TYPE DESIGN INFORMATION PAGE last updated on Thu Oct 2 04:00:22 EDT 2014

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Type scene in Oregon



[The Oregon LDO typeface family was made by Luke Owens in 2004]

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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Aaron Bogle
[The Printers]

[MyFonts] [More]  ⦿

Adam Albers

Portland, OR-based creator of Old English Style Font (2011). [Google] [More]  ⦿

Adam Wunn
[Wunn-Way Fonts]

[More]  ⦿

Afrojet Type Foundry
[John Skelton]

John Skelton is a type designer from St. Paul, MN, b. 1973. He is currently based in Portland, OR. He started out in 2008 as afrojet on FontStruct, making many free fonts there. Late in 2009, he set up Afrojet Type Foundry at MyFonts.

FontStructions in 2008: Playtime (an original stencil family), Playtime Pattern Motifs (dings), Playtime Rounded (+Bold), Playtime Cutouts, Mango Solid (ultra fat, rounded), Mooch (experimental), Mooch Squared, Zombies Are The New Black, Jettison Stencil, Micromoog, hewett, hewett_bold, hewett_extended, Mikey (a Mickey Mouse font). Other creations there include Summer Grillz (about which he writes More gangster than Gill with more gold than Garamond, Summer Grillz is type jewelry for your mouth. All letterforms are diamond-kut using the finest type constructing software on the market today. Customize your grill with different fills., Lovestruc, Konstruct (multiline face), Steeplechase, Sawhorse, Sawhorse Braumarks (dingbats of a brewery), Alfred, Chesterfield, Hydroplane, Jettison-Stencil, Pop-Drops (kitchen tile face), Starstruc, Lovestruc, Chesterfield Prince, Chesterfield King, Chesterfield Queen (piano key font), Brainfreeze (ultra fat).

Fontstructions in 2009: the Sans Serious family (a tribute to Dutch Bauhaus designer Jurriaan Schrofer), Factory (stencil), Hunstrüct (blackletter), Slug, Micromoog Remix, Get To The Falcon, Jetstream and Perforate (octagonal, loosely based on several styles of letter and numeral forms observed on various aircrafts at the Evergreen Aviation&Space Museum in McMinnville, Oregon), Get To The Falcon (multiline face), StacheStruct (moustache font), Factory (stencil), Playtime Bolda, Thunderball, Gaga, Gaga Stencil, Pinpression, Sessions (a take on type by Josef Albers; he writes: Having previously played around in Fontstruct with Anni Albers' textile patterns, I thought it time to turn my attention to her husband Josef's work. Josef Albers' constructivist typographic experiments are a perfect match for Fontstruct. Other Fontstructors have done great work with Alber's ideas. Most notably, Saberrider's fontsract and Stewf's Leaflet family. Using Josef Albers' Kombinationsschrift alphabet (1928-1931) as my foundation, I've been having a lot of fun remixing and experimenting with his letters.).

Fonts made in 2010: Whoopee (piano key face), Prog.

Commercial fonts: Sessions (2009, modular).

The commercial fonts by Afrojet type foundry include Sessions, Playtime, Hydroplane, Lovestruc, Dansa, Pinpressions, Micromoog, Widjiwagen, Mooch, Hunstrüct, Slug, and Brutal Exchange.

Cargocollective link. Behance link. Home page. Dafont link. [Google] [MyFonts] [More]  ⦿

Alan Blackman

Alan Blackman graduated from the California College of Arts and Crafts in Oakland in the late 1950s. He was a letterform instructor at the Academy of Art College in San Francisco. Californian calligrapher and lettering artist Alan Blackman's Galahad (Adobe, 1995) is an elagant rough-edged decorativer typeface. Letters to himself.

In 2012, he published the smilie alphading typeface Say Cheese at Linotype.

Linotype page. [Google] [MyFonts] [More]  ⦿

Ali Kelley

Portland, OR-based designer of MF Squared (2013). [Google] [More]  ⦿

Allison Brunton

Graphic design student at Pepperdine University, who lives in Portland, OR. She created the art deco face Modcomb (2011). [Google] [More]  ⦿

Alyssha Swanson

Creator of the informal hand-printed No Bullies Allowed (2012, iFontMaker) while working as Second Grade teacher at the American School of Madrid. Alyssha is originally from Portland, OR.

Fontspace link. [Google] [More]  ⦿

Ampercamp
[Tyler Sticka]

Tyler Sticka (Hillsboro, OR), who runs Ampercamp, has made a graffiti font, Hip Slop (2009). Tyler Sticka is a designer, artist, speaker and educator who works at McAfee Design Studio. He has taught classes in typography, CSS and web design at the Art Institute of Portland. [Google] [MyFonts] [More]  ⦿

Andrew Lockhart

Andrew Lockhart (b. Sandy, OR) runs Andrew Lockhart Design in Montana, where he is a student at Montana State University. As a FontStructor, he made Thick Round, Sport Classic (athletic lettering face), Thin Stripe, Bold Stripe, and Stripe Bold in 2010. Locked Up (2010) is based on a vector image of a combination lock.

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

Andrew S. Fuller
[Foam Train Font Foundry]

[More]  ⦿

Angie Wang

Self-proclaimed illustratress in Portland, OR, with a beautiful web page intro: angie wang has not gone to art school and has not won any awards for illustration and got no job and no cats no dogs and no birds so dont give her no shit.She made a nice all caps illustrated alphabet called Space Nomads (2009). Behance link. [Google] [More]  ⦿

Anna Rose Gornbein

Designer and illustratorv in Portland, OR. In 2014, she created the hand-drawn party typeface Birthday Cake. Behance link. [Google] [More]  ⦿

Barbara Getty and Inga Dubay

Portland, OR-based handwriting consultants and authors of Portland State University's handwriting book "Write Now". [Google] [More]  ⦿

Berto Herrera

Graduate of the Parsons School of Design. Designer and illustrator in Portland, OR. Behance link. For the Osh Kosh company, he created a hand-printed corporate family in 2011. [Google] [More]  ⦿

Bram Pitoyo

Portland, OR-based designer who is working on this italic pixel face in 2007. [Google] [More]  ⦿

Brandon Rankin

Graphic designer in Portland, OR. Behance link. Creator of the monoline rounded sans face Oyster (2011). [Google] [More]  ⦿

Brandon Roegner

Portland-based youngster (b. 1990), who created the art deco face Simcha (2008), which can be downloaded from Dafont. [Google] [More]  ⦿

Brendan Ffitch

Design student in Eugene, OR.

Typefaces designed by Ffitch in 2012 include Agoraphobia (spurred display face), and A Fans Notes. [Google] [More]  ⦿

Busted Zipper
[Zipporah Vannata]

Portland, OR-based designer of the playful typeface Cherry On Top (2013). [Google] [More]  ⦿

Buxom

Foundry in Portland, OR. [Google] [MyFonts] [More]  ⦿

Carl Anderson
[Carl's Web Log]

[More]  ⦿

Carl's Web Log
[Carl Anderson]

Type web log run by Carl Anderson in Portland, OR. Carl Anderson is the designer of Cyclist (2005), a font done as a project in Amy Conger's class at the City College of San Francisco. [Google] [More]  ⦿

Carolina Penner

Portland, OR-based designer. Her first font is Crown (2009), a heavy sans. [Google] [More]  ⦿

Catherine Kosasih

Portland, OR-based graphic designer who made Traditional Aztec (2013), a typeface custom made for American Trails in Talent, OR. She also designed a set of aquarium pictograms in 2013. [Google] [More]  ⦿

C.C. Stern Type Foundry
[Jeff Shay]

The C.C. Stern Type Foundry (Portland, OR) was founded as a working museum and metal type foundry in 2009. The mission of the C.C. Stern Type Foundry is to cultivate a unique connection between industry and the arts in the Pacific Northwest. The organization is one of the few operating type foundries between San Francisco and Vancouver. The organization's ability to make metal type and decorative print elements, and to share that craft with the community, fills a growing need within the Pacific Northwest's network of designers, letterpress printers and book artists. The C.C. Stern Type Foundry honors the memory of C. Christopher Stern, who built and operated the foundry at Stern&Faye, Printers of Sedro-Woolley, Washington. It is run by Jeff Shay (involved in the Museum of Metal Typography), Brian Bagdonas, Rebecca Gilbert, Chris Chen, Connie Blauwkamp and Joseph Green.

Jeff Shay is a printer and photographer who has been making fine art for over 20 years. Jeff earned a Bachelor of Fine Arts with Distinction (magna cum laude) in Photography/Fine Art from Art Center College of Design in 1992. Jeff's hands-on printmaking instruction includes lab instruction at Art Center, where he instructed students in and demonstrated photogravure, intaglio etching techniques and lithography. He currently provides private instruction and printing services for artists through his company, Buzzworm Studios. Jeff brings experience in non-profit board positions including past roles as Board Treasurer and Chairman of the Personnel Committee for Food Front Co-operative Grocery in Portland, Oregon. [Google] [More]  ⦿

Cedar Publishing
[Luke D. Owens]

Type designer, b. Hillsboro, OR, 1957, who got interested in fonts while working as a typesetter on a Linotype typesetting machine at a small newspaper in San Diego in the late 1970s. He recently began designing fonts working from old galleys to resurrect some of the old fonts he used to use, and has decided to make these fonts available to the public.

Fonts made by Luke Owens (Cedar Publishing): Owens (1994), Endorse (1995), Same-Sex Marriage Script LDO (2004: script face), Broadsheet LDO (2002: Regular, Bold, Italic, Bold Italic), Oregon LDO (an extensive sans family, 2004: Regular, Bold, Black, Oblique, Bold Oblique, Black Oblique), Portland LDO (Regular, Bold, Italic, Bold Italic, 2004: based on Palatino), Snail Mail LDO (2004), Oregon LDO Condensed (Regular, Bold, Black, Oblique, Bold Oblique, Black Oblique), Oregon LDO Extended (Regular, Bold, Black, Oblique, Bold Oblique, Black Oblique), Oregon LDO Vanishing (Regular, Bold, Oblique, Bold Oblique), Waukegan LDO (2004, another sans family: Regular, Bold, Black, Oblique, Bold Oblique, Black Oblique: based on Eurostyle) and Waukegan LDO Extended (Regular, Bold, Black, Oblique, Bold Oblique, Black Oblique), and the family 1066 Calligraphy (1999). Pic.

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

Celtic Fonts at Yamada

Free Mac font Gaeilge at the Yamada site of the University of Oregon. [Google] [More]  ⦿

Ceol Ryder

Ceol Ryder is currently studying Visual Communication in the Limerick School of Art and Design. He designed Clipper (2010), an experimental alphabet based on clippers. Not sure if this was ever made into an actual font. [Google] [More]  ⦿

Charissa Cotrill

American creator (b. 1979) of an artificial language font, Common Radian (2009), which is based on an alphabet used by characters in The Peacock King. She lives in Portland, OR. [Google] [More]  ⦿

Choosing a math font

The typophiles (mostly Wendell Pepperdine from Eugene, OR) discuss some issues related to math fonts after an initial complaint about Cambria+Math. Some passages:

  • Unlike natural language, one often cannot identify a glyph just from context. So every glyph must be immediately and uniquely recognizable. Common problems are with the roman-lc vs. italic-lc z and with the Greek-ltalic-lc nu vs. the italic-lc v.
  • The typical reading rate for professional-level math is about one or two hours per page. Reading twenty pages at a sitting would be unusual. Most likely would be less than six. Surely this case requires some special attention to typeface choice. When reading, the mathematician goes back and forth between printed page and scratchpad. The type should aid quickly finding ones place again but not become tedious with prolonged staring and rereading.
  • My impression has been that a large x-height is bad for math text, as it is meant to cause the eye to slide quickly down a line of text and gives too little distinction to individual words. The opposite, like Perpetua, is not comfortable in prolonged staring. Striking forms, as when the type designer decides to personalize the W or Q become very irritating.
  • Another major consideration is the use of italics. It is the standard practice in math to set the most important paragraphs, the theorems, in all italics. So you need an italic face that is not only good for setting whole paragraphs, but will support even more intensive scrutiny than the roman. I think very few faces have such a suitable italic.
Good fonts for math typesetting mentioned here include Caledonia, Palatino, Utopia and the Century family. [Google] [More]  ⦿

Chris Papasadero
[Fwis]

[More]  ⦿

Colby Brooks

Colby Brooks is an illustrator and designer living in Portland, OR. Designer of a 3d face. [Google] [More]  ⦿

Darren Crescenzi

Corvallis, OR-based student who is working on Darrin Type (2006), a roman caps face. [Google] [More]  ⦿

Dave Fabik

From Portland, OR, Dave Fabik's free truetype fonts. Includes fonts such as Slipstream, Willow (1995, Rennie Mackintosh style lettering), DungeonBlocksFilled (1995), GrekoDeco (1992, based on El Greco Adornado by Fundicion Richard Gans), SableBrush, RoughBrush, Zoom, Quainte, DeRoos Caps (Lombardic).

Dafont link. Abstract Fonts link. [Google] [More]  ⦿

David Works

Designer of Apollo and AmericanUncial in 1992, and of the Western font Western Slant (1992). Based in Medford, OR. [Google] [More]  ⦿

Emilee Higgins

Portland, OR-based creator of the Victorian typeface Wishbone (2012). PDF file. Emilee is a graduate of the Art Institute of Portland with an BA in Graphic Design. [Google] [More]  ⦿

Emily Owayni

Graphic design student at the University of Oregon. Creator of a comic book typeface in 2012. [Google] [More]  ⦿

enStep Software
[Fritz Richard]

Clip art and brush script fonts at this Beaverton, OR-based outfit run by Fritz Richard. From the web page: The ImageFonts UltraPak (CD) features over 600 one-of-a-kind typefaces for Windows and Macintosh. ImageFonts come in four flavors, Mac TrueType, Mac Postscript, Windows TrueType and PC Postscript. Some claim that the fonts are rehashed public domain fonts. The enStep font collection found mostly on archives (such as here) is dated 1997. It is largely worthless, though. As an exercise, see if you can recognize which original fonts are were used to obtain these enStep fonts: Casmira, Ellis, Excess, Justice.

Free at Dafont: Radagund (script face), Puppylike (psychedelic).

Dafont link. Old (dead) link. [Google] [More]  ⦿

Ernesto Gonzalez Serros

Portland, OR-based designer of the art deco headline face Chato (2011, T-26, with Joachim Mueller-Lancé) and of the fancy blackboard bold typeface Bakane (2012).

Behance link. T26 link. [Google] [More]  ⦿

Foam Train Font Foundry
[Andrew S. Fuller]

Free truetype fonts (PC, Mac) by Andrew Fuller from Portland, OR (was: Lincoln, NE), at his Foam Train Font Foundry: MMMCarbony, Buddy, Derez, Derez Hitek, Deltoid, Gloopy, Hobbit Tattoo-Brush, Hobbit Tattoo-Sloppy, Reeeally Quik Hand, RoundyButt, Unserif, DryToastCaps, Iron Filings, Eeewww Messy Boy, Thirty Months of Victory (2002, handwriting), LeakyPen (2002), Early Western Greek, Samaritan 300BC (2002), Face Eater, Fingerpaint Sans, Ingloriouser (grunge), Rat Brain, Tory Gothic Caps, Lumpin, Wendus, and InsideOut Cow.

Commercial fonts include Blackburn Hand, Salted Slug, Satavahana 200AD (2003), Face Eater, Fingerpaint Sans, Gloopy, MMM Carbony, Rat Brain, Reeeeally Quik Hand.

This site has a great glossary as well as subpages on type history, classification, and anatomy.

Dafont link. Old URL. [Google] [More]  ⦿

Fontfuse

A font pairing design resource, which seems to be run by Extensis, a Portland, OR-based software company. [Google] [More]  ⦿

Fritz Richard
[enStep Software]

[More]  ⦿

Fwis
[Chris Papasadero]

Fwis is a graphic design group in Portland, Cupertino and Brooklyn. One of its art directors is Chris Papasadero. As a sideline, they will design an occasional font. Pylon (2007, art deco) is their first production. No downloads. 2009 fonts, again without downloads: Omnistroke Sans, Omnistroke Square, Eurochair, Paratype and Nuit. Koolhand (2009) is a free experimental typeface designed by Chris Papasadero inspired by some of the architecture of Rem Koolhaas. [Google] [More]  ⦿

Geoffrey Lorenzen

[T-26] designer of the organic face Steam, the hand-drawn face Omatic, and the mixed LC/UC face Spoing. He runs Omitic Design in Oregon. [Google] [MyFonts] [More]  ⦿

Glitschka Studios (was: Pixel Monkey)
[Von R. Glitschka]

Von R. Glitschka's fonts, including PixelvilleLowRes (2000, available from T26), a phenomenal pixel font with interesting faces. At T26 he designed Spazorific and Whatevur (2000). He also designed the nice grunge font Frazzle in 1996 at Utopiafonts. In 2001, he started Pixel Monkey Studios, but that site disappeared in 2002. In 2002, Von started Glitschka Studios in Salem, OR, where he lives. In 2003, he created the dingbat font Dark Morsels at Union Fonts. In 2011, he experimented with iFontMaker, and created the 3d hand-printed face Kerfuffle. Klingspor link. [Google] [MyFonts] [More]  ⦿

Gus Nicklos

Gus Nicklos (Portland, OR) created a grotesk caps typeface, Keen (2013) that is based on Trade Gothic, Akzidenz Grotesque and Knockout.

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

Harry G. Blakeman

Portland, OR-based designer of the hand-printed typeface Granite Letter (2013). Dafont link. [Google] [More]  ⦿

Harry M. Troeger
[Harrys Design (was: Harry's Font Page)]

[More]  ⦿

Harrys Design (was: Harry's Font Page)
[Harry M. Troeger]

Harry Troeger (or Harald Tröger, Harrys Design, b. 1963, Germany) is the creator of many typefaces. He was originally from Marktredwitz, Germany, but moved to Cascade Locks, OR, where he still lives.

Harald Tröger's own designs include Jack the Hipper, Dr. Schiwago (grunge), Alex (hand-printed), Prinz Regular, Mariposa, Kehl New (a custom font for a German company), Harry (hand-printed), Pastohombre (dymo label font), Thumb, Blubb and New Captain Nemo. Generally handwriting or grunge type.

Old URL with some typefaces. Dafont link.

Catalog 1. Catalog 2. [Google] [More]  ⦿

Heather Taylor

Oregon-based creator of the freeware fonts Alphabits (2012, +Squared), Sunshine Poppy (2012, hand-drawn), Home&Hearth (2011, +Outline), Playdate (2011, handwritten), Painted (2011), Jump (2011), Hlmt Rounded (2008), Sea Dreams (2008, grunge), Painted and Painted Messy (2011), What Do we Do All Day (2010, hand-printed), and Tall Drink (2008).

In 2013, she published the mixed glyph caps face Bits N Bobs, Sqwash, Fire Within (letters in circles), and Castal Street (curly script).

Typefaces from 2014: Captain A.

Dafont link. [Google] [More]  ⦿

Ian Lynam

Graphic designer (b. Plattsburgh, NY, 1972) and type designer who studied graphic design at Portland State University and the California Institute of the Arts. He currently runs a multidisciplinary creative studio specializing in unique solutions for international clients. The studio has been based in Tokyo since 2005. Lynam writes for a number of design, typography, and cultural publications including Font Magazine, This American Life, PingMag, and Neojaponisme. In 2008, he released his book Parallel Strokes, an investigation into the intersection of type design and graffiti. He created these commissioned fonts: Diesel Sans, Tri (dot matrix as in billboard lights). He also made Hanger, Garland Sans (based on stencil letters used by British designer, educator and theorist Ken Garland), Inversion (uncial), Cruller (a fantastic handlettered face based on a German lettering book from 1910), Bon Appetit (a custom cut Antique Olive for Bon Appetit magazine), Cooper Pink, Cooper Swash Italic Traditional & Cooper Swash Italic Custom, Cooper Italic (2010, after Cooper's original from 1924), Cooper Initials (2010), Cooper Old Style (2010), Cooper Capitals (2010), Cooper Text (2010), Cooper Fullface (2010), Clobber (2010, is a stencil face designed for readability at very small sizes), Hanger, Rubber Vloeren (a geometric display face 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. [Google] [MyFonts] [More]  ⦿

Ian Lynam
[Wordshape]

[MyFonts] [More]  ⦿

Ihrig Communications
[Mark Ihrig]

Mark Ihrig (Gresham, OR) is the designer of the dingbat font Oregondin (1995, revision in 1997). The font has been published in Japan's Hyperlib Magazine and used as artwork in a novel by Charlotte Vale Allen. He has worked in Oregon Broadcast Media for 15 years, including creative web design at Ihrig Web Design. His font can now be bought at under its commercial name Oregon Dingbat. [Google] [MyFonts] [More]  ⦿

Jack Barnes

Designer from Lebanon, OR (b. 1986), who created Funkified (2002) and Jack's Handwriting (2004). [Google] [More]  ⦿

Jake Pumpelly

Jake Pumpelly (b. 1978) at jizzus.com is the Portland, OR-based creator of Jizzus (2002). Alternate URL. [Google] [More]  ⦿

James Martyn

During his studies in Portland, OR, James Martyn created a typographic poster entitled Apple's Automotive (2013).

Behance link. [Google] [More]  ⦿

James Moore

James Moore (Portland, OR) created a psychedelic lettering poster of a sheep in 2013. Behance link. [Google] [More]  ⦿

Jeff Proctor

Portland based designer and illustrator who made Blobz (2009, in EPS format only). [Google] [More]  ⦿

Jeff Shay
[C.C. Stern Type Foundry]

[More]  ⦿

Jesse Bray

Portland, OR-based creator of the free hand-printed faces Brains (2013) and Bray (2011). Aka The Art Institute of Portland.

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

Jessica Harrington

Graphic designer in Portland, OR, who created the beveled typeface Gouda (2013) for a school project at Portland State University. Behance link. [Google] [More]  ⦿

Jiro Feingold

Designer of a few free Palm Pilot fonts (suffix .pdb). Based in Portland, OR. See also here. [Google] [More]  ⦿

Joan Lundell

Designer in Portland, OR, where she studies at the Pacific Northwest College of Art. Joan drew a calligraphic penman script unfortunately called Grunge in 2010. Home page. [Google] [More]  ⦿

John Skelton
[Afrojet Type Foundry]

[MyFonts] [More]  ⦿

John Todoroff

Graphic designer in Portland, Oregon who studied at The University of Oregon. He designed the sans family Exfoliant (2004). [Google] [More]  ⦿

Johnny Vance

Johnny Vance (b. 1980) is the Oregon-based designer of the brush typeface Pancake Slims (2014). Dafont link. [Google] [More]  ⦿

Jon McNair

Graduate of The Maryland Institute College of Art, where he earned a BFA in Illustration. Portland, OR-based designer of an alphabet in 2012 that consists of bizarre flora, fauna, monsters and objects.

Behance link. [Google] [More]  ⦿

Jonny Trousseau

Portland, OR-based designer of the decorative caps typeface Pod (2014), which is inspired by Stanley Kubrick's movie 2001 A Space Odyssey. Behance link. [Google] [More]  ⦿

Joseph Stitzlein

Portland, OR-based creative director where he works at Nike. Before settling at Nike in Portland, he worked at Landor Associates, Stone Yamashita Partners, Chronicle Books, Pentagram, and CKS Partners and was living some of that time in San Francisco. He graduated from the College of DAAP at the University of Cincinnati.

His type designs include the Sgiv1Text family in 1999, at first done as an OEM for Silicon Graphics Inc. This SGI corporate typeface evolved a couple of years later into the retail font Monolein (T-26).

He also designed the Sempra Energy Corporate Typeface and the modern family ITC Tactile (2002). The latter font family won an award at the TDC2 2003 competition.

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

Katie Johnson

Katie Johnson (Portland, OR) created the Drip Tickle typeface in 2013. It was developed as a logotype for Dollop Art LLC.

Behance link. [Google] [More]  ⦿

Kelli Urabe

Graduate of the University of Oregon, with a B.S. Degree in Digital Art and Minors in Fine Art and Communication Studies. Kelli Urabe currently works as a Graphic Artist at Sign Pro Eugene, OR. Creator of the Hawaii-themed typeface Hawaii Grown (2013).

Behance link. [Google] [More]  ⦿

Kendra Pelofske

Graphic design student at Portland State University, OR. She created Kalon Sans (2012). [Google] [More]  ⦿

Kevin Prieto

Graphic designer in Portlkand, OR, who created a display typeface in 2014. [Google] [More]  ⦿

Kris Holmes

Born in Reedly, CA, in 1950. She studied calligraphy at Reed College with Lloyd Reynolds and Robert Palladino, and worked as a staff designer at Compugraphic Corporation in type design. She was part of the team that helped design the city fonts for Apple: Chicago, Geneva, Monaco, New York. She founded the Bigelow&Holmes foundry in 1976 with Charles Bigelow. Kris Holmes teaches type design at the Rochester Institute of Technology.

Creator of the ubiquitous Lucida family around 1985 (with Charles Bigelow): Lucida Blackletter, Lucida Bright, Lucida Calligraphy, Lucida Casual, Lucida Console, Lucida Fax (1985), Lucida Handwriting, Lucida Math, Lucida Mono, Lucida Sans, Lucida Sans Typewriter, Lucida Typewriter (1994), Lucida. Other type designs by Holmes include ITC Isadora (1983), Sierra (1983, Hell: font now sold by Linotype), Leviathan (1979), Baskerville (revival in 1982), Caslon (revival, 1982), Galileo (1987), Apple New York (1991), Apple Monaco (1991), Apple Chancery (1994 [the Bitstream version is Cataneo]), Kolibri (1994, URW, since 2005 available as OpenType Pro with over 1200 glyphs), Wingdings (1990-1992, a dingbat font made with Charles Bigelow, now owned by Microsoft and Ascender) and AT Shannon (a simple lapidary sans family, with Janice Prescott, 1982, Agfa; now owned by Monotype Imaging).

FontShop link. Klingspor link. Kernest link.

View Kris Holmes's typefaces. [Google] [MyFonts] [More]  ⦿

Kyle Emry

Graphic designer in Portland, OR. Creator of New (2014, all caps sans), Slab Serif (2014), Swordplay (2014, beveled typeface), Granite (2014, a 3d typeface), Art Deco Sans (2014), and 3D Block (2014). Behance link. [Google] [More]  ⦿

Lance Hidy

Lance Hidy (b. 1946, Portland, Oregon) studied art at Yale in 1964. After Yale, he studied calligraphy with Lloyd Reynolds and printing with Leonard Baskin and Harold McGrath at Gehenna Press before co-founding the publishing house David R. Godine (Brookline, MA) in 1969. Art director for the Harvard Business Review. He designed monographs of the work of Ansel Adams and Arnold Newman. He also made some postage stamps and silk screen posters. A resident of Merrimac, and of Newburyport, MA, he is a freelance designer of posters and books. Designer of the Adobe multiple master font Penumbra (1994). In its four weights, from Sans Light to Serif Bold, we see a gradual interpolation between a geometric sans and a Trajan-like classical roman serif headline face. Discussion by Phinney. MyFonts link. [Google] [MyFonts] [More]  ⦿

Laura Herzfeld

During her new media studies in Portland, OR, Laura Herzfeld created the thin elegant display typeface Agave (2014). [Google] [More]  ⦿

Lee Benson

Portland, OR-based designer (City Limit Design) who created the paper fold ribbon font Galactic (2013).

Behance link. [Google] [More]  ⦿

Lee Schulz
[Yes Please]

[MyFonts] [More]  ⦿

Luke D. Owens
[Cedar Publishing]

[MyFonts] [More]  ⦿

M U R
[Richard Moore]

MUR is a design collective with backgrounds and formal education that include fine art, graffiti, graphic design, web design, illustration, and architecture. They offer some commercial typefaces va MyFonts. M U R is located in Portland, OR. Type designers include Julia Moore, Richard Moore, and Ian Williams. Richard Moore (b. Ogden, UT, 1977) runs m u r Font Foundry, and made the children's handwriting font First Grade (2008) and the graffiti fonts REPTILE (2008) and DEJA SADK (2008). Myfonts link. m u r also sells the children's font Wee Ian (2008) by Ian Williams. Other fonts include Julia Spiky (2011, a spindly children's hand), Kids Crayon (2010), Graffiti Drips (2009), Blockbuster (2008, broken concrete slkab look), Putty Peeps (2008, letters shaped as putty-shaped people), Murmur (2011), Skinny Walrus (2013), Old School Tattoo (2013), Rich Handwriting (2013), and Top Heavy (2008).

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

Mackenzie Bartels

Student at Pacific Northwest College of Art in Portland, OR. Behance link. She created a bouncy alphabet in 2010. [Google] [More]  ⦿

Mark Elliott Dusk

Portland, OR-based designer of Rant Sans (2014). Behance link. [Google] [More]  ⦿

Mark Friesen
[Newsdesigner.com]

[More]  ⦿

Mark Ihrig
[Ihrig Communications]

[MyFonts] [More]  ⦿

Martin Lowry

Author of Nicholas Jenson and the rise of Venetian publishing in Renaissance Europe [Oxford, UK; Cambridge, Mass., USA : B. Blackwell, 1991].

From Book News Inc: Chronicles the story of how printing came to Venice in the 15th century and transformed the Italian city into the most commercially advanced power in Europe, publishing a fifth of the continent's books only 40 years after Gutenberg developed moveable type. Examines the values and careers of printing's financial backers, and the printers themselves. Focuses on the immigrant French printer, Jenson, his design concerns and business activities, the transition from manuscript to printed page, William Morris' championing of his typefaces in the 19th century, and the significance of those typefaces today. Annotation copyright Book News, Inc. Portland, OR. [Google] [More]  ⦿

Mary Kate McDevitt

Illustrator and designer in Portalnd, OR, who created the caps face Aspen (2011). Behance link. [Google] [More]  ⦿

Max Crist

Illustrator and designer in Portland, OR. Creator of a display typeface simply called Type in 2013. Behance link. [Google] [More]  ⦿

Mike Carson

Designer in Oregon of the gothic font Thorny (2002). [Google] [More]  ⦿

Mike Gaines
[Mondo Graphix from Mike Gaines]

[More]  ⦿

Mirtho Prepont

Graphic designer born in French Guiana in 1983, who is currently studying towards a Bachelors in graphic design in Portland, Oregon. Behance link. He created Viscera (2010), an unusual textured ornamental all caps face. [Google] [More]  ⦿

Miru Morna

During her graphic desgn studies, Miru Morna (Lisbon, Portugal) created the modular display typeface Pier (2014). [Google] [More]  ⦿

Mondo Graphix from Mike Gaines
[Mike Gaines]

Mike Gaines is the Corvallis, Oregon-based designer of mainly scanbat typefaces such as Monster Party, Udeman (1998), Sunnydale (2001), Tabloid One, Tabloid Two, Thundercats Ho, TNGcast, ForcedReentry (2000), Conan, Jay Leno, Rosie O, Quotidian, Xcast, Herc/xena, Tcatsho, JCdux, Phlegmy Kilmister, PrimeDetective (StarTrek dingbats), and Sankavyn. The place to go for drawings of celebrities, especially female movie and TV stars (Sankavyn) and male movie stars and celebrities (U de Man).

In 2013, he designed the scanbat typeface Sunnydale and the mini-stencil typeface Lou Gramm (based on the logotype of the band Foreigner).

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

Nathan Gale

Portland, OR-based designer of Stanwyck (2013), a successfully executed display typeface that is based on film noir movie titles of the '40s and '50s. Behance link. [Google] [More]  ⦿

Neumat Ick

Codesigner, with Apostrophe at Apostrophic Laboratory, of Icklips, Pieces of Eight (a pirate dingbat font), and Powderfinger, all made ca. 2000. [Google] [More]  ⦿

Newsdesigner.com
[Mark Friesen]

This was a news design blog run by Friesen, a news designer at The Oregonian in Portland, OR, who has dabbled in daily newspapers for nearly 20 years. He has also worked for the Columbia Missourian, the Gazette-Times in Corvallis, OR, and The Ledger in Lakeland, FL, as a reporter, copy editor, designer and design editor.

The page went dead some time in 2012. [Google] [More]  ⦿

Nick Mann

Graphic designer from Selah, WA, who studied in Portland, OR, at the Pacific Northwest College of Art.. Behance link. Creator of Nordzig (2011, a tall rectangular face). [Google] [More]  ⦿

Nicole Charshaf

Beaverton, OR-based student. Creator of the experimental serif face Taurine (2006). [Google] [More]  ⦿

Nicole Liu

During her studies at the Art Institute of Portland in Portland, OR, Nicole Liu created the display typeface N-Type (2014, sans) and Leaf (2014, a decorative foliate typeface). [Google] [More]  ⦿

One Way Out
[Tony Knight]

Salem, OR-based foundry of Tony Knight which produces mostly display and headline fonts at about 15USD per font. The fonts are also available through T26. List: Alter-Ego, Aspire, AstroBoy, BeatStreet, BeatStreetIn-Line, Blitzkrieg, Damage-Light, Damage, Day3, Dimentia-Medium, Dimentia-Thin, Dimentia-Wide, Doo-Dads, ElNino, ElNinoRapido, Epidemic, Erratic, Erratic3-D, Espresso, Frazzle, Havoc, HavvaNiceDay, Hoopla, HunkyDory, Hybrid, JiveTalk-Bold, JiveTalk, JollyRoger, Knucklehead, KnuckleheadBoxed, Lollygag, LostTribe, Lunatic, Protoplazm, Ragamuffin, Reactor, Scooter, Shameless, Slackhappy, SlackhappyOutline, Slade, Squidly-Bold, Squidly, SurfCity, Thud, Toxic, ToxicWaste, Twitch, WhosFrank, WhyKeeKee, Wisecrack, Yoo-Hoo. [Google] [More]  ⦿

Paradigm Software Development

Paradigm Software Development (Portland, OR) offers their own Greek TrueType font used in GreekFlash Pro. Free. [Google] [More]  ⦿

Pat Snyder
[Snyder Fonts]

[More]  ⦿

Pete McCracken
[Plazm Fonts]

[MyFonts] [More]  ⦿

Pete McCracken
[Portland Type Co]

[MyFonts] [More]  ⦿

Phuong Ta

During her graphic design studies in Portland, OR, Phuong Ta created a set of Fresh Market icons (2014) and a custom display typeface for Nobal Home in Portalnd (2014). [Google] [More]  ⦿

Plazm Fonts
[Pete McCracken]

Portland, OR-based company. Its timeline:

  • Plazm magazine started as a free zine in 1991. The founding partners were Pete McCracken, Joshua Berger and Niko Courtelis.
  • Plazm Fonts was founded in 1993 by Pete McCracken and Joshua Berger. McCracken lead the effort to create the foundry and is the director and sole type designer there.
  • Plazm incorporated into Plazm Media, Inc. in 1995.
  • McCracken buys all of the assets of the type design portion of the company in 2006.
  • In 2010, the branding and type design business that was Plazmfonts become the Portland Type Co. Plazm continues as a design company not involved in type design, led by creative director Joshua Berger.
The typefaces, by designer:
  • Marcus Burlile: Stelefont (1993), Widows (1994), Flytrap (1995), GhostTown (1995), Ablefont (1993, of Harry Potter fame), Anvil (1993), Autumnull (1995), Colony (1993), Pilgrim (1993), Reckon (1996), Sillbat (1994), Spiderust (1995), Thistlem (1995), Kitsch (1993), COLONIST.
  • Andrew D. Taylor: Avenatha (1995).
  • Robert James Foley Jr: Blitso-funk (1995).
  • Angus R. Shamal: CensorSans (1994), CensorSerif (1994), Credit (1995), Epilogue.pfa (1995), Humain-Graphica (1995), Humain-Synthetica (1995), Platrica (1994), Roscent (1995).
  • Ermin Mededovic: Centrifuga (1996), Board (1995).
  • Marty Bee: Cibola (1995), ThreeRivers (1994), WetandWilde (1994).
  • Don Synstelien: Derision (1995), NudE (1995), SlickDog (1995).
  • Dave Henderleiter: DizzySpell (1995).
  • Opulux Fonts (Dave Henderlieter): DoeMan (1995), DogboySplitHome (1995), Pulsitallia (1995).
  • Pete McCracken: Erosive (1993), Facsimiled (1994), INKy-black (1994), Mtvpe (1997), NeoDeko (1993), Petescript (1992: based on Pete's handwriting, this font was used on Aerosmith's album Big Ones), PresidentNixon (1994), Altered (1993).
  • Jim Marcus: EscalidoGothico (1994), EscalidoStreak (1994).
  • Stephen Farrell: Flexure (1993).
  • Christian Kusters: Hadrian (1996), Retrospecta (1994), Unzialis (1994), Hybrid (1996), Interface One (1996).
  • Garland Lyn: Milk (1994).
  • Paul Bissex: Pscruf (1995), Rufnu (1994).
  • Robert Selby: Selbezi (1994), NewHamburger (1993).
  • Charles Wilkin: Velvet (1995).
  • Roland Hess: Capitalis Pirata.
  • Riq Mosqueda: Codesigner of Mtvpe (1997)
  • Elliott Peter Earls: Subluxation (1994).
  • Scott Yoshinaga: Grunge (1994).
  • Travis A. Waage: Belch (1994).
  • Pablo A. Medina: Vitrina, Cuba.
Other fonts: CarPlatesCarPlates, NorthBergen, PHatFont, Pilgrim, RocketScience-1, Twiggy, Victory (2002-2004, an Avenir-Futura style geometric sans family custom made for Nike. The typographers at Typographicom are blasting this face. Marc Oxborrow writes: "It seems that the less original the work, the more overblown and pretentious the description.").

Write-up at Fontnews. Fonts also sold by Mindcandy.

Bio of McCracken by ATypI: Pete McCracken is a type designer, designer, artist, musician and educator in Portland Oregon. He owns and runs Plazm Media with business partner Josh Berger. Current projects include 20+ custom typefaces for Nike, the recently published book "XXX The Power of Sex in Contemporary Design", and an extensive branding project for Pierce Brosnan. He also owns and runs Crack Press producing music and custom artwork using silkscreen and letterpress. Current projects include a 43 color commissioned screen print of the Last Supper; Heavy Grass, a metal bluegrass band; and a cd of various compositions called Crack Tracks. He also teaches in the design programme at PNCA.

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

Portland Type Co
[Pete McCracken]

Typefoundry in Portland, OR, run by Pete McCracken, who headed Plazm before that. Its timeline:

  • Plazm magazine started as a free zine in 1991. The founding partners were Joshua Berger, Niko Courtelis and Pete McCracken.
  • Plazm Fonts was founded in 1993 by Joshua Berger and Pete McCracken. McCracken lead the effort to create the foundry and is the director and sole type designer there.
  • Plazm incorporated into Plazm Media, Inc. in 1995.
  • McCracken buys all of the assets of the type design portion of the company in 2006.
  • In 2010, the branding and type design business that was Plazmfonts become the Portland Type Co. Plazm continues as a design company not involved in type design, led by creative director Joshua Berger.

Their (mostly custom) typefaces:

Gallery of Pete's design and custom type work. Personal web site.

Pete lectures at Pacific Northwest College of Art (or PNCA). His articles at PNCA include an interview with Jonathan Barnbrook and a discussion of web fonts.

Speaker at TypeCon 2013 on How to Become a Rich and Famous Type Designer. Bloggers are praising his presentation.

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

Rachael Bentz

Graphic designer and illustrator in Portland, OR. Creator of the decorative typeface Rot (2014). [Google] [More]  ⦿

Richard Moore
[M U R]

[MyFonts] [More]  ⦿

Robert Huston

Graphic designer from Portland, OR. Behance link. He made an all-caps alphabet with rings in 2010. [Google] [More]  ⦿

Sam Rummel

Designer and illustrator in Portland, OR, who created Dethletica (2012), a gothic semi-blackletter typeface that can be bought at House Industries. Spaceman (2012) is a squarish techno typeface. [Google] [More]  ⦿

Sara C

Portland, OR-based designer (b. 1986) of the hand-printed typeface Sara Scribbles (2014). Dafont link. [Google] [More]  ⦿

Sarah Cannon

Sarah Cannon (Portland, OR) created the condensed display typeface Geraldine (2013).

Behance link. [Google] [More]  ⦿

Scott Fial

Creator of the free monospaced pixel programming font Tamsyn (2011). He writes that two styles were derived from Gilles Boccon-Gibod's Monte Carlo face. Other inspiration came from Gohufont, Terminus, Dina, Proggy, Fixedsys and Consolas. Scott Fial is with Fial Incorporated in Oregon City, OR. Scribus link. [Google] [More]  ⦿

Sean Bucknam

Portland, OR-based designer of Chromakoda (2012, a 3d typeface) and Prost (2013, a blackletter typeface inspired by German beer packaging). [Google] [More]  ⦿

Signature Software (or: Vletter Inc.)

Expensive, so-so quality signature/custom handwriting fonts at this company run by Dave Fenwick. Signature Software, Inc., 489 N. 8th St. Suite 201, Hood River, OR 97031. About 100 US dollars per handwriting font. West Europeans pay almost double. Demo fonts for personal handwriting, as well as D'Nealian and Zaner-Bloser style schoolhouse fonts. All demos are complete except for the lower case a. Alternate URL. The company is also called Vletter Inc What I find incredible is that the home page says that over 75,000 handwriting fonts have been sold. That adds up to a nifty 7.5 million dollars in raw income over a twelve year period. Alternate URL. Their children's font series DMOACursive (2000) and DMOBCursive (2000) was posted on alt.binaries.fonts in November 2002. It also sells handwriting fonts of US presidents such as Abraham lincoln, George Washington, Thomas Jefferson, John Adams, as well as a font in the style of the Declaration of Independence. [Google] [More]  ⦿

Snyder Fonts
[Pat Snyder]

Dead link. Fonts made and sold by Coos Bay, Oregon, high school teacher Pat Snyder. His Mac shareware fonts: MarkerFeltThin, MarkerFeltWide, MarkerFinePoint, SnyderSpeed, ComicsCarToon, BrushStrokeFast, StarsAndStripes, NeedlePointSew, OregonWet, OregonDry, HeavyHeavyFat, ThinThinSlim, Comics.

Some fonts are here. Dafont link. Abstract Fonts link. [Google] [More]  ⦿

Stone Type Foundry
[Sumner Stone]

The Stone Type Foundry in Guinda (ex-Rumsey and ex-Palo Alto), CA, is Sumner Stone's outfit, which he founded in 1990. Born in Venice, Florida in 1945, Sumner Stone is a major designer, and creator of the Stone family. He studied calligraphy with Lloyd Reynolds at Reed College in Portland, Oregon, and then went to work for Hallmark cards as a lettering artist. In 1979, he became type director at Autologic , and in 1984, he became the Director of Typography at Adobe Systems (until 1989). His typefaces:

  • Arepo (1995, a modern text family). This is related to his SFPL family developed for the San Francisco Public Library in 1999 and 2003.
  • Basalt, which won an award at Bukvaraz 2001 and was first used for signage at the Cecil H. Green Library of Stanford University.
  • Stone (1987, ITC), which comes in ITC Stone Sans, ITC Stone Serif, and ITC Stone Informal. Stone Humanist Sans appeared in 2005. In 2010, he published Stone Sans II (+Condensed). The ITC Stone family was co-designed by John Renner.
  • Stone Print (1991), designed for Print: America's Graphic Design Magazine.
  • Stone Phonetic (with John Renner, 1992).
  • ITC Bodoni Six (1994), ITC Bodoni Twelve, ITC Bodoni 72 (1994-1995), ITC Bodoni Ornaments (1994), Bodoni Display Figures. Based on Bodoni's original designs, there are 6, 12 and 72-point optical sizes. The family was developed under Stone's guidance who was partially aided by Holly Goldsmith (Six Roman), Janice Prescorescott-Fishman (Seventy-two Roman) and Jim Parkinson (Six Italic).
  • SFPL: part of a new identity of the San Francisco Public Library.
  • Leaves&Straw (a leaves and straw dingbat font).
  • Cycles (2004): this comes in 7 optical scales: 5, 7, 9, 11, 18, 24 and 36pt, each in numerous weights and figure styles.
  • Magma (2004), Magma Halo (2004) and Magma Thin (2009) are extensive informal humanist sans text families that could be used as Greek simulation faces. In 2014, he added Magma II to this collection.
  • Halo uses an interesting process to the base characters of a font.
  • Munc (2005) is the uncial version of Magma. It has some Basque influences.
  • Silica (1993) is a humanist slab serif.
  • Scripps College commissioned his revival of Scripps College Old Style (1997, now at Agfa-Monotype), originally designed by Frederic Goudy [note: if you want to buy this, consider also Beatty's Goudy Claremont, another good revival of that family].
  • Numa is an Etruscan letterform used in centuries -7 through -3. While roman, it is runic and chiseled in appearance. See also Numaiota.
  • Tuff (+Halo, +School, 2008-2009) started from his Magma. This flared informal typeface is slightly Greek in its vision, and has hints of Morris Fuller Benton's Souvenir, Stone's own ITC Stone Informal, and Dennis Pasternak's Maiandra.
  • Popvlvs (2010), Davanti (2010) and Sator (1995), roman inscriptional typefaces.

At ATypI 2007 in Brighton, he spoke about The foundation of the humanistic sans serif. As of 2008, his entire collection can be licensed for 20 computers in an educational lab for just 300 dollars. Scripps College pages. CV at Agfa. Bio at Linotype. Page at Emodigi. His lecture in 2007 on W.A. Dwiggins. PDF file of his work. Signature. 2012 Newyear's card. Interview by MyFonts in 2014. FontShop link. Klingspor link.

View Sumner Stone's typefaces. [Google] [MyFonts] [More]  ⦿

Sumner Stone
[Stone Type Foundry]

[MyFonts] [More]  ⦿

Susie Morris

During her graphic design studies, Susie Morris (Portland, OR) created the experimental typeface Alpine (2012). [Google] [More]  ⦿

Taq Bleiler

Portland, OR-based creator of the ornamental caps typeface Break Display (2012), which was inspired by bicycle parts. [Google] [More]  ⦿

Taurie Davis

Taurie Davis (Portland, OR) created the rounded display typeface Geppetto (2013) and the serif typeface Maven (2013). Behance link. [Google] [More]  ⦿

The Printers
[Aaron Bogle]

Foundry in Nehalem, OR, run by Aaron Bogle. His Fire Ladder (2011) imitates a vintage sign-writer style used for fire and rescue vehicle lettering. Dinzy Minzy (2011) is a fresh informal face in the Comic Sans genre. [Google] [MyFonts] [More]  ⦿

Thomas Averin

Portland, OR-based designer of the mini-stencil face Do It Again (2011, caps only---almost like architectural lettering), developed while he studied type design under Pete McCracken at the Pacific Northwest College of Art in Oregon. Home page with a free download. MyFonts has the commercial version sold by Thinkdust.

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

Thomas Jockin

Type designer in Holbrook, NY, b. 1986, who is in the first generation of Type@Cooper graduates. He lives in Portland, OR.

In 2012, he designed the large award-quality copperplate family called Garçon Grotesque.

Typefaces from 2013: Ductus (a five-style braod-nibbed calligraphic / medieval family).

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

Thomas W. Lincoln

Graphic designer and lettering artist, born in 1939 in Eugene, OR. He studied with Douglas Lynch at the Museum Art School in Portland and later apprenticed with Lynch. Lincoln studied calligraphy with Lloyd Reynolds and Arnold Bank at Reed College. After a stint as an agency art director producing national ads for Pendletons womens fashions, Lincoln moved to New York City, where he joined the studio of Herb Lubalin. In NYC he continued his involvement with academia, exploring film at The New School and an intensive workshop with Milton Glaser. Eventually Lincoln started his own studio (occupying the space on east 32nd Street where New York Magazine was born), combining a design practice with teaching at New Yorks School of Visual Arts. Lincoln has served as Art Director at TCA (Benton & Bowles) in Westport, CT, as Creative Director, Redington, Inc., Stamford, CT, as Principal, Thomas Lincoln Design & Motion Graphics Communication, Westport, CT, as Freelance in residence Art Director, Baden & Co., Eugene, OR, and in 1992 returned to consulting and design through his own design office, Lincoln Design, based in Eugene/Springfield, OR.

Creator of typefaces at VGC, such as Lincoln Gothic (1965), which won the National Typeface Competition. His clients over the years include Acoustic Sciences Corporation, AT&T, Continental Packaging Co., The Ford Foundation, GE, IBM, PepsiCo, RCA, Showtime, Abrams, Colliers, Harpers Magazine, Macmillan, McGraw-Hill, Random House, Harcourt/ Brace, New York Times, Simon and Schuster, and Viking Press.

In 2006, Bitstream published New Lincoln Gothic, a 24-weight family starting with a hairline weight. This digital version was made in Fontographer from the old typositor strips by Lincoln himself.

In 2011, Canada Type and Thomas Lincoln cooperated in the production of the roman sans family Roma. This typeface was published in 2012 at P22. Lincoln himself tells the story:

My intention in designing Roma was to create a definitive, contemporary sans serif expression of the classic Roman majuscule as depicted in the Trajan Inscription at the base of the Trajan Column in Rome.

The Capitalis Monumentalis letter forms of the Trajan Inscription, which date to 113 Ad, have been described by the noted type scholar, calligrapher and historian, Father Edward Catich, as "the best roman letter designed in the western world, and the one which most nearly approaches the alphabetic ideal." And in the 1902 publication, "The Practice of Typography", Edmund F. Strange stated: "No single designer, or the aggregate influence of all the generations since has been able to alter the form, add to the legibility, or improve the proportion of any single letter there in."

Mr. Strange's pronouncement was true in 1902 and it is true today. Through the years various type designers have been inspired by the Trajan Roman to offer their own interpretations. Most notably, perhaps, Frederick Goudy's Trajan Title (1930), Warren Chappell's Linotype Trajanus (1940) and more recently, Carol Twombly's literal rendition of Adobe Trajan (1989) and John Stevens' spirited Stevens Titling (2011). There have been many other nice interpretations by other contemporary designers, yet it may still be said that none has improved the form, the legibility or the proportion of any single letter---though it can be said that the letters J, K, U, W, Y and Z, nonexistent in the ancient alphabet, have been added.

Less common has been the interpretation of Trajan in sans serif form. Hermann Zapf's Optima (1953), Sumner Stone's ITC Stone (1987) and Ronald Arnholm's Legacy Sans (2000), among other nice sans serifs, reflect characteristics of Trajan but seem influenced by other factors as well, including fonts such as Gill Sans and Syntax. And, while I don't presume to speak for their designers, none of these typefaces seem designed specifically with Trajan in mind.

My own Lincoln Gothic (1965), and its subsequent expansion as New Lincoln Gothic (2006), was a deliberate attempt to interpret the particular characteristics of the Trajan majuscule in a contemporary sans serif face. The most significant change in the later version was the addition of a lower case; a challenge that had simmered on my personal bucket list for several years.

Roma, though, differs from Lincoln Gothic in one significant way: while the terminals of Lincoln Gothic are flat, in Roma the vertices of letters such as A,M,N,V and Z are pointed. I believe this change is the critical difference that moves Roma closer to my objective of honoring the original Trajan. As with Lincoln Gothic, Roma's strokes have an almost imperceptible entasis that terminate in a subtle flare; a vestige of the serif. The importance of this feature is that it imbues the font with a humanist quality. The serif, as Father Catich points out in his book, "The Origin of The Serif", almost certainly derives from a combination of the flat brush and the human hand; it is what ties the letterform directly to human anatomy and craftsmanship, integrating it in a fundamental way with the nature of man---as distinct from the machine.

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

TK Type
[Travis Kochel]

Travis Kochel (TK Type) is an American type designer, b. 1983, Charlottesville, VA. He is now based in Portland, OR. TK Type though is listed by MyFonts in Wellington, NZ.

In 2010, he published the contemporary curvy sans family Otari.

Chartwell (2011) exploits OpenType features to make fonts that create pie charts, bar charts and histograms. It was published commercially by FontShop in 2012 as FF Chartwell. He explains the tricks. Typophile discussion. Download link. FF Chartwell won an award at TDC 2013.

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

Tom Huteson

During his studies at Portland State University in Portland OR, Tom Huteson designed woodblock-inspired typeface Cobalt (2013). [Google] [More]  ⦿

Tony Knight
[One Way Out]

[More]  ⦿

Travis Kochel
[TK Type]

[MyFonts] [More]  ⦿

Tyler Spencer

Tyler Spencer (Coffee for Drew Productions, Portland, OR) created the custom typeface Noir (2013).

Behance link. [Google] [More]  ⦿

Tyler Sticka
[Ampercamp]

[MyFonts] [More]  ⦿

TypeCon 2013

TypeCon 2013 took place from 21-25 August 2013 at the Hilton Portland Executive Tower in Portland, OR. The keynote speaker was Adrian Shaughnessy. The other speakers included Carol Aitken, Monika Bartels, Agnes Barton-Sabo, Aaron Bell, Amir Berbic, John D. Berry, Kurt Campbell, Matthew Carter, Jillian Coorey, Carl Crossgrove, Crystian Cruz, Rafael Díaz Rey, John Downer, Colleen Ellis, Jules Remedios Faye, John Francis, Kalapi Gajjar-Bordawekar, Annabelle Gould, Frank Griesshammer, Paul Herrera, Amelia Hugill-Fontanel, Paul D. Hunt, Richard Kegler, Jeff Kellem, Jim Kidwell, Akira Kobayashi, John Labovitz, Alyssa Lang, Kevin Larson, Faythe Levine, Sam Macon, Ryan Mandell, Daniela Marx, Kitty Maryatt, Steve Matteson, Pete McCracken, Erin McLaughlin, Steve Mehallo, Jeff Moore, Bill Moran, Alejandro Paul, Michelle Perham, Matthew Peterson, Thomas Phinney, Kyle Read, David Jonathan Ross, Bill Sarnecky, Rob Saunders, Rainer Erich Scheichelbauer, Adrian Shaughnessy, Paul Shaw, Jeff Shay, Miguel Sousa, Donna Marie Stepien, Neil Summerour, Barbara Tetenbaum, Bradley Tober, Nahid Tootoonchi, Augusta (Aggie) Toppins, Tricia Treacy, Ben Trissel, Erik Vorhes, Jim Wasco, Laura Worthington, Fu-Chieh Wu, and Onur Yazicigil. [Google] [More]  ⦿

University of Oregon and Gordon Smith

A strange sports font story out of Oregon. The University of Oregon protects its font and its logo, a watered down version of Handel Gothic (a font by Don Handel, 1965, and Robert Trogman, 1980). A local politician, Gordon Smith, started using an extremely similar font, and is being accused of font theft. Darrel Plant says it's a tempest in a teapot (and I tend to agree). [Google] [More]  ⦿

Van Anderson

AmeriCorps volunteer math tutor from Packwood, WA, who designed Oregon (2004), a serif face. [Google] [More]  ⦿

ViewPlus Technologies

Publisher of the free fonts Braille29Tgr, BrailleTgrUS, MTExtraTiger, SymbolTigerExpert, SymbolTiger, TigerExpert, Tiger, Tiger29. [Google] [More]  ⦿

Von R. Glitschka
[Glitschka Studios (was: Pixel Monkey)]

[MyFonts] [More]  ⦿

Will C. Smith

Will Smith (Portland, OR) designed Bubblegum Typeface (2011). Behance link. [Google] [More]  ⦿

William Dingwall

Web and graphic designer in Portland, OR. He made a face called Tattoo (2010). [Google] [More]  ⦿

William Hastings

Graphic designer in Bend, Oregon. In 2006, he graduated from Art Center College of Design. He now lives in Bend. He developed Index Sans (2010), a large x-height sans family. Behance link. [Google] [More]  ⦿

Woodside Graphics (was: Arroyo-Style California, or: Rustic Spirit)

This graphic design firm in Westlake, Oregon makes original fonts. Through MyFonts.com, they are selling

  • Presidio (2001). Presidio is a stylized version of the hand-lettered calligraphy typical of the Mission era of early California.
  • Craftsman (2001). The Craftsman font is a faithful reproduction of the logo, or Title typeface used for Gustav Stickley's Craftsman Magazine, the foremost journal of the American Arts & Crafts Movement during its publication years of 1901-1916.
  • G+G (1996). The only authentic digitized version of the unique handlettering of Pasadena architects Charles and Henry Greene.
  • Syracuse (1999). The explanation for this arts & crafts typeface: In Syracuse you will find hints of Dard Hunter's work at the Roycrofters in East Aurora, New York, a little of the Art Nouveau style of 1900 Vienna, even a touch of Charles Rennie Mackintosh's design ideas in Glasgow, Scotland. The font was named for the city in New York where Gustav Stickley produced his Craftsman furniture.
  • Mission Art (2001). Mission Art contains 26 design elements from many of the California missions.
  • Stickley Decorations (1997). Stickley Decorations contains 26 classic images from Gustav Stickley's Craftsman Magazine.
  • Batchelder Ruff (2000). Batchelder Ruff is a battered version of the typeface used for titling in the catalogs and advertising of the Batchelder Tile Company in Pasadena, California in the 1920s.
  • Greene Designs (1997). This font consists of 26 design elements derived and adapated from various architectural works of Charles and Henry Greene who created hundreds of designs for houses, furniture and decorative arts in their own unique interpretation of the Arts & Crafts style in the early years of the 20th Century, mostly in Pasadena, California.
  • Batchelder Elements (2000). Batchelder Elements contains 26 images from legendary Pasadena tilemaker Ernest Batchelder's design books of the 1920s.

Other designs include Wild Wood, Prairie, and handmade notecards drawn from early designs featured in Gustav Stickley's Craftsman Magazine, published between 1901 and 1916. [Google] [MyFonts] [More]  ⦿

Wordshape
[Ian Lynam]

Commercial fonts at this boutique type foundry and publisher operating in Tokyo, jointly run by Ian Lynam and Thien Huynh. Ian Lynam is a New Yorker who studied Graphic Design at Portland State University (B.S.) and California Institute of the Arts (M.F.A.). MyFonts link. Images of most of Ian Lynam's typefaces.

  • Cern (2013). A sans family based on Helvetica, Akzidenz Grotesk and Univers, with large x-heights.
  • Vaud (2013). Ian writes: Vaud is a family of 40 weights of neutral, yet formally nuanced grotesk typefaces that takes inspiration from Helvetica, Akzidenz Grotesk, Univers and the original metal types from Switzerland, yet had a slightly larger x-height for more pronounced legibility.
  • Plural (2013). A futuristic sans family.
  • Sketch Caslon Italic (2013).
  • Raffish (2013). This is an ornamental caps typeface based on Henk Krijger's Raffia typeface.
  • Entity (2012). A basic sans family with slightly rounded corners.
  • Okojo (2012), Okojo Slab (2012) are geometric sans and slab serif typefaces influenced by the type designs of Paul Renner and Herb Lubalin. They were followed by Okojo Slab Display (2012) and Okojo Display (2012).
  • Pompeian Cursive (2010). An elegant calligraphic script based on the original drawings by Oswald Cooper for BBS in 1927.
  • His Cooper series. Cooper Swash Italic Traditional & Cooper Swash Italic Custom, Cooper Italic (2010, after Cooper's original from 1924), Boul Mich (2010, after Oswald Cooper's 1927 art deco typeface), Cooper Initials (2010), Cooper Old Style (2010), Cooper Capitals (2010), Cooper Text (2010), Cooper Black Condensed (2010), Cooper Black Swash (2010), Cooper Screamers (2010, oversized exclamation points), Cooper Black Italic Pro (2013), Cooper Italic Pro (2013), Cooper Fullface Italic Pro (2013).
  • Cruller (2010). A spidery display typeface that is based on lettering from a 1910 German lettering book.
  • Hanger (2004).
  • Rubber Vloeren. A geometric display face adapted from an alphabet used by Piet Zwart in the Netherlands for a series of advertisements for rubber flooring.
  • Ensenada is a typeface designed based on hand-cut lettering that adorns businesses throughout the city of Ensenada in Baja California in Mexico.
  • Clobber Grotesk (2010) is a grotesk typeface designed for readability at very small sizes. It is accompanied by a nice stencil style.
  • International Blackletter (2010) is a collaborative display typeface designed for fun, together with Simon Gane and Selena Hoy.
  • Devil's Advocate is a digital version of the heavy blackletter typeface Cathedral Text found in the 1934 ATF face from the American Specimen Book of Type Styles (by ATF).
  • Sandberg Honorarium (2003) is inspired by the work of Dutch typographer Willem Sandberg.
  • Inversion (2010) is an uncial face.
  • Designer with Eli Carrico of the heavy stencil face Black-Out (2010, Wordshape) and the paperclip family Interno (2004), which was based on Walter Ballmer's logo for Olivetti in 1960.
  • Neuerland (2010) is an update of Rudolf Koch's Neuland.
  • Dorsal (2011) is a splendid versal lettering face that cries Absinthe Overload.
  • Off Broadway (2011) is a casual art deco face related to Oz Cooper's Boul Mich and to Nubian (ATF).
  • Cinta Adhesiva (2011, done with Mexican designer One Eye) began as a typeface designed for the masthead of a graffiti fanzine called Free Copy---the monumental letters painted by L.A.-based graffiti writers Crae and Hael greatly influenced the feel of the typeface.
  • Maat (2011) is a modular geometric stencil piano key face. It is a loose interpretation of a handlettered alphabet by the late Dutch designer Jurrian Schrofer called Sans Serious which was included in Wim Crouwel's publication Letters of Maat. It is inflected with a bit of influence from British designer Ken Garland's similar lettering form the cover of his textbook, The Graphics Handbook.
  • Effete (2011) is a tall stylish face similar in weight and proportion to fonts like Imre Reiner's skyline typeface Corvinus.
  • Adora (2011) is a face similar to Walter Tracy's AdSans.
  • Kihachiro Swash Italic (2011) has garalde forms but Caslonian curved terminals and weighty serifs. Kihachiro Geometric (2011) recalls Antique Olive and Futura.
  • Kirimomi Swash (2011) is a pair of garalde faces. Kirimomi Geometric (2011) is a humanist sans.
  • Kommisar (2012) is Lynam's version of the Trajan capitals alphabet.
  • Smythe Sans (2012) is a contemporary geometric sans serif family that is quite readable on-screen and in print.
  • Stebl Grotesk (2012) and Stebl Slab (2012) are workhorse typefaces for sturdy jobs.

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

Wunn-Way Fonts
[Adam Wunn]

Shareware fonts by Adam Wunn of Wunn-Way Software in Portland, Oregon. This was mainly a Mac site. Its font collection: Alaskan Nights (snow-capped letters), Alli, Big Blue (IBM logo style letters), Winwood Condensed, WackyShadow, Virtual, TylerSlanted, TrumanScript, Pippen Garamond, NoParking, Gambler (Western face), John Hancock, Driveby, Danielle (4 weights), DailyPlanetBlack (4 weights). 50 Fonts in their Everyman's Font Collection, 25USD. Temporarily off-line.

Dafont link. [Google] [More]  ⦿

Yes Please
[Lee Schulz]

Lee Schulz (Yes Please, Portland, OR) created these typefaces in 2012: Standard Shaded Sans (+Fill), Standard Shaded Slab (an octagonal set that could be used for athletic lettering), International (multiline, prismatic).

In 2013, he added the baseball script typeface Delicious Pro.

Workaday (2014) is Schulz's take on the classical American sans style.

Workaday (2014) is Schulz's take on the classical American sans style. He writes: Inspired by the wildly varied history of early to mid 20th century American signage, aircraft markings and industrial shipping vernaculars, Workaday exudes a timeless, classic flavor packed with a personality perfect for graphic headlines, packaging, copy setting and much more! [Google] [MyFonts] [More]  ⦿

Yumi Takeda

Portland, OR-based designer who created an untitled floriated caps typeface in 2014. Behance link. [Google] [More]  ⦿

Zac Gilliland

Freelance designer in Corvallis, OR, who created Aztec (2014) and the pixelish but artsy typeface Blank Blanc Block (2014). Behance link. [Google] [More]  ⦿

Zipporah Vannata
[Busted Zipper]

[More]  ⦿