TYPE DESIGN INFORMATION PAGE last updated on Fri Dec 2 20:17:50 EST 2016
FONT RECOGNITION VIA FONT MOOSE
Type scene in Pennsylvania
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, 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.
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] [More] ⦿
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.
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:
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] [More] ⦿
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] [MyFonts] [More] ⦿
Andrew Childs Typography
New York-based designer of the beautiful Internal Serif Bold, and of Printmaster (2002). While you are at it, check out his unbelievable work at AC/AC in Philadelphia, especially his web page for the Morimoto restaurant. He also made an unitled workhorse-type bitmap face, Pug (2004, another great bitmap face), and the great bitmap/pixel families Dumont (2004), Fourte (2004), Ledger (2004), Certive (2004), Düsseldorf (2004, a pixel serif family, including a slab serif), an unnamed cursive pixel face (2004), and Bitley (2004, a pixel serif face!). Andrew is one of the grandmasters of pixel typography. [Google] [More] ⦿
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.
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] [MyFonts] [More] ⦿
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] [MyFonts] [More] ⦿
Astigmatic One Eye
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.
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), 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, 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, 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.
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.
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] [More] ⦿
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] [MyFonts] [More] ⦿
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] [More] ⦿
Born in 1973 in Pittsburgh, PA, Brian Bonislawsky has been involved in many type design projects and created many foundries.
Brian J. Bonislawsky
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).
Bruce S. Cridlebaugh
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] [More] ⦿
Bruce Type Foundry
Founded in New York in 1813, and acquired by ATF in 1901, this foundry made fonts such as Bruce Old Style (now Bitstream), Madisonian (now available from Présence Typo), and Old Style 7 (Linotype, Adobe). Also called D.&G. Bruce, George Bruce, George Bruce&Co., George Bruce's Son, George Bruce's Son&Co., and V.B. Munson. They published a 592-page specimen book in 1901: Bruce Type Foundry: Our Handy Book of Types, Borders, Brass Rule and Cuts, Printing Machinery&General Supplies.. In 1869, George Bruce (b. 1791, Edinburgh, Scotland; d. 1866, New York) published An abridged specimen book Bruce's New York Type-Foundry (1869), now available as a free Google book. Page with specimen of Great Primer Ornamented No. 5, Meridian Black Open (blackletter), Canon Teutonic Ornamented, Small Pica No. 2, Double Pica Graphotype, all taken from An Abridged Specimen of Printing Types Made at Bruce's New-York Type-Foundry (1868) and stolen from Luc Devroye's web site. Fists by the Bruce Foundry.
Bruce Ornamented No. 6 was digitized by Iza W from Intellecta Design in 2006 as GeodecBruceOrnamented. Gold Rush (2008, FontMesa) is a family of Western style typefaces based on a Bruce type family from 1865. FontMesa also made Belgian (2008) based on a Bruce Type Foundry design from the 1860s. Bruce 532 Blackletter (2011, Paulo W, Intellecta Design) is an excessively ornamental blackletter face. Michael Hagemann's slab serif family Gold (2011) is based on Bruce's Gold Rush (1865) after removing the shadows. [Google] [MyFonts] [More] ⦿
Student in Kutztown, PA, who started some type designs in 2012.
Graphic design student in Greensburg, PA. During her studies in 2012, she designed an unnamed geometric typeface inspired by the London Millennium Footbridge. [Google] [More] ⦿
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.
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.
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] [More] ⦿
Chris E. Lozos
Chris Kraski was born in 1983 and lives in Pittsburgh, PA.
Christian Schwartz was born in 1977 in East Washington, NH, and grew up in a small town in New Hampshire. He attended Carnegie Mellon University in Pittsburgh, Pennsylvania, where he graduated in 1999 with a degree in Communication Design. After graduation, he spent three months as the in-house type designer at MetaDesign Berlin, under the supervision of Erik Spiekermann. In January 2000, he joined Font Bureau. Near the end of 2000, he founded Orange Italic with Chicago-based designer Dino Sanchez, and left Font Bureau in August 2001 to concentrate full-time on developing this company. Orange Italic published the first issue of their online magazine at the end of 2001 and released their first set of typefaces in the beginning of 2002. Presently, he is an independent type designer in New York City, and has operated foundries like Christian Schwartz Design and Commercial Type (the latter since 2009). He has designed commercial fonts for Emigre, FontShop, House Industries and Font Bureau as well as proprietary designs for corporations and publications. In 2005, Orange Italic joined the type coop Village.
His presentations. At ATypI 2004 in Prague, he spoke about "The accidental text face". At ATypI 2006 in Lisbon, he and Paul Barnes explained the development of a 200-style font family for the Guardian which includes Guardian Egyptian and Guardian Sans. FontShop's page on his work. Bio at Emigre. At ATypI 2007 in Brighton, he was awarded the Prix Charles Peignot. Jan Middendorp's interview in October 2007. Speaker at ATypI 2009 in Mexico City, where he announced his new typefoundry, simply called Commercial.
A partial list of his creations:
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] [More] ⦿
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] [More] ⦿
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] [More] ⦿
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] [More] ⦿
American penman, b. New York, 1864, d. 1937. He taught in business schools in san Antonio, TX, Buffalo, NY, Hutchinson, KS, and Sioux City, IA. From 1916 until his death he was at the Strayer's Business School in Philadelphia. In 1893 he won first prize in a world-wide contest conducted by the Penman's Art Journal. Author of The Clinton Clark Scrapbook. Parts two and three are here and here. [Google] [More] ⦿
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] [More] ⦿
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.
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] [More] ⦿
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] [More] ⦿
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).
Dan M. Zadorozny
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.
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.
Tenfold Visual is Dustin Kemper's Philadelphia-based design studio specializing in branding, graphic design, web design, art direction, and digital illustration.
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] [More] ⦿
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] [More] ⦿
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] [More] ⦿
New Yorker, b. Bethlehem, PA, 1905. In 1928, Rondthaler and Harold Horman cofounded Photo-Lettering Inc in New York City---it started for real in 1936. An excellent typographer, he cofounded ITC in 1970 with with Herb Lubalin and Aaron Burns.
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] [More] ⦿
Lancaster, PA-based designer of Kiddie Sampler (2011) and Elaine (2006, curly hand-printed face).
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.
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] [More] ⦿
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] [More] ⦿
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:
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] [More] ⦿
Evertype (was: Everson Typography)
Elsewhere, one can find rare Everson creations such as Musgrave (1994).
MyFonts sells these typefaces:
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.
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] [More] ⦿
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] [More] ⦿
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] [More] ⦿
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: 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).
Designer from Pennsylvania, b. 1985. Dafont link.
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] [MyFonts] [More] ⦿
George Buxton Lothian
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), 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] [MyFonts] [More] ⦿
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] [More] ⦿
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] [More] ⦿
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.
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:
Highway Sign of the Week
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] [More] ⦿
Graduate of Point Park University in Pittsburgh, who works as a photographer. Creator of the hand-printed typeface Cordelia (2013).
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] [More] ⦿
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] [MyFonts] [More] ⦿
Born in 1989, Ian Bates (iBates Designs) is a Graphic Design major at York College of Pennsylvania. He is from Fort Salonga, NY. FontStructor who made Blacktop (2010) as part of a typography project in school. Behance link. [Google] [More] ⦿
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:
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] [More] ⦿
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] [More] ⦿
Ish Adames, a graphic designer and photographer in Philadelphia, PA, designed the titling sans typeface Duma in 2013.
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] [More] ⦿
Doylestown, PA-based comic artist. Creator of the comic book typeface Comic James (2011).
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).
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] [More] ⦿
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). Behance link. [Google] [More] ⦿
Jess Ysais (Philadelphia, PA) used paper cut letters to construct a dadaist typeface called Feist Metals (2012).
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] [More] ⦿
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] [More] ⦿
Scottish type founder from Edinburgh who was active during the second half of the 17th century. He started out in St. Andrews in 1742 in partnership with Alexander Wilson when thwey co-founded the Wilson Foundry there, but moved in 1744 to Glasgow and in 1749 to London (when his partnership with Wilson ended) and in 1768 to Edinburgh. In 1787, he published "A Specimen of Printing Types, By John Baine&Grandson in Co", and emigrated to Philadelphia, where he set up a foundry. The elder Baine died in 1790, and his grandson continued until 1799, when he sold the equipment to Binny&Ronaldson for $300. [Google] [More] ⦿
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.
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] [MyFonts] [More] ⦿
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] [More] ⦿
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).
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.
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:
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] [More] ⦿
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] [More] ⦿
Erie, PA-based creator of the round monoline organic sans typeface Apollo (2013).
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.
Commentaries by Mac McGrew:
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.
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] [More] ⦿
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 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] [More] ⦿
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:
Larry E. Yerkes
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.
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] [More] ⦿
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] [More] ⦿
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.
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] [More] ⦿
The shadow typeface South Central (2016) is inspired by the garffiti of some gangs in Los Angeles.
Lothian Type Foundry
Type foundry that operated in New York from 1829-1842, founded by the eccentric George Buxton Lothian (d. 1851), a perfectionist with an incurable temper, but also one of the finest type founders of his generation. Before 1829, he had worked with John Watts (the first stereotyper of the United States), with Collins and Hanna, in his own foundry in Pittsburgh with the help of Peter C. Cortelyou (1819-1820), with the David and George Bruce Type Foundry, and again in his own foundry, Lothar&Pell (which existed from 1822-1823, with investor Alfred Pell). The equipment of the plant was bought by Peter Cortelyou in 1850. [Google] [More] ⦿
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] [More] ⦿
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] [More] ⦿
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) 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).
Margo Hurst (Philadelphia, PA) created the dusty typeface Sort Sol in 2013.
Martin L. Parker
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:
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] [MyFonts] [More] ⦿
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.
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] [More] ⦿
Graphics cooperative in Philadelphia that sells some fonts. These include 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] [More] ⦿
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] [More] ⦿
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] [More] ⦿
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] [More] ⦿
Nova Scotian who works at GrammaTech in Ithaca, NY. Mike McDougall (ex-University of Pennsylvania Ph.D. student) created a random type 3 font called Tekla (1994) as an undergraduate student at McGill University, under the supervision of Luc Devroye. He used several handwritten samples as parents to create random offspring. A companion article entitled Random Fonts for the Simulation of Handwriting has appeared in "Electronic Publishing" in 1995. See also here. [Google] [More] ⦿
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.
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] [More] ⦿
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] [More] ⦿
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 Cordial and Mill Smith, the connected script typeface Vivien, and the blackletter typeface Sandoval.
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.
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.
Pennsylvania Dutch Fraktur gallery
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.
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] [More] ⦿
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.
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.
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.
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.
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.
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] [More] ⦿
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:
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] [More] ⦿
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] [More] ⦿
Graduate of Point Park University in Pittsburgh who lives in Lower Burrell, PA. Creator of Polka Party (2013).
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] [More] ⦿
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] [More] ⦿
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] [More] ⦿
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] [More] ⦿
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] [More] ⦿
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] [MyFonts] [More] ⦿
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):
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).
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] [More] ⦿
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".
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).
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] [More] ⦿
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.
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.
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] [More] ⦿
Philadelphia-based creator (b. 1985) of the free icon fonts Social Font Face (2013) and Just Vector (2013).
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).
The Design Cubicle
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] [More] ⦿
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] [More] ⦿
Hymn writer and typefounder (b. New York City, 1812, d. Philadelphia, 1889). At age 14, MacKellar entered the printing company of Harper Brothers. In 1833, he moved to Philadelphia, Pennsylvania, and joined the type foundry of Johnson&Smiths as a proofreader. He subsequently became a foreman, then a partner, in the firm, which from 1860 was known as MacKellar, Smiths and Jordan. [Google] [More] ⦿
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).
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.
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] [More] ⦿
Manheim, PA-based designer of Fishy Typeface (2013).
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.
List of all (metal) typefaces available for sale from these six US typefounders:
While studying at Point Park University in Pittsburgh, Victoria Cumer designed the hand-printed typeface Incense Pepermints Two (2013).
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] [More] ⦿
Vigilante Typeface Corporation (was: WolfBainX)
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.
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.
Charles Voegtle (Webfoot), a web designer from Philadelphia, PA, created the art nouveau dingbat typeface OldArtWF (2004), WFHandFontsWithdots (2004), and HandFontWithDotsItalicByWF (2004). [Google] [More] ⦿
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] [More] ⦿
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:
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).
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] [More] ⦿
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
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] [More] ⦿
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] [More] ⦿