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A. J. Sedlak
ABC Types (was: Absolutetype)
ABC Types is Tony Mayers' foundry. Identifont link. Tony produced film titles in London's West End. He learned the craft of phototypesetting. In 1979, he moved to Manchester, where he founded The Quick Brown Fox Company. He created Concept Crisis (grunge face), Concept Sans, De-Generation, Generation Gothic, Generation Graffiti, Generation Headline, Generation Lost, Generation Open, Generation Pixel, Generation Uncial, Monolith Roman (2004), Monolith Sans, Poster Gothic, Ranger, Society, and Text Gothic. Before ABC Types, he ran Absolutetype, where he sold the typefaces mentioned above. The typefaces are now digitally available from Cedars, PA-based International Type Founders (ITF), which was created by Steve Jackaman. The latest address for ABC Types was in Cedars, PA. It is identical to that of ITF. Tony Mayers has died.
Ascender also sells its collection. Klingspor link. [Google]
As a student at Kutztown University, Lewisberry, PA-based Adam Leisenring designed the attractive display or poster typeface Basswood (2015). He writes: Basswood is a high-contrast attention grabber. It's loud and somewhat obnoxious, shouting its message at the reader in a deep, booming voice. Basswood takes up two seats on the bus, and gets sweaty when it has to climb a lot of stairs, but its low center of gravity makes it hard to knock over. Calling to mind slab-serif wooden type styles from the Industrial Revolution era, Basswood is actually based off of the shape of a spinning fishing reel. Basswood takes its name from a family of trees, also called Lime or Linden trees. The wood of the basswood tree is commonly used in fishing lures. It's lightweight but strong, which also makes it a popular choice for electric guitar bodies, as well as woodwind instruments and drum shells. Basswood was also historically used to make shields by ancient Germanic tribes. Behance link. [Google]
Graphic designer in Pittsburgh, PA, who created the decorative caps Anatomy Typeface in 2014. Behance link. [Google]
During her studies in Pittsburgh, PA, Adella Guo created the charcoal typeface Beatnik (2016, with Lily Fulop at CMU). [Google]
Photographer in Philadelphia, PA. Creator of the display sans typeface Duma Font (2014). [Google]
Aka chickenmeister. Located in Pennsylvania, A.J. Marx created the monospaced programming font Smooth Bunny (2009). [Google]
During his studies in Philadelphia, Alan Hernandez designed a stencil typeface (2016). [Google]
Prolific type designer, b. London, 1951. Alan started working in 1970 for Graphic Systems as a lettering artist. In 1975, he joined Letraset as the Senior Type Designer and Studio Manager where he was responsible for all the artwork produced by the Letraset studio. During his tenure at Letraset, he designed over 40 popular typefaces, including Bramley, Candice, Bickley Script and Belwe. Most of these typefaces also showed up in the Scangraphic collection. Together with type director Colin Brignall, Alan contributed to the success of Letraset. All the original typographic artwork produced at Letraset was produced by hand cutting the fonts in Rubylith, a highly-skilled technique known as stencil cutting. Alan was responsible for training the entire Letraset studio in this art. Most of the original Letraset artwork has now been archived at St. Brides Printing Library, London. Today, Alan works independently, specializing in all facets of corporate identity including type design, typography, packaging, and development of logos and symbols.
His oeuvre (sold via MyFonts) includes:
Galadriel, Kornelia and Sparky are floating around freely in cyberspace.
- Letraset: Aardvark (with Colin Brignall, 1969). Also see Aargau (Softmaker).
- Font Factory: Chalfont (similar to Antique Olive), Brigade (classic roman), Fairway (curly sans), Copacabana (italicized roman).
- Elsner&Flake fonts: Bramley, Cabaret, Candice, Chesterfield, Einhorn (1980, Scangraphic, a revival of a 1931 typeface by Heinrich Maehler called Salut), Frankfurter (1978-1981, with Nick Belshaw and Bob Newman; for digital versions, see Farnham by Infinitype and F821 Deco by SoftMaker), Galadriel (1975; specimen; another specimen), Glastonbury, Knightsbridge, Plaza, Princetown (athletic lettering font done in 1981 based on Princetown by Dick Jones at Letraset), Rialto, Shelley, Tarragon (1981, art nouveau).
- ITC fonts: Algerian Condensed, Ambrose, Belwe Mono, Bertie, Bickley Script, Burlington (1985), Cabaret, Campaign (stencil), Cancellaresca Script (1982), Champers, Claude Sans, Dynamo Shadow (1977), Fashion Compressed (1986, Letraset: a fashion mag didone typeface), Flamme (1993), Follies (1991), Frankfurter (1978-1981, with Nick Belshaw), Glastonbury (1979), Inscription, Jazz, Lightnin' (1994), Limehouse Script (1986), Locarno (1986), Malibu (1992), Plaza, Ragtime, Regatta Condensed, Savoye, Shelley, Tannhauser (1988), Varga (1991), Waterloo Bold (1987).
- Letraset fonts: Aachen, Ambrose (1985), Belwe Mono (1989), Bertie (1985, a Mexican simulation face), Bickley Script, Burlington (1985), Campaign, Champers, Claude Sans (1988), Fashion Compressed, Flamme, Follies, Inscription, Jazz (1992, art deco), Lightnin, Limehouse Script, Locarno, Malibu, Ragtime, Regatta Condensed, Savoye (1992), Tannhauser, Varga, Waterloo Bold.
- Linotype fonts: Aachen, Algerian, Belwe Mono, Bertie, Bickley Script (1986), Bramley, Burlington, Cabaret (1980), Campaign, Cancellaresca Script, Candice, Champers (1991), Chesterfield, Claude Sans, Dynamo, Einhorn, Fashion, Flamme (script), Follies, Frankfurter, Galadriel, Gill Display Compressed, Glastonbury, Inscription (1994), Jazz (1992), Kestrel (1985, a connected signage script at Letraset based on Commercial Script; Ralph Unger's 2011 typeface Faulkner Pro is based on Kestrel; see also Kestrel Script (2010), Meeks's own digital version, its informal version Falcon Script (2013), and Subflux's Ballpark Weiner), Knightsbridge, Lightnin, Limehouse Script, Locarno, Malibu, Plaza (1975), Plaza, Ragtime (1987), Regatta Condensed, Rialto, Savoye, Shelley, Tannhauser, Tarragon, Varga.
- Typefaces from 2011: Dublin (a Celtic typeface), Chalky.
- Typefaces from 2014: Pinot Grigio Modern (a modern rounded multi-style update of Peignot, originally designed in 1937 by A. M. Cassandre), Falcon Script.
- Typefaces from 2015: Park Lane (a classicitalic roman).
- URW++ revivals: Glastonbury (2009).
- Allan Meeks collection (Cedars, PA): Astoria (2006, miniserifed family based on Gill Sans), Astoria Sans (2011), Astoria Classic (2016), Astoria Classic Sans (2017, with a Peignotian feel), Brigade (2003, serif family), Copacabana (2004, based on Goudy Old Style Italic), Vatican (2005, a calligraphic typeface characterized by the sharp edge style of Arthur Baker), Colosseum (2008, a sans based on Trajan roman and influenced by Friz Quadrata), Chalfont (2003, a News Gothic style typeface with thinned strokes near the bottom---strange and somewhat unattractive), Fairway (20o3, a quirky sans), Spartacus (2014).
- Custom type: Benson&Hedges, Lilt, The Woolmark Company, Somerfield, Tarmac, Clearstream.
FontShop link. Linotype link.
View Alan Meeks's typefaces. Yet another page with Alan Meeks's typefaces. Klingspor link. [Google]
Philadelphia-based designer and PostScript font hacker who runs Prescott Design. He created three substantial sans typefaces families with many weights starting from hairline, almost in the fashion mag style: Clemente (2011), Ultima (2011), Passion Sans (2011, a Peignotian family). All free at Dafont.
Additional typefaces: the Bizarre series (decorative caps), Advertisers Gothic PD (2010: a large family based on Robert Wiebking's ugly original from 1917), APT Antique, Crayon PDS (2013, a decorative Victorian family), APT Caslon 76 (1997, based on a Compugraphics original), APT Feinen Inline (1997, after Henry Mikiewicz, 1983), APT Millais (1995, unknown origin), APT New Abel Cursive (1996, a revival of Bernie Abel's Abel Cursive (Compugraphic, 1974)), APT New Artcraft (1996), APT New LSC Book (1996, after a 1970 original by Lubalin Smith Carnese), APT New Classic Rubber Stamp (1996: based on DeVinne by G.F. Schroeder, 1890; F.W. Goudy 1898), APT New Hearst (1995, based on an original from Inland Type Foundry, 1901, which was famously ripped off from Goudy; the Italic was by Carl Schraubstadter, 1904), APT New Ticonderoga (1995-1996), APT New Woolly West (1995), APT Horizon Initials (1995), APT New Gill Floriated (1995), Old Gothic Initials Plain (1995: Lombardic caps), Pfister Bible Gothic APT Cameo (1997, blackletter caps), APT Saint Nick (1995: snow-themed caps).
His 19th century series, all made in 1995 or 1996: APT New Abramesque, APT New Alferata (psychedelic), APT New Armenian, APT New Belmont (Victorian), APT New Brenda, APT New Cabinet, APT New Caprice, APT New Dawson, APT New Euclid, APT New Linden, APT New Madison, APT New Moorish, APT New Mystic, APT New Rollo (Victorian), APT New Slapstick (wooden plank font), APT New Spiral, APT New Stephen Ornate, APT New Teahouse, APT New Viola, APT Novelty Script.
The wood type collection of Alan Prescott: APT Antique Wood Double Outline Shaded 1995, APT Antique Wood Extended 1996 APT Caslon Wood w: Alts 1996 APT Clarendon Wood Extended 1996 APT Columbian Wood w: Alts 1996 APT Courier Wood 1997 APT Doric Wood 1995 APT Gothic Wood (+Alts) 1997 APT Grecian FullFaced Wood 1996 APT Jenson Old Style Wood 1996 APT Kurilian Wood w: Decorated Alts 1997 APT Modified Gothic Wood Cond 1997 APT New Venetian Wood 1996 APT New Woodcut Shaded Initials 1995 (Houtsneeletter) APT Roman Wood 1994-1995 APT Tuscan Antique Wood (+Alts) 1995-1996 APT Tuscan Concave Wood 1996-1997 APT Tuscan Contour Wood 1996 APT Tuscan Gothic 1 Wood 1996, APT Tuscan Gothic 2 Wood Cond w: Alts 1996, APT Tuscan Gothic 3 Wood Cond w: Alts 1997, APT Tuscan Gothic Pointed Wood w: Alts 1997 (Ironwood) APT Tuscan Italian Wood 1997 APT Unique Wood 1995 APT Wood 1995-1997 APT Wood No. 501 1996 (orig Wm.H. Page 1887), APT Wood No. 508 1997, APT Wood No. 51 1997, APT Wood No. 510 1997, APT Wood No. 515 1996 Stencil typefaces: APT Crystal Ship (1995), APT New Acapulco Light (1995; after the phototype Acapulco Light VGC), APT New Alpha Midnight (1996; after a typeface from 1969 sold by John Schaedler), APT New Beans w/ Alts (1996, after Beans by Dieter Zembsch, 1973), APT New Checkmate (1995---not a stencil type, really, but rather a modular typeface; after the film type Checkmate), APT New Zephyr (1996). Ornamental typefaces: APT New Courtier Italic (1996, Vanity Fair), APT New Harlequin (1996), APT New June (1996, after Fournier le Jeune). Computer fonts: APT Bugsy (1995), APT New Quote (1996: bilined). Art nouveau typefaces: APT New Abbott (1995; after Joseph W. Phinneys' abbott Old Style, 1901), APT New Ambrosia (1995, after Peter Schnorr's 1898 Jugendstil typeface), APT New Baldur (1996; after Baldur by Schelter (1895) and Julius Klinkhardt (1903)), APT New Jagged w/ Alts (1996), APT New Jason (1996), APT New Livonia (1996), APT New Margit w/ Alts (1996), APT New Nightclub (1995), APT New Quaint (1995), APT New Quaint Open (1995). Various display typefaces: APT Black Dog (1995), APT Blacksmith Heavy (1995), APT New Airedale (1995, after an original tattoo / poster from the 1930s), APT New Blade Display w/ Alts (1996), APT New Cugat (1995; a wedge serif letterpress emulation typeface), APT New Fieldstone (1995), APT New Static (1995), APT New Trump Gravur (1995; after Georg Trump, 1954), APT New Yagi Bold (1996). Avant Garde typefaces: APT Avant Garde Alts and Display (1997), APT Lubalin Graph Alts (1997; to be used with BT Lubalin Graph, Ed Benguiat, 1974). [Google]
Alan Ronn has his own foundry in Pittsburgh, PA. [Google]
During her studies at Liberty University in Philadelphia, PA, Alëna Steiger created the tuxedoed typeface Pushkin (2014). [Google]
During studies at University of the Arts, Alex Foley (Philadelphia, PA) created an untitled typeface (2014). [Google]
Alex J. Purdy
Alex Purdy is a visual communicator and illustrator, and type enthusiast, who lives in Delaware. He graduated from the University of the Arts in Philadelphia, earning his BFA graphic design in 2003. He made nice hand-drawn fonts (images only on his web page: lightning stencil, illuminati font, flim flam, puzzle stencil, old school wifi), and created many modular/octagonal fonts (computer destroy, prick, impalia, boxcutter, bubble deco,&plasmasoft). His illustrated caps font called Hypertype, done with Luke Ramsey in 2008, is a piece of art. [Google]
Student at York College of Pennsylvania, who lives in Boyerstown, PA. He created the handlettered Barber (2011). [Google]
Type designer and punchcutter, b. Edinburgh, Scotland, 1827, d. Philadelphia, 1905. Born Alexander Thompson MacKaye, he apprenticed with a bookbinding tools manufacturer, and went to London in 1850, where he worked for punch-cutting expert John Skirving. He cut typefaces for English typefounders such as Henry Caslon, Vincent Figgins, and the Stephenson Blake company. After that, he joined L. Johnson&Co. in Philadelphia in 1854, where he changed his surname from MacKaye to Kay. He stayed with L. Johnson&Co (later Binny&Ronaldson, then MacKellar, Smith&Jordan) for 40 years, until he lost much of his sight to cataract. His most famous are Binny Old Style and Ronaldson Old Style (1884, MacKellar, Smith&Jordan). The latter family was digitized by Canada Type as Ronaldson Regular (2008) and by Lars Törnqvist as Fitzronald (2013). The former was digitized by Monotype as Binny Old Style MT. [Google]
Alianny Cabrera Tapia
Philadelphia-based designer of the squarish typeface Enders Game (2014) which was finished during her studies. [Google]
During her studies in Fogelsville, PA, Allyson Leigh hawk created the counterless display typeface Blackout (2013). [Google]
During her studies at the Art Institute of York, PA, Alyssa Garcia (Long Valley, NJ) created the Dubset typeface (2013, display). [Google]
Huntingdon Valley, PA-based creator of a squarish typeface and a copperwire-inspired typeface called Copper in 2014. [Google]
Andrea de Carlo
Lehigh Vallaey, PA-based designer of the hand-crafted typeface Kid On The Mountain (2016). Dafont link. [Google]
Creator of the playful typeface Domino (2013), created during his studies in York, PA, by putting domino pieces together. [Google]
[Andrew Childs Typography]
Andrew Childs Typography
New York-based designer of the beautiful Internal Serif Bold, and of Printmaster (2002). While you are at it, check out his unbelievable work at AC/AC in Philadelphia, especially his web page for the Morimoto restaurant. He also made an unitled workhorse-type bitmap face, Pug (2004, another great bitmap face), and the great bitmap/pixel families Dumont (2004), Fourte (2004), Ledger (2004), Certive (2004), Düsseldorf (2004, a pixel serif family, including a slab serif), an unnamed cursive pixel face (2004), and Bitley (2004, a pixel serif face!). Andrew is one of the grandmasters of pixel typography. [Google]
Andrew R. Baker
Graphic designer from York, PA, who created Shard (2003). [Google]
Born and raised in West Chester, PA, near Philadelphia, he is a student at the Maryland Institute College of Art. Aka Cocoi Anouk.
In 2010, he created the gorgeous ultra-fat didone watch number set called Pompadour (free). It has already been used tens of times, including in this poster by Jay Schaul (2011). Pompadour can be downloaded/bought at Lost Type Coop.
Fontspace link. [Google]
Philadelphia, PA-based designer of the hipster typeface Stardaze (2015). [Google]
Digital artist in Erie, PA. She illustrates (check Le French and Chris & Morgan, 2012) and she designs type (check her first font, a dada style typeface without a name, 2012). [Google]
Creator of the futuristic typefaces Fima (2010) and Blokoin (2010). Anibal is an illustrator and graphic designer in Mount Wolf, PA. [Google]
During her studies at Penn State University in State College, PA, in 2013, Annie Seighman designed an unnamed display typeface. [Google]
Archibald Binny (ca. 1762-1838) was a punchcutter from Edinburgh who emigrated to Philadelphia in 1795, where he met James Ronaldson, a businessman also from Edinburgh. In 1796, they started Binny&Ronaldson, the first real American typefoundry. In 1809 and 1812, they published America's first specimen books. [Google]
Ritzel (b. Offenbach, 1910, d. 2002) headed the letter drawing office at Stempel from World War II until his retirement in the late 1960s. He was responsible for the redrawing of Haas Neue Grotesk into Helvetica. German designer of Rotation (1971, Linotype), now available at Adobe and Linotype, and named after the rotation newsprint machine for which is was particularly suited. Linotype states: The font displays the influence of Old Face design and gives newsprint a feeling of lightness and elegance. Hunt Roman was cut in steel by Arthur Ritzel between 1961 and 1963, and cast by the Stempel foundry in Frankfurt in four sizes only, 12, 14, 18 and 24 points. It was designed as a private typeface for Mrs. Rachel McMasters Miller Hunt, The Hunt Botanical Library in Pittsburgh/Pennsylvania. Used with special permission by Jack Stauffacher, The Greenwood Press, San Francisco, and Sebastian and Will Carter, The Rampant Lions Press, Cambridge/England. Linotype link. [Google]
Perkasie, PA-based designer of the sharp-edged stencil typeface Angles (2016). Behance link. [Google]
During her studies at Kutztown University, PA, Ashley Shaffer created the artsy display typeface Meiosis (2013), which was inspired by the paintings of Tsuji Megumi. [Google]
York, PA-based designer of the school project painted look font Sprout (2013) and of Glub Glub (2013). [Google]
Astigmatic One Eye
[Brian J. Bonislawsky]
Astigmatic One Eye (AOE) has lots of nice original fonts by Brian J. Bonislawsky (b. 1973, Pittsburgh, PA). Many are free, others are not. AOE joined Font Brothers Inc in 2006. Brian Bonislawsky currently lives in Las Vegas, NV.
Fontsquirrel link. Dafont link. Fontspace link.
A partial list of the AOE fonts made in 2011: Engagement (2011, a free brush script at Google Web Fonts), Fascinate (2011, an art deco typeface at Google Web Fonts; +Inline), Original Surfer (2011, a free Google Web Font inspired by a vintage advertisement for the "California Cliffs Caravan Park"), Smokum (2011, a Western / Italian face), Yellowtail (2011, signage face), Redressed (2011), Special Elite (2011, free typewriter face), Aclonica (2011).
Typefaces from 2008 or before: Horseplay AOE (2008, Western style), Cake and Sodomy AOE (2008), Good Eatin AOE (2008), Paradiso AOE (2008, inspired by logotype of the Paris Resort and Casino in Las Vegas), Montelago AOE (2007, a script inspired by the logotype of the Mirage Resort and Casino in Las Vegas), Jack Chain AOE (2007), Henhouse (2007), Schnitzle (2007), Luxurian AOE (2007, inspired by the logo of the Luxor Hotel&Casino in Las Vegas), Digital Disco AOE (2007), Mighty Tuxedo AOE (2007), Makeshift AOE (2007), Clarity AOE (2007, slab serif headline; + grungy version), Red Pigtails AOE (2007), Run Tron 1983 (2002), Eyeliner AOE (2006, Tekton-like), Mother Hen (2007), Gloversville (2007, comic book style), Mighty Tuxedo AOE (2007, condensed sans), Quick Handle AOE (2007), Surfing Bird (2007), Hydrogen (2004), Hardliner (2004, fifties diner style), Big Ruckus (2004), SS Antique No. 5 (2004), Europa Twin (2003), EuroMachina (2003, techno), Lord Rat (2003), Love Anxiety (2003), BuzzSaw (2003), Skullbearer (2003, skull dingbats), Beatnick Blue (2002), Geisha Boy (2002), Mardi Party (2002), Midcrime (2002), Ocovilla (2002), Ruthless (2002), Saltie Doggie (2002), Whiskers (2002), Royal Gothic, Family, Eggit, Jericho, Wild Monkeys (2002), 5FingeredGothSW, AlienArgonautAOE, AlphaMackAOE, AmphibiPrint, AngiomaAOE, AntiChristSuperstar, AntiChristSuperstarSW, AstigmaSolid, BigLimboAOE, BigLimbodOutAOE, BoneRollAOE, BoneRollAOEBold, BoundAOE, BrailleAOE, BulletBallsAOE, ButterflyChromosome, ButterflyChromosomeAOE, ButtonButton, ButtonButtonAOE, CType, CTypeAOE, CelticLionAOE-Bold, CelticLionAOE-BoldItalic, CelticLionAOE-Italic, CelticLionAOE, CharailleAOE, ChickenScratch, ChickenScratchAOE, ClunkerAOE, ClunkerAOE-Bold, CropBats, CropBatsAOE, CropBatsIIAOE, DarkNightAOE, DeadGrit, DeliveryMatrixAOE, DetourAOE, DigitalDiscoAOE, DigitalDiscoAOEOblique, DingleBerries, DoggyPrintAOE, DraxLumaAOE, DungeonKeeperII, DungeonKeeperIIBold, DungeonKeeperIIItalic, EggItAOE, EggitAOE-Italic, EggitOutlineAOE, ElectricHermes, ElectricHermesAOE, ElectricHermesAOECharge, FearAOE, FilthAOE, FishyPrintAOEOne, FishyPrintOneAOE, FishyPrintTwoAOE, FutharkAOE, FutharkAOEInline, FutharkAOEInline, GateKeeperAOE, Ghoulish Fright AOE (2006), GlagoliticAOE (1999, grungy glagolitic), GorgonCocoonAOE, Gotik, GreyAlienSW, HAL9000AOE, HAL9000AOEBold, HAL9000AOEBoldItalic, HAL9000AOEItalic, HandageAOE, HandageAOEBold, HauntAOE, HybridLCDAOE, IDSupernovaSW, IslanderAOE, JokerWildAOE, KillMeCraig, KillMeCraigAOE, Kinderfeld, KittyPrint, KittyPrintAOE, Kornucopia, KornucopiaAOE, LinusFace, LinusFaceAOE, LinusPlayAOE, LinusPlaySW, Lochen, LovesickAOE, Manson, MasterPlan, Mervale Script (2012: a brushy script based on the 1940's Fawcett Publications Mary Marvel comic), Microbe, MooCowSW, MotherlodeLoadedAOE-Italic, MotherlodeLoadedAOE, MotherlodeStrippedAOE-Italic, MotherlodeStrippedAOE, MysterioSWTrial, NightmareAOE, OrnaMental, Pantera, PapaManoAOE, PenicillinAOE (described as a bacterial stencil typeface), PixelGantryAOE, PixelGantryAOEBold, PixelGantryAOEBoldItalic, PixelGantryAOEHeavy, PixelGantryAOEHeavyItalic, PixelGantryAOEItalic, PixelGantryHiliteAOE, PixelGantryHiliteAOEItalic, PoppyAOE, PoseidonAOE, Prick, QuiltedAOE, QuiltedAOEBlack, QuiltedTrial, RippleCrumb, RippleCrumbUltraCon, ROCKY, ROCKYAOE, RustedMachineSW, SSExpAntiqueAOE, Schizm, Schrill, SchrillAOE, SchrillAOEOblique, Scrawn, ScrawnAOE, ScrawnCyrAOE, ScrawnKOI8AOE, ScrewedAOE, ScrewedAOEOblique, ScrewedSW, SeaweedFireAOE, SenthAOE, ShampooSW, ShottyTransferTrial, SkinnerAOE, SlurCrumb, SpatCrumb, SpikeCrumbGeiger, SpikeCrumbSwizzle, SpikeCrumbSwollen, SteelcapRubbingTrial, StruckSW, StrutterAOE, SunspotsAOE, SurferComicTrial, TRANSHUMANALPHABET10, TRANSHUMANKATAKANA20, TannarinAOE, TannarinAOEOblique, TibetanBeefgardenAOE, TibetanBeefgardenAOE, TouristTrapAOE, TransponderAOE, TransponderGridAOE, UglyStickAOE, VanguardIIIAOE-Bold, VanguardIIIAOE-BoldOblique, VanguardIIIAOE-Oblique, VanguardIIIAOE, Ventilate, VentilateAOE, Y2KPopMuzikAOE, Y2KPopMuzikOutlineAOE, YoungItchAOE, ZeichensSW, ZenoPotionAOE, Zombie, BeatnikBlueAOE, BeatnikBlueFillAOE, GeishaBoyAOE, MardiPartyAOE, MindCrimeAOE, OcovillaAOE, PolynesianTouristAOE, RuthlessAOE, SaltyDoggieAOE, SpruceAOE, WhiskersAOE-Oblique, WhiskersAOE, WhiskersAltCapsAOE-Oblique, WhiskersAltCapsAOE (2002), Habitual, Automatic (techno), Bitrux, Filth (an eerie brush script), Cake&Sodomy, Gulag, Bad Comp, Detour, Alien Argonaut, Dark Night, GateKeeper (Halloween font), Gargamel Smurf, Invocation, Neuntotter, Geisha Boy, Saratoga Slim, Gobe, Stingwire, Lavatype, Tapehead, Islander, Clunker, Digelectric, Gargamel, Krulo-Tag, Krelesanta, SurferComic, Bound, Culture Vulture, Intruder, Cavalier, Anoxia, Synchrounous (IBM logo style lettering), Luna, Data Error, Lunokhod, Jericho. There are many techno and gothic fonts. Kill Me Craig is the first 26 death scene dingbat font (scenes by Craig Dowsett). KittyPrint takes the LinusFace font concept to more realistic cat head dingbats. Krelesanta (not free) is a funky font inspired by the band Kreamy Electric Santa. The free ButtonButton is useful for making buttons. Lovesick AOE is a scrawly, lovelorn typeface, i's dotted with hearts. Strutter AOE is based on the KISS logo. Senth AOR is a runic font. Charaille is one of the many dot matrix fonts. Cavalero is inspired by the logotype of the Chevy Cavalier.
At Bitstream in 2001, AOE published Cavalero, Stingwire and Tannarin. And in 2002, he published the comic book font Big Limbo, Euro Machina BT and Islander there. Bio at Bitstream.
In 2005, Bonislawsky and Sandler realeased 500 fonts, via Bitstream and MyFonts, under the label Breaking The Norm.
In 2006, Astigmatic published their typewriter collection, which includes Military Document, Bank Statement, State Evidence Small Caps, State Evidence, Urgent telegram, Library Report, Overdrawn Account, Customs Paperwork, Incoming Fax and Office Memorandum.
From the bio and various pieces of information, one is led to believe that Brian was born in Poland, and now lives in Miami, but that may be wrong.
In 2010, he placed a free font at the Google Directory, Syncopate. Along the same lines, we find the derived square serif typeface Stint Ultra Condensed (2011, Google Web Fonts) and Stint Ultra Expanded (2012).
In 2011, several other typefaces followed there, like Ultra (fat didone), Maiden Orange, Special Elite, Just Another Hand, Crushed, Luckiest Guy (comic book face), Aclonica, Redressed, Montezuma (a curly connected upright script), Devonshire (brush script), Fondamento (calligraphic lettering), Yellowatil (connected retro script), Righteous (free at Google Web Fonts: inspired by the all capitals letterforms from the deco posters of Hungarian artist Robert Berény for Modiano), Ribeye and Ribeye Marrow> (cartoon and/or tattoo style lettering---free at Google Web Fonts), Spicy Rice (2011, free festive display typeface at Google Web Fonts).
Contributions in 2012: Marcellus (2012, Trajan, flared roman), Eagle Lake (a free calligraphic font at Google Web Fonts), Uncial Antiqua, Jim Nightshade (2012, free at Google web fonts), Dynalight (2012, a retro script inspired by a vintage luggage tag for the Southern Pacific 4449 Daylight steam locomotive), Yesteryear (a retro script loosely based on the title screen from the 1942 film The Palm Beach Story), Parisienne (Google Web Fonts: casual connected script based on a 1960s ad for bras), Shojumaru (Google Web Fonts: an oriental simulation typeface inspired by a poster for the Marlon Brando movie Sayonara), Berkshire Swash (Google Web Fonts), Audiowide (Google Web Fonts), Romanesco (Google Web Fonts: a narrow calligraphic style), Galindo (Google Web Fonts), Oregano (Google Web Fonts: based on cartoon style lettering of calligrapher and logo designer Rand Holub. This style of hand lettering adorned many retro brochures and advertisements of the late 40's through the 1960's), Peralta (Google Web Fonts: an Egyptian comic book face), Eagle Lake (Google Web Fonts: calligraphic), McLaren (Google Web Fonts: comic book style alphabet), Freckle Face, Hanalei Fill, Hanalei [Polynesian bamboo or tiki lettering], Purple Purse, Margarine, Risque, Clicker Script [image], Stalemate [a gracious script, by Jim Lyles for AOE], Mouse Memoirs, Quintessential [Google Web Fonts: chancery hand], Bigelow Rules, Englebert [Google Web Fonts: from the title screen of the 1930's film titled Der blue Engel, starring Marlene Dietrich], Sacramento [Google Web Fonts: connected script].
Typefaces from 2013: Freckle Face (grunge), Grand Hotel, Purple Purse (Purple Purse draws its inspiration from a vintage Ivory Soap ad from the 1950's. Somewhat of a cross between Bodoni and Pixie, this font finds that it never truly takes itself seriously).
Stiggy & Sands is the American typefoundry of Brian Bonislawsky and Jim Lyles, est. 2013. Their first commercial typefaces, all jointly designed, are Luckiest Guy Pro (a fat comic book font based on vintage 1950s ads) and Marcellus Pro (a flared roman inscriptional typeface with both upper and lower case, originally published in 2012 by Astigmatic).
Typefaces from 2014: Franken Jr AOE Pro (inspired by the title screen from the 1966 Hanna Barbera cartoon Frankenstein Jr), Good Eatin Pro AOE (inspired by the title screen from the 1942 Warner Bros. cartoon Dog Tired), Ghostkid AOE Pro (comic letter style).
Typefaces from 2015: Shanks Antique 5 AOE (after the newspaper typeface Memorial (1865, Stevens, Shanks & Sons)), Reliquaire AOE (a somber blackletter typeface inspired by Memorial (1881, Boston Type Foundry)).
Typefaces from 2016: Mailuna Pro AOE (a gothic sans), Kentish AOE Pro (art deco). Reardon AOE (a digitization of a film typeface called Joyce Black by LetterGraphics), Berkmire AOE (1970s style robot-inspired techno font), Blackheath Pro AOE (this typeface started as a digitization of a film typeface called Roberts Square by LetterGraphics), Delaware Pro AOE (art deco), Rutland AOE (a futuristic font that is a digitization of a film typeface called Maccaro by LetterGraphics). In 2016, Brian J. Bonislawasky and Jim Lyles published the rugged octagonal mega typeface family Tradesman at Grype. In 2017, they added the art deco typeface Cowling Sans (which is based on alphabet from "Lettering for Commercial Purposes" by Wm. Hugh Gordon).
View Astigmatic's typeface library. View the typefaces made by Brian Bonislawsky.
Fontsquirrel link. Dafont link. Fontspace link. Creative Market link. [Google]
During his studies at York College Of Pennsylvania, Perkasie, PA-based Austin Dimmig designed the hexagonal typeface Hexface (2016, FontStruct). [Google]
Philadelphia, PA-based designer of the modular futuristic typeface Beams (2016). Behance link. Dafont link. [Google]
Pennsylvanian creator of the free hairline font Perle de Rosée (2013) and the scratchy Scrawny Norah (2016).. Dafont link. [Google]
Bethlehem, PA-based designer of the lively hand-printed font Birwin Pro (2016). Behance link. [Google]
Graphic design student in Philadelphia, who made the display typeface Salber (2012). [Google]
Designer and illustrator. A graduate of Tyler School of Art's MFA graphic and interactive design program, she spent her formative years in Louisville, Kentucky. Currently she teaches at Philadelphia University and moonlights as a freelance designer and illustrator. Her Kalakari alphabet (ornamental caps with an Indian look) is simply stunning. It received the first place award in the 2009 AIGA Center for Cross-Cultural Design Competition. [Google]
In 1796, Archibald Binny (ca. 1762-1838) and James Ronaldson (1769-1841 or 1842) (some say 1768-1842) started the first permanent American type foundry in Philadelphia in 1796, called Binny&Ronaldson. James, a business man from Edinburgh was the financial fhalf of the pair. In 1809 and 1812, they published America's first specimen book. The only complete copy of this book is at the Rare Book and Manuscript Library of Columbia University, and is entitled "A Specimen of Metal Ornaments" (Philadelphia, Fry and Kammerer, 1809). MyFonts page.
MyFonts sells Isabella, a font by ATF/Kingsley that can be traced back to Binny&Ronaldson. It also offers Really Big Shoe NF (Nick Curtis, 2009), which is based on Ronaldson's Oxford. Dick Pape published the free fonts Binny & Ronaldson English Two Line Orn (2010), Binny & Ronaldson Great Primer Two Pica (2010), and Binny & Ronaldson Primer Two Line Orn (2010).
James Ronaldson published Specimen of Printing Type, from the Letter Foundry of James Ronaldson, Successor to Binny&Ronaldson; Cedar, Between Ninth and Tenth Streets, Philadelphia (Philadelphia: J. Ronaldson, 1822). Acquired by Johnson&Smith in 1833, it became L. Johnson&Co. in 1843, and finally MacKellar, Smiths&Jordan in 1867. The latter company was the largest typefounder in America when in 1892 it was amalgamated with many others into ATF. [Google]
[L. Jake Jacobson]
Brama Computing has two Cyrillic fonts for Slavists: "Constantin" and "Methodius" in TrueType and Type One formats. Designed by L. Jake Jacobson in 1994 at the University of Pittsburgh. [Google]
[The Design Cubicle]
Brian J. Bonislawsky
Born in 1973 in Pittsburgh, PA, Brian Bonislawsky has been involved in many type design projects and created many foundries.
- He started out and became known for Astigmatic One Eye Typographic Institute (or: AOE, or: Astigmatic One Eye, or: Astigmatic), which offered about half of its large collection of fonts for free. Fontspace link. FontShop link. Astigmatic is located in Las Vegas, NV.
- Versus Twin was established by Brian Bonislawsky and Brian Jaramillo in 2004. It produced about 12 typefaces in all.
- Breaking The Norm (or: BTN) was started by Brian Bonislawsky and Stuart Sandler ca. 2005. It offers about 500 typefaces, many of which are in a handwritten style.
- Monogram Fonts Co. (or: MFC) was started ca. 2005, and is also located in Las Vegas, NV. It specializes in monogram-style fonts, whichare often ornamental and/or Victorian.
- In 2007, Debi Sementelli and Brian set up Correspondence Ink, which saw its first font, Belluccia, appear on MyFonts in 2011.
- In 2010-2011, Brian placed some free fonts at the Google Directory.
View the typefaces made by Brian Bonislawsky. [Google]
Brian J. Bonislawsky
[Astigmatic One Eye]
Brian M. Zick
Newton County, AR-based designer (b. 1991, PA) of the Times-Roman like family Neuton (2010-2011, which contains both Latin and Hebrew versions; free at Google Web Fonts), of the Helvetica clone Zikketica (2010), of Alpine Text (2011, a sans), of Lubitel (2011, Hebrew face), of Takt (2011), of Recut (2011), and of the ultra-fat titling font Zut (2010).
Fontspace link. Dafont link. Kernest link. My own link to him. Google font directory link. Font Squirrel link. Devian tart link. Klingspor link. [Google]
Brian Nikonow (b. Pennsylvania) is a graphic designer. Creator of a compass and ruler typeface in 2012. [Google]
Bruce S. Cridlebaugh
[Highway Sign of the Week]
Bruce Shanker is from Warminster, PA. At Kensington High in Philadelphia, he designed ClassifiedDingbats in 1993. Other fonts by him: KensingtonDingbats, KensingtonExtraDingbats, QueueBall, StarsOfDavid, Eightball, KensingtonGeometry. He published sometimes under the name "Font Depot". Most of his fonts are also in the zip file here. [Google]
Bruce Type Foundry
Founded in New York in 1813, and acquired by ATF in 1901, this foundry made fonts such as Bruce Old Style (now Bitstream), Madisonian (now available from Présence Typo), and Old Style 7 (Linotype, Adobe). Also called D.&G. Bruce, George Bruce, George Bruce&Co., George Bruce's Son, George Bruce's Son&Co., and V.B. Munson. They published a 592-page specimen book in 1901: Bruce Type Foundry: Our Handy Book of Types, Borders, Brass Rule and Cuts, Printing Machinery&General Supplies.. In 1869, George Bruce (b. 1791, Edinburgh, Scotland; d. 1866, New York) published An abridged specimen book Bruce's New York Type-Foundry (1869), now available as a free Google book. Page with specimen of Great Primer Ornamented No. 5, Meridian Black Open (blackletter), Canon Teutonic Ornamented, Small Pica No. 2, Double Pica Graphotype, all taken from An Abridged Specimen of Printing Types Made at Bruce's New-York Type-Foundry (1868) and stolen from Luc Devroye's web site. Fists by the Bruce Foundry.
Bruce Ornamented No. 6 was digitized by Iza W from Intellecta Design in 2006 as GeodecBruceOrnamented. Gold Rush (2008, FontMesa) is a family of Western style typefaces based on a Bruce type family from 1865. FontMesa also made Belgian (2008) based on a Bruce Type Foundry design from the 1860s. Bruce 532 Blackletter (2011, Paulo W, Intellecta Design) is an excessively ornamental blackletter face. Michael Hagemann's slab serif family Gold (2011) is based on Bruce's Gold Rush (1865) after removing the shadows. [Google]
During his studies at Philadelphia University in Philadelphia, PA, Bruno Forcine created the experimental typeface Bromos (2014), which was named after the chemical element bromine. [Google]
Bryan Thompson (Bryan Willis Design, Philadelphia, PA) created the fashionably thin typeface Willis in 2014. [Google]
Philadelphia, PA-based designer of the techno typeface Krypton (2016). Behance link. [Google]
Philadelphia-based designer of the experimental typeface Krypton (2014). [Google]
Edinboro, PA-based designer of the display typeface Sugarcube. [Google]
Harrisburg, PA-based designer of the modular typeface Curre (2015). [Google]
Student in Kutztown, PA, who started some type designs in 2012.
Behance link. [Google]
Cassey Baker (Philadelphia) went on an experimental tour, and created a beautiful multilined multihued geometric typeface called Arc Nemesis Rainbow Display Typeface (2012). [Google]
FontStructor from York, PA, who made The Drew Effect (2012). [Google]
As a student at State College, PA, Ceilidh Smith (Hoboken) created Disjointed Font (2015). Behance link. [Google]
During his studies in Philadelphia, Chad Rife designed a dot matrix typeface (2016). [Google]
During her studies at CMU in Pittsburgh, PA, Chang Liu created a decorative caps typeface (2015). [Google]
Graphic design student in Greensburg, PA. During her studies in 2012, she designed an unnamed geometric typeface inspired by the London Millennium Footbridge. [Google]
During her studies in Pittsburgh, PA, Charissa Pellegrini (California, PA) created a ball-terminal display typeface (2014). Earlier, she created DecoDots (2013). Old Behance link. [Google]
Kutztown, PA-based art director and illustrator. In 2010, he drew a blackletter alphabet called Kutztown Fraktur. [Google]
Charles Henry Beeler
Type designer, b. 1855 Philadelphia, d. 1934. He made a condensed sans serif issued by Mackellar, Smiths & Jordan foundry in 1887, and digitally revived as Roundhead by Dan Solo (Solotype). In fact, this type already appears in an 1883 specimen book by Mackellar, Smiths & Jordan. For a second revival of Roundhead, see LevellerNF (2014, Nick Curtis).
Still at Mackellar, he created a fist-based alphading typeface in 1891. Hansard (1887) and Telegraph (1895), Victorian designs, were also revived by Dan Solo. Manifesto Bold (2003, Dan Solo) is a further revival.
Google patent link. MyFonts catalog. Klingspor link. [Google]
Charles W. Heergeist
Type designer in Philadelphia who patented a flared serif typeface in 1898. The Keystone Typefoundry issued this as Admiral (see their 1906 specimen book, pp. 121-131). Well, a cautionary note: the people patenting the typefaces of a foundry were often not the designers, but the owners or managers, so it is not 100% certain that Heergeist designed Admiral.
Emerge BF (2009, John Bomparte) was inspired by Admiral, c.1900.
For a free digital version, we had to wait until 2012, when Stylus made a free typeface called Heergeist. That font was renamed Admiral Davy Jones a few days later by Stylus. [Google]
Hanover, PA-based designer of a blocky constructivist font poster in 2016, which is based on a font made using FontStruct. [Google]
Pottsville, PA-based Chelsea Gassert's pentagon-shaped Katto font (2015) was heavily inspired by Swedish architecture. Behance link. [Google]
At FontStruct, Chelsea Monico created the spurred Tuscan typeface Gothic Thorn (2015). Link to her work by Hannah McDevitt (Reading, PA). [Google]
Chess group at the University of Pittsburgh
Archive of many chess fonts, like the Utrecht font and several of Marroquin's fonts. Mirror. [Google]
Matt Soar points out a good one: the O'Hare airport sign is set in the typeface Chicago: There's a scene early on in the movie Meet the Fockers where Ben Stiller and his bride-to-be fly off to see her parents. The establishing shot (above) cleverly reminds us exactly which city they're leaving. Which brings us to the big, helpful sign: first, it was clearly comped in during post-production; and, second, it's typeset in, wait for it, Chicago. Now there's inspired design for you. Chicago - the font, not the city - was designed in 1983 as a system font for the Apple Macintosh by Susan Kare. Its design has absolutely nothing to do with the city of the same name. In fact, according to Kare herself, the set of fonts she designed for Apple "were named after Philadelphia suburbs", until management decided otherwise. The moral, as ever, is: don't select type based on its name. [Google]
Chris E. Lozos
During his studies in Philadelphia, Chris Fishlock designed a modular typeface (2016). Behance link. [Google]
Chris M. Kraski
Chris Kraski was born in 1983 and lives in Pittsburgh, PA.
Dafont link. Creator of the free pixelish typeface Ray Vasaurus (2011, FontStruct). Aka bobakraski. [Google]
A young graphic designer from Lancaster, PA, Chris Paveglio designed the Khan family (free, truetype, Mac and PC). [Google]
During his studies at Robert Morris University, Pittsburgh, PA-based Chris Uhren designed the connect-the-dots typeface Asterism (2016). [Google]
Philadelphia-based designer of the modular typeface Scorpio Regular (2017). [Google]
Christian Schwartz was born in 1977 in East Washington, NH, and grew up in a small town in New Hampshire. He attended Carnegie Mellon University in Pittsburgh, Pennsylvania, where he graduated in 1999 with a degree in Communication Design. After graduation, he spent three months as the in-house type designer at MetaDesign Berlin, under the supervision of Erik Spiekermann. In January 2000, he joined Font Bureau. Near the end of 2000, he founded Orange Italic with Chicago-based designer Dino Sanchez, and left Font Bureau in August 2001 to concentrate full-time on developing this company. Orange Italic published the first issue of their online magazine at the end of 2001 and released their first set of typefaces in the beginning of 2002. Presently, he is an independent type designer in New York City, and has operated foundries like Christian Schwartz Design and Commercial Type (the latter since 2009). He has designed commercial fonts for Emigre, FontShop, House Industries and Font Bureau as well as proprietary designs for corporations and publications. In 2005, Orange Italic joined the type coop Village.
His presentations. At ATypI 2004 in Prague, he spoke about "The accidental text face". At ATypI 2006 in Lisbon, he and Paul Barnes explained the development of a 200-style font family for the Guardian which includes Guardian Egyptian and Guardian Sans. FontShop's page on his work. Bio at Emigre. At ATypI 2007 in Brighton, he was awarded the Prix Charles Peignot. Jan Middendorp's interview in October 2007. Speaker at ATypI 2009 in Mexico City, where he announced his new typefoundry, simply called Commercial.
FontShop link. Font selection at MyFonts.
A partial list of his creations:
Schwartz also made numerous custom fonts: [Google]
- FF Bau (2001-2004): Art direction by Erik Spiekermann. Released by FontShop International. He says: Bau is based on Grotesk, a typeface released by the Schelter&Giesecke typefoundry in Leipzig, Germany at the end of the 19th century and used prominently by the designers at the Bauhaus. Each weight was drawn separately, to give the family the irregularity of the original, and the Super is new.
- Neutraface (2002, House Industries) and Neutraface Condensed (2004). Art directed by Ken Barber and Andy Cruz. Schwartz states: Neutraface was an ambitious project to design the most typographically complete geometric sans serif family ever. We didn't have many actual samples of the lettering that the Neutras used on their buildings, so it ended up taking a lot of interpretation. There was no reference for the lowercase, so it's drawn from scratch, looking at Futura, Nobel, and Tempo for reference. Stephen Coles reports: Reminiscent of the recent FB Relay and HTF Gotham, Neutraface is an exaggerated Nobel with nods to Bauhaus and architectural lettering. Yes, and maybe Futura? Maggie Winters, Ioana Dumitrescu, Nico Köckritz, Nico Kockritz and Michelle Regna made great Neutraface posters.
- Neutraface No. 2 (2007), discussed by Stephen Coles: By simply raising Neutrafaces low waist, most of that quaintness is removed in No. 2, moving the whole family (which is completely mixable) toward more versatile, workhorse territory. This release is surely Houses response to seeing so many examples of Neutraface standardized by its users. Also new is an inline version. Who doesn't love inline type? It so vividly recalls WPA posters and other pre-war hand lettering. There are other heavy, inlined sans serifs like Phosphate, but one with a full family of weights and text cuts to back it up is very appealing. A typophile states: Designed by Christian Schwartz for House Industries, Neutraface captures the 1950s stylings of architect Richard Neutra in a beautiful typeface meant for application on the screen, in print, and in metalwork. If you are ever in need of a classy retro face, they don't get any more polished than this.
- Farnham (2004, Font Bureau) and Farnham Headline (2006, Schwartzco). Commissioned by Esterson Associates and de Luxe Associates. Winner of an award at TDC2 2004. Based on work by Johannes Fleischman, a German punchcutter who worked for the Enschedé Foundry in Haarlem in the mid-to-late 1700s. Schwartz: Truly part of the transistion from oldstyle (i.e. Garamond) to modern (i.e. Bodoni) Fleischman's romans are remarkable for their energy and "sparkle" on the page, as he took advantage of better tools and harder steel to push the limits of how thin strokes could get. In the 1800s, Fleischman's work fell into obscurity as tastes changed, but interest was renewed in the 1990s as digital revivals were designed by Matthew Carter, the Hoefler Type Foundry, and the Dutch Type Library, each focusing on a different aspect of the source material. I think the DTL version is the most faithful to the source, leaving the bumps and quirks inherent to metal type untouched. I've taken the opposite approach, using the source material as a starting point and trying to design a very contemporary text typeface that uses the basic structure and character of Fleischman without duplicating features that I found outdated, distracting, or unttatractive (i.e., the extra "spikes" on the capital E and F, or the form of the y).
- FF Unit (2003-2004, Fontshop, designed with Erik Spiekermann). A clean and blocky evolution of FF Meta intended as a corporate typeface for the Deutsche Bahn (but subsequently not used).
- Amplitude (2001-2003, Font Bureau), Amplitude Classified and Amplitude Headline. A newspaper-style ink-trapped sans family, unfortunately given the same name as a 2001 font by Aenigma. Winner of an award at TDC2 2004. The typeface selected by the St Louis Post Dispatch in 2005. One of many agates (type for small text) successfully developed by him. This page explains that they've dumped Dutch 811 and Bodoni and Helvetica and Franklin Gothic and News Gothic (whew!) for various weights of Amplitude, Poynter Old Style Display and Poynter Old Style Text. AmplitudeAubi was designed in 2002-2003 by Schwartz and Font Bureau for the German mag AutoBild.
- Simian (2001, House Industries): SimianDisplay-Chimpanzee, SimianDisplay-Gorilla, SimianDisplay-Orangutan, SimianText-Chimpanzee, SimianText-Gorilla, SimianText-Orangutan. Designed at Font Bureau. Art Direction by Ken Barber and Andy Cruz. Schwartz: "Although Simian's roots are in Ed Benguiat's logos for the Planet of the Apes movies, Simian wound up veering off in its own direction. The display styles look very techno, and we really went nuts with the ligatures, since this was one of House's first Opentype releases."
- Publico (2007): A predecessor of Guradian Egyptian. Schwartz writes: During the two year process of designing the typeface that would eventually become Guardian Egyptian, Paul Barnes and I ended up discarding many ideas along the way. Some of them were decent, just not right for the Guardian, including a serif family first called Stockholm, then renamed Hacienda after the legendary club in the Guardian's original home city of Manchester. Everyone involved liked the family well enough, but it didn't fit the paper as the design evolved, and several rounds of reworking left us more and more unsure of what it was supposed to look like. In the summer of 2006, Mark Porter and Esterson Associates were hired to redesign Publico, a major Portuguese daily newspaper, for an early 2007 launch. He asked us to take another look at Hacienda, to see if we might be able to untangle our many rounds of changes, figure out what it was supposed to look like in the first place, and finish it in a very short amount of time. Spending some time away from the typeface did our eyes a world of good. When we looked at it again, it was obvious that it really needed its "sparkle" played up, so we increased the sharpness of the serifs, to play against softer ball terminals, and kept the contrast high as the weight increased, ending up with an elegant and serious family with some humor at its extreme weights. As a Spanish name is not suitable for a typeface for a Portuguese newspaper, Hacienda was renamed once more, finally ending up as Publico. Production and design assistance by Kai Bernau. Commissioned by Mark Porter and Esterson Associates for Publico
- Austin (2003): Designed by Paul Barnes at Schwartzco. Commissioned by Sheila Jack at Harper's&Queen.
- Giorgio (2007): Commissioned by Chris Martinez at T, the New York Times Sunday style magazine. Small size versions produced with Kris Sowersby. Not available for relicensing. A high contrast condensed "modern" display typeface related to Imre Reiner's Corvinus. Ben Kiel raves: Giorgio, like the fashion models that it shares space with in T, the New York Times fashion magazine, is brutal in its demands. It is a shockingly beautiful typeface, one so arresting that I stopped turning the page when I first saw it a Sunday morning about a year ago. [...] Giorgio exudes pure sex and competes with the photographs beside it. The designers at T were clearly unafraid of what it demands from the typographer and, over the past year, kept on finding ways to push Giorgio to its limit. Extremely well drawn in its details, full of tension between contrast and grace, it is a typeface that demands to be given space, to be used with wit and courage, and for the typographer to be unafraid in making it the page.
- Empire State Building (2007): An art deco titling typeface designed with Paul Barnes for Laura Varacchi at Two Twelve Associates. Icons designed by Kevin Dresser at Dresser Johnson. Exclusive to the Empire State Building.
- Guardian (2004-2005): Commissioned by Mark Porter at The Guardian. Designed with Paul Barnes. Not available for relicensing until 2008. Based on an Egyptian, this 200-style family consists of Guardian Egyptian (the main text face), Guardian Sans, Guardian Text Egyptian, Guardian Text Sans and Guardian Agate.
- Houston (2003): Commissioned by Roger Black at Danilo Black, Inc., for the Houston Chronicle. Schwartz: As far as I know, this typeface is the first Venetian Oldstyle ever drawn for newspaper text, and only Roger Black could come up with such a brilliant and bizarre idea. The basic structures are based on British Monotype's Italian Old Style, which was based on William Morris's Golden Type. The italic (particularly the alternate italic used in feature sections) also borrows from Nebiolo Jenson Oldstyle, and there is a hint of ATF Jenson Oldstyle in places as well.
- Popular (2004): Commissioned by Robb Rice at Danilo Black, Inc., for Popular Mechanics. An Egyptian on testosterone.
- Stag (2005): Commissioned by David Curcurito and Darhil Crooks at Esquire. Yet another very masculine slab serif family. Schwartz writes I showed them a range of slab serifs produced by French and German foundries around 1900-1940, and synthesized elements from several of them (notably Beton, Peignot's Egyptienne Noir, Georg Trump's Schadow, and Scarab) into a new typeface with a very large x-height, extremely short ascenders and descenders, and tight spacing. Also, we find Stag Sans (2007, Village) and Stag Dot (2008, Village).
- Fritz (1997, Font Bureau). Schwartz: "Fritz is based on various pieces of handlettering done in the early 20th century by Ozwald Cooper, a type designer and lettering artist best known for the ubiquitous Cooper Black. Galapagos Typefoundry's Maiandra and Robusto are based on the same pieces of lettering."
- Latino-Rumba, Latino-Samba (2000, House Industries). Art Direction by Andy Cruz. Designed with Ken Barber. Jazzy letters based on an earlier design of Schwartz, called Atlas (1993).
- Pennsylvania (2000, FontBureau). A monospaed family inspired by Pennsylvanian license plates. Schwartz: "Thai type designer Anuthin Wongsunkakon's Keystone State (1999, T26) is based on the exact same source."
- Luxury (2002, Orange Italic, codesigned with Dino Sanchez). Gold, Platinum and Diamond are the names of the 1930s headline typefaces made (jokingly) for use with luxury items. The six-weight Luxury family at House Industries in 2006, contains three serif text weights called Luxury Text, as well as three display typefaces, called Platinum (art deco), Gold, and Diamond (all caps with triangular serifs).
- Los Feliz (2002, Emigre). Based on handlettered signs found in LA.
- Unfinished typefaces: Masthead, Reform, Bitmaps, Bilbao, Boyband, Addison, Elektro, Sandbox, Vendôme, Bailey.
- Fonts drawn in high school: Flywheel (1992, FontHaus), Atlas (1993, FontHaus, a "a fairly faithful revival of Potomac Latin, designed in the late 1950s for PhotoLettering, Inc"), Elroy (1993, FontHaus), ElroyExtrasOrnaments, Hairspray (1993, "a revival of Steinweiss Scrawl, designed in the mid-1950s by Alex Steinweiss, best known for his handlettered record covers": HairsprayBlonde, HairsprayBrunette, HairsprayPix, HairsprayRedhead), Twist (1994, Precision Type and Agfa), Zombie (1995, Precision Type and Agfa), Morticia (1995, Agfa/Monotype), Gladys (1996, an unreleased revival of ATF's turn-of-the-century Master Script).
- Ant&Bee&Art Fonts (1994-1995): three dingbat fonts, Baby Boom, C'est la vie, and Raining Cats&Dogs, based on drawings by Christian's aunt, Jill Weber. Released by FontHaus.
- Digitizations done between 1993-1995: Dolmen (Letraset), Latino Elongated (Letraset), Regatta Condensed (Letraset), Fashion Compressed (Letraset), Jack Regular (Jack Tom), Tempto Openface (Tintin Timen).
- Hand-tuned bitmap fonts: Syssy, Zimmer's Egyptian, Elizzzabeth, Newt Gothic, Trags X, Tibia, Fibula, Tino, Digest Cyrillic (based on Tal Leming's Digest). Free downloads of the pixel typefaces Newt Gothic, Tibula and Fibia here.
- At Village and Orange Italic, one can get Local Gothic (2005), now in OpenType, a crazy mix of Helvetica Bold, Futura Extra Bold, Franklin Gothic Condensed and Alternate Gothic No. 2. It is a collection of alternates one can cycle through---thus a for of randomization.
- FF Oxide (2005), a Bank Gothic style stencil family. FF Oxide Light is free!
- Graphik (2008), a sans between geometric and grotesk made for thew Wallpaper mag. Kris sSwersby writes: In a sweltering typographic climate that favours organic look-at-me typefaces bursting with a thousand OpenType tricks, Graphik is a refreshing splash of cool rationality. Its serious, pared-back forms reference classic sans serifs but remain thoroughly modern and never get frigid. Any designer worth their salt needs to turn away from the screen&pick up the latest copy of Wallpaper* magazine. There you will find one of the most beautiful, restrained sans serifs designed in a very long time.
- In 2011, he created a 22-style revival of Helvetica called Neue Haas Grotesk (Linotype), which offers alternates such as a straigt-legged R and a differently-seriffed a. It is based on the original drawings of Miedinger in 1957.
Christina Minopoli (Philadelphia, PA) is a graduate of Philadelphia University. She created the dusty script typeface Swarm (2013). [Google]
In 2012, Christine DiChiara (Scranton, PA) will graduate from York College of Pennsylvania with a BA degree in graphic design. She created the hand-printed typeface Jane (2011, FontStruct). [Google]
Christopher Saur (1695-1758) began a successful German-American printing business in the American Colonies in 1738, from Pennsylvania to Georgia. He printed the first bible in America (in German, in Germantown (!), 1743), using a Fraktur font from Frankfurt's Luther Foundry. He is credited with the first type specimen printed in America, ca. 1740, Philadelphia. Check also his almanac from 1754. [Google]
Michael Everson claims that a certain Christopher Young from Pittsburgh first digitized Gaeilge in 1991, based on the Celtic font Newman. This Christopher Young is not the same as the Australian designer of Elisa. [Google]
Graphic designer in Pittsburgh, PA, who created Pinstripe Suit (2014), a tuxedoed art deco typeface. [Google]
Clinton C. Canan
The Columbus, OH-based Zaner-Bloser Company published a penmanship book to celebrate the life of a Zanerian scholar, C.C. Canan, C.C. Canan Collection of Penmanship---The Canan Book (1921, The Zaner-Bloser Company, Columbus, OH). Clinton C. Canan was a penman born in Pleasantville, PA, in 1873. In bad health, he died at a young age in 1904 in Bradford, PA. Sull writes about him that he was equaled by no living penman in delicate, accurate, free-hand ornamental penmanship. He attended the Zanerian College in 1893, and taught penmanship for two years at Cleary College in Ypsilanti, MI. Later he taught penmanship at Cedar rapids Business School in Iowa and at the Shissler College in Norristown, PA. Samples of his penmanship: i, ii, iii. Letterhead. [Google]
Clinton H. Clark
American penman, b. New York, 1864, d. 1937. He taught in business schools in san Antonio, TX, Buffalo, NY, Hutchinson, KS, and Sioux City, IA. From 1916 until his death he was at the Strayer's Business School in Philadelphia. In 1893 he won first prize in a world-wide contest conducted by the Penman's Art Journal. Author of The Clinton Clark Scrapbook. Parts two and three are here and here. [Google]
Hazleton, PA-based designer of the outlined typeface Goober (2014). [Google]
Philadelphia-based foundry, also called E. Starr&Son, and North American Type Foundry. [Google]
York, PA-based FontStructor who made the extra-condensed display typefaces Riccardi No. 1 (2013) and Riccardi Sans (2013), which were inspired by the narrow art deco typefaces of the 1930s. [Google]
Corporate Signature Fonts
Arrow (Bold, Medium) is a free corporate type family at PPG Industries in Pittsburgh. [Google]
Correspondence Ink was set up in 2007 by Brian Bonislawsky (b. 1973, Pittsburgh, PA) and Debi Sementelli (b. Erie, PA). Together, they created the formal calligraphic family Belluccia (2011). Belluccia Ornaments has plenty of wedding invitation dingbats to accompany the font. Belluccia Bold was published in 2014.
Typefaces from 2012: DomLovesMary (a wedding script family) is named in memory of Dominic and Mary Sementelli, Debi's in-laws.
In 2015, Brian Bonislawsky and Debi Sementelli codesigned Fratello Nick.
In 2013, Debi Sementelli started Debi Sementelli Type Foundry.
Creative Market link. Klingspor link. [Google]
Cartoonist in Philadelphia and/or New Jersey (b. 1992), who created the dot matrix typeface Bokeh (2013). Dafont link. [Google]
Professor at Marywood University since 2000, where he teaches the history of graphic design. Designer who runs Go Welsh Design in Lancaster, PA. Walsh contacted Alvin Lustig's widow, AIGA Medalist Elaine Lustig Cohen (NY) to suggest collaborating on a complete typeface based on the few existing characters of Alvin Lustig's geometric typeface Euclid (1939). Together Lustig Cohen and Welsh, utilizing Alvin's existing grid, created all the necessary characters, punctuation and glyphs, and renamed the font Lustig Elements. The face has been cut as wood type by Hamilton Wood Type & Printing Museum in 2015, and there is a digital version from P22 in 2016. [Google]
A University of Pennsylvania site where a great free cuneiform font, CuneiformComposite (2004-2007) can be found. It was created and is maintained by Steve Tinney. Alphabetician and font designer Michael Everson of Evertype corrected many glyph problems. [Google]
Pittsburgh, PA-based creator (b. 1995) of the grungy typeface Rat Scratch Tall (2015). [Google]
Senior graphic designer at Urban Outfitters, and a sometimes adjunct professor at Philadelphia University. Ribbon Numerals and Ribbon (2011, Lost Type) are free display typefaces.
In 2012, he published Dude at Lost Type, a reverse contrast Western typeface described by Dan as follows: Whiskey drinking, train hopping, fist fighting, hard loving, prison breaking, men and women, who poured their hearts out in song. See also Dude Hank Pro (2014).
Behance link. [Google]
Dan M. Zadorozny
Eagleville, PA-based designer of the modular typeface Archenemy (2012). [Google]
Designer of Top Hat (2013), a versatile display face. This was done while Danielle was studying at Kutztown. She is located in Pocono Pines, PA. [Google]
David J. Birnbaum
David Ramsay Jr. studied at Millersville University of Pennsylvania, class of 2013. Creator of the free display font Wind Tunnel (2013). The free experimental font Cutupica (2013) was created by taking capitals from Helvetica Bold, diving each character into quadrants, and rotating opposing quadrants 180 degrees.
Behance link. [Google]
Graphic designer in Philadelphia, who created the experimental typeface Fondue (2012). [Google]
[Chris E. Lozos]
Chris Lozos (aka Dezcom and Dezcom Typefaces) is a Washington, DC-based (well, now Falls Church, VA-based) graphic designer and Vietnam veteran, b. 1944, Pittsburgh, PA. He studied Design at Carnegie Mellon University where he earned a BFA in Graphic Design (1966). While at CMU, he studied with calligraphers Arnold Bank and Howard Glasser, who both brought out the love of historic letter-forms and learned to set hot metal type in the Laboratory Press established there by Jack Stauffacher. Chris also was influenced by guest professors Hermann Zapf, Rudy DeHarek, Martin Krampen and Gui Bonnsieppe (of the HfG Ulm). He attended Graduate School in Visual Communication Design at the Ohio State University from 1972 through 1974.
Flickr page. . [Google]
Diane Faye Zerr
Reading, PA-based designer. [Google]
Drexel University: CoDA (College of Design Arts)
John Langdon teaches typography in CoDA's Graphic Design program. [Google]
Tenfold Visual is Dustin Kemper's Philadelphia-based design studio specializing in branding, graphic design, web design, art direction, and digital illustration.
Dustin created the occult alchemic typeface Dark Harbor (2012), and the display typeface Solid Gold (2012).
Behance link. Behance link. [Google]
Steven Powell's Pennsylvania-based company. Designers and sellers (for 40USD) of the Kidnotes font: notes with letters embedded in them for students. Also made Metronome and MetTimes: "A collection of number sets and built-in music characters combined with MetTimes lets you mix text with markings and music symbols without changing fonts." Free demo fonts for Kidnotes, Metronome and DVMarticulations. Alternate URL. [Google]
Graphic Designer born and raised in Pittsburgh specializing in sports identity, logo design and branding. In 2014 he graduated from California University of Pennsylvania with a Bachelor of Science in Graphic Design. As Dylan Winters Design in Uniontown, PA, he sells the slabby display typeface Aquilae Slab Serif (2015). Creative Market link. [Google]
Earl A. Lupfer
Born in Irvona, PA, in 1890, Earl Lupfer studied at the Zanerian College of Penmanship in 1908 and 1908, and joined the faculty there afterwards. He taught penmanship into the 1950s and was known as an inspirational teacher. He was the last principal of the Zanerian College. He died in 1974. [Google]
Designer (b. 1990, Pennsylvania) of the gothic lettering typeface Doom (2003). [Google]
New Yorker, b. Bethlehem, PA, 1905. In 1928, Rondthaler and Harold Horman cofounded Photo-Lettering Inc in New York City---it started for real in 1936. An excellent typographer, he cofounded ITC in 1970 with with Herb Lubalin and Aaron Burns.
Editor/author of Life with Letters--As They Turned Photogenic , and Alphabet thesaurus; a treasury of letter designs (1960, Reinhold, NY). Volume 3 was published in 1971.
In 1975 he was awarded the TDC Medal, the award from the Type Directors Club. In 2007, House Industries made this funny clip. Sadly, Ed died in August 2009. [Google]
Edwin C. Ruthven
Type designer (b. 1811) from Philadelphia, who filed some designs with the US patent office. All were assigned to MacKeller Smiths&Jordan. These include an unnamed ornamental blackletter (1881), Shadowed Sunbeams (1878), He also filed this for David Wolfe Bruce of New York: an unnamed blackletter (1888), an unnamed texture face (1886). With Rudolph Gnichwitz, he created an unnamed border type in 1889 for the Mather Manufacturing Company of Philadelphia. [Google]
Lancaster, PA-based designer of Kiddie Sampler (2011) and Elaine (2006, curly hand-printed face).
In 2012, she went commercial via Creative Market. Her fonts there include Kiddie Things Dingbats and Victoriana Caps (2012).
Fontspace link. [Google]
Elaine Guidero earned an M.S. in geography from Penn State, with a thesis on spatial cognition. As a graduate student in geography at the Pennsylvania State University, Elaine Guidero brings together cartography and typography. Her dissertation in 2013-2014 concerns timelessness and legibility in cartographic typography, with an emphasis on national mapping. Her other academic interests include cartographic design, the sociocultural aspects of authoritarian states, and geographies of consumption.
Speaker at ATypI 2013 in Amsterdam: Typography and nationalism: the typographic landscape through a century of official cartography. [Google]
American artist, b. 1988, located in warminster, PA. Dafont link. Creator of the blackletter-inspired typefaces Lifecraft (2008, metal band face) and Kingdom Hearts (2008, tattoo face). [Google]
Kunkletown, PA-based designer of the free hand-crafted typeface Blue Sunn (2011). Behance link. [Google]
Elmer Ward Bloser
Pennsylvanian penman, 1865-1929. He became penmanship instructor at G.W. Michael's Pen Art Hall in Oberlin, OH. The school and Bloser relocated to Delaware, OH. He worked briefly with Platt Spencer Rogers in 1885. He purchased a third interest in the Zanerian Art College in 1891---the latter was founded in 1888 by C.P. Zaner (who also had a third). The third third belonged to Zaner's cousin, Lloyd M. Kelchner. After Kelchner left, Zaner and Bloser were partners of the Zanerian College and the Zaner and Bloser Company. Zaner died in 1918 or 1919, and Bloser ran it by himself until his own death in 1929. He wasa gentle hard-working and talented penman and a great teacher. Bloser and Zaner were two of America's most influential penmen. Picture of Bloser, Zaner and Kelchner. [Google]
Designer in Philadelphia, who is working on a thin pointy typeface called Smee (2012). Dribble link. [Google]
Graphic designer in Oxford, PA, who made the avant-garde typeface Cut Narrow (2011). [Google]
Sacramento, CA-based foundry established in 1984 by Zuzana Licko and Rudy Vanderlans. They were "in" during the grungy early 1990s, but ran out of steam and out of fashion around the turn of the century. They had their own magazine, and were in the limelight in the 1990s. Lea Chapon's thesis at Estienne in 2006 was entitled Emigre : typographie et critique de la typographie---strangely, it was removed from the school's web site---Emigregate? The typophiles are not gentle with their critique. In the collection, we find these fonts: Arbitrary (1992), Awkward (1991), Berkeley (1990), Citizen (1990), Elektrix (1990), EmigreEight (1990), EmigreFifTeen (1990), EmigreFourTeen (1990), EmigreTen (1990), EmperorEight (1990), EmperorFifTeen (1990), EmperorNineTeen (1990), EmperorTen (1990), IndustrySans, KubotaFont (1991), Lunatix (1990), Marvelous (1991), Matrix (1988-1991), NeoTheo, Oblong (1990), STICadillac (1990), Sample (1990), Senator (1990), Simplex, TemplateGothic (1991), TotallyGlyphic (1990), TotallyGothic (1990), Transportation (1990), UniversalEight (1990), UniversalNineTeen (1990), VariexBold (1990), VariexLight (1990), VariexRegular (1990), Zenith (1990). Also, by designer:
- Nancy Mazzei and Brian Kelly: Backspacer (1993).
- Zuzana Licko: BaseMono (1997, a monospaced family), BaseNine (1995), BaseTwelve (1995), Dogma (1994), Filosofia (1996, Emigre's (unicase) version of Bodoni), Hypnopaedia (1997), Journal (1993), the Lo-Res family (pixel fonts at sizes 9, 12, 15, 21, 22, 28, made in 2001), Modula (1990-1995), MrsEaves (1996, Emigre's version of Baskerville), Narly (1993), Program OT (2013, a rounded sans family), Quartet (1993), SodaScript (1995), Solex (2000), Tarzana (1998), Triplex (1990), Whirligig (1994).
- Bob Aufuldish and Eric Donelan: BigCheese (dings, 1993), ZeitGuys (1994, funny dingbats).
- John Hersey: Blockhead (1995, Alphabet and Illustrations), Thingbat (1995).
- Conor Mangat: BoksHeavy (1994), BoksThin (1994), Platelet (1994, inspired by California license plate systems---organic and quite dysfunctional).
- John Downer: Brothers (1999), Council (1999), Triplex Italic (1990), Vendetta (1999).
- Sibylle Hagmann: Cholla (1999).
- Frank Heine: DallianceFlourishes (2001), DallianceRoman (2001), DallianceScript (2001), Motion (1993), OaklandEight (1990), OaklandFifTeen (1990), OaklandSix (1990), OaklandTen (1990), Remedy (1992).
- P. Scott Makela: DeadHistory (1994).
- Miles Newlyn: Democratica (1992-1993), Missionary (1992), SabbathBlack (1994).
- Rodrigo Cavazos: EideticNeo (2000).
- Jonathan Barnbrook: Exocet (1992), Manson (1993), Mason (1993).
- Edward Fella: FellaParts (1993), Outwest (1993).
- Jeffery Keedy: KeedySans (1991).
- Mark Andresen: NotCaslonOne (1995).
- Claudio Piccinini: Ottomat (1996).
- Rudy VanderLans: Suburban (1994).
View Zuzana Licko's typefaces. Alphabetical listing of Zuzana Licko's typefaces. [Google]
During her studies at California University of Pennsylvania in California, PA, Emily Conti (Manor, PA) created the display typeface Distraction (2014). [Google]
During her studies at Kutztown University of Pennsylvania, Emily Schmid designed a blocky Le Corbisier-inspired typeface in 2017. [Google]
Student in Edinboro, PA, who is working on this typeface. He is also working on Kaled Sans (2006), partly inspired by City and Briem's Akademi. [Google]
Pittsburgh, PA-based creator of a few hand-printed poster typefaces in 2014. [Google]
Graphic designer at Emanart in Scranton, PA, who created a decorative alphabet in 2014. [Google]
During her studies in 2013 at York College of Pennsylvania in Collegeville, PA, Erica Arantowicz created the typeface T3ch over at FontStruct. [Google]
Erica Hartman (Oley, PA) is an illustrator and type designer. The stitchy typeface Salem (2012) is based on an alphabet cross stitch inspired by the ladies of the womens guild at Salem, her home town. Salem was made with the aid of FontStruct. [Google]
During her studies in Lancaster, PA, Erica Slough designed the display typeface Pisces (2014). [Google]
During her studies, Greensburg, PA-based Erica Yohman designed the grungy typeface Tasseography (2017). [Google]
Pittsburgh-based singer and songwriter who via Chank's place produced her own handwriting as a (free) font, called GFY Erin Burkett (2004, at Chank's). [Google]
Eva Surany is from Philadelphia. She designed the free typewriter typeface Dusseldorf (2004). [Google]
Evertype (was: Everson Typography)
Michael Everson's (b. Norristown, PA, 1963) brilliant pages on Celtic and other languages and on font standards, featuring the following sub-pages:
- CeltScript describes Michael's contributions to unicode in general and to Celtic typography in particular. He created (commercial) Celtic fonts such as Gaillimh (1989, bitmap font), Ceanannas (1993), Duibhlinn (1993, after Monotype Series 24), Everson Mono Gaelic (1995, hybrid sans), Acaill (1997, based on the Watts type, an early 19th century transitional angular form of Gaelic type; it was renamed and further developed into a unicode-compliant typeface called Dumha Goirt in 2011), Corcaigh (1997), Darmhagh Underwood (1993, a "rough" monowidth font based on the typeface used on the old Underwood manual typewriter), and Loch Garman (1999, after Baoithin, Colm Ó Lochlainn). He is working on Cluain (Gaelic modern grotesque), Cois Life (his take on the hybrid Queen Elizabeth type), Darmhagh (Underwood), Doolish (Gaelic modern round, after Biggs), Lóbháin (after Louvain), Páras (after the Paris type).
- Everson Mono is a huge free monospaced font family started in 1994, but still being adjusted in 2010. As Michael puts it, Everson Mono is a simple, elegant, monowidth font. I designed it primarily to make glyphs available in support of all the non-Han characters in the Basic Multilingual Plane of ISO/IEC 10646-1 (BMP = Unicode, if you prefer), though I hope that users may find it a pleasant alternative to Courier and Monaco for general purposes, e-mail, and so forth. I have found it quite legible at sizes as small as 4 points. It is lighter and a bit looser than Courier.
- Ogham fonts created by Michael Everson (and free for download): Beith-Luis-Nion, Pollach, Maigh Nuad, Craobh Ruadh, Everson Mono Ogham, Cog, Crosta. Mac and PC. This page also has TITUS Ogham by Jost Gippert, and Ragnarok Ogham by David F. Nalle from Scriptorium.
- Inuktitut fonts designed by Everson include Allatuq (1998, hand-printed glyphs), Everson Mono Inuktitut, Jiniiva Maanaku, Naamajuttaaqqauq, Sikaagu.
- The Sutton signwriting fingerspelling fonts created by Everson are free.
- List of language lists.
- Fonts for the Sami language of the Barents region.
- Gaelic Typefaces: History and Classification.
- Armenian encoding on the web.
Elsewhere, one can find rare Everson creations such as Musgrave (1994).
MyFonts sells these typefaces:
- Loch Garman. Everson: : Loch Garman is based on Baoithmn, designed by Viktor Hammer and Colm Ó Lochlainn; Baoithmn was based on Hammerschrift, which was related to Hammer's American Uncial -- though Loch Garman is more authentic Gaelic font than American Uncial. He continues: American Uncial sucks. It is inauthentic and it's not even attractive. It has a "dot" on the i (which it shouldn't) which makes it look like an í (which it doubly shouldn't). Hammer Uncial isn't much better. In my own view, the only one of Hammer's Uncials that I have seen that was any good was Pindar, and then only in its reworking as Baoithín (with Colm ÓÓ Lochlainn).
- Teamhair (1993). A monowidth font based on the typeface used on the old Sears Tower Gaelic manual typewriter.
- Teamhair Tower (1999). The rough version of Teamhair.
- Dumha Goirt.
- Doire (1993). A monowidth font based on the typeface used on the old Royal Gaelic manual typewriter.
- Doire Royal (1999). A rough version of Doire.
- Darmhagh Underwood.
His bio, in his own words: Michael Everson, based in Westport, Co. Mayo, is an expert in the writing systems of the world. He is active in supporting minority-language communities, especially in the fields of character standardization and internationalization. He is one of the co-authors of the Unicode Standard, and is a Contributing Editor and Irish National Representative to ISO/IEC JTC1/SC2/WG2, the committee responsible for the development and maintenance of the Universal Character Set. He is a linguist, typesetter, and font designer who has contributed to the encoding in of many scripts and characters. In 2005 and 2006 his work to encode the Balinese and N'Ko scripts was supported by UNESCO's Initiative B@bel programme. Michael received the Unicode "Bulldog" Award in 2000 for his technical contributions to the development and promotion of the Unicode Standard. Active in the area of practical implementations, Michael has created locale and language information for many languages, from support for Irish and the other Celtic langauges to the minority languages of Finland. In 2003 he was commissioned by the United Nations Development Programme to prepare a report on the computer locale requirements for Afghanistan, which was endorsed by the Ministry of Communications of the Afghan Transitional Islamic Administration. He prepared a number of fonts and keyboard layouts for Mac OS X 10.3 (Panther). Michael moved to Tucson, Arizona at the age of 12. He studied German, Spanish, and French for his B.A. at the University of Arizona (1985), and the History of Religions and Indo-European Linguistics for his M.A. at the University of California, Los Angeles (1988). He moved to Ireland in 1989, and was a Fulbright Scholar in the Faculty of Celtic Studies, University College Dublin (1991). In 2010, he made Timenhor, a Latin-script font whose glyphs are based on the uncial letterforms of Coptic manuscripts. Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik.
Dafont link. View Michel Everson's commercial typefaces. [Google]
Evolution Publishing and Manufacturing
Commercial site (Evolution Publishing and Manufacturing, Huntingdon Valley, PA) offering four old Italian Scripts: Etruscan, Oscan, Umbrian, Volscian. 15 USD per font. Mac only. [Google]
This explains the mostly handwritten Fraktur documents and folk art practiced by Pennsylvania Germans principally from the mid-eighteenth to the mid-nineteenth centuries. By Joel Clemmer in St. Paul, MN. [Google]
At University of the Arts, Philadelphia, PA, Frederick Lee created the all caps fashion mag style typeface Claire (2014), which is named after his mother. In 2015, he created the geometric sans typeface Kano. Behance link. [Google]
Austrian artist (b. 1919) affiliated with the Wiener Schule des Phantastischen Realismus, who created exquisite detailed drawings of figures involved in any imaginable form of intercourse. These are mainly initial caps, such as in Ulysses Alphabet (Dortmund, 1983). From 1949 until 1984, he was a professor at Bryn-Mawr-College in Philadelphia. [Google]
During her studies at Kutztown University in Kutztown, PA, Gabrielle Shelley created Schematic (2013), a typeface family based on electrical circuitry. [Google]
GalloFonts (was: Graphics by Gallo)
GalloFonts is part of Graphics by Gallo, founded in 1974 by Gerald Gallo (b. Lucernemines, PA, 1941), and based in Bethesda, MD. The fonts: Bullish (squarish), Display Brutal Rough (2015), Display Black Serif Rough (2015), Pristine Light (2014: caps only squarish sans family), Display Pump (2014), Display University (2005, athletic lettering), Angulatte Light, Angulatte Medium, Angulatte Bold, Anniversary Seals (2003), Basic Bullets, Blooming Ornaments (2008), Brashee Regular, Brashee Bold, Calendar Font One, Calendar Font Two, Calendar Font Three, Carved Initials, Chiseled Initials, Cleancut, Dexterous (2010, art nouveau), Diamond Monogram - 2 Characters, Diamond Monogram - 3 Characters, Display Black Serif (2010, angular), Display Dots Five (2010), Display Dots Six (2010), Display Grungy (2010), Display Robust (2010), Dooddle, Embossed Shallow, Embossed Medium, Embossed Deep, GG Casual Light (2002, was Gallo Casula: hand printing family), GG Casual Medium, GG Casual Bold, GG Dingbats (was Gallo Dingbats, like Zapf Dingbats), GG Serif (1993, was Gallo Serif), Geometric Arrows, Geometric Ornaments, Gnarlee, Greetings, Home Sweet Home, Isometric Initial Caps - Bird's Eye View (1994), Isometric Initial Caps - Worm's Eye View, Isometric Ornaments, Jackolantern Assortment (2002) Just Bugs, Kruede Light, Kruede Regular (handwriting), Kruede Bold, Leaf Assortment (1994), Leaves Falling, Logotype, Magnificent Ornaments (2006, Victorian era decorations), Make Tracks (2002, animal footprints), Number Ornaments, Numbers 0-99 Style One - Circle Negative, Numbers 0-99 Style One - Circle Positive, Numbers 0-99 Style One - Diamond Negative, Numbers 0-99 Style One - Diamond Positive, Numbers 0-99 Style One - Square Negative, Numbers 0-99 Style One - Square Positive, Numbers 0-99 Style Two - Circle Negative, Numbers 0-99 Style Two - Circle Positive, Numbers 0-99 Style Two - Diamond Negative, Numbers 0-99 Style Two - Diamond Positive, Numbers 0-99 Style Two - Square Negative, Numbers 0-99 Style Two - Square Positive, Numbers 0-99 Style Three - Circle Negative, Numbers 0-99 Style Three - Circle Positive, Numbers 0-99 Style Three - Diamond Negative, Numbers 0-99 Style Three - Diamond Positive, Numbers 0-99 Style Three - Square Negative, Numbers 0-99 Style Three - Square Positive, Ornate Initials - Style One (2002), Ornate Initials - Style Two, Ornate Initials - Style Three, Pleasant Hand Light (2002) Pleasant Hand Medium, Pleasant Hand Bold, Precision, Rolling Ball Cursive, Serene (1993), Slender, Smiling Faces, Snowflake Assortment (1994), Snowflakes Falling (2001), Sport Numbers, Star Assortment (2002), Stature (2010, compressed sans), Swiss Folk Ornaments - Critters&Things, Swiss Folk Ornaments - Floral, Swiss Folk Ornaments - Geometric, Time Clocks, Woozee, Display Prominent (2005), Ultimate Ornaments (2005), Cross Ornaments (2005), Heraldic Creatures (2006), Victorian Leaf Ornaments (2006: great!), Quilt Patterns One (2007), Holy Ornaments (2007), Oriental Ornaments (2007), Gothic Initials One through Six (2007-2008), Interlaced Ornaments (2007), Modest Ornaments (2008), Art Nouveau Flowers (2008), Art Nouveau Ornaments (2008), Quilt Patterns Two (2008), Display Gothic (2008, blackletter), Plant Assortment (2008), Birds Flying (2009), Happy Go Lucky (2009, Victorian), Fish Fresh (2009), Display Dots One (2009, dot matrix face), Display Art Two and Three (2009, art nouveau alphabets), Display Dots Two Serif and Sans (2009, dot matrix typefaces), Display Dots Three Serif and Sans (2009), Display Dots Four Serif and Sans (2009), Display Robust (2010), Quilt Patterns Three and Four (both 2009), Gothic Initials (Seven, Eight, Nine: 2009), Carefreed (2009, a Halloween script?), Glorita (2009, casual condensed sans), Fancy Flowers (2010), Rectilinear Ornaments (2010), Display Brutal (2010, grunge), Cross Stitch Graceful (2010), Cross Stitch Regal (2011), Cross Stitch Formal (2010), Cross Stitch Discreet (2010), Cross Stitch Classic (2010), Display Dots Seven (2011), Cross Stitch Majestic (2011), Cross Stitch Elaborate (2011), Cross Stitch Medieval (2011), Cross Stitch Ornaments (2013), Display Squares One and Two (2011, gridded or dot matrix typefaces), Display Digits One through Seven (2011), Display Crisp (2012, octagonal), Blue on Blue (2012, shadow face), Green on Green (2012, 3d shadow face), White on White (2012), Orange on Orange (2012, a 3d shadow face), Victorian Ornaments (2012), Printers Plant Ornaments (2012, a floral typeface), Simple Ornaments, Numbers Style Three Diamond Positiv Regular (2012), Charisma (2013, inspired by the hand lettering used by draftsmen and architects), Display Explicit (2013), Display Uncanny (2013, unicase), Display Carlos (2013, a piano key typeface), Mighty Oaks (2013, stylized oak leaves), Sweet Hand (2014), Fast Hand (2014), Medallion Ornaments (2016), Vigorous (2016, octagonal), Heavy Duty (2016, a bold condensed sans), Tight Hand (2016), Hasty Hand (2016), Neat Hand (2016), Bullish (2017).
View Gerald Gallo's typefaces. [Google]
Designer of Coales Black (2005). He lives in Pittsburgh, PA. [Google]
Designer from Pennsylvania, b. 1985. Dafont link.
Creator of the modular geometric typeface Hemisphere GRF (2012), the squarish typeface Gavetica (2012), and the triangularly patterned typeface Trinista GRF (2012). [Google]
George B. Walsh
Type-founder (b. Edinburgh, Scotland, 1781, d. New York City, 1866). He and his brother David emigrated to the United States, where they started the Bruce Type Foundry in New York City in 1813. David was precoccupied with a new printing process, stereotyping, while George was the type-founder who created many beautiful and refined designs. Together, they invented a useful type-casting machine. In 1865, George Bruce published An abridged specimen of fonts of type. In 1848, they published Specimens of printing types / cast by Geo. Bruce&Co. Samples of typefaces: Bruce Script and Bruce Copperplate Script (1842 and 1858), Bruce Copperplate Script No. 2003 (1857), Bruce Italian Swash Script No. 2007 (1858), Victoria Textura (1865).
Quoting From Appleton's Cyclopedia of American Biography, edited by James Grant Wilson and John Fiske. 6 vols. New York: D. Appleton and Company, 1887-1889.:
Bruce, George, type-founder (proprietor of the Bruce foundry), born in Edinburgh, Scotland, 5 July, 1781: died in New York City, 6 July, 1866. He immigrated to the United States, where his brother David had preceded him in July, 1795, and at first attempted to learn the bookbinder's trade, but, his master being tyrannical and exacting, he left him, and by his brother's persuasion apprenticed himself to Thomas Dobson, printer in Philadelphia. In 1798 the destruction of Dobson's office by fire, and the prevalence of yellow fever, led the brothers to leave the city. George had yellow fever at Amboy, but recovered through his brother's care. The two went to Albany and obtained employment there, but after a few months returned to New York. In 1803 young Bruce was foreman and a contributor to the Daily Advertiser, and in November of that year printer and publisher of the paper for the proprietor. In 1806 the two brothers opened a book printing office at the corner of Pearl street and Coffeehouse slip. The same year they brought out an edition of Lavoisier's Chemistry, doing all the work with their own hands. Their industry and personal attention to business soon brought them abundant employment, and in 1809, removing to Sloat lane, near Hanover square, they had nine presses in operation, and published occasionally on their own account. In 1812 David went to England, and brought back with him the secret of stereotyping. The brothers attempted to introduce the process, but encountered many difficulties, which it required all their ingenuity to surmount. The type of that day was cast with so low a beveled shoulder that it was not suitable for stereotyping, as it interfered with the molding and weakened the plate. They found it necessary, therefore, to cast their own type. They invented a planing-machine for smoothing the backs of the plates and reducing them to a uniform thickness, and the mahogany shifting-blocks to bring the plates to the same height as type. Their first stereotype works were school editions of the New Testament in bourgeois, and the Bible in nonpareil (1814 and 1815). They subsequently stereotyped the earlier issues of the American Bible society, and a series of Latin classics. In 1816 they sold out the printing business, and bought a building in Eldridge street for their foundry. Here, and subsequently in 1818, when they erected the foundry still occupied by their successors in Chambers Street, George gave his attention to the enlargement and development of the type-founding business, while David confined his labors to stereotyping. In 1822 David's health failed, and the partnership was dissolved. George soon relinquished stereotyping, and gave his whole attention to type-founding, and introduced valuable improvements into the business, cutting his own punches, making constantly new and tasteful designs, and graduating the size of the body of the type so as to give it a proper relative proportion to the size of the letter. In connection with his nephew, David Bruce, Jr., he invented the only typecasting machine That has stood the test of experience, and is now in general use. His scripts became famous among printers as early as 1832, and retained their pre-eminence for a generation. The last set of punches he cut was for a great primer script. He was at the time in his seventy-eighth year, but for beauty of design and neatness of finish, the type in question has rarely been excelled. Mr. Bruce was a man of large benevolence, of unflinching integrity, and great decision of character. He was president for many years of the Mechanics' Institute, and of the type-founders' association, and an active member of and contributor to, the historical society, St. Andrew's society, the typographical society, and the general society of mechanics and tradesmen. [Google]
[Bruce Type Foundry]
George Buxton Lothian
[Lothian Type Foundry]
George J. Becker
Philadelphia, PA-based author of The American system of penmanship ... In ... ten numbers (1842, Uriah Hunt and Son, Philadelphia), Becker's System of Penmanship, Comprising Manual and Elementary Excercises, Business and Epistolary Writing, and Ornamental Penmanship. In Twelve Numbers. No. 10 (1856, Uriah Hunt and Son, Philadelphia), Becker's Ornamental Penmanship (1854), and Ornamental Penmanship Analytical and Finished Alphabets (1854, Uriah Hunt and Son), a lettering manual.
In 2013, James Puckett (Dunwich Type Founders) revived five typefaces from this manual as digital typefaces in his Becker Gothics collection. They include Egyptian, Egyptian Rounded, Stencil, Tuscan and Concave. All have Western and wood type influences. In 2009, Becker's 1854 book was used by Monogram Fonts Co in the creation of Noir Monogram (2009), which was based on Becker's Pearl type.
Downloads of his 1854 book: University of Michigan scan. For a Facsimile, see Becker's ornamental penmanship. A series of analytical and finished alphabets [FACSIMILE]. Free PDF file of the latter book.
In 1993, Dover reprinted 23 complete alphabets in Ornamental Calligraphy [With 50 Plates] (Dover Books on Lettering, Graphic Arts & Printing). Local download of his 1854 book. [Google]
Gerald E. Stahl
Type designer in New York City who created a display face in 1969 for Pennwalt Corporation in Philadelphia. Google patent link. [Google]
[GalloFonts (was: Graphics by Gallo)]
[Lanston Type Co]
American designer of the art nouveau typeface Vanden Houten (1904, Keystone Foundry, Philadelphia). This font was remade by Dan X. Solo as Dutch Treat at Solotype. [Google]
During his studies at Philadelphia University, Giovanni Frias created the experimental typeface Ravenna (2014), which was inspired by flocks of birds in Denmark's black sun. [Google]
[George B. Walsh]
Greek font information from the American Philological Association. It used to carry the unicode font Athena Roman. GreekKeys for Macintosh is a product providing easy keyboard input and specialized fonts for scholars of ancient (polytonic) Greek. First produced in 1984, GreekKeys has long provided a widely-used custom encoding for polytonic Greek, but now also supports and advocates Unicode as the proper standard for polytonic Greek in the future. GreekKeys is owned and distributed by the American Philological Association, a non-profit professional organization of North American classical scholars. GreekKeys is currently maintained and revised by Donald Mastronarde, Professor of Classics at the University of California, Berkeley. The original GreekKeys for Macintosh dates back to 1984, and was designed and distributed by George Walsh of the Department of Classics of the University of Chicago. He died in 1989, and the next year his wife, Susan M. Kastendiek (the eponym for the original name "SMK") donated the program to the American Philological Association. Since then it has been largely the responsibility of Jeffrey Rusten to update and answer questions about GreekKeys. The site was at Cornell University, but at some point it moved to Berkeley. [Google]
Graphic designer in Philadelphia, who created a Trajan typeface in 2014. Behance link. [Google]
Professor emeritus of Dravidian Linguistics and Culture Dept. of South Asia Studies, University of Pennsylvania. Tamil subpages. Codesigner with Thomas Ridgeway and Vasu Renganathan of wntamil, a free font for Tamil, ca. 1990. He writes: I worked together with Tom Ridgeway to design this font, at my instigation, since I needed it for my dictionary, and he knew METAFONT. (He did not know Tamil, although he did know Hindi.) We spent many Friday mornings designing the glyphs. He would write the code and run the program, and I would then critique it, and then we would run it again until we had an acceptable glyph. But I realize he thought of himself as the sole developer, which is why he registered it in his name. Afterwards we tweaked some of the glyphs, and Vasu Renganathan worked on later versions, too, so the authors of this font should be listed as myself, Ridgeway, and Vasu Renganathan. [Google]
Hello Brio Studio
Jennifer Coyle (Hello Brio Studio) is the Philadelphia, PA-based designer of the hand-crafted blackboard bold typeface Sweet Pineapple (2014, tweetware). Other creations include hand-drawn dingbat sets such as Doodlebots (2014), Doodled Vector Icons (2014), Drink + Cocktail Vector Illustrations (2014), and Doodled Animals (2014). In 2015 she made Yellow Canary (hand-crafted all caps font), Sunny Side Up, Paperweight (hand-crafted poster font), Elbow Room, Everything Is Golden (brush font), and Doodled Coffee Icons.
Typefaces from 2016: Homebrew.
Jennifer runs Hello Brio studio. Behance link. Hello Brio Studio. Creative Market link. Another Creative Market link. [Google]
German-American type designer (b. 1843, Berlin) who apprenticed at the Trowitzsch & Son type foundry in Berlin, and then worked as a punchcutter in Dresden and at the G. Haase & Sons foundry in Prague. After positions at the Flinsch foundry in Frankfurt, the Battenburg foundry in Paris, and the Fonderie Haas in Basel, Ihlenburg moved to the United States in 1866 to work for the L. Johnson & Company foundry in Philadelphia, which became MacKellar, Smiths & Jordan some time later. Specializing in ornamental (Victorian) fonts and borders, he designed over eighty typefaces for that Mackellar and a few more for American Type Founders after it purchased MacKellar, Smiths & Jordan in 1901. Ihlenburg became an American citizen in 1874, and died in Philadelphia in 1905.
His typefaces at MacKellar: American (1876), Angular Text (1884, Victorian blackletter; digitally interpreted by Toto in 2012 in his free font K22 Angular Text), Arboret (1884), Arboret No. 2 (1885), Archaic (1888), Artistic (1886), Bijou (1883: digital copies include Bangle (1990-1991, FontBank), Riccio Display Script by Southern Software (1994, SSi, SSK), Grebe (1994, by an anonymous designer) and Mexacali by Swfte), Black Ornamented (1873), Byzantine (1868), Centennial Script (1874, a spectacular high-contrast script digitized in 2007 by Canada Type and in 2011 as a free font called Mortem Stylus by Stylus, and by Intellecta Design as Centennial Script), Chaucer (1883), Childs (1892, redone by R. Beatty), Circular Black (1883), Columbian (1891), Columbus (1890: for a digital revival, see Cristoforo by Thomas Phinney, 2012), Columbus Outline (1892), Copperplate (1877), Crayon (1886), Culdee (1885), Dado (1882), Dynamo (1891), Eureka Text (1870, blackletter), Ferdinand (1892, now at Dover), Filigree (1878), Fillet (1890), Glyptic, Glyptic No. 2 and Glyptic Shaded (1878), Gothic Ornate (?), Greenback (1871), Grolier (1887), Gutenberg (1888), Houghton (?), Illuminated and Illuminated No. 2 (1876), Isabella (1892, a bastarda face; digital version at Agfa, Adobe, and Linotype, 2001), Italic Copperplate (1878), Japanesque and Japanesque No. 2 (1877, oriental simulation typefaces), Johnson (1892), Lady Text (1884, blackletter), Lippincott (1895?), Mediaeval Text and Mediaeval Text Ornate (1870, blackletter), Minaret (1868), Minster (1878), Mortised and Mortised No. 2 (1884), Newfangle (1892, revived in 2015 by Nick Curtis as Newfangle NF), Nymphic (1889 [Ruffa says 1884], revived by Barmee in Secesja Pro (2013), and by Paul D. Hunt (2004), who published it as Kilkenny (2005, P22)), Obelisk (1881), Oxonian (1881), Pencraft (1885), Phidian (1870, redone by Dan X. Solo), Philadelphian (1867), Pynson (1887), Quenn Bess Script (1882), Radiant (1876), Radiated (1871), Relievo (1878), Relievo No. 2 (1879), Rimpled (1895), Ringlet (1882, the prototypical Victorian typeface; Dan X. Solo made a digital version in 1998 which is also called Ringlet), Romanesque (1874), Sansom Script (1888), School Text (1876), Spiral (1890, redone by R. Beatty), Stipple (1890), Stylus and Stylus No. 2 (1883), Tendril (1878), Treasury (1874), Treasury Open (1875), Unique (1874), Unique No. 2 (1875), and Zinco (1891, revived by Jim Spiece in 2002 as Zinc Italian SG).
At ATF: Taylor Gothic (1894), Schoeffer Old Style (1897), Roundhand Series (1902), Post Oldstyle Roman No. 2 (1901---possibly made by E.J. Kitson and/or Guernsey Moore), Post Oldstyle Italic (1901), Ihlenburg Series (1900?), Bradley Series (1895-1897, now at Dover), American Italic (1902). Ludlow offers a digital version of Hannibal.
Klingspor link. Comments on some typefaces by Mac McGrew:
- American Italic is a heavy, novel design by Herman Ihlenburg introduced by ATF in 1902, as a companion to Columbus, which had been designed for ATF's MacKellar Smiths&Jordan branch in 1892. The italic survived its roman mate, being shown by itself in 1906, but was gone by 1912. It is essentially a nineteenth-century design.
- Bradley (or Bradley Text) was designed by Herman Ihlenburg-some sources credit it to Joseph W. Phinney--from lettering by Will H. Bradley for the Christmas cover of an Inland Printer magazine. It was produced by ATF in 1895, with Italic, Extended, and Outline versions appearing about three years later. It is a very heavy form of black-letter, based on ancient manuscripts, but with novel forms of many letters. Bradley and Bradley Outline, which were cut to register for two-color work, have the peculiarity of lower alignment for the caps than for the lowercase and figures, as may be seen in the specimens; Italic and Extended align normally. The same typeface with the addition of German characters (some of which are shown in the specimen of Bradley Extended) was sold as Ihlenburg, regular and Extended. Similar types, based on the same source and issued about the same time, were St. John by Inland Type Foundry, and Abbey Text by A. D. Farmer&Son. They were not as enduring as Bradley, which was resurrected for a while in 1954 by ATF. Also compare Washington Text.
- Round Hand was designed for ATF about 1900, and has been ascribed to Herman Ihlenburg. It has the appearance of handwriting with a broad pen, but letters are not quite connected.
- Schoeffer Old Style [No.2] was designed by Herman Ihlenburg for ATF in 1897. It is typical of a number of typefaces of the day-a plainly lettered roman with small, blunt serifs. Some references list Schoeffer Condensed, cut in 1902; this is probably the typeface shown a little later as Adver Condensed (q.v.). On Linotype, Schaeffer Oldstyle was called Elzevir No.2.
Klingspor link. Ihlenburg at the Rochester Institute of Technology's Cary Graphic Arts Collection. [Google]
Highway Sign of the Week
[Bruce S. Cridlebaugh]
Bruce S. Cridlebaugh (Prisma Inc, Pittsburgh, PA) created USHighwaysOldStyleBCBA in 2000. 5USD shareware, all formats. [Google]
Hindi Page at Upenn
Free Hindi fonts Jaipur and Xdvng. Hindi alphabet shown and explained. For other Indic languages at the South Asia Studies Department of the University of Pennsylvania, see here. One of the people there is Richard J. Cohen. [Google]
Student at Pennsylvania College of Art & Design in 2013 who is based in Reading, PA. Designer of the alchemic typeface Revamp (2013). [Google]
FontStructor in York, PA, who made the geometric typeface Geometrix (2013). [Google]
Graduate of Point Park University in Pittsburgh, who works as a photographer. Creator of the hand-printed typeface Cordelia (2013).
Fontspace link. [Google]
Howard Pyle was one of the most renowned illustrators of the 19th century. His work was widely published in adventure novels, magazines and romances. He was the founder of the Brandywine school and artists colony in Chadd's Ford (Pennsylvania), where he taught artists like N. C. Wyeth, Frank Schoonover and Thornton Oakley their craft. Scriptorium's Pyle collection includes a selection of fonts based on Pyle's original lettering, such as Pyle Gothic (based on his black letter style from Arthurian works), Courthand (based on the lettering in his Lady of Shalott), Buccaneer (from his pirate lettering) and Pyle Initials (a set of his decorative initials). [Google]
I Can Be Your Type
Zachariah Nelson (I Can Be Your Type) studied graphic design at Philadelphia University. Clayton, NJ-based designer of the curly flared caps typeface Void (2012). Damian (2012) is based on geometric elements of Futura and Univers. Maritote (2012) is in the style of the art deco typeface Broadway. Gridlock Light (2012) is a squarish typeface. He also designed a set of hand-printed typefaces that are meant to express moods: Fleeting, Anxious, Calm. [Google]
Born in 1989, Ian Bates (iBates Designs) is a Graphic Design major at York College of Pennsylvania. He is from Fort Salonga, NY. FontStructor who made Blacktop (2010) as part of a typography project in school. Behance link. [Google]
Ian Pickett (Philadelphia, PA) designed Cubed (2013, a 3d typeface). [Google]
[Dan M. Zadorozny]
Born in Philadelphia and a resident of Texas, Dan Zadorozny's creations at Iconian. He is a prolific type designer who specializes in techno and sci-fi typefaces. Dafont link. Fontsy link. Abstract Fonts link. Font Squirrel link. His fonts in alphabetical order:
- #44 font (2002), 00Starmap (2001, pixel font), 1968 Odyssey (2016), 1st Cav (2008), 1st Enterprises (2017), 2-Tech, 21 Gun Salute (2013), 2nd Amendment (2007, guns), 2nd Amendment 2050 (2009, more gun silhouettes), 2Toon, 300 Trojans (2008, comic book family), 4114 Blaster (2008, futuristic), 5th Agent (2008, techno), 7th Service (2002), 8th Element (2013), 911Porscha, 98 Bottles of Beer (2016).
- Achilles, Action-Men (2008), Action Women (2008, female outlines), Aegis (2010, Greek simulation family), Aetherfox (2013), AirCobra (2002), Aircruiser (2011, trekkie family), AirForce (planes and copters), Airstrike (2013), Airstrip One (2003), Aldo's Moon, Aldo's Nova, Alexis (2001), Alien League, Alpha Men (2015), Alpha Sentry, Alpha Taurus (2007, octagonal, athletic lettering), Amalgam, Americorps (2012), Anakefka (2009, ultra-fat family), Annapolis (2016), Antietam (2015), Antikythera (2013, Greek simulation face), Antilles (2009, sans family), Argosy, Arilon (2008), Army Rangers (2013, octagonal), Assassin Nation (2015, scary and perhaps referring to the "tradition" of school shootings in the USA), Astropolis (2009), Atlantia (2012, futuristic), Avenger (2008, futuristic).
- Babes&Bond (2009, erotic silhouettes), Babe-alicious (2002, erotic outlines), Bad Robot (2007, computer game look), Bal-Astaral (2016, octagonal), Bamf (2011, techno family), Banjin (2016), Banshee Pilot (2016), Battlefield, Battleworld (2016), Beam Rider, Beam Weapon (2015), Beastian (2011), Ben Zion (2008, Hebrew simulation), Berserker (2008, grunge), Beta Biergärten (2008), Bio-disc, Bio-discSolid, Bio-discThin, Bionic Comic (2002), Bionic Type (2002), Birds of a Feather (2007, dingbats), Black Bishop (2015), Black Gunk (2016), Block, Blood Crow (2009), Bloodlust (2011, dripping blood face), Blue July (2009), Body Swipers (2014, Halloween font), Bog Beast (2013), Boomstick (2015), Borgsquad (2014, mechanical/octagonal), Brin Athyn (2008, uncial/Celtric), Bronic (2004), Bubble Butt (2014, bubblegum typeface), Buchanan (2016), Buddy Champion (2015), Bummer (2007, octagonal), Bushido (2008, oriental simulation), Butch and Sundance (2013), Buttons the Bear (2008, children's hand), Byte Police.
- Capella (2011, a wide techno family), Carnival Corpse (2016), CasperComics, Centaurus (2015), Chardin Doihle (2008), a useful informal handprinting family), Charlemagne, Charlie's-Angles, Cheyenne Hand (2008), Chicago Express (2016), Christendom, Classic Cobra (2016), Clubber Lang (2013, grungy), Cobalt Alien (2015), C.O.D.E.R. (2012), Colony Marines (2017), Colossus (2011, old chipped stone look), ComicBookCommando, ComicFX, Commonwealth, Concielian, Concielian Break (2015), Concielien Jet (2015), Contour of Duty (2016), Corinthian, Count Suckula (2015, horror font), Covert Ops (2012, army stencil), Coyote Deco (2007, art deco), Crappity-Crap-Crap (2007), Crazy Ivan (2017: constructivist), Creepy Crawlers (2015, horror font), Crime Syndicate (2013), Crixus (2011, a squarish sans that includes an athletic lettering style), Cro-Magnum (2003), Cruiser Fortress (2016), CryUncial, Cyberdyne (2016), Cyberia (like Soviet: neat Russian imitation letters), Cyborg Rooster (2015), Cyrus The Virus (2012, grungy, hand-printed).
- DS Man, Daedalus (2008), Daemonicus (2012), Dameron (2016), Dangerbot (2016), Danger Flight (2015), Dan Stargate (2008), Dan'sHand, Dark Alliance (2014), Dark Horse (nice brush font), Darkwind, Dassault (2013), Deathblood (2014, Halloween font), Defcon Zero (2016), Dekaranger (2015), Delta Ray, Demon Priest (2013), Department-K, DepartmentH, Deranian (2008), Detonator, Devil Summoner (2014), DiegoCon (2004), Digital Desolation (2014), Ding-o-saurs (2007), Direktor (2008, Cyrillic simulation techno), Dire Wolf (2013), Disco-Dork, Disco Deck (2005), Disco Duck, Discotechia (2015), Dodger, Domino Jack (2016, an octagonal stencil typeface), Domino Mask Condensed (2016), Dotcom (2002), Drafting Board (2008), Drafting Table (2008), Dragon Order (oriental simulation), Dread Ringer (2015), Drid Herder (2002), Drive (2015, techno font), Droid-Lover (2008), Drone Tracker (2016), Drosselmeyer (my favorite).
- Eagleclaw (2009), Eaglemania, Eagle Strike (2015), Earth Orbiter (2016), Earthrealm (2013), Earthshake (2013), Earth's Mightiest (2002), East West (2015, constructivist), Echo Station (2017), Eco-files, Egg Roll (2016, oriental simulation), Eldebaran (2012), Elder Magic (2009), Election Day (2009), Emissary (2014, sci-fi), Empire Crown (2011, blackletter), Enduro, Ensign Flandry, Ephesian (2007), Eridanus (2015, octagonal / mechanical), Erin Go Bragh (2009, Celtic/uncial), Escape Artist (2015), Eskindar (2013), Eternal Knight (2013), Eurofighter (2015), EverettSteele'sHand, Excelerate, Excelsior, Excelsior Comics, Exedore (2008), Exoplanet (2013, techno), Extechchop (2005).
- Factor (2016), Falconhead, Falcon Punch (2015), Famous Spaceships (2007), FantasticCreatures, Fantazian (2003), Fantom (2009, bad handwriting), Federal Escort (2014), Federal Service (2011), Federapolis (2008, octagonal techno face), Fedyral, Fedyral-II, Feldercarb (2003, octagonal font), Ferret Face (2013), Fiddler's Cove (2012), Fight Kid (2009), First Order (2001), Flash Rogers (2016), Flesh Eating Comic (2013, grunge), Flight Corps (2008, techno/pixelish), FlyingLetaherneck (2002), Force Majeure (2016), Foucault (2014, uncial), Frank-n-Plank (2013, a wooden plank font), Freakfinder (2014: Halloween font), Free-Agent (2008), Freedom Fighter (2013, stencil), From Bond With Love (2014: military stencil), Frozen Crystal (2016, LED font), Funk Machine (2016, a great ultra-black techno family of typefaces), FunnyPages, Future Forces (2015), Futurex Grunge (2005).
- Galactic Storm (2014), Galant, Galaxy-1 (2008), Galaxy Far Far Away (2009, futuristic dingbat font), Galaxy Force (2014), Galga (2008, futuristic), Gamma Sentry, Gemina (2011, sci-fi / techno family), Gemina2 (2013), Generation Nth, Gentleman Caller (2014), GeoBats (2007), Gearhead (2013, octagonal), Ghost Clan (2014), GI Incognito (2012), Global Dynamics (2014), Goalie (2008, hockey mask alphading), Goblin Creek (2016: Halloween font), Gods of War, Gotharctica (2015, blackletter for horror flicks), Governor (2017), Grand National (2015), Grand Sport (2015), Graymalkin (2011, trekky), Grease Gun (2012), Grendel's Mother, Grim Ghost (2013), Ghoulish Intent (2016: Halloween font), Grimlord (2009), Guardian (2008), Guardian-Laser (2008), Guardian-Pro (2008), Guardian-Shadow (2008), Gunner Storm (2015), Gunrunner (2016: techno), Gunship, Gunship V2 (2002), Gypsy Killer (2013), Gyrfalcon.
- Hadriatic (2008, roman lettering), Half Elven (2013), Halfshell Hero (2013), Hall of Heroes (2007), Halo, Han Solo (2013), Harrier (2002), Hawkmoon (2011), Hello Copters (2013: helicopter dingbats), Heorot (2009, stone age fonts), Heroes Assemble (2011), Heroes Assemble Dingbats (2014: all Avenger characters), Highrise Heaven (2007, city skyline dingbats), Hip Pocket (2014: psychedelic), Hollow Point (2015), Holly Dingle (2015), Holy Empire, Homemade-Robot, Holo Jacket (2016), Homeworld (2003), Homeworld Translator (2003), Hong Kong Hustle (2015), Horroroid (2015), Horroween (2013, Halloween font), Hulkbusters, Hydro Squad (2014), Hypno Agent.
- Iapetus (2014, sci-fi), Icebox Art (2012), IWantMyTTR!, Iconian (2002), Iconified, Illuminati, Illumino (2016), Imaginary Forces (2008, mythical dingbats), Imperial Code (2003, Startrek style face), Imperium, Incubus, Incubus-Italic (2008), Incubus-Shadow (2008), Infinity Formula (2003, super techno), Infobubble, Inhumanity (2014), I-House Edition (2014), Instand Zen (2016: Halloween font), Interceptor (2008), Interdiction (2012), International Super Hero (2002), Intrepid, Iron-Cobra (2008), Iron Forge (2012).
- Jack's Candlestick (2013), Jackson, Jannisaries, Jedi Special Forces (2012), Jerusalem (1999, Hebrew font simulation)[see also here], Jetta, JettaTech, Jetway (2012, a stencil face), Johnny Torch (2012), Judge, Judge Hard, Justice (2009), Jumptroops (2003-2015), Justinian.
- Kahless, KameraDings (2009), KarateChop (2009), Kartoons (2008), Katana, Kennebunkport (2013, script), Keystone (pixel font), Khazad-Dum (2011), Kid Cobalt (2008, comic book face), Kinex, King Commando (2011), King's Ransom, KnightsTemplar, Knock Furious (2003, dingbats), Kobold (2008, futuristic), Kondor (2013), Kountry Kodes (2008, international license plate lettering), Kovacs-Spot, Kovacs, Kreeture (2002), Kubrick (2008).
- Lamprey (2012, techno family), LandShark (2001), LandWhale (2001), Laredo Trail (2013, a Western face), Laserian, Law and Order (2005, dingbats), League Wars (2013, sci-fi stencil), Leatherface (2013), LED Sled (2016, LED font), Left-Hand Luke (2016), LegalTender, Legion, Lethal (2014), Liberty Island (2013, sci-fi), Liberty Legion (2015), Lightsider (2011, Star Trekkish family), Lincoln Lode, Livewired (2015, sci-fi), Lionel (2009), Low Gun Screen (2008, a totally square screen type family), Lincoln Chain, Lionheart, Lobo-Tommy (2008), Lord of the Sith, Loveladies, Low Gun Screen (2008, screen face).
- Machiavelli, Mad Marker, Magic Beans (2007), Major Force (2016), Marathon-II, Marathon, Marsh Thing (2014, Halloween font), Masked Marvel (2002), Masterdom (2004), Merri Christina (2015, children's hand), Metal Storm 3D (2008), Metronauts (2013), Metroplex, MetroplexLaser, MetroplexShadow, Michaelmas, Michigan (2015), Micronian (2009, pixelish headline family), Milk Bar (2003), Micronian (2008, extensive pixel-based family), Military-RPG (2008), Mindless Brute (2015), Missile Man (2002, futuristic), Miss Amanda Jones (2004, brush style), Mobile Infantry, Modi Thorson (2013, techno), Monsterama (2011, scary face), Montroc (2015: squarish and varsity style), Moon Dart (2008), Moon Runner (2016), Morse Kode, MorseNK, Movie Gallery (2008, dingbats), Mrs. Monster (2013, Halloween brush font), Mystery Mobile (2015), Mystic Singler (2008, rough brush face).
- Nathan Brazil (2013, art deco), National Express (2003), Native Alien, Navy Cadet (2016), Nemesis Enforcer (2013), Neo-Geo (like the letters on the Neon cars), Neo Navy (2015), Neuralnomicon, New Come Title (2016), New Mars (2015), New York Escape (2015), Nextwave (2014), Nick Turbo (2001), NifeFite, NifeFiter, NifeFites, Nightchilde (2013), Nightmare Alley (2016: Halloween font), Nightrunner (2008, sci-fi), Nightwraith (2011, techno family), Ninjas (2002), Nobody's Home (2014: poster font), NoloContendre, Northstar (2014), Nostromo, Nuevo Passion (2013), Nyet (2002, Soviet letter simulation).
- Oberon, Oberon-Deux, Obsidiscs (2003, dingbats), Oceanic Drift (2013), October Guard (2013, Cyrillic simulation face), Odinson (2007, runes), Oh Mighty Isis (2014, Greek simulation family), Olympicons (2003), Omega 3 (2010, futuristic), Omega Force (2013, octagonal / mechanical), Omega Sentry, OmniGirl (2003, techno), Opilio (2012), Opus Magnus (2013, metal band font), Opus Mundi (2015), Oramac (2004), Ore Crusher (2013), Outlands-Truetype (2001), Outrider (2013), Overstreet Bible (2014, hand-printed), Ozda (2011, a fat techno family with several horizontally striped styles), Ozymandias.
- Psyonic VII (2012), Paladins (2015), Pandemonious Puffery (2002), Parker's Hand (2002, handwriting), Perdition, Peregrine, Phantacon (2017), Phaser Bank (2008, techno), Philadelphia, Philly Dings (2003), Phoenicia (2015), Piper Pie (2007), Pistoleer (2011), Planet N (2016), Planet S, Planet X, Player 1 Up (2012: architectural family), Pocket Ball (2016, dot matrix style), Pocket Monster (2016), Police Cruiser (2013), Postmaster, Power Lord (2011), Presley-Press (2007), Press Darling (2012), Procyon, Prokofiev (2009, rounded and squarish), Promethean (2008), Protoplasm, Prowler (2013), Pseudo Saudi (1999, Arabic simulation), Psycho Butcher (2014, ransom note font), PuffAngel, Pulse Rifle (2009), Pyrabet.
- QTs (2013: erotic silhouettes), Quake-&-Shake, Quantum of Malice (2013), Quark Storm (2013), Quarrystone (2015), Quartermain (2002), Quasitron (2009, futuristic), Quatl (2002, an Inca font), Queen&Country (2009), Quest Knight (2009), Questlok, Quicken (2013, horizontal stencil), Quickening (2014), QuickGear, Quickmark (2004), QuickQuick, QuickStrike, QuickTech, Quill Sword (2016: soft blackletter style).
- RCMP, RadZad, Radio-Space, Raider Crusader (2016), Raise Your Flag (2013), Realpolitik, Rebecca, Rebel Command (2012, Star Trek family), Redcoat (2008, blackletter), Redline (2015), Red Rocket (2011, techno), Red Undead (2016: Halloween font), Regulators, Renegado (2014), Replicant, Repulsor (2013, pixelish), Rhalina (2011, a nice upright script), Righteous Kill (2009), Right Hand Luke (2016), Robotaur (2008), Rocket Junk, Rocket Pop (2016), Rocket Type (2002), Rogue-Hero, Roid Rage (2003), Ro'Ki'Kier (2008), Rosicrucian (2009, stone age font), Rubber Boy (2013, poster font family).
- Sable Lion (2002), Sagan (2008, futuristic), Scarab, ScarabScript, Sci-Fi (2008), SDF (2013), Sea-Dog, Searider-Falcon (2008), Secret Files (2011), Sever, Shablagoo (2015: thick creamy poster font), Shining Herald (2013), Singapore Sling (2014), SisterEurope, Skirmisher (2014), Skyhawk (2014), Sky Marshal (2015), Snubfighter (2009, sci-fi), Soldier (2011), Sound FX (2003), Soviet, Space Cruiser, Space Junker, Space Ranger (2013), Spartaco (2016), Speedwagon (2015), SPQR (2008, grunge roman), Spy Agency (2012), Spy Lord (2001), Starduster (2011), Star Eagle (2014), Star Fighter (2017), Star Navy (2009: dingbats), Stranger Danger (2014: grunge), Strikelord (2011, trekkie family), Stuntman, Subadai Baan (2013), Super Commando (2015), Super Soldier (2014, silhouettes), SuperUltra911, Superago (2002).
- Talkies (2008, dingbats), Tarrget (2013, based on the Tekken "Tag Tournament" logo), Taskforce (2008), Tauro (2012), Team America (2014), Tele-Marines, Terra Firma, Terran, Texas, Texas2, TheRifleman, The Shire (2009), The Shooter (2012: gun dingbats), Texas Ranger (2014: Western font), Thundergod, Thundergod II (2013), Thunder-Hawk (2011, an aviation techno face), Thunderstrike (2016), Thunder Titan (2017), Thunder Trooper (2017: stencil), Tigershark (2013), Timberwolf (2011), Time Warriors (2007), Tokyo Drifter (2016), Tool (2012, dingbats of tools), Toon Town Industrial (2005, comic book font), Tower Ruins (2014: stencil), Tracer (2015), Trajia (2008, a techno/stencil/athletic lettering family), TransAmerica (2015), Traveler (2008), Travelicons (2009), Travesty (2003, scrawly handwriting), Trek Trooper (2008, Startrek font), Trigger Man (2013, octagonal and mechanical), Trireme (2011, Star trek family), Tristram (2008, uncial), Troopers (2011, futuristic), Trueheart (2009, Celtic), Turbo Charge (2016), Tussle (2002), Typeecanoe (hand-printed), Typhoon (2013).
- Uberholme, Uberholme Lazar (2001), UFO Hunter (2009), Ultra 911, Ultramarines (2013), Underground Rose (2014, connect-the-dots), Union Gray (2015), Unisol, United Palanets (2014), UniversalJack, Uno Estado (2009, constructivist), U.S.A., USArmy, US Army II (2013), US Marshal (2012), US Navy (2007), U.S.S. Dallas (2008), Usuzi.
- Valerius (2009, uncial), Valkyrie (2008), Valley Forge (2008), Vampire Bride (2016: Halloween font), Vampire Games (2001), VariShapes (2001), Viceroy of Deacons (2016), Vicious Hunger (2014, grunge), Victory Comics (2017), VideoStar, Vigilante Notes (2003), Viking Squad (2015, stencil), Vilmos Magyar, Vindicator (2012, techno), Virgin Hybrid (2014), voxBOX, Voortrekker Pro (2009: octagonal and athletic lettering family), Vorpal (2012: sci-fi stencil face), Vorvolaka (2013), Voyage Fantastique (2013), VX Rocket (2014, fat octagonal face), Vyper (2008, futuristic stencil).
- War Eagle (2009), Warlock's Ale (2014), War Machine, War Priest (2012), Warp Thruster (2013: military or Star Trek stencil), Warrior Nation (2011), Wars of Asgard (2009), Watchtower (2012), Weaponeer (2008, military lettering), Were-Beast (2008), Westdelphia (2015, blackletter), Western Rail (2015), Wet Works (2013, grungy stencil), Whatafont, Ensign Flandry (2003), Whiskey Bravo (2003), Whovian (2015, scanbats of all Dr. Who characters owned by the British Broadcasting Corporation), Wildcard (2011, Star trek family), Wimp Out (2004), Winter Solstice (2016), Wolf Brothers (2015), Wolf's Bane (+II, +Super-Extended, 2013), Woodgod (2013), Worldnet (great), Worm Cuisine (2016), Write Off, Writer's-Block, WyldStallyns.
- Xaphan (2003), XCryption (1999, a hacker face), X-Fighters (2014), XPED, Xcelsion (2002), Xeno Demon (2017), Xenophobia, Xephyr, Xeppelin (2005, zeppelin dingbats), X-Grid (2008), Xiphos (2007), Xmas Xpress (2013), Xoxoxa, X-Racer (2012).
- Yahren, Yama Moto (2009: oriental simulation), Yankee Clipper (2011), Yay USA (2013), Year 2000, Year3000 (2001), Yellow Jacket (2002), Y-Files (2016), Yiroglyphics (2004), Yorstat (oriental simulation), Younger Brothers (2014), Young Frankenstein (2013), Youngtechs (2008, futuristic), Yukon Tech.
- Za's Vid (2001, pixel font), Zado (2002, dot-matrix font), Zakenstein (2011, caps only grunge), Zamboni Joe (2002, hand-printed)), Zealot (2008), Zee Lance, Zen Masters (2002, pixelish), Zeta Sentry (2009, techno/futuristic), Zollern (2013), Zombie Control (2013: a bloody paint drip face), Zone Rider, Zoologic (2009, animal dingbats), Zoomrunner (2016), Zyborgs, Zymbols.
Youngwood and/or Trauger, PA-based foundry offering Dave Greenawalt's shareware fonts from the late 1990s or 2000: Chrispy, Drippy, Distress, Madfont, Erode, Spannge, Spatter, DistressUltra. [Google]
Free Mac fonts at this foundry: Macabro, Shirley Doe, Santo versus Blue demon, Plinko, Vampiro Psicosis, Sierra, Dos Caras. The fonts are by Sam Panico, a Pittsburgh-based publisher of Insomnia Magazine, and maker of the old Mil Mascaras dingbat font of masked wrestlers. [Google]
International TypeFounders Inc.
Consortium of about 50 independent typefounders, offering 7000+ typefaces. Formed in 1995 by Steve Jackaman. [Google]
Ish Adames, a graphic designer and photographer in Philadelphia, PA, designed the titling sans typeface Duma in 2013.
Behance link. [Google]
Philadelphia-based designer of the free geometric sans typeface Duma (2014) and the free Duma Bold (2014). Behance link. [Google]
The Type Directors Club conference on type on-screen, held on 21 April 2001 at Drexel University in Philadelphia. [Google]
J. Horace McFarland
Pennsylvania printer, 1853-1948. Designer of French Round Face&Italic. [Google]
Stereotype foundry in Philadelphia. Specimen book: A Specimen of Metal Ornaments and Job Type, Cast, and for Sale, at the Stereotype Foundry of J. Howe, Corner of Crown and Callowhill Streets, Philadelphia (Philadelphia: Jedediah Howe, 1823). J. Howe&Co. was one of the leading nineteenth-century American stereotype foundries. Jedediah Howe outlines the advantages of stereotyping which had come under attack from traditional type founders. [Google]
During her studies in Drexel Hill, PA, Jaclyn Scafidi created the frilly typeeface Mercury Vapor (2014). [Google]
At Mansfield University of Pennsylvania, Pocono Pines, PA-based Jacob Judge designed the angry death metal typeface Violent Tendencies (2016). Behance link. [Google]
Jacqueline Y. Maddox
Ardmore, PA-based graduate of Philadelphia University, class of 2014. She created the tornado-inspired display typeface Twisted in 2014, [Google]
Harrisburg, PA-based designer of the circle-based typeface California Bungalow (2011). Chameleon (2011) is a wonderful extra-condensed piano key/octagonal face. [Google]
James J. Frazier
Doylestown, PA-based comic artist. Creator of the comic book typeface Comic James (2011).
Dafont link. [Google]
FontStructor in Pittsburgh, PA, who created the heavy octagonal (athletic lettering) typeface Gabe (2014). [Google]
During her graphic design studies in Pittsburgh, Janene Dunbar created a display typeface (2014). [Google]
Owner and Creative Director at Lettering Library, Wentworth Institute of Technology, Saylorsburg, PA. Head honcho, with Drew Melton, at Carmel Type. In 2015, Jason Carne and Drew Melton codesigned the large condensed titling typeface family Skyward and wrote: Robust, towering, and geometrically refined, Skyward is a surefire classic cocktail of equal parts utility and elegance. They also cooperated on the wood style Western typeface Lumber Co (2015) and the nostalgic Railroad Co (2015; inspired by the iconic ultra-extended letter styles that lined the exteriors of many early 20th century passenger train cars).
Typefaces from 2016: Mosler (a Fort Knox slab serif in four styles: Safe, Strongbox, Vault, Fortress), Alchemist (with Drew Melton).
Behance link. Creative Market link. Jason Carne's home page. [Google]
Pittsburgh, PA-based creator of Kenosha (2004, a serif face). [Google]
[The Red Rocket Rebellion]
Philadelphia-based graphic designer, who created Scrimshaw (2012), a typeface that was inspired by famine and hunger. [Google]
Graphic designer based in Colorado but originally from Philadelphia. Creator of the iFontMaker font Handvelica (2010, hand-printed). [Google]
During her studies at Kutztown University in Kutztown, PA, Jen Zweiger created the decorative typefaces Armory Sharp and Armory Ornate (2013): Armory is a typeface based on and inspired by weaponry from around the world including halberds, scimitars, taiaha, dao, falchions, naginatas and a number of other swords and polearms. [Google]
Delta, PA-based designer of Deco Funk (2016) and Equality (2017). [Google]
[Hello Brio Studio]
Philadelphia, PA-based creator of Black & Blonde (2013). Behance link. [Google]
Freelance graphic designer in York, PA, who created the geometric solid typeface Ectomorphic (2015). [Google]
Designer in West Chestyer, PA, who created the custom display typefaces Surge (2016, an elliptical techno typeface) and Origin (2016, inspired by native American patterns).
In 2017, he created an octagonal athletic lettering font for the 2017 NHL All Star Game that is based on the famous Hollywood sign. Behance link. [Google]
Graduate of The Art Institute of York Pennsylvania, who lives in Harborcreek, PA. In 2015, he designed Spikey Type. [Google]
Pittsburgh, PA-based cesigner of The Underwater Alphabet (2016). [Google]
Jess Ysais (Philadelphia, PA) used paper cut letters to construct a dadaist typeface called Feist Metals (2012).
Behance link. [Google]
Jesse H. Gerard
Circa 2009, Jesse Gerard (b. 1985) studied industrial design at University of the Arts in Philadelphia. He created the handwriting typeface Write like Jess (2008), which can be downloaded from Dafont. [Google]
Print production specialist at the Wharton School in Philadelphia, PA, who created Helmet Display (a modular typeface) in 2015. [Google]
During her studies in Philadelphia, PA, illustrator Jessica Cunningham created a map of France (2016) with hand-crafted map lettering. She also drew a set of drop caps (2015). Behance link. [Google]
During her studies at Philadelphia University, Jessica Eversmeyer created the lava lamp typeface Magnesium (2014). [Google]
Graduate of La roche College in Pittsburgh, 2009. Creator of the display typeface The Casualties (2012). [Google]
For a school project in Evans City, PA, Jessica Kort combined Bauhaus 93, Charlemagne STD, and Savoye LET to create a typographic miscarriage called TriFont (2013). [Google]
During her studies at Kutztown University in Kutztown, PA, Jessica Strohecker designed Nova Essence (2017). She explains: Inspired by a Calvin Klein perfume bottle, Nova Essence captures the essence of a customizable font. It is a decorative, geometric sans serif that offers a dynamic range design choices from layers to colors. [Google]
During her graphic design studies at Philadelphia University, Jewell Richardson created the Balmy display typeface (2013). [Google]
Graduate of Art Institute of Pittsburgh, class of 2015. Williamsport, PA-based designer of a hand-crafted typeface (2015). Behance link. [Google]
Joe Gillen (Lotus Design Studios, Pittsburgh, PA) created the custom display typefaces Basskick (2013) and WAV in 2013. [Google]
During his graphic design studies at University of the Arts in Philadelphia, PA, Joel Chase created the compass-and-ruler roman caps typeface Allen (2014). [Google]
Cartoonist and graphic designer in York, PA. He created the experimental typeface Jet Fuel (2011). [Google]
Joel Ouellette (Philadelphia, PA) created VertType (2012), a squarish modular typeface for which he was inspired by halfpipe skateboarding. [Google]
Scottish type founder from Edinburgh who was active during the second half of the 17th century. He started out in St. Andrews in 1742 in partnership with Alexander Wilson when thwey co-founded the Wilson Foundry there, but moved in 1744 to Glasgow and in 1749 to London (when his partnership with Wilson ended) and in 1768 to Edinburgh. In 1787, he published "A Specimen of Printing Types, By John Baine&Grandson in Co", and emigrated to Philadelphia, where he set up a foundry. The elder Baine died in 1790, and his grandson continued until 1799, when he sold the equipment to Binny&Ronaldson for $300. [Google]
[Pennsylvania Dutch Fraktur gallery]
John F. Cumming
Massachusetts-based punchcutter, b. 1852, Harrisville, PA.
- Typefaces at the Boston Type Foundry: Albino (1882), Autograph Script (1884), Bank Note Roman and Italic (1870), Banner (< 1883), Binner Gothic (< 1898), Century (1884), Cheque (1882), Clark Script (1884), Copley (1886), Dresden (1882), Duerer (1889), Facade (1892), Kismet (1879, the ultimate Victorian typeface), London (< 1885), Lubeck (1884), Magnolia Script (1884), Morris, Munich (1882), Record (1881), Rubens (1884), Skinner Script (1885), Soudan (1884), Syrian, Weimar (1886).
- Typefaces at the Dickinson Type Foundry (also in Boston): Algonquin and Algonquin Ornamented (1888), Caxton Title, Colonial (1887), Elandkay (1892), Florentine Old Script (1884), French Cursive, Globe. Gothic Script (1891), Gothic Slope, Grady (< 1891), Howland (1892), Jagged Series (1881), Karnac (1884, Victorian), Masonic Text (1890), Mother Hubbard (1885), Outing Series (1888, revived by Nick Curtis as Pique-Nique NF in 2014), Quaint (1888), Renaissant (1880, a Victorian typeface revived in 2014 by Nick Curtis as Renaissant NF), Satanick (1897), Skjald (1890), Stenograf (1890), Vertical Script (1897), Virile (1890), Visible Speech.
- Typefaces at the Hansen Type Foundry: Viking Old Style No. 3 (1899).
Comment ny Mac McGrew on Howland: Howland was introduced by Dickinson in 1892 as a "companion series to DeVinne." The same design was called DeVinne Condensed (No.3) by Keystone Type Foundry, but differs from the De Vinne Condensed issued by other sources. Howland Open followed in 1894; it was copied by Linotype as Condensed Outline and suggested through the 1940s as a display typeface for classified advertising pages which banned bold types. Compare DeVinne Condensed, MacFarland Condensed.
Some digitizations exist: the nice fat pre-art deco typeface Binner is offered by Linotype, Elsner & Flake (as Binner EF), and Monotype (as Binner Poster MT). Kismet was digitized by Richard Beatty as Spiral. Viking Old Style No. 3 was revived in Ingvaeonic-Oldestyle (2007, Nick Curtis)).
Jenson Oldstyle No. 2 (1893) was designed by J.W. Phinney and cut by John F. Cumming.
Linotype link. FontShop link. Klingspor link. [Google]
A type designer and teacher from Philadelphia who likes to play with words. His Exocet-style typeface Flexion won an award at TDC2 2007. Developed with the help of Hal Taylor, it is discussed here. Flexion is a spurred medieval Da Vinci code-style typeface family originally meant for movie credits. It was published by Red Rooster. [Google]
Lancaster, PA-based designer of Wim (2015), a squarish typeface named in honor of Wim Crouwel. Behance link. [Google]
During his studies at the California University of Pennsylvania, Jon Pfeifer (Venetia, PA) created the dot matrix typeface Grid Lock (2014). [Google]
[Prototype-NY (was: Handcraftedfonts)]
Graphic designer in Philadelphia, who created the fable-themed font Whimsical (2014). [Google]
Aka The Italian Stallion, Joseph Manno (Pittsburgh, PA) designed the handwriting typeface Manno (2005). Alternate URL for downloading. [Google]
During his studies at Pennsylvania State University in University Park, PA, Joshua Ryan Fallon created the hairlined typeface Versa Condensed (2013). [Google]
York, PA-based designer of Blokus (2014, FontStruct) and Blackmar (2014, stencil typeface, FontStruct). This typeface was finished during his studies at York College of Pennsylvania. Joshua is originally from Manchester, MD. FontStruct link. [Google]
Graphic designer in York, PA, who created the custom typeface Boomerang (2013). [Google]
For a project at the University of the Arts in Philadelphia, J.P. Bender designed the all caps art nouveau typeface Navetteur (2017) and the Trajan caps typeface Voyager (2017).. [Google]
Philadelphia, PA-based designer of the hand-crafted typeface Cashly (2016). Aka Aloha Philly. Creative Market link. [Google]
Pittston, PA-based creator of Grecian Gunslinger (2012, octagonal and slabby), Kostel Infinity Sans (2012, gaspipe typeface), Defiance (2012, a didone headline typeface designed for photographer Ronald N. Tan's upcoming book "Defiance"), Hedron (2012, octagonal and slabby), and Kostel Slab Serif (2012).
Behance link. [Google]
York, PA-based designer of the pixel typeface Pixel Empires (2016). [Google]
As a student at the Art Institute of Pittsburgh, Kareem Wilson designed the decorative caps typeface Rizbot (2016) for a book cover. [Google]
Designer of the delicate font Russell at Alphabets Inc., and of Russell Oblique (1994, Adobe). Karen Ackoff has a BFA in Illustration from the Philadelphia College of Art and an MFA in Medical Illustration from the Rochester Institute of Technology. She has worked as Scientific Illustrator at the National Museum of Natural History, Smithsonian Institution in Washington, DC. She presently teaches and coordinates the Graphic Design program at Indiana University South Bend. She is available for freelance commercial artwork and fine arts commissions.
Klingspor link. [Google]
[Prime Graphics (was: PolyType)]
Erie, PA-based designer of the display typeface Dots (2015). [Google]
[Kate Ferrara Design [was: KFD Digital Goods]]
Kate Ferrara Design [was: KFD Digital Goods]
Kate Ferrara (KFD Digital Goods, Kate Ferrara Design, or just KFD) is located in Harrisburg, PA. She created many commercial fonts, which she marketed via Creative Market [dead link].
Her typefaces are no longer available after complaints on the Dafont forum. A list of the typefaces with the equivalences (if any) that were noted by Dafont forum members:
- Avenue (Kate Ferrara Design) = Intro (Fontfabric LLC). See the cut-off corners of A and V.
- Bleacher (Kate Ferrara Design) = New Athletic M54.
- Chill (Kate Ferrara Design) = RoundedRelief (1992, D. Rakowski) aka Archer/3D Archer
- Craft (Kate Ferrara Design) = Mayonaise.
- Ferrara (Kate Ferrara Design) = Coolvetica (1999, Ray Larabie)
- House (Kate Ferrara Design) = Overhead BRK.
- Illuminate (Kate Ferrara Design) = (slightly modified) Alpin Gothic Cg (Agfa)
- Line (Kate Ferrara Design) = AW Conqueror Inline. [An inline sans]
- Midwest (Kate Ferrara Design) = Legend M54.
- Production (Kate Ferrara Design) = Movie Letters (Bou Fonts). Also see Briem Akademi and Major Production NF
- Quafdrant [A quarter circle-based stencil face]
- River (Kate Ferrara Design) = Sedgwick Co
- Sale (Kate Ferrara Design) = Yard Sale (2004, Harold Lohner) [Signage script]
- Shipment (Kate Ferrara Design) compare with Basically Serif (fonts-lab)
- Skinny (Kate Ferrara Design) = Disco.
- Slabsketch (Kate Ferrara Design) = Sketch Block.
- Slice (Kate Ferrara Design) = MK Stencil Sans Black. (2002, Manfred Klein)
- Smooth (Kate Ferrara Design) = Mentone (2008, Jan Schmoege)
- Social Circle [Icons]
- Squeeze (Kate Ferrara Design) = Gill Sans Bold Extra Condensed
- Surf (Kate Ferrara Design) = Sugo / Tes.
- Tilt (Kate Ferrara Design) = SF Old Republic/SF New Republic (1999, ShyFonts)
- Winter (Kate Ferrara Design) = Freehand 521. [Connected fat script]
Kate still offers custom typeface design services at Kate Ferrara Design. [Google]
During her studies at The Art Institute of Pittsburgh, Katelyn Caraldo (Pittsburgh, PA) created the outlined display typeface Circus (2014). Behance link. [Google]
During her studies at the Antonelli Institute of Graphic Design and Photography in Philadelphia, PA, Katie Burns created a grid-based typeface (2016). [Google]
Designer of the drop caps alphabet Anthropologie Holiday (2014). Behance link. [Google]
Philadelphia-based designer of several modular typefaces, all called Mood (2015). Behance link. [Google]
During her studies at Kutztown University in Pennsylvania, Kayla Bryer designed the decorative typeface Ghetto Blaster (2013). [Google]
Darby, PA-based designer of the octagonal typeface Bitmap (2015). [Google]
Pittsburgh, PA-based designer of the bilined octagonal typeface Kapped Sans (2014), a project finished during his studies at The Art Institute of Pittsburgh. [Google]
Subway maps were the inspiration for the layered typeface system Subterranean (2013) by Kelcey Benne. Kelcey lives in Adamstown, PA. [Google]
Kelley Reed (b. 1982) lives in Pittsburgh, PA. She runs Reed Design. In 2010, she created the hand-printed typeface Simply Kelley. [Google]
Pittsburgh, PA-based designer of the display typeface African Dance (2014). Behance link. [Google]
Designer who created the modular typeface Spacebound (2013). Student at York College in York, PA, class of 2014. [Google]
During her graphic design strudies at Rutgers University, Philadelphia, PA-based Kelsey Cates created the hand-crafted typeface My Dear Diary (2015). [Google]
During her studies at Robert Morris University in Pittsburgh, PA, Kelsey Pledger created the cartoonish typeface Down With The Thickness (2014), which is inspired by the Dr. Seuss books. [Google]
York, PA-based designer of Hexface (2015, a hexagonal typeface) and Microtrippy (2015, a circuit font). [Google]
At York College of Pennsylvania (class of 2019), Kerrie DeFelice designed the deco typeface Wayne (2016). [Google]
Illustrator and designer from Philadelphia. With Randy Jones, he created Phaeton (2009, Umbrella Type), a high-waisted hand-drawn font with lots of pizzazz. Nina Stoessinger: Oh I like how Phaeton makes my favorite web site feel like an old medicine cabinet with emaille drawer knobs ... slightly twisted. Theunis De Jong talks about the steam punk genre of which Phaeton is an example. Klingspor link. [Google]
Erie, PA-based creator of the round monoline organic sans typeface Apollo (2013).
Behance link. [Google]
Keystone Type Foundry
Philadelphia-based foundry, 1888-1917. The history of this short-lived foundry was told by James Eckmann in The Keystone Type Foundry, 1888-1917: a reprint [from] Printing&graphic arts, volume VI, number 1, February 1958 (Lunenburg, Vermont: The Stinehour Press, 1958). Their work appeared in Keystone Type Foundry, 1901 (362 pages), Abridged specimen book, type: nickel-alloy on universal line comprising a price list of types, borders, leads and slugs, brass rule, brass galleys; miscellaneous cuts and general supplies for printers (1906, 636 pages, see also here, here and here), A book of Keystone type typefaces (2nd ed., Philadelphia, ca. 1920), Catalogue and specimen book. Keystone products, consisting of type, material, furniture, complete line of miscellaneous supplies for printers and publishers, machinery and wood goods (Philadelphia, ca. 1910), See also Keystone Products Catalogue and Specimen Book, Consisting of Type, Material, Furniture, Complete Line of Miscellaneous Supplies for Printers and Publishers, Machinery and Wood Goods (1915).
Typefaces: Admiral, Ayer (Mac McGrew: Ayer was introduced by Keystone Type Foundry in 1909, which said it was "named for F. Wayland Ayer, founder of Keystone Type Foundry and the great advertising agency which bears his name." The non-kerning italic was added in 1910.), Ben Franklin, Ben Franklin Condensed, Ben Franklin Open, Bulletin, Caslon Adbold, Caslon Adbold Extended, Caslon Adbold Extra Condensed, Caslon Bold, Caslon Bold Condensed, Caslon Bold Extended, Caslon Bold Italic, Caslon Lightface, Caslon Lightface Condensed, Caslon Lightface Italic, Caslon Title Extended, Charcoal, Charter Oak, Compressed Gothic, Condensed Lining Gothic, Crayonette, Elite Typewriter, Gothic Condensed No. 3, Gothic No. 102, Gothic No. 114, Harris Italic (1910), Harris Roman (1909), Herculean Gothic, Italia Condensed (1906), John Alden Decorative Initials (1906), John Hancock, John Hancock Condensed, John Hancock Extended, John Hancock Outline, Keystone Gothic, Laureate (1906: revived in 2012 by Isabel Urbina), Lining Antique [Keystone], New Model Remington Typewriter, Outline, Outline Condensed, Remington, Remington Typewriter, Round Gothic (1884), Skeleton Lining Gothic, Skeleton Lining Gothic No. 19, Smith Premier, Title Gothic [Title Gothic No. 9, Condensed Title Gothic No. 11], Venezia, Washington Text (1902, blackletter), Washington Text Shaded.
Digital pictures I took from the Specimen Book of Type (1903): Bulletin, Keystone Bikes, Boldface Cellini, Crayonette Open, Keystone Cyclers, Encore, Lining Antique, Lining Gothic, Outing Initials, Remington Typewriter, Remus, Ronde Initials, Salem, Venezia, Victoria Italic, Worcester. Catalog A-C, Catalog C-P, Catalog P-Z.
- The slab serif John Hancock (ca. 1903) and condensed slab serif John Hancock Condensed (ca. 1917, Lanston Monotype) were digitized as Hancock RR (1994) by Steve Jackaman (Red Rooster).
- The Remington typewriter typefaces (ca. 1905) were digitized as Secret Service Typewriter RR (2002) by Steve Jackaman (Red Rooster).
- Roman TyresRR (1997) was made by Steve Jackaman (Red Rooster).
- Poor Richard RR is based on a Keystone design from 1919, namely Ben Franklin, Ben Franklin Condensed, Ben Franklin Open (named after Benjamin Franklin's "Poor Richard Almanack"). There is also a free font Poor Richard (1994, Projective Solutions).
- Caslon FB (1992, Font Bureau) comes with this text: Our familiar Caslon Bold headletters were invented around the turn of the twentieth century in the United States and were only loosely based on William Caslons romans. The best of the Caslon Bolds originated at the Keystone Type Foundry of Philadelphia, whose Caslon Bold Condensed appeared about 1905, probably drawn by R.F. Burfeind. Jill Pichotta revised his Bold Condensed&drew the Bold Extra Condensed.
- Gibbs Mason designed the art nouveau typeface Vanden Houten (1904) at Keystone. This typeface was remade by Dan X. Solo as Dutch Treat at Solotype.
- Emerge BF (2009, John Bomparte) is a flare serif typeface that was inspired by Admiral, c.1900.
- Old Softy NF (2010, Nick Curtis) is a soft round typeface based on Round Gothic (1884).
Commentaries by Mac McGrew:
- On Harris Roman: Harris Roman was announced by Keystone Type Foundry in 1909. It was "named in honor of the late Joel Chandler Harris, author of Uncle Remus." It is a plain modernized roman, somewhat similar to Century Expanded. In 1910 Harris Italic was added; it was designed to be cast without kerns. Advertising claimed, "Non-kerning italics will save endless annoyances and losses resulting from broken letters, and the purchase price is the same as any other type of our make."
Graphic designer in York, PA, who created the retro-futuristic typeface Lunar (2012). [Google]
Downingtown, PA-based designer of the vintage art nouveau script typeface Hocus Pocus (2015), which was created for the movie Hocus Pocus. [Google]
Born in Faribault, MN in 1974, Joseph Kral designs and sells his own typefaces. He lives in Pittsburgh. He founded Kral Typefaces (now defunct), and co-founded the Test Pilot Collective.
His typefaces: AtariBaby (1998), Braille (1999), OCRJ (1998), OCRK (1998, monospaced family), Twin Sites, Xerxes (1998), Lakestreet (1998), JoesFoot (1998), Mechanical (1999), Kaliberuckus (2002, dot matrix), Pyrotechnics (1998), Saarikari (1998, rounded sans), Quayzaar (2002, a squarish font), Tricon (2002, unfocused pixel font), Shaolinstyle (1998), Stick26 (1998), Tryptomene (1998).
At GarageFonts around 1996, he made HannahBad, Kindee, Kral, Pooty.
Behance link. Home page. Klingspor link.
View Joe Kral's typefaces. [Google]
During her studies in Philadelphia, PA, Kristen Saxty designed a modular typeface (2016). [Google]
L. Jake Jacobson
L. Johnson Type Foundry
Philadelphia-based foundry, which evolved in 1833 from the remnants of Binny&Ronaldson, which was established in 1796. Lawrence Johnson, its founder, died in 1860, and the L. Johnson Type Foundry became MacKellar, Smiths and Jordan, also located in Philadelphia. Their work is described in the MacKellar book entitled 1796-1896: One hundred years, Mackellar, Smiths and Jordan foundry (1896). Specimens can be found in The printers' handy book of specimens, exhibiting the choicest productions of every description made at the Johnson type foundry (1876) as well as in The book of specimens of plain and fancy printing types, borders, cuts, rules, &c. manufactured at L. Johnson&company's foundry. Established 1796. Proprietors. Thos. MacKellar, John F. Smith, Richard Smith, Peter A. Jordan (1865). [Google]
Lanston Monotype Machine Company
Extinct but influential foundry from the 19th and 20th centuries. P22, the present owner of the Lanston collection, writes: The Lanston Monotype Company was founded in Philadelphia at the end of the nineteenth century by Tolbert Lanston (d. 1913). In 1887 he received his first patent for a mechanical typesetting device. Later refinements led to the Monotype casting machine and the emergence of the Lanston Monotype Company as one of the most renowned type supply companies in the world. The Monotype caster was revolutionary and along with other automated typesetting machines helped to usher in a new age of printing technology. Typesetting had, until this time, remained the same as Gutenberg's first hand-set movable type.
In the late 1800s, Tolbert Lanston licensed his technology to an English sister company and became a major international force, competing with the Mergenthaler company, whose Linotype was a slightly different approach to the same problem. Both cast type from molten lead alloy on demand, fresh for each job, then recycled it. But whereas the Linotype cast whole lines (or slugs) at a time, the Monotype cast single letters, composing them into a page with an action that is a joy to behold.
Lanston Monotype grew rapidly with America's pre-eminent type designer Frederic Goudy as art director from 1920 to 1947. The type library was directed by Sol Hess, who also designed some of the typefaces.
The Philadelphia-based company eventually parted ways with its English counterpart. The thriving English Monotype became simply known as Monotype. By contrast Lanston went through mixed fortunes and lost ground to Mergenthaler. A long-lasting labor dispute interfered with production and servicing of the Monomatic (an absolutely incredible typesetting machine) according to the man who would later own the company, master printer Gerald Giampa. Customers were upset, and the firm was sold on several times until American Type Founders bought it in 1969. Giampa continues the story: "They stopped manufacturing casters because they had always competed with their foundry sales. Then it became a department of Hartzel Machine Works that also manufactured moulds and re-built casters. Then on to Mackenzie and Harris, a type foundry in San Francisco, then purchased by myself and re-located in Vancouver."
Lanston continued supplying the American market for monotype casters until January 21, 2000, when the hot-metal component of Lanston was tragically destroyed by a tidal wave. After this time Giampa, who was one of the earliest developers of PostScript fonts, focussed much more on digitization. Under his stewardship, Lanston's classic typefaces were digitized in a style that was true to the sources, which are the brass and lead patterns from which the metal type was made. The company relocated to Finland, then back to Canada.
In November 2004 P22 type foundry of Buffalo, NY acquired Lanston Type. P22 studios will re-master Lanston's fonts, including the classic designs of Frederic Goudy and Sol Hess, along with newer designs by such contemporary masters as Jim Rimmer, Dave Farey, and Gerald Giampa himself.
The monotype specimen book of type typefaces (1922, Philadelphia) is a specimen book that is now on the web. View the typefaces designed by Lanston. [Google]
Lanston Monotype: Typewriter typefaces
The typefaces shown in The Monotype pony specimen book of type typefaces, rules, ornaments & borders (Lanston Monotype Machine Company, Philadelphia, 1921) include Monotype-No17L, Monotype-No70L-Elite, Monotype-No70L-Remington, Monotype-No72L-Reproducing Typewriter, Monotype-No170L-SmithPremier, Monotype-No270L-Underwood, Monotype-No272L-Royal, Monotype-No370L-Remington. [Google]
Lanston Type Co
The Lanston Type Co was based in PEI, Canada, moved in 2002 to Vancouver, and moved later that year to Espoo, Finland. In 2004, Lanston was sold to P22. It has classic and wonderful offerings such as Albertan, Bodoni, Caslon, Deepdene (Frederic Goudy, 1929-1934; see D690 Roman on the SoftMaker MegaFont XXL CD, or URW Deepdene, or Barry Schwartz's Linden Hill (a free font)), Goudy Oldstyle, Jacobean Initials, Kennerly, Kaatskill, Water Garden and Jefferson Gothic. Owned by Gerald Giampa (b. 1950, d. Vancouver, 2009), who wrote me this: Frederic Goudy worked for us for 29 years. We manufactured Monotype casters and keyboards. The English sister company sold casters to England and the Commonwealth and we sold to the Americas and wherever else practical. Tolbert Lanston, our founder, was the inventor of Monotype. We still sell matrices and were punching them until several years ago. Soon we expect to have the equipment moved and operational once again. We are placing it into America's largest printing museum which is in Andover close to Boston. However there is a possibility that it will end up in Hull Québec. Our previous type director was Jim Rimmer of Vancouver, noted type designer. He designs, cuts and cast type in lead. Our typeface Albertan was designed by Jim and is very successful. John Hudson and Ross Mills of Tiro were directly inspired by our facilities in Vancouver. I encouraged them towards type design. The beautiful Bodoni 26 (unicase) can be bought at FontShop. Atlantic 35 (1909-1935) is a modern family first used by the Atlantic Monthly in 1909.
The fonts: Albertan No. 977, Albertan Bold No. 978, Albertan Title No. 980,&Inline No. 979, Bodoni No. 175, Bodoni Bold No. 2175, Bodoni 26 (a Lanston unicase based on an interpretation by Sol Hess), No. 175, Caslon Old Style No. 337, Caslon Bold No's 637,&537, Deepdene No. 315, Figures Square No. 132, Flash No. 373, Fleurons C, Fleurons Granjon Folio, Fleurons Folio One, Forum No. 274, Francis No. 982, Garamont No. 248, Globe Gothic No's 240,&239,&230, Goudy Initials No. 296, Goudy Old Style No. 394, Goudy Thirty No. 392, Goudy Village (#2) No. 410, Hadriano Stone-Cut No. 409, Hadriano Title No. 309, Jacobean Initials, Jefferson Gothic No. 227, Jenson Old Style No. 508, Kaatskill No. 976, Kaufmann (Lanston Swing Bold) No. 217, Kennerley Old Style No. 268, Metropolitan No. 369, Obelisk No. 2577, Pabst Old Style No. 45, Pabst Old Style Open, Spire No. 377, 20th Century No. 605, Vine Leaves C, Vine Leaves Folio One, Vine Leaves Folio Two, Water Garden Ornaments. P22 writes this about Lanston: In the late 1800s, Tolbert Lanston licensed his technology to an English sister company and became a major international force. Lanston grew rapidly with America's pre-eminent type designer, Frederic Goudy, holding the position of art director from 1920-1947. The Philadelphia-based Lanston Monotype eventually parted ways with its English counterpart. English Monotype became simply known as Monotype from that time forth. Lanston was acquired by American Type Founders in 1969. After a series of other owners, the company found its way to master printer Gerald Giampa, who moved it to Prince Edward Island in 1988. During its time of transition, Lanston continued supplying the American market for monotype casters until January 21, 2000, when the hot-metal component of Lanston was tragically destroyed by a tidal wave. Giampa was one of the earliest developers of PostScript fonts. After the loss, he focused on digitization to an even greater extent. Under his stewardship, Lanston's classic typefaces were digitized in a style that was true to the sources, which are the brass and lead patterns from which the metal type was made. The past few years have seen Giampa and Lanston travel from Canada to Finland, and back again. Now, Lanston has completed another journey back to the United States to come under the care of a new steward: P22. Giampa is answering the call of the sea. He has traded his type founder's hat for that of a ship's captain to sail the northern Pacific coast. During his shore leaves, Giampa will act as typographic consultant to Lanston-P22. The P22 Lanston collection (2005-2006) was designed wih the help of people such as Paul Hunt and Colin Kahn. It includes these typefaces:
- LTC Archive Ornaments (2014, Richard Kegler and Miranda Roth).
- LTC Artscript.
- LTC Athena.
- LTC Bodoni 175. Digital version by Paul Hunt. This is supposed to be close to the original Bodoni.
- LTC Bodoni 26.
- LTC Bodoni Bold.
- LTC Broadway. By Sol Hess.
- LTC Californian.
- LTC Camelot.
- LTC Caslon Remix.
- LTC Caslon.
- LTC Christmas Ornaments.
- LTC Circled Caps.
- LTC Cloister.
- LTC Creepy Ornaments.
- LTC Deepdene.
- LTC Figures.
- LTC Flash.
- LTC Fleurons Garamont.
- LTC Fleurons Granjon.
- LTC Fleurons Rogers.
- LTC Forum Title.
- LTC Fournier Le Jeune. A decorative all caps combines the font designed by Simon Fournier for the Peignot Foundry in 1768 with a more elaborate "Vogue Initials" caps offered by ATF in the 1920s.
- LTC Garamont.
- LTC Glamour. LTC Glamour was originally released by Lanston Monotype in 1948. It is based on Corvinus, designed by Imre Reiner. P22 designer Colin Kahn has added some unusual variants.
- LTC Globe Gothic.
- LTC Goudy Extras.
- LTC Goudy Handtooled.
- LTC Goudy Heavyface.
- LTC Goudy Initials.
- LTC Goudy Modern.
- LTC Goudy Oldstyle.
- LTC Goudy Open.
- LTC Goudy Ornate.
- LTC Goudy Sans. Goudy Sans Bold was originally designed by Fredric Goudy in 1922 as a less formal "gothic" and finished in 1929. The light was designed in 1930 and the Light Italic in 1931. Colin Kahn digitized them in 2006 to make a 6-style Goudy Sans family at P22/Lanston, which includes a Goudy Sans Hairline.
- LTC Goudy Text.
- LTC Goudy Thirty.
- LTC Hadriano.
- LTC Halloween Ornaments.
- LTC Hess Monoblack.
- LTC Holiday Ornaments.
- LTC Holly Leaves.
- LTC Italian Old Style (2007, by Paul Hunt, after Goudy Italian Oldstyle, 1924). Remastered in 2011 by Paul Grieshaber as LTC Italian Old Style Pro: LTC Italian Old Style is not to be confused with the English Monotype font also called "Italian Old Style", which is an earlier design from 1911 based on William Morris's Golden Type that is based on Nicholas Jenson's Roman face. Goudy went back to Jenson's original Roman and other Renaissance Roman typefaces for his inspiration and the result is what many consider to be the best Renaissance typeface adapted for modern use. Bruce Rogers was one of the biggest admirers of Italian Old Style and designed the original specimen book for Italian Old Style in 1924 using his trademark ornament arrangement. These ornaments are now contained in the pro versions of the Roman styles- Regular Pro and Light Pro.
- LTC Jacobean Initials.
- LTC Jefferson Gothic.
- LTC Jenson. LTC Jenson Oldstyle was designed by J. W. Phinney of the Dickinson Type Foundry in 1893 and is based on Morris's Golden Typeface. This remastered set features a true italic based on the 1893 ATF italic version as well as a newly digitized Jenson Regular (P22) and Jenson Heavyface (P22) based on Phinney's design of 1899.
- LTC Kaatskill. The italic was completed by Jim Rimmer.
- LTC Kennerley.
- LTC Keystone Ornaments.
- LTC Law Italic (Lanston's digital version from 2006). Mac McGrew: Law Italic is said to have originated as an imitation of formal styles of penmanship used for legal documents. The most common of several substantially different varieties is ATF's Law Italic No. 520, which originated with Marder, Luse about 1870. Several of the capitals are swash-like, while lowercase f and g have distinctive shapes. It has long thin serifs and sharp contrast between thick and thin strokes. Inland called the same design Caledonian Italic. Hansen had Barrister Italic. Monotype's Law Italic No. 23 is a sloped roman, somewhat similar to Ronaldson. Other Law Italics are obsolete.
- LTC Metropolitan.
- LTC Nicolas Cochin.
- LTC Obelysk Grotesk. A reconstruction of Sol Hess's Spire (1937) (digital versions first by Gerald Giampa and then by Colin Kahn).
- LTC Octic Gothic.
- LTC Ornamental Initials. Floriated caps.
- LTC Ornaments Animalia.
- LTC Ornaments One.
- LTC Ornaments Three.
- LTC Ornaments Two.
- LTC Pabst Oldstyle.
- LTC Powell.
- LTC Record Title.
- LTC Remington Typewriter.
- LTC Spire.
- LTC Squareface. By Sol Hess.
- LTC Swing Bold.
- LTC Tourist Gothic. By Sol Hess.
- LTC Twentieth Century.
- LTC Village No 2.
- LTC Vine Leaves.
- LTC Water Garden Ornaments.
Fonts can be purchased from MyFonts where all fonts have the prefix LTC. Obituary of Giampa and links to obituaries.
Catalog of the Lanston typeface library. View the typefaces designed by Lanston. A more extensive page of Lanston Monotype typefaces. [Google]
Larry E. Yerkes
[Vigilante Typeface Corporation (was: WolfBainX)]
Lascaris is the foundry of Rolf Noyer in Philadelphia. The first typeface by Noyer is Lascaris (2010): Lascaris is a digital rendition of Janus Lascaris' type of 1494-1496, one of the earliest extant non-Aldine polytonic Greeks. The accompanying Roman, quirky and rich in color, was modeled on humanist types of late 15th century Florentine incunabula.
Klingspor link. [Google]
Laura Moyer (Lancaster, PA) created the decorative typeface Sea Garden (2013). Behance link. [Google]
California, PA-based designer of Zebra (2014). [Google]
Laura Stark is a graphic designer in Wilkes-Barre, PA. For a school project at Savannah College of Art and Design in 2013, she created the geometric typeface Geofont. [Google]
During her studies in 2013 at York College of Pennsylvania in Collegeville, PA, Lauren Bauer created a font over at FontStruct. [Google]
Ephrata, PA-based designer of a curly typeface (2014) during her studies at California University of Pennsylvania. [Google]
As a student based in Irwin, PA, Lauren Teamann designed an unnamed hybrid typeface in 2013. [Google]
[L. Johnson Type Foundry]
Leeroy Kun Young Kang
Visual artist in Philadelphia, PA. He created a 3d skeletal typeface in 2011. [Google]
West Chester, PA-based designer of the funky retro typeface Canopy (2013) during her studies art Penn State university in University Park, PA. [Google]
Philadelphia-based foundry, also called Philadelphia Type Foundry, Lewis Pelouze&Son, and Louis Pelouze&Co. It was founded by Lewis Pelouze (b. 1807), after he had worked for some time at the Ronaldson Type Foundry in Philadelphia (ca. 1834). Lewis Pelouze was sold to ATF in 1892. [Google]
Boyertown, PA-based creator of the decorative caps typeface family Royal Decorum (2014). [Google]
During her studies in York, PA, Lindsay Miller designed MessUp (2013, FontStruct). [Google]
Lindsay Rogers graduated from Kutztown University of Pennsylvania. Based in Palmyra, PA, she designed the sci-fi display typeface Capsule (2016). Behance link. [Google]
Graduate of York College in York, PA, who lives in Cockeysville, MD. Creator of Beaux (2012), a curly monoline script face. [Google]
During her studies, Linn Ruiz-Goubert (Pittsburgh, PA) created the display typeface Pollock (2013), which was created by dripping paint with various tools, a technique made famous by the artist Jackson Pollock after whom it is named. [Google]
New Hope, PA-based artist, writer, musician, and consultant, known for her handmade Cause Pins. She is also an illustrator and photographer. In 2008, LisaBeth was selected by the office of Congressman Patrick Murphy to create an ornament for the White House Christmas Tree.
Designer of the hand-printed typeface ITC Weber Hand in 1999.
FontShop link. Klingspor link. Linotype link.
Linotype link. [Google]
Pittsburgh, PA-based designer who is affiliated with the University of Pittsburgh Medical Center. Creator of the outline typeface Pittsburgh (2017). [Google]
Philadelphia, PA-based graphic designer, who created the Trajan capitals typeface Alam in 2016. Behance link. [Google]
Graphic designer in Philadelphia. In 2014, Liza designed the almost Trajan caps typeface Alam. Behance link. [Google]
Lloyd M. Kelchner
American penman (1862, Light Street, PA-1948, Seattle, WA). Author of Complete Compendium of Plain Practical Penmanship (1901). He studied at G.W. Michael's Pen Art Hall in Oberlin, OH, in the early 1880s. In 1883 he met C.P. Zaner and E.W. Bloser. Bloser and Kelchner taught in Delaware, OH, and in Cleveland, OH. In 1889, Kelchner purchased a half interest in the Zanerian College of Penmanship in Columbus, OH. He sold his interest in 1892 and left for teaching positions in Dixon, IL, and later in Des Moines, IA. In 1909, he moved to Seattle to teach at Seattle Business College. [Google]
Burim Loshaj's Albanian typefoundry, Loshaj Foundry, was established in 2013. It later moved to Erie, PA.
His first typeface is the condensed octagonal Pillar (2013). In 2014, he designed the sci-fi typeface Interstellar (Latin, Greek and Cyrillic) and the squarish typeface Cinderblock.
The shadow typeface South Central (2016) is inspired by the garffiti of some gangs in Los Angeles.
Dafont link. Creative Market link. [Google]
Lothian Type Foundry
[George Buxton Lothian]
Type foundry that operated in New York from 1829-1842, founded by the eccentric George Buxton Lothian (d. 1851), a perfectionist with an incurable temper, but also one of the finest type founders of his generation. Before 1829, he had worked with John Watts (the first stereotyper of the United States), with Collins and Hanna, in his own foundry in Pittsburgh with the help of Peter C. Cortelyou (1819-1820), with the David and George Bruce Type Foundry, and again in his own foundry, Lothar&Pell (which existed from 1822-1823, with investor Alfred Pell). The equipment of the plant was bought by Peter Cortelyou in 1850. [Google]
State College, PA-based designer of Union Pacific 1942 (2016). Louisa explains: This is my first font project---an all-caps display sans serif, based on hand-drawn lettering in a 1942 ad for Union Pacific. It's perfectly imperfect, intentionally impersonating the flaws of hand lettering, to bring a retro vibe to your projects. Perfect for retro logos. Behance link. [Google]
Illustrator in Philadelphia, PA. Designer of decorative Valentine's Day Dropcaps (2017). [Google]
Reading, PA-based designer of a wonderful ironwork-inspired piece of lettering entitled Syrup (2016). [Google]
Author of American Metal Typefaces of the Twentieth Century (New Castle, Delaware, Oak Knoll Books, 1996), which describes every known American typeface designed and cast in metal during the 20th century. See also here and here. M.F. McGrew (1912-2007) was also the author of over 300 articles on typography, which ran in trade journals. He wasd born in Chattanooga, TN, grew up in Pennsylvania, and died in Pittsburgh. His 500-strong book collection was donated to The Museum of Printing in North Andover, Massachusetts, near Boston, where the public can consult them. [Google]
Pottsville, PA-based designer of the hand-crafted typefaces Blossom (2017) and Kaleidoscope (2017). [Google]
MacKellar, Smiths and Jordan
Philadelphia-based foundry, which evolved in 1860 from the Johnson Type Foundry, which in turn evolved from Binny&Ronaldson. The proprietors were Thomas MacKellar (1812-1899), John F. Smith, Richard Smith, and Peter A. Jordan. MacKellar became one of the foundries merged into ATF in 1892. Faces cut by them include the garalde Ronaldson Old Style (1884), named after James Ronaldson, one of its founders, and Campanile (1879). Monotype issued its own version of this typeface in 1903 with short ascenders and capitals the size of these ascenders. Jim Spiece did a revival of a classic Victorian typeface and calls it Zinc Italian SG (2002). The Victorian decorative typeface Ornamented No.5 (1888) was digitized and extended in 2007 by Nick Curtis as Vidalia Sunshine NF. Hermann Ihlenburg was one of their main punch cutters and type designers. Michael Hagemann made a blackletter typeface Spanish Main (2009) after an 1896 typeface called Sloping Black. The 1882 blackletter typeface Borussian was digitized by Nick Curtis and is called McKellar Borussian NF (2009). Hickory (2009, Michael Hagemann) is a revival of an unnamed ornamental Western font dating back to 1852 and was sold through a few different type foundries including Bruce, MacKellar Smiths&Jordan and James Conner's Sons. Monastic (see the1892 book Compact Specimen Book, page 280) was digitized by Toto as K22 Monastic (2010).
Specimen books include Specimens of original printing types cast by the patentees MacKellar, Smiths&Jordan co (ca. 1890), Specimens of printing types: ornaments, borders, corners, rules, emblems, initials, &c (1892, Philadelphia), Specimens of Printing Types (1890), 20th edition of the Compact Specimen Book (1892), Specimens of printing types, borders, cuts, rules, &c. MacKellar, Smiths&Jordan (1868), Specimens of printing types ornaments, borders, corners, rules, emblems, initials, &c. (1892), and Specimens of printing types made by the MacKellar, Smiths&Jordan co., type founders and electrotypers (1889). Also worthy of exploration is 1796-1896: One hundred years, Mackellar, Smiths and Jordan foundry (1896).
Study and listing of their typefaces by yours truly. [Google]
While studying at Kutztown University (Kutztown, PA), Madison O'Neil designed the woodsy typeface Varmint (2013). Dafont link. [Google]
Graphic designer in Philadelphia. He created a type design system called Stem Cells (2012). I am not sure that the rounded octagonal typeface for this project is his. [Google]
Margo Hurst (Philadelphia, PA) created the dusty typeface Sort Sol in 2013.
Behance link. [Google]
During her studies at Pennsylvania State University in State College, PA, Maria Reguero designed the display typeface Milk (2016). [Google]
York, PA-based student designer of the squarish modular typefaces Convoy (2014: FontStruct) and Relief (2012, shadow type). Behance link. FontStruct link. [Google]
During her graphic design studies, California, PA-based Marina Hill created the display typeface Senator (2013). [Google]
Graphic designer in Philadelphia, PA, who created the sci-fi typeface Comet Sans (2012). [Google]
[ZIGZAG.NET (was Urban Design Inc)]
Fort Loudon, PA-based creator of the military fonts CrappyWehrmachtTypewriterBold (1996), SS-Runes, WWIIGermanTacSymbols (1998). [Google]
Martin L. Parker
During her studies, Mary Braun (Philadelphia, PA) designed the modular typeface Farro (2016). [Google]
Edinboro, PA-based creator of the free EPS format all caps sans titling family Nova (2014: Regular, Inline, Thin). [Google]
[Wood Type Revival]
[Rare Letterpress Wood Type]
Graduate of California University of Pennsylvania, who lives in Pittsburgh, PA. Creator of Funhouse (2014) and Pokerface (2014). [Google]
During his studies at The University of the Arts, Philadelphia, PA-based Matthew Roop designed the roman caps typeface Prima Serif (2016). [Google]
Max Richard Kaufmann
Letterer, typographer, McCalls magazine art director. American designer (b. 1904, Philadelphia) of two typefaces at ATF, both boring designs without any vision. Klingspor link. Linotype link. Typedia link. FontShop link. His typefaces:
- The ugly script font Kaufmann (Bold, Script) done in 1936 at ATF. Digital versions abound. Check, e.g., KaufmannSB (Scangraphic), KaufmannBT (Bitstream), Kaleidoscope (Infinitype / SoftMaker). McGrew: Kaufmann Script and Kaufmann Bold are a pair of monotone connecting scripts designed by Max R. Kaufmann for ATF in 1936. The joints are well managed to provide the appearance of smooth, flowing handlettering, while presenting a contemporary look and a high degree of legibility. Swing Bold on Monotype appears to be an exact copy of Kaufmann Bold, and its availability on that system has increased its popularity and usefulness. Compare Gillies Gothic; Brush. Also see Balloon.
- The comic book typeface Balloon (1939, ATF). Aka Lasso. Available as BalloonEF from Elsner&Flake, Balloon Pro (2016) from Softmaker, Freehand 041 from Bitstream, Balloonist from SF, and Bassoon from Corel. Bold and ExtraBold were also made by Kaufmann. Mac McGrew: Balloon is a family of italic capitals in three weights, designed in 1939 for ATF by Max R. Kaufmann. They feature a plain, unadorned, hand lettered appearance, as though carefully drawn with a brush or a round lettering pen; in fact the working name of the series in the foundry was Speedball Light, Bold, and Extra Heavy, for a popular brand of lettering pens. Although featuring capital alphabets only, they are cast on Art line, which gives them an unnecessarily large shoulder. But this allows them to be used with the lowercase of the same designer's Kaufmann Script, which matches the two lighter weights. The name apparently comes from the "balloons" used to enclose conversation in comic strips. Compare Cartoon.
P22, which sells Parrish Roman, Parrish Hand and Parrish Extras (dingbats), writes this about the Phildalphia-born artist Maxfield Parrish: Maxfield Parrish (1870-1966), whose career spanned nearly ninety years, holds a unique place in American art and culture. He was enormously accomplished and successful in both fine art and commercial endeavors. Parrish's hand-drawn letters were a significant part of his works, which bridged the familiar with a startling otherworldliness. P22 has created the Parrish font set in cooperation with the National Museum of American Illustration. See also here. Character made a font called MaxfieldParrish140 in 2007 and writes this: From an incomplete (no "N") hand-drawn alphabet by Maxfield Parrish. See figure 140 of "Letters&Lettering" by Frank Chouteau Brown, 1921. This is a different source than the P22 Parrish font family. Examples of Parrish's lettering: Modern American letters, Modern American capitals. Maxfield died in 1966 in Plainfield, NH. [Google]
PA-based creator of Bella (2009, FontStruct). [Google]
French graphics lettering company initially involved in instant lettering (made by Trip Productions), and some original typeface designs. From 1989 until 1994, Mecanorma worked with another Dutch company Visualogik to create digital versions of their typefaces, all having MN in their names. Monotype licensed and digitized some of Mecanorma's typefaces. In 1995, Mecanorma got out of graphics and stepped into home decoration. In 1999, Trip Productions, a Dutch Company located in Lisse, purchased the Mecanorma brand and what was left of the company. In 2004, International TypeFounders from Cedars, PA, licensed the typefaces from Trip Productions and released them as the Mecanorma Collection.
Their collection includes some great fonts: Access, Artdeco, Artworld, BalloonMN, Brio, BusoramaMN, Campus, CardCamio, Carplate, CaslonAntiqueVL, ChocMN, CircusMN, ComicStripMN, DynamoMN, Galba, Globe-Gothic-Outline, Glowworm, Jackson, LibraMN, MtPlacard, Ortem, Renault, RoslynMN, Sayer, SayerScriptMN, SquashMN, Sully-Jonquieres, Watch-Outline. You can also buy through Atomic Type. Projected new URL, which I am afraid will never be activated because in 1999, the company was bough by the Dutch company Trip Productions.
MyFonts sells these typefaces: Access, American Uncial, Anatol, Arnold Bocklin (art nouveau), Artdeco, Artworld (an embossed font), Aster, Balloon (brush font), Blippo Black, Brio, British Inserat, Brush, Bulletin Typewriter, Caligra (blackletter), Campus (athletic lettering), Cardcamio, Carplate, Caslon Antique, Celtic (in the style of University Roman), Chicago (dot matrix / marquee typeface), Chinon, Choc (brush script), Circus (Western font), Classic Script (a copperplate calligraphic script), Comic Strip, Commercial Script, Contest, Cooper Black, Dubbeldik, Dynamo, Egyptienne, Estro (Western font), Eurostile, Forelle, Fumo Dropshadow MN, Galba (Trajan typeface), Globe Gothic, Glowworm (a bubblegum font), Gothique (blackletter), Hansson Stencil, Hillman, Hotel (multilined art deco), Isonorm, Jackson, Jubilee Lines (an engraved money font), Latina, Leopard, Libra (uncial), Michelina (anthroposophic), Milton, Mistral, Normalise Din, Old Style, Olive, Orator, Organda, Ortem, Polka (a brush typeface), Renault, Rondo (retro script), Roslyn, Sayer Interview (old typewriter font), Sayer Script, Sayer Spiritual, Squash, Stencil, Stop (stencil typeface), Studio, Swaak Centennial (pure art nouveau), Tzigane, Viant, Vivaldi, Voel Beat (beveled), Watch Outline (LED font), Windsor, Zambesi (African look font).
Designers include Albert Boton, J.H. Crook, Jan van Dijk, J. Dresscher, Roger Excoffon, U. Fenocchio, L. Fumarolo, William Gillies, N. Glason, Lennart Hansson, B. Jaquet, K. Kochnowicz, J. Larcher, C. Mediavilla, José Mendoza y Almeida, L. Meuffels, Aldo Novarese, Georges Renevey, F. Robert, Manfred Sayer, M. Schmidt, J.P. Thaulez, J. Werner and Bogdan Zochowski.
The Western slabby font Figaro MT (2004) is ascribed to Mecanorma.
A list culled from the web: AccessMN-Bold, AccessMN-Medium, AmericanUncialMN, AnatolMN, ArnoldBocklinMN, ArtdecoMN, ArtworldMN, AsterMN-Demi, AsterMN-Roman, BalloonMN-Bold, BalloonMN-ExtraBold, BlippoBlackMN, BrioMN, BritishInseratMN, BritishInseratMNCondensed, BrushMN, Bulletin-Typewriter, BusoramaMN-Bold, CaligraMN, CampusMN, CardcamioMN, CarplateMN, CaslonAntiqueVL, CelticMN-Bold, CelticMN-Italic, CelticMN, CenturyMNCondensed-BoldItalic, CenturyMNCondensed-Bold, CheltenhamMN-Book, CheltenhamMN-BookItalic, CheltenhamMN-Ultra, ChicagoMN, ChinonMN, ChocMN, CircusMN, ClassicScriptMN, ComicStripMN-Italic, ComicStripMN, CommercialScriptMN, ContestMN, Cooper-Black-Italic, Cooper-Black-Outline, CooperBlackMN, CushingMN-Book, CushingMN-Heavy, CushingMN-HeavyItalic, CushingMN-Medium, DubbeldikMN, DynamoMN-Bold, DynamoMN-Medium, DynamoMN-Shadow, EgyptienneMNCondensed-Bold, ElanMN-Extended, ElanMN-Light, ElanMN-Medium, EnrouteVL, ErasMN-Book, ErasMN-Demibold, ErasMN-Ultra, ErasMN, EstroMN, EurostileMN-Extended, EurostileMN-ExtendedBold, EurostileMN-Medium, FidelioMN, FolioMN-Bold, FolioMN-Extrabold, ForelleMN, FranklinGothicMN-Book, FranklinGothicMN-BookItalic, FranklinGothicMN-Heavy, FrizQuadrataMN-Bold, FrizQuadrataMN, Fumo-DropshadowMN, FuturaBlackMN, GalbaMN, Gillies-Gothic-Bold, Gillies-Gothic-Light, Gillies-Gothic-Ultra-Shadow, Gillies-Gothic-Ultra, GlobeGothicMN-Bold, GlobeGothicMNCondensed-Bold, GlobeGothicMNOutline, GlowwormMN, GlowwormMNCompressed, GorillaVL-Bold, GothiqueMN, HanssonStencilMN-Bold, HanssonStencilMN, HillmanMN, HillmanMNCondensed, HotelMN, IrishUncialVL, IsonormMN, Italia-Bold, Italia-Book, Italia-Medium, JacksonMN, JubileeLinesMN, LatinaMN, LeopardMN, LibraMN, MRunic-Condensed, MSwingBold, MachineMN-Bold, MachineMN, MichelinaMN, MiltonMN-Demibold, MistralVL, MtPlacard-Condensed, NormaliseDinMN, OklahomaState, OliveCompactMN, OliveMNBold, OliveNordMN, OratorMN, OrgandaMN-Bold, OrgandaMN, OrtemMN, PascalMN, PolkaMN-Bold, PolkaMN, PopplExquisitMN, PopplExquisitMN-Alternative, RenaultMN, RenaultMNBold, RondoMN, RoslynMN-Bold, RoslynMN-Bold, RoslynMN-Outline, RoslynMNMedium, SaphireMN, SayerMN-Interview, SayerScriptMN-Black, SayerScriptMN-Bold, SayerScriptMN-Light, SayerSpiritualMN-Italic, SayerSpiritualMN, SloganMN, SquashMN-Outline, SquashMN, StencilAntiqueMN, StencilAntiqueVL, StencilMN, StencilMNOutline, StopMN, StudioMN, SullyJonquieresMN-Bold, SullyJonquieresMN, SwaakCentennialMN, Syntax-Bold, Syntax-Roman, ToucheVL, TziganeMN, ViantMN-Bold, VivaldiMN, VoelBeatMN, WashSymbolVL-Light, WatchMN-Outline, WindsorMN, WindsorMNElongated, ZambesiMN.
View Mecanorma's typefaces. [Google]
Design studio in Philadelphia, PA. Among other things, they are selling some fonts via Creative Market: Sketch-It, Monsters, Listicons, Jamie's Hand, On Air (radio font, +Inline), Asche. The fonts are made ca. 2012. [Google]
Graphics cooperative in Philadelphia that sells some fonts. These include Mammoth (2017, a formal didone, tending towards the fat face genre), Monarchy Rough (2016), Neon Tubes (2016, a paperclip font), Shoreditch (2016), Andea (2015, +Clean, +Rounded, +Rough), Monarchy (2014: a tall humanist meets slab serif font family by Birmingham, UK-based Tony Thomas), Asche (2014), Meddle (2014), SkooledSerif (2013), and Viro (2014: a humanist sans by Tony Thomas). Most fonts are made by Nathan Brown (Austin, TX). Medialoot's community manager is Jenn Coyle (Philadelphia, PA). Behance link for Tony Thomas. Creative Market link. [Google]
Meg Paradise (b. Scranton, PA) and Lauren Sheldon created the typeface for this flowery Chopard poster (2010). Meg lives in New York City. [Google]
Assistant Professor of Graphic Design at York College of PA, who studied at Maryland Institute College of Art. Fontstructor who made Glyphorama (2012), a beautiful condensed high-contrast squarish piano key typeface. It was renamed Gropius. [Google]
During her studies, Melanie Coggio (Sydney, Australia) created Grooove (2014). [Google]
Interior architect and graphic designer in Pittsburgh, PA. Creator of the slabby pooster typeface Blake (2012), which is based upon Rockwell. [Google]
Mic Rogers (Philadelphia, PA) graduated in 2016 from Atlanta's Georgia State University with a degree in Art. He created these typefaces in 2014: Zerone (techno typeface), Bastic 4.5 (hand-printed), Prime Cru (thin techno stencil), and Marathon (LED emulation). Behance link. [Google]
As a student at Penn State, State College, PA-based Micaelie Bremer designed a display typeface in 2016. [Google]
[Evertype (was: Everson Typography)]
During his studies in Kutztown, PA, Michael Ferrante created the turn of the century Parlour typeface (2013). [Google]
Pennsylvanian graphic designer. She made the inline headline typeface Ladyhawke (2010, FontStruct). [Google]
Graphic designer in Pittsburgh, PA, who created the experimental typeface Disassemble (2015). It was obtained by combining bits and pieces of Baskerville, Century Gothic, and Braggadocio. [Google]
Nova Scotian who works at GrammaTech in Ithaca, NY. Mike McDougall (ex-University of Pennsylvania Ph.D. student) created a random type 3 font called Tekla (1994) as an undergraduate student at McGill University, under the supervision of Luc Devroye. He used several handwritten samples as parents to create random offspring. A companion article entitled Random Fonts for the Simulation of Handwriting has appeared in "Electronic Publishing" in 1995. See also here. [Google]
Miller Designworks' Font Flake
A very nice interactive program by Philadelphia's Miller Designworks that makes a snowflake out of someone's initials printed in a given font. [Google]
Mind Killer Ink (MKI)
Pittsburgh, PA-based designer of the horror movie font MKI Deathmetal (2015) and the brush script font MKI Metal (2015). In 2016, he designed Burning Churches.
Behance link. Creative Market link. Behance link. [Google]
As a student in Brooklyn, New York, Molly Fehr [who grew up in Philadelphia] created the floriated caps typeface Botanical (2015). Behance link. [Google]
Maxwell Pokrzywa (MPOK Imageworks) is the creator of Grimey (2009, Fontcapture) and MPOK Hand (2009, Fontcapture). Born in 1988, the designer lives in Pittsburgh. Facebook page. [Google]
MyFonts: Keystone Type Foundry
MyFonts hit list for revivals of typefaces from the Keystone Type Foundry. [Google]
Nakeyisha Aisha Huddleston
During her studies at The Art Institute of Pittsburgh, where she is a cohort of the class of 2015, Nakeyisha Aisha Huddleston (Chicago, IL) designed the art deco typeface Gatsby (2014). Behance link. [Google]
National Type Foundry
Foundry in Pittsburgh, active in the first part of the 20th century. [Google]
Nicolas Gotch (aka TheLostMayan) from Avoca, PA, created Slippery Joe (1999), a handprinting font. He also made the horned letter font Hellbound (2001). Both are free. [Google]
During his studies at York College of Pennsylvania, Nick Gorbey (Secane, PA) designed a squarish font using FontStruct (2016). [Google]
During her studies, York, PA-based Nicole Fenn designed the modular display typeface Venezia (2016, FontStruct). [Google]
Newtown, PA-based student-designer of a pearly caps typeface (2014) based upon the queen of diamonds in a deck of cards. [Google]
Designer of the Mac font Drow Runes based on the Dark Elven Runes created by TSR for use with AD&D. And of R'zal'Shii, based on the Drakmarian language which was created by Nitehawk Jarrett back in 1989. Based in Hazleton, PA. [Google]
Red Lion, PA-based designer of a free set of vector format icons called Softee Icons (2013), and the commercial typefaces Avante (2014), Reeler (2014, with Mans Grebäck at Aring Type), Willow (2014, multiline neon tube font), Koil (2014), Nello (2014), Wear (2014), Chili (2014), Oil Field (2014, rounded sans), Stout (2014), Ale (2014), Indie (2014, outlined face), and Ale Pro (2014).
Typefaces from 2015: Urethane, Hijinx (rounded hand-crafted sans caps typefaces), Mortyr Black (blackletter).
Typefaces from 2016 in his Tradesman series include Driver, Goblet (blackletter), Gallows (blackboard bold), Deere and Cordial. Together with Mans Grebäck at Aring Type, he designed the calligraphic typeface Melay Script (2016). Still in 2016, he designed the all caps sans typefaces Himalayan (pixelish), Ale Ligs, Driver, Ranchero (modular), Golden Nugget, Frank, Frankie, Franklin and Graver, the rounded poster typefaces Creature, Cordial and Mill Smith, the connected script typeface Vivien, and the blackletter typeface Sandoval.
Typefaces fro 2017: Blueberry Script (with Mans Grebäck), Dockhouse (rounded all caps sans).
Behance link. Creative Market link. [Google]
NONBook is Ryan Maelhorn's foundry located in Bellefonte, PA. Ryan Maelhorn (b. 1978, State College, PA) created the free font Mob (2012, bold sans), the commercial Mob Pro (2012), and Bounce (2012). In 2014, he published the grungy typeface Mottle.
Dafont link. Home page. [Google]
[Martin L. Parker]
Parquillian Design (Washington, DC) is the foundry (est. 2010) of Philadelphia-born graphic and web designer Martin Parker, who specializes in typography, calligraphy, and world languages. He created Parquillian (2011, a rounded blackletter face) and the Cambodian simulation typeface Anglo Angkor (2012).
Futurum Parqez (2014) is the first collaborative font for Parquillian Design. Jose V. Lopez conceived the idea ca. 1975, and collaborated almost 40 years later with Parquillian to implement it into a digital typeface. It is a square-shaped frame out of which the letters are cut using the fewest strokes possible while maintaining legibility.
Klingspor link. Behance link. [Google]
During his studies in 2016, Pedro Madera (Lancaster, PA) designed the experimental coat hanger-inspired typeface Hanger. [Google]
Pennsylvania Dutch Fraktur gallery
John Bieber shows some Fraktur examples (for birth certificates and other official documents.mostly hand-drawn) used by Pennsylvanian Germans [Google]
Peter Hanley's fonts: Bärloch Regular, Dropus Capus, Schmutzy Degraded (1999), Oblok Regular (1999), LEBENangst (1999). Peter is at Temple University, Philadelphia, PA. [Google]
Pennsylvanian creator (b. 1989) of the artificial language font Hylian (2009) and of A Petty Font (2009, handwriting). [Google]
Michael Spina (Phantasmic Design, Emmaus, PA) made the old typewriter font 3000 in 1996. He also created LoveLetterTW (a typewriter font). Alternate URL. [Google]
Kosal Sen (b. 1982, Philadelphia) is a graphic and identity designer, aka Koleslaw. He used to live in Philadelphia, but is now in Anaheim, CA.
- His early typefaces, some of which were free, include the graffiti typeface Drupal (2005), Unnamed Sans (2009), "Kosal Says Hy" (sic, 2003), Olney (2010, a basic square sans), Gravity Sans (2010, slab serif; +GravityNova, GravitySupernova), Merge (2011, a plumpish round monoline sans family), Philly Sans (2008, comic book style face) and the comic book typeface Arfmoochikncheez (2006).
- In 2009, he founded Philatype. At Philatype [Twitter link], he created Olney (2010; inspired by the Bank Gothic style; Olney Light is free), Ryno Slab (2009, macho), Markup (2007, a fresh hand-printed comic book style face), Gravity (2010, slab serif), Tryst (2013, transitional: free download), Lovato (2014, a 5-style wedge serif family with a free Lovato Light style), and Merge (2011, free). Merge Pro Greek and Cyrillic (2012) are codesigned with Elexei Vanyashin.
- Creator of this heavy slab face (2006) in true Western wood type style.
- Regalia (2014) is a heavy angular typeface.
- Sen is a free 3-style geohumanist sans.
- Toddle (2015): a sans modeled after Google's logo.
- In 2016, he started work on Grotesque MetaUltra.
Kosal was embroiled in a minor controversy. He claimed that Wilton's commercial font Shallow (2005) was based on Kosal Says Hi. Wilton subsequently removed it from its site.
Also called Typophilesal Ko, and Koleslaw. 1001 Fonts link. Klingspor link. Behance link. Dafont link. Behance link. Fontspring link. Alternate URL. Creative Market link. [Google]
Kutztown University's Miles DeCoster offers these free fonts, all potato cut: Spud (1997), Spud Slab (1997), Taters (1998), Potato Head (1999), Home Fries (2002), Yukon (2010). DeCoster is a professor in the Communication Design Department. All fonts are made by the techique of potato printing. [Google]
Prime Graphics (was: PolyType)
Sports glyphs, dingbats, ornaments, by Karl Nayeri, made in 1993 at PolyType, now Prime Graphics. Nayeri studied at University of Paris I (Panthéon-Sorbonne) and Institute of Technology of Tehran. He now lives in West Palm Beach, FL.
His fonts: Polytype-Optix, PolytypeAllure, PolytypeAnimals, PolytypeArrowtek, PolytypeArtdeco, PolytypeBirds, PolytypeBusIcon, PolytypeCorners, PolytypeCorners, PolytypeFruits, PolytypeHolidays, PolytypeImages, Polytype Leisure (2004), PolytypeOptyx, PolytypeOrnaments, PolytypePatterns, PolytypeVegetables. MyFonts sells these typefaces by Nayeri: Achiva, Arius, Aviana, Balboa, Betique, Bohemian, Boracho, Bristol, Exvoto, Fouras, Fulton, Janus, Kaptiva, Montique, Polyma, Polytype Animals, Polytype Images, Polytype Birds, Polytype Ornaments, Polytype Sports, Polytype Fruits, Polytype Arrowtek, Polytype Leisure, Polytype Business Icons, Polytype Vegetables, Polytype Allure, Polytype Holidays, Polytype Art Deco, Polytype Optyx, Polytype Corners, Polytype Artimus I Frames, Polytype Artimus II Frames, Polytype Brutus I Frames, Polytype Brutus II Frames, Polytype Dumas I Frames, Polytype Dumas II Frames, Polytype Medoc I Frames, Polytype Medoc II Frames, Polytype Numa Frames, Polytype Patterns, Shiraz, Signum, Sombrero, Soraya (2004, avant garde), Vasco, Vitalique, Wichita, Woko, Xerxes, Yakima, Zealous. For a period of time, he permitted distribution of his library to International Type Fonders, but now his fonts can be bought from MyFonts.
The typophiles raised an argument about Soraya (2004), which seemed very close to Cirkulus (Michael Neugebauer, Letraset).
Images of some of Nayeri's typefaces. Catalog. The Prime Graphics typeface library. [Google]
Prototype-NY (was: Handcraftedfonts)
Original fonts, clip art, signature fonts by New Yorker (and ex-Philadelphian) Jonathan Macagba, and Gregory La Vardera. Macagba used to run Handcraftedfonts, then Adcrobatics, and finally Prototype-NY. Most fonts are shareware. Look for Weather (great weather icons), Dotleaders, Talkballoons, Starburst, Rulesfont, Smileyface, MostlyWaves, MorseCodeFont, MetrolinerCaps (1994, Handcraftedfonts Co: an inline caps typeface), Instantlogo, Hobofont, Handyfont, Logofont, Freudfont, and Buncholines. Original, and high-quality creations!
Jonathan also made commercial fonts available via Phil's Fonts, such as the interesting Murder Mystery Font, EdoFont (great Japanese decoratives), Frankenfont, Frankenfont Careers, FunToUseFonts, HF American Diner (a 3d shadow typeface), Broadstreet, Exposition, Antique Row, Doodle, Libris (great!!!), Edofont (Japanese crests), Newgarden (more!!), and Poster.
At Umbrella Type, he published Exposition and Exposition Rounded (2004, a type revival influenced by an Italian poster designed by Leopoldo Metlicovitz in 1906 for the opening of the Simplon Tunnel), Libris (2004, a great and very clean revival of a 12th century Spanish script), and Poster (2004, partially influenced by Egon Schiele's hand-lettered poster for the 1918 Vienna Secession. He also makes custom fonts, logos and signatures.
Dafont link. Klingspor link. FontShop link. [Google]
Quaker City Type Foundry
Metal type foundry in Honey Brook, PA, still operational in 2007. It is located at 2019 Horseshoe Pike, Honey Brook, PA 19344. Some of its types are listed here. [Google]
Rachael Pisarcik (Pittsburgh, PA) designed the display typeface Robot (2013). [Google]
Erie, PA-based creator of Puremotif (2007, a Fontifier font). Download not functional. [Google]
During her studies at The Art Institute of York, Pennsylvania, Rachel Emmel designed the art deco typeface Best of British (2013) for which she was inspired by the stripes and angles of the Union Jack.
Behance link. [Google]
Rachel Lauren Adams
Rachel Adams (R Lauren Designs, Pennsylvania) Savannah, GA) created the sketched typeface Lemonade (2013), the hand-printed typeface Kyoritsu Dengyo (2013), the art deco typeface Sunspots (2013), and the shadow typeface Without A Trace (2013). Vegan Pizza (2013) is a hand-drawn typeface.
Fontspace link. Dafont link. [Google]
During her studies, Rachel Tiscione (State College, PA) designed the display typeface Twine (2017), which is derived from Didot. [Google]
Mike McDougall (ex-University of Pennsylvania Ph.D. student) created a random type 3 font called Tekla (1994) as an undergraduate student at McGill University, under the supervision of Luc Devroye. Tekla uses several handwritten samples as parents to create random offspring. Tekla's letters vary every time a character is needed. A type 3 font of unique versatility, Tekla may be used to simulate drunkenness, and, as the sample shows, varying degrees of instability on one page. His font has a "craziness" parameter, by which we could actually extrapolate beyond the convex polyhedron determined by the master fonts. It should prove useful in testing character recognition software.
A companion article entitled Random Fonts for the Simulation of Handwriting has appeared in "Electronic Publishing" in 1995. See also here.
Source code of the font.
Additional URL. [Google]
Rare Letterpress Wood Type
Matt Braun and Matt Griffin (Pittsburgh, PA) are interested in digitizing some old letterpress wood types from original specimen. Their first font, Fatboy Husky (2011), is free. Matt Griffin is one of the founders of the design firm Bearded. He also teaches letterpress printing to young designers at Carnegie Mellon University. Matt Braun is a senior designer at Bearded and letterpress printer. [Google]
York, PA-based designer of Pixel Pieces (2016). [Google]
FontStructor who designed the squarish typefaces Mesh (textured), Robo and Dippo in 2013. This was achived during her graphic design studies in York, PA. [Google]
Dover, PA-based FontStructor who made the display typeface Sona (2013) during her studies. Behance link. Aka rshaffe8. [Google]
Harborcreek, PA-based graphic design student at California University of Pennsylvania who created typefaces such as Hello Dear (2013) and Get Out (2012). [Google]
Red Rooster Typefoundry
Red Rooster is a Cedars, PA-based foundry run by Steve Jackaman (b. 1954, Greenwich, London). Steve started out at London's Face Photosetting. Red Rooster was founded in Philadelphia in 1990 and has about 500 fonts, mostly complete text families in the classical mould, revivals of Ludlow and other foundries, and revivals of fonts by Canadian designer Les Usherwood from the phototypesetting era. Families of fonts:
FontShop link. MyFonts link.
- Alexon (1993, by Les Usherwood), Alghera, Alphabet Soup (2007, a delicatessen signage typeface based on an 80s font he did while at Typographic House in Boston), Alys (calligraphic), Appleyard (1992, A. Pat Hickson), Aquarius (2007, based on a VGC font by that name), Argus (1992, Les Usherwood and Paul Hickson)
- Badger, Bannock Brae Gothic, Banque Gothique, Bassuto, Beckenham (1992, Les Usherwood and Paul Hickson), Bellini (an Egyptian family), BlockGothic (1996, Steve Jackaman at the Rabbit Reproductions Typefoundry), Bodoni Black Condensed (after R.H. Middleton, 1930), Bodoni Campanile (after R.H. Middleton, 1930), Byron
- Cameo, Canterbury, Canterbury OldStyle, Canterbury Sans (a tall-ascender sans family based on the 1920-1926 design by Morris Fuller Benton for ATF), Casablanca (1997, avant-garde typeface based on Carlos Winkow's Electra), Caslon Extra Condensed (based on a Ludlow face), TCCentury (1996, Les Usherwood and Steve Jackaman at the Rabbit Reproductions Typefoundry), Century New Style, Chamfer Gothic (after a condensed Ludlow typeface, ca. 1898), Chase, Chelsea (1993, Les Usherwood and Steve Jackaman), Claremont, Coliseum (1992, A. Pat Hickson and Julie Hopwood), Commander (1994, Steve Jackaman), Consort (1994, Steve Jackaman), ConranScript, Creighton (2009, a sans family), Coronet (after a 1937 typeface by R.H. Middleton).
- Dominus, Dundee (1993, A. Pat Hickson), Dungeon
- El Paso (2011, a Western/Mexican simulaton typeface based on El Paso from the Face Photosetting collection), Elston, Equestrienne, Erasmus, EuropaGrotesque, Extension
- Faust (1993: based on a 1958 typeface by Albert Kapr), Flexion Pro (2007, by Hal Taylor and John Langdon), Florentine Cursive (after a 1956 script by R.H. Middleton), ForumTitling, Franklin Gothic Pro (2011, with Ashley Muir), Frenchy
- Garamond RR Light (after a 1929 typeface by R.H. Middleton), Gargoyle RR (Based on an Adrian Williams design, circa 1976 and Brook Type in 1903 designed by Lucien Pissarro for his private press, Eragny Press), GilmoreFahrenheit, GilmoreSansExtBolExtCondTitl, Gothic Extension, Gothic Medium Condensed (after a 1939 Ludlow typeface), GoudyY38, Grand Canyon (2002, a condensed slab serif family based on wood type). GroveScript
- Hancock, Hauser Script (after a 1934 Ludlow font by Georg Hauser), Helium (1994, a mini slab serif face), Hess Old Style (1993, a revival of the garalde typeface Hess Old Style by Sol Hess for Lanston, 1920-1923), Honduras
- Inverness, Iron Maiden RR
- Jardine, Javelin, Jolly Roger (2003, a digitization of a 1970 font by Phil Martin), Jubilee
- Keyboard, Kingsley, Kingsrow
- Leighton, Lesmore, Los Alamos (2007, a condensed sans companion of Grand Canyon)
- Madrid (based on Nacional, a 1941 typeface by Carlos Winkow), Maximo, Mechanic Gothic DST, Megaphone, Motorcross (2008, after an art deco font from 1930 by Ludwig&Mayer)
- PallMall, Phoenix Pro (2011: after Morris Fuller Benton's condensed typeface Phenix American, 1935), Phosphate (based on Phosphor by J. Erbar, 1922-1930; contains a nice Inline; Phosphate Pro Solid and Inline was done with Ashley Muir in 2010), Pipeline, Poor Richard, Portobello (loosely based on Aldo Novarese's Pontecorvo)
- Radiant RR (after a 1938 typeface by R.H. Middleton), Railroad Gothic (an American caps-only grotesque based on a Ludlow original, ca. 1900), Raleigh, RRRaleighGothic, Razor Bill (based on the original typeface from Face, London, circa 1972), Ribbit, RivoliInitials
- Rocklidge Pro (2011, with Ashley Muir). Based on Jana (Richard D. Juenger, VGC, 1965).
- Roman Tyres (1997).
- SaintLouis, Salzburg, Schiller Antiqua (based on Nacional's Hispalis), Schindler, Secret Service Typewriter (2002, based on a 1905 proof of an early Remington typewriter font from the Keystone Type Foundry), Shinn, Shortwave Gothic, Silverado, Sinclair, Sphinx (1992, Steve Jackaman, based on a 1925 design by Deberny&Peignot), Stanhope, Stirling, Superba, Sycamore
- TCAdminister (1994, Les Usherwood and Steve Jackaman), Tempo, Thingbat, TitanicCondensed, Triple Condensed Gothic
- Ultraduck, Ultra Modern RR (after a 1928 art deco typeface by Douglas McMurtrie).
- Venezuela (2000, Mexican simulation face, based on Albert Auspurg's Vesta from 1926, created by Pat Hickson), Veronese
- Waverly, Willard Sniffin Script (2007, based on Willard Sniffin's 1930s ATF brush script called Keynote)
- Yeoman Gothic
- Xctasy Sans (2002, an avant-garde family influenced by the the 1960s typeface Design Fineline)
Text listing of their typefaces. Alphabetic catalog of the Red Rooster typeface library [large web page warning]. [Google]
REESweb (University of Pittsburgh)
Lots of informative links related to Slavic languages, maintained by Karen Rondestvedt at the University of Pittsburgh. [Google]
Stereotype printers and letter founders in Philadelphia. Specimens published in 1818. [Google]
[David J. Birnbaum]
Project led by David Birnbaum at the University of Pittsburgh: The Repertorium of Old Bulgarian Literature and Letters was conceived as an archival repository capable of encoding and preserving in SGML (and, subsequently, XML) format archeographic, palaeographic, codicological, textological, and literary-historical data concerning original and translated medieval texts represented in Balkan Cyrillic manuscripts. The Repertorium project grew out of an initiative of David J. Birnbaum (University of Pittsburgh), Andrej Bojadiev (University of Sofia), Milena Dobreva (Institute of Mathematics, Bulgarian Academy of Sciences), and Anisava Miltenova (Institute of Literature, Bulgarian Academy of Sciences) in 1994, with early SGML development assistance from Berend Dijk and Harry Gaylord (both then of the University of Groningen). Sub-page with several free fonts for early Cyrillic: Menaion and Menaion Medieval (Victor Baranov), Lazov and Lazov Bold (Rumjan Lazov), Dilyana (Ralph Cleminson), Kliment Std (Sebastian Kempgen), Titus Cyrillic and Titus Cyberbit Basic. [Google]
Philadelphia-based typographer. One of his slab serifs from 1824 was revived by Richard Wikstrom under the name Alamo Slab. [Google]
Richard Smith was one of the owners of the Philadelphia-based foundry MacKellar, Smiths and Jordan, which evolved in 1860 from the Johnson Type Foundry, which in turn evolved from Binny&Ronaldson. The proprietors were Thomas MacKellar (1812-1899), John F. Smith, Richard Smith, and Peter A. Jordan. MacKellar became one of the foundries merged into ATF in 1892.
He patented typefaces such as Cameo (1874), Plain Shade (1874) and Light Shade (1874). The latter decorative typeface appeared in Dan X. Solo's The Solotype Catalog of 4,147 Display Typefaces on page 17 as Night Shade. The first known digital version of this typeface was Nigel SadeSH (1993, Soft Horizons). Other versions include Shadowed Serif (1994, James Fordyce), Cameo Antique (2009, by Character), and Outstanding (2012, Bobistheowl). In 2016, Bobistheowl published Cabbagetown, a large typeface family started in 2014. It extends Light Shade in many directions, and is digitally fine-tuned. [Google]
Graduate of Point Park University in Pittsburgh who lives in Lower Burrell, PA. Creator of Polka Party (2013).
Fontspace link. [Google]
Rob Hungerman (b. Pittsburgh, PA) studied at the University of Dayton, OH (class of 2014) and Cincinnati State (class of 2017). In 2016, he designed the orintal simulation typeface California Roll. [Google]
Rob L. Callahan
Free handwriting fonts Callahan (1996) and Ludwig LooseBraids (1996, based on the handwriting of Robin Campbell) by Rob Callahan. Doctoral student at Philadelphia's Temple University. [Google]
Greensburg, PA-based designer, b. 1973. Creator of the athletic lettering typeface Station 232 (2009). [Google]
York, PA-based designer of the squarish typeface Fat Cap (2016). [Google]
Rodney J. Decker
Galilee is a Greek sans serif font by Rodney J. Decker (professor at Baptist Bible Seminary in Clarks Summit, PA). He writes: "My goal is a screen-optimized font for use in a web browser. The optimized (i.e., manually hinted, including delta hinting) is nearly finished, and then I will convert it to a full Unicode font, hopefully within the next year. There is also a related page with Unicode info regarding polytonic Greek here". He created Galilee Unicode Gk font (2003-2004), a sans serif font that is designed to complement Trebuchet. See also here. [Google]
Altoona, PA-based American designer (b. 1984) of the lightning strike typeface Lightning Strike (2008) and of Knight Nifty 9 (2013). [Google]
Type designer from Ashbourne, PA, who filed some designs with the US patent office. With Edwin C. Ruthven, he created an unnamed border type in 1889 for the Mather Manufacturing Company of Philadelphia. He made a curly Victorian face in 1890. In 1889, he made an art nouveau face. [Google]
Design student at Robert Morris University in Pittsburgh, PA. He created the experimental typeface Wired (2012). [Google]
Graphic designer in Philadelphia who designed the decorative outlined typeface Nocchella (2016). [Google]
During her studies in State College, PA, Sabrina Hecht designed the art deco typeface Carraway (2016). [Google]
Designer from Philadelphia. The squarish and trendy City Slick typeface (2011) was created for a poster for Oobe's Apparel Sale. Behance link. [Google]
During her studies at Kutztown University in Pennsylvania, Sam Mickley (Northampton, PA) designed a thin display typeface called Deviate (2016). [Google]
During her studies in 2014 at Philadalphia University, Samantha DeLuca created the Likwid typeface. [Google]
Kutztown, PA-based designer (b. 1982) of the fancy caps typeface Abusive Pencil (2007). [Google]
During his studies at Kutztown University, Sean Miller (Danieldsville, PA) created the modular typeface Snuggle (2014). [Google]
Several freeware/shareware dingbat fonts by Lisa Rohrbaugh from Red Lion, PA: SC By the Sea, SC Hearts, SC Dividers, Southwest Design Set, Sets1, Sets2, Solarity, Stained Glass, Executive Buttons, ButtonsNBars, Buttons. Many commercial dingbat fonts: Whimsies, Surrounds, Setups, Maske A Splash, Button-Ups, Fanci-Fools, Surrounds Set 1, Snow Crustals. Her SetCity.com site closed in 2003. Dafont link. [Google]
Graphic designer in Pittsburgh, PA, who created the free display typeface DisThyme (2017), which is inspired by Travis Howell's Raleigh font. Behance link. [Google]
York, PA-based student-designer (at York College of Pennsylvania) of the display typeface Down Low (2014). [Google]
FontStructor of the dot matrix typeface 5 Cent Game (2010). Borne Programming. [Google]
Silvio is the Toronto-based designer of ITC Napoleone Slab (2001) and the Greek simulation font family ITC Medea (2003). He also published FF Hydra (2002), an extensive family. He graduated from the Philadelphia College of Art in 1993, and is currently working at Crescent Design Consultants in Toronto. There is a slight question as to whether ITC Medea was based on the source code of UnciTronica (Manfred Klein, AI, 1994). [Google]
American typographer and type designer, b. 1886, Philadelphia, d. 1953. He was a man with class and style, who influenced many through his work. He managed the Lanston library from early in the 20th century (he joined Lanston in 1902) until the second World War. He created many of its typefaces himself, and commissioned many from Frederic W. Goudy. His typefaces (LTC stands for Lanston Type Company):
- Alternate Gothic Modernized.
- LTC Artscript (Lanston Monotype, 1940; digital version in 2005 at P22/Lanston). McGrew: Artscript is a delicate calligraphic letter designed by Sol Hess for Monotype, which calls it "an attempt to convert into rigid metal the graceful penmanship of the ancient scribe. ..based on the writing of Servidori of Madrid (1798)." It was designed in 1939 but not released until 1948, because of wartime restrictions. It is a pleasing design for limited use, but its delicacy requires special care in handling. Compare Heritage, Lydian Cursive, and Thompson Quillscript.
- In 1928, he created the now famous Broadway Engraved. P22 writes: LTC Broadway was originally designed by Morris Benton. Sol Hess added a lower case in 1929 and also drew Broadway Engraved for Lanston Monotype. That font is now available in digital format from LTC/P22. Other digital fonts include OPTI Broadway Engraved from Castcraft, Broadway Inline (Softmaker), B820 Deco (Softmaker), B821 Deco (Softmaker), Deco 901 (Bitstream) and Bravo (Corel).
- Bodoni 26: a unicase interpretation of Bodoni by Hess at Lanston, designed by Giampa; digital version at P22/Lanston in 2005.
- Bodoni No. 175 (remastered in 2006 by Paul Hunt).
- LTC Bodoni Bold.
- Bruce Old Style No. 31: a transitional font at Lanston Monotype in 1909. Now a Bitstream face. Based on Bruce Old Style No. 20 from Bruce Foundry (1869).
- Linotype states that Sol Hess is responsible for a version of Cochin Bold (1921): Georges Peignot designed Cochin based on copper engravings of the 18th century and Charles Malin cut the typeface in 1912 for the Paris foundry Deberny&Peignot. The font is named after the French engraver Charles Nicolas Cochin (1715-1790) although its style had little to do with that of the copper artist's. The font displays a curious mix of style elements and could be placed as a part of the typographical Neorenaissance movement. Cochin is especially large and wide and was very popular at the beginning of the 20th century. Note: Cochin is now sold by Linotype, Adobe, Monotype, URW++ and Bitstream (as Engravers' Oldstyle 205).
- English Caslon no 37.
- Goudy Bible (1948). Mac McGrew: Goudy Bible is a modification of Goudy Newstyle (q.v.), adapted by Bruce Rogers with the assistance of Sol Hess for use in the Lectern Bible Rogers designed for World Publishing Company in 1948.
- Goudy Bold Swash.
- Goudy Heavyface Open (1926) and Condensed (1927). Mac McGrew: Goudy Heavface and Italic were designed by Goudy in 1925 in response to a strong request by Monotype for a distinctive typeface on the order of the very popular foundry Cooper Black. Such typefaces had little appeal for Goudy, and he always felt that Monotype was disappointed in his efforts, but the result is more informal than other similar types, and has had considerable popularity. Note the extra set of figures and the unusual number of tied characters and ornaments in the font. Goudy Heavyface Open is a variation produced by Monotype in 1926, probably designed by Sol Hess, who designed Goudy Heavyface Condensed in 1927. Compare Cooper Black, Ludlow Black, Pabst Extra Bold. See LTC Goudy Heavyface, or Goudy Heavyface (Bitstream).
- Hadriano Stone-Cut.
- Hess, Hess Bold (1910). Mac McGrew: Hess Bold was designed by Sol Hess for Monotype about 1910, as a companion typeface for Goudy Light, drawn earlier by Frederic W. Goudy. Of medium weight, it accurately reflects the characteristics of the lighter face with a high degree of legibility, but neither typeface is distinguished. There is also an italic by Hess.
- Hess Monoblack. A great display poster typeface that looks like a hand-drawn version of Nicolas Cochin. Mac McGrew: Hess Monoblack is a Monotype typeface that no doubt was drawn by Sol Hess, but it has not been found in any accounts of his work nor in the regular specimen books. The showing here is reproduced from Monotype's "specimen on request" sheet; no other information has been found except that there are only two sizes with seventy-seven characters each, a practical minimum for cap-and-lowercase fonts. Compare Greco Bold. See P22/Lanston for a digital version called LTC Hess Monoblack done by Paul Hunt in 2005.
- Hess New Bookbold (1946). Mac McGrew: Hess New Bookbold was designed for Monotype in 1946 by Sol Hess. with italic the following year; both were released in 1948. An adaptation of Garamond Bold, the typeface was reproportioned to fit a new standard arrangement which was intended to make it readily available for use with several standard oldstyle typefaces still in common use at the time, but little use seems to have been made of it. Ascenders and descenders are shorter than in Garamond, anticipating later phototype trends, weight is slightly greater, and letters are more tightly fitted.
- Hess Old Style (1920-1923). Mac McGrew: Hess Old Style was designed about 1920 (one source says 1912) by Sol Hess for Monotype, which says it was modeled after a typeface shown by Nicolas Jenson about 1479. It is neat, but does not have much in common with Centaur, Cloister, and other typefaces based on Jenson's work. However, it is a little heavier than most of them and so works to good advantage on smooth papers. The italic followed in 1922. Revived by Steve Jackaman in 1993 as Hess Old Style RR.
- Hess Neobold (1933-1934). Mac McGrew: Hess Neobold was designed by Sol Hess for Monotype in 1934. It is a narrow, bold, and very squarish gothic with small serifs, designed for attention-getting display in a style of the day, but never made in more than one size. Compare Airport Tourist (Futura Display), Othello.
- Hess Title (+Italic, 1910). Mac McGrew: Hess Title and Italic were the first type designs drawn by Sol Hess. Produced in 1910 as advertising types, they were designed for and first used by a prominent New York department store. Only the roman was made in display sizes.
- Italian Old Style Wide.
- LTC Jefferson Gothic: an adaptation of News Gothic Extra Condensed drawn by Sol Hess in 1916; digital version at P22/Lanston in 2005. Mac McGrew: Jefferson Gothic was originally Monotype's copy of News Gothic J Extra Condensed, using the same foundry name. In 1916 Sol Hess designed several alternate round capitals; matrix fonts include both styles of these letters, but no lowercase. Baltimore Type called it Tourist Extra Condensed. Compare Phenix.
- Kennerley Open Caps.
- Martin (+Italic). Mac McGrew: Martin and Italic are listed as a Monotype production of 1945, adapted by Sol Hess from old sources, but no specimen or further information has been found.
- New Bookman.
- Onyx Italic (1939, for Monotype). The italic version of Gerry Powell's 1937 ATF typeface Onyx, a condensed version of Poster Bodoni.
- Pendrawn (1934). Mac McGrew: Pendrawn was designed for Monotype about 1933 by Sol Hess. It retains much of the quality of sixteenth-century hand-lettering, and is generally modem in character without the severity typical of most modem types. Serifs are long and thin, slightly concave, but those at the top of lowercase stems are slanted as in oldstyle types. Stems taper slightly toward the ends, and figures are hanging. Round letters tend toward an egg shape, with the small end down. It has been made only in two sizes: regular 36-point as a complete font and 36H4 as oversize capitals only.
- Postblack Italic.
- Post-Stout Italic.
- Poster or Hess Poster. Mac McGrew: Poster or Hess Poster is a heavy, narrow, very compact gothic designed by Sol Hess for Monotype. Its general appearance suggests a contemporary serifless design but in fact there is a slight hint of serifs. The slightly splayed M and the single-bowl g are suggestive of British grotesques. Ascenders and descenders are short, giving a large x-height, and the typeface is closely fitted.
- Slimline (1939). Mac McGrew: Slimline was designed by Sol Hess in 1939 for Monotype. It is a lightweight, very narrow, monotone typeface with tiny serifs and a number of alternate round characters. It has had some use for stationery. Compare Huxley Vertical.
- Spire (1937): a condensed didone, see the digital LTC Spire in the Lanston collection. Mac McGrew: Spire is a modernization of the old modern roman extra-condensed style. drawn by Sol Hess for Monotype in 1937. There is no lowercase, but there are several alternate round characters. Compare Greenwich, Modern Roman Extra Condensed, also Empire, Slimline. Spire is also the name of a dissimilar BB&S face, cut in 1898 or earlier and shown as late as 1927. Spire has been digitized/revived by Ann Pomeroy under the same name for FontHaus and then Group Type. LTC Obelysk Grotesk was designed by the Lanston Drawing Office in the late 1980s. This typeface is a reconstruction of Spire. The skeleton of Spire Roman stands with the serifs removed. Like Spire, this font has no lower case, but does offer alternate cap styles in some of the lower case positions.
- Squareface (1940). Now available digitally as LTC Squareface from LTC/P22. Mac McGrew: Squareface was designed by Sol Hess in 1940 as a variation of Stymie Extrabold. A number of characters are the same for both typefaces, but normally round letters have been squared considerably, with only slightly rounded corners. It makes a vigorous display face, and harmonizes well with other square-serif designs.
- Stationers Gothic (1942-1948). Mac McGrew: Stationers Gothic Light and Bold were designed by Sol Hess for Monotype in 1942, and Medium in 1944, but wartime and post-war conditions delayed their release until 1948. They are similar to the Bank Gothics. following a style of squared letter popular for copperplate engraved stationery and announcements, and in effect constitute a more contemporary form of the style typified by Copperplate Gothics. Like the others, there are several sizes on each of several different bodies, making various cap-and-small-cap combinations easily practical.
- Style Script (1940). Mac McGrew: Style Script was designed by Sol Hess for Monotype in 1940. It is a popular bold thick-and-thin cursive style, which has had considerable use in advertising. It is somewhat like the earlier Coronet Bold of Ludlow, but heavier and with a greater x-height; some characters seem to make a conscious effort to differ.
- Tourist Gothic (Lanston, 1909; now available digitally as LTC Tourist Gothic from LTC/P22). Mac McGrew: Tourist Gothic is a Monotype copy of Modern Condensed Gothic with a set of several round alternate caps designed by Sol Hess in 1928. (Sizes under 14-point continued under the Modern Condensed Gothic name, without the alternates.) In 1938 Hess drew a matching Tourist Gothic Italic, which added to the popularity of the face, although it lacks the round characters. The Outline Gothic Medium Condensed (or Franklin Gothic Condensed Outline) from some sources is actually an open version of Tourist Gothic. Tourist Extra Condensed of Baltimore Type is a copy of Phenix (q.v.) in 24- to 48-point sizes, and is Jefferson Gothic (q.v.) in larger sizes.
- Twentieth Century was designed by Hess between 1936 and 1947 as a monoline version of Paul Renner's Futura. Mac McGrew: Twentieth Century is Monotype's copy of Futura (q.v.), and in display sizes is essentially an exact copy, while composition sizes are only slightly modified. Several additional versions were drawn for Monotype by Sol Hess, including Twentieth Century Bold Italic and Extrabold Italic in 1937, Extrabold Condensed Italic in 1938, Ultrabold in 1941, Ultra bold Condensed in 1944, and Medium Condensed Italic and Ultra bold Italic in 1947. Some of these weights have different names than their counterparts in the original Futura series or other copies; see the list under Futura for comparison of these names as well as technical data. The main version is sold by Monotype as Twentieth Century MT. The digital typefoundry Lanston, or LTC, sells LTC Twentieth Century. Hess Gothic Round NF (2008, Nick Curtis) is based on Twentieth Century. The design was reinterpreted by Herb Lubalin as Avant Garde in the 1970s. Curtis' version softens the harsh geometry of the original designs with rounded line endings. Revivals and derivations of Twentieth Century Poster include Renard Moderne NF (2010, Nick Curtis).
- Ward (1942). McGrew: ard or Montgomery Ward is an adaptation by Sol Hess in 1942 of Memphis Light, specially redesigned for use in the large catalogs of that mail-order company. Strokes are lightened a bit, and the x-height is increased slightly. It was cut by Monotype for private use. One reference says there were light and medium weights; another says there were roman and italic in normal width and also an extended version. The latter account seems more authentic.
Digital descendants of Sol Hess: LTC Hess Monoblack (Lanston Type Company), Hess Old Style (Red Rooster Collection), Hess Gothic Round NF (Nicks Fonts), Twentieth Century (Monotype ), LTC Squareface (Lanston Type Company), Broadway Engraved SH (Scangraphic Digital Type Collection), Bruce Old Style (Bitstream), LTC Jefferson Gothic (Lanston Type Company), LTC Spire (Lanston Type Company), LTC Swing Bold (Lanston Type Company), LTC Artscript (Lanston Type Company), LTC Twentieth Century (Lanston Type Company), LTC Tourist Gothic (Lanston Type Company), Renard Moderne NF (Nicks Fonts), Goudy Heavyface (Bitstream), Broadway (Monotype ), LTC Broadway (Lanston Type Company), Broadway (Linotype), LTC Hadriano (Lanston Type Company), Cochin (Linotype), LTC Bodoni 175 (Lanston Type Company), Stymie (Bitstream), Engravers Oldstyle 205 (Bitstream), LTC Bodoni 26 (Lanston Type Company), LTC Obelysk Grotesk (Lanston Type Company), Century Gothic (Monotype ), Spire (GroupType), Havel (T4), Alternate Gothic Pro Antique (Elsner+Flake).
Klingspor link. FontShop link. Linotype link. [Google]
Now defunct foundry. It had free fonts by Jason Fagone of Penn State University. They include Monko (handwriting), Monko Blocky, Pianissimo, Blade, Young Zaphod, Velour, Velodrome, Electric Circus, Trapped Family, Font4TheDumped, Torpedo, BachelorPad, 4Decibels and Falling (handwriting of Andy Wagner). [Google]
Pennsylvania-based young man (b. 1990) who published his own handwriting as MyHandwriting (2005). [Google]
During her studies at Kutztown University, Collegeville, PA-based Stephanie Oltman created the decorative typeface heasantry (2015). [Google]
[Red Rooster Typefoundry]
Steven R. Zimmermann
Designer of an unnamed labyrinthine typeface in 2013, which was done while studying graphic design at PCAD (Pennsylvania College Of Art and Design). [Google]
Graphic designer in Pittsburgh, who is working on display typefaces like Whale tail (2011) and this mini-slabbed headline face (2011). Dribble link. [Google]
Mickey Rossi graduated in 1986 from the Philadelphia College of the Arts. He then worked in Maryland and Virginia, such as at AOL in Dulles, VA, and is a creative director in Atlanta, GA since2004.
He offers these free typefaces under the Subflux label: Alpha Male Modern (1997), AthleticSupporter, BallparkWeiner (connected fifties script), BarBenderBold, BobbiTheHippie, BongoFraktur (in Koch's Neuland style), CargoCrate (stencil), CollegeBoy (athletic lettering), FlandersRideItalic, FlandersRide, Fleetwilly, FlyTrapExtended, Hair Brush, HighlightsCondensed, Helga Broad, Hilda Broad, JimThorpeHigh (octagonal / mechanical), LevelFourteenDruid (medieval), LifestyleCondensed (avant garde), NotANumber, On That Shark (angular), RetroSuperSkinny (Peignotian), SatansMinions, Scrawlly, Scritchy Eye, Zerengetti (African look), ZiggyStandard. Rossi calls himself also "Loveless".
Dafont link. Klingspor link. Abstract Fonts link. [Google]
Digital artist in Philadelphia, PA, and/or New York City, whose web sie is in Denmark. He created the modular geometric typeface Pictobob (2010) and the hand-printed Pops (2013).
Dafont link. Behance link. [Google]
Susan Johnson, a creative director in Philadelphia, created a custom art deco typeface called ContAversy (2012) for shirts of a Philadelphian clothing company. She studies at Rutgers University. [Google]
Born in 1954 in Ithaca, NY, Susan designed some of the original bitmap fonts for the original Mac in 1983-1984, including Chicago, New York, Monaco (download), FiveDots, Geneva, Cairo (dingbat font), LosAngeles, Athens and San Francisco (1984, ransom note font), while being a Creative Director at Apple (1982-1985). For Danger Research, she created the bitmap fonts Hamilton 5, Hamilton 6, Waverley 5, Waverley 6, Bryant 7 (2000). Interview with Cybergrrl. Atomic Media sells these pixel fonts of hers: Kare Five Dots (family), Ramona (script pixel font), Harry, Everett, Kare Six Dots (family), Biology (dings), Kare Dingbats, MiniFood, Ned, Sampler.
MyFonts catalog. Interview.
She explains the choice of names for the original Mac fonts: The first Macintosh font was designed to be a bold system font with no jagged diagonals, and was originally called "Elefont". There were going to be lots of fonts, so we were looking for a set of attractive, related names. Andy Hertzfeld and I had met in high school in suburban Philadelphia, so we started naming the other fonts after stops on the Paoli Local commuter train: Overbrook, Merion, Ardmore, and Rosemont. (Ransom was the only one that broke that convention; it was a font of mismatched letters intended to evoke messages from kidnappers made from cut-out letters). One day Steve Jobs stopped by the software group, as he often did at the end of the day. He frowned as he looked at the font names on a menu. "What are those names?", he asked, and we explained about the Paoli Local. "Well", he said, "cities are OK, but not little cities that nobody's ever heard of. They ought to be WORLD CLASS cities!" So that is how Chicago (Elefont), New York, Geneva, London, San Francisco (ransom note font), Toronto, and Venice (Bill Atkinson's script font) got their names.
Kare is also known for the original set of Mac icons.
Klingspor link. [Google]
During her studies at Art Institute of Pittsburgh Online, Susan Young created the hand-crafted poster typeface Schindler's List (2015), which is based on the titling in the ads for Steven Spielberg's movie. [Google]
During her studies at Kutztown University, Topton, PA-based Sydney Schollenberger created the elegant display typeface Composure (2015). [Google]
Pennsylvanian designer (b. 1980) of Hairpiece (2006, curly handwriting). Alternate URL. [Google]
Designer from Sewickley, PA, who created an exaggerated ornamental Lombardic face in 1959. He made a pointed pen font in 1965. [Google]
Philadelphia, PA-based designer of a Trajan caps typeface in 2015. [Google]
During his studies at Tyler School of Art in Philadelphia, PA, Tanner Panetta designed the prismatic multiline typeface Apollo 11 (2016). Behance link. [Google]
Graphic designer in Orlando, FL, whon is from Tannersville, PA. He created the alchemic typeface Fornix (2012). [Google]
During his studies in Harrisburg, PA, Taylor Schmidt created Breaking Bad Icons (2013). [Google]
Pennsylvanian creator of an unnamed didone all caps face (2011). No downloads. [Google]
Philadelphia-based creator (b. 1985) of the free icon fonts Social Font Face (2013) and Just Vector (2013).
Fontspace link. Dafont link. [Google]
The Creative Agency
Studio in Wilkes-Barre, PA. One of their specialties is type design. These typefaces were announced in 2013 (and will soon be available for purchase): Boardwalk typeface (a condensed slab inspired by 1950's boardwalk signage), Full Service (a fashionable sans with oodles of contrast), Milan Sans (another fashionable sans, almost in the style of Peignot), Propaganda (based on WWII posters).
Behance link. [Google]
The Design Cubicle
Typography and design blog and tips by Brian Hoff (Philadelphia, PA), started in 2008. Topics discussed include beautiful ampersands, and typical typographical mistakes. [Google]
Ryan Degnan from Pennsylvania posts his shareware creations here: for now, just the grunge font Regime. Others planned as well. [Google]
The Pennsylvania Sumerian Dictionary
Developers with Bitstream of this family of fonts in 2003: Lynn-Sans-Bold, Lynn-Sans-Bold-Italic, Lynn-Sans-Italic, Lynn-Sans, Lynn-Sans-Mono-Bold, Lynn-Sans-Mono-Bold-Italic, Lynn-Sans-Mono-Italic, Lynn-Sans-Mono, Lynn-Serif-Bold, Lynn-Serif-Bold-Italic, Lynn-Serif-Italic, Lynn-Serif. Apparently, these are all based on Bitstream Vera. [Google]
The Red Rocket Rebellion
Easton, PA-based creator of the stackable retro typeface Henrickson (2014)---recreating the ambiance of the gas stations in a Route 66 road movie. Schoolmarm (2014) is a hand-drawn irregular slab serif typeface. Elixir No 1 (2014) is a spurred Victorian typeface. Creative Market link. [Google]
Hymn writer and typefounder (b. New York City, 1812, d. Philadelphia, 1889). At age 14, MacKellar entered the printing company of Harper Brothers. In 1833, he moved to Philadelphia, Pennsylvania, and joined the type foundry of Johnson&Smiths as a proofreader. He subsequently became a foreman, then a partner, in the firm, which from 1860 was known as MacKellar, Smiths and Jordan. [Google]
[MacKellar, Smiths and Jordan]
Thomas Wood Stevens
Early 20th century designer of letters, who was associated with the Carnegie Institute of Technology, Pittsburgh. Author of Lettering (1916, The Prang Company, New York).
Alphabets from his 1916 book include Art Nouveau Capitals, Italic Capitals, Italic Lowercase, Modern Script Italics, Modern German Italic Capitals, Modern Round Gothic, Uncial (based on a 14th century manuscript), Venetian Modern Capitals, Roman Lowercase, Modern German.
PDF file of his 1916 book.
Digital remakes include Wood Stevens (2012, Intellecta).
In 2012 and 2013, Dick Pape digitized many of the typefaces discussed in Lettering (1916). They are freely downloadable from this site. The typefaces in Dick's collection are attributed as follows:
- No artist: TWS Brush Caps 31, TWS Capitals from Coins 15,
- Harry Lawrence Gage: TWS Heavy Capitals 49, TWS Italian Gothic Caps 80, TWS Renaissance Alphabet 39, TWS Robinson Caps 23, TWS Roman Caps 13, TWS Slab Capitals 22, TWS The Japanese 32 [note: see also Yoshi Toshi, 2003, by Da ABF Mafia, and Yoshitoshi, 2003, by David Nalle].
- Norman P. Hall: TWS Heavy Modern 30.
- Oswald Cooper: TWS Long Ascenders 36.
- Ned Hadley: TWS Modern Caps 24, TWS Modern French 25.
- Helen E. Hartford: TWS Modern German Capitals 28.
- Charles H. Barnard: TWS Modern Roman 05.
- F. G. Cooper: TWS Modern Roman Bold 37.
- William A. Dwiggins: TWS Modern Roman Caps 32, TWS Variation on Georgian.
- Guido Rosa: TWS Outline Caps 21.
- George W. Koch: TWS Roman Wide Pen 33.
Designer of the grotesque fonts Orbit Text and Orbit Display (2013). This was a special project for Orbit, a network company. New York City and Ledgewood, New Jersey-based graphic designer who graduated from the University of the Arts, Philadelphia.
Under the tutelage of Andy Clymer (HFJ), he created an unnamed revival font in 2013.
Behance link. [Google]
[Mind Killer Ink (MKI)]
Tne Other Anonymous
Pittsburgh-based creator (b. 1980) of the dingbat fonts Fnord-Hodge and Fnord-Podge (2006). On another site, he claims to be born in 1973 and to live in Fife, Scotland. Home page. Names used include Toa, Synaptyx and Nurbldoff. [Google]
[Lanston Monotype Machine Company]
[ABC Types (was: Absolutetype)]
Manheim, PA-based designer of Fishy Typeface (2013).
Behance link. [Google]
Tricia Treacy has been running her own letterpress design studio, Pointed Press, creating custom book and print work for commercial clients, international artists, designers and writers since 2000. Using a combination of digital and analog methods, she collaborates on conceptual projects with a range of artists and designers.
She has taught graphic design, letterpress and book arts at the University of Pennsylvania, the University of Delaware and the Mason Gross School of the Arts. Tricia is currently an Assistant Professor of Design at Appalachian State University in North Carolina.
Speaker at ATypI 2012 Hong Kong: Vista Sans wood type project. [Google]
Typefaces available from US foundries
List of all (metal) typefaces available for sale from these six US typefounders:
- M & H Type (Mackenzie & Harris), 1802 Hays Street, San Francisco, CA 94129
- Swamp Press, 15 Warwick Road, Northfield, MA 01360
- Barco Type (F & S Type Founders Inc.), 237 S. Evergreen, Bensenville, IL 60106
- Quaker City Type Foundry, 2019 Horseshoe Pike, Honey Brook, PA 19344
- Michael and Winifred Bixler, Box 820, Skaneateles, NY 13153
- Harold Berliner, Printer, P.O. Box 6, Nevada City, CA 95959
Ty Auchter (b. 1983) lives in Pennsylvania. At Devian Tart, he designed the pixel font Stitches (2001). See also here. [Google]
Van Fos Typefoundry
Typefoundry located in Philadelphia, PA, which published Specimen Booklet of handy Low Priced Type Fonts. [Google]
While studying at Point Park University in Pittsburgh, Victoria Cumer designed the hand-printed typeface Incense Pepermints Two (2013).
Fontspace link. [Google]
During her studies at Philadelphia University, Victoria Jeffries designed the display typeface Bessemer 200 (2014). She writes: 2013 marked the 200th birthday of English inventor Henry Bessemer. The American Iron & Steel Institute and the National Iron & Steel Heritage Museum celebrated Bessemer’s contributions to 19th century steel production with a display typeface and poster inspired by his life. Bessemer 200 comes on two weights, solid and outline. [Google]
During her studies at Philadelphia University, Chalfont, PA-based Victoria Williams created the display typeface Balancim (2014). [Google]
Vigilante Typeface Corporation (was: WolfBainX)
[Larry E. Yerkes]
Over 100 original fonts by the prolific East Pennsylvanian tattoo artist Larry E. Yerkes, aka WolfBainX, b. 1969. His work include many comic book typefaces, a few grunge fonts, several macho fonts, and some smudged typewriter fonts. Many fonts are in a style one could call tattoo fonts. Several fonts come in 4 to 8 weights. Dafont link. MySpace link. Fontspace link. Abstractfonts link.
His fonts: VTC#9pt1of, VTCAllWashedUp, VTCAnglika, VTCAngoraChik, VTCAntiqueFizz, VTCBadDataTrip, VTCBadDrip, VTCBadHangover, VTCBadLuck, VTCBadNausea, VTCBadPaint, VTCBadPlating, VTCBadVision.ttf VTCBadWhipit, VTCBelialsBlade3d, VTCBoseephus, VTCCoppaKroma, VTCDizplaced, VTCEmbrace, VTCFunkinFrat, VTCFuzzyPunkySlippers, VTCGoblinHand, VTCJezzabelBimbo, VTCJoeleneHand, VTC Komika Headliner, VTCKomixationRegular, VTCKrinkle-Kut, VTCLettererPro, VTCLiquorCrystalDisplay, VTCLo-Down, VTCOldAsCrap, VTCOptika, VTCPizzOff, VTCPunkettePumps, VTCScreamItLoud, VTCSeeJoBend, VTCSeeindubbledointriple, VTCSikleCell, VTCStressedHand, VTCSubwaySlam, VTCSundaykomix, VTCSuperMarketSale, VTCSwitchbladeRomance, VTCTribal, VTCVictorianLint, VTCeltiaKeys, VTCeltiaSpirals, VTVBadJudgement, WBXKomiX, the comic book fonts GrannyT (3 weights, smudged typewriter), Lucidite (grunge family), Nero, Komik, Domin8, the grunge fonts Flack and ListenJenn, VTCNightOfTheDeadCorruptCaps, VTCNightOfTheDrippyBentCaps, VTCNightOfTheDrippyDead, VTCNightOfTheDrippyDeadCaps, VTCNightOfTheDrippyDeadFatCaps, VTCNightOfTheDrippyDeadOuttie, VTCNightOfTheDrippyLowCaps, VTCNightOfTheOozieDeadCaps, VTCNightOfTheStretchedDead, VTCNightOfTheWackedDead, Scar, Tribal, and Scrawl. Windows TrueType. Vigilante has joined forces with Apostrophic Labs to make Tribal (2001) and Komika (2001), a 50-font family for comics. In 2008, he published VTC-OldeSchoolTattoo-One. In 2009, that was followed by VTC-Bad Tattoo Hand One, VTC Nue Tattoo Script (calligraphic), VTCTattooScriptTwo (2013), and VTC-Roughed Up.
Creations in 2010: VTC-TribalThreeFree, VTC Bad English, VTC Sumo Slasher, VTC KomikSkans, VTC Freehand Tattoo One, VTC Roughed Up, VTC Bad Tattoo Hand One, VTC-BadEnglischOne, VTC-BadTattooHandOne, VTC-FreehandTattooOne, VTC-KomikSkans-One, VTC-KomikSkans-Two, VTC-KomikaHeadLinerChewdFat, VTC-KomikaHeadLinerChewdUp, VTC-KomikaHeadLinerOne-Bold, VTC-KomikaHeadLinerOne-BoldItalic, VTC-KomikaHeadLinerTwo-Bold, VTC-KomikaHeadLinerTwo-Outline, VTC-KomikaHeadLinerTwo-Shadow, VTC-KomikaHeadLinerTwo-Wide, Komika Krak, VTC-SumiSlasherOne-Italic, VTC-SumiSlasherOne-SmallCaps, VTC-SumiSlasherOne, VTC-SumiSlasherOneSkinned, VTC-SumiSlasherOneSkinnedRaw, VTC-TribalThreeFree.
Typefaces from 2013: VTC Garage Sale Axis, VTC Garage Sale (+Outlined), VTC Tattoo Script Three, VTC Karnival Fat (cartoon font).
W. Jamison Anton
During his studies at Philadelphia University, W. Jamison Anton designed the great straight-edged poster typeface Chlorine (2014). [Google]
Born in Panama City in 1951, Walter Wray now lives in Pennsylvania. He created the foliated Victorian display typeface Midsummer (2012). [Google]
Wayne J. Stettler
Son of a signpainter, b. 1934, Allentown, PA, d. 2011 Blue Bell, PA. He studied advertising design at the Philadelphia College of Art.
Creator of photype typefaces such as Neil Bold (1966, VGC), which was the source of inspiration for Alejandro Paul's Mobley Sans (Umbrella Type), Neil Bold (2010, Patrick Griffin, Canada Type), Nick Curtis's Elephunky NF (2011), and Jas Rewkiewicz's Armstrong (B&P Foundry). He also created Stettler (1965, VGC). Neil Bold also had an outline version called Open.
Patrick Griffin explains: That typeface was very popular with jazz and blues labels. Photo-Lettering knocked it off within 2 months of its release by VGC. This was Wayne Stettler last typeface ever; some say it's because he saw it knocked off and just gave up on type altogether. Also some people say the only reason it won in that type design contest was to actually try to convince Stettler to get back into type design. It never happened, he went into garment design and manufacturing shortly after that contest.
Klingspor link. [Google]
Charles Voegtle (Webfoot), a web designer from Philadelphia, PA, created the art nouveau dingbat typeface OldArtWF (2004), WFHandFontsWithdots (2004), and HandFontWithDotsItalicByWF (2004). [Google]
Westcott & Thomson, Inc. for Fotosetter or Fototronic composition
Photo-type era company in Philadelphia located on 1027 Arch Street. I located an image of their typefaces that are lookalikes/i> (by their own admission) of famous typefaces: Biretta is Bembo, Elegane is Palatino, Galaxy is Uniers, Laurel is Caledonia, Medallion is Melior, Plantina is Plantin, Vega is Helvetica, and Zenith is Optima. [Google]
William Dana Orcutt
Book designer, typographer and author (b. 1870, West Lebanon, d. 1953, Boston). Designer of French Round Face&Italic, Humanistic, Laurentian, Suburban French&Italic, and Verona. McGrew comments on each face:
Note: Humanistic/Verona were digitally extended in 2006 by Ray Larabie as Mikadan (Typodermic). Klingspor link. [Google]
- Suburban French is one of Monotype's first independent recreations of typefaces from classic sources abroad. It was cut about 1911 at the suggestion of J. Horace MacFarland, prominent Pennsylvania printer, and was adapted to Monotype under the supervision of MacFarland and William Dana Orcutt, a well known typographer and book designer in New England. Its source is said to have been a Didot oldstyle first cut about 1804, but the Monotype typeface was first introduced under the name of Bodoni Roman. The double serifs at the top of lowercase vertical strokes are a distinguishing feature. Compare French Round Face.
- Verona is ATF's adaptation about 1951 of Bologna, which had been cut by Stephenson Blake in England in 1948. It is said to have been cut from Stephenson Blake's drawings, but lining figures were drawn to replace the hanging figures which Stephenson Blake had featured. The name was changed to avoid having disrespectful printers call it "baloney," yet retaining an Italian connotation. At the time ATF did not realize that Stephenson Blake had in turn adapted the design from an earlier ATF face, Humanistic (q.v.), drawn by William Dana Orcutt in 1904. With or without its later modifications, which are minor, this typeface retains more of the appearance of hand-lettering than almost any other cut in metal, and composes into a beautiful page with properly close spacing. Compare Freehand, Motto, Heritage, Thompson Quillscript. Incidentally, when ATF took Verona as a new name for Stephenson Blake's Bologna, they also overlooked the fact that Stephenson Blake uses the name Verona for their copy of BB&S-ATF's Munder Venezian.
- French Round Face, originally called Didot Roman or simply Modern, was one of the first revivals of the typefaces cut by Firmin Didot in France about 1784. This was cut for Monotype in 1910, under the direction of J. Horace MacFarland and William Dana Orcutt. The italic is unusual in that some lowercase letters have serifs like the roman. No. 16 on Linotype and Intertype is similar but heavier. Compare Suburban French.
- Humanistic was designed by William Dana Orcutt and privately cast by ATF in 1904 for the University Press, Cambridge, Massachusetts. It is a careful rendering into type of the round humanist writing of the Renaissance period, based in particular on the 1485 manuscript of Antonio Sinibaldi's Virgil in the Laurentian Library at Florence, Italy. This is considered by some to be hand-lettering in its most beautiful form, and occurred after the development of roman types as we know them. In 1940 this type was adapted to Monotype keyboard composition, under the direction of Orcutt and Sol Hess, the 21-point size being used for a large edition of Science and Health. The Monotype cutting, known as Laurentian closely follows the foundry version, including some but not all of the original alternate characters. A few years later the design was modified by Stephenson Blake in England, and issued as Bologna; this in turn was adapted by ATF as Verona (q.v.).
William E. Fink
Designer and art director, b. 1905, Philadelphia, who worked as art director for The Ladies' Home Journal. He created the skyline typeface Greenwich (1940, Ludlow). [Google]
William K. McChesney
Pennsylvanian designer of fonts at Garagefonts, including the Livery family (2000) and Spring Creek (2002). At T-26, he created Violette (2007), a condensed and severe Spanish inquisition style family, Nexus (2007, a clean sans family), Yipe (2008, T-26, architectural lettering), Nox (2007, a basic geometric sans family), the Western saloon font Peyote Slab Serif (2007), McChesney (2008, heavy display sans), Yipe (2008, flared; comic book style) and the Tuscany-eared Teaberry (2007).
Klingspor link. FontShop link.
View William McChesney's typefaces. [Google]
William Stremic may also be known as Bill Blakefield. Designer of Airport Black. The reason for that uncertainty about the name is this paragraph written by mac McGrew: Most of this series [Airport Gothic] is the first American copy of Futura, which originated in Germany in 1927, designed by Paul Renner for Bauer. One source says it was cut from original Futura drawings, smuggled out of that country, but it seems more likely that matrices were made by electrotyping the imported type. An extrabold weight, Airport Black, was cut by Baltimore about 1943; information on this cutting is scarce and contradictory- one account says it was designed by Bill Stremic or Bill Blakefield, another that it was designed by Carl Hupie (or Hooper), and cut by Herman Schnoor. There is also Airport Black Condensed Title and Airport Broad. The latter is a modification of Airport Black, cut 50 percent wider on the pantagraph by Herman Schnoor. Baltimore later cast some of its Airport series from Monotype Twentieth Century matrices, and in a few cases listed both series. Airport Relief, Baltimore 299, is English Monotype Gill Sans Cameo Ruled, while Airport Tourist, Baltimore 602, is Futura Display, cast from electrotype mats of the German foundry type. [Google]
Wood Type Revival
Foundry specializing in digital versions of old wood type. Set up in 2011 by Matt Griffin, all font licenses refer to Bearded, which has offices in Pittsburgh, Pennsylvania and Montpelier, Vermont. Matt Griffin is a designer and co-founder of Bearded, and teaches in the School of Design at Carnegie Mellon University. He also has a great love for letterpress printing, which he acquired while attending Indiana University in Bloomington, Indiana, where he received a BFA in Graphic Design. Bearded writes: Matt Braun and Matt Griffin wanted to collect lost and forgotten old wood type from the 1800s and revive those typefaces as digital fonts for modern designers. Matt Braun is a senior designer at Bearded and letterpress printer. They first operated Rare Letterpress Wood Type as a kickstarter. After some time, they started the foundry Wood Type Revival.
Their typefaces include
Creative Market link. [Google]
- Concave Tuscan (2015). Concave Tuscan was first shown as wood type under the name Gothic Tuscan by William H. Page in James Conner's Sons Typographic Messenger (1866). Almost all the major manufacturers of the 19th century offered a version of Gothic Tuscan.
- Cosmopolitan (2016).
- Delittle Chromatic (2016). DeLittle Chromatic was issued by DeLittle of York around the turn of the century under the name No. 56/54.
- WTR Fat Boy (2011). Fatboy is derived from a widespread (no pun intended) typeface of the 19th century, commonly known as Antique Extended. It was first seen in print as wood type in 1838 in George Nesbitt's First Premium Wood Types Cut by Machinery.
- WTR French Clarendon Ornamented (2011). The original design for French Clarendon Ornamented first appeared in print in the catalogs of the type manufacturer Young&Morgans (who was later purchased by Morgans&Wilcox Mfg Co) between 1876-1880. M&W was later purchased by Hamilton Mfg Co in 1897. Hamilton then offered this typeface under the name No 3026.
- French Octagon (2011). French Octagon was first shown by Morgans & Wilcox Manufacturing Co. in their 1884 Condensed Specimen Book of Wood Type.
- Grecian Light Face (2016). This revives Light Face Grecian by David Knox & Co. in 1858.
- WTR Gothic Open Shaded (2011). Gothic Open Shaded was first seen in George Nesbitt's First Premium Wood Types, Cut by Machinery (1838). This cut of Gothic Open Shaded most closely matches a design first cut by Young&Morgans between 1876-1880. Once Morgans&Wilcox was acquired by Hamilton Manufacturing Co. (1897), they listed the typeface as No. 3238.
- WTR Gothic Outline (2016).
- WTR Roycroft (2011). The arts and crafts typeface Roycroft was originally created by Miller & Richard under the name Teutonic and is shown in their 1909 catalog. It is a hand-carved typeface.
- Planned is Grecian Light Face.
During his studies at the University of the Arts in Philadelphia, PA, Zach Manbeck designed a beatnik alphabet called Krazy Kraft Lady (2016). Behance link. [Google]
[I Can Be Your Type]
[A. J. Sedlak]
From North Versailles, PA, A.J. Sedlak's free fonts include Spiny, superpalazzo and Diade. [Google]
Zhuoshi Xie (Pittsburgh, PA) created Labels Alphabet in 2013. I do not think that this a real typeface, as she explains: Using file labels as the medium, Zachary Bergeron and I created an optically illusional alphabet. Behance link. [Google]
ZIGZAG.NET (was Urban Design Inc)
ZIGZAG.NET is a Philadelphia-based graphic design and web development company. Free fonts made by Mark Norris: Markie Bold, Strai, Funk, Thinas Thin. They also make logos and design brochures and such. PC and Mac, type 1 and truetype. [Google]