TYPE DESIGN INFORMATION PAGE last updated on Sun Aug 20 04:09:53 EDT 2017
FONT RECOGNITION VIA FONT MOOSE
Type scene in New York
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).
Richard Kinch discusses the ruling in 1988 of the US Copyright Office. From the Federal Register, Vol 53, No 189, Thursday, September 29, 1988: "The purpose of this notice is to inform the public that the Copyright Office has decided that digitized representations of typeface designs are not registrable under the Copyright Act because they do not constitute original works of authorship. The digitized representations of typefaces are neither original computer programs (as defined in 17 USC 101), nor original databases, nor any other original work of authorship. Registration will be made for original computer programs written to control the generic digitization process, but registration will not be made for the data that merely represents an electronic depiction of a particular typeface or individual letterforms. If this master computer program includes data that fixes or depicts a particular typeface, typefont, or letterform, the registration application must disclaim copyright in that uncopyrightable data." [Google] [More] ⦿
An expert typographer from the film type era, he set up a type division at Rapid Typographers. There he helped promote the Typositor, or Photo Typositor (invented in Miami by Murray Friedel in 1959), which improved over the first photo type machine, the Rutherford. Rapid Typographers organized the Visual Graphics Corporation (or VGC) to make the best use of this new technology. Peter bain writes: The owners of Rapid Typographers were impressed enough by Friedels invention to organize the new Visual Graphics Corporation. Initially the endeavor split its headquarters between the existing typographers address in midtown Manhattan and sunny South Florida. The Photo Typositor allowed an operator to see composition letter-by-letter as it was exposed, unlike the Rutherford. It also offered many of Photo-Letterings capabilities at a reduced price. The Typositor, as it became known, ingeniously used the same 2-inch film font format as the Filmotype. It speeded fashionably tight letter and word spacing, achievable in metal only with a razor blade after proofing, and had none of the size limitations of foundry type. VGC and its backers proceeded to convert metal typefaces to film, and pursued licensing with typefounders. Burns guided the development of the type library at Rapid Typographers / VGC. In 1970, ITC was founded by Aaron Burns, Herb Lubalin and Edward Rondthaler (from Photo-Lettering Inc.). [Google] [MyFonts] [More] ⦿
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] ⦿
Designer in New York, b. 1989. Creator of the fat finger typeface Sarcastica (2013).
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] ⦿
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.
Adagio Type Foundry
From Amagansett, NY, Bill Troop's webless foundry: Bill Troop designed Adagio Didot (130 USD for 4 weights). Bill Troop's present company is Addict Inc., but I could not find a web page. Get News Gothic MM from the Bitstream Type Odyssey CD. See also here. [Google] [More] ⦿
Rotterdam-based typefounder, b. 1754, d. Oldenbarneveld, NY, 1828. He published Proeven van Letteren die Gevonden Worden in de van Ouds Beroemde Lettergieterye van Wylen de Heeren Voskens en Clerk, Nu van A. G. Mappa (Rotterdam, 1781). I cite from that link: In 1780, the father of Adam Gerard Mappa bought a large part of the Amsterdam typefounding firm of Voskens&Clerk, and Mappa soon discovered that he had talent for typefounding. He began his own business in Rotterdam where he issued this specimen book, but moved to Delft a few years later. There he become embroiled in the Patriot movement and led a volunteer regiment in the unsuccessful revolution of 1787. He was banished from Delft, spent a few years in France, and in 1789, emigrated to America with his typefoundry on the advice of the Ambassador to France Thomas Jefferson. Mappa set up his new business in New York. According to a contemporary letter, and supported by the type in this specimen, his foundry contained not only "the Western, but the Oriental languages at the value of at least [pound sign] 3,500 New York currency." There was not much call for type in exotic languages, and while Isaiah Thomas considered his Dutch and German type "handsome," his "roman were but ordinary." Mappa was not skilled enough to produce the type needed by the new nation, and the foundry was advertised for sale on 1 February 1794. At least some of Mappa's 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] ⦿
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).
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] ⦿
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] ⦿
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] ⦿
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] ⦿
The Computer Duerer fonts are a metafont family developed by Alan Hoenig (City University of New Tork). Hoenig also developed Makor, a Hebrew TeX. The fonts in that package include OmegaSerifHebrew (like David), Ezra, Rashi and Hadassah. Another URL. [Google] [More] ⦿
American designer of the very geometric 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] ⦿
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). Huffington Post obituary. [Google] [More] ⦿
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] ⦿
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.
Italian designer (b. Rome, 1966) who studied at KABK in Den Haag in 2004, and was at the Atelier National de Recherche Typographique in Nancy, France, in 2001 and Parsons School of Design in New York in 1999, after a design career in Venice, Milan, and Switzerland. He holds a PhD from the University of Leiden for his research into Bruno Munari's graphic design work. He teaches type design at UQAM in Montreal. His research interests are focused on typographic history, type design and lettering, and information design.
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 O. Kaczun
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.
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.
Designer at Designmachine.net in New York of Breakdown (1994, 3d lettering), and Myrna (2001, codesigned with David Heasty), an LCD type font that was named after the New York Art Directors Club's executive director, Myrna Davis. [Google] [More] ⦿
Author, educator, historian and type personality who taught at Rochester Institute of Technology from 1947-1977. He wrote Anatomy of a Typeface (1990, David R. Godine). He died in 2002 in Sun City, FL. Obituary. [Google] [MyFonts] [More] ⦿
New York-based designer of the revival fonts Preissig Antikva, Preissig Italika, Menhart Italika and Menhart Manuscript, which won awards at the TDC2 2001 competition (Type Directors Club). He is a professor of graphic design at the Hartford Art School 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] ⦿
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 (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] ⦿
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] ⦿
Alexis Graf (Brookly, New York) created the avant-garde family Courtney Crawford (2012).
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, Equo Extra Fat, Shaolin Caps, Stout Caps (revised in 2015), Frank-Latin (wide wedge-serifed face), Crasto (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), Bianco Serif (used in some sections of The New York Times), Lago Sans (gemetric superfamily), Arial Grotesque.
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).
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 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.
A free on-line truetype font editor, developed by Golan Levin, with the help of Jonathan Feinberg and Cassidy Curtis. (Alphabet Synthesis Machine is a co-production of Art21, Inc., New York City, and The Arts Company, Cambridge, MA) It has a font archive with over 7,000 fonts created by visitors. All fonts created are of the inner city graffiti kind, so this is not meant to be a professional tool. I estimate that the archive gets about 50 fonts per day. See, e.g., here for M1. See here for Antarctica (2007) by Czar Choi. [Google] [More] ⦿
Born in Ivancice, Moravia (Czechia), in 1860, died in Prague in 1939. Famous for his sleek posters of women at the height of the art nouveau movement. In 1885 he studied at the Munich Academy of Art and then moved to the Academie Julian in Paris. In Paris, he took commissions for illustrations, portraits and decorative projects, but became most famous for his poster designs for plays, especially under the patronage of Sarah Bernhardt in the 1890s. The success of his posters led to a commercial career in decorative design for commercial and advertising products. Mucha also created jewelry designs, and briefly taught art in New York. In 1910, Mucha returned to Prague to work on nationalistic art, including murals, postage stamps, stained glass and bank notes.
Digital fonts that were inspired by Mucha:
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.
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] ⦿
Graphic designer in New York City who created Binghamton Sans (2012).
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] ⦿
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] ⦿
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] ⦿
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). [Google] [More] ⦿
In 1892, twenty-three type foundries joined together to compete with the new typesetting machine, the Linotype [and later, the Monotype], to form ATF, which consolidated its type manufacturing facilities in a new plant in Jersey City in 1903. They were the dominant foundry in America until 1933, when ATF went bankrupt. Its collection remains intact at the American Type Founders Company Library&Museum at Columbia University in New York. The Smithsonian possesses most of the original type drawings and many of the matrices, and a number of other institutions and private individuals own matrices. Interestingly, despite the bankruptcy, it continued in operation until 1993, when the Elizabeth, NJ plant was finally liquidated. It was Kingsley's bankruptcy in 1993 that forced the final closure of ATF. In the early part of the 20th century, ATF was the dominant American foundry.
American Wood Type Co.
One of two American wood type manufacturers with the same name. This one was started by Frank Gerhardt in Brooklyn, NY, in 1918. In 1922, the name was changed to American Brass and Wood Type Co. [Google] [More] ⦿
American Wood Type Mgf Co.
American wood type manufacturer in New York City, est. 1932 by Rube Mandel. In 1936, it buys Empire Wood Type holdings. Around 1962, its name changed to American Printing Equipment and Supply Co. Its last catalog was printed in 1968, but the company lasted until 2001. [Google] [More] ⦿
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.
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. Discussion at Typographica. Currently, Amy is an Assistant Professor of Graphic Design and Foundation at the State University of New York at New Paltz. From 2006 until 2009, Amy was an Assistant Professor of Graphic Design at the University of Bridgeport in Connecticut.
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.
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
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] ⦿
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.
Andree Ljutica is the design director of Origami Design Studio in New York City. Andree designed Own It Sans (2012).
Bucharest, Romania and now New York City-based super-artist, award-winning photographer, art director, illustrator and rising star. He showcases 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.
In 2015, he published the retro signage script typeface Robu Bold (originally created in 2010) and the thin connected script typeface Kitsune at The Designers Foundry.
Typefaces from 2016: Fat Stencil Numerals, and the connected retro script typeface Motorino (The Designers Foundry).
Typefaces from 2017: Robu Choco Script (upright signage script), Robu Sport Numerals, Robu Stencil, Zufo (a great children's book or comic strip typeface family), Robu Display (fat didone style).
Andrew Childs Typography
New York-based designer of the beautiful Internal Serif Bold, and of Printmaster (2002). While you are at it, check out his unbelievable work at AC/AC in Philadelphia, especially his web page for the Morimoto restaurant. He also made an unitled workhorse-type bitmap face, Pug (2004, another great bitmap face), and the great bitmap/pixel families Dumont (2004), Fourte (2004), Ledger (2004), Certive (2004), Düsseldorf (2004, a pixel serif family, including a slab serif), an unnamed cursive pixel face (2004), and Bitley (2004, a pixel serif face!). Andrew is one of the grandmasters of pixel typography. [Google] [More] ⦿
Student at the School of Visual Arts who lives in New York City. Creator of the thin condensed octagonal typeface New York City (2012).
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.
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] ⦿
Andy Clymer studied at San Diego State University. At that time, he was working on Stencil Fraktur (2002). In 2004-2005, he became a grad student at the KABK in Den Haag. He joined the typeface development department of Hoefler&Frere-Jones in New York in 2005.
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). [Google] [More] ⦿
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] ⦿
Angus B. Grieve-Smith
Annie Jen, a student at the School of Visual Arts in New York City, designed the fun Split Typeface (2012).
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] ⦿
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] ⦿
Italian type designer, b. 1943, Forio d'Ischia, Italy, who emigrated to the USA. His first design job was at Bonder&Carnase. In 1969, he joined Lubalin Smith Carnase Inc. He ran his own studio, Tony DiSpigna Inc. (since 1973). He teaches typography at the Pratt Institute, the School of Visual Arts and the New York Institute of Technology.
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; poster by Michael Bunnell, 2013), Playgirl, ITC Lubalin Graph (with Herb Lubalin), Fattoni, ITC Korinna (1974, with Ed Benguiat), WNET.
Aoife is an Irish typeface designer and teacher. She has a BA degree in Visual Communications from Dublin Institute of Technology 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.
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] ⦿
Randy Jones, who runs AquaToad, is a free lance graphic designer who was in New York, but now lives in Santa Clara, CA, where her is a freelance graphic designer and principal of Aquatoad Design. Creator of Eason (2007, Fountain: a playful revival of Nicolas Jensons 1470 roman), Olduvai (2004, a fun old lettering typeface available at Umbrella Type; +Small Caps), Phaeton, Saint Nicolaus (2003, his take on Jenson, but not a revival), Chagrin (2003, serif face), AT Tenement (2003, wood type simulation), Neweue Helvetica (2003), Extra Wide Sans (2002) and the organic sans serif Cuillere (2003). New project (2003). An Eurostyle/Gothic project (2003). Working on a Sans Companion (2004). Saint Nicolaus was renamed Eason (2005) and now includes inline and titling versions. Hillbrook and Moped (upright connected fifties diner script: Sans, Script, Retrolux) were created in 2009.
Arabetics is run by the Iraqi-American New York-based type designer, librarian, and systems engineer Saad Dean Abulhab (b. 1958, sacramento, CA), 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.
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 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.
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.
Arabic type site. Displayed font families include AT (by Tarek Atrissi), Al-Futtaim (by Mamoun Sakkal), and work by Nadine Chahine. Corporate calligraphy by Samir Sayegh. He holds a MFA in design from the School of Visual Arts in New York, a MA in interactive multimedia from the Utrecht School of the Arts in the Netherlands, and a BA in graphic design in his homeland, Lebanon. [Google] [More] ⦿
Archaica 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] ⦿
New York City-based creator of the dot matrix typefaces Disorient (2010) and Disorient Pixels (2010), both made with FontStruct. Dafont link. FontStruct link, where he publishes as Archer03. [Google] [More] ⦿
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] ⦿
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] ⦿
During his studies at Parsons the New School of Design in New York City, Asaki Okamura created the typeface Arsenal (2014) showcases parts of different firearms. Before that, he lived in Singapore, Tokyo and Rio de Janeiro. Behance link. [Google] [More] ⦿
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).
Typefaces frrom 2015: Barn Owl (layered eroded wood style).
Atomic Media (was: SmartDust)
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.
Attention Earthling Font Foundry
Sells display fonts at about 29 dollars per font. Personal favorites: Sawdust Marionette by Bonefish Sam and Fax-O-Matic by Greg Knoll from Larchmont, NY. Other fonts: Blahaus, Brillo, Dunlux. At T-26, he did Rant. [Google] [More] ⦿
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 Typefoundry, and at Bruce Typefoundry 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 Typefoundry), 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] ⦿
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, befor founding the A.N. Palmer Company in New York City to teach and practice penmanship. Author of The Palmer Method of Business Writing (1915) and Palmer's Penmanship Budget (1919). He introduced the Palmer Method of business penmanship, which soon became the most popular handwriting system in the United States. Author of Portfolio of Ornate Penmanship [see also here].
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] ⦿
Israeli designer Habib Khoury (born in Fassouta, Upper Galilee, 1967) is presently Executive Creative Director of Avant Design Communications, which specializes in trilingual typography and communications. The type division, AvanType, offers commercial Latin, Arabic and Hebrew typefaces. He holds a Masters degree from Central Saint Martins College in London. Habib spent several years in Haifa, London, and New York. His Hebrew designs: Casablanca, Derby, Falafil, Girnata, Rituals, Talona. His Latin fonts include Adorey, Alluremda, Granada, Merkory and Stocky. He won an award at Bukvaraz 2001 for Maqsaf. At TDC2 2003, he won a Certificate of Excellence in Type Design for Falafil. Arabic typefaces include Ghirnata (1996), Sinan (1992), Alwadi (1996), Onwan (1998), Shallal Ultra Light (1995), Saljook (1997), Barhoom (1995), Alkhoury (1997) Sayaf, Maqsaf and Qasab (1998). He won an award at TDC2 2006 for Hogariet (2005, a Hebrew face) and at TDC2 2008 for Al Rajhi (an Arabic text family).
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.
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] ⦿
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 specializs to some extent 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:
Badson Studio is a typefoundry in Denver, CO, run by Kyle Read. In 2015, these commercial typeface families had been published by Read at Badson Studio:
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] ⦿
Chicago-based foundry, which grew out of The Great Western Type Foundry in 1868 when the Barnhart brothers (newspaper publishers in Iowa who came to Chicago as advertising agents) bought out the Toepfer family in 1868. They retained Herman Spindler as the foreman, since he was the only typefounder in the group. Aggressive in business, BB&S became the largest foundry in Chicago. Book of type specimens. Comprising a large variety of superior copper-mixed types, rules, borders, galleys, printing presses, electric-welded chases, paper and card cutters, wood goods, book binding machinery etc., together with valuable information to the craft. Specimen book no.9 (1907) is a 1048-page monster catalog (see also here and here and here). Some pictures from Type Barnhart Type Foundry Co. New York City: Superior Copper-Mixed Type (1908). BB&S was purchased by ATF about 1911 and it operated independently until about 1930. Typophile page on them. Text file with a list of the typefaces in their Catalog 25 (1925). Discussion of some of their typefaces and digitizations:
Born in Brooklyn in 1940, he graduated from New York City Community College. Barry worked for Sandgren & Murtha, New York as agraphic designer.
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] ⦿
Frankfurt-based foundry started in 1837 by Johann Christian Bauer. At the end of the 19th century, the new owner was Georg Hartmann. On its staff, it had designers such as Konrad F. Bauer [Alpha (1954), Beta (1954), Folio (1956-63), Imprimatur (1952-55), Volta (1956), Verdi (1957), Impressum (1963), all made with Walter Baum], Lucian Bernhard [Bernhard Condensed, 1912], Hugo Steiner-Prag [Batarde, 1916], Julius Diez [vignetten, 1912], Henri Wieynck [Trianon, 1906; Cursive Renaissance, 1912; Wieynck-Kursiv, 1912], Georg Hartmann, Paul Renner [Futura, 1937], Emil Rudolf Weiß [Weiß Fraktur, 1924], Berthold Wolpe [Handwerkerzeichen, 1936; Hyperion, 1950; Rundgotisch, 1938] and F.H. Ernst Scheidler [Legend, 1937]. In its glory period, Bauer's leader was Heinrich Jost (1889-1949), from 1922 until 1948, who with punchcutter Louis Hoell made a beautiful version of Bodoni, now known as Bauer Bodoni. A New York office was set up in 1927, but after the 1960s, the foundry declined and finally closed its doors in 1972. Its typefaces were passed on to its Barcelona branch, Fundición Tipográfica Neufville. See also here. Digitized 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 (1956), 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). In house samples: AntiquaBrotschriften-IX-Garnitur, Einfache Kanzlei (ca. 1830), Enge halbfette Zeitungsfraktur, Fette Gotisch, Moderne halbfette Fraktur, Gotisch. [Google] [MyFonts] [More] ⦿
Born in New York in 1900, she died in London in 1969. A typographer, writer, and art historian, she worked for the British Monotype Corporation for most of her life, and was famous for her energy, enthusiasm and speeches. Collaborator of Stanley Morison. She created a 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:
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] ⦿
Behaviour (was: type behaviour)
Behaviour was founded in 1996 by Anuthin Wongsunkakon and Nirut Krusuansombat in Bangkok. They do graphic design, mainly. Type Behaviour is the font library of Behaviour. Anuthin teaches graphic design at School of Art and Design, Bangkok University and Chulalongkorn University.
Fonts include OCRX, Aspirin, Interviewer, Songothic (1999), Behaviour, Keystonestate, Effectra, Hydrous, Ideologica, Waveeweekend, Matamorphosis, Berlidin. Commercial fonts available at T26 and PsyOps (where he did Hydrous). Also, many dingbats by Nirut Krusuansombat, again without downloads. Custom-made Thai fonts too.
[T-26] designer of Aspirin, Aspirin Advance, Aspirin Refill (hairline), Automate (2008), Behaviour, Berlidin, Carbon, Cellular One, Cellular Two, Cellular three, Coupe, Datum, Dotto, Dotto Deluxe, Effectra, Harbinger, Hydrous (2009, PsyOps and T-26), Ideologica, Interviewer, Keystone State, Labelo Ext, Labelo Rom, Labelo Uni, Myers Sans, OCRBe, OCRX, QR-Type, Son Gothic (+New Son Gothic), Wavee Weekend (upright script, Foto (2006, dingbats), Harbinger (2004, stencil), Myers Sans (2005), Aspirin, Carbon (2003, an octagonal font, which reappeared in 2006 as Carbon C6 and in 2008 at Cadson Demak as carbon Plus), Coupe (2006, 4-weight sans family), Labelo (2003, octagonal, +Varsity), Dotto, Dotto Deluxe (2002, dot matrix font), Behaviour, Berlidin (nice serifs), Ideologica (2000), Interviewer, KeystoneState (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).
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] ⦿
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
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 (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 typefoundry Colophon.
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.
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). 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.
Since 2008 he resides in New York and has been working for Commercial Type, where 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 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).
In 2016, Berton Hasebe and Christian Schwartz codesigned the modern typeface family Schnyder.
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.
Produkt (2014, Christian Schwartz and Berton Hasebe) is Graphik with slabs added on.
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).
Bhanu Arbuaratna is a New York based Art Director, designer and illustrator. Behance link.
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] ⦿
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.
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.
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 codesigned 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] ⦿
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. [Google] [More] ⦿
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] ⦿
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.
Bill Bogusky runs the design studio Bogusky 2 in Miami, together with his brother. He created Gonzo Bruno, Gonzo Monza and Gonzo Grosso (2007), Sundial (2006, Trajan lettering), Condo (2006, condensed), Ar Deco 1, 2, 3 and Deep (2006), Technia 1 and 2 (2006, athletic lettering or MICR applications), Sport (2006, dingbats), Macarena (2005: art deco), Zanzibar (2006: decorative), 42nd Street (2005: Broadway style lettering), Boffo (2005), Bronco Rose (2005, Wild West style), Decora (2005), Switchback (2005, a computerish face), Capzule (2005, a condensed black face), Tulip (2005, a decorated stencil face), Kondor (2005), Mah Jongg (2005, with many ornaments), Metro (2005, LCD face), Squircle (2005), Zeke (2005, artsy display font), Baby Blox (2005), Kurly (2005), Pipeline (2005), Dealer's Choice (2005), Stencille (2005), Terra, GogoBig and GogoSquat (were free at FontFreak site), Nouville (2006, art deco sans), Back Fence (2005, comic book face), Gogo Latin (2005, condensed), Zandakas (2006), Ameche Pisa (2005), Gogo Serif (2005), Bolo (2005), Hyline (2005), Compado (2005), Ameche Padua (2005), Tera (2005), Xtera (2005), Tudor New (2005), Boffo (2005), Byline (2005), Decora (2005), Quazar (2005), Grafo Graffiti (2005), Acid Bath (2005), Benz (2005), Hulk (2005). These fonts are now commercial and can be obtained at MyFonts.com. A graduate of the School of Industrial Arts in New York City, he worked as an industrial designer in New York before moving to Miami, FL, where he opened Studio Bogusky 2. Dixie Bogusky designed Esquimaux Graphics (2006). [Google] [MyFonts] [More] ⦿
Victor Coreas (Bold Version, Long Island, NY) designed these typefaces: Slim Kid (2015), Wild Pitch (2015: a free hand-crafted baseball font), Donuts (2014), Cut Out The Jams (2014: free paper cut typeface), and Version (2013, free hand-drawn poster typeface, Empire One Studios, VCAD), Version Type Pro (2016).
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] ⦿
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)
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).
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] ⦿
Boyz and Girls
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.
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] ⦿
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.
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.
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:
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] ⦿
Bruce Type Foundry
Founded in New York in 1813, and acquired by ATF in 1901, this foundry made fonts such as Bruce Old Style (now Bitstream), Madisonian (now available from Présence Typo), and Old Style 7 (Linotype, Adobe). Also called D.&G. Bruce, George Bruce, George Bruce&Co., George Bruce's Son, George Bruce's Son&Co., and V.B. Munson. They published a 592-page specimen book in 1901: Bruce Type Foundry: Our Handy Book of Types, Borders, Brass Rule and Cuts, Printing Machinery&General Supplies.. In 1869, George Bruce (b. 1791, Edinburgh, Scotland; d. 1866, New York) published An abridged specimen book Bruce's New York Type-Foundry (1869), now available as a free Google book. Page with specimen of Great Primer Ornamented No. 5, Meridian Black Open (blackletter), Canon Teutonic Ornamented, Small Pica No. 2, Double Pica Graphotype, all taken from An Abridged Specimen of Printing Types Made at Bruce's New-York Type-Foundry (1868) and stolen from Luc Devroye's web site. Fists by the Bruce Foundry.
Bruce Ornamented No. 6 was digitized by Iza W from Intellecta Design in 2006 as GeodecBruceOrnamented. 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. [Google] [MyFonts] [More] ⦿
Buero New York
Bushwick Happy Hour is an American typefoundry, 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).
Buzzbum (was: Andy Babb, or:Planet Buzz Font Foundry)
Fonts by Brooklyn, NY-based art director Andrew Babb: Dog Eared (2012, a paper fold typeface), Lava Vision (a great rounded original font), Polygon (2009, octagonal, gridded structure), First Attempt, Tuskey-San (2000), Gear Crank (2013), Oh Balloney (2000), Lestat (2001), and QuietInfinity (2000).
Designer at Kikkerland Design in New York City. She designed the geometric outline typeface Captured (2012).
Julia has a calligraphy service in New York City. She also seems to have some calligraphic and other handwriting fonts, and makes custom handwriting type. Font names on her site: Iva, Ethan, Beverly, Zachary, Laura, Pearl, Keifer. [Google] [More] ⦿
Camile Weihsin Lin is a designer in New York City. She graduated from National Taipei Education University. Taipei and the Pratt Institute, New York. Behance link.
In 2012, she created the purely geometric outline typeface called Cube Typography.
IADT graduate who works in Brooklyn, NY. Behance link.
Cofounder of the P22 type foundry, and presently CFO of P22, born in Buffalo in 1967. Designer at P22 of Art Deco Display (2002) and Art Deco Extras (2002, with James Grieshaber and her husband and principal of P22, Richard Kegler). She runs the finances at P22. At ATypI 2004 in Prague, she spoke about the value of a font. Speaker at ATypI 2016 in Warsaw.
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 Jessa 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] ⦿
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.
Executive Director of Type Directors Club in New York, who lives in Stamford, CT. Type and graphic designers know her best for her involvement, passion and hard work for the Type Directors Club competitions and exhibitions. Typographic picture from the TDC55 competition. [Google] [More] ⦿
The Melbert B. Cary, Jr. Graphic Arts Collection, a library on printing history located at the Rochester Institute of Technology in Rochester, N.Y. Check out the 18th century collection. The original collection of 2,300 volumes was assembled by the New York City businessman Melbert B. Cary, Jr. during the 1920s and 1930s. Cary was director of Continental Type Founders Association, a former president of the American Institute of Graphic Arts, and proprietor of the private Press of the Woolly Whale. Today the library houses some 20,000 volumes and a growing number of manuscripts and correspondence collections. Also included are impressive holdings on bookbinding, papermaking, type design, calligraphy and book illustration. The goal of developing the digital image database is to enable users all over the world to sample the wealth of rich materials housed in the collection. [Google] [More] ⦿
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).
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] ⦿
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] ⦿
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.
Charles & Thorn
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. [Google] [More] ⦿
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 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
Charles S. Wilkin
With just one name (the other one was lost in an accident!), Chester, the type designer, was born in Montreal in 1971, and worked at Thirstype in Chicago. In 2005, he started up the type coop Village, which is located in New York. 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 codesigned 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] ⦿
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).
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:
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] ⦿
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] ⦿
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] ⦿
Christian Schwartz was born in 1977 in East Washington, NH, and grew up in a small town in New Hampshire. He attended Carnegie Mellon University in Pittsburgh, Pennsylvania, where he graduated in 1999 with a degree in Communication Design. After graduation, he spent three months as the in-house type designer at MetaDesign Berlin, under the supervision of Erik Spiekermann. In January 2000, he joined Font Bureau. Near the end of 2000, he founded Orange Italic with Chicago-based designer Dino Sanchez, and left Font Bureau in August 2001 to concentrate full-time on developing this company. Orange Italic published the first issue of their online magazine at the end of 2001 and released their first set of typefaces in the beginning of 2002. Presently, he is an independent type designer in New York City, and has operated foundries like Christian Schwartz Design and Commercial Type (the latter since 2009). He has designed commercial fonts for Emigre, FontShop, House Industries and Font Bureau as well as proprietary designs for corporations and publications. In 2005, Orange Italic joined the type coop Village.
His presentations. At ATypI 2004 in Prague, he spoke about "The accidental text face". At ATypI 2006 in Lisbon, he and Paul Barnes explained the development of a 200-style font family for the Guardian which includes Guardian Egyptian and Guardian Sans. FontShop's page on his work. Bio at Emigre. At ATypI 2007 in Brighton, he was awarded the Prix Charles Peignot. Jan Middendorp's interview in October 2007. Speaker at ATypI 2009 in Mexico City, where he announced his new typefoundry, simply called Commercial.
A partial list of his creations:
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] ⦿
During her BFA studies at SUNY New Paltz, Christina Sharp (Rome, NY) created a hand-lettered poster in 2012 entitled Filling The Void.
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.
Designer in Pleasantville, NY. She created the geometric monoline avant-garde typeface Lemoncake (2012).
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] ⦿
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.
During his graphic design studies, Christopher J. Lee (Brooklyn, NY) created the sans typeface Canter (2013).
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] ⦿
New York-based designer of fonts at Garagefonts, including Train Wreck (1997, with Simon Grennan). He designed Rant in 1996 at [T-26].
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).
CJ Dunn has a background in graphic design and typeface design, and currently works on typefaces for Font Bureau. 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 2017, he designed 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. Speaker at ATypI 2016 in Warsaw on A Proposal for a Common EULA. [Google] [More] ⦿
Celebrated Swedish sculptor, b. Stockholm, 1929, who lives and works in New York. His work influenced many (mostly modular) type designs. A partial list:
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] ⦿
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] ⦿
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] ⦿
Colophon Foundry is a London and Los Angeles-based digital type foundry established in 2009. Its members comprise Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design is 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. Fonts:
Commercial Type (Was: Schwartzco)
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. The crew in 2012 includes Paul Barnes (Principal), Christian Schwartz (Principal), Vincent Chan (type designer), Berton Hasebe (type designer) and Mark Record (font technician). Miguel Reyes joined in 2013.
The crew in 2012 includes Paul Barnes (Principal), Christian Schwartz (Principal), Vincent Chan (type designer), Berton Hasebe (type designer) and Mark Record (font technician). Miguel Reyes joined in 2013.
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).
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] ⦿
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:
Continental Typefounders Association
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:
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 typefoundry. 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. [Google] [More] ⦿
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] ⦿
Cozy Fonts Foundry
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 hand-crafted sans family), and Ds Hand (2016, based on the hand of Danielle Nikosey).
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).
Brooklyn, NY-based designer of the art deco typeface TypeSketch 02 (2010).
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.
CSA Creative Studio
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] ⦿
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 also involved in AlphaOmega. 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:
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] ⦿
D. Jules Gianakos (Zapruder Design, Brooklyn, NY) is the Houston-born creator of Dealey (2012), an outline font based on HelveticaNeue LT 65 Medium.
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).
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.
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).
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.
Brooklyn, NY-based FontStructor who made Skinny (2011) and a few other experimental typefaces. In 2013, he made Monster Face.
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] ⦿
At Photo Lettering Inc in New York, Daniel Gelberg designed these mostly hand-crafted or script typefaces: Chipper, Falcon Bold, Flurry, Grotesque, Informal, Sequin, Swifty Light, Swifty Bold, Swifty Upright. [Google] [More] ⦿
Graphic designer in Brooklyn, NY. He designed interesting typographic identities such as for the Publican Brewing Company. His calligraphic book covers for texts by Gabriel Garcia Marquez are also remarkable. [Google] [More] ⦿
American type designer, born in Detroit, who lives in New York City. Designed ITC Kulukundis (1997), and ITC Anna (1991), the Cyrillic version of which was done by Svetlana Yermolayeva, Vladimir Yefimov and Alexander Tarbeev in 1993. Canton Market (1995) is an oriental simulation font. In 1996, he designed Test. Other early typefaces made by him include Sindbad, Circles, Triangles, and Squares, all geometrical pattern fonts. Chairman of the Type Directors Club, 2002-2003.
In 2010, he created Marquue Faceted and Marquee Solid (which can be layered to make a 3d effect), China Market (oriental simulation), Setsuko, an oriental simulation face, Rilke (an adaptation of the lettering used by Gustav Klimt on his poster for the 1st Vienna Secession exhibition in 1898 and is named for Klimt's contemporary the poet Rainer Maria Rilke: caps only), Tribeca Script, Monograph (as if written with a Speedball B pen), Book Country (crude octagonal folksy face), Bing (art nouveau; Bing poster), HiFi (retro script), Twentieth Century (art deco headline sans), and Safety (1930s style).
In 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.
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.
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] ⦿
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. Interview with Josh Darden. Old URL. FontShop link.
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] ⦿
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] ⦿
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).
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 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.
Author of the successful text The End of Print: The Graphic Design of David Carson (Chronicle, 1995).
New York-based designer of the pixel and dot matrix fonts 01-DigitGraphics (2002), 01-Digit (2002), 01-Digit2000 (2002), 01DigitMono (2002), 01Digitall (2002).
New York City-based designer of the tuxedo typeface Altitude (2011). David says that he was inspired by skyscrapers in the design.
David J. Perry
British type and graphic designer (b. 1948, London) who graduated from Ravensbourne College of Art&Design in 1968, and after working as a graphic designer in London, founded Quay&Gray Lettering with Paul Gray in 1983. David Quay Design started in 1987, and finally, in 1990, he co-founded 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. 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. His fonts, in chronological order:
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] ⦿
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).
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 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] ⦿
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.
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] ⦿
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] ⦿
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] ⦿
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 "OLFranklin". If you like Futura or Gill but have the same feeling. try "OLLondon Black". If you need a headline font but are fed up with Helvetica Inserat, try "OLNewsbytes". If you need something elegant and female but think Avant Garde or Optima are just boring, try "OLRound Gothic" and "OLRadiant". And if your text just won't fit, try "OLBrierwood Grecian" or "OLSkeleton Gothic".
His typefaces: OL Siynnamin Gothic, OL Radiant Slender, OL Raleigh Gothic (A, B) Display (2013), OL Titling Deco Semi Hilight (2013), OL Gotham Gothic (2013), OL Forum Titling (2013, Trajan column lettering), OL Signpainter Titling Face (2013, copperplate-influenced titling face), OL America The Beautiful (2013, a fashionable didone without ball terminals), OL Braggadocio (Braggadocio is a 1930 design by William A. Woolley), OL Candida Medium Condensed / Extra Condensed, OL Caslon Light / Bold, OL Chamfer Woodtype, OL Contact Bold Condensed, OL Contact Deco Caps, OL Corvinus Bold Condensed, OL Corvinus Versailles, OL Edenesque, OL Egiziano (+Comstock, 2005), OL Egmont (2005, +Medium, Medium Italic, Condensed: after Sjoerd Hendrik de Roos, 1933), OL Engraver's Roman, OL Engraver's Classic Roman (2009), OL Franklin Wide, OL Franklin Extra Bold / Extra Bold Italic, OL Franklin Triple Condensed, OL Garamond (2003), OL Gotham Gothic, OL Grecian Classic Bold Condensed / Bold Extra Condensed, OL Grecian Display, OL Grecian Modern (the Grecian series imitates wood type), OL Gothic Wide and Bold, OL Hairline Gothic (2009), OL Headline Gothic Triple Condensed, OL Heavy Metal Grecian, OL Jenson Bold Condensed / Extra Bold Condensed, OL Latin Classic Condensed, OL Lightline Gothic, OL Marksman Shot, OL Marla Bold, OL Miehle Classic (2009, +Condensed), OL Newsbytes Gothic, OL Purrrbank Gothic, OL Qumran Torah Hebraic Set, OL Racer Roman, OL Raleigh Gothic, OL Roman Compressed (2004), OL Roman Wide Deco Caps, OL Smokler (2006), OL Sharon Gothic Stoned, OL Sinead Stoned and Pointy, OL Smokler, OL Smokler Deco Caps, OL Thorne with Shadow, OL Twenty-five Deco Semicondensed, OL Windowpane Gothic, OL Woody Blocked, OL Avril Roman (2003, a flared face, after Emil Rudolf Weiss), OL Brierwood Grecian, OL Butterfly, OL Egyptian, OL Franklin, OL Garamond, OL London, OL Machina Black (2003, octagonal, mechanical), OL Manhattan, OL Marquee, OIL Newsbytes (2003, bold and black newsprint typefaces), OL Radiant, OL Round Gothic, OL Siynnamin Gothic, OL Skeleton Gothic, and HispanicHeritage (1999).
His fonts are sold through Phil's Fonts, Dsgnhaus, International Typefounders, and MyFonts. His 2001 fonts are signed Siynn bar-Diyonn, which is his Hebrew name. His Hebrew fonts published in 2007 include OL Hebrew Formal Script, OL Hebrew Neo Black, OL Hebrew Block, OL Hebrew Calligraphica, OL Hebrew Chisel, OL Hebrew Cursive, OL Hebrew Deco, OL Hebrew Handwriting, OL Hebrew Handwriting Deco, OL Hebrew Headline, OL Hebrew Prismatic, OL Hebrew With Tagin, and OL Qumran Torah.
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.
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] ⦿
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.
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 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: Medina Gothic (2005, a clean sans family), Diablitos (2011), Calaveras (2011), Sailor Gothic (2003), Imbalance (2002, an experimental sans), North Bergen (1996, a vernacular sans), Cuba (1996, 3d signage typeface based on a sign for the restaurant La Flor de Cuba on Bergenline Avenue in Union City, New Jersey), Vitrina (1996, connected lettering signage face), 1st Avenue, Sombra, 24hrs, Union Square (a bold stitching font), Calaveras (2011, based on a signage style in Buenos Aires called Fileteado), and Marquee. At Plazm, he made First Avenue (Plazm, 2000, based on an old metal neon sign) and Vitrina.
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."
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.
DIA (Dreamers Ink aesthetics)
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.
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] ⦿
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] ⦿
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).
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] ⦿
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] ⦿
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] ⦿
With Jason Lucas, Jeff Prybolsky (who designed Cowpoke, [T-26]) runs Disappearing Inc in New York. Commercial fonts: Thumtax, Supersonic, Desideratum, Ephemeral, Storybook, Cowpoke, Spoilsport, Cirque Detroit. Dead link. [Google] [More] ⦿
Dmitry Krasny is the founder and creative director of Deka Design, a visual communications firm in New York City. He has been teaching courses in typography, information design, and book design since 1994, and served as Chair of Communication Design Department of Kanazawa International Design Institute (KIDI), Japan. He serves on the jury of the TDC2 Type Directors Club's Type Design Competition 2004.
In 2002, he designed the Venetian typeface family ET Bembo for Edward Tufte / Graphics Press. Tufte says that Bonnie Scranton and Tufte himself codesigned 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. [Google] [More] ⦿
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. [Google] [More] ⦿
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] ⦿
Corporate identity and print design company, est. 2003 in New York City by Kevin Dresser and Kate Johnson. The foundry is located in New Paltz, NY. Kevin Dresser (b. 1971, Rochester, NY), its head, was a type designer at Hoefler Type Foundry from 1997 until 2000, when he started Dresser & Sons. His work there included art deco typefaces and iconography for the signage program at Radio City Music Hall, a redesign of the classic Cheltenham typeface for The New York Times Magazine, a custom 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.
Dunwich Type Founders
Dunwich Type Founders (or: DTF) in New York City 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:
Eastern Brass&Wood Type
Edward A. Capen
Born in New York in 1927, Ed grew up in Brooklyn. He was once a very prominent jazz percussionist playing in several big bands with Stan Kenton and Woody Herman, among others. He has created a large number of typefaces between 1970 and 1995. About his career, he once said: I'm really a musician, a jazz percussionist. One day I went to the musician's union to pay dues and I saw all these old people who were playing bar mitzvahs and Greek weddings. It occurred to me that one day that's going to be me, so I decided to become an illustrator. He designed more than 400 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 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:
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.
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
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.
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. He writes: Winchell is the only identified typeface designed in Buffalo, NY prior to the formation of P22 type foundry. It was created by Edward E. Winchell of the Matthews-Northrup Printing Works and released by the Inland Type Foundry in 1903. The Winchell typeface was also made in Wood by the Hamilton Manufacturing company in the mid 20th Century. The Winchell typeface is a Clarendon styled slab serif that clearly has distinctive pre-modernist sensibilities. In 2015, P22 Winchell became available for purchase.
Born in 1799, died in 1876. Edward Pelouze was the second son of Edmund Pelouze, and a key figure in the Pelouze typefoundry family. In 1817, he worked for the Boston Type Foundry, and later in Boston, he worked for Phelps, Dalton and Co, He moved to New York to work as a typefounder for White's (1829) and set up his own foundry, the Pelouze Foubndry, in 1830. In the central part of his life, he moved type equipment to San Francisco and set up a foundry there in 1848. But he returned to Boston, where he bought the Boston Type Foundry in 1853 with John K. Rogers, to form the John K. Rogers Foundry. His three sons, whom he had introducted to typefounding, would all become successful typefounders as well. Not to be coinfused with his son, Edward Dalton Pelouze or his grandson, Edward Craige Pelouze. [Google] [More] ⦿
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] ⦿
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.
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.
Modern American design pioneer in New York City, b. 1927, Jersey City, widow 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] ⦿
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.
Native New York City artist who studied at Pratt Institute. Brookly-based designer of these typefaces in 2016: Beltoni (hand-crafted, liquid), Pixatron, Mieszko, Noveta, Hideout (pirate font), Artigan (calligraphic). Behance link. [Google] [More] ⦿
Ellen Lupton is a writer, curator, and graphic designer. She is director of the MFA program in graphic design at Maryland Institute College of Art (MICA) in Baltimore. She also is curator of contemporary design at Cooper-Hewitt National Design Museum in New York City.
Author of Thinking with Type (Princeton Architectural Press, 2004). Visit also the interesting Thinking with type web page, which features a fun section on "crimes against typography", notes on type classification, a course outline, and tons of other educational material. See also here and here. 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).
Multidisciplinary designer, b. Melbourne, Australia, 1984. Currently working at R/GA, New York. Creator of the experimental dot-to-dot typeface Freckles (2012).
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.
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.
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:
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).
Emily Moore (Rochester, NY) created an experimental shadow caps typeface called Houdin (2012), based on Avenir.
Emma Grey (Brooklyn, NY) surveys typeface choices for various media. She compiled he following lists:
Empire Type Foundry
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.
Empire Wood Type Co.
American wood type manufacturer in New York City, est. 1901 by Edward A. Capen. In 1936, the holdings were sold to American Wood Type Co., which was also in New York City.
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] ⦿
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.
Ethan Paul Dunham
EunJee Kim, also known as Joy, has 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] ⦿
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 Kamieniak Cassetta was a graphic and web designer in Richmond, VA, where she studies at Virginia Commonwealth University. She now lives in Pearl River, NY.
Her typefaces include Acoma (2010), which 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. She also made Lean (2010), a typeface made to illustrate a book on a fight between a whale and a squid.
New York City-based designer of Harvest Display (2015) and Orbit Display (2015, an all caps didone typeface). It seems that Harvest Display was renamed Precita after one day. In 207 he designed Meca. Behance link. [Google] [More] ⦿
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] ⦿
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).
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. 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.
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] ⦿
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.
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 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). [Google] [MyFonts] [More] ⦿
Finck Font Co
Graphic designer (b. 1982) at the New York studio AWP who grew up in Maine and is currently based in Ithaca, NY. He created the fat counterless caps typefaces Blackout and Blackout Midnight (2008), and his most famous typeface, Ostrich Sans (2011). This typeface includes many weights, including a beautiful Ostrich Sans Inline and a hairline. In 2016, this was followed up by the layered monoline sans typeface family Ostrich Proper (+Inline).
Porter Sans (2013) is a large wide headline type family. It has a free inline outline weight. Elm (2013) is hand-printed. Blackout Sunrise (2013) is an outlined face. Lickety Split (2013) is a crayon or brush face. Almost (2013) is a poster face. Guilder (2011) is a free typeface family with an inline thrown in. Itthaca Sans and Guilder were made in 2013.
At Google Web Fonts, he republished Knewave (2011), a brush signage face.
Typefaces from 2014: Fartlek Sans (hand-crafted poster typeface), Katahdin (free), Upstater (a classical American gothic with shadowed and layered styles), Grandstander (comic book face), Boo City (pixel face), Didactic Display (grunge), Upstater Ink (grunge), Blackout Noon, Finck32A, Saturnight (heavy brush), Porter Sans Ink, Typocopia (letterpress emulation), Taurus Mono (outline), Southpaw (nice informal hand), Chawp (crayon face), Mr. Brunch (brush face), Gluten FT.
Typefaces from 2015: Flabbergast (a didone), Grandstander Classic (comic book style), Korsque (layered), Bico (a rounded condensed organic typeface).
Typefaces from 2016: Porter Rough, Ichabod (an antiqued serif), Altitude Condensed, Imbue (poster typeface), Juju Combo (outlined and octagonal), Retrograde (monoline and monospaced organic sans), Plainview (squarish and fat), Nonesuch (condensed sans), Juju (octagonal layered typeface family).
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. Old home page. Behance link. [Google] [MyFonts] [More] ⦿
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.
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.
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.
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.
FontHead Design (Wilmington, DE) sells cool fonts designed by Ethan Dunham (b. 1972, Glens Falls, NY). 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).
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, LogJam-Inline, LogJam, MargoGothic, MarvelScript, MatrixDot-Condensed, MatrixDot, Mekanek, Merlin, Millennia, Mondo-Loose, MotherGoose, Navel, Network, Noel, NoelBlack, Oatmeal, Orion, Pesto, Randisious, ReadOut, ReadOutSuper, RedFive, Rochester, Samurai, Scarecrow, Scrawl, ShoeString, ShoeStringRound, SlackScript, SloppyJoe, SmithPremier, Smock, Smoothie, SororityHack, SpaceCowboy, SpillMilk, Sputnikk, StanLee-Bold, StanLee-BoldItalic, StanLee-Regular, Stiltskin, Submarine, Swizzle, TekStencil, Teknobe, Torcho, ToucanGrunge, TwoByFour, Tycho, Typewriter2, TypewriterOldstyle, VeryMerry, Vladimir, WashMe, Watertown-Alternate, Watertown-Black, Watertown-Bold, Watertown, ZipSonik-Italic, ZipSonik, ZipSonikSketch-Italic, ZipSonikSketch.
Font Squirrel carries ElliotSix (simple handwriting), GoodDog (children's hand) and Millennia (squarish). In fact, in 2009-2010, Ethan Dunham became a very active web font persona, offering a commercial web font service, Fontspring, and a free font service, Fontsquirrel.
Music fonts by Ted Mook: "MICRO 2ß is a Postscript(c) font designed for the 1/12th-tone notation system developed by Ezra Sims for his own music and now taught in the microtone classes of New England Conservatory." [Google] [More] ⦿
Fonts for Scholars
Cardo is a Unicode font under development by David J. Perry from Rye, New York. Covering European languages, as well as Hebrew, Greek/Coptic and Greek Extended, it is free for non-commercial use. He writes: "This font is my version of a typeface cut for the Renaissance printer Aldus Manutius and first used to print Pietro Bembo's book De Aetna. This font has been revived in modern times under several names (Bembo, Aetna, Aldine 401). I chose it mainly because it is a classic book face, suitable for scholarship, and also because it is easier to get various diacritics sized and positioned for legibility with this design than with some others. I added a set of Greek characters designed to harmonize well on the page with the Roman letters as well as many other characters useful to classicists and medievalists."
"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] ⦿
Described as a "Typographic Asset Management System", and owned by The Fontypes Corporation (Astoria, NY), this is just a vendor of (mostly Adobe, but also other) fonts. Fonts can be viewed. No designer info. Fonts are marked up (40 percent typically) from the original source (MyFonts, whatever). [Google] [More] ⦿
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.
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] ⦿
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.
Francis Stephen Lestingi
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:
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). [Google] [More] ⦿
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
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 Organda (1972). Organda became a Mecanorma face.
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).
For digital revivals, see Arrighi BQ (Berthold), which has romans by Bruce Rogers and an italic by Frederic Warde.
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).
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
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] ⦿
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.
Frere Jones Type
Celebrated type designer, born in 1970 in New York City. Frere-Jones received a BFA in Graphic Design from the Rhode Island School of Design in 1992. He moved to Boston, where he worked at the Font Bureau until 1999. He joined the faculty of the Yale University School of Art in 1996 and has lectured throughout the United States, Europe and Australia. 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 type design career has three phases, first of Font Bureau, then at Hoefler, where he was a partner at Hoefler Frere-Jones (HFJ), and finally at Frere Jones Type, est. 2015.
His Font Bureau typefaces:
At FontFont, he designed the children's fonts FF Dolores (1991) and FF Dolores Cyrillic.
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).
From 1999 until 2014, he designed for the Hoefler Type Foundry, which he joined as an equal partner (and the new company became Hoefler & Frere-Jones (in 2004), or H&FJ). He claims that he brought with him to H&FJ a lot of typefaces including Whitney, Whitney Titling, Elzevir, Welo Script, Archipelago (Shell Sans), Type 0, Saugerties, Greasemonkey, Vive, Apiana, and Esprit Clockface. It is not expicitly stated at the H&FJ site which typefaces he had a hand in, but one can safely assume that it must have been nearly every typeface made since he entered into the partnership. In 2014, Tobias sued Jonathan for half of the company in a 20-to-80 million dollar lawsuit since he claims that Hoefler reneged on his promise to give him his half. The typefaces at H&FJ he had a hand in include:
Interview. Interviewed by Dmitri Siegel. He created Estupido Espezial for fun, but it actually made it into an issue of Rollingstone. Catalog of his typefaces at Font Bureau. Keynote speaker at Typecon 2014.
Frere Jones Type
After his break-up with Jonathan Hoefler, Tobias Frere-Jones set up shop as Frere Jones Type in Brooklyn, NY, in 2015. 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. [Google] [More] ⦿
Fresh Pressed Fonts
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).
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 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] ⦿
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] ⦿
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.
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.
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 Buxton Lothian
New York-based art director and type brander. He created the identoty for New York-based industrial designer Lucy Tupu in which he makes frequent use of squares and quarter circles in his kitchen tile types (2008). [Google] [More] ⦿
New York artist and letterer (b. Brooklyn, 1893) and designer of the brush 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++.
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:
Gerard Huerta Design
Lettering artist, b. 1952, head of Gerard Huerta Design in Southport, CT. Lettering and logos of Huerta were used by Swiss Army Brands, MSG Network, CBS Records Masterworks, Waldenbooks, Spelling Entertainment, Nabisco, Calvin Klein's Eternity, Type Directors Club, the mastheads of Time, Money, People, The Atlantic Monthly, PC Magazine, Adweek, Us, Condé Nast's Traveler, Working Mother, WordPerfect, Scientific American Explorations and Architectural Digest, as well as corporate alphabets for Waldenbooks, Time-Life and Conde Nast. Designer and vice-president of New York's Type Directors Club. Based in Southport, CT.
He made many famous logos and created several logo-fonts. Huerta worked for some time at CBS Records. His type designs include a custom Franklin Gothic in the late 1970s as part of Walter Bernard's redesign of Time Magazine. [Google] [MyFonts] [More] ⦿
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.
Gilbert Powderly Farrar
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.
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] ⦿
New York based creative director. Designer of a typographic portrait of Nicki Minaj (2013).
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] ⦿
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] ⦿
"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)
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).
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
Grow Design Work
Bran Dougherty-Johnson runs a film-making studio specializing in motion-graphics, broadcast design, short film and typography called Grow Design Work. It is located in Shelter Island Heights, NY. Designer of the free fonts Change (2007, outline face), Chellovek (2006) and Grow Fat (2005), ultra fat art deco fonts. Fontspace link. [Google] [More] ⦿
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, 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] ⦿
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).
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).
Hackberry Font Foundry (Was: NuevoDeco Typography, or: Bergsland Design)
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:
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] ⦿
Hamilton Wood Type (HWT)
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. [Google] [MyFonts] [More] ⦿
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.
In 2008, he made a custom graffiti font called Lebron6 for tge launch of Lebron James's Sixth Shoe.
New York-based proprietor of private presses, first in partnership with Herbert Stuart Stone, then on his own as the Cheltenham Press in New York (1874-1933). At his instigation, Bertram Grosvenor Goodhue drew the Cheltenham design (ATF, around 1896). Available from Bitstream and Font Bureau. [Google] [MyFonts] [More] ⦿
Type designer, b. 1840 Magdeburg, Germany. Went to the USA in 1865 to work at James Conner&Sons, and then moved on to other foundries, all in New York. Aka Henry Brehmer. His typefaces:
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), Helvertica 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.
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:
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.
New York City-based and New York City-born student at the Parsons School of Design, 2011.
Harun Zankel (Brooklyn, NY) created the calligraphic Maya's Alphabet (2012).
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] ⦿
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 Pagem, 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 (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:
Henry L. Pelouze Foundry (or: Richmond Type Foundry)
Richmond-based foundry, also called Henry L. Pelouze. It was established in 1859 by Henry Lafayette Pelouze (b. 1831). Later it was renamed the Henry L. Pelouze&Son Foundry in Baltimore when his son Edward Craige Pelouze joined as a junior partner. The latter foundry was sold to ATF in 1901. Henry Lafayette Pelouze (b. 1831) started out in New York City at Walker&Pelouze (1855). That company was sold to Walker&tuthill, which then became Walker&Bresnan, and then P.H. Bresnan Type Foundry. He bought the Lucas Foundry in 1880. [Google] [More] ⦿
Henry Lafayette Pelouze
Born in New York in 1918, Herbert Frederick Lubalin died there in 1981. Founding editor and art director of U&lc from 1973-1981. Co-founder of ITC in 1970. Professor at the Cooper Union in New York from 1976-1981.
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.
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).
Revivals of his work:
Herbert F. Van Brink
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, pp. 186). The wave that started in 1957 with the re-publication of a few George Bickham sample calligraphy books continues to this present day. Specimen books are quite popular among typography and calligraphy enthusiasts, as well as more expensive than most other genres of publication relation to design in general. The only Herman Esser type that can be seen in any of the specimen books published during the past 55 years is called Rustic, and it consists of the capital alphabet made out of burned trees. One can speculate about how Rustic escaped the Nazi propaganda burnings, and how an originating date was attributed to it, but aside from a few theories out there, no "official" answer was reached. Rustic is still as starkly mysterious now as it may have been in 1878. Nero is an attempt at reviving Rustic and completing Esser's work. Esser's 25 capitals (he never did a J for Rustic) was turned into a typeface of more than 200 characters. Due to postscript limitations about the number of points in each glyph, only a true type version was produced.
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 typefoundry, 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.
Some publications by Hermann Zapf:
List of his typefaces:
Books about him include Hermann Zapf: A Life in Letters (2016, Julian Waters).
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].
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.
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.
Typefaces from 2016 include Hubballi (a free monolinear typeface for Kannada).
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] ⦿
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). MyFonts link. [Google] [MyFonts] [More] ⦿
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)
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.
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), the antiqua text typeface HTF Hoefler Text (27 fonts made in 1991-1992, distributed with many Apple products), Hoefler Text Ornaments (distributed with Apple products), Saracen, Ziggurat, Leviathan, Historical-EnglishTextura, Historical-FellType, Historical-GreatPrimerUncials, Historical-StAugustin, HTF Hoefler Titling, Gestalt-HTF, Fetish-HTF (blackletter modernized, 1995), Ehmcke-HTF, Champion-HTF, Acropolis-HTF, Requiem, Knockout, all in the period 1998-2000. The Knockout collection was designed to celebrate the beauty and diversity of nineteenth century sans serif wood types.
In 2003, they published Retina (which was originally designed for the stock listings in the Wall Street Journal), Gotham, and Shades (in Cyclone, Topaz, Giant and Knox weights). The Geometer Screen Fonts are free Mac fonts.
In 2004, they produced an 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.
Hoefler received Bukvaraz 2001 awards for HTF Guggenheim, HTF Knockout, HTF Mercury (1997, no relationship with Goudy's Mercury of 1936) and HTF Requiem. In the 1996 Morisawa Awards competition, Hoefler received a bronze prize for Ideal Sans (a slightly flared humanist sans family).
In 2011, HFJ writes it up beautifully: Typefaces are born from the struggle between rules and results. Squeezing a square about 1% helps it look more like a square; to appear the same height as a square, a circle must be measurably taller. The two strokes in an X aren't the same thickness, nor are their parallel edges actually parallel; the vertical stems of a lowercase alphabet are thinner than those of its capitals; the ascender on a d isn't the same length as the descender on a p, and so on. For the rational mind, type design can be a maddening game of drawing things differently in order to make them appear the same. Twenty-one years ago, we began tinkering with a sans serif alphabet to see just how far these optical illusions could be pushed. How asymmetrical could a letter O become, before the imbalance was noticeable? Could a serious sans serif, designed with high-minded intentions, be drawn without including a single straight line? This alphabet slowly marinated for a decade and a half, benefitting from periodic additions and improvements, until in 2006, Pentagram's Abbott Miller proposed a project for the Art Institute of Chicago that resonated with these very ideas. As a part of Miller's new identity for the museum, we revisited the design, and renovated it to help it better serve as the cornerstone of a larger family of fonts. Since then we've developed the project continuously, finding new opportunities to further refine its ideas, and extend its usefulness through new weights, new styles, and new features. Today, H&FJ is delighted to introduce Ideal Sans, this new font family in 48 styles. Ideal Sans is a meditation on the handmade, combining different characteristics of many different writing tools and techniques, in order to achieve a warm, organic, and hand-crafted feeling.
At ATypI in 2002, he received the Charles Peignot award. Time.com provides previews of fonts made for Esquire, Lever House, eCompany Now, The Guggenheim Museum, The New York Times, and the Whitney Museum. He has worked on custom fonts for The New York Times Magazine, Times Mirror, Esquire and McGraw-Hill (1995, free download). Hoefler has made many more custom fonts, but he asked me to remove the names of these fonts from my pages.
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, Delancey, Depot, Deuce, Dividend, Greenback, Indicia, Premium, Prospekt, Redbird, Revenue, Strasse, Trafalgar, Valuta. They also made a 30-style art deco-inspired geometric sans family called Verlag in 2006 based on six typefaces originally designed for the Guggenheim.
In 2007, HFJ published the "blended Scotch" newspaper serif text family Chronicle, which led to Chronicle ScreenSmart in 2015. Still in 2007, we find the gorgeous 30-style semi-Bauhaus sans family Verlag about which HFJ writes: From the rationalist geometric designs of the Bauhaus school, such as Futura (1927) and Erbar (1929), Verlag gets its crispness and its meticulous planning. Verlag's fairminded quality is rooted in the newsier sans serifs designed for linecasting machines, such as Ludlow Tempo and Intertype Vogue (both 1930), both staples of the Midwestern newsroom for much of the century. But unlike any of its forbears, Verlag includes a comprehensive and complete range of styles: five weights, each in three different widths, each including the often-neglected companion italic.
In 2008, they released Archer, a 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 as been used by wes Anderson for The Budapest Hotel, and in Wells Fargo 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. Poster featuring Archer by Courtney McNary (2013).
Sentinel (2009) is HFJ's take on a Clarendon. Yet again, I can't understand why they picked a name already taken by many foundries such as Graphx Edge Fonts, alus, Comicraft, Dieter Steffmann, not to speak of a foundry called Sentinel Type. And they repeated that daredevil naming of fonts with Tungsten (2009), which has been around---as a font name---since 2005 at Sparklefonts. Their sales pitch: That rarest of species, Tungsten is a compact and sporty sans serif that's disarming instead of pushy - not just loud, but persuasive. Douglas Wilson compares Tungsten with Alternate Gothic No. 3 (Morris Fuller Benton).
Naming fonts is Hoefler's weakness. In 2010, they again took an existing name, Vitesse, for their newest font family. The typophiles react to the slab family with praise: I think they're chasing Cyrus Highsmith, Dispatch and Christian Schwartz, Popular on this one. Doing a pretty good job of it too! [...] Looks to me like the love-child of Eurostile and City. To continue the trend, they published Forza in 2010, a sans family, not to be confused with the 2007 font Forza by Michel Luther at Die Gestalten--surely, there must be a way to choose original names. St. Augustin Civilité: St. Augustin Civilité is a digitization of Robert Granjon's extraordinary type of 1562, now in the collection of the Enschedé type foundry, Haarlem. This typeface is reproduced in Civilité Types by Harry Carter and H. D. L. Vervliet (Oxford Bibliographical Society, by the Oxford University Press, 1966.) As figures and punctuation were lacking in the original, these have been borrowed from two other Granjon types, the Courante and Bastarde of 1567. (The remainder of the character set has been invented.)
In 2012, they published the wide sans typeface family Idlewild.
HFJ also sells a package of various number fonts. This includes the following: Bayside (after ornamental house numbers), 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).
Typefaces from 2013 include Landmark (Regular, Inline, Shadow and Dimensional), a collection of architectural caps (which started out as a custom typeface for Lever House in New York).
Typefaces from 2014 include the exquisite mapmaker and newsprint didone font family Surveyor (in Fine, Display and Text subfamilies).
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, Spaklefonts), and Obsidian Chunks (pre 2002, Jeni Pleskow).
Continuing in their tradition of naming fonts after commercial trademarked fonts made by others, Hoefler published Nitro (and Turbo) in 2016. 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 Nitro more than a decade earlier---these include Jack Wills at Sign DNA and Markus Schroeppel (in 2004). This does not diminish the quality of Hoefler's output, but here is a simple suggestion to Hoefler: please use my search engine to look for existing font names. 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.
In 2016, he 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.
In 2017, Hoefler published Ringside and Ringside ScreenSmart, a sans superfamily designed for text. He also designed the multidimensional Inkwell that year, and 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.
Partner and designer at Flëve Partners, a brand design consultancy in New York City. In 2014, under the guidance of and founder and creative director Vit A, Flëve Partners published Mobispot Regular (Latin & Cyrillic), a contemporary geometric grotesque, designed for Mobispot Social Systems, a company that creates applications for life and business based on NFC technology. Behance link. [Google] [More] ⦿
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] ⦿
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] ⦿
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] ⦿
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:
Anton Scholtz's Pacific Script (2011) is also inspired by one of Trafton's alphabets.
Hubert and 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) and Open Font Library. Rubik One was created by Elvire Volk Leonovitch under the art direction of Hubert and Fischer. Bickerton (q2014) 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.
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). Some of his work is archived at the Department of Rare Books and Special Collections of the Princeton University Library. [Google] [More] ⦿
Born in 1989, Ian Bates (iBates Designs) is a Graphic Design major at York College of Pennsylvania. He is from Fort Salonga, NY. FontStructor who made Blacktop (2010) as part of a typography project in school. Behance link. [Google] [More] ⦿
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), 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] ⦿
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.
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.
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 created 64-SRC (2017), a rare condensed monospace font inspired by IBM's Selectric type from the 1960s.
His next, typeface, 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.
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:
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).
in the habit
Design firm of Tiziana Haug, a Swiss designer who lives in New York. Tiziana has made some custom type such as Typographica (2001, a circle and crosshair dingbat face) and a folded paper-theme alphabet font in 2007 called ADC Paper Expo. Other typefaces: Built (2005), Home Sweet Home (2005, stitching face), Trace (2004, Neon light simulation). [Google] [More] ⦿
New York-based print designer who made the cover for William Gibson's text book Pattern Recognition (2010). In 2013, she designed the fashion mag high-contrast typeface Rounda (AI format---free). [Google] [More] ⦿
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] ⦿
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] ⦿
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.
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.
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.
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).
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] ⦿
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.
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.
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.
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. [Google] [More] ⦿
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.
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.
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).
Brooklyn, NY-based designer, who created several typefaces, such as Pixineo (2013, an avant-garde sans codesigned 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] ⦿
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 and Iron-On Blackletter. Behance link. [Google] [More] ⦿
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:
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, Greenberg Publisher, New York). [Google] [More] ⦿
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] ⦿
Chicago, IL, and/or Fredonia, NY-based designer, who runs James Todd Design. His foundry, which sells via MyFonts, is located in Fredonia, NY.
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.
James Walker Puckett
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] ⦿
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.
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).
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] ⦿
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.
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] ⦿
Jay Schechter (b. 1941, New York) studied art, design, and lettering at Hunter College. He managed photographic reproduction at TypoGraphic Communications in New York.
Creator of phototype typefaces at VGC, such as Jay Gothic and Jay Gothic Bold (1965) [these typefaces are available as OPTI Jaffa from Castcraft]. He worked for TGC (TypoGraphics Communications), which was a successor to Rapid Typographers, from 1966 to the close (1984). After TGC, he worked for Characters (which also bought up the fonts from Techni Plus) until that closed (approx. 1992). [Google] [More] ⦿
Buffalo, NY-based creator of the logotype typeface NHL (2013). It includes the logos of all the NHL teams. He also made 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).
Graphic designer in Curitiba, Brazil and/or New York City, who created the antiqua typeface St. Monique (2015) and the stunning and powerful (and free!) sans typeface Axis (2014).
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] ⦿