29 Letters
[Pascal Naji Zoghbi]

Madrid (and before that, Lebanon)-based Arabic type designer who runs the Arab type news and blog site called Arabic Typography. KHTT link. An ex-student of the KABK in 2006, he currently is a part time instructor of design and typography at Notre Dame University, Louaize, Lebanon, as well as a part time instructor of typography at the American University of Beirut (AUB), both since 2007. His Arabic type foundry is called 29letters.

At ATypI 2008 in St. Petersburg, he ran a workshop on the Arabic Kufi script. Speaker at ATypI 2010 in Dublin on the topic of political resistance and expression through graffiti in Lebanon and Palestine. His contributions to type design:

• Massira. He has embarked on a project with Martin Majoor to design some Arabic fonts that fit Majoor's designs. He writes: Massira is my graduation typeface at Type&Media postgraduate course at The Royal Academy of Arts [KABK] in The Hague. Huda AbiFares contacted me while I was finalizing Massira and presented the opportunity to collaborate with the Dutch type designer Martin Majoor to design an Arabic typeface, which is part of the Typographic Matchmaking 01 project organized by Khatt Foundation. At first I was a bit worried due to the fact that it would be my first professional type design work and that the due date was too close. However, after taking a closer look at Martins type FFSeria and analyzing its characteristics, I noticed that the treatment of the stroke and the structure of the letters shared similarities with Massira. In both fonts the use of sharp broken curves and crispy feel is present. Consequently, I grew confident in project and decided to use Massira as a starting point for the new Arabic companion of FFSeria. Echo, which is Sada in Arabic, is the repetition of a sound caused by the reflection of sound waves from a surface. Accordingly, Sada is the echo of FFSeria. The modifications on Massira consisted of making Sada perform like FFSeria. It had to have the same point size, line space, color, contrast and feel as FFSeria. Concerning the details of Sada and the inclined angle of the vertical strokes, it was derived from the FFSeria Italic. So Sada has the same feel as the Roman but is inspired from the Italic. More on the Sada project. In 2009, Sada was renamed FF Seria and published by FontFont.
• Another project of Zoghbi involves a type family being developed for newspaper headlines.
• In 2007, he created a 3-style Phoenician type family called Fniqiya.
• Alef Pixel Caps Type for Alef Magazine (2008). Done with Huda AbiFares. This is a Latin ornamental type family.
• Al Rouiya Arabic Type for the Al Rouiah Newspaper in Kuwait, 2008.
• Bukra display type for Ibn Battuta Mall in Dubai, 2008. This Futura-like typeface saw a variable part added in 2020. Adrien Midzic and Swiss Typefaces aided with the Latin.
• A corporate font under the heading, Arabic for Univers (2008). Zoghbi: An Arabic corporate typeface for a global shipping and transport company. The Arabic is intended to work with the Latin type Univers. Unfortunately, I can't mention the name of the company nor the design firm I did this Arabic type work for. I was the Arabic type consultant/specialist and associate type designer alongside Leah Hoffmitz. The font will used in all Arabic publications, ads and packaging for the company.
• Baseet (2009) is a hybrid Neo-Naskh / Modern Kufi geometric typeface. It is a mixture of straight vertical, horizontal and diagonal pen stokes incorporated in-between curved corners and edges. In 2020, Pascal Zoghbi (29LT) and Ben Wittner released the monospaced Arabic / Latin typefaces 29 LT Baseet Variable and 28 LT Zawi Variable.
• At FontStruct, he made Arapix (2009).
• UAE Embassy Corporate Type (2010). This is a commissioned Latin typeface based on the same concept as of an Arabic font. Each of the 26 Latin letters has Caps, Initial, Medial and Final shape enabling the letters to connect as in the Arabic script. The drawing of the letters was all done using the Arabic calligraphic bamboo stick and based on the Naskh Calligraphic Style. Opentype help from Erik van Blokland.
• The Mathaf Corporate Arabic-Latin Font (2011). Mathaf Arab Museum of Modern Art opened its doors to contemporary Arab art lovers in December 2010 in Doha, Qatar.
• Nada Debs (2010): a contemporary geometric Kufi type commissionewd by Nada Debs.
• For Ascender, he did Droid Arabic Naskh (see OFL), Droid Persian Naskh, and Droid Arabic Kufi (2010, OFL).
• 29LT Azer, done with Ian Party and Wael Morcos: Azer in Arabic means friendly, ready to assist and lend a hand. This multilingual typeface combines simple lines with careful detailing to create a serious but approachable look. The Arabic is a Naskh / Kufi hybrid and retains a balance between calligraphic angular cuts and unadorned construction. The Latin is a humanist sans-serif with crisp cuts based on the broad nip pen calligraphic structure and contemporary outlines. The fonts include Arabic, Farsi, Urdu and Latin variants. Azer won an award at TDC 2014.
• Pascal Zoghbi revived the 1950s font system by Nasri Khattar called Unified Arabic as UA Neo B and UA Neo B.
• LT Makina. An old typewriter font.
• LT Kaff.
• LT Zarid (+Sans, +Stencil, +Slab, +Serif). Pascal Zoghbi designed all Arabic components. 29LT Zarid Display won an award at 23TDC in 2020. The whole family has variable styles since 2020. Jan Fromm designed the Latin for Slab, Sans and Stencil. Regarding the Latin parts: Zarid Serif Display and Text Upright were designed by Ramiro Espinoza; Serif Upright was designed by Ramiro Espinoza and Khajag Apelian; Serif Slanted and Text Slanted were designed by Jan Fromm. The Cyrillic and Greek extensions were designed by Krista Radoeva and released in July 2020. Finally, 20 LT Zarid Sans features a variable style with a single (weight) axis.
• LT Zeyn. A great high-contrast fashion mag style typeface.
• Other custom types include Expo 2020 Dubai, Swatch, Noor, MIA, Noto Naskh, Shawati, Hamsa, Fdx, Emirates Headlines, AlWatan Headlines.

38 Lineart Studio (or: Grayscale, or: Fontsources)
[Muhammad Ridha Agusni]

Architect and designer in Banda Aceh, Indonesia, b. 1980, who set up Grayscale, then 38 Lineart, and finally Fontsources.

In 2018, he released the hexagonally-patterned color font Space, the nervous monoline display typeface Barcelona, the monoline script Brandy, the tattoo and metal band blackletter font Amstha, Twinkle (hexagonal texture), Premium Quality, Hightide (signage script), Ashley Pages, Bold Grunge (a wood style Western font), Rabbit House, Strongbold (brush style), Onthel (a rhythmic signage script), Cafeine, Seulanga (calligraphic), Sweet Bubble, Downhill, Architecture (technical writing font), Wisethink (rough brush), Emerald, Ghotic, Oakland (signage script), Parthenon (signage script), Strawberry Night (script), the formal calligraphic font Beauty Athena, the inline font Epicentrum, and the signature font Attitude in 2018.

Typefaces from 2019: Ghoust (a marker font done at Cititype), Diamant Handwriting (a signature font), Utrecht (with Siti Saribanon Nurjannah), Exhibitionist (a fine rhythmic script), Holimount, Prague Metronome (a thin signature script), Allegroost (a brush typeface), Anisha (script), Kyoto Northern, ChiQuel (a Victorian display typeface that can be layered), Hillstone (a dry brush script), Malique, Ginchiest (a retro signage script), Kid Knowledge, Haghia, Khatija Calligraphy, Bernound, Graffity, Brandy Script (monoline), Downhill, Concept (sketched, blueprint font), Konya (signature script), Blacksmith, Curve Calibration (condensed sans).

Typefaces from 2020: The Pallace (a great natural inky signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Chipen (inline, all caps), Jakarta (a flowing inky script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Rhode White (a great signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Bailamore (a creamy signage script), Vogie (a sporty / techno sans family of 72 fonts, plus a variable font), Rollingtime (a brush script jointly designed by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Piedmont (a heavy connected handwriting script advertized as a masculine signature font), Whiplash (an all caps dry brush font), Aceh (a 36-style geometric sans), Youthink, Sacred Letter (a vintage weathered script), Serif Sketch (by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Corinthiago, Smart Chameleon (a handcrafted typewriter font by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Hiroshima Gyoshi (a brush font inspired by Japanese calligraphy), Roughmarker (dry marker font), Brotherhood, Blugie (a fat finger font), Rome Ionic (an all caps roman typeface), Black Orchestra (a great horror or black metal font), Black Orchestra (a horror font).

Typefaces from 2021: Magreb (an 8-style renaissance serif typeface), Toxide (calligraphic; Celtic; uncial), Redtone (a 14-style geometric sans), Moula (an 18-style geometric sans for Latin, Greek and Cyrillic), Zouk (blackletter), Zagreb (an inky signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Alsace (Victorian), Backbone (a black metal blackletter typeface), Roundkey (a 24-style condensed, but not round, sans), Wordwalker (a marker pen font by Muhammad Ridha Agusni and Siti Saribanon Nurjannah for Cititype), Sweet Bubble (a bubblicious font), Souljah (an elegant inky calligraphic script).

Creative Fabrica link. Another Fontbundles link. [Google] [MyFonts] [More]  ⦿

60 Kilos (or: Sesenta Kilos)

Spanish designer of the hipsterish display typeface Belle de Mai (2020), a variable display typeface inspired in the cultural shock between high cost zones and the lowest suburbs near big metropolitans cities like Paris, and in the French culture, especially in the hood of La Belle de Mai, where it takes the name from.

Typefaces from 2021: Galipo or Galipos (a Latin / Cyrillic display typeface inspired by Andalusian society and culture). [Google] [More]  ⦿

Aaron Bell
[Saja TypeWorks]

[MyFonts] [More]  ⦿

Abe Zeinali
[Xuveki]

[MyFonts] [More]  ⦿

Abyss Type Company
[Mirko Velimirovic]

Or Mirko Velimirovic Iverson. Font engineer located in the greater New York City area, who has a BFA from Columbia College Chicago (class of 2013) and a type design diploma from The Cooper Union (class of 2017). From 2019 until 2021, he was the New York City chapter lead for Type thursday. In 2019, he set up Abyss Type Company. His typefaces:

• In 2020, Mirko Velimirovic converted Spartan MB to a variable font downloadable at Google Fonts. Spartan is Matt Bailey's open-source typeface based on early 20th century American geometric sans serifs.
• In 2021, Eben Sorkin (Sorkin Type) and Mirko Velimirovic designed the 5-style (+variable) Spline Sans (free at Google Fonts). They write: Spline Sans is a grotesque sans serif typeface family, purpose-built for UI interfaces, checkout processes, and paragraphs of text. Space efficiency is accomplished by condensing traditional grotesque proportions. This typeface oroginated from Spline Design. Github link.

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

Achaz Reuss

In house type designer at Elsner&Flake. He designed an elegant high-contrast art deco display typeface Miami EF in 1994, the broken black lettering typeface EF Splitter, the horizon lettering typeface EF Eastside in 1995, and Nivea in 2000 (for Beiersdorf).

Designer of the Bank Gothic style gaspipe sans family FF QType (2004, FontFont) in Condensed, Compressed, Extended, SemiExtended and Square versions.

In 2007, he created Bodoni Stencil (URW++). Other URW creations include Latin, Nimbus Roman Modern Compress, URW Compress and URW Oklahoma (art deco).

Adam Csider

During his studies at the Visual Arts Institute, of Eszterhazy Karoly University in Eger, Hungary, Adam Csider designed Sad Samurai (2019: free) and Signum (2019, an experimental variable font). [Google] [More]  ⦿

Adam Fathony
[AF Studio]

[MyFonts] [More]  ⦿

Adam Gorzsony

Eger, Hungary-based designer of Kann17 (2020) and Heming (2021: a free variable sans). [Google] [More]  ⦿

Adam Greasley
[Wearecolt]

[MyFonts] [More]  ⦿

Adam Jagosz

Aka Iorveth Aen Seidhe. Katowice, Poland-based designer of Slowglass (2017: a stocky 30-style geometric semi-serif sans family with vast language coverage that includes Cyrillic, Greek and Vietnamese), the rune simulation font Pertho (2016) and the penis font Semi (2016). He also made several interesting calligraphic pieces.

In 2019, he designed the 62-style sci-fi typeface family Ares (+Ares VF), the condensed Latin / Greek / Cyrillic sans Rywalka, the creamy stencil typeface Aromatron and the leafy Aromatron Ornaments.

Typefaces from 2020: AJ Quadrata (a revival of Textura Qadrata).

Aka Quadratype. Devian Tart link. Creative Fabrica link. [Google] [MyFonts] [More]  ⦿

Adaptype
[Beatriz Diogo]

For her Master's degree in Design and Multimedia at the University of Coimbra, Portugal, Beatriz Diogo created a script---Adaptype--- that allows any font's width to respond to the window size and the development of a website. Github link. [Google] [More]  ⦿

Adobe Variable Font Prototype

[More]  ⦿

Adrian Frutiger

Famous type designer born in 1928 in Unterseen, Switzerland, who died in September 2015. He closely cooperated with Linotype-Hell AG, after having been artistic director at Deberny-Peignot in Paris since 1952. He established his own studio in 1962 with André Gürtler and Bruno Pfaftli. Art director for Editions Hermann, Paris 1957 to 1967. Frutiger lived near Bern, Switzerland, and was very interested in woodcuts. In 2009, Heidrun Osterer and Philipp Stamm coedited Adrian Frutiger Typefaces The Complete Works (Birkhäuser Verlag), a 460-page opus based on conversations with Frutiger himself and on extensive research in France, England, Germany, and Switzerland. Quote: Helvetica is the jeans, and Univers the dinner jacket. Helvetica is here to stay. He designed over 100 fonts. Here is a partial list:

• Président (Deberny&Peignot, 1954). Digitized by Linotype in 2003.
• Delta.
• Phoebus (Deberny&Peignot, 1953).
• Element-Grotesk.
• Federduktus.
• Ondine (Deberny&Peignot, 1953-1954). The Bitstream version of this font is Formal Script 421. Adobe, Linotype and URW++ each have digital versions called Ondine. Bitstream's Calligraphic 421 is slightly different.
• Méridien (Deberny&Peignot, 1955-1957). Digitized by Adobe/Linotype in 1989.
• Caractères Lumitype.
• Univers (Deberny&Peignot, 1957). About the name, Frutiger wrote I liked the name Monde because of the simplicity of the sequence of letters. The name Europe was also discussed; but Charles Peignot had international sales plans for the typeface and had to consider the effect of the name in other languages. Monde was unsuitable for German, in which der Mond means "the moon". I suggested "Universal", whereupon Peignot decided, in all modesty, that "Univers" was the most all-embracing name!. Univers IBM Composer followed. In 2010, Linotype published Univers Next, which includes 59 Linotype Univers weights and 4 monospaced Linotype Univers Typewriter weights, and can be rented for a mere 2675 Euros. In 2018, Linotype added Univers Next Typewriter. In 2020, Linotype's Akira Kobayashi dusted off Univers Next Cyrillic and Univers Next Paneuropean.
• Egyptienne F (1955, Fonderie Deberny&Peignot; 1960, for the Photon/Lumitype machine).
• Opéra (1959-1961, Sofratype).
• Alphabet Orly (1959, Aéroport d'Orly).
• Apollo (1962-1964, Monotype): the first type designed for the new Monotype photosetting equipment.
• Alphabet Entreprise Francis Bouygues.
• Concorde (1959, Sofratype, with André Gürtler).
• Serifen-Grotesk/Gespannte Grotesk.
• Alphabet Algol.
• Astra Frutiger. A typeface variant of Frutiger licensed under Linotype. It is the font used on the highways in Switzerland.
• Serifa (1967-1968, Bauersche Giesserei). URW++ lists the serif family in its 2008 on-line catalog. Other names include OPTI Silver (Castcraft), Ares Serif 94, and Sierra. Bitstream published the digital typeface Serifa BT. But it is also sold by Adobe, Tilde, Linotype, URW++, Scangraphic, and Elsner & Flake. The slab serif is robust and is based on the letterforms of Univers.
• OCR-B (1966-1968, European Computer Manufacturers Association).
• Alphabet EDF-GDF (1959, Électricité de France, Gaz de France).
• Katalog.
• Devanagari (1967) and Tamil (1970), both done for Monotype Corporation.
• Alpha BP (1965, British Petroleum&Co.).
• Dokumenta (1969, Journal National Zeitung Suisse).
• Alphabet Facom (1971).
• Alphabet Roissy (1970, Aéroport de Roissy Charles de Gaulle).
• Alphabet Brancher (1972, Brancher).
• Iridium (1972, Stempel). A didone with slight flaring.
• Alphabet Métro (1973, RATP): for the subway in Paris.
• Alphabet Centre Georges Pompidou. The CGP typeface (first called Beaubourg) used in the Centre Georges Pompidou from 1976-1994 is by Hans-Jörg Hunziker and Adrian Frutiger, and was developed as part of the visual identity program of Jean Widmer. It is said that André Baldinger digitized it in 1997.
• Frutiger (1975-1976, Stempel, with Hans-Jörg Hunziker). In 1999, Frutiger Next was published by Linotype. In 2009, that was followed by Neue Frutiger (a cooperation between Frutiger and Linotype's Akira Kobayashi). In fact, Frutiger, the typeface was made for the Charles De Gaulle Airport in 1968 for signage---it was originally called Roissy, and had to be similar to Univers. It was released publically as Frutiger in 1976. The modern Bitstream version is called Humanist 777. Frutiger Next Greek (with Eva Masoura) won an award at TDC 2006. Other digital implementations of Frutiger: M690 (SoftMaker), Quebec Serial (SoftMaker), Frutus (URW), Provencale (Autologic), Frontiere (Compugraphic), Freeborn (Scangraphic), Siegfried (Varityper). In 2018, under the aegis of Akira Kobayashi, the Monotype Design studio published the 150-language superfamily Neue Frutiger World (including coverage for Latin, Greek, Cyrillic, Georgian, Armenian, Hebrew, Arabic, Thai and Vietnamese).
• Glypha (1979, Stempel). See Gentleman in the Scangraphic collection).
• Icône (1980-1982, Stempel, Linotype). Digitized by Linotype in 2003.
• Breughel (1982, Stempel; 1988, Linotype).
• Dolmen.
• Tiemann.
• Versailles (1983, Stempel).
• Linotype Centennial (1986). Based on Morris Fuller Benton's Clarendon typeface Century, Linotype Centennial was designed for Linotype's 100th birthday.
• Avenir (1988, Linotype). In 2004, Linotype Avenir Next was published, under the supervision of Akira Kobayashi, and with the help of a few others. In 2021, the Monotype team released Avenir Next Paneuropean (56 styles, by Akira Kobayashi). Avenir Next World, released by Linotype in 2021, is an expansive family of fonts that offers support for more than 150 languages and scripts. The subfamilies include Avenir Next Hebrew, Avenir Next Thai, Avenir Next Cyrillic, Avenir Next Arabic and Avenir Next Georgian. Avenir Next World contains 10 weights, from UltraLight to Heavy.

  Contributors besides Adrian Frutiger and Akira Kobayashi: Anuthin Wongsunkakon (Thai), Yanek Iontef (Hebrew), Akaki Razmadze (Georgian), Nadine Chahine (Arabic), Toshi Omagari (Arabic) and Elena Papassissa (Greek, Armenian). Lovely poster by Ines Vital (2011).

• Westside.
• Vectora (1991, Linotype).
• Linotype Didot (1991). See also Linotype Didot eText Pro (2013), which was optimized by Linotype for use on screens and small devices.
• Herculanum (1989, Linotype): a stone age font.
• Shiseido (1992).
• Frutiger Capitalis (2006, Linotype): a further exploration in the style of Herculanum, Pompeijana and Rusticana. Linotype trademarked that name even though at least five fonts by the name Capitalis already exist.
• Pompeijana (1993, Linotype).
• Rusticana (1993, Linotype).
• Frutiger Stones (1998, Linotype) and Frutiger Symbols.
• Frutiger Neonscript.
• Courier New, based on Howard Kettler's Courier, was one of Frutiger's projects he was involved in ca. 2000.
• AstraFrutiger (2002): a new signage typeface for the Swiss roads. Erich Alb comments: With a Frutiger condensed Type and illuminated signs during night it is mutch better readable.
• Nami (2008) is a chiseled-stone sans family, made with the help of Linotype's Akira Kobayashi.
• Neue Frutiger (2009, with Akira Kobayashi) has twice as many weights as the original Frutiger family.
• In 2019, the Linotype team released variable fonts for Frutiger's main typeface families, Avenir Next Variable, Neue Frutiger Variable, and Univers Next Variable.

Frutiger's books include Type Sign Symbol and Signs and Symbols. Their Design and Meaning (1989, with Andrew Bluhm, published by Studio Editions, London; Amazon link).

Linotype link. FontShop link. Adrian Frutiger, sa carrière française (2008) is Adèle Houssin's graduation thesis at Estienne.

Klingspor link. Wikipedia link. View Adrian Frutiger's typefaces.

View some digital versions of Avenir. Vimeo movie on Frutiger by Christine Kopp and Christoph Frutiger entitled "Der Mann von Schwarz und weiss: Adrian Frutiger". More Vimeo movies. [Google] [MyFonts] [More]  ⦿

Adrian Kimball
[WTF (or: Workhorse Type Foundry)]

[More]  ⦿

Adriana Perez Conesa

Adriana Perez Conesa is a Spanish graphic and typeface designer, currently based in Barcelona. She studied art and graphic design at the University of the Basque Country. Graduate of the MATD program at the University of Reading, class of 2020. Her typefaces:

• Subs and Stuff (2020). These are her graduation typefaces at Reading. Subs n Stuff. Subs uses squarish letterforms with low contrast, large x-height, generous apertures, pixel-traps and clear shapes, all to help reduce the chances of misrecognition and increase legibility. Subs contains two different styles: Micro, intended for low-resolution screen and small sizes, and Text, for high-resolution screens and bigger sizes. Text is also variable in the weight axis. Stuff is a variable subfamily that covers weight and optical size axes. Both typeface families are accompanied by an italic style and support Latin and Arabic scripts.
• A revival of Augereau Gros Romain (2020).
• Rockera (2018-2019). Rockera was designed during a four month Typography Design post-graduate course at EINA (University School of Design and Art of Barcelona).
• Essone (2018). A didone.
• Aurum Sans (2018). Her graduation project at the University of the Basque Country. Aurum Sans is a geometric typeface in which she combined rationality with humanism.

Adrien Midzic

Fatnobrain was Adrien Midzic's design studio in Paris. Born in 1982, he co-founded Pizza Typefaces with Luc Borho in 2018. Midzic designed these typefaces or type families: Fine (lineal), Blokus (free pixel font, 2009), Cimen (strong sans, designed for Smacl Entraide), Mesquine (lineal), Blitz, Cucha, Stencil Reverse, Huit (2009, a gorgeous didone headline face), Stenha (stencil).

Fonts made in 2010: The ETH family (art deco sans).

Custom typefaces by Midzic: Aquitaine (2013, for Région Aquitaine), Nilka (2013, for his personal identity), No End (2013, a fat didone), Ethon Serif (2013, a perked up serif typeface for Penguin Books), Kasai Est (2011, for the Congo-based Kasai Est Magazine), Festival De Film Documentaire (2011), Nevenka (2011, condensed sans).

In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days. Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak co-designed the very humanist sans family Saya FY and Saya Semisans FY. Adrien Midzic and Joana Correia co-designed Saya Serif FY (2015).

At the free font cooperative Velvetyne, he published the sans typeface Lack (2014).

In 2015, he made the 3-style sans typeface Suber for an art fair in Paris. The roman transitional typeface Bota Serif (2015), which was inspired by Cochin (designed by Charles Peignot in 1912) is a custom font designed for Hotel des ventes de Poitiers. In 2017, it was finally released for retail.

In 2016, Adrien designed the bold titling typeface Debeo and the modern condensed Latin/Arabic typeface 29LT Adir (with Naji El Mir; at 29 Letters).

In 2017, he published the piano key typeface Mixal, which became a large experiment on variable fonts and is free for everyone.

Typefaces from 2018: Kern, Kern Office (a sans with some Futura features), Forno (sans), VTF Lack (a free single weight monoline geometric sans for Latin, Greek and Cyrillic, published by Velvetyne), Metal (an all caps multi-width variable font originally designed for marché Dauphine), Orelo (a 120-style high-contrast fashion mag font family; +Orelo Hangul, 2020).

Typefaces from 2019: Ultra Solar (experimental), 1871 Mane (a custom sans typeface), Wasa (a tense sans in seven styles), Shrill, Gangster Grotesk (free), Stupid (a hacker / hipster font), Kern (geometric sans).

Typefaces from 2020: Shreck Issue (very tall and ultra-condensed), Metal (brutalist), Version ACT (a two-axis variable font), Debeo (a heavy sans), Dozza (a hybrid family named after ITC Mendoza by Jose Mendoza Almeida), XMX (experimental).

Typefaces from 2021: Campingo (a roundish informal typeface inspired by camping and outdoor life), Bota (with Ines Davodeau: first designed for Boissnot&Tailliez, Bota is a modern interpretation of Georges Peignot's Cochin (2012)), Pleasure (hipsterism pushed to the fringe of addiction), Model Standard (ModelStandard Mono, ModelStandard SemiMono, ModelStandard Sans).

Dafont link. Klingspor link. Behance link. Another Behance link. Hellofont link. Velvetyne link. [Google] [MyFonts] [More]  ⦿

Adtypo
[Andrej Dienes]

Andrej Dienes is a type designer in Bratislava, Slovakia. He set up the commercial type foundry Adtypo in 2013. Creator of these typefaces:

• Akceler (2012). Advertised as a type system for sports. The text that accompanies this large typeface family: Elasticity of glyphs reflected adrenalinous shapes of latest bikeframes, skies or sportcars. Maximum open arches guaranteed good readability in very small sizes and prevented interchanges of glyphs "o, c, e" per poor reading conditions. Softness of minuscules is at capitals balanced in bottom arches, that are subtly kicked-up. Numerals are important component of sport communication, so here have expressive design, different from numerals of book typefaces. Every font have 10 kinds of numerals. Character case contains between 1000 glaphs sport icons and othes signs creating sport feeling.
• Densit (2012). An ultra-black display family that includes a Sans and a Serif. It was designed for Reco, Senica.
• Fazeta (2015). An angular traditional Czech typeface family in which each font has an impressive 1140 glyphs, and the family is divided into Display, Text and Caption subfamilies. He calls it a text typeface without sentiment. It was followed a bit later in 2015 by the companion font Fazeta Sans.
• Resonay (2021, at Typemates), an award winner at 25 TDC in 2022. Resonay is a layerable display typeface family that combines elegant details from stone carving with the flow of calligraphy, a sharp attitude with exuberant Bézier curves.
• Cosan (2021). A variable sans-serif typeface with a broad range of weights and adjustable contrast.

AF Studio
[Adam Fathony]

Adam Fathony (or Adam Fathoni Haris; AF Studio, Bandung, Indonesia) created the vintage typeface Grandesa (2014), the signage typeface Magnifika (2014) and the Victorian typeface Marema (2014).

In 2015, he published the connected swashy script typeface Octavia Script, the brush scripts Carbonera and Shallom, the hand-lettered Vanilla Daisy Script and Mightype, the watercolor script Hollycakes, and the connected Brayden Script (and Sans).

Typefaces from 2016: Drustic Daily, Karlberg Script, Ecosmith Script, Halosense Script (calligraphic), Lunar Cone (connected layered script), Clarkson Script, Salvador Script, Salvador Serif, Salvador Condensed, La Venice Script (retro signage lettering).

Typefaces from 2017: Clarkson Script (brush lettering), Bignord Vintage (with Fauzan Rafhy), Douglas Collection (12 fonts: Aaronade Script, Ancaster Script, Burlington, Calgury, Montreal Rounded, Morphic 60s, Norwood Old, Ogdensburgh, Palmeira, Rutland Extended, Wolves Sans, Wolves Serif), Almost Lover, Rhythmic Dances (rough script), Sevastian (layered font set), Rustling Trees (dry brush), Little Karla Script.

Typefaces from 2018: Figuera Variable (a late Victorian, early art nouveau typeface family; variable font format), Brignola (a calligraphic penmanship script), Eastside Brush (a brush signage script done with Angga Kristiandri), Marshfield (a retro cursive typeface by Adam Fathoni Haris and Renov Olivian), C'est La Vie (font duo), Chivels (a vintage typeface done with Angga Kristiandri at Abbassy Studio), Sevastian (a layered font family), Drustic Dialy (weathered; with Angga Kristiandri), Elli Bellie (calligraphic).

Typefaces from 2019: Scottsdale Serif (at Typeverything), Scottsdale Desert (an opentype feature-laden display serif), Norfolk (Narrow, serif), Tiverton (Sans, Serif, Script: by Adam Fathony Haris and Angga Kristiandri), Havard (a layerable athletic lettering set of 12 fonts), Gorga Grotesque.

Typefaces from 2020: Auvelle (a hairline sans), Windsore (a font trio), Howli (layerable, rounded; sans, serif and script), Genty (a creamy retro signage script typeface by Ilham Herry and Adam Fathoni Haris), Burnest (a vintage typeface by Adam Fathoni Haris and Renov Olivian), Glaw (a psychedelic font by Ilham Herry and Adam Fathoni Haris), Oliviar Sans (28 styles and a variable font), Budge (a layerable retro signage script by Ilham Herry and Adam Fathoni Haris), Stanlow, Muray House (a bold swashy bathroom towel typeface by Ilham Herry and Adam Fathoni Haris), Esteric (a playful tapered font by Ilham Herry and Adam Fathony).

Typefaces from 2021: Alstera (an oblique serif), Monvar (a layerable Cooper Black style typeface by Ilham Herry and Adam Fathoni Haris), Rische (a 6-style display serif with huge counters and an enormous x-height; by Ilham Herry and Adam Fathoni Haris), Ottenthic (script and serif), Mionic (a reverse contrast slab serif by Adam Fathoni Haris and Angga Kristiandri), Matchbox Font Collections (a set of vintage fonts based on lettering on matchboxes; it includes substyles called Linea, Lettre, Deco, Scriptura, Ornato, and Graso).

Typefaces from 2022: Balide (a 70s style display typeface), Norsy (a 21-style and variable flared font family). [Google] [MyFonts] [More]  ⦿

Agyei Archer

Graphic designer in Trinidad, who co-founded Unqueue, a mobile app designed to improve retail experiences in the Caribbean. Past clients include Google, RISD, the Government of Trinidad and Tobago, and the Caribbean Mental Health Foundation. He designed a few, mostly custom, typefaces. These include Crispy (2020: an angular design started in 2017 that has mushroomed into an 8-axis variable font, built based on David Berlow's proposal for parametric variations, combining axes such as X-Transparency, X-Opacity, and Y-Opacity to generate masters for styles such as widths, weights, grades, and optical sizes; it is planned as a Google Font), and Ephemeral (2018: a layered color font based on the lettering style of Bruce Cayonne). [Google] [More]  ⦿

Aim Type
[Saurabh Sharma]

Saurabh Sharma (b. 1982) is a graphic and web designer in Udaipur, Rajasthan, India. He created the nice rounded organic sans typeface Lead (2010).

Designer of the free geometric asans Google font family Kumbh Sans (2020).

Typefaces from 2021: Cause, Cause Variable (a variable weight monolinear rounded sans font with a comic book appeal).

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

Aimur Takk

Tallinn, Estonia-based designer of IDA Display (2018, a variable font that reacts to music) and Sveta Bold Condensed Display (2018, for Latin and Cyrillic), which was developed for the branding of Tallinn Music Week 2018. [Google] [More]  ⦿

Akimbo Type Foundry (or: Pen and Lens Design)
[Kaleb Dean]

Akimbo is the experimental type foundry of American designer Kaleb Dean. As of 2020, his typefaces included Blaque, Harveaux (Modern and Grotesk) and Caeli (a six style sans). Most of the fonts have variable versions. [Google] [MyFonts] [More]  ⦿

Akira Kobayashi

Born in 1960 in Niigata, Japan. Studied at the Musashino Art University in Tokyo. He also studied calligraphy at the London College of Printing. He became a freelance designer in 1997. Akira Kobayashi, who was based in Tokyo prior to his move to the Franfurt area, is an accomplished type designer who has created numerous typefaces for Sha-Ken, Dainippon Screen (where he made the kanji font Hiragino Mincho), TypeBank (from 1993-1997), ITC and Linotype, where he is Type Director since 2001. Interview. His numerous awards include the Type Directors Club awards in 1998 (ITC Woodland), 1999 (the art deco styled ITC Silvermoon, and ITC Japanese Garden), and 2000 (FF Clifford), the 1999 Kyrillitsa award for ITC Japanese Garden, the 3rd International Digital Type Design Contest by Linotype Library (for the informal and quirky 4-style Linotype Conrad (1999): Linotype states that Kobayashi took his inspiration from a print typeface of the 15th century created by two German printers named Konrad Sweynheim and Arnold Pannartz), and the 5th Morisawa International Typeface Competition (in which he received an Honourable Mention for his typeface Socia Oldstyle). CV at bukvaraz. Interview in 2006. His typefaces:

• Helvetica Neue eText Pro (2013).
• Dainippon Screen: the kanji font Hiragino Mincho.
• ITC: ITC Scarborough (1998), ITC Luna, ITC Silvermoon, ITC Japanese Garden, ITC Seven Treasures (1998), ITC Magnifico Daytime and Nighttime (1999), ITC Vineyard (1999), ITC Woodland Demi (1997).
• Adobe: Calcite Pro (sans-serif italic at Adobe, in OpenType format).
• Linotype: Akko Sans and Akko Rounded (2011; Akko Rounded is situated between DIN, Isonorm and Cooper Black, while Akko Sans is an elliptical organic sans related to both DIN and Neue Helvetica), Akko Condensed (2015), Akko Pro Condensed (2015), Akko Pan-European (2015), Eurostile Next (2008, after Aldo Novarese's original), Eurostile Candy and Eurostile Unicase, Cosmiqua (2007, a lively didone serif family based on 19th century English advertising types, and in particular Miller&Richard's Caledonian Italic), Metro Office (2006, a severe sans after a family of Dwiggins from the 20s), Neuzeit Office (2006, modeled after the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotypes design studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939), DIN Next (2009, based on the classic DIN 1451), Times Europa Office (2006, modeled after the original serif family produced by Walter Tracy and the Linotypes design studio in 1974. A redesign of the classic Times New Roman typeface, Times Europa was created as its replacement for the Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman.), Trump Mediaeval Office (2006), Linotype Conrad (1999), Optima Nova (2002, a new version of Optima that includes 40 weights, half of them italic), Linotype Avenir Next (2003, 48 weights developed with its original creator, Adrian Frutiger, and to be used also by the city of Amsterdam from 2003 onwards), Avenir Next Rounded (2012, in conjunction with Sandra Winter), Avenir Next Paneuropean (2021: 56 styles), Zapfino Extra, Palatino Sans and Palation Sans Informal (2006, with Hermann Zapf; won an award at TDC2 2007). Frutiger Serif (2008) is based on Frutiger's Meridien and the Frutiger (sans) family. Diotima Classic (2008, with Gudrun Zapf von Hesse) revives Gudrun's Diotima from 1951. In 2008-2009, Akira Kobayashi and Tom Grace unified and extended Trade Gothic to Trade Gothic Next (17 styles). Neue Frutiger (2009, with Adrian Frutiger) has twice as many weights as the orifinal Frutiger family. Later in 2009, the extensive DIN Next Pro, co-designed with Sandra Winter, saw the light. I assume that this was mainly done so as to meet the competition of FontShop's FF DIN (by Albert-Jan Pool).
• Fontshop: Acanthus (2000, large Fontfont family), FF Clifford (gorgeous text face!). In 2009, he and Hermann Zapf cooperated on Virtuosa Classic, a calligraphic script that updates and revives Zapf's own 1952-1953 creation, Virtuosa.
• Typebox: TX Lithium (2001, The Typebox).
• Oddities: Skid Row (1990), Socia Oldstyle.
• Suntory corporate types (2003-2005), developed with the help of Matthew Carter and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
• In 2014, Akira Kobayashi, Sandra Winter and Tom Grace joined forces to publish DIN Next Slab at Linotype.
• Alexey Chekulaev and Akira Kobayashi (Monotype) won a Granshan 2014 award for the Cyrillic typeface SST.
• In 2016, Akira Kobayashi and Sandra Winter co-designed Applied Sans (32 styles) at Monotype. It is in the tradition of vintage sans typeface such as Venus and Ideal Grotesk and competes with Rod McDonald's splendid Classic Grotesque (2011-2016)..
• Member of a type design team at Monotype that created the Tazugane Gothic typeface in 2017. Designed by Akira Kobayashi, Kazuhiro Yamada and Ryota Doi of the Monotype Studio, the Tazugane Gothic typeface offers ten weights and was developed to complement Neue Frutiger. It is the first original Japanese typeface in Monotype's history. Followed in 2018 by the more restrained Tazugane Info. Variable fonts published in 2022: Tazugane Gothic Variable, Tazugane Info Variable.
• SST (2017). A set of fonts for Latin, Cyrillic, Thai, Vietnamese, Arabic and Japanese.
• DIN Next Stencil (2017). Developed together with Sabina Chipara.
• DIN Next Decorative (mostly textured styles such as Rust, Slab Rust, Stencil Rust and Shadow).
• Univers Next Cyrillic and Univers Next Paneuropean, both released in 2020, extending Adrian Frutiger's Univers.
• Shorai Sans (2022) and Shorai Sans Variable (2022). A 10-style Latin / Japanese sans by Akira Kobayashi, Monotype Studio and Ryota Doi, designed as a companion typeface to Avenir Next.

Speaker at ATypI 2012 in Hong Kong: Rounded sans in Japan.

View Akiro Kobayashi's typefaces.

Klingspor link. FontShop link. Eurostile Next review. Linotype link. Monotype link. MyFonts interview in 2017. [Google] [MyFonts] [More]  ⦿

Akira Kobayashi
[Neue Frutiger]

[More]  ⦿

Alejandro Freitez

Originally from Maracay, Venezuela, Alejandro Freitez is now based in Buenos Aires, Argentina, where he releases his fonts mostly through Sudtipos. His typefaces:

• The squarish inline typeface Rectil (2013).
• The free text font Calicanto (2015), which was published by Sudtipos in 2019.
• The multistyle wood type look / Western / Victorian / reverse stress / hyper-decorative Presley Slab (2019). By Alejandro Freitez and Claire Menager, under the art directoship of Alejandro Paul.
• Ansage (2020, at Sudtipos). Ansage is a 61-style sans family (and a variable font with weight, width and italic axes) that revisits the early sans types from the 19th century, rough, raw and unsophisticated.

Alejandro Paul

Designer who lives in Buenos Aires and who teaches graphic design and typography at the Universidad de Buenos Aires. He has worked as an art director in prestigious Argentina-based studios, handling high-profile corporate brands such as Arcor, Marta Harff, Morph, SC Johnson, Danone, and Movicom. He runs Estudio Paul. Professor at Facultad de Arquitectura, Universidad de Buenos Aires. Co-creator, with Apostrophe at Apostrophic Laboratory, of Usenet (2000), FontCop I through IV (2000) and the pixel font family Cayetano. Published the dot matrix font Stardust with T-26 in 2000. Designed the gorgeous font Elektora in 2000. He developed with Michael Lynch a 17-font Tennis set of grid-based pixel fonts. At Typeworx, he published Reflex (2002), a commercial 6-style unicase font family. Another web site by Alejandro. Cofounder of DAS, a design studio in Buenos Aires.

Cofounder of Sudtipos (2003), where he does custom work and creates new typefaces.

His work there includes Tierra (a titling face), Latinaires (2003-2018: originally called Latina Sans), Reflex, Downtempo (2003), Stardust and Mosaico (1999, pixel face).

Still at Sudtipos, he digitized the beautiful handwriting/calligraphic typefaces by Angel Koziupa called Alma (2005), Murga, Habano and Tiza, which together with his script typeface Argenta (2004), Oxida (2005), the medieval script typeface Mama Script (2004, designed with Alfredo Graziani), Divina (2004, with Alfredo Graziani), and the sans family Kautiva (2004) can be bought via Umbrella Type.

For children's orthography, he developed Estrada Hand, on commission for Editorial Estrada. He was working on the serif family Libertina (2004).

Herencia (2004, a handwriting typeface done with Diego Giaccone), Grover (2004, slab serif), Milk Script (2004, with Alfredo Graziani), Mama Script (2004, with Alfredo Graziani), Politica (2004, a techno typeface with a very thin Thin weight) are at Sudtipos.

The Bluemlein Scripts (2004-2005, Umbrella and Veer) are based on the calligraphic renderings of Charles Bluemlein, shown in a 1943 ink catalog: Miss Le Gatees, Mr Rafkin, Mr Keningbeck, Mr Lackboughs, Lady Dawn, Mrs Von Eckley, Mr Sheppards, Mr Dafoe, Mr Canfields, Mr Stalwart, Mr Sandsfort, Mr Leopolde, Mr DeHaviland, Mr Blaketon, Miss Stanfort, Miss Packgope, Miss Fajardose, Mrs Saint-Delafield, Mrs Blackfort, Mr Sopkin, Mr Sheffield, Miss Lankfort, Herr Von Muellerhoff, Dr Sugiyama, Dr Carbfred. (Note: Soft Horizon's Lainie Day (1993) is an earlier free font in the style of Lady Dawn and Mr Lackboughs). In 2011, that series was made available at Google Web Fonts.

Sudestada (2005, Sudtipos) is a handwriting script developed with Diego Giaccone. Cuisine (2005, Umbrella Type) is an informal bold script. Mousse Script (2005, Sudtipos) is based on Glenmoy, a 1932 Stephenson Blake typeface. Suave Script (2005) is a 4am jazz bar script. Ministry (2005) is related in style but less funky, Chocolate (2005) is for sales ads, and Cenizas (2005, with Angel Koziupa) is straight from an old manuscript.

Whomp (2006, Umbrella) was based on a partial sign-painting font by Alf Becker (1930s), and so was Buffet Script (2006, Sudtipos). Affair (2006, Umbrella) is swashy and calligraphic, while Candy Script (2007) and its italic version Sugar Pie (2011) are based on Argentina's market lettering. Galgo Script (2007) is a brush calligraphic font based on a design of Angel Koziupa.

Burgues Script (2007) is an ornate calligraphic script based on the lettering of calligraphy teacher Louis Madarasz (1859-1910) (award at TDC2 2008). Burgues Script, Adios Script (2008: it won an award at TDC2 2009), Feel Script and Sugar Pie all won awards at Tipos Latinos 2008.

Sinfonieta (2006) and Buffet Script are fifties style connected scripts. Feel Script (2007) is based on lettering that calligrapher and logo designer Rand Holub created in 1950 and that was subsequently captured in Intertype's typeface Monterey (1958). Some letterforms were redrawn from vintage American magazine ads (some by Holub himself), Cuisine (2008, food advertising script), Pronto (2008, comic book style, by Alejandro Paul and Angel Koziupa), Grover (2004, rounded sans family), Grover Slab (2004). Burgues Script, Adios Script, Feel Script and Sugar Pie all won awards at Tipos Latinos 2008. Calgary Script (2008, Umbrella) is a pure signpainting job.

Accolades from all typophiles for his calligraphic wunderkind, Compendium (2008).

The 2009 haul: Sugar Pie (signage font), Bravissima Script, Theorem (upright semi-script).

Speaker at ATypI 2009 in Mexico City.

The year 2010 starts off with a bang, five awards at Tipos Latinos 2010: a grand prize for Brownstone Sans, and four standard awards, for Semilla, Kewl Script (for food packaging and store windows), Calgary Script, and for Business Penmanship.

Typefaces from 2010 include the baseball lettering typeface Fan Script and the tattoo script face Piel Script (piel=skin), which was influenced by Burgues Script and more remotely by showcard lettering by B. Boley (1930s, Sign of the Times Magazine). Piel Script won an award at Tipos Latinos 2012.

In 2011, he and Koziupa made the fat signage typeface Aventura and Viento (a grunge version of their earlier 2004 face, Brisa).

He added one retro connected signage font to the Filmotype collection in 2012, called Filmotype Kitten (original from 1955). Filmotype Zephyr (2012) is an italic roman formal script. Filmotype Yukon (2012) is inspired by the classic Palmer style of penmanship.

Storefront (2012) is a swashy signage typeface based on an incomplete alphabet by Alf Becker.

His signage script typeface Hipster Script won an award in the TDC 2012 competition and at Tipos Latinos 2012.

Typefaces from 2013: Rolling Pen (a connected script that recalls the business penmanship genre), Bellissima Script (based on a copperplate calligraphic alphabet from Bellezas de la Caligrafía by Ramón Stirling, 1844).

In 2014, he helped Panco Sassano, a lettering artist and illustrator from Mar del Plata, who designed the wide connected semi-calligraphic handwriting typeface Horizontes Script (Horizontes subsequently won an award at Tipos Latinos 2016). Still in 2014, he published the fat packaging or signage script Bowling Script, which is based on Freely Drawn Italic, a non-font alphabet by Ernst Bentele (1953).

In 2015, Alejandro Paul, Yani Arabena and Guille Vizzari combined forces in the signage script typeface Quotes (Script+Caps) (2015, Sudtipos).

Merengue Script (2015, with Panco Sassone) is a fun creamy script, ideal for pastry shops, tea rooms or supermarkets.

Steak (2016) is a connected vintage signage script based on an Alf Becker design.

Envelove (2017) is a script typeface family consisting of Script, Icons, and Caps, designed at Sudtipos by Yani Arabena, Guille Vizzari, and Alejandro Paul. Winner at Tipos Latinos 2018 of a type design award for Envelove.

Still in 2017, Guille Vizzari and Alejandro Paul co-designed the great Moleskine notebook-inspired typeface family Proprietor. Proprietor comes in Script, Icon, Deco, Wide, Open and Roman styles. It won an award at Tipos Latinos 2018.

Rigatoni (2017): A skyline didone based on mid-20th century example by Eugen Nerdinger.

Bibliophile Script (2017). A pair of copperplate calligraphic typefaces.

Fixture (2018: a 72-font grotesk family published by Sudtipos).

Newbery Sans Pro (2018). A simple workhorse sans typeface family that is inspired by German industrial design and the lettering of Eugen Nerdinger.

Winner at Tipos Latinos 2018 of a type design award for Tennis Set, Bibliophile Script, French Bulldog, Envelove, La Taqueria, and Speakeasy Set (a collection of (copperplate) script, sans, modern, flare and gothic substyles).

From 2019: Hot Salsa (a retro brush script; with Ximena Jimenez), Old Letterhand, Clockmaker (arts and crafts style), Steak Script (inspired by an old alphabet by Alf Becker), Address Sans Pro (a sans family inspired by Butti and Novarese). In 2019, Alejandro Freitez and Claire Menager, under the art directoship of Alejandro Paul, designed the multistyle wood type look / Western / Victorian / reverse stress / hyper-decorative Presley Slab.

Typefaces from 2020: Apothicaire (a wonderful quaint serif family in the frivolous didone genre; three variable fonts, 16 styles in all), Inglesa (a penmanship script), Dilemma, Dilemma Serif (Dilemma is a sans/serif type system with 42 styles; it is inspired by the anonymous Polyphème, Cyclopéen and Extra Condensé designs from the early 1900s at the Peignot Fonderie; two variable fonts are included), Sporty Pro (a large sports / athletics font family).

Typefaces from 2021: Plethora (an 18-style family and two variable fonts that build on Julius Herriet's Old Style Ornamented for Bruce Type Foundry; Alejandro added various frills, ligatures, weights, exaggerating in true Victorian spirit), Magari (a fat face or Normande; Alejandro likens it to Italian classics of the 19th century though), Regional (27 styles, plus variable styles).

Typefaces from 2022: Wienerin (a revival and expansion of Olympia (1929) by Carl Otto Czeschka, one of the members of The Wiener Werkstätte). [Google] [MyFonts] [More]  ⦿

Alessio Laiso

Graphic designer in Lisbon, Portugal (was: Dublin, Ireland), who studied at ISIA Roma in 2013. Creator of the free 6-style slab serif typeface Aleo (2013): Aleo is a contemporary typeface designed as the slab serif companion to the Lato font by Lukasz Dziedzic. Aleo has semi-rounded details and a sleek structure, giving it a strong personality while still keeping readability high. It is also available from Open Font Library and Google Fonts (in 2018). Google Fonts mentions Kevin Conroy as co-designer. Posters by Bush Mthembu (Durban, South Africa).

In 2017, he designed the commercial typefaces Lagu Sans and Lagu Serif, which feature large x-heights and open counterforms.

Typefaces from 2020: Pani Sans (which takes inspiration from Italian rationalist and art deco genres, and includes variable types).

Open Font Library link. Fontspring link. Fontown link. [Google] [MyFonts] [More]  ⦿

Alex Tomlinson
[Ursa Minor]

[More]  ⦿

Alexander Lubovenko

Talented Russian graphic and type designer who works for ParaType in Moscow. His typefaces:

• In 2015, he and Alexandra Korolkova co-designed Circe Rounded, which is an extension of the Circe typeface (2011), both published by Paratype. Circe is named for the circular nature of many of its glyphs.
• In 2015, Alexandra Korolkova and Alexander Lubovenko published Aphrosine at Paratype, a typeface based on pointed pen script and situated somewhere between handwriting and calligraphy. Many alternatives and smart OpenType features help Aphrosine look like real handwriting.
• Carol Gothic (2015, Alexandra Korolkova and Alexander Lubovenko, Paratype) is a traditional blackletter face closest to Linotype's Old English.
• Liberteen (2015) is a playful tongue-in-cheek take on 19th century slab serifs, including Clarendons. For Latin and Cyrillic, from Thin to Black. Dessert Script (2015, Paratype). A smooth-outlined advertising script for Latin and Cyrillic.
• In 2016, Alexander Lubovenko and Manvel Shmavonyan co-designed the 30-style Latin / Cyrillic workhorse sans typeface family Mediator which was followed in 2017 by Mediator Serif. Later in 2016, Alexander Lubovenko designed the heavy slab serif family Bombarda.
• Hypocrite (2017, Paratype).
• He created some additional styles for Zakhar Yaschin's Mojito script font.
• in 2018, he designed Clincher at Paratype, a set of monospaced and duospaced fonts that were specifically developed for program coding and user interface design.
• Wak (2018). By Aleksander Lubovenko and Viktor Fitzner.
• Journal Sans New (2018).
• Six Hands (2018). This is a collection of six handcrafted typefaces: Black, Brush, Chalk, Marker, Condensed and Rough, by Alexandra Korolkova, Alexander Lubovenko, and the Paratype team.
• Stapel (2020, Paratype). A 57-style Latin / Cyrillic sans family with a sci-fi look and thin stroke joints.
• Vast (2021, Paratype). A 56-style sans family, and three variable fonts, by Manvel Shmavonyan and Alexander Lubovenko. Choices are from thin to black and regular to extra wide.
• In 2021, Paratype designers Isabella Chaeva, Vasily Biryukov and Alexander Lubovenko created DIN 2014 Rounded, an extension of the industrial sans serif DIN 2014. The six-style typeface supports all European languages based on Latin, Cyrillic, and Asian Cyrillic (Tatar, Kazakh and Kyrgyz) and has a variable version.

Alexander Nedelev
[Typedepot]

[MyFonts] [More]  ⦿

Alexander Slobzheninov

Designer from Siberia who graduated from Ladislav Sutnar Faculty of Design and Art, University of West Bohemia and is now based in Prague, Czechia. Type, graphic and motion graphics designer who created these typefaces:

• Octarine (2017). A geometric sans typeface family with two free weights).
• Fivo Sans (2017, free) and Fivo Sans Modern (2017, free).
• Wacom (2017). This is a simplified techno sans concept font not actually used by Wacom.
• Objective and Subjective, two mischievous typeface families published in 2018. Objective was slightly altered and merged with Chris Simpson's Metropolis (2015) in 2020 by Cristiano Sobral in Metropolitano.
• The 42-font sans family Agrandir (2018). Available from Pangram Pangram.
• The 7-weight Swiss neo-grotesk Gestalte (2018) that is characterized by mathematically precise horizontal and vertical strokes and terminals.
• The Baskerville grandchild AS Grafier (2018). A corporate typeface for the identity of Other Poets Society. There is a free beta version, and comes with a variable font option. Published by Pangram Pangram in 2019. The variable font Grafier can also be purchased from Type Tomorrow.
• The Latin / Cyrillic Object Sans (2018), which is in the Swiss sans style. For the Cyrillic, he was helped by Sonya Yasenkova. Available from Pangram Pangram.
• The cyrillization of Jeremy Landes's Le Murmure in 2019.
• Relaate (2019-2020). A multi-genre typeface in which the lower case t and e try to reach for the sky.
• Right Grotesk (2020, Pangram Pangram). Neutral, functional, slightly hipsterish. First in 51 styles, and then extended to 130 styles, and some variable fonts as well.
• In 2021, he set out to design one typeface per day for 36 consecutive days. The typefaces explore various ideas and cover almost every imaginable type style: Casual Digital Goose, Chill Out, Damn Low Tech, Flying, Gravity Itself, Ligatureless, Ploite Green Finger, Pretty Dumb Idea, Rembrandt, Those Games, Weird, What A Feature.
• Typefaces from 2022: Right Sans, Right Gothic (a 98-style variable type family), Weird Serif (a didone for vampires).

Future Fonts link. Type Tomorrow link. [Google] [More]  ⦿

Alexey Popovtsev
[Aronetiv]

[MyFonts] [More]  ⦿

Alexis Boscariol

Alexis Boscariol is a Paris-based freelance graphic and type designer. He completed his Masters in graphic design at ESAD Valence, before entering the Type Media program at KABK in Den Haag, The Netherlands, class of 2019. His KABK graduation typeface is Picardy, a variable font designed for the web. The display version also has a variable outline axis, enabling more interactivity and animations.

In 2020, he published the rounded display typeface Caspar Condensed at Future Fonts. Caspar Github link. Future Fonts link. [Google] [More]  ⦿

Alfredo Marco Pradil
[Hanken Studio]

[MyFonts] [More]  ⦿

Alja Herlah

Slovenian type designer, who co-founded Type Salon together with Krista Likar in Ljubljana in 2020. Alja's typefaces:

• Praz Slab and Praz Italic (2014). Developed during the 2014 Tipobrda workshop mentored by Domen Fras and Lucija Bratus.
• Alica (2015). A cursive slab serif heavily inktrapped typeface designed at TipoBrda 2015.
• Univerza Sans (2020, Type Salon). Univerza is not a take on Frutiger---it is Slovenian for "university". Alja writes: Univerza Sans was developed to mark the hundredth anniversery of University of Ljubljana. The style is influenced by the combination of Slovenian avant-garde with some recognizable forms that are known for Slovenian typography.
• Palsam Pro (2020, Abjad). This rounded sans typeface covers Latin and Arabic and was co-designed by Ali Almasri and Alja Herlah. Regarding the Arabic part, they write: The main highlight for Palsam was the cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. The Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh.
• Spektra (2020, Type salon). A black condensed sans by Krista Likar and Alja Herlah that combines five scripts: Latin, Arabic, Cyrillic, Greek and Hebrew. It also has a variable type with an italic axis.
• In 2021, Krista Likar and Alja Herlah published Plecnik, which is named after Slovenian architect Joze Plecnik. Plecnik is defined by classical elements and shapes, classic proportions, humanist stroke endings and low contast. It has a capital A with an overhang. Plecnik Display is quite different as it features flaring in every stroke.
• In 2021, Alja released Gizela (a dagger-edged all caps typeface), and wrote: Gizela shows her personality with a feminine, sensual, seductive and art deco vibes.

Ally Owun

Graphic designer in Payakumbuh, Indonesia, who published these display typefaces in 2021: AO Myhawk, AO Maverix, AO Mireille, Dx Sitrus (a variable font at Dirtyline Studio). [Google] [More]  ⦿

Alvaro Franca
[Naipe Foundry]

[MyFonts] [More]  ⦿

Amélie Dumont
[Polymorph]

[More]  ⦿

Amir Subqi Setiaji
[Blank Sub (or: Subqi; or: Blankids; was: Bombas Type)]

[MyFonts] [More]  ⦿

Andrea Tartarelli

Andrea Tartarelli studied at the Academy of Fine Arts of Carrara and worked as a marble sculptor before turning to graphic and type design. He continued his studies at the Plantin Institute at Antwerp, and now teaches type design at IED Florence. He designed Tarif (selected by Fontspring.com among the Best fonts of 2019), Malik (shortlisted for the Communication Arts Typography awards 2021) and has been co-designer on dozens of typefaces at Zetafonts including the award winning Blacker (selected by Myfonts as one of the best new families of 2019), Monterchi (CA typography award 2020, Myfonts hidden gem 2019) and Stinger (CA typography award 2021). He works and lives in Pietrasanta (Tuscany, Italy). His graphic design outfit is called Surface Studio. Tartarelli's typefaces:

• In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free.
• In 2016, Cosimo Lorenzo Pancini, Matteo Chiti, Luca Chiti and Andrea Tartarelli co-designed the retro connected brush script font family Advertising Script, which is based on an example from Ross George's Speedball 1947 Textbook Manual.
• Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima. In 2019, Beatrix Antiqua was reworked by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini into a 50-style type system called Monterchi that includes Text, Serif and Sans subfamilies. Monterchi is a custom font for an identity project for a famous fresco in Monterchi, developed under the art directorship of Riccardo Falcinelli. Monterchi Book is free.
• Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita.
• In 2017, Cosimo Lorenzo Pancini and Andrea Tartarelli co-designed the sans typeface family Kabrio, which gives users four different corner treatment options.
• Anaphora (2018). Anaphora is a contemporary serif typeface designed by Francesco Canovaro (roman), Cosimo Lorenzo Pancini (italic) and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to heavy. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display size. Anaphora covers Latin, Greek and Cyrillic.
• Canovaro's Arista served as a basis for the 29-style monolinear rounded sans typeface family Aristotelica (2018) by Cosimo Lorenzo Pancini and Andrea Tartarelli. See also Aristotelica Pro (2020).
• In 2018, he designed the italics for Cosimo Lorenzo Pancini's Domotika typeface family. Between 2018 and 2021, Cosimo Lorenzo Pancini and Andrea Tartarelli developed the 8-weight humanist sans typeface Domotika for Latin, Cyrillic and Greek, further into the 18-style Domotika Pro (2021).

  In 2018, Pancini designed Radcliffe (a Clarendon revival by Cosimo Lorenzo Pancini and Andrea Tartarelli). Radcliffe has Text and Casual subfamilies. See also Radcliffe at MyFonts.

• Codec (2018) by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli is a geometric sans typeface family in which all terminal cuts are horiontal or vertical. See also Codec Pro (2019).
• In 2018, Cosimo Lorenzo Pancini and Andrea Tartarelli co-designed the sharp wedge serif typeface Blacker to pay homage to the 1970s. The idea of extreme wedge serifs and reverse (Italian) stress was pushed even further in 2018 by Francesco Canovaro and Andrea Tartarelli in Blackest.
• In 2019, Blacker Sans (Francesco Canovaro, Andrea Tartarelli) and Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli) were released. The 63-strong fashion mag powerhouse Blacker Sans Pro (Francesco Canovaro, Andrea Tartarelli) followed in 2020. Zetafonts writes: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs. Zetafonts writes: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs.
• Together with Cosimo Lorenzo Pancini, he designed the 64-strong typeface family Body Grotesque and Body Text in 2017-2018. It was conceived as a contemporary alternative to modernist super-families like Univers or Helvetica.
• Sugo Pro (2018, Francesco Canovaro, Andrea Tartarelli).
• In 2018, Cosimo Lorenzo Pancini and Andrea Tartarelli designed Holden, a very Latin cursive sans typeface with pointed brush aesthetics and fluid rhythmic lines.
• Extenda (2018) is a thin-to-wide grotesque advertising or movie credit family with some of the DNA of Impact or Compacta. By Francesco Canovaro and Andrea Tartarelli.
• In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic, the sans family Aquawax Pro, and the condensed rounded monoline techno sans typeface family Iconic.
• Klein (2019) is (in their words) Zetafonts' love letter to the grandmother of all geometric sans typefaces, Futura. Starting from a dialogue with Paul Renner's iconic letterforms and proportions, Francesco Canovaro and Andrea Tartarelli decided to depart from its distinctive modernist shapes with slight humanist touches and grotesque solutions---with some design choices evoking the softness of humanist sans serifs like Gill Sans. The end result is a workhorse superfamily of 54 fonts with full coverage of Latin, Cyrillic and Greek. The original display-oriented family, developed in nine weights with matching italics (from the hairline thin to the sturdy black), has been paired with a text version (with slightly higher x-height, better readability and maximum legibility at small point size) and with a condensed version, to be used for space-saving display solutions in editorial and advertising formats. With a name that is both a nod to its humble functionality and an homage to French nouveau realiste artist Yves Klein, this typeface aims to become your next trusted companion in all your adventures in print, digital and motion design.
• In 2019, Cosimo Lorenzo Pancini, Andrea Tartarelli and Maria Chiara Fantini at Zetafonts published a slightly calligraphic Elzevir typeface, Lovelace.
• Kitsch (2019, Francesco Canovaro, Andrea Tartarelli and Maria Chiara Fantini) mixes angular medieval elements and old style letterforms.
• Tarif (2019). Tarif is a typeface family inspired by the multicultural utopia of convivencia---the peaceful coexistence of Muslims, Christians and Jews in tenth century Andalusia that played an important role in bringing to Europe the classics of Greek philosophy, together with Muslim culture and aesthetics. It is a slab serif typeface with a humanist skeleton and inverted contrast, subtly mixing Latin zest, calligraphic details, extreme inktraps, and postmodern unorthodox reinvention of traditional grotesque letter shapes. The exuberant design, perfect for titling, logo and display use, is complemented by a wide range of seven weights allowing for solid editorial use and great readability in body text. Matching italics have been designed with the help of Maria Chiara Fantini and Cosimo Lorenzo Pancini, while Rania Azmi has collaborated on the design of the arabic version of Tarif, where the humanist shapes and inverted contrast of the Latin letters find a natural connection with modern arabic letterforms.
• Thicker (2020, by Francesco Canovaro and Andrea Tartarelli). They write: A geometric sans typeface on steroids, it was first designed in the muscular extrablack weight with the aesthetics of high-power dynamic typefaces used in sports communication, and then developed in the lighter weights where the shapes show some vintage-inspired proportions and the slightly squared look that nods to Novarese famous Eurostile, eponymous with retro-futurism..
• Stinger (2020, a 42-style reverse contrast family by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Maria Chiara Fantini).
• As part of the free font set Quarantype (2020), Andrea Tartarelli designed Quarantype Bikeride and Quarantype Campfire.
• Eastman (2020, by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau) is a 178-font geometric sans workhorse family with Bauhaus genes developed for maximum versatility both in display and text use, with a wide weight range and a solid monolinear design featuring a tall x-height. It comes with a two axis variable font (weight, italic angle). It was followed by the 46-style font Eastman Grotesque (2020, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli), which comprises an interesting Eastman Grotesque Alternate subfamily with daring and in-your-face glyphs, and Eastman Condensed (2021, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli).
• Malik (2020). An 18-style flared sans typeface with seriouus contrast in the heavier weights. It has variable fonts as well.
• In 2020, Cosimo Pancini, Andrea Tartarelli and Mario De Libero drew the 60-style Cocogoose Pro Narrows family, which features many compressed typefaces as well as grungy letterpress versions.
• Amazing Slab (2021). A 20-style typeface family designed by Francesco Canovaro, Mario de Libero (who did the inline versions), Sofia Bandini and Andrea Tartarelli, developed from the Amazing Grotesk family designed by Cosimo Lorenzo Pancini. Characterized by outward-pointing top serifs, this typeface is designed for use in athletic lettering, logos and titling. Zetafonts writes: Mixing an Egyptian serif, low contrast approach with the curved endings and open shapes of humanist sans grotesques, it was developed to embody the energetic and friendly nature of the startup scene---a feeling of innovation, information and energy, with a desire for simplicity and straightforward communication. The basic design shapes for the font come from the strong personality of the extrabold letterforms drawn by Francesco Canovaro for his StartupItalia logo, that informed the display design of the four darkest weights (from medium to black).
• Coco Sharp (2021). A 62-style sans feast, with two variable fonts with variable x-height, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli.
• Heading Now (2021). A 160-strong titling font (+2 variable fonts) by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Mario De Libero that provides an enormous range of widths.
• Asgard (2021). A 72-strong experimental display sans superfamily with a 3-axis (weight, width, slant) variable font, designed by Francesco Canovaro, Andrea Tartarelli ans Mario De Libero.
• Calvino and Calvino Grande (2021). A 38-style sharp-edged text typeface named after Italian author Italo Calvino.
• Marcovaldo (2021). A tweetware condensed display serif based on Calvino.
• Millard Grotesque (2021). A true "grot" in the Akzidenz Grotesque sense of the word, this typeface family was designed by Cosimo Lorenzo Pancini and Andrea Tartarelli.
• Milligram (2021). A very tightly set grot by Cosimo Pancini and Andrea Tartarelli.
• Keratine (2021, Cosimo Pancini, Andrea Tartarelli and Mario De Libero) is a German expressionist typeface that exists in a space between these two traditions, mixing the proportions of humanistic typefaces with the strong slabs and fractured handwriting of blackletter calligraphy.
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Andree Nguyen
[Nguyen Type]

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Andrei Robu
[Typeverything]

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Andrej Dienes
[Adtypo]

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Andres Ramirez
[Vastago Studio]

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Andrew Bellamy
[Otherwhere Collective (or: Ilott Type, Bellamy Studio)]

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Andrew Footit
[Arkitype (was: Virtue Creative)]

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Andriy Dykun
[NREY]

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Andriy Konstantynov
[Mint Type (was: PDesign 6.0)]

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Andy Clymer

Andy Clymer grew up in Irvine, CA and studied at San Diego State University in 1998. At that time, he was working on Stencil Fraktur (2002). In 2004-2005, he studied type design in the Masters program of the KABK in Den Haag. He joined the typeface development department of Hoefler&Frere-Jones in New York in 2005. He has been an instructor in the Type@Cooper program in New York since 2011.

From 2005 until 2018, Andy worked at the Hoefler&Co. type foundry, where he contributed to the typefaces Vitesse, Forza, Ideal Sans, Archer, Surveyor, and spearheaded the design of Operator and Obsidian (2015: a decorative copperplate engraved emulation typeface---various kinds of 3d illumination in Obsidian were obtained by an algorithmic process.

In 2019, he co-developed Mingei Mono for the Mingei International Museum along with Yomar Augusto.

In 2020, he released Tilt. Tilt is a family of (variable) typefaces inspired by three dimensional lettering found in storefront signage. Subfamilies: Tilt Neon (mimics the construction of neon tube lettering), Tilt Prism (based on prismatic lettering, cast or cut in a material), Tilt Warp (resembles peeling vinyl stickers). The variable fonts have two axes, horizontal rotation and vertical rotation.

Github link. [Google] [More]  ⦿

Anicons

Anicons (2019) is the first animated color variable icon font. Made by Wenting Zhang and Hua Shu, it combines variable font and color font technologies. Their Github page explains how to proceed in html. Anicons is free. [Google] [More]  ⦿

Anita Jürgeleit
[Type This Studio]

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Anna Khorash

Member of the Contrast Type Foundry in Moscow.

In 2019, Maria Doreuli and Anna Khorash released the variable font CoFo Peshka at Future Fonts. Inspired by the industrial and military lettering in the Soviet era, it is named after the Pe-2 aircraft also called the Peshka. CoFo Peshka features weight and width axes.

Future Fonts link. [Google] [More]  ⦿

Anna Safitri
[Runsell Type (or: Runsell Studio, Studio Runsell)]

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Antonia Cornelius

German type and communication designer, lecturer and researcher with a special interest in legibility and readability (b. 1989). She obtained a Bachelor's in communication design with Jovica Veljovic at Hamburg University of Applied Science, where her thesis was entitled The Letters in my Head. What Creatives should know about reading processes in order to design joyful reading experiences. She also did a Master's with Veljovic, which led to her Legilux typeface family (a transitional serif with optical sizes as well as a sans serif) and further research on legibility. She graduated in 2017. Antonia joined Dutch Design in 2017 and extended the FF DIN family to FF DIN Slab. Furthermore, she re-engineered the whole FF DIN family itself to make variable fonts; she also added Bulgarian Cyrillic and other characters; finally, she also made FF DIN Stencil into a functional three axis variable font. Since 2018, she teaches type design at Muthesius University of Fine Arts and Design in Kiel.

Her typefaces:

• Legilux (2016). A transitional serif with optical sizes as well as a sans serif developed during her Masters studies at Hamburg University of Applied Science.
• FF DIN Slab (2022). With Albert-Jan Pool.
• FF DIN Slab Variable (2022). With Albert-Jan Pool.
• FF DIN Stencil (2022). With Albert-Jan Pool and Achaz Reuss.
• FF DIN Stencil Variable (2022). With Albert-Jan Pool and Achaz Reuss.
• FF DIN Paneuropean (2022). With Albert-Jan Pool, Achaz Reuss, Aleksei Chekulaev and Panos Haratzopoulos. See also and FF DIN Paneuropean Variable (with Achaz Reuss, Aleksei Chekulaev, Albert-Jan Pool and Panos Haratzopoulos).

Antonia Cornelius won the People's Choice award for Legilux in 2016 at the Morisawa Type Design Competition 2016.

Speaker at ATypI 2018 in Antwerp on the topic of legibility: Typeface designers Antonia Cornelius and Björn Schumacher conducted a preliminary study for their final master's projects. They set up a reading-speed test by reverting to well-tried test material, which they set in their new typefaces Legilux and Text Type as well as the common Walbaum Standard. Focusing on the effect of the optical scaling method, the typefaces were tested in two sizes: 1.5 mm and 1 mm x-height. The results tend to show a positive effect for optical adjustments in type designs. [Google] [MyFonts] [More]  ⦿

Antonin Bonnet

In 2020, at The Type Department, Paul Coumoul, Clothilde Bouan and Antonin Bonnet published the display typeface Octane. It is a variable font with two axes, weight and width. Octane is a free font consisting of a total of 18 weights, but the free version consists in fact only of one variable font and it has no numbers. They explain that Octane was initially created to fit with any car designed by Pininfarina. [Google] [More]  ⦿

Antonina Zhulkova

Saint Petersburg, Russia-based designer of Celestina (2017, Piñata), a brush script typeface, Disruptors Script (2018) and Gentlemens Script (2018).

Typefaces from 2020: TT Octosquares (an octagonal superfamily by Antonina Zhulkova, Yulia Gonina and Kseniya Karataeva; TT Octosquares comes with a 3-axis variable type option), TT Runs (a 20-style sports sans by the TypeType team in cooperation with Vika Usmanova, Antonina Zhulkova and Philipp Nurullin).

In 2020, she co-designed TT Lakes Neue, a 91-style sans family by Vika Usmanova, Antonina Zhulkova and Kseniya Karataeva at TypeType. Tt is a functional sans-serif that draws inspiration from Finnish signs of the functionalism era. TT Lakes Neue is an almost monolinear sans, with ovals in the form of rounded rectangles, reminiscent of Nebiolo's Microgramma. It comprises a useful variable font.

In 2021, Antonina Zhulkova and Yulia Gonina designed TT Autonomous, a 25-style wide brutal technological sans family that includes a monospaced subfamily and a trio of variable fonts. Later in 2021, Antonina Zhulkova, Pavel Emelyanov and Yulia Gonina (aided by Radik Tukhvatullin and Marina Khodak) co-designed the 32-style geometric sans TT Fors which comes in standard, display and variable versions. In 2021, Zhulkova designed TT Ricordi Allegria (a sleek and elegant flared all caps yet contemporary Florentine sans for Latin and Cyrillic that was inspired by the half-erased lettering in Basilica di Santa Croce, Florence) and TT Globs (+Variable), a 3-style Latin-only typewriter-style slab serif.

Typefaces from 2022: TT Fellows (a monolinear sans with 18 static fonts and one variable font; by Antonina Zhulkova, Yulia Gonina and the TypeType team). [Google] [MyFonts] [More]  ⦿

Anupap Jaichumnan
[Jipatype]

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Apple Watch Font (or: the San Francisco Font)

In September 2014, Apple announced the imminent arrival of the Apple Watch, which came with a new neo-grotesque sans-serif typeface developed in house. It has a legible, open DIN-like look, but the name of its designer was not released. The 35 fonts are grouped into subfamilies San Francisco Text and San Francisco Display, and are available to designers of Apple Watch applications here.

The reaction of the curmudgeon society, aka The Typophiles, is quite predictably negative, with opinions including Susan Kare's original San Francisco (also done for Apple) was better [note: Kare's was a ransom note font]. I really wonder why the typophiles bother---it's not their magazine or their web page---companies are free to use anything they like, including "not wasting a lot of effort on new typefaces".

Some San Francisco fonts are free from Apple's web site. These come in four groups, SF Pro Text, SF Pro Display, SF Compact Text, and SF Compact Display. Developed between 2015 and 2017, these fonts have become the Apple System fonts for basically all Apple machines. San Francisco has gradually replaced most of Apple's other typefaces on their software and hardware products and for overall branding. It was the original system typeface of watchOS and tvOS and has replaced Helvetica Neue and Lucida Grande as the system typeface of macOS and iOS since OS X El Capitan and iOS 9. Apple uses it on its website and for its product wordmarks, where it replaced Myriad Pro. It is also used on the keyboard of the 2015 MacBook and on the 2016 MacBook Pro, replacing VAG Rounded. It is also used as Apple's corporate typeface. Apple restricts the usage of the typeface by others. It is licensed to registered third-party developers only for the design and development of applications for Apple's platforms.

The San Francisco typeface has four variants: "SF" (or "SF UI") for macOS, iOS, and tvOS; "SF Compact" for watchOS; "SF Mono" (based on SF Compact) for the Xcode application; and "SF Serif" for Apple Books. The main difference is that the sides of letters with round shapes, such as o, e, and s, are round in SF, whereas they are flat in SF Compact. The flat sides allow the letters to have more space between them, thereby making the text more legible at small sizes, which is particularly important for the Apple Watch. Both SF and SF Compact each have two optical sizes: "display" for large and "text" for small text. Compared to display, the letters in text have larger apertures and more generous letter-spacing. The operating system automatically chooses the display optical size for sizes of at least 20 points, and the text optical size otherwise. Additionally, included in macOS Sierra and iOS 10 is a new variant named "SF Compact Rounded". It is used in the new contact placeholder icons introduced in the OSes. The "SF Serif" variant was showcased in June 2018 when the all-new Apple Books app was introduced. This variant is exclusive to Apple Books in iOS 12 and macOS Mojave, is not mentioned in Apple's Typography design guidelines, and is not publicly downloadable like other variants of the San Francisco typeface.

Open Font Library link where one can download the SF UI Text family (2015).

Postscript: The 2014 San Francisco font should not be confused with Susan Kare's ransom note bitmap font San Francisco which was created in 1984 for Apple. An official TrueType version was never made, and Kare's San Francisco was rendered obsolete with the arrival of Apple's System 7.

Wikipedia link. Apple font download site where one can find San Francisco Compact (this sans-serif typeface is the system font for watchOS, and includes a rounded variant), San Francisco Pro (this sans-serif typeface is the system font for iOS, macOS, and tvOS, and includes a rounded variant), and New York (a large transitional typeface family with optical and width sizing; 2017-2018, that won an award at the Type Directors Club's Type Design Competition 2019). Also included is the variable font San Francisco Rounded, which includes a weight axis and a grade axis for adjusting the stroke weight without changing glyph widths. [Google] [More]  ⦿

Aring Typeface
[Måns Grebäck]

Måns Grebäck (Aring Typeface, Örebro, Sweden) is a prolific Swedish designer (b. Lindesberg, Sweden, 1990), who lives in Borlänge, Sweden. Måns Grebäck has a bachelor's degree in graphic design from the University of Dalarna (2012). In 2010, he went commercial, and started selling fonts through MyFonts. In 2011 he started Mawns Design. In 2013, that was renamed to Aring Typeface. In 2011 he already had over seven million downloads of his fonts, which were featured at websites such as Dafont and Myfonts. He also does custom type work. His typefaces, both free and commercial:

• Acryle Script (2014).
• Actonia (2016). A monoline script.
• Adielle (2018).
• Aerofoil (2017). A vintage bottom-heavy script.
• Airways (2016). A signage script.
• Akayla Script (2018). Calligraphic.
• Aliey (2021). A 4-style Victorian copperplate serif.
• Aliment (2018). A sharp geometric sans.
• Amertha (2020). a fat finger font.
• Amplify (2013). A signage script.
• Angars Runes (2019: medieval, with gothic cathedral curves).
• Angilla Tattoo (2013). A connected spurred tattoo typeface. Followed by Angilla Script (2020).
• Antlers (2012). A calligraphic script.
• Aquate Script (2019).
• Arachnids (2011, graffiti face)
• Artely Inks (2016).
• Artisual Deco (2021). Pure art deco.
• Artographie (2020). An all caps art deco typeface family.
• Atelas (2015). Signage type, baseball script.
• Atures (2018). Futuristic and monoline.
• Autograf (2015) and Autografia (2021). Signature typefaces.
• Ave (2016) in styles called Ave Utan, Ave Betwan and Ave Fedan. A family of baseball scripts.
• Avelana. A connected script.
• Backpack (2014). A thick signage script typeface.
• Backyard (2016). A blackletter typeface.
• Barkants (2011, elegantly hand-printed family).
• Barley Script (2017). A signage script.
• Baystar Script (2021).
• Beautiful Trouble (2012). A rabbit-eared upright connected script.
• Beaked Tyrant (2014). A copperplate calligraphic script.
• Beckasin (2011, signage face)
• Before The Rain (2011, calligraphic) Before The Rain Arabic (2016).
• Belladio (2021). An urban script.
• Bellino (2018).
• Bezar (2020). A script.
• Billion Dreams (2020, by Mans Grebäck and Rangga Subekti). A heavy signage script.
• Billion Stars (2013). A tattoo script font.
• Bira (2012). A retro connected brush / signage script.
• Blaak (2019).
• Black Fox (2014). A sirupy brush face.
• Black Signature (2021). A bold signature font.
• Black Larch (2016) and Dark Larch (2016).
• Bloc Boy (2016). Like handwriting.
• Blockography (2011). A sketched typeface.)
• Block Talk (2011, with Zaydek Michels-Gualtieri)
• Blods (2011, a great blotty brush face)
• Blueberry Script (2017; with Noah Kinard).
• Botanink (2011)
• Bouncy (a cartoon font).
• Bourdos2022). A script typeface.
• Brannboll (2011, baseball signage face), Brannboll NY (2013), Brannboll Connect (2020), Brannboll Stencil (a baseball script) (2020).
• Bready (2011). A retro signage script with art nouveau aroma.
• Brev Script (2014). A connected secretary hand from the 19th century.
• Bronze Script (2014).
• Brother Tattoo (2012).
• Bumblebees (2012). A plump curvy script.
• Bunya (2016). A geometric slightly deco sans typeface family.
• Calendary Hands (2012).
• Caligraf (2020).
• Canela Bark (2015, co-designed with Luis Miguel).
• Caneletter Sans and Script (2013). Upright unconnected and connected scripts.
• Cantona Script (2019).
• Canyon (2021). A wide elliptical sans in 18 styles, featuring a coathanger lower case f.
• Capoon (2018). A ten-style sans family.
• Caprica Sans (2014) and Caprica Script. A plump script.
• Caravela (2020). A pirate map script.
• Casat Cap (2017). An all caps brush typeface family.
• Caster (2019). A heavy poster script.
• Castro Script (2012).
• Catchland (2021). A retro baseball script.
• Celebrater (sic) (2012). An oily font.
• Cellos Script (2013).
• Centeria Script (2012).
• Channel (2011, connected upright script)
• Chapel Script (216). For signage.
• Characteristic (2011).
• Chavenir (2011).
• Chinal (2018).
• Choko (2011, released in 2016). Chocolate and cream-themed decorative typeface.
• Christmas Miracle (2018), Christmas Reign (Tuscan, all caps) (2020), and Christmas Sparkle (2018).
• Chrysante (2020). A monoline flowing pen script.
• Clear Line (2012). A fat finger / signage typeface.
• Clipper Script (2011).
• Clothe (2017).
• Coneria Script (2012). A connected script.
• Conture Script (2018). Elegant, classical, and with exaggerated capitals.
• Crackin (2011).
• Crunchy (2016). An upright connected script.
• Cruz Quaste (2020). A handcrafted blackletter typeface.
• Cubest (2021). A squarish monospaced techno family.
• CutScript (2011, connected script).
• Danbury (2022). A speed-emulating sans.
• Dark Crow (2020). a dry brush script.
• Dollie Script (2013).
• Ebbing (2018).
• Echinos Park Script (2012).
• Ederson (2018). A vintage signage script.
• Ekologie Hand (2012).
• Ekorre 2021). Aa vintage decorative serif.
• Elaya Script (2019). A creamy signage script.
• Electronics (2017). A retro signage script.
• Elevate (2016).
• Emiral Script (2017). A baseball script.
• Encina Script (2016). A thin calligraphic typeface.
• Enlighten (2011)
• Delinquente (2012).
• Denigan (2011, hairline)
• Equal Sans (2012).
• Espesor Olas (2011, fine hand-printed calligraphic family)
• Esplanade Script (2015, by Mario Arturo).
• Ethernal (2017). A connected script.
• Europe Underground (2010, geometric sans with a hairline weight).
• Fabulous (2017) and Fabulous Gold (2017). Signage script.
• Falkin Sans (2016), Falkin Script (2016), Falkin Serif (2016).
• Faltura (2011, constructivist), Faltura Alien (grunge), Faltura Guerra (grunge)
• Faltura Animals (2011)
• Feathergraphy Decoration (2011, calligraphic).
• Duera (2016). A variable width sans typeface family.
• Fargo (2021). A cursive script.
• Fat Wandals (2018). A graffiti font.
• Feathergraphy Clean (2011).
• Fibography (2013). A caps typeface composed of fibers.
• Filbert Brush (2012), Filbert Color (2013, a soft brush font).
• Finition (2017). A connected brush script.
• Fireplace (2020). A connected script.
• Firstly (2020). A flowing calligraphic signature script.
• First Lyrics (2011).
• First Reign (2022). A medieval typeface. Second Reign (2022), Third Reign (2022) and Fourth Reign (2022) are further medieval typefaces.
• Flighter (2018). A retro airplane font.
• Fondy Script (2018).
• Frankentype (2013). An all-caps brush typeface for signage.
• From Skyler (2016).
• Funkygraphy (2011, fat and counterless).
• Gecko (2015, a fine creamy signage script).
• Geza Script (2017). A great angular almost Arabic-looking script.
• Ghang (2011, graffiti family).
• Gingo (2020). A script.
• Goatskin Brush (2015). A great brush typeface.
• Golden Hopes (2021). A signature script.
• Gonzi (an 31-style sans). Published in 2021.
• Graced Script (2016). A wide calligraphic connected brush script.
• Grandi (2016). A ten-style display sans.
• Gready (2021). A fat signage script.
• Greback Grotesque (2012). The Thin is very very thin.
• Gretoon (2011, cartoon family)
• Griphite (2018). A rough brush typeface.
• Guld Script (2015).
• Habanero (2016). A fat signage typeface.
• Handtalk (2010, silhouettes)
• Harbell (2013).
• Hard Block (2011, Western slab face).
• Hastafi (2022). An 8-style sharp-edged display serif.
• Haydon Brush (2016).
• Heavy Rain (2021). Decorative initials, and an all caps wedge serif.
• Hemicube (a wide squarish all caps sans) (2020).
• Hemmet (2013). A signage script.
• Hierograf (2016). A layered textured handcrafted poster typeface family.
• Hitalica (2011).
• Honeymoon (2017). A connected script.
• Housegrind (2013, connected script).
• House of the Dragon (blackletter). Published in 2021.
• Hoyle (2020). A slab serif.
• Hundred Miracles (a signage script). Published in 2021.
• Impregnable (2013). A connected script.
• Indiana Script (2017). A baseball script.
• Inked Bones (2019). a hand-painted blackletter font.
• Intrique Script (2013). A baseball script.
• Isle Body (2019), Isle Headline (2019).
• Jacked Eleven (2011), Jacked Eleven Highlight (2011), Jack Pirate (2020: a tattoo blackletter typeface), January Script (2013).
• Jaymont (2018). A sharp-edged wedge serif typeface family.
• Jengotan (2021). A dry brush script.
• Jumper (2021). A 13-style sans. Free download for personal use only.
• Kandira (2018). A sleek sans family.
• Kanvas (2020). A script typeface.
• Kerater (2011, sans)
• Lace 2.0 (2012). A thin connected script co-designed with Matteo Milazzo.
• Lacosta (2020). A signage script.
• Kompar (2018).
• Krinkes (2015, baseball script). A connected swashy signage script.
• Kurri Island (2020).
• Lakesight (2014). A connected script.
• Larch (2016). A crisp script typeface.
• Largelake (2021). A signage script.
• Las Enter (2013). A neon light script.
• Leaders (2020). A blackletter font.
• Ledare (2021). A 14-style bold and expressive sans.
• Letric (2021).
• Let Me Ride (2011)
• Levitee (2011, a lively connected script).
• Lighthouse (2013). A bold high-contrast script face.
• Lina Script (2012). A tattoo script done with Vicky Mardian.
• Lourino (2018).
• Low Casat (2017) and Low Casat Fat (2017).
• Lyrics Movement (2011, tall-ascendered hand).
• Lyster (2020).
• Mandoul Script (2021) and Mandoul Black (2021: a brush script).
• Mainland (2018). A sans family.
• Mainstream (2017). Graffiti style.
• Manofik (a 4-style warm retro serif with a coathanger lower case f; for Latin, Cyrillic and Arabic). Published in 2021.
• Martyric (2014, brush script),
• Masteries (2013). A connected formal script.
• Mastoc (2014).
• Mauritz Caps (brushed) and Mauritz (a great wild script family), both published in 2021. Followed by Mauritz Sans (a brush script with a strong personality and a cartoon vibe) in 2022.
• Mean Casat (2018).
• Medish Script (2018). A great calligraphic handwriting typeface.
• Together with Noah Kinard, he designed the calligraphic typeface Melay Script (2016).
• Middle Ages (2019). A Lomardic blackletter in Regular and Deco styles.
• Milasian Circa (2015) and Milasian. A connected script.
• Merry Christmas (2015). A retro script in Flake and Star styles. Followed in 2017 by the color script font Merry Christmas Color.
• Milkyway Hotel (art deco sans).
• Miraikato Hand (2022) and Miraikato Script (a rustic script) (2022).
• Mistuki (2015). An oriental brush simulation font.
• Mochary (2016). A signage or tattoo script.
• Molly Sans (2019). Caps only.
• Monsta Tag (2013): a graffiti font.
• Motion Picture (2013). A heavy connected retro script.
• Mount (2012).
• MAWNS Graffiti (2010) and MAWNS Serif (2010)
• MAWNS Handwriting (2010).
• Made With B (2011, sketched face).
• Mardian (2012). A calligraphic tattoo script done with Vicky Mardian.
• Markera (2011, marker pen family)
• Many Weatz (2011)
• Mawns Rock (2011)
• Monoment (2011). A fat upright connected script.
• Moneymachine (2022).
• Monosphere (2012-2016). A futuristic monospaced typeface.
• Murality (2022). A readable graffiti or mural typeface.
• Myteri Tattoo (2021) and Myteri Script (2021: a calligraphic script).
• Nacinth (2020). A script.
• Nino Script (2018). A tattoo font.
• Nobella (2021). A retro baseball script.
• Normale (2014). A set of distressed typewriter fonts.
• Notera (2014). A connected handwriting font. Followed by Notera 2 in 2018.
• Odenburgh (2020). A medieval calligraphic typeface.
• Optien (2011, techno face)
• Ordinatum (2011, a severe sans).
• Original Black (2021). A fat blackletter typeface.
• Ornamental Versals (2011, ornamental caps)
• Painter (2016). A sign painting script.
• Patched (2021).
• Pennybridge 1563 (2010, blackletter)
• Pharmount (2014). A calligraphic connected script.
• Phraell (2013). A great italic formal calligraphic script with optional swashes.
• Pigeon (2016).
• Pineapple (2012).
• Plates Napery (2015).
• Plicata (2016).
• Pligo (2016). A balloon or cartoon font.
• Preside (2017).
• Prime Script (2012).
• Prognostic (2011)
• Qaskin (2015). A semi-formal connected script typeface with Black and White (outlined) styles.
• Qhuman (2021). A 6-style Victorian serif.
• Qraxy (2016). Quache Variable (2020) and Quache (2020). A 28-style flexible sans family.
• Quanton (2022). An 8-style angular serif.
• Querino Sans (2019). A very bold sans. Followed by Querino Script (2019).
• Quickier Pro (2012). A swashy calligraphic script face.
• Quincho Script (2016).
• Quintal Script (2021). A retro signage font.
• R-2014 (2011, LED face).
• Rabento (2021). A 6-style condensed display slab serif.
• Race Fever Pro (2015, in Brush and Pen versions) and Race Fever Brush (2015).
• Radio 187.5 (2010, techno family)
• Rakoon (2014). A creamy ultra-fat upright script. Followed by Rough Rakoon in 2016.
• Rangly (2017-2018). A paint roll font.
• Raspberry Script (2017).
• Recorda Script (2013). A formal calligraphic script.
• Reditum (2014). A decorative script.
• Reeler (2014, with Noah Kinard).
• Remachine Script (2013). Retro signage script. In 2020, Mans added Remachine Script Arabic.
• Respective (2011, calligraphic script, +Swashes).
• Respondent (2021). A script.
• Rider (2011, a 30-style "versal" sans family)
• Ringer (circle and arc-based sans)
• Ristella (2017). A baseball script.
• Rivera 2022). A narrow sans in 10 styles.
• Rodrigues (2021). A script typeface.
• Roona Sans (2018: modernist and organic curves).
• Ropest (2018). A rope font.
• Roskrift (2011, calligraphic; + Roskrift Clean).
• Rougant (2021). An organic display font.
• Roughen (2020).
• Rurable (2015).
• Ruthless Wreckin (graffiti typefaces), Ruthless Drippin' (dripping paint family)
• Safir Script (2016). A fat baseball script.
• Saker Sans (2017).
• San Andre (2021) and San Andreas (2021), the free version. A baseball script.
• Santa Claus (2019). A blackletter typeface, accompanied by Santa Claus Deco, a snow crystal font.
• Scantype (2016).
• Sculptor's Hand (2011, connected chancery hand).
• Second Lesson (2022). A wide script.
• Second Lyrics (2011, Treefrog-style handwriting)
• Sequal (2020). Graffiti style.
• Sicret (2020) and Sicret Mono (2020). An all caps family.
• Servin' for Salute (2011)
• Shaded Larch (2016).
• Sharpe (2019). A sharp-edged high-contrast serif typeface family. See also Sharpe Variable (2020).
• Shenandoah (flowing signage script).
• Shimes (2015).
• Shipped Goods (2011). A copperplate calligraphic script.
• Shortbrush (2011)
• Signerica (2011, connected flowing hand)
• Sketchica (2011, sketchy face)
• Skyzhi (2016). An advertising headline typeface.
• Society Editor (2013, connected script).
• Snacker Comic (2013).
• Snowstreet (2013, an octagonal typeface) and Snowy (2013).
• Some Weatz (2011, calligraphic, copperplate; +Swashes)
• Sonika (2018).
• South African (2014). A movie poster brush typeface.
• Southern Aire (2013, connected script face).
• Specify (2016). A 40-style sans family. Download, free for personal use.
• Spoken (2019). A graffiti font.
• Sponger (2021). In the VAG Round genre.
• Square Worm (2011)
• Stackyard (2015). A script.
• Stainy (2013). A signage script.
• Starella Script (2019) and Starella Tattoo (2019).
• Starge (2019).
• Starkey (2020).
• Stormland (2021). A wide monoplinear sans.
• Stormline (2021). All caps, wide and outlined.
• Strawberry Script (2017).
• String Lines (2018).
• Stroke Dimension (2011). A 3d typeface.
• Struck Base (2021). A baseball script.
• Suecos Locos (2011---yummy!).
• Sultan Cafe (2014). An interlocking poster typeface.
• Sunny Sam (2020). A script typeface.
• Sverige Script (2012). Calligraphic wedding font.
• Tall Casat (2018).
• Tamoro Script (2014).
• Taylor Hand (2020). A signature script.
• Tevegraphy (2011, elliptical)
• The Hills (2017).
• The World is Yours (2011, quaint)
• Throwupz (2011)
• Toley Hand (2019).
• Tipbrush Script (2011).
• Tomino (2016).
• Top Comic (2013). A very fat cartoon bubble face.
• Treehouse (2011, upright connected script; +Snowhouse for a snow-covered version)
• Tusch Touch 1 (2011)
• Two and Three (2011: a tattoo parlor blackletter family)
• Typographic Onedalism (2011, graffiti simulation face).
• Undergone (2014). Decorative and calligraphic.
• Unthrift (2015). A pen script.
• Vacer Sans and Vacer Serif (2016). The latter is a slab serif.
• Validity Script (2020, with Misti Hammers).
• Ventography (2013). A bold signage script.
• Vinho De Amora (2021). A vintage all caps wedge serif and a stencil version.
• Waiter (2017).
• Walk Da Walk One
• Wandals (2018). A graffiti font.
• Wankstaberg Battles (2010, a tall fat script)
• White Dream (2021). A retro script.
• White Larch (2016). A connected script typeface.
• Wholecar (2021). An unerground train graffiti typeface family.
• Wild Growth (2011).
• Wildline (2021).
• Winfield Script (2019).
• World Series (2021). A baseball script.
• Xtreem (2012) and Xtreem2 (2014).
• Yanty, Yanty Big, Yanty Script, and Yanty Script Big (2012).
• Yaquote Script (2014).
• Yaty (2019).
• Yoghurt (2011).
• Zoney (2021).

View Mans Grebäck's typefaces.

Abstract Fonts link. Fontspace link. MyFonts link. Another URL. Dafont link. Klingspor link. Buy fonts directly from Måns Grebäck. Old URL. [Google] [MyFonts] [More]  ⦿

Arkitype (was: Virtue Creative)
[Andrew Footit]

Andrew Footit (b. 1984) runs his own type foundry in Johannesburg, South Africa. He is also known as Arkitype. Until 2014, his type studio was called Virtue Creative and before that, Virtue84. In 2017, he set up Arkitype. His typefaces:

• The very simple monoline rounded geometric typeface Modulus (2011). Updated to Modulus Pro in 2019.
• The stunning art deco typeface Vindeco (2011).
• Gigafont (2011): a free bubblegum font.
• FunFair (2012): hand-printed.
• Virtus Sans (2012): a clean 4-style sans family.
• the Western family Westro (2012, +Inline).
• The free rounded sans drafting font Struct (2013).
• The four-style vintage poster typeface The Woods (2013).
• The spurred letterpress typeface family Roper (2014). Roper evolved into the octagonal typeface family Hudson NY (2015) and Hudson NY Pro (2020). Hudson NY Regular, Serif and Slab are athletic lettering / octagonal typeface families.
• Bosk Hand.
• Roves (2016). A camping style set of fonts, including several stencil typefaces.
• Anchor Script (2016). Inspired by classic cursive connected handwriting.
• Navigator (2016). Inspired by the early explorers.
• Bowline Script (2016). A vintage monoline cursive script typeface.
• Saveur Sans (2017) and Saveur Sans Round (2017). A lovely sans typeface family that is inspired by art deco and French cafes.
• Comply Slab (2017). All caps and octagonal, with possible applications in athletic lettering.
• 3 Stripe Type (2017) and Adidas Nemeziz (2017). Prismatic typefaces.
• Technol (2018).
• Statewide (2018). An all caps squarish techno display sans family.
• ESPN Next (2018). An octagonal inline custom typeface. ESPN Heroes (2019) is a six-lined prismatic typeface.
• Poster Compressed (2019). A piano key typeface.
• Neumatic Compressed (2019), Neumatic Gothic Round (2020) and Neumatic Gothic (2019).
• Protrakt Variable (2019). Nine variable width all caps fonts, of different thicknesses.
• Coastal (2020). A twelve-style all caps sans.
• Compose. An 18-style minimalist sans with elliptical curves and quite open counters.
• Storica (2021). A 9-style all caps vintage serif.

Behance link. Creative Market link. Home page. View Andrew Footit's typefaces. Home page. [Google] [MyFonts] [More]  ⦿

Aronetiv
[Alexey Popovtsev]

Or Aleksey Popovtsev. Graphic designer in Kiev, Ukraine, who made the Latin / Cyrillic sans typefaces Nachalnaya (2016) and Rothko (2018: a sans).

Typefaces from 2019: Jheronimus (a neo-humanistic grotesque variable font), Jheronimus Contrast, Ezlo Sans.

Typefaces from 2020: Genau (a 9-style geometric sans influenced by the constructivist schools of Vkhutemas and Bauhaus; contains a variable font), Nomenclatur (2020: a sans family for information design and engineering, inspired by DIN).

Typefaces from 2021: Wolfgang (a six-style bare-bones text typeface influenced by renaissance types such as Garamond, Bembo and Jenson).

Typefaces from 2022: Rottko (a ten-style static grotesque). [Google] [MyFonts] [More]  ⦿

Arrow Type (or: Typefloundry, or: Recursive Design)
[Stephen Nixon]

Stephen Nixon (b. South Dakota) was an undergraduate student at the University of Minnesota in the Twin Cities. After that, he moved to New York City to work as a product designer at IBM. There, he focused on visual design & UX for software products, then moved into brand experience design within IBM Watson. Stephen lives in Brooklyn, NY, where he operates Arrow Type, taking on freelance type design & development work. In 2018, he graduated from the TypeMedia program at KABK in Den Haag. He runs Arrow Type. His typefaces:

• The free angular text typeface Killam (2012).
• His KABK graduation typeface, Recursive (Mono, Sans), released in 2018. He explains its multiple uses: Recursive Mono & Sans is a variable type family inspired by casual script signpainting and designed for better code & UI. In programming, recursion is when a function calls itself, using its own output as an input. Recursive Mono was used as a tool to help build itself: it was used to write Python scripts to automate work and generate specimen images, and it was used in the HTML, CSS, and JS to create web-based proofs & prototypes. Through this active usage, Recursive Mono was refined to be not just warm, but also deeply useful for all-day work. Recursive Sans borrows characters from its parent mono but adjusts many key glyphs for comfortable readability in text. Its metrics are superplexed---glyphs take up the same horizontal space across all styles. As a 3-axis variable font, this allows for fluid transitions between weight, slant, and expression (casual to strict letterforms), all without text or layout reflow. In turn, this enables new interactive possibilities in UI and makes for a uniquely fun typesetting experience. This typeface was followed by Recurso Sans (2019; free at OFL). Github page where we learn that contributors besides Stephen Nixon include Katja Schimmel, Lisa Huang and Rafal Buchner. In 2019, these authors published Recursive as a variable font with five axes---mono, casual, weight, slant and italics. Dedicated page. Google Fonts link.
• He contributed a variable font version to Nikita Prolopov's Fira Code.
• Name Sans V2 was published by Future Fonts in 2020. Name Sans is a modern interpretation of the tile mosaic name tablets of the New York City subway.
• Lang Syne (2021). A semi-slab family derived from grave carvings in the Green-Wood Cemetery of Brooklyn, NY.

Fontsquirrel link. [Google] [More]  ⦿

Art Grootfontein

Paris-based designer and illustrator, b. 1975 in Paris. He created Lemon Twist (2009), a filled-bowl, black geometric face. On his home page, one can find free fonts such as Grootfont1 (2009, pixel face).

In 2020, he released Balter Serif (a handcrafted layerable font inspired by sign painting, 1960s movie posters and jazz album lettering) and the all caps hand-printed typeface Jazzy Croquette.

In 2021, he released Bangel (a fat display typeface) and Flexible (a sans headline typeface in 18 styles, with a variable font thrown in; the typeface was created for animations and allow its user to play with width and height). [Google] [MyFonts] [More]  ⦿

Arthur Reinders Folmer
[Typearture Type Foundry]

[MyFonts] [More]  ⦿

ATypI: OpenType 1.8 announcement

The original announcement of OpenType 1.8 that covers for the first time variable or multiple-axis fonts. [Google] [More]  ⦿

Aulia Rahman
[ShowUp Type Foundry]

[MyFonts] [More]  ⦿

Axis Praxis

Laurence Penney's test site for variable fonts. Requires Mac OS Sierra or later, or Webkit Nightly. He writes: Axis-Praxis relies on the font-variation-settings property in the draft CSS4 specification, implemented in WebKit. On the server, it uses TTX to extract the variations information from the font. Once it has this data and has delivered the font back to the browser as a @font-face webfont, the server has no further use for the font so it is deleted immediately. In the browser, the CSS font-variation-settings property of the textboxes is changed using JavaScript when you adjust the sliders or click the named instances. [Google] [More]  ⦿

Ayca Atalay

Istanbul, Turkey-based type designer. She releassed her first typeface, Newcraft Serif in 2016, and published Benedicte Script and Rawbrush later that year.

Typefaces from 2017: The handcrafted typefaces Aardwork, Jackrabbit, Goodwill Script, and the supermarket signage typeface Signface.

Typefaces from 2018: Toote Sweet, Paperboy (a playful hand-drawn serif), Madfish.

Typefaces from 2019: Message in a Bottle, Destined (a brushed font and a signature script), Diamonds & Pearls (a signature script), Cake & Cutie, Think Cosmic (script), Polytones, Qliché (a thick monoline script), Modern Society (a monolinear rounded display sans), Bisquit, Ever After, Bellissimi (script).

Typefaces from 2020: Metaphysica (a futuristic typeface with purposeful glitches), Coquillette, Radian (an information design sans), Ink Tonic (an SVG brush font), Easy Notes (a fat finger font), The Twenties, Wildcard.

Typefaces from 2021: Hydrella (a sans with sharp terminals; includes a variable font), Verstyle (a 6-style sans), Verstyle (a 6-style sans).

Typefaces from 2022: Prose Sans (an 8-style wide display sans and variable font family), Gardo Grotesk (a grotesk display typeface with serious ink traps). [Google] [MyFonts] [More]  ⦿

Azza Alameddine

Azza Alameddine has worked as a graphic designer in Lebanon, the Netherlands and London since 2009, and is now based in Barcelona. She holds a BA in visual communication from Créapole, Paris. A graduate of the Masters in Typeface Design program of the University of Reading, she specializes in Arabic script. Her talk at ATypI 2014 in Barcelona was entitled The art of typographic matchmaking. In 2016, Azza joined TypeTogether as a type engineer and type designer.

The Latin / Arabic version of Dalton Maag's Effra was co-designed by Azza Alameddine and Alex Blattmann. It won an award at Granshan 2016.

In 2017, she finished Adelle Sans Arabic at Type Together.

In 2019, Type Together released Catalpa (Veronkia Burian, Jose Scaglione, Azza Alameddine) and wrote: Primed for headlines, Catalpa is designed to give words bulk and width and gravity itself. The Catalpa font family is José Scaglione and Veronika Burian's wood type inspired design for an overwhelming headline presence. Catalpa was followed in 2021 by Belarius, a three-axis variable family that shifts from sans to slab serif, from condensed to expanded widths, and includes every possibility in between. Published by Type Together in 2021, it was developed under the guidance of Veronika Burian and José Scaglione, with type design by Azza Alameddine and Pooja Saxena, and additional kerning and engineering help from Radek Sidun, Joancarles Casasin and Irene Vlachou.

At the end of 2021, she finished Bree Arabic as part of Type Together enormous Bree multiscript typeface family. [Google] [More]  ⦿

Balazs Szemmelroth

During his studies in Szeged, Hungary, Balazs Szemmelroth designed the multistyle geometric sans typeface family Balage (2016) and the free typeface family Sometimes (2018).

In 2018, he created the 4-axis variable font Fluido at Visual Arts Institute Egere. [Google] [More]  ⦿

Balibilly Design
[I Wayan Bill Natih]

In 2010, Bali-based Bill Natih founded Balibilly Design. Creator of script or handcrafted typefaces. In 2020, he published Moro Baby (an all caps children's book font), Siganture Photopedia (a signature script), Qene G (an artsy font duo that evokes a belle epoque atmosphere), Kage (a fashion mag serif family), Kitahara (script and brush), Native Miles, Patahola and Risalove.

Typefaces from 2021: BD Megatoya (a slightly boxy simplified sans family in 40 styles; plus a variable font), Onamura (an 11-style Victorian typeface family with roots in medieval blackletters), Gegor (14 styles; a decorativbe serif), BD Megalona (a 26-style serif that attempts to improve Times New Roman).

Typefaces from 2022: Kage Pro (a 24-style (+variable) condensed luxury serif).

Creative Fabrica link. Type Department link. [Google] [MyFonts] [More]  ⦿

Barbara Bigosinska

Barbara Bigosinska received her master degree in Graphic Design at the Academy of Fine Arts in Katowice, Poland. In 2013, she graduated from the Type & Media program at the KABK in Den Haag. At KABK, Barbara Bigosinska designed the angular text typefaces Barbear and Sambukka in 2013. Since 2014, she runs her own studio in The Hague, offering type design and typography services to international clients.

For her type revival project at KABK, she picked Lutetia (2013) and writes: Lutetia was designed as a commission from Enschedé by Jan van Krimpen. The drawings of the typeface were ready in the middle of 1924 and first cut and cast in 16 point size in the Enschedé Type Foundry. For the first time the typeface was used in the book dedicated to the exhibition that took place in Paris in 1925. Therefore the name Lutetia reffers to the Roman name of Paris.

Her KABK graduation typeface family was Mala (2013). Loaded with opentype features and choices of widths, Mala was created for cartographic purposes. It was published by Bold Monday in 2016.

In 2016 she published Abelard at Indian Type Foundry and wrote: Abelard is a modern (or neoclassical) family with 10 font styles. It is a contemporary take on classic types like Baskerville, Bulmer, and Scotch Roman that has been optimised for text embedding on eReaders. The design features elements ensuring even text color, including case-sensitive forms, prominent punctuation marks, ligatures, and four sets of figures. Each font also contains ornaments resembling pen nibs, bullet points, and arrows.

In 2017, she published the didone fashion mag typeface family Rion and the text typeface Neco at Fontstore. Rion was republished in 2018 at Indian Type Foundry.

Typefaces from 2018: Bonny (a decorative serif font family published by Indian Type Foundry; see also Bonny at Fontshare).

In 2019, Noopur Choksi and Barbara Bigosinska published the sturdy wedge serif text typeface family Sapien at Indian Type Foundry.

Still in 2019, Manushi Parikh and Barbara Bigosinska released the octagonal athletics font Fielder at Indian Type Foundry. Somehow this octagonal typeface seems to have been evolved into the 5-style free typeface Nippo at Fontshare.

In 2021, Barbara Bigosinska released the 12-style didone family (+two variable fonts) Boska at Fontshare. Boska has quite extreme contrast and some calligraphic hooks in the c, f, k, r, s, x and z glyphs that make it perhaps less suitable for text but more in line with fashionable displays.

Bevellier (2019-2021; by Arya Purohit and Barbara Bigosinska) is a 16-style (+variable) rounded condensed organic sans family.

In 2021, Barbara Bigosinska, Rafa Buchner and Diana Ovezea set up Blast Foundry. At Blast Foundry, she designed the wonderfully expressive sharp-edged display typeface Sharf. Boska was published as a free font at Fontshare.

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

Baron von Fonthausen
[Jacques Le Bailly]

Jacques Le Bailly (b. Thionville, France, 1975) is the "Baron von Fonthausen", located in Den Haag, and the self-proclaimed German-French specialist in the fields of both beer and type design. From 1999 to 2003, Le Bailly lived in Berlin, working at Moniteurs graphic design studio and as an independent graphic designer. Having returned to the Netherlands in 2003, Jacques did type production work for The Enschedé Font Foundry. He is now a typographic designer at Bau Winkel's studio in The Hague. He worked for type foundries like Lineto, Monotype, House Industries, and Bold Monday, as well as on custom projects for several brand design agencies. He has been teaching at the WdKA art academy in Rotterdam and Sint Joost in Den Bosch.

He was working on commercial fonts such as TyPress, Ballpoint and B-Day.

Sardines (2008, Vette Letters) is described by Jan Middendorp as an amusing parade of heavyweight characters crammed into squares. In 2010, that monospaced family was expanded to VLNL Neue Sardines (42 styles).

Designer of the pixel font Mekka.

Macula (2010) is a trompe l'oeuil typeface that is available from Bold Monday. It was inspired by Oscar Reutersvärd's impossible perspectives and M.C. Escher's optical illusions.

In 2016, Jacques Le Bailly extended Vernon Adams's Nunito (2011) to a full set of weights, and an accompanying regular non-rounded terminal version, Nunito Sans, which is free at Google Fonts and Open Font Library.

In 2018, he designed the free family Crimson Pro (a major update of Sebastian Kosch's Crimson from 2011) and VLNL Thueringer (at Vette Letters), and wrote: Jacques got inspired by Albrecht Düer's 15th century Fraktur (blackletter) alphabet, and decided to design a contemporary rounded version of it. It's a modern techno-style blackletter with a (beer)truckload of interesting design details.

In 2019, he released the free font Livvic. Livvic is a 16-style custom corporate sans typeface designed by Jacques Le Bailly for LV (Liverpool Victoria Friendly Society Limited), an insurance company based in the UK. The typeface is part of a brand redesign.

In 2020, Jacques Le Bailly, Cereal and Vernon Adams (posthumously) released the sans typeface family Mulish at Google Fonts. Mulish is a minimalist sans, designed for both display and text typography. It was initially drawn in 2011 by Vernon Adams and then refined until 2014. In 2017 the family was updated by Jacques Le Bailly to complete the work started by Vernon after he passed away, in collaboration with his wife Allison, an artist who holds the trademark on the typeface family name. In August 2019, it was updated with a variable font weight axis.

Behance link. Bold Monday link. %Z Liebe Petra, Die Site ist jetzt erstmal dafür gemacht, um Leuten zu zeigen was ich gerade mache. Leider sind die meisten der gezeigten Fonts noch nicht ganz fertig und werden deshalb noch nicht angeboten. neben Schriftgestaltung, mache ich auch noch Grafik-Design. Im Moment arbeite an der Font TyPress, die bei der 1. Ausgabe folgende Schnitte enthalten wird: Roman, Italic, Bold, Bold-Italic, Caps-Roman and Caps-Bold. Unsicher ist noch wo, oder von wem sie vertrieben werden. Der Font B-Day wird 1 Schnitt haben und wenn alles gut geht, wird sie ab Februar 2002 von Lineto (www.lineto.de) verkauft. Wenn Sie interessiert sind an meinen Entwürfen, oder z.B. an Custom-Type, fragen Sie bitte nach. Oder, wenn Sie gerne sehen möchten, wie meine Schriften im Druck aussehen, kann ich Ihnen ein PDF schicken. Freundlichen Grüsse, Greetings, Baron von Fonthausen, auch Jacques Le Bailly [Google] [MyFonts] [More]  ⦿

Baugasm
[Vasjen Katro]

Visual designer in Tirana, Albania, who specializes in technologically-inspired designs. In 2019, together with Mathieu Desjardins, he created the wonderful typeface Neue Machina, which features deep ink traps in a technical / monospaced / geometric body. Neue Machina is destined to win many major type design awards. [Google] [More]  ⦿

Beatrice Caciotti

Beatrice Caciotti is an art director based in Rome, Italy. In 2021, she published the intestinal typeface Bumpy at Type Department. She explains: Bumpy is a variable display font to explore the relationship between gender stereotypes and typefaces. It uses letters as a metaphor for individuals within a complex system, and variability as a means to tackle binary thinking. These ideas translate into a condensed typeface, embodying the sense of external pressure often experienced by individuals. Two masters represent two opposite ways of engaging with the world. Rigid adapts and conforms [...] whereas as Fluid is filled with unexpected, non-conventional, fluid shapes. From the interpolation of these two extremes, a series of stunning variables are born. [Google] [More]  ⦿

Beatrice D'Agostino

Italian designer of Iki Mono (2020, at CAST) Iki Mono is a multifaceted monospaced typeface designed for publishing and coding. It has two variable styles. [Google] [MyFonts] [More]  ⦿

Beatriz Diogo
[Adaptype]

[More]  ⦿

Beatriz Lozano

Brooklyn-based Michigander, currently exploring custom type, coding, and motion design. Her typefaces include Ancho (2020), which includes a variable cut. Ancho is a wide-stanced sans with forms inspired by the Teotihuacan pyramids in Mexico.

At Type Cooper 2020, she developed the vernacular display typeface Aguas, an experimental variable font that shifts in width and curvature and is inspired by hand-painted signs in Mexican food markets. [Google] [More]  ⦿

Belarius

Belarius is a three-axis variable family that shifts from sans to slab serif, from condensed to expanded widths, and includes every possibility in between. Published by Type Together in 2021, it was developed under the guidance of Veronika Burian and José Scaglione, with type design by Azza Alameddine and Pooja Saxena, and additional kerning and engineering help from Radek Sidun, Joancarles Casasin and Irene Vlachou.

Two days after the last dictator on earth, Alexander Lukashenko of Belarus, ordered the hijacking of a RyanAir flight in May 2021 to arrest journalist Roman Protasevich, TypeTogether celebrated this event by offering a serious discount on Belarius. [Google] [More]  ⦿

Ben Hoepner

Designer of the variable modular typeface Stoplight (2019). [Google] [More]  ⦿

Ben Wittner

In 2018, Ben Wittner, Sascha Thoma and Timm Hartmann edited Bi-Scriptual: Typography and Graphic Design with Multiple Script Systems (Niggli). Each chapter covers a different language and is written by a graphic designer who is a native speaker of that language. The languages covered are Arabic by Lara Captan & Kristian Sarkis, Cyrillic by Eugene Yukechev, Devanagari by Vaibhav Singh, Greek by Gerry Leonaidas, Hangul (Korean) by Jeongmin Kwon, Hanzi by Keith Tam, Hebrew by Lirion Levi Turkenich & Adi Stern and Kanji/Hiragana/Katakana (Chinese and Japanese) by Mariko Takagi.

Talib (2004) is a type project of eps51, a Berlin-based graphic design studio founded in 2004 by Sascha Thoma and Ben Wittner. They developed these faux Arabic fonts: Talib Old Style (calligraphic), Talib Kulkufi, and Talib Mohandes.

In 2020, Pascal Zoghbi (29LT) and Ben Wittner released the monospaced Arabic / Latin typefaces 29 LT Baseet Variable and 28 LT Zawi Variable. [Google] [More]  ⦿

BenBenWorld (or: BB Bureau)
[Benoît Bodhuin]

Benoît Bodhuin (aka Ben Ben) lived in Tournai, Belgium, and after a brief spell in "chti" country, i.e., in Villeneuve d'Ascq, France, he relocated to Nantes in France. He studied mathematics and graphic design. Freelance graphic designer since 2004. In 2011, he set up Benben World at MyFonts.

Designer of the pixel fonts Logotix (2004), Latham and 5x7 Negatie Moyenne. In 2010, he made the paperclip typeface Pipo (first published in 2011 by Die Gestalten, and in 2017 by bb-bureau). He created the commercial angular sans typeface S-L (2006) which was originally made for the University of Arts Saint-Luc in Tournai. It was published by Volcano.

Commercial typefaces include S-L Bold (2012, a hexagonal typeface based on his design at St. Luc in 2006), Zigzag (2012, Volcano Type; a font originally made for the Vivat theater), and Marianne (2012, BenBenWorld: an inline and modular typeface family).

In 2013, he published the stencil / fractured typeface Mineral.

In 2014, he designed the experimental triangle-based Bauhaus-inspired Side A typeface.

In 2016, Bodhuin designed the expressive Italian typeface family BB Book A and bb-book Contrasted. He added the wedge serif BB Book B, BB Book Mono and BB Book Text to that series in 2018.

Typefaces from 2017: Brutal, Elastik.

Typefaces from 2019: Grotesk Remix (extended to Grotesk Remix Monospace and Grotesk Remix Variable in 2020), Tme (experimental: an update of Sl drawn in 2006 for the University of Arts Saint-Luc de Tournai), Standard-bb, Pickle Standard (extravagant and thought-provoking).

Typefaces from 2020: Gikit (in Text and Title version, for a perfect gridnik feel), Ballpill (designed for printing at very small sizes).

Typefaces from 2021: Bilibot (an experiment with overlapping strokes), Pimpit (rounded, condensed and with reverse stress), Volcano Type link. View Bodhuin's commercial typefaces. [Google] [MyFonts] [More]  ⦿

Benjamin Blaess

Benjamin Blaess (Blah, Strasbourg, France) is a graphic designer and letterer. During a summer course called Type@Paris (2015), under the guidance of Jean Fran&ccdil;ois Porchez, Malou Verlomme and Mathieu Réguer, Benjamin Blaess created Brambly, a text typeface with calligraphic tension.

In 2019, Ilya Naumoff and Benjamin Blaess co-designed the variable font Grtsk at Black Foundry. Its three axes, weight, width and slant, combine for 126 styles, that are all captured in one variable font. Mini-site. [Google] [More]  ⦿

Benoît Bodhuin
[BenBenWorld (or: BB Bureau)]

[MyFonts] [More]  ⦿

Bernd Volmer

Bernd Volmer is a graphic and type designer from Germany. Before attending type and media, he graduated with a BA in 2011 from the ArtEZ in Arnhem. During this time he also did an internship at Atelier Carvalho Bernau and developed his knowledge and interest in type design and typography. After graduation he started as a freelancer.

In 2013, he graduated from the Type & Media program at KABK, Den Haag. His graduation typeface, Curtis, is based on broad nib calligraphy, and manages in its palette of styles to cover the broad ground between powerful German expressionist display types and very readable text types. In my view, it is the best of the twelve typefaces of the graduation class.

In 2010, Bernd Volmer and Ateleir Carvalho Bernau published the free typeface Jean-Luc, which is named after Jean-Luc Godard. Carvalho / Bernau write: We didn't find out who originally made the lettering for these two movies. Some speculate it could have been Godard himself---Godard's interest in graphic design and typography is clear, with many of his other films employing such strong typography-only titles and intertitles. They are almost a self-sufficient entity, another character in the movie, another comment. This style of lettering is so interesting to us because it is such a clear renunciation of the pretty, classical title screens that were common in that time more conservative films. It has a more vernacular and brutishly low-brow character; this lettering comes from the street. We can not prove this at all, but we think it may be derived from the stencil letters of the Plaque Découpée Universelle (or PDU), a lettering device invented in the 1870s by a certain Joseph A. David, and first seen in France at the 1878 Exposition Universelle, where it found broad appeal and rapid adoption. We think this style of lettering was absorbed into the public domain vernacular of French lettering, and that the 2 ou 3 choses titles are derived from these quotidien lettering style, as it would seem to fit Godard's obsession with vernacular typography.

In 2019, he published the two-axis (weight and serifs) variable font Seraphs.

Co-designer wit Hannes von Doehren of Palast (Text, Display, Poster; in 2021: 36 styles).

Future Fonts link. [Google] [More]  ⦿

Black Foundry
[Jérémie Hornus]

Type foundry in Paris, est. 2016 by Jérémie Hornus, who is the design lead. Type designers associated with Black Foundry include Alisa Nowak and Ilya Naumoff. They initially bought the font collection of FontYou. Typefaces not included in the original FontYou collection:

• Angus (2018). A multiplexed rounded sans typeface family by Elliott Amblard that includes a variable font.
• In 2018, Elliott Amblard and Jérémie Hornus co-designed the information design humanist sans typeface family Drive. It is accompanied by the more typewriter-styles families Drive Mono and Drive Prop, and published by Black Foundry. The fiorms in Drive Mono and Prop are great, but all fonts in Drive are too widely spaced (as are several other fonts in the Black Foundry collection).
• Clother (Jeremie Hornus, Julie Soudanne, Ilya Naumoff, 2017). This geometric sans workhorse covers also Cyrillic, Hebrew and Arabic.
• Vesterbro (Jeremie Hornus, Alisa Nowak, Ilya Naumoff, 2017). High-contrast Latin / Cyrillic typeface with a Viking feel that won an award at Granshan 2017.
• Jeremie Hornus, Gregori Vincens, Yoann Minet, and Roxane Gataud (and possibly Riccardo Olocco) designed the free Google web font Atma for Latin (in comic book style) and Bengali. Github link.
• In 2016, Google Fonts published the free Latin / Bengali signage font Galada (2015). It is based on Pablo Impallari's Lobster (for Latin). The Bengali was developed as a studio collaboration by Jeremie Hornus, Yoann Minet, and Juan Bruce at Black Foundry.
• In 2016, Franck Jalleau designed the monospace sans typeface family Aubusson. Initially designed as a custom typeface by Franck Jalleau for the Cité internationale de la tapisserie d'Aubusson, the monowidth proportions are linked to pattern and tiles arrangements used in tapestry. The retail version of Aubusson offers four weights with matching italics. It was published by Black Foundry.
• Drive (2016). A corporate sans serif family.
• Dragon (2016). A clean sans typeface.
• Galien (2019). By the Black Foundry team, a mix with didone elements in the roman and garalde features in the italic. There is also a variable font with a weight axis.
• A custom sans font family for DS Automobiles (2019).
• Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese.
• Screen Sans (2020). A 14-style sans by Jérémie Hornus and Ilya Naumoff published by Indian Type Foundry.
• Alpine Script: a variable font with four axes including boldness, humanity, and irregularity, made for the identity of the French (Renault) Alpine sports cars.
• Maif (2020). A sans family for the corporate identity of the Mutuelle d'Assurance Automobile des Instituteurs de France.
• In 2017, Jérémie Hornus, Théo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu co-designed Bespoke Sans, Bespoke Serif and Bespoke Slab at Fontstore / Fontshare. In 2020, Bespoke Stencil was added.
• Egitto (2020). A huge Egyptian (slab serif) family together with a handy variable font. By Jérémie Hornus and Solenn Bordeau.
• Rowton (2021) is a humanist sans in black, regular and hairline weights, named after Arthur Eric Rowton Gill. It is accompanied by two stencil styles.
• NouvelR (2021). A corporate geometric sans typeface for Renault covering Latin, Greek, Cyrillic, Hebrew, Arabic and Korean. Characterized by a totally square lower case r. All terminal angles are 28 degrees, to align with the angle in Renault's logo.
• Enedis (2022). A commissioned sans.

Blank Sub (or: Subqi; or: Blankids; was: Bombas Type)
[Amir Subqi Setiaji]

Yogyakarta, Indonesia-based type foundry set up in 2017 by two independent foundries, Blankids (Bangkit Setiadi) and Subqi (Amir Subqi Setiaji). Yogyakarta, Indonesia-based designer of the Victorian typefaces Sacred Bridge (2017: co-designed by Bangkit Tri Setiadi and Amir Subqi Setiaji) and Barakah (2017), the script typeface Alyssum Blossom (2017), and the signage typeface Mattoa (2017, co-designed by Bangkit Tri Setiadi and Amir Subqi Setiaji).

In 2018, he designed Headster (signage type), Hondurhas and Black Drama (a free Victorian typeface, with Bangkit Setiadi).

Typefaces from 2019: Sholaria (luxurious calligraphy), Hophus Roghus (a Victorian typeface by Bangkit Tri Setiadi and Amir Subqi Setiaji), Crumble, Hondurhas (a vintage typeface family by Bangkit Tri Setiadi and Amir Subqi Setiaji), Hungry Beast (a Victorian typeface by Bangkit Tri Setiadi and Amir Subqi Setiaji).

Typefaces from 2020: Alstoria (a decorative serif by Bangkit Tri Setiadi and Amir Subqi Setiaji).

Typefaces from 2021: Royal Grande (an old English blackletter with a variable font option), Rotten Banquet (a 19th century / Victorian display typeface), Kovanov (a 14-style serif), Bilgosia (a display serif family), Rosvard (a layerable vintage all caps font by Amir Subqi Setiaji and Bangkit Tri Setiadi). Creative Market link. Graphicriver link. [Google] [MyFonts] [More]  ⦿

Blaze Type Foundry (was: Adèle Type Foundry)
[Matthieu Salvaggio]

Lyon, France-based designer founded first Adèle Type Foundry and in 2018 renamed it Blaze Type Foundry. Creator of these typefaces:

• In 2021, Tim Vanhille, Léon Hugues and Matthieu Salvaggio co-designed the blackletter font Emeritus at Blaze Type.
• Area (2020). Area is a variable typeface family of 88 grotesque fonts. Interestingly, all styles have an inktrapped version.
• Inferi (2019). Inspired by garaldes.
• Oroban (2018). A high-contrast text typeface in six styles, Oroban Masuria & Italic, Oroban Hermonthica & Italic and Oroban Elegans & Italic. The name is unrelated to Hungary's despot, Orban.
• AT Apoc (2017-2018), short for AT Apocalypse. A text typeface that exhibits angst in the face of a bellicose American crackpot. In 2020, varialble and Cyrillic options were added.
• AT Surt (2017). A 54-style Scandinavian sans typeface family, expanded in 2018. In Normal, Expanded and Extended widths.
• Scriptures Memoriam (2017). A didone.
• Scriptures Keops (2017). A didone with angular modifications inspired by blackletter type.
• Arges (2017). A very condensed American headline sans, updated in 2019.
• Osmose (2017). A "neoclassical grotesk". He writes that all of his licenses have been sold. Huh?
• AT Global (2017). A sans.
• Vuit Grotesk (2016). Not part of the Adele collection.
• S1 (2013). A sans typeface designed during his studies at L'École européenne supérieure d'art de Bretagne (2012-2014). Not part of the Adele collection.
• AT Inexpugnable. A free font that was promised for 2017.
• AT Goliath. A free font that was promised for 2017.

Behance link. I Love Typography link. Cargocollective link. Type Network link. [Google] [More]  ⦿

Bonnie Shaver-Troup
[The Lexend Project]

[More]  ⦿

Boris Korablev

Borislav Korablev is a former journalist and now a layout and type designer. He runs a foundry under his own name based in St. Petersburg, Russia. In 2022, he released BK Claymore (an ultra-condensed variable display typeface). [Google] [MyFonts] [More]  ⦿

Borutta (or: Duce Type)
[Mateusz Machalski]

Borutta (or Duce Type) is the creative studio of über-talented Warsaw-based designer Mateusz Machalski (b. 1989), a graduate of Wydziale Grafiki ASP in 2014, and of Warsaw Academy of Fine Arts. His oeuvre is simply irresistible, charming and a worthy representative of the Polish poster style---witness Alergia (2016), Magiel Pro (2017) and Madiso (2017).

He is the creator of the blackletter-inspired typeface Raus (2012), which also could pass for a Cyrillic simulation font. It was possibly made with Pawel Wypych. He also made Kebab (2012, a fat caps face), Duce (2012, art deco: withdrawn from MyFonts after Charles Borges complained that it was a rip-off of his own Gloria), Fikus (2012), Woodie (2012, a condensed rough wood type face), Polon (2012), Aurora (2012, a German expressionist poster face), Musli (monoline connected script), HWDP (2012, poster font), Wieczorek Script (2012, hand-printed), Hamlet (2012, a sword and dagger typeface, renamed to Prince), Caryca (2012, Cyrillic simulation, done with Pawel Wypych), Bezerro (2012, poster face), Bitmach (2012, pixel face), Meat Script (2012, a caps only market signage brush script), Krac (2012, a tall poster font), Hermes (2012: Ten Dollar Fonts), Berg (2012, a roughened blackletter face), Buldog (2012), Dudu (2012, tall condensed face).

In 2012, Polish designer Wojciech Freudenreich and Mateusz Machalski combined forces to design the techno typeface SYN, which is based on an earlier De Stijl-genre alphabet by Freudenreich. In 2020, they released the free typeface family SYN Nova, which includes additional styles and a variable font.

Machalski likes old wood types, which inspired him in 2012 to publish a wood type collection of weathered display typefaces: Condom, Hype, Whore, Banger, Buka. Elo (2012) and Duce (2012) are fat weathered wood types.

Typefaces made in 2013: Wood Type Collection 2 (which includes Brie, Kaszti, Mader, Modi, Rena, Roast, Ursus), Zigfrid (headline face), Salute (letterpress style), Benito (a letterpress or geometric wood typeface), Bojo (heavy wood style poster face), Picadilly (heavily inktrapped open counter sans family), GIT (a manly headline sans), Lito (an eroded poster typeface), Haine (vernacular caps), Aneba (an organic sans family, renewed in 2016 as Aneba Neue), Vitali (sans), Korpo Serif (slab serif), Korpo Sans (elliptical family; +Greek, +Cyrillic).

Typefaces from 2014: Adagio Slab, Adagio Serif, Adagio Sans (a superfamily not to be confused with the 2006 typeface Adagio Pro by Profonts), Adagio Sans Script, Adagio Serif Script, Adagio Slab Script, Tupperware Pro. Tupper Pro (42 styles) was designed by Mateus Machalski and the RR Donnelley team.

Typefaces from 2015: Tupper Serif (again with RR Donnelley: a custom superfamily for pairing Latin, Cyrillic, Hebrew an Greek; for Tupperware), Vitali Neue, Legato Serif, Corpo Serif, Corpo Sans, Zigfrid, Picadilly (a great ink-trapped sans typeface family with an erect g).

Typefaces from 2016: Nocturne (just like Magiel, this free typeface was designed as part of the Warsaw Types project: this wedge serif text typeface is inspired by the lettering on stone tablets commemorating the victims of World War II, and prewar Jewish shop signage), Favela (an experimental, geometric sans, for headline and fashion magazine use), Gangrena (a weathered typeface system co-designed with Ania Wielunska), Migrena Grotesque (earlier named Enigma Grotesque but probably in view of a clash with the name Enigma used by Jeremy Tankard changed to the appropriately named Migrena Grotesque), Alergia Grotesk (a take on the classical geometric grotesque style, in 60 weights, for Latin, Greek and Cyrillic), Alergia Remix (a hipster / hacker / Futura take on Alergia Grotesque).

Typefaces from 2017: Nocturne Serif, Massimo (copperplate semi-serif influenced by New York; originally called Madison, they were frced to change the name to Massimo), Magiel Pro (a geometric display family influenced by Polish banners from the Russian occupatuon era, 1945-1989; it has a charming Black and a hairline, and covers Cyrillic too).

A particularly intriguing project in 2017 was Bona, which set out to revive and extend Andrzej Heidrich's old typeface Bona. Mateusz Machalski contacted him for advice on the revival project. The resulting typeface families were published by and are available from Capitalics. The centerpiece is the warm and wonderful text typeface Bona Nova. It is supplemented by the extreme contrast typeface family Bona Title and the inline typeface family Bona Sforza. Participants in the project also include Leszek Bielski, Ania Wielunska and Michal Jarocinski. Google Fonts link for Bona Nova. Github link for Bona Nova.

Typefaces from 2018: Bilbao (an innovative blend of sans, slab and mono genres in 18 styles), Cukier (a logo font family inspired by the vernacular typography from Zanzibar).

In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms. In 2021, with Anna Wielunska added to the list of authors, it was added as a variable font covering Latin, Greek and Cyrillic to Google Fonts. Github link.

Typefaces from 2019: Gaultier (a sans family that is based on the styles of Claude Garamond, Robert Granjon and Eric Gill---a serifless Garamond and Gill Sans hybrid; includes a fine hairline weight), Aioli (a commissioned type system), Promo (a rounded sans family), Sigmund (the main style is inspired by the Polish road signage typeface designed in 1975 by Marek Sigmund: With the increase of weight, Sigmund turns into a geometric display in the spirit of vernacular typography from the signs of Polish streets; followed in 2022 by Sigmund Pro (15 styles)), Podium Sharp (based on Dudu, this 234-style family is a hybrid between different old Polish modular and geometric woodtypes such as Rex, Blok and Bacarat; note that 234=2x9x13, so fonts are numbered in Univers style from 1,1 (ultra-compressed hairline) to 9,13 (ultra expanded heavy)), Harpagan (an experiment in reverse and unusual stresses).

Typefaces from 2020: Tyskie (a custom sans for Tyskie Magazine), Habibi Display (an ultra-fat display typeface inspired by bold Arabic headline typefaces), Podium Soft, Afronaut (an experimental Africa-themed font). In 2020, the team at Capitalics in Warsaw, namely Mateusz Machalski, Borys Kosmynka and Ania Wielunska, revived Adam Poltawski's Antykwa Poltawskiego (1928-1931) as Poltawski Nowy.

Typefaces from 2021: Alfabet (a 20-style Swiss-inspired sans with narrow connectors, with support for Latin (+Vietnamese), Greek and Cyrillic scripts, including Ukrainian, Bulgarian and Serbian forms), Change Serif (a 10-style Robert Granjon-genre garalde designed as a part of Mateusz Machalski's PhD project, carried out in 2015-2021; the main goal was to create a typeface allowing for the typesetting of complex humanistic texts, containing many historical letterforms; each font contains 4000 glyphs and covers Latin, Cyrillic and Greek), Engram (a soft geometric sans family in 22 styles; close to his own earlier font, Enigma, 2016).

Typefaces from 2022: Yalla (inspired by Arabic headline type).

Home page. Behance link. Personal Behance link. Behance link for Duce Type. Another link. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

Borys Kosmynka

Freelance graphic and type designer in Lodz, Poland. He cooperates with the Book Art Museum (which stores the legacy of Polish typography) to revive the spirit of letterpress printing and digitize old type. Speaker at ATypI 2017 in Montreal.

In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms. In 2021, with Anna Wielunska added to the list of authors, it was added as a variable font covering Latin, Greek and Cyrillic to Google Fonts. Github link.

Graduate of the MATD program at the University of Reading, class of 2019. His graduation typeface, Pactio, is a multi-script typeface family, intended for printing long text passages. It was created with small to medium size printing in mind. The Pactio family consists of six weights each for Latin, Cyrillic, and Arabic.

In 2020, the team at Capitalics in Warsaw, namely Mateusz Machalski, Borys Kosmynka and Ania Wielunska, revived Adam Poltawski's Antykwa Poltawskiego (1928-1931) as Poltawski Nowy (2020). [Google] [More]  ⦿

Box Tube Labs
[Tobias Alexandersson]

Stockholm, Sweden-based designer of the spurred typeface Empera (2017), the weathered octagonal / mechanical typeface family Areno (2017), the athletic lettering font Fanatix (2017), the spurred Godou Grande (2017), the octagonal Campione (2017: an octagonal typeface), Dahmer Slab (2017) and Bouldy (2017).

In 2018, he designed Kensmark (athletic lettering in 45 styles), Jawbreak (Sans, Serif and Slab), Infield (an athletic lettering font), Hitch Route (a sports typeface family), and Backcheck.

In 2019, he released North Block (an octagonal sports font), Campione Neue (an octagonal sports font, with two variable font styles), Le Bronn (a condensed movie credit sans), and Mavericks (an industrial strength octagonal typeface).

Typefaces from 2020: Playmaker (a varsity font), Areno (an octagonal sports font), QB One (an octagonal sports font family with square counters; 28 styles), Kensmark (octagonal), Outlast (a sports shirt font). [Google] [MyFonts] [More]  ⦿

Briefcase Type

Briefcase (Prague, Czechia) offers original Czech typefaces by designers, who may not wish to set up their own type foundry. Operating as a coop, it complements Brousil's Suitcase Type, which offers more traditional typefaces. Their participants include Tomas Brousil himself, as well as Marek Pistora, Filip Kraus, Jakub Samek, Vojtech Riha, Jan Novak, Ales Najbrt, Petra Docekalova, Radek Sidun, Jana Horackova, and Petr Babak. As of 2015, they published these typeface: BC Alphapipe, BC Dres, BC Falster Grotesk, BC Kakao, BC Liguria (2014, Jan Novak), BC Merkur, BC Mikser, BC Motel Sans, BC Motel Slab, BC Pramen Sans, BC Pramen Slab, BC Prkno, BC Rebecca, BC Reflex, BC Reformulate, BC Rezan, BC Steiner, BC Sijan, BC Thomas & Ruhller, BC Trhan, BC Vafle.

More recent fonts: BC Minim, BC Baseliner (a variable font by Simon Matejka), BC 3018 (2018: dingbats), BC Brief (2017, Matyas Machat), BC Novatica (2016, Tomas Brousil and Marek Pistora), BC Sklonar (2016, Marek Pistora and Martin Vacha). [Google] [More]  ⦿

Bruno Maag
[Dalton Maag]

[MyFonts] [More]  ⦿

BuffaloGals

Buffalo Gals is one of the first variable fonts, originally made in 1992 for an Apple TrueType GX developer CD. [Google] [More]  ⦿

Bumbum Type

Taipei, Taiwan-based designer of Albra (2019), Albra Sans (2020), Albra Text (2020: a low-contrast serif), Albra Display (2020), Gaba (2019: a geometric sans; by Yang Lu) and Rae Low (2019, by Yang Lu and Raimei Lu). Most of their fonts have variable opentype styles. [Google] [MyFonts] [More]  ⦿

burodestruct (or: Typedifferent.com)
[Lorenz Lopetz Gianfreda]

Lorenz Lopetz Gianfreda's foundry in Bern, Switzerland, est. 1994, called Burodestruct and Typedifferent.com.

Free fonts include(d) the gorgeous GalaQuadra (by Angela Pestalozzi, 1999), Eject Katakana (1998), Dippex (1995, grunge font), Ticket (1995), Rocket 70 (1996), Ratterbit (1995, pixel font), Plakatbau (1995), Lodel Fizler (1996), Flossy (1995), Faxer (1995), Console Remix (1998), Cravt (1998, by "Katrin"), Stereotype (1998, by M. Brunner), Brockelmann (1995, free), Kristallo (1997, very original display face) and Billiet (1996).

Other fonts: Acidboyz (1998), Alustar (1999), BD Asciimax (1999, ascii art font), BD Billding, Bdr_mono (1999), Brick (1996, like Kalendar), Cluster (1996), Console (1997), Doomed (1998), Eject (1998), Electrobazar (1995), Elside (1995), Globus (1996), Fazer (1996), Lofi (1997), Medled (1995), Paccer (1995), Solaris (1998), Spicyfruits_brush_rmx (1998, a nice high-contrast face), Spicyfruits_rmx, Wurst (free, by Heiwid, 2000), Relaunch (2000), Relaunch Katakana (2000, free), Rainbow (2000), DeLaFrance (2000, free, by Heiwid), Electronic Plastic (2000), Colonius (2001), Cash (2001), Cashbox (2001), Bilding (2001), Meter (2001), Mustang (2001), Bankwell (2001), BD Alm (2001), Balduin (2001), Tatami (2001, oriental look font), Hexades (2001, free), Nippori (2002, techno), Jura (2002), Bonbon (2002, free), Band (2002, free), Navyseals (2002, kitchen tile font), Ritmic (2002), BDR Mono (1999, OCR-like font), Mann (2003, ultra fat stencil), Aroma (2003), Zenith (2003), Nebraska (2003), BD Equipment (2004), BD El Autobus (2004), BD Unexpected (2004), BD Wakarimasu (2004, free kana face), BD Bernebeats (2004, futuristic), BD Deckard (2004), BD Spinner (2004), BD Victoria (2004), BD Designer (2004), BD Kalinka (2005, a curly ultra-fat display face), BD Equipment (2004), BD El Autobus (2004), BD Unexpected (2004), BD Varicolor (2005, stencil), BD Chantilly (2005), BD Memory (2005), BD Emerald (2005, beveled), BD Kalinka (2005, Cyrillic simulation), BD Extrwurst (2005), BD Aquatico (2005), BD Mandarin (2005), BD Polo (2005), BD Beans (2005), BD Tiny (2005, pixel face), BD Times New Digital (2006), BD Panzer (2006), BD Jupiter, BD Jupiter Stencil (2006), BD Pipe (2006), BDR Mono 2006 (2006), BD Fimo Outline (2007, free, by Nathalie Birkle), BD Bermuda (2007, experimental and geometric), BD Smoker (2007, psychedelic), BD Radiogram (2007), BD Mother (2007, exaggerated black Egyptian), BD Fimo Regular (2007, free), BD Demon (2007), BD Reithalle (2007, free), BD Halfpipe (2007, free), BD Broadband (2008, free; not to be confused with the much older fonts BroadbandICG or FLOP Design's Broadband), BD Viewmaster and BD Viewmaster Neon (2008), BD Electrobazaar (2008), BD Motra (2008, stencil), BD Virtual (2008), BD Spacy 125 (2008), BD AsciiMax, BD ElAutobus (2004), BD Equipment (2004), BD Ramen (2003), BD Retrocentric (2009), BDR A3MIK (2009, virile Latin and Cyrillic slab), BD HitBit (2009), BD Unicorse (2010, unicase and techno), BD Telegraph (2011), BD Schablone (2012, stencil face), BD Pankow (2013, stencil), BD Algebra (2014), BD Hiragana Kuro (2014), BD Qualle (2014, a fat poster typeface), BD Tribler (2015, a tribal font).

Alphabetical listing of their pre-2015 free typefaces: Algebra, Alm, Apotheke, AsciiMax, Baldrian, Band, Bankwell, Bardust, Beans, Billding, Billiet, Bonbon, Brockelmann, Burner, Cash, Cashbox, Chantilly, Circo, Console, Console Remix, Cravt, Delafrance, Designer, Destination, Dippex, Eject Katakana, ElAutobus, Elmax, Elside, Equipment, Faxer, Fazer, Fimo, Flossy, Fluke, Galaquadra, Geminis, Halfpipe, Hexades, Hiragana Kuro, Jayn Fonta, Kristallo, Lodelfizler, Lofi, Medled, Meter, Mustang, Outline, Paccer, Pipe, Plakatbau, Plankton, Polo, Ragout, Ramen, Ratterbit, Reithalle, Relaunch, Relaunch Ktna, Rocket70, Sirca, Sirca Rmx, Solaris, Spacy125, Spicyfruits, Spinner, Stella, Stencler, Stereotype, Ticket, Times New Digital, TinyFont, Tribler, Unfold, Wakarimasu.

Alphabetical listing of their pre-2015 commercial typefaces: A3mik, Acidboyz, Alustar, Aquatico, Aroma, Balduin, BDR Mono 2006, Bermuda, Bernebeats, Breakbeat, Brick, Broadband, Calamares, Central, Cluster (Corporate), Colonius, Deckard, Demon, Discount, Doomed, Edding850, Eject, Electrobazar 2008, Electronicplastic, Elk, Emerald, Endless, Extrawurst, Fontabello, Globus, Good Wood, Hell, Hitbit, Jupiter, Jura, Kalinka, Kameron, Kinski, Las Palmas, Mandarin, Mann, Memory, Mother, Motra, Naranino (2012: a children;s script), Navyseals, Nebraska, Nippori, Nokio, Orlando, Pankow, Panzer, Qualle, Radiogram, Rainbow, Retrocentric, Ritmic, Robotron, Schablone, Showlong, Smoker, St.Moritz, Stalker, Stonehenge, Sweethome, Tatami, Telegraph, Unexpected, Unicorse, Varicolor, Victoria, Viewmaster, Virtual, Wotka, Wurst, Wurst Directors Cut, Zenith.

In 2015, Gianfreda designed BD Barbeaux (a condensed typeface with the fashionable chic of the French art nouveau or film noir).

Typefaces from 2016: BD Kickrom Mono (LED emulation type).

Typefaces from 2018: BD Westwork.

Typefaces from 2020: BD Aubergin (an experimental poster font with Bauhaus elements), BD Microna (a pixelish variable font), BD Micron Robots (dingbats).

Typefaces from 2021: BD Supper (a food packaging sans), BD Roylac (a stylish poster font that evokes modern furniture), BDRmono 2021 (hipster style techno).

Alternate URL. Dafont link. Behance link.

View the Typedifferent typeface library. [Google] [MyFonts] [More]  ⦿

Bustami Harun
[Genesis Lab]

[MyFonts] [More]  ⦿

Bustanul Arifin

Indonesia-based designer of the soft serif typeface Aligarh (2020: by Nur Syamsi and Bustanul Arifin), Aligarh Arabic (2020: by Nur Syamsi and Bustanul Arifin), the comic book typeface Tufuli Arabic (2020, by Nur Syamsi and Bustanul Arifin) and the fat finger font families Childos and Childos Arabic (2020, by Nur Syamsi and Bustanul Arifin).

In 2021, Nur Syamsi and Bustanul Arifin designed Kidzhood Arabic (a children's book font), Mahameru (a 20-style display typeface), Mahameru Arabic, Meila (a plump almost-bubblegum font family in seven styles), Meila Arabic, Kidzhood (a children's book font family), Naveid (an 18-style mini-serif typeface; and two variable fonts), Naveid Arabic (a ten-style Arabic typeface), and Gestura (an upright connected typeface in 14 styles, and two variable fonts). [Google] [MyFonts] [More]  ⦿

Bülent Yüksel
[Bülent Yüksel (was: World of the Fonts)]

[MyFonts] [More]  ⦿

Bülent Yüksel (was: World of the Fonts)
[Bülent Yüksel]

Bülent Yüksel (b. 1973 or 1974, Istanbul) is a graphic designer, illustrator and painter, who graduated from Anadolu University, and started working in 1996 as art director at Sabah Newspaper. His first font was Formetic (2013). In 2014, he created the wavy typeface Cansum Hand, the modular techno typeface Formetic, and the slab serif typeface Finalist Round Slab (which was followed by Finalist Round Slab Variable in 2022).

In 2015, he published the connected script typeface Yasemin.

Typefaces from 2016: Full Neue, Full Sans, Full Slab, Full Tools, Ata Rounded, Ata.

Typefaces from 2017: Sympathetic Font (textured typeface family in 48 styles).

Typefaces from 2018: Bosphorus (a sans family; see also here). Followed in 2022 by Bosphorus Variable.

Typefaces from 2019: Murat Grotesque (inspired by Impact), Sympathetic, Bodrum Sans, Bodrum Style, Bodrum Stencil, Bodrum Sweet (organic sans), Bodrum Slab, Bodrum Soft.

Typefaces from 2020: Istanbul Type (a decorative high-contrast sans family), Trakya Rounded, Trakya Sans, Trakya Slab, Cryptocurrency (a dingbat font with the logos of over 200 block chain / bitcoin logos), Perspective Sans (a layerable 3d typeface family).

Typefaces from 2021: European Soft Pro (an organic sans in 73 styles), Logopedia Next Rounded, Logopedia Now Rounded, Logopedia Next (a 6-style hexagonal logo typeface), Logopedia Now (a 6-style rounded hexagonal logo typeface that plays the game of convex and concave).

Typefaces from 2022: European Sans Pro Variable.

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

Cahya Sofyan
[Studio Sun (or: Sun Brand Co)]

[MyFonts] [More]  ⦿

Canada Type
[Rebecca Alaccari]

Foundry in Canada, est. 2004 by Rebecca Alaccari in Toronto, and run by her and Patrick Griffin. Interview with Rebecca. Her typefaces can be bought via MyFonts: Storyville (2015, a curly script), Centennial Script (2007, a revival of an 1874-1876 high-contrast calligraphic script by Hermann Ihlenburg), Valet (2006, superb art deco face), Freco (2006, an art deco typeface loosely based on designs and letters of Fré Cohen), Silk Script (2006, based on 1956 Helmut Matheis script called Primadonna), Dominion (2006, based on an early 1970s film type called Lampoon), Johnny (2006, an art nouveau poster typeface that revives the Harem/Margit typeface by Phil Martin, 1969), Guillotine (2007), Mayfair (2006, a calligraphic typeface based on Mayfair Cursive by Middleton, 1932), Happy Birthday (2006, script), Geronimo (2005, brush style poster font), Rostrum (2005, a revival and expansion of a type called Oleander, designed in 1938 by Julius Kirn for the Genzsch&Heyse foundry in Hamburg), Apricot (2005; based on A.R. Bosco's Romany for ATF, 1934, but a major extension with many ligatures), Heathen (2005), Cougar (2004, a digital version of Martin Wilke's 1968 handwriting typeface Konzept), Puma (2004, brush typeface based on Herbert Thannhaeuser's 1954 Kurier), Big Brush (brush), Diva (connected script), Odette (a high ascender display typeface after the Morris Fuller Benton 1918 American classic, Announcement Roman), Crucifix (2004, a severe octagonal face), Fore (2004, a bullethole face), Formula, Gamer (2004), Formula (2004), Kofi, Platoon (2004, a stencil face), Verso (2004), Secret Scrypt (2004, a handwriting face), Bluebeard (2004, blackletter by Patrick Griffin), Bolero (2004), Janice (2004, psychedelic), Jimi (2004, also psychedelic), Scroll (2004), Dominique (2004, upright script), Moxie (2004, a fat display family which includes a stencil), StockA (2004), StockB (2004, a fat stencil face), Stalker (2004, a destructionist face), Scroll (2004), Jonah (2005, a hippie typeface based on an early 1970s film type from Franklin Photolettering called Urban). MyFonts page. Phil Rutter and Patrick Griffin made Coffee Script (2004), the digital version of R. Middleton's Wave design for the Ludlow foundry, circa 1962. Phil Rutter and Rebecca Alaccari designed Almanac (2004), a script typeface based on Imre Reiner's London Script (1957) (and Rebecca did a subsequent redigitization in 2007 that led to Reiner Hand), Tiger Script (2004, based on Georg Trump's wild brush script Jaguar done in 1967 for C. E. Weber), and Ali Baba (2004), an Arabic simulation typeface originally designed by Georg Trump as Palomba (1955, C.E. Weber foundry). Patrick Griffin made Leather (2005, after Imre Reiner's 1933 blackletter face), Secret Scrypt (2005), Skullbats (2005), Slang (2004, a blood scratch face), Bluebeard (2004), Expo (2004, an octagonal family), and Dancebats (2004). Simone Wilkie designed Boyscout (2004) after the handwriting of her son. Helmut Matheis' Contact (1963, flowing script/brush) was digitized by Rebecca in 2004 as Bruschetta. Rebecca also made Steiner Special (2007, a revival of Swing, a film type by Peter Steiner, 1974), Genesis (2007, a digitization and extension of Grayda, a 1939 calligraphic script of Frank H. Riley at ATF), Evolver (2006, futuristic family), Redwood (2007, a calligraphic script based on Willard T. Sniffin's Raleigh Cursive (1929, ATF)), Orotund (2005, after the 1970s typeface Eight Ball; this was extended again in 2006 in her art nouveau typeface Huckleberry, which is a revival of the 1973 typeface of Gustav Jaeger called Mark Twain), Pendulum (2005, a fantastic flowing script based on Nebiolo's Americana, 1945), Jojo (2005, a flower child typeface after Spring, by Bernard Jacquet), Mascara (2004), Gala (2004, after Neon (1935, Giulio da Milano at Nebiolo)) and Bella Donna (2004, after a script made by Alessandro Butti in 1948, called Rondine).

Typefaces made in 2005: Jazz Gothic (Patrick Griffin), Showboat, Hunter (a revival of Imre Reiner's brush script Mustang, 1956), Quanta (stencil), Quiller (a script typeface based on J.J. Sierke's 1964 typeface Privat), Rhino (revival of Mobil, a 1960 typeface by Helmut Matheis for Ludwig&Mayer), Dominique (donated to FontAid), Secret Scrypt (donated to FontAid), Jackpot (2005, Western typeface remotely based on Cooper Playbill which in turn is related to Cooper Black, but it also has hippy 1968 influences), Sincerely (handwriting typeface based on Karlgeorg Hoefer's 1968 Elegance), Fontella (a digitization of Novarese's calligraphic script Elite), Boondock (digitization of Imre Reiner's Bazaar from 1956), Gumball (digitization of Papageno, a 1958 bubblegum font by Richard Weber for Bauer), Runway, Gamer, Dominique (OpenType handwriting face), Sterling Script (2005, by Alaccari and Griffin: a 7-weight digitization and extension of Stephenson Blake's 1952 clean copperplate script Youthline Script), Vox (2007, a 24-style monoline sans family done with Patrick Griffin), Vox Round (2013, a softer version), Swan Song (2006: a calligraphic typeface based on the hand of Alexander Nesbitt. A later document states that it is based on work by British artist Rachel Yallop from 1986), Evolver (2006, a 9-style futuristic family), Ambassador Script (2007, an Alaccari-Griffin revival of the angle-reduced calligraphic script Juliet by Nebiolo, 1955).

In 2005, Philip Bouwsma joined Canada Type, and designed a great calligraphic blackletter-inspired family, Torquemada. He designed many other typefaces for Canada Type in subsequent years.

VIP (2007, Rebeca Alaccari) is a humanist sans serif uppercase (and figures) combined with a freshly redrawn revival of the classic VGC Constanze initials originally designed by Harry Brodjian in 1970, and even further back, the Constanze Initials by Joachim Romann (1954-1956, Stempel). Chopper (2007, by Rebecca Alaccari) is a revival of Venture (a 1972 typeface for VGC by Harry Villhardt). Walter (2007, Rebecca Alaccari) is a digitization of Heritage (1952, ATF, a calligraphic script by Walter H. McKay). Celebrity (2007, Rebecca Alaccari) revives and extends the retro/techno typeface Latus (Willy Wirtz, 1971). Sympathique (2008, Alaccari) is an ultra-thin and ultra-tall typeface in the mold of Bernhard Fashion and other era poster or film typefaces (they say that it is rooted in the film typefaces Hairstreak and Mossman). Mullen Hand (2008) is a revival of Repro Script (1953, Jerry Mullen, ATF).

Filmotype Giant (2011, a condensed sans) and its italic counterpart, Filmotype Escort (2011) were both co-designed with Patrick Griffin.

In 2020, they released the variable informal sans typeface Bananas: Bananas was sourced from multiple American film era faces, all from 1950s and 1960s, when the casual sans genre was at its popular peak. Headliners' Catalina and its very similar cousin, Letter Graphics' Carmel, served as initial study points.

Catalog of its typefaces.

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

Cannibal Fonts
[Panos Haratzopoulos]

Greek commercial foundry specializing in Greek fonts, founded in 1995 by Yiannis Kouroudis (b. 1962) and Panagiotes (Panos) Haratzopoulos (b. 1967). Regulars include Y. Kouroudis, T. Katsoulidis, D. Arvanitis, H. Charalambous and A. Bakas. Some fonts are Greek extensions of the major Western fonts (such as the fonts from Emigre, Berthold Types, FontShop, Commercial Type, Font Bureau, House Industries).

Original fonts include CF2 Allegro, CF2 Ancient Symposium, CF2 Anteus, CF2 Baby, CF2 Bac, CF2 Bar, CF2 Big, CF2 Bizzare, CF2 BlastGothic, CF2 Bloco, CF2 Compacta Greek, CF2 Criton, CF2 Daphne, CF2 Darkroom, CF2 Deconstruction, CF2 Demo, CF2 Derrida, CF2 DiscoVolante, CF2 DogEatDog, CF Dromon (2014-2015: a revival of the Greek traffic signage font that in turn was initially designed and adopted by the Ministry of Public Works in 1974 based on an adaptation of the British model designed by Jock Kinneir and Margaret Calvert in the 1960s), CF2 Eteocles, CF2 Fat, CF2 Garamond Greek, CF2 Holly, CF2 HotMetal, CF2 Initials, CF Klak (designed by Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos, based on Greek movie posters from the 40s, 50s and 60s), CF2 KouroudisGraffiti, CF2 KouroudisSelect, CF2 Leda, CF2 Leftism, CF2 Liar, CF2 Marker, CF2 Matrix, CF2 Milk, CF2 Nervoso, CF2 Newspaper, CF2 Note, CF2 Painter, CF2 Poster, CF Salamis (designed by Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos), CF2 Sans, CF2 Semplice, CF2 Smooth, CF2 Sophia, CF2 Stamp, CF2 Stencil, CF2 Stonepen, CF2 Suprematica, CF2 Twins, CF2 Type, CF2 Undo, CF2 Urania, CF2 Venus, CF2 Vivace, CF2 X-Ray, Rotis Semi, Perpetua Hellenic, Serif Hellenic, Bolt Hellenic, Conduit Hellenic, Franklin Gothic Hellenic, Gill Sans Hellenic, Goudy Hellenic, Kabel Hellenic, Legacy Sans Hellenic, Meta FF Greek, Officina Hellenic, Perpetua Hellenic, Rotis Hellenic and Stone Sans Hellenic.

The designers include Demetres Arbanites (b. 1948), Yiannis Karlopoulos (b. 1967), Takis Katsoulides (designer of the Byzantian typeface Genesis Polytonic), Yiannis Kouroudis (b. 1962), Paris Koutsikos (b. 1967), Aggelos Mitakas (b. 1954), Vladimir Radibratovic (b. 1962, educated in Belgrade), Konstantinos Spaliaras (b. 1971), Blases Foteinos (b. 1968), Ektor Haralamitous (b. 1945), Panagiotes (Panos) Haratzopoulos (b. 1967).

Haratzopoulos and Bilak (Typotheque) made Fedra Serif Greek (2003). Their news page is handy.

New releases in 2005: Autokratorika, DIN Greek, Fedra Sans, Fedra Serif A Greek, Fedra Serif B Greek, Joanna Hellenic, Meta FF Greek, Perpetua Hellenic, Rotis Sans Hellenic, Rotis Serif/SemiSerif Hellenic, Zine FF Sans Display Greek, Zine FF Serif Display Greek.

Panos Haratzopoulos is the main contributor to Cannibal. Designer of Greek versions of FontFont fonts (e.g., Instant Types Greek, Isonorm Greek, and Meta 1 Greek), House Industries (Chalet Greek and Neutraface Condensed Greek in 2010, Neutra in 2007), Garagefonts (Freight Display and Big, in 2007), Typetrust (Kari in 2007), Monotype (Davison American Greek in 2007-2008), Commercial Type (2011, Stag Greek and Stag Sans Greek), Lineto (2011, Gravur Condensed), Font Bureau (Sloop Greek in 2008, Heroun Sans in 2007 [for Men's Health Magazine], Griffith Gothic (in 2005), Berthold Types (in 2005-2006: Block, Bodoni Old Face, Akzidenz-Grotesk, Formata and Imago), Typotheque (in 2003: Fedra Serif Greek, done with Peter Bilak), Emigre (Template Gothic, 2003, Keedy (2003), Cholla (2003), Arbitrary (2003) and Mason (2003)).

Custom fonts include Dimokratia (2010, for the Dimokratia daily), Wunderman Pencil (2011, for Wunderman AE), FF Unit Slab Greek (2009, by Panos for the Metro newspaper), Le Corbusier Greek (2009, based on a Nico Schweizer font, for Homme Magazine), Farnham Greek (by Panos for Eleftheros Typos based on FB Farnham by Christian Schwarz). Panos made three versions of Gotham Greek between 2004 and 2007 for different newspapers, Macedonia, Eleftheros and Domino. Panos and Yiannis Karlopoulos did custom work for Maxim Magazine in 2005, producing Proteus Project (originally a HFJ font) and Griffith Gothic Greek. Irene Vlachou and Panos created Amplitude and Franklin Antiqua Greek for AutoBild in 2007, and Esquire and Crank Greek for Esquire in 2004.

Corporate fonts include a Greek version of Neoritmo (Claudio Piccinini) for the titles of the Benaki Museum's new website, Yamaha Hellas (a Greek version of Yamaha Koolhoven, 2001), Ballisage Greek (2007, Irene Vlachou, for Leroy Merlin), Tartine Script Greek (2005, by panos for Uphill/Nestea), Urania Sato (2007, based on CF Urania), FNAC Greek (2008, based on the FNAC chain font by Olivier Nineuil originally done in 2005).

The font Gill Sans Hellenic (2000) was chosen for the corporate identity of the Olympic Games of Athens in 2004. The Greek version was designed by Hector Charalambous and was art directed by Panayiotis Haratzopoulos after permission for hellenization was given by Monotype. The font is available from Greek Digital Types.

In 2013, John Karlopoulos, Vassilis Georgiou, and Panos Haratzopoulos co-designed the signage typeface CF Majestic (2013).

In 2014, Cannibal published Genesis. In 2015, they added the Greek script font Red Script. In 2016, Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos co-designed the calligraphic script typeface CF Ariston and the connected script typeface CF Astir. In 2017, Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos co-designed the Greek brush script typeface CF Splendid (with two substyles, Serano and Special).

In 2021, Haratzopoulos released CF Modern Grotesk at Fonts.Gr. This almost monolinear sans attempts to be neutral in the Helvetica and Univers genre. It include variable fonts.

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

Carlos Campos
[Cuchi qué tipo]

[MyFonts] [More]  ⦿

Caroline Herr

German designer who studied communication design in 2013. In 2020, she released Lina Serif, a five-style hybrid of antiqua and didone (and a variable font). [Google] [MyFonts] [More]  ⦿

Caron Twice
[Martin Cincar]

Martin Cincar (Prague, Czechia) designed these typefaces:

• The sans typeface Atwic (2019).
• The large typeface family Copperplate New (2019), which is modeled after Frederic Goudy's Copperplate Gothic (1901-1904).
• The 4-style sans typeface Susie (2021). This was inspired by Susan Kare's 1984 Apple system font Chicago.
• Calligraphic Afera Beauty (2021). A sharp display serif; the name calligraphic refers perhaps to some terminals. Two variable fonts are available as well.
• Little Micro Sans (2021). A sans with contrast).
• Pixel Grid (2021). A dot matrix superfamily with 220 styles.
• Sans Atwic Modern (2021). A 19-style sans.
• Wild Title Sans (2021). An experimental sans in 11 styles.

Céline Odermatt

Graduate of the Type Media program at KABK in Den Haag, The Netherlands, class of 2019. Her graduation typeface, Coat, is a fashionable distinguished sans with subtle flaring. The Roman and Italic live in tetrahedron design spaces, each with four masters spanning three axes (weight, contrast and angle). The result is a variable font that offers a wide range of styles. Before Type and Media, she completed her BA in Graphic Design in Luzern. She works as a graphic designer in Switzerland, where she designs typefaces (independently, and for Lineto), magazines and identities. [Google] [More]  ⦿

Christian Gruber

Graphic designer who studied and now works in Münchberg, Germany. His typefaces:

• The sans typeface family Tabularasa (2019). Followed by Tabularasa Neue (2019) and enhanced by a variable font.
• Baghira (2021). An 8-style text typeface with square tittles and angry serifs, with sharp teeth, by Christian Gruber and Moritz Kleinsorge. Baghira at I Love Typography.
• Karlsbader Grotesk (2021). Inspired by the Swiss/International style.
• Autre Display (2022). A two-axis variable typeface that offers full control over its serifs and oblique angle.

Type Department link. [Google] [MyFonts] [More]  ⦿

Christian Jansky
[Kometa]

[More]  ⦿

Christoph Koeberlin
[Sportsfonts]

[MyFonts] [More]  ⦿

Cinketype
[Tibor Szikora]

Tibor Szikora is a Budapest, Hungary-based type designer specializing in custom typefaces and lettering. He runs Cinketype. His typefaces:

• Kass (2021). An informal typeface that was based on the handwriting and etchings of Hungarian illustrator Janos Kass.
• Crow Script (2021). A display typeface with calligraphic Dr. Caligari-style roots.
• Margaret Neue (2021). Inspired by Zoltán Nagy's Margaret from 1963.
• Szikora Sans (2021). A humanist sans.
• Luttor Variable (2020): This type family was inspired by the prim, but quirky, familiar, but often surprising letterforms of Ignac Luttor's writing system, the so-called Zsinoriras', from the late 1930's Hungary. The main source of inspiration was the first figure in the booklet "A Luttor-fele uj irasmod" [1936], where he compares the three levels of his writing system, from an unconnected, printed style to a connected, cursive hand.
• Cinke Sans (2021). A workhorse sans used on his own web site.

Future Fonts link. [Google] [More]  ⦿

C.J. Dunn
[CJ Type]

[More]  ⦿

CJ Type
[C.J. Dunn]

C.J. Dunn has a background in graphic design and typeface design, and studied under Ed Benguiat at The School of Visual Arts in New York. He worked on typefaces for Font Bureau, and continued his relationship with the Berlows at Type Network. He is a graduate of Type@Cooper, a postgraduate certificate program in typeface design, where he also assisted Sumner Stone & Sara Solskone in teaching typeface design. He started TypeNY.com to keep track of type related events in New York City. In 2016, he launched CJ Type. Some time later, CJ Type started selling their typefaces via Type Network.

In 2017, he released the stunning 2-axis variable font Dunbar and writes: Dunbar is an exuberant geometric sans with a unique structure, including Tall and Low display versions for large sizes and a Text version for smaller sizes. Inspired by Jakob Erbar's Erbar-Grotesk, it is not a strict revival but interprets the design for contemporary applications, rediscovering some of Erbar's innovative ideas of alternate letterforms and proportions. Dunbar comes in large and small x-heights, Dunbar Tall and Dunbar Low.

His other major typeface is Louvette (2017), a typeface with four optical sizes (Banner, Display, Text, Deck) and five weights. He explains: Louvette is a sharp, stylish, modern serif including a range of optical sizes from Banner to Text. The design of Louvette is optimized to maintain thin, elegant hairlines at a wide range of sizes. Ideal for publications and cultural institutions, exhibitions and fashion. The design process for Louvette started during Type at Cooper in 2010, under the guidance of Jesse Ragan, with an interest in reviving ATF Louvaine by Morris Fuller Benton for contemporary usage. After some helpful feedback from Christian Schwartz, the project soon evolved away from the source material to include a large optical size version with ultra thin hairlines, and to expand the weight into the fatface range of designs such as Ultra Bodoni, also by M. F. Benton. Further research into the italics led to sources such as Doppel Tertia Cursiv from J. F. Unger, Berlin, and the small heavy sizes drew inspiration from Compacte Romain by Enschedé, Haarlem.

Typefaces from 2021: Pennypacker (a contemporary take on the Neue Moderne Grotesk lineage of early grotesks).

Speaker at ATypI 2016 in Warsaw on A Proposal for a Common EULA. [Google] [More]  ⦿

Cláudio Rocha

Cofounder of Now Type, Cláudio Rocha is an Italian Brazilian illustrator and designer (b. 1957) who was first based in sao Paulo, then in Treviso, Italy, and currently in The Netherlands. Now Type is jointly run with his son Lucas Franco (b. 2001). He edited Tupigrafia, a magazine dedicated to typography and calligraphy in Brazil. Partner of Oficina Tipografica Sao Paulo. His typefaces include:

• ITC Gema (1998: a felt tip pen font) and ITC Underscript (1997, a grungy fat script).
• Cashew (2000-2020). Cashew is a rounded squarish sans serif font, originally created as a logotype for Tupigrafia magazine (2000). In its 2020 iteration, done together with Lucas Franco, it is a variable font with one axis, from Regular to Extended.
• Tenia.
• Viela Regular (Claudio Rocha & Lucas Franco, 2008-2019). A great thick-and-thin typeface.
• Unidin (sans display face).
• Rock Regular (slab face). Rock Titling (1998-2019).
• Old Future (a brush version of Futura).
• Chacal Pixel.
• Persplextiva (2001-2002, a bouncy hand-drawn 3d face done in the lettering style of Brazilian cartoonist Millor Fernandes).
• Liquid Stencil (1998-2000). A brush stencil.
• Feijoada Light.
• Akrylicz Grotesk (2002, brush/paint face).
• Sampa (1999-2019). An informal brush script.
• Genova (2008-2020). A reinterpretation of Paganini typeface, lauched by Nebiolo type foundry in 1928 for hand composition and developed by Alessandro Butti under the supervision of Raffaello Bertieri.
• Stampface (2006-2018, by Claudio Rocha and Lucas Franco). Based on a Headline Gothic metal type sample found in a reference book, which was designed by Morris Fuller Benton in 1936 for American Type Founders.
• Pieces Stencil (2016). Think piano key or Futura Stencil.
• Antonio Maria (2017): Antonio Maria, a font by Claudio Rocha and Lucas Franco, takes its shapes from the lettering found in the cover of Afixação Proibida (Display Prohibited), a book by the Portuguese poet Antonio Maria de Lisboa (1928-1953). In fact, Antonio Maria was the leader-writer of Afixação Proibida, a collective manifesto from 1949, that initiated the surrealist movement in Portugal. It is an inverted-contrast typeface with 150 ligatures and a large character set.
• Rudolf Antiqua and Rudolf Initials (2018). A faithful revival of Rudolf Koch's Koch Antiqua (1922). Followed by Rudolf Text (2017-2020, Lucas Franco and Claudio Rocha).
• Mefistofele. A revival in 2018 by Claudio Rocha and Lucas Franco of the modular stencil typeface Mefistofele (1930, Reggiani foundry).
• Rudolf Titling (Lucas Franco and Claudio Rocha), a typeface that won an award at Tipos Latinos 2018.
• Agora Titling Extra Light (2018).
• Pieces Stencil (2016-2019). Pieces is a piano key typeface built on a modular system with emphasis on diagonal endings.
• Moreira Serif (2019). A slab serif version of Morris Fuller Benton's art deco typeface Broadway (1927). In the 1930s, the Portuguese graphic artist Antonio Moreira Junior added serifs to Broadway's letterforms and marketed it under a new name. Moreira Serif revives that typeface.
• Scarpa Titling (2019, Claudio Rocha and Lucas Franco). An all caps typeface based on a nameplate found on the front door of a shoemaker in Treviso, Northern Italy.
• Anton (2020, by Claudio Rocha and Lucas Franco). An art deco typeface modeled after a Dutch deco type seen on the Anton Antonius Kurvers's cover of Wendingen in 1927.
• Esperanca Sans (2019). A Peignotian sans by Claudio Rocha & Lucas Franco.
• Jaguaribe (2020). In Unicase and Serif versions, by Claudio Rocha. A squarish sans and serif pair based on the of letterforms drawn by Brazilian artist Gil Duarte.
• Spinface (2020). An experimental turned letter font by Claudio Rocha and Lucas Franco.
• Werner (2020-2021). A revival of A.D. Werner's famous deco inline typeface Dubbeldik (1972).
• Densa (2020). Emulating 19th century wood types. Densa typeface was based on the Fantastic Voyage movie title in the 1966 poster
• Tegel (2020-2021). Tegel is a layer font that emulates the ceramic tile letters found on a school façade in Delft.
• Etna Futurist (2020, Claudio Rocha & Lucas Franco). Digital interpretation of Etna, a wood type produced by the Italian type foundry Xilografia Meneghello & Belluzzo, in the 1920s.
• Cassiano (2020). A super-fat octagonal typeface based on letters found on a book cover by the Brazilian artist Belmonte (1896-1947).
• Fortunato (2020). A digital interpretation of the lettering work done by the Italian Futurist genius Fortunato Depero (1892-1960) for advertising and editorial design. A pure Italian art deco typeface. The lowercases were developed from scratch.
• Jurriaan (2021). A square block typeface.
• Hendrik (2021, by Claudio Rocha & Lucas Franco). A revival of Simplex (Sjoerd Hendrik de Roos, 1937).
• Martin (Swing, Straight) (2020). A beatnik typeface based on the letters found in the jazz record albuns designed by David Stone Martin (1913-1992).
• Tesoura (2020). A paper-cut typeface.

He published the books "Projet Tipográfico" (Ed. Rosari), "Trajan e Franklin Gothic" (Ed. Rosari), and "Tipografia Comparada" (Ed. Rosari). Claudio now lives in Treviso, Italy, from where he launched the type magazine Tipoitalia in 2009.

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

Clothilde Bouan

In 2020, at The Type Department, Paul Coumoul, Clothilde Bouan and Antonin Bonnet published the display typeface Octane. It is a variable font with two axes, weight and width. Octane is a free font consisting of a total of 18 weights, but the free version consists in fact only of one variable font and it has no numbers. They explain that Octane was initially created to fit with any car designed by Pininfarina. [Google] [More]  ⦿

Coji Morishita
[M+ Fonts]

[More]  ⦿

Corey Hu

Machine learning engineer who studied at UC Berkeley.

Github link. Google Fonts link. In 2021, he published the sans family Urbanist at Google Fonts. Urbanist is a low-contrast, geometric sans-serif inspired by modernist typography and design. The project was launched by Corey Hu in 2020 with nine weights and accompanying italics. It also includes two variable fonts. [Google] [More]  ⦿

Cosimo Lorenzo Pancini

Born in Firenze in 1969. Cofounder with Francesco Canovaro and Debora Manetti of the Italian design firm in Firenze called Studio Kmzero. He co-designed some typefaces there such as Arsenale White (2009). In 2002, Pancini developed Targa, TargaMS and TargaMSHand (for comic books?), basing his design on the peculiar sans serif monospace typeface with slightly rounded corners and a geometric, condensed skeleton that Italy had been using for its license plates. In 2022, Francesco Canovaro redesigned this font into a versatile multi-weight typeface, Targa Pro, which includes Targa Pro Mono (which keeps the original monospace widths), Targa Pro Roman (with proportional widths), both in five weights plus italics, the handmade version Targa Hand, and Targa Pro Stencil.

The handwriting of Lord Byron led Pancini to develop the brush script typeface Byron (2013, Zetafonts).

MyFonts credits him with the rounded avant garde sans family Antipasto (2007), but elswhere we read that this typeface is made by Matteo di Iorio, so there is some confusion. It was extended in 2017 by Pancini as Antipasto Pro.

In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro co-designed Amazing Grotesk (+Ultra). He also designed the calm bold geometric rounded sans typeface Cocogoose (2014; replaced by Cocogoose Pro in 2017) and the stylish deco font Offensive Behaviour. Cocogoose Letterpress is free. Cocogoose is part of the Coco Gothic family, a collection of twelve typefaces each inspired by the fashion mood of every decade of last century, named after fashion icon Coco Chanel. Cocogoose is Coco Gothic for the 1940s. See also Coco Gothic Pro (2021).

In 2015, Pancini published the grand family Coco Gothic. This Latin / Greek / Cyrillic typeface family features a small x-height and sligghtly rounded corners to make the avant garde and geometric sans typefaces in vogue in the 1970s come alive again, ready for 21st century fashion magazines. It comes with substyles that recreate many moods, including art nouveau and arts and crafts (Cocotte), Italian propaganda style and Italian deco (Cocosignum), hipster style (CocoBikeR), or Bauhaus (Cocomat). Coco Gothic was initially developed as a corporate font for Lucca Comics & Games Festival 2013. The rounded geometric sans family Cocomat (by Cosimo Lorenzo Pancini, Deborah Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of Italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia. Updated in 2019 as Cocomat Pro.

Still in 2015, Cosimo and Zetafonts published the connected creamy baseball script Bulletto, the grungy handvetica Neue, and the calligraphic wedding typeface Hello Script. In 2015, at Zetafonts, Cosimo Lorenzo Pancini designed CocoBikeR (2015) to celebrate the hipster and bike cultures. CocoBikeR (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. In 2017, Pancini designed the 1930s Italian art deco typeface families Cocosignum Maiuscoletto and Cocosignum Corsivo Italico. In 2021, he published the 48-style (+variable) font family Coco Gothic Pro. This is a redrawn and expanded set of fonts: Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicita) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. [...] A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true typographic time machine, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties' minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century. There is also attention to Darkmode and there is coverage of Cyrillic and Greek.

Typefaces from 2016: Adlery (a curly brush script), Kitten (Fat, Swash, Swash Monoline, Slant, Bold: signage script family), Adlibitum (a blackletter typeface by Cosimo Lorenzo Pancini and Francesco Canovaro), Morbodoni (a display didone by Cosimo Lorenzo Pancini and Francesco Canovaro).

In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free. Still in 2016, Pancini designed Calligraphunk, an experimental typeface that mimicks polyrythmic calligraphy, by alternating two sets of lowercase letters to emulate handwriting.

In 2016, Cosimo Lorenzo Pancini, Matteo Chiti, Luca Chiti and Andrea Tartarelli co-designed the retro connected brush script font family Advertising Script, which is based on an example from Ross George's Speedball 1947 Textbook Manual.

Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima.

Amazing Grotesk (2016) is based on a logo designed by Francesco Canovaro.

Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita.

Hello Script and Hello Sans can be used for layering and coloring. The Christmas-themed version is Hello Christmas.

Pancini designed the 64-strong typeface family Body Grotesque and Body Text in 2017-2018, together with Andrea Tartarelli. It was conceived as a contemporary alternative to modernist super-families like Univers or Helvetica.

In 2017, Cosimo Lorenzo Pancini and Andrea Tartarelli co-designed the sans typeface family Kabrio, which gives users four different corner treatment options.

Anaphora (2018). Anaphora is a contemporary serif typeface designed by Francesco Canovaro (roman), Cosimo Lorenzo Pancini (italic) and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to heavy. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display size. Anaphora covers Latin, Greek and Cyrillic.

Canovaro's Arista served as a basis for the 29-style monolinear rounded sans typeface family Aristotelica (2018) by Cosimo Lorenzo Pancini and Andrea Tartarelli. See also Aristotelica Pro (2020).

In 2018, he designed the italics for Cosimo Lorenzo Pancini's Domotika typeface family. Between 2018 and 2021, Cosimo Lorenzo Pancini and Andrea Tartarelli developed the 8-weight humanist sans typeface Domotika for Latin, Cyrillic and Greek, further into the 18-style Domotika Pro (2021).

In 2018, he published Radcliffe, with Andrea Tartarelli, a Clarendon revival with Text and Casual subfamilies. Radcliffe (a Clarendon revival by Cosimo Lorenzo Pancini and Andrea Tartarelli), and added the layerable condensed Cocogoose Narrows to the Cocogoose family. Codec (2018) by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli is a geometric sans typeface family in which all terminal cuts are horiontal or vertical. See also Codec Pro (2019).

His Double Bass (2018) is a jazzy 4-style typeface family that pays tribute to Saul Bass's iconic hand lettering for Otto Preminger's The Man with the Golden Arm film title sequence and other movies, Bass's vibrating, almost brutal cut-out aestethics, and the cartoonish lettering and jazzy graphics of the fifties.

In 2018, he published the sharp wedge serif typeface Blacker to pay homage to the 1970s. In 2019, that was followed by Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli, who write: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs). Still in 2018, he designed the swooping polyrhythmic calligraphic typeface Calligraphunk.

In 2018, Cosimo Lorenzo Pancini and Andrea Tartarelli designed Holden, a very Latin cursive sans typeface with pointed brush aesthetics and fluid rhythmic lines.

In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic, the sans family Aquawax Pro, and the condensed rounded monoline techno sans typeface family Iconic.

In 2019, Cosimo Lorenzo Pancini, Andrea Tartarelli and Maria Chiara Fantini at Zetafonts published a slightly calligraphic Elzevir typeface, Lovelace.

In 2019, the lapidary typeface family Beatrix Antiqua (Francesco Canovaro) was reworked by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini into a 50-style type system called Monterchi that includes Text, Serif and Sans subfamilies. Monterchi is a custom font for an identity project for a famous fresco in Monterchi, developed under the art directorship of Riccardo Falcinelli.

Tarif (2019) is a typeface family inspired by the multicultural utopia of convivencia---the peaceful coexistence of Muslims, Christians and Jews in tenth century Andalusia that played an important role in bringing to Europe the classics of Greek philosophy, together with Muslim culture and aesthetics. It is a slab serif typeface with a humanist skeleton and inverted contrast, subtly mixing Latin zest, calligraphic details, extreme inktraps, and postmodern unorthodox reinvention of traditional grotesque letter shapes. The exuberant design, perfect for titling, logo and display use, is complemented by a wide range of seven weights allowing for solid editorial use and great readability in body text. Matching italics have been designed with the help of Maria Chiara Fantini and Cosimo Lorenzo Pancini, while Rania Azmi has collaborated on the design of the arabic version of Tarif, where the humanist shapes and inverted contrast of the Latin letters find a natural connection with modern arabic letterforms.

Late in 2019, Cosimo Lorenzo Pancini released the fun typeface family Hagrid at Zetafonts, which writes: Crypto-typography---the passion for unknown, weird and unusual character shapes---is a disease commonly affecting type designers. Cosimo Lorenzo Pancini has celebrated it in this typeface family, aptly named Hagrid after the half-blood giant with a passion for cryptozoology described by R. K. Rowling in her Harry Potter books. Extreme optical corrections, calligraphic counter-spaces, inverted contrast, over-the-top overshoots: all the inventions that abound in vernacular and experimental typography have been lovingly collected in this mongrel sans serif family, carefully balancing quirky solutions and solid grotesque design.

In 2020, Pancini released Stinger (2020, a 42-style reverse contrast family by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Maria Chiara Fantini) and Boring Sans (a typeface family designed along two variable axis: weight and weirdness). As part of the free font set Quarantype (2020), Cosimo Lorenzo Pancini designed Quarantype Embrace, Quarantype Hangout, Quarantype Hopscotch, Quarantype Joyride, Quarantype Sackrace, and Quarantype Uplift (with Maria Chiara Fantini).

In 2020, Cosimo Lorenzo Pancini and Mario De Libero revived Nebiolo's Carioli (1928) as Cairoli Classic and Cairoli Now at Italian Type / Zetafonts. They extended the original weight and width range and developing both a faithful Classic version and a Now variant. The Cairoli Classic family keeps the original low x-height range, very display-oriented, and normalizes the design while emphasizing the original peculiarities like the hook cuts in curved letters, the high-waisted uppercase R and the squared ovals of the letterforms. Cairoli Now is developed with an higher x-height, more suited for text and digital use, and adds to the original design deeper inktraps and round punctuation, while slightly correcting the curves for a more contemporary look. Cairoli Variable has a weight and width axis.

In 2020, Cosimo Lorenzo Pancini and Mariachiara Fantini---with the help of Solenn Bordeau---released Erotique at Zetafonts. Erotique evolved from Lovelace, an earlier Zetafonts typeface. Zetafonts describe this evil serif as follows: it challenges its romantic curves with the glitchy and fluid aestethic of transmodern neo-brutalist typography. Late in 2020, they added Erotique Sans, the sans version of Erotique, also designed by Cosimo Pancini and Maria Chiara Fantini.

Late in 2020, he co-designed the 46-style font family Eastman Grotesque together with Francesco Canovaro and Andrea Tartarelli. This monolinear sans with a tall x-height comprises an interesting Eastman Grotesque Alternate subfamily with daring and in-your-face glyphs. The typeface evolved from Zetafonts' earlier Bauhaus-inspired typeface Eastman (2020). Later fonts in this family include Eastman Condensed (2021, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli).

In 2020, Cosimo Pancini, Andrea Tartarelli and Mario De Libero drew the 60-style Cocogoose Pro Narrows family, which features many compressed typefaces as well as grungy letterpress versions.

Sunshine Pro (2020, Zetafonts) was designed by Cosimo Lorenzo Pancini and Solenn Bordeau expanding the original Sunshine design by Francesco Canovaro, part of the Quarantype collection (2020), which in turn was designed as a typeface for good vibes against Covid-19. Sunshine Pro is an experimental Clarendon-style font with variable contrast along the weight axis---contrast is reversed in light weight, minimized in the regular weight and peaks in the bold and heavy weights.

Coco Sharp (2021) is a 62-style sans feast, with two variable fonts with variable x-height, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli.

Co-designer of Heading Now (2021), a 160-strong titling font (+2 variable fonts) by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Mario De Libero that provides an enormous range of widths.

Keratine (2021, Cosimo Pancini, Andrea Tartarelli and Mario De Libero). A German expressionist typeface that exists in a space between these two traditions, mixing the proportions of humanistic typefaces with the strong slabs and fractured handwriting of blackletter calligraphy. Pancini, its main designer, writes that it explores the impossible territory between antiqua and blackletter.

Geppetto (2021) is a frivolous Tuscan font that started out as a revival of a condensed Tuscan wood type family appearing in the 1903 Tubbs Wood Type catalog and which was probably derived from an 1859 typeface by William Hamilton Page. Pancini built a variable font on top of it and calls it a font for fake news.

In 2021, Pancini added Coco Tardis as a variable font with a time travel slider to the Coco Gothic family.

Millard Grotesque (2021) is a true "grot" in the Akzidenz Grotesque sense of the word. This typeface family was designed by Cosimo Lorenzo Pancini and Andrea Tartarelli.

Pancini's Descript (2021) is a variable script font with two axes, slant and speed of writing.

Milligram (2021) is a very tightly set grot by Cosimo Pancini and Andrea Tartarelli. [Google] [MyFonts] [More]  ⦿

CoType Foundry

CoType is the London-based type foundry of Mark Bloom and Joe Leadbeater, est. 2019. Their typefaces include

• Aeonik and Aeonik Pro (2018). A 14-weight sans typeface family by Joe Leadbeater and Mark Bloom. Aeonik supports Latin, Greek and Cyrillic, and is accompanied by a variable font. Followed in 2022 by Aeonik Mono and Aeonik Fono.
• Altform (2021). A low contrast sans family by Mark Bloom. Designed by mixing geometric and grotesque elements, it has many weights and is accompanied by a two-axis (weight, italic tilt) variable font.
• Ambit (2019). A sans by Mark Bloom: Ambit is an eccentric and unique sans serif font inspired by early grotesques, but adapted for the 21st century. It is characterized by the misbehaving curly lower case f and r glyphs.
• Coanda (2019). A techno typeface by Mark Bloom, who writes: Coanda: an ideology of the future, crafted from the past. Coanda honours the ambitious outlook of 20th century designers Wim Crouwel and Mimmo Castellano, and pays respect to the meticulous detail crafted by The Designers Republic.
• Orbikular (2020). A 5-weight modern typeface by Mark Bloom.
• RM Neue (2019). A sans by Mark Bloom. The first iteration of RM was released in 2011, followed by RM Pro in 2016. RM Neue is a completely redrawn and redesigned adaptation of RM Pro, previously available in only three weights. Bloom writes: Inspired by utilitarian neo-grotesques, RM Neue aims to be a timeless addition to each designer's font repertoire and has been designed to be clean and legible at all sizes.
• Betatron (2021). Sci-fi.
• Scandium (2021). a 14-style sans: Scandium is a contemporary sans with open shapes and a technical vibe inspired by the needs of the automotive industry---openness, performance, and style. With its modestly squared curves, high x-height, and vertical terminals, Scandium marries performance with purpose. It includes many icons and some emojis.

Craceltype
[Joao Cracel]

Type design studio in Lisbon, Portugal, founded in 2018 by type designer Joao Cracel. In 2019, Craceltype published the 18-style humanist sans typeface families Jano Sans Pro and Jano Sans Std. In 2020, they added Jano Round.

Typefaces from 2021: Lydia Sans (a 24-style Latin / Greek / Cyrillic geometric sans in the Futura orbit; with two variable fonts).

Amika (2020) is a 22-style low contrast tectonic sans typeface family. [Google] [MyFonts] [More]  ⦿

Craig Eliason
[Teeline Fonts]

[MyFonts] [More]  ⦿

Creative Media Lab
[Kadek Adi Mahardika]

Bali, Indonesia-based designer (b. 1983) of Baruna (2018: vintage decorative font), Brotherley (2018), the hilarious Chef Characters Icons (2018), the sans typeface Drupadi (2018), the ball terminal typeface Cameo Sweet Gothic (2018), the handcrafted typefaces Miyake Signature (2018), Kiddo Handwriting (2018), Puralova Script (2018) and Children Alien (2018).

Typefaces from 2019: Jollin, Jollin Family, Popstick (an ultra-smooth popart style rounded sans), Yellost (blackletter), Chalk and Pamor, Little Pea, Tropiello (Tuscan, Victorian), Pink Shark, Molga, Othelie (swashy and medieval), Brume, Little Pea, Kuashe (monoline), Lordish (blackletter), Blue Angel, Black Cameo (spurred), Puralova, Milova (a great calligraphic typeface).

Typefaces from 2020: Zolina (a decorative sans, with a variable font added), Black Mango (a chic 10-style display sans with some flared stems; +a variable font), Mesdag, Prettywise (a decorative serif), Loubag (an elegant short-ascender vintage display typeface in ten styles), Kooka (a variable width stylish exaggerated wedge serif family), Belle Story (a high contrast display serif), Losta Masta (a decorative serif), Matterdi (a fashion mag family with an extremely large x-height), Popstone (psychedelic, with a variable font), Carpellon (a tattoo font), Dorris (a swirly psychedelic font), Losta Masta, Mavera (a modular display font), Rajjah Famillia (a blackletter), Allaina (a Victorian serif), Kaoly (a stylish bold serif), Cattedrale (blackletter).

Typefaces from 2021: Losta Bonita (psychedelic), Black Mango (Kadek Mahardika) (display sans), Naskle (psychedelic), Reggy (psychedelic), Losta Frida (a curvy display serif), Parka (a decorative saber-edged stencil typeface in nine styles), Missy Voya (a decorative serif), Greyst (a fashion mag display typeface), Skinny Joe (revisiting the bell bottom 1980s in a wonderful wide display family), Morgy (intestinal), Magrit (an ultra-fat high-contrast display typeface), Pretty Boy (a decorative serif family), Catavalo (a 6-style fashion mag typeface), Voire (a swirly lachrymal serif family consisting of 18 fonts), Viva Kaiva (an intestinal and perhaps psychedelic typeface), Pink Crestelle (a ten style display typeface, and a variable font), Benoa (a 7-style decorative serif).

Typefaces from 2022: Losta Nova (11 styles), Mango Style (10 styles; a stylish wide display sans with straight terminal endings: +a variable font), Cobya (a variable fashion mag family in 28 styles, influenced by ocean waves and liquids), Missy Voya (a stylish display serif), Losta Nova. [Google] [MyFonts] [More]  ⦿

Cristi Bordeianu

Iasi, Romania-based designer of the great mischievous retro sans typeface family Brightwell (2018), co-designed with Tudor Munteanu, with whom she runs Namogo. In 2018, Tudor Munteanu and Cristi Bordeianu co-designed the all-caps sans typeface Jaques. In 2018, Cris published the grotesque sans family Kentledge.

In 2021, Cristi Bordeianu and Andrei Robu co-designed Champ, a starkly incised display typeface family ranging from fashionable ultra-heavy to a flared thin. It includes a variable font as well. [Google] [MyFonts] [More]  ⦿

Cristóbal Henestrosa
[Estudio CH]

[MyFonts] [More]  ⦿

CSS Tricks

A great article by Ollie Williams that explains how we should use variable Opentype fonts on web sites. [Google] [More]  ⦿

Cuchi qué tipo
[Carlos Campos]

Graphic and type designer based in Jaén, Andalusia. Carlos investigates street signs and traditional lettersigns in his city for a university project called Rótulos chuléricos de Jaén. His web site, Cuchi qué tipo, is both a blog on type design (in Spanish) and a showcase for his own typefaces. His type designs:

• Berganza (2021). A text typeface that tries to revive the humanist and renaissance types in use during Spain's siglo de oro (Golden Age) from roughly 1492 until 1681.
• Guau (2020). A 20-style angular wedge serif text typeface and a variable font with three axes (italic, weight and width).
• Chavea (2020). A school script typeface.
• Perra and Despeñaperra (2019). Borrowing from the fat face genre.
• Gajorra (2019). Glyphs shaped like the gajorros dessert from Cabra.
• Escuela (2021). A 30-style grotesk.

Dalton Maag
[Bruno Maag]

Swiss designer Bruno Maag (b. Zürich) founded Dalton Maag in 1991, and set up shop in Brixton, South London. He serves the corporate market with innovative type designs, but also has a retail font line. Ex-Monotype designer Ron Carpenter designs type for the foundry. In the past, type designers Veronika Burian worked for Dalton Maag. A graduate of the Basel School of Design, who worked at Stempel and was invitedd by Rene Kerfante to Join Monotype to start up a custom type department. After that, he set up Dalton Maag with his wife Liz Dalton. He has built the company into a 40-employee enterprise with offices in London, Boston, Brazil (where the main type designer is Fabio Luiz Haag), Vienna and Hong Kong.

The Dalton Maag team designed these commercial fonts:

• Airbnb Cereal (2018). A sans typeface commissioned by Airbnb. Dalton Maag describes it as playful, open and simple.
• Aktiv Grotesk (2010). Published as an alternative to Helvetica, a typeface Bruno hates with a passion. It also covers Chinese, Japanese and Korean. In 2020, it became a 3-axis (weight, width, italic) variable font.
• Aller Typo.
• Almaq.
• Blenny (2014). A fat face didone by Spike Spondike.
• Bligh (2015). A three-weight sans family.
• Co (2007): a rounded monoline minimalist sans co-designed by Bruno Maag and Ron Carpenter.
• Cordale: a text family.
• Dedica (2007): a didone face.
• Effra and Effra Italic (2007-2009): sans family by Jonas Schudel and Fabio Luiz Haag. Followed in 2013 by Effra Corp.
• Elevon (2012). By Bruno Maag and Marconi Lima.
• Fargo (2004): a humanist sans in 6 weights.
• Foco. A sans family.
• Grueber (2008): a slab serif.
• InterFace (2007): an extensive sans family; one weight is free (2001). See also InterFace Corporate (2007).
• Kings Caslon (2007). By Marc Weymann and Ron Carpenter.
• Lexia (1999, Ron Carpenter and Dalton Maag): a slab serif family (Dalton Maag mentions the date as 2007). In 2019, Dalton Maag added Lexia Mono.
• Magpie (2008). A serifed family by Vincent Connare for Dalton Maag.
• Objektiv.
• Oscine (2014, by Bruno Maag, Ron Carpenter, Fernando Caro and Rafael Saraiva). A rounded organic sans typeface.
• Pan (1996). A text family at 1500 US dollars per style.
• Plume (2004): a display typeface inspired by calligraphy, co-designed with Ron Carpenter.
• Prometo. An organic stressed sans.
• Royalty (1999, +Royalty Obese, 2007): a stunning art deco display family.
• Scope One (2015). A free Google Font. It has a single light weight, whose slab serifs make it useful for headlines.
• Setimo (2015). By Fernando Caro. A distinguished sans.
• Soleto (2014, a simple sans by Bruno Mello, Fabio Haag, Fernando Caro, Rafael Saraiva and Ron Carpenter). Soleto won an award at Tipos Latinos 2014.
• Southampton.
• Sparkasse Serif (2003-2005). A custom typeface.
• Stroudley (2007): a sturdy large counter condensed sans by Bruno Maag, Ron Carpenter and Veronika Burian.
• Tephra (2008): a collaboration with Hamish Muir. This is an experimental multi-layered LED-inspired family.
• Tondo (2007, at Dalton Maag): a rounded information design sans family designed by Veronika Burian for Dalton Maag.
• Tornac (2013). A casual script.
• Ubuntu (2010): this is a team effort---a set of four styles of a free font called Ubuntu. This font supports the Indian rupee symbol. Some work for the Ubuntu Font Family was done by Rodrigo Rivas Costa in 2010. Download via Fontspace.
• Verveine (2009). A casual script by Luce Averous.
• Viato. A simple sans family co-designed by Bruno Maag and Ron Carpenter in 2007. This tapered terminal sans family includes Viato Corp (2007) and Viato Hebrew (2013).

Fonts sold at Fontworks, and through the Bitstream Type Odyssey CD (2001). At the ATypI in 2001 in Copenhagen, he stunned the audience by announcing that he would never again make fonts for the general public. From now on, he would just do custom fonts out of his office in London. And then he delighted us with the world premiere of two custom font families, one for BMW (BMWType, 2000, a softer version of Helvetica, with a more virile "a"; some fonts are called BMWHelvetica), and one for the BMW Mini in 2001 (called MINIType: this family comprises MINITypeRegular-Bold, MINITypeHeadline-Regular, MINITypeHeadline-Bold, MINITypeRegular-Regular).

Other custom typefaces: Tottenham Hotspur (2006), Teletext Signature (by Basten Greenhill Andrews and Dalton Maag), Skoda (Skoda Sans CE by Dalton Maag is based on Skoda Formata by Bernd Möllenstädt and MetaDesign London), UPC Digital, BT (for British Telecommunications), Coop Switzerland (for Coop Schweiz), eircom, Lambeth Council, Tesco (2002), PPP Healthcare, ThyssenKrup (Dalton Maag sold his soul to these notorious arms dealers; TK Type is the name of the house font), Co Headline (2006), Co Text (2006, now a commercial font), Telewest Broadband, Toyota Text and Display (2008), TUIType, HPSans (for Hewlett-Packard, 1997). His custom Vodafone family (sans) (2005) is based on InterFace. In 2011, Dalton Maag created Nokia Pure for Nokia's identity and cellphones, to replace Erik Spiekermann's Nokia Sans (2002). The Nokia Pure typeface has rounder letters, and is simultaneously more legible and more rhythmic.

In 2010, the Dalton Maag team consisted of Bruno Maag and David Marshall as managing and operations directors, and Vincent Connare as production manager. The type designers are Amélie Bonet, Ron Carpenter, Fabio Haag, Lukas Paltram and Malcolm Wooden.

In 2015, Kindle picked the custom serif font Bookerly by Dalton Maag for their typeface. Still in 2015, Dalton Maag custom designed the sans typeface family Amazon Ember for Amazon for use in its Kindle Oasis. Free download of both Amazon Ember and Bookerly.

Dalton Maag created the custom typeface family Facebook Sans in 2017.

Bressay (2016). Stuart Brown led the design and did the engineering for Bressay (design by Tom Foley, Sebastian Losch, and Spike Spondike, at Dalton Maag, London), which won an award at TDC 2016. Later additions include Bressay Arabic [designers not identified by Adobe] and Bressay Devanagari [designers not mentioned by Adobe].

ATT Aleck is a large custom typeface family designed in 2016.

Netflix Sans (2018): Netflix replaced Gotham to combat spiraling licensing costs and commissioned its own bespoke typeface: Netflix Sans under design lead Noah Nathan. Free download. The family include Netflix Sans Icon (2017). Comments by designers at The Daily Orange.

In 2018, Dalton Maag designed the custom typefaces Itau Display and Itau Text for Itau Unibanco, a large Brazilian bank.

In 2019, Dalton Maag produced a corporate typeface for Air Arabia.

Venn (2019, Bruno Maag). A 5 weight 5 width corporate branding sans typeface, with an option to get Venn Variable.

Typefaces from 2020: Dark Mode VF (a humanist sans designed specifically for digital user interfaces, offering subtle grade adjustments to counteract the effects of setting light type on a dark background, as is common with many dark mode digital reading environments; it has two axis in its variable type format---weight and dark mode), Highgate VF (a variable humanist sans inspired by traditional British stone carving), Goldman Sans (a free clean sans family that includes three variable fonts; Goldman Sachs lets you use it except to criticize the company or any other capitalist pigs).

Interview in 2012 in which he stresses that typefaces should above all be functional.

View the Dalton Maag typeface library. Speaker at ATypI 2016 in Warsaw and at ATypi 2015 in Sao Paulo, where he gave an electrifying talk on type design for dyslexics (with Alessia Nicotra). Speaker at ATypI 2016 in Warsaw. Speaker at ATypI 2017 Montreal and at ATypI 2018 in Antwerp.

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

Daniel Jones
[Type Union]

[MyFonts] [More]  ⦿

Daniel Perraudin

Daniel Perraudin (b. 1982) has worked with Uebele in Stuttgart, as a freelancer in Berlin, and since 2008 at the KMS team in München. Before that, he studied Information Design at Stuttgart Media University (Germany) and FH Joanneum Graz (Austria), where he graduated with distinction in 2007. He lives in Munich, Germany, and works as a designer in the areas of corporate design and typography. Founder and partner of Capitale Berlin/Vienna---a studio for branding, wayfinding systems and editorial design.

His first release, the extensive Parka family of sans typefaces, started as part of his graduation project and benefited from the support of type designers Günter Gerhard Lange and Georg Salden. The Parka family was extended to 12 styles in 2008 and 2009, and was published by Font Bureau in 2010.

Bergamo (2012) is a comprehensive angular book typeface.

He studied in the Typemedia program at KABK Den Haag, class of 2012. His graduation project there is a typeface called Dato (Sans, Serif). Dato Serif is slightly angular and reads well at small sizes.

In 2021, Fontwerk published his 18-style (+a variable font with weight and slope axes) family West, produced with the help of Andreas Frohloff and Christoph Koeberlin. Perraudin started development of the geometric sans West in 2013, and used it in the wayfinding system developed by Studio Gourdin and Capitale for Dresden's Gemäldegalerie Alte Meister. [Google] [MyFonts] [More]  ⦿

Daniel Quisek
[NC Type (or: Netvarec Typefaces)]

[More]  ⦿

Daniel Stuhlpfarrer

Berlin-based art director at Nulleins. Designer of the free squarish typeface Wean (2017). In 2019, he published the variable width display typefaces Innschbruck (sic) and Tschick, the experimental variable font Wabla, and the variable sans typeface Melange.

At Type Departent, he published the all caps sans family Kritik (2020). The first design of Kritik was specially made for an architecture magazine and developed further over time. Type Department link. [Google] [More]  ⦿

Danijel Poldrugac
[Milatype]

[MyFonts] [More]  ⦿

Daria Zorkina

Daria Zorkina is a calligrapher and graphic and type designer based in Moscow. She graduated from British Higher School of Art and Design in 2009 and took a type design course from Ilya Ruderman. In 2017-18 was an intern at CSTM fonts type foundry. A talented calligrapher, she published the wavy Latin / Cyrillic variable typeface Flicker in 2020 at Tomorrow Type. Flicker is ideal for advertizing diarrhea medication. At the other end of the variable font spectrum, we find a tall bold condensed movie credit sans.

In 2021, CSTM Fonts and Type Today released the 42-style sans family Loos (Latin, Cyrillic, Georgian), a typeface designed by Yury Ostromentsky, Ilya Ruderman, and Daria Zorkina. Advisers on Georgian included Alexander Sukiasov and Lasha Giorgadze. [Google] [More]  ⦿

Darkmode

Darkmode refers to white type on black background. It is generally understood that for white type on dark printed matter should be bolder (than its black on white counterpart), while white text on a black screen should be thinner as the screen spews white in the reader's direction. Dalton Maag, in its presentation of its Darkmode typeface family writes: There are well-known optical and psychological effects in design which result in text presented white-on-black being perceived as larger and bolder than the same text presented black-on-white. This presents a challenge for consistent visual hierarchy on different backgrounds, especially when designing for emissive displays.

Dalton Maag's Darkmode (2020-2021) is an adaptation of an earlier font by them, Stroudley, which was created for physical signage and wayfinding: Our [Dalton Maag's] aim for Darkmode was to translate Stroudley's fundamental characteristics of accessibility, readability, and legibility to on-screen reading, digital navigation, and electronic signage. Darkmode's open counters, tall x-height, humanist proportions, and clear and distinguishable characters all contribute to a comfortable reading experience, even at low resolutions or small sizes. The Darkmode family consists of eight static weights, ranging from Thin to Black, plus a variable font (VF) file, with both weight and darkmode [on/off] axes.

Additional references include

• A discussion of Darkmode by Nikolay Petroussenko, type designer at Fontfabric.
• A discussion of white-on-black typography at Typedrawers (2021). Some typophiles find the darkmode issue overrated (including Jasper de Waard and Scott-Martin Kosofsky), while others point to tools that may be readily available to automatically embolden or lighten weights (such as the Offset Curve filter in Glyphs (for designers), and CSS code snippets (for users and web site designers)). Peter Constable observes however that the weight axis does not do the exact same thing as Dalton Maag's "Darkmode" axis: weight affects advance widths; "Darkmode" does not. "Darkmode" is like what is often referred to as "grade": small adjustments in stroke weights to compensate for medium or context conditions that affect apparent weight without affecting advance widths.

David Berlow

David Berlow (b. Boston, 1955) entered the type industry in 1978 as a letter designer for the Mergenthaler, Linotype, Stempel, and Haas typefoundries. He joined the newly formed digital type supplier, Bitstream, Inc. in 1982. After Berlow left Bitstream in 1989, he founded The Font Bureau, Inc. with Roger Black. Font Bureau has developed more than 300 new and revised type designs for The Chicago Tribune, The Wall Street Journal, Entertainment Weekly, Newsweek, Esquire, Rolling Stone, Hewlett Packard and others, with OEM work for Apple Computer Inc. and Microsoft Corporation. The Font Bureau Retail Library consists mostly of original designs and now includes over 1,000 typefaces. In a video made for Mike Parker's TDC medal in 2011, Mike Parker says that David Berlow is the most talented type designer he ever met. David lives in Martha's Vineyard.

At ATypI 2004 in Prague, David spoke about Daily types. At ATypI 2009 in Mexico City, he spoke on The heart of my letter, (and the online version). Since that time he has been very active and vocal on the issue of high quality web fonts. Speaker at ATypI 2011 in Reykjavik and at ATypI 2014 in Barcelona.

David Berlow Type Specimens (free pdf). Another type specimen booklet. Interview by A List Apart in 2009. Speaker at ATypI 2010 in Dublin. FontShop link. www.typovideo.de/david-berlow. David Berlow on web fonts. Interview by The Boston Globe. His typefaces:

• Agency FB (1995). After Morris Fuller Benton's squarish typeface from 1932-1933 for American Typefounders.
• Amstelvar (2017). A variable (or parametric) font at Font Bureau. Contributors include David Berlow, Santiago Orozco, Alexandre Saumier Demers, and David Jonathan Ross. Open Font Library link, where one can download the font. Github link.
• Apres (2008, a sans with 40 styles). David Berlow and staff drew Apres as part of a series designed originally for the Palm Pre smart phone, for use both on the device and in print marketing. Simple, open letterforms and generous proportions provide a clear, comfortable, and inviting experience for navigation and readability.
• Belizio (1987-1988), a beautiful Clarendon-style slab serif modeled after the 1958 original slab serif by Aldo Novarese called Egizio Corsiva Nero. Claudio Piccinini would have liked Font Bureau to acknowledge Aldo Novarese's Egizio as the source of this family.
• Belucian (1990, by David Berlow and Kelly Ehrgott Milligan. Several weights exist, including Demi and Ultra.
• Berlin Sans (1997).
• Bureau Grotesque (1989). This 27-style family is now called Bureau Grot. Font Bureau's blurb: The current family was first developed by David Berlow in 1989 from original specimens of the grotesques released by Stephenson Blake in Sheffield. These met with immediate success at the Tribune Companies and Newsweek, who had commissioned custom versions at the behest of Roger Black. Further weights were designed by Berlow for the launches of Entertainment Weekly and the Madrid daily El Sol, bringing the total to twelve styles by 1993. Jill Pichotta, Christian Schwartz, and Richard Lipton expanded the styles further, at which point the family name was shortened to Bureau Grot.. Note: there is a custom version called M&C Saatchi Grotesque with truetype data created by dtpTypes in 1998.
• CalifornianFB.
• CheltenhamFB.
• Custer RE (2014), a typeface for small on screen use. The Font Bureau blurb: In 2009, a book from 1897 in the library of the University of Wisconsin caught David Berlow’s attention. It was set in a clear text face---a predecessor of Bookman---cast by the Western Type Foundry who called it Custer. Upon noting how well the typeface worked in point sizes of 6 and 7 points, Berlow developed it into a member of the Reading Edge series specifically designed for small text onscreen. Custer RE is a broad and approachable typeface drawn large on the body with a tall x-height to maximize its apparent size when set very small. The minimal stroke contrast and the hefty serifs let it stay exceptionally clear down to a font-size of 9px. Font Bureau.
• Decovar (2017). A variable font. Github link, where one can freely download the font family. See also Open Font Library.
• Desdemona (1992). An art nouveau face.
• Eagle (1889-1994). This art deco typeface Font Bureau Eagle was started in 1989 for Publish. David Berlow designed a lowercase, finished the character set, and in 1990 added Eagle Book for setting text. In 1994, Jonathan Corum added Eagle Light and Eagle Black to form a full series.
• Eldorado.
• Empire.
• Esperanto (1995).
• ITC Franklin Gothic (1991). In 2008, David Berlow added Condensed, Compressed and Extra Compressed widths to Vic Caruso's 1979 ITC Franklin interpretation (which had Light, Medium, Bold and Black), and Font Bureau sells a complete ITC Franklin now. In 2010, Berlow completed his definitive revision of ITC Franklin, a single new series of six weights in four widths for a total of 48 styles. Typeface review at Typographica.
• Giza (an Egyptian family.
• Hitech (1995).
• Juliana Text (2009), a rebirth of Sem Hartz's Juliana (1958, Linotype), a popular narrow legible paperback text face.
• Kis FB (2007): a revival of old style types by Nicholas Kis from ca. 1700.
• Letras Oldtsyle (1998). Letras Oldstyle was commissioned by Letras Libres, the reigning literary magazine published by Enrique Krauze in Mexico City. This garalde series was inspired by the earliest typefaces cut in the Americas in the early 1600s by printer Henrico Martinez. Proofs survive in the Biblioteca Nacional. Letras Oldstyle stands as the first typeface ever cut in the Americas, the root of American type design.
• Meyer Two (1994). Based on a 1926 type by L.B. Meyer.
• Millenium BT Bold Extended (1989, Bitstream). Also known by insiders as Starfleet Bold Extended, this font was used on federation starship hull markings until episode ten. MyFonts link.
• Moderno FB (1995): an exhibitionist didone in 32 styles, for Esquire Gentleman. In 1996 Berlow cut new styles with Richard Lipton for El Norte. In 1997, Roger Black ordered new weights for Tages Anzeiger. It grew further when the Baltimore Sun, with FB Ionic as text, was redesigned. The whole series was then revised for Louise Vincent, Montreal Gazette, with further styles added in 2005 for La Stampa. [It is my favorite type family at Font Bureau.]
• Momentum (2018). An in house variable font family for use on the Type Network web site.
• Nature (1995).
• Numskill (1990).
• Old Modern.
• Online Gothic (1995).
• Ornaments.
• Phaistos (1990-1991). A flared angular design done with Just van Rossum, and inspired by Rudolf Koch's Locarno.
• Poynter Agate.
• Reforma: Based on Giza.
• Rhode (1997).
• Roboto Flex (2017). A large free variable typeface family by David Berlow on commission for Google; based on Christian Robertson's original Roboto. Google Fonts link. Github link. Google redits Font Bureau, David Berlow, Santiago Orozco, Irene Vlachou, Ilya Ruderman, Yury Ostromentsky and Mikhail Strukov.
• Romeo.
• Scotch Roman (1993).
• Skia (1993, Apple). A Greek simulation sans, in the style of Twombly's Lithos, co-designed with Matthew Carter for Apple's QuickDraw GX project.
• Skyline.
• Titling Gothic FB (2005): Berlow spent 10 years developing FB Titling Gothic in seven weights of seven widths each for use as display and headline romans. It was inspired by the popular ATF Railroad Gothic and grew out of Berlow's own Rhode.
• Throhand: a classic family based on metal type found at the Plantin Moretus Museum in Antwerp.
• Truth FB (1995).
• Village.
• Vonness (2007): a newspaper sans family. Font Bureau: Vonness was designed by David Berlow working closely with Neville Brody on corporate redesign for Jim Von Ehre at Macromedia. Core weights are loosely based on Bauersche Giesserei's Venus, 1907-1910. Berlow expanded the ideas behind the series to 56 fonts.
• Yurnacular (1992, part of FUSE 4).
• Zenobia (1995).

View David Berlow's typefaces. Another catalog of David Berlow's fonts. Speaker at ATypI 2018 in Antwerp. [Google] [MyFonts] [More]  ⦿

David Brezina

Czech designer (b. Brno) who graduated with a Masters in Informatics at the Masaryk University in Brno in 2005, spent a term at the Denmark's Designskole in Copenhagen in 2004 and graduated with distinction from the MA in Typeface Design at the University of Reading in 2007, where he wrote a thesis on his typefaces called Skolar and Surat. Skolar won an award at Paratype K2009. It was designed with scholarly and multilingual publications in mind. See, e.g., Skolar Devanagari. Later David founded Rosetta Type.

From 2004 to 2007, he ran his own design studio DAVI, with projects in graphic, web and interface design. Back in Brno, he worked with Tiro Typeworks (Canada) as an associate designer. At ATypI 2008 in St. Petersburg, he spoke about multi-script typography.

His typefaces include

• CODAN (2005): a typeface inspired by the city of Copenhagen.
• Yunnan (2004): oriental simulation face. Discussion on typophile.
• Skolar and Surat (2008). Skolar was designed for multilingual scientific publications and is a serifed typeface in the Menhart tradition. It was published in 2009 by Type Together, and it is also listed by Rosetta Type. Skolar Basic (2009, Type Together) is the official name of this 6-style text family. Surat is an accompanying Gujarati family. Related to that, he wrote The evolution of the Gujarati typographic script (2007, University of Reading). Rosetta writes: Skolar was originally designed for academic publications: its vast character set caters for 90+ Latin-script languages, and its Greek and Cyrillic extensions together with Latin transliterations add support for another 70+ languages. All scripts are available with small caps, superior and inferior letters, five sets of numerals and alternate character forms (see note about the versions below). A comprehensive set of arrows (easily accessed via OpenType) and bullets round off the character set to meet the needs of even the most complex editorial and academic text settings. The light and extrabold styles (upright and italics) were designed with help from Anna Giedrys and Elena Schneider. Skolar's Cyrillic harmonises well with the Latin in its careful balance of distinctive styling and solid performance. Designed in consultation with Alexandra Korolkova, it supports most Slavic languages as well as many others like Kazakh and Mongolian. Additionally, Skolar includes language-specific forms for Serbian and Bulgarian. The Greek is a modern interpretation of the classic styles found in academic works, and is characterised by lively, fluid forms and varying stress. It includes both monotonic and polytonic Greek, and was designed in consultation with Irene Vlachou and Gerry Leonidas. Complete Skolar family also supports Indic scripts Devanagari (codesigned with Vaibhav Singh) and Gujarati distributed separately. Skolar has received international praise at the 2008 ED Awards, and was also shortlisted as one of the best typefaces that year by I LOVE TYPOGRAPHY. In 2009, the Cyrillic was awarded a Special Diploma at the international type design competition Modern Cyrillic, and won the first prize in Granshan's Cyrillic text type category. In 2015, the 72-font family Skolar Sans (see also, Skolar Sans PE, 2016), codeveloped by David Brezina and Slava Jevcinova at Rosetta Type Foundry, won a silver medal at the European Design awards. Skolar PE was added in 2020.
• Yrsa and Rasa (2015, open-source type families published by Rosetta with financial support from Google). The fonts support over 92 languages in Latin script and 2 languages in Gujarati script (Gujarati and Kachchi). The design and production are by Anna Giedrys and David Brezina. Yrsa is the name of the Latin-only type family. Rasa is the name of the Gujarati type family. They explain: Both type families are intended for continuous reading on the web (longer articles in online news, magazines, blogs). In Yrsa, a special consideration was given to Central and East European languages and proper shaping of their accents. Rasa supports a wide array of basic and compound syllables used in Gujarati. In terms of glyphs included Rasa is a superset of Yrsa, it includes the complete Latin. What makes Yrsa & Rasa project different is the design approach. It is a deliberate experiment in remixing existing typefaces to produce a new one. The Latin part is based on Merriweather by Eben Sorkin. The Gujarati is based on David Brezina's Skolar Gujarati.
• Adobe Gujarati (2012).
• In 2019, at Rosetta Type, together with Slava Jevcinova and William Montrose, he released the variable font Adapter (with three axes, for latin, Greek and Cyrillic).
• In 2020, he released Handjet (started in 2018, at Rosetta Type), which is built on the principle of a dot matrix printer or handjet printer. Glyphs are made up of collections of individual modules that take 23 elemental shapes. The Handjet family covers Armenian, Arabic, Cyrillic, Greek, Hebrew and Latin. Github download link.
• Gridlite (2020, Rosetta Type) is a modular pixel typeface with adjustable foreground and background patterning. It also has a variable type format with three axes, Weight, Background, and Element Shape.

Blog. Myfonts link. Klingspor link. Speaker at ATypI 2013 in Amsterdam on the topic of multilingual type design. [Google] [MyFonts] [More]  ⦿

David Jonathan Ross
[DJR Type]

[MyFonts] [More]  ⦿

David Suid

Type designer from Santiago, Chile, who created the neo-humanist sans typeface family Hartwell (2017, W Foundry). Hartwell comes in 18 weights from thin to heavy and features matching italics.

In 2018, he designed Armin Grotesk (W Foundry: it pays homage to Armin Hoffmann, one of the prominent designers in the Swiss genre).

In 2019, he released Friends at W Foundry, a 14-style modern sans characterized by a gaspipe lower case f.

Typefaces from 2020: Moncler (+Variable; a 22-style all caps modernist font family), Armin Soft.

Typefaces from 2021: Cassius (a 10 style garalde family with two additional variable fonts; it is characterized by the lower case a and s which appear to be vomiting).

Typefaces from 2022:

D.B. Latner: Critique on Variable Fonts

D.B. Latner writes: I am glad Multiple Master fonts was mentioned, as this is remarkably similar to that technology from the mid-90s. But I am worried that many of the same reasons that MM failed (as well as the Panose numbering system) will play out again in this century, including:

• Too much choice can cause more frustration rather than less.
• Hard to create consistency throughout a publication.
• Very difficult to spec the type ("no, I told you to use Helvetica 105cba7, not Helvetica 105a9e!")
• Hard to create a good UI, so only the hard-core font geeks get around to using it.
• Hard to convince software companies to include a technology that only font-lovers see the value of (look how long it has taken for even some basic OpenType formatting to catch on).
• Hard to design these fonts, so there end up not being very many of them.

Delve Fonts (was: Delve Media Arts)
[Delve Withrington]

Delve Withrington (Alameda, CA; b. 1970, Asheville, NC) studied at Savannah College of Art and Design, designed signage, print projects and web pages in addition to designing custom typefaces, worked for Fontshop, and in 2004, joined the type team at Agfa Monotype, which morphed into Monotype Imaging, Redwood City, CA. From Asheville, NC, he moved around and ended up in San Francisco. In 1996, he founded Delve Fonts in Berkeley, CA (in fact, Delve Media Arts, and later renamed Delve Fonts). He has collected a virtually complete list of books on typography. Author index. MyFonts link. Designer of these typefaces:

• Beleren (2015). A custom typeface for the trading card game Magic: The Gathering (Hasbro).
• Blasphemy Initials: a free (and also commercial...) spooky font.
• Blot Test (1999): a dingbat font inspired by the work of noted German psychologist Hermann Rorschach [1885-1922].
• Cody (1999): an informal comic book face.
• Continuo (1996): an all caps bilined outline face.
• Cortina (2011). A futuristic family by Joachim Müller-Lancé.
• Delve Hand (1996-2003).
• Eucalyptus Regular.
• Eulipia (1997-2003): organic.
• Helfa (2011). Delve writes: Readability is baked in with a generous x-height, fine proportions that have a medium height to width ratio, and reasonable contrast in stroke weight variation.
• Filmotype Washington (for Font Diner). Designer unidentified.
• Muskeg. A combination of German expressionism and brush styles.
• Oktal Mono (2012, a rounded octagonal modular typeface by Joachim Müller-Lancé and Erik Adigard of MAD studio in Sausalito).
• Peso (1999): an octagonal family inspired by a parking sign discovered in Guanajuato, Mexico.
• Quara (2009): a techno sans.
• Smith & Nephew (2003) and Smith & Nephew Cyrillic (2015), rounded sans typefaces in the style of VAG Rounded.
• Tilden Sans (2004-2009): low contrast, large x-height.
• Tome Sans (2020). A 10-weight sans superfamily, with a variable font option.
• Uppercut Angle (2011). A signage typeface by Joachim Müller-Lancé. It was originally developed for the Krav Maga training center of San Francisco.
• Ysobel (2009; winner of an award at TDC2 2010). Delve co-designed the newspaper type family Ysobel (Monotype) with type designers Robin Nicholas, head of type design at Monotype, and Alice Savoie (Frenchtype, Monotype). The sales pitch: According to Nicholas, the idea for the Ysobel typefaces started when he was asked to create a custom, updated version of the classic Century Schoolbook typeface, which was designed to be an extremely readable typeface - one that made its appearance in school textbooks beginning in the early 1900s. See also Ysobel eText Pro (2013).

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

Delve Withrington
[Delve Fonts (was: Delve Media Arts)]

[MyFonts] [More]  ⦿

Deni Anggara
[Formatype Foundry]

[MyFonts] [More]  ⦿

Denis Serebryakov
[Onetypethree Foundry (or: Dzianis Serabrakou)]

[MyFonts] [More]  ⦿

Diego Aravena Silo
[Without Foundry (or W Foundry; was: Diego Aravena)]

[MyFonts] [More]  ⦿

Diego Maldonado
[Notdef Type]

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Dino dos Santos
[dstype]

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Dirtyline Studio
[Hendra Maulia]

Banda Aceh, Indonesia-based designer of the script typefaces Humblle Rought (sic) (2015), Nirmana (2015, brush type), Cecilia Script (2015), Stay High (2015, graffiti influence), Gracias Script (2015), Bowlist (2015), Miguella Script (2015), Islander Brush (2015), Zailla Script (2015), Funkiess (2015), Scarlet (2015), Amanda (2015, calligraphic), Natasya (2015, a creamy signage font), Violla Script (2015), Seulanga (2015), Cornish (2015), Butller (2015), Twice (2015), Evelyn (2015), Steelmond (2015), Humble (2015; also spelled Humblle with two l's), Swirlesque (2015) and Jeumpa (2015). Aka Dirty Line Type.

Typefaces from 2016: The script typefaces Tendencia, Bull Stander (+Slab), Black Pearl Sans, Befolk, Wild Heart, Kick Hornet (brush style), The Beard, Drama Queen Script, Valiente Brush, Beautiful Dreams, Tropical (2016, in Brush Script, Brush, Brush Caps, Sans and Monoline styles), Rising Script, Rising Brush, Be Grateful, Sweetline, Lightening Sript, Zailla Script, Adorabelle Script, The Luxury, Harbour (brush type). In addition: Mortuguais, Black Heat (Victorian), Sweetline and Neptern (a Saul Bass style font).

Typefaces from 2017: Significent, Lindsey Smith Script (signature font), Axewell, Matchstic (retro signage), The Booster (baseball script), Cursive Script, Kindness Typeface (signage brush), Conquer (dry brush), Significant, The Boundaries (signage script), Blinded (fat brush script), Maldives Script, Mind Blowing (brush), Skywalker (brush script), Reshuffle Script.

Typefaces from 2018: Specta Retro Script (2018, a signage script by Hendra Maulia and Aulia Rahman), Hype Beast (brush font), Shockwave (SVG brush font), Humblle Rought (sic), Brewery (SVG font), Shanders (brush script), Hoodson (signage script), Emberblaze (brush font).

Typefaces from 2019: Blackink (a tattoo font), Hatch (brush script), Matao Serif (a decorative didone typeface done with Aulia Rahman), Black Theory (brushed), Magnison Script (signage script), Hoodson Script, Hyperflow, Baby Boomer, Hereditary, Stereohead (dry brush), Metafora, Metafora Sans (free).

Typefaces from 2020: Dx Sitrus (a 12-style display family), DX Rigraf (a 55-font sans, with a variable typeface on the side; the i and f are slab serif glyphs though), Hedgehock (a signage script), Hatch Brush (a dry brush script), Skywalker (a brush script), Matriver (a dry brush script), Adolle Bright (a quill pen script), Emerat (a heavy script), Nagaiya (a 15-style display sans (+a variable cut) characterized by sharp spurs; by Aulia Rahman and Hendra Maulia), Balecimo (a wild script), Scalter (a 42-style sign lettering typeface with Serif, Sans, Script and Variable options), Hazzard (script), Casta (a display serif in 55 styles; with a variable font), Cynthia Blooms (a signature script), Baby Boomer, Significent, Aliva Brush Script, Reshuffle Sans, Ancient Zurich, Rustler Barter (a display font done with Aulia Rahman), Neue Metana (a wide display sans by Aulia Rahman and Hendra Maulia), Mabrick Serif, Mabrick Signature.

Typefaces from 2021: Wagon (an 18-style sharp-serifed typeface family with a dancing baseline), Dx Gaster (a 15-style display or headline serif, with two variable fonts tossed in the mix), Magtis (a 10-style retro fashion mag serif by Aulia Rahman and Hendra Maulia), Scalter, Harmond (a 47-style display serif family with art nouveau charm), Cigra (a decorative serif by Aulia Rahman and Hendra Maulia).

Type department link.

Typefaces from 2022: Garcia (a Picasso-esque display typeface by Aulia Rahman and Hendra Maulia), Consta (an 8-style display serif by Aulia Rahman and Hendra Maulia). [Google] [MyFonts] [More]  ⦿

Displaay
[Martin Vacha]

Displaay is Martin Vacha's type foundry in Prague set up in 2014. Martin Vacha studied at the Academy of Arts, Architecture and Design in Prague. His early fonts were designed during his studies at UMPRUM in Prague. His typefaces:

• Greed (2020). A narrow sans (+variable font with a weight axis) originally commissioned by Anymade Studio for Polansky Gallery.
• Ofform (2019). A modular folded paper font by Marek Suchanek, Kristina Jandova and Martin Vacha that started out as a custom typeface for the fashion brand Ofform 3D.
• Dazzed (2019).
• Gellix BMM.
• Matter (2016-2017). A sans inspired by Akzidenz-Grotesk (1896, Berthold Type Foundry), Theinhardt (2009, François Rappo), Classic Grotesque (1926, Frank Hinman Pierpont), Neuzeit Grotesk (1928, Wilhelm Pischner), Helvetica (1957, Max Miedinger and Eduard Hoffmann), Unica (Team '77, Lineto), Plain (2013, François Rappo), Futura (1927, Paul Renner) and Avenir (1988, Adrian Frutiger). Matter Mono was added in 2021. Haffer (2021) is a cold version of Matter with strict horizontal or vertical terminals.
• Hellix (2011). A geometric sans with hipster elements. By 2020, he completed Fellix, Gellix, Hellix and Yellix.
• Natron (2012). A sans and its display companion, Natron Alt.
• Reckless (2012-2017). A text typeface inspired by Plantin and Times New Roman.
• Wallop (2013). A sans.
• Documan (2013). A rounded typeface that is part sans, part slab serif.
• In 2016, Marek Pistora and Martin Vacha published the technical, almost typewriter, sans typeface BC Sklonar at Briefcase Type: The Sklonar typeface was originally designed exclusively for Zdenek Sklenar's S Gallery's corporate identity, conceived by Studio Najbrt in 2011. Two years later however, the gallery, including several works of art, was destroyed in a gas explosion. During the time of its use, the typeface appeared in promotional materials, in exhibitions, and also in artistic publications. But first and foremost, it excellently complemented the clean gallery space created by architect Josef Pleskot.
• Roobert (2017). A bespoke typeface for Moogfest 2017 designed together with Anymade Studio. Roobert PX is a pixel font.
• Teodor (2019-2020). Martin writes: In Teodor you can find certain similarities with Romana (1892 Gustav F. Schroeder), Caslon 224 (1725 William Caslon and Edward Benguiat), Grouch (1970 Tom Carnase and Ronne Bonder) and Perpetua (1925 Eric Gill). It has a variable type option.
• Tobias (2019-2020), a transitional typeface with elements of Times, Times New Roman and Baskerville. Plus a variable font with a weight axis.
• Github link.
• Avantt (2021).

DJR Type
[David Jonathan Ross]

DJR Type (Conway, MA, and before that, Deerfield, MA, and before that Los Angeles, CA, and before that, Lowell, MA) stands for David Jonathan Ross Type. Originally from Los Angeles, he was a student at Hampshire College in Amherst, MA, where he studied information design and typographic tradition. In 2007, he joined Font Bureau as a junior designer and was assisting with custom projects and expanding Font Bureau's retail library. Soon after that, het set up DJR Type. In 2016, DJR Type joined Type Network and pulled all his typefaces from MyFonts. He also runs Font of the Month Club.

In 2018, he was the tenth winner of the Charles Peignot Prize. His typefaces:

• Manicotti (2010). An ultra reversed-stress Western saloon style typeface that won an award at Modern Cyrillic 2014. DJR Manicotti won an award at TDC2 2007. For a free lookalike, see Plagiacotti (2009, Saberrider).
• Lavinia.
• Climax Text (2006) is a text and display series that was designed for Hampshire's student newspaper.
• Trilby (2009, Font Bureau). Trilby is based on a 19th century French Clarendon of wood type fame.
• Condor (2010, Font Bureau). This is a 60-style art deco family. By 2020, it had a 3-axis (weight, width, italic) variable version.
• Turnip (2012) is an angular and manly text face, also published at Font Bureau.
• In 2013, Ross and Roger Blcak revived Nebiolo's Forma for the redesign of Hong Kong Tatler, a fashion mag, supervised and commissioned by Roger Black, who was then based in Hong Kong. Read about the whole process in this piece by Indra Kupferschmid. Page specially dedicated to DJR Forma. In 2021, Belgian national broadcaster VRT picked DJR Forma for all its entire range of media.
• Bungee (2013, Google Fonts) won an award at TDC 2014. This homeless typeface, which comes in Regular, Hairline, Inline, Outline and Shade versions, is free: Bungee is a font family that celebrates urban signage. It wrangles the Latin alphabet to work vertically as well as horizontally.
• In 2014, David Jonathan Ross created the formidable 168-style programming font family Input (Font Bureau). Input is free for private use. It won an award at Modern Cyrillic 2014 and in the TDC 2015 Type Design competition. See also the proportionally spaced typewriter family Input Sans.
• Gimlet (2016). A 112-style Opentype family loosely based on Georg Trump's 1938 typeface, Schadow, and advertized as funky and functional. Ross writes: Gimlet is half Schadow, half imagination, and nothing else. And like its namesake beverage, Gimlet is a little tart, a little sweet, and can really pack a punch. Gimlet Variable Bold Condensed followed in 2019. Gimlet XRay (2020) is an An experimental colorized version of Gimlet that exposes what goes on under the hood of a variable font, visualizing control points, bounding boxes, kerning, etc. Amazingly, this variable color font has six axes, weight, width, oncurve point size, offcurve point size, glyph utline weight and point outline weight.
• Fern and Fern Micro (2014, Font Bureau). A Venetian typeface designed for screen.
• Output Sans.
• Fit (2017, by David Jonathan Ross and Maria Doreuli). A tall black display family that runs from ultra-compressed to very wide. It screams Use me for the Oscars! Fit was first developed as a variable font. It won an award at Granshan 2017.
• DJR Lab, or Lab Variable (2017), is a free pixelish variable font.
• Under miscellaneous, we find an untitled French Clarendon and an untitled semi-serif.
• Font of the Month Club fonts from 2017: Nickel, Roslindale (Roslindale is a text and display serif that takes its inspiration from De Vinne, a Victorian oldstyle typeface named for the nineteenth century printer and attributed to Gustav Schroeder and Nicholas Werner of the Central Type Foundry), Zenith (blackboard bold), Crayonette (a revival of Henry Brehmer's scriptish Crayonette, 1890), Bild (a compressed headline font based on the American gothic type styles from the 20th century; a variable font followed in 2019), Pappardelle Party (spaghetti Western style), Roslindale Text, Klooster (followed in 2021 by Klooster Thin).
• Font of the Month Club fonts from 2018: Bradley DJR (a revival of the blackletter typeface Bradley, 1895, William H. Bradley), Extraordinaire, Rhody (slab serif), Map Roman (an all caps vintage mapmaker font), Output Sans Hairlines, Rumpus Extended, Roslindale Light, Merit Badge (a variable color font).
• A tech type virtuoso, he charmed me with his art deco variable font Extraordinaire (2018) that was influenced by the diamond-shaped forms found in the center of the city of Sao Paulo, Brazil.
• Typefaces from 2019: Heckendon Hairline, a condensed Clarendon.
• Typefaces from 2020: Dattilo (a variable style revival of Aldo Novarese's slab serif Dattilo (1974)), Pomfret.
• Typefaces from 2021: Rustique (rustic capitals), Megazoid (a chunky geometric sans), Job Clarendon (with Bethany Heck, who wrote: Job Clarendon is an homage to job printing---display-heavy designs made for posters and flyers in the heyday of letterpress printing. This style of Clarendons was wildly popular in this genre of work, and I've always been interested in how adaptable they were. The style was fattened, squished and stretched to accommodate lines of text both short and long and type foundries across the globe each found their own unique features to contribute to the Clarendon stew. Ross pulled the design to both extremes but had his work cut out as he explained: The chasm between Hairline and Black was far too wide to interpolate across effectively, so I incorporated new drawings in the Extra Light, Regular, and Bold weights to act as additional tentposts to support the design).

Speaker at ATypI 2016 in Warsaw and at ATypI 2017 in Montreal. Klingspor link. Home page. Adobe link. [Google] [MyFonts] [More]  ⦿

Dmitrij Greshnev
[Green Type]

[MyFonts] [More]  ⦿

Dmitry Rastvortsev

Ukrainian type designer (b. 1977, Buryn) who graduated from Sumy State University in 1999. Since 2002, he creates digital fonts. He also works at Dancor advertising in Sumy, Ukraine, since 1997. Very prolific, his work includes a substantial number of commissioned typefaces for magazines and companies.

He received a TypeArt 05 award for the display family DR Galushki (and DR Galushki Hole, 2011), which was designed for children's books. Other creations: LQ Wow and LQ Anisett (2010, for women's magazine LQ), LQ Didot (2011, also for LQ), Dekapot (grunge), Gomorrah (2013), Usquaebach (2013), Kinescope (2013), Goshen (2013), Rhode Black (2014), UT Magazine (2014), Madmix (2014, for Esquire), Variety Square (2015, for the nmagazine Variety), DR Agu (comic book face), DR Agu Sans (2013), DR Agu Script (2016), DR Trafaret (army stencil face), DR Vixi, DR UkrGotika Sans, DR UkrGotika Serif, Tsar Peter, Pelican (for Esquire magazine), Fugue.

In 2014, Gayaneh Bagdasaryan and Dmitry Rastvortsev created the Latin / Cyrillic sans typeface family Brutal Type (Brownfox) that is genetically linked to DIN.

His funny DR Krokodila won an award at Paratype K2009.

In 2014, Dmitry Rastvortsev, Lukyan Turetsky, and Henadij Zarechnjuk cooperated on the design of the free Latin / Cyrillic handwriting typeface Kobzar KS, which is based on the handwriting of Taras Shnvchenko, a famous Ukrainian poet, artist and philosopher.

In 2016, he designed the op-art typeface family DR Lineart.

In 2017, he published the military stencil font DR Zhek.

In 2018, he designed DR Ukrainka, which is inspired by the lettering works of these Ukrainian artists of the 1920s: Vasyl Yermilov, Vasyl Krychevscky, Heorhiy Narbut. He also designed Sumy for the branding type for the city of Sumy, Ukraine.

Rastvortsev won an award in the kanji category at the 22nd Morisawa Type Design competition in 2019 for DR Kruk Single.

In 2019, on commission for Banda for the National Art Museum of Ukraine, Dmitry Rastvortsev designed the Cyrillic (and Latin) family Namu, which has substyles according to various eras, from 1400 until today. On commission for Vinnytsia, he designed the free typeface family Vinnytsia ((a lapidary) Serif, Sans, City). He finished 2019 with the free sans-serif-display superfamily Kyiv Type, which consists of KyivType Variable, KyivType Sans, KyivType Serif, and KyivType Titling.

Typefaces from 2020: DR Krapka Rhombus, DR Krapka Round, DR Krapka Square (a set of dot matrix typefaces).

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

Dohee Lee

Dohee Lee received a BA in visual communication design from Seoul National University. Her first Korean typeface, 134340, won a New Wave award from the Korea Font Association. Since joining Sandoll---the oldest and best known type foundry in Korea---in 2016, she has developed custom typefaces for major global brands along with retail fonts.

She studied in the interdisciplinary Art Science program at the Royal Academy of Art (KABK) in The Hague. Speaker at ATypI 2019 in Tokyo on the topic of Building Hangul like an Architect: Utilizing Variable Fonts: In order to handle 11,172 glyphs of Hangul, designers often take an architect-like approach: they carefully devise a system to maintain consistency across all glyphs. This can't be done without sophisticated technology. Focusing on Smart Components and extensions in Glyphs 2, this presentation discusses how to categorize characters and how to create a Hangul development system.

IBM Plex Sans KR (2019; by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Wujin Sim, Chorong Kim and Dohee Lee) is a free multilingual typeface at Google Fonts. [Google] [More]  ⦿

Dominic Huber

Partner in Moiré (Zürich) who designs typefaces at Grilli Type in Switzerland. His typefaces:

• In 2012-2013, Grilli Type published Moiré's typeface family GT Pressura (with monospaced and proportional versions), which was inspired by type stamped on shipping boxes. GT Pressura was co-designed with Dominik Huber.

• In 2014, Dominic Huber, Marc Kappeler and Noel Leu published the extensive text family GT Sectra (Grilli Type), which, in view if its breadth and angular design will prove to be one the world's major releases of 2014. Their blurb: GT Sectra was originally designed for the German-language magazine Reportagen, a bi-monthly publication specializing in literary reporting. Its long-form stories require a type- typeface that works well in text, but not at the expense of character. GT Sectra strikes that balance. GT Sectra won first prize in the TDC 2015 Type Design competition.
• In 2020, Dominic Huber and Marc Kappeler co-designed the 112-style GT Flexa at Grilli Type. Flexa is also a variable type with width, slant and thickness axes, and has a monospaced subfamily. GT Flexa is characterized by simple shapes and penetrating ink traps.

Donald Tarallo
[Tarallo Design]

[MyFonts] [More]  ⦿

Doni Sukma
[Letter Omega]

[MyFonts] [More]  ⦿

DooType
[Eduilson Wessler Coán]

Curitiba-based Brazilian digital type foundry, est. in 2008 by the successful and talented type designer Eduilson Wessler Coan (b. 1983, Curutiba). Myfonts link. Coan joined Fabio Haag Type. Their fonts:

• Estado Serif (2006), co-designed with Ericson Straub (Straub Design) and Fabio Augusto for use in the Jornal O Estado do Paraná.
• DooSans (2006): custom design for the magazine abcDesign.
• Ninfa (2006-2008), an organic serif face. He calls it a modern semi-serif. Whatever. Ninfa won an award at Tipos Latinos 2008 in the non-text typeface category. Ninfa Serif followed in 2012. Ninfa Serif won an award in the typeface family category at Tipos Latinos 2012.
• Encorpada Black (2011) is a fat didone display face. It was extended to Encorpada Pro in 2012. Encorpada Classic was published in 2013. Encorpada Classic and Encorpada Pro won awards at Tipos Latinos 2014. In 2014, he published Encorpada Essential. In 2015, Eduilson added Encorpada Classic Compressed and Encorpada Classic Condensed.
• Fluence (2012) is a calligraphic typeface family. Fluence won an award at Tipos Latinos 2012.
• Tres Tres Chic (2012) is a very thin geometric fashion mag headline face.
• Maestra (2012) is a calligraphic copperplate script. Gorgeous, mouthwatering, heavenly, just about the perfect font. Future brides and grooms need look no further than this for wedding invitations.
• Niks Sans (2012).
• dT Delicatta (2012, revised in 2017) is a formal connected calligraphic script face, destined to win many awards.
• Unimed Sans, Unimed Slab and Unime Serif (2013) is a bespoke typeface family done for a Brazilian health insurance company, Unimed.
• Typefaces from 2014: Bommer Slab and Bommer Slab Rounded. Bommer Slab won an award at Tipos Latinos 2014. Accura (2014, a sans typeface created together with Thiago Bellotti).
• In 2015, he designed the techno sans family Sica (+Expanded, +Condensed) with Volnei Antonio Matrté Coan at DooType. Sica won an award at Tipos Latinos 2016.
• Bommer Sans (2016). A Latinized (i.e., curvy) humanist sans.
• dT Jakob (2017). This typeface started out in 2007 as a revival by Gustavo Soares in Paul van der Laan's class at KABK of Jakob Erbar's grotesk from 1927. It was refined and completed in 2017 at dooType with the help of Eduilson Wessler Coan. In 2018, Gustavo Soares and Eduilson Coan developed the variable inline and shadow font dT Jakob Variable Concept.
• dT Ampla (2018). A sans with some warmth.
• Salva (2021, Fabio Haag Type). A versatile workhorse sans family: Eduilson Coan was the lead designer. He was assisted by the Fabio Haag Type team of Henrique Beier, Ana Laydner and Fabio Haag himself.
• Seiva (2021, by Henrique Beier, Eduilson Coan and Fabio Haag). A distant relative of Didot, this exotic sans family is partitioned into Text, Display and Poster subfamilies, and welcomes variable font technology.

Klingspor link. Creative Market link. Behance link. MyFonts interview. [Google] [MyFonts] [More]  ⦿

dstype
[Dino dos Santos]

Established in 1994, dstype used to offer free fonts but has gone commercial now. It is run by Dino dos Santos (b. 1971, Oporto) from Oporto, Portugal. He graduated in Graphic Design at ESAD, Matosinhos. He received a Masters degree in Multimedia Arts at FBAUP, Porto. MyFonts place. In 2006 he won the Creative Review Type Design Competition in the Revival/Extension Family. At ATypI 2006 in Lisbon, he spoke about Portuguese lettering since 1700. Interview in 2007. Klingspor link. Author of A Letra Portuguesa, a book about Portuguese calligraphy. Dino created these typefaces:

• Access (1997).
• Acta, Acta Display and Acta Poster (2011, +Poster swashes). A didone fashion mag family. First designed for Chilean newspaper La Tercera in 2010, DSType's Acta family is a clean information design type system. It includes Acta Symbols, an extensive dingbat family. Acta Var (2020) has two axes, weight and optical size.
• Acto (2012). Acto is a type system designed as the sans serif counterpart of the previous released Acta. Both type families were designed in 2010 for the redesign of the Chilean newspaper La Tercera.
• Andrade Pro (a modern) and Andrade Script Pro: based on the calligraphy of Andrade de Figueiredo, ca. 1722.
• Anubis (2003): a unicase face.
• Aparo (2013). A plumpish elegant high-contrast script face.
• Apice (2022). A highly structured calligraphic typeface with five optical sizes.
• Apud and Apud Display (2010): a high-contrast serif family.
• Aquila (2004).
• Ardina (2016). Done with Pedro Leal, this text typeface family has three optical sizes.
• Boldina (2004). A fat informal poster family with 18 weights and styles.
• Braga (2011, Dino dos Santos and Pedro Leal). This is a layered font design family. Dino writes: Braga is an exuberant baroque typeface, named after a portuguese city, also known as the baroque capital of Portugal. Our latest typographic extravaganza comes with a multitude of fonts designed to work like layers, allowing to insert color, lines, gradients, patterns, baroque, floral swashes, and many other graphic elements. Starting with Braga Base, you can add any of the twenty-three available styles, to create colourful typographic designs.
• A type system from 2014: Breve News, Breve Display, Breve Slab Title, Breve Sans Title, Breve Title, Breve Slab Text, Breve Sans Text, Breve Text. The Breve system includes modern design elements in the skeleton and ball terminals, transional elements, almost wedge-serifs in the serifed styles. As with most of dos Santos's typefaces, even the sans and slab styles exhibit Latin warmth and exuberance.
• Capsa (2008): a family that was inspired by, but is not a revival of the Claude Lamesle types Gros Romain Ordinaire and Saint Augustin Gros Oeil.
• Ception (2001): a futuristic sans family.
• Cimo (2017). A distinguished condensed sans.
• Cultura, and its improved version Cultura New (2013), a text book typeface family.
• Decline (1996).
• Denso (2019). By Dino dos Santos and Pedro Leal: a great condensed variable font with weight, serif and optical size axes.
• Digno (2022). A fuzzy text typeface family.
• Dione (2003): a sans; redone in 2009 as Dobra at TypeTrust. See also Dobra Slab (2009).
• Enorme (2020). Ultra massive and modular 3000-glyph mastodont of a constructivist font, by Pedro Leal and Dino dos Santos.
• Esta (2004-2005): extensive (transitional) text and newsprint family.
• Estilo (2005): a gorgeous and simple art deco-ish geometric headline face. This was accompanied by Estilo Script (2006), Estilo Text (2007, a 6-style rounded sans family), and later, Estilo Pro (2010, +Hairline).
• Ezzo: a sans family.
• Factor (1997).
• Finura (2009): this typeface has hints of University Roman.
• Firme (2014). A geometric sans for corporate use.
• Fragma (2003): squarish techno family.
• Girga (+Italic, +Engraved, +Banner, +Stencil) is a strong black Egyptian family designed in 2012 together with Pedro Leal at DS Type.
• Glosa (2008): Glosa is a meaty multi-style didone family. Glosa Text and Glosa Headline all followed a bit later in 2008, and Glosa Display in 2009.
• Hades (2012). A yummy and free blackletter typeface.
• Hypergrid (2002): octagonal.
• Ines (2015). A classic 7-style text typeface.
• Isento and Isento Slab (2017). Both are loosely based on ATF's Times Gothic.
• Lucius (Sans, Serif) (2022). The Lucius type family began as an attempt to reproduce the Principios Methodicos para as Letras Aldina e Roman---Typo Portuguez, but went went way beyond that in its multi-faceted execution.
• The Quase family (2017): Quase is a very free interpretation of the types found in the Specimen of Printing Types by William Caslon from 1785. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Subfamilies: Quase Headline (12 styles), Quase Poster, Quase Display, Quase Text.
• Idem and idem Display (2021).
• Dino dos Santos and Pedro Leal published Jules in the summer of 2015---a fat fashion mag didone 45-style family inspired by several plates from Portuguese calligrapher Antonio Jacintho de Araujo; it comes in Big, Colossal and Epic. They followed up in 2017 with Jules Text.
• Kartago (2005): based on Roman inscriptions from Cartago.
• Keiss (2017) and Keiss Text (2021). A Scotch roman with a lot of contrast. Keiss Text comes in twelve styles and features short descenders and ascenders, along with three very distinct optical sizes. It was designed with contemporary newspapers in mind. In 2021, he added Keiss Title, Keiss Condensed, Keiss Big (14 styles) and Keiss Condensed Big.
• Large (1999) and Large Pro (2006).
• In 2020, Dino dos Santos and Pedro Leal designed Larga, which was inspired by the typefaces shown in the specimens of the Fundiçãao Typographica Portuense from 1874. Larga is a wide all caps family and comes with a variable opentype format.
• Leitura, Leitura Headline, Leitura News, Leitura Sans, Leitura Symbols, Leitura Display (2007): the 31 styles were all made in 2007.
• Logica (2016). A classical text typeface.
• Maga (2012). A text family.
• Methodo (2005): calligraphic penman typefaces.
• Missiva (2004).
• Monox and Monox Serif (1998-2000): a monospaced family.
• Ni Sans, Ni Slab, Ni Serif (2018).
• Musee (2006): a transitional family with ornaments and borders.
• Nerva (2004). A subdued Trajan typeface with flaring.
• Nitida (2017). A 114-font family with five optical sizes.
• Nyte (2012). A serifed text family.
• Otite (1995).
• Outside (1996): grunge.
• Parco (2021). A compact headline typeface with large x-height.
• Plexes (2003). See also Plexes Pro (2006).
• Pluma (2005): a series of three exquisite calligraphic flowing scripts called PlumaPrimeyra, PlumaSegunda and PlumaTerceyra). Inspired by the typographic work of Manuel de Andrade de Figueiredo that was published in 1722: "Nova Escola para Aprender a Ler, Escrever e Contar, offerecida a Augusta Magestade do Senhor Dom Jao V, Rey de Portugal".
• Poesis (1999).
• Pratico UI and Pratico Slab UI (2022).
• Prelo (2008): A sans family for magazines, it has styles that include Hairline, Hairline Italic, Extra Light, Extra Light Italic, Light, Light Italic, Book, Book Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic, Slab and Prelo Condensed.
• Priva Pro (2006): a sans family that includes Greek and Cyrillic).
• Prumo (2011-2012). A 92-font family originally created for the redesign of the Argentinian newspaper La Nacion. Released to the public in 2013, it covers low and high contrasts, and has slab serif styles as well as Scotch Roman styles. So, it is more a type system or type collection than one single typeface: Prumo Banner, Prumo Deck, Prumo Display, Prumo Poster, Prumo Slab, Prumo Text.
• Quadricula (1998).
• Quaestor and Quaestor Sans (2004). Roman inscriptional typefaces.
• Recita (2019). A sturdy oldstyle text typeface family.
• Resea (2004) and Resea Consensed: Bank Gothic style typefaces.
• Solido (2012) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts. In 2020, a variable font was added to Solido. Codesigned with Pedro Leal.
• Synuosa (1999): an experimental typeface showing only the top half of the characters.
• Tecla (2018). After Printype, a typeface developed in the early twentieth century for the Oliver Typewriter.
• Terminal (1996).
• Titan and Titan Text (2003).
• User (2012), User Upright (2012), and User Stencil (2012). Monospace type families.
• Velino (2010): an extensive family including Velino Text, Velino, Velino Condensed, Velino Compressed, Velino Poster, Velino Sans, Velino Sans Condensed, Velino Display (+Compressed Display, +Condensed Display). This didone superfamily is sure to win a ton of awards.
• Ventura (2007): based on the calligraphy of Portuguese calligrapher Joaquim José Ventura da Silva, ca. 1802, who wrote Regras methodicas para se aprender a escrever os caracteres das letras Ingleza, Portugueza, Aldina, Romana, Gotica-Italica e Gotica-Germanica in 1820. It had a "Portuguese Script". Do not confuse Ventura with Dieter Steffmann's font by the same name made many years earlier. Ventura won an award at TDC2 2008).
• Viska (2015, by Dino dos Santos and Pedro Leal) is designed for small print.
• Volupia (2005): a connected advertising face.

Dusan Jelesijevic

Serbian graphic designer located in Gornji Milanovac, Serbia. Cofounder in 2009 with Slobodan Jelesijevic, his father, of the Serbian foundry Tour de Force. Creator of these typefaces:

• Dusan Script (2009, Ascender: a monoline informal hand-printed script).
• Artvod (2009, slabby and octagonal at the same time).
• Qiltray (2009, handwriting for long texts).
• Punkerro Crust (2009, delicious scratchy type).
• Rough the Type (2009, blackboard style).
• Shuma (2009, handwriting).
• Dolina Script (2010).
• Econs (2010, ecology dingbats).
• Sensor (2010, an ink-trap monoline face).
• Enforcer (2010, an elliptical headline sans).
• Epruveta (2009).
• Passage (2010, a great art deco family, including Initials and Borders).
• Amanet (2011). A flared display face.
• Osmacka azbukovica (2011). A Cyrillic font made by his kids in school.
• The clean-cut semi-humanist sans family Centim (2011).
• The Egyptian typefaces Saxophone Soprano and Saxophone Baritone.
• Debelly (2011), one of the best typefaces to come out of Tour de Force. They say about this elegant fat poster face: Debelly is catchy fat typeface, with lovely geometric shapes. Inspired with contrast strokes, with square joins, Debelly gives an impression of retro style combined with contemporary trends. It is designed specially for packaging, posters, logotypes or headlines, even it can be pretty handfull in smaller sizes. Contains 375 glyphs.
• Epitet (2011). A simple monoline family built around elegant elliptical shapes.
• Refren (2012): A monoline script face.
• Equator (2012): An avant-garde caps headline family.
• Brisko Sans (2013). A straightforward sans family. Extended to Brisko Display (2012).
• A day before Serbia was crushed by the Belgian soccer team, Dusan published the organic sans typeface Publio (2013).
• Kamenica (2013). A display sans. Followed in 2017 by the gorgeous Kamenica Texture typeface family.
• Nervatica (2013). A children's book font.
• Lasta (2013) is an informal serif typeface advertized as poetic.
• Selektor (2013). A geometrical almost techno sans family. This was followed by Selektor Slab (2013).
• Bartender (2013). A copperplate typeface.
• Lumier (2013). An all caps geometric sans family inspired by art deco posters from the interwar period. Followed by Lumier Texture and Lumier Rounded (2018).
• Scholle (2014). A bouncy two-style inline family with cartoonish elements.
• Hedon and Hedon Display (2014). A hedonistic sans that exhibits the sort of contrast one finds in inscriptional types.
• Lumberjack (2014). A bouncy fat cartoon typeface. Not to be confused with Thiago Bellotti's Lumberjack (2013, Mushroom Type), it was renamed 24 hours after its first appearance to Lumberjacky.
• Trampoline (2014). A funky typeface.
• Dondolare (2014). A primitive hand-drawn typeface.
• Balcon (2014) and Balcon Round (2014, a condensed rounded sans).
• Scripton (2015). An urban wall brush type.
• Manzello (2015: a workhorse text typeface).
• Pleyo (2015). Hand-crafted, perhaps for children's books.
• Dusan Script (2015).
• Fartitudo (2015). Just for the name alone, this typeface deserves a medal. Fartitudo is a 3-style handcrafted all caps poster family in a genre that was kickstarted by Pintassilgo in Brazil.
• Avram Sans (2016).
• Dambera (2016) and Dambera Retro (2016). A connected script, perhaps suitable for children's books. Crazymond (2016). Hand-crafted semi-connected script.
• Lunatino (2016). A poster script.
• Plonker (2016). An all caps hand-printed typeface.
• Fine New Bonbons (2016). A quaint candy store script.
• Napolitanka (2016). A delicate high-fashion hifgh-contrast didone.
• Businessland (2016). A rough handcrafted poster typeface.
• Escondida. A high-contrast connected script.
• Alonga (2017). A serif family with considerable contrast characterized by sharp triangular serifs.
• Nula (2017). A 22-style humanist sans typeface family.
• Mymoon (2017: a geometric sans in 22 styles), Mymoon Stencil, Mymoon Stencil Texture.
• Landsick (2018). An intense script.
• Blond (2018). A sans family that tends towards the humanist side.
• Penfriend (2018). A script typeface.
• Modny (2018). A fashion mag Peignotian sans family with a gorgeous inline style.
• Stropha (2018). A compact slab serif family.
• Hlad (2018). A distinguished 5-weight incised / lapidary typeface family.
• Masny (2019). A no-nonsense modern sans family in 22 styles.
• Connectica (2019). A retro connected script.
• Dietal (2019). A condensed squarish military parade slab serif. Accompanied by Dietal Sans (2019).
• Mondish (2019). A stylish sans family, perhaps best suited for fashionable environments.
• Edicia (2019). A charming serifed typeface family.
• Plaisir (2020). A serifed text family that oozes style.
• Roanne (2020). a 44-style sans family characterized by a yawning lower case a.
• Prego (2020). A 23-style Peignotian sans.
• Prelom (2020). A retro wedge serif family in 15 styles.
• Hartia (2020). A 10-style serif.
• Silqa (2020). An art deco typeface on Novichok.
• Finoteca (2020). A beatnik font.
• Kondes (2020). A 20-style condensed squarish sans with variable styles.
• Lupio (2021). In 20 styles: a variable and static geometric sans family.
• OK Moral (2021). A Western font.
• Ragazzi (2021). A 21-style with a didone skeleton but dwarfed serifs and sharper terminals.
• Metropola (2021). A Victorian era sans accompanied by a variable font.
• Stray (2021). An 18-style geometric sans for Latin and Cyrillic, with pinched connections.
• Ancress (2021). A wide geometric sans in 14 styles.
• Klaud (2021). A 14-style slab serif of Clarendon pedigree.
• Fabular (2021). A twelve-style display serif.
• Cat Fight (2021).
• Bottled Moon (2021). A Victorian serif.
• Povetarac (2021) and the superfamily consisting of Povetarac Didone, Povetarac Display, Povetarac Sans (2022). Each subfamily has 6 or 12 styles and contains a variable font.
• Poruka (2022). A monolinear script.
• King of August (2022). A retro signage script.

Behance link. MyFonts link. His most popular typefaces showcased. Fontspring link. Klingspor link. View Dusan Jelesijevic's typefaces. [Google] [MyFonts] [More]  ⦿

Dyaharum Pungki Revitasari
[Jolicia Type]

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Eaver Studio (or: Wahyu & Sani Co)
[Wahyu S. Adi Wibowo]

Wahyu & Sani Co is the duo of Sani Sanjaya and Wahyu Wibowo in Magelang, Indonesia. In 2021, Wahyu Wibowo set up Eaver Studio. Designers of the display typeface Bouncy Hunter (2016), the dry brush typeface Little Antelope (2016), the script typeface The Signals (2017, Serif, Script), and the signage brush typeface Handstyles (2016).

In 2019, they designed Genera (a 44-style almost monoline sans family; by Wahyu Wibowo), Kiyana Display (a high-contrast display sans), the 18-style sans typeface Creo, the stylish typeface Regatto, the connected script Lambo, the techno typeface Tenika, the flared typeface Pocus Primera, the fashion mag typeface Kiyana, the flared serif typeface Serat, the font duo Melanic Black, the script typeface Heinsler, the display typeface Borui and the 20-style geometric sans typeface Guerrer (by Wahyu Wibowo).

Typefaces from 2020: Frock (a swashy 16-style sans), Algera (a 20-style spurless, almost organic, sans), Berka (a 14-style mixed genre sans), Regave (a 24-style (+variable) typeface inspired by Danish lettering of Knud Valdemar Engelhardt (1882-1931) who designed the street signs for the Copenhagen suburb of Gentofte. Engelhardt's design was loosely based on the lettering of two Danish architects of the time: Thorvald Bindesbøll (designer of the Carlsberg logo) and Anton Rosen. The signs were so successful that they are still in use today; Regave features the cut-off Danish g), Neufreit (an 18-style sans), Morn (an interesting geometric sans in 20 styles: all counters, e's excepted, are perfect circles), Scatio (an information design sans family), Goldbill (a 56-style geometric sans with short (Goldbill XL), regular or tall (Goldbill XS) ascenders and thus inversely proportional x-heights; + two variable styles).

Typefaces from 2021 at Wahyu & Sani: Serat Ultra, Revaux (a decorative didone; 14 styles), Geliat (a sans in 44 styles).

Typefaces from 2021 at Eaver Studio: Biryllo (script), Tenar Black (a display serif influenced by Souvenir and Cooper Black).

Typefaces from 2022: Genera Grotesk (22 styles, plus a variable font).

MyFonts link for Sani Sanjaya. [Google] [MyFonts] [More]  ⦿

Edgar Walthert

Type and graphic design pages by Edgar Walthert, b. Sursee, Switzerland. In 2007, he graduated from the TypeMedia program at KABK in Den Haag. Since then he is free-lancing. He completed TazIII in 2008 for Lucas de Groot in Berlin. In 2008, he moved to Amsterdam to work as an independent graphic and type-designer. In Amsterdam, he hosts Letterspace Amsterdam, a monthly series of lectures about experi­mentation, innovation and research in type. In 2021, he set up Font Spectrum together with Daniel Maarleveld.

His typefaces include Agile (2007, a sans family done at KABK), Grosse Pläne, Instant Schrift (2000: Redesign of Isonorm 3098 matching the radical restrictions of the Instant design-manual), and Sonic Waves (an experimental typeface that was created for dublab, a radio station based in Los Angeles, and was drawn using sound waves that can actually be played as an audio file).

Agile was further developed in 2011 with weights ranging from hairline to fat, and appeared in 2013 as a retail typeface at Incubator / Village.

He published the constructed sans typeface family Logical in 2018 at Bold Monday / Type Network.

His typefaces at FontSpectrum:

• Purple Haze (2021-2022). Purple Haze is an experimental variable typeface with a readable regular weight and decorative dot matrix-themed extremes. The font works best when being animated or interacted with.

His corporate typefaces:

• Toneelmakerij typeface by Edgar Walthert in collaboration with Esther de Boer for the identity of the Dutch theater company De Toneelmakerij. Contains many icons.
• Alpen Display and Text (2018), custom typefaces for Bühne Burgäschi by Edgar Walthert. Inspired by classic Swiss tourism posters from the 1930s and '40s. Alpen Display and Alpen Text is currently being further developed and will be released as Arosa Display, Arosa Text and Arosa Script.
• De Patronenmaker typeface. For a website designed by Johannes Verwoerd, Walthert created a variable font based on the open source typeface Publica by Gustavo Ferreira, by pushing its extremes to 0 and 11. The website uses the same 26kb font file for all animations, menu and body text.
• This Is Africa typeface for Ghetto Radio in Nairobi by Edgar Walthert, with Esther de Boer.

Eduardo Omar Rodríguez Tunni

Buenos Aires-based graphic designer and prolific type designer who runs Graphic Design Firm. Since 2005, he has been teaching typography together with Marcela Romero and Pablo Cosgaya at the Centro Cultural Ricardo Rojas. Behance link. Klingspor link. Fontspace link. Google Plus link. Interview by MyFonts. His typefaces, haphazardly organized:

• Average (2005, Google Web Fonts). A text face. The sister family is Average Sans (2012, Google Web Fonts). Average won an award at Tipos Latinos 2008 in the extensive family category.
• Linear Book Serif (2003). A humanist font.
• Colona (2004). A serif family.
• Lineare. A six weight sans family. See also LineareA3Versalita (2004). Lineare Serif (Tipo) is characterized by heavy serifs.
• The roundish titling face Titulata (Tipo). See also here. Accompanied by Titulata Italic (2007).
• The classic text family Gilda Roman.
• Alexa. A sans family.
• With Pablo Cosgaya, he designed Loreto (2004). This family was inspired by the types printed in the Manuale ad Usum (1721). The family appeared in 2009 at Tipo.
• He is (was?) working on Average Italic (2006, serif), Astor (2007, sans) and Yeca Serif (2006).
• Think (Tipo). This typeface won an award at Tipos Latinos 2008 in the non-text category.
• Club Universo (2008, with Mariana Pariani). This typeface won an award at Tipos Latinos 2010.
• Changa (2009). This rounded black poster typeface won an award at Tipos Latinos 2010. See also Changa Italic. Google Font Directory link. The Arabic was also drawn by Eduardo Tunni, in Buenos Aires, in collaboration with M. Gaber in Cairo.
• Lassi Display (2009, with Dario Muhafara). This typeface won an award at Tipos Latinos 2010.
• Merienda One (2011, a brush script). Free at Google Web Fonts.
• This experimental face (2004).
• Mate (2011). A free readable text typeface at Google Font Directory.
• Arapey (2011, Google Font Directory) is a didone family named after a Uruguayan town.
• Lemon (2011). A free signage typeface at Google Web Fonts.
• Unlock (2011). A free quadraplegic typeface at Google Web Fonts.
• Diplomata (2012, +SC) is a free openface typeface publihed at Google Web Fonts).
• Glegoo (2012, Google Web Fonts) is a modern slab serif.
• Imprima (2012, Google Web Fonts) is a very readable humanist sans with large counters and a large x-height.
• Graduate (2012, Google Web Fonts) is an athletic lettering font. The 12-axis variable version followed in 2019. Github link.
• Belleza (2012, Google Web Fonts) is a humanist sans typeface with moderate to high stroke contrast.
• Orienta (2012) is a free sans typeface at Google Web Fonts.
• Warnes (2012). A fifties diner connected script that is free at Google Web Fonts.
• Orienta (2012, Google Web Fonts) is a large x-height wide-eyed sans.
• Combo (2012, Google Web Fonts) is an eggheaded headline face.
• Paprika (2012) is an expressive informal typeface. Free at Google Web Fonts.
• Unica (2012) is a unicase sans, also at Google Web Fonts.
• Strait (2012) is a cold sans. Google Web Fonts link.
• Faster (2012, Google Web Fonts) is a retro typeface that gives the illusion of speed.
• Kite One (2012, Google Web Fonts) is a rounded monoline humanist sans.
• Offside (2012, Google Web Fonts) is a monoline stroke font.
• Joti One (2012, Google Web Fonts. A retro futuristic typeface.
• Croissant (2012, Google Web Font). A non-connected formal upright script.
• Gilda Display (2012, Google Web Fonts) is a serifed typeface with high stroke contrast.
• Sintony (2013, Google Web Fonts).
• Gabriela (2013, Google Web Fonts). From Gabriela, he derived the Latin / Cyrillic / Devanagari typeface Kurale in 2015. It too is free at Google Web Fonts.
• Pathway Gothic One (2013). See also Pathway Extreme (2019), and its fork, Kamillo Grotesk (2019).
• Fauna One (2013).
• Amita (2015, Google Web Fonts) is a Latin and Devanagari typeface derived from Redressed and Modular Infotech Devanagari 2310 and 1228. The Latin is a script type designed by Brian Bonislawsky which blends script and italic letterforms together in an upright non-connecting style. Github link.
• Arya (2015) is a Devanagari and Latin sans typeface that is based on Modular InfoTech's 1201. Github link. Google Web Fonts link.
• In 2015, Pablo Cosgaya, Eduardo Tunni and the crew of Omnibus Type published the text typeface Manuale. Google Fonts link.
• Changa (2018, Tipo). A layerable typeface family.

Eduilson Wessler Coán
[DooType]

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Edwina Lee

Edwina Lee works for the Taiwanese foundry Arphic Technologies. Speaker at ATypI 2013 in Amsterdam How to find or develop matched Chinese typefaces for existing Latin typefaces. She also spoke at ATypI 2017 in Montreal and at ATypI 2018 in Antwerp, where together with Jeff Wu of Arphic she pointed out the challenges of designing variable Chinese fonts. Speaker at ATypI 2019 in Tokyo. [Google] [More]  ⦿

EK Type
[Sarang Kulkarni]

Type design collective in Mumbai, India, est. 2013, managed by Mumbai-based Sarang Kulkarni (b. 1980). Sarang studied at the Sir J J Institute of Applied Art in Mumbai, class of 2002. He worked with R.K. Joshi at the National Centre for Software Technology and Design Temple in 2002. In that same year, he assisted R.K. Joshi with the design of the Jana Gurmukhi typeface. In 2008 and 2009, he created 11 Indic typefaces for Vodafone India. In 2009-2010, he created an additional eight typefaces for Virgin Mobile India. Kulkarni also runs White Crow Designs.

Typefaces at Ek Type from 2011 by Hanif Kureshi include Painter Umesh, Painter Kafeel, and Painter Suhail.

In 2013, Girish Dalvi and Yashodeep Gholap co-designed Ek Devanagari at Ek Type for Hindi, Marathi, Sanskrit, Konkani and Nepali. It is a contemporary, humanist, monolinear typeface available in seven weights. Its companion, also designed by them, is the humanist sans typeface family Ek Latin (2013).

Designer of Modak (2013, Ek Type), a Latin / Devanagari bubblegum typeface that was published in the Google Web Font collection in 2015. Modak Devanagari was designed by Sarang Kulkarni and Maithili Shingre and Modak Latin by Noopur Datye with support from Girish Dalvi and Pradnya Naik. Github link. Another Github link for Modak.

In 2012, he designed Star Jalsha, a Bengali television screen font for Star India Pvt Ltd.

In 2016, Ek Type designed the free Latin / Devanagari / Gujarati font Mukta Vaani. More precisely, it was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Google Fonts link. Github link.

In 2017, EK Type released Jaini and Jaini Purva designed by Girish Dalvi and Maithili Shingre: Jaini is a devaagari typeface based on the calligraphic style of the Jain Kalpasutra manuscripts. The design of this font is based on the 1503 Kalpasutra manuscript.

In 2020, EK Type published the devanagari typeface Gotu at Google Fonts. Niranjan collected these EK fonts:

• Mukta (Girish Dalvi, Yashodeep Gholap)
• Baloo (Sarang Kulkarni)
• Modak (Sarang Kulkarni, Maithili Shingre)
• Jaini (Girish Dalvi, Maithili Shingre)

In 2022, Ek Type released a multi-script (variable) Indic typeface family that includes Anek Telugu, Anek Malayalam, Anek Latin, Anek Kannada, Anek Gurmukhi, Anek Tamil, Anek Odia, Anek Gujarati, Anek Devanagari, and Anek Bangla. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. Ek Type won an award at 25 TDC in 2022 for Anek. The designers mentioned in the TDC press release are Girish Dalvi, Noopur Datye, Sarang Kulkarni, Aadarsh Rajan, Kailash Malviya, Mahesh Sahu, Maithili Shingre, Mrunmayee Ghaisas, Omkar Bhoir, Sulekha Rajkumar, Vaishanvi Murthy, and Yesha Goshar. Github link for Anek.

Behance link. White Crow Designs link [White Crow was established in 2005 in Mumbai by Sarang Kulkarni]. Typophile link. Behance link. White Crow Designs. Fontsquirrel link. Github link. Fontsquirrel link. [Google] [More]  ⦿

Eko Bimantara
[Type Dish]

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Elena Schneider

Graphic designer from Dortmund, Germany, who lives in Husavik, Iceland. Her design company is called Elefont. After studying visual communication in the university of applied sciences in Dortmund, she co-founded the design studio Radau. Graduate of the University of Reading in 2011. Elena designs logos, retail and custom fonts. She is a visiting lecturer at HBK Saar and LHI Reykjavík, and a mentor at Alphabettes, a network to support and promote women in the type industry.

Creator of these typefaces: Eskorte (2011, her graduation project), Eskorte Persian (2011), Klebo (2011, mechanical / octagonal), Eskorte Armenian (2011), Paroli (2011, a bold rounded signage face, Die Gestalten), and Biec (2012).

In 2013, Eskorte was published by Rosetta Type. Eskorte supports Arabic, Farsi, Urdu, and over ninety languages using the Latin script. Titus Nemeth was consulted for the Arabic portion.

Cargo Collective link.

In 2016, Elena Schneider and Miles Newlyn co-designed the almost reverse contrast typeface family New Herman.

In 2019, she published the experimental techno typefaces Halunke and Konsole at Future Fonts. She writes about Konsole: Konsole is a clean sans serif typeface with a touch of technology. Inspired by audio equipment, it gives off robotic energy. A variable font was added in 2019.

Still in 2019, she released the German expressionist typeface Birra Bruin at Darden Studio.

At Tomorrow Type, she released the Cyrillic version of Halunke (2020).

Future Fonts link. [Google] [MyFonts] [More]  ⦿

Eli Heuer

Font engineer and open source software advocate located in Seattle, WA. Before that, he studied mathematics at CUNY in New York. His typefaces:

• Epistle. An old-style typeface.
• Toren Mono, Toren Proportional, Toren Rotalic. Use Modify link for Toren.
• Contributed to Titillium Web VF.
• Contributed to Orbitron VF.
• Contributed to Staatliches (a Google font).
• Micro Grotesk (2021). He writes: A classic sans-serif typeface as a 256-UPM variable font, designed to have a small file size.
• GTL Naskh (2020), is a contemporary Naskh typeface for the Perso-Arabic script.
• Isotherma (2015). A free blackletter font.
• Rena (2021).
• Gnu Grotesk.

Interview. Use Modify link. Github link. [Google] [More]  ⦿

Elias Hanzer
[Hanzer Liccini]

[More]  ⦿

Ellen Luff
[Ellen Luff Type Foundry (was: Miss)]

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Ellen Luff
[Peregrin Studio]

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Ellen Luff Type Foundry (was: Miss)
[Ellen Luff]

London, UK-based designer (b. 1992) of these typefaces:

• The partially free condensed sans typeface family August (2017).
• The free bilined titling typeface Leyron (2017).
• Lucy Rose (2017). Co-designed by Tom Anders Watkins and Ellen Luff.
• Kiona (2017). A stylish 4-family all caps fashion sans typeface. Free regular weight.
• Bison (2018). A sans family by Tom Anders Watkins and Ellen Luff. Bison Bold is free.
• The Peignotian fashion mag typeface Athena (2018), which was published in 2019 as Athens. Athena Regular is free.
• Kiona (2019). A modern all caps family by Ellen Luff and Tom Anders Watkins.
• The paint emulation font Hackney SVG (2019).
• The geometric sans family Aventa (2020), which comes with a variable style.
• The condensed sans typeface August (2020).
• Ardela Edge (2020). A 66-font all caps family with a tech feel. It includes two variable fonts.
• Larken (2020). A flared sharp-edged display serif family.
• Jeko (2020). A 20-style (+variable) geometric sans with a large x-height.
• Brixton SVG (2020). A letterpress emulation font.
• Denton (2021). A 14-style expressive sans, with two variable fonts.
• Peckham Press (2021). A letterpress emulation font.
• Sherman Display (2021). A soft-edged wood type all caps font by Ellen Luff and Tom Watkins.

Type Department link. Link to Peregrin Studio, which Ellen Luff and Tom Watkins co-founded in 2021. [Google] [MyFonts] [More]  ⦿

Elliott Amblard

Elliott graduated in graphic design at EPSAA (Ecole Professionnelle Supérieure d'Arts Graphiques et d'Architecture de la ville de Paris, France) in 2012.

Together, Elliott Amblard (France) and Gia Tran created the bold signage / retro baseball script typeface Paname FY at FontYou in 2014. At Long Type, he created Oradour: Inspired by french vernacular lettering, it is also a very contemporary re-interpretation of Eurostile typeface (Aldo Novarese) by stripping it from this dated aesthetic. FontYou link.

In the TypeMedia program at KABK in Den Haag, he designed Emil for his graduation in 2015. Emil is situated between a text typeface and a slab serif typeface. It is characterized by convex stems and low contrast and includes a Hairline weight.

In 2016, he published Yuzu at Indian Type Foundry. It is a simple yet effective straight rounded sans typeface family. Guide (2016), also published by Indian Type Foundry, is a wayfinding and traffic sign sans typeface family.

In 2017, Elliott Amblard and Théo Guillard designed Read Greek Condensed, which won an award at TDC Typeface Design 2018.

In 2018, Elliott Amblard and Jérémie Hornus co-designed the information design humanist sans typeface family Drive. It is accompanied by the more typewriter-styles families Drive Mono and Drive Prop, and published by Black Foundry. Angus (2018) is a multiplexed rounded sans typeface family by Elliott Amblard that includes a variable font. [Google] [MyFonts] [More]  ⦿

Emma Marichal
[Minitype]

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Erhan Kaplan

At Mimar Sinan Fine Arts University in Istanbul, erhan Kaplan designed these typefaces: Zek (2019: a variable graffiti font) and Perihan No. 29 (2019: a variable Peignotian typeface). [Google] [More]  ⦿

Eric Olson
[Process Type Foundry]

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Erik Van Blokland
[Skateboard for RoboFont]

[More]  ⦿

Erik van Blokland
[LettError]

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Erwin Denissen
[Font Creator / High Logic]

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Estudio CH
[Cristóbal Henestrosa]

Cristóbal Henestrosa (Estudio CH, Tlalpan, Mexico) is the Mexican designer (b. 1979, Mexico City) who co-founded Círculo de Tipógrafos in Mexico. He is professor at four universities in Mexico and an award-winning type designer [read on for details]. Henestrosa has a bachelor's degree in graphic communications from the National School of Plastic Arts (ENAP) of the National Autonomous University of Mexico (UNAM), where his student project in 2003 was Espinosa, and a Master's degree in typographic design from the Center for Gestalt Studies, Veracruz, August 2009, where his thesis was entitled Fondo. La familia del Fondo de Cultura Económica. He is professor of typography and type design at UNAM. He has also taught at the National Fine Arts Institute's School of Design. In 2012, Cristobal Henestrosa, Laura Meseguer and José Scaglione coauthored Como Crear Tipografias (Brizzolis S.A., Madrid, Spain). He lives in Heroes de Padierna, Mexico.

Designer of Espinosa, mentioned here.

Author of Espinosa. Rescate de una tipografía novohispana (México, Designio, 2005), a book about Antonio de Espinosa, a 16th century Mexican typographer, who in all likelihood cut the Espinosa type.

The commissioned text family Fondo (2007) won an award in the TDC2 2008 competition and at Tipos Latinos 2008 (for extensive type family).

Creator of the angry hand-printed typeface Prejidenjia (2008, with Luis Novoa).

Speaker at ATypI 2009 in Mexico City, where he introduced the work of 16th century printer Antonio de Espinosa to the world. Espinosa Nova (2009) won an award at TDC2 2010 and a grand prize at Tipos Latinos 2010.

Guaca Rock (2009) is a stone chisel typeface based on the logotype of the rock band Botellita de Jerez.

Gandhi (jointly designed with Raul Plancarte) won an award at Tipos Latinos 2012.

Soberana Sans (Raúl Plancarte and Cristóbal Henestrosa), made for the Mexican Government in 2012-2013, won an award at Tipos Latinos 2014.

Ayotzinapa (2015, by Raul Plancarte and Cristobal Henestrosa) won an award at Tipos Latinos 2016.

His titling typeface Royal Charter won an award at Tipos Latinos 2018. This is a digital revival by Cristobal Henestrosa based on an experimental typeface named Charter, designed yet never fully finished by William Addison Dwiggins. It is an upright italic, unconnected script typeface, whose main features are a pronounced contrast, condensed forms and exaggerated ascenders. While Dwiggins worked on this project from 1937 to 1955, he only completed the lowercase and a few other characters. However, it was used to set a specimen in 1942 and a short novel in 1946. The sources that Cristobal used for Royal Charter (and later, Mon Nicolette) were the original sketches by WAD as well as printing trails kept at the Boston Public Library, and a copy of the 1946 edition of The Song-Story of Aucassin and Nicolette. This gorgeous typeface can be used successfully in headlines, subheads and short passages of text from 12 points onwards. It was published in 2020 as Mon Nicolette at Sudtipos, where the help of Oscar Yanez was acknowledged.

Fontsy link. Mon Nicolette also comes in a variable format with weight and optical size axes. Dafont link. Klingspor link. [Google] [MyFonts] [More]  ⦿

ETC Type
[Mateo Broillet]

Geneva, Switzerland-based graphic and type designer, b. 1990, who studied at ECAL in Lausanne. Designer of the Trajan column-inspired display serif typeface Nero Alto (2019, published by Typeverything).

Mateo also designed the free fonts Seymaz (2020; a variable condensed octagonal sans family inspired by the Grecian wood type style from the 19th century) and Sabir Mono (2018; a monospaced programming font with support for Latin, Greek, Cyrillic and Hebrew developed as a student project). Fontesk link to his free typefaces. Github link for ETC Type, where one can also download some of his typefaces. [Google] [More]  ⦿

Etcetera Type Company (or: ETC; was: Finck Font Co)
[Tyler Finck]

Graphic designer and musician (b. 1982) at the New York studio AWP who grew up in Maine and is currently based in Ithaca, NY. In 2018, he founded Etcetera Type Company, which is based in Spencer, NY.

His typefaces:

• The fat counterless caps typefaces Blackout and Blackout Midnight (2008). Blackout Sunrise (2013) is an outlined face and Blackout 2am is a reversed font. Blackout Noon followed in 2014. Free download of Blackout at the League of Movable Type.
• Ostrich Sans (2011). This typeface comes in many weights, including a beautiful Ostrich Sans Inline and a hairline. In 2016, this was followed by the layered monoline sans typeface family Ostrich Proper (+Inline).
• Knewave (2011, Google Web Fonts). A brush signage face. League of Movable Type link.
• Porter Sans (2013). A large wide headline type family. It has a free inline outline weight. Later additions include Porter Sans Ink (2014) and Porter Rough (2016). Porter FT, which includes new rounded styles, was added in 2017.
• Elm (2013). Hand-printed.
• Lickety Split (2013). A crayon or brush face.
• Almost (2013). A poster typeface.
• Guilder (2011-2013). A free typeface family with an inline thrown in.
• Ithaca Sans (2013).
• Fartlek Sans (2014). A handcrafted poster typeface.
• Katahdin (2014). A free font.
• Upstater (2014). A a classical American gothic with shaded and layered styles.
• Grandstander (2014). A comic book face. Grandstander Classic (2017). In 2020, Grandstander became a free Google font---and a two-axis variable font was added for the occasion.
• Boo City (2014). A pixel face.
• Didactic Display (2014). A grungy typeface.
• Upstater Ink (2014). A grungy typeface.
• Finck32A (2014).
• Saturnight (2014). A heavy brush typeface.
• Typocopia (2014). A letterpress emulation typeface.
• Taurus Mono (2014). An outline font.
• Southpaw (2014). A nice informal hand.
• Chawp (2014). A crayon face.
• Mr. Brunch (2014). A brush face.
• Gluten FT (2014).
• Flabbergast (2015). A didone.
• Korsque (2015). A layered typeface.
• Bico (2015). A rounded condensed organic typeface.
• Ichabod (2016). An antiqued serif typeface.
• Altitude Condensed (2016).
• Imbue (2016). A condensed didone poster typeface (also called a skyline typeface) at Google Fonts. See also Imbue FT (2017). ETC Imbue (2019) is a variable font version of Imbue with a variation in optical size from Text to Display.
• Retrograde (2016). A monoline and monospaced organic sans.
• Plainview (2016). A squarish and fat typeface.
• Nonesuch (2016). A condensed sans.
• Juju (2016). An octagonal layered typeface family.
• Atiga (2017).
• Mr Brunch FT (2017). A children's book font.
• League Mono (2017). A free font.
• ETC Gluten (2018). An organic font family.
• ETC Epilogue (2018). A variable sans font. Github link. Google Fonts link. Prologue (2020) is a reworking of ETC Epilogue.
• ETC Anybody (2018-2020). A 72-style variable font with weight, width and slant axes. Free at Google Fonts. He writes: Anybody is a big family that combines an affinity for Eurostile plus a heavy dose of 90s inspiration. It's flexible enough to adapt to a variety of situations. From UltraCondensed to ExtraExpanded, type set in Anybody can take up a tiny amount of horizontal space or so much space that you'll need several lines. Its high x-height and low cap height help exaggerate extreme widths and weights. Github link.
• Furrow (2018). A grungy sans.
• Cease (2018). A squarish techno typeface.
• ETC Trispace (2019). A variable font with weight and width axes, based on League Mono.
• ETC Tourney (2019). A variable octagonal font, playing on the theme of outline versus inline. Free Google Fonts download (2020-2021). Github link.
• Struthio (2019). A rounded sans.
• Birdo (2020). An inline typeface.
• Gluten (2021). A free script font family at Google Fonts.

Alternate URL, called The League of Movable Type. Typedia link. Kernest link. League of Movable Type link. Creative Market link, Klingspor link. Dafont link. Home page. Creative Market link. Abstract Fonts link. Google Plus link. YWFT link. Old home page. Behance link. Github link. [Google] [MyFonts] [More]  ⦿

Ethan Nakache

French type and graphic designer who graduated has a Bachelor's degree in graphic and type design from ENSAV La Cambre, Brussels (2019). Designer of Sprat (2020), an 18-style variable font with two axes (width and weight) that was inspired by Eric Gill. It features long sharp serifs and high contrast between thin and thick. Free download.

Other typefaces from 2019 and 2020 include the architecturally inspired Structa and the decorative text typeface Talona, which is rooted in Didot. Github link. Type Department link. Fontsquirrel link. Use Modify link. [Google] [More]  ⦿

Eugenio Pancaldi

During his studied, Bologna, Italy-based Eugenio Pancaldi designed Pelerin (2020), a revival of a dadaist sans typeface found inside of the French church's Almanach du Pélerin (1955). In 2019, he published Hot Tiles, which is a variable font designed at a workshop with ABCDinamo Studio at ISIA Urbino. [Google] [More]  ⦿

Fabian Harb

Dinamo is a Swiss type foundry established by Johannes Breyer and Fabian Harb after graduation from schools in Zurich, Basel and Amsterdam. Johannes and Fabian are visiting teachers at the Estonian Academy of the Arts, Tallinn and regularly teach at UDK Berlin and University of Applied Sciences, St. Gallen. Their typefaces:

• Favorit (2014). A basic sans family by Johannes Breyer and Fabian Harb. It was extended to Favorit Hangul by Mingoo Yoon in 2019.
• Grow (2013). An experimental collaborative font family. Many of the members are multilined and even prismatic.
• The heavy sans typeface Heureka (2009-2013).
• Pareto (2016). Western style typefaces.
• In 2019, Johannes Breyer, Fabian Harb and Erkin Karamemet released Whyte and Whyte Inktrap at Dinamo.
• ABC Maxi (2020, Dinamo). An experimental hipster-inspired gemetric sans family designed by Dinamo (Johannes Breyer and Fabian Harb) and Andree Paat).
• In 2020, Fabian Harb and Seb McLauchlan co-designed the extensive grotesque family Marfa at Dinamo. Marfa contains a monospaced subfamily, and comes with two variable fonts.
• Custom typefaces for Kunsthalle Zurich (CH), Warp Records (UK), Elton John (US), Yale Architecture (US), Manifesta 11 (CH), Harvard Graduate School of Design (US), Universal Music (GER), IBA Thüringen (GER), Festival B:om (KR), Gagosian Gallery (US), Planet Mu/Knives (GER/UK), LayTheme (GER) or the German, Estonian and Cyprus Pavillions at the 55th and 56th Venice Biennale.
• ABC Social done with the Dinamo team in 2021 as a retail version of a custom typeface designed by Fabian Harb and Tina Gabriel for the Australian periodical The Monthly in 2017. Harb writes: Dinamo's co-founder Fabian Harb himself first penned ABC Social as the custom display font for The Monthly, Australia's left leaning independent periodical covering politics, society, and culture. Over many years and many time zones, our super team has now extended it in all directions and for widespread release: Malte Bentzen worked on the very light styles, Fabiola Mejía on its monospaced family, Wei Huang on the regular and bold styles, Erkin Karamemet on Italics, with Rob Janes completing the mastering and production work.

Johannes Breyer. Fabian Harb. [Google] [More]  ⦿

Fabio Haag Type (was: ByType, and: Foco Design)
[Fabio Luiz Haag]

Fabio Haag Type is Fabio Haag's type foundry in Brazil. Earlier, he ran ByType, the type subdivision of Foco Design, and worke for Dalton Maag's Brazilian division. Fabio Luiz Haag (b. 1981, Taquara, Rio Grande do Sul) is located in Sapiranga, Rio Grande do Sul.

Fabio Haag designed FH After (2006, futuristic display typeface to which After Text and After Headline were added in 2007), FH Foco (2003) (a large x-height sans), this futuristic typeface (2003), and Minas Headline, a custom family made for the government of Minas Gerais. He was working on this display font (2005).

In 2006, Foco became a Dalton Maag Ltd font family, and Fabio Haag became the new Creative Director of the Brazilian wing of Dalton Maag in 2008. MyFonts sells Foco and Foco Corp (2007).

Designer (with Jonas Schudel) of a grotesque sans at Dalton Maag, 2007-2009, called Effra, which was inspired by a 1816 design from the Caslon font foundry. Discussion at Typophile. Followed in 2013 by Effra Corp (Dalton Maag) which also supports Greek and Cyrillic.

In 2007, he created the organic sans typeface IronThree.

Cordale (2008) is a workhorse serif typeface jointly done with Lukas Paltram at Dalton Maag. Cordale Corp, the corporate edition, includes Latin Extended A, Greek and Cyrillic characters sets. Cordale Arabic was published in 2013.

In 2009, Foco Italics was published.

At ATypI 2009 in Mexico City, he spoke about Dalton Maag and about the elements necessary to make it in the type business today.

In 2012, the Dalton Maag Brazil team designed the font for the Rio 2016 Olympic Games The 5448-character connected script font Rio2016 was developed by Dalton Maag Brazil, and involved a team that includes Fabio Haag, Fernando Caro and Gustavo Soares. Beth Lula is the Branding Director of the Rio 2016 Olympic and Paralympic Games Organising Committee. Passages of the press release: Each letter expresses a characteristic of Rio 2016 Games, its people and city. The letters are written with a single continuous linework, with a fast and fluid movement, suggesting the movements of the athletes in action. The variety of curves in the letters has a unique informality, inspired by the joyfulness of the Brazilian people. Fabio Haag: As a Brazilian typophile, designing the Rio 2016 font was a dream job. This is a milestone for the design scene in Brazil---it's a great example of how type designers can collaborate with graphic designers, sharing their expertise to strengthen an identity.

In 2013, Fabio designed Almaq, a pair of sans display typefaces in cuts called Refined and Rough.

Codesigner with Bruno Mello, Fernando Caro, Rafael Saraiva and Ron Carpenter of Soleto (2014, Dalton Maag), a sans typeface that won an award at Tipos Latinos 2014.

Setimo (2015) was co-designed by Fernando Caro, Ken Gitschier, Fabio Haag and Lukas Paltram at Dalton Maag, and won an award at Tipos Latinos 2016.

In 2016, Fabio Haag published Lembra (a sans that was created specifically for branding, characterized by tapered terminals) at his new type foundry, Fabio Haag Type, set up after he left Dalton Maag after eight years. Fabio Haag Type grew in 2020 to a team of four, now also including Ana Laydner, Henrique Beier and Eduilson Coan. In 2019, a variable font option was added top Lembra.

In 2017, he designed the 28-unit legible humanist sans variable font family Margem (Fabio Haag Type), which includes a yummy Rounded subfamily. Still in 2017, he developed the sans typeface Sua, which as a variable option.

In 2018, he published pictograms for SporTV, a forceful constructivist font for the World Cup 2018 also for SporTV and Furacão (for Atletico Paranaense).

Typefaces from 2019: Suzano Sans (a commissioned rounded branding typeface done for Suzano).

Typefaces from 2020: Margem (a fine 7-style rounded sans family by Henrique Beier, Ana Laydner and Eduilson Coan).

Typefaces from 2021: Seiva (by Henrique Beier, Eduilson Coan and Fabio Haag: a distant relative of Didot, this exotic sans family is partitioned into Text, Display and Poster subfamilies, and welcomes variable font technology), Salva (2021, Fabio Haag Type). A versatile workhorse sans family: Eduilson Coan was the lead designer. He was assisted by the Fabio Haag Type team of Henrique Beier, Ana Laydner and Fabio Haag himself.

View Fabio Haag's typefaces. Fabio Haag Type. [Google] [MyFonts] [More]  ⦿

Fabio Luiz Haag
[Fabio Haag Type (was: ByType, and: Foco Design)]

[MyFonts] [More]  ⦿

Fabrizio Schiavi
[Fabrizio Schiavi Design (or: FSD)]

[MyFonts] [More]  ⦿

Fabrizio Schiavi Design (or: FSD)
[Fabrizio Schiavi]

Fabrizio Schiavi was born in Ponte dell'Olio in the Piacenza province in 1971. FSD Fabrizio Schiavi Design in Piacenza was opened in 1998. With Alessio Leonardi, he co-founded Fontology. He also co-launched the experimental graphics magazine Climax in 1994.

Bio at FontFont where he made FF Mode 01, FF 0069, FF GeabOil, FF9600, FF Trade 01, FF Steel Mix, FF Steel Ring, FF Steel Jones.

[T-26] designer of D44 (1994), Lithium (1994, dingbats), Moore895 (1994), Moore899 (1994), Sidewalker (1994), Exit (1988). Many of his typefaces are grungy such as Washed (1994). Some are minimalist, such as Monica Due (1999), Monica (1999), and Eco (2001, developed from a logo in the 70s for Ageco). The latter three fonts are very geometric in nature.

Other fonts: Washed (1994), Parakalein, Aurora Nintendo (1995), Aurora CW (1995), Mode01 (1995), GeabOil (1995), 9600/0069 (1995), Fontology (1995), CP Company (2000: a corporate sans), FSDItems (2001), FSDforMantraVibes (2001), Pragmata (2001, monospace, designed for programs), PragmataFlash (2002, a pixel font), Pragmata Pro (2011, still monospaced), Sys (2002), SysFlash (2002, a pixel font), Sys 2.0 (2012, a condensed sans designed for very small print), Virna (2003, a multiline typeface for Italian MTV, discussed here). The Pragmata and Sys series were optimized for screen usage. In addition, Sys has many ink traps, so it prints well at small sizes, and is more legible than Verdana.

He does some custom typeface design, such as the innovative sans serif family called CP Company (2000). Other clients include Al Hamra Complex Kuwait, Nike, MTV, YU, Beretta, Abitare magazine, Ferrari and Philip Morris.

In 2007, he produced a stencil and signage font, Siruca (see also here), for the Al Hamra Complex, one of highest skyscrapers in the world, located in Kuwait. Siruca Pictograms (2008) is free. In 2015, he followed that up by a non-stencil rounded sans called Sirucanorm: Designed using golden ratio formulas, it's inspired to DIN and Isonorm typeface.

In 2013, he published Sys Falso, Abitare Sans (30 weights, originally commissioned by the group Rizzoli Corriere della Sera. Abitare is an Italian magazine).

Typefaces from 2014: Nove (a German expressionist typeface inspired by B movie typography: Nove freshly reworks exploitation film era movie poster lettering, refitting the genre to a contemporary audience. The expressive typeface was done for a Nike Italy spoof campaign featuring 1970s cult film director Enzo Castellari and a recently found film reel from his archives, featuring several current Italian athletes and American basketball star Kobe Bryant).

The rounded sans typeface Widiba Bank (2015) was co-designed with Jekyll & Hyde in 2015 for the brand identity of the new bank of Gruppo Monte dei Paschi di Siena.

In 2016, he designed the custom corporate typeface R&M in art nouveau style.

In 2020, he released the (variable) retail version of CP Company called oook.

In 2021, he released Nure (a 54-style sans font family that includes a three-axis (weight, optical, width) variable font).

At ATypI in Rome in 2002, he spoke about the need for more fonts.

Hellofont link. FontShop link. Font Squirrel link.

Showcase of Fabrizio Schiavi's typefaces. [Google] [MyFonts] [More]  ⦿

Familjen Sthlm
[Isabelle Rudström-Österlund]

Advertising and design-bureau located in Stockholm, Sweden, est. 2011. As part of their business, they design principally custom and corporate typefaces. These include Vasakronan Serif (2019: design lead Isabelle Rudström-Österlund), AIK Display (2021, with a vintage feel), Karnov Display (2021, an angular lapidary typeface for Norstedts Juridik), Northvolt Grit (+Italic) (2021, for the Swedish battery maker), Ica Rubrik Black (2021), Vattenfall Bold (2021).

Designers of the free sans font family Familjen Grotesk (2022, a multi-style inktrapped variable font family by Anders Wikstroem, Jonas Baeckman, Matilda Gysing and Kristian Moeller; Google Fonts). Github link for Familjen Grotesk. [Google] [More]  ⦿

Feliciano Type Foundry
[Mário Feliciano]

Feliciano Type was established in 2001 by Mario Feliciano. The foundry's main design studio in Lisbon, Portugal, with two additional offices, in Povoa de Varzim, Portugal, and in The Hague, Netherlands. Mário Feliciano (b. 1969, Caldas da Rainha, Portugal). Feliciano studied graphic design at IADE, Lisbon, and began working as a graphic designer at Surf Portugal magazine in 1993, where he stayed as art director until 2000. In 1994 he founded the design studio Secretonix in Lisbon. He has been heavily involved in type design since. In 2005, he joined the type coop Village. John Berry reviews Mario's oeuvre. His gorgeous creations include the following:

• Escrita ([T-26], a great calligraphic font), Gazz (1997, in Regular, Paint and Stencil styles), MexSans (1997, [T-26]), Aurea Ultra (1997, [T-26]), Bronz (1997, [T-26]), Cepo, Tpac family (1996, [T-26], under the name Mariachi Fontexperience), Strumpf (1994, comic book font family at Adobe), Caligrafia Debula (1997, PsyOps).
• Geronimo (2010, Enschedé; not to be confused with an earlier 2005 font at Canada Type called Geronimo) was started in 1997. He says: Geronimo is a historical revival, a digital interpretation of the types cut by Geronimo Gil in Spain in the eighteenth century. In fact it is not only the first digital version, but as far as I can tell it is also the first typeface family ever designed using Gil's types as a model. Working in Madrid, Geronimo Gil produced an enormous collection of very interesting and idiosyncratic types that can be found in Muestras de los Nuevos Punzones y Matrices para la Letra de Imprenta executados por Orden de S.M. y de su Caudal destinado a la Dotacion de su Real Biblioteca, a specimen from 1787. It shows titling and text typefaces both in italic and roman styles. His typefaces are not only very Spanish but they are also very sophisticated when compared to the ones of contemporaries such as Eudald Pradell and Antonio Espinosa. Geronimo's typefaces have a sense of modernism but they are not modern in a Bodoni or Didot kind of way. Yet they are actually very old style---particularly the lowercase letters--but with reduced contrast and a generous x-height. Even in the bigger cuts, ascenders and descenders are not long but appear to be even shorter than in text sizes. This creates a kind of rolling effect while reading.
• He is working on Espinosa, and Eudaldo (a typeface in the style of and apparently predating the successful Pradell by Andreu Balius Planelles).
• MyFonts sells BsLandscope, BsMonofaked (octagonal), BsKombat (1998), BsLooper (stencil), BsArchae, BsRetchnov (constructivist), BsMandrax (octagonal).
• Stella (2001, a humanist sans family with 26 weights). FTF Stella 2 is a 2005 upgrade of this family.
• The 14-weight Rongel serif family (1998-2004, updated in 2005 as FTF Rongel V2) is his best work. Feliciano states: an interpretation of the types showed in eighteenth century's Spanish catalogue: "Muestras de los Punzones y Matrices de Letra que se funde en el Obrador de la Imprenta Real, Madrid, Ano de 1799", and titled with the name Rongel, whom I suppose, cut them. Another example of these types can be found in "Las Eroticas, y Traduccion de Boecio" by Villegas and printed by António de Sancha in Madrid, 1774.
• Atanasia. Based on a 1771 example by Antinio Espinosa. That same semi-calligraphic example was also used by Carlos Winkow in his famous Elzeviriano Ibarra at Richard Gans's foundry.
• Salustiana. Based on a 1772 type by Antonio Espinosa. Ibarra used that typeface to print Salustio in 1772.
• Monteros (1998-). Based on a 1799 type at Imprenta Real in Madrid.
• In 2003, he won an award for the extensive FTF Morgan family at the TDC2 2003 competition (subfamilies have suffixes Avec, Sans, Sans Condensed, Big, Poster, Poster Avec and Tower). Morgan Sans was originally developed in 2001 with 44 weights. Each version of Morgan has multiple weights as well---for example, Morgan Big (2001) is a 12-weight titling family. Avec denotes Slab Serif.
• FTF Grotzec Headline Condensed (1998, created for Surf Portugal magazine), Grotzec More.
• FTF Merlo (1998-2009): an interpretation of the 18th century Spanish types cut by Ismal Merlo.
• FTF Flama (2002, a neutral sans in 50 styles). Flama is used, along with Greta Text and Sunday Times Modern, by the Sunday Times.
• FTF Garda Titling (1998-2005): an exceptional caps only family with both serifed and sans inscriptional (Trajan) letters.
• Eudald News (1998-2009, Vllg).
• Sueca (2009): a new typeface for the Swedish newspaper Svenska Dagbladet, which writes: Sueca is a family of serif, slab, sans serif, text typeface and typeface for listing. The idea behind Sueca is to be able to talk with the same clear voice but be able to change the tone of voice in different section. During the work with developing Sueca, SvD had help from the design consultants Palmer Watson from Edinburgh, Scotland as the second opinion.
• Villeneuve (2010-2017).
• Marcin Antique and Marcin Typewriter (2017, Vllg). A slightly modulated contrasted, almost Peignotian, pair of typefaces, based on types shown in Gustave Mayeurs's 1894 and 1912 catalogs.
• Mazagan (2019, Vllg). Mazagan gets its inspiration from Marocaines, a novelty type reproduced in the Fonderie Mayeur Type Specimen (Paris, 1912). The face is also featured in other specimen books of the same period, including the FTF (Fonderie Typographique Française) specimens that show a narrower version.
• Crisol (2019). An art deco stencil influenced by Futura Black (1929) and Braggadocio (1930).
• Parnaso (2019), classified as neo-Elzevir.
• Optional (2020-2021). A contemporary elliptical high contrast sans serif available in five weights.
• Hiper Sans (2021). A wide sans in four styles.
• Korrodi (2020). A monolinear version of Otto Weisert's art nouveau typeface Arnold Böcklin (1904), named after Portuguese (Swiss-born) architect Ernesto Korrodi (1870-1944).
• Miletus Grotesk (2021). A contemporary grotesque inspired by Standard Gothic (Keystone Foundry, circa 1906).
• Parafina (2021). An art deco sans remotely inspired by a hand-lettered display-sized alphabet dating back to the mid-20th century by Spanish letterer Miguel Pedraza.
• Penina (2021). A single weight elegant and delicate serifed typeface that is based on some of the work of William Hugh Gordon (1860s-1920). Penina comes in three contrast grades: Small, Medium and High Contrast, plus a variable font.
• Rotep (2020; in Alvor and Bornes versions). A ten-style collection of all-caps typefaces inspired by the lettering used through the ROTEP (Roteiro Turistico e Economico de Portugal) map collection, a mid-century Portuguese map collection of almost 300 maps published for almost two decades.
• Grosa and Grosa Mono (2020-2021). A 12-style modernist sans serif designed originally as the main typeface for Feliciano's website.
• Sebenta (2020-2021). A take on bthe Clarendon genre.

Feliciano designed custom typefaces for the Portuguese weekly newspaper Expresso [a font called Expresso], for the Swedish newspaper Svenska Dagbladet [a font called Sueca], for the Spanish newspaper El Pais [a font called Majrit] and for Banco Espirito Santo [a font called BesSans].

Klingspor link. FontShop link. MyFonts interview.

View Mario Feliciano's typefaces. [Google] [MyFonts] [More]  ⦿

Felipe Casaprima

Brazilian graphic and type designer, who co-founded Naipe Foundry with Alvaro Franca in Rio de Janeiro in 2018. A graduate of ESDI Cartapaccio, Felipe has interned at Coppers & Brasses in Montreal. He is also associated with Rodrigo Saiani's type foundry Plau. In 2021, he was located in Perth, Australia.

In 2020, Naipe released Pacaembu. Advertized as a tropical art deco sans, this seven-style sans serif typeface by Alvaro Franca and Felipe Casaprima finds its roots in Brazilian soccer. In particular, it took inspiration from the stone lettering found in the 1940 art deco style Sao Paulo Municipal Stadium, also known as Estadio Pacaembu. A variable style is included.

Carlos Mignot and Felipe Casaprima designed the corporate family iN Serif and iN Sans (+Mono) for iN Consultoria de Marcas in 2021.

Naipe published Discordia in 2021. Discordia is an experimental type family with various styles of contrast; by Felipe Casaprima and Alvaro Franca; and a Hebrew extension thanks to Ben Nathan.

Future Fonts link. [Google] [MyFonts] [More]  ⦿

Fernando Haro

Las Palmas de Gran Canaria, Ampuero and Laredo, Spain-based designer (b. 1971) who set up deFharo. Creator of the monoline sans typeface Depez (2011), Fabada (2011), and the free monoline geometric sans typeface La Chata (2011). La chatte, in French? Maybe not.

In 2011, he made the monoline organic sans typeface Lerótica (free at OFL).

In 2012, he created Nabatea (stone chisel typeface), V de Vacia (a grungy outline face), Sabática (organic), the straight-edged data style typeface Gabardina, the grotesk typeface A Bebedera, the shadow typeface B de Bonita, D Puntillas, and the deconstructed Qebrada.

In 2013, he designed Yacarena Ultra, H.H. Agallas, Nacimiento (a dymo label font), J Airplane Swash (a psychedelic typeface named after Jefferson Airplane), CA Garrutas (grunge), CA Gatintas (grunge), I Am Telefono (the largest phone dingbat and scanbat typeface on earth), Wach Op-Art (kaleidoscopic icons), K.O. Activista, I Am Hueca, X Template (stencil), H.H.Samuel (rounded sans), U2 Metalona (a beautiful white-on-black display face), M F Plexus Italic, J.M. Nexus Grotesque (an "thin inline" fat grotesque), Wachinanga, Tabaquera, Pabellona (grunge), El Pececito (video game font), the poster typeface Hobby of Night (OFL), H2O Shadow (outline version of Fabada), Zabatana Poster (a didone-inspired poster font), Oaxaquena Tall, Yacimiento (wood style wedge serif), and Rabanera.

Typefaces from 2014: Babalusa Cut, A Cuchillada, Sabandija (a plump round display typeface), F2 Tecnocratica, F1 Secuencia Quad (pixel face), La Pejina FFP (bilined), Tabaiba Wild, Gabachita (ultra-condensed rounded sans).

Typefaces from 2015: Tabarra Pro (Swiss style sans family for Latin, Cyrillic and Greek), A Sogra Ruth (ultra-condensed art deco), Gaban (an outline version of Tabardo), Tabardo (a heavy blocky font), Wacamoler Caps (a Tuscan typeface inspired opening credits of the Western movie Winchester '73 directed by Anthony Mann in 1950), Ubicada (condensed geometric sans), Rabiosa (neurotic font), Zacatecas (condensed shaded sans), F3 Secuencia Round, La Babaca (a powerful black condensed sans in the style of Impact), Obcecada Sans + Serif (condensed with almost disappearing descenders), Eacologica Round Slab (a nice commercial font with an incomplete set of numerals), Palim Script (curly), Vacaciones (signage face), de La Cruz.

Typefaces from 2016: Yugoslavia (calligraphic), Love Box (stencil), Cienfuegos (connected retro script named after the Cuban her Camilo Cienfuegos), Gaitera Ball (round fat script), The Black Box (a retro banner font), Durum Kebab (shadow sans), Jolgoria In Town (script), Yerbaluisa (signage script), Escobeta One (brush script), Posteratus Rex, Bastardilla (a cursive font), Rotulona Hand, The Juke Box (retro juke box lettering), Angelique Rose (connected monoline script), Promenades, Bucanera (a swashbuckle font), Lucemita, Panama Road (a casual calligraphic font), Deslucida, Disoluta, Sucesion Slab, Tabarra Pro Round, Qebab Pro Shadow, Monserga (white on black), Indulta SemiSerif.

Typefaces from 2017: Partizano Serif (a retro poster font; free demo), Jack Stanislav (a great condensed movie poster font), Fontanero (rounded fat sans), Yonky (fat slab serif), Zigzageo, Libertatus (manual serif fonts based on a Czech poster from 1935), Libertatus Duas (slab serif), Flamante Sans, Flamante Serif, Flamante (Round, SemiSlab, Stencil, Seca, Cairo, Roma), Seisdedos Dead (rough stencil fonts), Neo Latina (stencil), Carta Magna (blackletter), La Sonnambula (signature script), Bola Ocho (an eightball font), Clandestina (textured, layered), Acratica (signage script), Penitencia Inline, Autarquica (outlined vernacular style), Caminata One (shaded signage typeface), Sin Razon (wedge serif), Glotona Black and White (a layered tattoo style font duo), Glotona Dots (the textured versions of Glotona), 6th Aniversario, Tribal Box (squarish sans, with tattoo ornaments and a great environment for borders), Candy Pop (bubblegum font), Sargento Gorila (army stencil font), Libertinas + co (a curly calligraphic script; the free version has no numerals).

Typefaces from 2018: Gudariak (a free color SVG font: Vicente Ballester Marco (Valencia 1887-1980) was a graphic designer and Valencian poster artist affiliated with the CNT (Confederacion Nacional del Trabajo) who created political propaganda posters of clear modernist and post-cubist influence during the Spanish Civil War. The Gudariak typeface is inspired mainly by one of the posters he made for the Government of Euskadi and also in others where the author continues to explore this particular typographic style. ), Farisea Fraktur, Octuple Max (techno), Ordeal Eroded, Panfleta Stencil, Secuela (free), Fragua Pro (condensed sans family), Getho (a geometric semi-sans), Cowboya Tuscan (a curly Tuscan circus font), Txuleta Deco (a striped art deco typeface), Coltan Gea (slab serif), Getho Semi Sans, Cowboys (a Tuscan typeface), Drystick Geo Grotesk, Diezma, Grifa Slab, Coltan Gea (slab serif family), Paloseco (geometric and grotesk), Stoica (a color SVG font), Letrera Caps (a rounded square style layered and color font that pays homage to the sans serif inline genre), Enagol Math (a condensed rounded slab serif based on carefully applied mathematical ratios), Heptal, Velocista, Octagen Condensed, Octagen Black, Sextan Serif, Sextan Cyrillic, Quickat (signage script), Octagen (condensed sand with short descenders), Wolframia Script (flowing handwriting), Pentay Slab, Pentay Sans, Pentay Book, Cuatra, Judera (Flat and Ring: monospaced, unicase and totally sqaurish), Quotus (slab serif), Tripleta Grotesk (a 16-style geometric sans family).

Typefaces from 2019: Pervitina Dex (sci-fi), Megalito Slab, Obesum Caps, Jane Roe (sans), Icons Opentype, Felona (stencil: a variable font), Neo Fobia, Bocartes Fritos (food icons), Red Thinker (a squarish monoline sans), Pena Caldaria (blackletter).

Typefaces from 2020: Anoxic (a squarish monoline sans).

Typefaces from 2021: Humato (a sturdy font for weightlifters), Probeta (a squarish techno sans family in 42 styles), Speeday (a speed emulation sans).

Creative Market link. OFL link. Behance link. Dafont link. Devian tart link. Abstract Fonts link. Fontspace link. [Google] [MyFonts] [More]  ⦿

Flavia Zimbardi
[Zimbardi (was: Zimbardi Calomino)]

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Flavia Zimbardi

Flavia Zimbardi is a type designer and visual artist from Rio de Janeiro, based in Berlin. From 2005 to 2013 she worked for some of the leading magazines in Brazil. Flavia is a graduate of the Type@Cooper Extended Program at the Cooper Union, class of 2017. In 2018, she started Zimbardi Calomino together with Caetano Calomino, and in 2020 she co-founded Undercase Type with Phaedra Charles in Brooklyn, NY. Her typefaces:

• Her graduation project, Lygia. It was awarded by the Type Directors Club and at Tipos Latinos 2018. Released in 2019 by Future Fonts, she writes: Lygia explores the duality of sharp and round forms with stylish cues and historical references from 16th-century masterpieces by Robert Granjon to the geometric approach of W.A. Dwiggins. An homage to Brazilian neo-concrete artist Lygia Clark, originally designed in 2017 as Flavia Zimbardi's degree project for the Type@Cooper extended program in New York. Lygia is a variable font with a weight axis. After Type@Cooper, Flavia settled in Berlin, Germany. In 2021, she released the companion typeface family Lygia Sans.
• The piano key typeface Joschmi (2018). An Adobe Originals font designed as part of an effort to revive Bauhaus treasures, and named after Joost Schmidt.
• In 2018, using a speed stroke technique, Caetano Calomino developed the signpainter font ZC Casual together with Flavia. It was re-released at Undercase in 2020.
• In 2020, Phaedra Charles and Flavia Zimbardi co-designed the free decorative text typeface Fraunces at Undercase Type. Google Fonts link for Fraunces.
• At Lost Type and Undercase Type, Phaedra Charles, Kelly Thorn, and Flavia Zimbardi published the chunky art nouveau typeface Regina Black (2020).

Future Fonts link. Older Future Fonts link. Note: MyFonts incorrectly calls her Flavia Zambardi. [Google] [MyFonts] [More]  ⦿

Florian Karsten

Florian Karsten Studio (Brno, Czech Republic) focuses on graphic design, type design and programming. They create websites, books, programmes, typefaces and functional systems. They are excited about open-source and peer2peer networks. Designer of exclusive high quality typefaces:

• Space Text or Space Grotesk (2016), based on Colophon's space Mono. A free variable font at Google Fonts in 2020. Github link.
• FK Roman VF (2019). A variable font with a weight and optical size axis.
• The retail typefaces FK Display, FK Grotesk (2019), FK Raster Grotesk, FK Screamer (2018: a condensed sans), and FK Roman (2019).
• Montagu Slab (2021, Google Fonts). Based on 19th century models. Five optical sizes and many weights. Includes a variable font. Github link.

Open Font Library link. Fontsquirrel link. Github link. [Google] [More]  ⦿

Floris
[Lucas de Groot]

In 1999 Lucas de Groot was commissioned to design a new headline face for the French daily Le Monde. In 2001, this typeface won an award in ATypI's worldwide Bukvah:Raz! type design competition. de Groot explains: The Le Monde typeface was further developed, resulting in Floris LM, a rather narrow display face in six weights with pronounced vertical stress. Its condensed structure and expressive shapes allow for economic yet attention-grabbing headline setting. In 2007, Floris was redrawn as part of a drastic redesign of the German weekly Jungle World. Floris JW is a headline family in weights, from ExtraLight to Black. The Jungle World project also resulted in Floris Text, a new typeface for publications, which is still under development.. The Floris font has been developed along fours axes, with sixteen masters in all. Retail styles include Floris SP and Floris Text. [Google] [More]  ⦿

Font Creator / High Logic
[Erwin Denissen]

At High Logic in the Netherlands, Erwin Denissen (who is based in Bilthoven near Utrecht) has developed a font editor called Font Creator. No type 1 support. Windows only. At some point, Font Creator switched from shareware to payware. It also added Scanahand, a Windows tool for making handwriting into a font.

Erwin Denissen started his career as an employee at ICT Automatisering, mainly working with Delphi. About two years later he switched to Bolesian were he made a move to Java software development. When Bolesian was eaten by it's big sister Capgemini in 2001, Erwin Denissen continued to work with Java. After several successful projects, and moving from software engineer to software designer to project leader, he decided to quit his job and fully focus on his own company High-Logic, he started back in 1997 as a graduate project (at Fontys University in Eindhoven). He wrote: As an independent software vendor, Erwin Denissen strives to continue developing new and innovative products for the world-wide typography market. Right now High-Logic has three products, a font editor, a font manager and a font generator. In March 2008 Erwin Denissen acquired MyTools.com, including 8 products. In July 2008 yourfonts.com was launched as an online font generation service. In 2021, he added: The upcoming FontCreator 14 will fully support variable fonts, as Erwin strongly believes they will soon become mainstream. [Google] [More]  ⦿

Font Kitchen
[Matt Bailey]

Bay City, MI-based designer of Spartan MB (2017), a free seven-style font family that extends the single-weight League Spartan (2014, The League of Movable Type). An open-source typeface based on early 20th century American geometric sans serifs. Built out of necessity. Originally designed by Matt Bailey. In 2020, Mirko Velimirovic converted Spartan MB to a variable font. See Google Fonts and Github. In 2020, we find two derived fonts, Corey Sans, and Lucymar Sans (by Cristiano Sobral) on Open Font Library.

In 2019, he released the rounded geometric sans typeface Pastrami.

Typefaces from 2020: Latte (a vintage serif family in 16 styles and a variable font). Fontsquirrel link. Open Font Library link. [Google] [MyFonts] [More]  ⦿

Font Spectrum

Type foundry set up by Daniel Maarleveld and Edgar Walthert in Amsterdam in 2021. Future Fonts link. The typefaces at FontSpectrum:

• Purple Haze (2021-2022). Purple Haze is an experimental variable typeface with a readable regular weight and decorative dot matrix-themed extremes. The font works best when being animated or interacted with.

Fontfabric
[Svetoslav Simov]

Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. They design highly innovative typefaces that have lots of style and flair. Most fonts cover both Latin and Cyrillic. Until 2022, their fonts were sold through MyFonts, but gradually they switched to their own independent shop.

• Typefaces from 2008: Cubic (3d face), Clou (cloud-like letters), Colo (double-lined and geometric), Snail, Blou (very thick and counterless letters).
• Typefaces from 2009: Uni Sans (first called United Sans), Kare (psychedelic), File (fat face), Zag (7-style monoline sans with tear drop terminals; it include Zag Drps and Zag Deco), Clou (cloudy letters), Facet (Black and Ultra: paper fold typefaces), Noveu (psychedelic, art nouveau), Pastel (brush face), Rolka (round ultra-fat and curly lettering), Val (rounded fat), Kvant (severe and octagonal), Duplex (fat techno), Avatar (ultra fat black), Dovde (bubbly, co-designed by Maria Karkova), LOT (fat art deco), MOD (ultra-fat), Oval (rounded sans), Quad (octagonal outline), Portal Strips and Portal Black (hyper-experimental geometric typefaces), Prisma (more ultra-fat experimentation) and Wigan (Wigan Thin and Bold of this paperclip typeface appeared in 2014).
• Creations in 2010: Hero (free sans family), Null (ultra fat, free), Aston (a modern high-contrast rounded display face), DAN (free piano key font; Dan Pro is not free though), Solomon (headline sans family) [Images of Solomon: i, ii, iii, iv, v, vi, vii, viii], Dox (ultra fat geometric poster face), Sudoku (a geometric display family with several biline and triline styles, done with Fontan2), VAL Stencil (a stencil in which repeating letters makes them tilt the other way; free), Code (2010, a fantastic monoline sans family; images: i, ii, iii, iv, v), Dekar (techno), Clipdings Web, Clipdings Travel, Clipdings Graphic Arts, Babydings, Artdings, Reader (Light, Bold: avant garde sans), SAF2010 (comic book/signage: well, Jan Erasms, the designer in 2006 of Menyaka for FIFA WC 2010 is not happy, calling SAF a blatant imitation), Age Free (free fat organic face), GOTA (a free fat finger sans face).
• Typefaces from 2011: Gabriel Sans (grotesk family), La Boheme (signage face), Qero Mite (an organic monoline sans), Code Pro (caps only clean sans headline family), Solomon Sans (a headline monoline sans family).
• Typefaces made in 2012: Nexa (a geometric sans in 16 styles), Nexa, Rex (free octagonal family for Latin and Cyrillic), Hagin (free), Intro (26-style superfamily in the Futura style) and Intro Inline (free Futura-style family for Latin and Cyrillic). Intro Condensed was created in 2014.
• Typefaces from 2013: Nexa Slab, Nexa Slab XBold, Nexa Slab Bold, Nexa Slab Book, Nexa Slab Light. [Recognize the typeface by the a and the g (an 8 with a small piece missing).
• Typefaces from 2014: Nexa Rust (a weathered letterpress emulation family of 83 typefaces by Radomir Tinkov, Ani Petrova, Svetoslav Simov and Vasil Stanev).
• Typefaces from 2015: Bronn Rust, Bronn Script and Bronn Rust Extras is a handcrafted collection of 22 typefaces created on the coat tails of the hugely popular Nexa Rust and other typefaces in the grungy worn letterpress and layering vogue. The roundish tightly set broad-ranged sans typeface family Panton is sure to make waves for years to come---it is the typeface for mobile devices. Sensa (2015, Radomir Tinkov and Svetoslav Simov) is a handcrafted 21-style family divided into the subfamilies Sensa Brush, Sensa Pen, Sensa Wild, Sensa Sans, Sensa Serif and Sensa Goodies.