TYPE DESIGN INFORMATION PAGE last updated on Wed Jun 19 01:55:05 EDT 2013
Type scene in Rhode Island
AArrgghh! Typefaces used to offer shareware fonts by Jonathan Smith of Rhode Island Soft Systems: New Land Contour, All-Hearts, Bunny-Lips, Confetti, El-RioLobo (1993, Mexican simulation face), Elbjorg-Script, Essential-Times, Firey, Glifik, Gyptienne (hieroglyphics), Hero-Outline, Hirosh (oriental simulation face), Ice-CreamSandwich, Ice-Snow, Made-InTheUSA, New-LandContour, New-LandInline, New-LandOutline, New-LandSport, Ol'54, Planetz, Porter-Lil'Kaps (gorgeous late night show display font), Religious, RockArt, Spider-WebBlock, The-Score, Wet-Paint.
Talented graphic designer from Providence, RI, who made these free fonts: Sarabelle (2012, irregular hand), Iron Sans (2011), Wicked Grit (2011, grungy), Anchor Jack (2011, art deco display face), Beagle Brigade (2010), Providence (2010, slab face), Amperzand (2010), Ackbar (2010, a great heavy sans display face), Alley Oop (2010, mechanical style), Wicked Scary Movie (2010, comic book style), Excelsior Sans (2009, ink trap exercise), Amity Jack (2009, black headline sans), Aldo The Apache (2009, black octagonal), Arm Wrestler (2009, slightly flared display sans; for 95% based on OliJo by Manfred Klein, 2002), Wicked Woman (2009, based on or a copy of Rutaban by Jason Pagura, 2001), Mighty Mighty Friars (2009, based on or a copy of Plumber's Gothic by Harold Lohner, 2007), Vive La Revoluzione (2009, based on or a copy of Headline One HPLHS by Andrew Leman, 2002). Dafont link. Font Squirrel link. Kernest link. [Google] [More] ⦿
The AMS in Providence, RI, offers the Computer Modern and AMS fonts in type 1 and metafont formats. Free, and for mathematical symbols, the best anywhere. Contact: Tom Kacvinsky. AMS Fonts. [Google] [More] ⦿
Graduate of RISD. She created expermintal alphabets such as Poop Font (2010). More seriously, she created Grandma's Crooked Finger (2010, a neatly hand-printed face with tall ascenders) and Bodoni Dust (2011, an artsy-fartsy didone). [Google] [More] ⦿
During his graphic design studies at RISD in Providence, RI, Barron Webster, who is originally from North Carolina, created a pair of display sans typefaces called Barcelona and Barcelonetta (2012). [Google] [More] ⦿
Blambot Comics Fonts was founded in 1999 by graphic Designer and illustrator, Nate Piekos. Blambot has a huge number of original free comics fonts and balloons by Nate Piekos (East Providence, RI, b. RI, 1975). Comic Lettering is an alternate URL, where you can also order logo designs, custom fonts, and custom lettering. Fontspace link. The fonts:
A graduate from the Rhode Island School of Design in 2004, Brett Maurer now runs his own identity and design studio. He lives in Brooklyn, NY. Creator of Brutale (2007), a futuristic japo-techno type family. [Google] [More] ⦿
Born in 1959 in Concord, Carol Twombly studied at the Rhode Island School of Design and under Charles Bigelow at Stanford, and joined the Bigelow&Holmes studio for four years. In 1988, she joined Adobe and started designing typefaces. She was featured in 5 American Type Designers by Spurius Press. In 1994, she won the Prix Charles Peignot. In 1999, she retired from type design.
Charles Gibbons (b. 1967, Lynn, MA) received an MFA in graphic design from the Rhode Island School of Design. Gibbons spent much of the nineties as a designer for the University of Minnesota in Minneapolis and later as assistant professor of Graphic Design at the University of Wisconsin / Stout where he taught typography and publication design. In 2001, he joined the Library of Congress as the chief designer for the United States Copyright Office.
Designer in 2001 of Aphasia at Bitstream. He co-designed Full Moon Suite with Mary Trafton at Bitstream in 2001. These include FM Black Cherry Moon, Alternate, Ligature, and Doubles. This family won an award at the TDC2 2003 competition.
In 2011, he helped out Stuart Sandler in his Filmotype project, and created the identical lively freestyle faces Filmotype Nemo (original from 1953), Filmotype Niro, and Filmotype Nero (2011), all three the same face but renamed under various scenarios of pressure. In 2011, he also made the signage face Filmotype Atlas.
In 2012, he created the art deco fat didone face Filmotype Rose, and the fine brush letter signage face Filmotype Havana. Filmotype Adonis (2012) is a clean hand-drawn typeface. Filmotype Royal (2012) is a transitional typeface family.
Chinese American creator of MoguFont (2012), a fat finger hand-printed typeface. Aka Kittenmogu, she will attend RISD starting in the Fall of 2012.
Senior designer at Font Bureau since 1997, after graduating that year from the Rhode Island School of Design. Born in Milwaukee, WI, he now is a faculty member at RISD, where he teaches typography in the department of Graphic Design. He regularly offers a summer course on Digital Type Design, Summer Institute of Graphic Design, Rhode Island School of Design. His sketchbooks are now on line.
Author of Inside Paragraphs, written for a foundational typography course.
Cyrus created wonderful typefaces such as Loupot (1997, with Laurie Rosenwald, based on the lettering on Loupot's St. Raphael poster), Eggwhite (2001, for comics), Relay (2002, a somewhat art deco sans serif family that will be in vogue for years to come!), Benton Sans (1995-2003, with Tobias Frere-Jones, a revival of Benton's 1903 family, News Gothic), Occupant Gothic (2000, angular), Prensa (2003, a simple 24-style serif family), Prensa Display (2012), Dispatch (1999-2000), Halo (2003), the 12-weight Stainless family (2001), and Daleys Gothic (1998). The Wall Street Journal uses his D4ScotchD4Scotch family (2001). He made a modified Palatino for the newspaper El Mercurio, and designed Zocalo or El Universal for the newspaper El Universal. He won Bukvaraz 2001 awards for Prensa and Relay.
At ATypI 2004 in Prague, he spoke about the wealth of typefaces. In 2006, Escrow (Font Bureau) was published, an out-of-this-world 44-style subdued Scotch family that is used by The Wall Street Journal. In 2007, still at Font Bureau, he created Antenna, a 56-style sans family, as well as Biscotti, a delicate connected (wedding) script commissioned in 2004 by Gretchen Smelter and Donna Agajanian for Brides magazine.
His calligraphic copperplate script Novia (2007, Font Bureau) was commissioned to grace the pages of Martha Stewart Weddings.
Still in 2007, he won an award for his newspaper type family Quiosco (Font Bureau). Font Bureau writes: With Quiosco, Cyrus Highsmith continues an examination of themes and possibilities which he first explored in Prensa, inspired by the work of W. A. Dwiggins---specifically a dynamic tension between inner and outer contours. However, the crackling, electrical energy of Prensa here gives way to a more fluid, mercurial muscularity in Quiosco.
In 2008, he designed Scout for Geraldine Hessler's redesign of Entertainment Weekly, under the influence of DIN, Venus and Cairoli.
In 2010, at Font Bureau, he published the extensive families Ibis Text and Ibis Display, which he says were influenced by Walbaum (1919) and Melior (1952). The Webtype version IbisRE is poorly kerned / displayed in my browser though. From 2007-2010, he developed Salvo Sans (slabby) and Salvo Serif (Font Bureau), which were originally called Boomer Sans and Serif.
In 2012, he published Serge (an angular script family in three styles: a frisky, acrobatic face that dashes off decorative blurbs, signs, and headlines with a lively, angular zest), Heron Sans and Heron Serif at Font Bureau, which writes: Heron Serif and Sans are born of hard iron and steel, but galvanized with Cyrus Highsmith's warmth and energy.
Born in Providence, 1860, he died in Boston in 1941. Typographer, printer, historian and author, best known for his classic book "Printing Types: their History, Forms and Use" (1922, Harvard University Press). He designed Montallegro. Britannica entry. OCR-scanned text of his book. Volume 1 and Volume 2 of his book have been scanned in. [Google] [More] ⦿
Corporate identity and print design company, est. 2003 in New York City by Kevin Dresser and Kate Johnson. The foundry is located in New Paltz, NY. Kevin Dresser (b. 1971, Rochester, NY), its head, was a type designer at Hoefler Type Foundry from 1997 until 2000, when he started Dresser & Sons. His work there included art deco typefaces and iconography for the signage program at Radio City Music Hall, a redesign of the classic Cheltenham typeface for The New York Times Magazine, a custom face in Hebrew for the Rodeph Sholom Synagogue, a grunge face for Florent Restaurant, custom faces for Architectural Design Magazine, iconography for The Museum of Modern Art, lettering for TypeCon 2005, and a few retail faces. In 2003, he published the 15-weight sans family General at Thirstype, which is now also available for licensing from Dresser Johnson. Kate Johnson is a graphic designer who graduated from the Rhode Island School of Design.
EunJee Kim, also known as Joy, has graduated from the Rhode Island School of Design with a BFA in graphic design, in 2012. She is actively working on her personal projects, and as a freelance graphic designer in New York. She did an experimental shaky version of Futura in 2013. [Google] [More] ⦿
Graphic design student at the Rhode Island School of Design, class of 2013. Eme (2013) is a display font intended for use in catalogs and printed artifacts from the MUAC Museum in Mexico City. [Google] [More] ⦿
Stuttgart-based designer. Student at the Rhode Island School of Design (2011-2013) in the MFA program. Her extensive portfolio includes the typeface Alfred (2012, a headline face inspired by the magazine Bomb), Insect Font (2007, experimental) and Never Sleep (2009, an angular font). [Google] [More] ⦿
Dutch type designer, born in Arnhem, The Netherlands, in 1942. He studied at the Gerrit Rietveld Academy in Amsterdam, and taught at the Rhode Island School of Design, the University of Reading, and at the Gerrit Rietveld Academy in Amsterdam. From 1974 on, he designed type, starting his career at Hell in Kiel in 1986. He still teaches at Reading and Rietveld. He has designed stamps, coins, magazines, newspapers, books, logo's, corporate identities, annual reports and many other objects. He designed numerous typefaces:
Swiss typographer (b. Zürich, 1939, d. 1998). He had his own studio, Lutz Verlag, in Zürich. He published books such as "Typoundso" and "Ausbildung in typografischer Gestaltung". He taught at the schools of design in Zürich and Luzern for over thirty years, and founded the typography department in Luzern in 1968. [Google] [More] ⦿
Highchair is Jason Hogue's type foundry in Providence, RI. Jason Hogue is the designer at T26 of Infinity (1999), Interrobang (1999), and Displacement (2000, pixel face). He also published these fonts at Garagefonts. Fonts exclusively at Highchair: Solidarity, HC Din Engschrift Rounded. Well, Solidarity is now also at Garagefonts.
Huda Smitshuijzen AbiFarès, was born in Beirut in 1965. Author of Arabic Typography A Comprehensive Sourcebook (Saqi Books, London, 2001), Experimental Arabic Type (Saatchi&Saatchi, Dubai, 2002), Typographic Matchmaking (BIS Publishers, Amsterdam 2007), Arabic Type Specimen Book (2008) and a number of articles on multilingual communication in the Middle East such as Arabic Type: a challenge for the 2nd millennium (1998). She holds degrees in graphic design from Yale University School of Art and Rhode Island School of Design, and specializes in bilingual typographic research and design. She has worked as a designer for a number of years, in the USA, Amsterdam, France and Beirut. She has taught typography and graphic design at the American University of Beirut. She was the Chair of the Visual Communication Department for three years at the American University in Dubai and founded the Khatt Foundation, Center for Arabic Typography in Amsterdam. She curates exhibitions, organizes collaborative design research projects between Europe and the Middle East, and is editor of the Khatt Foundation online network of Arab/Middle Eastern designers (www.khtt.net). She is currently pursuing a PhD at Leiden University while working between Europe and the Middle East as a typography and design consultant on projects of cultural relevance. She has art directed and collaborated on the design of several contemporary Arabic fonts for magazines like Aleph (London) and companies in the Gulf. Typefaces include Alef Caps (2008), done with Pascal Zoghbi. KHTT link. [Google] [More] ⦿
Tobin is based in Chicago, and studied graphic design at the Rhode Island School of Design (2002). He is a senior designer at the University of Chicago Press.
Designer of Ferdinand (Egyptian, a cross between Futura and Clarendon according to Tobin), Verne Jules (copperplate font), Ostia (a sans all caps face with Trajan proportions), Faina, Attleboro (sans), Field (octagonal) and Rivadavia (octagonal and mechanical).
James R. Pardee Jr.
Lettering artist, stonecutter, calligrapher and sculptor, b. 1939, Newport, RI. Son of John Howard Benson (1902-1956), stonecutter and calligrapher, who was also born in Newport. He has created inscriptions for monuments including the John F. Kennedy memorial at Arlington National Cemetery, the National Gallery of Art, and the Vietnam Memorial in Washington, DC. Trained in sculpture at the Rhode Island School of Design, John was owner and operator of the historic John Stevens stonecarving shop for more than thirty years. He trained his son Nicholas, who now runs the John Stevens Shop (since 1993), and has lately returned to the full-time practice of making sculptures at his studio in Newport.
His typefaces include the understated calligraphic scripts Alexa (1995-2002, Adobe), Balzano (1994, Adobe) and Caliban (1995, Adobe), the titling typeface Aardvark for Font Bureau (1991, with Jill Pichotta), and several phototypefaces for architectural applications.
Sample of his work from 1973 now at the MoMA in New York.
Born in Newport, RI, in 1901, John Howard Benson became a famous stonecutter and calligrapher. An author and educator at the Rhode Island School of Design, he wrote The Elements of Lettering with Arthur Graham Carey. He died in 1956.
Philip Hofer (Harvard College Library) published Inscriptions in the Graphic Arts Department at Harvard in PAGA, volume 1, no. 1, pages 10-12, 1953. In that article, he describes the collection at the Houghton Library in Harvard, and focuses a lot on the lettering and inscriptions of John Howard Benson. Hofer claims Benson is the best letter cutter of his generation, just as Eric Gill was the best in his generation.
List of schools offering type and typography course work, as compiled by the Type Directors Club:
MCKL (was: Mickel Design)
From East Providence, RI, Nate Piekos' foundry started near the end of 2002. Nate Piekos (b. 1975, RI) also runs the comic font foundry Blambot. His fonts are being sold at MyFonts.com. These include East Side NDP, Clam Cakes NDP (2003), KennedyPlazaNDP (2003), Number42BusNDP (2003), ThayerStreetNDP (2003), WestminsterNDPItalic (2003), WestminsterNDP (2003), Coffee Milk NDP (2003) and Prov Draftsman NDP. [Google] [MyFonts] [More] ⦿
Great handletterer (b. 1929 in Far Rockaway, Long Island of Russian parents) who grew up in New York City. He studied lettering with Paul Standard, Georg Salter and Leo Manso at The Cooper Union and graduated from The Cooper Union in 1951. He worked at the same studio as Milton Glaser for the next three years. Rahael become a designer and worked for some time for Lippincott and Margulies in New York. Raphael lived in Colorado for a long time, but is now based in Bellingham, WA.
In 1969 he patented a squarish typeface for Tyco Laboratories in Waltham, MA. In 1972, he moved to Newport, RI and resumed his career in lettering, calligraphy and graphic design.
His typeface Avia (VGC) was an expansion of a logofont he did for Abex Corporation, almost like a stencil. It is now at Font Bureau, where Jill Pichotta has added the Light and Bold in 2000. His typeface Visa (1966, VGC) won the Second Prize in the 1966 VGC National Type Face Design Competition. Others (thanks, Alexander Tochilovsky) confirm what I thought---that Visa and Avia are the same thing. Finally, Sloop Script One (1994, Richard Lipton, Font Bureau) is based on Boguslav's designs.
Your TrueType signature font for 70USD. Forms are on the web. Plus three 10-font packs at 20USD a pack. These font packs have limited character set shareware versions as well. Fonts on them include MagChar, TreeCarving, Handprinting, DingDong-Signso'theTimes, Chell-Crome, and a number of fonts by Jonathan Smith made in 1993: All-Hearts, Bunny-Lips, Confetti, El-RioLobo, Elbjorg-Script, Essential-Times, Firey, Glifik, Hero-Outline, Hirosh, Ice-CreamSandwich, Ice-Snow, Made-InTheUSA, New-LandContour, New-LandInline, New-LandOutline, New-LandSport, Ol'54, Planetz, Porter-Lil'Kaps, Religious, RockArt, Spider-WebBlock, The-Score, Wet-Paint. [Google] [More] ⦿
Designer from Providence, RI, who made Koch (1991), Architext (1991), Artlookin (1991), HookRead (1991), Trooklern (1997), GoudyHundred (1999; a rendering of Goudy's Bertham font, named after Goudy's wife Bertha; the drawings and matrices were lost in a fire in 1939), Paddington (1997, a simulation of Edward Johnston's writing for the London Transport in 1918), Livia (1991), Lichtner (1991), Kellnear (1991), CiviRegular (free version of Civilite by Moye and Beatty), and Fleurons-A (based on A Suite of Fleurons by John Ryder, developed by S. G. Moye v1.6 July 14, 1991). Wrote "Fontographer: Type by Design" (MIS Press, 1995), a book set in Livingston, a font Moye designed himself. Moye was saddened by the demise of Fontographer at the hands of Macromedia, and elated by its resurrection at FontLab in 2005. [Google] [More] ⦿
Apparel and graphic designer Susan Merriam (Merriam Design, Providence, RI) created an attractive painter font called Bobby Pin (2012) during her studies at the Rhode Island School of Design.
The Design Office
A place for independent designers in downtown Providence, RI. One of the designers in this group is John Caserta, the founder of The Design Office, who conceived its magnificent web page. John created Modern Pictograms (2011, a free icon font).
John's CV: John Caserta is a Providence-based designer, artist and educator. He received an MFA from Yale University in 2004 and a BA in Journalism from The University of North Carolina in 1995. Upon completion of his graduate thesis, Take Your Time, he was awarded the J. William Fulbright Fellowship in Art to create a time capsule for a small village in southern Italy. Upon return to the United States in January of 2006, he was appointed critic in the department of graphic design at The Rhode Island School of Design. In addition to course instruction, he is a graduate thesis adviser and leads various workshops. In November of 2007, he founded The Design Office. He continues to run a solo information design practice, taking commissions primarily from media companies and universities. He lives in Pawtucket, R.I. with his wife Sarah, daughter Lucia and dog Ray.
Celebrated type designer, born in 1970 in New York City. Until 1999, he worked mainly at Font Bureau:
At FontFont, he designed the children's handwriting fonts Dolores and Dolores Cyrillic.
His custom work includes WorthGothic (1996), WorthLogo1996 (1995), WorthText (1995), GQGothic (1995), Halifax, Commonwealth (1995), Belizio-TwentySix (Font Bureau), HermanMillerLogo (1999, Font Bureau). Cassandra, Vitriol (1993), Quandry (1992-1994) and Chainletter (1993).
Since 1999, he designs for the Hoefler Type Foundry:
In 2004, The Hoefler Type Foundry became Hoefler&Frere-Jones, New York's main contempiorary foundry. With Hoefler, he collaborated on projects for The Wall Street Journal, Martha Stewart Living, Nike, Pentagram, GQ, Esquire, The New Times, Business 2.0, and The New York Times Magazine.
In all, he has designed over five hundred typefaces for retail publication, custom clients, and experimental purposes. His clients have included The Boston Globe, The New York Times, The Cooper-Hewitt Museum, The Whitney Museum, The American Institute of Graphic Arts Journal, and Neville Brody. He has lectured at Rhode Island School of Design (from which he graduated with a BFA in 1992), Yale School of Art, Pratt Institute, Royal College of Art, and Universidad de las Americas. His work has been featured in How, ID, Page, and Print, and is included in the permanent collection of the Victoria&Albert Museum, London.
Interview. Interviewed by Dmitri Siegel. In 2006, Frere-Jones received the prestigious Gerrit Noordzij Prize. He created Estupido Espezial for fun, but it actually made it into an issue of Rollingstone. Catalog of his faces at Font Bureau.
Born in Boston in 1976. Graduated with an MA in Typeface Design from-the University of Reading and studied at the Rhode Island School of Design. After graduation, he worked briefly for Jeremy Tankard and Font Bureau. In 2005, he worked briefly for Porchez Typofonderie. He currently lives in Heidelberg, Germany.
He designed these typefaces:
Providence, RI-based type and graphic designer, b. Florida. Under the supervision of Cyrus Highsmith at RISD, she designed Clarence in 2013: Clarence is a calligraphic typeface derived from the hand-lettering forms found in Christmas cards of the 1920s. It is inspired by the film, "It's a Wonderful Life".
Typeoff is an Offenbach-based German type collective, est. 2004 by Daniel John Andrew Reynolds (b. 1979, USA), who blogs happily and frequently. Dan grew up in various cities in the USA, received a BFA in graphic design from the Rhode Island School of Design (RISD) in 2002, and moved to Offenbach, Germany, in 2003 to study typography with Professor Fritz Friedl. Dan was an intern at Linotype, and is still affiliated with Linotype. In 2004, he founded Typeoff.de. In 2007 he moved to the University of Reading for graduate studies.
Typefaces created by the collective include Argos, AT Stencil, Disco 3000, Ignaz Text, Ignaz Titling, India Gothic, Janus, Jeans, Pater Noster, Proportia, Sweet Pea, Teppic, Used to Love Her. The designers include the founder Dan Reynolds, and his collaborators David Borchers, Lara Glück, Till Hopstock, and Lukas Schneider.
Dan's own typefaces at TypeOff include Ignaz Text (2004, originally called Ignaz Textura, and based on letters he found on a sepulchral memorial outside of St. Ignaz church in Mainz (Germany)), Ignaz Lombard Caps (2004), Ignaz Titling (2004), Janus (2004, a pixel face), Pater Noster (2004-2009, an uncial), Proportia (2004, a geometric sans), Sweet Pea (2004, an octagonal face), and Used to Love Her (2004, experimental). He is working on a Lombard Capitals face (2004), Teutonia Serif (2005, based on Teutonia, a geometric display face that was cut in Offenbach by the Roos & Junge type foundry in 1902; this squarish family is released under the name Mountain at Volcano Type in 2006) and Farewell Street (2004, sans family). Working on this condensed didone (2007).
In 2007, he worked with Kobayashi at Linotype to produce a revival and extension of a 1930 sans family of Morris Fuller Benton, and named it Morris Sans (+Small Caps), which could be viewed as an organic version of Bank Gothic. Morris Sans was published in 2008 by Linotype.
In 2008, he designed the serif family Martel in partial fulfilment of the requirements for the MA in typeface design at the University of Reading---it covers Latin and Devanagari.
He is working on a Condensed Serif.
Codesigner with Matthew Carter in 2010 of Carter Sans (ITC), a flared typeface.
Typography Mania is a weekly post series that comes around every Wednesday with the best of Typography design works on the web, from type videos to images everything is full of great design and typography inspiration. Users can submit their typography designs. It is managed by Paulo Canabarro, a web designer from Brazil currently living in Providence RI, USA. [Google] [More] ⦿
Under the guidance of Cyrus Highsmith at the Rhode Island School of Design, Victoria Rushton created the text face Sylvia in 2012 for the poems of Sylvia Plath who committed suicide in 1963. [Google] [More] ⦿