

    Graduate from the Cooper Union who created the abstract experimental commissioned typeface Open Lo in 2010. [Google] [More]  ⦿

    Norse Owl

    New York City-based designer of these national park display typefaces in 2018: Sequoia (sans), Redwood (spurred), Eagle Sight. [Google] [More]  ⦿

    NYC Type
    [Luke Connolly]

    Photographed vernacular type in New York City. By Luke Connolly. [Google] [More]  ⦿

    OCD: Original Champions of Design
    [Jennifer Kinon]

    Branding and design agency in New York City. Subpage for the free labyrinthine typeface Free (2013) that won an award at TDC 2014. Free was co-designed by Matt Kay, Jennifer Kinon and Bobby C. Martin.

    Times Premier (for The New York Times) is a masthead blackletter done by Jennifer Kinon, Bobby C. Martin Jr, Matt Kay, Jonathan Lee and Michael McCaughley based on lettering by Matthew Carter.

    For the Museum of African Art, Jesse Ragan created the Afri Sans typeface family.

    In 2018, they created the custom branding and logo typeface Dartmouth Ruzicka for Dartmouth University, based on type on a bicentennial seal and plaque designed by Rudolph Ruzicka, a typeface designer who retired in Hanover, NH. [Google] [More]  ⦿

    Ogoby Asencio

    Type and graphic designer in New York City who created the sans typefaces Grail Grotesque and Stake Regular in 2016. Behance link. [Google] [More]  ⦿

    Okay Type
    [Jackson Cavanaugh]

    Jackson Showalter-Cavanaugh (b. Waterloo, IA, 1981) is a freelance graphic designer and independent type designer based in Brooklyn, NY, and/or Chicago. He founded Okay Type in 2009.

    Jackson designed Alright Sans (2009, clean sans) and Alright Display (voguish hairline sans).

    In 2012, he created The Harriet Series (with Harriet Text and Harriet Display subfamilies), a full Sotch Roman / Baskerville / didone family that won an award at TDC 2012.

    In 2016, he was asked by Mac Lewis, artistic director at Playboy, to design a new headline typeface for the magazine. Cavanaugh designed a heavy slab serif for the occasion.

    In 2019, he released the ultra-black typeface family Okay. [Google] [MyFonts] [More]  ⦿

    Olga Balina

    New York City (ex-Moscow)-based art director and graphic designer Olga Balina was born in 1988. She is associated with Flëve, a design agency in New York that was founded by Vit Abramov.

    In 2008, she created Charlotte (Latin&Cyrillic). During her studies at British Higher School of Art & Design in Moscow, she created ALS Meringue (2009, a serif family for Art Lebedev Studio, done with Taisiya Lushenko). In 2009, she also created a dotted line pixel type for FLYmagazine. As a student project at the British Higher School of Art and Design in 2009, she made a Natural Alphabet using stone scratching.

    Mobispot Regular (2013) is a beautiful contemporary geometric grotesque for Latin and Cyrillic, designed by Olga Balina and Vit Abramov at Flëve for Mobispot Social Systems, a company that creates cool applications for life and business based on NFC technology.

    MyFonts link. Behance link. Behance link for Flëve. [Google] [MyFonts] [More]  ⦿

    Olga Vladova

    New York City-based designer. She created Penny Font (2010). [Google] [More]  ⦿

    Olivia Basile

    During her studies, Oswego, NY-based Olivia Basile designed the geometric typeface Electric Hooker (2012).

    Behance link. [Google] [More]  ⦿

    Olivia Kane

    During her studies, Brooklyn, NY-based Olivia Kane designed the text typeface Vreeland (2017), which is naqmed in honor of Diana Vreeland, famous for her imaginative quotes. Behance link. [Google] [More]  ⦿

    Omega Font Labs
    [Eric VanDycke]

    Freeware fonts by Eric VanDycke from Warnerville, NY, aka Dr. Nimbus. Original and very very enjoyable creations from 1997-1998. The site was closed in March 1999, unfortunately! Thanks to CybaPee, you can download the whole collection now.

    Typefaces: OmegaSwirls (a neat collection of spirals and swashes), Curbature (an earthy outline font), SpahrtyGirl (1998, a great curly typeface), Shamantics (music-inspired), Doodle Dudes of Doom (funny dingbats), BirthdayBats, Big Ham, Black Shirt Slime Trail, Bazzomba, Big Blocko, Androganamous, 52 Spheroids, Vadim'sHand, Tom'sWriting (nice), Kim'sHandwriting, Jennifer'sHand, Fanny's Treehouse, Chris's Handwriting, Armageddon, Awl Scrawl, Kim'sToons, Max's Handwriting, Frog Mess 1 (by Froggie), and Frog Dings 1 (by Froggie), Halloween Boosta, Blottooo, Border Bats, Death Valley, Runes of Omega, Retrobats, Pittoresk, Runes of the Dragon, Cthulhu Runes, the fantastic DocNimbusBats, SpaceWooziesExtraz, Oriental Patterns, OldTimeAdDings, MonsterMasher (to make a monster font), Monsters of Stone, Garden Dings, DaFunkBrothers, Cultural Icons, Celtic Patterns, Celtic Frames, Cerbature, Callallied, Callaxis, Asian Dings, 52 Sphereoids (very original), gothic hijinx (phenomenal!), Spazzz Caps, Oogie Boogies, XRayTid, XXonXXoff, SwampType, Speedy12, SlapHappy, Kaptain Kurk (OK font!), jaunty, GrungePuddles, Frankendork, Evil Signature, Elevator Buttons, Chewed Straw, Chilly Moe, 4 Star typeface Font, Amosis Technik, Space Woozies, Schizoid Trout, Halloween Border Bats, Bloody Stump (dripping blood face), BubblyFrog, Cathzulu (+Hollow, +Extraz), Chunk-o-Muffin, Kallamar, Lyarith (curlies!), PsiBorgZ, Purple Burple, and Quasidipitous.

    Archive at Font-A-Sea. Archive at Mouser Fonts. Alternate URL. And another one. Fontspace link. Dafont link. [Google] [More]  ⦿

    One by Four
    [Natasha Maria Fernandez-Fountain]

    One by Four is a four-person design studio in South Florida, and later in Brooklyn, NY. The main type designer in the group is South Florida-based Natasha Maria Fernandez-Fountain (b. 1985). The others are Alejandra Abad, Brian Haines and Bruno Torquato. Typefaces by Natasha include Geomancy (2010, +ExtraBold, +Hairline; a free geometric art deco typeface family), Dechenko Deco (2008, art deco), Goofus (2008, a comic book typeface) and Bookworm (2007, hand-printed and legible). Brian Haines designed Matchbook (2009, retro sans).

    Font Squirrel link where one can download Matchbook. Dafont link. Natasha Maria Fernandez-Fountain's home page. [Google] [MyFonts] [More]  ⦿

    Orbis Typographicus
    [Joshua Langman]

    Orbis Typographicus is a set of twenty-nine 9x12 letterpress broadsides, designed by Hermann Zapf and printed by Philip Metzger of Crabgrass Press between 1970 and 1980. The broadsides feature quotations on art, science, nature, faith, and the human condition, from authors ancient and contemporary. The text includes poetry, prose, anagrams, and palindromes, in English, German, Spanish, French and Japanese. Hand set by Philip Metzger, the set showcases many of the typefaces of Zapf and his wife, Gudrun Zapf von Hesse.

    In 2013, the web site Orbis Typographicus was set up by Joshua Langman. It features high-resolution scans, available for download, and a complete computer-searchable transcript. The web site also features an essay by Philip A. Metzger, the son of the printer, in which he shares his recollections of his father working on the project.

    Joshua Langman is a freelance graphic designer and typographer based in New York. [Google] [More]  ⦿

    Order Type Foundry (or: Order Design)

    Order is a Brooklyn-based design studio and publisher (Standards Manual) founded by Hamish Smyth and Jesse Reed. In 2021, it launched a new initiative, Order Type Foundry or simply, OTF. It serves as a distributor for new type designers, focused on presenting experimental, practical and research-based families. Their typefaces include Pastiche Grotesque and Plebeian which were designed in 2021 by Benjamin Tuttle. [Google] [More]  ⦿

    Orlando Oyola

    Aka O2Creative, based in New York. Creator of an untitled black typeface in 2011. [Google] [More]  ⦿

    Orrin W. Simons

    Brooklyn-based designer of an ornamental typeface in 1906 in which typefaces can be drawn by combining different pieces. Link to the patent. [Google] [More]  ⦿

    Orson Lowell

    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 humor publication competing with Judge and Punch. At Life magazine, he contributed pen and ink cartoons and color covers. He also provided art for American Girl, American Boy, Judge, Century, McClure's, Scribner's, Collier's, Puck and Success. Renowned for his humorous pen and ink work. A set of capitals drawn by him. Picture of the artist. [Google] [More]  ⦿

    Oscar Ogg

    Twentieth century book designer and calligrapher, b. Richmond, 1909, d. 1971. Ogg was an architecture graduate of the University of Illinois in 1931. The New York Times writes: He won recognition as one of the outstanding graphic artists of his time. His first book, Alphabet Source Book, published in 1940 by Harper, was a copy book of lettering styles. The 26 Letters, published by Crowell in 1948, a history of the alphabet from cave drawings to contemporary type fonts, was illustrated by 275 of his drawings.

    For Photolettering in New York, he designed these typefaces: Ogg Folio, Ogg Irish Uncial, Ogg Roman 3 and 4, Ogg Italic 3 and 4, and Ogg Semi Uncial. Digital revivals include Ogg (2013) by Lucas Sharp. Sharp's Ogg is a fashion mag typeface loosely inspired by the hand lettering of Oscar Ogg.

    Lucas Sharp's Salter Roman (2021) is based on two designs penned by Oscar Ogg in 1942. The first is his title page design for Design & Paper No.11 (Marquardt & Company, New York); the second is his design for Gates of Aulis (Gladys Schmitt, The Dial Press, New York) that same year. The former became the basis for the lowercase, while the latter informed the uppercase. [Google] [More]  ⦿

    Otherwhere Collective (or: Ilott Type, Bellamy Studio)
    [Andrew Bellamy]

    British born designer Andrew Bellamy worked for agencies in London, Oslo, and Miami, and is currently developing various global brands as Design Director at JKR in New York City. He started Ilott Type and then Otherwhere Collective.

    Andrew Bellamy designed 64-SRC (2017), a rare condensed monospace font inspired by IBM's Selectric type from the 1960s.

    His 57 Nao (2016) is a revival of a Japanese typewriter font from the 1950s called Messenjaa. They explain: Designed in 1950s Japan by Okanao & Kushiro, the perfect partnership until artistic temperaments drove them apart. The duo spent years crafting the font with the working title Messenjaa, Okanao bringing technical expertise to craft letterforms, while Kushiro made it his life, obsessively working late into the night to check pages for errors. For him the project was never about making money, it was an artistic endeavor to reprint the great Western works of literature. When he found out Okanao had secretly sold the rights of the font for use as a logo for a major Japanese manufacturer, Kushiro burned all evidence of the designs in a fit of passionate fury. The two reportedly never spoke again. Messenjaa was thought lost forever until a type specimen was discovered in a vintage typewriter box bought on eBay. Now redrawn and available as 57-nao, a faithful and beautifully crafted monospace characterized by what is considered Okanao's defining moment, the angular loop on the lowercase a.

    52-Kfx (2017) is an extra tall sans typeface.

    35-FTR (2017) was custom drawn specifically for the book Analogue Photography which required the timeless elegance of Futura and the compact utilitarian typesetting of Helvetica.

    In 2018, he designed the fashion mag typefaces 19Pra and Coutura Sans.

    In 2019, Bellamy published OC Bartok (a wedge serif), OC Pajaro (a sans family between Futura and Akzidenz Grotesk), OC Format Sans (a geometric grotesk sans serif that fuses the style of Futura with the rhythm and proportions of Akzidenz), OC Rey.

    Typefaces from 2020: OC Format Stencil (a variable font design inspired by the work of Bruno Munari, Paul Rand, and Max Huber), OC Format Collage, OC Format Shards. A special mention for the masking tape font OC Revolt, a variable display font made for the protest graphics of the NYC-based Trump Brexit era Non-Complicit project who initially made guerrilla type with masking tape applied directly in situ or to silk screens.

    Typefaces frm 2021: OC Highway Var (a free variable font based on Highway Gothic). It builds on Ash Pikachu's free Highway Gothic font. [Google] [MyFonts] [More]  ⦿

    Ottmar Mergenthaler
    [Mergenthaler]

    [MyFonts] [More]  ⦿

    Otto M. Vondrak

    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 Analog

    P22 Analog is an offshoot of Richard Kegler's P22 Type Foundry, a digital type house founded in 1994 and located in Aurora-on-Cayuga, NY. P22 Analog is dedicated specifically to hand-printing and hand-craft along with research related to printing, letterpress and typographic history. [Google] [More]  ⦿

    P22 Type Foundry
    [Richard Kegler]

    Richard Kegler's fun Buffalo-based foundry, which he founded in 1995 together with his wife, Carima El-Behairy. Currently, on staff, we find type designers James Grieshaber and Christina Torre. In 2004, it acquired Lanston Type. P22 has some great unusual, often artsy, fonts.

    The fonts are: Industrial Design (an industrial look font based on letters drawn by Joseph Sinel in the 1920s---this font is free!), LTC Jefferson Gothic Obliquie (2005, free), Sinel (free), P22Snowflakes (free in 2003 and P22 Snowflakes (retail) in 2020, finishedd by Richard Kegler and Terry Wüdenbachs), Acropolis Now (1995, a Greek simulation typeface done with Michael Want), P22 Albers (1995; based on alphabets of Josef Albers made between 1920 and 1933 in the Bauhaus mold), Arts and Crafts (based on lettering of Dard Hunter, early 1900s, as it appeared in Roycroft books), Ambient, Aries (2004, based on Goudy's Aries), Arts and Crafts ornaments, Atomica, Bagaglio (Flat, 3D; in the style of Il Futurismo), P22 Basel Roman (2020, Richard Kegler: an update of a 2015 typeface, P22 Basel, based on a garalde font used by Johannes Herbst (aka Ioannes Oporinus) in 1543 to publish Andreas Vesalius' On the Fabric of the Human Body (De humani corporis fabrica) in Basel), Bauhaus (Bauhaus fonts based on the lettering of Herbert Bayer), Bifur (2004, Richard Kegler, after the 1929 original by Cassandre), Blackout, P22 Brass Script Pro (2009, Richard Kegler; based on an incomplete script fond in a booklet from Dornemann&Co. of Magdeburg Germany, ca. 1910 entitled Messingschriften für Handvergoldung; for years, P22 and MyFonts claimed that Michael Clark co-designed this, but Michael does not want any credit, as he did only about 20 letters), Cage (based on handwriting and sketches of the American experimental composer John Cage), P22 Casual Script (2011, Richard Kegler, a digitization of letters by sign painter B. Boley, shown in Sign of the Times Magazine), Cezanne (Paul Cezanne's handwriting, and some imagery; made for the Philadelphia Museum of Art), Child's Play, Child's Play Animals, Child's Play Blocks, Constructivist (Soviet style lettering emulating the work of Rodchenko and Popova), Constructivist extras, Czech Modernist (based on the design work of Czech artist Vojtech Preissig in the 20s and 30s), Daddy-o (Daddy-o Beatsville was done in 1998 with Peter Reiling), Daddy-o junkie, Da Vinci, Destijl (1995, after the Dutch DeStijl movement, 1917-1931, with Piet Mondrian inspired dingbats; weights include Extras, P22 Monet Impressionist (1999), Regular and Tall), Dinosaur, Eaglefeather, Escher (based on the lettering and artwork of M.C. Escher), P22 FLW Exhibition, P22 FLW Terracotta, Folk Art (based on the work of German settlers in Pennsylvania), Il futurismo (after Italian Futurism, 1908-1943), Woodtype (two Tuscan fonts and two dingbats, 2004), P22 Woodcut (1996, Richard Kegler: based on the lettering carved out in wood by German expressionists such as Heckel and Kirchner), Garamouche (2004, +P22 Garamouche Ornaments; all co-designed with James Grieshaber), GD&T, Hieroglyphic, P22 Infestia (1995), Insectile, Kane, Kells (1996, a totally Celtic family, based on the Book of Kells, 9th century; the P22 Kells Round was designed with David Setlik), Koch Signs (astrological, Christian, medieval and runic iconography from Rudolf Koch's The Book of Signs), P22 Koch Nueland (2000), Larkin (2005, Richard Kegler, 1900-style semi-blackletter), London Underground (Edward Johnston's 1916 typeface, produced in an exclusive arrangement with the London Transport Museum; digitized by Kegler in 1997, and extended to 21 styles in 2007 by Paul D. Hunt as P22 Underground Pro, which includes Cyrillic and Greek and hairline weights), Pan-Am, Parrish, Platten (Richard Kegler; revised in 2008 by Colin Kahn as P22 Platten Neu; based on lettering found in German fountain pen practice books from the 1920s), P22 Preissig (and P22 Preissig Calligraphic, 2019), Prehistoric Pals, Petroglyphs, Rodin / Michelangelo, Stanyan Eros (2003, Richard Kegler), Stanyan Autumn (2004, based on a casual hand lettering text created by Anthony Goldschmidt for the deluxe 1969 edition of the book "...and autumn came" by Rod McKuen; typeface by Richard Kegler), Vienna, Vienna Round, Vincent (based on the work of Vincent Van Gogh), Way out West. Now also Art Nouveau Bistro, Art Nouveau Cafe and the beautiful ornamental font Art Nouveau Extras (all three by Christina Torre, 2001), the handwriting family Hopper (Edward, Josephine, Sketches, based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art), Basala (by Hajime Kawakami), Cusp (by James Grieshaber), P22 Dearest (calligraphic, by Christina Torre and Miranda Roth), Dwiggins (by Richard Kegler), Dyrynk Roman and Italic (2004, Richard Kegler, after work by Czech book artist Karel Dyrynk), Gothic Gothic (by James Grieshaber), La Danse (by Gábor Kóthay;), Mucha (by Christina Torre), Preissig Lino (by Richard Kegler), P22Typewriter (2001, Richard Kegler, a distressed typewriter font), the William Morris set (Morris Troy, Morris Golden, Morris Ornaments, based up the type used by William Morris in his Kelmscott Press; 2002), Art Deco Extras (2002, Richard Kegler, James Grieshaber and Carima El Behairy), Art Deco Display, the Benjamin Franklin revival font Franklin's Caslon (2006), Dada (2006) and the Art Nouveau font Salon (bu Christina Torre).

    In 2006, Kegler added Declaration, a font set consisting of a script (after the 1776 declaration of independence), a blackletter, and 56 signatures. Many of the fonts were designed or co-designed by Richard Kegler. International House of Fonts subpage. Lanston subpage (offerings as of 2005: Bodoni Bold, Deepdene, Flash, Fleurons Granjon, Fleurons Garamont, Garamont, Goudy Thirty, Jacobean Initials, Pabst, Spire).

    Bio and photo.

    In-house fonts made in 2008 include Circled Caps, the Yule family (Regular, Klein Regular, Light Flurries, Heavy, Klein heavy, Heavy Snow, Inline; all have Neuland influences). Kegler / P22 created a 25-set P22 Civilité family in 2009 based on a 1908 publication from Enshedé, the 1978 English translation by Harry Carter, and a 1926 specimen also from Enshedé.

    P22 Declaration (Script, Signatures, Blackletter, 2009) is based on the lettering used in the 1776 Declaration of Independence.

    At ATypI 2004 in Prague, Richard spoke about Vojtech Preissig. Speaker at ATypI 2010 in Dublin, where he presented Making Faces: Metal Type in the 21st Century about which he writes: This film has the dual aim of documenting the almost-lost skill of creating metal fonts and of capturing the personality and work process of the late Canadian graphic artist Jim Rimmer (1931-2010). P22 type foundry commissioned Mr. Rimmer to create a new type design (Stern) that became the first-ever simultaneous release of a digital font and hand-set metal font in 2008. At ATypI 2011 in Reykjavik, he showed Making Faces.

    Typefaces from 2014: LTC Archive Ornaments (Richard Kegler and Miranda Roth).

    Typefaces from 2020: Showcard Script (by Terry Wüdenbachs, based on an original of Beaufont at the Hamilton Wood Type Museum, custom designed by the Morgan Sign Machine Company of Chicago).

    Typefaces from 2021: P22 Glaser Houdini (a layerable family, after Glaser's Houdini from 1964), P22 Glaser Babyteeth. Kegler writes: In 2019, P22 Type Foundry met with Milton Glaser (1929-2020) to initiate the official digital series of typefaces designed by Glaser in the 1960s and 70s. P22 Glaser Babyteeth is the first family released in the series. Milton Glaser's inspiration for his Babyteeth typeface came from a hand painted advertisement for a tailor he saw in Mexico City. He was inspired by that E drawn as only someone unfimilar with the alphabet could have concieved. So he set about inventing a completelly ledgible alphabet consistant with this model. P22 Glaser Babyteeth was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official Babyteeth fonts approved by Milton Glaser Studio and the Estate of Milton Glaser. The solid and open versions are designed to overlap for two-color font effects and can even be mixed and matched for multi layer chromatic treatments. In 2021, he published the 3d art deco shadow font P22 Glaser Kitchen which is based on Big Kitchen (1976).

    MyFonts interview.

    View Richard Kegler's typefaces. View the IHOF / P22 typeface library. [Google] [MyFonts] [More]  ⦿

    Pablo A. Medina
    [Design Culture (was: Cubanica Fonts)]

    [MyFonts] [More]  ⦿

    Pablo Bosch

    Pablo Bosch (Valencia, Spain) developed the legible typeface Atiza (2013) during an intensive study program at Type@Cooper in New York. He writes: Atiza is a text face for editorial purposes but with characteristics to also be used in newspapers. High X-hights, relatively low contrast and strong asymmetrical serifs make Atiza a very legible typeface in small sizes with a perfect behaviour in sizes between 8pt and 11pt, but with also with extraordinary legibility at 6pt. The Designers Foundry link. [Google] [More]  ⦿

    Pablo Ferro

    Famous American movie title designer, b. 1935, Antilla, Oriente Province, Cuba, d. 2018. Pablo Ferro was raised on a remote farm before emigrating to New York with his family as a teenager. Ferro taught himself animation from a book by Preston Blair. In the mid fifties, he began freelancing in the New York animation industry for Academy Pictures and Elektra Studios. He met former Disney animator William Tytla, who became his mentor. Another peer was Stan Lee, the editor of Marvel Comics, with whom he created a series of science fiction adventure comics. In 1961 he became one of the partners to form Ferro, Mogubgub and Schwartz with animation stylist Fred Mogubgub and comics artist Lew Schwartz, and in 1964 he formed Pablo Ferro Films. Ferro worked on films such as Stanley Kubrick's Dr. Strangelove and The Thomas Crown Affair.

    Wikipedia: Ferro has won over 70 national and international awards, among them numerous CLIOs, a DGA Excellence in Film Award, and several Lifetime Achievement awards. He has also received nominations from such highly regarded institutions as the Smithsonian Cooper-Hewitt. In 1999 Pablo was awarded the prestigious DaimlerChrysler Design Award, and in 2000 Pablo was inducted into the Art Directors Hall of Fame.

    His beautiful and quirky movie titling inspired many typefaces:

    [Google] [More]  ⦿

    Pagan&Sharp
    [Juan Carlos Pagan]

    Queens, New York-based designer and art director. He received his BFA from Parsons School of Design in 2006, and completed his postgraduate studies in typeface design at The Cooper Union in 2011.

    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).

    Pagan and Sharp closed its doors (some time ca. 2015) and they went their own way: Carlos Pagan can be found at Juan Carlos Pagan, and Lucas Sharp continues at Sharp Type.

    In 2018 He received the Type Directors Club Ascenders Award which recognizes the work of designers who are 35 years of age and under for their remarkable achievement in design, typography, type design, and lettering. He is currently the founding partner and Executive Creative Director of Sunday Afternoon. [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]  ⦿

    Partners and Partners
    [Greg Mihalko]

    A design practice in New York City focusing on print, exhibition, interactive and identity work with clients and collaborators in art, architecture, public spaces and activism. Designer in 2015 at MIT of the (free) Caslon 44 typeface family, and Sans 44 (which is based on GNU Free Sans). [Google] [More]  ⦿

    Patricia Fellman

    New York-based designer of Fellman Type (2011). [Google] [More]  ⦿

    Patrick Branigan

    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]  ⦿

    Patrick Flanagan

    Bayville, NY-based graphic designer who created the hairline monoline sans typeface Sly (2012). [Google] [More]  ⦿

    Patrick McGrath
    [Robothaus]

    [More]  ⦿

    Paul Beaujon

    Paul Beaujon was the 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 known for her energy, enthusiasm and speeches. Collaborator of Stanley Morison. She created a typeface called Arrighi. She is famous for The Crystal Goblet or Printing Should be Invisible (The Crystal Goblet, Sixteen Essays on Typography, Cleveland, 1956, and Sylvan Press, London, 1955), which is also reproduced here and here. The text was originally printed in London in 1932, under the pseudonym Paul Beaujon. Here are two passages:

    • Imagine that you have before you a flagon of wine. You may choose your own favorite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than to hide the beautiful thing which it was meant to contain.
    • Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type which may work well enough, and yet keep the reader subconsciously worried by the fear of 'doubling' lines, reading three words as one, and so forth.

    Drawing of her by Eric Gill. Life story.

    Beatrice Warde was educated at Barnard College, Columbia, where she studied calligraphy and letterforms. From 1921 until 1925, she was the assistant librarian at American Type Founders. In 1925, she married the book and type designer Frederic Warde, who was Director of Printing at the Princeton University Press. Together, they moved to Europe, where Beatrice worked on The Fleuron: A Journal of Typography (Cambridge, England: At the University Press, and New York: Doubleday Doran, 1923-1930), which was at that time edited by Stanley Morison. As explained above, she is best known for an article she published in the 1926 issue of The Fleuron, written under the pseudonym Paul Beaujon, which traced types mistakenly attributed to Garamond back to Jean Jannon. In 1927, she became editor of The Monotype Recorder in London.

    Rebecca Davidson of the Princeton University Library wrote in 2004: Beatrice Warde was a believer in the power of the printed word to defend freedom, and she designed and printed her famous manifesto, This Is A Printing Office, in 1932, using Eric Gill's Perpetua typeface. She rejected the avant-garde in typography, believing that classical forms provided a "clearly polished window" through which ideas could be communicated. The Crystal Goblet: Sixteen Essays on Typography (1955) is an anthology of her writings. Wood engraved portrait of Warde by Bernard Brussel-Smith (1950). [Google] [MyFonts] [More]  ⦿

    Paul Hoppe

    American type designer. He published the grunge typeface 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]  ⦿

    Paul MacKay

    Brooklyn, New York-based designer (b. 1992) of the free retro computer emulation font Data Twenty (2021). [Google] [More]  ⦿

    Paul Peter Piech

    Paul Peter Piech (b. Brooklyn, NY, 1920, d. 1996) was a poster and linocut artist who spent most of his professional career in Britain. He produced a large number of original prints on social, political and literary themes over five decades, combining innovative lettering with original artwork and bold colours in a unique style. Concerned with social and racial injustice and annoyed by some political classes and Richard Nixon in particular, he is known for a print of Nixon with the word dicktator inscribed above.

    Typefaces influenced by his lettering:

    • Peich (2018, Robert Young). A free linocut style font.
    • Pieches (2019, Erica Jung and Ricardo Marcin). A commercial typeface that also emulates the linocut style of Piech.
    [Google] [More]  ⦿

    Paul Rand

    New York-born graphic designer and art director (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. Paul Rand is best known for his corporate logo designs, including the logos for IBM, UPS, Enron, Morningstar, Inc., Westinghouse, ABC, and NeXT. He was one of the first American commercial artists to embrace and practice the Swiss Style of graphic design. Rand was a professor emeritus of graphic design at Yale University in New Haven, Connecticut where he taught from 1956 to 1969, and from 1974 to 1985. He was inducted into the New York Art Directors Club Hall of Fame in 1972, and was an inspiring speaker. In 1984 he was awarded the TDC Medal by the Type Directors Club in New York.

    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. Mac McGrew writes: Westinghouse Gothic is a contemporary condensed gothic of uniform line weight, developed in 1960 by graphics design consultant Paul Rand for Westinghouse Electric Corporation. It was derived from lettering Rand had done earlier for the company logotype and originally used on signs; that was condensed to save space with the long name. It is distinguished by the unusual st ligature, for use in the company name. In 1964 that company had matrices made by Monotype, with exclusive rights to the typeface for two years. A lighter version was cut a few years later.

    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: He 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.

    Author of these texts:

    • 1947: Thoughts on Design. New York: Wittenborn.
    • 1985: Paul Rand: A Designer's Art. New Haven: Yale University Press. Republished in 2016 in New York by Princeton Architectural Press.
    • 1994: Design, Form, and Chaos. New Haven: Yale University Press.
    • 1996: From Lascaux to Brooklyn. New Haven: Yale University Press.

    Wikipedia page. Obituary. [Google] [MyFonts] [More]  ⦿

    Paul Shaw
    [The Digital Past]

    [More]  ⦿

    Paul Shaw
    [Letterspace]

    [More]  ⦿

    Paul Shaw

    Paul Shaw (b. Ann Arbor, MI, 1954) is a calligrapher, type historian, writer and typographer working in New York City, where he runs Paul Shaw/Letter Design, and teaches calligraphy and typography at Parsons School of Design; and history of graphic design and history of type at the School of Visual Arts. He has created custom lettering and logos for many companies, including Avon, Lord&Taylor, Rolex, Clairol and Estée Lauder. In 2012 Shaw was appointed editor in chief of Codex magazine.

    On Ocober 15, 2018, he was attacked in New York City and severly injured. There is a GoFundMe site to help him pay his extensive medical bills.

    Designer of the Kolo LP art nouveau family (with Garrett Boge) in 1996 at Letterperfect Design. He was inspired by the lettering of Koloman Moser, Gustav Klimt, Alfred Roller, and other members of the Secession, Vienna's turn-of-the-century Art Nouveau movement, in the design of Kolo. Garrett Boge and Paul Shaw made the fun handwriting font Bermuda LP in 1996. At LetterPerfect (which he started with Garrett Boge in 1996), he co-designed Kolo (1996), Tomboy, Beata, Donatello, Ghiberti, Pietra, Pontif (roman capitals), Cresci (roman capitals), Old Claude LP and Uppsala LP (1998) with Garrett Boge. At Agfa/Monotype, you can buy his calligraphic fonts Göteborg LP (1998), Stockholm LP (1998, with Garrett Boge), and Uppsala.

    His books:

    • Coauthor with Peter Bain of Blackletter: Type and National Identity (1998).
    • Editor of The Eternal Letter Two Millennia of the Classical Roman Capital (2015, MIT Press, Cambridge, MA).
    • A Black Letter Primer (1981).
    • Letterforms (1986).
    • The Calligraphic Tradition in Blackletter Type (2001).
    • Helvetica and the New York City Subway System (2009).

    At ATypI in Rome in 2002, he spoke about the revival of the roman capital in the 15th century, and lettering in fascist Italy. At ATypI 2017 in Montreal, he spoke on the evolution of Dwiggins's Electra. Paul Shaw has been honored with the 2019 SOTA Typography Award.

    FontShop link. [Google] [MyFonts] [More]  ⦿

    Paul Soulellis

    Paul Soulellis (b. 1968) is a Providence, RI (was: New York)-based artist and creative director, maintaining his studio in Long Island City, NY. Paul was trained as an architect and is a graduate of Cornell University's College of Architecture, Art and Planning. He is the founder/director of Queer.Archive.Work, a non-profit community reading room, publishing studio, and community space, and Associate Professor of Graphic Design at the Rhode Island School of Design.

    He created Library of the Printed Web, a curatorial project organized around artists who use screen capture, image grab, site scrape and search query to develop printed matter from content found on the web.

    He founded the design firm Soulellis Studio in 2001 and produces work for clients like Cornell University, TED, Waterworks, Esri, the Rockefeller Foundation and the Municipal Art Society of New York. Creator of two free typefaces:

    • Stetson (2012) is an experiment in geo-historical typography: The single-weight typeface is drawn from a very small sample of 19th century hand-drawn letterforms, found within an old photograph in a shed in Weymouth, Massachusetts. The sample, E. H. Stetson and Co, is surrounded by a display of shoes. Not far from where the photograph was found is the actual Stetson Shoe Co. factory building, which operated in Weymouth from 1885 until 1973. Stetson was created for Weymouths, a 12-volume book project commissioned by the 2012 b-side Arts Festival in Weymouth, England (part of the Maritime Mix / London2012 Cultural Olympiad by the Sea). Production by Thomas Jockin.
    • Sélavy (2013), co-designed with Nina Stössinger, who writes: Sélavy is the result of a serendipitous collaboration with Paul Soulellis. For his project Library of the Printed Web, Paul was looking for a dotted typeface reminiscent of the punched-out caps on Marcel Duchamp's 1934 Green Box. As he could not find a typeface close enough, I [Nina] was spontaneously tempted to make one. This is it. Sélavy (named after Duchamp's pseudonym Rrose Sélavy) is a dotted typeface that does not follow a non-dotted model.
    [Google] [More]  ⦿

    Paul Stonier

    Graphic designer and typographer in Big Flats, NY. Behance link. He created a squarish logotype for Streeter Associates Inc (2010). [Google] [More]  ⦿

    Paula Andrea

    Hicksville, NY-based creator of the display typeface Louder (2013). Behance link. [Google] [More]  ⦿

    Paula Scher

    Partner at Pentagram, who teaches design at SVA in New York City. TDC medalist in 2006.

    In her recent redesign of the visual identity for The New School, a private university in New York City, Scher commissioned Peter Bilak of Typotheque to design the (bespoke) variable font Neue. Neue's letterforms, based on Bilak's font Irma, are governed by a custom algorithm that alternates regular, extended and very extended widths of the same font within a block of type. Keynote speaker at ATypI 2017 Montreal. Recipient of the 2017 SOTA Typography Award. [Google] [More]  ⦿

    Paulina Ho

    Raised in Texas, and a graduate of Parsons in New York, Paulina Ho designed the copperplate script typeface Bedonir (2013). Behance link. [Google] [More]  ⦿

    Paulina Roman

    New York-based graphic designer who created Melodia (2011). [Google] [More]  ⦿

    Payal Iftekher

    Valley Stream, NY-based designer of the Indic simulation typeface Indic (2018). [Google] [More]  ⦿

    Peacelettering
    [Iliana Siegel]

    New York-based designer of the connected monoline script typeface Forest Hills (2017). [Google] [More]  ⦿

    Pedro P

    Graphic designer and illustrator in Brooklyn, NY, who created the fun all caps alphabet Vicious Type (2016). Behance link. [Google] [More]  ⦿

    Penguin Productions

    Located in Ronkonkoma, NY, this outfit published Middleton, Rick, Walrodi, and WalrodInitials in 1992. Pick up WalrodInitials here or here. [Google] [More]  ⦿

    Penny Sachdeva

    As a student at the School of Visual Arts in New York, Penny Sachdeva designed a typeface for a hypothetical Tokyo 2020 Olympics campaign, and a modular stencil typeface, lacuna (2019). [Google] [More]  ⦿

    Pentagram

    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 typeface 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. One of the cofounders was Colin Forbes (UK).

    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 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.

    Occasionally, we find Pentagram fonts in the wild. For example, Fontastic Beast (2015) was designed by them for a Warner Bros movie.

    In 2017, Pentagram and Chester Jenkins of Village type revived Frederic Goudy's Sherman (1912) for Syracuse University.

    In 2017, Pentagram expanded on iconic album artwork by the duo Hipgnosis to create a visual identity for Pink Floyd Records. The new alphabet was created in both solid and outline versions. The original stencilled lettering used for the band's 1977 Animals album has been extended into a full alphabet and used in a logotype for the group's record label. Pentagram's creative team, led by partner Harry Pearce, worked closely with Hipgnosis' Aubrey Powell to create the alphabet, which includes solid and outline versions of letters. It is based on the iconic typography on the album Animals, designed by Hipgnosis in 1977. [Google] [More]  ⦿

    Perla Herrera

    During her studies, Bronx, NY-based Perla Herrera designed the stunning Platz Stencil typeface (2016). [Google] [More]  ⦿

    Pete Bella

    Assistant Professor of visual communications and a professional designer based in West Henrietta, NY. Creator of the fat typeface Belladoni (2014).

    Twitter page. [Google] [More]  ⦿

    Pete Russo

    During his studies at the School of Visual Arts in New York City, Pete Russo (aka Voodo Bownz) created the arts-and-crafts typeface Bownz (2013). He writes: "Bownz" is a decorative sans-serif typeface that borrows elements from mystical voodoo symbols known as veve's as well as the distinct style of artist Charles Rennie Mackintosh.

    He also made NYC Marble Cemetery Type (2013), based on letters found at the entrance of that cemetery.

    Behance link. [Google] [More]  ⦿

    Peter Bain
    [Peter Bain Design (was: Incipit)]

    [MyFonts] [More]  ⦿

    Peter Bain Design (was: Incipit)
    [Peter Bain]

    Incipit, or Peter Bain Design, was Peter Bain's type and graphic design studio in Brooklyn, New York. It closed down gradually between 2007 and 2010.

    Peter Bain received his M.F.A. in Design: Visual Communications from Virginia Commonwealth University. He was type director at Saatchi&Saatchi Advertising in New York, and taught at Parsons/The New School for Design and Pratt Institute in New York. After Saatchi, and before Incipit, he was freelancing. After Incipit, he relacted briefly to Virginia to attend VCU and then went on to Mississippi, where he was Assistant Professor of Art, Graphic Design at Mississippi State University. He lived then in nearby Starkville, MS. He is currently located in Birmingham, AL.

    He is best known for his wonderful book Blackletter: Type and National Identity (1998, with Paul Shaw).

    His photocomposition display typefaces were reedited and available in reproduction proofs (for a short time). The photocomposition display typefaces are in two-inch film format, as formerly used on machines such as the Typositor and Filmotype. They are being held in storage, and are no longer listed for that reason. 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. Speaker at ATypI 2013 in Amsterdam. MyFonts link. Behance link. Peter Bain Design. [Google] [MyFonts] [More]  ⦿

    Peter Bain: Film Type

    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]  ⦿

    Peter C. Cortelyou

    American typefounder who was based in New York. In 1850, he bought the equipment of the Lothian Type Foundry of George Buxton Lothian. [Google] [More]  ⦿

    Peter Fahmi

    Or Peter Fahrni. Graphic designer from New York, called Peter Fahrni at MyFonts and Peter Fahmi at Klingspor---this is a case of tight typesetting, rn being read as m or vice versa. Creator of the slabbed shadowed outline caps typeface Quadrus (Letraset, 1990). In 2014, he created an untitled squarish unicase typeface family.

    Klingspor link. Behance link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Peter Girardi/Chris Capuozzo
    [Funny Garbage]

    [MyFonts] [More]  ⦿

    Ph. Heinrich

    New York-based foundry, which later became the Manhattan Type Foundry. [Google] [More]  ⦿

    Phaedra Charles
    [Undercase Type]

    [More]  ⦿

    Phil Bracco
    [Pink Broccoli]

    [MyFonts] [More]  ⦿

    Phil LePine
    [LePine Studios]

    [MyFonts] [More]  ⦿

    Philip Tronolone

    New York City-based designer of the grungy Disabuser (2011). Home page at CLR Printing Plus. [Google] [More]  ⦿

    Philippe Apeloig

    French type designer (b. Paris, 1962) who designed the experimental fonts Carré, Octobre (a stencil in the De Stijl genre), 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.

    In 2012, the people at Nouvelle Noire in Zurich helped produce several of Apeloig's typefaces:

    • In the De Stijl genre: Octobre (1994), Ndebele.
    • The geometric typeface ABF.
    • ABF Lineaire (2013). A stencil typeface with elements of LED letters.
    • ABF Silhouette (2009). Based on ABF Petiit, this typeface was developed for the 2009 conference on the Space and Architecture of Libraries.
    • ABF Petit. Custom designed as part of a new corporate identity for the Association des Bibliothécaires de France.
    • Coupé (2013): The font Coupé is based on the streamlined elegance of vintage sports cars. Apeloig designed these letterforms for an exhibition of fashion designer Ralph Lauren's car collection. The exhibition made its European premiere at the Musée des Arts Décoratifs in Paris accompanied by a poster inspired by the clean engineering of the automobiles.
    • Izocl (2013). At Nouvelle Noire.
    • Poudre (2013). This font was created by Apeloig for a poster advertising an exhibition on the prolific inventor and industrialist Alfred Nobel. Apeloig's concept was inspired by Nobel's invention of dynamite and work with subatomic particles.
    • Ali (2013). An origami stencil typeface.
    • Aleph (1994). Based on a simple arc, and influenced by Excoffon's banco (1952).
    • In 2016, he designed the numbers for the Slim d'Hermes watch.

    Alternate URL. Photograph. Winner in 2009 of the typographic design award of the International Society of Typographic Designers (ISTD). Nouvelle Noire Behance link. Klingspor link. [Google] [More]  ⦿

    Photo-Lettering Inc.
    [Edward Rondthaler]

    New York based photocomposition, lettering and digital type business active from 1936-1997, cofounded by Harold Horman and Edward Rondthaler in 1936 (in 1928, but only open for business 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, employing over 200 people at its peak. It folded ca. 1990. 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 partial time line was offered by Peter Bain (italics are quotes from Bain):

    • World War II: Photo-Lettering was a combination of aesthetic, technical and marketing efforts. Horman was a competent letter designer, Rondthaler an experienced typographer; both they and the other staff shared a keen interest in mechanical devices. Photo-Letterings initial client, advertising agency J. Walter Thompson, was brought in by their corporate parent. It was the Rutherfords always freshly exposed characters, precision variability, and consistency that kept the agency as a client. The firms initial stock of typefaces was built both by Horman and by photographing existing metal designs. During World War II the firm supplied headlines for wartime posters. The full capabilities of the process became steadily realized. The ability to italicize, reproportion, outline, and add weight to type increased the attractiveness of Photo-Letterings service.
    • 1944: In 1944 Tommy Thompson, perhaps the pre-eminent New York lettering designer of the day, approached Photo-Lettering. He had been asked by The Saturday Evening Post, a national weekly, to furnish hand-drawn lettering in a consistent, distinctive style for their headlines and bylines. The volume made a compelling case, and a royalty agreement, the first with an outside artist, was made. From this beginning, the type library at Photo-Lettering tapped into a pool of lettering artists who ordinarily would not have had their work become type.
    • 1946: Publication of a catalog with 979 alphabets called Photo-Lettering's Basc 979 Alphabets. Most of the original designs were by Harold Horman, including the ten-weight Photo-Futura Condensed (based on a Bauer typeface). Other early designers included J. Albert Cavanagh and M. M. (Dave) Davison (who made Spencerian types).
    • 1950: The 1950 catalog features the Pete Dom series in three weights, Twixt, Husky and Darky. Bain comments: Peter Dombrezian's highly skilled, informal brush-written type was furnished with numerous alternates. There were at least three versions of each capital and lowercase letter, and two sets of figures for the Twixt weight alone. The restricted number of alternates offered by metal typefounders, combined with the handmade competition, may well have encouraged early display phototype families to be as expansive as possible. In the case of ATFs Dom Casual, completed in 1952, the more reserved letters from the Twixt were chosen for metal type. Other designers mentioned in the catalog include Alfred Bosco, Hollis Holland, Oscar Ogg and Tony Stan. The catalog lists 1631 typefaces.
    • 1960: Publication of Alphabet Thesaurus Nine Thousand. This catalog has over 700 pages. Contributing letterers and artists for the 1960 book include Josef Albers, Alexey Brodovitch, J. Albert Cavanagh, Joseph Binder, Edward P. Diehl, Harold Hite, Harry Winters, Albert E. Nolan, Albert Soroka, Charles J. Freericks, George Suman, Herbert Feuerhake, Pete Dom, Gustav V. Meidel, William H. Millstein, Emil A. Schaedler, M. M. Davison, Tommy Thomson, C. E. Coryn, Tony Stan, George F. Trenholm, Sol I. Immerman, Oscar Ogg, Edwin W. Shaar, Garnett Megee, Herman Spinadel, Hollis Holland, Saul Haupt, Denis A. Edridge, Sidney Lisson, Sol Nodel, J. J. Karle, James D. Brooks, Victor Lamkay, Nasri Khattar, Alfred R. Bosco, John A. Karafa, Milton Crown, L?~@~YHarl Copeland, David B. Hills, Milton K. Zudeck, Melvin M. Tuch, M. R. Kaufmann, Maximilian R. Kerr, S. E. Norton, Frederick Blakeslee, Arthur Ohlman, George Piscitelle, Rodolfo Wallenberg, John S. Allen.
    • 1965: A 970-page catalog with 5474 typefaces is published. Of these, 146 appear to be exclusive.
    • 1970: Ed Rondthaler cofounds ITC with Herb Lubalin and Aaron Burns. Bain: Ed Benguiat, a longtime letterer and type designer at Photo-Lettering, became known for his renovation of The New York Times masthead, and for his typefaces released by ITC. The growing success of computerized composition offered stylistic and financial incentives for new typefaces that could be used for display as well as text. ITC was well positioned to exploit that opportunity worldwide. This connection with ITC leads to many ITC typefaces with roots in Photo-Lettering.

    In 2003, the entire collection was bought by House Industries. Its fonts included ITC Flatiron (a very wide caps typeface published by ITC in 1997), BenguaitCharisma (1993), FourthOfJuly (1992), Swinger (1992), Parchment (1993), ITC Musica (1996, which was Bel-Canto at Photo Lettering in 1968), and ITC Static (1996; called Bounce at Photo Lettering).

    Photo-Lettering Collection Revival link at MyFonts.

    View their typeface library. More images of digital typefaces based on the Photo-Lettering collection. [Google] [MyFonts] [More]  ⦿

    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]  ⦿

    Pik Chu Ahmetaj

    Pik Chu Ahmetaj (b. Hong Kong) studied at Tompkins Cortand Community College Upstate NY, and at the Fashion Institute of Technology in NYC. Her decorative caps Garden typeface (2013) is based on Century Gothic. [Google] [More]  ⦿

    Pink Broccoli
    [Phil Bracco]

    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), Fat Rhino PB (2008) and Pink Broccoli PB (2008). Hideaway (2008) is a light-hearted comic flare serif typeface inspired by a 1964 Speedy Gonzalez cartoon title. More comedy in Chop Phooey (2008), Astronaut Jones (2008), Lil Rhino PB (2008), Houseguest PB (2008), Spidertoes PB (2009) and Tiny Butler (2008). Chorizo PB (2008) is inspired by some of the wild lettering of comic creator Paul Coker, Jr. Houndcats PB (2008) is a comic book sans based on a 1972 cartoon called Houndcats. Manic Mood PB (2008), Kid Captain PB (2009), Bear Club PB (2009), Hot Streak PB (2009) and Suited Horse PB (2008) have more comic book lettering. Suited Horse PB (2009) is a chalkboard font inspired by the title screen of a 1968 Walt Disney film titled, The Horse in the Gray Flannel Suit. Monster Fiesta PB (2009) is a curly display typeface. Chop Chop PB (2009) is an oriental brush simulation face. Fathoms BB (2009) is a crazy sans serif font based on the titling from one of ABC's Movie of the Week series from 1969 called Daughter of the Mind. Dead Rite PB (2011) and Whipsnapper (2013) are oddball cartoon typefaces.

    In 2012, Bracco published Mister Rii PB.

    In 2013, Phil Bracco designed Screwby (offbeat retro style that started out as a digitization of the film typeface Surf by Lettergraphics) and Contraption (an octagonal typeface family that started out as a digitization of a film typeface called Intrigue by Lettergraphics).

    Typefaces from 2014: Wonderbear PB (a cartoon typeface based on the title screens and comic books of the Hair Bear Bunch), Sackem PB (Bracco explains: Sackem started as a digitization of a singular film typeface called Benman Jumbo by Lettergraphics. From there, this mechanical typeface was expanded into a giant family of playful widths and obliques: from the condensed Slim style to the original Jumbo style).

    Typefaces from 2015: Beaucoup PB (Beaucoup started as a digitization of a film typeface called Bippie by Facsimile Fonts), Luckmeister PB (offbeat, retro and cartoonish, from the vintage record cover, Music from MR. Lucky, composed and conducted by Henry Mancini), Good Grief PB (which started out as a digitization of a film typeface called Carmel by Letter Graphics), MardiKrewe PB (funky psychedelic letters, described by Phil as delightfully insane; it started as a digitization of a film typeface called MardiGras by Lettergraphics).

    Typefaces from 2016: Cat Burglar PB (inspired by the titling of a 1961 Looney Tunes cartoon called "The Pied Piper of Guadalupe"), Birthday Wish PB (beatnik style), Flawless Flygirl PB (beatnik style), Jus Hangin PB (children's script inspired by the lettering on the cover of the 1999 Counting Crows album "This Desert Life").

    Typefaces from 2017: Roadie PB.

    Typefaces from 2018: Roadie PB, Chilidog PB, Cattleprod PB, Varmint PB (an offbeat flared serif font inspired by the titling of the early 1970s Yosemite Sam & Bugs Bunny comics from Gold Key), Nudity PB (a revivo the film font Ad Shadow by LetterGraphics as a layerable font), Wintermint (a revival and extension of the flared almost psychedelic typeface Lori by LetterGraphics). Nudity PB, Wintermint, Patsy PB (beatnik style).

    Typefaces from 2019: Ridiculous PB (beatnik), Troubled PB, Blackhole PB (a digitization of a bullethole psycjedelic film typeface known as Circue Solid by LetterGraphics), Stacked Deck PB (a retro font), Mushmouth PB (based on Lettergraphics' cartoon font Albert), Rackem PB (a beatnik font that started as a digitization of a film typeface known as Eightball by LetterGraphics).

    Typefaces from 2020: Jughead PB (inspired by Cooper Black and Archie Comics).

    Typefaces from 2021: Uncanny Cat PB (a beatnik font), Goondocks PB (octagonal; a faithful recreation of the titling font from 1985 film, The Goonies), Friday Freak PB (a beatnik all caps typeface inspired by the 1976 Disney movie Freaky Friday), Soulfinger PB (a psychedelic and beatnik hybrid).

    View Phil Bracco's typefaces. [Google] [MyFonts] [More]  ⦿

    Pippo Lionni

    New Yorker. Designer of the dingbat family Linotype Facts of Life (1999). [Google] [MyFonts] [More]  ⦿

    Pixelspread
    [Matt McInerney]

    Graphic designer currently working at Pentagram Design in New York. He graduated from Savannah College of Art and Design, and is originally from Western Massachusetts. At the Typesites page, Matt McInerney looks at sites that have great typographic design. He created Raleway (2009, a free hairline sans; the Google Web Fonts typeface Raleway Dots (2012) is by Brenda Gallo, Matt McInerney, Rodrigo Fuenzalida and Pablo Impallari; see here for a complete extension of Raleway between 2010-2013 by Matt McInerney, Pablo Impallari and Rodrigo Fuenzalida), New Alphabet (2008), an octagonal font based on Wim Crouwel's New Alphabet, using FontStruct. (For a commercial version of New Alphabet, check Architype New Alphabet (The Foundry). He also made Pentagrid (2009, on a 5x5 grid; +Pentagrid v2, +Pentagrid Alphabet), Dotserif, and Neuescreen, typefaces that are in the mold of New Alphabet.

    Orbitron (2009) is a great free futuristic sans family published at The League of Movable Type: it is a geometric sans related to both Eurostile and Bank Gothic. Romina Vespasiano made a great specimen poster for Orbitron in 2012.

    Allerta (+Stencil) (2010) is an open source typeface designed for use in signage. Allerta was designed to be easily and quickly read from a distance. Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other.

    Google Directory link. FontStruct link. Abstract Fonts link. Klingspor link. Home page of Matt McInerney. [Google] [More]  ⦿

    PixsHub
    [Sanjay Makasana]

    New York City-based site specializing in vector format icons, possibly run by Sanjay Makasana. Most of their sets are free. They include Justicons, Stroke Gap Icons, Stokicon, 220Glyph Icons, Planetary Icon Set, 56 Free Line Icon Set, Rounded Icon Set, Crispy Icons, Pixelvicon Icon Set, PixelKit Icons, Line Icon Set, Abstract UI Icons, Kitchen Icons, and Wireframe Icons.

    Behance link. Behance link for Sanjay Makasana. [Google] [More]  ⦿

    Platt Rogers Spencer

    Platt Rogers Spencer (b. East Fishkill, NY, 1800, d. Geneva, OH, 1864) created what would become the most widely accepted and prized cursive writing method used in business, now known as "Spencerian writing". As an outspoken supporter of American business education, his influence insured that by the late 1800s business education in America included some courses on penmanship. He taught at the Bryant&Stratton Business College in New York. His son was Lyman P. Spencer. Lyman's book, New Spencerian Compendium of Penmanship (1879) can be considered as an extension of the work of Platt Rogers Spencer. [Google] [More]  ⦿

    Polina Sapershteyn

    Graphic designer in Brooklyn, NY, who created an ornamental caps typeface called Type Fetish (2012). [Google] [More]  ⦿

    Polygraph
    [Jason Mannix]

    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). An article by Jason on blackletter in Germany, in which he recalls that Otto von Bismarck, Chancellor of the German Empire in the 19th century, who, upon receiving a book set in Latin as a gift, would always return it with a note, I don't read German books set in Latin letters. With Lindsay Mannix, he created the blackletter face Enzian (2011), which was awarded at TDC2 2011. The blurb about Enzian at TDC: Enzian is the product of a German research fellowship sponsored by the Alexander von Humboldt Foundation. We set out with two goals: to better understand the technical nuance and complicated history of German Blackletter and produce an original typeface inspired by our findings. Polygraph (Falls Church, VA) is run by Jason Mannix. Link to Lindsay Mannix. [Google] [MyFonts] [More]  ⦿

    Pooja Sjapati

    Queens, NY-based creator of the decorative caps typeface Patterns (2013). [Google] [More]  ⦿

    Pop Chart Lab

    Company in New York City that sells charts. In their collection, there are some nice typographic posters that explain the anatomy of type to beginners. [Google] [More]  ⦿

    Popskraft Lab
    [Alexey Popov]

    Alexey Popov, or Alex Pop for short (Popskraft Lab, Buchardo, Argentina, and now New York City) designed the children's book / cartoon font family Beebzz and the comic book typeface Beaverist in 2016. In 2013, he created the techno typeface Technozis. In 2017, he published the layered font 3D Bulb Lamp, the beveled typeface Legend, the (great!) neon font Nightlife, the Warm Lamp alphabet, the colorful children's book font Happy Kids, and the art deco sans typeface Artnoova.

    In 2018, he designed the spurless sans Alterhard and the plump script font AlPuzato.

    In 2019, he published the wide display sans typeface AlterGlam and Beebzz Rounded.

    Typefaces from 2020: Cattyfox, Alterglam (a wide and fashionbable geometric sans family, started in 2019), Neonlife (a multiline neon font).

    Typefaes from 2021: Arbus (a 9-style informal supermarket sans), Revolancer (letters turned ninety degrees; followed in 2022 by the 9-style display sans Revolancer ProBeaverist (a 9-style monolinear vernacular marker pen font), Exelancer (a 10-style futuristic typeface), Alterhard (a 9-style gaspipe sans) (a 9-style condensed spurless sans with large x-height, started in 2018). [Google] [MyFonts] [More]  ⦿

    Porter Gillespie

    During a summer course called Type@Paris (2015), New York-based Porter Gillespie created Gilly, a slab serif Fleischmann revival font inspired by the quirkiness and whimsy of the work of the 18th century German-Dutch typographer and punchcutter Johann Michael Fleischman. [Google] [More]  ⦿

    Postage Stamps by Type Designers
    [Michael Russem]

    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]  ⦿

    Pouri Computers

    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]  ⦿

    P.R. Spencer's Sons

    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]  ⦿

    Practica

    Studio based in Barcelona and New York. In 2020, they designed the custom Basque typeface Arbizu for the Basque electronic music company Zetak. Its glyphs are inspired by old funerary inscriptions, engravings, gravestones, and lintels from the Basque Country. The typeface was produced by Jordi Embodas.

    In 2019, they art directed the custom typeface Kymco for a motorcycle brand. Again, the type production was by Jordi Embodas (tipografies). [Google] [More]  ⦿

    Pratt Institute

    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
    [Bruce Newman]

    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]  ⦿

    Precision Type Font Reference Guide

    Three CDs with 5000 fonts from Adobe/Linotype, Agfa Type, Agfa Logos, Alphabets Inc., Andersen, Bear Rock, Bitstream, Carter&Cone, Diehl Volk, EmDash, FontBureau, TheFontCompany, FranklinTypeFound, Galapagos, HandcraftedFonts, Harris Design, Headliners Int., Intecsas, Int.Typeface Cor., Isis Imaging, Jack Yan&Ass., Key Borders, Lanston Type, Letraset, Letter Perfect, Monotype, NewYorkDesign, NIMX Graphics Page Studio, PolyType, Red Rooster, Russian Type, Christian Schwartz, Stone Type, Torah, Treacyfaces, [T-26], URW, Vanguard Media, ABC Design, Adagio, Addict Inc., Aerotype, Arthur Baker, Castle Systems, Coniglio, Design Lab, DS Design, Justified Type, Lunchbox Design, Maverick Design, mindCANDY, P22, Plazm Media, Psy/Ops Type, Richard Beatty, Synstelien Design. The book "Precision Type Font Reference Guide" by Jeff Level, Bruce Newman and Brenda Newman shows more than 13,000 typefaces. [Google] [More]  ⦿

    Printable Haven

    Company in New York City, that created the handcrafted typefaces Squiggle (2016), Suzette (2016), Sugar Cake (2016), Candelabra (2016), Fresh Berry (2016), Glimmer (2016), and Olivia (2016). [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
    [Charles S. Wilkin]

    Commercial foundry, est. 1994 in Brooklyn by Charles Wilkin (b. Buffalo, NY). Designers selling their fonts through them include

    • Charles Wilkin: Sequence, Policy, Velvet (1995, also at Plazm), Superchunk (which includes funny Picasso-esque dingbats of typefaces), Spin (1994), Spaceboy, Hi-Light (2002, an upright script family), Poly Anna (2001), Phink, DeScripto (grunge calligraphy), Decline, Broken, Dink (1994), Euphoria, Fatboy, Interstate60, MagnetoHalfSerif, PJCT (2003, sans).
    • John Wiese: Halo, Petulia, Cat Woman, Caitanya.
    • Robert Beck: Table Manners.
    • Frank Ford: Ghetto Prince (calligraphic grunge script).
    • 52mm: Kaiju (Hebrew simulation font).
    • Keith Tatum: Gliche.

    Free fonts by Charles Wilkin: Creep (1995), Cypher (1997), Nude (1995), Pixely (2002).

    Alternate URL. At MyFonts. Dafont link. Personal web site.

    View Charles Wilkin's typefaces. [Google] [MyFonts] [More]  ⦿

    Prototype Studio (or: Equinox Studio, or: Kensington)
    [Kevin Yudha]

    Or Umi Kholifah, or Yudha Chibi, or Dwi Yudha, or Kensington, or Equinox Studio, or Prototype Studio, or Chouji Kripik, or Kevin Yudha, or Matt Diamond. Cirebon (or New York)-based Indonesian designer of Romantika (2017: signature font), Black Jack (2017: font duo), Kensington (2017: hairline connected script), Tanzania (2017: brush script), Dahlia (2017: brush script), Kalimantan (2017: calligraphic script), Crayonila (2017: an upright calligraphic brush script) and Altequera (2017: squarish typeface).

    Typefaces from 2018: Royal Script, Magic & Chic, Katulamp (font duo), Chateau de Gudanes, Taleful (brush script). Early Creative Market link. Creative Market link. [Google] [More]  ⦿

    Prototype-NY (was: Handcraftedfonts)
    [Jonathan Macagba]

    Original fonts, clip art, signature fonts by New Yorker (and ex-Philadelphian) Jonathan Macagba, and Gregory La Vardera. Macagba used to run Handcraftedfonts, then Adcrobatics, and finally Prototype-NY. Most fonts are shareware. Look for Weather (great weather icons), Dotleaders, Talkballoons, Starburst, Rulesfont, Smileyface, MostlyWaves, MorseCodeFont, MetrolinerCaps (1994, Handcraftedfonts Co: an inline caps typeface), Instantlogo, Hobofont, Handyfont, Logofont, Freudfont, and Buncholines. Original, and high-quality creations!

    Jonathan also made commercial fonts available via Phil's Fonts, such as the interesting Murder Mystery Font, EdoFont (great Japanese decoratives), Frankenfont, Frankenfont Careers, FunToUseFonts, HF American Diner (a 3d shadow typeface), 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. Klingspor link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Pucker(type)
    [Chris Risdon]

    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]  ⦿

    Qinglu Guo

    During her art studies in Troy, NY, Qinglu Guo designed MyGlobe, a Latin text typeface that imports the stroke endings and typographic elements from Chinese. Behance link. Creative Market link. [Google] [More]  ⦿

    Quad Typographers
    [Mo Lebowitz]

    A typesetting and font vending compnay in New York City, active in the 1960s and 1970s. It was run---I think---by Mo Lebowitz (b. 1932, Washington, DC). Quoting the RIT Library: earned a BA degree from the University of Maryland. He spent two years in the Air Force, and then worked in the Washington area as an agency art director. He moved to New York in 1960 where he served, in turn, as art director for American Machine & Foundry, Savitt Studios, and Needham, Louis & Brorby. He opened his own design office in 1966, specializing in, among other things, the promotion and packaging of wine. However, he may have produced his most creative work in the basement of his North Bellmore, L.I., home as the proprietor, or "Prop," of the Antique Press, established in 1960. As the name implies, the Antique Press consisted of an eclectic collection of letterpress equipment, fonts of metal and wood type, and innumerable dingbats (printers' ornaments and cuts), along with a "multitude of parts, pieces, etc., that are at times not even known to the Prop. until he finds them by luck." Here Lebowitz produced a steady stream of posters, broadsides, pamphlets, and other ephemera that were widely collected by his friends and acquaintances in the graphic design community. In an interview published in Print magazine (Nov./Dec. 1964), [Google] [More]  ⦿

    R160signage

    FontStructor who made R160 Interior (2011), a dot matrix typeface that is based on an LED typeface used in the R160 MTA NYCT subway cars. He also made R160 Int Resize (2011), R160 Exterior (2011), R142 Interior (2011, a grid typeface based on actual R142 font. Used on New York City Transit Subway cars) and R142A (2011, a dot matrix typeface used on the R142/A MTA NYCT subway cars. It is the interior LED sign). [Google] [More]  ⦿

    Rachael Alling

    During her studies, Rachael Alling (Ballston Lake, NY) created the marquee art deco typeface Empire (2015). [Google] [More]  ⦿

    Rachael Park

    Graphic designer in New York City who made a straight-edged but rounded typeface called Cato (2013) and the avant-garde typeface family Bagel (2013).

    Behance link. [Google] [More]  ⦿

    Rachel Ake

    Rachel Ake (New York, NY) created the informal and bouncy display typeface Jambo (2012). [Google] [More]  ⦿

    Rachel Childers

    New York City-based designer of the connected copperplate calligraphic script typeface Scalino (2014). Behance link. [Google] [More]  ⦿

    Rachel Cirone

    Brooklyn, NY-based creator of Sew (2012). [Google] [More]  ⦿

    Rachel Drice

    Spring Valley, NY-based designer of 16th Century Gothic Capitals (2016). [Google] [More]  ⦿

    Rachel Suflita

    During her studies, Rachel Suflita (Schenectady, NY) created the lachrymal typeface Rosebud (2014). [Google] [More]  ⦿

    Rachel Yoon

    New York City-based creator of Cubed Display Font (2012). [Google] [More]  ⦿

    Rachid Aitouaissi
    [Bowery Studio (was: Hipster Font)]

    [More]  ⦿

    Rae Crawford

    At the Pratt Institute, Brooklyn, NY-based Rae Crawford designed the decorative caps typeface Beautiful Insects (2017). Behance link. [Google] [More]  ⦿

    Rae James

    Rae (or Rachael) James (Brooklyn, NY) created the ornamental typeface Benchmark (2013). Behance link. [Google] [More]  ⦿

    Rafael Cordoba

    New York City-based designer of Metalgami (2014). [Google] [More]  ⦿

    Rafael Germoso

    Student in Jamaica, NY. Creator of Slabtastic (2012). [Google] [More]  ⦿

    Ramón Abajo
    [DownHill Publishing]

    [More]  ⦿

    Ramon Lo

    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]  ⦿

    Ramone Henry

    During his studies in Brooklyn, NY, Ranone Henry designed the heavy display typeface Candy (2016). [Google] [More]  ⦿

    Rande Archer

    Brooklyn, NY-based designer of the stained glass font Stained (2013). [Google] [More]  ⦿

    Randy Jones
    [ToadFonts (was: AquaToad)]

    [More]  ⦿

    Raoul Gottschling

    New York City based graphic designer from Düsseldorf, Germany, who is currently working at Pentagram. At the University of Applied Sciences Düsseldorf, he designed the sans typeface La Nord. [Google] [More]  ⦿

    Raphael Boguslav

    Great handletterer (b. 1929 in Far Rockaway, Long Island of Russian parents) who grew up in New York City. He studied lettering with Paul Standard, Georg Salter and Leo Manso at The Cooper Union and graduated from The Cooper Union in 1951. He worked at the same studio as Milton Glaser for the next three years. Rahael become a designer and worked for some time for Lippincott and Margulies in New York. Raphael lived in Colorado for a long time, but is now based in Bellingham, WA.

    In 1969 he patented a squarish typeface 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. His typeface Visa (1966, VGC) won the Second Prize in the 1966 VGC National Type Face Design Competition. Others (thanks, Alexander Tochilovsky) confirm what I thought---that Visa and Avia are the same thing. Finally, Sloop Script Pro (1994, Richard Lipton, Font Bureau) is based on Boguslav's designs.

    FontShop link. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Raul Alejandro

    New York City-based art director who drew an exquisite set of initials in 2013 called Love Letters. He graduated with a BFA in Graphic Design from the School of Visual Arts in New York City.

    Behance link. [Google] [More]  ⦿

    Ravi Hampole

    Creative director for Starwood Hotels. New York City-based designer of the mosaic tile font Straphanger (2015). [Google] [More]  ⦿

    Ray Barber

    Ray Barber created the iconic logo for Saturday Night Fever. He taught typographic design at Pratt in New York for over 30 years. With Don Munson, former director at Ballentine Books, he created MGB Patrician (1980, Letraset). The letters MGB refer to Don Munson, Lynda Graham-Barber and Ray Barber (Lynda's husband). Digital revivals or remakes include Verve (Dieter Steffmann), Mazama Plain (Harris Type), Aegina (Brendel Informatik GmbH), and Protea (Castcraft/Opti),

    In the MyFonts forum of 2005, J-Louise Heron wrote: Don Munson, former Art Director of Ballantine Books, NYC---designed MGB Patrician. (The initials I believe were for him, his wife and partner, the Patrician for his daughter) At first it was a typositor exclusive at Haber. They would bill out 2 dollars a letter for each letter they set. Eventually, it was turned over to Letraset and made a rub-on transfer---with those great alternative "S"s... Mr. Munson left his job, Haber's shop moved into Image's shop, and old man Haber, left the office one night, took 4 steps outside the door, had a heart attack, and was found dead on the floor later that night. [Google] [More]  ⦿

    Ray Cruz
    [Cruz Fonts]

    [MyFonts] [More]  ⦿

    Raymond Mullin
    [Loaded Fonts]

    [MyFonts] [More]  ⦿

    Raymond Prucher

    New York and Dubai-based creator of the 3d display face Aurec and the geometric outline face Hinge (2010).

    Cargo Collective link. [Google] [More]  ⦿

    Razan Barakat

    Utica, NY-based graphic designer who created some stunning typographic art in 2014. [Google] [More]  ⦿

    Rea Irvin

    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 New Yorker Magazine. Mats were made by Monotype for private use by the magazine's printers. He created the famous New Yorker logo, a portrait of dandy Eustace Tilley. About the genesis of this typeface, the wiki says: The New Yorker signature display typeface, used for its nameplate and headlines and the masthead above The Talk of the Town section, is called "Irvin" or "Irvin type," after him. An alphabet drawn by the American etcher Allen Lewis, who had received training in woodcutting in Paris, was used as the typographical basis for the "Irvin type." Irvin may have spotted Lewis' lettering, which was drawn to imitate a woodcut, in a pamphlet entitled "Journeys To Bagdad", and liked it so much that Irvin asked Lewis to create the entire alphabet. Uninterested in this project, Lewis suggested that Irvin create the alphabet himself---this became the Irvin type. Digital versions of this:

    • New Yorker Type (Gert Wiescher, 1985).
    • UpperEastSide, UpperWestSide: free fonts by David Rakowski from the 1980s.
    • NewYorkerType (1985, Gert Wiescher). This was extended in 2011 to NewYorker Plus.
    • Karl A. Petersen (Picacho Peak, AZ) created his own version of Lewis's font in 2021, simply called Allen Lewis.
    [Google] [More]  ⦿

    Rebecca Caputi

    Graphic designer in New York City, who created the geometric solid typeface Blue Hue (2013).

    Behance link. [Google] [More]  ⦿

    Rebecca Liebert

    During his studies at the School of Visual arts in New York, Rebecca Liebert designed bespoke typefaces for a Chilean guitarist, Overhand Sam (2012), and for LES Magazine (2012). [Google] [More]  ⦿

    Rebecca Mah

    New York City-based designer of Culture Caps (2014), a collection of drop caps from various cultures. Behance link. [Google] [More]  ⦿

    Rebecca Rausch

    Graphic designer in Buffalo, NY. Creator of the display typeface American Jackal (2013). [Google] [More]  ⦿

    Rebecca Zis

    Florida, NY-based designer of an untitled modular display typeface in 2013. [Google] [More]  ⦿

    Redfield-Kendrick-Odell Co

    New York City-based publishers of these books:

    [Google] [More]  ⦿

    Regina Coraldi

    In 2016, during her studies, Regina Coraldi (Albany, NY) created the Frank Lloyd Wright Stained Glass Font. [Google] [More]  ⦿

    Renee Sluzhevsky

    Armonk, New York-based designer (b. 1992) of the thin hand-printed slab serif typeface Megan Serif (2013). Megan Serif was made during her studies at Parsons, The New School of Design. Earlier, she created Sharpie Based Typeface (2011).

    Behance link. Dafont link. [Google] [More]  ⦿

    Resident
    [V.H. Fleisher]

    V.H. Fleisher's foundry located in New York. Fleisher was born in NYC. Designer of Monod and Monod Brun (2009, geometric sans), Prin (2008, children's hand), Claude (2008, sketched letters), Jules (2008, children's hand), Saul (2007, children's hand), Claude (2007, poster font), Eric Script (2007), Henry (2007, an outlined handwriting font), Jules (2007, children's hand), and Maurice (2007, sloppy hand). Added in 2008: Jerzy Gothic (geometric sans), Eldra, Eldra 90 (2009), Raoul (children's hand), Lazlo (2008, handwriting), Rosenfeld (more kid's handwriting), Kossoff (kid's handwriting), Vero (2010, hand-drawn), Eric Script 90 (2010), Fleisher Dingbats (2010).

    The connecxted script series Mina was published in 2013. It contains a subfamily called Mina Calligraphic.

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Rhiann Irvine

    Graphic design student at SUNY Purchase, NY. Creator of a dot matrix experimental face in 2011. [Google] [More]  ⦿

    Ricardo Cordoba

    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).

    Abstract Fonts link. Behance link. FontStruct link. [Google] [More]  ⦿

    Ricardo E. Vargas

    Brooklyn, NY-based designer of the ball terminal-laden display typeface Cloud Atlas (2015), which was finished during his studies at Pratt. [Google] [More]  ⦿

    Rice Music Preparation

    Don Rice's 65USD jazz or show type font called Golden Age. [Google] [More]  ⦿

    Richard Diaz Granados
    [Stereo Type Haus]

    [MyFonts] [More]  ⦿

    Richard Kegler
    [Hamilton Wood Type (HWT)]

    [MyFonts] [More]  ⦿

    Richard Kegler
    [P22 Type Foundry]

    [MyFonts] [More]  ⦿

    Richard Lipton
    [Lipton Letter Design]

    [MyFonts] [More]  ⦿

    Rie Amaki

    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

    Rina Miele (Sleepy Hollow, NY) created the free hand-printed vector art alphabet Pug (2009). She also made the curly family Acrylic, and the free hand-printed poster typeface Thin Things (2011). [Google] [More]  ⦿

    Rina Miele
    [Honey Design]

    [More]  ⦿

    Ringo R. Seeber

    Founder of Glyph Co in Brooklyn, NY, and Arlington, VA. Designer of the free slightly flared text typeface family Petrona (2019), which has a variable style. Google Fonts link for Petrona. [Google] [More]  ⦿

    Rip Type

    Rip Type was set up in 2019 by Nick Losacco (who is based in Montreal) and Ciaran Brandin (Brooklyn, NY). Their typefaces:

    • Generator (2021, Nick Losacco). A 9-style utilitarian workhorse. Includes a variable font.
    • Klostro (2020-2022, Ciaran Brandin). A blackletter typeface.
    [Google] [More]  ⦿

    Ritika Shah

    Future graduate of Parsons, The New School for Design, class of 2017. New York City-based designer of the modular octagonal typeface Gothic Twist (2015, FontStruct). [Google] [More]  ⦿

    Rob Blackard

    Illustrator in New York City who runs Rob Blackard Studio. In 2016, Rob designed Children's Alphabet Art Print, and the octagonal typeface Rooftop. Behance link. [Google] [More]  ⦿

    Rob Jelinski

    New York City-based designer of the handcrafted typeface Beth Ellen (2018). He writes: Beth Ellen is a simple, joyful handwritten font crafted after the penmanship of my mom, Beth Ellen Jelinski who passed away from cancer on March 5th, 2017. Fontsquirrel link. [Google] [More]  ⦿

    Robert Alonso
    [BA Graphics]

    [MyFonts] [More]  ⦿

    Robert Altemus
    [Altemus Creative]

    [MyFonts] [More]  ⦿

    Robert Arnow

    Illustrator and graphic designer who is Director of Creative Investigation at Incitement Design in New York City. His calligraphy was turned into calligraphic brush typefaces such as Mustang (2009) and Streetbrush (2009). In 2010, he created Graffiti Classic and Graffiti Classic Taglets (dingbats).

    In 2013, he published the brush script typeface French Kiss. [Google] [MyFonts] [More]  ⦿

    Robert E. Smith

    Artist and art director in New York, b. 1910, Chicago. As a lettering designer, he was associated with ATF from 1933-1942. He was the art director of the New York World's Fair in 1939. Smith created

    • The light script font Park Avenue (ATF, 1933). This typeface is available at Bitstream as Ribbon 251, and at Corel as Paradise, at Infinitype as Park Avenue, and at SoftMaker as Park Avenue. Mac McGrew: Park Avenue is a distinctive script design by Robert E. Smith, cut by ATF about 1933. It is not quite a joining script, although some letter combinations seem to do so. Lowercase is rather small, with long ascenders, some of which have an open loop. This is probably one of the most successful designs in the founder's project of replacing the delicate traditional scripts with more contemporary interpretations. It was adapted to Intertype in 1939, in a version that departs remarkably little from the original, considering that it is duplexed with the totally dissimilar Bernhard Fashion, the only obvious differences being the lining figures, the narrowing of a few capitals, and straightening of the lowercase {and I to fit the straight, non-kerning matri- ces. However, some capitals have excess blank space on the left side. It is popular for stationery and announcements. Baltimore copied the foundry version as Belair, while several other suppliers cast fonts from Intertype matrices. Compare Parkway Script, Piranesi Italic, Raleigh Cursive.
    • Brush Script (ATF, then Berthold, 1942). This signage script is available at Bitstream as Brush 451 and as Brush Script. It has been imitated countless times: Brush (Mecanorma), Brush Script (URW++), Brush Script (Linotype), Brush Script (Tilde), Brush Script (Adobe), Brush Script EF (Elsner & Flake), Brush Script SB (Scangraphic), Brush Script Pro (Softmaker), Banty (ClickArt Fonts), Banff (Corel), Brussels (Fontbank), Bankoli (Fontbank), Tropical (Greenstreet), Motif (SSi), Brush Stroke (WSI), ATF Brush (2015, American Type Founders Collection). In a more general sense, extensions and close cousins among digital typefaces include Wisdom Script, Mission Script, Marketing Script, Motion Picture, Thirsty Script, Lobster, Lauren Script, Deftone Stylus and Ritts Cursive. Mac McGrew: Brush was designed in 1942 by Robert E. Smith as one of ATF's group of contemporary scripts, intended to replace designs from the early part of the century. This one has a handlettered, freely-drawn appearance, with the letters joined skillfully so the connections are not obvious. The availability of the typeface on Monotype mats has given it a much greater range of popularity and usefulness. A heavier weight was projected but not completed. Compare Brody, Hauser Script, Kaufmann, Repro Script.

    Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Robert Edward Ettlin

    Graduate of the Rhode Island School of Design, 2009-2012, who lives in Queens, New York. Creator of the modular straight-edged typeface Pronta (2012). [Google] [More]  ⦿

    Robert Engle
    [FONTypes]

    [More]  ⦿

    Robert Haas

    Robert Haas (b. 1898, Vienna, d. 1997, Valhalla, NY) studied at the Technischen Hochschule Wien and, under Rudolf Larisch, at the Wiener Kunstgewerbeschule. He started his private press Officina Vindobonensis in 1925 and emigrated to the USA in 1938, where he set up Ram Press in New York. Designer of the blackletter typeface Helen Fraktur (Monotype Serie Nr 308). [Google] [More]  ⦿

    Robert Jencks

    Brooklyn, NY-based designer of the art deco typeface Magnet (2013). [Google] [More]  ⦿

    Robert Lee
    [Web Museum of Wood Types]

    [More]  ⦿

    Robert Petrick (was: rwpstudio)
    [Robert W. Petrick]

    Robert Petrick (RWP Studio, New York) used to sell 20 fonts for 750 bucks. He specializes in comic book style typefaces.

    His creations include Boink (a comic book typeface done at Letraset, 1994, and later ITC), Africana (2011, fat family), Boink Rounded (2012), Boink Dropshadow (2012, a variation on ITC Boink), Boink Scratchy Outline (2013), Gargoyle, Rhino, Streets, Tusk, Tutti Frutti, Blowfish (2012), Blowfish Inline (2013), Facade Caps, Angelica, Mirror (2011, +Mirror Two, 2012).

    Typefaces from 2012: Pepino (loosely based on the classic font Hobo), Cherry Hill (an art deco era sans typeface), Blurt (hand-printed), Big Country, Bloop (hand-printed), Tagline (based on New York City graffiti).

    In 2013, he published the display typefaces Invertigo and Candyman.

    Grendel (2014) is a plumpish food signage typeface.

    Typefaces from 2017: Meme (squarish).

    Typefaces from 2018: SweetiePie (a monoline script that he calls casual faux antique).

    Typefaces from 2021: Petrick Boink (a loony cartoon font based on his own ITC Boink from 1990).

    FontShop link. Klingspor link.

    View Robert Petrick's typefaces. [Google] [MyFonts] [More]  ⦿

    Robert Tepper

    Graduate of the School of Visual Arts in New York City. He created Helvetica Style Avant Garde (2012). [Google] [More]  ⦿

    Robert W. Petrick
    [Robert Petrick (was: rwpstudio)]

    [MyFonts] [More]  ⦿

    Robothaus
    [Patrick McGrath]

    Patrick McGrath (Robothaus, Queens, NY, b. 1977) is the creator of the sketch typeface Skunk Money Rough (2012), which was drawn on his iPad. He also made the outlined typeface Effinground (2012), the tiled RH Brickhaus Proto (2013), the children's hand typeface Skidoo (2013) and the glaz krak typeface RH Shmatter (2013).

    Dafont link. [Google] [More]  ⦿

    Robyn Makinson
    [Type with pride]

    [More]  ⦿

    Roger Black

    Roger Black (New York and Saint Petersburg, FL) 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 was a major 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. Roger Black redesigned the Houston Chronicle, Popular Mechanics and the Los Angeles Times. In 2013, Roger took a new position as group creative director of Edipresse Media in Hong Kong. Cofounder in 2016 of Type Network.

    In 2013, David Jonathan Ross and Roger Black revived Nebiolo's Forma for the redesign of Hong Kong Tatler, a fashion mag, supervised and commissioned by Roger Black, who was then based in Hong Kong. Read about the whole process in this piece by Indra Kupferschmid. Page specially dedicated to DJR Forma.

    Frequent speaker at type meetings, including, for example, ATypI 2006 in Lisbon, ATypI 2009 in Mexico City (as co-organizer and session chair) and ATypI 2017 Montreal (keynote). 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]  ⦿

    Rogue Child

    New York City-based designer of Crystalline (2018). [Google] [More]  ⦿

    Ronald Arnholm

    Professor of Art Graphic Design at Lamar Dodd School of Art, part of the University of Georgia, Athens. Born in 1939 in Barre, VT, Arnholm designed the lapidary typeface ITC Legacy Sans family (1992, a 51-font remake of the 1960s Arnholm Sans), and the ITC Legacy Serif family (1992, Venetian). In 2009, ITC Legacy Square Serif and ITC Legacy Serif Condensed were added. ITC Legacy Square Serif won an award at TDC2 2010.

    His early fonts were released at VGC, the Visual Graphics Corporation: VGC Aquarius (2, 4, 5, 6, 7, 8, Outline) (1967) (this was digitized in 2007 by Steve Jackaman as Aquarius), VGCArnholm Sans Bold (1965), VGC Fovea (1977).

    Arnholm also designed WTC Veritas for the World Typeface Center, New York, 1981-85.

    He created these headline typefaces for the Los Angeles Times, 1980: L.A. Times Regular, L.A. Times regular italic, L.A. Times Bold and L.A. Times Bold Italic.

    MyFonts page. Linotype bio. FontShop link. Klingspor link.

    View Ronald Arnholm's typefaces. [Google] [MyFonts] [More]  ⦿

    Ronné Bonder

    American designer in New York associated with ITC, d. 2015. Creator of these typefaces:

    • ITC Machine (1970, octagonal font; designed with Tom Carnase). ITC Machine equivalences: Machine, Motor (Corel-branded version of Bitstream's Machine), Automaton Caps (SSK), Mechanic (Softmaker), M651 Deco (SoftMaker), Pittsburgh (SWFTE), Metal Encasement (SWFTE), Monotone (WSI/IMSI).
    • ITC Grouch (1970, with Tom Carnase). A heavy Caslon face. This is Dutch 791 at Bitstream and Zepp at SoftMaker.
    • ITC Gorilla (1970, with Tom Carnase). This rough-edged typeface is based on Post Oldstyle.
    • ITC Pioneer (1970, with Tom Carnase).
    • ITC Toms Roman (1970, with Tom Carnase).
    • ITC Honda. A heavy expressionist typeface.
    • ITC Ronda (1970). By Tom Carnase and Ronne Bonder. MyFonts credits Herb Lubalin though. It is R791 Deco and Rosa (2019) over at SoftMaker.
    • ITC Grizzly (1970, with Tom Carnase). Borrows elements of Kabel.
    • ITC Bolt (1970, with Tom Carnase). A squarish and modular sci-fi typeface. Copied by Bitstream as Square 821 and by SoftMaker as Boss (2012).
    • ITC Neon (1970; jointly by Ronné Bonder and Tom Carnase). Based on Prisma, and initially shown by Photo-Lettering as Neon. Prisma in turn was based on Rudolph Koch's Kabel. Digitizations include Neptune (FontBank, 1990-1993) and the free shadowed Multistrokes (Manfred Klein, 2003).

    His fonts are available from ITC, Bitstream and Elsner&Flake (such as Pioneer No2 EF).

    Linotype link. FontShop link. Klingspor link

    View Ronne Bonder's typefaces. [Google] [MyFonts] [More]  ⦿

    Ronnie Villeda

    New York City-based student-designer of the grungy typeface Rust (2018). [Google] [More]  ⦿

    Ros Knopov

    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]  ⦿

    Rosemary Straney

    During her studies, Rosemary Straney (Oneonta, NY) created the Hebrew simulation font Quest (2015). [Google] [More]  ⦿

    Ross Berenson

    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]  ⦿

    Ross Connard

    Graphic designer in Brooklyn, NY. Behance link. Creator of a very original threaded typeface called Burning Man Bold (2010). [Google] [More]  ⦿

    Ross Mills
    [STIX Fonts]

    [More]  ⦿

    Ross Palumbo

    New York-based designer of the display typeface Wilton (2016) and the large x-height stylish thin Stilson Sans (2016). Creative Market link. [Google] [More]  ⦿

    Rowen Frazer

    Rowen Frazer has a beautiful mind: a great headline for web page. Based in Brooklym he is the creator of the ultra-black square block font Coq Bloq (2012). [Google] [More]  ⦿

    Roxaboxen
    [Graham Bradley]

    A Lebanese American, Graham Bradley grew up in Pasadena, CA. He studied twentieth-century European history at the University of California, Berkeley, and graduated in 2009. He also graduated from the Type@Cooper program at The Cooper Union in New York. Graham designs printed materials, lettering, typefaces, and the occasional website. He is located in California. Before founding Roxaboxen, Graham was the first employee at Frere-Jones Type, where he worked with Tobias Frere-Jones on Mallory and Retina. He is an instructor at Type West at the Letterform Archive.

    During his studies at Type@Cooper in 2012, he designed Anacapa, and writes: Anacapa is an attempt to subtly express, in type, the identity of my home state: the cool, gray calm of beach volleyball courts in the early morning, the dispersed energy of Los Angeles, the warmth of the sunlight on the rocky Central Coast... It is an imagined piece of California's vernacular, designed to be as flexible and complex as the emotional range it seeks to capture.

    His typeface Madtown (2019, Future Fonts) is inspired by letters from the American West, in particular the styles that have a capital oh with wedge-shaped serifs. In 2019, he also released the arts and crafts-inspired Mara des Bois at Future Fonts.

    Other typefaces by Graham include Ogilvy Serif (2021, with Jeremy Mickel), and Bacterium (2014, a molecular typeface done for Alexander Issey Inc; it has multiple versions for each glyph). Graham also helps with type design at MCKL Type, Jeremy Mickel's type foundry in Los Angeles.

    Future Fonts link. Home page. [Google] [More]  ⦿

    Roy Eventov

    Graphic designer located in New York City. Behance link. He has created some experimental alphabets (that were not turned into fonts). [Google] [More]  ⦿

    Roy Rub

    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]  ⦿

    Rube Mandel
    [American Wood Type Mgf Co.]

    [More]  ⦿

    Ruby Ann Muñoz

    During her studies at Pratt Institute's upstate campus PrattMWP, Ruby Ann Muñoz (Utica, NY) created the vampire script typeface Mer de Noms (2014). [Google] [More]  ⦿

    Russell Maret

    Russell Maret is a type designer and letterpress printer working in New York City. He is a fellow of the American Academy in Rome and the current North American Chair of the Fine Press Book Association. He has written and lectured widely on the intersection of letter design, technology, and the private press book.

    In 2012, he used Kickstarter to fund a metal type project for Cancellaresca Milanese and its companion roman, Gremolata. He writes: Cancellaresca Milanese is based on a type that first appeared in Milan in 1541 in the books of Giovanni Antonio Castiglione. The type distinguishes itself in its combination of calligraphic energy with a minimal slope in its lower case and its comparatively small, upright capitals. Generally viewed as a descendent of the typefaces of Ludovico degli Arrighi, Castiglione's type has a darker, rougher quality than Ludovico's---its grace is a forceful one. In the design of Cancellaresca Milanese I have attempted to retain the liveliness of Castiglione's original type by resisting the temptation to "correct" the slightly modulating alignment or homogenize the finial strokes on the ascending and descending characters. The type is outfitted with both corsiva (as in the original) and formata descenders as well as a significant number of compound ligatured characters. He already did digital versions: I first developed the digital predecessor of the type for my book Aethelwold Etc in 2009 and I have used it in a few publications, taking each opportunity to redraw and refine the characters. I designed Gremolata in 2011 as a companion roman for Cancellaresca Milanese to be used in my book Specimens of Diverse Characters. For Gremolata, I designed a slightly larger set of capitals based on those in the Cancellaresca, and paired them with a lower case that is inspired, but not based on, Alpine typefaces of the mid-sixteenth century. [Google] [More]  ⦿

    Rutherford photo-lettering machine

    This machine was developed in New Jersey from 1928 until 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]  ⦿

    Ryan Bernis

    Designer in New York City. He created several typefaces such as Wilber (2012-2013, an inline typeface that won an award in 2014 at the Communication Arts 4th Typography Competition: 2014; digitized as part of Type@Cooper), French Ionic Revival Typeface (a revival typeface based on a metal type from the late 1800s; digitized as part of Type@Cooper in 2012-2013). Behance link. [Google] [More]  ⦿

    Ryan Breeser

    During his studies in 2014, Ryan Breeser (Brookhaven, PA) created the masculine display sans typeface Orca. [Google] [More]  ⦿

    Ryan Bugden

    Ryan Bugden is an independent graphic and type designer based in Brooklyn. Before graduating from Type Media at the KABK in Den Haag, The Netherlands (class of 2019), he received his BFA in Graphic Design from RISD (Rhode Island School of Design), completed the Type@Cooper Extended Program, and worked as a senior designer at Pentagram and Red Antler. He currently runs R&M with Michelle Ando and releases typefaces independently and through Future Fonts. He is an adjunct professor of typography at School of Visual Arts in New York City.

    His typefaces:

    • The angular serif typeface Fez (2014). Designed under the supervision of Cyrus Highsmith of Font Bureau while Ryan was studying at the Rhode Island School of Design, it was meant for the menu of The Red Fez, a restaurant in Providence.
    • Memoire (2016). A typeface that degrades with each use. It was designed for the fifth issue of Sub Rosa's biannual publication La Petite Mort.
    • Meek Display (2018-2019).
    • His graduation typeface at KABK was the experimental Spec (2019). Spec won an award at 23TDC.
    • Arcane. A custom typeface for the original Netflix series Arcane, based on the world of League of Legends.
    • Strawberry Western. A custom type for Kisa Shiga's independent anti-waste fashion label Strawberry Western. The identity is bilingual, drawn for both English and Japanese readers.
    • Getaway. A custom variable font for an alcohol-free bar in Greenpoint, Brooklyn.
    • Kato Sake Works. iA custom typeface family for Kato Sake Works, a local sake brewery in Bushwick, Brooklyn run by Shinobu Kato. It includes Kato Mono.
    [Google] [More]  ⦿

    Ryan Deremer

    Aussie designer in Brooklyn, NY. His beveled typeface Mosaic (2012) was inspired by the mosaic typefaces of the New York Subway. [Google] [More]  ⦿

    Ryan Welch
    [Fresh Pressed Fonts]

    [More]  ⦿

    Ryan Wesley Brown

    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 hand-printed typeface. [Google] [More]  ⦿

    Saad Benryane

    Designer based in Montreal, New York and Bern. Devian Tart link. He created the roundish high-contrast art deco typeface Artificial Timepiece (2011). [Google] [More]  ⦿

    Saad Dean Abulhab
    [Arabetics]

    [MyFonts] [More]  ⦿

    Sabe

    New York City-based graffiti artist. The graffiti / tattoo script typeface Sabe Ghetto Gothic (2006) by Christian Acker is based on his original drawings. [Google] [MyFonts] [More]  ⦿

    Sabrina Nacmias
    [Faire Type Foundry]

    [More]  ⦿

    Sadamitsu Neil Fujita

    American grpahic designer, b. 1921, Waimea, Hawaii, d. 2010, Greenport, Long Island. He grew up in Honolulu. After high school there, he moved to Los Angeles, where he took classes at the Chouinard Art Institute (now Cal Arts). His studies were cut short in 1942 when, as the child of Japanese immigrants, he was relocated to an internment camp in Wyoming. He created the cover typeface for Mario Puzo's The Godfather (1969, The Manhattan Rare Book Company, New York), with the G and d extending and almost touching to make God. Obituary in the New York Times. [Google] [More]  ⦿

    Sadi Tekin

    New York City-based designer. Creator of a hand-printed typeface called I Love New York Too (2013) and Sadi Tekin Script (2013).

    Behance link. Dafont link. [Google] [More]  ⦿

    Sam Gensburg

    New York-based creator of the squarish display typeface Greyjoy (2013). [Google] [More]  ⦿

    Sam Peterson

    During his studies in Brooklyn, NY, Sam Peterson created Deckhand (2014, a poster typeface), Ribbon Script (2014). [Google] [More]  ⦿

    Sam Potts

    Designer of Addressograph. Sam Potts and Sam Potts Inc are located in Brooklyn, NY. His sketches of Addressograph are based on lettering from a vintage ad for the Addressograph-Multigraph Corporation, manufacturers of the Addressograph addressing machine that stamped out dog-tag-like plates that were used to print mailing labels at high volume. The glyphs of Addressograph follow the gaspipe lettering style popular in the United States in the 1930s and 1940s. In 2014, Jesse R. Ewing (Midwest Type), created the retail typeface Addressotype that is based on Addressograph. [Google] [MyFonts] [More]  ⦿

    Sam Rooney

    Brooklyn, NY-based designer of Pipe Type (2014). Behance link. [Google] [More]  ⦿

    Sam Sung Ho Kim

    New York City-based creator of the Arabic simulation typeface Al Rahman (2013). [Google] [More]  ⦿

    Samantha Cioppa

    Graphic designer in New York City, who was also born there. A graduate of the Fashion Institute of Technology in NYC, she created the hexagonal typefaces Abeille (2015) and the modular typeface Bits (2015). Behance link. [Google] [More]  ⦿

    Samantha Dion Baker

    Graphic designer and illustrator in Brooklyn, NY. Alex Sheyn and Samantha Dion Baker co-designed the patterned typeface ATC Overlook Baker (Avondale Type Co) in 2014. She created several other patterned typefaces such as Lucky Peach Alphabet (for the magazine). [Google] [More]  ⦿

    Samantha Rodriguez

    New York-based creator of Sam's Sharpie Marker (2009, Fontcapture). Aka Stray. [Google] [More]  ⦿

    Samantha Simon

    During her studies at the Fashion Institute of Technology in New York, Samantha Simon created Archaic (2013), a sans serif display typeface that was inspired by African tribal patterns. Behance link. [Google] [More]  ⦿

    Samantha Watson

    For Kris Holmes's class at the Rochester Institute of Techology, Samantha Watson designed the italic typeface Roth (2014). [Google] [More]  ⦿

    Samara Amat

    Design student at the City College of New York. She created the smooth modular display typeface Chynna Cali (2012). [Google] [More]  ⦿

    Sameera Razak

    Graphic designer in New York City. She designed the display sans typeface Kelly Gordon in 2015. Behance link. [Google] [More]  ⦿

    Samuel Aiwaz Jacobs

    Designer and printer at the Golden Eagle Press in Mount Vernon, NY, b. 1891, d. 1971. He created Anacreon (Golden Eagle Press), Syrisch (Merganthaler) and Charter. [Google] [More]  ⦿

    Samuel E. Bartow

    American penman, 1868-1938. He was associated with the A.N. Palmer Company for pver twenty years. Regarded as one of the masters of business penmanship in America, he served as the editor of American Penman and was a principal of the Palmer School of Penmanship in New York. [Google] [More]  ⦿

    Samuel Winfield Tommy Thompson

    New York-based letterer and type designer, b. 1906, Blue Point, NY, who was also known as "Tommy". [Some sources have 1905]. He had a studio in New York City and was the author of several books on type and lettering. He died in 1967 in New York. His oeuvre includes

    • Baltimore Script (1955). Matrices cut by George Battee. Mac McGrew: Baltimore Script is a fancy style designed by Tommy Thompson and cut by George Battee for Baltimore Type in 1955. The lowercase follows the general style of a script letter hand-written with a broad pen, although the inclination is slight and the letters don't quite connect. Capitals are flourished. It is suitable for stationery, announcements, and greeting cards, but its range of small sizes is hardly enough for advertising use.
    • Collier Heading. McGrew: Collier Heading was designed by Tommy Thompson in 1946 for Collier's magazine. It is an adaptation of an eighteenth-century style known generally as Grecian, and was cut by Monotype in a considerable range of sizes. Other Collier or Collier Heading types have turned up; one was designed by Tommy Thompson for Collier's magazine, but not identified otherwise. It was probably also cut by Monotype. One of these could possibly be the Bert Black mentioned previously.
    • Various weights of Futura (later digitized by URW).
    • Mademoiselle (1953, baltimore Type Foundry). Mac McGrew writes about Mademoiselle: Mademoiselle was designed by Tommy Thompson in 1953 as a display typeface for Mademoiselle magazine. It was cut by Herman Schnorr at Baltimore Type, which also offered fonts for general sale. It is a delicate, narrow modern roman, with long ascenders and short descenders, rather loosely fitted, and works well for display with transitional text typefaces such as Bulmer and Scotch Roman.
    • Post Headletter (1943). Privately cast for the Saturday Evening Post.
    • Thompson Quillscript (1953, ATF): a 50s version of a chancery hand. McGrew: Thompson Quillscript was designed by Tommy Thompson for ATF about 1952. It is an attractive cursive letter with the appearance of lettering with a broad pen. Letters slope moderately and are not joining. The general effect is less formal than most other such typefaces. Capitals are rather reserved, but a font of alternate characters, mostly more informal capitals, was available separately until 1968. Compare Heritage, Lydian Cursive, Park Avenue, Raleigh Cursive. This typeface made it to the PhotoLettering collection.
    • The following typefaces for Photo Lettering: Thompson Buccaneer Thompson Cable, Thompson Coliseum, Thompson Colonial Wide 8, Thompson English, Thompson Federal, Thompson Federal Italic, Thompson Federal Open, Thompson Georgian 2, Thompson Georgian Semi Condensed 2, Thompson Georgian 3, Thompson Georgian 4, Thompson Glasgow Italic 4, Thompson Gross Bold 9, Thompson Headline Casoni, Thompson Logotype, Thompson Pegasus Stencil, Thompson Penscript, Thompson Railway Stencil, Thompson Scribe, Thompson Stencil 8, Thompson Stencil 10, Thompson Trend Extra Cd 3.

    Author of these books: The ABC of our Alphabet (1942, London), The Script Letter: Its Form, Construction, and Application (1939, New York), How to render roman letter forms (1946, New York), Basic layout design; a pattern for understanding the basic motifs in design and how to apply them to graphic art problems (1950, New York), Script Lettering for Artist (1969, New York). [Google] [More]  ⦿

    San Francisco Type Foundry
    [Edward Dalton Pelouze]

    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]  ⦿

    Sandy Pliego

    Art director in New York City who created a display typeface in 2016. [Google] [More]  ⦿

    Sang Mun

    Graduate of RISD, 2012, who worked at the Walker Art Center in New York. Seoul, Korea-based designer and art director. Creator of the Latin text typeface Lancet Wounded (2012) and of the grunge experimental typeface ZXX (2012, free). Social commentary: As a reaction to government surveillance, the ZXX typeface is embedded with disruptive designs that are meant to combat optical character recognition processes. The four options for online communications camouflage [called XED, Noise, False, and Camo] each have characteristics that keep them legible to humans, but baffling to machines. Sang Mun: The project started with a genuine question: How can we conceal our fundamental thoughts from artificial intelligences and those who deploy them? Library Stack link. [Google] [More]  ⦿

    Sanjay Makasana
    [PixsHub]

    [More]  ⦿

    Sansani Fonts
    [Tom Censani]

    Tom Censani established Sansani Fonts in 2009 in Brooklyn, NY. Cartwheel (2010) is a comic book face. Typedia link. [Google] [MyFonts] [More]  ⦿

    Sara Bernier

    Environmentally responsible designer in New York. Behance link. She created an animal alphabet for Wolf Awareness Week (2010). [Google] [More]  ⦿

    Sara Soskolne

    Toronto, Canada-born type designer best known for her work at Hoefler&Frere-Jones type foundry (where she is a senior designer) 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. Since joining Hoefler & Co. she has contributed to the design of a wide range of both bespoke and retail typefaces---the latter including Verlag, Chronicle, Sentinel, Gotham, Tungsten, Ringside and Quarto---and has taught typeface design at the Yale School of Art, New York's School of Visual Arts, and together with Sumner Stone was a founding instructor of The Cooper Union's Type at Cooper Condensed Program.

    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:

    • Gotham (with Hoefler&Frere-Jones), 2001
    • Verlag (with Hoefler&Frere-Jones),1996
    • Chronicle (with Hoefler&Frere-Jones), 2002
    • Sentinel (with Hoefler&Frere-Jones), 2002
    • Tungsten (with Hoefler&Frere-Jones)
    • Rngside (2017, at Hoefler&Frere-Jones)

    Wiki link. [Google] [More]  ⦿

    Sarah Bachman
    [SB Type]

    [MyFonts] [More]  ⦿

    Sarah Fuentes

    Graphic designer in New York City. Creator of the display typeface Quasi (2012). [Google] [More]  ⦿

    Sarah Hood

    Sarah Joy Hood (Brooklyn, NY) created Stud Font (2012). Behance link. [Google] [More]  ⦿

    Sarah Ingerick

    During her studies at Rochester Institute of Technology in Rochester, NY, Sarah Ingerick created the monoline organic geometric sans typeface Mowgli (2015). [Google] [More]  ⦿

    Sarah Liriano

    During her studies in New York City, Sarah Liriano created the geometric experimental typeface Apex Tria (2014). [Google] [More]  ⦿

    Sarah Mobarak

    Tonawanda, NY-based creator of the Nova (2013) for Ben van Dyke's Typography II class at University at Buffalo. [Google] [More]  ⦿

    Sarah Steinmetz

    Brooklyn-based designer of a paper collage typeface called Fracture (2013).

    Behance link. [Google] [More]  ⦿

    Sasha Prood
    [Sasha Prood Studio]

    [More]  ⦿

    Sasha Prood Studio
    [Sasha Prood]

    Sasha grew up just outside of Philadelphia, PA, and trained at Carnegie Mellon's School of Design, St. Gallen, Switzerland's Schule fur Gestaltung and Cooper Union's typeface design certificate program, Type@Cooper (2011-2012). She is a full-time freelance designer, illustrator and artist who currently resides in Brooklyn, NY. In 2010, she drew several (watercolor and other) painted alphabets. At Type@Cooper in 2012, she designed the art deco typeface Breccia. In 2013, she drew Glutton For Life Alphabet and Microscopic Organism Alphabet. Behance link. [Google] [More]  ⦿

    Saul Bass

    American graphic designer and Oscar-winning filmmaker, best known for his design of motion-picture title sequences, film posters, and corporate logos. Born in the Bronx, NY, in 1920, he died in Los Angeles in 1996. Bass worked for some of Hollywood's most prominent filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick and Martin Scorsese. Among his best known title sequences are the animated paper cut-out of a heroin addict's arm for Preminger's The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper in Hitchcock's North by Northwest, and the disjointed text that races together and apart in Psycho. Bass designed some of the most iconic corporate logos in North America, including the Bell System logo in 1969, as well as AT&T's globe logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines' 1968 jet stream logo and United Airlines' 1974 tulip logo, which became some of the most recognized airline industry logos of the era.

    Type design came as a by-product of his famous logos or movie posters. He designed the artsy Rainbow Bass (1982), as well as a gaspipe-style logo typeface for Alcoa (1963) to accompany his logo for Alcoa.

    Revivals and descendants of Bass's work:

    • Alumi (Michael Hernan). Based on the Alcoa typeface.
    • Hitchcock (Matt Terich). A free font. This is strictly speaking not a Bass revival, because Dave Nagata did most of the drawings. The style, however, is one hundred percent vintage Bass. According to Keith Morris, the lettering artist who did the lettering for the Saul Bass titles was Art Goodman. Not soi according to Jill Bell: Art Goodman did not do the lettering for Saul Bass. Rather Saul utilized a number of different lettering artists through out his career. Harold Adler did most of the Hitchcock/Preminger titles, Maury Nemoy did some (St. Joan).
    • Chank Diesel's Hitchcock (1997).
    • Rainbow Bass, a vertically striped disco style design, was remade by Nick Curtis as Backstage Pass (2008), Kymmera Deco NF (2011), and High Five and High Five Jive.
    • Harold Lohner's Alumino (2008) was inspired by Saul Bass's design for the aluminum company Alcoa.
    • Saul (Laura French, 2011) is based on the cut-out letter movie titling style used by Bass in some movies.
    • In 2015, Robin Lassalle created Saul Bass Font to honor Saul's genre.
    • Zetafonts pays tribute to Bass in their Double Bass (2018, by Cosimo Lorenzo Pancini).

    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.

    Wikipedia page. [Google] [MyFonts] [More]  ⦿

    Savannah Elisabeth Jankosky

    As a student at Pratt Institute, Brooklyn, NY-based Savannah Elisabeth Jankosky designed the bilined typeface Post Eames (2017). Behance link. [Google] [More]  ⦿

    SB Type
    [Sarah Bachman]

    New York City-based designer. In 2021, she designed Z3non, a groovy retro-futuristic typeface that fits in square blocks. [Google] [MyFonts] [More]  ⦿

    SBA: Scheppe Boehm Associates

    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 typeface 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]  ⦿

    Scanjam Design Company

    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]  ⦿

    Scarlett Chang

    Scarlett Chang (New York City) created some experimental geometric typefaces in 2013.

    Behance link. [Google] [More]  ⦿

    Schatz Ornstein

    Howard Schatz (New York) has made an alphabet picture collection of a nude couple. Very artistic stuff. The files. [Google] [More]  ⦿

    School of Visual Arts

    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]  ⦿

    Scott Vander Zee

    Scott Vander Zee (New York City) is a graphic designer, typographer, typeface designer, and educator specializing in book and editorial design projects, typefaces, exhibitions, signage and wayfinding, and visual identity systems. Scott received a BFA in Graphic Design from the School of Art at Western Michigan University, and completed his MFA studies between two Swiss schools, the ECAL [Ecole cantonale d'art de Lausanne] and the HGK Basel [Hochschule für Gestaltung und Kunst Basel]. He ais adjunct professor at Rutgers University's Mason Gross School of Art & Design (since 2017) and at the Pratt Institute (since 2018).

    His typefaces:

    • Vanilla (2020-2021). In Regual, Itailic and Mono weights.
    • NYC Typewriter (2021): a contemporary interpretation of American Typewriter.
    • BT Grotesk (2020, +Mono)
    • Scotch Genovese Display (2019)
    • Nordic Pavilion Book (2021)
    • Alice AG
    • Default Sans (2020, +Mono)
    • SDC Caslon (2017). SDC stands for Sound Development City.
    • Roentgen Therapie Käch Revival. A revival of Walter Käch's RoentgenTherapie (1949)
    • FFS Book (2016)
    [Google] [More]  ⦿

    Scott-Martin Kosofsky
    [The Philidor Company]

    [More]  ⦿

    Script and Seal
    [Gavin Potenza]

    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]  ⦿

    Sean Andrew Murray

    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]  ⦿

    Sean Dougherty

    Designer and art director who was active in New York City and Los Angeles from 2000 until today. At TypeParis 2017, he created Binge Watcher, a low contrast slab serif intended for big, bold messaging [Google] [More]  ⦿

    Sean O'Dea

    New York City-based designer of the handcrafted typeface Innocent Hand (2016), which was a school project at SVA. Behance link. [Google] [More]  ⦿

    Sebastian Fischer
    [Hubert and Fischer]

    [More]  ⦿

    Sedrick Chisom

    During his graphic design studies at the Cooper Union (class of 2015), Sedrick Chisom created the decorative typeface Dec (2013). [Google] [More]  ⦿

    Seiji Hori

    Graduate of the School of Visual Arts who lives in Brooklyn, NY. He created an experimental font in 2011. [Google] [More]  ⦿

    Sentavio Creative

    Belize City, Belize and now New York City-based designer who specializes in high tech and futuristic type designs. He created Borgita (2021: a plump rounded display typeface), Cyberpunk (2021), Cyberto (2021: cyberpunk), Cyberia 3D (2021: a 3d customizable font), Spacegate (2020), the puffy or bubblegum font Funfood (2020), the calligraphic font Wayout (2020), the techno family Vortex (2020), the techno / paperclip font family Mazeline (2018), the signage script Lettercraft (2017), the robot and drone-inspired Robodron (2017), Gempire (2017), the rounded organic typeface Airy (2017), Radon (2017), the outline typeface Ply (2017), the paperclip typeface Garde (2017), the blackboard bold typeface Aberration (2016), the striped typeface Karma (2016), the logotype font Advio (2016), the ribbon or monogram font RibOne (2016), the tech font Line Tech (2016), the curly Wonderscript (2016), the prismatic typeface Lineat (2016, +Lineat III), the plump logotype Airy (2016), the bi-lined typeface Freeline (2016), the robot-inspired Stingo (2016), the display typeface Food Craft (2016), the bilined logo and monogram font Sentaline (2016), the script typefaces Curline (2016) and Article (2016), the children's font Happy Kids (2016), the futuristic font Digitalium (2016, +Condensed), the multiline titling typeface Sentagram (2015), Forest Line (2015, thin squarish headline sans), Sweet Ink (2015), and the ribbon typeface Sentaband (2015). Creative Market link. Behance link. Another Behance link. Graphicriver link. [Google] [More]  ⦿

    Serena Zhang

    New York City-based graphic designer who made (I think) the teardrop typeface The American Dream (2013). [Google] [More]  ⦿

    Seth Labenz
    [Topos Graphics]

    [MyFonts] [More]  ⦿

    Seybold Seminars New York 1997

    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]  ⦿

    Seymour Chwast

    Graphic designer born in New York in 1931, who worked with Milton Glaser at Push Pin Studios in New York from 1954 onwards. Many of his fonts were sold by Photo Lettering.

    He designed

    • Chwast Buffalo Black Condensed (1981, Linotype). Not my favorite black-weight face, oddly serifed. Chwast Buffalo provided the inspiration for Lackawanna Weed (2007, Nick Curtis).
    • Artone (1968, PhotoLettering Inc: psychedelic lettering). Artone was digitaly revived as Loose Caboose NF (2007, Nick Curtis), Fofucha (2007, Iza W) and Dogsmoke (2019, Humberto Gillan).
    • Blimp (1970, from issue c84 of Push Pin Graphic). Blimp was the inspiration for Weedy Beasties NF (2007, Nick Curtis) and Weedy Beastless NF (2007, Nick Curtis).
    • Film Sense (1969, Photolettering: with Milton Glaser). Revivals include Newsense by Adrian Candela (2013).
    • In Ray Cruz's font Bouncing Checks Layers (2014), we find 40 fun hand-drawn dingbats by Seymour Chwast.

    FontShop link. Klingspor link. Linotype link. [Google] [MyFonts] [More]  ⦿

    Shakima Franklin

    Brooklyn-based creator (b. 1993) of the handwriting font Dorkified Distortion (2009). Fontsy link. [Google] [More]  ⦿

    Shannon Ferguson

    During her studies at AiO, Rhinebeck, NY-based Shannon Ferguson created the quaint curly typeface Love Poems (2015), which was inspired by the poetry of Pablo Neruda.

    In 2017, she published the handcrafted Coffee Date, and Friends & Aliens.

    Typefaces from 2018: Hey Fox (comic book style). [Google] [More]  ⦿

    Shannon Kilbride

    During her studies at Pratt, New York City-based Shannon Kilbride designed the experimental typeface TPX (2016). Behance link. [Google] [More]  ⦿

    Shannon Van Pelt

    Binghamton, NY-based designer of the floiate typeface Pixel Garden (2018). [Google] [More]  ⦿

    Sharp Type
    [Lucas Benjamin Sharp]

    Lucas Sharp is a designer (b. 1986, San Francisco) set up Sharp Type in Brooklyn, NY, and later in New York City proper. Before that, Lucas Sharp was involved with Typeslashcode in New York. In 2011, he and Juan Carlos Pagan set up Pagan&Sharp in Brooklyn, NY, but they split a few years later. In 2015, Lucas Sharp and Chantra Malee [at Sharp Type, Malee handles business, brand management, marketing, graphic design and sales] started Sharp Type in New York City. In 2020, the collaborators and type designers included Josh Finklea, Connor Davenport, Marc Rouault, My-Lan Thuong, Calvin Kwok, and Justin Sloane. Lucas Sharp's typefaces:

    • Happy Stache (2010). A blackletter.
    • Hera (2010). A ball terminal-laden ornate didone done for his thesis at Parsons. His talent shines through his award-quality ornamental didone family, Hera Big (2010), which is an extension of his earlier thesis work.
    • Designer Sucks (2010). An ultra-fat and counterless typeface.
    • The free fat counterless typeface Doughboy (2010). In 2014, Greg Gazdowicz and Lucas Sharp co-designed Doughboy Pro, a bubble bath typeface.

      Lucas Sharp does penmanship drawings such as Go Big Or Go Home (2010) and We're on a roll (2010).

    • Together, Pagan and Sharp published Malleable Grotesque Regular (2011).
    • Sharp Sans (2013, Incubator subfoundry of Village). Sharp Sans is a geometric sans with a non-geometric semi-curvy italic. Sharp Sans No. 2 (2015) is more geometric. It has Bayer / Bauhaus alternates, Lubalin avant garde style interlocking capitals, and pays tribute to those styles. Sharp Sans No. 2 (2015, Incubator): While Sharp Sans No. 1 ends its round monolines with diagonally sheared terminals, Sharp Sans No. 2 shears those terminals on a 90 degree angle.
    • Ogg (2013) is a fashion mag typeface inspired by the hand lettering of 20th century book designer and calligrapher Oscar Ogg. Ogg won an award at TDC 2014. Review by Bethany Heck.
    • Frauen [Roman, Script] (2015, Incubator). A calligraphic pair. The Roman is partially based on the calligraphy of Friedrich Neugebauer [on the cover of an almanac of Berlin debutantes published in 1945 titled, Die schönsten Frauen der Welt], and partly Lucas's own creation. Production assistance from Wei Huang.
    • Sharp Sans was modified in 2016 for Hillary Clinton's campaign, on commission for Michael Bierut of Pentagram. They write: The newest iteration of Sharp Sans was conceived for the Hillary Clinton 2016 campaign. Michael Bierut and the Pentagram team chose Sharp Sans Display No.1 as the main typeface of the campaign identity, but such a monumental project required a sturdier and more utilitarian typeface. The new Sharp Sans is completely redrawn and shaped by the rigorous typographic demands of modern visual communications. What sets the new Sharp Sans apart is a raised x-height, and newly opened counters that make it optimal for both text and display layouts; a new, more versatile approach, of which the two Display versions were not previously designed for. The set has Slab and Stencil styles as well.
    • In 2016, Sharp designed a custom Trajan-inspired typeface for Anthonly Lent, the jeweler.
    • Sharp Grotesk (2017), 259 fonts strong and several years in the making. Village writes: Sharp Grotesk sits at the intersection of mid-century modernist rigor and Victorian hand-hewn vernacular. Lucas considered Adrian Frutiger's monumental Univers suite of fonts, with its grid of multiple weights and widths, applying this underlying construction principle to letterforms echoing the forms of American and northern European wood types. Sharp Grotesk won sixth prize in the TDC Typeface Design competition in 2017.
    • Lucas Sharp and Connor Davenport finished the Dutch oldstyle typeface Eros Text in 2017. Eros Text was influenced By Jan van Krimpen's Sheldon and Bram de Does's Lexicon. Eros Text B has longer ascenders than Eros Text A.
    • Halyard (2017). An information design sans typeface family by Joshua Darden, Lucas Sharp and Eben Sorkin.
    • Respira Black (2017). A contemporary blackletter inspired by Spanish and English models from the 15th and 16th centuries.
    • Sharp Slab (2018).
    • Beatrice and Beatrice Display (2018) by Lucas Sharp assisted by Connor Davenport and Kia Tasbihgou: Beatrice is a new kind of typeface. The family is an exploration of contrast methodologies, combining various aspects from the canon expansionist systems, inverted contrast, and the contrast behavior of standard sans-serif grotesks. These methodologies were dissected and used as cornerstones in building our own system, with the final result landing largely in unexplored territory. Built on the foundation of a traditional American Gothic but with tight-as-can-be spacing, the superfamily spans a robust set of weights and includes 2 optical sizes: a super high-contrast, tightly packed Display cut, as well as a standard low-contrast cut, designed to function beautifully in a wide range of optical sizes.
    • In 2019, Lucas Sharp and Marc Rouault wrapped up Doyle at Sharp Type. The chubby Doyle interpolates between Cooper Black and ITC American Typewriter.
    • In 2021, Lucas Sharp and My-Lan Thuong, assisted by Wei Huang and Marc Rouault, designed Salter. Slater Roman is based on calligraphic book jackets by Georg(e) Salter from 1941, and Salter Italic is inspired by two of Oscar Ogg's book jacket alphabets from 1942.

    Type catalog, 2010. [Google] [MyFonts] [More]  ⦿

    Shawn Rice

    Brooklyn, NY-based designer of BMT (2016, a dot matrix typeface) and Rost & Brew (2016, a coffee bag stencil typeface). Behance link. [Google] [More]  ⦿

    Sheila Cheng

    Using only circles and squares, Sheila Cheng (Brooklyn, NY) created [Google] [More]  ⦿

    Sheldon R. Shepard

    Designer in New York City, of a sketched typeface (1958). [Google] [More]  ⦿

    Shen Design
    [Juliet Shen]

    Born in New York where her father was a translator for the United Nations, 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 typeface 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.

    AwanZaman (2016, Type Together) by Mammoul Sakkal (Arabic part) and Juliet Shen (Latin part) grew out of the Arabic newspaper type Awan Sakkal had designed on commission for a Kuwaiti newspaper in 2007.

    Speaker at TypeCon in 2007 and 2008 and at ATypI 2009 in Mexico City. Speaker at ATypI 2013 in Amsterdam. Her Font Bureau bio mentions that she started out as a painter and became a graphic designer later.

    MyFonts link. Klingspor link. Typecache link. [Google] [MyFonts] [More]  ⦿

    Sherman

    A typeface designed by Frederic Goudy in 1912. Mac McGrew: Sherman was designed in 1912 by Frederic W. Goudy as a plate type for Frederick Sherman, a publisher and fine printer. Since Sherman already had an earlier type drawn by Goudy, the designer felt that a new type for him should be decidedly different. While the drawings were pleasing, the type as cut in 14-point was a disappointment to Goudy. Due to his inexperience, he says, he had believed that close fitting was essential to a typeface, and in this design he went to extremes. However, a quantity of the type was cast and shipped to Sherman. This was dumped after Sherman's death. Later a special casting was made by ATF for Syracuse University, where this specimen was obtained.

    In 2017, Pentagram and Chester Jenkins of Village type revived Sherman for Syracuse University after that university's Special Books curator William T. La Moy discovery of Sherman in the university's archives. For the occasion they made a completely new typeface, Sherman Sans, as a companion for Sherman Serif. [Google] [More]  ⦿

    Shira Inbar

    During her studies at Yale School of Art, Shira Inbar (Brooklyn, NY) created the curvy typeface Gunman Stencil (2014). Behance link. [Google] [More]  ⦿

    Sho Shibuya

    Japan-born Sho Shibuya moved to New York City in 2011, where he works as a graphic designer. Creator of the slab typeface Malu Alvarez (2013). [Google] [More]  ⦿

    Shokouh Razavi
    [Haxon]

    [More]  ⦿

    Shu Li

    Graphic designer in New York City, who created a series of display typefaces called Gown Font (2013).

    Behance link. [Google] [More]  ⦿

    Signal Type Foundry
    [Max Phillips]

    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 moved to Dublin, Ireland, in 2013 with his Irish spouse. His typefaces:

    • FF Spinoza Pro (2011). His first type design, developed 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 typefaces 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.
    • Center (2013). A technical monoline sans typeface with soft lines. It is based on a round rectangle. Followed by Center Slab in 2016 and Center 2 in 2019.
    • The prismatic / hypnotic multilined typeface Vibro (2011), an op-art font that received the Type Directors Club Certificate of Excellence in 2012.
    • Pressio (2016). A condensed to wide wood-inspired sans typeface family. See also Pressio Stencil (2018).
    • Baasic (2016). A standard sans typeface: Baasic was designed for Dublin-based design office aad. baasic, and was intended as a plain, hardworking grotesque---a simple tool for clear communication.
    • Ballinger Mono and Ballinger (2018). Published by Signature Type Foundry, Max explains: Ballinger began life as a single-weight proprietary typeface called baasic [...] We have developed it into a fully-featured eight-weight family with matching italics. Sources include early 20th century jobbing sanses like Morris Benton's News Gothic, and Candia, a 70s-era typewriter face Josef Müller-Brockmann designed for Olivetti, which had unusually deep junctures that added energy to letters like m and n. The family takes its name from Raymond A. Ballinger, the great mid-century American designer, author of "Lettering Art in Modern Use," and champion of elegance and readability. Ballinger has large counters and a generous x-height. Followed in 2019 by Ballinger Condensed.
    • Mortise (2019). A welcome addition to the slab serif genre by Sean Mongey and Max Phillips. Max writes that the long, slightly curved vertical serifs give it a raffish, mustache-twirling air.
    • Sinter (2019). A gaspipe sans.
    • Tenon (2019). A great sans based on Mortise. By Sean Mongey and Max Phillips.
    • Dashiell (2020, Text, Bright, Fine). He writes that it is an attempt to combine the warmth and frankness of Caslon with the lucid elegance of Garamond.
    [Google] [MyFonts] [More]  ⦿

    Signs of Gold
    [Francis Stephen Lestingi]

    Francis Lestingi (b. 1963, Long Island City, NY) started out in type design at Letterhead Fonts, where he made the calligraphic script typefaces 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 typeface at Signs of Gold is Fran Hand (2009), an architct's font. In 2010, he added the signage typeface Stefano. He lives in Williamsville, NY. [Google] [MyFonts] [More]  ⦿

    Sihan Wu

    Type and graphic designer based in New York City. In 2020, he released the spaghetti western typeface Golemi Display, which was inspired by the Caslon Italian specimen from 1821. [Google] [MyFonts] [More]  ⦿

    Silo Design
    [Susanne Cerha]

    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]  ⦿

    Silvia Coco

    Graphic designer and illustrator in New York City. Creator of the ornamental caps Sexy Alphabet (2013). [Google] [More]  ⦿

    Simi Mahtani

    Brooklyn, NY-based designer of custom typefaces for SuperBowls 48, 49 and 50 in 2014-2016, on commission for the NFL. Behance link. [Google] [More]  ⦿

    Simi Mahtani

    Brooklyn NY-based designer of the fine all-caps typeface Shadow Sans (2014). In 2014 and 2015, she designed custom sans headline fonts for the NFL's Super Bowls 48 and 49. In 2016, she designed a custom sans headline font for the NFL's Super Bowl 50. Behance link. [Google] [More]  ⦿

    Simon Egli

    Swiss art director who has done substantive typographic work for some clients. For Tess model agency in London, he custom-designed a typeface and logo in collaboration with Mind Design. Sea Ark Sheep (2010) is a contextual typeface that was started as a project at Central Saint Martins, and ended up being released by Die Gestalten in collaboration with Stian W. Bugten in Norway.

    In 2012, he was based in New York City.

    In 2016, Simon published the free superfamilies Sean Slab and Sean Sans. The typeface is about to be renamed Canola. Github link for Metapolator: Canola is the first typeface created using Metapolator. It includes Sean Devanagari.

    As part of his Biblia Libre project, he addded Bold and Italic to Apostrophic Lab's free Day Roman font family (2020), which is based on François Guyot's 16th century types. [Google] [More]  ⦿

    Sinem Akca

    Turkish-born designer in Brooklyn, NY, who created the display typeface Beykoz in 2016. In 2014, Sinem published the curly Light Gothic Godo. [Google] [More]  ⦿

    Sisi Recht

    Designer and illustrator in New York City. Creator of Bubble Wrap Type (2015, dot matrix font), Turnover (2015, decorative caps done for the identity branding for Turnover, a new product design, as part of a startup company with Katie MacLachlan and Robyn Donnelly), and Hearst Holiday (2015, an ornamental caps typeface done for Hearst's holiday invtations). Behance link. [Google] [More]  ⦿

    Size Matters

    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]  ⦿

    Skyhaven Fonts

    Skyhaven (Alex, b. 1993) is located in New York City. He designed free typefaces between 2012 and 2015, and turned professional after that.

    In 2012, he designed the hand-printed typefaces Scrappy Le Doot, On Kayak, The Low Down, Lunar Oatmeal, Datamost, Retro Supermarket, Konata, Luna Graph, Clark Summit, Real Toyz, Nocturne, The Snails, StPauls, Arking (graffiti style), Conspiracy, Skeluna, Lava Lamp, Summertime Lovin (outlined signage typeface), and Nonsense. Wub Machine and Spikes are playful typefaces. Penn Avenue and The Enemy Gene are fattish poster fonts. Get The Fuck Up and Des Pot) are outlined comic book typefaces, while Nammy Sans is a comic book typeface designed for balloons. Centipede is a squiggly typeface. Mega Sans and Ursa Cape) are outlined shaded typefaces. Ursa Minor is a sci-fi typeface. Retro Gamer is a horizontally-striped geometric typeface. Raditad) is a horizontally-striped sketch face. Iron Furnaces) is ultra-condensed. Nite Owl) is an avant-garde typeface. Red Fish) is a grunge typeface based on napkin writing. Ded End) is a grungy typewriter typeface. In Metro Caves is a grungy textured typeface. Super Rad) is a geometric sans typeface.

    Further typefaces from 2012 include Red Snapper, Metro Skies, Belle West, The Moon, Fisher, Alisky, Enjoy The Alien, Whisperings, The Real World, Swift Death, Tall Trees, Windsor Hand, Distort Me, Split The Atom, Ursa Drop, Klondike7, Belle West, Nammy Sans, Pixel This, Summertime Lovin (comic book lettering), Spikes, Monday Morning, Where My Keys, Firefly Navigator, Coconut Point, Clarks Summit Panic (blood drip typeface), First Impressions (hand-printed), Ocean City Park (hand-printed), Limit Break, Space Game, Sky Metropolis (hand-printed), California Rad (poster face), Yellowjackets (hand-printed), Organic Fear (scary typeface), Frenzy (ornamental caps), Green Surf, Sky Fanci, Killin It, Fix You (outlined face), Punkin Pie (3d outline font), Alligator Sky (hand-printed), Freaking Strange (grunge), Oh God Why (sketched face), In The Know (condensed and hand-printed), Kamikaze (brush face), Wintered Debts, Overhead (alchemic), Wintermint, Festivala, Freaking Strange, Whale Watching, Everything's Fine, Goodnight Freak, Twilight Ozone, Distort Me, Snow Fox, Bouncing on the walls, Sleeping on a cloud, Sketchbook Nasty, On the edge, Outta Da Box, Bold Universe, Splendid Stencil, First Impressions, Strange Rituals (an avant-garde geometric sans), Regular Font (hand-printed outline and shadow font), Shanty Hand, Strawberry Avalanche, Take Warning (blood drip face), Playtitle, Hairliner, Over Atlantic City (tall hand-drawn poster font), Skyliner (tall poster font), Retroland, Owl Creek (a campground font), Insanity, Lake Script, Lakeshore Drive (poster font), Gorilla Comix, Bamboo Brisk, Scranton Fancy, Ruby Glow, Happy Dreams Med Mono, Lost in the Sound (chalk font), Ice Cream Sandwich, Art Center, Shark Fighter, Minds Alike, Supersonic Love, Brushie Brushie, Rainy Day (thin poster font), Maggie Moo (comic book font), Kinda Messy, Midsummer Circus, Ocean Coastlines, Hillside Vista, Fox Connection, Cheap Frames, Problems, Rustik (grungy), Tribal Type, Songbird, Angry Mob, New Visions, Parachutes, Loud and Clear (scratchy typeface), From The Woods.

    Typefaces designed in 2013: Brinetext Black (a poster font), The Grand Staircase, Windsor, Spacecraft, Nevermore, Paper Airplanes, Whipped Scream, Paper Airplanes, Sing Out, Bright and Beautiful, Into The Vortex, Embxz, Awkward, Summer Jams (outlined face), Sombody (sic) to Love, Tekno Trance, Spinning Around, Up with the Birds, Campground, Linemaster (outline face).

    Typefaces from 2014: Supersonik, Whirly Birdie, The Ramble, Lazy Summer, Red Moon Rising (alchemic font), The Perfect Wave, Realistik (upright script), Brinetext Pattern (textured typeface).

    Typefaces from 2015: Wednesday Lettering Practice, Roundmarker, Dragon Night, Sinister Black (heavy brush), February 11 2015, February 10 2015.

    Typefaces from 2018: Spindle Refined, Moonrise (a geometric mulilayered hipster font), Clam Shack, Nicholson Gothic, Lake Giles, Anitype Journal (a fat finger font), Anitype Redwood, Wednesday Lettering Practice, Sinister Black, Garden (lapidary vintage caps, aka Lake Giles 26).

    Creative Market link. Old URL for Skyhaven Fonts. Dafont link. Fontspace link. [Google] [More]  ⦿

    Small Cap Graphics
    [Holly Goldsmith]

    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: an Arts and Crafts font), 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 (1995, 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 BT (a script typeface), Liorah (2000, a connected script), Hank BT, Missy BT, Ryan BT (2000, jungle font), Raven, Raven Evermore.

    Linotype link. FontShop link. Klingspor link.

    View Holly Goldsmith's typefaces. [Google] [MyFonts] [More]  ⦿

    SnapFonts

    Type distribution company that was founded in March 2003 by Jayne Moschella in New York City. Its (now defunct) URL was http://www.snapfonts.com. It was shut down after complaints from various sources after it renamed existing fonts. The typefaces sold by SnapFonts were made by a variety of designers (not named on the web page).

    A list of (mostly fifties style) fonts that could be found on their site: 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]  ⦿

    SNX

    Barcode professionals in New York selling, e.g., BarCodePro 3.5. [Google] [More]  ⦿

    Snyder Studio
    [Kristina Snyder]

    Snyder Studio (New York) is run by Kristina Snyder (CEO b. Sweden) with her partners, John Foster and Gary Cunliffe. In 2018, they designed the free political typeface Trump Grotesk. [Google] [More]  ⦿

    Soixantedeux

    New York-based designer. He made a TrueType version of the old Apple bitmap font Venice in 2006 and placed it at Dafont as Venice Classic. Another Apple bitmap font, Athens, was revived in 2007 as Athens Classic. He also remade Fixedsys 62 (2007), an old Windows systems font, complete with Greek and Cyrillic characters.

    Dafont link. Devian Tart link. [Google] [More]  ⦿

    Sol Nodel

    Type designer for Photo Lettering Inc in New York, specializing in Hebrew type. His typefaces include Israeli Modern (+Rounded), Israeli Oriental, Israeli Script and Torah. [Google] [More]  ⦿

    Soleil Paz

    Albany, NY-based designer of the textured display typeface Delirious (2016). [Google] [More]  ⦿

    Sonal Gadre-Shintre

    New Providence, NJ-based designer of the spurred typeface Arch (2014). Inspiration came from Indian Mughal arches, and the application Sonal had in mind was fashion magazines. Arch was created for a course at SVA (School of Visual Arts) in New York. She also created a set of pictograms for Ariisto Realtors in Mumbai. [Google] [More]  ⦿

    Sonic Chao

    New York-based youngster, b. 1994, who created Nowai (2006), a paper-cut simulation font. He also made SonicChao Handwriting -CAPS (2006). [Google] [More]  ⦿

    Soomin Lee

    Student at Parsons in New York. Creator of Dynamic (2009, experimental). [Google] [More]  ⦿

    Sophia Del Plato

    Cordelia (2015) was designed by Sophia Del Plato in the 15 week typeface design course taught by type designer Kris Holmes at the Rochester Institute of Technology's School of Design. Cordelia was inspired by the aesthetic of American Horror Story: Coven. Sophia writes about this tall-legged vintage typeface: This typeface was therefore influenced by witchcraft, femininity, spookiness, grandeur, and death. This face was initially named after one of the show's main characters and became unbelievably fitting, being itself old-fashioned, mature, and elegant. [Google] [More]  ⦿

    Sophie Wedd

    Graphic designer in Ghent, New York, who created an octagonal typeface in 2015. Behance link. [Google] [More]  ⦿

    SOTA

    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."

    In 2018, the (entirely North-American) Board of Directors consisted of Neil Summerour (Chair), Sharon Oiga, Delve Withrington, Mary Catherine Pflug, Theresa Dela Cruz, Grant Hutchinson, Xerxes Irani, Frank J. Martinez, Erin McLaughlin, Matthew Carter, James Grieshaber, Allan Haley, Richard Kegler, and David Pankow. Interestingly, while society has a strict DMCA policy, the board has people who have a checkered past in this respect. [Google] [More]  ⦿

    Space Type Continuum

    Space Type Continuum is a Brooklyn-based type studio led by Lynne Yun and Kevin Yeh. The studio operates at the intersection of type, design, and technology. The studio specializes in creating experiential letterforms of all kinds, from typeface design to generative typography.

    Lynne Yun is a NYC-based type designer and educator who specializes in typography, hand lettering, and calligraphy. She was previously a full time type designer at Monotype and served on the board of AIGA NY and Society of Scribes. Prior to working at Monotype, Lynne held positions as a graphic designer at companies such as Apple Inc. She holds a BFA from the School of Visual Arts and a postgraduate certificate in typeface design from the Type@Cooper Extended Program. Her work has been recognized by organizations such as AIGA, Type Directors Club and Art Directors Club, notably the Ascenders award which honors designers under the age of 35 who show remarkable achievement in typography, type design, and lettering.

    Kevin Yeh is a NYC-based developer with a background in computer vision, graphics and robotic learning. He holds an MS in computer science and film studies from the University of Texas at Austin, and currently holds a full-time position at Nava PBC, where he works with government partners to build simple and reliable public digital services. As a technologist, his work reflects broad and varied interests to imagine, reconstruct, and relate to the natural world through the lenses of augmented reality, computer animation, and mobile hardware.

    Future Fonts link. [Google] [More]  ⦿

    Spencer Brothers

    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]  ⦿

    Spencer Charles
    [Charles & Thorn]

    [More]  ⦿

    Squigglefont

    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]  ⦿

    Stanley Davis

    Graduate of The Cooper Union, who was born in Brooklyn in 1938. He taught at The Newark School of Fine Arts and was art director at L. W. Frohlich in New York. Stan lives in Saugerties, NY.

    Designer of Stan Free (VGC, 1973) and the liquid font Amelia (1965, Visual Graphics Corporation). Amelia was later "stolen" by Bitstream and Linotype. Here is what Stan wrote: Bitstream and Linotype have stolen my "Amelia" font (their renditions of it are pathetic). My digitized version of Amelia and other fonts I designed are available at: highwoods@hvc.rr.com.

    Bio at Linotype. MyFonts site.

    FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Stéphane Elbaz
    [General Type Studio]

    [MyFonts] [More]  ⦿

    Stefano Arcella

    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 (2001, inspired by handpainted letterforms on the Sumatran island of Samosir, this typeface was awarded a TDC Certificate of Excellence in Typographic Design), NixRift (2001, based on W.A. Dwiggins's Eldorado), and Tuk Tuk (2001, based on lettering from the Tuk Tuk village in Sumatra). [Google] [MyFonts] [More]  ⦿

    Stella Seoyeong Park

    Graphic designer who graduated from Cranbrook Academy of art and now freelances in New York. Stella created the experimental arc-based typeface LOL ROLL LOL (2012). [Google] [More]  ⦿

    Steph Capria

    Rome, NY-based creator of a typographic poster called Pediophobia Fear of Dolls (2013). [Google] [More]  ⦿

    Steph Walker

    Designer (Brooklyn, NY) who is getting a second degree in Ecological Engineering. He made the comic book typeface Rhsxyn Kqrtwn in 2010 at You Work For Them. He also made the paper fold typeface Packing Tape (2011), Melting Beads (2011), and the feathered typeface Featherhead (2011). Home page. Behance link. [Google] [More]  ⦿

    Stephanie Livesay

    Based in Raleigh, NC, Stephanie Livesay created the art deco typeface Cade (2014). [Google] [More]  ⦿

    Stephanie Moon

    New York City-based creator of the fun Swiss cheese-inspired typeface Swisch (2015). [Google] [More]  ⦿

    Stephanie Toole

    Designer in New York City who grew up in Atlanta. She created the ornamental caps typeface Montecastello (2012). [Google] [More]  ⦿

    Stephanie Vera

    As a student in New York City, Stephanie Vera designed the futuristic typeface Modern Future (2015). [Google] [More]  ⦿

    Stephen Boss
    [Embossdesign.com]

    [MyFonts] [More]  ⦿

    Stephen Geary

    New Paltz, NY-based designer of Toothface (2015, a tooth-inspired typeface). Behance link. [Google] [More]  ⦿

    Stephen James Hoefer

    Graphic designer in Rochester, NY, who studied under Kris Holmes at RIT. Creator of a set of animal icons and of Hoefer Blackletter in 2013. [Google] [More]  ⦿

    Stephen Nixon
    [Arrow Type (or: Typefloundry, or: Recursive Design)]

    [More]  ⦿

    Stephen Paul Wright

    New York City-based designer of the condensed all caps grotesk typeface Astor Place (2020). [Google] [More]  ⦿

    Stereo Type Haus
    [Richard Diaz Granados]

    Stereo Type Haus (or STH) is a commercial foundry in Brooklyn, NY, est. 2000, offering fonts by Rick D. Granados ((b. Miami, FL, 1970): Bucks (graffiti font), Bushwick (handwriting), Ballbuster, Bedford (2010, an award-quality dot matrix family inspired by mosaic lettering by Heins&LaFarge, architects of the IRT (Interborough Rapid Transit) in New York City: Bedford hints at the station names on platform walls which date back to 1904 but modernize it through a rigid grid system and rounded corners), Bockhold (2010, a humanist take on DIN), Broadcast (neat stencil face), Konstrukt (stencil), Construkt (2009, a unicase stencil), Falcon, Gran Torino, Roller Girl, Opera (2005, with Ros Knopov), Prisma 2012 (2010, an octagonal multiline face), Radiac (2010, a monoline squarish unicase face), Rukbat, Stylus, Schmearox, Tech Stencil (2000), Noise&Hum, STH Sirena (2006, inspired by hand-painted signage found in "Little Haiti" Miami, Florida), Boris Dworschak (Partisan East, Partisan West, Basic, Gaijin. Other designers include Nikola Djurek (Cornerset (pixel), Aiseman), Luis Valle&R.D. Granados (Lillian, a script face), Arnold Steiner (Statica, Organic Mechanic), Michael Clarke (Paris), Carlos Alfonso (Locut, 2Bit), Denise Wilton (Stereobitz, a stereo dingbat face), Nikola Djurek (Tribeca, Magasine, Soho, Novella) and unnamed author fonts such as Palleta, Rook, STH Kit 1, Stereobytes (audio dingbats), Stereobytes Vintage (hi-fi dings), Nomad (a deconstructivist stencil face).

    At FontStruct in 2009, he made the Victorian family Cartelle (+Inline), the pixel family Microdot, and Chico. Granados spends his time between New York City and Austin, Texas.

    Klingspor link.

    View Richard Granados's typefaces. [Google] [MyFonts] [More]  ⦿

    Steve Haslip

    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 typeface based on the proportions of Avenir), and Flickird (2009, semi-sans). Behance link. [Google] [More]  ⦿

    Steven Acres

    Graphic designer in Brooklyn, NY. He made the custom logortype Chimaera (2010) for a mediaeval-style cafe. Behance link. [Google] [More]  ⦿

    Steven Canales

    Steven Canales (New York City) designed the blocky typeface Blockade (2013). [Google] [More]  ⦿

    Steven Heller

    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 170 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:

    The typeface Heller Sans JNL (2019, Jeff Levine) is named after Steven Heller as its designer digitized an experimental alphabet by Steven Heller. [Google] [MyFonts] [More]  ⦿

    Steven Jockisch

    Graphic designer in Brooklyn, NY, and now in Minneapolis, MN. While working at Mucca Design and under the creative direction of Matteo Bologna, he designed a typeface for the identity of an Atlantic City restaurant called Teplitzky's (2009). He also made the art deco prismatic numerals called Lined Numerals (2009).

    Behance link. [Google] [More]  ⦿

    Steven Verdile

    Bay Shore, NY-based designer of the deco typeface Aqux (2016). [Google] [More]  ⦿

    STIX Fonts
    [Ross Mills]

    Non-profit free font project, which started in 2001. The (free) fonts were released in May 2010. The designer is Ross Mills, Tiro Typeworks Ltd, with portions copyright of MicroPress Inc., and with final additions and corrections provided by Coen Hoffman, Elsevier (retired). 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. CTAN page on Stix.

    In 2016, STIX Two, a major update, became available at CTAN. The letterspacing and kerning of the text fonts have been significantly improved. True small capital variants (Latin, Cyrillic, and Greek), accessible via the OpenType font feature smcp, have been added for all text fonts. Text (lowercase or oldstyle) numerals, available via the font features pnum and onum, have been added, in addition to natural-spacing figures. Alphabetic superscripts and numeric sub- and superscripts, accessible via the subs and sups font features, have been added. Fractions are available via the frac feature, as well as numerators (numr) and denominators (dnom). The STIX Two fonts consist of one Math font, two variable text fonts (STIXTwoTextVF-Roman and STIXTwoTextVF-Italic), and eight static text fonts (Regular, Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, and Bold Italic) derived from the variable fonts.

    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.

    In 2018, Paul Hanslow, Ross Mills and John Hudson co-designed the free STIX Two family, which is based on Times Roman.

    At this CTAN site, one can download the entire STIX collection. Designer URL: MicroPress Inc. STIX Two (type 1) at the CTAN site. STIX Two (OpenType) at the CTAN site.

    Also worth pointing out is the free 163-font collection Schticks (2017) by Adam Twardoch, which is based on STIX Two.

    Google Fonts link for STIX Two Math. Github link for the STIX fonts. [Google] [More]  ⦿

    Stokoe Tempo Font
    [Angus B. Grieve-Smith]

    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]  ⦿

    Street Type

    Brooklyn, NY-based type foundry, est. 2013. In 2014, they created Modern Brush, Meet Me in Brooklyn (a fat brush script). Creative Market link. [Google] [MyFonts] [More]  ⦿

    Stuart

    New York-based graphic designer. Creator of the graffiti families Form+Kaos (2004) and Fk (2006). [Google] [More]  ⦿

    Studies in Pen Art
    [William E. Dennis]

    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 typefaces to calligraphic scripts, blackletter types and ornamental types. There are also reproductions of flowery ornaments such as the acanthus ornaments popular in the early 20th century. He created Sickels alphabet, ca. 1899.

    Additional link. Another PDF file. Examples of Dennis's hand: a bird (1896), his signature (1896), Austin N. Palmer's name hand-printed (1896). [Google] [More]  ⦿

    Studio Domahoka

    Studio Domahoka in New York City published the elegant thinly serifed Latin / Cyrillic / Greek caps typeface Uchronia in 2013. It explains: Uchronia is a classic serif titling typeface ideal for setting at large sizes; slightly condensed, light, with a very fine weight on its thinnest strokes. Uchronia is based on the hand lettered titles from a series of 1950s artist folios. The word "Uchronia" was coined by French author Charles Renouvier in 1876. A Uchronia is a sort of nostalgic utopia of yesteryear that often exists more in memory than in fact. The simple and graceful forms of Uchronia reference such an idyllic time.

    Behance link. [Google] [More]  ⦿

    Studio Hannes Famira (or: Famira Fonts)
    [Hannes Famira]

    Hannes Famira, who runs Studio Hannes Famira, was born in Buchholz in der Nordheide, Germany in 1966. Hannes Famira studied graphic and typographic design at the Royal Academy of Fine Arts in The Hague in the Netherlands. He worked as a type designer in the Hague and used to work at Buro Petr van Blokland. Hannes started his own design studio Das Kombinat in 1999 and the Kombinat-Typefounders in 2001, and renamed it FamiraFonts in 2016. He taught various typography and typedesign classes at the SfG, School for Design in Basel (CH), at the University of the Arts in Philadelphia, at the New Jersey City University, at the City University of New York, at Rutgers University, at the Hochschule für angewandte Wissenschaft und Kunst Hildesheim/Holzminden/Göttingen (HAWK), at the Kunsthochschule Kassel, at The Cooper Union, and at SVA the School of Visual Arts. He is presently based in Brooklyn, NY.

    Typefaces by Famira include FF Blocker, FF Mutilated, H-Stamp, Tieshy, Bubblejet on Steroids, Plantijn, Humiliated, Kugelkopf Letter, Hernard, MaryPason. He also doescustom font work. At Kombinat Typefounders, he designed InterFamily (Interpol Sans, Interpol Correspondence, and Interpol Serif, 1992: zuinig or thrifty almost condensed typefaces), ScanLine Bundle (which includes the nice display font Mary Pason), H-Stamp, FF Blocker, Sonar Sans (2011, mixing gei=ometric and humanistic elements), JC Corrido (2001, letterpress emulation), JC Tieshy (1993, grunge), JC Bubblejet on Steroids (1992, grunge, based on cardboard box prints), and JC Kugelkopf (1996: an old typewriter font based on the IBM Selectric type ball). The letters JC stand for the Jetsam Collection.

    He explains the Futura-like Sonar Sans: Sonar is the attempt to marry the rule of geometric, historical form with the forgiving, human expression of early gothic typefaces. In fact, nothing about this typeface is truly symmetrical. The geometric nature of the underlying model merely served as a starting point to find the shapes of a low contrast expansion typeface. Through Sonar it seems that I have finally made peace with the Geometric Sans.

    Famira on Interpol Sans: it is a robust, low contrast typefaces designed for legibility in low resolution situations. It performs particularly well on media like television and computer screens or in projections and on lightboxes.

    FontShop link. Adobe link. Type network link. [Google] [MyFonts] [More]  ⦿

    Studioways
    [Eliza Gwendalyn]

    Calligrapher in New York City. In 2016, she published the copperplate calligraphic script typeface Petunia (Great Lakes Lettering).

    In 2017, she teamed up with Boston-based type designer Jim Lyles to form the Studioways Studio, which specializes in calligraphic typefaces. Studioways features Eliza's own lettering as well as that of other popular calligraphers.

    Typefaces from 2017: Madison Street (a Spencerian set of fonts by Elaina DeBoard, Eliza Gwendalyn, and Jim Lyles, accompanied by a few styles that are based on the handwriting of Elaina DeBoard), Hart (by Virginia Lucas Hart, Eliza Gwendalyn and Jim Lyles), Boronia, Lady Slippers.

    Typefaces from 2018: Petunia Monogram (with Jim Lyles).

    Typefaces from 2019: Little Sprout (script; with Jim Lyles).

    Typefaces from 2020: Nerine (a brush-lettered script).

    Creative Market link for Studioways. Another Creative Market link for Studioways. [Google] [MyFonts] [More]  ⦿

    Subsidiary Design

    Design studio in New York City. They propose Stencilano, a typeface in which Zapfino is made into a stencil font. [Google] [More]  ⦿

    Sugar and Type
    [Ilana Griffo]

    Rochester, NY-based designer of Griffin Bold (2016) and Ruthy Script (2016). Creative Market link. [Google] [More]  ⦿

    Sune Matras

    Digital artist in Philadelphia, PA, and/or New York City, whose web sie is in Denmark. He created the modular geometric typeface Pictobob (2010) and the hand-printed Pops (2013).

    Dafont link. Behance link. [Google] [More]  ⦿

    Sunghoon Kim

    During his studies in Brooklyn, NY, Sunghoon Kim created the high-contrast display typeface Encounter (2014). Behance link. [Google] [More]  ⦿

    Susan Johnson

    Born in Long Island, Susan Johnson lives in New Jersey and works in Philadelphia. During her studies at Rutgers University, she designed the multiline display typeface ContrAversy (2013). [Google] [More]  ⦿

    Susan Kare

    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 (dingbat font), LosAngeles, Athens and San Francisco (1984, ransom note font), 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.

    MyFonts catalog. Interview.

    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 note font), Toronto, and Venice (Bill Atkinson's script font) got their names.

    Kare is also known for the original set of Mac icons.

    The Apple fonts shown below are outline fonts made by Bigelow & Holmes on commission, based on Susan Kare's original pixel fonts. Susan Kare did not design the outline fonts sold by Apple at MyFonts. [Google] [MyFonts] [More]  ⦿

    Susanne Cerha
    [Silo Design]

    [More]  ⦿

    Suyoung Yang

    At the School of Visual Arts, Suyoung Yang (originally from Seoul, Korea) designed the geometric solid (Latin) typeface GeoType (2015) and an experimental circle-based typeface (also in 2015). Suyoung graduated from the School of Visual Arts in 2019, and started work at Everything Type Company in 2019. Suyoung is based in Brooklyn, NY.

    In 2018, her bold and eccentric display typeface Chiifer won a Gold Award at the Graphis competition in the category type design.

    In 2019, under the mentorship of Courtney Gooch and Paula Scher at SVA, she designed an experimental typeface for the Korean record label DRDR. Home page. [Google] [More]  ⦿

    Suzanne Falvo

    Webster, NY-based designer of the decorative caps typeface Crescent (2018). [Google] [More]  ⦿

    Suzanne Lefebvre

    Rochester, NY-based interior designer. Creator of the experimental geometric typeface called Shift (2012). [Google] [More]  ⦿

    Swiss Miss
    [Tina Roth Eisenberg]

    Design blog by Tina Roth Eisenberg (Switzerland&New York City). Has subpages on type design. [Google] [More]  ⦿

    swissmiss
    [Tina Roth Eisenberg]

    Type blog by "Swiss Miss" Tina Roth Eisenberg, who now lives in NYC. [Google] [More]  ⦿

    Sylvia Saborio

    New York City-based designer of the school project Inverse (2013). Free (if you ask) at Friday Fonts, the Parsons school project web site. She writes: Perfection is not the sole definition of beauty. Imperfection is beauty as well. Influenced by the entangled thread on the backside of a piece of fabric, Inverse seeks to appreciate that which generally goes unseen. See also here. [Google] [More]  ⦿

    Symbolset
    [Mike Fortress]

    Digital product designer and front-end developer based in New York City. Previously he was a partner and designer at Oak Studios, where he led projects for Village, Tobias Frere-Jones, Font Bureau, Monotype, and Facebook among others. Home page.

    Symbolset was started by Mike Fortress, a graduate of Type@Cooper. Its commercial icon sets include SS Community (2015, by Wen Ping Huang), SS Glyphish (2015, by Joseph Wain), SS Air (2015, by Jory Raphael), SS Elements (2015, by Jory Raphael), SS Forecast, SS Geomicons Squared, SS Gizmo (2013, by Dutch Icon and Oak Studios), SS Junior, SS Pika, SS Social, SS Standard, SS Steedicons, SS Symbolicons (2012, by Jory Raphael, Oak Studios), and SS UI. [Google] [More]  ⦿

    Synoptic Office

    Design studio based in New York City. In 2017, they published Praha, a text typeface that revives Grafotechna's Praha (1968). Behance link. [Google] [More]  ⦿

    Tabitha Ueblacker

    Tabitha Ueblacker (Fashion Institute of Technology, New York) designed the experimental typeface Gnarled (2011) and the edieval outline typeface Secret (2011). [Google] [More]  ⦿

    Tabo Garcia

    Tabo (Gustavo) Garcia (alternate URL) is based in New York. He designed these fonts:

    • 2004: Almaga, Sketch Book, Tokiorama (Regular, Bold and Hashi: oriental font simulation).
    • 2005: Chubby Round, Chubby square, Classic 1952, Ishtencil popular, Round Balcony.
    • 2006: Bonfim, Com Las Manos.
    • 2007: Brocos Tortos (octagonal), Bad Tattoo Artist, Electro Punk, Molecula Toxica, Roundin.
    [Google] [More]  ⦿

    Tabor Robak

    Digital artist in New York City who created the mysterious typeface Blossom (2019). [Google] [More]  ⦿

    Taiki Murayama

    New York City-based creator of an oriental brush simulation typeface (2014). Behance link. [Google] [More]  ⦿

    Takaaki Goto
    [GT&Canary]

    [MyFonts] [More]  ⦿

    Talia Ovadia Laniado

    During her studies in New York City, Talia Ovadia Laniado designed the high-contrast deco fashion mag font Mayden (2016). [Google] [More]  ⦿

    Tamara Yakov

    During her studies in New York City, Tamara Yakov designed an art deco set of numerals called October Calendar (2017). [Google] [More]  ⦿

    Tania Debono

    Typographer and lettering artist in Manhattan, NY, who runs theWriting. In 2016, she designed a special hand-lettered typeface for fashion house Oscar De La Renta. [Google] [More]  ⦿

    Tanya Yeremeyeva

    Ukrainian motion graphics designer/letterer in New York City, who created several beautiful calligraphic pieces in 2014. [Google] [More]  ⦿

    Tatiana Gancedo

    New York-City (and before that, Miami, FL)-based dillustrator and graphic designer. Creator of the octagonal typeface La Belgique (2013). She writes: La Belgique is a typeface based on an old French advertisement headline found in the archives of The Wolfsonian museum. This was a collaborative project with Mylinh Trieu Nguyen.

    In 2017, Tatiana Gancedo and Angelica Baini co-designed the free modular typeface Renasci.

    Behance link. Newer Behance link. [Google] [More]  ⦿

    Taulant Bushi

    New York City-based graphic designer. He created the aristocratic sans typeface Colonia in 2009. [Google] [More]  ⦿

    TDC2 Type Directors Club's Type Design Competition 2002

    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

    • Dreamer DD: a comic book font by Robin Spehar.
    • Pradell: a text font by Andreu Balius.
    • Whitman: an old style figures font family by Kent Lew (KL Type Foundry).
    • Alphatier: a scribbled letter font by Mark Jamra.
    • Azuza: a strongly slabbed font by Jim Parkinson.
    • Dearest: a lovely medieval scribe font by Christina Torre (P22).
    • Globetrotter: a fine hand-printed font by James Lebbad (Lebbadesign, USA).
    • ITC Jeepers: Nick Curtis's famous display font.
    • Keester: a comic book titling font by Jim Parkinson.
    • Media Core 3: dingbats and techno glyphs by Jens Uwe Meyer and Heinrich Paravicini (Mutabor Design, Germany).
    • Woodley Park: double-stroked medieval display font by Nick Curtis.
    • Brioso Pro: a Renaissance font family by Robert Slimbach (Adobe, see here).
    • Federal: From Letterror, Erik van Blokland's great dollar bill lettering.
    • Minion Pro Greek: Robert Slimbach.
    • Myriad Pro Cyrillic & Greek: Carol Twombly, Robert Slimbach, and Fred Brady.
    • Rialto: a text family by Giovani de Faccio and Lui Karner (dftype, Austria).
    • Siemens: by Hans-Jörg Hunziker.
    [Google] [More]  ⦿

    Ted Mook
    [Fonts for microtonal music]

    [More]  ⦿

    Tejal Sampat

    Graphic designer in Buffalo, NY, who created the experimental typeface Meow (2012). [Google] [More]  ⦿

    Teknike
    [Thoma Kikis]

    Thoma Kikis is a New York City-based graphic designer, photographer, filmmaker and entrepreneur.

    Typefaces from 2016: Ithaka (script).

    Publisher of these handcrafted typefaces in 2017: Anamorphic, Evangelos, Passagem, Privé, Qipao (momospaced felt marker pen font). Teknike also created Nautis (sans), Cycladic (sans), Vantagram (blackletter), Uny (slab serif perhaps for athletic lettering), Fugues (star-studded textured style inspired by organic geometry as apparent in the work of Antoni Gaudi; started in 2015), Jadeite (sans) and Designator (a squarish modular monospace font).

    Typefaces from 2019: Omoshiroi (a handcrafted monospace typeface), Cote (a hand-lettered monospace font), Penzance (a monospaced handcrafted typeface), Monadic (a monospaced textured typeface), Chartreux (a geometric monospaced display sans typeface), Originator (a squarish monospaced font family), Quantour, Prive (a display handwriting font).

    Typefaces from 2020: Receptor (a monospaced squarish typeface), Departe (a dot matrix font), Eleusis (monospace, all caps), UNY (slab serif). All his fonts cover Latin and Greek. Some cover Cyrillic and Hebrew too.

    Typefaces from 2021: Ermou (a Greek emulation typeface). [Google] [MyFonts] [More]  ⦿

    Tenth Letter of The Alphabet
    [Alexander Jay]

    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
    [James Montalbano]

    Terminal Design is the company of James Montalbano in Brooklyn, New York, est. 1990. He was the President of the Type Directors Club, 2002-2003. He teaches type design at the School of Visual Arts in New York City. Feature on him by John Berry. In 2019, he declared at Typedrawers: I'm so tired of type design, so we must assume that threw in the towel. James designed these fonts:

      • In an earlier life as part of Fonthaus, ca. 1994-1995, I believe that Montalbano designed fonts like DidotDisplayAntiqueTdi, DidotDisplayRegularTdi, ProgressivePsychoOneTdi (through Six) and SenzaTDI (many weights).
      • 718 (2010). A clean 24-style sans family influenced by as many typefaces as there are immigrants in Brooklyn. Named after the non-Manhattan area code.
      • Alfon (2003). Montalbano calls it a muscular text typeface. It has chamfered corners and cupped serifs.
      • Badinage. A connected retro script.
      • Cappella (2013). It is a direct result of the work done on the Fordham Chapel custom font commission. A one weight, all caps design based on wood carved lettering from a Fordham University chapel honoring fallen alumni.
      • Choice Sans, Choice Sans Compressed, Choice Sans Condensed (2014).
      • ClearviewADA, ClearviewADA Condensed, ClearviewHwy, ClearviewText, ClearviewText Compressed, ClearviewText Condensed. The legible sans serif family ClearviewOne, designed for highway signs, and used for US highway signs starting in 2002. The highway sign font family is called ClearviewHwy), and is further explored here. ClearviewHwy is used for highways in the USA starting in 2004 (see the discussion here). The OpenType version of ClearviewOne is called ClearviewText (2007). ClearviewADA (2007) is a family of Clearview fonts that conform to the letterform specifications for signage outlined in the Americans with Disabilities Act legislation. Free download. Clearview was discontinued in 2016 by the US Federal Highway Administration, in favor of the older Highway Gothic from the 1940s: Report by Citylab.
      • Consul Caption, Consul Deck, Consul Display, Consul Text (2009). A 48-style text family. Optically sized, it emerged from a Gustave Mayeur design done by Montalbano for Mens Vogue. Consul has a hint of didone, but the brackets are rounded and the stems gently flared. In Montalbano's palette, this is one of the beauties.
      • Enclave (2007): A sixteen font slab serif family.
      • Fervent (2013). A sans version of Badinage.
      • Giacomo 2.0. a well-balanced and interesting sans-serif family. Includes Cyrillics.
      • Insouciant (2011). An upright connected script family..
      • At ITC: ITC Orbon 2020, ITC Orbon (1995-1996: a strange experimental typeface), ITC Nora (1997), ITC Freddo (1996, a fat poster typeface).
      • Kaboodle (2018). A wood type with extended Latin, Greek and Cyrillic.
      • Kinney (2011). A type family for tables and information design. James's self-proclaimed attempt at creating a neutral serif.
      • Latin 512, Latin 512 Compressed, Latin 512 Condensed, Latin 512 Expanded. An 80-style didone family with triangular or wedge serifs typical of the Latin style.
      • Moraine (2009). A serif family with a wide generous feel. Stems are flexed and tapered and serifs are cupped.
      • Notary (2017).
      • Now Playing (2007): A digital revival of the naïve plastic lettering that was used on the marquee of the Apollo Theater in Harlem.
      • Quotient (2015). An elegant sans typeface family without italics. Montalbano describes it as trajan Sans because of its classical roman proportions. many details such as the rhombic dots on the i's are inscriptional in nature.
      • Rawlinson 2.0, Rawlinson 2.0 Condensed, Rawlinson Roadway (2003). A serif family, which includes a Condensed sub-family). NPS Rawlinson Roadway is an old style serif typeface currently used for the United States National Park Service's road signs. It was created to replace Clarendon and uses James Montalbano's wife's last name.
      • Shenandoah. A display type based on the wood letters at Shenandoah National park.
      • Social (2012). A rounded sans family for on-line use.
      • Tangent (2007): A geometric sans in sixteen styles.
      • Trilon, Trilon Compressed, Trilon Condensed, Trilon Expanded (2009): A sans typeface family. Montalbano calls it a 21st century gothic.
      • VF Sans, VF Sans Condensed (2011). An avant-garde family with 32 styles. James explains its release: Back in the late 90s I designed a family of sans serif fonts for Vanity Fair magazine. I based them on various sans serif designs from the 1930s with nothing particular in mind. They have been compared to Intertype's Vogue, and I do see the connection, but it wasn't my intention of doing a Vogue revival. They have been kept out of circulation these last many years at Vanity Fair's request, but it appears that during the last few years Vanity Fair has lost interest in them. They no longer grace the front cover of the magazine, and they appear with less and less frequency inside the publication. I've also noticed several pirated uses of them as they have popped up on some book jacket designs. So with Vanity Fair's permission I felt it time to set them free.
      • Yo Andy, Yo Frankie, Yo Lucy, Yo Sophie, Yo Zelda. The Yo series (2010) consists of 200 didone styles. It is subdivided into Yo Andy, Yo Frankie, Yo Lucy, Yo Sophie and Yo Zelda. This didone family has two axes (weight, extension) with 100 regular members finished in 2010 and 100 italics added in 2014. They reach in alphabetical order from condensed (Andy) to extended (Zelda).

      Montalbano designed custom corporate fonts for Condé Nast Publications, Warner Music, The American Medical Association, the U.S. National Park Service, Vanity Fair, Brides, Gourmet, Mademoiselle, Sassy, Details, Glamour, Jane, Self and Book. The list of font names, with links:

      • Collins Geometric.
      • DM Marquee. A dot matrix all caps design created for Mother NY for their client, Daily Motion.
      • Early Learning Sans. A family of 12 fonts designed for MeadWestvaco's Early Learning Products division for use in educational products teaching young students the basics of letter construction.
      • Fordham Chapel. Based on wood carved lettering from a Fordham University chapel honoring fallen alumni.
      • Fortune Titling. Based on the Fortune logo.
      • Glamour Display, Glamour Script. The latter is a roundhand script. Both were done for Glamour magazine.
      • JCP News Gothics. Created for DDB Chicago, for use in the It's all in there campaign for JC Penney. Should work with existing Monotype News Gothic fonts.
      • Johan Gothic. A condensed sans serif designed for Conde Nast Sports for Women, which changed its name to Women's Sports, which then changed its name to Women's Sports and Fitness. The type was named for the art director who commissioned it.
      • Lucky Gothic.
      • Mens Vogue-Mayeur. Mayeur Display, an original design created in 2005 for Men's Vogue. Based on 19th Century French text types from the Parisian foundry of Gustave Mayeur.
      • Now Playing. As part of the renovation of The Apollo Theatre, Now Playing was designed to reflect the plastic marquee lettering of the 1940s.
      • NPS Roadway. Montalbano writes: Designed to replace the Clarendon road guide sign typeface that the U.S National Park Service used as part of their identity. NPS Roadway was tested by Pennsylvania Transportation Institute and was found to decrease legend length by 10-15% while increasing readability by 11%. Part of a total redesign of the Park Service identity (that included the Rawlinson series of fonts) the font has been approved by FHWA (Federal Highway Administration) for use on all Federal roads.
      • Skinny Eric. A painfully thin version of Gill Sans, designed for Self Magazine.
      • Social. Two weights of a rounded sans serif design to compliment the Living Social logo design.
      • VF Didot, VF Sans, VF Sans Condensed, VF Script. All done for Vanity Fair. VF Didot is a slightly condensed design based on the many New York didot alphabets drawn during the 1940s and 50s. VF Sans is Vanity Fair's workhorse. VF Script is an original script created for Vanity Fair Magazine in 1999, loosely based on lettering found on a French Automobile Poster from the mid-1920s.
      • Vogue AG, Vogue Didot Extended. Vogue AG is a nine-weight sans serif design mixing elements of Futura and Avant Garde Gothic. The Extra Light weight was designed for Vogue magazine in 2004 while the remaining weights were added in 2007 and updated in 2011.

      Klingspor link. FontShop link. Linotype link. Behance link. View James Montalbano's typefaces done at ITC. [Google] [MyFonts] [More]  ⦿

    Terry Biddle

    Graphic designer and illustrator, type designer, writer and humorist, who studied TV and film at Howard University in Washington, DC, and communications design at the Pratt Institute in New York. He creates comic book style typefaces for his work. These include the layered chiseled 3d typeface family Bizzle Chizzle (2006-2015). [Google] [MyFonts] [More]  ⦿

    Terry Koppel
    [Terry Koppel Design]

    [More]  ⦿

    Terry Koppel Design
    [Terry Koppel]

    Creative director in Brooklyn, NY. His wood-inspired typefaces can be bought at TK Shop. He explains the start of his type foundry: It was a period in the eighties before computers had really made inroads to publishing. During a typical call to a premiere New York typesetter---ordering some headlines in wood type---he told me "It's a good thing you called today, I was just about to throw all my wood typefaces away, nobody's asking for them anymore!" Before he threw them out, I asked him to make up a master photo strip of complete glyph sets of all of the typefaces that were more or less complete, and for a few years, we used them this way at Koppel & Scher. Later, when I moved to Esquire, I had them digitized with the flaws and irregularities intact. At the time, digitized wood fonts that actually printed like the old wooden typefaces were hard to find, and for decades I reserved them for personal use. Now, for the first time commercially, I am offering these unique digitized drawings of authentic wood type.

    Typefaces made by him include Anderson Gothic Squeezed, ESeventeen (a condensed wood type revival), SeriWood, WoodBlock Condensed, ETen, ETwentyFive, LuxorRev, Morgan, Morgan Gothic Caps, Woodtype Gothic Extended, and Haber Squiggle.

    Behance link. [Google] [More]  ⦿

    Tess Lundgårdh

    Photographer and designer in Brooklyn, NY. She created several typefaces, including the art deco typeface Trueheart (2011). [Google] [More]  ⦿

    Tevin Bloise

    New York City-based designer of the free futuristic typeface 23XX (2016). [Google] [More]  ⦿

    Tevin Zetalian

    Graphic designer in New York City who hails from Beirut, Lebanon. In 2018, he created the display typeface Splash. [Google] [More]  ⦿

    Thaddeus Ted Szumilas
    [Thaddeus Typographic Center]

    [MyFonts] [More]  ⦿

    Thaddeus Typographic Center
    [Thaddeus Ted Szumilas]

    Thaddeus "Ted" Szumilas was born in Poland in 1951. In 1966 he emigrated to the United States where he attended Haaren H.S. and Parsons School of Design, majoring in Graphic Design. Practical experiences at Lubalin, Smith&Carnase Design Studio and with John Pistilli at Sudler&Hennessey ad agency prepared him for the real world of typographic design. He did book jackets, packaging, corporate identity, entertainment and TV. Here is one of his early typefaces. Thaddeus has been teaching the curriculum of basic and advanced typography at Pratt Institute in Brooklyn, New York, from 1998-2008. Designer of the swashbuckler / medieval script family Ovidius Script (2001, FontHaus; in Light, Demi and Bold weights; also known as TS Ovidius), Sans Original, On The Line (2008, great calligraphic grunge), Singles Bar (2008, display sans), Wind Factor (more calligraphic grunge), Agitas Gallery (2008, blackletter), Big New Sign (2008), Breslau City (2008), Daily Fix (2008), Deltona (2008), Nigerian King (2008, avant garde face), Stigmal (2008, African theme), Amerigraf (2009), Election (2009, medieval with a rough outline), Gillateg (2009, grungy outline), Wackoface (grungy like Treefrog), Taliography (2009, another script with a rough outline).

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    Thao T.P. Nguyen

    At the School of Visual Arts in New York in 2017, thao T.P. Nguyen designed the counterless octagonal typeface Oristic. [Google] [More]  ⦿

    That That Creative (or: Utah Type Foundry)
    [Harbor Bickmore]

    Graduate of SVA in New York who works as a graphic designer in New York. He made these commercial typefaces at his foundry, That That Creative (est. 2020, based in Utah):

    • Drama Queen Display (2020). A fatface.
    • Agharti (2021). Super-condensed.
    • Comba (2021). An all caps monolinear sans with mental disabilities.
    • Vows (2020). A condensed display typeface.
    • Tickerbit (2021). A pixel font.
    • Airif (2020). A garalde.
    • Mostest Mono Bold (2021).
    • Ye (2021). A decorative serif.
    • Kish (2021). A reverse stress display typeface.
    • Baou (2021). A wide monolinear sans with elliptical contours ideally suited to adorn sleek modern machines such as the Tesla Model S, Porsche Panamera, Volvo Polestar Precept, Audi GT ETron or Mercedes AMG CLS 53.
    • Cesso (2021). A ligature-rich flat-serifed display typeface with gothic star alternates.
    • Gunter (2021). A hipsterish display font.
    • Fayte (2021). A blackletter.
    • Tumb (2021). A wonderful inktrapped display typeface.
    • Wetris Liquid (2021). An intestinal typeface.
    • Hanno (2021). A 1950s style sans.
    • Neuething Sans (2021). A 6-style geometric sans.
    • Hideaki (2021). A sturdy serif.
    • Okie Doko (2022). A reverse stress typeface with a Western vibe.

    Type Department link. [Google] [MyFonts] [More]  ⦿

    Thatcher Ulrich

    New York-based programmer who created the free sans family Tuffy (2005). It has a large character set that covers Greek, Cyrillic, and Indic, and has the new rupee symbol. In 2010, Barta Karoly updated the Tuffy package and placed it here.

    Thatcher writes: Karoly Barta did a ton of work creating Greek, Cyrillic and accented characters for Tuffy, which he has generously contributed back to the public domain Tuffy. Also, Michael Everson created a Tuffy-derived font, Rupakara, which adds the new Indian Rupee Sign, plus many other currency symbols, and a full set of letters commonly used to transliterate Indian languages. Rupakara is under the SIL Open Font License, but Michael also agreed to let me merge his new characters into the public domain Tuffy.

    Kernest link. Klingspor link. Dafont link. Abstract Fonts link. Open Font Library link. [Google] [More]  ⦿

    The American point system

    Nicholas Fabian on the American point system. [Google] [More]  ⦿

    The Ampersand Forest
    [D.C. Scarpelli]

    Scarpelli's design and production clients have included the California Attorney General's Office, Napa/Sonoma Magazine, the American Cancer Society, Catholic Healthcare West, UC Hastings School of Law, Chevron, Frito Lay, the Oakland A's and the San Francisco Giants. He regularly designs theater graphics for companies throughout the Bay Area, and is resident Graphic Designer for 42nd Street Moon, Bay Area Musicals, and Silicon Valley Shakespeare. Additionally, he has created and edited several art books in the collection of the San Francisco Museum of Modern Art. His original training is in the theater. With his husband Peter Budinger, he has written and directed several plays, and appeared in numerous productions. They were theater majors, playwrighting students, and improv disciples together at Yale University. Scarpelli is currently Associate Director of the School of Web Design + New Media at the Academy of Art University, San Francisco. He designed these typefaces:

    • Donovan Display (2021). A modern tall display serif in twelve styles.
    • Pawl (2020). A 48-style elliptical sans family. He writes: Pawl lives in the same visual landscape as fantastic modular superfamilies like Eurostile, Agency, Geogrotesque, Barlow, and even the great American Gothics.
    • Worriment (2019: a vampire typeface).
    • The extroverted display typeface family The Fudge (2019), which comis in Skinny, Sleek, Thicc and Chonk styles.
    • Pamplemousse (2019), originally called Chelsea Morning: A family of casual-but-chic Sunday-morning display faces. Pamplemousse started out as a typeface based on the lettering of Gustav Klimt in his poster for the first exhibition of the Vienna Secession movement (Art Nouveau). This drifted into an homage to Rea Irvin's iconic masthead typeface for the New Yorker magazine. Finally, with the addition of a lowercase (absent from Irvin's typeface), a significant revision away from both Klimt and Irvin into a more casual space, Pamplemousse was born.
    • Ampir. A casual Modern typeface, suggestive of gilt sign-maker letterforms, influenced by the modular type forms of Yakov Chernikov. Roman and Cyrillic character sets.
    • Disquiet: Disquiet is a weird little display typeface designed to convey the free-floating anxiety of the mid-20th century. It is based on a single nongeometric form: the temple piece of a pair of horn-rimmed glasses---the kind worn by sweaty little men in offices who always seem to run the world in Atomic Age thrillers.The form is hexagonal, to give each letter a sense of being locked in---trapped. The double stroke gives it a nasty little bit of queasiness. And the negative spaces within the letters form mini-glyphs of their own---perfectly geometrical inside the fractured outer strokes.
    • Swonderful (2019). An art deco typeface family with many different styles of interlocking.
    • Haggis (released in 2020, but designed earlier): Haggis was intended to be a pseudo-sans-serif version of a traditional Insular Uncial. A bastard child of pub signage and rubber duckies, Haggis is not without its charms, and it certainly doesn't take itself too seriously.
    • Mrs Keppel: Inspired by Stephenson Blake's 1884 typeface Windsor Light Condensed (made famous by Woody Allen's title sequences), Mrs Keppel finally appends an italic to this iconic face. Gentle in its design but firmly anchored in the fin-de-siècle, Mrs Keppel moves us forward to the 1910s, redolent of Ragtime and spiked tea. Named for the mistress of King Edward VII, who was likewise illegitimately linked to a Windsor.
    • Donovan Display (2021). A modern tall display serif in twelve styles.
    • Wiblz Serif (2021). A 12-style didone.
    • Carollo Playscript (2021). A ten-style slab serif that is inspired by typewriter type.
    • Nerone (2021). A slightly despotic display typeface.
    • Budinger Oldstyle (2021). A ten-style semi-Venetian renaissance text typeface.
    • Tremendo (2021). A 48-style gothic sans with many hipster elements such as the coathanger lower case f.
    • Wodehouse (2021). A vintage display trio with a hint of deco.
    [Google] [MyFonts] [More]  ⦿

    The Cooper Union

    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 in 2010 included Jesse Ragan, Ken Barber, Stephen O. Saxe, Roger Black, Mark Jamra and Christian Schwartz. In 2019, the teachers were Karen Charatan, Ewan Clayton, Andy Clymer, Cara Di Edwardo, James Edmondson, St&eacue;phane Elbaz, Hannes Famira, Berton Hasebe, Daniel Morris, Jean François Porchez, Jesse Ragan, Christian Schwartz, Sara Soskolne, Sumner Stone, Alexander Tochilovsky, and Just van Rossum. Cooper Union Typography is a jump site for many typographic treasures. [Google] [More]  ⦿

    The Digital Past
    [Paul Shaw]

    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]  ⦿

    The Elements of Style

    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 First Typewriter

    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]  ⦿

    The Herb Lubalin Center of Design and Typography

    The Herb Lubalin Study Center of Design and Typography opened in 1985 in order to preserve Herb Lubalin's vast collection of work. Its goal was to provide the design community with a means to honor Lubalin and to study his innovative work. Herb Lubalin (1918-1981) is best known for his illustrative typography and groundbreaking work for the magazines Avant Garde, Eros, and Fact. The Study Center's core collection includes an extensive archive of his work, including drawings, promotional, editorial and advertising design, typeface design, posters, logos, and other materials dating from 1950 to 1981. The collection also includes work by other eminent designers including Otl Aicher, Anthon Beeke, Lester Beall, Will Burtin, Lou Dorfsman, Karl Gerstner, Tibor Kalman, Alvin Lustig, Elaine Lustig Cohen, The Push Pin Studios, Paul Rand, Bradbury Thompson, Massimo Vignelli, and many more. There is also a library of books and magazines about design and typography, an extensive collection of posters, myriad type specimen books, and pamphlets within the archive.

    The Study Center is located at The Cooper Union, 41 Cooper Square, Room LL119, New York. [Google] [More]  ⦿

    The Herb Lubalin Study Center of Design and Typography

    Opened in 1985, the Study Center was created in order to preserve an unprecedented resource: Herb Lubalin's vast collection of work. Its goal was to provide the design community with a means to honor Lubalin and to study his innovative work. Herb Lubalin (1918-1981) is best known for his wildly illustrative typography and his avant-garde work for the magazines Avant Garde, Eros, and Fact. The Study Center's core collection includes an extensive archive of his work, including drawings, promotional, editorial and advertising design, typeface design, posters, logos, and other materials dating from 1950 to 1981. The collection also includes work by other designers including Otl Aicher, Anthon Beeke, Lester Beall, Will Burtin, Lou Dorfsman, Karl Gerstner, Tibor Kalman, Alvin Lustig, Elaine Lustig Cohen, The Push Pin Studios, Paul Rand, Bradbury Thompson and Massimo Vignelli. There is also a library of books and magazines about design and typography and an extensive collection of posters and type specimen books.

    The Study Center is located at The Cooper Union 41 Cooper Square, Room LL119, New York. The Lubalin Center is free and open to the public by appointment. Up to two people at a time, and up to two hours per appointment. [Google] [More]  ⦿

    The Keystone Design Union (or: KDU)

    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 Letterfoundry of Michael & Winifred Bixler
    [Michael Bixler]

    The Letterfoundry of Michael & Winifred Bixler in Skaneateles, NY has been devoted to the book arts, particularly the craft of fine letterpress printing, metal type founding, and traditional book typography, since 1965. Michael Bixler studiede at Rochester Institute of Technology. The Bixlers are known for their quality and ongoing preservation of the craft of typecasting. Some of its types are listed here.

    Their catalog of metal typefaces as of 2007: Albertus (+Titling), Baskerville, Bell, Bembo (+Bold, +Titling), Blado, Castellar, Centaur & Arrighi, Dante (+Titling), Ehrhardt, Fairbank Bembo Italic Condensed, Fournier, Garamond, Gill Sans, Joanna, Lombardic Capitals, Lutetia, Octavian, Old English, Perpetua (+Titling), Plantin, Poliphilus (+Titling), Spectrum, Sachsenwald, Univers, Van Dijck, Walbaum.

    Michael Bixler designed the metal typeface Bixler Roman in 1968. Matrices were cut in Japan and the typeface was cast privately.

    Bixler issued the blackletter metal typeface family Sachsenwald which is modeled after Berthold Wolpe's Sachsenwald (1936-1937; formerly known as Bismarck Script).

    In 2020, the Bixlers and P22 jointly published the ornamental typeface LTC Bixler Ornaments, and in 2021, they added LTC Bixler Ornaments Two. The digital versions are due to Terry Wüdenbachs. [Google] [More]  ⦿

    The Living End
    [Lauren Ashpole]

    Free fonts made by Brooklyn, NY-based (and before that, Huntington Beach, CA-based) Lauren Ashpole (b. 1982, Corpus Christi, TX): Kremlinology (2012, constructivist), Bikes (2011, bike dingbats), Forgotten Playbill (2011), Sewing Patterns (2010, silhouette dingbats), Sewing Patterns 2 (2012), OrigamiBats (2010), Thirty-Nine Smooth (1997), A T&Love (1998, curly hand), Publicité d'Epoque (dot matrix face), Candy Randy (1998, party font), Horseshoes&Lemonade (1998, 2009: white on black letters), Horseshoes, Paper Hearts (2001), Scooby Doo (1998), Hecubus (1997, hand-printed), Starry Night (1998, 2009), Boo Boo Kitty (1997-1999: textured, for comic books), Scooby Doo (hand-printed), and Southbats (1998, dingbats of heads). Her font 39smooth (1997) can be found here.

    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), Sewing Patterns 2 (2012), Origami Bats (2010), Horseshoes And Lemonade (1998), Forgotten Playbill (2011), Bikes (2011, dingbats), Paper Hearts (2012, a Valentine's Day font), and Candy Randy (1998).

    Typefaces from 2014: Hellmuth (2014, based on the Tuscan writing on the Hellmuth Building) .

    Typefaces from 2015: Herbaceous Border (2015, floral caps).

    Typefaces from 2016: Bar Book (dingbats), Parallel Lines.

    Typefaces from 2017: Sewing Patterns 3.

    Typefaces from 2018: Roundabout (a display type with circus font textures), Mistletoe (a color SVG font).

    Typefaces from 2019: Thornback (sketched).

    Typefaces from 2020: Sacremende (a chunky, slightly messy display font inspired by the retro California aesthetic and, in particular, old surf rock posters).

    Typefaces from 2021: Space Time (a starry stackable shadow font). Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

    The Manual Of Linotype Typography

    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 Metropolitan Museum of Art - The Met

    Museum in New York City. In 2015, Klim was commissioned by them to make a typeface family for their identity. This custom version of Klim Metric is called The Met Sans. Review by Mark Kingsley of the logo and identity by Wolff Olins. Armin Vit about the new logo: The first time I saw it, my gut reaction was to smash the banana I was eating into my eyes and then put my face in front of a hungry monkey. The Met Serif, in contrast, is nearly equal to Commercial Type's Austin Text. The museum itself put some weights of these fonts up for free download: The Met Serif Web-Roman, The Met Serif Web-Italic, The Met Serif Web-Semibold, The Met Serif Web-Bold. [Google] [More]  ⦿

    The New York Times

    The custom fonts used, as of 2018, by the New York Times include Fact Display (Commercial Type, Christian Schwartz: 2018), Graphik (Christian Schwartz: 2008), Graphik XCond (Christian Schwartz: 2011), Kippenberger (Commercial Type, Christian Schwartz: 2018), NYT Cheltenham (2001, 2008-2014: Carter and Cone), NYT Franklin (2012-2014: Carter and Cone), NYT Imperial (2007, 2008-2014: Carter and Cone), NYT Karnak (1993-2014: Font Bureau and later Carter and Cone), NYT Mag Sans, NYT Mag Serif (2015: Henrik Kubel), NYT Mag Slab (2015: Henrik Kubel), NYT Stymie (1990-2014: Carter and Cone), and Schnyder M Cond (Berton Hasebe and Christian Schwartz: 2013). [Google] [More]  ⦿

    The Offices of Kat Ran Press
    [Michael Russem]

    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 Philidor Company
    [Scott-Martin Kosofsky]

    Scott-Martin Kosofsky (b. 1953) was based in Boston for 40 years, and is now located in Rhinebeck, NY, where he heads The Philidor Company. Among many other things, he was also the principal designer of most Titanic Records packaging, and designed a book on the holocaust. He designed a number of Hebrew types for his own use---several are licensed to various major rabbinic organizations. Over the years he has become the leading designer, producer, and editor of the bilingual Jewish prayer books that are used by the majority of Jews in the English-speaking world. Some of his type designs:

    • Philidor Bell-Text (1995) (an absolutely fantastic family, after Richard Austin, London, 1788), and Philidor Hillel (Hebrew). These typefaces won awards from the Type Directors Club in 1999.
    • Prague Hebrew (2020). He explains the genesis of this typeface: In 1514, three years before Daniel Bomberg established his renowned Hebrew publishing venture in Venice, Gershom ben Solomon haKohen (d. 1544) founded a Hebrew printing house in Prague that would continue under his descendants, known as the Gersonides, until 1784. It was the second such establishment in Prague, the first having been founded in 1512, but it was the first to achieve a quality of production to equal the best in Italy, where Hebrew printing began in 1475. Early in the production of Hebrew books in Italy, types based on Sephardic (i.e., Iberian) letterforms became the norm, prevailing through the 16th century in the massive output of Hebrew books in Venice. The Antwerp books of later in the century and the Amsterdam books of the 17th century continued the trend. But Gershom, instead, made (or likely caused to be made) types that were typical of the manuscript letters of the Ashkenazic world of Western and Central Europe, a style akin to the Gothic style of German writing. Cultural identification in type styles has always been a persistent element of design, yet in the long history of Hebrew types, the Ashkenazic style has been in the minority---never quite absent, but seldom dominant, even in Germany. Perhaps its best-known modern manifestation is Henri Friedlaender's exceedingly popular Hadassah type, which retains Ashkenazic forms while eschewing the thick-thin contrast that is typical of the style.
    • Le Bé (Large Hebrew, Hebrew Text). Designed in 2010 together with Matthew Carter, this typeface is based on text types by Guillaume Le Bé the most prolific designer of Hebrew types of the 16th century. The Large Hebrew style is a replica, more or less, of Le Bés seven-line pica Hebrew (Vervliet Conspectus, #403) with some modifications and the addition of diacritics.
    [Google] [More]  ⦿

    The Type Studio
    [Ilene Strivzer]

    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 typefaces 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]  ⦿

    Theodore Low De Vinne

    American printer (b. Stamford, CT, 1828, d. New York, 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. He was neither a type designer nor a type cutter. His books include

    Biography by Nicholas Fabian. Bio at Britannica. Bio at Infoplease.

    His type styles were revived in 2010 by Jeff Levine as Publication JNL.

    Typophile Chapbook: Theodore Low De Vinne; was published by Carl Purington Rollins.

    View digital typefaces based on De Vinne's work. [Google] [MyFonts] [More]  ⦿

    Thinstroke
    [Antonio (Tony) DiSpigna]

    Italian type designer, b. 1943, Forio d'Ischia, Italy, who emigrated to the USA. Di Spigna graduated from from New York City Community College in 1964 and then from Pratt Institute in 1967. His first design job was at Bonder&Carnase. In 1969, he joined Lubalin Smith Carnase Inc. He founded his own studio, Tony DiSpigna Inc in 1973. DiSpigna taught typography at the Pratt Institute, the School of Visual Arts and the New York Institute of Technology. In 2009, Tony Di Spigna and Bill Hilson (a colleague at Pratt) founded Thinstroke, which joined Type Network in 2021.

    DiSpigna's typefaces:

    • ITC Serif Gothic. Designed in 1972 by Herb Lubalin and Tony DeSpigna for the International Typeface Corporation, it is a "cold" almost copperplate typeface. Serif Gothic started as a scribble sketch for a French shirt company, Hechter Chemise, a client of Herb Lubalin. The sketch made it into a presentation by Tom Carnase, but was rejected by the client. Type Network writes: During a rare slow day at the office, Di Spigna decided to develop and sketch the remaining capitals, adding a lower case and some alternate characters. In his free time, he decided to finish the design with ink and white paint. Despite it being Di Spigna's first full typeface, Serif Gothic went on to become quite popular. Serif Gothic was used for the original Star Wars films's posters.
    • Playgirl.
    • ITC Lubalin Graph (with Herb Lubalin).
    • Fattoni (1968).
    • DiSpigna Roman (1969). One of his arly typefaces at Lubalin Smith Carnase Inc. He writes: When I got out of school at Pratt in 1967, I fell in love with Herb Lubalin's posters of his new typefaces, especially Pistilli Roman. (See page 34 of the Herb Lubalin book by Alan Peckolick.) I vowed that someday I would do one even better and heavier in weight. So, in 1969, I designed DiSpigna Roman in pencil on tracing paper, and executed it on heavy stock bond paper with the traditional ink and white clean up paint-the way we did all executions of letterform and typefaces back then. It became one of the first faces we digitized when we created Thinstroke. This typeface harkens directly back to 1969. I still love Pistilli, but I do think my DiSpigna Ultra is heavier with more luscious curves. DiSpigna Ultra (2022) can be found at Type Network.
    • ITC Korinna (1974). Designed together with Ed Benguiat).
    • WNET.
    • Spignarian Script (2021). A creamy formal calligraphic script published by Thinstroke.
    • DiSpence Script (2021). A Spencerian script published by Thinstroke.

    FontShop link. Another MyFonts link. Logo. Klingspor link. Linotype link. [Google] [MyFonts] [More]  ⦿

    Thoma Kikis
    [Teknike]

    [MyFonts] [More]  ⦿

    Thomas A. Rickner

    American type designer, born in Rochester in 1966, who has worked for various foundries including Monotype. He graduated from the Rochester Institute of Technology. He lives in Madison, WI, and is currently employed by Monotype, after a short period at Ascender. He 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 Ascender Corporation, where he published

    • Arial Mono (Ascender).
    • Buffalo Gals (1992 and 2016): Buffalo Gals is one of the very first variable fonts, originally made in 1992 for an Apple TrueType GX developer CD. It was intended to push the boundaries on the number of stylistic axes in a font, with 6 axes in total, none of them being weight or width. Based upon wood type of the late 1800s, Buffalo Gals enables control over features with names like Cookies, Fringe, Hooves, Concavity and Bracketing. It offers 144 distinct combinations of these attributes, and seemingly infinite intermediate interpolations as well. Free download here.
    • Circus Poster Shadow (2005): based an 1890s Tuscan style wood type.
    • Goudy Borders (2009) and Goudy Forum Pro (2009), a revival and expansion Frederic W. Goudy's "Forum Title" (1911, inspired by Roman inscriptions on the Trajan's column monument).
    • Hamilton (Ascender). A wood type face.
    • Rebekah Pro (2006): a revival of ATF's Piranesi family, the regular being designed by Willard Sniffin, and the remaining weights designed by Morris Fuller Benton. Tom Rickner first revived Benton's Italic for use in his wedding invitations for his marriage to Rebekah Zapf in 2006. He completed the character set in 2009.
    Will-Harris interview. Agfa bio. Ascender Corporation bio. FontShop link. MyFonts link. Klingspor's PDF. [Google] [MyFonts] [More]  ⦿

    Thomas Ewing French

    Scientific lettering expert, 1871-1944. His book The Essentials of Lettering (1912, McGraw-Hill, New York), coauthored with Robert Meiklejohn, has many historical examples and takes the reader on a grand tour of lettering. The tease. Local download.

    For a digital revival of some alphabets, see Jeff Levine's New Thin Roman JNL (2019) and Drafting Class JNL (2021). [Google] [More]  ⦿

    Thomas Jockin

    Type designer in Brooklyn and/or Holbrook, NY, b. 1986, who studied at the Parsons School of Design and the inaugural Type@Cooper program. He lived in Portland, OR.

    In 2012, he designed the large award-quality copperplate family called Garçon Grotesque.

    Typefaces from 2013: Ductus (a five-style broad-nibbed calligraphic / medieval family).

    In 2015, he published Azote (a multilined typeface family inspired by the 1968 Olympic Games in Mexico City).

    In 2019, he released the free seven font family Lexend at Google Fonts, together with Bonnie Shaver-Troup. Github link. Dedicated site. Lexend now comes in subfamilies called Deca, Exa, Giga, Mega, Peta, Tera and Zetta. He writes that Lexend is empirically shown to significantly improve reading-proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. We will eventually release all seven families as a single variable font featuring its own custom axis. Lexend is thus an implementation of Bonnie Shaver-Troup's 2000 study, in which she theorized that reading performance would improve through the use of (1) hyper expansion of character spacing [which creates a greater lag time and reduces potential crowding and masking effects], (2) expanded scaling, and (3) a sans-serif font [to reduce noise]. Lexend is indeed hyper-widely spaced. Lexend also received support from Santiago Orozco and Hector Gomez.

    Additional links: CTAN link with TeX support. Github link by Brain Stone (Yannick Schinko). [Google] [MyFonts] [More]  ⦿

    Thomas John Hayes

    Thomas John Hayes is a designer, illustrator and photographer living and working in Brroklyn, NY. He holds a Bachelor of Fine Arts degree in communication design from Parsons the New School for Design.

    Marcy (2013).

    Behance link. [Google] [More]  ⦿

    Thomas Losinski

    New York City and New Jersey-based designer of the display typeface Wendel (2012). [Google] [More]  ⦿

    Thomas MacKellar

    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]  ⦿

    Thomas Maitland Cleland

    New York-born book designer, painter, type designer and illustrator, b, Brooklyn, NY, 1880, d. Danbury, CT, 1964. He was mainly involved with ATF. Fonts:

    • Della Robbia (1902-1903, Lanston Monotype). Mac McGrew: Della Robbia was designed by Thomas M. Cleland from his rubbings of a few stonecut caps, made during a visit to Rome. It was cut by ATF and first shown about 1902. The capitals have a good inscriptional quality, with almost no variation in thickness of line. The lowercase, with long ascenders and short descenders, has slight thick-and-thin contrast. The series is named for Luca Della Robbia, fifteenth-century Italian sculptor. The Monotype copy, issued in 1917, is virtually exact in display sizes and not seriously modified in composition sizes, but lacks the alternate characters of the foundry version, which also includes a long-tailed Q in QU and Qu combinations, a tied ct, and a distinctive paragraph mark. Della Robbia Light was designed by Morris Benton and cast by ATF about 1913---some sources say 1918. Damon&Peat's Armstrong is equivalent. Della Robbia Initials, which have no apparent relationship to the family except in name, were issued by Intertype. Similar designs to Della Robbia are M.F. Benton's Della Robbia Light (1913) and Monotype's Canterbury (1915). Bitstream made a digital typeface family. A free digital version is Della Respira (Nathan Willis, 2012, Google Web Fonts). Castcraft made OPTI Della Robbia. Other digital fonts like it include Cantoria; Canterbury, Dahila, Firenze, and Westminster Old Style.
    • Caslon Swash.
    • Westminster Oldstyle (1902, almost chiselled, ATF).
    • Amsterdam Garamont (or Amsterdamer Garamont; with Morris Fuller Benton, 1917, Berthold). This Garamond was first released in roman and italic styles around 1918, drawn by Morris Fuller Benton. In 1922, Thomas M. Cleland designed a set of companion swash italics and ornaments. Bold and bold italic variants were released in 1920 and 1923, respectively. For digital versions, check ATF Garamond (2015, Mark van Bronkhorst, Igino Marini, & Ben Kiel at American Type Founders Collection: an 18-style family). Garamont Amsterdam was also implemented by URW, Softmaker, Scangraphic and Elsner&Flake. Garamond No. 3 is the Linotype version of Garamond from 1936, which in turn is based on the American Type Founders design by Morris Fuller Benton and Thomas Maitland Cleland, who based their work, in turn, on seventeenth-century copies of Claude Garamond's types by Jean Jannon.
    [Google] [MyFonts] [More]  ⦿

    Thomas W. Lincoln

    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 in Portland, OR. After a stint 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.

    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 historian, 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 characteristics 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 Lincoln Gothic, Roma's strokes have an almost imperceptible entasis that terminate 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 combination 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.

    In 2020, he released Lincoln Electric at Canada Type. Lincoln Electric started its life as an in-house experimental film type Thomas Lincoln drew shortly after concluding his work as part of Herb Lubalin's famed crew in the late 1960s. The master alphabet was drawn on illustration boards using pen and ink and press-type lines. The digital retooling of this Bifur-style typeface (after Cassandre's Bifur from 1929) was done by Patrick Griffin.

    Klingspor link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Tien-Min Liao
    [Typeji]

    [More]  ⦿

    Tiffany DAngelico

    Pottersville, NY-based designer of Dotty (2016, a dot matrix typeface). Behance link. [Google] [More]  ⦿

    Tiffany Maisonave

    Copywriter and art director in New York City who graduated from he School of Visual Arts. She created the bouncy poster font Gingerbread (2013). [Google] [More]  ⦿

    Tiffany Zhu

    Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of Zen (2013), an oriental simulation font published by Friday Fonts. [Google] [More]  ⦿

    Tim Chrepta

    Designer of the grotesque fonts Orbit Text and Orbit Display (2013). This was a special project for Orbit, a network company. New York City and Ledgewood, New Jersey-based graphic designer who graduated from the University of the Arts, Philadelphia.

    Under the tutelage of Andy Clymer (HFJ), he created an unnamed revival font in 2013.

    Behance link. [Google] [More]  ⦿

    Tim Gengler
    [Bunny Dojo]

    [MyFonts] [More]  ⦿

    Tim Ripper

    Tim Ripper (b. 1986) is a type designer at Commercial Type in New York. He has an MFA in graphic design from the Yale School of Art (2015) and an AB in physics from Amherst College (2009). At Yale, he discovered a passion for type design through a class with Tobias Frere-Jones and Matthew Carter, and was a designer at Frere-Jones Type before joining Commercial Type in 2016. His typefaces:

    • Corridor Hand and Corridor Oldstyle (2013).
    • GH Guardian Headline (2017). A newspaper headline typeface family at Commercial Type done for The Guardian. The other type designer involved in this project is Paul Barnes.
    • Caslon Italian (2019, Paul Barnes, Tim Ripper, Christian Schwartz): Perhaps the strangest and ultimate example of experimentation in letterforms during the early nineteenth century was the Italian. Introduced by Caslon in 1821, it reverses the fat face stress---thins becomes thicks and thicks become thins---turning typographic norms on their heads. This new version extends the forms into new territory: a lowercase, an italic, and another one of the more unusual ideas of the time, the reverse italic or Contra.
    • Caslon Antique (2019, Paul Barnes and Tim Ripper): The slab serif or Egyptian form is one of the best letters for adding a drop shadow to. Its robust nature and heaviness support the additional weight of a prominent shading. First appearing in the 1820s, the style was pioneered and almost exclusively shown by the Caslon foundry, who introduced a wide range of sizes and, eventually, a lowercase.

    Commercial Type link. [Google] [More]  ⦿

    Tim Sale

    Born in 1956 in Ithaca, NY, Tim sale studied at the University of washington. At Comicraft, he published the comic book typeface family CC Tim (1999-2004). Subfamilies include Tim Sale Lower (2004), Tim Sale Brush (2004, together with John Roshell) and just plain Tim Sale (1999, with John Roshell). [Google] [MyFonts] [More]  ⦿

    Timothy Mara

    Graphic designer in Albany, NY. Creator of the display typeface Squair (2012). [Google] [More]  ⦿

    Tina Roth Eisenberg
    [Swiss Miss]

    [More]  ⦿

    Tina Roth Eisenberg
    [swissmiss]

    [More]  ⦿

    Tina Smith

    Tina Smith is an independent art director and designer in New York City who specializes in typography-driven branding, editorial design, and art direction. She has worked on brand identities, campaigns, editorial design, films, websites and packaging for Google, The New York Times, and Target. She also has an independent practice of lettering and type design. She holds a BFA in Graphic Design from Montana State University and studied at The Cooper Union in 2018 and 2019. Her typefaces:

    • Porphyry (2021). A lapidary display typeface inspired by chiseled, stonework forms.
    • Fizia (2021). Fizia is a display typeface with sharp, angular terminals developed between 2018 and 2021.
    • A fantastic display alphabet, ca. 2021.
    [Google] [More]  ⦿

    Ting Lin

    During her studies, Ting Lin (Queens, NY) designed the decorative floral caps typeface Flora (2016). [Google] [More]  ⦿

    Tiyasha Ghattak

    At School of Visual Arts in New York City, Tiyasha Ghattak designed the splendid modular display typeface Lambu (2018) and an icon set called Snowflakes (2018). [Google] [More]  ⦿

    Tiziana Haug
    [in the habit]

    [More]  ⦿

    ToadFonts (was: AquaToad)
    [Randy Jones]

    Randy Jones, who runs AquaToad and ToadFonts, is a free lance graphic designer who was in New York, but now lives in San Francisco, CA, where he is a freelance graphic designer and principal of Aquatoad Design. His typefaces:

    [Google] [More]  ⦿

    Tobias Frere-Jones
    [Frere Jones Type]

    [More]  ⦿

    Tobias Frere-Jones
    [Frere Jones Type]

    [MyFonts] [More]  ⦿

    Todd Albertson

    Washington, DC-based art director at AARP Media who has worked for The York Times Magazine. He created some retail and custom typefaces such as Rittenhouse (stencil face), Colosseum (fat octagonal), Barbarossa (modular typeface) and a thin octagonal typeface, co-designed with Tom Brown, for Architecture Magazine. Behance link. [Google] [More]  ⦿

    Tolbert Lanston
    [Lanston Monotype Machine Company]

    [MyFonts] [More]  ⦿

    Tom Carnase

    Type designer Thomas Paul Carnase was born in The Bronx, New York City in 1939. He graduated from New York City Community College in 1959. Carnase started making fonts in the photolettering era, and lived through the transition to digital. In the 1960s, he opens the studio Bonder & Carnase Inc. From 1969 until 1979, he is vice-president and partner of the agency Lubalin, Smith, Carnase Inc. In 1979, he founds the Carnase Computer Typography studio. In 1980, Carnase becomes co-founder and president of the World Typeface Center Inc., an independent type design agency. He manages the in-house magazine Ligature published by the World Typeface Center from 1982 to 1987. Besides type design, Carnase has designed graphics for packaging, exhibitions, corporate identities and logos for numerous clients, including ABC, CBS, Coca-Cola, CondéNast Publications, Doubleday Publishing and NBC. He has held teaching positions at the University of Cincinnati in Ohio, the Pratt Institute in New York, the Herron School of Art in Indiana, the Parson's School of Design in New York, the Cleveland Institute of Art in Ohio, the University of Monterrey in Mexico, and the Rochester Institute of Technology in New York, among others. His fonts include:

    • Fonts at WTC: WTC Carnase Text, WTC Favrile (1985), WTC Goudy (sold by URW++), WTC Our Bodoni (with Massimo Vignelli), WTC Our Futura, WTC 145. Clones of Favrile abound: OPTI Favrile (Castcraft), Fascinate (NovelFonts), Francois (Serials).
    • At LSC (LSC stands for Lubalin Smith Carnase Inc, an agency he co-ran in the 70s), he created a number of typefaces such as LSC Book, LSC Condensed and LSC Caslon No. 223.
    • ITC Busorama, a geometric titling typeface that started with an ad for a bus company. Busorama, despite its innate ugliness, has been copied tens of times. Nick Curtis managed to turn it into an art deco typeface in 1999 with his Ritzy Normal.
    • With Herb Lubalin, he designed L&C Hairline (ca. 1966, VGC) and L&C Stymie Hairline (1973, VGC).
    • At ITC: ITC Manhattan (1970), ITC Avant Garde Gothic (with Herb Lubalin and Ed Benguiat, 1970), ITC Bolt Bold (with Ronne Bonder, 1970), ITC Gorilla (with Ronne Bonder, 1970), ITC Grizzly (with Ronne Bonder, 1970), ITC Grouch (with Ronne Bonder, 1970: this Caslon headline typeface was mimicked and extended in 2011 by Tomi Haaparanta as Grumpy Black; see also Softmaker's Zepp and Bitstream's Dutch 791), ITC Machine (with Ronne Bonder, 1970), ITC Pioneer (with Ronne Bonder, 1970), ITC Ronda (with Ronne Bonder, 1970), ITC Tom's Roman (with Ronne Bonder, 1970), ITC Fat Face Western, ITC Pioneer No. 2, ITC Honda, ITC Didi (a high contrast didone revived in 2013 by Jason Anthony Walcott as Domani CP), ITC Bernase Roman, ITC Neon (1970; jointly by Ronné Bonder and Tom Carnase; based on Prisma, and initially shown by Photo-Lettering as Neon; Prisma in turn was based on Rudolph Koch's Kabel; digitizations include Neptune (FontBank, 1990-1993) and the free shadowed Multistrokes (Manfred Klein, 2003)), and Milano (with Ronne Bonder).
    • L'Eggs, ca. 1969. A custom font for a line of hosiery to be called L'eggs by designer Roger Ferriter and Tom Carnase.
    Author of Type: the best in digital classic text fonts (1995, Graphis, with Baruch Gorkin), about which Hrant Papazian writes: I just went through the Carnase/Gorkin book - I'd forgotten how lousy it is---please don't buy it.

    FontShop link. Klingspor link.

    View Tom Carnase's typefaces. [Google] [MyFonts] [More]  ⦿

    Tom Censani
    [Sansani Fonts]

    [MyFonts] [More]  ⦿

    Tom Geismar

    Graphic designer, b. 1931, Glen Ridge, NJ. After studying at Rhode Island School of Design and Brown University, he founded Brownjohn, Chermayeff & Geismar (which became Chermayeff & Geismar) with Robert Brownjohn and Ivan Chermayeff. His typefaces include A&S Gallatin (1986, Linotype), which was originally designed as a corporate font for Abraham & Straus, a department store based in New York. The photocomposition font A&S Gallatin was done in 1976. [Google] [More]  ⦿

    Tom Grunwald
    [Nemek]

    [MyFonts] [More]  ⦿

    Tom Lueviach

    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.

    Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Tom Nikosey
    [Cozy Fonts Foundry]

    [MyFonts] [More]  ⦿

    Tomas de Carcer

    Graphic designer in Brooklyn, NY, and student at SVA MFAD in New York City, who created a scanbat typeface called Porn Type (2013) and a set of sexula position icons called Typo Kamasutra (2013). Previously, he was a designer in Santiago, Chile. [Google] [More]  ⦿

    Tomoko Takeue

    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]  ⦿

    Tony Stan

    New York-based type designer at ITC, 1917-1988. Tony Stan did a version of Jean Jannon's Garamond (ITC Garamond, 1977). Other typefaces: ITC American Typewriter (1974, with Joel Kaden), ITC Garamond (1977), ITC Cheltenham (1975-1978), ITC Cheltenham Handtooled (with Ed Benguiat), ITC Century (1975-1979; see Modern Century by SoftMaker), ITC Berkeley Old Style (1983, a Venetian typeface; after Frederic Goudy), 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.

    Digital versions of ITC Berkeley Oldstyle besides that of ITC include University Oldstyle (SoftMaker), Californian (Font Bureau), B695 Roman (SoftMaker) and Venetian 519 (Bitstream).

    Linotype link. FontShop link. Klingspor link.

    View Tony Stan's typefaces. [Google] [MyFonts] [More]  ⦿

    Topos Graphics
    [Seth Labenz]

    Seth Labenz and Roy Rub of Topos Graphics (Williamsurg, NY) designed the paper-fold origami typeface Grus (2009-2010, T-26: three styles including an Outline). Typedia link for Seth Labenz. Topos Graphics link. [Google] [MyFonts] [More]  ⦿

    Tracy Hua

    New York City-based creator of these typefaces, ca. 2012: Jolly, Flap, Flora, Flow, Heartbreak, Stain, A Happy Day.

    Behance link. [Google] [More]  ⦿

    Travis Jerrick

    Brooklyn, NY-based designer of Wave (2018). [Google] [More]  ⦿

    Trent Williams
    [Black Plum]

    [More]  ⦿

    Trevor Baum

    Brooklyn, NY-based type and graphic designer. He created the spurred typeface Haymaker (2012, free at Lost Type Co-op) and the bold display typeface Laika (2012). With James T. Edmondson, he co-designed the wood type-inspired sans typeface Mission Gothic (2013).

    Home page. Dribble link. [Google] [More]  ⦿

    Triboro Design

    Triboro is the Brooklyn, NY-based design duo of David Heasty and Stefanie Weigler.

    David Heasty (b. Texas) studied graphic design at Penn State University and began his design career working for Alexander Gelman at Design Machine in NYC. David teaches design at the School of Visual Arts in New York.

    Stefanie Weigler (b. Germany) studied visual communication at the University of Wuppertal. She went to New York in 2004 and worked at Design Machine with Alexander Gelman, product design firm Birsel+Seck, and at TODA. Stefanie teaches design at the School of Visual Arts in New York.

    They designed Everlane Sans in 2011. This typeface was expanded in 2016 by Letters of Sweden. [Google] [More]  ⦿

    Tristan Schmitz

    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]  ⦿

    Troy Leinster

    Troy Leinster is a graphic designer from Brisbane, Australia, who is based in Amsterdam. Before studying TypeMedia at KABK (class of 2013), Troy attended the type design unit at Monash University in Melbourne, and is a graduate of Type@Cooper at The Cooper Union in New York City.

    His graduation typeface at KABK was Brisbane (2013): Brisbane is a relaxed, self-assured sans serif designed specifically for pedestrian wayfinding in the city of Brisbane, Australia. The family has a range of three weights in five styles plus accompanying optical grades for inverted use. This makes Brisbane a solid candidate for orientation systems in the city or suburb.. This typeface has oomph and character, and should prove a sturdy and fun typeface for any city that uses it.

    For his revival project at KABK, he chose Nieuw Javaansch No.1 (2012). Nieuw Javaansch No.1 was the first text typeface designed by S.H. de Roos in 1909 while working at Lettergieterij Amsterdam (formerly known as N. Tetterode). It is a Javanese script.

    Behance link. [Google] [More]  ⦿

    Troy Vasilakis

    During his studies, Troy Vasilakis (Franklin Square, NY) designed the circle-based experimenal typeface Vulfpeck (2017). [Google] [More]  ⦿

    Tuccicursive
    [Liz Bartucci]

    Tuccicursive is an American type foundry, est. 2016 by New York-based lettering artist, screenwriter, playwright and illustrator, Liz Bartucci. In 2016, she designed the handcrafted cursive typeface family Prosciutto.

    Typefaces from 2017: Malandrino (dry brush font).

    Typefaces from 2018: Whirly Birds (Great Lakes Lettering). [Google] [MyFonts] [More]  ⦿

    Twenty Six Types
    [Craig Hazan]

    Craig Hazan (Twenty Six Types, Brooklyn, NY) created a gridded experimental typeface called Wembley Stadium (2012). In 2013, the dot matrix typeface family Neustade was published at MyFonts. [Google] [MyFonts] [More]  ⦿

    Tyffany Do

    At the Fashion Institute of Technology, Brooklyn-based Tyffany Do designed the stencil typeface Pitch Black (2016) and wrote: A typeface that is created based on Futura Black and the Gonzo Movement. [Google] [More]  ⦿

    Tyler Finck
    [Etcetera Type Company (or: ETC; was: Finck Font Co)]

    [MyFonts] [More]  ⦿

    Tyler Harder

    Franklin, TN (and before that, Buffalo, NY)-based designer of the rounded counterless typeface Korbin (2015) and the children's alphabet Monster (2015). [Google] [More]  ⦿

    Tyler Lafreniere

    Brooklyn, NY-based designer of the hipster typeface Crowly (2015) for Gypsé Eyes Magazine. Behance link. [Google] [More]  ⦿

    Tyler Maxson

    New York City-based designer of an unnamed typeface in 2013. [Google] [More]  ⦿

    Tyler Sinnott

    New York City-based designer of the poster typeface Railcar (2016). [Google] [More]  ⦿

    Tyler Skeens

    Graphic designer in New York City who created the thin monoline caps typeface Clockwork (2012). [Google] [More]  ⦿

    Tyler Somers

    During a type design class of Kris Holmes, Tyler Somers (Rochester, NY) designed Melondrop (2013), a sans typeface for signage.

    Behance link. [Google] [More]  ⦿

    TYP Y2K

    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]  ⦿

    Type Cooper: Display Type Design
    [Juan Villanueva]

    Over a period of ten weeks, a group of talented and highly motivated students from all over the world gathered in a virtual classroom during a global pandemic and an ongoing fight for racial justice to study display type design. The instructor at Type Copper (New York) was Juan Villanueva, a typeface designer, letterer, and educator in New York City. The students and their tyopefaces in 2020 and 2021: Adriana Garcidueñas, Ana Michel, Andrea Groisman, Asta Thrastardottir, Beatriz Lozano, B. Benedicto, Bree Rice, Christi Payne, Corinne Ang, Cristina Lopes, Deanna Laney, Ellie Henderson, Emily Kurek, Erica Holeman, Fio Gonçalves, Ghaya Bin Mesmar, Jaamal Benjamin, Jamie Otelsberg, Karen Cartas, Karla Pasten, Kenta Yoshioka, Kirstin H., Leo Vicenti, Leslie Badani, Lisa Chiueh, Lucy Chen, Lyam Bewry, Marissa Balbuena, Miguel Angel Contreras Cruz, Natalia Sálomon, Ravee Deshpande, Raven Mo, Shaily Patel, Tamara Segura, Thavin R., Vanna Vu, Vini Vieira, Whitney Wellmaker, Will Yang. [Google] [More]  ⦿

    Type Directors Club

    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.

    Past presidents of this New York-based organization include James Montalbano and Mark Solsburg.

    The highest award of the TDC is the TDC Medal. [Google] [More]  ⦿

    Type Directors Club Pratt Student Group

    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]  ⦿

    Type Drives Culture Conference 2020

    Formation: The Changing Faces of Typography is a day-long annual conference in New York City created to examine the role of design in our systems-based world. The 2020 event on March 27 at the Parsons School of Design features these speakers: Brian Collins, Sheila Levrant De Bretteville, Petr van Blokland, Michael Rock, Saki Mafundikwa, Andrew Blauvelt, Tori Hinn, Tracy ma, Stephen Coles, Frida Medrano, Andy Clymer, Anna Kulachek, and Mitch Paone. [Google] [More]  ⦿

    Type for Scholars

    David J. Perry (Rye High School, Rye, New York) provides links to the main fonts for Latin and Greek. [Google] [More]  ⦿

    Type Innovations
    [Alex O. Kaczun]

    Alex Kaczun is a type designer and type expert based in Northport, NY. At MyFonts he wrote: 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.

    His early typefaces include Axion (2012, a futuristic, techno-looking type family; +RND, +SSF, +SER, +RX14, +STN (a stencil version)), BottleKaps (1992) at Linotype. Also at Linotype, he worked on the Fairfield family, designed in 1939 by Rudolf Ruzicka, completing the job in 1991. He also made outlines for Bell Centennial based on Matthew Carter's bitmaps. He runs Type Innovations.

    He designed the following fonts at Galapagos: Beatnik (1997), Android (2010, beveled techno family), Big Boy (2010, a heavy wood type), CaltexNovaSans (Galapagos), Contax (1997, Galapagos: Alex says about this family: Contax is the new Univers for the 21st century), Contax Sans (2011---this typeface is Peignotian in its light weights, and has subtle and not-so-subtle stem variations), Eclipse (1997, shadow beveled face), Extreme SDans (1997), Innovage (1997, a new Helvetica for the 21st century, in his own words), New Renaissance (1997, a true roman face), Shockwave (1997), Golum (1997), Swordtail (Galapagos, 1997, a hip hand-printed font), New Age (Galapagos, 2002), Extreme Sans (Galapagos, 2002).

    Other typefcaes: Kaczun Oldstyle Bold (2010), Doc Holliday (2010, a Western face), Hippyfreak (2010), Mister Twiggs and Misses Twiggs (2010), Geomatrix (2010, geometric stencil face), Oronteus Finaeus (2010, like lettering from a map dated 1531), Piccadilly Circus (2010, a Western face), Switched On and Off (Galapagos, 1997), Racetrack (2010: an octagonal multiline display face), Mandelia (2010: a wedge-serif display face).

    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: Edgar No. 9 (heavy baroque slab serif in the style of 19th century wood type), Langston (outlined and octagonal), Ekeras V2 (inline face), Mecanica, Mariamne (a spurred typeface based on Contax), Axion SER (a triangle-serifed typeface), Beatnik Barbie (a beatnik font influenced by Jack Kerouac), Nadia (a modern stencil interpretation of Granjon Oldstyle).

    Typefaces from 2013: Directors Cut Pro (this geometric antique font was a second prize winner at the Canberra Typeface Competition), Ambriel (a curly didone that mixes in Victorian frillies), Sansational (or Sensational sans: an ultra-condensed sans family), My Darling (a bastardized didone fashion mag face), Envisage (grotesk).

    Typefaces from 2014: Renovatio Deco (a spurred stencil), Crypton (sci-fi face).

    Typefaces from 2015: Nadia (a stencil version of Granjon Oldstyle).

    Typefaces from 2017: Gothica (stencil), Decrypt H1, Decrypt He2 (hipster style), Decrypt 02, Decrypt 01 (this geometric sans with hipster capitals evolved from Contax Pro in 1997 and was finally published in 2017).

    Typefaces from 2018: Grande Sans (stylized caps with sharp triangular corners).

    Showcase of Alex Kaczun's typefaces. [Google] [MyFonts] [More]  ⦿

    Type Sisters

    Type design duo consisting of Mary Catherine Pflug (Boston, MA) and Lily Feinberg (Nw York City). [Google] [More]  ⦿

    Type with pride
    [Robyn Makinson]

    Gilbert Baker (1951-2017), the creator of the iconic Rainbow Flag, was both an LGBTQ activist and artist, and was known for helping friends create banners for protests and marches. To honor the memory of Gilbert Baker, NewFest and NYC Pride partnered with Fontself to create a free OpenType-SVG color font inspired by the Rainbow Flag, Gilbert. There is also a free black-and-white font.

    Gilbert (2017) was designed by Robyn Makinson (who is based in New York City) and is the copyright of Ogilvy & Mather. A Chinese version was added in 2018 by Real (Tianjin, China).

    In 2020, Robyn Makinson added the curvy hipster typeface Bedrock Display.

    Robyn Makinson's home page. Robyn also uses the alias Robyn Mak. [Google] [More]  ⦿

    Typeco
    [James Grieshaber]

    James Grieshaber earned a BFA in Graphic Design from Rochester Institute of Technology. Based first in Rochester, NY, and then in Chicago, IL, and then again in Rochester, Grieshaber ran Typeco, a typographic services and solutions company established in 2002. James Grieshaber (b. Detroit, 1967) most recently was on staff of P22 Type Foundry, where he designed many type families and helped establish International House of Fonts. He has been honoured with an award of Excellence in Type Design from Association Typographique International (ATypI) for his Gothic Gothic (2004, blend of blackletter and English style), and by TypeArt'05 (for Operina Cyrillic). Designer and Co-editor of the Indie Fonts book series, Grieshaber now teaches typography at RIT and runs Typeco. MyFonts sells his fonts now. YouWorkForThem sells the Super Duty family (stencil), Glyphic Neue, the Trapper families, Chunk Feeder, Gothic Gothic and Cusp. Identifont page. FontShop link. Behance link. Details on some of his typefaces:

    • Gothic Gothic (2001), an extended blackletter co-designed with Christina Torre. In 2004, he received an award of Excellence in Type Design from Association Typographique International (ATypI) for his Gothic Gothic type design.
    • The Glyphic Neue display family was inspired by the Op Art style of lettering in the United States that ran rampant in many photo type houses in the 1960's and 1970's---I like to call it the "piano key style".
    • Chunkfeeder (2002) is a beautiful monospaced octagonal OCR-like family.
    • Cypher (2003, an LED/LCD family) has 24 weights. Of these, Cypher7 is free.
    • Duty (2002) is a sans typeface co-designed at T26 with Lee Fasciani.
    • The stencil family Super Duty (2004) has 8 variations. There are also techno variant called Superduty Condensed, Superduty Regular, Superduty Narrow and Superduty Text.
    • Cusp (2001-2005): a techno display family with 18 weights, including an LED style, art deco styles and Cusp De Stijl.
    • Trapper (2004) is an 8-weight exaggerated ink trap font family which comes in Trapper Round and Trapper Sharp versions.
    • Zaftig (2008, Typeco) is a super-fat face.
    • P22 Operina (2003, in Romano, Corsivo and Fiore versions) is based on Vicentino Ludovico degli Arrighi's calligraphy used in his 1522 instructional lettering book La Operina da Imparare di scrivere littera Cancellarescha. This book contains what is considered to be the earliest printed examples of Chancery Cursive. P22 Operina won an award at TypeArt 05. Operina Pro contains over 1200 glyphs. In 2010, Paulo Heitlinger compared P22 Operina favorably to another digital chancery font, Poetica (by Robert Slimbach, Adobe), which, according to him [and I agree], lacks vigor and dynamism.
    • P22 Posada (2003, with Richard Kegler): based on lettering of Mexican printmaker José Guadalupe Posada (1851-1913) that was used for some of his posters and broadsides.
    • P22 Arts and Crafts Tall (1995, art nouveau), P22 Arts and Crafts Hunter (1995). Both based on alphabets by Dard Hunter, 1908-1910.
    • P22 Art Deco Chic (2002), based on the Art Deco hand lettering of Samuel Welo, ca. 1930. P22 Art Deco Display (2002) is a Broadway style face.
    • Churchy (2002).
    • He offered (offers?) a handwriting font service for 100 USD. Free trial typeface Reenie Beanie (2002). Signature font service for 50 USD. Reenie Beanie (2002) is now offered (as a joke, I assume) as part of the Google open font directory (for free web fonts).
    • P22 Garamouche (2004, with Richard Kegler). Comes with Garamouche Ornaments (2004).
    • Segoe Print (2006, Monotype Imaging). [Isn't this Googlee's competition?] This is an informally hand-printed typeface co-designed with Brian Allen, Carl Crossgrove, James Grieshaber and Karl Leuthold at Ascender.
    • P22 Cezanne Pro (2006). Has over 1,200 glyphs.
    • P22 Yule (2005; Heavy, Inline): a stone chisel family with a hint of Neuland.
    • P22 Numismatic (2005): originally offered by the Devinne Press, and based on ornaments and letters used by 15th and 16th century engravers of seals and coins; however it looks very much like Otto Hupp's Numismatisch (1900, Genzsch&Heyse).
    • Black Ops One (2011) is a military stencil face, available at the Google Font Directory.
    • Short Stack (2011) is Grieshaber's free contribution to the Comic Sans genre. It was published by Sorkin Type and can be downloaded from Dafont.
    • Atomic Age (2011) is a free font at Google Font Directory. It was inspired by 1950s era connected scripts seen on nameplates of American cars.
    • Sarina (2011). A connected script published by Sorkin Type.
    • Supermercado One (2011, Google Font Directory) is a low contrast semi geometric typeface inspired by naive industrial letters. More a signage typeface than a web font.
    • Typeco Grecian (2012, FontStruct) is loosely based on a Wells & Webb Grecian style woodtype circa 1846.
    • Typeco De Stijl (2012, FontStruct) is based on Van Doesburg's De Stijl magazine's name plate in 1923. Typeco Topaz Serif Tall (2012, FontStruct) is a pixel typeface. Typeco New Wave (2012, FontStruct) is an op art party font.
    • Metamorphous (2012, Sorkin Type) borrows its arches from Gothic cathedrals---it was inspired by Jonathan Barnbrook and by the free font Morpheus. Google font download.
    • HWT Geometric (2013, Hamilton Wood Type Foundry) is a squarish wood type family: Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version.
    • Trattatello (2014). An Apple system font.
    • HWT Archimedes (2017, P22). A revival of the Page No. 122 wood type called Mansard Ornamented, done together with Richard Kegler (P22) and Virgin Wood Type. They write: This new digital version is a simultaneous release with Virgin Wood Type and features a variety of styles including the standard screw head option plus a Phillips head, hex/Allen wrench head, and even the vexing Apple pentalobe tamper resistant star screw. As a bonus, the screwheads themselves are accessible via a glyph palette, so you can put the screws to Comic Sans, or any other font, if you so desire.

    Klingspor link. Google Plus link. Behance link. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

    TypeCon 2001

    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

    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]  ⦿

    TypeCon 2008

    TypeCon 2008 was held in the Hyatt Regency in Buffalo, New York, from July 15-20, 2008. The list of 70+ speakers included Chuck Bigelow, Matthew Carter, James Craig, John Downer, John Hudson, Dard Hunter III, Akira Kobayashi, Pete McCracken, Jan Middendorp, David Pankow, Elizabeth Resnick, Stefan Sagmeister, Paul Shaw, Erik Spiekermann, Ilene Strizver, Jakob Trollbäck and Doyald Young. The only drawback is cost: why 320 dollars registration if there are 24 "sponsors"? Full list of speakers: Adam Twardoch, Akira Kobayashi, Amelia Hugill-Fontanel, Amelia Irwin, Ashley Pigford, Attila Korap, Ben van Dyke, Bill Davis, Bob van Dijk, Bonnie Barrett, Carl Crossgrove, Carole Goodman, Christopher Slye, Chuck Bigelow, Dard Hunter III, David Pankow, David Shields, Deborah Shmerler, Doyald Young, Eben Sorkin, Emily Luce, Erik Spiekermann, Erik van Blokland, Gary Munch, Gerry Leonidas, Hal Leader, Jakob Trollbäck, James Craig, Jan Conradi, Jan Middendorp, Jay Rutherford, John Collins, John Downer, John Hudson, Joost Roozekrans, Judith Aronson, Judy Ross, Juliet Shen, Justine Nagan, Ken Barber, Kent Lew, Kim Elam, Liz Resnick, Mark Jamra, Mary Hart, Matthew Carter, Michael Clark, Michael Hersrud, Michelle Bowers, Miguel Sousa, Mike Cina, Mike Parker, Milka Broukhim, Nancy Ciolek, Nancy Rorabaugh, Nancy Sharon Collins, Oscar Smeulders, Patrick Griffin, Paul Hunt, Paul Shaw, Pete McCracken, Richard Kegler, Rick Griffith, Rob Keller, Roger Black, Saad D. Abulhab, Shelley Gruendler, Shelly Bronson, Simon Daniels, Stefan Sagmeister, Stephen Coles, Stephen Rapp, Steve Matteson, Ted Harrison, Thomas Milo, Will Powers. Mike Cina's report. [Google] [More]  ⦿

    Typefaces available from US foundries

    List of all (metal) typefaces available for sale from these six US typefounders:

    • M & H Type (Mackenzie & Harris), 1802 Hays Street, San Francisco, CA 94129

    • Swamp Press, 15 Warwick Road, Northfield, MA 01360

    • Barco Type (F & S Type Founders Inc.), 237 S. Evergreen, Bensenville, IL 60106

    • Quaker City Type Foundry, 2019 Horseshoe Pike, Honey Brook, PA 19344

    • Michael and Winifred Bixler, Box 820, Skaneateles, NY 13153

    • Harold Berliner, Printer, P.O. Box 6, Nevada City, CA 95959
    [Google] [More]  ⦿

    Typeji
    [Tien-Min Liao]

    New York City-based designer (originally from Taiwan) who created Ribaasu (2019: a reverse contrast typeface for Latin, Japanese and Chinese that won awards at the 22nd Annual TDC Typeface Design Competition and---in the kanji category---the 2019 Morisawa Type Design Competition) and Min Sans (2019: a modern high-contrast sans serif typeface with sharp and clean cuts, useful for fashion mags).

    In 2021, she released Eliptico (a bold wedge serif family with diagonal stress). Future Fonts link.

    In 2022, she added Fig Grotesk, a 4-style playful sans. [Google] [More]  ⦿

    Typetanic Fonts
    [Gregory Shutters]

    Typetanic is the personal foundry of graphic and type designer Greg Shutters (New York City). Founded in 2013, Typetanic aims to create original designs as well as adapt historic lettering and type styles for the needs of an ever-changing design market. In addition to being the principal of Typetanic Fonts, Shutters also currently works as Communications Associate for the SS United States Conservancy, a non-profit organization interested in the preservation and redevelopment of the historic ocean liner SS United States. In 2022, Typetanic joined Type Network. His typefaces:

    • In 2013, he designed Columbia Titling, a titling-caps display family based on wide Clarendon-style wood type and industrial signage design from the late-19th and early-20th Century. It won an award at TDC 2014.
    • Transat (2013) is an art deco sans family based on signage found in the Gare Maritime ocean liner terminals in Le Havre and Cherbourg, France, in the early 1930s. Transat Text (2013) is a more subdued, but still geometric, sibling of Transat.
    • Gibbs (2014) is a tough, sophisticated sans, named for prolific maritime architect William Francis Gibbs and inspired by his greatest design, the record-breaking mid-century luxury liner SS United States. Gibbs won an award in the TDC 2015 Type Design competition.
    • Conglomerate (2016): a blend of many styles in one to immunize the beast.
    • LaFarge (2021). He writes: LaFarge is a typeface primarily inspired by the historic mosaic titling capitals found in the New York City Subway, designed by architect Squire J. Vickers and his staff between 1915-1927. These elegant but industrial signs are characteristic of early-20th century American architectural lettering, and show an evolution of the classical Roman capitals to lower contrast, bolder serifs, and more regular character widths. The majority of this lettering still remains in subway stations today, and though elements of the style vary from sign to sign, many carry the unique features that are reflected in LaFarge: high-waisted crossbars with angled serifs, elegantly curved leg on the R, and distinctive trapezoidal serifs. LaFarge expands this style into a lower case, taking cues from contemporary typefaces like Bookman, Cheltenham, and Della Robbia.
    Type Network link. [Google] [MyFonts] [More]  ⦿

    Typeverything

    Type cooperative in Barcelona and New York City, est. 2011 by Andrei Robu. Participants include Dan Cassaro, Fernanda Cozzi, Dominic Le-Hair, Ged Palmer, Jeff Rogers, Jeremy Pruitt, Maia Then, Neuarmy, Ryan Hamrick, and Tom Lane. [Google] [MyFonts] [More]  ⦿

    Typeverything
    [Andrei Robu]

    Andrei Robu is a super-artist, award-winning photographer, art director, illustrator, type designer and rising star based in Barcelona. Andrei started freelancing ca. 2002 shortly landing clients like Sprite and Coca-Cola. In 2006 he became Chief Graphic Designer at Leo Burnett, Bucharest, Romania. In 2008 he joined Acme as a managing partner and design director. After three and a half years he left Acme and started his own practice. In 2014 he relocated to Barcelona where he works together with his partner Andreea Robescu. During his career he founded a few platforms for promoting other talents: Designers Go To Heaven (2009-2017), Calligraphica (2012-2017), Typeverything (2011).

    Andrei creates key visuals for branding, packaging, events and artist collections. He has worked with clients such as Adobe, Apple, Bloomberg, Nike, Jordan Brand, Stella Artois, Dailies, Fenwick London, Mastercard, Vodafone, VISA Epos, Coca-Cola, ESPN Magazine, Billboard, Wired, The Golden Globes, Exxon, Toyota, Hiscox.

    In 2011, he set up Typeverything in Barcelona. Typeverything features Andrei Robu's typefaces as well as those of other type designers such as Cahya Sofyan, Felipe Calderon, Natanael Gama, Adam Fathony, Matteo Broillet, Simon Walker, Drew Melton, Jason Carne, Lewis McGuffie, and Fer Cozzi.

    In his early type designs, we find extraordinary colored geometric experimental typefaces made in 2007 such as Idea, Trick Fun, Trick Squared, Trick (wow!).

    In 2009, he made Bs, Merci, Metropolis, Origami, and Think. In 2011, this was followed by Funky. These early typefaces are not featured in his foundry, Typeverything.

    His commercial typefaces:

    • Berry (2022). A seven-style+variable font family that oozes mischief and flexes its muscles.
    • Boldoni (2021). A fat face family.
    • Bourbon St (2020). A flashy experimental Marilyn-Monroe-just-walked-into-the-room kinda typeface.
    • Brule (2020). A throwback to the larger-is-better 1970s.
    • Champ (2021, by Cristi Bordeianu and Andrei Robu). A starkly incised display typeface family ranging from fashionable ultra-heavy to a flared thin. It includes a variable font as well.
    • Choco or Robu Choco Script (2017). An upright signage script.
    • Cottonhouse (2019). A Victorian typeface Cottonhouse by Andrei Robu, Kevin Cantrell and Arlo Vance.
    • Deia (2021). Advertized as a 7-weights bracketed serif that will do wonders on packaging projects.
    • Faroe (2022). A 7-style+variable font: a contemporary take on the art-nouveau period.
    • Fat Stencil Numerals (2016).
    • Fitzroy Display (2014). This art deco typeface was co-designed with Kevin Cantrell for the Fitzroy Condos in New York.
    • Flako Stencil.
    • Friseur. A supermarket script based on the 18th-century English roundhand.
    • Graf (2021). A very bold display and poster typeface that livens up the show with strategic ink traps.
    • Kitsune (2015). A thin connected script typeface published at The Designers Foundry. Re-released in 2019 by Typeverything.
    • Loggia (2020). A fashion mag typeface.
    • Loto Sans (2021). A geometric sans family.
    • Marques (2020). A luxurious display font.
    • Misfits (2018). A blackletter typeface.
    • Mochi (2021). An 8-style display sans with pointy terminals.
    • Motorino (2016). A connected retro script typeface.
    • Mr. Banks (2019) and Mr. Banks Serif (2020). Mr Banks is a stencil font.
    • Palace (2022). Based on vintage luggage labels from The Belle Époque (1890-1910).
    • Raval. A blackletter.
    • Roa Display. An angular and angry wedge serif.
    • Robu Bold. A retro signage script typeface originally created in 2010. Released in 2015 at The Designers Foundry. Re-released in 2019 at Typeverything.
    • Robu Grotesk (2017).
    • Robu Display (2017). In the fat didone genre.
    • Robu Stencil (2017).
    • Sharpie Pro (2020). A vernacular marker pen font.
    • Sports Numerals or Robu Sports Numerals (2017).
    • Vance Serif (2018). With Kevin Cantrell. They write: Vance Serif began as a proprietary typeface for Clayton Vance Architecture. Inspired by classical Roman architecture and proportions, Vance burgeoned from geometric angles and slants to decorative swashes and serifs to give life and nuance; architecture vivified by the human persona.
    • Writer (2022). A graffiti font.
    • Zufo (2017). A great children's book or comic strip typeface family.

    Subpage with more experimental type. Flickr page. Behance link. Behance link for Typeverything. Old web site. Typeverything link. [Google] [MyFonts] [More]  ⦿

    Typographics (2015)

    Typographics is a conference at the Cooper Union in New York City, June 8-18, 2015. Several workshops organized between June 8 and June 11, and June 14 and June 18, while the conference itself will took place on June 12 and 13. Speakers at the main conference: Roger Black (possibly the main organizer), Jonathan Hoefler (speaking on The Modern Type Foundry), Louise Fili and Steven Heller, Paula Scher, Seymour Chwast, Erik van Blokland (on animated type), Jackie Goldberg (on type at Yahoo), Marko Dugonjic (speaking on responsive web typography), Abbott Miller, Alexander Tochilovsky, Alex Trochut, Marty Hall, Carrie Gee, Christian Schwartz (!!!), Barbara Glauber, Anand Naorem, Neelakash Kshetrimayum, Adrian Shaughnessy, Juan Carlos Pagan, Sue Apfelbaum, Matteo Bologna, Bethany Heck, Mike Fortress (speaking on the typographic language of icons), Bruno Maag, Alessia Nicotra. [Google] [More]  ⦿

    Typographics (2016)

    A two-day type and design conference held on June 17 and 18, 2016, at The Cooper Union in New York City. The program was put together by Roger Black and Alexander Tochilovsky (of the Herb Lubalin Study Center). Speakers: Jakob Trollbäck, Fiona Ross, Dan Rhatigan, Tracy Ma, Emily Oberman, Stephen Doyle, Francesco Franchi, Caspar Lam, Nina Stössinger, Tobias Frere-Jones, Eduardo Danilo, Juliette Cezzar, Elizabeth Carey Smith, Riley Cran, Gabriele Wilson, Anuthin Wongsunkakon, Victoria Rushton, Marta Cerda Alimbau, Douglas Riccardi, YuJune Park, Rob Giampietro, Indra Kupferschmid. [Google] [More]  ⦿

    Typographics (2017)

    Typographics is a design festival for people who use type. The event series took place June 12-22, 2017, and is devoted to contemporary typography, with talks, workshops, and tours focusing on where typography is today and where its future may lie. It was held at The Cooper Union in New York City. The highlight of Typographics was a two-day conference (June 16-17) centered around the contemporary use of type. The conference director in 2017 was Alexander Tochilovsky. The Festival's director was Cara Di Edwardo. [Google] [More]  ⦿

    Typographics (2018)

    Typographics is a design festival for people who use type. The event series took place from June 11-21, 2018, and was devoted to contemporary typography, with talks, workshops, and tours focusing on where typography is today and where its future may lie. It was held at The Cooper Union in New York City. The highlight of Typographics was a two-day conference (June 16-17) centered around the contemporary use of type. [Google] [More]  ⦿

    Typographics (2019)

    Typographics is a design festival for people who use type. The event series took place from June 10 until June 20, 2019, and was devoted to contemporary typography, with talks, workshops, and tours focusing on where typography is today and where its future may lie. Held at The Cooper Union in New York City, the highlight of Typographics was a two-day conference (June 14-15) centered around the contemporary use of type. The speakers: Edward Fella, Sara De Bondt, Renald Louissaint, Zipeng Zhu, Janet Hansen, Pegah Ahmadi, Pouya Ahmadi, Tereza Ruller, James Edmondson, Elle Kim, Jerome Harris, Louise Sandhaus, Matthew Carter, Shira Inbar, Alan Rapp, Neil Donnelly, Joyce N. Ho, Marta Bernstein, Braulio Amado, Lisa Strausfeld, Giorgia Lupi, Chantal Jahchan, Armin Vit. The directors are Cara Di Edwardo and Alexander Tochilovsky. [Google] [More]  ⦿

    Typographics (2020)

    Typographics is a design festival for people who use type. The event series took place from June 15 until June 20, 2020 at The Cooper Union in New York City. The highlight of Typographics was a two-day conference (June 19-20) centered around the contemporary use of type. The meeting this year was virtual due to COVID-19. [Google] [More]  ⦿

    Typographics 2021

    The main Typographics conference will feature an international line-up of 30 designers presenting talks about type and its use in graphic design, web design, publication design, book design, packaging, branding, corporate identities, advertising, motion graphics, and more. All Typographics events will be hosted online in this COVID year. The schedule for the main conference is spread out between June 1 and July 1, 2021, with talks taking place every Tuesday and Thursday for 5 weeks across a variety of time zones. The curators are Simon Charwey, Troy Leinster, Pegah Ahmadi, Bahia Shehab, YuJune Park, Caspar Lam, Shiva Nallaperumal, Gen Ramirez, Anuthin Wongsunkakon, Cesar Puertas, and Ilya Ruderman. [Google] [More]  ⦿

    Tzippy Kaplan

    As a studet, Spring Valley, NY-based Tzippy Kaplan designed the shadow typeface Jolliday (2016). [Google] [More]  ⦿

    Undercase Type
    [Phaedra Charles]

    Undercase Type is based in Boulder, CO (and before that, in Brooklyn, NY). It is the independent type foundry of Phaedra Charles and Flavia Zimbardi, who met while attending the Type@Cooper Extended Program at the Cooper Union. Phaedra Charles is a Brooklyn-based typeface designer and lettering artist. From 2011-2014, she was Senior Designer at Louise Fili Ltd, and was a partner at Charles&Thorn, a boutique typographic and illustration studio. She has taught at the School of Visual Arts in New York City, is a graduate of the Type@Cooper Extended Program at the Cooper Union. Flavia Zimbardi is a typeface designer and visual artist. Native from Rio de Janeiro, she is currently based in New York and has collaborated with foundries such as Frere-Jones, Commercial Type, and Adobe Fonts. Flavia was the first Brazilian woman to have a typeface awarded by the Type Directors Club in 2018.

    In 2020, Phaedra Charles and Flavia Zimbardi co-designed the free decorative text typeface Fraunces at Undercase Type. Commissioned by Google Fonts, Fraunces is huge--it has over one hundred styles and covers four design axes: optical size (9pt to 144pt), weight, softness, and wonk. Fraunces is a display "Old Style" soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as Windsor, Souvenir, and the Cooper Series. Google Fonts link for Fraunces.

    At Lost Type and Undercase Type, Phaedra Charles, Kelly Thorn, and Flavia Zimbardi published the chunky art nouveau typeface Regina Black (2020; +a variable font).

    In 2018, Charles&Thorn published Phaedra Charles's (variable) back-slanted Mollydooker at Future Fonts. It was republished in 2020 at Undercase.

    In 2022, Phaedra Charles released the monumental flared serif typeface Mausoleum, which updates her earlier design, Whittington (2013), which as inspired by a plaque in Boston College.

    Future Fonts link. Fontsquirrel link. [Google] [More]  ⦿

    Unifonts (or: Unitype)
    [Victor de Castro]

    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, Elizalice (a rip-off of Harold Lohner's Roselyn), 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, Serif: Pompeia Inline is also a direct ripoff of Adobe's Pompeia Inline), 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.

    Klingspor link. [Google] [More]  ⦿

    Untype

    Free fonts made by New York-based Untype include the destructionist typefaces FutureDirt, BodoniBoldPieces, Tuertest, BodoniScratchedBold, Velvetica. All these fonts were made in early 2004 with the help of Fontifier. [Google] [More]  ⦿

    Up Up Creative
    [Julie Green]

    Julie Green (Up Up Creative) is a graphic designer, illustrator, font designer, and letterer, based in Rochester, NY. She designed the thin connected script typeface Bundt Cake in 2015. Bundt Cake comes with more than eleven hundred glyphs. Later in 2015, she designed the poster typeface Pinafore.

    Typefaces from 2017: Holla (brush script).

    Typefaces from 2018: Stoic (a calligraphic script).

    Typefaces from 2019: Flatline (a stylish sans family), Thrift (a decorative high-contrast typeface with huge ball terminals), Meritocracy (a monoline script), Slight (a great formal penmanship font), Porcelain, Zoxi (calligraphic).

    Typefaces from 2020: Auteur (a flowing script), Kindly, Filia (a bold serif).

    Typefaces from 2021: Radiograph (a stylish serif), Think (a fine monolinear sans that plays on the the theme of wide and narrow), Ingo (advertized as a sultry display font), Ten Pounds (a vintage italic typeface), Flatline Serif (16 styles).

    Typefaces from 2022: Fifty Fifty (a stylish display serif), Filk (an ultra-bold script), Coax (a stylish sans with modulated stem widths). [Google] [MyFonts] [More]  ⦿

    Valentina Chung

    Creator of the 3d paper-cut typeface Creased (2013), which was a school project at the School of Visual Arts in New York City. [Google] [More]  ⦿

    Valerie Brodnikova

    Brooklyn, NY-based designer of the beautiful sketched typeface Unicorn Juice (2013). [Google] [More]  ⦿

    Vanderburgh, Wells & Co.

    New York-based foundry. Examples of wood types made by them: Concave Tuscan (aka Gothic Tuscan) (1867, based on an original by Bill, Stark & Co from 1853).

    Revivals include Painters Roman NF (2014, by Nick Curtis, of the 1878 wood type Painters Roman). [Google] [MyFonts] [More]  ⦿

    Vanguard Media
    [Michael Pinto]

    Based in New York, Michael Pinto designed a comic book font ComicBook in 1992-1993. Other typefaces, all techno: Freak, Hardcore, Radikal. [Google] [More]  ⦿

    Vanina Kim

    Vanina Kim is a graphic designer in New York City. She graduated with a BFA in Communcation Design at Parsons the Newschool for Design and is currently working at a creative agency in Soho. She created the display typeface Thorns (2012). [Google] [More]  ⦿

    Vari-Typer Type Faces

    Type specimen book published by Ralph C. Coxhead Corporation, manufacturers of vari-typer based in New York City, in 1946. [Google] [More]  ⦿

    Vault49

    New York City-based design studio that designed the 3d marquee typeface Peep Show (2013). It can be bought here. [Google] [More]  ⦿

    Version Type Foundry (was: Industrial-Organic.Net)
    [Justin Thomas Kay]

    Brooklyn-based Justin Thomas Kay runs Version Type Foundry, and before that, Industrial-Organic.Net. His lettering designed mostly for industrial clients is very original and artistic. Behance link. Noteworthy designs: various headline typefaces for Swindle Magazine, lettering for Isis (the artist), frivolous logotype for Back in Black, Garland. One can purchase typefaces from Version Type such as Garland Monospace (2011, a piano key logotype---condensed, monospaced, and stencilish) and VTF Park (2011, a counterless geometric face). Klingspor link. [Google] [More]  ⦿

    V.H. Fleisher
    [Resident]

    [MyFonts] [More]  ⦿

    Victor Caruso

    New York-based advertising designer associated with Photo-Lettering Inc. and ITC. His typefaces:

    • ITC Kabel (1976). ITC Kabel has a larger x-height than the original Kabel, designed in 1927 by Rudolf Koch. It has shorter ascenders and descenders as well and has a diamond-shaped dot on the i. It is uglier than Koch's Kabel, which is a strong statement, as Koch's Kabel is already quite an eyesore. Review of ITC Kabel.
    • ITC Bauhaus (1974, with Ed Benguiat). See Dessau and R790 Sans on the SoftMaker MegaFont XXL CD (2002), and Geometric 752 in the Bitstream collection.
    • ITC Clearface (1978). ITC writes in its promotional blurb: The original drawings for the Clearface design were a collaboration between Morris Fuller Benton and his father, Linn Boyd Benton. As the driving force behind American Type Founders (ATF) during the first part of the twentieth century, the Bentons sought to create a new typeface that was utilitarian and easy to read. Most contemporary type designers draw the medium weight of a new design first, and then build the rest of the type family on this foundation. However, the Bentons started with Clearface Bold. They introduced the rest of the Clearface family, one design at a time, over the next six years. As a whole, the family was serviceable, but it lacked the continuity we expect from current typeface designs. In 1978, under license from ATF, ITC commissioned designer Victor Caruso to re-draw the Clearface family to rectify its various design inconsistencies. Starting with the medium weight, Caruso developed a family of four weights with harmonizing italics. Caruso's work refines the Bentons' original design into a unified family that is well suited for both text and display settings. The ITC Clearface design is slightly condensed, making it an excellent choice when space is at a premium. It features small yet sturdy serifs, a large x-height and modest contrast in stroke weight. ITC Clearface also contains several "identifying characters" that distinguish it from other typefaces, such as the upturned a, old style e and ball-terminal s.
    • ITC Franklin Gothic: in 1902, Morris Fuller Benton created Franklin Gothic at ATF, the forefather of the American Grotesques. In 1979, Victor Caruso added four photocomposition weights: Light, Medium, Bold and Black, all with italics. In 1991, David Berlow added Condensed, Compressed and Extra Compressed widths, all under the label of ITC. Finally, in 2010, Berlow completed ITC Franklin as a single new series of six weights in four widths for a total of 48 styles.
    • Futura Maxi (1960, Photo-Lettering). Created to add more display weights to Futura. Digitized by Photolettering. Also, in 2014, Monotype offers a digital version called PL Fute.
    • ITC Korinna.
    • Friz Quadrata Bold, to complete Ernst Friz's Friz Quadrata.

    FontShop link. Klingspor link.

    View Victor caruso's typefaces. [Google] [MyFonts] [More]  ⦿

    Victor Coreas
    [Bold Version]

    [More]  ⦿

    Victor de Castro
    [Unifonts (or: Unitype)]

    [More]  ⦿

    Victor Erixon

    New York City-based icon designer. In 2014, he published 60 Vicons. In 2013, he designed 44 Shades, Thin Stroke Icons, and 80 Shades of White Icons. [Google] [More]  ⦿

    Victor Hammer

    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 typefaces include Samson (1926, an uncial cut by Paul Koch, son of Rudolf Koch) or Hammer Samson Uncial (1931), Pindar (1933, a modern pseudo-Gaelic uncial), American Uncial (1943, a modern pseudo-Gaelic uncial first published with the Dearborn Type Foundry and revived in 1993 as Gaeilge 2), Andromaque Uncial (1958, digitized by Paul Baker in 1995), Aurora Uncial (Victor Hammer, ATF---never produced, but rediscovered by Theo Rehak when he bought the ATF material). In 1953, American Uncial was re-released by Klingspor foundry. It was renamed Neue Hammer Unziale, in two versions. Unlike the unicase American Uncial, Neue Hammer Unziale has both upper and lowercase letters.

    Hammer's uncials have been revived in Neue Hammer Unziale I (1988, Adobe) or New Hammer Uncial or American Uncial (for example at URW++ in 1993). See also Monotype's Uncial, Thomas E. Harvey's Gael (1993), and SoftMaker's Unziale (2012).

    Mac McGrew explains Andromaque's genesis: Andromaque is a cursive form of uncial letter, mixing Greek forms of aeklmnstz with Roman forms of the other letters, yet retaining legibility and harmony. The original size was cut by Victor Hammer and cast in France. The 14-point size was begun by Hammer, but left unfinished at his death. The font was completed by his long-time friend, R. Hunter Middleton, in the early 1980s, and cast by Paul H. Duensing. Paul Baker did a digital version of Andromaque in 1995.

    Hammer 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 Type foundry 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]  ⦿

    Victoria Bellavia

    Victoria Bellavia is a letter designer based in New York City. Her portfolio is outstanding. She created the curly typeface Mochina (2012), the letterpress style sans Astor (2013), and the quaint wedge slab serif typeface Marzipan (2013).

    Behance link. Hand Letter Design link. [Google] [More]  ⦿

    Victoria Herrera

    Guatemalan designer and art director currently based in New York City. In 2017, she created the skyline typeface Sky. Behance link. [Google] [More]  ⦿

    Victoria Rushton

    After attending high school in Singapore, Victoria Rushton (New York City) studied at RISD (the Rhode Island School of Design) and graduated in 2013 with a degree in Illustration. In 2014 she joined Font Bureau and later Type Network as a staff designer, and lived in Boston. Under the guidance of Cyrus Highsmith at RISD, she created the text typeface Sylvia in 2012 for the poems of Sylvia Plath who committed suicide in 1963.

    In 2015, she designed the Font Bureau font Marcia, a didone with many quirks and curvy surprises.

    In 2016, she designed Embury Text. Victoria explains: Contrasting characteristics like soft round curves, sharp end strokes, exaggerated oval counters, punched in slab-like serifs, and swelling swashes play subtly off of each other, offering an unexpectedly immersive experience to the reader.

    In 2017, she designed the connected script typeface Gautreaux, which is inspired by a lettering style from Tommy Thompson's The Script Letter called "free style lettering."

    In 2021, Victoria, together with Type Network and Kerns&Cairns, designed the corporate typeface Peacock Sans for NBC.

    At Future Fonts in 2021, she released the Spencerian script typeface Kadabra, which was started by (her late partner) Dai Foldes, who in turn was inspired by the work of calligrapher Jean Larcher.

    Lovegrove (2021) is a display typeface designed by Dai Foldes and Victoria Rushton for their wedding invitations. It was inspired by the calligraphy of Raymond DaBoll and has been expanded into a variable font with a swash axis.

    Interview in 2015 by Type Thursday. Font Bureau link. Type Network link. Future Fonts link. [Google] [More]  ⦿

    Victoria Siemer

    Victoria Siemer (Brooklyn, NY) created Banana Type (2012).

    Behance link. [Google] [More]  ⦿

    Victory Type Foundry
    [Noah Rothschild]

    Foundry st. 1998 by Noah Rothschild (b. 1983, Buffalo) from Buffalo, NY, but now located in Chicago, IL. Myfonts link. Dafont link.

    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, Series Orbit, 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). Dafont linkVictory Type [Google] [MyFonts] [More]  ⦿

    Vijay Bhat

    Based in Buffalo, NY, Vijay Bhat created the display typeface Kayak (2014). [Google] [More]  ⦿

    Village
    [Chester Jenkins]

    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:

    • Feliciano Type Foundry (Mario Feliciano in Portugal): Rongel (2005), B-Sides (2004), Morgan Project (2003), Flama (2002), Stella (2000), Garda (1998), Grotzec Headline Condensed (1998), Merlo (1997).
    • Joshua Darden (Brooklyn, NY): Omnes (2005).
    • KLTF (Karsten Luecke in Goettingen, Germany): Litteratra (2005).
    • Lux Typographics (Michael Rey and Greg Lindy in LA): Crank 8, Section, Lux Sans, Nova.
    • Orange Italic (Christian Schwartz in NYC): Local Gothic (2005).
    • Thirstype: launched in 1994 by Rick Valicenti to publish his font Bronzo, and soon expanded to present the work of Barry Deck, Magnus Rakeng, Patric King, Chester, Paul Sych, Frank Ford, Patrick Giasson, Claudio Piccinini, and Hugo d'Alte. Faces: Kaas (Hugo d'Alte, a "blackletter typeface for the 21st century, with Latin, Cyrillic, and Hebrew alphabets", Mavis (Chester), and the architectural hairline outline typeface Daily (2003, with Tracy Jenkins).
    • Type Initiative: Type Initiative is a typefounding and design collective based in Canada and Greece. It was co-founded by type designers Michail Semoglou and Keith Chi-hang Tam. Faces: Arrival (2005).
    • Underware: Bello (2005), Auto (2004), Sauna (2002), Dolly (2001).
    • Kontour (Sibylle Hagmann): Odile (2005).
    • Hugo d'Alte: Kaas (2005), a geometric blackletter covering extended Latin, Cyrillic, and Hebrew.
    [Google] [MyFonts] [More]  ⦿

    Vince Serecin

    Graphic designer in Staten Island, NY, who created the techno typeface Reinauer in 2015. This typeface was commissioned and is based on the characters in the Reinauer Logo [Reinauer is a tug boat company]. Behance link for Flying Pie Design. [Google] [More]  ⦿

    Vince Smith

    Art director and graphic designer from New York City. He created some great type posters in 2009. [Google] [More]  ⦿

    Vincent Chan
    [Matter of Sorts]

    [More]  ⦿

    Vincent Pacella

    American lettering artist and type designer from New York. Creator of ITC Cushing (1982) and ITC Pacella (1987). MyFonts.com hints that he may have died. According to Linotype, ITC Cushing has a long history. The font was originally designed [for ATF] by J. Stearns Cushing [in 1897], a Boston-based book printer, and famous American type designer Frederic Goudy expanded it to include an italic weight [in 1904]. These early ATF typefaces became known as Lining Cushing Oldstyle No. 2 and Italic. ATF also brought out a Lining Cushing No. 2 and Italic, Cushing Antique, and Lining Cushing Monotone 553.] A Ludlow version featured narrow capitals and an oblique crossbar on the lowercase t. A Monotype version in one weight of roman and italic had small, inclined serifs, wide capitals, short ascenders and descenders. In 1901, Lanston Monotype introduced Cushing Oldstyle, a slightly condensed typeface with large bracketed serifs and fairly uniform weight. It has little relationship to the ATF and Monotype Cushing.

    Under a special license from the American Type Founders, Vincent Pacella modified the design for ITC and added some additional weights. ITC Cushing is slightly condensed with large, bracketed serifs. Pacella changed the capital letters to better complement the lower case and replaced the sloping serifs of the italics to linear type serifs to produce ITC Cushing. ITC Pacella was fashioned in the tradition of Century Schoolbook, Corona and Nimrod, accordung to Linotype.

    In the 1970s, he made a Photolettering Egyptian headline typeface called Blackjack, which was digitized in 2007 by Nick Curtis as Flap Jacks NF.

    His 1970s semi-psychedelic typeface Carousel became Nick Curtis's Vinnie Culture NF (2007).

    His Pacella Vega Extended 10 (Photolettering, 1960s) was digitized by Nick Curtis as Palo Pinto NF (2010).

    MyFonts also credits Pacella with AT Stratford Bold, a thick slab serif.

    His PhotoLettering fonts Pacella Barrel and Pacella Colossus inspired Nick Curtis to create the beautiful ultra fat western slab serif Earmark NF (2009).

    The Western poster font Pioneer was revived by Nick Curtis as Trailblazer NF (2010).

    Bingham (done for PLINC) led Nick Curtis to design the angular octagonal typeface Binghamton NF (2010).

    Designer of Plinc Goliath, a fat slab serif, based on Film No. 6206 in the PhotoLettering archive. Originally drawn in 1970 by Pacella, Goliath was digitized by Ben Kiel with Adam Cruz in 2011 for House Industries. [Google] [MyFonts] [More]  ⦿

    Violet Office
    [Calvin Waterman]

    Violet Office is a brand design studio in New York. In 2020, they released Violet Sans (by Calvin Waterman, Max Ackerman and James Tae) for free to the world. This Eurostile-related font is owned by Violet Office and Calvin Waterman. Github link. [Google] [More]  ⦿

    Virgin Wood Type
    [Geri McCormick]

    In 2010, the late Bill Jones and Geri McCormick, a graduate of Rochester Institute of Technology, bought the machine, originally created by the American Wood Type Manufacturing Company to cut trees into letters and sell them to printers. For the next two years Bill and Geri followed suit, eventually offering a total of 23 fonts represented a survey of Victorian and Contemporary type design. They offer pantograph-cut wood type in a variety of font schemes and sizes and work out of Rochester, NY.

    In 2017, prominent wood type collector John Horn commissioned Geri McCormick of Virgin Wood Type to recreate a usable wood type version of "the font with the screws on it", Mansard Ornamented, officially known as Page No. 122 (1879). James Grieshaber and Virgin Wood Type redrew it as vector art. Richard Kegler (P22) completed the digital version with all the requisites glyphs for a modern digital font. That font was published by P22 as HWT Archimedes (2017) in versions called Screw, Phillips, Hex, Star, and Without. Dedicated Behance page.

    In 2019, they published a colour print called Chromatic Ornate, which is based on William H. Page's Specimens of Chromatic Wood Types (1874). [Google] [More]  ⦿

    Virginia Lucas Hart

    Virginia Lucas Hart is a calligrapher, illustrator and lettering artist in New York City. In 2017, she teamed up with Studioways (Eliza Gwendalyn and Jim Lyles) and published the retail calligraphic typeface Hart. MyFonts link. [Google] [More]  ⦿

    Virginia Yu

    San Francisco-based designer of Dysektid Grotesque (2014), an octagonalized grandchild of Akzidenz Grotesk. She was born and raised in New York, and received her design education from the Maryland Institute College of Art. Behance link. [Google] [More]  ⦿

    Vit A
    [Flëve Partners]

    [More]  ⦿

    Vit Abramov
    [Flëve]

    [More]  ⦿

    Vivian Kong

    New York City-based designer of the bilined display typeface Conform (2013), which is based on Karl Marx's theory of alienation.

    Behance link. [Google] [More]  ⦿

    Vivian Lee

    During her studies at SVA in New York, Vivian Lee designed some drop caps (2017). Behance link. [Google] [More]  ⦿

    Vivian Uang

    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 typeface Split Ends (2011). [Google] [More]  ⦿

    Vjeko Sumic

    Graduate from Polytechnics University in Zagreb, and student at the New York Online School for Design. He created the fat counterless typeface Geometry Circle (2010).

    MyFonts link. Vjeko Sumic Design Studio, located in Serbia. Klingspor link. Behance link. Vand Studio link. [Google] [MyFonts] [More]  ⦿

    Vlad G

    New York City-based designer of the free modular typeface Pettit (2013).

    Behance link. [Google] [More]  ⦿

    Wade Jeffree

    Wade Jeffree is a New York-based designer and art director from Melbourne, Australia. He currently works at Mother NYC. He created the display typeface Hardy (2014), which can be bought at The Designers Foundry. [Google] [More]  ⦿

    Wally Olins
    [Wolff Olins]

    [MyFonts] [More]  ⦿

    Walter H. McKay

    New York-based designer (1901-1956) of these typefaces:

    • Columbia (1956-1961, Amsterdam; 1957, Intertype Berlin). Mac McGrew: Columbia series was drawn by Walter H. McKay, a New York designer but cast by Type foundry Amsterdam. There are two weights, with italics; a bold condensed was added by a staff designer. Work was started on it in 1947 but it was not released until 1956, following much testing and refining. It is a contemporary roman, evenly and expertly drawn, and neutral in feeling. There are small capitals and italic swash letters for the light weight. Not to be confused with Morland's Columbia from 1906.
    • Egyptienne (1952, Letter Amsterdam, Linotype). A fat and wide Egyptian. Revived as Egyptian Wide in 2012 by SoftMaker.
    • Heritage (1952, ATF, a calligraphic face). Mac McGrew: Heritage is a carefully crafted contemporary script, designed for ATF by Walter H. McKay about 1952. It is very close fitting but not connected, with a slight slope, and resembles fine hand-lettering with a broad pen. Compare Thompson Quillscript, Verona, Freehand.

      Heritage was digitally revived as Walter in 2007 by Rebecca Alaccari at Canada Type.

    [Google] [MyFonts] [More]  ⦿

    Walter Hagen

    Brooklyn, NY-based but German born creator (with Arnold A. Lister) of a fish-themed ornamental caps typeface in 1935. Its patent application. [Google] [More]  ⦿

    Walter Huxley

    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]  ⦿

    Warawut Sagonnakon

    Brooklyn, NY-based designer of of the futuristic typeface Fountain (2017). [Google] [More]  ⦿

    Ward Pettibone

    Graphic designer in New York City, who created Today's Specials (2015, hand-printed), Perks (2015, hand-drawn), Spindle Nouveau (2015, a vampire font in art nouveau style), Ashe (2015, a brush typeface), Spiffy (2015, a thin script), and Tout de Sweet (2015, a handcrafted typeface). [Google] [More]  ⦿

    Warren Chappell

    Born in Richmond, VA, 1904, d. Charlottesville, VA, 1991. Typographer, illustrator, letterer, and type designer. He made two type families:

    • Trajanus (1939-1940, for Stempel). McGrew on Trajanus: Trajanus was designed by Warren Chappell, New York illustrator and letterer, in 1939, and cast by Stempel in Germany. It has the basic form of classic Venetian letters, but with a nervous, pen-drawn, contemporary quality. Ascenders are fairly long but descenders are short. The narrow italic lowercase shows a calligraphic quality in particular. There is an extra little flick of the pen at the end of crossbars of f and t; caps M and N have no serifs on their apexes; and cap U is lowercase in form. Trajanus is named for the Roman emperor whose accomplishments are immortalized in classic letters on the Trajan column. The three versions are also made by German Linotype, but have not received much attention in America. For revivals, see Tribunus SG by Jim Spiece and Linotype Trajanus (probably close to the original design as Linotype absorbed Stempel).
    • Lydian (1938, ATF) and Lydian Cursive (1940). McGrew writes: The Lydian series is a brilliant and popular calligraphic style designed by Warren Chappell for ATF. The lighter weight and italic were designed in 1938; bold and italic in 1939. They have the appearance of being lettered with a broad pen held at a 45-degree angle, but the ends of vertical strokes are square, improving legibility and stability. This is probably the most popular thick-and-thin serifless letter of American origin, though the concept is more popular in Europe. Oldstyle figures were made for these four Lydians, but were fonted separately and very rarely used. These four typefaces were copied by Intertype in an unusually large range of sizes for a slug machine, and from these matrices some suppliers cast fonts of type for handsetting. Lydian is named for the designer's wife, Lydia. Compare Czarin, Stellar, Radiant, Optima, Samson, Valiant. Lydian Cursive was drawn by the same designer in 1940. Although it gives the appearance of having been drawn with the same sort of pen as the regular series, it is much freer and more calligraphic, with a style unmatched by any other American script or cursive face. Lydian Bold Condensed was designed in 1946, also by Chappell, but not marketed until 1949. It has the general character of the earlier typefaces, but with much more emphasis on the vertical strokes. This gives the lowercase a suggestion of the effect of a simplified German blackletter. Digital versions:
      • Lydian and Lydian Cursive by Bitstream. The early versions of Lydian and Lydian Cursive were called Granite, Lisbon, Granite Cursive and Lisbon Cursive.
      • Lydian and Lydian Cursive by Tilde. These are identical to the Bitstream fonts.
      • Monotype Lydian.
      • Manofa (2018, Mariya Pigoulevskaya for The Northern Block). This bold family was inspired by Lydian.
      • MPI Sardis (2013). By mpressinteractive. Inspired by Lydian.
      • Beorcana Pro (2006, Carl Crossgrove). A distant relative of Lydian.
      • Libris ADF. A free family by Arkandis.
      • Lydia Bold Condensed (2013, Benjamin Critton).
      • OPTI Lydian Cursive (Castcraft).

      Chappell studied under Koch in 1931-1932 and worked briefly for him afterwards. This page states that he designed a font called Eichenauer (for Gustav Eichenauer, who cut the type in lead) in 1955, but it was never manufactured and released. This face, tentatively named Eichenauer, was shown in Chappell's book A Short History of the Printed Word.

      Klingspor file on him (PDF). FontShop link.

      View Warren Chappell's typefaces. [Google] [MyFonts] [More]  ⦿

    We Are Not You
    [Jared Eberhardt]

    Los Angeles-based group interested in art direction, typography, print design, branding and graphic design. They designed these typefaces: Amare (2008, a severely octagonal face), Nauris (2008, a grunge stencil face), Opega (2008, octagonal), Dead Western Giant (2008, Western saloon face), Deco Ghost (2008, art deco), Worn (2008, by Sruli Recht and Jared Eberhardt of We Are Not You), Syrillic (2008, an experimental typeface by Sruli Recht and Jared Eberhardt of We Are Not You). Their new studio is located in New York. [Google] [More]  ⦿

    W.E. Dennis

    Penman in Brooklyn, N, who wrote Studies in Pen Art (1914). [Google] [More]  ⦿

    Web Museum of Wood Types
    [Robert Lee]

    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]  ⦿

    Weixi Zeng

    While studying in New York City, Weixi Zeng created the sci-fi typeface Steel Blade (2015). [Google] [More]  ⦿

    Wenqian Lin

    Queens, NY-based designer of the experimental stencil typeface Neon (2014). [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
    [John T. White]

    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]  ⦿

    Why Not Smile LLC
    [Hoon Kim]

    Korean-born, New York-based Hoon Kim is with design consultancy Why Not Smile. In 2015, he published the typeface family Pin at Colophon: Pin is a three-weight, nine-cut family of geometric sans-serif types, available in dot-matrix, stencil, and (monoline) solid variations. [Google] [More]  ⦿

    William E. Dennis
    [Studies in Pen Art]

    [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 and would later become ATF. In 1887, the business was sold to three other New York typefounders.

    Among digital revivals of its typefaces, we cite Apple Pie (2009, William Hagemann, FontMesa), an extension of an ornate Bodoni all caps typeface by Hagar, ca. 1850. See also AWT Hagar Concave Tuscan Shade (2013, Dick Pape. [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.

    Digital revivals include Poplar (1990) by Barbara Lind at Adobe, and Gothic Leavenworth (Wooden Type Fonts). [Google] [More]  ⦿

    William M. Healey

    New York-based creator of the text alphabet New York Roman that is featured on page 15 of John G. Ohnimus's Henderson's Sign Painter (1906). On page 17, he shows the sans (!) alphabet Egyptian. [Google] [More]  ⦿

    William Millstein

    Type designer for Photo Lettering Inc in New York. His typefaces include Car Card, Domino, Fleuron, Flourish (an upright script; 1940s), Graphic, Guild, Heroic, Ivanhoe, Manuscript Black, Marlboro, Megaphone, Modern Manuscript, Orientale and Preston (a fifties style script). Flourish was digitally revived by Jeremy Mickel in 2011 for House Industries as Plinc Flourish. [Google] [More]  ⦿

    William S. Gillies

    William Gillies (b. 1911, San Francisco) was an illustrator and lettering artist. He designed the clean hand-printed typeface Gillies Gothic for the Bauersche Giesserei in 1935, where he also published Florentina in 1934. Gillies Gothic is also called Flott. Mac McGrew writes: Gillies Gothic is an unusual monotone cursive style, rather than a gothic in either meaning of that term. It was designed by William S. Gillies of New York City in 1935, in two weights, but cast only by Bauer in Germany. Aside from the fact that it is not a connected script, it is somewhat similar to Kaufmann (q.v.), although many letters have unusual forms. Medium and hairline weights are said to have been designed, but not cut.

    For a digital version, see Giulio Pro (SoftMaker), Giulio No2 (2012, SoftMaker), Gillies Gothic (ITC), Gillies Gothic EF (Elsner+Flake), Gillies Gothic (Linotype), Gillies Gothic (URW++), Gillies Gothic SH (Scangraphic Digital Type Collection), Gillies Gothic SB (Scangraphic Digital Type Collection), Opti Goal Gothic Bold (by Castcraft), Gillies Gothic (by Philip Kelly, 1982), Gillies Gothic MN (by Mecanorma), G731 Script (by Softmaker), and Gillies Gothic Bold (by Dan Solo).

    FontShop link. Klingspor link. View William Gillies's typefaces. [Google] [MyFonts] [More]  ⦿

    William T. Morgans
    [Young and Morgans Mfg Co.]

    [More]  ⦿

    William T. Morgans
    [Morgans&Wilcox Mfg Co.]

    [MyFonts] [More]  ⦿

    Willie Ford
    [Lazy Dog Foundry (or: Franklin Type Founders)]

    [More]  ⦿

    Willis A. Baird

    Disciple of Charlton V. Howe, who together with Howe was considered as the master of the engraver's script. Born in Santa Cruz, CA, in 1882, he died in Brooklyn, NY, in 1954. Partly educated by C.P. Zaner in 1909, he met William E. Dennis (for whom he penned some diplomas and did some other artwork) and became a partner in The Dennis and Baird Studio in Brooklyn. [Google] [More]  ⦿

    Wilzon Design
    [Wilzon Guaman]

    Brooklyn, NY-based designer of these typefaces in 2018: Luzy, Vogu, Wythe (a flared typeface), Prime Type. [Google] [More]  ⦿

    Wilzon Guaman
    [Wilzon Design]

    [More]  ⦿

    W.M. Tompson

    Author of Tompson's Roman Alphabet (1878, publ. F.W. Devoe & Co., New York). In this book, Tompson describes mechanically how to construct the roman capitals. [Google] [More]  ⦿

    Wolff Olins
    [Wally Olins]

    Wallace "Wally" Olins (b. 1930, London; d. 2014) co-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. One of their custom typefaces is Renault (1972). It is a somewhat industrial transitional typeface family. Digital versions include R690 Roman (on the SoftMaker MegaFont XXL CD, 2002), Renault (URW) and Renault EF (Elsner and Flake).

    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 typeface was subsequently drawn by Freda Sack and David Quay at The Foundry, London.

    Typedia link. Linotype link. FontShop link. Wikipedia link. [Google] [MyFonts] [More]  ⦿

    Wong Chee Yee

    Type designer who works as a digitizer at the foundry of Charles Nix, New Fonts in New York. [Google] [MyFonts] [More]  ⦿

    Wordshape
    [Ian Lynam]

    Commercial fonts at this boutique type foundry and publisher operating in Tokyo, jointly run by Ian Lynam and Thien Huynh. Ian Lynam is a New Yorker who studied Graphic Design at Portland State University (B.S.) and California Institute of the Arts (M.F.A.). He is professor at Temple University Japan, as well as at Vermont College of Fine Arts. He operates the Tokyo design studio Ian Lynam Design and the hybrid publishing imprint and type foundry Wordshape. MyFonts link. Images of most of Ian Lynam's typefaces.

    • Cern (2013). A sans family based on Helvetica, Akzidenz Grotesk and Univers, with large x-heights.
    • Vaud (2013). Ian writes: Vaud is a family of 40 weights of neutral, yet formally nuanced grotesk typefaces that takes inspiration from Helvetica, Akzidenz Grotesk, Univers and the original metal types from Switzerland, yet had a slightly larger x-height for more pronounced legibility.
    • Plural (2013). A futuristic sans family.
    • Sketch Caslon Italic (2013).
    • Raffish (2013). This is an ornamental caps typeface based on Henk Krijger's Raffia typeface.
    • Entity (2012). A basic sans family with slightly rounded corners.
    • Okojo (2012), Okojo Slab (2012) are geometric sans and slab serif typefaces influenced by the type designs of Paul Renner and Herb Lubalin. They were followed by Okojo Slab Display (2012) and Okojo Display (2012). In 2016, he rebundled everything as Okojo Pro and Okojo Slab Pro, Okojo Pro Stack and Okojo Slab Pro Stack.
    • Pompeian Cursive (2010). An elegant calligraphic script based on the original drawings by Oswald Cooper for BBS in 1927.
    • His Cooper series. Cooper Swash Italic Traditional & Cooper Swash Italic Custom, Cooper Italic (2010, after Cooper's original from 1924), Boul Mich (2010, after Oswald Cooper's 1927 art deco typeface), Cooper Initials (2010), Cooper Old Style (2010), Cooper Capitals (2010), Cooper Text (2010), Cooper Black Condensed (2010), Cooper Black Swash (2010), Cooper Screamers (2010, oversized exclamation points), Cooper Black Italic Pro (2013), Cooper Italic Pro (2013), Cooper Fullface Italic Pro (2013).
    • Cruller (2010). A spidery display typeface that is based on lettering from a 1910 German lettering book.
    • Hanger (2004).
    • Rubber Vloeren. A geometric display typeface adapted from an alphabet used by Piet Zwart in the Netherlands for a series of advertisements for rubber flooring.
    • Ensenada is a typeface designed based on hand-cut lettering that adorns businesses throughout the city of Ensenada in Baja California in Mexico.
    • Clobber Grotesk (2010) is a grotesk typeface designed for readability at very small sizes. It is accompanied by a nice stencil style.
    • International Blackletter (2010) is a collaborative display typeface designed for fun, together with Simon Gane and Selena Hoy.
    • Devil's Advocate is a digital version of the heavy blackletter typeface Cathedral Text found in the 1934 ATF typeface from the American Specimen Book of Type Styles (by ATF).
    • Sandberg Honorarium (2003) is inspired by the work of Dutch typographer Willem Sandberg.
    • Inversion (2010) is an uncial face.
    • Designer with Eli Carrico of the heavy stencil typeface Black-Out (2010, Wordshape) and the paperclip family Interno (2004), which was based on Walter Ballmer's logo for Olivetti in 1960.
    • Neuerland (2010) is an update of Rudolf Koch's Neuland.
    • Dorsal (2011) is a splendid versal lettering typeface that cries Absinthe Overload.
    • Off Broadway (2011) is a casual art deco face related to Oz Cooper's Boul Mich and to Nubian (ATF).
    • Cinta Adhesiva (2011, done with Mexican designer One Eye) began as a typeface designed for the masthead of a graffiti fanzine called Free Copy---the monumental letters painted by L.A.-based graffiti writers Crae and Hael greatly influenced the feel of the typeface.
    • Maat (2011) is a modular geometric stencil piano key face. It is a loose interpretation of a handlettered alphabet by the late Dutch designer Jurrian Schrofer called Sans Serious which was included in Wim Crouwel's publication Letters of Maat. It is inflected with a bit of influence from British designer Ken Garland's similar lettering form the cover of his textbook, The Graphics Handbook.
    • Effete (2011) is a tall stylish typeface similar in weight and proportion to fonts like Imre Reiner's skyline typeface Corvinus.
    • Adora (2011) is a typeface similar to Walter Tracy's AdSans.
    • Kihachiro Swash Italic (2011) has garalde forms but Caslonian curved terminals and weighty serifs. Kihachiro Geometric (2011) recalls Antique Olive and Futura.
    • Kirimomi Swash (2011) is a pair of garalde typefaces. Kirimomi Geometric (2011) is a humanist sans.
    • Kommisar (2012) is Lynam's version of the Trajan capitals alphabet.
    • Smythe Sans (2012) is a contemporary geometric sans serif family that is quite readable on-screen and in print.
    • Stebl Grotesk (2012) and Stebl Slab (2012) are workhorse typefaces for sturdy jobs.
    • Raker (+Stencil) and Raker Display (+Stencil) is a 40-style octagonal typeface family published in 2015. It was inspired by science fiction and space travel.
    • Iggy (2015) is based on the lettering of Australia-based Oklahoman artist, animator and lifelong skater Darin Bendall.
    • Stamen (2016). A 12-style sans typeface lost in time.
    • Smythe Sans Pro (2016) and Smythe Soft Pro (2016).
    • Biwa and Biwa Display (2017). A grotesk family by Ian Lynam and James Todd.
    • Glot (2019). A 10-style flared terminal sans family by James Todd and Ian Lynam. See also Glot Round from 2020.

    Speaker at ATypI 2019 in Tokyo on the topic of From Bijin-ga to Brutus, in which he explains the work of graphic designers Hokuu Tada (1889-1948) and Seiichi Horiuchi (1933-1987). [Google] [MyFonts] [More]  ⦿

    World Typeface Center (WTC)

    New York company founded by Tom Carnase before the digital era started. Its typefaces include most prominently, WTC Our Bodoni (1990, Massimo Vignelli) and Goudy WTC. WTC Veritas was designed by Ron Arnholm for WTC. WTC Cursivium was designed in 1986 by Jelle Bosma. David Weinz designed WTC Neufont (1987). Tom Carnase designed or had a hand in WTC Carnase Text, WTC Favrile (1985), WTC Goudy (sold by URW++), WTC Our Bodoni (with Massimo Vignelli), WTC Our Futura, and WTC 145.

    The current 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]  ⦿

    Xu Bing

    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]  ⦿

    Yaman Hu

    Graduate of SVA. New York City-based designer of Line Font (2016) and the deco typeface Mo (2014). Behance link. [Google] [More]  ⦿

    Yanky Goldman

    Yanky Goldman runs a design boutique in Brooklyn, NY, since 2014. In 2018, he created Ringlings, a decorative typeface that comes with Deco Caps and Borders, to give the package a late Victorian, early art nouveau feel. [Google] [MyFonts] [More]  ⦿

    Yann Le Coroller

    French graphic designer who moved to New York in 2007. Designer of Alte Haas Grotesk (2007), which looks like a softly rounded version of Helvetica.

    Alternate URL. Kernest link. Old home page. Dafont link. [Google] [More]  ⦿

    Yauyau Wong

    Designer in New York City who, I think, has made some typefaces in 2011. Not sure though. [Google] [More]  ⦿

    Yesica Balderrama

    New York City-based designer of the minimalist fonts Nomnom (2014) and Square (2013). In 2014, she made the curly typeface Moon, and in 2015 the circle-based display family Milk.

    Behance link. Cargo collective link. [Google] [More]  ⦿

    Ying Chang

    During her studies at Type@Cooper in New York in 2015, Ying Chang designed the didone typeface family Evelina. Behance link. [Google] [More]  ⦿

    Yip Yop
    [Mike Langlie]

    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]  ⦿

    Yoni Weiss

    Yoni Weiss (b. Brooklyn) lives in New York City. He created the inline typeface French Portabella (2012) as part of an imaginary alphabet project done while enrolled in the Yoni Weiss is a freelance graphic designer and senior honors student in the Electronic Design & Multimedia program at The City College of New York. Imaginary alphabets, following a phrase coined by graphic designer and lettering artist Elizabeth Carey Smith, are alphabets that are imagined completions of an incomplete set of letters found somewhere. So, French Portabella is an imaginary alphabet based on the hand lettered cover of a Mark Twain short story book from 1890.

    Behance link. [Google] [More]  ⦿

    Yoojung Hwang

    Advertising student in New York City, who created the sci-fi typeface Spaceship (2012). [Google] [More]  ⦿

    Yoon Hee Kim

    New York City-based creator of an unnamed modular typeface in 2013. Jeju (2013, named after the South Korean island on which she grew up) is an ornamental didone typeface.

    Behance link. [Google] [More]  ⦿

    You Lu

    Winner of an award at the Type Directors Club's Type Design Competition 2019 for the revival text typeface Crochet (2019), which was developed at the Type@Cooper Extended program. [Google] [More]  ⦿

    Young and Morgans Mfg Co.
    [William T. Morgans]

    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 Gyun Woo

    During his studies in New York City, Young Gyun Woo (b. South Korea) designed the angular typeface Chisel (2016). [Google] [More]  ⦿

    Young Jerks
    [Dan Cassaro]

    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

    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]  ⦿

    Yuky Hwang

    During her studies in New York City, Yuky Hwang designed the fashion ad typeface Vanguard (2013). [Google] [More]  ⦿

    Yumi Asai

    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]  ⦿

    Yuri Jossa
    [Noisecore Type (was Guerilla Type)]

    [More]  ⦿

    Yve Ludwig

    Yve Ludwig studied graphic design at Yale College in 2000, and received an MFA in graphic design at the Yale School of Art in 2005. Before joining Pentagram, she worked as a graphic designer at Yale University in the Office of the University Printer, where she art directed and designed projects commissioned by clients throughout the university. Since 2012, she has her own studio.

    Yve made a custom piano key typeface for the North Carolina Museum of Art in 2012 under the art direction of Michael Bierut. [Google] [More]  ⦿

    Yvonne Weng

    In 2017, during her studies at City College of New York, Haihua "Yvonne" Weng (Brooklyn, NY) used FontStruct to design Elegant Sans. [Google] [More]  ⦿

    Zach Dunton

    New York-based creator of Dunton Writing (2013) and Dunton Sophisticated (2013), and of the fat finger font Bre Noelle (2015).

    Dafont link. Old URL. [Google] [More]  ⦿

    Zach Gage

    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]  ⦿

    Zachary Kiernan

    Brooklyn, NY-based designer of the handcrafted typeface Tasty Paste (2016). [Google] [More]  ⦿

    Zeynep Yildirim

    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). Creator of the typeface Matilda (2012) at The Cooper Union.

    Behance link. [Google] [More]  ⦿

    Zimbardi (was: Zimbardi Calomino)
    [Flavia Zimbardi]

    The Brazilian duo of Flavia Zimbardi (b. Rio de Janeiro) and Caetano Calomino, a signpainter and lettering artist in Brooklyn, NY, formed Zimbardi Calomino. In 2018, using a speed stroke technique, Caetano developed the signpainter font ZC Casual together with Flavia.

    In 2019, Flavia Zimbardi released Lygia at Future Fonts: Lygia explores the duality of sharp and round forms with stylish cues and historical references from 16th-century masterpieces by Robert Granjon to the geometric approach of W.A. Dwiggins. An homage to Brazilian neo-concrete artist Lygia Clark, originally designed in 2017 as Flavia Zimbardi's degree project for the Type@Cooper extended program in New York. Lygia is a variable font with a weight axis.

    After Type@Cooper, Flavia settled in Berlin, Germany. In 2021, she released the companion typeface family Lygia Sans, with a further update in 2022.

    Future Fonts link. Older Future Fonts link. [Google] [More]  ⦿

    Zina Dunn

    Brooklyn, NY-based designer of the playful slab serif typeface Dotable (2016) and casoino Icons (2015). [Google] [More]  ⦿

    Zipeng Zhu

    New York City-based designer of Electrica (2014), an animated stick typeface. [Google] [More]  ⦿

    Zoe Keramea

    NewYorker, who made the Zoeknots (1995), Zoestationary (1995) and Zoeboxes (1994) dingbat fonts. [Google] [More]  ⦿

    Zoya Feldman

    Brooklyn, NY-based creator of the simple hand-printed font Cometbus (2010), which was based on Aaron Cometbus's handwriting in the Cometbus zine. Blokus (2011) is a gridded face. In 2019, she released the blocky white on black typeface Four Four. Old home page. [Google] [More]  ⦿