TYPE DESIGN INFORMATION PAGE last updated on Sat Mar 28 22:44:34 EDT 2020
FONT RECOGNITION VIA FONT MOOSE
Type scene in Oregon
Oregon-based designer in 2019 of 212 dreamery Sans, 212 Queenie Sans, 212 Boys Stuff (dingbats), 212 Phoenix Sans, the upright brushy script typefaces Moon Child, Warmheart (+Serif) and Queenie (+Sans, +Serif), and of 212 Keyboard. [Google] [More] ⦿
Afrojet Type Foundry
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).
Alan Blackman has a BA in anthropolgy and sociology from Queens Collede, NY (1950) and a BLitt in social anthropology from Oxford University, England (1957). He 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. His first typeface, Galahad (Adobe, 1995), is calligraphic, elegant and rough-edged.
In 2012, he published the smilie alphading typeface Say Cheese at Linotype.
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.
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 (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.
Andrew S. Fuller
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] ⦿
Graphic designer and illustrator in Portland, OR, who studied at the University of California Santa Cruz (2002-2007) and Portland Community College (2012-2015). She created the modular display typeface Isidoro (2015). Behance link. [Google] [More] ⦿
Portland, Oregon-based designer of these typefaces in 2019: Countdown (spurred; Rough, Outline & Ornament), Countdown Ville, The Hotling (brush font), Sihaloho (signage script), Blues Vacations, Hacrley Serif, Roller Coaster (Victorian), Orlando (a monoline signature font), Fairing Brush (a Halloween brush font), Lydiani, Rusty The Buttcher, Anetha Faith Signature, Gibsons Co Vol.2, Tunnels (dry brush), Hellena Jeslyn (a signature font duo), Gibsons Co, Saint Quard Serif, The Wolfman SignPainted, The Beatcher Typeface (a vintage all caps titling typeface). [Google] [More] ⦿
Design student in Eugene, OR.
Carl's Web Log
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] ⦿
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
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] ⦿
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.
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] ⦿
Chelsea Weaver (Portland, OR and before that, Camarillo, CA) studied graphic design at California State University Channel Islands. She designed Newspaper (2012, an experimental typeface) and Piri Piri (2013, a curvy display typeface). [Google] [More] ⦿
The typophiles (mostly Wendell Pepperdine from Eugene, OR) discuss some issues related to math fonts after an initial complaint about Cambria+Math. Some passages:
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] ⦿
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).
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.
Foam Train Font Foundry
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.
Future Fonts is run by Lizy Gershenzon and Travis Kochel of Scribble Tone, with James Edmondson of OH no Type Co helping shape and grow the community. Scribble Tone is a design studio in Portland, Oregon, known for designing experimental typefaces like FF Chartwell. OH no Type Co is a type foundry in San Francisco that published Hobeaux and Vulf Mono. Both Travis and James also teach typeface design. Travis is currently an adjunct professor at Portland State University, while James teaches Type at Cooper West.
On launch in 2018, Future Fonts showed the work of Inga Plönnigs, Dave Coleman, Ryan Bugden, Rüdiger, Sun Helen Isdahl Kalvenes, Erik Marinovich, Acute Studio, Teo Tuominen, Jake Fleming, JazzMaType, OH no Type, and Scribble Tone. [Google] [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] ⦿
Glitschka Studios (was: Pixel Monkey)
Von R. Glitschka's fonts, including PixelvilleLowRes (2000, available from T26), a phenomenal pixel font with interesting typefaces. 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 (Portland, OR) created a grotesk caps typeface, Keen (2013) that is based on Trade Gothic, Akzidenz Grotesque and Knockout.
Portland, OR-based designer of the hand-printed typeface Granite Letter (2013), the experimental typeface Moonblock (2015), the pixel typeface Protovision (2015), the techno typeface Anchorage (2015), the crayon typeface Autumn Pixels (2015), Barcode Decol (2015), and the hairline squarish typeface Granite Mode (2015). Typefaces from 2016 include Granite Postmodern and the squarish Turntable Aux (2016).
Typefaces from 2017: Fuzzface, Graytype, Ventures.
Harry G. Blakeman
Harry M. Troeger
Harrys Design (was: Harry's Font Page)
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.
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).
Typefaces from 2014: Captain A.
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] ⦿
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 MyFonts under its commercial name Oregon Dingbat. [Google] [MyFonts] [More] ⦿
Portland, OR-based creator of a Happy Holidays font (2014), useful for Christmas cards. She also created Fall Vacation Icon Set (2014) and Squibs (2015, a sans typeface with sufficient quirkiness to make it attractive for children's books). Behance link. [Google] [More] ⦿
During his studies in Portland, OR, James Martyn created a typographic poster entitled Apple's Automotive (2013).
Jeri Ingalls (Newport, OR) designed quite a few typefaces and dingbat fonts just after the turn of the new millennium. These include JIWatermelon (2000), Paxil (with Apostrophe [dead link]), FuturexBugz, JIBalloonCaps, JIBaseball, JIBowlingBalls (2003), his Mexican simulation typefaces (JIBurrito, JIChimichanga, JIFajita, JIMargarita, all made in 2001), JIChubbyCaps (2003), JIChunkyCaps (2003), JIColorCrayons, JIDuckabushCaps, JIFlowerVines, JIHoneybees, JIKaleidoscopeBats2, JIKaleidoscopeBats3, JIKaleidoscopeBats4, JIKaleidoscopeBats5, JIKaleidoscopeBats, JIMarshmallowRoast, JINoodles, JIPearlNecklace, JIPicketFence, JIRibbon, JISawblade, JISeeds, JIShinySeeds, JISolidBalloonCaps, JIStarfish, JISunflower, JIAcorn, JINatureBats, Belfry, Deschutes, Skookumchuck (2001), Tracks, SwissCheese, Stickerbush Caps, Toy Train, BunnyCaps (2002), Lilliwaup (2002, sans serif), JIPumpkins (2002), JIAcorn (2000), JINatureBats (2000), JIBelfry (2001), JIDeschutes (2001), JIHiddenVines (2006), JIManhattan (2001), JIStickerbushCaps (2002).
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.
Portland, OR-based designer of the rounded sans typeface Sonorous (2017), the rounded headline grotesque typeface families Porker (2017) and Bucksaw Geometric (2017) and the wedge serif all caps titling typeface Monterey (2017).
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).
Illustrator and designer in Portland, OR, Mosinee, WI, and/or Marshfield, WI, who created the blocky poster typeface Attack (2015), the squarish inline typeface Thin White Line (2010) and the slab serif typeface Slumbo (2013).
Katie Johnson (Portland, OR) created the Drip Tickle typeface in 2013. It was developed as a logotype for Dollop Art LLC.
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).
Born in Reedly, CA, in 1950. She studied calligraphy at Reed College with Lloyd Reynolds and Robert Palladino, and she studied roman brush writing in a workshop with Fr. Edward Catich. In New York, she studied lettering with Ed Benguiat at the School of Visual Arts. Later she studied calligraphy and type design with Hermann Zapf at Rochester Institute of Technology. She received her B.A. from Harvard University and her MFA from UCLA School of Theater, Film and Television, specializing in Animation. In 2012, she was honored with the Frederic W. Goudy Award in Typography from Rochester Institute of Technology, for her achievements in the lettering and typographic arts. Kris Holmes teaches type design at the Rochester Institute of Technology.
Kris Holmes worked as a staff designer at Compugraphic Corporation in type design. She was part of the team that helped design the city fonts for Apple: Chicago, Geneva, Monaco, New York. [Kris did the truetype versions.]
She founded the Bigelow&Holmes foundry in 1976 with Charles Bigelow. Kris Holmes has created over 300 typefaces, including the scripts Isadora, Kolibri, Apple Chancery, and Apple Textile. With Charles Bigelow, she co-designed Apple Capitals.
Creator of the ubiquitous Lucida family around 1985 (with Charles Bigelow): Lucida Blackletter, Lucida Bright, Lucida Calligraphy, Lucida Casual, Lucida Console, Lucida Fax (1985), Lucida Handwriting, Lucida Math, Lucida Mono, Lucida Sans, Lucida Sans Typewriter, Lucida Typewriter (1994), Lucida. includes Greek, Cyrillic, Arabic, Hebrew, Thai, and Devanagari scripts. In addition to their popularity in computer operating systems like Macintosh OS X, Microsoft Windows, and Plan 9 from Bell Labs, Lucida typefaces have been widely used for scientific and technical publishing in Scientific American, Notes of the American Mathematical Society, and other mathematical, technical and scholarly books. Also with Bigelow, Kris designed the Lucida Icons, Stars, and Arrows fonts, which Microsoft later purchased and reassembled into Wingdings fonts. Other type designs by Holmes include ITC Isadora (1983), Sierra (1983, Hell: font now sold by Linotype), Leviathan (1979), Baskerville (revival in 1982), Caslon (revival, 1982), Galileo (1987), Apple New York (1991), Apple Monaco (1991), Apple Chancery (1994 [the Bitstream version is Cataneo]), Kolibri (1994, URW, since 2005 available as OpenType Pro with over 1200 glyphs), Wingdings (1990-1992, a dingbat font made with Charles Bigelow, now owned by Microsoft and Ascender) and AT Shannon (a simple lapidary sans family, with Janice Prescott, 1982, Agfa; now owned by Monotype Imaging).
For the Go Project, Kris Holmes and Charles Bigelow designed the free typeface families Go and Go Mono in 2016. The font family, called Go (naturally), includes proportional- and fixed-width faces in normal, bold, and italic renderings. The fonts have been tested for technical uses, particularly programming. These fonts are humanist in nature (grotesques being slightly less legible according to recent research) and have an x-height a few percentage points above that of Helvetica or Arial, again to enhance legibility. The name Go refers to the Go Programming Language. .
Kyle Van Cleave (KVC Design, The Dalles, OR) designed the athletic lettering fonts Bucktooth Block (2017), USC (2017) and Oregon State (2017), the octagonal typeface Brute (2017), the sturdy copperplate font Midgard (2017), the national park font Woodsman (2017: Slab, Pillar, Spike), the weathered typeface Brawler (2017), and the squarish typeface Asgard Block (2017). Creative Market link. Behance link. [Google] [More] ⦿
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] ⦿
Kyle Van Cleave
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 styles, from Penumbra sans to Penumbra Flare, Penumbra Half Serif and Penumbra Serif, 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] ⦿
Portland, OR-based designer (City Limit Design) who created the paper fold ribbon font Galactic (2013).
Lee Robson Spence
Portland, OR-based designer of the outlined art deco typeface Outré (2016). The typeface started based on drawings by team member CarrieAnn Rudolph. Other participants in the development, besides Linnea herself, include Keith Wallach, Kyra Gill, and Megan Jones. [Google] [More] ⦿
Liz Conley is an illustrator, graphic designer and type designer from Portland, Oregon. Now based in San Francisco, she designed the blackboard bold typeface Gemline (2015). Creative Market link. [Google] [MyFonts] [More] ⦿
LRS Fonts and Lettering
Luke D. Owens
M U R
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). [Google] [MyFonts] [More] ⦿
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] ⦿
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] ⦿
Mondo Graphix from Mike Gaines
Mike Gaines is the Corvallis, Oregon-based designer of mainly scanbat typefaces such as Monster Party (1997), Udeman (1998), Sunnydale (2001), Tabloid One, Tabloid Two, Thundercats Ho, TNGcast, ForcedReentry (2000), Conan, Jay Leno, Rosie O, Quotidian (1998, a TV series actor scanbat font), Xcast, Herc/xena, Tcatsho, JCdux, Phlegmy Kilmister, PrimeDetective (StarTrek dingbats), and Sankavyn (1998). The place to go for drawings of celebrities, especially female movie and TV stars (Sankavyn) and male movie stars and celebrities (U de Man).
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.
One Way Out
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 (1998, with Von R. Glitschka), BeatStreetIn-Line, Blitzkrieg, Damage-Light, Damage, Day3 (1996), Dimentia-Medium, Dimentia-Thin, Dimentia-Wide, Doo-Dads, ElNino, ElNinoRapido, Epidemic, Erratic, Erratic3-D, Espresso (1996, with Wanda Vinje), Frazzle (with Von R. Glitschka), Havoc (with John Nissen), HavvaNiceDay, Hoopla, HunkyDory (1998, with Von R. Glitschka), Hybrid (1996, with Dave Adamson), JiveTalk-Bold, JiveTalk, JollyRoger, Knucklehead, KnuckleheadBoxed, Lollygag (1998, with Von R. Glitschka), LostTribe, Lunatic (1996, with Wanda Vinje), Protoplazm (1996, with Dave Adamson), Ragamuffin, Reactor, Scooter, Shameless (1996, with Dave Adamson), Slackhappy, SlackhappyOutline, Slade, Squidly-Bold, Squidly (1998, with Von R. Glitschka), SurfCity, Thud (1996, with Michelle Seefeldt), Toxic, ToxicWaste, Twitch, WhosFrank, WhyKeeKee, Wisecrack, Yoo-Hoo. [Google] [More] ⦿
Oregon Avenue Design Studio
Pacific Standard Type
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, the reverse contrast Tuscan Western font Cayuse (2019), and the hand-crafted typeface Wynona (2020). [Google] [MyFonts] [More] ⦿
Portland, OR-based company. Its timeline:
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.
Portland Type Co
Type foundry in Portland, OR, established in 2010 by Pete McCracken, who headed Plazm before that. McCracken acquired all of the Plazmfonts assets of the type design portion of the company in 2006. The (mostly custom) typefaces:
ps type (was: ppwrkstudio)
Mark Caneso is a graphic and type designer who lived in Garden Grove, CA, Kapolei, HI, Beaverton, OR, and now, Austin, TX. He founded ppwrkstudio (or: ps type) in 2004. His typefaces include the free sans Quatro and the commercial contemporary sans FB Ratio (2009, Font Bureau, a sans family in 6 styles that grew out of ps Ratio and ps Ratio Headline). In 2009, Quatro became commercial. It was followed by ps Quatro Slab and Quatro Ultra Black in 2010 and Quatro Sans in 2012.
Other typefaces include Campaign Grotesk (2015, FontShop), ps Caneso (2010, monoline sans), Runda, ps Untitled, ps Untitled Sans, ps Turiya Light (2009, organic sans), ps Runda (2010, sans), ps Neplus Ultra (2010, ultra thick slab), ps Dot Test (dot matrix face), and ps Fovea (2009, contemporary slab). Also in the works is the dot matrix typeface FF Diode (2009).
Typefaces from 2016: Hatch (slab serif, which can be bought here).
Typefaces from 2017: Ditch (a great inline typeface), Blue Sky (a sans family for branding).
Typefaces from 2019: Pika Ultra (an ultra fat script).
Typefaces from 2020: Hatch.
A graphic designer from American Fork, UT, now based in Portland, OR. Creator in 2008 of an Escher-inspired optical illusion font called Implausible. This typeface won an award at the Communication Arts Annual in 2011. Discussion by the Typophiles.
Dustin Lee (RetroSupply Co, Portland, OR, and before that, Palo Alto, CA) sells RetroType, an add-on for Illustrator to make text appear retro. He made the hand-crafted poster fonts Roaster (2015) and Wild Fire (2015), the bold octagonal typeface Authority (2015, in standard, rounded and distressed sub-styles; inspired by public transport typefaces from the 1970s; with Scott Fuller), the monoline connected script typeface Palm Canyon Drive (2015: inspired by California in the 1940s and 1950s), the cartoon font Nincompoop (2015; we find this note: Nincompoop was designed by award-winning illustrator, designer, teacher and author Von Glitschka. Until now, this font was part of Von's personal collection of resources. Now you can have this hand crafted typeface for your personal arsenal), the multiline logo font family Solid 70 (2015), and the semi-blackletter typeface Unlucky (2015).
Typefaces from 2016: Night Hawk (art deco), Over Easy (art deco), Leutner (multilined: the text is unclear whether Dustin designed this himself, or whether Aaron Sechrest is the designer), Transistor (super-condensed, retro), Komrade (a layered constructivist font), Firebox (a western typefaces co-designed with Scott Fuller).
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] ⦿
Sarah Cannon (Portland, OR) created the condensed display typeface Geraldine (2013).
Commercial educational fonts from Signature Software, aka vLetter, run by Dave Fenwick. Includes D'Nealian and Zaner-Bloser style schoolhouse fonts. All demos are complete except for the lower case a. Defective web page. Schoolhouse Fonts is a product of vLetter, Inc., 509 Cascade, Suite H, Hood River, OR 97031, USA. [Google] [More] ⦿
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] ⦿
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.
Dead link. Fonts made and sold by Coos Bay, Oregon, high school teacher Pat Snyder. Snyder's Mac shareware fonts: MarkerFeltThin, MarkerFeltWide, MarkerFinePoint, SnyderSpeed, ComicsCarToon, BrushStrokeFast, StarsAndStripes, NeedlePointSew, OregonWet, OregonDry, HeavyHeavyFat, ThinThinSlim, Comics.
Stone Type Foundry
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:
At ATypI 2007 in Brighton, he spoke about The foundation of the humanist 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.
The Pigeon Letters
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 typeface in the Comic Sans genre. [Google] [MyFonts] [More] ⦿
Think Make Design
Designer of hand-crafted typefaces who is based in Salt Lake City, UT, and/or Bend, OR. In 2018, she created California Sunshine, Dark Seas, Vaska, Late Night (dry brush), Lodge Script (monoline script), Board & Batton, Meadowlark Script, Party Time, Quickly, Dazey Display, American Traditional (a spurred tattoo font), Caribbean Limbo (a tiki font), Galley, Mauna Loa, Witchy, Zion, Hoagie Brush, Denali.
Portland, OR-based designer of the mini-stencil typeface 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.
In 2012, he designed the large award-quality copperplate family called Garçon Grotesque.
Typefaces from 2013: Ductus (a five-style broad-nibbed calligraphic / medieval family).
In 2015, he published Azote (a multilined typeface family inspired by the 1968 Olympic Games in Mexico City).
In 2019, he released the free seven font family Lexend at Google Fonts, together with Bonnie Shaver-Troup. Github link. He writes that Lexend is empirically shown to significantly improve reading-proficiency. As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. We will eventually release all seven families as a single variable font featuring its own custom axis. Lexend is thus an implementation of Bonnie Shaver-Troup's 2000 study, in which she theorized that reading performance would improve through the use of (1) hyper expansion of character spacing [which creates a greater lag time and reduces potential crowding and masking effects], (2) expanded scaling, and (3) a sans-serif font [to reduce noise]. Lexend is indeed hyper-widely spaced. [Google] [MyFonts] [More] ⦿
Font technology expert who runs his own type tech blog. Thomas Phinney (Portland, OR) has MS in printing from the Rochester (NY) Institute of Technology, and an MBA from UC Berkeley. He is freelance type consultant, font detective and type designer.
Thomas Phinney was in Adobe's type group from 1997 until December 2008, mostly as Product Manager for Fonts&Global Typography, based in Seattle. At Adobe, he was involved in the technical, design, historical and business aspects of type, and worked closely with other font developers and customers. In 2008, he joined Extensis, where he was senior product manager for font solutions. In 2014, he joined the FontLab team, where he became Vice President and then CEO. In 2019, he left FontLab to become a full-time font detective. Phinney created Geode (2004, Adobe) and Hypatia Sans (2005-2007, Adobe, an elegant geometric sans family, complete with coverage of East European languages, Greek and Cyrillic). Hypatia Sans Pro (2009) is a more complete family that was finished with the help of Paul Hunt. In 2012, he started work on Cristoforo, a revival of Hermann Ihlenburg's Victorian typeface Columbus (1890, ATF) and its accompanying American Italic, also by Ihlenburg. Kickstarter project. Phinney notes that it is known as the typeface of Call of Cthulhu, the H.P. Lovecraft roleplaying game, and as the original logo for Cracker Jack. In 2013, Cristoforo Italic, a cooperation with Andrea Leksen, was shown at Leksen Design. In 2019, he worked on Science Gothic, a revival and mega-extension of Bank Gothic. At ATypI 2004 in Prague, he spoke about the demise of multiple masters, and the future of OpenType and type 1. At ATypI 2005 in Helsinki, he announced the phasing out of type 1 at Adobe. He has spoken at nearly all of the TypeTech parts of the annual ATypI meetings, and has been on the ATypI board since 2006. At ATypI 2008 in St. Petersburg, he spoke about web fonts and on OpenType. Speaker at ATypI 2010 in Dublin. His talk at ATypI 2011 in Reykjavik was entitled TSI: Type Scene Investigations. The title of his talk at ATypI 2013 in Amsterdam was Free Fonts: Threat, or Menace? Speaker at ATypI 2016 in Warsaw.
Phinney created Geode (2004, Adobe) and Hypatia Sans (2005-2007, Adobe, an elegant geometric sans family, complete with coverage of East European languages, Greek and Cyrillic). Hypatia Sans Pro (2009) is a more complete family that was finished with the help of Paul Hunt.
In 2012, he started work on Cristoforo, a revival of Hermann Ihlenburg's Victorian typeface Columbus (1890, ATF) and its accompanying American Italic, also by Ihlenburg. Kickstarter project. Phinney notes that it is known as the typeface of Call of Cthulhu, the H.P. Lovecraft roleplaying game, and as the original logo for Cracker Jack. In 2013, Cristoforo Italic, a cooperation with Andrea Leksen, was shown at Leksen Design.
In 2019, he worked on Science Gothic, a revival and mega-extension of Bank Gothic.
At ATypI 2004 in Prague, he spoke about the demise of multiple masters, and the future of OpenType and type 1. At ATypI 2005 in Helsinki, he announced the phasing out of type 1 at Adobe. He has spoken at nearly all of the TypeTech parts of the annual ATypI meetings, and has been on the ATypI board since 2006. At ATypI 2008 in St. Petersburg, he spoke about web fonts and on OpenType. Speaker at ATypI 2010 in Dublin. His talk at ATypI 2011 in Reykjavik was entitled TSI: Type Scene Investigations. The title of his talk at ATypI 2013 in Amsterdam was Free Fonts: Threat, or Menace? Speaker at ATypI 2016 in Warsaw.
Graphic designer and lettering artist, born in 1939 in Eugene, OR. He studied with Douglas Lynch at the Museum Art School in Portland and later apprenticed with Lynch. Lincoln studied calligraphy with Lloyd Reynolds and Arnold Bank at Reed College in Portland, OR. After a stint as an agency art director producing national ads for Pendletons womens fashions, Lincoln moved to New York City, where he joined the studio of Herb Lubalin. In NYC he continued his involvement with academia, exploring film at The New School and an intensive workshop with Milton Glaser. Eventually Lincoln started his own studio (occupying the space on east 32nd Street where New York Magazine was born), combining a design practice with teaching at New Yorks School of Visual Arts. Lincoln has served as Art Director at TCA (Benton & Bowles) in Westport, CT, as Creative Director, Redington, Inc., Stamford, CT, as Principal, Thomas Lincoln Design & Motion Graphics Communication, Westport, CT, as Freelance in residence Art Director, Baden & Co., Eugene, OR, and in 1992 returned to consulting and design through his own design office, Lincoln Design, based in Eugene/Springfield, OR.
Creator of typefaces at VGC, such as Lincoln Gothic (1965), which won the National Typeface Competition. His clients over the years include Acoustic Sciences Corporation, AT&T, Continental Packaging Co., The Ford Foundation, GE, IBM, PepsiCo, RCA, Showtime, Abrams, Colliers, Harpers Magazine, Macmillan, McGraw-Hill, Random House, Harcourt/ Brace, New York Times, Simon and Schuster, and Viking Press.
In 2006, Bitstream published New Lincoln Gothic, a 24-weight family starting with a hairline weight. This digital version was made in Fontographer from the old typositor strips by Lincoln himself.
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.
Travis Kochel (TK Type) is an American type designer, b. 1983, Charlottesville, VA. He is now based in Portland, OR, and is an adjunct professor at Portland State University. TK Type though is listed by MyFonts in Wellington, New Zealand. He set up Scribble Tone with Lizy Gershenzon and helped launch Future Fonts in 2018.
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.
Tyler Spencer (Coffee for Drew Productions, Portland, OR) created the custom typeface Noir (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] ⦿
TypeCon 2018 took place between August 1 and 5, 2018, at the Hilton Portland Downtown in Portland, OR. The keynote speakers were Louise Fili, Nina Stössinger and Lauren Hom. The list of speakers: Emily Atwood, Jan Ballard, Al Barna, Agnes Barton-Sabo, Aaron Bell, Nancy Bernardo, Graham Bradley, Yvonne Cao, Matthew Carter, Joana Correia, Dave Crossland, Carolina de Bartolo, Meaghan Dee, John Downer, Matthew Edgar, Rachel Elnar, Joshua Farmer, Louise Fili, Glenn Fleishman, Kathy Fry, Lizy Gershenzon, Patrick Gosnell, Annabelle Gould, Allan Haley, Karel Haloun, Cassie Hester, Lauren Hom, Randall Ann Homan, James Hultquist-Todd, Paul D. Hunt, Thomas Jockin, Richard Kegler, Michael Kelly, Travis Kochel, Gloria Kondrup, Irina Koryagina, Taekyeom Lee, Briar Levit, Grendl Löfkvist, Katherine Malmsten, Jess McCarty, Erin McLaughlin, Frida Medrano, Lauren Meranda, Aoife Mooney, Bill Moran, Jim Moran, Gemma O'Brien, Cora Pearl, Mary Catherine Pflug, Thomas Phinney, Jill Pichotta, Jean François Porchez, Amy Redmond, Meir Sadan, Rainer Erich Scheichelbauer, Zachary Scheuren, Georg Seifert, Sang-Duck Seo, Renée Seward, Radek Sidun, Kris Sowersby, Perrin Stamatis, Michael Stinson, Nina Stössinger, Lila Symons, Oswin Tickler, Sergio Trujillo, Underware, Ming Wei, Craig Welsh, Matthew Wyne, Qiu Yin, Lynne Yun. [Google] [More] ⦿
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] ⦿
Von R. Glitschka
Walter Kafton-Minkel was an active member of the Portland Macintosh Users Group. Designer of the old shareware font Lumparsky (a comic book font available in most archives), Benjamin (1991, based on the wood type Ben Franklin), Grooovvelic (essentially identical to PsychedelicSmoke), PostCrypt (1993; a dripping blood font based on Crypt from MacroMind Inc), Psychadelic (1992) and PsychedelicSmoke (1990, in various weights).
Author of Subterranean Worlds: 100,000 Years of Dragons, Dwarfs, the Dead, Lost Races and Ufos from Inside the Earth (Loompanics Unlimited, 1989). [Google] [More] ⦿
This graphic design firm in Westlake, Oregon makes original fonts. Through MyFonts.com, they are selling
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] ⦿
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.
Speaker at ATypI 2019 in Tokyo on the topic of From Bijin-ga to Brutus, in which he explains the work of graphic designers Hokuu Tada (1889-1948) and Seiichi Horiuchi (1933-1987). [Google] [MyFonts] [More] ⦿
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.
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. 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] ⦿