TYPE DESIGN INFORMATION PAGE last updated on Sat Jul 4 19:39:03 EDT 2020

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Variable fonts



[Shown are many instances of C.J. Dunn's Dunbar (2017), one of early Opentype Variation, or simply variable, fonts.]





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Aaron Bell
[Saja TypeWorks]

[MyFonts] [More]  ⦿

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]  ⦿

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.
  • 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 didone 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. 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.
Bio by Nicholas Fabian. Erich Alb wrote a book about his work: Adrian Frutiger Formen und Gegenformen/Forms and Counterforms (Cham, 1998). Winner of the Gutenberg Prize in 1986 and the 006 Typography Award from The Society for Typographic Aficionados (SOTA). Famous quote (from a conversation in 1990 between Frutiger and Maxim Zhukov about Hermann Zapf's URW Grotesk): Hermann ist nicht ein Groteskermann. A quote from his keynote speech at ATypI1990: If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.

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]  ⦿

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: Debeo (a heavy sans), Dozza (a hybrid family named after ITC Mendoza by Jose Mendoza Almeida), XMX (experimental).

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

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: 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). [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]  ⦿

Akira Kobayashi
[Neue Frutiger]

[More]  ⦿

Alejandro Freitez

Originally from Maracay, Venezuela, Alejandro Freitez is now based in Buenos Aires, Argentina. Designer of the free text font Calicanto (2015), which was published by Sudtipos in 2019. In 2013, he published the squarish inline typeface Rectil.

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.

In 2020, Freitez released Ansage at Sudtipos. Ansage is a 61-style sans family (and a variable font) that revisits the early sans types from the 19th century, rough, raw and unsophisticated. [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]  ⦿

Alexander Slobzheninov

Prague, Czechia-based designer of 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 Subjectie, two mischievous typeface families published in 2018.
  • 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 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. 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. In 51 styles.

Future Fonts link. [Google] [More]  ⦿

Alexey Popovtsev
[Aronetiv]

[MyFonts] [More]  ⦿

Alexis Boscariol

Paris-based graduate of the Type Media program at KABK in Den Haag, The Netherlands, class of 2019. His graduation typeface is Picardy, a variable font designed for the web. Github link. [Google] [More]  ⦿

Andrea Tartarelli

Graphic designer in Pietrasanta, Italy, who heads Surface Studio. His 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, and added 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 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).

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

[MyFonts] [More]  ⦿

Andrew Footit
[Arkitype (was: Virtue Creative)]

[MyFonts] [More]  ⦿

Andriy Dykun
[NREY]

[MyFonts] [More]  ⦿

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]  ⦿

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 TypeTypType. 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. [Google] [MyFonts] [More]  ⦿

Anupap Jaichumnan
[Jipatype]

[More]  ⦿

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:

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.

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 Nomenclatur (2020: a sans family for information design and engineering, inspired by DIN), Jheronimus (2019: a neo-humanistic grotesque variable font), Jheronimus Contrast (2019), Ezlo Sans (2019) and the commercial sans typeface Rothko (2018) for Latin and Cyrillic. Earlier, in 2016, he published the Latin / Cyrillic sans typeface Nachalnaya. Rentafont link. [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. It will be added to Google Fonts at some point.
  • 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.
[Google] [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]  ⦿

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]  ⦿

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]  ⦿

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 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]  ⦿

Ben Hoepner

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

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.

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.
Creative Market link for Black Foundry. [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:

  • Inferi (2019). Inspired by garaldes.
  • Apoc(alypse) (2019). A variable option was added in 2020.
  • 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.
  • 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.

Cargocollective link. [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: 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), 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).

Alternate URL. Dafont link. Behance link.

View the Typedifferent typeface library. [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 (high ascender display typeface after the Morris 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 4-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]  ⦿

Christian Gruber

Graphic designer who studied and now works in Münchberg, Germany. In 2019, he designed the sans typeface family Tabula Rasa, and added a variable font option. [Google] [More]  ⦿

Christian Jansky
[Kometa]

[More]  ⦿

Christoph Koeberlin
[Sportsfonts]

[MyFonts] [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.

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.

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

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). Targa Monospace (2002) is a sans inspired by Italian vehicle registration plates. It has an handmade version (Targa Hand) that can be used for comic book lettering.

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.

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.

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 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 weigt 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. [Google] [MyFonts] [More]  ⦿

CSS Tricks

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

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.
  • 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.

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. 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: 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.. [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. [Google] [More]  ⦿

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:

  • AgencyFB.
  • 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 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).
  • 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 Jonathan Ross
[DJR Type]

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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.
I am very excited to read about this reintroduction of what is essentially MM fonts, because I LOVED that technology. But it's hard to think about without feeling a little sting of remembered pain from MM's death two decades ago. [Google] [More]  ⦿

Deni Anggara
[Formatype Foundry]

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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: Casta (a display serif in 55 styles; with a variable font), Adolle Bright, 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. [Google] [MyFonts] [More]  ⦿

Displaay
[Martin Vacha]

Displaay is Martin Vacha's type foundry in Prague set up in 2014. His early fonts were designed during his studies at UMPRUM in Prague. His typefaces:

  • 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).
  • Hellix (2011). A sans with hipster elements.
  • 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).
  • Tobias (2019-2020), a transitional typeface with elements of Times, Times New Roman and Baskerville.
[Google] [More]  ⦿

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.
  • Turnip (2012) is an angular and manly text face, also published at Font Bureau.
  • In 2013, Ross 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.
  • 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.
  • 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.
  • 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, 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.
  • Font of the Month Club fonts from 2018: Extraordinaire, Rhody, 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.

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

Dmitrij Greshnev
[Green Type]

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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. [Google] [More]  ⦿

Doni Sukma
[Letter Omega]

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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. 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.

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.
  • 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.
  • 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.
  • 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 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). Bothe loosely based on ATF's Times Gothic.
  • Quase (2017). Loosely based on William Caslon's Specimen of Printing Types (1785). With a larger-than-Caslon x-height and reduced descenders, it comes in Display, Text, Headline and Poster substyles.
  • 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). A Scotch roman with a lot of contrast.
  • 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.
  • 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).
  • 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. 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.

DS Type also has typefaces by other type designers, such as Pedro Leal. They worked with leading companies, world scale events and well-known design agencies including: Appetite, Banco CTT, Banco Economico, BBDO, CondéNast, CTT Correios de Portugal, Electronic Arts, Errea Communicacion, Erste Bank, ESPN, Expo 2020 Dubai, Fifa World Cup 2018 Russia (the Ducha typeface), Garcia Media, Gatorade, Gruner + Jahr, Hearst, Innovation, King Games, McCann-Erickson, Meredith, Palmer Watson, Pentagram, Sagres, Starbucks, The New York Times (the Nyre typeface), Vox Media and Wolff Olins.

View Dino dos Santos's typefaces. DS Type's typeface library. [Google] [MyFonts] [More]  ⦿

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:

[Google] [MyFonts] [More]  ⦿

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]  ⦿

Elena Schneider

Graphic designer from Dortmund, Germany, who is also sometimes located in Iceland. MyFonts lists her last name as Scheider, not Schneider. Her design company is called Elefont. Graduate of the University of Reading in 2011.

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. [Google] [MyFonts] [More]  ⦿

Eli Heuer

Font engineer and open source software advocate located in New York City, where he is studying mathematics at CUNY. Github link. His typefaces:

  • Epistle. An old-style typeface.
  • Toren Mono, Toren Proportional, Toren Rotalic.
  • Contributed to Titillium Web VF.
  • Contributed to Orbitron VF.
  • Contributed to Staatliches (a Google font).

Interview. [Google] [More]  ⦿

Ellen Luff
[Miss]

[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 Eurostyle 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]  ⦿

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]

[MyFonts] [More]  ⦿

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

Graphic designer (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.

He created the fat counterless caps typefaces Blackout and Blackout Midnight (2008), and his most famous typeface, Ostrich Sans (2011). This typeface includes many weights, including a beautiful Ostrich Sans Inline and a hairline. In 2016, this was followed up by the layered monoline sans typeface family Ostrich Proper (+Inline).

I am not sure if he designed the wood type-inspired slab serif typeface Chunk Five.

Porter Sans (2013) is a large wide headline type family. It has a free inline outline weight. Elm (2013) is hand-printed. Blackout Sunrise (2013) is an outlined face. Lickety Split (2013) is a crayon or brush face. Almost (2013) is a poster face. Guilder (2011) is a free typeface family with an inline thrown in. Itthaca Sans and Guilder were made in 2013.

At Google Web Fonts, he republished Knewave (2011), a brush signage face.

Typefaces from 2014: Fartlek Sans (hand-crafted poster typeface), Katahdin (free), Upstater (a classical American gothic with shaded and layered styles), Grandstander (comic book face), Boo City (pixel face), Didactic Display (grunge), Upstater Ink (grunge), Blackout Noon, Finck32A, Saturnight (heavy brush), Porter Sans Ink, Typocopia (letterpress emulation), Taurus Mono (outline), Southpaw (nice informal hand), Chawp (crayon face), Mr. Brunch (brush face), Gluten FT.

Typefaces from 2015: Flabbergast (a didone), Grandstander Classic (comic book style), Korsque (layered), Bico (a rounded condensed organic typeface).

Typefaces from 2016: Porter Rough, Ichabod (an antiqued serif), Altitude Condensed, Imbue (a condensed didone poster typeface), Retrograde (monoline and monospaced organic sans), Plainview (squarish and fat), Nonesuch (condensed sans), Juju (octagonal layered typeface family).

Typefaces from 2017: Juju (a layerable octagonal typeface family), Ichabod (an eroded typeface), Atiga, Imbue FT (a skyline typeface), Porter FT (his earlier font Porter Sans remade, and rounded styles added), Grandstander Classic.

Typefaces from 2018: ETC Gluten (an organic font family), ETC Epilogue (a variable sans font), ETC Anybody (a 72-style variable font with weight, width and slant axes), Furrow (grungy sans), Cease (techno, squarish).

Typefaces from 2019: ETC Trispace (a variable font with weight and width axes; based on League Mono), ETC Imbue (a variable font version of Imbue with a variation in optical size from Text to Display), ETC Tourney (variable font, playing on outline versus inline), Struthio (a rounded sans).

Typefaces from 2020: Prologue (a reworking of ETC Epilogue).

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. [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. [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]  ⦿

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

ByType is the type subdivision of Foco Design, the Brazilian design company of graphic and type designer Fabio Luiz Haag (b. 1981, Taquara, Rio Grande do Sul), 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 at his new type foundry, Fabio Haag Type, set up after he left Dalton Maag after eight years. Lembra is a sans that was created specifically for branding. It is characterized by tapered terminals. In 2019, a variable font option was added.

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).

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

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

[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 sqaurish monoline sans).

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

Florian Karsten

Designer of exclusive high quality typefaces. Creator of the free font family Space Text or Space Grotesk (2016), which is based on Colophon's space Mono. In 2019, he published FK Roman VF, a variable font with a weight and optical size axis. Other retail typefaces include FK Display, FK Grotesk (2019), FK Raster Grotesk, FK Screamer, and FK Roman (2019).

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

FontLab

A major font editor originally marketed by Pyrus, which also published TypeTool, BitFonter, AsiaFont Studio, TransType, FONmaker, ScanFont, FontFlasher, SigMaker, and CompoCompiler. It acquired Fontographer. This popular commercial font editor can be used for designing and editing glyps, drawing type, kerning, spacing, and hinting. FontLab VI was released in December 2017. It covers multi-color and variable fonts on both Mac and Windows. [Google] [More]  ⦿

Fontpeople
[Jason Harcombe]

Graduate of the TDi program in 2018 at the University of Reading. In 2020, Jason Harcombe and Max Saille published the 18-style variable sans font family Mazin and the 20-style geometric sans typeface family Cadiz at Fontpeople. Over at MyFonts, credit for Mazin and Cadiz only goes to Jason Harcombe. [Google] [MyFonts] [More]  ⦿

Fontsmith
[Jason Smith]

Jason Smith is the British corporate typeface designer who founded Fontsmith in 1997, where he retailed his own designs from his office in London. He has created a typographic identity for the Post Office in the UK. Phil Garnham was one of the in-house type designers. In January 2020, Fontsmith was acquired by Monotype.

Smith's custom typefaces include Casey, Seat, Tractebel, PPP Healthcare, Powergen, Allied Irish Bank, UUnet, Channel 4, and Saudi Aramco, Champions (2009: for the UEAFA Champions League), Colgate Ready (2014: for Colgate, covering Latin, Cyrillic, Eastern European, Devanagari and Thai), More4 (2005, for the Channel 4 Adult Entertainment channel), ITV (2006, for the ITV network), BBC ONE (2006, for the BBC), Post Office Sans (2003), Severstal (2009), and Moto GP (2020: a custom techno / sports font).

Vernon Adams and Fontsmith got into a quarrel about Vernon's Mako, which was submitted and rejected by Fontsmith, which published its own similar typeface Lurpak a few weeks later.

Most of his typefaces are now at MyFonts, after the take-over:

  • FS Albert (2002). A soft-edged sans family by Jason Smith, Mitja Miklavcic and Phil Garnham. Followed by Emanuela Conidi's FS Albert Arabic. In 2007, Jason Smith designed the custom typeface Xerox Sans (+Condensed) as a modification of his FS Albert, to which Greek and Cyrillic alphabets were added as well.
  • FS Aldrin (2016). A rounded sans by Phil Garnham.
  • FS Alvar (2007, Jason Smith and Phil Garnham). A modernist utilitarian headline font family inspired by the work of Alvar Aalto.
  • FS Benjamin (2018). A flared sans serif by Stuart De Rozario.
  • FS Blake (Emanuela Conidi). A sans with some inherent tension.
  • FS Brabo (2015, Fernando Mello). Named after Brabo in Antwerp, FS Brabo was inspired by the Plantin Moretus museum and the garalde styles (Bembo, Garamond, Plantin). FS Brabo won an award at Tipos Latinos 2016.
  • FS Clerkenwell (2004, Jason Smith and Phil Garnham). A slab serif.
  • FS Conrad (2009). A multiline display face by Phil Garnham.
  • FS Dillon. Influenced by the Bauhaus quest for simplicity.
  • FS Elliot (2012). By Nick Job.
  • FS Emeric (2013, Phil Garnham). A large humanist slightly angular sans family. Dedicated web site.
  • FS Hackney. An assertive sans typeface family by Nick Job.
  • FS Industrie (2018). A 70-style techno / mechanical sans family by Fernando Mello and Phil Garnham.
  • FS Ingrid. A humanist sans family by Jason Smith.
  • FS Irwin (2017). An incised typeface inspired by New York, FS Irwin is a sans serif with calligraphic roots.
  • FS Jack (2009, Jason Smith and Fernando Mello). A confident sans family that was awarded at Tipos Latinos 2010.
  • FS Joey (2009, Jason Smith and Fernando Mello). An organic sans typeface family.
  • FS Kim (2018). A joyful display typeface family by Krista Radoeva.
  • FS Kitty (2007, Jason Smith and Phil Garnham). In the Japanese kawaii style.
  • FS Koopman (2018). A sans family designed by Andy Lethbridge and Stuart De Rozario. A hybrid sans workhorse that takes inspiration from Swiss grotesks, American gothics and early British grotesques
  • FS Lola (2006). Originally designed for Wechsler Ross&Portet by Phil Garnham, it is advertised by Fontsmith as a transgender type.
  • Lost + Foundry (2018, Pedro Arilla and Stuart de Rozario). The Lost & Foundry family of seven fonts includes FS Berwick, FS Cattle, FS Century, FS Charity, FS Marlborough, FS Portland and FS St James. The campaign was developed by Fontsmith, M&C Saatchi London and Line Form Colour. The crumbling typefaces of Soho were recovered to be sold online as a collection of display fonts, to fund the House of St Barnabas's work with London's homeless. Fontsmith's designers Stuart de Rozario and Pedro Arilla worked with M&C Saatchi London to develop the fonts.
  • FS Lucas (2016). A geometric sans by Stuart de Rozario.
  • FS Maja. A curvy display typeface.
  • FS Matthew. A sans family.
  • FS Me. Mencap, a British company that works with people with a learning disability, asked Smith to design a font, FS Mencap (also known as FS Me), for the learning disabled---easy to read, yet elegant. Codesigned by Jason Smith, Mitja Miklavcic and Phil Garnham.
  • FS Meridian (by Kristina Jandova). A rhythmic geometric sans family with circular forms.
  • FS Millbank (2015). A wayfinding typeface family by Stuart de Rozario.
  • FS Neruda (2018, by Pedro Arilla). A transitional storytelling text family named after Chilean poet Pablo Neruda.
  • FS Olivia (2012). An angular poetic text typeface family by Eleni Beveratou.
  • FS Ostro (2018, Alessia Mazzarella). A modern typeface family in text and display versions. It brings warmth and fresh air to the cold Italian didones. Its more subdued and less contrasted text version was influenced by Scotch romans. There are also genetic elements of Spanish display types.
  • FS Pele (2007). An ultra fat typeface by Jason Smith and Phil Garnham.
  • FS Pimlico (2011, Fernando Mello). A humanist display sans.
  • FS Rigsby (2005). A sans.
  • FS Rome (Mitja Miklavcic and Emanuela Conidi). An all caps Trajan typeface.
  • FS Rufus (2009). A slab serif by Mitja Miklavcic, Jason Smith and Emanuela Conidi. Described by them as benevolent, quirky, peculiar, offbeat, jelly beans and ice cream, a retro eco warrior.
  • FS Sally (Jason Smith and Phil Garnham). FS Sally Pro won an award at Granshan 2016.
  • FS Sammy (Satwinder Sehmi, Jason Smith). A script typeface.
  • FS Shepton (2015). A calligraphic brush script by Andy Lethbridge.
  • FS Siena (2016). A luxurious fashion mag typeface given a new life in 2016 by Krista Radoeva. Jason Smith had started drawing Siena 25 years earlier. It is delicate, oozes style, and shows touches of Peignot in its contrast.
  • FS Silas Sans (2008, Jason Smith, Bela Frank, Fernando Mello and Phil Garnham).
  • FS Silas Slab (2015, Bela Frank).
  • FS Sinclair (2007-2008). A rounded octagonal typeface by Jason Smith and Phil Garnham.
  • FS Sophie (2004). A feminine sans typeface.
  • FS Split Sans and FS Split Serif (2019, Jason Smith and Fernando Mello). Has a variable type option.
  • FS Truman (2012, Jason Smith and Fernando Mello). A sans family.
  • FS Untitled (2016, Jason Smith and Fernando Mello). Developed for screens.
[Google] [MyFonts] [More]  ⦿

Formatpunktotf (or: Format.otf; was: t-1, type-eins)
[Maximilian Müsgens]

Formatpunktotf, and before that t-1 (type eins), is Maximilian Müsgens's type foundry, est. 2019. It is part of the design studio Format.tif, which is based in Aachen, Germany. Its fonts were free for students. Typefaces include Bandeins Sans and Bandeins Strange, both designed as variable fonts in 2019. The latter has two axes, width and "strange width". Strangeness somehow relates to Renner's hookish experiments.

In 2020, Müsgens released the hipster typeface family Garconne Display. [Google] [More]  ⦿

Formatype Foundry
[Deni Anggara]

Berlin, Germany and/or Medan, Indonesia and/or Bandung, Indonesia-based designer who set uo first Degarism Studio and, in 2017, Formatype Foundry. At Formatype Foundry, he published these typefaces:

  • The 11-style sans family Epillox (2020), which, by virtue of its sloped terminlas and hipster features is characterized by the designer as emotional. Epillox has a variable style as well.
  • Biofolio Ultimate (2020). A 22-style geometric grotesk.
[Google] [MyFonts] [More]  ⦿

Francesco Mistico Canovaro
[Zetafonts (or: Studio Kmzero, or: ZeroFont)]

[MyFonts] [More]  ⦿

Franziska Weitgruber

Based in Vienna, Austria, Franziska Weitgruber studied at NDU in Sankt Pölten, Austria (2014) and the Typemedia program at KABK, class of 2016. She publishes her work mostly via Future Fonts.

Franziska created the text typeface Porta Serif and the science journal text typeface Sphera in 2014. Her graduation typeface at KABK in 2016 is the expressionist Kaligari. It comes in six styles---in its genre, it is the best digital German expressionist typeface published to date.

In 2018, Michael Hochleitner, Christoph Schütz, Simon Liesinger and Franziska Weitgruber co-designed Gretel Script at Typejockeys. This optically sized three-style typeface is based on the hand of calligrapher Natascha Safarik.

Still in 2018, she published Gig at Future Fonts. Gig is monolinear retro felt pen script in the style of Roger Excoffon's Banco.

Typefaces from 2019: Antonia (a variable headline text typeface by Franziska Weitgriber and Michael Hochleitner at Typejockeys; a 64-style font family with optical sizing from headline H1, H2, and H3 to Text, with a variable font added to the mix), Roba (a typeface family in which Franziska experiments with stress and counter-stress, form and counter-form), Nikolai (an elegant display family). [Google] [MyFonts] [More]  ⦿

Fredrick R. Brennan
[How to create a variable OpenType font using only open-source tools]

[More]  ⦿

Frida Medrano

During her studies in Monterrey, Mexico, Nueva Leon-based Frida Medrano created the creamy didone display typeface Kalnia (2014). In 2017, she designed the free "variable font" Fraktur typeface Jabin.

Recipient of The Society of Typographic Aficionados Catalyst Award in 2018. She now cooperates in type design projects at TypeMade. [Google] [More]  ⦿

Frostype
[Harrison Marshall]

Graduate of UCA Farnham. Leicester, UK-based designer who specializes in producing visual identities through branding, editorial and art direction. Creator of the modular multiline typeface Luminous (2015). During his studies at UCA in 2016, he created the sans typefaces Typic, Deep and Camber.

In 2017, he designed Wolfgang Sans and Passo (a custom sans for the new Italian restaurant Passo).

In 2018, Harrison founded Frostype. His typefaces at Frostype: FT Switch (2018), FT Polar (2018: sans), North (2018: sans), Frigid (2018, a variable font).

In 2019, he released FT Base (a sans family) and FT Made (a transitional tyoeface). Home page. [Google] [More]  ⦿

Geen Bitter
[Thom Janssen]

Geen Bitter (Den Haag, The Netherlands) consists of Thom Janssen (b. 1984, Maastricht), Jorn Henkes and Rogier van der Sluis. All three are graduates of the Graphic Design course at the Royal Academy of Art in The Hague, The Netherlands. Thom Janssen is a graduate of the TypeMedia program at the KABK in The Hague in 2017. The work of Geen Bitter has a strong typographical influence and covers designing typefaces, books, websites and identities, all with a typographic approach. Late in 2014, Geen Bitter disbanded. Thom currently works as a freelance type designer and as a researcher at PXL, Hasselt University, Belgium.

In 2013, they published Gewone letters Gerrit's early models. The blurb: A couple of years back, while cleaning the letterpress workshop at the KABK in The Hague, we had an amazing find. A package that hasn't been opened for some time. We opened it and found eighteen printing plates in mint condition. The printing plates, we soon found out, were made by Gerrit Noordzij and date back to the late 1960s. They contain a brief lesson about writing with the broad nib and, once familiar with this basis, writing and drawing some different techniques. Since it seemed the plates are never published before, we decided to do so and made a book containing prints from the plates. Next to the plates we asked former students if they still had old work and sketches with comments by Gerrit Noordzij. The result is a collection of sketches and material, together with five writings about the plates, Gerrit Noordzij and his contribution to the field of type and typography. The text has contributions by Albert-Jan Pool, Frank E. Blokland, Aad van Dommelen, Huug Schipper, and Petr van Blokland. It was published in 2013 by Uitgeverij De Buitenkant, Amsterdam.

Thom's graduation typeface in 2017 at KABK was Rikhard. He wrote: A variable font project with letter shapes inspired by English letter forms from around the 1780s, mainly Richard Austin, hence the name. With a weight axis for hierarchy in texts and an optical size axis in order to make small and larger text sizes look good. This project is an exploration in variable fonts. The goal was to learn about it, build workflow solutions, and have fun. This project is meant for typography on the screen. Browsers can take advantage of variable fonts, optical size can be automated and with CSS and JavaScript all the styles of the variable font can be accessed. One font, many styles: the future.

Their commercial typefaces:

  • Bex (2013). This sans typeface family is based on Thom Janssen's graduation project.
  • Cramp (2012). A casual hand-printed typeface by Rogier van der Sluis.
  • Herman (2013, Rogier van der Sluis). An elliptical monospaced signage typeface family with possibilities of layering and shadow effects. It is quite attractive and one of the finest typefaces in its genre.
[Google] [More]  ⦿

Gen Ramirez
[Tapatipo]

[More]  ⦿

Gestu
[Thiago Bellotti]

Brazilian type foundry, est. 2016 by Thiago Bellotti. The first typeface by Bellotti at Gestu is the calligraphic pointed brush script Acerola (2016).

In 2020, he released Closeby (ultra-condensed, rounded, italic) and Tocco (which is based on chunks of wood type; it includes a variable style) at Papanapa. [Google] [MyFonts] [More]  ⦿

Giuseppe Salerno
[Resistenza]

[MyFonts] [More]  ⦿

Gluk Fonts
[Grzegorz Luksza]

Aka Grzegorz Luk and just Gluk, Grzegorz Luksza is a Polish type designer (b. 1973) who specializes in ultra-decorative and experimental tyopefaces.

Creator of the free artsy font Wanta (2008), of Resagnicto (2010), of Rawengulk (2010), of Rawengulk Sans (2011), of Reswysokr (2011), of the bold slab serif typeface Zantroke (2011), and of the free calligraphic typefaces Odstemplik (2009), promocyja (2008) and Konstytucyja (2008).

He published the elegant serif family Foglihten (2010), which includes the inline typefaces Foglihten No. 1 (2011), Foglihten Fr02 (2011), Foglihten No. 3 (2011) and Foglihten No. 4 (2012). The latter is inspired by the Polish Constitution of May 3, 1791. Foglihten Petite Caps Black (2012) and Foglihten Black PCS (2012) are high-contrast fat didone typefaces, minus the ball terminals. The series continues with Foglihten No. 6 (2012) and Foglihten No. 7 (2013).

Qumpellka No 12 (2011) is a flowing italic. Opattfram01 (2011) is a dingbat typeface with onamental patterns. The Okolaks family (2008) has a bit of an art deco feel. It covers East-European languages as well as Cyrillic. Sportrop (2008) is a neat multiline face. Gputeks (2008) is a delicate decorative face. Szlichta07 (2008) on the other hand is an experimental typeface based on tilting the horizontal edges about ten degrees up. Kawoszeh (2008) is a curly Victorian pre-art nouveau face. Spinwerad (2009) and Itsadzoke S01 (2010) and Itsadzoke S02 are display didones. Znikomit (2011) is an impressive lachrymal hairline slab face. See also Znikomit No. 25 (2012) and Znikomit No. 24 (2012; image by Benjamin Frazzetto).

Creations from 2012: Charakterny, Garineldo, Mikodacs (an Impact-like black display sans), Yokawerad (a didone headline face), Resagokr, Nikodecs, Garineldo SC.

Typefaces from 2013: Etharnig, Namskin, Namskout (a layered heavy display face), Prida 65 (spurred antique face), Ketosag, Prida 61, Gatometrix, Glametrix, Gallberik.

Typefaces from 2014: VECfont FogV4, EtharnigV (a bi-colored font), Risaltyp, Wabroye, Kleymissky, Sortefax (an outline font with engraved versions as on dollar bills), Dragerotypos (blackboard bold), Resamitz.

Typefaces from 2015: Prida 36, Sudegnak No. 3 (script), Vecfont Sudegnak (cartoonish), PridaEn (a vector font for color), Prida S4, Prida01, Prida02 Calt.

Typefaces from 2016: BroshN, Tofimpelik (+Candy), Prosh3, Digitalt, Agreloy (a lovely curly Victorian typeface), Gluk Mixer (ransom note font), Fogtwo No 5.

Typefaces from 2017: Prosh 4B (a variable color font), BroshK2 (an origami style color font, in OpenType SVG format), Fuetargio (a multiline bejeweled typeface).

Typefaces from 2018: BroshK, Rostef (all caps titling typeface), Fogthree.

Typefaces from 2019: ResotE, ResotE-Pastels (a color font), ResotYc (a decorative unicase font), Resot Yg, Liserif (a kinetic SVG font).

Typefaces from 2020: Resotho (a wide all caps geometric sans).

Dafont link. Digart link. Fontspace link. Dafont link. Open Font Library link. Scribus Stuff link. Fontspace link. Kernest link. Abstract Fonts link. Behance link. Font Squirrel link. Klingspor link. Creative Market link. [Google] [MyFonts] [More]  ⦿

Green Type
[Dmitrij Greshnev]

Green Type is the foundry of creative Russian type designer Dmitrij Greshnev (b. 1975, Lengingrad). Still based in Leningrad, Dmitrij received a TypeArt 05 award for the display family Multicross (2003-2004), which can be bought at ParaType. He will win many more awards.

His typefaces include Stopwatch (2010, LED face), Sokol (Old Slavonic Latin simulation face), Slavica (2010), Reliant (2010, with Iza W at Intellecta Design), Reliant Beveled (2012, free), Logistica (2010, army stencil), Danger (2010, another army stencil), Dusk Thin (2010), and Multicross (2003-2004, stitching font).

Typefaces from 2011: Zoo300 (techno sans; +Shadow, +yrillic). Behance link.

In 2012, he created Patriciana (a Peignotian typeface for Latin and Cyrillic) and Directo.

Typefaces from 2013: Finch, Hypermarket (dirty typewriter).

Typefaces from 2014-2015: Trali-Vali (a children's book or party font family), Moveo Sans (with Condensed and Extended subfamilies, 80 fonts in all covering Latin, Greek and Cyrillic), Artica Pro (a flared all-caps typeface family for Latin, Greek, and Cyrillic that is based on classical roman (Trajan) letterforms) and Artica Rough Pro (2015).

Typefaces from 2016: Festa (a brush typeface for Latin, Greek and Cyrillic).

Typefaces from 2017: Festa Classica (a happy all caps hand0crafted typeface family), Normative Pro (a neutral techno sans with glyphs tending towards the rectangular), Normative Lt.

Typefaces from 2018: Streetline.

Typefaces from 2019: Hubba (a modular squarish typeface family; has a variable font).

Typefaces from 2020: Danger Neue (a military stencil).

Behance link. Creative Market link. MyFonts link. Klingspor link.

View Dmitry Greshnev's typefaces. [Google] [MyFonts] [More]  ⦿

Grzegorz Luksza
[Gluk Fonts]

[MyFonts] [More]  ⦿

Gustavo Soares

Graduate of the KABK in Den Haag in 2008 (Masters in Type and Media), and from the University of Reading in 2007 (Masters in Information Design). He joined dooType in 2016. Originally from Sao Paulo but now based in Rio de Janeiro, he created these typefaces:

  • The text family Pocket (2008). His graduation project at KABK.
  • 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, Creative Director at Dalton Maag: 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.
  • Veja Serif (2013). This is the new typeface for Veja, Brazil's leading weekly news magazine. This project originated from a specific demand to improve the publication's reading experience on screen, while keeping the type visually close to Times Roman. The team consisted of Gustavo Soares (creative direction), Eduilson Coan (type design), Fernando Mello (consultant) and Paratype (hinting). Veja Serif replaces VJ Times.
  • dT Jakob (2017). This typeface started out in 2007 as a revival of Jakob Erbar's grotesk from 1927 in Paul van der Laan's class at KABK. 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.

Alternate URL. Behance link. Old URL. [Google] [MyFonts] [More]  ⦿

Hansje van Halem

Dutch graphic designer, b. 1978. Graduate of the Gerrit Rietveld Academy, who started her own studio in Amsterdam in 2003. She creates alphabets, textures and patterns, both digitally and manually, that she applies to designs for posters, illustrations and public space art works such as gates and floors. In 2017, she developed an experimental typeface called Wind at Typotheque. Technically produced by Peter Bilak, there is variable font version by Thom Janssen. [Google] [More]  ⦿

Harbor Type
[Henrique Beier]

Henrique Beier (Harbor Type, Porto Alegre, Brazil) is the designer of the excellent angular semi-calligraphic text typeface Garibaldi Regular, which won an award at Tipos Latinos 2014. In 2015 it was extended to a great 7-style typeface family. He writes: Garibaldi is a text typeface based on humanist calligraphy. It started with a desire to learn more about the origin of the strokes on humanist typefaces. It features a 20 degree axis, medium contrast based on translation and expansion, asymmetric serifs, and terminals related to the broad nib stroke.

In 2014, he created the free font Densia Sans, which is condensed and has a tall x-height and some contrast. Graviola (2014) is a soft sans family, with possible applications in information design and wayfinding. It won an award at Tipos Latinos 2016.

In 2016, he published Graviola Soft, an even softer version. He also published the fresh corporate sans typeface family Malva, which can be recognized by the typically Latin American curvy tail on the lower case a and l. Malva was a winner at Tipos Latinos 2018. A variable font option was added in 2019.

In 2017, Henrique Beier published Rocher, a wonderful layered stone emulation font, Flintstone style. It won an award at Tipos Latinos 2018. He has a free variable color version with bevel and shadow axes, Rocher Color (2018).

In 2019, Henrique Beier and Ana Leydner, assisted by Luisa Leitenperger, co-designed Kiperman at Harbor Type. This sturdy 4-style text typeface family pays homage to Brazil's publishing icon Henrique Leao Kiperman (d. 2017). Harbor Type also released the branding and pacakaging sans typeface family Dona in 2019. [Google] [MyFonts] [More]  ⦿

Harrison Marshall
[Frostype]

[More]  ⦿

Hendra Maulia
[Dirtyline Studio]

[MyFonts] [More]  ⦿

Henrique Beier
[Harbor Type]

[MyFonts] [More]  ⦿

How to create a variable OpenType font using only open-source tools
[Fredrick R. Brennan]

A Youtube tutorial by Fredrick R. Brennan, who shows how to make a variable font using FontForge, AFDKO and fontmake. [Google] [More]  ⦿

I Can Variable Font

Tips for making variable fonts. [Google] [More]  ⦿

Ian Party
[Newglyph]

[More]  ⦿

IBM Plex
[Mike Abbink]

A large free font family created by Mike Abbink and Bold Monday (Paul van der Laan and Pieter van Rosmalen) for IBM's new corporate identity in 2017. It includes the IBM Plex Sans, IBM Plex Serif, IBM Plex Sans Variable, and IBM Plex Mono subfamilies. Aneliza (2018) is a fork that has a single storey g in the italics.

A later modification / fork is Perplexed by Peter Hull in 2018.

Github link. IBM link. Direct download at Github. CTAN link. Local download. IBM Plex Mono at Google Fonts. IBM Plex Sans at Google Fonts. IBM Plex Sans Condensed at Google Fonts. IBM Plex Serif at Google Fonts. CTAN link for TeX support.

IBM Plex won an award at TDC Typeface Design 2018. [Google] [More]  ⦿

Ilya Naumoff

Also Ilya Naumov. Paris-based graphic and type designer, whose typefaces are fabulous. His typefaces:

  • During a summer course called Type@Paris (2015), Ilya Naumov designed a contemporary redesign of Caslon called Belka (+Stencil,+Italic).
  • Kawai is a modern serif typeface started by Ilya at the University of Reading in 2014 under the supervision of Gerry Leonidas and Gerard Unger.
  • Vesterbro (Jeremie Hornus, Alisa Nowak, Ilya Naumoff, Black Foundry, 2017) is a high-contrast Latin / Cyrillic typeface with a Viking feel that won an award at Granshan 2017.
  • Troy (2017), Troy Sans (2017). A pair of inscriptional all caps roman typefaces published in 2019 by Indian Type Foundry.
  • Clother (Jeremie Hornus, Julie Soudanne, Ilya Naumoff, 2017, at Black Foundry). This geometric sans workhorse covers also Cyrillic, Hebrew and Arabic.
  • Ekster (2018). A geometric sans typeface family.
  • Ulm Grotesk (2018, Indian Type Foundry). A simplified almost futuristic geometric sans typeface family. Ilya explains the name Ulm: In the 1950s and 1960s, The Ulm School of Design was hailed as a successor to the Bauhaus, and it set important impulses for international graphic and product design. These Ulm aftershocks were felt for the next several decades.
  • 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.
  • Screen Sans (2020). A 14-style sans by Jérémie Hornus and Ilya Naumoff published by Indian Type Foundry.
  • Stravinsky (2020). This is an experiment in fashionable contrast. Ilya writes: The typeface fuses the 18th century Didot vertical contrast and squarish counters with the contemporary sans-serif Grotesk form.
[Google] [MyFonts] [More]  ⦿

Indestructible Type
[Owen Earl]

Owen Earl (Indestructible Type, Seattle, WA) takes a new look at old classics. He reinvents them from scratch, and redesigns each glyph very carefully. Some of his work is completely free, and other typefaces are commercial. His fonts:

  • Besley (2017). A redesign of Robert Besley's Clarendon. For modern times, the x-height has been increased, and a totally new italic has been added. Buy it at FontSpring.
  • The free sans typeface Geo (2013).
  • The free sans typeface Quizzical (2015).
  • Renner (2017). A revival, from scratch, of Paul Renner's Futura. Totally free! Github link. FontSpring link. Open Font Library link. A major update, Renner 3.0, followed in 2018---it includes a variable font, a blacker Black and the thinnest Hairline ever. And due to a trademark dispute Renner became Jost in August 2018. In 2019, Cyrillic characters were added to Jost. Google Fonts link. See also the derived family Venryn Sans (2020).
  • Bodoni (2015). With Bodoni 6 and Bodoni 12 subfamilies. Includes a delicious Bodoni 6 Fatface. Extended in 2020 to amny optical sizes (6, 11, 16, 24, 36, 48, 72, 96), and a variable font. Github link.
  • Jones (2016).
  • Miedinger (2015). A clone of Helvetica. Only two weights were ever finished.
  • Umbra (2017). A variable Opentype font with two sliders---distance of the shadow, and time of the day.
  • Gnomon (2017). A free variable font: Gnomon is the first font ever to respond to the user's actual time. The shadow of Gnomon changes location throughout the day in relation to the time.
  • Copperplate CC (2020, at the Cowboy Collective).

Aka Ewon Rael. Github link. FontSpring link. Facebook page. [Google] [More]  ⦿

Insigne Type Design Studio (was: Dooley Type)
[Jeremy Dooley]

Insigne Type Design Studio (est. 2006) is run by Jeremy Dooley, b. Columbia, SC, 1981, who received a masters in graphic design at Savannah College of Art and Design in 2005. He lived in Atlanta, GA, and is now in Knoxville, TN. From 2004 until 2006, he ran Dooley Type in Greenville, SC. Behance link. Klingspor link. Font squirrel link. Creative Market link. MyFonts interview. His fonts:

  • 44th President (2009, based on Obama's handwriting).
  • Aberlyth (2006). An informal script face.
  • Ainslie (2014), Ainslie Slab (2014), and Ainslie Sans (2014).
  • Antigen (2007) is futuristic.
  • Arendahl (2007) is a connected but irregular handwriting font.
  • Ashemore (2012). Production assistance for Ashemore was provided by Lucas Azevedo and Marcelo Magalhaes. Followed by Ashemore Softened (2012).
  • Avaloc (2006) is an expanded sans.
  • The Aviano superfamily. Aviano Wedge (2012), Aviano Slab (2007), Aviano Serif (2008), 2009 Aviano Didone (2009), Aviano Flare (2010), Aviano Sans (2010), Aviano Future (2011), Aviano Contrast (2012), Aviano Gothic (2013), Aviano Sans Layers (2013), Aviano Copper (2018), Aviano Didone (2019). Aviano Titling (2007) is inspired by Trajan. Aviano Silk (2015) is a bilined decorative titling typeface. Aviano Royale followed in 2016.
  • Barcis (2013). An organic sans family.
  • Beastias (2006). An informal script face.
  • Belda (2017). An elegant serif family of fonts that grew from the ancient roman capital. Followed by the 54-style Belda Didone (2020). A 54-style didone family without ball terminals.
  • Biortec (2004).
  • Biscuit Boodle (2008) is a fun and crazy script from Portland Studios illustrator Justin Gerard. Biscuit Boodle Ornaments (2009, dingbats).
  • Blue Goblet (2005) is a Treefrog-style script developed for the pending illustrated childrens book from Portland Studios, The Blue Goblet. It was co-designed by Cory Godbey of Portland Studios and Jeremy Dooley. In 2011, Cory Godbey added Blue Goblet Christmas Ornaments.
  • Boncaire Titling (2012) was iInspired by the type elements of 17th century map of Curacao made by Dutch cartographer Gerard Van Keulen.
  • Brigette (2007) is an ink-splattered calligraphic script.
  • Cabrito (2013). A typeface for children's books. Followed by Cabrito Inverto (2014) for reversed stroke stress---some of its heavier styles have a Western appearance. In 2014, Cabrito Sans was added to the set. Cabrito Semi followed in 2015, the playful Cabrito Didone in 2016, Cabrito Contrast in 2018, and Cabrito Flare and Cabrito Serif in 2019.
  • Caridade.
  • Carta Marina is a family of medieval map text typefaces and dingbats (2007).
  • Cavole Slab (2011).
  • Celari Titling (2014).
  • Chatype is a geometric slab serif typeface family designed in 2012 for the city of Chattanooga, TN, by Robbie de Villiers and Jeremy Dooley.
  • Chennai and Chennai Rounded (2007) are playful display sans typefaces. Chennai Slab (2009).
  • Chypre (2017). A techno sans family.
  • Civane (2017). A flared inscriptional typeface family.
  • Coegit (2012). A sans family that offers Compressed, Compact and Condensed subsets.
  • Cohort (2010, elliptical sans).
  • Coupe (2003).
  • Dever (2015) is a 107-style family of rough and weathered letterpress typefaces with industrial octagonal skeletons.
  • Dienstag (2008, 8 styles).
  • Daito (2018). A welcoming soft slab serif typeface family.
  • Donnerstag (2010, extended slab serif).
  • Dulcian (2017). A bright open sans family.
  • Eigerdals (2010, rounded sans family).
  • Enocenta (2013). A penmanship typeface family done with Cecilia Marina Pezoa.
  • Enzia (2009, an elegant sans family).
  • Fizgiger (2006). An informal script face.
  • Florencia (2007) is a vintage script.
  • Foverdis (2010, a calligraphic family that includes a hairline).
  • Gineso (2016). A set of 48 slightly condensded and squarish headline typefaces. Followed by Gineso Titling (2016) and Gineso Soft (2018).
  • Grayfel (2015). A 42-style sans typeface family characterized by flush horizontal or vertical terminal endings.
  • Grenale (2013). A flashy in-your-face didone family from Thin to Heavy. Grenale #2 (2013) is a curvy sans that is almost a monoline. In 2015, Dooley launched Grenale Slab.
  • Haboro (2016). A 54-font strong didone family with wedge serifs replacing the standard rectangular ones. It has no ball terminals. Followed by Haboro Slab (2016), Haboro Soft (2016), Haboro Serif (2016), Haboro Sans (2016), Haboro Contrast (2017), and Haboro Slab Soft (2020).
  • Honeydrop (2017). A brush script.
  • Insigne Abstractions (2007) and Insigne Fleurons (2008) are dingbats.
  • Jon Cary (2004, the handwriting of John Kerry).
  • Kairengu (2007) is a comic book family.
  • Kasuga (2008) and Kasuga Brush (2009) are fresh new scripts with oriental undertones.
  • Kidela (2007) is a sassy scrapbook family. Kidela Sketch (2009).
  • Kochi (2015). A 54-font rounded organic sans typeface family.
  • Le Havre (2008) is a gorgeous 8-style geometric art deco sans with tall ascenders. In 2010, the Le Havre Sketch family was added. We also have Le Havre Rough (2014, a bit of letterpress feel thrown in), Le Havre Rounded (2009), Le Havre Titling (2012), Le Havre Layers, Le Havre Hand (2015) and Le Havre Width (2017).
  • Look (2015). In Sans, Script, and Serif subfamilies, this super-collection blends a bit of vernacular signage with weathered letterpress.
  • Lorelei (2007, Insigne) is a bouncy script family.
  • Lourdes (2007) is an informal script.
  • Madeleine (2007) is a basic handwriting face.
  • Madurai (2012). A simple monoline sans superfamily. Madurai Slab (2013) has 54 styles.
  • Mahalia (2008) is a retro script.
  • Majidah and Majidah Potens (2006) are medieval scripts.
  • Mandrel (2017). A typeface with sharp serifs.
  • Marintas (2012).
  • Maris (2015). A curly script.
  • Massif (2008) is an aggressive sans family.
  • Metairie (2018). A connected high-contrast script.
  • Mirantz (2019). A 54-style text typeface family.
  • Mittwoch (2009, organic serif).
  • Montag (2007) is a casual rounded sans family in six styles.
  • Mr Darcy (2015). A Tuscan all-caps typeface.
  • Mynaruse Flare (2018). An update of Mynaruse (2010), which is a roman inscriptional titling family---it is characterized by skinny flared serifs.
  • Nanumunga (2007) is a comic book style face.
  • Natalya (2007) is a connected calligraphic script. Natalya Monoline (2007). Natalya Swashes (2009, calligraphic).
  • Newcomen (2008) is a 4-style roman titling face.
  • Obline (2004, sans).
  • Oita (2014). An octagonal typeface family.
  • Olidia (2008) is calligraphic.
  • Orewelia (2004, grunge face).
  • Pauline Didone (2011, a curly didone family). Pauline (2008) is a monolinear retro script.
  • Plathorn (2014). Inspired by the Wild West, this generous typeface family uses flaring in a thousand ways to recreate the feel of that era.
  • Promethian (2005, futuristic).
  • Quarca (2013). A 36-font sans family with a sturdy rounded square look.
  • Quatie (2013). A curvaceous family: Quatie draws much of its inspiration from the industrial brawn of the railroad and the unique characteristics of Cherokee letterforms, giving it an atypical form not usually found in an industrial slab (accring to Dooley).
  • Questal (2007) is a unicase serif face.
  • Qurillian (2006, legible sans).
  • Ranelte (2016). A condensed sans series with techno or DIN appeal. The textured versions are collected in Ranelte Deco (2017).
  • RendtPhysic (2006).
  • Ript Cure (2005).
  • Sabler Titling (2016). An all caps typeface family with tapered flared strokes.
  • Sancoale (2011, an organic sans family, from Thin to Black). Sancoale Narrow (2011). Sancoale Softened (2012). Sancoale Slab (2012). Sancoale Slab Soft (2013). Sangli (2015). A 54-style rounded organic sans typeface family.
  • Savigny (2011). Images: Savigny Black Extened, Savigny Regular Condensed.
  • Senlot Serif (2019). In 54 styles.
  • Serofina (2010, a calligraphic face).
  • Savory Paste (2007). Grunge.
  • Schorel (2019). A 54-style Scotch roman.
  • Senlot (2018). A 54-strong sans family. In 2019, Senlot Sans was added.
  • Shrike2003 (2003).
  • Sildetas (2010, a high-contrast script typeface with tear drop terminals).
  • Solitas (2015). A rounded 42-style geometric sans family. Followed by Solitas Slab (2015) and Solitas Serif (2017).
  • The sans family Sommet (2008; see also Sommet Rounded (2008), Sommet Slab, 2010, and Sommet Serif (2011, a wedge serif family)) is futuristic. Sommet Slab Rounded (2011).
  • Sovba (2009, upright italic).
  • Steagal (2013). A geometric sans with a 1930s American feel.
  • Steam Court (2015). A combination of steam punk and blackletter.
  • Stefania (2007) has two calligraphic/chancery styles. Its aged version is called Stefania Antique (2008).
  • Stratham (2007) is a medium to black family of legible sans typefaces.
  • Terfens (2007) is an informal and quite rounded sans serif with inspiration from chancery scripts like Stefania.
  • Torcao (2013). An elliptical anthroposophic typeface family.
  • Ultine (2016), an utilitarian sans family.
  • Valeson (2020). A vintage display typeface with a kneeling art nouveau lower case n.
  • Valfieris (2006). Valfieris Aged (2007) imitates medieval printing.
  • Varidox (2019). A variable font with a roundish slab serif design.
  • Verao (2018) and Verao Ornaments. A calligraphic script.
  • Waialua (2019). A script typeface with a variable font option.
  • Waimea (2019). A variable script font produced with the help of Lucas Azevedo.
  • Winsel (2019). A flared typeface influenced by British nostalgia, vintage signage and typographic ancestors like Edward Johnston and Eric Gill. Perfect for typesetting speeches by Winston Churchill.
  • Wreath (2016). A script typeface family.
  • Xalapa (2008) is a grunge family.
  • Yevida and Yevida Potens (2006, scripts).
  • Yorkten (2015): 54-style monoline sans family. See also Yorkten Slab (2017).
  • Youngblood (2008, +Youngblood Antique, 2010) is non-connected.

Catalog of their typefaces. View Jeremy Dooley's font library. View Jeremy Dooley's typefaces. [Google] [MyFonts] [More]  ⦿

InstaVar

A plug-in for Glyphs that allows you to add variable font axes to glyphs or points. [Google] [More]  ⦿

Irene Vlachou
[Irene Vlachou Type]

[More]  ⦿

Irene Vlachou Type
[Irene Vlachou]

Or Eirini Vlachou, b. 1981. Graduate of of Vakalo School of Art & Design in Athens and the University of Reading, where she earned the nickname Miss Fontlab before graduating there with a Masters in 2004. Type designer who used to be at POPtype in Athens, and now works in both Bristol, UK and Athens. From 2013 to 2019 she was senior designer and variable font expert at Type-Together. From January 2020 she is back to full time freelancing Greek and variable fonts. Her typefaces:

  • Prisma (2004). A typeface that covers both Latin and Greek.
  • Colvert Greek (2012, Typographies.fr). Colvert is a joint effort of Irene Vlachou, Jonathan Fabreguettes (Perez), Kristyan Sarkis and Natalia Chuvatin.
  • At Cannibal Fonts, she created the corporate typeface Ballisage Greek (2007), a Hellenization of Ballisage. With Panos Haratzopoulos of Cannibal, she also made the corporate typefaces Esquire Greek and Crank Greek (2004, for Esquire), and Amplitude and Franklin Antiqua Greek (2007, for Autobild).
  • Designer of Parmigiano Greek (2012-2014), as part of the larger Parmigiano Typographic System of Riccardo Olocco and Jonathan Pierini.
  • In 2017, in collaboration with Laurenz Brunner, she worked on the Greek counterpart of the Documentata exhibition identity font, Bradford Greek.
  • Since 2017 she has been participating in the Google Summer of Code on behalf of the Greek Open Source Community, as a mentor on the Greek expansion of the libre fonts Arima Madurai, Cantarell and Eczar.
  • In 2018, she published Stratos Greek at Production Type to complement Yoann Minet's Stratos from 2016.
  • In 2018 together with Emilios Theofanous and Frank Grießhammer she reworked the Greek set of Source Serif Pro.
  • At Type-Together she has engineered three variable fonts: Protipo, Portada and Bree.
  • In early 2019, her Unica77 Greek was released by Lineto, a design in progress for almost two years in collaboration with Christian Mengelt from Team'77, Unica's original designers.
  • In June 2019, together with Laurence Penney, she initiated the experimental project FauxFoundry, a webfont service offering fallback fonts, such that multiple scripts can be presented with reasonable fidelity to the web designer's intent, even when the primary font does not support those scripts. Currently working for Greek, thus providing Greek fallback fonts for fonts that do not contain Greek. The system takes measurements from Latin fonts that correspond with the set of parametric axes developed by Type Network.

Speaker at ATypI 2019 in Tokyo on the topic of Parametric Fallback Fonts for the Web. Klingspor link. Cannibal Fonts link. Github link. [Google] [More]  ⦿

Irin Kim

Graduate of the TDi program in 2018 at the University of Reading. Kim Irin is a visual designer in the Google Fonts team, based in New York City. She has focused on developing design systems and visual identities, and has contributed to UX/UI projects such as the Material Design guidelines, the SPAN design and technology conference, and surfacing variable fonts in Google Fonts. She recently led a project to add more Korean fonts to the Google Fonts library.

Speaker at ATypI 2019 in Tokyo, on the topic of variable fonts in Google Fonts. [Google] [More]  ⦿

Jack Halten Fahnestock

American designer currently (i.e., 2019) studying at the Rhode Island School of Design. Creator of the free variable font Tiny (2019, Velvetyne), a monospaced dot-matrix typeface based on the smallest type size of five dots on the HandJet EBS-250 hand-held printer. The sizes of the dots make up the variable axis. He writes: The TINY font family was originally created at over the summer of 2018 as the visual identity for an experimental retail pop-up shop in Chinatown, New York City called Today in New York, or TINY for short. The shop was the result of an intern project at Verdes, a creative agency, between Jack Halten Fahnestock and Theia Flynn. There they sold T-shirts and tote bags customized on the spot with a fancy (and stupid expensive) handheld inkjet printer called a HandJet EBS-250.

Personal web site. [Google] [More]  ⦿

James T. Edmondson
[Oh No Type]

[More]  ⦿

Jan Falinski

Milan-based designer of a variable typeface in 2019 with geometric and tone of voice axes. [Google] [More]  ⦿

Jan Sindler

While living in Karlovy Vary, Czechia, Jan Sindler designed Rodak (2014, a rounded sans typeface) and Maturia (2014, an ink-trapped school project typeface family that was influenced by Rathousky's Metron).

Recently, he joined Lucasfonts in Berlin. At Futurefonts, he published Rotor (2019), a monospaced typeface with an axis for rotating glyphs on the X axis, as if in three-dimensional space. [Google] [More]  ⦿

Jan Weidemüller
[Ultra Kühl]

[More]  ⦿

Jason Harcombe
[Fontpeople]

[MyFonts] [More]  ⦿

Jason Pamental

Jason Pamental (Rumford, RI) is Senior Director of Design and Technical Strategy at Isovera, where he heads the design and development team, leads workshops, and works with clients establishing their digital strategy. Jason specializes in typography for the web.

Author of Responsive Typography (O'Reilly). [Google] [More]  ⦿

Jason Smith
[Fontsmith]

[MyFonts] [More]  ⦿

Jason Tselentis
[Monotype on The History and Future of Variable Fonts]

[More]  ⦿

Jérémie Hornus
[Black Foundry]

[MyFonts] [More]  ⦿

Jean Wojciechowski
[Massimo Studio]

[More]  ⦿

Jean-Baptiste Morizot
[Phantom Foundry]

[MyFonts] [More]  ⦿

Jeff Wu

Jeff Wu is the General Manager of Arphic Technology. He has led Arphic R&D Division for more than 20 years. His specialties are development of font technology and products. Also, he is familiar with font design and application in versatile devices. He worked as a Software Engineer and Manager of Software department in Mitac Internationl Corp. before Arphic. He received his B.S and M.S degrees in computer science from National Chiao-Tung University of Taiwan. Speaker at ATypI 2018 in Antwerp on Chinese font design: There are about twenty-eight thousand Chinese characters that need to be designed. The average number of strokes in a Chinese character is 12. In Arphic JingXi Hei, for example, the average number of control points for each stroke is about 100. Therefore, there are about 33,600,000 control points to deal with when developing a Chinese typeface. When creating a Variable Font, the control points of every pole of every axis need to correspond, so it is a huge work to design, test the transfer to a Variable Font, and fix the design and control points. In this talk Jeff Wu shares the problems he met in developing Chinese Variable Fonts and how he overcame them: 1) The traps that must be avoided when designing strokes. 2) How many axes are proper for Chinese typefaces? 3) When transfering to Variable Fonts, how to set up the parameters of each table. 4) How to avoid different results when setting up the same parameter on different platforms (OS, browser, applications).. [Google] [More]  ⦿

Jenny Fox

Brisbane, Australia-based student-designer (at Griffith University) of the fun (loud, reverse contrast) display typeface Bakko (2019), which comes in variable opentype format. In 2017, she published the free ghouly dry brush font Mr. Grieves. [Google] [More]  ⦿

Jeremy Dooley
[Insigne Type Design Studio (was: Dooley Type)]

[MyFonts] [More]  ⦿

Jeremy Mickel
[MCKL (was: Mickel Design)]

[More]  ⦿

Jeremy Tribby

San Francisco-based designer of the free variable font Barlow (2017). He writes: Barlow is a slightly rounded, low-contrast, grotesk type family designed by Jeremy Tribby. Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. The family includes 54 manually-hinted styles in three widths and nine weights, as well as obliques, suitable for large and small digital and print use. Customizable weights and widths are available via the included variable font (GX) file. Barlow is named after internet pioneer, EFF co-founder, songwriter, and activist John Perry Barlow, in tribute to his lasting impact on the information superhighway. The original motivation was to replace the DIN Engschrift font currently used by the Eletronic Frontier Foundation by an open source font that does not look too different.

Github link for Barlow. Behance link. Google Font links for Barlow, Barlow Condensed and Barlow Semi Condensed. Typedrawers link. [Google] [More]  ⦿

Jipatype
[Anupap Jaichumnan]

Bangkok, Thailand-based designer (b. 1996) of the free Latin / Thai italic text typeface ADC Somros (2017). In 2019, he designed the sans typefaces Ananatason, Boriboon, Serithai and Jipatha (for Latin and Thai), the variable typeface Adirek, the elliptical sans Petchlamoon, the techno typeface Pattanakarn, the rounded sans typefaces Opun Mai, Longdoosi and Monkhang, the slab serif Kulachat and its companion Kulachat Serif, the squarish typefaces Gamlangdee and Honor, the contrast-rich text typeface Priyati (for Latin and Thai), and the roundish typeface Thanmon, the informal typeface Laedoomai and the chancery script Chanceri.

Typefacesfrom 2020: Dumondi (a rounded casual sans), Prachason (a Latin/Thai sans family), Prachamati. [Google] [More]  ⦿

John Hudson: Introducing OpenType Variable Fonts

John Hudson's informative introduction to OpenType variable fonts. [Google] [More]  ⦿

John Misael Villanueva

Trece Martires, Philippines-based lettering artist and type designer, known for the official typeface of the American industrial tools maker Stanley Black & Decker. In 2019, he designed these typefaces: the colorful decorative caps typefaces Pinas, Habi and Habi Pinas, Florida, Military Industrial, the free vernacular typeface BBT Martires, the script typeface Cute Bouncy, the modular typeface Arturo, the corporate font Stanley Black&Decker and the variable sans typeface Dinamika.

Typefaces from 2020: Nilad Pro (a display serif inspired by the flourishing bud of the yamstick mangrove or nilad), Leandro (inspired by the brutalist architecture of Filipino architect Leandro Locsin). [Google] [MyFonts] [More]  ⦿

John Roshell

Designer (b. 1970, Mountain View, CA) of many (most) fonts at Comicraft, a comic book font outfit in Los Angeles, CA, a company he cofounded with Richard Starkings in 1992.

Some fonts: Altogether OOky, Addams-AltogetherOoky, Addams-Capitals, Addams-Regular, CCBithead-Bark, CCBithead-Byte, CC Bryan Talbot (2008, created for Bryan Talbot's Alice in Sunderland), CCHooky-Open, CCHooky-Solid, CCAlchemite, CCChills, CCDigitalDelivery, CCDivineRight-Regular, CCDoubleBack-Future, CCDoubleBack-Past, CCElsewhere-Regular, CCFlameOn, CCFrostbite, CCGrimlyFiendish-Regular, CCJimLee, CCJoeMadInt, CCLosVampiros, CCMeanwhile, CCMeltdown, CCMonsterMash, CCSpills, CCSplashdown, CCStormtrooper (1997), CCTheStorySoFar-Regular, CCThrills, CCToBeContinued, WildAndCrazySFX. With Richard Starkings, he designed Achtung Baby (2001), Adamantium and DoubleBack in 2001 for Agfa/Monotype. Other designs: Dave Gibbons (2006), UpUpAndAway (2005), Forked Tongue (2005), Paranoid Android (2005), Snowmany Snowmen (2005), Gibbous (2006), Astronauts in Trouble, Chatterbox, Red Star, Tough Talk, Sean Phillips, Atomic Wedgie, Pass The Port, Divine Right, Shoutout, Battle Scarred, Danger Girl, Primal Scream, PhaseSonStun, Yeah Baby, Nuff Said (2005), Trick Or Treat, MonsterMash, CarryOnScreaming, Chills, Goosebumps, CreepyCrawly, GrimlyFiendish, IncyWincySpider, Spookytooth, Meltdown and TrickOrTreat dingbats, BiffBamBoom, Spellcaster, Cheese And Crackers, FaceFont, Hedge, Meanwhile, Wildwords International, Comicrazy, Storyline (2006), Happy Holidays (2007), Foom (2007).

MyFonts sells these fonts by him: Adamantium, Alchemite, Altogether Ooky (vampire script), Area51, Aztech, Battle Cry, Bithead, Chills, Dave Gibbons, Dead Mans, Destroyer, Digital Delivery, Divine Right, Drop Case, Elsewhere, Euphoria, CC Fairy Tale (2007), Face Front, Fighting Words, Flame On, Foom, Frostbite, Gibbons Gazette (2009, Gobbledygook, Golem (2002), Grimly Fiendish, Happy Holidays, Hellshock, Hip Flask, Holier Than Thou, Hooky, Hyperdrive, Joe Kubert, Meanwhile, CCMild Mannered (2007), Monologous, Near Myth, Overbyte, Phat Boi, PhilYeh, Rough Tongue, Sanctum Sanctorum, Scott McCloud, Smash, Speeding Bullet, Spills, Splashdown, Spookytooth, Stonehenge Runes, Stormtrooper, Storyline, Thats All Folks, The Story So Far, Thingamajig, Thrills, Tim Sale, Tim Sale Brush, Timelord, Treacherous, Treasure Trove (2007), Up Up And Away, Wild And Crazy, Zzzap, Deadline (2007), Kickback (2007, with David Lloyd), Sticky Fingers (2007, scary).

Typefaces made in 2008: Ratatatat (2008), CC Mad Scientist (2008), HammerHorror (2008), EnemyLines (2008, based on WWII lettering used by the nazis), Cutthroat Lower (2008), Philyeh (2008), Doohickey Lower (2008), CC Sign Language (2008, fruit vendor lettering).

Typefaces made in 2009: SpillProof (2009), Slaphappy (2009), Hooky (2009, spraycan style), Long Underwear (2009), Digital Delivery (2009), Grande Guignol (2003, art nouveau), Bronto Burger (2009), Elsewhere (2009, art nouveau), Exterminate (2009, stone carving face), You Blockhead (2009), CC Rugged Rock (2009),

Creations in 2010: Wild Words Lower (2010), Back Beat (2010), Rick Veitch (2010, based on the lettering of comic book artist Rick Veitch), Credit Extension (2010), Shiver (2010, with Richard Starkings), Shake (2010, with Richard Starkings), Elephantmen (2008-2010, squarish family).

Contributions from 2011: Knobbly Knees, Ed McGuinness (comic book script family), Big Top, Clean Cut Kid, Dash Decent (a very round almost-bubblegum family), Fancy Pants (connected script), Goth Chic (blackletter).

Fonts from 2012: Lunar Modular, Lunar Orbiter, Lunar Rover, Geek Speak, Ancient Astronaut, Totally Awesome (comic book caps face).

Fonts from 2013: Samaritan and Samaritan Tall (with Richard Starkings), Ghost Town (a family of seven gold rush era typefaces), Colleen Doran (a comic book family: A Distant Soil is a classic bold and beautiful science fiction/fantasy comic book series by creator, writer, artist and letterer Colleen Doran. A Distant Soil is being remastered and re-released by those awfully nice chaps at Image Comics and Colleen commissioned Comicraft to create the definitive bold and beautiful Colleen Doran font, based on her original pen lettering), Mega City (an elliptical in-your-face advertising signage typeface family), Soliloquous (fat rounded hand-printed comic book family), Excalibur Stone, Excalibur Sword, Legendary Legerdemain (+Leggy), Cool Beans (beatnik font).

Fonts from 2014: Shaky Kane (based on the comic books by that name), Resistance Is Lowered (techno), Hero Sandwich Ingedients, Hero Sandwich Combos (a layered set of informal typefaces combined in many ways), Monstrosity (a ghoulish typeface), HighJinks, Onomatopedia, Killzone, Killswitch, Killjoy.

Fonts from 2014: Mike Kunkel (based on the hand of comic book artist Mike Kunkel).

In 2015, John Roshell (Comicraft) created the comic book typeface family The Sculptor based on Scott McCloud's lettering. Other fonts from 2015 include AB Flock Poster, Hypnotique, Samaritan Lower (by Richard Starkings and John Roshell), Graveyard Smash, Maladroit, Extra Extra (pen-lettered newspaper headline font family), Merry Melody, Temporal Shift and Temporal Gap (computer emulation typeface), Temporal Shift and Temporal Gap Expanded, Temporal Shift and Temporal Gap Compressed, Danger Girl Hex (with Jeffery Scott Campbell), J. Scott Campbell Lower (with Jeffery Scott Campbell).

Typefaces from 2016: Victory Speech Lower, Man Of Tomorrow, Thrills, Holy Grail, A Likely Story, Victory Speech, Questionable Things (with Richard Starkings), The Story Begins + Ends, Pixel Arcade (video game font), Schadenfreude (octagonal style), Vengeance Is Mine.

Typefaces from 2017: Right In The Kisser, Music To My Eyes">, True Believer.

Typefaces from 2018: Metcon (+a stencil version, Metcon Rx), Summer Fling, Samaritan Tall Lower (by Starkings and Roshell), Blah Blah Upper (by John Roshell and Richard Starkings), Ultimatum, Wuxtry Wuxtry (art nouveau), Single Bound (a sans), Evil Doings (by Richard Starkings and John Roshell), Prince of Darkness (a gothic layered font family), Empire State Gothic, Empire State Deco.

Typefaces from 2019 by John Roshell: Whatchamacallit (a variable cartoon sans with weight, width and italic axes), Ask For Mercy, Excelsius, Space Race, When Suddenly.

Typefaces from 2020: CCQuigglesmith (a beatnik font), Ripped Bam Boom, Dynamic Duo, If This Be Doomsday, Elektrakution (a Greek simulation font family by Richard Starkings and John Roshell), Whatchamacallit, CCMighty Mouth, This Man This Monster (by John Roshell and Richard Starkings), Simply Marvelous, Meanwhile Uncial, Transylvanian (a jungle font), Shark Snack, Letterhack Sans, Letterhack Serif.

Klingspor link. FontShop link.

View John Roshjell's typefaces. [Google] [MyFonts] [More]  ⦿

Jonas Pelzer

Jonas Pelzer holds a Bachelor's degree in Communication Design from Düsseldorf University of Applied Sciences. He currently works as a designer in Berlin. Creator of the octagonal typeface Scope (2020), a variable, monolinear typeface designed to enable typographic interactions. [Google] [More]  ⦿

Just in Type (was: Tipomovel)
[Tony de Marco]

Just in Type (ex-Tipomovel) is a Brazilian foundry run by Tony de Marco (b. 1963) and his brother Caio de Marco in Sao Paulo since 2005. They were joined later by Diego Maldonado. Tony de Marco was an illustrator for Folha de S. Paulo, 1987-1994. He co-edits Tupigrafia with Claudio Rocha Franco.

As a type designer, he created over 50 typefaces for the newspaper Noticias Populares, for America Online, and the magazines Moderna, Saraiva, FTD and Atica. Free fonts at the Tipomovel site included Ariana, Beabá, Bloco, CyberComix, Cyber Rounded, Cyber-Zinha, Digital Typewriter, Egly (my favorite--a Bodoni with curly serifs), Futura Vítima, Futura Vítima Bold, Futura Vítima Extra Bold, Games, Genoveva, Helvetica Backlight, Illinoise, Macmania Bold, Neurastenic, Notícias Populares, Oficina Bold, Pin ups, Pixel, Pravda, Sequestro, Simbolo, Splash, Stalin, Sumô, Super Braille (created for the Dorina Nowill Foundation), Times Change, Tipografia, Toxic Bodoni, Web Power, Zine. Samba LT (2003, Linotype, designed with Carlo de Marco; this art deco typeface was inspired by the lettering art of J. Carlos, a Brazilian illustrator during the early 20th century) won an award at the Linotype International Type Design Contest 2003.

Just in Type typefaces include HallowHell Dingbats (2006, Halloween dingbats), Drop It (2005, dot matrix), Illinoise (2005, techno-grunge, by Tony and Caio de Marco), Pixel Zoo (2008, dingbats), Inferno Dingbats (2008), Brazil Pixo Retro (2007, rune simulation), Fractal (2010), Concreta (2011, a stencil typeface in the style of Josef Albers, done with Niko Fernandez).

In 2012, Tony de Marco and Diego Maldonado co-designed Garoa (a black rounded sans). Influenced by Herb Lubalin, it was derived from the free font Garoa Hacker Clube (done with Diego Maldonado).

In 2014, Bernardo Faria and Tony de Marco created the masculine typeface family Terrorista, and wrote this blurb: Terrorista is a homage to everyone who fought against the Millitary Regime in Brazil from 1964 to 1985. The Terrorista Marighella features generous inktraps, fits perfect for small sizes. Terrorista Dilma has the same design as the Marighella, but without inktraps, made for display. The last typeface from the package is Terrorista Lamarca, stencil version. This is the font for the political propaganda machine.

Completely in line with Tony's exuberant and delightfully mischievous views, he published Represent (2017), a typeface with sexual orientation symbols that can be compared with Luc Devroye's own Sekushii font from 2002.

In 2019, Tony de Marco and Monica Rizzolli released the free octagonal typeface family Tomorrow at Just in Type. Github link. Open Font Library link.

Typefaces from 2020: Letrix1 (a programmed experimental variable font).

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

Katja Schimmel

Type designer (b. 1992) based in Essen (and before that, Berlin), Germany. Graduate of Bauhaus University Weimar, and later the TypeMedia program at KABK, class of 2018. Her graduation typeface, Tweak, was released by Future Fonts in 2018. Tweak comes in two groups of styles, Tweak Text and Tweak Display.

After graduation, she became a font engineer at Alphabet-Type in Berlin.

Contributor in 2019 to the variable programming font Recursive Sans+Mono, the brainchild of Stephen Nixon. 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. It will be added to Google Fonts at some point. [Google] [More]  ⦿

Ken Lunde

Dr. Ken Lunde is Manager of CJKV Type Development at Adobe Systems Incorporated, San Jose, CA. He holds a Ph.D. (1994) in Linguistics from The University of Wisconsin-Madison. He wrote Understanding Japanese Information Processing (O'Reilly&Associates, 1993), and CJKV Information Processing (O'Reilly&Associates, 1999). He also wrote CJKV Information Processing: Chinese, Japanese, Korean&Vietnamese Computing (O'Reilly). In 2010, Adobe will release the first genuinely proportional Japanese font, Kazuraki (by Japanese type designer Ryoko Nishizuka), which was developed at Adobe in 2009 under his management.

Ken managed the Source Han Sans project---these are open source fonts released in 2014 by Adobe and Google for Japanese, Chinese and Korean. He also headed the development of Source Han Serif.

In 2018, Ken Lunde and Masataka Hattori co-designed Soukou Mincho (free at Fontsquirrel).

In 2019, he created the experimental variable font Width at Adobe. Github link.

Speaker at ATypI 2019 in Tokyo on the topic of The History of Japan's Era Name Square Ligatures, and in particular, the two-kanji square ligatures for the five most recent eras, Reiwa (2019), Heisei (1989), Shouwa, Taishou and Meiji. [Google] [More]  ⦿

Kimya Gandhi

Kimya Gandhi from Mumbai, India, holds a Bachelors degree in Communication Design from National Institute of Fashion Technology, Bombay (NIFT). She further went on to pursue specialization in the form of a post-graduate degree in Visual Communication at the Industrial Design Centre (IDC), IIT Bombay. Kimya interned with Linotype GmbH, Germany, in their font design department in 2010. Over the next several years she worked as a freelance designer for numerous type foundries catering to their multi-script requirements. She graduated from the TDi program at the University of Reading in 2012. Since 2015 she is a partner at Mota Italic in Berlin focusing on Indic and Latin designs for retail and custom corporate projects. Kimya teaches typography and type design at design institutes like Symbiosis Institute of Design and NIFT, and is currently designing and researching Indian script typefaces.

In 2014, Kimya Gandhi and Rob Keller published the free Latin / Devanagari font family Vesper Devanagari Libre. An extension of Rob Keller's Vesper (2006), the Vesper Devanagari character set was completed in 2014. Vesper Devanagari Libre is a special web version that has been optimized for online use. Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading.is a special web version that has been optimized for online use. Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading.

In 2015, she designed the Devanagari handwriting font Sharad 75, which was subsequently published in 2016 by Mota Italic. She writes: Rugwed Deshpande, of Setu Advertising wanted to commission the design of a typeface based on the handwriting of his father, Mr. Sharad Deshpande who has been a prolific copywriter for 50 years years and has been an intrinsic part of Setu. Rugwed explained how handwriting has been an important aspect of his copy-writing career. Her own handwriting was turned into a font in 2017, Maku.

In 2019, she released the Devanagari / Latin stone-cut variable typeface Chikki at Mota Italic. [Google] [More]  ⦿

Kometa
[Christian Jansky]

Kometa is Christian Jansky's type foundry located in Brno, Czechia. His typefaces: Attila Sans (a contemporary sans with an attitude, 2019), Labil Grotesk and Stabil Grotesk (2018, based on his Masters thesis), Victor Serif (2019, a transitional typeface famiy named after Victor Lardent who designed Times New Roman; it has a variable option with a weight axis). Home page. [Google] [More]  ⦿

Kseniya Karataeva

Russian type designer associated with TypeType in Saint Petersburg, Russia. In 2020, Antonina Zhulkova, Yulia Gonina and Kseniya Karataeva co-designed the octagonal typeface superfamily TT Octosquares at TypeType. TT Octosquares comes with a 3-axis variable type option.

Author of the monospace subfamily and the icon research for TypeType's superfamily TT Interphases (2019).

In 2020, she co-designed TT Lakes Neue, a 91-style sans family by Vika Usmanova, Antonina Zhulkova and Kseniya Karataeva at TypeTypType. 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. [Google] [MyFonts] [More]  ⦿

Kyle Wayne Benson
[Very Cool Studio]

[MyFonts] [More]  ⦿

Laurence Penney

Laurence Penney (born Isleworth, London, 1969, based in Bristol, UK) is a digital type specialist and dynamic (or variable) font technology expert, who has his own blog. His work has had a major impact on the type technology world we know today.

At university (B.Sc. Computer Science) he created a prototype parametric font system, and wrote that it was a weird and unusable font production system, proving to himself that over-automation of type design is a Bad Thing.

He was involved in Type Chimerique: Type Chimirique (formerly Kendrick Digital Typography) is a small organization dedicated to digital fontology. In other words, we specialize in everything to do with digital type. We design, hint and customize type to your requirements---avoiding automatic systems whenever there's a suspicion of inferior quality, writing our own tools where existing ones aren't enough. We're particularly into TrueType, and take commissions for writing custom TrueType (and OpenType) editing tools---for glyph outlines and other parts of the font file. We also design, adapt and hint and Type 1 fonts. From 1993 onwards, he went freelance and (in his own words) divined the black art of TrueType hinting, tweaking fonts for Microsoft, Linotype and indie designers.

In 1999 he was hired as a founder member of MyFonts, at the time only an idea within Bitstream (Cambridge, MA). He enlarged the team and helped the company to become market leader by a wide margin. In particular, he helped create the site's unique balance between newbie appeal and an extensive typographic resource. He developed MyFonts.com's in-house software, contributed editorial content, and co-managed the distributor's contacts with foundries and designers.

At ATypI 2004 in Prague, Penney spoke about EULAs.

From 2016 he has been a consultant in variable fonts. He presents aspects of the technology at conferences and universities, and wrote the open source Fit-to-Width library. His Axis-Praxis website (2016-present) is the first place that anyone can play with variable fonts.

Laurence also lectures on font technology at typographic conferences and is visiting lecturer at Reading University.

Speaker at ATypI 2019 in Tokyo on the topic of Parametric Fallback Fonts for the Web. Related to that talk, he set up FauxFoundry with Irene Vlachou in 2019. FauxFoundry provides tools for providing Greek fonts that match a Latin counterpart. [Google] [MyFonts] [More]  ⦿

Letter Omega
[Doni Sukma]

Jakarta, Indonesia-based type foundry that surfaced in 2016. Its typefaces include Neufile Grotesk (2018, a neo-grotesk by Doni Sukma) and Gelion (2018, by Doni Sukma: inspired by Avenir and Avant Garde).

Typefaces from 2019: Upton (a condensed grotesk with hipster features (such as the vertical-eared g) that was inspired by Bauhaus and Wim Crouwel's Hiroshima), Poligon (a geometric sans family inspired by Avant Garde and Futura), Rifton (an all caps truck stop headline sans).

Typefaces from 2020: Mono Spec (an all caps monospaced family with regaular and stencil styles and a variable OTF option). You Work For Them link. [Google] [MyFonts] [More]  ⦿

Lewis McGuffie

British graphic designer and sign painter who was at some point in Tallinn, Estonia. Graduate of the MATD program at the University of Reading, class of 2019.

Old German Baltic maps gave him the inspiration for the signage family Livo Display (2014). Other typefaces, all done in 2015: Imperija Roman (2015, an impressive Trajan typeface for posters and editorial use; Lewis explains: The original letters were drawn from a memorial engraving in Ljubljana, Slovenia), Trout Beer (display type), Andra Roman (a humanist sans based on a letter sample dated around 1920 found in the Estonian History Museum), Cream (an Italian western type based on an original wood type), Gauss (a pointy stencil type), Heath Egyptian (based on Caslon's Two-Line Egyptian: a custom type for London-based craftsman Daniel Heath), Poison, Titanik Tuleva, Hebden (a grotesque and incised pair inspired by the original signs at Hebden Bridge train station in Yorkshire).

Typefaces from 2016: Fleischer Display, Bobik (a sans / slab / wedge serif triplet of fonts initially developed based on basic principles described in Jean Alessandrini's Codex 80), Cindie Mono (four monospaced fonts of widely varying widths), Cenotaph Titling (a free engraved titling typeface influenced by Eric Gill's inscriptions).

Typefaces from 2017: Osselian Demi (lapidary), Borough Grotesk (free; updated to Pro in 2018), Tusker Grotesk (a headline grotesk in the tradition of Haettenschweiler, Impact and Helvetica Inserat; influences include Inland Type's Title Gothic No.8 and Stephenson Blake Elongated Sans No.1), Gardner Sans.

Typefaces from 2018: Chicken Shop Gothic (a condensed grotesk published by Typeverything: partly inspired by Benguiat's 1968 sample book Psychedelitype and part-nod to the stretched tacky stick-on-vinyl lettering on the windows of late-night takeaways, Chicken Shop is a variable font with a super-size height axis), Zierde Grotesk (a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richard's own range of grotesques. The ornaments were inspired by J.G Schelter & Giesecke's 1913 type specimen book Die Zierde). Sortie Super (Italian stress Western font). During his studies at Ecole Estienne (Paris), Manuel de Lignières (Montpellier, France) published Waba (2018) with Lewis McGuffie. Inspired by woodblock types and art nouveau, Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. The free variable font Waba Border (2018) was added by Lewis McGuffie. Find Waba at Type Everything.

Typefaces from 2019: Cham (heavy, octagonal, based on fascia lettering from 1875 in Liverpool; released by Type Everything), Chicken Shop Gothic (a condensed poster sans, with a variable type option), Columba (a variable font done for his graduation at MATDi with Latin, Greek, Cyrillic & Hebrew coverage and optical size and weight axes).

Typefaces from 2020: Cindie 2 (an extension of Cindie Mono, this family has 26 monospaced widths). [Google] [MyFonts] [More]  ⦿

Liebermann Kiepe Reddemann

Hamburg-based studio, est. 2014 by David Liebermann and Maximilian Kiepe. Jana Reddemann joined in 2019. They released two free fonts:

  • Times New Arial (Elias Hanzer, 2019). A variable font which interpolates between Times and Arial. It has two axes: Times/Arial and Left/Right slant. Inspection of the font file indicates that the Arial master's outlines are copied directly from the Microsoft system font.
  • Cursor or Cursor Apple (2020). This is an OpenType color SVG font which is designed to look like the Mac OS cursor set.
[Google] [More]  ⦿

Lillan Team
[Oscar Cobo]

During his studies in Barcelona, Oscar Cobo created the modular Tuscan typeface family Batto (2015, free) and Atzur (2015, free). In 2016, he published the commercial version, Atzur Pro.

In 2017, he designed the free modular display typeface Golem.

Typefaces from 2018: Haki (a free squarish variable font), Carbono (an octagonal family in 42 styles, and a 3-axis variable font), UT Morph (with Wete; a piano key variable opentype font that was inspired by Wim Crouwel's Nagasaki poster).

Typefaces from 2019: Concasse (a sans typeface family, +a variable font). [Google] [MyFonts] [More]  ⦿

Limo Studio
[Vitaliy Tsygankov]

Russian codesigner, with Jovanny Lemonad, of the free rounded sans typeface Matias (2016, TypeType). In 2019, he designed the rounded sans typeface Koryaka and the sans family TS Maka. In 2020, he released TS Kirt (with a variable style; a condensed sans family). [Google] [MyFonts] [More]  ⦿

Lisa Huang
[Polyform]

[More]  ⦿

Lizy Gershenzon
[Scribble Tone]

[More]  ⦿

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

[MyFonts] [More]  ⦿

Lukas Ulonska

Recklinghausen, Germany-based student-designer of these typefaces in 2019: Polymorph (Sans, Serif, Mono: a multi-axis variable font with seven variable design axes ranging from sans, serif, mono and an abstract pattern font to weight, width, contrast and slant.), Opuls (a modular typeface based on architectural elements of the faculty of design of the Fachhochschule Dortmund is located on the Max Ophüls Platz). [Google] [More]  ⦿

Maddy Angstreich

During her studies at Washington University in St. Louis, MO, Maddy Angstreich designed the text typeface Galileo (2019: a didone with altered angular terminals) and the free variable typeface Jailbird (2019), in which the size of dominos changes.. She also designed the pixel typeface Dot Dot Dot (2019). [Google] [More]  ⦿

Malou Verlomme

French type designer who graduated from l'Ecole Duperré in Paris and the University of Reading (2005). He cofounded the type foundry LongType in 2012. Since 2016 he works for Monotype UK. His typeface Ficus (2005) won an award in the Creative Review Type Competition 2005.

He wrote Technological Shifts in Type Design and Production (2006).

His typefaces: Respublika (2013, a humanist sans done with Gregori Vincens, Fontyou), Camille (2010-2011, for Camille Muller), ECAM (2009-2010, for the ECAM theater), Dijon (2011, for the identity of Dijon's Opera house), Arbre (2010, for the identity of the coffee brand L'Arbre de Cafe), Totem, Ficus (2005-2006), Syneas (2009, for Syneas), Digitaline (2007, a Futura-like family done for Agence Digitaline), Vingt-huit (2007), Sabasi (2008), Gem (2007, art nouveau), Oops (2006).

Marion Andrews, Malou Verlomme and Laurence Bedoin collaborated on the school fonts Écriture A and Écriture B which are presented in Modèles d'écriture scolaire (2013), a document issued by the French Ministry of Education. These fonts are available from Eduscol.

Verlomme set up Long Type in 2012 with Mathieu Chévara, Mathieu Reguer and Thomas L'Excellent.

In 2016, for Monotype, on commission for the Transport For London company, he redesigned / tweaked New Johnston, called Johnston100. It will be used in TfL's trains and station signage including for London's new Crossrail Elizabeth line that is scheduled to open in 2018.

In 2018, he published the geometric sans typeface family Madera and the revival typeface Placard Next (based on an old Monotype condensed poster typeface) at Monotype.

In 2019, he released the 12-style high-contrast Ariata (Text, Display, Stencil) at Monotype.

In 2020, he published the superfamily Macklin (Sans, Display, Text, Slab) at Monotype. Influenced by early 19th century designs in Europe, and especially by the work of Vincent Figgins, it is intended for use in headlines and short blocks of text. Variable fonts are also available.

Typecache link. Speaker at ATypI 2017 Montreal. [Google] [More]  ⦿

Måns Grebäck
[Aring Typeface]

[MyFonts] [More]  ⦿

Mario de Libero

Italian type designer whose typefaces include:

  • Cairoli Classic and Cairoli Now (2020, Italian Type). Cairoli was originally cast by Italian foundry Nebiolo in 1928, as a license of a design by Wagner & Schmidt, known as Neue Moderne Grotesk. Its solid grotesque design (later developed as Aurora by Weber and Akzidenz-Grotesk by Haas) was extremely successful---it anticipated the versatility of sans serif superfamilies thanks to its range of weights and widths, while still retaining some eccentricities from end-of the century lead and wood type. In 2020 the Italian Type team directed by Cosimo Lorenzo Pancini and Mario De Libero produced a revival of Cairoli, extending 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 weigt and width axis.
[Google] [MyFonts] [More]  ⦿

Marlene Arnold

Marlene Arnold's Masters Thesis entitled Dir Rolle der Typografie im Internet der Dinge (HS Mainz, 2017) covers variable fonts. [Google] [More]  ⦿

Martin Lorenz
[TwoPoints.net]

[MyFonts] [More]  ⦿

Martin Vacha
[Displaay]

[More]  ⦿

Massimo Studio
[Jean Wojciechowski]

Studio in Curitiba, Brazil. In 2018, it designed the bespoke wide sans typeface family Massimo. It is unclear who designed this great typeface---Behance associates it with Jean Wojciechowski, Marcelo de Costa, and Erick Donate. Still in 2018, Jean Wojciechowski designed the free variable font typeface Soulcraft. [Google] [More]  ⦿

Mathieu Desjardins
[Pangram Pangram Foundry]

[More]  ⦿

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

[More]  ⦿

Matyas Barton

Graduate of the Type Design and Typography program at UMPRUM, Prague, Czechia. Designer of the high-contrast tuxedoed sans typeface Ponzastura (2018). He explains: Ponzastura typeface was inspired by Aldo Novarese's Eurostile, but in this case, monolinear strokes took on contrast and stress. The classical appearance of Ponzastura, whose name is inspired by the Italian city Pontestura where Novarese was born, is more of a reaction and interplay.

In 2019, he published the variable font BC Minim Variable at Brieface Type Foundry. It was designed for extreme small size print, and offers weight and ink trap axes. [Google] [MyFonts] [More]  ⦿

Max Saille

Max is a Dutch graphic and type designer, now based in New York. His first commercial release, Fran (2016), is sold exclusively by The Designers Foundry. In 2020, Jason Harcombe and Max Saille published the 18-style variable sans font family Mazin the sans typeface family at Fontpeople. [Google] [More]  ⦿

Maximilian Müsgens
[Formatpunktotf (or: Format.otf; was: t-1, type-eins)]

[More]  ⦿

MCKL (was: Mickel Design)
[Jeremy Mickel]

Jeremy Mickel runs a design studio in Brooklyn, New York, but lives in Providence, RI. Originally called Mickel Design, the studio and foundry was renamed MCKL in 2012. Mickel has taught at RISD and the Minneapolis College of Art and Design.

He is working on this VAR-Rounded sans serif style face (2007) that was based on plastic cut letters seen in New York's subway. See also here and here. Mickel's typefaces:

  • Router (2008, Jeremy Mickel): a rounded sans family.
  • Baro (2010, Chester Jenkins and Jeremy Mickel): Baro is inspired by memories of Antique Olive Nord, Roger Excoffon's landmark design originally commissioned for Air France in 1956. Nord, the heaviest weight of Antique Olive, was the starting point, but Baro shares DNA with other Village designs, including Apex New and Mavis.
  • Eventide (2009, Jeremy Mickel): octagonal and 3d family based on ideas by Paul Carlyle in the early 1940s. That Carlyle typeface had also made it into the PhotoLettering collection in 1971. Eventide was developed into a family at House Industries under the art direction of Ken Barber and Christian Schwartz, and won an award at TDC2 2011.
  • Superior (2010, Jeremy Mickel): a high-contrast transitional "nearly didone" face. Superior Title (2013) is described as a high-contrast missing link between Times and Bodoni. It was designed for fashion publications.
  • Shift (2010, Jeremy Mickel): a slab serif family that won an award at TDC2 2011.
  • Gonesh (2009, Jeremy Mickel): a great new sans family.
  • Aero (2010, Village Type) was developed in cooperation with Chester Jenkins. This poster family, inspired by Excoffon's Antique Olive, was awarded at TDC2 2011.
  • Letterboxes (2008). A stencil typeface that was part of a collaborative project with John Caserta at the Design Office.
  • Union (2011). A basic sans family, ideal for corporate design.
  • Jeremy Mickel created a digital version L.Harl Copeland's (prismatic, beveled, roman caps) Trillium typeface [originally done at Photolettering] in 2011 at the new digital Photolettering / House Industries.
  • Fort is a sans family published in 2012 by Village.
  • Playoff Sans and Playoff Serif (2015).
  • Adidas has partnered with MCKL to create an innovative suite of variable fonts. These fonts are being used across a wide spectrum of applications, including Creative Direction, Product Design, Graphics, Communications, Digital Experiences, and the brand campaign for the upcoming World Cup. In 2015, Mickel expansed the Adineue Pro family. In 2017 they started the first Adidas Variable Font, Adineue CHOP Variable, an octagonal athletic sans in a wide range of weights from hairline to black, and widths from extra-condensed to extra-wide. In 2018, Mickel embarked on Adineue Pro Variable.
  • Rosa Sans (2019: by Jeremy Mickel and Pentagram). A free geometric grotesk (in their own words) sans family.

Klingspor link. Village link. Speaker at ATypI 2018 in Antwerp. [Google] [More]  ⦿

Micah Rich

Brooklyn, NY-based contributor and administrator of The League of Moveable Type. Home page. In 2020, League Spartan Variable was released, thanks to Micah Rich and Tyler Finck. League Spartan was an early free font of The League of Moveable Type. Github link. [Google] [More]  ⦿

Michael Cina
[You Work For Them (or YWFT; formerly Cinahaus or TrueIsTrue)]

[MyFonts] [More]  ⦿

Michael Hochleitner
[Typejockeys]

[MyFonts] [More]  ⦿

Mike Abbink
[IBM Plex]

[More]  ⦿

Miquel Cendros

Graduate of CIC Elisava. Barcelona-based designer of a variable font in 2019. Still in 2019, he drew Gothic Alphabet. [Google] [More]  ⦿

Mirko Velimirovic

Spartan is Matt Bailey's open-source typeface based on early 20th century American geometric sans serifs. In 2020, Mirko Velimirovic converted Spartan MB to a variable font downloadable at Google Fonts. [Google] [More]  ⦿

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.
[Google] [MyFonts] [More]  ⦿

MIUI Design

The Dynamic Font System of Beijing-based MIUI---the operating system that powers Xiaomi's mobile phones---enables the users to finely adjust the weight and size of the system fonts to the most suitable state. Their variable MIUI 11 Dynamic Font, Mi Lan Pro (2016-2019) for Latin and Chinese, was developed by a team that includes Flynn Lee (China), Jonathan Lu (Beijing, China) and Gary Chen (Beijing, China). [Google] [More]  ⦿

Monotype on The History and Future of Variable Fonts
[Jason Tselentis]

An article written in 2017 by Jason Tselentis, a designer, writer, and educator based in North Carolina. As Associate Professor at Winthrop University, he teaches visual communication design, brand strategy and development, web design, and typography. [Google] [More]  ⦿

Monotype on The History and Future of Variable Fonts

An article by Jason Tselentis in February 2017 on variable fonts through the eyes of Monotype's Tom Rickner. [Google] [More]  ⦿

Monotype Variable Font Demo

[More]  ⦿

Muhammad Iqbal Firdaus
[Tegami Type]

[MyFonts] [More]  ⦿

Muhittin Günes

Istanbul, Turkey-based designer of the free stencil typeface family Temiz (2017) and the free monospaced regular and stencil typeface pair Muar Mono (2018).

In 2018, Fatih Hardal and Muhittin Gunes set up Bold Type Istanbul. Both graduated from Marmara University Faculty of Fine Arts. They co-designed the sans typeface families Bold Type Modern (2018) and Bold Type Grotesk (2018).

In 2019, Muhittin Günes released the ink-trapped variable font OR Ranua, the fashion mag typeface Zermatt, the art deco sans typeface MT Maeve Deco, and the 14-style Muana grotesque. [Google] [More]  ⦿

Myles Maxfield: Variable Fonts on the Web

Myles Maxfield explains variable fonts. [Google] [More]  ⦿

Naum Type
[Pyotr Bushuev]

Peter or Pyotr Bushuev is the Pskov, Russia-based designer of the geometric typeface families Umbero (2016, retro deco) and Kontora (2016, for Latin and Cyrillic). He also designed the brush typeface Burelom (2015).

Typefaces from 2017: Juxta (Sans, Sans Mono, Script), Juxta Sans Mono, Ravensara Antiqua Stencil, Ravensara Sans, Ravensara Serif (a high contrast fashion mag font derived from didones; in Sans and Serif styles).

Typefaces from 2019: Base + Bloom (experimental).

Typefaces from 2020: Cascadeur (Pyotr writes: Cascadeur is a variable modular sans with 3 axes, a modernistic hommage to space-age typography). [Google] [MyFonts] [More]  ⦿

Nav Raw
[Rajesh Rajput]

Rajesh Rajput (since 2014 with Cognizant Technologies, Gurgaon / Delhi, India) designed the free 5-style stencil typeface family Break in 2015. Interestingly, a guy called Steven Han calls it his font in 2016. He worked for four months on an elaborate decorative set of 26 capitals under the project name Type Soul (2015).

Now based in New Delhi, he created Hagna (2017; although inside the font we find another name, Webvilla) and Gorgeous (2017, a free tall fashion mag typeface family).

Typefaces from 2019: Emberly (a free 54-style didone, with a variable option), Morganite (an ultra-condensed sans in 18 styles).

Behance link. Behance link for Nav Raw. [Google] [More]  ⦿

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

Prague-based type foundry offering typefaces by The designers of the typefaces are Daniel Quisek and Lukass Chladek, who gained their experience type during their MA studies in The Netherlands. Their fonts include NC Burrata (2020: a geometric sans; +a variable style), NC Fontina (2020: a grotesk sans that celebrates Mille Miglia, a Thousand Miles open-road race established in 1927 in Italy.) and NC Kobyla (2020: a workhorse text typeface family; +a variable font). [Google] [More]  ⦿

Neue Frutiger
[Akira Kobayashi]

Neue Frutiger was developed by Akira Kobayashi and the Monotype (ex-Linotype) Design Team, in 2018. An outgrowth of Adrian Frutiger's successful Frutiger font, this wayfinding family was split by Monotype into several packages:

  • Neue Frutiger World. Neue Frutiger World supports more than 150 languages and scripts including Latin, Greek, Cyrillic, Georgian, Armenian, Hebrew, Arabic, Thai and Vietnamese. The Neue Frutiger World fonts can be paired with Monotype's CJK fonts: M XiangHe Hei TC (Chinese), Tazugane Gothic (Japanese) and Seol Sans (Korean).
  • Neue Frutiger Tamil. Neue Frutiger Tamil was created by Pria Ravichandran and a team of designers and font engineers from the Monotype Studio, under the direction of Monotype type director Akira Kobayashi.
  • Neue Frutiger Georgian. Neue Frutiger Georgian was created by Akaki Razmadze and a team of designers and font engineers from the Monotype Studio, under the direction of Monotype type director Akira Kobayashi.
  • Neue Frutiger Arabic. Neue Frutiger Arabic was created by Nadine Chahine and a team of designers and font engineers from the Monotype Studio, under the direction of Monotype type director Akira Kobayashi.
  • Neue Frutiger Vietnamese.
  • Neue Frutiger Hebrew. Neue Frutiger Hebrew was created by Yanek Iontev and a team of designers and font engineers from the Monotype Studio, under the direction of Monotype type director Akira Kobayashi.

In 2019, the Linotype team developed and released the single variable font Neue Frutiger Variable. [Google] [More]  ⦿

Newglyph
[Ian Party]

Swiss type foundry set up by Ian Party in Lausanne in 2020, with a focus on variable font technology. All newglyph typefaces are variable fonts with three axes of variation: weight, width and contrast. Their initial typefaces in 2020:

  • Atacama. A 90-style garalde.
  • Antarctica. A 132-style neo-grotesque.
  • Amazonia. A 90-style neo-classic didone.
  • Alaska. A 110-style geometric sans.

The team:

  • Ian Party (founder, CEO, design director).
  • Daniela Retana (founder, custom fonts director).
  • Dennis Moya Razafimandimby (founder, creative director).
  • David Massara (graphic and type designer).
[Google] [More]  ⦿

Nick Sherman
[v-fonts]

[More]  ⦿

Nick Sherman: Variable Fonts for Responsive Design

Nick Sherman writes about variable fonts. [Google] [More]  ⦿

Nicolas Massi
[Tomo Fonts (was: We Are Tomo)]

[MyFonts] [More]  ⦿

NREY
[Andriy Dykun]

Makeevka, Donetsk, Ukraine-based designer of these typefaces in 2017: Vector Waves, Quasimodo (a free spurred and curvy decorative display typeface), Courtney (monoline script), Lumberjack (blackletter; see also Lumberjack Zombie in 2019), Marvin (a 10-font Marvin Heemeyer-inspired bulldozer and wrench font family with a free heavy slab serif), Awakening (signage script), Bang Bang, Round Compound, Rot Shield (blackletter), Rust (spurred), Furious, Dry Brush, Balalaika (Cyrillic emulation typeface), Moustache, Barbara (script), Arigato, The Pontifice (blackletter), Amsterdam, Megapolis (inline), Megapolis Black Bold (free, for Latin and Cyrillic), Phoenix Gothic, Brush Pen, Nround (rounded sans), DieCunst (free connected script).

Typefaces from 2018: Fontuna (+stencil), Sansterdam (a geometric condensed grotesk with a few deco styles), Ethna (a fashion mag sans typeface family), Voguer Sans (a free Latin / Cyrillic display typeface with fashion applications in mind), Ravenholm (an expressionist blackletter), Jorick (vintage, Latin and Cyrillic), Ultravog and Ultravog Glitch Black (extreme contrast stencil styles: free), Walpurgis Night, Voguer (a high-contrast fashion mag font), Voguer II (didone-inspired, accompanied by a script typeface).

Typefaces from 2019: Anicon Sans, Anicon Slab, Thephir (a variable cursive typeface), Oblique Rain (monoline script), Skiff (a quaint almost painted sans), Cadency (a monoline script), Waymar (Serif and Script font duo; include the textured caps typeface Waymar Ornate and the blackboard bold style Waymar Outline), Phagoth (blackletter), Gunhill (a vintage font family that includes blackboard bold styles), Heartland (Script & Sans), Marvin Slab.

Typefaces from 2020: Calmius, Calmius Sans. Calmius Sans has Oppo (reverse contrast), Low and High (Peignotian) subfamilies, all experiments on contrast.

Graphicriver link. Behance link. Newest Behance link. Dafont link. [Google] [MyFonts] [More]  ⦿

Nur Syamsi
[Syamsi Namela]

[MyFonts] [More]  ⦿

OGJ Type Design
[Oliver Jeschke]

Aka OGJ, Oliver Jeschke is based in Berlin. With Oliver Mayer (Tatin, Basel), he created the avant garde linear grotesk typeface family Version 1 International (2013). The typeface family, characterized by upward diagonal strokes in the f, h, m, n and u, was published by Volcano. Volcano writes: The Version 1 font family is a mannered geometric linear-grotesque, hand-drawn and developed by Oliver Jeschke and Oliver Mayer at Tatin Design Enterprises in Basel, Switzerland and Berlin, Germany. It was created in a three-month training and was further developed in the later stages as OpenType font.

In 2015, influenced by the work of Swiss master designer Max Bill, Oliver Jeschke created the Greek simulation typeface family Bill Display, the sans typeface Bill Corporate, and Bill Corporate Narrow. See aso Bill Corporate Mx (2016) and Bill Display Lowercase.

Spectators Headline (2016) is a breezy semi-informal notebook sans family.

Typefaces from 2017 include Sequel Sans and Sequel Rounded. Calling it a "post-Max Bill design", Sequel Sans was developed in collaboration with the Max Bill Georges Vantongerloo Foundation. In 2018, Sequel 100 Wide and Sequel 100 Black were added to that collection.

Typefaces from 2018: Shapiro (a 32-style grotesk in which horizontal and vertical strokes are nearly identical in width), Temper Wide (slab serif).

Typefaces from 2019: Shapiro Pro (138 styles), Shapiro Base (sans), Darbee Legend (a sans family with cuts named after famous racehorses).

Typefaces from 2020: Sequel Sans VF (the variable font version of Sequel Sans), JT Energy (a great addition to the geometric sans genre featuring optically consistent line thickness; it comes with two condensed styles called JT Energy Placard, and with JT Energy Variable). [Google] [MyFonts] [More]  ⦿

Oh No Type
[James T. Edmondson]

Oakland, CA-based designer, whose company is called Oh No Type. In 2011, he was a student at California College of the Arts in San Francisco. Graduate of the Type & Media program at KABK in Den Haag in 2014. Before that, he was based in Leeds, UK. James teaches Type at Cooper West. In 2018, James co-founded Future Fonts, a platform for distributing fonts in-progress. Typefaces:

  • 2008: at FontStruct of the blackletter typeface Eclyptico and of Mopper.
  • 2010: Edmondson, Dode (script).
  • 2011: Edmond Serif (in progress) is being designed in Rod Cavasos Type Design class at CCA. Edmond Sans (2011) is a headline all caps sans face. Duke (Lost Type) is a beveled typeface based on the signage for the Cup and Saucer Luncheonette in New York. Wisdom Script (Lost Type) was originally designed for Woods of Wisdom, a 50 part poster series on bad advice. Working on a roman caps version in Ed Interlock style. Lavanderia (2011, free at Lost Type) is a signage script family inspired by fancy laundromat lettering in San Francisco's Mission District.
  • 2012: Edmond Sans (Lost Type).
  • Mission Script (2012) is a connected signage script, also inspired by lettering in San Francisco's Mission District.
  • 2013: Mission Gothic. Influenced by wood types, this sans was co-designed with Trevor Baum.
  • 2014: Covik, his graduation typeface at KABK. He writes: Covik was designed with the goal of creating a small text family with complimentary display typefaces which work together to create a rich typographic palette. How divergent could a style be while remaining kindred? In what ways could weight, width, proportion, and construction be played with in order to create a varied family? See also Covik Sans Mono.
  • 2015: Hobeaux (a take on Morris Fuller Benton's art nouveau typeface Hobo), Viktor Script (a retro script done with Erik Marinovich). Accompanied by Hobeaux Rococeaux (2016).
  • 2016: Vulf Mono (Vulf Mono is the official typeface of Vulfpeck, a funky four-piece rhythm section from Ann Arbor, Michigan. The typeface draws main inspiration from 12 point Light Italic, a font for the IBM Selectric typewriter.)
  • Year unknown: Bordeaux Script.
  • 2018: Obviously, Eckmann Psych (a psychedelic take on Otto Eckmann's art nouveau type), Ohno Blazeface, Cheee (a variable font).
  • 2019: Nonplus (counterless script), Primarily Script (a children's book font), Coniferous (based on signage at American National Forests).
  • 2020: Compadre (an all caps sans typeface), Fatface (in the true didone fat face tradition, with delicious conniving outlines), Swear (an experimental serif with rotated pen angle).
Klingspor link. Behance link. Dribble link. Old home page. Future Fonts link. [Google] [More]  ⦿

Oliver Jeschke
[OGJ Type Design]

[MyFonts] [More]  ⦿

Opentype Font Variations: David Berlow

David Berlow explains OpenType Font Variations. [Google] [More]  ⦿

Oscar Cobo
[Lillan Team]

[MyFonts] [More]  ⦿

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

British born designer Andrew Bellamy worked for agencies in London, Oslo, and Miami, and is currently developing various global brands as Design Director at JKR in New York City. He started Ilott Type and then Otherwhere Collective.

Andrew Bellamy designed 64-SRC (2017), a rare condensed monospace font inspired by IBM's Selectric type from the 1960s.

His 57 Nao (2016) is a revival of a Japanese typewriter font from the 1950s called Messenjaa. They explain: Designed in 1950s Japan by Okanao & Kushiro, the perfect partnership until artistic temperaments drove them apart. The duo spent years crafting the font with the working title Messenjaa, Okanao bringing technical expertise to craft letterforms, while Kushiro made it his life, obsessively working late into the night to check pages for errors. For him the project was never about making money, it was an artistic endeavor to reprint the great Western works of literature. When he found out Okanao had secretly sold the rights of the font for use as a logo for a major Japanese manufacturer, Kushiro burned all evidence of the designs in a fit of passionate fury. The two reportedly never spoke again. Messenjaa was thought lost forever until a type specimen was discovered in a vintage typewriter box bought on eBay. Now redrawn and available as 57-nao, a faithful and beautifully crafted monospace characterized by what is considered Okanao's defining moment, the angular loop on the lowercase a.

52-Kfx (2017) is an extra tall sans typeface.

35-FTR (2017) was custom drawn specifically for the book Analogue Photography which required the timeless elegance of Futura and the compact utilitarian typesetting of Helvetica.

In 2018, he designed the fashion mag typefaces 19Pra and Coutura Sans.

In 2019, Bellamy published OC Bartok (a wedge serif), OC Pajaro (a sans family between Futura and Akzidenz Grotesk), OC Format Sans (a geometric grotesk sans serif that fuses the style of Futura with the rhythm and proportions of Akzidenz), OC Rey.

Typefaces from 2020: OC Format Stencil (a variable font design inspired by the work of Bruno Munari, Paul Rand, and Max Huber), OC Format Collage, OC Format Shards. [Google] [MyFonts] [More]  ⦿

Owen Earl
[Indestructible Type]

[More]  ⦿

Pablo Gámez Navarro

Graduate of the TypeMedia program at the KABK in The Hague in 2017, who first worked at some design studios in Spain and now develops typefaces at Bold Monday. His typefaces include:

  • Driver (2017), his graduation work at KABK. This is a variable font, Driver Small, and a fashionable typeface family, Driver Big. Pablo explains: Inspired by the world of motorsports and hypercars, Driver is a modern interpretation of the squarish styles from the sixties and the aesthetics of car races. The smaller version is a four axis variable font that adapts to a responsive interface, enabling the designer to link visual parameters of the typeface to conditions like luminosity, size and background color. The bigger version is a typeface intended for branding and editorial environments, inspired by racing banners. It includes six sets of decorated figures.
  • Trump Mediaeval: an etched typeface revival.
  • Mango. A text typeface.
  • Modena.
[Google] [More]  ⦿

Paco Gonzalez

Codesigner with Giuseppe Salerno of Superb (2014, Resistenza: a creamy signage script) and the calligraphic brush script Modern Love (2015).

Italian codesigner, with Giuseppe Salerno and Andrea Tardivo, of the chocolate box script typeface family Gianduja (2016, Resistenza).

In 2018, he co-designed Contigo and Contigo Vintage with Giuseppe Salerno.

In 2019, Paco Gonzalez and Giuseppe Salerno co-designed the brush typefaces SmoothyPro, Pando Script and Parkour, Auster Rounded, the Tuscan family Royale, the chalk font Dolce Caffe Chalk, the layered hand-crafted sans typeface Dolcissimo, the dry brush script typeface Blue Jeans, the brush script Batticuore and Turquoise Inline.

Typefaces from 2020, all with Giuseppe Salerno: Norman (a fashion mag typeface), Royale Italic (Tuscan), Auster Variable, Hello Fresh, Nostalgia and Nostalgia Flowers, Tresor (a romantic flared sans), Pesto Fresco Italic. [Google] [MyFonts] [More]  ⦿

Pangram Pangram Foundry
[Mathieu Desjardins]

Mathieu Desjardins (Pangrampangram) is a senior art director in Montreal, who created the free geometric sans typefaces Charlevoix Bold, and Pier Sans (2015), and the condensed sans typeface Stellar in 2015. However, at Graphicriver, we learn that he is selling Charlevoix Bold (2015), Stellar (2015) and Pier Sans (2015).

In 2016, he designed Supply Mono (which could be used for programming), the (free for personal use) 7-weight geometric sans font family Pangram and the (free for personal use) Fuji Sans.

In 2017, he published Chronos Serif, which is also free for personal use.

In 2018, he designed the grotesque typefaces Formula Condensed, Neue Montreal (together with Sebastien Tremblay; advertized as a great replacement of Helvetica) and Radio Grotesk, the warm and fluid text typeface Woodland, the wide display sans Monument Extended, Casa Stencil and Gosha Sans (influenced by Futura and Russian constructivism; contains Cyrillic as well).

Typefaces from 2019: Hatton (a collaboration with London-based design studio Two Times Elliott, Hatton is a homage to the history of the London diamond trade district, Hatton Garden), Editorial New (a partly free editorial text font family), Neue Machina (inspired by the aesthetics of robotics and machines, this powerful variable opentype typeface family is characterized by monospace/geometric features and deep ink traps; designed by Mathieu Desjardins and Vasjen Katro / Baugasm). It is inspired by the aesthetics of robotics and machines).

Graphicriver link. Personal home page. [Google] [More]  ⦿

Paul Christ

During his studies in München, Germany, Paul Christ designed the angular typeface Oh No (2017) and the wavy typeface Crooked (2017). In 2018, he designed the variable font typeface Herbivore. [Google] [More]  ⦿

Paul Coumoul

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]  ⦿

Pedro Alexandre Teixeira
[Pedro Teixeira Foundry]

[MyFonts] [More]  ⦿

Pedro Leal

Pedro Leal graduated in graphic design and advertising from the ESEIG-Escola Superior de Estudos Industriais e de Engenharia in Vila do Conde, Portugal, and lives in Porto. In 2010 he obtained a degree in type design at ESAD (Escola Superior de Artes e Design, Matosinhos) and started working at DSType. MyFonts link. Behance link.

He used FontStruct in 2008 to create the pixel typeface Minimal 8pt (514 glyphs!). In 2010, he created the text family Mafra at DSType. This was followed a bit later by Mafra Display (2010; +Medium, +Black). Apud and Apud Display (2010, DSType) are high-contrast typefaces.

Penna (2011) is a calligraphic type system. Braga (2011, Dino dos Santos and Pedro Leal, DS Type) 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.

In 2012, he designed User, User Stencil and User Upright>/a>, a monospaced type family with 30 styles, from Hairline to Bold. This too will many awards. Girga (+Italic, +Engraved, +Banner, +Stencil) is a strong black Egyptian family designed together with Dino dos Santos at DS Type. Solido (2012, with Dino dos Santos, DS Type) 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 2012, he created the sans family Global, with its own dedicated web site, The Global Font. In 2013, he followed that up with the Global Stencil typeface family.

In 2013, Dino dos Santos and Pedro Leal published Diversa, a set of nine very different fonts that are jointly kerned so that letters can be swapped out and replaced at will. Diversa Std (2014) extends this to include Stencil, Inline and other decorative styles. Pedro Leal's main typeface of 2013 is Aparo, a script that is calligraphic, yet keeps the characteristics of penmanship scripts, and the pizzazz of a good fashion font.

In 2014, he published Ocre and Ocre Poster in sans and slab serif substyles inspired by W.A. Dwiggins, Torio, a penmanship script based on a style used in Arte de Escribir por Reglas y con Muestras (1798, by Spanish penman Torcuato Torío de la Riva y Herrer). Torio received the Communication Arts Type Award of Excellence in 2014.

In 2015, he created the large Rudo and Rude Slab typeface families that exhibit many humanist traits: Rude ExtraWide, Rude Icons, Rude SemiCondensed, Rude SemiWide, Rude Wide, Rude, Rude Condensed, Rude ExtraCondensed, Rude Slab, Rude Slab Condensed, Rude Slab ExtraCondensed, Rude Slab ExtraWide, Rude Slab SemiCondensed, Rude Slab SemiWide, Rude Slab Wide, Rude Slab, Rude Slab Condensed, Rude Slab ExtraCondensed, Rude Slab ExtraWide, Rude Slab SemiCondensed, Rude Slab SemiWide, Rude Slab Wide. Early in 2015, he also did a custom typeface family for the Jornal de Notícias, including sans, serif and micro sub-styles. Dino dos Santos and Pedro Leal published Jules and Jules Text 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. Ecra is a workhorse slab serif, also done in 2015. Viska (2015, by Dino dos Santos and Pedro Leal) is designed for small print. Finally, TCF Zellige (2015, TypeCult) is a modular typeface inspired by the tiles that can be found in Southern Europe and North Africa.

Typefaces from 2016: Oposta (Italian, Western style pushed to the esthetic extreme; received the Communication Arts Type Award of Excellence in 2017), Ardina (with Dino dos Santos: a text typeface family with three optical sizes).

Typefaces from 2017: Scrittore (a heavy dark Italian bastarda influenced by the connected hand of Giovanniantonio Tagliente and Robert Granjon's Civilité; at DS Type), Zart (a voluptuous ebullient black didone, or fat face). Fusta (a gorgeous wood-type inspired poster typeface), Ordem (a low-contrast contemporary Capitalis Monumentalis).

Typefaces from 2018: Glitched (an experimental variable spacing font), Striver (a crisp contrasted curvy display typeface), Certo Slab and Certo Sans, Foreday (a forward-looking typeface family with associated variable font, covering sans, serif, semi-sans and semi-serif), Perfil (an inline and swashy high end script).

Typefaces from 2019: Akut (a purely angular typeface with some rounded corners), Denso (by Dino dos Santos and Pedro Leal: a great condensed variable font with weight, serif and optical size axes), Jornada (a multistyle family with a Fraktur, a chancery, a bookish style called Libro, a news text serif, a clean sans, a slab serif, a monospace, and a penmanship script, all in one family dubbed hygienic post-punk by Leal).

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. Pedro also designed Mescla and Enorme (an ultra massive and modular 3000-glyph mastodont of a font, together with Dino dos Santos) in 2020. [Google] [MyFonts] [More]  ⦿

Pedro Teixeira Foundry
[Pedro Alexandre Teixeira]

Pedro Alexandre Vilas Boas Teixeira is a Porto, Portugal-based type designer. Creator of the monoline gemetric organic sans typeface Constantine (2012). In 2016, he designed the comic book typeface Crazy Cartoon, the brush script Forever Brush Script, the sans typeface Rabelo, Westkreep (a wide wood type typeface), the tall cigarette typeface Long Tall Palito and the rounded sans typeface Sogu.

Typefaces from 2017: Signaturistar, Toxic Marker (dry brush), Scratched Brush Script, Serene Textured (script), Feris Script, Boemia, Savage Adventure (brush script), Casual Mark Script, Rough Beauty Script, Cartoon US Presidents.

Typefaces from 2018: Constancia Script (a thin refined calligraphic script), Bow Tie (script), Black Fox (upright script).

Typefaces from 2019: Aleante Sans (+a variable font option, Lets Get Crazy (script+sans), Stylish Marker.

Typefaces from 2020: Cursive Signa Script Variable (a signature script), Zinekiss.

Creative Market link. Another Creative Market link. [Google] [MyFonts] [More]  ⦿

Peter Baker's old English page at the University of Virginia
[Peter S. Baker]

Peter S. Baker, an English professor at the University of Virginia, offers free TrueType and PostScript fonts. these include:

  • Anglo-Saxon Caps.
  • Beowulf-1 (1995, a pseudo-Gaelic face; BeowulfOT dates from 2018).
  • Bury Caps (2014, free at OFL). This decorative typeface was inspired by the display capitals in the 12th-century Bury Bible.
  • The elegant Carolingian typeface Eadui (2010), a reproduction of English Caroline Minuscule as written by Eadui Basan, a scribe at eleventh-century Christ Church, Canterbury.
  • Elstob (2018-2019). A variable font for for medievalists. He writes: The Elstob font, named for Elizabeth Elstob (1683-1756), a celebrated early scholar of Old English language and literature, is based on the Double Pica commissioned by Bishop John Fell (1625-1686) for the use of the Oxford University Press. Wherever possible, it is modeled on a specimen book printed in 1925 with type cast in the 1890s from the seventeenth-century matrices; digital images from the 1693 and 1706 Fell specimen books served as backup, and also an early eighteenth-century folio in which a lengthy dedication was printed in Fell's Double Pica. The type doesn't have a great reputation: the typographer Stanley Morison thought it amateurish in comparison with the excellent Fell English. However, its angular character (especially its flat or flattish serifs with minimal or no brackets) makes it well suited to adaptation as a variable font.
  • Interlace Set (2015). A dingbat font for making Hiberno-Saxon interlace patterns.
  • The important and well-designed Junius family (1996, modern hybrid Gaelic). This led to Junicode, the working name of a Unicode font for medievalists. The fonts in the latter project are Junicode-Bold, JunicodeItalic, Junicode (2002), and are by Peter S. Baker and Briery Creek Software. André G. Isaak writes: Junicode isn't the only free font for mediaevalists out there, but it's certainly one of the two most well-designed ones (the other being Andron Scriptor). I used to teach courses on the history of English and I used Junius (the predecessor of Junicode) for many of my handouts because I preferred it to all of the commercial fonts which I had looked at. In 2020, Junicode was rebuilt into JuniusX or Junicode New.

Alternate URL. Dafont link. Open Font Library link, where he is known as psb6m. Fontspace link. Link to his foundry, Thornbec Staefwyrhtan. Github link. [Google] [More]  ⦿

Peter S. Baker
[Peter Baker's old English page at the University of Virginia]

[More]  ⦿

Phaedra Charles
[Undercase Type]

[More]  ⦿

Phantom Foundry
[Jean-Baptiste Morizot]

Type designer at the open source type foundry Velvetyne in Paris. His creations there include Trickster (2017: blackletter), Bluu Next (2014, a free wedge serif typeface) and Steps Mono (with Raphael Bastide).

In 2015, he switched to the commmercial camp, and cooperated with the Fontyou team in the production of the didone typeface family Télémaque FY, which brings Didot in its most rigid and tuxedoed manner, for the black-and-white fashion mags showing James Bond with a black bowtie and spotless high-contrast shirt.

In 2016, Alisa Nowak, Julie Soudanne and Jean-Baptiste Morizot co-designed Graphico (Indian Type Foundry): Its letterforms are industrial and square-sided. The typeface looks like the product of precision mechanics: it should be featured together with tech---either old tech like appliances or watches, or new tech like apps and laptop stands. Still for Indian Type Foundry in 2016, he designed the hipster sans typeface family Bobo---perhaps one of the greatest hipster typefaces of all times. Bobo stands for bourgeois Bohemian---I am not sure it is identical to gauche caviar, but that is the societal class the author of this typographic encyclopedia belongs to.

In 2016, Morizot designed the high contrast wedge serif newspaper typeface families Editor and Editor Condensed, and the car license plate font License at Indian Type Foundry.

In 2017, as part of the new Black Foundry, he extended his free font Bluu and even added a variable font to the set, as well as a collection of emojis. The new name is Bluusuuperstar: Bluu Suuperstar is a brutalist serif typeface featuring very prominent triangular-wedges for serifs and terminals. Bluu Suuperstar's letters have a tall x-height, and the diamond dots are a chief characteristic of the design. Notches like these [diamonds] are found in several blackletter designs; but most-famously in the romain du roi created for Louis XIV. Nothing in Bluu Suuperstar is soft or cuddly; this is a sharp typeface, and you could cut yourself on its letters. The separate emoji font, designed by Gaëtan Baehr, is wittily named Bluumoji, and it includes 73 glyphs.

In 2018, Morizot set up Phantom Foundry, where he published Super Fat Bob (2018) and Phantom Sans (2018: trying to bring some warmth to the geometric sans genre, and now also a variable typeface).

Typefaces from 2019: Cosmetic (Indian Type Foundry: a high-contrast fashion mag sans family), TXT25 (an unconventional extreme-axis (variable) text typeface).

Typefaces from 2020: Kola (a molecular rounded stencil typeface published at Indian Type Foundry), Claire (with Alisa Nowak, Jérémie Hornus and Gaetan Baehr: a 12-style bracketed serif newspaper type with small x-height in the mold of late-nineteenth century typefaces along the Century model).

Fontshop link. Future Fonts link. Home page. [Google] [MyFonts] [More]  ⦿

Philip Lammert
[Vibrant Types (was: Calligrafiction)]

[MyFonts] [More]  ⦿

Pizza Typefaces

Type foundry set up in 2018 in Paris by French type designers Adrien Midzic and Luc Borho. Their fonts are also available on other sites. The initial offering includes many fonts by Midzic (Orelo, Kern, Metal, Bota, Forno) and one by Borho (Fadoli). They intend to offer many variable type fonts. [Google] [More]  ⦿

Polyform
[Lisa Huang]

Lisa Huang was born and grew up in France. Lisa studied mostly in Paris in graphic design before going further in type and typography with Type@Cooper Condensed program in 2015 in New York City and a couple of years in design companies such as BETC Design and type foundry Black[Foundry] both in Paris. In 2018, she graduated from TypeMedia at the KABK in The Hague.

Lisa's specializes in multi-cultural projects, especially mixing Latin / French and Chinese cultures. In 2019, she founded a graphic and type design studio with her partner Thomas Kim called Polyform Studio (Paris). At Type@Paris 2016, Lisa Huang designed the warm text/sans typeface pair Julie et Julien. Her graduation typeface at KABK was Model Sans and Display (2018). She writes: I paid my attention to the balance between conventional structures of sans serif typefaces, optical corrections for legibility, and details from hand drawn shapes to give it personality.

Contributor in 2019 to the variable programming font Recursive Sans+Mono, the brainchild of Stephen Nixon. 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. It will be added to Google Fonts at some point. [Google] [More]  ⦿

Process Type Foundry
[Eric Olson]

Located in Minneapolis and/or Golden Valley, MN, Process Type Foundry is Eric Olson's foundry created in 2002. Its team grew withe additions of Alice Savoie, Nicole Dotin and Doug WilsonIts fonts:

  • Anchor.
  • Bryant (2002, sans serif with simple forms). Bryant 2.0 (2005, Standard&Pro), Bryant Compressed, Bryant Condensed (all three form a neat geometric sans family), Bryant Pro.
  • Chrono (2012). Olson writes: Chrono: The nearly geometric sans serif. Chrono is a refined oval sans serif of 20th century origins and 21st century sensibilities. Influences ranging from the gruff Aurora Grotesk series to the elegant Neuzeit are paired with a subtle geometry and typographic utility to inform this family of sans serifs. Chrono was renamed Colfax later in 2012.
  • Colfax (2012). The blurb: Colfax is a refined oval sans serif of 20th century origins and 21st century sensibilities. Influences ranging from the gruff Aurora Grotesk series to the elegant Neuzeit are paired with a subtle geometry and typographic utility to inform this family of sans serifs. It was formerly called Chrono. A complaint from another foundry with a similarly named font led to the name change. The only one I can think of is Cronos (Robert Slimbach, Adobe).
  • Coordinates (2018). A monospaced almost typewriter typeface.
  • Elderkin (2005). Eric Olson; A few of my typefaces were made for very specific projects (Process Grotesque + Elderkin) and really have no contribution to make beyond that. Sure they look fine, but who cares? I'm not thrilled with them and plan on removing them this spring.
  • Entovo (2006, rectangular).
  • FIG-Sans, FIG-Script, FIG-Serif (2002, as in needlepoint lettering, in imitation of the figlet ascii-to-letter program).
  • FindReplace (2004).
  • A free monospaced font, Indivisible (2002). This became a variable font in 2019.
  • Kettler (2002). A Courier-like font named after Courier's designer, Howard Kettler.
  • Klavika (2004, an extensive sans family). Followed in 2005 by Klavika Condensed, in 2008 by Klavika Basic and in 2012 by Klavika Display. Klavika poster by Mary Stratton and Michele Wong Kung Fong.
  • Lingua (2003, an octagonal typeface with about 200 ligatures).
  • Locator (2003), Locator Display: an information design sans family.
  • Maple (2005, a grotesque family that includes a beautiful Black).
  • Moniker (2017, Process Type Foundry). A large rounded sans typeface family.
  • Process Grotesque (or: Process Grot).
  • Scandia Line (2015). Drawn without curves, this four style+stencil variant is purely polygonal, for a special Neanderthal computer effect. Scandia (2015) on the other hand is a classic geometric sans.
  • Seravek (2007, a linear and simple sans created for information design).
  • Stratum 1 and 2 (2004, contemporary geometric typefaces genetically linked to Bank Gothic).
Before Process Type Foundry, Eric used to run Information Repair, where he did "typeface design and print design for clients within the cultural sector including the Walker Art Center, Minneapolis College of Art and Design (MCAD), Intermedia Arts and the Design Institute at the University of Minnesota" and made the fonts Novo Grotesk, Necrophones, Fibo001.

Fonts sold by MyFonts. Behance link.

View the Process Type Foundry typeface library. View Eric Olson's typefaces. [Google] [MyFonts] [More]  ⦿

Promphan Suksumek

Boom Promphan Suksumek is a type designer at Cadson Demak, a type foundry based in Bangkok, Thailand. She also currently teaches courses at local universities on typography and the fundamentals of type design. Suksumek studied type design while doing a master's in communication design at the Basel School of Design in Switzerland. She wrote a master's thesis on variable fonts (emotionaltype.org). Speaker at ATypI 2019 in Tokyo on the topic of The Evolution of Thai Loopless Script. She writes: Thai script is divided into the looped and the loopless. Loopless Thai is generally considered to be the modern form of Thai script. However, loopless Thai has its own history. This presentation examines the evolution of the Thai loopless form and attempts to map its development. Originating with the Thai Naris typeface in 1863, the Thai loopless form was initially constructed using a broad-nib pen. Later on, it was adopted and transformed by the locals. It initially appeared mainly in headlines; it was also used in books, newspapers, and local consumer products to make a bold statement. In the 1940s, it began to be embraced by local calligraphers and sign painters. The dry-transfer era saw even more experimentation with the loopless form---it showed up on the posters of the 1976 student-activist uprising in Thailand, for example. It is currently part of daily life there. Cultural influence has simplified the loopless form over time. Loopless Thai raises many questions about what we consider modern versus what we deem outdated. [Google] [More]  ⦿

Pyotr Bushuev
[Naum Type]

[MyFonts] [More]  ⦿

Rafal Jozef Buchner

Graduate of Warsaw Academy of Fine Arts. Type designer for Tygodnik Powszechny weekly magazine, History Meeting House and others. In 2016, as part of Warsaw Types, he designed the thick poster typeface Aprobal and writes: In the old Warsaw urban slang, Apropal means a small time crook. This font is inspired by the Czytelnik bookstore, the information signs from Warsaw's Zoo, and designs found in the Lettering Techniques book manual, by Jan Wojenski.

In 2018, he graduated from the TypeMedia program at KABK in Den Haag. His graduation typeface is called Gamer. He writes: Gamer is a typeface which originates from nostalgia for the games, films, and technology I grew up with. The main aim of the project is to make letterforms that work well both on low and high-resolution screens. To accomplish this, the core shapes of the typeface are drawn on top of pixelated letters. The wider-than-usual proportions are informed by the logos of technology companies. The squarish letterforms are inspired by fonts that commonly appear in sci-fi movies.

Contributor in 2019 to the variable programming font Recursive Sans+Mono, the brainchild of Stephen Nixon. 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. It will be added to Google Fonts at some point. [Google] [More]  ⦿

Rajesh Rajput
[Nav Raw]

[More]  ⦿

Rasmus Andersson

Swedish software expert who lives in San Francisco and who has worked for Dropbox, Facebook, Spotify, Lear Corporation and Spray. His own company is called Notion. His typefaces:

  • The Open Source screen typeface family Interface (2017), which builds on Christian Robertson's Roboto. It covers Latin, Greek and Cyrillic. It seems that this family was renamed Inter UI in 2019. Inter is now downloadable at Google Fonts. Github link, where one can find a variable font version.
  • Manix Sans (2019). A minor update of Inter UI.
  • Linik Sans (2019), a further update of Inter and Manix Sans.

Open Font Library link. Github link. Linkedin link. Aka rsms. [Google] [More]  ⦿

Rebecca Alaccari
[Canada Type]

[MyFonts] [More]  ⦿

Resistenza
[Giuseppe Salerno]

Giuseppe Salerno (aka Resistenza.es) is an Italian graphic designer, specializing in web design. He lived in Torino, Amsterdam, Madrid, and Valencia, and currently works in Berlin and Turin. Studio Resistenza was cofounded by Giuseppe Salerno and Paco Gonzales.

In 2010, he made the circular multiline face Afrobeat (+Light), the fat counterless typeface Vito Sans (2010), Wonderwall (2010, like a skeletal construction), the high-contrast art deco typeface Zaza (2010), and the pure Italian vintage art deco face Luxx (futurism).

Other work: an art deco poster.

Direct links to his fonts: Zaza, Afrobeat, Vito Sans, Luxx, Wonder Wall, Afrobeat Light.

Creations from 2011: Ratatan, Bodoni At Home (a handpainted Bodoni), Arcanotype (2011, delicate caps, individually drawn using Chinese ink on Japanese calligraphy paper), Babushka (2011), Dolce Caffe (2011), Adelaida (hand-printed poster face), Monella (octagonal).

Production in 2012: Ampersanders (a font with many ampersands), BLAQ (an ornamental blackletter caps typeface inspired by Henry W. Troy), The Bay (hand-printed all caps poster face), Bratislove (an artsy hand-drawn typeface), Modernissimo (decorative modern art-inspired caps), Clementina (hand-printed caps), Afrobeat Gothic (angular multiline face).

Typefaces from 2013: Glob (bubblegum face), Archivio (slab serif family with very open counters), Mina (connected script), Monster Hand (brush script), Berliner Fraktur (a flat brush fraktur inspired by Rudolf Koch), The Luxx (a redesign of the 2010 art deco sans typeface Luxx---a comparable typeface is Mostra Nuova by Mark Simonson), Starburst (calligraphic gestural light script), Caramello Script, Copperlove (copperplate script), Yma Italic (retro script), Sonica Brush.

Typefaces from 2014: Stencil Creek, Elastica (hand-crafted typeface family), Elastica (hand-drawn poster family), Nautica (copperplate script, extended in 2018 to Nautica Sottile and the monoline version Nautica Line), Ingles (copperplate script), Peperoncino Sans (a decorative sans serif font system designed with a marker), Attica RSZ (inspired by Caslon Italian and Novarese's Estro), Montana (poster family, +Icona), Superb (a yummy creamy script, co-designed with Paco Gonzalez), Dolce Caffe 3D, Coming Home (a hairline curly script based on a childish handwriting), Rachele (a monoline connected script with a large x-height), The Crashed Fonts (a glaz krak family), Newland (inspired by Rudolf Koch's Neuland), Two Fingers (a funky hand-drawn family that includes, e.g., Two Fingers Bodoni, Two Fingers Courier, Two Fingers Poster [blackboard bold] and Two Fingers Script).

Typefaces from 2015: Modern Love (brush script), Mela (a gorgeous pointed brush / walnut ink typeface), Turquoise (a calligraphic serif type influenced by capitalis romana; not to be confused with Ahmet Altun's Turquoise typeface from 2011; co-designed with Paco Gonzalez, it was extended in 2019 in Turquoise Inline), Mina Chic (a wide connected calligraphic fashion mag script), Natura (connected fountain pen script, with accompanying Notebook, Icons and Stamps (initial caps) styles), Stencil Creek (inspired by Akzidenz Grotesk and influenced by street signs of the North West Pacific), Quaderno (monoline upright signage script).

Typefaces from 2016: Xmas Wishes, Gianduja (2016, a chocolate box script typeface family co-designed with Andrea Tardivo and Paco Gonzalez). Apero (a hand-crafted emulation of sans and slab styles; the sans serif was inspired by vintage local liquor labels), Respect (a brush script sign painting typeface), Mentha (a calligraphic connected script typeface).

Typefaces from 2017: Peperoncino Vintage, Shabby Chic (wide signature script), Merendina (rounded sans family), Adore You (dry brush script), Quaderno Slanted (monolinear connected script), Love Wins (a collection of signage type phrases), Beach Please (watercolor brush), Timberline (dry brush script), Orbita (stencil shadow), Modern Love Slanted (brush style), Gessetto (a chalk lettering family).

Typefaces from 2018: Pesto Fresco (a wonderful 28-font layerable font family for use in hand-lettered posters), Instamood (a casual script), Auster (an unconventional flared and reverse contrast sans; followed in 2019 by Auster Rounded by Paco Gonzalez and Giuseppe Salerno, and in 2020 by Auster Variable), Smoothy (brush script), Voguing (a multiline typeface inspired by the movement and glamour of the 80¿s and New York ballrooms scene), Beach Please Vintage, La Bodeguita (calligraphic), Contigo (with Paco Gonzalez; see also Contigo Vintage ), Story Tales (folklore style, with many choices of textures and possibility of layering), DreamTeam (multilined).

Typefaces from 2019 co-designed by Paco Gonzalez and Giuseppe Salerno: the brush typefaces Pando Script and Parkour, the Tuscan family Royale, the chalk font Dolce Caffe Chalk, the brush script Batticuore, the bry brush script typeface Blue Jeans, the layered hand-crafted sans typeface Dolcissimo, and the font duo Sunday Morning.

Typefaces from 2019 by Giuseppe Salerno: SmoothyPro (with Paco Gonzalez), Auster Slab (a reverse stress slab).

Typefaces from 2020: Norman (a fashion mag typeface by Paco Gonzlaez and Giuseppe Salerno), Royale Italic (Tuscan; with Paco Gonzalez), Groupie (a psychedelic delight), Hello Fresh (with Paco Gonzalez), Nostalgia and Nostalgia Flowers (with Paco Gonzalez), Tresor (a romantic flared sans; with Paco Gonzalez), Pesto Fresco Italic (with Paco Gonzalez).

His type blog is called It's Not My Type. Behance link. Creative Market link. Klingspor link. Creattica link. [Google] [MyFonts] [More]  ⦿

Richard Rutter on variable fonts

Richard Rutter explains how to use variable fonts in web pages. [Google] [More]  ⦿

Ringo R. Seeber

Founder of Glyph Co in Brooklyn, NY, and Arlington, VA. Designer of the free slightly flared text typeface family Petrona (2019), which has a variable style. [Google] [More]  ⦿

Roland Hüse
[Runes & Fonts (or: My Handwritings)]

[MyFonts] [More]  ⦿

Ross Hammond

Lincoln and/or London, UK-based graphic designer who studied first at the University of London and then at the University of Lincoln. Creator of the sans typeface family June (2014), which was inspired by Adrian Frutiger's style. Five years later, we re-discover June (2019) at Schriftlabor (by Lisa Schultz and Ross Hammond). It has evolved into a 16-style low contrast sans family with humongous counters and a small x-height. Two variable fonts are offered as well. [Google] [MyFonts] [More]  ⦿

Rui Nogueira

Braga, Portugal-based multidisciplinary graphic and web designer, who set up his own type foundry in 2020. In 2020, he released the squarish variable width font Monbloc. [Google] [MyFonts] [More]  ⦿

Runes & Fonts (or: My Handwritings)
[Roland Hüse]

Kazincbarcika, Hungary-based type designer Roland Hüse (b. 1980) sells his fonts through My Handwritings (Kazincbarcika, Hungary), which was renamed Runes&Fonts. His first font is Zuider Postduif (2012, an informal type family). Florida Shark (2012) is a free Death Metal or tattoo version of one of his commercial fonts. Tamiami (2012) is a headline typeface. Granny's Handwriting (2012), Script Demolition (2012), Sharon Lipschutz's Handwriting (2012), Isa Por Es Homou (2012) and Kinga's Handwriting (2012) are hand-printed typefaces. Napping Cat (2012) and Cubic Sub (2012) are angularly designed, while Mgla (2012) is round and plump. Greek Stone (2012) is a squarish Greek simulation face. On The Road (2012) is a textured typeface. Whirly Wood (2012), Hargita (2012, inspired by ancient Hungarian runes), Dreamcatcher (2012) and Bee Ridge Vantage (2012: see also Bee Ridge) are grunge typefaces. Individigital (2012, +Black, +Thin) is a techno set of typefaces.

Typefaces from 2013: November Sky (art deco sans), Windy Wood, Cool Weekdays, Yellow Peas Light (clean thin monoline sans; free), Back To The Future 4, Yellow Peas Demo (hairline sans), Yellow Peas Bold, Pagan Winter (bilined), Beer Money (brush face), Poor Weekdays (+Serif), Hun Legion (inspired by ancient Hungarian runes), Freehand Roman, Esthajnal (inspired by ancient Hungarian runes), Buffalo Chicken (a connected script), Telihold.

Typefaces from 2014: Sunny Winter (thin script), Sunny Merry Christmas (dingbats), Fox in the snow (connected hand), Dersu Uzala Brush (Asian brush), Good Karma (connected script), Stitch Warrior, Chickpeas, Jaspers Handwriting, Margarita in August, Wheatland, Slim Extreme (a gorgeous geometric hairline sans), Sparkler (a clean geometric sans), Factory Worker, Brushido (Japanese simulation font), Mojito in June, Mesa Grande, Altering The Future, Black Olives (thin calligraphic script), Hangyaboly (comic book font), Fecske (Peignotian sans), Windy Rain, Rainy Wind (calligraphic script), Comic Roman, Wizard of the Moon, Urban Stone (grunge version of Urban Tour), Urban Tour (avant garde sans), Wacky Sushi (hiragana emulation), Constrocktion (multilined typeface).

Typefaces from 2015: She Always Walk Alone (hand-crafted), Transatlantic Cruise (an outline script), Csemege (upright connected script), Milano Traffic (sketched typeface), Undergrunge Tornado (a great brush font, +Cyrillic, +Hiragana, +Katakana), Dirt Road, Kikelet, Kikelet Brush, Have A Great Day (rough brush script), Sorsod Borsod, City Birds (script), Loonaria, Texas Grunge (brush script), Solaria (minimalist techno), Biloxi Script, Chicken Fried Steak, Texas Grunge (brush face), Sharky Spot, Autumn Chant (connected script).

Typefaces from 2016: Tribal Case (decorative caps), Shopping Script, Biloxi Calligraphy, Tribal Case (tattoo font), Ting Tang, Alaska Script, Take It Easy (fat finger font), Mi Amor (wide monoline handwriting), Spring Script, Fox in the Snow (connected school script), Kazincbarcika Script (a gorgeous calligraphic script).

Typefaces from 2017: Interconnected, Bar Hoppers, Ciao Baby (retro signage script), De Rotterdam, Abigail Script.

Typefaces from 2018: Christmas Wish Calligraphy, Christmas Wish Monoline, Chicago Moonshine (art deco), Poker in October (a layered color typeface), Personalitype (connected monoline script), Yellow Peas (sans), The Laughing Wolf (script), Italian Breakfast, Saturday Champagne, Teach (by Moataz Ahmed), Long Night (signature script), Relapse (rough brush script), Just Be (brush script), Air in Space (stencil), Beach Script, Interconnected, Beaumaris (slab serif).

Typefaces from 2019: Christmas Wish (calligraphic script), Brachetto (a formal calligraphic typeface developed together with lettering artist Leah Chong), Mulled Wine Season, Colder Weather (spurred), Unlocking Your Dreams (brush script), Gold Under The Mud (a fine scratchy brush script), The Mumbai Sticker (script).

Typefaces from 2020: Alone Together Script (a swashy tattoo script), Shopping Script (a signature font), Shape Variable (a variable script font), Jam Session (blackboard bold), Un Jour Merveilleux (a script), Stars + Love.

Fontspace link. Dafont link. Creative Market link, Old URL. Home page. Another Fontspace link. Creative Fabrica link. [Google] [MyFonts] [More]  ⦿

Ryoko Nishizuka

Senior designer at Adobe Systems in Tokyo, b. 1972, Fukushima, who graduated from Musashino Art University in 1995, and began working as a graphic designer at a design studio. In 1997, Ryoko joined Adobe. She was involved in the development of the Kozuka Mincho and Kozuka Gothic typefaces designed by Masahiko Kozuka.

Kazuraki is an Opentype kanji font developed in 2009-2010 by Adobe for script applications. The Kazuraki design is inspired by the calligraphy of 12th century artist and writer Fujiwara-no-Teika, who is considered one of the greatest poets in Japan's history. It features vertical ligatures. Designed by Ryoko Nishizuka (Tokyo), it was produced by Masataka Hattori (Adobe Systems, Tokyo) and Ken Lunde (Adobe, San Jose, CA) under the management of Taro Yamamoto (Tokyo) and David Lemon (San Jose, CA). Kazuraki won an award at the TDC2 2010 type competition.

In 2002, Ryoko Nishizuka won the Morisawa Award for type design for Teika, a precursor of the 2009 Adobe font. Morisawa commented at the time: Turning superb calligraphy into a typeface requires surmounting many obstacles, not least of which is getting characters of differing size to line up correctly. The designer here controls the direction of the brush strokes in order to give the typeface a stability in horizontal typesetting, and in that coherence one can find the traces of her struggle. The ligature in vertical typesetting has also been given full attention, and the result is a generally excellent work. Specimen.

Ryoko Nishizuka, who designed the Ryo typeface families in Gothic, Text and Display styles. Adobe writes this about her: Ryoko Nishizuka graduated from Musashino Art University in 1995, and began working at Morisawa&Company, a leading type foundry and manufacturer of digital typesetting systems in Japan. Next, she decided to work as graphic designer at a design studio. But her main interest was always in typeface design. In 1997, Ryoko joined Adobe. She has been involved in the development of the Kozuka Mincho and Gothic typefaces designed by Masahiko Kozuka. In 1999, Ryoko received an honorable mention for her typeface "Branch Letter" at the Morisawa Awards International Typeface Design Competition. In 2002, her calligraphic typeface "Teika" won the Silver Prize at the same Morisawa competition, which was later expanded and refined to become Kazuraki, which is being heralded as the first fully- proportional OpenType Japanese font.

In 2003, Ryoko created the Ryo Text and Ryo Display "kana" typeface families. The Ryo Text and Display families are composed of nine sub-set Japanese "kana" OpenType fonts for eight different weights. The brightness emitted from the Ryo typeface is based on her original interpretation of traditional styles of "kana" calligraphy and type design. Kazuraki then consumed much of Ryoko's design effort, and was subsequently released in 2009.

She designed and created ideographs (kanjis) for the Source Han Sans fonts released in 2014 by Adobe and Google for Japanese, Chinese and Korean. She led the design of the glyphs for ideographs, Japanese kana, and other Japanese characters in Source Han Serif (2017).

Designer of Ten Mincho (2017), a Japanese typeface design from Adobe Originals. Ten Mincho also features a full set of Latin glyphs, collectively known as Ten Oldstyle and designed by Robert Slimbach. Prominent in Ten Mincho are the dynamic characteristics of hand-written characters, as well as a stroke formation style that is typically seen in the Kawaraban printed newspapers from the mid to late Edo period (1603–1863) in Japan.

Designer of White On Black VF (2019), a variable font with just one kanji glyph demonstrating an issue related to the non-zero winding rule used for rendering fonts. The issue is especially problematic when negative glyphs are reversed out of a positive background shape. The weight axis shows how the technique for avoiding the problem with static fonts by removing overlaps is not a good solution for variable fonts because the topology of overlapping shapes may change across variations. The antisymmetric font, Black On White VF, is made with the same shapes but with an additional circular path, showing how the issue is not present with positive-on-negative glyphs. The fonts were produced by Ken Lunde using a glyph designed by Ryoko Nishizuka.

Behance link. Typekit interview.

Speaker at ATypI 2014 in Barcelona and at ATypI 2019 in Tokyo. [Google] [More]  ⦿

Saja TypeWorks
[Aaron Bell]

Aaron earned a Bachelor's degree in Asian Studies, with a minor in Japanese, at Whitman College in Walla Walla, WA. Aaron is a graduate of the University of Reading in 2011, where he earned an MA in typeface design. His graduation typeface was Saja (2011), which covered Latin and Korean. In the Fall of 2011, he joined the Microsoft Typography team.

In 2015, at Microsoft, he designed the free sans typeface Selawik, which is metrically compatible with the infamous Segoe UI. Selawik now also exists as a variable font.

In 2016, het up his own type foundry in Seattle, Saja TypeWorks. At Saja TypeWorks, he published the sans-serif typeface Salish, which is inspired by the art of the Salishan tribes in the Northwest Americas: It draws heavily on the concept of the ovoid, a wide ovular shape that is flat on the bottom and top heavy, that is central to the art style known as Formline. Language support includes some 200 Latin-based languages as well as the necessary orthographies for all Salishan languages, including: Comox, Sliammon, Klahoose, Pentlach, Sechelt, Squamish, Halkomelem, Nooksack, Straights Salish (Saanich), Lushootseed, S'Klallam, Quinault, Upper Chehalis, Lower Chehalis, Cowlitz, Bella Coola, Ditidaht, Tseshaht, Nuu-chah-nulth, Ehattesaht-Nuchatlaht, Kwak'wala, Shuswap, Lillooet, Thompson River Salish, Coeur d'Alene, Columbia-Moses, Colville, Okanagan, and Montana Salish. Haida (a non-Salishan language) is also supported.

At FontStruct, he designed Syzygy.

In 2017, he published HWT Aetna at P22. Aetna is a sturdy roman wood type first see in William H. Page's 1870 specimens.

Aaron Bell digitized the free logo font Air America in 2018. He writes: This font was produced for William G. Sherman who recreated this alphabet from samples of the logo and other sources from the airline company Air America.

In 2018, he published the free DIN-based sans typeface Bahnschrift for Microsoft at Open Type Library. The font posted at Open Font Library is flawed (look at the capital A), so I wonder if that post was done by an impostor.

Typefaces from 2019: Industrial Spill (with Dave Savage), Tipsy Waitress (beatnik, cartoonish; with Dave Savage), Super Chill MC (with Dave Savage).

For Microsoft's Windows 10, he designed the open source monospaced font Cascadia Code. The plan is to add support for Greek, Cyrillic, Vietnamese, Arabic and Hebrew during 2020.

Speaker at ATypI 2012 in Hong Kong: Seeking the Korean true italic. Speaker at ATypI 2013 in Amsterdam: Directionality in Korean type design. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

Samuel Oakes
[Studio Oakes]

[More]  ⦿

Sarah Riedlinger

During her studies at Kent State University, Sarah Riedlinger (Columbus, OH) designed Bobbins (2018), a variable neo-grotesque typeface that was inspied by embroidery. [Google] [More]  ⦿

Scribble Tone
[Lizy Gershenzon]

Scribble Tone (Portland, OR) was founded by Lizy Gershenzon and Travis Kochel. Their typefaces at Scribble Tone and Future Fonts:

  • Skyward Sans (a free Hylian alphabet featured in Zelda's Skyward Sword).
  • Kicker (2012-2018). A layerable neon light font.
  • Iso (2018: a monospaced almost typewriter font). They write: It was inspired by old cameras, specifically Leicas and Nikons, which have really warm, slightly goofy, and tactile engraved text all over.
  • The experimental prismatic variable font Whoa (2019).
  • Wildberry (based on US National Wilderness signage and trailhead signposts).
[Google] [More]  ⦿

Seniors Studio

The Seniors Studio in Banda Aceh, Indonesia, created Migha (2020: a free variable font), Stigsa Display (2020: a 35-style 1194-glyphs-per-style high-contrast transitional typeface family with serifs that will cause severe bleeding), Arthura (2018: a sans with subtle reverse stress), Elisabetta Script (2018: exquisite calligraphy), Nickainley (2018), Shepia (2018), Carolinea (2018), Keneisha (2017: calligraphic script), Brunella (2017), Be Bright (2016), Hello Sweets (2016), Black And White Font Duo (2016), The Sweetest Thing (2016, brush script), Molly Script (2016, calligraphic and connected), Belastoria Script (2016), Auther (2015), Sweetness Script (2015), Blingtastic (2015), Daniela Script (2015), Shania Script (2015), Brenda Script (2015, calligraphic swashy wedding script), Delabasto (2015, hand-crafted unconnected script), Adelicia (2015, connected script), Florabella (2015, curly script), Carolinea (2015), Roselina Script (2015), Kathya Script (2015), Cresilda Script (2015), Isabella Script (2014), Andalusia Script (2014), Shintia Script (2014, for signage), Aaron Script (2014), Shepia Script (2014), Everglow Script (2014, retro signage script), the caps only compressed sans titling typeface Grounday (2014), the free signage script typeface Blenda Script (2014) and the free connected script typeface Nickainley.

The only thing we know about the designer is his birth year, 1986. [Google] [MyFonts] [More]  ⦿

Sergio Martins

At University of Aveiro in Portugal, Sergio Martins designed the display typeface Tirana (2017). In 2018, he graduated from the University of Reading's MATD program. His graduation typeface, Argota, is a (variable) typeface family designed for complex multi-script environments. It is divided into two styles, a narrow serif with tall x-height for use in texts and lexicons, and a very contrasting italic. It covers latin and Arabic. [Google] [More]  ⦿

Simon Cozens: How OpenType Works: OpenType Font Variations

Simon Cozens explains variable fonts. [Google] [More]  ⦿

Simon Matejka

Graduate of the UMPRUM Academy in Prague. In 2017, he designed the variable width font baseliner, which was publically released in 2019 by Briefcase Type as BC Baseliner. [Google] [More]  ⦿

So Type

Stockholm-based type foundry closely related to design studio Söderhavet. Their typefaces:

  • Agate. By Baptiste Guesnon. It was originally designed to be used as a display font for Strates, an architecture magazine edited by Baptiste Gerbelot Barillon who took part in the early days of the project.
  • Elroy. By Oscar Bauer. Leroy is based on a technical drawing found in a 60s model car magazine. The type was drawn with a lettering set, a system used around that time to letter maps and other precision drawings. It was presumably similar to Keuffel & Esser's Leroy set, hence the name.
  • So Ray (2017-2018). By the Söderhavet design team: Stefan Hattenbach, Tobias Eriksson, Jesper Robinell, Oscar Bauer. This grotesque family includes a variable type.
  • So Sargo (2017-2018). By Stefan Hattenbach and Jesper Robinell. They write: A typeface inspired by the eastern german typefaces. A quite brutal sans serif---a flirt with the late 1950s and 1960s and the sans serif typefaces that went very popular due to the release of Helvetica, Neue Haas Grotesk, Univers, Norma and others. So Sargo have a feel of being slightly condensed compared to Helvetica. It's a bit less geometric and carry some organic flavour in the details. Other sources of inspiration comes from the typeface Maxima (designed by Gert Wunderlich in 1963 an distributed by Typoart, Dresden). So Sargo shows good readability and can therefor be used for both text- and headline purposes.
  • So Wrasse (2017-2018). By Stefan Hattenbach and Jesper Robinell. A playful modern geometric sans.
[Google] [More]  ⦿

Solenn Bordeau

During her studies at Ecole Estienne in Paris, Solenn Bordeau designed the display typeface Jules Verne (2019).

At Zetafonts, she helped with the designa and production of Eastman (2020, by Francesco Canovaro and Andrea Tartarelli). eastman is a 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).

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. [Google] [More]  ⦿

Spartan

A famous geometric sans style started at ATF in 1936, now know as Linotype's answer to Futura. Mac McGrew writes: Spartan as produced by Linotype and ATF is equivalent to Futura (q.v.). Although it is claimed to have been derived from several similar European typefaces, the differences between it and Futura are so slight that for most practical purposes they are almost interchangeable. Linotype announced Sanserif 52 and Italic early in 1939; later in the same year these typefaces were offered as Spartan Black, along with light, medium, and heavy weights, all with italics. In 1941 ATF cut some of these typefaces; by arrangement with Mergenthaler the small sizes were cut to match. Over the following dozen years or more, additional weights and widths were drawn by Bud Renshaw and Gerry Powell for ATF, and by Linotype staff designers. Renshaw's Spartan Medium Condensed, drawn in 1953, is wider than the corresponding typefaces in other families. In 1955 Linotype announced Spartan Bold, "the latest member of the Spartan family; slightly larger on the body than Spartan Heavy and more compactly fitted." Spartan Extra Black is heavier than the comparable typefaces from other sources. ATF made supplementary Advertising Figures, Decimal Figures, and Fractions for several weights of Spartan. Spartan Circuit and Spartan Circuit Heavy are 1964 adaptations of the design by Linotype for Teletypesetter use, requiring modification of character widths. Compare Erbar Bold. Also see Classified Display, Tempo Alternate, Twentieth Century.

Digital descendants abound:

  • League Spartan (2014). Only in one weight, Bold, this is free and well executed. It was extended to seven weights in 2017 by Matt Bailey as Spartan MB. In 2020, League Spartan Variable was released, thanks to Micah Rich and Tyler Finck.
  • Spartan Book Classified and Spartan Heavy Classified by Linotype. The original date of the metal version is 1951. Linotype admits to the origin of this face: This typeface is Mergenthaler Linotype's unlicensed version of Futura, copied weight by weight from Bauer. It was produced in 1939 when Metro failed to gain a significant share of the market, and was later adopted by ATF. The small sizes of Book and Heavy cut for classified are original.
  • Adobe's Spartan Classified pair of typefaces mimicks the Linotype set. If in doubt, use Futura instead of Spartan for applications.
[Google] [More]  ⦿

Sportsfonts
[Christoph Koeberlin]

German type foundry, est. 2016 by Christoph Koeberlin, whose passion for FC Kaiserslautern in the Bundesliga led to the creation of Sportsfonts. Koeberlin previously designed retail typefaces such as Fabrikat and FF Mark (the latter with Hannes von Döhren and the FontFont Type Department).

His first typeface at Sportsfonts is the 24,000-glyph 49-font athletic lettering superfamily, Winner (2016), and its follow-up font, Winner Sans (2019, designed with Sven Fuchs).

In 2016, he created the free variable font typeface Gingham. [Google] [MyFonts] [More]  ⦿

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

[More]  ⦿

Studio Feixen

Swiss type design studio based in Luzern. In 2019, they published the superfamilies Studio Feixen Sans and Serif, which include variable fonts, a hipster style, Sans Edgy, and a typewriter style, Sans Writer. [Google] [More]  ⦿

Studio Oakes
[Samuel Oakes]

Cheltenham, UK-based designer of the free geometric sans typeface Orkney (2016, with Alfredo Marco Pradil). Orkney progressed into the 12-style sans typeface family Oakes TF (2016) and the more corporate Oakes Grotesk (2017). It was further extended to Cello Sans, which is free at Open Font Library.

In 2017, he published the sans typefaces Metro Sans and Granary.

In 2019, he released Arbeit, a variable neo grotesque typeface family with twelve predefined styles. Behance link. You Work For Them link. [Google] [More]  ⦿

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

During her studies in Bandung, Indonesia, Bali-based Cahya Sogyan (b. 1994) created the free rounded sans typeface Synthesia (2014), the free sans typeface New Dawn (2015), and the free techno / futuristic typeface Cosmonaut (2015), with accompanying drop caps.

In 2016, she co-founded Spencer and Sons with Gilang Purnama Jaya. In 2017, she started Studio Sun in Denpasar, Bali.

In 2016, Cahyan published June of Fortune, the free hipster typeface family Soda Popp and writes: The new typeface called Soda Popp is inspired by pop-culture, vaporwave music, and seapunk that emerged in the early 2010s among Internet communities. It is characterized by a nostalgic fascination with retro cultural aesthetics, typically of the 1980s, 1990s, and early-mid 2000s.

Typefaces from 2017 at Spencer and Sons: S&S Nickson (a copperplate display font including eight font styles and seven dingbat fonts).

In 2018, she published the retro auto racing font Intensa, the extended sans typeface Matrice, and the free flared poster typeface Florent.

Typefaces from 2019: Alathena (a decorative Victorian and Arts & Crafts typeface family), Rustob Club (a variable font), Tropiline, Matahari Sans (a large family that includes Matahari Sans Mono).

Typefaces from 2020: Gliker (an extraordinary comic book font family), Radiate Sans (40 styles), Balgin (a large display family that celebrates the 1990s), Brice Pop (a sixties display style; with Syarif Hafidh). [Google] [MyFonts] [More]  ⦿

Suitcase Type Foundry
[Tomás Brousil]

Suitcase Type is a Czech foundry, est. 2003 by Tomas Brousil (b. 1975), who lives in Prague. He graduated from the Prague Academy of Arts, Architecture and Design (Type Design and Typography, MgA. 2009) where his graduation project was the 96-family Tabac typeface system, published in 2010. He teaches in the Type Design and Typography department of the Prague Academy of Arts, Architecture and Design.

The Tabac family started with Tabac Sans in 2010. It was augmented in 2012 with Tabac Slab and Tabac Mono, which have a full range of weights from Hairline to Black. Tabac Glam, a fashionable Peignotian high contrast sans, was added in 2016, and Tabac Micro in 2018. In 2019, he published Tabac Big Glam, Tabac Big Sans, Tabac Big Slab and Tabac Big.

Other typefaces from 2008-2010 include Monopol (a six-weight condensed sans that includes a hairline weight), Idealista (2010, organic, a mix of styles), Nudista (2009, a multistyle take on DIN with a superb fashion mag hairline, Nudista Thin), Kulturista (2009, a part slab part serif extension of Nudista), Comenia Sans (2008, a 12-style complementary family to Storm's Comenia Serif for school textbooks), Metalista (2008, unicase octagonal metallic face).

2007 was a successful year. Brousil created Bistro Script (2007, fifties diner style script), Corpulent (2007), and Gloriola (2007, a sans in 14 styles, including a hairline. The last typeface family won an award at TDC2 2008 and at Typographica's Best of 2007. Stephen Coles likes its position between the cool sterility of de Groot's monolinears and the warmth of Latin designers: With a broad range of weights, a complete Western character set, and a sack of ligatures and alternates, Gloriola has the depth required for complex identity systems and publication design. This shrewd response to the fashions of today is going to be useful for many years to come.). The year 2007 also saw Purista (a 10-style cousin of Eurostile), which includes hairline weights. Ellen Lupton says this about Purista: I've been feeling hungry for a stylish, edgy sans who enjoys evenings out on the town and long mornings of crisp conversation. In other words, I've been craving a font who likes to party but who can also help out with the dishes.

Production in 2005-2006: Teimer's Antiqua (2006: a didone family based onn unpublished 1967 design by Pavel Teimer), Rokoko (2006, an octagonal custom typeface for the Rokoko Theatre in Prague), Sandwich (2006, a lively display caps set), Vafle (2006: based on an original concept by Marek Pistora from 1997, with minor adaptations and 11 new weights), Dederon Sans and Serif (2005, the sans version being inspired by TypoArt's Liberta; see also here for a comparison with Underware's Dolly), Dederon Serif.

Typefaces from 2004 or earlier include Fishmonger (2004, a sans family), RePublic (a 2004 revival, done with Radek Sidun, of Public by Stanislav Marso, 1955. Note that Public was used to set the text of a Czechoslovak Communist party newspaper, Rudé Právo), Botanika (2005, a sans family including many typewriter styles and several mono weights), Atrament (2003, a narrowed grotesque inspired by the lettering used on the title of the almanac "Devetsil - Revolucni slovnik" (1922) edited by Karel Teige, in 30 styles!), Magion (2004, a simple geometric font), Fishmonger (2004, a broad 50-weight futuristic family), Katarine (2004, a warm sans family with appropriate dingbats added in), and Orgovan (2004-2005, a punk/brush family).

Typefaces from 2013 include the roundish sans family Ladislav: The Ladislav font revitalises Sutnar's legacy, while not explicitly copying any of his original fonts. It however keeps true to their technicist character and initial principles of character creation - a simple modular system of combined geometrical segments. This approach affects all round shapes of capital and lowercase letters, as well as the shapes of the majority of numbers. The g consists of two disjoint circles.

Typefaces from 2014: Urban Grotesk (a very airy, open grotesque typeface with large x-height and uniform grayness).

Typefaces from 2015: Pacifista (stencil).

Typefaces from 2016: BC Novatica (by Tomas Brousil and Marek Pistora, t Briefcase Type): Novatica was created based on a commission from the Czech commercial television station Nova in 2007. Marek Pistora worked with Tomas Brousil to create an alternative to a readable, simply designed sans. They naturally called the typeface Novatica. In 2014 TV Nova decided to abandon Novatica for good, and in so doing it released the exclusive licence it had been using. Novatica thus became a new typeface offered by Briefcase Type Foundry.

Typefaces from 2017: Jaroslav (monolinear sans, named after Jaroslav Benda), Pepi and Rudi (a sans and slab pair based on basic shapes such as circles, rectangles and triangles).

Typefaces from 2020: Atyp (+variable). A 25-style sans family remotely influenced by Bauhaus.

Brousil made many corporate or identity fonts. Examples include Brzda (a custom font for Czech artist Pavel Brazda), Budovatel (a custom font for the Bohemian National Hall in New York), and Union (custom webfonts for the Czech graphic design union).

MyFonts page. Behance link. Klingspor link. MyFonts interview.

View Tomas Brousil's typefaces. [Google] [MyFonts] [More]  ⦿

Syamsi Namela
[Nur Syamsi]

Magelang, Indonesia-based designer of the fat finger font families Childos Arabic and Childos (2020, by Nur Syamsi and Bustanul Arifin), the modular sans typeface Gumela (2019, by Nur Symasi and Panca Ahmadi Hasan), Tasmik (2020: for Arabic), Khayma (2020: for Arabic), Tufuli (2020), Tufuli Arabic (2020, by Nur Syamsi and Bustanul Arifin), Counte (2020, a slab serif typeface family by Nur Syamsi and Bustanul Arifin), the 20-style geometric sans family Madani (2020, by Nur Symasi and Panca Ahmadi Hasan), Madani Arabic (2020: a geometric sans / kufi in ten styles; includes a variable font), and Gumela Arabic (2020, by Nur Symasi and Panca Ahmadi Hasan). [Google] [MyFonts] [More]  ⦿

Tapatipo
[Gen Ramirez]

Designer and lettering artist in Guadalajara, Mexico (and/or Split, Croatia?), who created the Mexican diner signage script typeface Tejuino (2015) and the informal sans typefaces Taqueta, Rabar and Festa, all made in 2015. Astro Regular (or Astro MX) (2015) by Gen Ramirez, Manuel Lopez (with assistance of Rodrigo Heredia and Rodrigo Nuñez) won an award at Tipos Latinos 2016: Astro Mx was a result of Elí Castellano's Type Design Workshop, carried out at the Multimedia Center of CENART in Mexico City in 2015. Astro Mx is a typeface designed for the Mexican Space Agency (AEM). Its purpose lies in its application in the manuals of emergency procedures. In this sense, one of its main characteristics is to facilitate rapid reading in extraordinary conditions. It has a generous x-height, its ascenders and descenders are short to economize lines in the text boxes.

Rabar Ultra Black (2015) also won an award at Tipos Latinos 2016. Winner at Tipos Latinos 2018 of a type design award for Victus (2016), which is a Venetian typeface with all the warmth and calligraphic DNA from the renaissance era.

In 2018, he graduated from the TypeMedia program at KABK in Den Haag with a sans typeface called Entorno Sans. It includes a variable font intended for signage systems in urban and virtual spaces, and comes with a stencil style and many wayfinding icons. That same year, he published Elba.

Gen runs the type and graphic design studio Dual Type with Zrinka Buljubasic. [Google] [More]  ⦿

Tegami Type
[Muhammad Iqbal Firdaus]

Kota Bekasi and/or Jakarta, Indonesia-based desiger of TG Aqsa Grotesque Pro (2017-2018), the free display sans typeface Rasuk (2017), the sans typeface TG Hagia (2017), and the stencil typeface Cetta (2017).

In 2018, he published the low contrast geometric sans typeface family TG Neuramatica.

Typefaces from 2019: TG Praktikal (with a variable type option), TG Axima (a neo-humanist sans).

Typefaces from 2020: TG Haido Grotesk, TG Frekuent Mono. Behance link. [Google] [MyFonts] [More]  ⦿

Terrance Weinzierl

Grand Rapids, MI-based graphic designer. Terrance worked as a graphic designer for the university book store while earning a bachelor of fine arts degree with an emphasis in graphic design from Grand Valley State University in 2008. After graduation, he joined Ascender Corporation where he worked closely with Steve Matteson.

His typefaces include TW Geo Slab (2007), Dux (2007, ornamental Victorian type), Wingman (2006, handwriting) and Weinzierl Slab (2006, see also here). He joined Ascender and created there the stencil blackletter typeface Stenblak (2010), informal script typeface Rebus Script (2009, with Steve Matteson) and Romany (2009), a non-connecting script which was originally designed by A.R. Bosco and released by American Type Founders in 1934.

In 2012, he created Feldman Engraver and JMC Engraver.

Fonts from 2015: Kairos (Monotype: an octagonal typeface based on 19th century Grecian wood type). In 2015, Monotype set out to remaster, expand and revitalize Eric Gill's body of work, with more weights, more characters and more languages to meet a wide range of design requirements. As part of that project, Terrance Weinzierl designed Joanna Sans Nova (2015: sixteen fonts, loosely based on Gill's slab serif, Joanna, so technically, this is not a Gill revival, but a Gill extension. A well-balanced family with a medium-to-large x-height. But the italic g is disturbing).

Fonts from 2016: Terry Junior Basic (free), Kairos Sans (which accompanies his 2015 typeface Kairos; both cover Latin and Greek). The octagonal typeface Kairos Sans became Monotype's first variable font---it is free at GitHub. Also in 2016, he added some Greek, Cyrillic, weights and widths to Kobayashi's Eurostile Next, for a grand total of 50 styles in this popular Linotype font family.

Pizza Press (2013) won an award at TDC 2014.

In 2017, Jeong-Sook Lee, John Pompa, Terrance Weinzierl and the Monotype team won a Red Dot award for the 72-style typeface family 72 designed for SAP Fiori.

Fonts from 2018: Terry Junior (Monotype; a brush script perhaps with uses for children's books).

Typefaces from 2019: Monarda (Monotype), Terrance Weinzierl's take on the loud and splashy brush scripts of the 1950s.

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

Thiago Bellotti
[Gestu]

[MyFonts] [More]  ⦿

Thom Janssen
[Geen Bitter]

[More]  ⦿

Thomas A. Rickner

American type designer, born in Rochester in 1966, who has worked for various foundries including Monotype. He graduated from the Rochester Institute of Technology. He lives in Madison, WI, and is currently employed by Monotype, after a short period at Ascender. He co-designed a revival of W.A. Dwiggins' beautiful Eldorado family, Amanda (1996), Hamilton, the Western font Buffalo Gal (1992-1994, TTGX variations font done while he was at Apple). He worked at Monotype from 1994 onwards, where he hinted Carter's Georgia, Tahoma, Nina and Verdana fonts, for example, commissioned by Microsoft. While employed by Apple Computer, Tom oversaw the development of the first TrueType fonts to ship with Apples System 7. He worked on a freelance basis for Font Bureau for the last 12 years. He has worked on custom font solutions for companies such as Adobe Systems, Apple Computer, Hewlett-Packard, IBM, Lexmark, Lotus, Microsoft and Nokia. His custom fonts include a revival of Bodoni to serve Lexmark as their new corporate typeface. His experience with non-Latin scripts is broad, having designed fonts for the Greek, Cyrillic, Hebrew, Thai, Thaana and Cherokee scripts. Tom also played a key role in the development of fonts for Agfa Monotype's proprietary stroke font format. In his own words, However I did the bulk of the drawing for Siegel's Graphite, and I did about 1/2 of the Tekton MultipleMaster (with Jill Pichotta and Tobias Frere-Jones on the other half of the masters) while in Palo Alto. In 2004, he co-founded Ascender Corporation, where he published

  • Arial Mono (Ascender).
  • Buffalo Gals (1992 and 2016): Buffalo Gals is one of the very first variable fonts, originally made in 1992 for an Apple TrueType GX developer CD. It was intended to push the boundaries on the number of stylistic axes in a font, with 6 axes in total, none of them being weight or width. Based upon wood type of the late 1800s, Buffalo Gals enables control over features with names like Cookies, Fringe, Hooves, Concavity and Bracketing. It offers 144 distinct combinations of these attributes, and seemingly infinite intermediate interpolations as well. Free download here.
  • Circus Poster Shadow (2005): based an 1890s Tuscan style wood type.
  • Goudy Borders (2009) and Goudy Forum Pro (2009), a revival and expansion Frederic W. Goudy's "Forum Title" (1911, inspired by Roman inscriptions on the Trajan's column monument).
  • Hamilton (Ascender). A wood type face.
  • Rebekah Pro (2006): a revival of ATF's Piranesi family, the regular being designed by Willard Sniffin, and the remaining weights designed by Morris Fuller Benton. Tom Rickner first revived Benton's Italic for use in his wedding invitations for his marriage to Rebekah Zapf in 2006. He completed the character set in 2009.
Will-Harris interview. Agfa bio. Ascender Corporation bio. FontShop link. MyFonts link. Klingspor's PDF. [Google] [MyFonts] [More]  ⦿

Tobias Alexandersson
[Box Tube Labs]

[MyFonts] [More]  ⦿

Tom Rickner on Variable Fonts

Monotype's technical font guru, Tom Rickner, discusses the 25 year history behind the events which led to the OpenType 1.8 variations announcement. Follow-up article from December 2016. [Google] [More]  ⦿

Tomás Brousil
[Suitcase Type Foundry]

[MyFonts] [More]  ⦿

Tomo Fonts (was: We Are Tomo)
[Nicolas Massi]

Argentinian digital type foundry run by Nicolas Massi. Creator of the hand-crafted poster typefaces Tomo Claire (2015), Tomo Joseph (a slab serif), Tomo Ernest (a white on black dadaist ransom note font), and Tomo Zomba Pro (2015, described as retro horror).

Typefaces from 2018: Tomo Acuario.

Typefaces from 2019: Tomo Bossa (a cartoon font for Latin and Cyrillic), Tomo Haraka, Tomo Fango (a comic book font).

Typefaces from 2020: TOMO Dora Sans (tall, hand-crafted), Maryhoid (a casual all caps sans), Mindwalk (a casual hand-printed font), Unione (a geometric sans in 24 styles), Unione GX (a variable font version of Unione). [Google] [MyFonts] [More]  ⦿

Tony de Marco
[Just in Type (was: Tipomovel)]

[MyFonts] [More]  ⦿

Travis Kochel: I Can Variable Font

Travis Kochel explains variable fonts. [Google] [More]  ⦿

TT Interphases (was: TT Interfaces)

A major project in 2019 by the TypeType team in Saint Petersburg, Russia, meant to provide a sans typeface family that can be broadly used in modern media. There are four monospaced styles, and 20 other styles, with the goal of providing competition, in their own words, to Arial, Roboto, and San Francisco Text. While this bar is quite low, the Type Type team of nine members, listed below, did an extraordinary technical job in terms of hinting and opentype features. The initial brief:

It should have the best proportions in the category, as well as a wide palette of styles, characters and OpenType features. The typeface should fit well in the layout when replacing the old interface font with our new typeface. [...] For programmers, we decided to make a monospaced version of the typeface with four styles. This typeface should become a universal and convenient tool for designers who actively use interface fonts in their projects. [...] The typeface should be beautiful, elegant and at the same time invisible and neutral. From the technical point of view, this typeface should be perfect, have the most modern hinting, as well as a variable version for those who are well versed in the subject.

The team members:

  • Ivan Gladkikh (head of the project).
  • Irina Tatarskaya (manager).
  • Pavel Emelyanov (art director, author of the study and the basic font).
  • Marina Khodak (senior font designer, technical project manager).
  • Ksenia Karataeva (font designer, author of the monospace subfamily and the icon research).
  • Nadezhda Polomoshnova (font designer, author of the icons).
  • Victor Rubenko (technical engineer, programmer, hinting specialist).
  • Nadyr Rakhimov (font designer, technical engineer).
  • Yuri Nakonechny (technical engineer, debugger).
[Google] [More]  ⦿

Twitter: Variable Fonts

Twitter news on variable fonts. Edited by Nick Sherman. [Google] [More]  ⦿

TwoPoints.net
[Martin Lorenz]

Design bureau in Barcelona, Hamburg and Berlin, est. 2007, with fonts that are mainly due to German type designer Martin Lorenz. The list of typefaces:

  • TpFloral (2006) is a modular typeface inspired by Kombinationsschrift (1926, Josef Albers). It is based upon two basic elements, a quarter circle and a square.
  • TpStretch (2002).
  • TpKurier Sans and Serif (2006). A redesign of Courier. Followed by TpKurier-Contrast (2008), TpKurier-Filled (2009) and TpKurier-Calligraphic (2010). In 2013, Vette Letters published VLNL Tp Kurier (2013, a monospaced typewriter face; + Serif, + Callig Regular).
  • TpMartini (2008) is a didone family that was used for the identity of Bambi Mint. It was published in 2013 by Vette Letters as VLNL Tp Martini.
  • TpLlum (2008) is a typeface that was designed for the festival Montjuïc de Nit. It was published in 2012 by Vette Letters.
  • TpDuro (2010) is a blackletter typeface.
  • In 2017, TwoPoints was commissioned to design a typeface for ESPN The Magazine's NBA Preview issue.
  • At Vette Letters, he published VLNL TpDuro (2019: a blackletter inspired by an Albrecht Dürer design from 1525; with Juanra Pastor).
  • VLNL Tp Bar Paco (2014, inspired by the vernacular type found in traditional Spanish bars in Barcelona).
  • Tp Rawkost (2019), Tp Marte (2019), Tp Luna (2019).
  • In 2019, they were commissioned by ESPN to make a special display font, ESPN Next. In 2018, they designed the arc-and-circle typeface Gold Rush for an ESPN Magazine issue about the female athletes participating in the Winter Olympics in Pyeong Yang.

In 2019, TwoPoints published On The Road To Variable (Victionary). [Google] [MyFonts] [More]  ⦿

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

[MyFonts] [More]  ⦿

Type Trends
[Vika Usmanova]

Russian type designer who was part of the TypeType team in Saint Petersburg. As a student in the TypeType education program, she designed the modern text antiqua Guillaume (2016-2017). In 2019, she founded Type Trends.

In 2017, Vika Usmanova released the octagonal Latin / Cyrillic typeface TT Mussels which includes a stencil subfamily. She also was part of TT Travels in 2017, a wide dense modern grotesque.

In 2017, Vika Usmanova, Philipp Nurullin, and the TypeType Team designed the condensed modular geometric grotesk typeface TT Tunnels.

In 2018, I believe---but am not sure---that Nadezhda Polomoshnova, Phill Nurullin, Vika Usmanova, Nadyr Rakhimov and the TypeType Team co-designed TT Jenevers. In 2018, Sofia Yasenkova, Philipp Nurullin, and Vika Usmanova designed the modern serif TT Tricks at TypeType. TT Tricks has many stencil styles.

In 2018, Ivan Gladkikh, Alexander Kirillov, Philipp Nurullin, Vika Usmanova, Marina Khodak, and Nadyr Rakhimov published TT Severs. That same year, Vika Usmanova published the display sans ans script pair TT Nooks which took inspiration from the Empire State Building. Co-designer of TT Barrels (2018: a Scotch modern typeface by Inessa Mitrozor, Vika Usmanova, Marina Khodak, Nadezhda Polomoshnova and the TypeType Team).

In 2019, Vika Usmanova and the TypeType Team designed TT Trailers, a modern narrow humanist grotesque, that is accompanied by a variable font version. TT Trailers is based on the concept of preserving the amount of white: when changing from thin to bold.

In 2019, Vika published the free font Trappist, which started out as a custom type for a Belgian cafe in St. Petersburg. At TypeTrends, she released TT Alientz (Variable, serif, Grotesque) and TT Frantz, also in 2019. The latter ultra-condensed monospaced sans typeface has matching upper and lower case heights and comes as a variable type with a waistline axis.

Typefaces from 2020: TT Geekette (2020; with the TypeType Team), 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 TypeTypType. 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. [Google] [MyFonts] [More]  ⦿

Typearture Type Foundry
[Arthur Reinders Folmer]

Arthur Reinders Folmer (or Arthus) is from Haarlem, The Netherlands. Future Fonts link. He created the free ornamental all-caps typeface Magical Unicorn (2011), Elerium (2012, an upright italic), and the tringaulated Crystalline (2012). It has been a long wait, but finally someone had the courage to create a typeface with the name Obesitas: Obesitas Sans (2012), advertised as the mother of all fat typefaces. Pylon (2012) was inspired by electricity pylons.

In 2013, he designed Angellocks, a semi-blackletter typeface.

In 2016, he designed Utopia Initials and the ABC of Bad Events.

Typefaces from 2017: The Disclosure Dingbats, Fabel, Pegacorn Initials.

Typefaces from 2019: Schijn Variable (a gemstone-styled variable font, with layering and outlines).

Typefaces from 2020: Gimme (experimental color fonts including Constructo and Battleships). [Google] [MyFonts] [More]  ⦿

TypeDrawers: Variable Fonts

Discussion on Typedrawers of Variable Fonts. [Google] [More]  ⦿

Typejockeys
[Michael Hochleitner]

Typejockeys is a graphic and type design company based in Vienna, Austria, established in 2008 by Anna Fahrmaier, Thomas Gabriel and Michael Hochleitner. Stephan Kirsch and Franziska weitgruber joined the team later. They do posters, editorial and book design, web and screen design, corporate design and signage, and custom type and lettering. Michael Hochleitner obtained an MA in typeface design from the University of Reading in 2008.

His graduation typeface was Ingeborg, a readable didone text family created specifically for periodicals and books. I predict that Ingeborg will win many awards. [Note: Well, a year after my prediction, Ivo Grabowitsch declared it to be the best typeface of 2009, and TDC2 2010 awarded it as well]

Other typefaces include Drunk Type (2008) and Tender (2008).

Premiera (2009) is a type family made for small print.

Henriette (2012) is a beautiful slab serif revival family motivated and developed as follows: In the 1920s the Viennese government decided to standardize the street signs across the city. A typeface was especially constructed for the purpose. It was available in a Heavy and a Bold Condensed version, to support short street names as well as longer ones. As the years went by, the typeface was adopted and redrawn by several enamel factories. These adaptations lead to variations on the design, and to the fact that there isn't a Viennese street sign font but 16 different versions. Henriette is not a digitization of any of those versions; rather, it is influenced by all of them. The italic versions are completely original and designed to accompany the Roman.

Typefaces from 2014: Carabelle (roundish upright script based on Nebiolo's Calipso), Sauber Script (signage script), Freude (roundish script).

Typefaces by Typejockeys in 2015: Vito (60 style sans family by Thomas Gabriel described by them as follows: Masculine and sporty for adrenaline junkies, reliable and elegant for serious typographers, but with a touch of bling for high snobiety).

In 2018, Michael Hochleitner, Christoph Schütz, Simon Liesinger and Franziska Weitgruber co-designed Gretel Script at Typejockeys. This optically sized three-style typeface is based on the hand of calligrapher Natascha Safarik.

Typefaces from 2019: Antonia (a variable headline text typeface by Franziska Weitgriber and Michael Hochleitner at Typejockeys; a 64-style font family with optical sizing from headline H1, H2, and H3 to Text, with a variable font added to the mix), Post Sans (for Austrian Post).

MyFonts interview in 2014.

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

TypeKit Blog: Variable fonts, a new kind of font for flexible design

TypeKit (Adobe) reports on variable fonts. [Google] [More]  ⦿

Ultra Kühl
[Jan Weidemüller]

Designer in Berlin, Germany, who created these typefaces:

  • The octagonal / blackletter typeface Blak (2016-2017, The Designers Foundry).
  • The ornamental didone family typeface Koor (2017).
  • The fun reverse stress display typeface family Guzi Warp (2018, at Ultra Kühl). Has a variable font version.
  • The crisp typeface family Para Supreme (at Ultra Kühl and The Designers Foundry). Has a variable font version.
  • The sans typeface family Siaga (2019). Siaga was initially designed in 2015 as part of the Studio Weidemüler identity.
  • Gram (2019). This typeface family fuses the functionality of classic mid-twenties century German sans-serif typefaces with the precise qualities of Swiss typefaces.
[Google] [More]  ⦿

UMPRUM Academy 2017: Variable Fonts

Many variable fonts were designed by the students in the Type Design and Typography studio at the UMPRUM Academy in Prague during the Winter term of 2017. These include:

  • Jan Buble: Softhard.
  • Josefina Karlikova: Krabat.
  • Matej Vojtus: Kultivar.
  • Stefan Osciatka: Hares.
  • Simon Matejka: Baseliner, published in 2019 by Briefacse Type.
  • Premysl Zajicek: Reda.
  • Viktor Janousek: Retroduktor.
  • Jakub Hojgr: In the Pines.
  • David Rericha: Flextura.
  • Matyas Machat: Heroica.
  • Matyas Barto: Minim.
  • Zuzana Uhlova: Divotvor.
[Google] [More]  ⦿

Undercase Type
[Phaedra Charles]

Undercase Type is based in Brooklyn, NY. It is the independent type foundry of Phaedra Charles and Flavia Zimbardi, who met while attending the Type@Cooper Extended Program at the Cooper Union. Phaedra Charles is a Brooklyn-based typeface designer and lettering artist. From 2011-2014, she was Senior Designer at Louise Fili Ltd, and was a partner at Charles&Thorn, a boutique typographic and illustration studio. Flavia Zimbardi is a typeface designer and visual artist. Native from Rio de Janeiro, she is currently based in New York and has collaborated with foundries such as Frere-Jones, Commercial Type, and Adobe Fonts. Flavia was the first Brazilian woman to have a typeface awarded by the Type Directors Club in 2018.

In 2020, Phaedra Charles and Flavia Zimbardi co-designed the free decorative text typeface Fraunces at Undercase Type. Commissioned by Google Fonts, Fraunces is huge--it has over one hundred styles and covers four design axes: optical size (9pt to 144pt), weight, softness, and wonk. Fraunces is a display "Old Style" soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as Windsor, Souvenir, and the Cooper Series.

At Lost Type and Undercase Type, Phaedra Charles, Kelly Thorn, and Flavia Zimbardi published the chunky art nouveau typeface Regina Black (2020).

In 2018, Charles&Thorn published Phaedra Charles's back-slanted Mollydooker at Future Fonts. It was republished in 2020 at Undercase. [Google] [More]  ⦿

Vaibhav Singh

Graduate of the University of Reading in 2011. His typeface project there led to the development of Eczar, a type family for Latin and Devanagari (2011). It has a stencil weight. He explains: Eczar was designed with an intent to bring liveliness and vigour to academic books (of a literary and philosophical bent). With a focus on multi-script typography, the design intends to provide a wide-ranging type-family, for texts that deal with translation, transliteration and transcription between Latin and Devanagari. Eczar is a work in progress and more weights, a more expanded character set and features are presently under development. Eczar was published in 2015 at Google Web Fonts by Rosetta Type Foundry. Github link, where Irene Vlachou added Greek support for Eczar in 2017.

In 2014, he codeveloped Skolar Sanskrit and Skolar Devanagari with David Brezina at Rosetta Type.

Myriad Devanagari, designed by Vaibhav Singh, won an award at Granshan 2016.

In 2017, Adobe Type released Myriad Devanagari and Myriad Bengali. Designed by Vaibhav Singh and Neelakash Kshetrimayum, respectively, these typefaces translate the design of Adobe's popular Myriad family (by Carol Twombly and Robert Slimbach) to the most-used writing systems of India. Earlier, in 2012, Vaibhav Singh and Paul D. Hunt published Adobe Gurmukhi.

Typefaces from 2020: Marble (with Alessia Mazzarella, at URW: Marble is part of Asterisk Type Collection by URW Type Foundry. Marble is a modern sans serif with a distinct character and comes in 108 styles plus variable fonts).

At ATypI 2011 in Reykjavik, he spoke on Devanagari letterforms in multi-script typography through the twentieth century. [Google] [MyFonts] [More]  ⦿

Variable Fonts: Adobe Typekit Blog

Tim Brown (Head of Typography for Adobe Typekit & Adobe Type) takes us in September 2016 on a tour of the new proposal for Variable Fonts. This new format in which one font file represents multiple fonts, is jointly developed by Apple, Google, Microsoft, and Adobe. He argues that at this point in time, we need (1) fonts, (2) rendering engines for the fonts, (3) browsers to support the rendering engines, (4) tools for designing the fonts. [Google] [More]  ⦿

Variable Fonts: Genesis

The text below is quoted from "Introducing OpenType Variable Fonts" by John Hudson. Version 1.8 of the OpenType font format specification introduces an extensive new technology, affecting almost every area of the format. An OpenType variable font is one in which the equivalent of multiple individual fonts can be compactly packaged within a single font file. This is done by defining variations within the font, which constitute a single- or multi-axis design space within which many font instances can be interpolated. A variable font is a single font file that behaves like multiple fonts.

There are numerous benefits to this technology. A variable font is a single binary with greatly-reduced comparable file size and, hence, smaller disc footprint and webfont bandwidth. This means more efficient packaging of embedded fonts, and faster delivery and loading of webfonts. The potential for dynamic selection of custom instances within the variations design space---or design-variations space, to use its technical name---opens exciting prospects for fine tuning the typographic palette, and for new kinds of responsive typography that can adapt to best present dynamic content to a reader's device, screen orientation, or even reading distance.

The technology behind variable fonts is officially called OpenType Font Variations. It has been jointly developed by Microsoft, Google, Apple, and Adobe, in an unprecedented collaborative effort also involving technical experts from font foundries and font tool developers. In addition to specifying the font format additions and revisions, the working group has also committed to the goal of interoperable implementation, defining expected behaviours and test suites for software displaying variable fonts. This should be welcome news to font developers and users, who have often struggled with incompatible implementations of earlier aspects of OpenType that were left to the interpretation of individual software companies. [Google] [More]  ⦿

Variable Fonts: John Hudson's introduction

John Hudson introduces OpenType Variable Fonts on Septemer 14, 2016. [Google] [More]  ⦿

Variable Fonts: Video announcements

A Youtube video of the announcement of Variable Fonts at ATypI 2016 in warsaw. [Google] [More]  ⦿

variableFont.js

Handles variable fonts through OpenType.js [Google] [More]  ⦿

Vasjen Katro
[Baugasm]

[More]  ⦿

Very Cool Studio
[Kyle Wayne Benson]

Kyle Wayne Benson (b. 1988, Texas) describes himself as an affable graphic and type designer. He has his own commercial foundry, also called Kyle Wayne Benson, which specializes in signage type. It is located in Orem, UT. Some time later, he moved to Oakland, CA and set up Very Cool Studio. Future Fonts link.

Creator in 2013 of Benson Script (with three contrast levels, from didone to monoline), the octagonal angular typefaces Millie and Truth, and of Clayton, Red Benny, Tide's In, Tide Sans (the surf-inspired humanist with a humorous selection of weight names ranging from Lil Bunny, to Dudette, Bunny, Mondo, Kahuna and Dude), Tide Sans Condensed, and Farmer's Co-Op (a vernacular sans with wood type influences).

Typefaces from 2014: Jeames (a high-contrast decorative typeface with vintage serifs), Maritime Champion, Maritime Champion Stencil, Good News Sans (a set of 18 display sans typefaces, mostly for titling or short pieces), Kansas Casual (a sign painting font), Maritime Champion (inline typeface), National Champion (octagonal athletic lettering family).

Typefaces from 2015: Qualtrics.

Typefaces from 2018: Gooper (a take on Cooper Black; at Future Fonts).

Typefaces from 2019: Bruphy (a variable font modeled after hand-painted brush lettering and released at Future Fonts). [Google] [MyFonts] [More]  ⦿

v-fonts
[Nick Sherman]

A list of variable fonts, maintained and regularly updated by Nick Sherman. [Google] [More]  ⦿

Vibrant Types (was: Calligrafiction)
[Philip Lammert]

Callligrafiction was a German type foundry that was founded in 2014 by Philip Lammert, who is based in Hamburg. Lammert studied communication design in Düsseldorf, Germany, and Guatemala City. In 2017, he embarked on a Masters program at the HAW Hamburg under the supervision of Jovica Veljovic. Philip's typeface Peter (2014) is a neo-grotesque sans. Very basic, it shows humanist touches in the heavier weights.

In 2018, he published DIN Neue Roman, a serif experiment based on DIN 1451. DIN Neue Roman is part of his 2015 Masters Thesis at HAW Hamburg.

In 2020, he changed the name of his foundry to Vibrant Types. In that same year, Lammert released the dynamic chiseled typeface family Slandic. Slandic includes a variable font. [Google] [MyFonts] [More]  ⦿

Vika Usmanova
[Type Trends]

[MyFonts] [More]  ⦿

Viktor Pesotsky

During his studies in Saint Petersburg, Russia, Viktor Pesotsky designed the free modular typeface Eskos Display (2019), the free sans typeface Drab (2019), the free razor-sharp barbed wire font Gusset (2019: for Latin and Cyrillic), the free artsy Latin / Cyrillic variable opentype typeface Brozas (2019) and the free font Koysan (2019).

Typefaces from 2020: Engin (a futuristic font for Latin and Cyrillic), Dulya (an experimental and delightfully irrational font), Krays (a hairline display typeface), Eskos, Drab, Koysan, Fluse (a thin squarish display sans; + Cyrillic). [Google] [MyFonts] [More]  ⦿

Vitaliy Tsygankov
[Limo Studio]

[MyFonts] [More]  ⦿

Wahyu & Sani Co
[Wahyu S. Adi Wibowo]

Wahyu & Sani Co is the duo of Sani Sanjaya and Wahyu Wibowo in Magelang, Indonesia. 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: 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).

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

Wahyu S. Adi Wibowo
[Wahyu & Sani Co]

[MyFonts] [More]  ⦿

William Montrose

German / American type designer who graduated from the MATD program of the University of Reading in 2013. His graduation typeface family is called Natan (2013), named after the Russian mathematician Sergey Natanovich Bernstein.

Natan covers Latin and Hebrew in styles that range from regular to chunky. William adjusted both scripts back and forth in function of each other in a process he calls script juggling. He writes: Natan is a punch cutting fantasy turned into Bézier curves. A tribute to craftsmanship sans nostalgia. Chunky elegant curves deriving from a broad scuffed nib, worked into metal with gravers and files. Angular calligraphic strokes, cast in typographic solutions for modern day text setting.

In 2019, at Rosetta Type, together with Slava Jevcinova and David Brezina, he released the variable font Adapter (with three axes, for latin, Greek and Cyrillic). At Kilotype, he released Old School Grotesk (2019). [Google] [More]  ⦿

Wired: Tech Giants Team Up to Fix Typography's Biggest Problem

Wired magazine reports on variable fonts. [Google] [More]  ⦿

You Work For Them (or YWFT; formerly Cinahaus or TrueIsTrue)
[Michael Cina]

Michael Cina (Minneapolis) is the cofounder of WeWorkForThem and YouWorkForThem (in 2002), also known as YWFT. Before that, he ran TrueIsTrue, and before that was partner in Test Pilot Collective (which he left in 2001), and before that he ran Cinahaus. YWFT is located in Knoxville, TN and/or Baltimore, MD. The creative director is Michael Paul Young.

Cina's fonts include the pixel fonts YWFT Caliper (1998), YWFT Bit (1998), 6x7oct (1998) and BlackGold; the handwriting font Cinahand; Blessed (1999, techno), YWFT Cam (1998, a slab serif based on industrial lettering), CommunityService, Crossover (1998, dot matrix with stars instead of dots), Composite (1998, octagonal), Formation (1999, a big octagonal family), Jute (2004, a masculine, military, sans-serif), YWFT Maetl (1999, octagonal, angular family), YWFT Moteur (a technical, retro, machine-like design; it briefly went under the name Alloy---in the early 2000s it was heavily used in the video gaming magazine Playstation), YWFT Novum (2002: a heavy block font that draws inspiration from a typeface originally used by the Swiss graphic designer Siegfried Odermatt), Pakt, Reversion (1997, squarish), Selector, Selek (1998, pixelish), YWFT Blackgold (2000, pixelish), Service (2001-2002, an octagonal family), YWFT Signature (1998), Trisect (1999, three-lined family), Unisect (1999, organic monoline sans), YWFT Ultramagnetic (1996, a popular rounded gothic typeface family), Ultramagnetic2 (1999), YWFT Ultramagnetic Expanded (2011), YWFT Ultramagnetic Rough (1996-2017), Unfinished. Bastard (1998), Kcap6 (with Matt Desmond), Cheese (1998), Novum (2002), Overcross (2002, unfocused letters), Stem (1998), Testacon (with Kral and Desmond, 1999), Praun (2002, pixel typefaces), OneCross (2002, pixelish stitching family), Estenceler (2004, a great stencil family a bit related to Milton Glaser's Glaser Stencil), Graphium (2004, octagonal Western style family), Expos (2004, graffiti or poster face), YWFT Pixacao (2007, after the Brazilian graffiti style), Vox (2007, monoline sans), Militia Sans (2007, like a Russian constructivist stencil), Jupiter (roman), Militia (2007, heavier stencil), Merc (2007, grunge), Guild (2007), Clarendon Text (2007, a complete revival), Jezebel (2007, script), Ambassador Script (2007, a digital revival of Novarese's typeface by that name), Enam (2002, influenced by Crouwel), Enigmatic Hand (2007), Dusty (2007, a Tuscan-eared Western font), YWFT Poplock (2007, experimental), YWFT Pakt (2004, geometric sans), Sudsy (2007), Black Sabbath (2008, ultra black slab serif, by Stefan Kjartansson), YWFT Belle (2008), YWFT Agostina (2008), YWFT Bitwood (2007-2017, pixelish Western typeface), YWFT Mullino (2009, letterpress emulation), Trithart (2008, grunge by Emma Trithart), YWFT Tapscott (2008-2017, informal and nostalgic all caps family, in the style of Rennie Mackintosh), Habano (2008, script), Amorinda (signage script), Retron (2008, connected script), MD01 (medical-themed dingbats), Adelaide (script), Centennial Script (calligraphic), Alexia (calligraphic), Ultramagnetic (experimental), Nash (1997, grunge), Amber (kitchen tile), Fab (3d), 6x7 Oct (1998, pixels and dots), Wool (2009, stencil), YWFT Matter (2009, a wide bold grotesque), YWFT Merriam (2009, a Clarendon-styled slab serif), Agostina Alternate (2011, with Michael Paul Young and Taechit Jiropaskosol), Ramsey (2012), YWFT Dessau (2013, schizograms and capitals like Bauhaus on drugs), YWFT League (2014, inspired by college football jerseys), YWFT Yoke (poster typeface done with Pintassilgo), YWFT Illuminati (2015, abstract capitals).

Blog. His lovely g poster (2010).

House fonts at YWFT by unknown designers: YWFT Knit (2010: knitting patterns), YWFT Motif (2015), Ramsey Condensed (2015), YWFT Roamer (2016), YWFT Whisky (alchemic), YWFT Psychosis, YWFT Processing (2001-2010: YWFT Processing was developed in 2001 for Casey Reas, the co-creator of the Processing programming language. We created this display face to be sharp, tall, unique and interesting...much like Mr. Reas himself. The font was derived from an original logo that already existed, and we continued the idea into a fully working six-weight font family. YWFT Processing was converted to Opentype format in 2010), YWFT Filbert (2012), YWFT Nim (2012, combining the hipster style with overlays for bevel and shadow effects), Dogma (2012, alchemic), Attic (spooky poster face, in EPS format), YWFT Yoke (textured all-caps), Riblah (2003, dot matrix), YWFT Fraktur (tattoo face), YWFT Burls (2013, fat poster typeface), YWFT Coltrane (2011, handdrawn poster typeface), YWFT Symplify (2013: haute couture snowflakes), YWFT Smoothie, YWFT Chance (2016), YWFT Skipper (2016), YWFT Wheatgrass (2016), YWFT Estee (2002-2017), YWFT Watermelon (2017), YWFT Ink (2017, originally designed in 2008), YWFT QUE, YWFT Burtonian (2017, named after Tim Burton), YWFT Crew (hand-crafted), YWFT Maudlin (2017), YWFT Liana (2017; perhaps plumbing dingbats, who knows?), YWFT Victoria (2010: a bonbonnerie type), YWFT Valley (2017: a Memphis movement type), YWFT Wellsworth (2017), YWFT Harmony (2008-2017, a curly calligraphic script), YWFT Edger (2017), YWFT Chateau, YWFT Gummy (2002-2018), YWFT Blender (2018), YWFT Fluctuant (2018: a variable font).

View Michael Cina's typefaces. Alternate URL. Behance link. Interview. [Google] [MyFonts] [More]  ⦿

Yulia Gonina

Graphic and type designer in Saint Petersburg, Russia, who started studying at UNIC in Moscow in 2015. In 2018, she published a book, Jacques-François Rosart Revival that documents not only Rosart's life but also some of her revivals of Rosart's typefaces. Hers are called Rosart Text and Display and include italics.

In 2020, Antonina Zhulkova, Yulia Gonina and Kseniya Karataeva co-designed the octagonal typeface family TT Octosquares at TypeType. TT Octosquares comes with a 3-axis variable type option.

Co-designer of TT Norms Std Condensed (2020: an 18-font family by Pavel Emelyanov, Yulia Gonina and the TypeType Team). [Google] [MyFonts] [More]  ⦿

Yuwsuke Kieda

Developer and maintainer of Variable LM (2017), a package for scaling the Latin Modern fonts. [Google] [More]  ⦿

Zetafonts (or: Studio Kmzero, or: ZeroFont)
[Francesco Mistico Canovaro]

Italian design firm in Firenze consisting of three graphic designers, Francesco Canovaro, Debora Manetti, and Cosimo Lorenzo Pancini. It has evolved into Italy's premier and most prolific type foundry. Canovaro's Behance link. Also called ZeroFont and Zetafonts, this type foundry exhales joy---in every design and presentation, the passion of the designers bubbles to the surface. Blending a delicious sense of humour and a great aesthetic taste, Zetafonts is a typographic delight. Their typefaces:

  • Adlibitum (2018). A textura blackletter typeface family.
  • 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.
  • Aliens and Cows (2016). An ultra-condensed all aps sans family by Canovaro.
  • Arturo (2018), by Francesco Canovaro.
  • Atlantica (2017). A signage script family.
  • Lightstrike (2016). A thin (and free) brush font by Canovaro.
  • Byom (2016). A tweetware organic sans typeface family by Francesco Canovaro.
  • Adlery (2016, +Cyrillic). A brush script by Cosimo Lorenzo Pancini.
  • Adlibitum (2016). A blackletter typeface by Cosimo Lorenzo Pancini and Francesco Canovaro.
  • Morbodoni (2016). A display didone by Cosimo Lorenzo Pancini and Francesco Canovaro.
  • Altair (2016). A display sans by by Francesco Canovaro based on Digitalino.
  • Aquawax (2015). A sans family by Canovaro and the Zetafonts team. Extended in 2019 to Aquawax Pro by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli.
  • Armonioso (2014). A creamy connected signage script.
  • A Day Without Sun (2014, by Cosimo Lorenzo Pancini).
  • Another Shabby (2014, a primitive script by Francesco Canovaro).
  • Antipasto (2007, by Matteo Di Iorio). A clean elegant sans by Canovaro.
  • Arista (2007) and Arista 2.0 (2010). A simple rounded bold sans typeface designed by Francesco Canovaro and Adolfo Monti. In 2017, Francesco Canovaro updated these to Arista Pro.
  • Arsenale White and Arsenale Blue (2009). Children's hands, done by Cosimo Lorenzo Pancini, Francesco Canovaro, Andrea Mi, Debora Manetti, Katiuscia Mari, and Jonathan Calugi.
  • 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. Some weights are free.
  • Bimbo >(2018). A child emulation handwriting font developed as an extension and redesign of the original Arsenale White typeface created with italian illustrator Jonathan Calugi.
  • Bistecca (2005). A bellissima extra-condensed serif font created for ego[n] 5 and for the cover of ego[n] 4.
  • Braciola (2006). Monospaced and octagonal, with stencil styles added.
  • Brushstrike (2015). By Canovaro.
  • Byron (2006). Handwriting.
  • In 2010, Canovaro designed the plumpish bubblegum typefaces Bubblebody Fat and Bubbleboddy Extra Light. These fonts were discontinued in 2016 and replaced by Bubbleboddy Neue.
  • Bulletto (2015). A retro baseball script.
  • Cibreo. A basic sans typeface by Canovaro and Monti.
  • Cinematografica (2017). An ultra condensed small caps movie typeface used in the advertising campaign for Lucca Comics 2017 Festival. This film noir family features eight weights from thin to heavy with open type alternate glyphs and some full word ligatures.
  • The rounded geometric sans family Cocomat (2015, Zetafonts, by Cosimo Lorenzo Pancini, Debora 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.
  • Cocosignum (2017). Cocosignum Corsivo Italico and Cocosignum Maiuscoletto are both based on Italian art deco styles.
  • 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).
  • Delizioso (2008). Art deco.
  • Digitalino (2013).
  • Docporn (comic book style).
  • Duepuntozero Pro (2006-2008). A condensed rounded sans famly by Adolfo Monti and Francesco Canovaro. The Pro version was released in 2019.
  • Filetto (2009). A sans modeled after DIN 1451 done by Canovaro, Debora Manetti and Katiuscia Mari.
  • Florentia (2017). An 18-style lapidary typeface family influenced by the renaissance and luxury.
  • In 2018, Debora Manetti and Francesco Canovaro designed the brush handwriting font Freehand Brush.
  • Handvetica (2005). Arched.
  • Happy Frush Zero (2014). A random note font.
  • Happy Funghetto (2015). Fifties style lettering.
  • Heading Pro (2017). A condensed sans typeface by Francesco Canovaro. Followed in 2018 by Heading Pro Ultra Compressed, Heading Pro Extended, and Heading Pro Text.
  • Hello Script (2015). Curly and calligraphic.
  • Modulo3 (2008). An artsy beauty.
  • New Romantic (curly grunge).
  • Panforte (2013) and Panforte Serif (2013): hand-drawn typefaces. Panforte Pro followed in 2017.
  • Prozak. Consists of zProzak-Bold, zProzak and zProzakLight (2006). A basic sans typeface by Canovaro and Monti.
  • Sala de Fiestas (2005-2006). Free download at OFL.
  • Square80 (2009).
  • 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.
  • Sugo (2007). By Canovaro and Monti.
  • Taller (2009, ultra-condensed), Taller Evolution (2009), Tallest (2009, ultra-condensed).
  • Targa Monospace. Inspired by license plate lettering.
  • Targa (2002), TargaMS (2002), TargaMSHand (2002).
  • Tutor (2006). Rectangular, pixelish---what I call a piano key font.
  • Zerocalcare is a typeface family created for the branding of Lucca Comics & Games Festival 2016. It is based on the digitised handwriting of italian comic artist Zerocalcare, and it uses open type substitutions to mimick the flow of real handwriting. Free at Dafont.
  • Double Bass (2018): 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.
  • Another Shabby (2018) is a brush script typeface family designed by Francesco Canovaro for Zetafonts with Cyrillic letters designed by Alina Golovan.
  • Sugo Pro (2018, Francesco Canovaro, Andrea Tartarelli). It was designed in 2006 by Francesco Canovaro in two weights (regular and extralight) and later used by Cosimo Lorenzo Pancini as base inspiration for the design of the successful Zetafonts' Cocogoose Pro typeface. In 2018 the family was completely redesigned by Andrea Tartarelli, expanding the original glyph set to include Cyrillic and Greek and adding three extra weights and italics. The restored and revamped version is named Sugo Pro Classic.
  • 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, 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.
  • The extreme wedge serif and reverse stress typeface family Blackest (2018, Andrea Tartarelli and Francesco Canovaro).
  • In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic 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.
  • Kitsch (2019, Francesco Canovaro, Andrea Tartarelli and Maria Chiara Fantini) mixes angular medieval elements and old style 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), Francesco Canovaro designed Quarantype Chillout and Quarantype Sunshine.
  • Eastman (2020, by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau) is a 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).
  • Garbata (2020). A round typeface loosely based on Windsor and Cooper Black, having a variable type option that offers many weights. Between sans and serif.

Corporate typefaces were designed for Lucca Comics and Games, Digitalic Magazine, Kair, Unicoop, and Istituto Europeo di Design.

Behance link. Zetafonts home page. View the Zetafonts library. Abstract Fonts link. MyFonts link. [Google] [MyFonts] [More]  ⦿