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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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29 Letters
[Pascal Naji Zoghbi]

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

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

  • Massira. He has embarked on a project with Martin Majoor to design some Arabic fonts that fit Majoor's designs. He writes: Massira is my graduation typeface at Type&Media postgraduate course at The Royal Academy of Arts [KABK] in The Hague. Huda AbiFares contacted me while I was finalizing Massira and presented the opportunity to collaborate with the Dutch type designer Martin Majoor to design an Arabic typeface, which is part of the Typographic Matchmaking 01 project organized by Khatt Foundation. At first I was a bit worried due to the fact that it would be my first professional type design work and that the due date was too close. However, after taking a closer look at Martins type FFSeria and analyzing its characteristics, I noticed that the treatment of the stroke and the structure of the letters shared similarities with Massira. In both fonts the use of sharp broken curves and crispy feel is present. Consequently, I grew confident in project and decided to use Massira as a starting point for the new Arabic companion of FFSeria. Echo, which is Sada in Arabic, is the repetition of a sound caused by the reflection of sound waves from a surface. Accordingly, Sada is the echo of FFSeria. The modifications on Massira consisted of making Sada perform like FFSeria. It had to have the same point size, line space, color, contrast and feel as FFSeria. Concerning the details of Sada and the inclined angle of the vertical strokes, it was derived from the FFSeria Italic. So Sada has the same feel as the Roman but is inspired from the Italic. More on the Sada project. In 2009, Sada was renamed FF Seria and published by FontFont.
  • Another project of Zoghbi involves a type family being developed for newspaper headlines.
  • In 2007, he created a 3-style Phoenician type family called Fniqiya.
  • Alef Pixel Caps Type for Alef Magazine (2008). Done with Huda AbiFares. This is a Latin ornamental type family.
  • Al Rouiya Arabic Type for the Al Rouiah Newspaper in Kuwait, 2008.
  • Bukra display type for Ibn Battuta Mall in Dubai, 2008. This Futura-like typeface saw a variable part added in 2020. Adrien Midzic and Swiss Typefaces aided with the Latin.
  • A corporate font under the heading, Arabic for Univers (2008). Zoghbi: An Arabic corporate typeface for a global shipping and transport company. The Arabic is intended to work with the Latin type Univers. Unfortunately, I can't mention the name of the company nor the design firm I did this Arabic type work for. I was the Arabic type consultant/specialist and associate type designer alongside Leah Hoffmitz. The font will used in all Arabic publications, ads and packaging for the company.
  • Baseet (2009) is a hybrid Neo-Naskh / Modern Kufi geometric typeface. It is a mixture of straight vertical, horizontal and diagonal pen stokes incorporated in-between curved corners and edges. In 2020, Pascal Zoghbi (29LT) and Ben Wittner released the monospaced Arabic / Latin typefaces 29 LT Baseet Variable and 28 LT Zawi Variable.
  • At FontStruct, he made Arapix (2009).
  • UAE Embassy Corporate Type (2010). This is a commissioned Latin typeface based on the same concept as of an Arabic font. Each of the 26 Latin letters has Caps, Initial, Medial and Final shape enabling the letters to connect as in the Arabic script. The drawing of the letters was all done using the Arabic calligraphic bamboo stick and based on the Naskh Calligraphic Style. Opentype help from Erik van Blokland.
  • The Mathaf Corporate Arabic-Latin Font (2011). Mathaf Arab Museum of Modern Art opened its doors to contemporary Arab art lovers in December 2010 in Doha, Qatar.
  • Nada Debs (2010): a contemporary geometric Kufi type commissionewd by Nada Debs.
  • For Ascender, he did Droid Arabic Naskh (see OFL), Droid Persian Naskh, and Droid Arabic Kufi (2010, OFL).
  • 29LT Azer, done with Ian Party and Wael Morcos: Azer in Arabic means friendly, ready to assist and lend a hand. This multilingual typeface combines simple lines with careful detailing to create a serious but approachable look. The Arabic is a Naskh / Kufi hybrid and retains a balance between calligraphic angular cuts and unadorned construction. The Latin is a humanist sans-serif with crisp cuts based on the broad nip pen calligraphic structure and contemporary outlines. The fonts include Arabic, Farsi, Urdu and Latin variants. Azer won an award at TDC 2014.
  • Pascal Zoghbi revived the 1950s font system by Nasri Khattar called Unified Arabic as UA Neo B and UA Neo B.
  • LT Makina. An old typewriter font.
  • LT Kaff.
  • LT Zarid (+Sans, +Stencil, +Slab, +Serif). Pascal Zoghbi designed all Arabic components. 29LT Zarid Display won an award at 23TDC in 2020. The whole family has variable styles since 2020. Jan Fromm designed the Latin for Slab, Sans and Stencil. Regarding the Latin parts: Zarid Serif Display and Text Upright were designed by Ramiro Espinoza; Serif Upright was designed by Ramiro Espinoza and Khajag Apelian; Serif Slanted and Text Slanted were designed by Jan Fromm. The Cyrillic and Greek extensions were designed by Krista Radoeva and released in July 2020. Finally, 20 LT Zarid Sans features a variable style with a single (weight) axis.
  • LT Zeyn. A great high-contrast fashion mag style typeface.
  • Other custom types include Expo 2020 Dubai, Swatch, Noor, MIA, Noto Naskh, Shawati, Hamsa, Fdx, Emirates Headlines, AlWatan Headlines.
Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. Klingspor link. [Google] [More]  ⦿

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

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

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

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

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

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

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

60 Kilos (or: Sesenta Kilos)

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

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

Aaron Bell
[Saja TypeWorks]

[MyFonts] [More]  ⦿

Abe Zeinali
[Xuveki]

[MyFonts] [More]  ⦿

Abyss Type Company
[Mirko Velimirovic]

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

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

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

Achaz Reuss

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

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

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

  • In 2022, FontFont released FF DIN Stencil (by Albert-Jan Pool, Achaz Reuss and Antonia Cornelius) and its variable sidekick, FF DIN Stencil Variable.

    FontShop link. Klingspor link. Linotype link.

    Catalog of his typefaces. [Google] [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]  ⦿

    Adam Gorzsony

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

    Adam Greasley
    [Wearecolt]

    [MyFonts] [More]  ⦿

    Adam Jagosz

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

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

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

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

    Adaptype
    [Beatriz Diogo]

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

    Adobe Variable Font Prototype

    [More]  ⦿

    Adrian Frutiger

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

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

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

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

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

    [More]  ⦿

    Adriana Perez Conesa

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

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

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

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

    Adtypo
    [Andrej Dienes]

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

    • Akceler (2012). Advertised as a type system for sports. The text that accompanies this large typeface family: Elasticity of glyphs reflected adrenalinous shapes of latest bikeframes, skies or sportcars. Maximum open arches guaranteed good readability in very small sizes and prevented interchanges of glyphs "o, c, e" per poor reading conditions. Softness of minuscules is at capitals balanced in bottom arches, that are subtly kicked-up. Numerals are important component of sport communication, so here have expressive design, different from numerals of book typefaces. Every font have 10 kinds of numerals. Character case contains between 1000 glaphs sport icons and othes signs creating sport feeling.
    • Densit (2012). An ultra-black display family that includes a Sans and a Serif. It was designed for Reco, Senica.
    • Fazeta (2015). An angular traditional Czech typeface family in which each font has an impressive 1140 glyphs, and the family is divided into Display, Text and Caption subfamilies. He calls it a text typeface without sentiment. It was followed a bit later in 2015 by the companion font Fazeta Sans.
    • Resonay (2021, at Typemates), an award winner at 25 TDC in 2022. Resonay is a layerable display typeface family that combines elegant details from stone carving with the flow of calligraphy, a sharp attitude with exuberant Bézier curves.
    • Cosan (2021). A variable sans-serif typeface with a broad range of weights and adjustable contrast.
    [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: Auvelle (a hairline sans), Windsore (a font trio), Howli (layerable, rounded; sans, serif and script), Genty (a creamy retro signage script typeface by Ilham Herry and Adam Fathoni Haris), Burnest (a vintage typeface by Adam Fathoni Haris and Renov Olivian), Glaw (a psychedelic font by Ilham Herry and Adam Fathoni Haris), Oliviar Sans (28 styles and a variable font), Budge (a layerable retro signage script by Ilham Herry and Adam Fathoni Haris), Stanlow, Muray House (a bold swashy bathroom towel typeface by Ilham Herry and Adam Fathoni Haris), Esteric (a playful tapered font by Ilham Herry and Adam Fathony).

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

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

    Agyei Archer

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

    Aim Type
    [Saurabh Sharma]

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

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

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

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

    Aimur Takk

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

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

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

    Akira Kobayashi

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

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

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

    View Akiro Kobayashi's typefaces.

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

    Akira Kobayashi
    [Neue Frutiger]

    [More]  ⦿

    Alejandro Freitez

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

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

    Alejandro Paul

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

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

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

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

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

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

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

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

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

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

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

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

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

    Speaker at ATypI 2009 in Mexico City.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Alessio Laiso

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

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

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

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

    Alex Tomlinson
    [Ursa Minor]

    [More]  ⦿

    Alexander Lubovenko

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

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

    Alexander Nedelev
    [Typedepot]

    [MyFonts] [More]  ⦿

    Alexander Slobzheninov

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

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

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

    Alexey Popovtsev
    [Aronetiv]

    [MyFonts] [More]  ⦿

    Alexis Boscariol

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

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

    Alfredo Marco Pradil
    [Hanken Studio]

    [MyFonts] [More]  ⦿

    Alja Herlah

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

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

    Ally Owun

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

    Alvaro Franca
    [Naipe Foundry]

    [MyFonts] [More]  ⦿

    Amélie Dumont
    [Polymorph]

    [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Andrea Tartarelli

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

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

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

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

    Andree Nguyen
    [Nguyen Type]

    [More]  ⦿

    Andrei Robu
    [Typeverything]

    [MyFonts] [More]  ⦿

    Andrej Dienes
    [Adtypo]

    [MyFonts] [More]  ⦿

    Andres Ramirez
    [Vastago Studio]

    [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Andrew Footit
    [Arkitype (was: Virtue Creative)]

    [MyFonts] [More]  ⦿

    Andriy Dykun
    [NREY]

    [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Andy Clymer

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

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

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

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

    Github link. [Google] [More]  ⦿

    Anicons

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

    Anita Jürgeleit
    [Type This Studio]

    [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]  ⦿

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

    [MyFonts] [More]  ⦿

    Antonia Cornelius

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

    Her typefaces:

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

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

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

    Antonin Bonnet

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

    Antonina Zhulkova

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

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

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

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

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

    Anupap Jaichumnan
    [Jipatype]

    [MyFonts] [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.
    • Compose. An 18-style minimalist sans with elliptical curves and quite open counters.
    • Storica (2021). A 9-style all caps vintage serif.

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

    Aronetiv
    [Alexey Popovtsev]

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

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

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

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

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

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

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

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

    Fontsquirrel link. [Google] [More]  ⦿

    Art Grootfontein

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

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

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

    Arthur Reinders Folmer
    [Typearture Type Foundry]

    [MyFonts] [More]  ⦿

    ATypI: OpenType 1.8 announcement

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

    Aulia Rahman
    [ShowUp Type Foundry]

    [MyFonts] [More]  ⦿

    Axis Praxis

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

    Ayca Atalay

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

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

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

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

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

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

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

    Azza Alameddine

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

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

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

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

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

    Balazs Szemmelroth

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

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

    Balibilly Design
    [I Wayan Bill Natih]

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

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

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

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

    Barbara Bigosinska

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

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

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

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

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

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

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

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

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

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

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

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

    Baron von Fonthausen
    [Jacques Le Bailly]

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

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

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

    Designer of the pixel font Mekka.

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

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

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

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

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

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

    Baugasm
    [Vasjen Katro]

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

    Beatrice Caciotti

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

    Beatrice D'Agostino

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

    Beatriz Diogo
    [Adaptype]

    [More]  ⦿

    Beatriz Lozano

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

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

    Belarius

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

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

    Ben Hoepner

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

    Ben Wittner

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

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

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

    BenBenWorld (or: BB Bureau)
    [Benoît Bodhuin]

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

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

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

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

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

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

    Typefaces from 2017: Brutal, Elastik.

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

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

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

    Benjamin Blaess

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

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

    Benoît Bodhuin
    [BenBenWorld (or: BB Bureau)]

    [MyFonts] [More]  ⦿

    Bernd Volmer

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

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

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

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

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

    Future Fonts link. [Google] [More]  ⦿

    Black Foundry
    [Jérémie Hornus]

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

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

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

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

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

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

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

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

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

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

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

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

    Bonnie Shaver-Troup
    [The Lexend Project]

    [More]  ⦿

    Boris Korablev

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

    Borutta (or: Duce Type)
    [Mateusz Machalski]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Borys Kosmynka

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

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

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

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

    Box Tube Labs
    [Tobias Alexandersson]

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

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

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

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

    Briefcase Type

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

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

    Bruno Maag
    [Dalton Maag]

    [MyFonts] [More]  ⦿

    BuffaloGals

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

    Bumbum Type

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

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

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

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

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

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

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

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

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

    Typefaces from 2018: BD Westwork.

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

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

    Alternate URL. Dafont link. Behance link.

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

    Bustami Harun
    [Genesis Lab]

    [MyFonts] [More]  ⦿

    Bustanul Arifin

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

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

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

    [MyFonts] [More]  ⦿

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

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

    In 2015, he published the connected script typeface Yasemin.

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

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

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

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

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

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

    Typefaces from 2022: European Sans Pro Variable.

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

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

    [MyFonts] [More]  ⦿

    Canada Type
    [Rebecca Alaccari]

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

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

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

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

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

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

    Catalog of its typefaces.

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

    Cannibal Fonts
    [Panos Haratzopoulos]

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

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

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

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

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

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

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

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

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

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

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

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

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

    Carlos Campos
    [Cuchi qué tipo]

    [MyFonts] [More]  ⦿

    Caroline Herr

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

    Caron Twice
    [Martin Cincar]

    Martin Cincar (Prague, Czechia) designed these typefaces:

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

    Céline Odermatt

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

    Christian Gruber

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

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

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

    Christian Jansky
    [Kometa]

    [More]  ⦿

    Christoph Koeberlin
    [Sportsfonts]

    [MyFonts] [More]  ⦿

    Cinketype
    [Tibor Szikora]

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

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

    Future Fonts link. [Google] [More]  ⦿

    C.J. Dunn
    [CJ Type]

    [More]  ⦿

    CJ Type
    [C.J. Dunn]

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

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

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

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

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

    Cláudio Rocha

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

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

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

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

    Clothilde Bouan

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

    Coji Morishita
    [M+ Fonts]

    [More]  ⦿

    Corey Hu

    Machine learning engineer who studied at UC Berkeley.

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

    Cosimo Lorenzo Pancini

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    CoType Foundry

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

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

    Craceltype
    [Joao Cracel]

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

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

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

    Craig Eliason
    [Teeline Fonts]

    [MyFonts] [More]  ⦿

    Creative Media Lab
    [Kadek Adi Mahardika]

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

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

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

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

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

    Cristi Bordeianu

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

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

    Cristóbal Henestrosa
    [Estudio CH]

    [MyFonts] [More]  ⦿

    CSS Tricks

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

    Cuchi qué tipo
    [Carlos Campos]

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

    • Berganza (2021). A text typeface that tries to revive the humanist and renaissance types in use during Spain's siglo de oro (Golden Age) from roughly 1492 until 1681.
    • Guau (2020). A 20-style angular wedge serif text typeface and a variable font with three axes (italic, weight and width).
    • Chavea (2020). A school script typeface.
    • Perra and Despeñaperra (2019). Borrowing from the fat face genre.
    • Gajorra (2019). Glyphs shaped like the gajorros dessert from Cabra.
    • Escuela (2021). A 30-style grotesk.
    [Google] [MyFonts] [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. In 2020, it became a 3-axis (weight, width, italic) variable font.
    • Aller Typo.
    • Almaq.
    • Blenny (2014). A fat face didone by Spike Spondike.
    • Bligh (2015). A three-weight sans family.
    • Co (2007): a rounded monoline minimalist sans co-designed by Bruno Maag and Ron Carpenter.
    • Cordale: a text family.
    • Dedica (2007): a didone face.
    • Effra and Effra Italic (2007-2009): sans family by Jonas Schudel and Fabio Luiz Haag. Followed in 2013 by Effra Corp.
    • Elevon (2012). By Bruno Maag and Marconi Lima.
    • Fargo (2004): a humanist sans in 6 weights.
    • Foco. A sans family.
    • Grueber (2008): a slab serif.
    • InterFace (2007): an extensive sans family; one weight is free (2001). See also InterFace Corporate (2007).
    • Kings Caslon (2007). By Marc Weymann and Ron Carpenter.
    • Lexia (1999, Ron Carpenter and Dalton Maag): a slab serif family (Dalton Maag mentions the date as 2007). In 2019, Dalton Maag added Lexia Mono.
    • Magpie (2008). A serifed family by Vincent Connare for Dalton Maag.
    • Objektiv.
    • Oscine (2014, by Bruno Maag, Ron Carpenter, Fernando Caro and Rafael Saraiva). A rounded organic sans typeface.
    • Pan (1996). A text family at 1500 US dollars per style.
    • Plume (2004): a display typeface inspired by calligraphy, co-designed with Ron Carpenter.
    • Prometo. An organic stressed sans.
    • Royalty (1999, +Royalty Obese, 2007): a stunning art deco display family.
    • Scope One (2015). A free Google Font. It has a single light weight, whose slab serifs make it useful for headlines.
    • Setimo (2015). By Fernando Caro. A distinguished sans.
    • Soleto (2014, a simple sans by Bruno Mello, Fabio Haag, Fernando Caro, Rafael Saraiva and Ron Carpenter). Soleto won an award at Tipos Latinos 2014.
    • Southampton.
    • Sparkasse Serif (2003-2005). A custom typeface.
    • Stroudley (2007): a sturdy large counter condensed sans by Bruno Maag, Ron Carpenter and Veronika Burian.
    • Tephra (2008): a collaboration with Hamish Muir. This is an experimental multi-layered LED-inspired family.
    • Tondo (2007, at Dalton Maag): a rounded information design sans family designed by Veronika Burian for Dalton Maag.
    • Tornac (2013). A casual script.
    • Ubuntu (2010): this is a team effort---a set of four styles of a free font called Ubuntu. This font supports the Indian rupee symbol. Some work for the Ubuntu Font Family was done by Rodrigo Rivas Costa in 2010. Download via Fontspace.
    • Verveine (2009). A casual script by Luce Averous.
    • Viato. A simple sans family co-designed by Bruno Maag and Ron Carpenter in 2007. This tapered terminal sans family includes Viato Corp (2007) and Viato Hebrew (2013).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Daniel Jones
    [Type Union]

    [MyFonts] [More]  ⦿

    Daniel Perraudin

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

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

    Bergamo (2012) is a comprehensive angular book typeface.

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

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

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

    [More]  ⦿

    Daniel Stuhlpfarrer

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

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

    Danijel Poldrugac
    [Milatype]

    [MyFonts] [More]  ⦿

    Daria Zorkina

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

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

    Darkmode

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

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

    Additional references include

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

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

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

    David Brezina

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

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

    His typefaces include

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

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

    David Jonathan Ross
    [DJR Type]

    [MyFonts] [More]  ⦿

    David Suid

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

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

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

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

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

    Typefaces from 2022:

  • Neue Magnus (an 11-style neo-grotesk at Without Foundry). [Google] [MyFonts] [More]  ⦿

  • 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]  ⦿

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

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

    • Beleren (2015). A custom typeface for the trading card game Magic: The Gathering (Hasbro).
    • Blasphemy Initials: a free (and also commercial...) spooky font.
    • Blot Test (1999): a dingbat font inspired by the work of noted German psychologist Hermann Rorschach [1885-1922].
    • Cody (1999): an informal comic book face.
    • Continuo (1996): an all caps bilined outline face.
    • Cortina (2011). A futuristic family by Joachim Müller-Lancé.
    • Delve Hand (1996-2003).
    • Eucalyptus Regular.
    • Eulipia (1997-2003): organic.
    • Helfa (2011). Delve writes: Readability is baked in with a generous x-height, fine proportions that have a medium height to width ratio, and reasonable contrast in stroke weight variation.
    • Filmotype Washington (for Font Diner). Designer unidentified.
    • Muskeg. A combination of German expressionism and brush styles.
    • Oktal Mono (2012, a rounded octagonal modular typeface by Joachim Müller-Lancé and Erik Adigard of MAD studio in Sausalito).
    • Peso (1999): an octagonal family inspired by a parking sign discovered in Guanajuato, Mexico.
    • Quara (2009): a techno sans.
    • Smith & Nephew (2003) and Smith & Nephew Cyrillic (2015), rounded sans typefaces in the style of VAG Rounded.
    • Tilden Sans (2004-2009): low contrast, large x-height.
    • Tome Sans (2020). A 10-weight sans superfamily, with a variable font option.
    • Uppercut Angle (2011). A signage typeface by Joachim Müller-Lancé. It was originally developed for the Krav Maga training center of San Francisco.
    • Ysobel (2009; winner of an award at TDC2 2010). Delve co-designed the newspaper type family Ysobel (Monotype) with type designers Robin Nicholas, head of type design at Monotype, and Alice Savoie (Frenchtype, Monotype). The sales pitch: According to Nicholas, the idea for the Ysobel typefaces started when he was asked to create a custom, updated version of the classic Century Schoolbook typeface, which was designed to be an extremely readable typeface - one that made its appearance in school textbooks beginning in the early 1900s. See also Ysobel eText Pro (2013).
    His Art work often involves type. Bitstream's Type Odyssey 2 (2002) has Continuo, Blot Test, Peso, Peso Negative. In 2009, Steven Skaggs designed Rieven Uncial and Rieven Italic at Delve Fonts. Pic.

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

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

    [MyFonts] [More]  ⦿

    Deni Anggara
    [Formatype Foundry]

    [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Diego Maldonado
    [Notdef Type]

    [MyFonts] [More]  ⦿

    Dino dos Santos
    [dstype]

    [MyFonts] [More]  ⦿

    Dirtyline Studio
    [Hendra Maulia]

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

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

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

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

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

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

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

    Type department link.

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

    Displaay
    [Martin Vacha]

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

    • Greed (2020). A narrow sans (+variable font with a weight axis) originally commissioned by Anymade Studio for Polansky Gallery.
    • Ofform (2019). A modular folded paper font by Marek Suchanek, Kristina Jandova and Martin Vacha that started out as a custom typeface for the fashion brand Ofform 3D.
    • Dazzed (2019).
    • Gellix BMM.
    • Matter (2016-2017). A sans inspired by Akzidenz-Grotesk (1896, Berthold Type Foundry), Theinhardt (2009, François Rappo), Classic Grotesque (1926, Frank Hinman Pierpont), Neuzeit Grotesk (1928, Wilhelm Pischner), Helvetica (1957, Max Miedinger and Eduard Hoffmann), Unica (Team '77, Lineto), Plain (2013, François Rappo), Futura (1927, Paul Renner) and Avenir (1988, Adrian Frutiger). Matter Mono was added in 2021. Haffer (2021) is a cold version of Matter with strict horizontal or vertical terminals.
    • Hellix (2011). A geometric sans with hipster elements. By 2020, he completed Fellix, Gellix, Hellix and Yellix.
    • Natron (2012). A sans and its display companion, Natron Alt.
    • Reckless (2012-2017). A text typeface inspired by Plantin and Times New Roman.
    • Wallop (2013). A sans.
    • Documan (2013). A rounded typeface that is part sans, part slab serif.
    • In 2016, Marek Pistora and Martin Vacha published the technical, almost typewriter, sans typeface BC Sklonar at Briefcase Type: The Sklonar typeface was originally designed exclusively for Zdenek Sklenar's S Gallery's corporate identity, conceived by Studio Najbrt in 2011. Two years later however, the gallery, including several works of art, was destroyed in a gas explosion. During the time of its use, the typeface appeared in promotional materials, in exhibitions, and also in artistic publications. But first and foremost, it excellently complemented the clean gallery space created by architect Josef Pleskot.
    • Roobert (2017). A bespoke typeface for Moogfest 2017 designed together with Anymade Studio. Roobert PX is a pixel font.
    • Teodor (2019-2020). Martin writes: In Teodor you can find certain similarities with Romana (1892 Gustav F. Schroeder), Caslon 224 (1725 William Caslon and Edward Benguiat), Grouch (1970 Tom Carnase and Ronne Bonder) and Perpetua (1925 Eric Gill). It has a variable type option.
    • Tobias (2019-2020), a transitional typeface with elements of Times, Times New Roman and Baskerville. Plus a variable font with a weight axis.
    • Github link.
    • Avantt (2021).
    [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. By 2020, it had a 3-axis (weight, width, italic) variable version.
    • Turnip (2012) is an angular and manly text face, also published at Font Bureau.
    • In 2013, Ross and Roger Blcak revived Nebiolo's Forma for the redesign of Hong Kong Tatler, a fashion mag, supervised and commissioned by Roger Black, who was then based in Hong Kong. Read about the whole process in this piece by Indra Kupferschmid. Page specially dedicated to DJR Forma. In 2021, Belgian national broadcaster VRT picked DJR Forma for all its entire range of media.
    • Bungee (2013, Google Fonts) won an award at TDC 2014. This homeless typeface, which comes in Regular, Hairline, Inline, Outline and Shade versions, is free: Bungee is a font family that celebrates urban signage. It wrangles the Latin alphabet to work vertically as well as horizontally.
    • In 2014, David Jonathan Ross created the formidable 168-style programming font family Input (Font Bureau). Input is free for private use. It won an award at Modern Cyrillic 2014 and in the TDC 2015 Type Design competition. See also the proportionally spaced typewriter family Input Sans.
    • Gimlet (2016). A 112-style Opentype family loosely based on Georg Trump's 1938 typeface, Schadow, and advertized as funky and functional. Ross writes: Gimlet is half Schadow, half imagination, and nothing else. And like its namesake beverage, Gimlet is a little tart, a little sweet, and can really pack a punch. Gimlet Variable Bold Condensed followed in 2019. Gimlet XRay (2020) is an An experimental colorized version of Gimlet that exposes what goes on under the hood of a variable font, visualizing control points, bounding boxes, kerning, etc. Amazingly, this variable color font has six axes, weight, width, oncurve point size, offcurve point size, glyph utline weight and point outline weight.
    • Fern and Fern Micro (2014, Font Bureau). A Venetian typeface designed for screen.
    • Output Sans.
    • Fit (2017, by David Jonathan Ross and Maria Doreuli). A tall black display family that runs from ultra-compressed to very wide. It screams Use me for the Oscars! Fit was first developed as a variable font. It won an award at Granshan 2017.
    • DJR Lab, or Lab Variable (2017), is a free pixelish variable font.
    • Under miscellaneous, we find an untitled French Clarendon and an untitled semi-serif.
    • Font of the Month Club fonts from 2017: Nickel, Roslindale (Roslindale is a text and display serif that takes its inspiration from De Vinne, a Victorian oldstyle typeface named for the nineteenth century printer and attributed to Gustav Schroeder and Nicholas Werner of the Central Type Foundry), Zenith (blackboard bold), Crayonette (a revival of Henry Brehmer's scriptish Crayonette, 1890), Bild (a compressed headline font based on the American gothic type styles from the 20th century; a variable font followed in 2019), Pappardelle Party (spaghetti Western style), Roslindale Text, Klooster (followed in 2021 by Klooster Thin).
    • Font of the Month Club fonts from 2018: Bradley DJR (a revival of the blackletter typeface Bradley, 1895, William H. Bradley), Extraordinaire, Rhody (slab serif), Map Roman (an all caps vintage mapmaker font), Output Sans Hairlines, Rumpus Extended, Roslindale Light, Merit Badge (a variable color font).
    • A tech type virtuoso, he charmed me with his art deco variable font Extraordinaire (2018) that was influenced by the diamond-shaped forms found in the center of the city of Sao Paulo, Brazil.
    • Typefaces from 2019: Heckendon Hairline, a condensed Clarendon.
    • Typefaces from 2020: Dattilo (a variable style revival of Aldo Novarese's slab serif Dattilo (1974)), Pomfret.
    • Typefaces from 2021: Rustique (rustic capitals), Megazoid (a chunky geometric sans), Job Clarendon (with Bethany Heck, who wrote: Job Clarendon is an homage to job printing---display-heavy designs made for posters and flyers in the heyday of letterpress printing. This style of Clarendons was wildly popular in this genre of work, and I've always been interested in how adaptable they were. The style was fattened, squished and stretched to accommodate lines of text both short and long and type foundries across the globe each found their own unique features to contribute to the Clarendon stew. Ross pulled the design to both extremes but had his work cut out as he explained: The chasm between Hairline and Black was far too wide to interpolate across effectively, so I incorporated new drawings in the Extra Light, Regular, and Bold weights to act as additional tentposts to support the design).

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

    Dmitrij Greshnev
    [Green Type]

    [MyFonts] [More]  ⦿

    Dmitry Rastvortsev

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

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

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

    His funny DR Krokodila won an award at Paratype K2009.

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

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

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

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

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

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

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

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

    Dohee Lee

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

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

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

    Dominic Huber

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

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

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

    Donald Tarallo
    [Tarallo Design]

    [MyFonts] [More]  ⦿

    Doni Sukma
    [Letter Omega]

    [MyFonts] [More]  ⦿

    DooType
    [Eduilson Wessler Coán]

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

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

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

    dstype
    [Dino dos Santos]

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

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

    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]  ⦿

    Dusan Jelesijevic

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

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

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

    Dyaharum Pungki Revitasari
    [Jolicia Type]

    [MyFonts] [More]  ⦿

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

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

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

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

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

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

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

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

    Edgar Walthert

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

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

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

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

    His typefaces at FontSpectrum:

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

    His corporate typefaces:

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

    [MyFonts] [More]  ⦿

    Edwina Lee

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

    EK Type
    [Sarang Kulkarni]

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

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

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

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

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

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

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

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

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

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

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

    Eko Bimantara
    [Type Dish]

    [MyFonts] [More]  ⦿

    Elena Schneider

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

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

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

    Cargo Collective link.

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

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

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

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

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

    Eli Heuer

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

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

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

    Elias Hanzer
    [Hanzer Liccini]

    [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Ellen Luff
    [Peregrin Studio]

    [MyFonts] [More]  ⦿

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

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

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

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

    Elliott Amblard

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

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

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

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

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

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

    Emma Marichal
    [Minitype]

    [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]  ⦿

    Erik Van Blokland
    [Skateboard for RoboFont]

    [More]  ⦿

    Erik van Blokland
    [LettError]

    [MyFonts] [More]  ⦿

    Erwin Denissen
    [Font Creator / High Logic]

    [More]  ⦿

    Estudio CH
    [Cristóbal Henestrosa]

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

    Designer of Espinosa, mentioned here.

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

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

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

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

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

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

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

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

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

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

    ETC Type
    [Mateo Broillet]

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

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

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

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

    His typefaces:

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

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

    Ethan Nakache

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

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

    Eugenio Pancaldi

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

    Fabian Harb

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

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

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

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

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

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

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

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

    In 2007, he created the organic sans typeface IronThree.

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

    In 2009, Foco Italics was published.

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

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

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

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

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

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

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

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

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

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

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

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

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

    [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Hellofont link. FontShop link. Font Squirrel link.

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

    Familjen Sthlm
    [Isabelle Rudström-Österlund]

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

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

    Feliciano Type Foundry
    [Mário Feliciano]

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

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

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

    Klingspor link. FontShop link. MyFonts interview.

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

    Felipe Casaprima

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

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

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

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

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

    Fernando Haro

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

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

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

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

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

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

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

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

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

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

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

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

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

    Flavia Zimbardi
    [Zimbardi (was: Zimbardi Calomino)]

    [More]  ⦿

    Flavia Zimbardi

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

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

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

    Florian Karsten

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

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

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

    Floris
    [Lucas de Groot]

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

    Font Creator / High Logic
    [Erwin Denissen]

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

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

    Font Kitchen
    [Matt Bailey]

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

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

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

    Font Spectrum

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

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

    Fontfabric
    [Svetoslav Simov]

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

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

    View Fontfabric's typefaces. In 2015, Ani Petrova, Svetoslav Simov and Radomir Tinkov co-designed the 214-style mammoth font system Intro Rust, a rough version of Fontfabric's Intro. The fonts are partitioned over Intro Rust, Intro Script, Intro Head and Intro Goodies. Still in 2015, we find Nexa Script.

    In 2017, Plamen Motev and Svetoslav Simov co-designed Uni Neue, a total remake of Fontfabric's earler typeface Uni Sans (2009). Svetoslav Simov, Plamen Motev and the Fontfabric team (Vladislav Jordanov, Stan Partalev, Mirela Belova, Jacklina Jekova, Nikolay Petroussenko) produced Zing Rust, Zing Sans Rust and Zing Script Rust in the same year: it consists of 521 handmade typefaces.

    In 2018, Mirela Belova and Svetoslav Simov co-designed the 20-style geometric sans typeface family Mont. Svet Simov and Svetlin Balezdrov co-designed the humanist sans family Squad, and Simov published the free all caps flared terminal font Colus in 2018. Gilam was designed in 2018 by Ivan Petrov, Plamen Motev and Svetoslav Simov---it is based on DIN, but is more geometric and has obliquely cut terminals.

    In 2019, Svet Simov, Radomir Tinkov and Stan Partalev designed the 72-strong Noah family of geometric sans typefaces, which is partitioned into four groups by x-height from small (Noah Grotesque) to medium (Noah and Noah Text) to large (Noah Head). Codesigner of Mozer (2019, by Svetoslav Simov, Ani Petrova, Mirela Belova and Nikolay Petrousenko: a condensed headline sans family that covers Latin, Greek and Cyrillic; Mozer SemiBold is free).

    In 2021, Svetoslav Simov and Vika Usmanova dusted off the 18-style update of Mont called Mont Blanc. It has very short descenders and medium-sized ascenders, two variable styles, and some redesigned glyphs. Its biggest problem will be the name---surely, the famous Swiss pen maker Mont Blanc will complain sooner or later about its trademark. I am puzzled about MyFonts, which did not catch this problem when they announced the typeface. In 2021, Simov also co-designed Code Next (a 20-style geometric sans by Svetoslav Simov, Mirela Belova and Stan Partalev; it includes two variable fonts).

    Fontsquirrel link. [Google] [MyFonts] [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 2017, he was appointed UK Sales Director by URW. After URW was absorbed by Monotype, he set up Fontpeople, a foundry that sells typefaces made by Designed by John Beltran, Jason Harcombe, Max Saille, Jörn Oelsner and Iachawr Telyncombe. Jason's typefaces:

    • 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.
    • One of the custom fonts shown on their website is Ryman Eco, which was designed by Dan Rhatigan and Gunnar Vilhjalmsson.
    • In 2020, Harcombe released FP Typewriter, the 20-style soft corner geometric sans typeface Zabal and the 12-style humanist sans Billie.
    • Cooper Black (2021). A serif and stencil font family that revives Cooper Black.
    • Chewie (2021). A plump serif in the style of Cooper Black and Windsor. Unknown designer at Fontpeople.
    • Leyendo (2021). A 20-style text family by Jason Harcombe and Max Saille.

    There is a discussion on Typedrawers (link removed) regarding the legality and morality of Fontpeople's relicensing practices. Why was the lomk removed? Because on June 23, 2022, Jason asked me to remove this article from your website. Joyce Ketterer and TypeDrawers are in receipt of legal documentation pertaining to material loss due to libel on this website and your publishing and sharing of this article will be included in any material losses we have suffered as a result. [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 Jason Smith's typefaces are now at MyFonts, after Monotype's take-over in 2020:

    • 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]  ⦿

    Fontwerk.com
    [Ivo Gabrowitsch]

    Berlin-based Ivo Gabrowitsch's type blog (in German). Ivo was Marketing Director at FontShop International. He was born in Wippra. He became Marketing Director at Monotype after FontShop was sold to Monotype. Their typefaces, all of which have variable versions:

    • Case (Erik Spiekermann, Anja Meiners, Ralph du Carrois). A sans superfamily.
    • Ika Superfamily (Jörg Hemker).
    • McQueen Superfamily (Loris Olivier, Noheul Lee, Katja Schimmel).
    • NIce (Jan Fromm). A baroque-inspired superfamily consisting of 56 styles.
    • Nikolai (Franziska Weitgruber).
    • Pangea Superfamily and Pangea frikan Superfamily (Christoph Koeberlin).
    • Romaine (Aad van Dommelen).
    • Supermarker (Ulrike Rausch).
    • Turbine (Felix Braden).
    • West (Daniel Perraudin).
    [Google] [More]  ⦿

    Fontype
    [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: Oskal (a wedge serif in the pointy sendse of the word), 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).

    Typefaces from 2021: Quasar, Azest (a display sans).

    Type Department link. [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, and/or New Zealand-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.
    • Afical (2021). A 35-style sans with sub-families Afical Std, Afical Neue and Afical Stencil.
    • Fixga (2021). A 17-style rounded monolinear geometric sans family.
    • Satoshi (2017-2021). A free 10-style mostly grotesk sans typeface at Fontshare.
    [Google] [MyFonts] [More]  ⦿

    Forme Type
    [Jeremy Johnson]

    London-based graphic and type designer (b. 1975) who studied at The Royal College of Art, The University of Brighton, and was taught at the Royal College of Art by Margaret Calvert, Malcolm Kennard and Alan Kitching. Creator of the sans typeface family Forme One (2014) and the related typefaces Forme Signage (2015, for wayfinding), Forme Furniture (2015, pixelized), Forme Type Block (2015), Forme Type Ornaments and Geometric Patterns (2015), Forme Pixel Type (2015) and Forme Stencil (2015), a layered typeface family that was carefully crafted based on compass and ruler. Jeremy writes: This typeface derived from a three dimensional stencil with two characters, made from wood manually rotated to create letter shapes.

    In 2017, he designed the 3d pixel font Furniture Type.

    In 2018, he created TextFace Type.

    Graduate of the MATD program at the University of Reading, class of 2020. His graduation typeface was called Forme Grotesque. It comes with a three-axis variable font (weight, slant, optical size). It explores the richness of the 19th century British Grotesque genre, performs remarkably well both on screen and in print, and shines at very small sizes. It also covers Arabic, Cyrillic and Greek. Forme Grotesque was published by Colophon in 2022. [Google] [MyFonts] [More]  ⦿

    Fragtype
    [Rodrigo Fuenzalida]

    Graphic and type designer from Caracas, Venezuela, b. 1981, who moved first to Buenos Aires and then to Santiago in Chile. While mainly a type designer, he also practices calligraphy. He was involved in and set up multiple type foundries, including Fragtype. Fuenzalida designed these typefaces:

    • The art deco faces Erre.
    • The experimental typefaces Tructura, Tangram, Sicodelica (multiline), SuperC (2009, tall condensed) and Pixid (2010, pixel face).
    • Concrete Stencil (2010). Stencil meets calligraphic script.
    • Fux (2010). A rounded monoline sans.
    • 7Tees.
    • Aushaus: letters like music notes. This is also called Aubhaus.
    • Gerd (2009). An artsy stylish piano key font that used to be free.
    • LINE_A and K5 (multiline).
    • Cubo (aka Khubo, 2009, Die Gestalten). This 3d geometric family was a grand prize winner in the experimental typeface category at Tipos Latinos 2010.
    • Factur (2011) is an angular typeface.
    • Isosibilia. A 3d face. This typeface won an award winner in the experimental typeface category at Tipos Latinos 2010.
    • The connected upright script face Nedo.
    • The grunge typeface Belt.
    • The stencil Bodoni typefaces Giambo Stencil (2009, Die Gestalten) and Giambattista.
    • Titan (2011). A fat rounded poster face, downloadable from Google Web Fonts.
    • Fux (2010). A basic monoline sans family.
    • Poetsen One (2012) is a rounded signage sans typeface co-designed with Pablo Impallari.
    • Racing Sans (2012). A techno typeface that conjures up speed. Codesigned with Pablo Impallari, it is free at Google Web Fonts.
    • With Nicola Massi, he created the textura typeface Pirata+One (2012, Google Web Fonts).
    • Hermeneus One (2013, with Pablo Impallari) is a slab serif.
    • Tweegi (2013) is an elegant super-condensed serif typeface family.
    • Kardia (2014) is a rounded slightly elliptical warm-hearted sans family.
    • Libre Baskerville (2012, Google Web Fonts, Open Font Library, Github, and CTAN) was developed together with Pablo Impallari. It is based on 1941 ATF specimens, but it has a taller x height, wider counters and minor contrast that allows it to work on small sizes in any screen.
    • Libre Caslon (2012-2014). A free typeface family co-designed with Pablo Impallari.
    • Raleway (2010-2013). This popular free sans typeface family was started by Matt McInerney in 2010 and completed by Pablo Impallari and Rodrigo Fuenzalida in 2013. In 2017, it was extended to Rawline.
    • Libre Bodoni (2014) was developed by Pablo Impallari and Rodrigo Fuenzalida based on Morris Fuller Benton's Bodoni types---they optimized the glyphs for use on the web. Github link. Google Fonts link.
    • Latina (2015) is a humanist sans typeface family developed with the Latinotype team. It won an award at Tipos Latinos 2016. Its headline styles have exaggerated humanist features, while its text styles are more subdued.
    • In 2016, Latinotype published the 32-style Corporative Sans Round Condensed, which was developed by Elizabeth Hernandez and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernandez.
    • Libre Franklin (Pablo Impallari and Rodrigo Fuenzalida) is a revival of Morris Fuller Benton's 1912 classic, Franklin Gothic. Created in 2015, it was only published in 2016 at Google Fonts. Github link.
    • Taberna (2016). A vintage copperplate style family based on design trends in bar signage, liquor packaging and street wear. Codesigned by Jorge Cisterna at Latinotype.
    • Letteria Script (2017, Latinotype). A signage script family.
    • Winner at Tipos Latinos 2018 of a type design award for Mixta (Joya Type Foundry).
    • In 2018, Daniel Hernandez and Rodrigo Fuenzalida enlarged the fat all caps slab serif Latinotype typeface Rita that was originally started in 2010.
    • Market (2018, Latinotype) is inspired by hand-painted grocery store signs.
    • In 2019, Latinotype published the great super-slab typeface Breton which was designed by Daniel Hernandez and Rodrigo Fuenzalida.
    • In 2018, he published Multiple at Latinotype. Partly geometric and partly humanist, it has Sans and Slab subfamilies.

      In 2019, Alfonso Garcia and Rodrigo Fuenzalida released Utily Sans at Latinotype. Utily Sans is a slightly humanist take on Futura.

      In 2019, Fuenzalida released Atenas through Los Andes. It emerged as a mixture of science fiction and calligraphy, with notable influences of Eurostile and Microgramma. There is a fully stocked stencil subfamily, Atenas Stencil.

    • Mixta (2020, Latinotype). A total of 54 typefaces with these subfamilies: Mixta Sharp, Mixta Pro, Mixta Didone. Includes weights from Hair to Heavy.
    • Spock (2020). A 48-style demi-sans and demi-slab family by Luciano Vergara, Cesar Araya and Rodrigo Fuenzalida.
    • In 2020, he co-designed Ragtag (a ragtag of capitals) with Alexander Wright for In-House International.
    • Mixta Essential (or: Mixta Ess) (2020, Latino Type). A 12-style hybrid of a didone-inspired rectangle-shaped serif and a sharp wedge serif.
    • In 2020, Rodrigo Fuenzalida, Alexander Wright and Michelle Benaim Steiner co-designed the exaggerated reverse stress (or: Italian) typeface Pata Slab at In-House International. All uppercase characters were built to fit precisely inside a square, so they are all the same width and height.
    • Mumford (2021). An 18-style display sans.
    • Outfit (2021, Google Fonts). Github link. This geometric font family was originally designed for the brand company Outfitio and On Brand Investments Pty Ltd. It includes a variable font.
    • In 2022, Rodrigo Fuenzalida and Alexander Wright published the decorative angular typeface family Broker at In-House International.

    Klingspor link. Abstract Fonts link. Behance link. Kernest link. YWFT link. Creative Market link. MyFonts link. Dafont link. Another Behance link. Google Fonts link. [Google] [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Franziska Weitgruber

    Based in Vienna, Austria, and/or Latsch, Italy, Franziska Weitgruber received her Bachelor's Degree in Graphic Design with a focus on type from the New Design University (NDU) Sankt Pölten, Austria in 2014. She also studied in the Typemedia program at KABK in The Hague, class of 2016. She publishes her work mostly via Future Fonts and Fontwerk.

    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 crisp variable headline text typeface by Franziska Weitgruber 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 released at Fontwerk). Nikolai started out as a revival of Nebiolo's Jenson but became a sharp-edged hyper-modernized version of that Venetian type.

    Future Fonts link. [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]  ⦿

    Friedrich Althausen

    Potsdam, Germany-based designer (b. 1981) who studied Media Systems (Informatics) and Visual Communication at the Bauhaus University Weimar and is working as a freelance designer since 2008. Creator of the free fonts Vollkorn-Brotschrift (2006, text face), Elise Meincke logotype (didone), and Halbstark (2006, a fancy display face). Vollkorn microsite for the most recent downloads. Vollkorn supports many scripts, including Latin and Cyrillic. In 2014, Vollkorn 3.0 was published. Open Font Library link. Site dedicated to Vollkorn.

    In 2014, he published the thin but striking fashion mag and all caps titling typeface Uberschrift at FDI.

    In 2020, he released the variable font CoronaFaceImpact, which has three axes, Effects from wearing a face mask, Change of look due to closed hairdressers, and Results of home schooling.

    Behance link. Kernest link. Old URL. Interview with Friedrich Althausen. Google Plus link. Github link. [Google] [MyFonts] [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 typeface). Home page. [Google] [More]  ⦿

    Gabriel Richter
    [Nice to Type]

    [MyFonts] [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]  ⦿

    Genesis Lab
    [Bustami Harun]

    Banda Aceh, Indonesia-based creator of the cursive retro script typeface Archimedes (2015) and the calligraphic typefaces Dealova Script (2015), Austtria Script (sic) (2015), Paullina (2015), Wonder She (2015), Bebby Script (2015), Bebby Washington (2015), Bonterra (2015), Wallpalace Script (2015), Cherry Blossom (2015) and Cattleya Script (2015). They also made Kansas Brush (2015).

    Typefaces from 2016: Jonitha, Salmela Script (free brush script), Micheline, Damita, Holliston, Bostone (rough brush script), Salma (script), Karmela (a vintage font family that includes the money font Karmela Layer), Sparkle Brush, Charlotte (calligraphic script), Camica (a brush script), Nobita Script, Magenta Script, Latosha Script, Callove Script, Malisia Script, Sarinah, Salamanta (a great calligraphic script), Lovelia Script, Leontin (connected script), Fanatic, Madona (connected calligraphic script), Armstrong.

    Typefaces from 2017: Planton Script, Bambia (calligraphic), Madinah, Maylad, Marline, Micheline, Malibu Script, Cabelita Script, Sahara Script.

    Typefaces from 2020: Binggo Wood Display (a decorative serif).

    Typefaces from 2021: Black Starsdust (a bold stylish display serif), Pradock Sans (an 18-style geometric sans, with a variable font). [Google] [MyFonts] [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. Thiago also created the custom typeface Bib Sans (2021) at Papanapa. [Google] [MyFonts] [More]  ⦿

    Gilang Senzana
    [Senzana (was: Inksun Aksara, or: Inksun Mildertype)]

    [MyFonts] [More]  ⦿

    Giuseppe Salerno
    [Resistenza]

    [MyFonts] [More]  ⦿

    Glenn Goluska

    Glenn Goluska (b. 1947, Chicago; d. 2011, Montreal) was a Canadian book designer and typographer. He came to Canada as a student at the University of Toronto. After graduating he worked for some time in the United States before returning to Canada to work at Coach House Press. He left Coach House Press to focus on letterpress printing first in Toronto and later in the Saint Henri neighborhood of Montreal under the labels Imprimerie Dromadaire and Nightshade Press. Goluska was awarded the Robert R. Reid Award for lifetime achievement or extraordinary contributions to the book arts in Canada by the Alcuin Society in 2011.

    Goluska had a book typeface designed in his honour by Nova Scotia-based type designer Rod MacDonald. The typeface, simply called Goluska, was published in 2021 at Canada Type, where Patrick Griffin oversaw the production and the addition of some variable fonts. Goluska admired Dwiggins, so Goluska, the typeface, was influenced by the puppeteer's work, especially the Scotch roman typeface Caledonia.

    Obituary by Brigitte Schuster. [Google] [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 typefaces.

    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: Digico M (a color font), 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).

    Typefaces from 2021: Fason (a flared fashion mag typeface family).

    Typefaces from 2022: Esquina Rounded (an octagonal typeface), Esquina College (an octagonal varsity typeface), Esquina Outline, Esquina Stencil (12 styles).

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

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

    Greg Gazdowicz

    Born in 1988 in Gaithersburg, MD, Greg Gazdowicz studied at the Maryland Institute College of Art. He completed the Type@Cooper Extended program in 2014. After graduation, he joined Commercial Type.

    Codesigner with Lucas Sharp of the bubblegum and bubble bath typeface Doughboy Pro (2013, published by Pagan & Sharp).

    In 2016, he published Robinson at Commercial Type, which writes: Inspired by calligraphic sans serifs like Warren Chappell's Lydian and R. Hunter Middleton's Samson, Greg Gazdowicz aimed to make a contemporary sans that used the hallmarks of calligraphic construction to add visual interest without being explicitly calligraphic. The result is a crisp, refreshing sans with a kinetic personality. Robinson is evocative of American book cover lettering from the middle of the 20th century while feeling cleanly contemporary.

    He drew the italics of Publico Text Mono (Christian Schwartz and Paul Barnes) in 2014.

    Le Jeune (2016, Greg Gazdowicz, Christian Schwartz and Paul Barnes) is a crisp high-contrast fashion mag didone typeface family in Poster, Deck, Text and Hairline sub-styles, with stencils drawn by Gazdowicz. This large typeface family comes in four optical sizes, and was originally developed for Chris Dixon's refresh of Vanity Fair.

    In 2019, Commercial Type released Caslon Ionic by Paul Barnes and Greg Gazdowicz. They write: Bolder and more robust than the modern, yet lighter and more refined than the Egyptian, the Ionic with its bracketed serif was another innovation of the nineteenth century. Lesser known than Thorowgood's Clarendon, Caslon's Ionic No. 2 is a superb example of the form and greatly influenced the newspaper fonts of the next century. With additional weights and a matching Egyptian companion, Antique No. 6, it is a masterpiece of type designed to be robust and legible. Antique No. 6 was designed by Paul Barnes in 2019.

    In 2019, Commercial Type released the Thorowgood Grotesque collection by Paul Barnes and Greg Gazdowicz. It is accompanied by the subfamilies Thorowgood Grotesque Dimensional (beveled) and Thorowgood Grotesue Open, and the related Thorowgood Egyptian.

    In 2022, Commercial Type and Greg Gazdowicz released Roboto Serif at Google Fonts and wrote: Roboto Serif is a variable typeface family designed to create a comfortable and frictionless reading experience. Minimal and highly functional, it is useful anywhere (even for app interfaces) due to the extensive set of weights and widths across a broad range of optical sizes. [Google] [MyFonts] [More]  ⦿

    Grzegorz Luksza
    [Gluk Fonts]

    [MyFonts] [More]  ⦿

    Guillermo Lizarzuay
    [Nois (was: Makenois)]

    [MyFonts] [More]  ⦿

    Gumpita Rahayu
    [Toko Type (was: Formika Labs, or: Studio Formika, or: Absolut Foundry)]

    [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]  ⦿

    Hanken Studio
    [Alfredo Marco Pradil]

    Graduate of the College of Architecture and Fine Arts, Batangas State University, The Philippines, who has been working as a graphic designer since 2005. He is currently located in Dubai, UAE and is a prolific type designer. His typefaces:

    • Neue Einstellung (2021). A nine style geometric sans that exudes rigidity and mechanical precision.
    • Ouido (2021). A condensed old style serif family with twelve cuts.
    • Pianono (2021). A curly typeface named after a Filipino dessert.
    • Nuova Volte (2021). A carefully designed sans family.
    • Compound Sans (2021). In 45 styles, plus a variable font.
    • Trinkle Sans (2020).
    • HK Requisite (a 9-style low contrast sans) (2020).
    • Terminal Guise (2020). An 8-style monolinear geometric sans with open counters (except on the lower case o).
    • Luckybones (2020).
    • Action Sans (2020). A free almost monolinear sans.
    • Open Sauce Sans, Open Sauce One and Open Sauce Two (2020). He writes about these three large free sans families: Open Sauce is a font superfamily that I developed for Creative Sauce's internal type system. It is a compact typeface that is optimised for better viewing small text on screen and print. Open Sauce (Sans, One and Two) is under the SIL Open Font License and is going to be actively developed, improved and tested. One small modification is Cristiano Sobral's Criativa Sans (2020).
    • Yelena (2020). A brush script.
    • Keiner (2020). A rigid monolinear sans typeface family.
    • Cosmic Octo (2020). A blocky display/poster typeface for an experimental ice cream recipe venture.
    • Snah (2020). A playful free all caps typeface.
    • Belina Script (2020).
    • Itzkarl (2020). An all caps typeface with flared terminals.
    • Anahaw (2020). A foliate typeface modeled after palm leaves.
    • Batangas (2020). Free.
    • Lumi Sans (2019).
    • Device (2019). A sans that supports orange-dyed fascists, oil industry buffoons and climate change deniers.
    • Stenzel (2019). a stencil typeface.
    • Nourd (2019).
    • Suprapower SE (a display sans) (2019). Heavy and wide, for posters, packaging, headline and titles.
    • Sauce Grotesk (2019). Sauce Grotesk is a sans serif typeface that James Birch and Alfredo Marco Pradil developed for Creative Sauce's internal type system.
    • TEG (2019).
    • Enreal (2019).
    • Arca Sentora (2019). A geometric sans.
    • Serif 420 (2019).
    • Guise (2019). A Swiss style sans family.
    • Grantipo (2019), A sans family inspired by Cerebri Sans, Helvetica and Akzidenz Grotesk. .
    • HK Sentiments (2018). A neutral / geometric sans.
    • Natrix Sans (2018). A free grotesque family without italics.
    • Reminisce (2018). A Peignotian sans typeface family.
    • Aeon Hexa (2018). Alfredo explains that he tried to amalgamate the features of Helvetica and Cerebri Sans.
    • Acari Sans (2018). A free typeface by Alfredo Marco Pradil (Latin part) and Stefan Peev (Cyrillic portion). Based on HK Grotesk (2015).
    • HK Kontrast (2018). An angular wedge serif typeface.
    • HK Yavimayan (2018). A text typeface with flaring.
    • HK Focus (2017).
    • HK Gothic (2017). Twelve styles.
    • HK Compression (2017). A bold compressed all caps sans.
    • HK Carta (2017). A text typeface with didone elements.
    • HK Spec (2017).
    • HK Zercon (2017). A free sans.
    • HK Concentrate (2017). A sans typeface family.
    • Arlene (2017). A didone typeface family.
    • Barter Exchange (2017).
    • HK Blocker (2017), a heavy rounded sans.
    • Zwizz (2017). A Swiss typeface family.
    • Cerebri Sans (2017). Free download.
    • HK Nova (2017). A geometric sans family inspired by Century Gothic and Futura. The Medium weight is tweetware. See also HK Nova Narrow and HK Nova Rounded.
    • Illuma (2017). A free headline sans typeface.
    • Number 23 (2017). A text typeface family.
    • HK Caslon (2017).
    • Polarity (2017).
    • Placid Amor (2016). Copperplate style.
    • Ludema (2016). An informal sans typeface, made by Joao Symington..
    • Alienware (2016). A custom typeface for Dell's Alienware computers.
    • Extremis Compakt (2016). A custom typeface for Extremis.
    • Number 23 (2016). A Caslon-style text family.
    • El Enra Rounded (2016). A condensed headline sans.
    • Faldore (2015-2016). A simple sans typeface family.
    • Hans Grotesque (2016). A sans designed for long texts.
    • Decalotype (2016). A free sans typeface.
    • HK Compakt (2016). Inspired by Akzindenz Grotesk.
    • HK Serif (2016).
    • Jellee (2016). A very soft heavy rounded sans typeface. Download.
    • El Enra (2016). A free bold condensed sans.
    • Type 36 (2016). A clean geometric sans.
    • Arco Perpetuo (2016). A free subtly rounded sans family.
    • Industri (2016). A tweetware sans.
    • Okomito (2016). A sans with large open counters. Okomito Medium is free. Okomito Next was released in 2020.
    • Comprehension Semibold (2016).
    • Radnika (2016). Announced as a workhorse sans. Followed in 2017 by Neue Radnika Schriftart, or Radnika Next.
    • Hanken Sans (2016).
    • ADA Hybrid Display (2016).
    • The free geometric sans typeface Orkney (2016, with Samuel Oakes).
    • Caslon OS (2015, Open Font Library).
    • The basic sans typefaces Now (2015, Open Font Library: geometric), Now Alt (2015), Einstellung Schrift (2015, geometric sans), Neue Einstellung (2015), Elenar (2015; and the free Elenar Love), Amicale (2015), HK Explorer (2015), HK Explorer Soft (2015), HK Explorer Sharp (2015), HK Grotesk (2015: free; extended to HK Grotesk Pro in 2016, and HK Grotesk Light in 2017, HK Grotesk Wide in 2020, and Uacari Legacy by Cristobal Sobral in 2020), Industri (2015, caps only headline face), Monoist (2015, monospaced), Glacial Indifference (2015, Bauhaus-inspired), Malakas (2015), Genome (2015) and Gen Light (2014, OFL).
    • Arca Majora (2014) and Arca Majora 2 (2016). A free heavy geometric sans face.
    • SAG Block (2014).
    • Ahamono and Ahamono Monospaced (2012-2015). Originally, this was a free rounded monospace typeface with typewriter features.
    • Neue Hans (2014), Hanken Round (2014, a free rounded sans), Neutrage (2014, a neutral signage sans).
    • Hard Edge (2014). An octagonal typeface.
    • Teknik (2014). A technical sans typeface.
    • Bullet (2014).
    • The grotesk typefaces Primary Hans (2014) and Hans Kendrick (2014) and Neue Hans Kendrick (2016). Both have elements of Avenir and Futura, and are characterized by a relatively small x-height. Followed by the art deco sans-inspired Neo Hans in 2019.

    OFL link. Hellofont link (for purchasing his fonts). Behance link. Facebook link. He operates as Hanken Studio. [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]  ⦿

    Hanzer Liccini
    [Elias Hanzer]

    Elias Hanzer is the Berlin, Germany-based designer of the sans typefaces EH Eins A (2018?), EH Normal (2017) and Eh Gut (2015). He also created typefaces Phase Phase. Together with book designer Lucas Liccini he founded Hanzer Liccini in 2018 in Berlin, which released these typefaces:

    • Arizona Oldstyle. In 2020, Elias Hanzer released the Arizona superfamily at Dinamo in 2020 and 2021. This includes sans, text, mix, flare and serif subfamilies and contains variable forms as well.
    • Colant (2020). Based on Columbia Antiqua, a Scotch/Modern-style serif typeface, featuring distinct angular details and produced by the Bauersche Giesserei (Frankfurt am Main) on the occasion of the 1893 World Exposition in Chicago.
    • Fake.
    • Matex (2019). A 7-style geometric sans inspired by both schoolbook/textbook grotesques and Bauhaus, including Herbert Bayer's mid-1920's lowercase Universal.
    • Moment.
    • Orbital.
    • Primago.
    • Timezone (2021). A transitional typeface close to Times Roman. The G has a protruding chin.
    • Vincent (2019). An experimental script by Elias Hanzer and Lucas Liccini. The letter forms are inspired by a script font designed by naval scientist Dr. Allen Vincent Hershey. The Hershey fonts were a collection of early vector fonts released in Hershey's report Calligraphy for Computers (1967).

    Liccini is also involved in Studio Manuel Raeder. [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 packaging sans typeface family Dona in 2019.

    In 2020, Henrique Beier joined Fabio Haag Type, where he promptly published the circular sans family Igual.

    In 2021, he assisted with the engineering and design of Salva (Fabio Haag Type), a versatile workhorse sans family: Eduilson Coan was the lead designer. He was supported by the Fabio Haag Type team of Henrique Beier, Ana Laydner and Fabio Haag himself.

    Seiva (2021). Designed by Henrique Beier, Eduilson Coan and Fabio Haag, this distant relative of Didot is an exotic sans family. Partitioned into Text, Display and Poster subfamilies, it also welcomes variable font technology. [Google] [MyFonts] [More]  ⦿

    Harrison Marshall
    [Frostype]

    [More]  ⦿

    Héctor Gatti
    [Omnibus Type]

    [More]  ⦿

    Hendra Maulia
    [Dirtyline Studio]

    [MyFonts] [More]  ⦿

    Henrique Beier
    [Harbor Type]

    [MyFonts] [More]  ⦿

    Herzberg Design
    [Matthijs Herzberg]

    Aka BaronHerzberg. Illustrator, letterer and type designer, who was born in the Netherlands, moved to New Orleans in 2013, and set up Herzberg Design, a commercial type foundry, in 2019. His typefaces include:

    • Libido (2021). A funky unicase psychedelic typeface based upon Wes Wilson's style. It has a traditional smooth or curvy style, and a ragged style with only straight edges, and is designed in variable format with a width axis and an optical size axis.
    • Bonkus (2020). A six-style geometric sans-serif typeface with a funky touch that was inspired by similar wide open organic typefaces from the 1970s such as Blippo and Ronda.
    • Wanchy (2020). A psychedelic typeface.
    • Yardbird (2020). A stencil typeface.
    • Cloisterfuch (2019). A blocky modern blackletter.
    • Psychblock (2020). A variable art nouveau font with two axes (width and optical size), inspired by the psychedelia of Wes Wilson. For Latin and Cyrillic.
    [Google] [More]  ⦿

    Hot Type
    [Marko Hrastovec]

    Ex-student of Nikola Djurek at the School of design in Zagreb, class of 2014. At Typonine, Nikola Djurek and Marko Hrastovec co-designed the several-hundred-style rich Audree type system in 2013. They write: Applying different parameters to same basic shapes isn't new, but Typonine.com's online application allows you to access each possible permutation and create your own version of Audree. The value isn't only aesthetic, but also didactic---by experimenting with serifs, construction and contrasts, one can learn how these variables affect the shape of the letter. Audree's many different, striking combinations make it a perfect fit for display purposes such as magazine headlines, logotypes or entire visual identity systems. One can choose along many axes: 145 serif styles, expansion or not, two choices of contrast, and for styles (normal, inline, stencil, stencil-inline). Discussion by the typophiles.

    In 2016, he designed Zico and Zico Display at Rosetta Type. Earlier, in the TypeMedia program at KABK in Den Haag, he designed Bolid Slab for his graduation in 2015. That typeface was at the basis of Zico. Zico won an award at TDC 2016TDC 2016.

    His Punta Display (a sharply sculpted serif family with typographic features that look like they could be carved in stone) won an award at the Type Directors Club's Type Design Competition 2019.

    In 2021, he set up Hot Type and designed the playful serif typeface Nyck, a fun display family inspired by the equally playful work of Josef Tyfa (Tyfove Antikva) and William Addison Dwiggins. Nyck features two variable fonts as well. Other fonts from 2021 include Stroy Grotesk (a narrow grotesk newspaper sans in 12 styles billed as a contemporary interpretation of nostalgia) and Stroy Mono.

    Tumblr link. Twitter link. Future Fonts link. Personal home page. [Google] [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]  ⦿

    Hugues Gentile

    Graduate of ESAD in Amiens, France. His graduation typeface there is the Latin / Bengali typeface Kumar (2016). He writes: Kumar is a multi-script (Latin & Bengali) typeface family, especially crafted for editorial work. It has a classical feeling without being too historical. Kumar Book is a sober yet generous "bookish" typeface. Its design is inspired by various references: the steady structure is borrowed from late 20th century Dutch type design while the proportions are reminiscent of early William Caslon work. Baroque influences nourished the design with subtle features that give Kumar Book its personality and avoid arid shapes. Its bold version is a useful addition for documents with a more complex hierarchy.

    Kumar Bengali is driven by the same principles as the Latin, seeking for a coherent combination between the two scripts to optimize legibility. Significant early references have been used such as the Figgins Bengali from 1826 for its fluidity, yet updated with contemporary proportions. Kumar Book italic originates from an interpretation of several italics of Robert Granjon, adapted to work with the roman weight.

    Marcel (2016) is based on lettering drawn by Marcel Jacno for Caractère in 1949.

    During his studies in Paris, Hugues Gentile created Ignacius (2014: an angular calligraphic typeface) and drew a blackletter alphabet (2014).

    In 2019, a senior type designer Production Type, he designed the custom typeface Ormaie for a new Parisian perfume brand founded by Marie-Lise Jonak.

    In 2020, Hugues Gentile, under the art direction of Jean-Baptiste Levée, designed the extensive text family Newsreader, which is primarily intended for continuous on-screen reading in content-rich environments. It features various optical sizes and comes with variable typefaces. Github link. Google Fonts link (for free download). [Google] [More]  ⦿

    Hurufatfont Type Foundry
    [Oguzhan Cengiz]

    Istanbul-based art director. Designer of Elen Sans (2002-2020: started in 2002 as a student, and finally finished in 2020, this 18-style display sans was influenced by Friz Quadrata and Eras) and the Latin / Cyrillic text typeface Milas (2018). In 2019, he published Kontras (a fashionable typeface), Apron (a 42-font sans family with the vertical roundness of airplane windows), ApronSoft, and Grosen (a 14-style grotesk).

    Typefaces from 2020: Masifa (a neutral condensed grotesque in 90 styles), Masifa Rounded (another 90 styles), Masif (dead link; a neutral sans with little contrast; 90 styles; renamed Masifa most likely after a complaint from Monotype which markets a Steve Matteson font called Massif), Kanyon (a 54-style low contrast geometric sans), Salda (a 40-style sans family), Gevher (a 48-style grotesque family with deep ink traps), Tonus (an 84-style superfamily with Sans, Slab, Text, Display and Contrast subfamilies), Salin (a 20-style semi-geometric sans), Nema (sans), Kaunos (by Mustafa Eren).

    Typefaces from 2021: Rapor (a 20-style grotesk), Mazot (a 19-style sans with almost no contrast, and vertical or horizontal terminal endings; includes a variable font), Berina (a 6-style display family), Mersin (a 20 style sans and a two-axis variable font), Bahar (an 18-style sans inspired by Souvenir and Cooper Black), Stadiona (a heavy condensed organic sans that was inspired by Bauhaus), Ancyra (a 48-style sharp-edged and thorny-serifed serif family), Salda Soft (a 20-style rounded sans family).

    Typefaces from 2022: Multipa (a 22-style condensed rather formal sans). [Google] [MyFonts] [More]  ⦿

    Huy Fonts
    [Juan José Lopez]

    Huy Fonts is a foundry in Madrid run by Juan José Lopez. In 2016, he designed the great poster typeface Black Pack, which is inspired by the odd bold plastic shops signs from the 60s and 70s.

    With Inés Atienza, Juanjo designed the multilayered and/or chromatic circus font family Show (2014). Influenced by chromatic letterpress types, it is based on a type family called Concave, a Victorian type launched in 1884 by the foundry Marder, Luse & Co. Inés Atienza and Juanjo López are members of the Familia Plomez association, a small printshop based in Madrid that devote their efforts to promote everything about letterpress printing, calligraphy, and lettering.

    Lopez made Choriza and Choriza Sans (2013: sausage-inspired type), Adoquin (2013), the informal sketchified family Bodoniez (2011), Chiripa (2011, hand-printed), Hands Up (2011, various hands, including "thumbs up", "a OK", "the finger", and fists), Paquita Pro (2011, informal lettering; this children's book font was remodeled in 2016 as Paquita Next), Ultramarina (2011, a quaint face based on wood type headline examples), and Pichi (2011).

    Designer of the Scotch modern typeface Schotis Text (2017), the cartoon font family Xunga (2017) and the angular text typeface family Pliego.

    Earlier, Lopez was a T-shirt designer, who also used the name Juanjo Lopez. Old page of Juanjez Nikis.

    At Dafont, one could download the headline handwriting font Paquita (2006), a predecessor of Paquita Pro. See alo Fontstore / Fontshare's Paquito (2017).

    In 2021, he released the 70-strong thick-and-thin poster sans typeface Rotulo, which was inspired by Jano's Spanish movie posters. Later in 2021, he designed Graveur (he writes: Graveur is a Renaissance style text face based in the work of the French punchcutter Robert Granjon (1513-1589). Working on original artifacts kept in Museum Plantin-Moretus in Antwerp, observation of his punches, matrices and printed materials resulted in a extense type family that tries to capture the overall style of Granjon rather than simply being a slavish copy of a particular source. Started as my project at Expert Class in Type Design in Antwerp, Graveur has grown to become a typeface with four optical sizes and seven weights, plus italics and an ornaments font. It also has variable font).

    Klingspor link. Home page. I Love Typography link. Behance link.

    View Juanjo Lopez's typefaces. [Google] [MyFonts] [More]  ⦿

    Hyber Type
    [Pascal Huber]

    Graduate of Hochschule Trier (Germany), class of 2019. During his Masters studies at Hochschule Trier, Germany, Pascal Huber designed the variable font family Ludwig (2020), a typeface inspired by Ludwig Sütterlin's script and American gothic fonts. This typeface was released in 2020 as Ludwig Sans. [Google] [MyFonts] [More]  ⦿

    I Can Variable Font

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

    I Wayan Bill Natih
    [Balibilly Design]

    [MyFonts] [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.

    In 2021, Google Fonts added various multilingual versions of IBM PLex: IBM Plex Sans Devanagari (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Erin McLaughlin), IBM Plex Sans Arabic (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Wael Morcos, Khajak Apelian), IBM Plex Sans Hebrew (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Yanek Iontef), IBM Plex Sans KR (by Mike Abbink; Paul van der Laan; Pieter van Rosmalen; Wujin Sim; Chorong Kim; Dohee Lee), IBM Plex Sans Thai (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Ben Mitchell, Mark Frömberg), IBM Plex Sans Thai Looped (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Ben Mitchell, Mark Frömberg).

    Google Fonts link. [Google] [More]  ⦿

    Identitype

    Typefoundery, est. 2016 located in Aceh, Indonesia. Publisher of the signage typeface Specta Retro Script (2018, by Hendra Maulia and Aulia Rahman).

    In 2019, they released the decorative didone typeface Matao Serif, which was designed by Aulia Rahman and Hendra Maulia.

    Typefaces from 2020: Nagaiya (a 15-style display sans (+a variable cut) characterized by sharp spurs; by Aulia Rahman and Hendra Maulia).

    Typefaces from 2021: Magtis (a 10-style retro fashion mag serif by Aulia Rahman and Hendra Maulia), Cigra (a decorative serif by Aulia Rahman and Hendra Maulia).

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

    Ilya Bazhanov

    Artist and type and graphic designer. His fascination with street art has led him to typography and visual arts. Ilya received a diploma in graphic design from the Russian-British Institute of Management (Chelyabinsk, Russia). He graduated from the Faculty of Arts and Design at UJEP (Usti nad Labem, Czechia). He also studied at the HSD University of Applied Sciences in Düsseldorf, Germany, and at the Graduate School of Applied Arts in Prague, UMPRUM. His typefaces cover Latin and Cyrillic:

    • Thaw. Awarded by Modern Cyrillic 2019.
    • At Type Tomorrow, he published the variable dot matrix typeface Dusseldot (2020) together with Maks Barbulovic.
    • FUD Grotesk (2020, Type Tomorrow). Described as Closed (sometimes completely closed) narrow brutalist sans serif with wild ligatures.
    [Google] [More]  ⦿

    Ilya Naumoff

    Also Ilya Naumov, b. Russia. 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.
    • Factor A (2020). A variable geometric sans typeface at Type Tomorrow.
    • Supreme (2016-2021, by Jérémie Hornus and Ilya Naumoff at Fontshare). A 14-style engineering sans with straight-sided almost monolinear letters.

    Type Tomorrow link. [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. A Fatface weight was added in 2020, and the font family is now entirely free.
    • 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. Google Fonts link for Bodoni Moda (2020; 64 styles). Bodoni Moda has optical choices in the static fonts, and is accompanied by a 2-axis (weight, italic) variable font. Github link.
    • Jones (2016).
    • Miedinger (2015). A clone of Helvetica. Only two weights were ever finished. Github link.
    • 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).
    • Railroad Gothic CC (2020, at the Cowboy Collective).
    • Engraving CC (2020, at the Cowboy Collective).
    • Tiffany Gothic CC (2020, at the Cowboy Collective).
    • Drafting Mono (2021). A typewriter-like font but in which slabs are added not just to the lower case i and l as was the practice in the past. In eight styles.

    Aka Ewon Rael. Github link. Another Github link. FontSpring link. Facebook page. Fontsquirrel link. [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), Ainslie Sans (2014) and Ainslie Contrast (2020: a 42-style sans).
    • 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).
    • Cartes (2020). A charming 54-style family with chancery ascenders, and a roaring twenties handcrafted appeal.
    • 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).
    • Evalfey (2021). Formal calligraphic.
    • 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. Followed by Mandrel Didone (2021: a 54-style didone).
    • 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 Script (2008) is a monolinear retro script.
    • Pershal (2021). A 54-style family, described as an oddball sans.
    • 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).
    • Radona (2021). A 54-style geometric sans described as the typeface version of Synthwave.
    • 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), Sancoale Gothic (2022: 48 styles; a subdued and calming version of Sancoale, with quiet futurism).
    • Sangli (2015). A 54-style rounded organic sans typeface family.
    • Savigny (2011). Images: Savigny Black Extened, Savigny Regular Condensed.
    • Savory Paste (2007). Grunge.
    • Schorel (2019). A 54-style Scotch roman.
    • Senlot (2018). A 54-strong sans family. In 2019, Senlot Sans and Senlot Serif (2019) were added. Senlot Didone followed in 2021.
    • Serofina (2010, a calligraphic face).
    • Shrike2003 (2003).
    • Sildetas (2010, a high-contrast script typeface with tear drop terminals).
    • Sociato (2022). A 54-style baroque text family with didone roots. The typeface was inspired by a declaration published during the French Revolution that extolled the development of a new religion, the cult of the Supreme Being.
    • Solitas (2015). A rounded 42-style geometric sans family. Followed by Solitas Slab (2015), Solitas Serif (2017) and Solitas Contrast (2021; a 42-style display sans family described as sensual by Jeremy Dooley).
    • 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).
    • Sophima (2021). A weathered script family.
    • Soprani (2020). A 54-font set with considerable flaring and thorny serifs, based on a vintage plaque from the 1920s.
    • 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. Terfens Contrast (2021) is an 48-style sans with calligraphic traits.
    • 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.
    • Vergils (2021). A 54-style sans that tries to instill the spirit of the eighties and electronic music genres like Synthview.
    • 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. Adobe link. [Google] [MyFonts] [More]  ⦿

    InstaVar

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

    Intelligent Design (was: Intelligent Foundry)
    [Kostas Bartsokas]

    Kostas Barstokas is a designer and illustrator in Thessaloniki, Greece, and in Leeds, UK. He set up Intelligent Foundry and later Intelligent Design in Leeds. He graduated from the MATD program in Type Design at the University of Reading in 2016. He worked as a senior typeface designer at URW in Hamburg and offered consultation in Greek script design for other foundries too. In 2021, Kostas Bartsokas, Mohamad Dakak and Pria Ravichandran set up Foundry 5 Limited.

    In 2011, he used FontStruct to make the counterless typeface UglyKost.

    In 2012, he created Kafalan Serif, a square-serifed typeface, and the accompanying Kafalan Sans, which are both available from Ten Dollar Fonts.

    Typefaces from 2013: Zona Black (a Latin-Greek geometric sans-serif black display typeface that was inspired by posters from the late 1920s), Zona Black Slab.

    In 2014, still in the same style, we find Zona Pro in weights from Hairline to Black. Ridewell (2014) is a wood type inspired 1800-glyph typeface with many opentype features including foremost interlocking pairs of characters. It comes with Ridewell Print, which emulates the degradation of letterpress.

    In 2015, he designed the geometric sans typeface family Averta and Averta Standard. Averta CY won an award at Granshan 2017 in the Cyrillic category.

    He writes about his University of Reading graduation typeface, Eqil (2016): Eqil is a multiscript type family for extensive texts. It is conceived as a typographic system wise enough to respond to complex publishing challenges. It consists of a range of styles and its quiet personality transforms and gets louder as the intended sizes increase. Eqil identifies as an elegant contemporary take on transitional types. It does not intend to be a showstopper, instead it aspires to be the lever that silently elevates the content. The combination of straights and curves creates a dynamic yet fluid character and the relatively low contrast gives it a slightly dark and warm texture on the page. The four scripts, Latin, Arabic, Cyrillic, and Greek, were designed to work harmoniously together without compromising each scripts historical and individual characteristics. Eqil won an award at Granshan 2016 in the Latin / Cyrillic category.

    His super-fat free typeface Oi (2017) is described as a Clarendonesque on steroids. Commercial version of Oi!. Oi won an award at TDC Typeface Design 2018. In 2021, it became a free Google font. Github link.

    His big project in 2019 is the free 4-axis (weight, slant, flair, volume) variable font Commissioner. Google Fonts link. He writes: Commissioner is a low-contrast humanist sans-serif with almost classical proportions, conceived as a variable family. The family consists of three voices. The default style is a grotesque with straight stems. As the flair axis grows the straight grotesque terminals develop a swelling and become almost glyphic serifs and the joints become more idiosyncratic. The volume axis transforms the glyphic serifs to wedge-like ones. It supports Latin, Greek and Cyrillic. For an extension, see Heraclito (2020).

    Co-designer of Peridot Latin (2022: a 121-strong sans superfamily by Kostas Bartsokas and Pria Ravichandran) and Peridot PE (2022: a 121-style sans superfamily by Kostas Bartsokas and Pria Ravichandran designed for branding, display, corporate use, editorial and advertising; it covers Latin, Greek and Cyrillic).

    Buy at Ten Dollar Fonts, Hellofont, Creative Market, or MyFonts.

    Behance link. The Designers Foundry link. Github link. [Google] [MyFonts] [More]  ⦿

    Irene Vlachou
    [Irene Vlachou Type]

    [More]  ⦿

    Irene Vlachou Type
    [Irene Vlachou]

    Or Eirini Vlachou, b. 1981, who works between Athens and Bristol, UK. 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. 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. 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. 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 Variable, Portada Variable and Bree Variable. Her other type projects at Type Together include Adelle Mono, Adelle Greek, Adelle Sans Greek, Alverata Greek, Athelas Greek, and Literata Greek.
    • 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.

    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]  ⦿

    Irpan Maulana
    [Sabrtype (or: Sabr Creative)]

    [MyFonts] [More]  ⦿

    Isabella Chaeva

    Russian type designer called Olga Chaeva at MyFonts. She graduated from Moscow Academy of Print (former Moscow Printing Institute, now Moscow State University of Printing).

    Staff type designer of ParaType, where she worked on Pragmatica. Paratype writes: The typeface was designed at ParaType (ParaGraph) in 1989-2004 by Vladimir Yefimov and Olga Chaeva. A spin-off from Encyclopedia-4 type family of the Polygraphmash type design bureau (1987, Vladimir Yefimov and Isay Slutsker). Inspired by Helvetica (Neue Haas Grotesk) of Haas type foundry, 1957 by Eduard Hoffman and Max Miedinger. Based on the 19th century Grotesque designs, Helvetica brought a new level of mathematical accuracy to the sans serif category. Widely used for many applications, from magazines and books to advertising and headlines. Four basic styles of Pragmatica were developed in 1989 by Vladimir Yefimov. Eight additional styles were developed in 2003 by Olga Chaeva. Condensed styles were developed in 1993-2004 by Vladimir Yefimov, Alexander Tarbeev and Manvel Shmavonyan, with participation of Dmitry Kirsanov. Extended styles were developed in 2004 by Olga Chaeva and Manvel Shmavonyan.

    She made the Cyrillic version of Licko's Quartet (2003).

    She also created Engravers Gothic, an extended grotesque family (Paratype) based on the Bitstream original. In 2003, Isabella Chaeva added a Bold version. Other cyrillizations include FF Meta, ITC Officina Sans and Serif, and Bell Gothic (1999; after Bell Gothic, 1938, Chauncey H. Griffith). About Pragmatica, Paratype writes: The typeface was designed at ParaType (ParaGraph) in 1989-2004 by Vladimir Yefimov and Olga Chaeva. A spin-off from Encyclopedia-4 type family of the Polygraphmash type design bureau (1987, Vladimir Yefimov and Isay Slutsker). Inspired by Helvetica (Neue Haas Grotesk) of Haas type foundry, 1957 by Eduard Hoffman and Max Miedinger. Based on the 19th century Grotesque designs, Helvetica brought a new level of mathematical accuracy to the sans serif category. Widely used for many applications, from magazines and books to advertising and headlines. 4 basic styles of Pragmatica were developed in 1989 by Vladimir Yefimov. Eight additional styles were developed in 2003 by Olga Chaeva. Condensed styles were developed in 1993-2004 by Vladimir Yefimov, Alexander Tarbeev and Manvel Shmavonyan, with participation of Dmitry Kirsanov. Extended styles were developed in 2004 by Olga Chaeva and Manvel Shmavonyan. In 2006, she created the jagged script Jaggy (Paratype). In 2007, she added Vermicello (Paratype).

    Textbook New (2008, Paratype) is based on Bukvarnaya (TextBook) photocomposing version designed in 1987 by Emma Zakharova. The initial Bukvarnaya for metal composition was created at Polygraphmash in 1958 by Elena Tsaregorodtseva. It was developed for primers and the first level school textbooks. An early sans serif (Grotesque) with half-closed static letterforms.

    Kuenstler 165 (2008, Paratype) was extended by Isabella Chaeva: Two weights of Cyrillic version including alternative lc characters were developed by Isabella Chaeva and released in 2008 by ParaType.

    In 2010, Vladimir Yefimov and Isabella Chaeva extended and cyrillicized Kuenstler 480 (Bitstream) at Paratype, which in turn was the digital version of Trump Mediaeval (Georg Trump, 1954-1960).

    In 2011, she created the lovely curly swashy script typeface Rosabella (ParaType).

    Together with Isabella Chaeva, she made PT Mono (2012, Google Web Fonts).

    In 2013, Isabella Chaeva and Vladimir Yefimov created a Cyrillic version of Roundhand BT (1966, Matthew Carter) for ParaType.

    In 2014, she co-designed Stem, a geometric large x-height Latin / Cyrillic sans serif with optical sizing, with Alexandra Korolkova and Maria Selezeneva at Paratype. This was followed in 2015 by Stem Text.

    Codesigner of Kudryashev Display (2015, Isabella Chaeva, Alexandra Korolkova and Olga Umpeleva). Kudryashev Display is a set of light and high-contrast typefaces based on Kudryashev text typeface. In addition to Kudryashev Display and Kudryashev Headline typefaces, the type family includes also two Peignotian sans-serif typefaces of the same weight and contrast, with some alternates. The serif styles were designed by Olga Umpeleva in 2011, the sans styles were created by Isabella Chaeva in 2015 with the participation of Alexandra Korolkova.

    In 2020, she released the chancery-style humanist italic typeface Reed and Titul (a titling font family that includes an engraved money font, and solid and blackboard bold styles) at Paratype.

    In 2021, Paratype designers Isabella Chaeva, Vasily Biryukov and Alexander Lubovenko created DIN 2014 Rounded, an extension of the industrial sans serif DIN 2014. The six-style typeface supports all European languages based on Latin, Cyrillic, and Asian Cyrillic (Tatar, Kazakh and Kyrgyz) and has a variable version.

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

    Isabelle Rudström-Österlund
    [Familjen Sthlm]

    [More]  ⦿

    Ivan Castro

    Codesigner with Jordi Embodas of Bubble Witch Saga (2013), a font that is used in some Android video games. It can be downloaded here.

    In 2019, Ivan Castro and the Omnibus team designed the interlocking vernacular sans typeface family Truculenta. Truculenta Dirty comes with 40 original pictograms drawn by Eva Sanz. Github link. In 2021, Truculenta was added to Google Fonts as a variable font with optical size, weight and width axes. [Google] [More]  ⦿

    Ivo Gabrowitsch
    [Fontwerk.com]

    [More]  ⦿

    J Foundry (was: Greyscale Type)
    [Jason Vandenberg]

    Jason Vandenberg (Greyscale Type and later J Foundry, Toronto) created the 8-style Grey Sans family in 2013. Gia Tran and Jason Vandenberg created the decorative typeface Ella FY (2013, Fontyou). The slender display typeface Sérafine FY (2013) was co-designed by Jason Vandenberg, Jérémie Hornus and Alisa Nowak. At the end of 2013, Jason Vandenberg and Jérémie Hornus co-designed the groovy poster typeface Jack FY.

    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.

    Minuit FY (2014, by Jason Vandenberg and Gia Tran) is a beautiful angular angry calligraphic display typeface. Still in 2014, he published the Peignotian fashion mag typeface families Bodoni Sans, Bodoni Sans Display, and Bodoni Sans Text.

    Typefaces from 2015: Abrade (a 12-style geometric sans with medium x-height and perfect rhythm covering Hairline to Ultra).

    Typefaces from 2016: Fourth (a baseball or roundhand script family), Town (a 124-style all caps art deco and lettering typeface family with enormous potential). Town includes subfamilies for Display, Inline, Outline, Lines (prismatic), 3 Dimensional, Shadow, Text, Emboss, Stencil, Chic and Contrast, and can be used for layering.

    Typefaces from 2017: Colby (a workhorse hand-drawn sans family).

    Typefaces from 2018: Stash (signage script).

    Typefaces from 2019: Marsden (114 styles: a bold, no-nonsense Grotesque. It was designed for display, branding, advertising, packaging or anywhere a strong voice is needed. Marsden is built on a geometric foundation, with just enough warmth to keep the style confident and lively).

    Typefaces from 2020: Mello (an informal grotesque).

    Typefaces from 2021: Cutmark (a 60-style octagonal industrial typeface family that features common 45 degree chamfered corners, flattened ink traps and wide apex forms; Cutmark Variable contains the full family of styles in a single file with width, weight and slant axes).

    Typefaces from 2022: Sundry (44 styles; J Foundry's take on the early 20th century grotesque).

    Fontspring link. Behance link. Monotype link. [Google] [MyFonts] [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]  ⦿

    Jacques Le Bailly
    [Baron von Fonthausen]

    [MyFonts] [More]  ⦿

    James T. Edmondson
    [Oh No Type]

    [More]  ⦿

    Jan Burchiellaro Falinski

    Senior brand designer in Milan, Italy. His typefaces:

    • Ygro Sans (2021). A free grotesque typeface with inktraps.
    • A logotype for the city of Istanbul (2020).
    • An experimental variable font with two axes, geometry and tone of voice (2019).
    • An icon font for the real estate company Dovevivo (2018).
    [Google] [More]  ⦿

    Jan Estrada-Osmycki

    Jan Estrada-Osmycki is a Polish-Mexican designer, visual artist and musician, and member of the Zbiorowy art group. He composes and produces music under the Bass Jan Other moniker.

    Warsaw-based creator of the high-contrast bespoke typeface Edit2010 (2010). At Three Dots Type, he designed Sudety (2018). In 2019, he published Telecom, a fiercefully avant garde experimental space age typeface.

    At The Designers Foundry, he published the text typeface family Wulkan Display (2019).

    Halisa (2021, The Designers Foundry) is a 60-style collection of semi-constructed grotesque typefaces with an industrial origin and mechanical character. Featuring super-elliptical curves, its designer is not identified on the web site. Halisa also features some variable format typefaces. [Google] [MyFonts] [More]  ⦿

    Jan Falinski

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

    Jan Fromm

    Jan Fromm (b. 1976, Berlin) is a freelance graphic designer who has studied graphic design at the University of Applied Science in Potsdam. He works in the fields of illustration, web, corporate and type design for several firms in Berlin. Since 2004 he has worked for Luc(as) de Groot at FontFabrik.

    He created the legible and very simple sans family Camingo (2006: 7 weights, 56 styles in all; read comments), Camingo Dos (2008, 28 styles, elliptic roundings), CamingoDos Condensed and SemiCondensed (each with a further 28 styles), Camingo Dos Office (2011), Camingo Code (2013, a free family for programming), Camingo Mono (2013) and Camingo Slab (2017).

    Rooney (2010) is a warm rounded serif family. Rooney Sans (2012) is a rounded humanist sans.

    In 2015, he published the 16-style sturdy subtly stressed sans family Komet (and Komet Pro).

    In 2019, he released Capito at Future Fonts: Capito originates from experimenting with different angles of the broad nib pen, in order to find the right form for a sturdy and readable serif typeface. As a result, Capito has a slightly reversed contrast that emphasizes the horizontal flow, while preserving the character and readability of classical serif letters.

    In 2022, Jan Fromm released the versatile (variable) type system Nice at Fontwerk. Nice transports the baroque aesthetic to 2022, and includes four optical sizes and 56 styles in total. Proof&Co writes that Nice is a real masterclass in serif design.

    FontHaus link. . Behance link. Future Fonts link.

    View Jan Fromm's typefaces. [Google] [MyFonts] [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.

    Graduate of the TypeMedia program at the Royal Academy of Art (KABK) in Den Haag, The Netherlands, class of 2020. His graduation typeface there was Gabion, a text and display family.

    Between 2018 and 2020, he developed the script typeface Afrikola.

    Typefaces from 2021: Rotor (experimental; static and variable).

    Future Fonts link. [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]  ⦿

    Jason Vandenberg
    [J Foundry (was: Greyscale Type)]

    [MyFonts] [More]  ⦿

    Jayanth Nune
    [Pastelle Pyrex]

    [More]  ⦿

    Jayanth Nune
    [Pastelle Pyrex]

    [More]  ⦿

    Jérémie Hornus
    [Black Foundry]

    [MyFonts] [More]  ⦿

    Jérémy Landes
    [Studio Triple]

    [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]  ⦿

    Jen Wagner

    Jennifer Wagner (Nashville, TN; was: Denver, CO) designed these typefaces:

    • In 2022: Essential Sans (16 styles and one variable font), California Coast (a bold display serif), Casa Sol.
    • In 2021: Avanti (script), Mezcal (a thin display serif), Runaways, Levitate (an experimental sans and serif combination), Barnaby (a 2-style text typeface), Montmartre (a display serif), Kyrie (a display serif), Bonne Nuit (script).
    • In 2020: Violet, Ostuni (script), Larkspur (a fat finger font), Amora, Bastia (a transitional typeface), Oliver Label, Palmer Lake.
    • In 2019: Rylan, Margo, Palmer, Tangerine Skies (font duo), Halifax, Capri (Sans, Serif), Lyon (Sans, Script), Paris (Sans, Script), Noelle (a wedge serif), Rylan, Norfolk.
    • In 2018: Sorrento, Folsom (sans), Modena, Versailles, Albany, Osaka, Phoenix (a geometric sans family), Amaro (script), Sucre (condensed sans), Paris (SVG font duo), Laguna Beach (font duo), San Clemente (script), London (luxurious style), Rome (sans), Dallas (vintage sans), Calgary, Wink Wink (font duo), Nashville, Adelaide, Bordeaux (script), Oxford (sans).
    • In 2017: Milan (vintage sans), Prague, Sydney (font duo), Manhattan (high contrast city chic), San Diego (informal sans), Newport (brush script), Joshua Tree, Charleston (signature script), Knoxville, Malibu, Bronx (blackboard bold), Stockholm (sans), Ontario (four-layer sans), Tokyo (sans), Rochester (handcrafted), Brisbane (script), Florence (script), Montauk (all caps), Brooklyn (sans).
    • In 2016: Aleppo, Edinburgh (a didone), Paris (a heavy brush typeface), Christmas Town (handcrafted), Glasgow, Austin, North Pole, Chicago (handcrafted), Oceanside (a great romantic brush script), Louisville, Los Angeles (avant garde sans), Kingsland (a vintage sans), Baton Rouge, Venice (fashion mag style), Nashville (handcrafted), Manhattan (an all caps didone), Anchorage (sans), Athens (minimalist sans), Santa Barbara, Orlando, Jackson Script, Denver, the avant garde typeface Sacramento, the brush typeface Atlanta, the sans typefaces Pasadena, Vancouver and Portland, Portland Serif, the stencil typeface Faroe and the handcrafted typefaces Seattle, Dana Point and Honolulu.
    [Google] [MyFonts] [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]  ⦿

    Jens Kutilek

    Jens Kutilek studied Communication Design in Braunschweig. After graduating he founded the web design agency Netzallee. He works at the font technology department at the Berlin office of FSI (FontShop International) since 2007. Jens Kutilek had a small typology page proving that Arial is not Helvetica, Courier is not Courier New, and Times-Roman is not Times-New Roman. That page disappeared. His typefaces:

    • Azuro (2011). Designed by Georg Seifert and fine-tuned by Jens Kutilek, and published by FontShop.
    • Bulette Bold (2008). A fat octagonal / mechanical design.
    • The free font Comic Jens (2007-2009), a free alternative to Comic Sans: see here. See also the update Comic Jens UI (2014).
    • Conta: A coding font. Monospaced and proportional variants, italics.
    • The sturdy 6-style typeface family FF Hertz (2015) that was influenced by German cartographic alphabets.
    • FF Uberhand. An 11 style marker pen font family---casual and informal---that could serve as a replacement and improvement of Comic Sans.
    • Grotesk 812: A condensed grotesque typeface.
    • Helvers (2011). A blend of Univers and Helvetica.
    • Homecomputer (2019). Two-axis variable interpretations of monospaced pixel fonts for the Commodore 64 and Amiga home computer systems from the 1980s, with adjustable effects to simulate artifacts of old CRT displays. Github link for the open source fonts. Particular fonts include Workbench and Sixtyfour.
    • Malerblock: A signpainter's typeface.
    • Mergenthaler Antiqua (2012). A digitization of a forgotten typeface by Hermann Zapf.
    • Pathos: A monumental sans-serif with classical proportions.
    • Selectric Century: A digitization of the Century typeface from IBM's Selectric Composer.
    • Soccer Sans: A constructivist sans with extra low legibility. Ideal for soccer kits.
    • Stecker: A typeface made of round elements.
    • Sudo (2009-2013). A programming font family developed from Experimental 710.
    • Topography: A version of the classic German cartography typeface.

    Github page with many of his unfnished typefaces. Github page with free programming and system fonts such as Arimo, Clear, Cousine, Droid, Fira, Material Icons, Noto, Open, Roboto, Source, Special Elite, Tinos, and WinJS Symbols. [Google] [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Jeremy Johnson
    [Forme Type]

    [MyFonts] [More]  ⦿

    Jeremy Mickel
    [MCKL (was: Mickel Design)]

    [More]  ⦿

    Jeruel Aaron Amar

    Designer from Quezon City, The Philippines, b. 1993, who used FontStruct in 2009 to make Pointers and Pointersoft (pixel arrow fonts), Eleaves, AcidSpeed, Parallelofont (octagonal), Missing Block, Acid Square, The First Font, Danubee (organic), Thorns, ReilyBill Richkid, Tabloid, StillAliveForNow, StillAlive, and The Curve.

    In 2009, he added Unbranded, Nokia 6000, Quickening, Bump it up, Corte (3d shadow face), Unbranded, Piloton (techno; +Piloton G, 2012), Tahoma (pixel family), Raft, Paper Company (octagonal), Afro Style, Arko, 7th Service (stencil), Thorns, and Afro Superstar.

    In 2012, he created Afro Superstar, Malibata Neue, a modernized and simplified Baybayin/Alibata (ancient Filipino writing), Gumball. In 2014, he designed the free gravestone typeface Furgatorio and an ancient Filipino script font, Malibata (2014, FontStruct). In 2015, he added XOX, the futuristic Babayin typeface Maria Stellar, and the techno sans typefaces Dozer One and Dozer Two. In 2016, he designed the marker pen font Jeboy and the coffin font Furgatorio Sans.

    Typefaces from 2017: Alta (a fashion design sans).

    Typefaces from 2018: Matatas One (a free Baybayin typeface), Cubao (free; inspired by the signboards hanged on Jeepneys, SUVs, buses and other transport vehicles within and outside the Metro; in 2022, a variable font was added), Quiapo (handcrafted all caps sans), Alta Kratos (alchemic; with Jean Pierre Cruz). He explains the genesis of Quiapo which is based on signs hanging in jeepneys: Quiapo Free is a brush typeface dedicated to the Filipino sign makers, Jeepney drivers, and the daily commuters in the streets of Metro Manila and anywhere in the Philippines.

    Typefaces from 2019: Maria Stellar X (a futuristic font for Latin and Baybayin).

    Typefaces from 2020: Hayskul, Kawit (a brushed lava lamp font), Dangwa (brush script), HPB (a stylish all caps sans created for the Christian Fellowship Church founded in Plaridel, Bulacan, Philippines), and the Baybayin fonts Malibata Redux (prismatic), Titulo Tagalog, MKBYN Clara (cursive, pixelized), Malamaya.

    Typefaces from 2021: Goth Gothic (a free blackletter / tattoo font), Copula (a retro inline typeface). [Google] [More]  ⦿

    Jesse M. Ragan

    Originally from North Carolina (b. 1979), Jesse Ragan studied type design at Rhode Island School of Design. After college, Jesse designed typefaces at Hoefler&Frere-Jones, where he had a hand in Gotham, Archer, and several other families. Since 2005, he has worked independently in Brooklyn, developing typefaces and lettering for a variety of clients. His work can be found at Font Bureau, House Industries, and Darden Studio. He also teaches typeface design at Pratt Institute and Cooper Union. He won an award at Bukvaraz 2001 for Gotham, co-designed with Jonathan Hoefler and Tobias Frere-Jones. In 2017, he set up XYZ Type with Ben Kiel, who is based in Saint Louis, MO. XYZ Type is part of Type Network since 2018.

    His typefaces:

    • Afri Sans (2011). A custom typeface for the Museum for African Art in Manhattan.
    • Athenian Extended (2011). By Matteo Bologna and Jesse Ragan. This "playfully peculiar face" (their words) was custom designed for Typography 32, the annual of the Type Directors Club. A revival of the 19th century classic Athenian.
    • Cedar. An angular typeface designed during his studies at RISD. It was later published at XYZ Type.
    • Epiphany (2001). A hookish face.
    • Export (2012). A vernacular typeface based on signage seen in New York's Chinatown. This all caps typeface features square counters and comes with a stencil version.
    • Hoefler & Frere-Jones, 2001-2005. Assistance with the production of several typefaces at HFJ: As a full-time typeface designer for Hoefler & Frere-Jones from 2001 to 2005, I designed a full type family for Smirnoff Vodka (art directed by J. Walter Thompson and H&FJ). Working closely with Tobias Frere-Jones and Jonathan Hoefler on a number of other typefaces, I designed bits and pieces such as hairline weights, Italics, and news grades. These include Mercury, Chronicle, Hoefler Titling, Sentinel, Surveyor (2014)), Gotham, and Archer (a type family done for Martha Stewart Living and designed with Hoefler and Frere-Jones).
    • Omnes (2006). A monowidth rounded sans designed by Joshua Darden. Ragan assisted in the production and design process.
    • Ruzicka Collection (2012). Digital versions of the alphabets shown in Rudolf Ruzicka's 1968 portfolio Studies in Type Design. This collection led in 2018 to the robust 12-style typeface family Study at XYZ and in 2020 at MyFonts.
    • Showcard Stunt (2008). Lower case of a comic book/signage typeface originally drawn by Ken Barber, House Industries. Inspiration from Dom Casual (1950s, Peter Dombrezian).
    • Smirnoff (2003). A custom typeface commissioned by J. Walter Thompson for Smirnoff.
    • The Bruins (2006). An athletic lettering typeface commissioned by Reebok for The Boston Bruins in 2007-2008.
    • USA Today Condensed (2012). He writes: I designed this headline typeface for the dramatic relaunch of USA TODAY, which was overseen by Wolff Olins. The condensed style complements the paper's proprietary version of Futura, but without resorting to the familiar elliptical shapes of Futura Condensed.
    • V Magazine (2011). A condensed high-contrast fashion mag headline typeface done for V Magazine.
    • Carlstedt Script (2013, with Ben Kiel: a custom signage typeface for Aldo Shoes based on the handwriting of Swedish illustrator Cecilia Carlstedt). Cortado Script (2014) was designed by Jesse Ragan and Ben Kiel. It too was inspired by Cecilia Carlstedt's hand-painted lettering and is quite close to Carlstedt Script.
    • In 2017, Jesse Ragan published Aglet Slab and Export at XYZ Type. In 2019, he added Aglet Sans, and in 2020 Aglet Mono. The three Aglet families explore roundness. Aglet Mono, in particular is quite striking, and could be useful for programmers.
    • Escalator and Elevator (2021). Two multipurpose geometric sans families following in the footsteps of Block and Futura. Ragan writes: Escalator & Elevator grew from a client commission to replicate existing signage for the renovation of a landmark New York City skyscraper. They take inspiration from prefabricated letterforms of the 1950s, which manufacturers offered in so-called Block and Futura styles, by swapping in a few different shapes. Our interpretation increases the distinction between the two styles, pulling from surplus glyphs created for customizations of the design for other clients. No one really needs another geometric sans, but Escalator & Elevator claim their own aesthetic territories in an abundant genre. Both families are delivered as variable fonts, providing full access to a wide weight range. The optical size axis addresses the specific needs of different type sizes with adjustments to the structure, tapering, and spacing. From small text to the appropriately-named Huge, these typefaces evoke architectural lettering and the era of phototypesetting.
    • Polymode Sans (2021, by Jesse Ragan and Ben Kiel). A variable font with a realness axis.

    Interview. Behance link. Interview by Lovers Magazine. [Google] [MyFonts] [More]  ⦿

    Jessica Wonomihardjo

    Designer of the psychedelic typeface Fillmore during a workshop at Type Paris 2019. Fillmore is a variable serif font with eight different weights. The original brief she had was to create a font for Kitsunél Musique, a French electronic/indie pop rock music record label. For Fillmore, she drew inspiration for the psychedelic 1970s. [Google] [More]  ⦿

    Jetsmax (was: Riljs, or: Typograph Pro)
    [Khairil Anwar Husain]

    Khairil Anwar Hussein (or Ril Anwar, b. 1996) is the Makassar, Indonesia-based founder of Jetsmax in 2018. Designer of these typefaces in 2020:

    • Carefour (2020). A signature script.
    • Celebes Signature (2020).
    • Desolator (2020). A free variable sans typeface.
    • The upright script Fillpattern (2020).
    • Halgonak (2020). A handcrafted typeface by Novia Lorenza.
    • The handcrafted typefaces Halo Emak (2020) and Qawber Pro (2020).
    • Hiromaru Script (2020).
    • Hundred Wars (2020). An octagonal stencil cybertech typeface.
    • Huntsville (2020).
    • The display sans Massedi (2020).
    • The squarish Meja Block (2020).
    • Nekofie (2020). A 2-style sans.
    • Ryujin Attack (2021). A dry brush typeface.
    • Sirukota (2020). A free rounded sans typeface.
    • The stretchable futuristic typeface Stretch Pro (2020).

    Typefaces as of 2021: Alternative Rock, Amulman, Balmonde Script, Carefour Signature, Cinematica, City Series, Coojertown, Craftsman Work, Creative Designer, Delmano Morelli, Erangel Field, Gellato, Halgonak, Hundred Wars, Hunian, Huntsville, Hynole, Javanesia (psychedelic), Just Bubble (a bubblegum typeface), Jx Tabe (a chamfered techno font in 54 styles), Kaidomaru, Kingdom Storia, Lagosi (a 15-style lava lamp typeface), Lylac, Malino Candy, Marcondensed, Markisa, Melt Fuji, My Leaf, Nimora, Nordille, Obstacle, Pixelated Display, Priska, Ryujin Attack, Sirukota, Stretch Pro, Studio Grotesk (a 5-style techno font), Summer Vacation, Taki, Veztro, Wanderism, Wedding Song.

    Creative Fabrica link. Jetsmax home. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

    Jiayu Liu
    [Tensen Type]

    [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: Asangha (90 styles), Luktao (rounded and elliptical, for Latin and Thai). Uturna Round, Banburi (a creamy display typeface), Namasakarn (a soft serif), Monradok (a rounded sans for Latin and Thai), Dumondi (a rounded casual sans), Prachason (a Latin/Thai sans family), Prachamati.

    Typefaces from 2021: Dimsum (oriental emulation), Prachason Neue, Athachantr (a Latin/Thai didone family), Kitchakan (a condensed sans), Mommi (a soft bold sans), Yodnam (a teardrop-themed font), Cakerolli, Jella (a supermarket font), Biski (a rounded supermarket sans).

    Typefaces from 2022: Anachak (an 18-style squarish sans), Santiphap (a slab serif), Jaturat (octagonal), Pcast (an 18-style squarish sans), Opkrop (an 18-style packaging sans), Phongphrai. [Google] [MyFonts] [More]  ⦿

    Joao Cracel
    [Craceltype]

    [MyFonts] [More]  ⦿

    Joe Leadbeater

    Londoner who studied in Leeds, UK. Designer of the text typeface Madison (2014) and the vintage typeface Clothworker (2015).

    In 2018, Joe Leadbeater and Mark Bloom co-designed the 14-weight sans typeface family Aeonik, which supports Latin, Greek and Cyrillic, and is accompanied by a variable font. Followed in 2022 by Aeonik Mono.

    At some point before 2019, Joe Leadbeater and Mark Bloom founded CoType Foundry.

    In 2021, he became part of Socio Type in London. At Socio Type, he designed these typefaces:

    • Gestura (2021). A serif with three optical sizes, Text, Headline and Display.
    • Rework (2021). A sans with four optical sizes, Micro, Text, Headline and Display.
    [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
    [Swell Type]

    [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?rfsn=6624869.6993508">, 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: FX Machina (squarish, octagonal), Origin Story, Cybervox, 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.

    Typefaces from 2021: Ultimatum MFV (a 21-style chamfered military typeface family including several stencil fonts), Grim N Gritty, Richard Starkings Brush (a comic book typeface by Richard Starkings and John Roshell), Scoundrel (a comic book face by Richard Starkings and John Roshell), Tall Tales (a fat finger font).

    Typefaces from 2022: Beyond Belief.

    Klingspor link. FontShop link.

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

    Jolicia Type
    [Dyaharum Pungki Revitasari]

    Yogyakarta, Indonesia-based designer (b. 1992) of the all caps display typeface family Jello Chlour (2020) and the script typeface Butterfly (2020).

    In 2021, she released JT Olifer (a 40-style sans family with exaggerated ink traps; by Laire Banyu and Dyaharum Pungki Revitasari), Thamepalms (a dashing rabbit ear script), Molex Shoora (a 14-style decorative typeface with elephant feet), Gretha (a 14-style hipster serif accompanied by a variable font; by Laire Banyu and Dyaharum Pungki Revitasari), Louis Felligri (a 15-style display typeface, with variable font support, by Laire Banyu and Dyaharum Pungki Revitasari), Le Baffec (an 18-style decorative serif by Laire Banyu and Dyaharum Pungki Revitasari), Le Buffec (similar to Le Baffec), Colibre Bristole Pro (a stylish serif typeface family in nine styles by Laire Banyu and Dyaharum Pungki Revitasari), Floe (a compressed font for hardliners), and an attractive museum style serif typeface, Algeron.

    Type Department link. [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]  ⦿

    Joona Louhi

    Joona Louhi is a freelance type designer currently based in Helsinki. Graduate of the Type Media program at KABK in Den Haag, The Netherlands, class of 2019. His graduation typeface, Maneuver, is a joyful and masterful experiment in display type, a genre made fashionable by David Jonathan Ross that characterizes the second decade of the 21st century. Maneuver is a three-axis variable font. Before Type and Media, he earned a bachelor's degree in Packaging and Brand Design from Lahti Institute of Design and worked for several years as a graphic designer with a focus in branding. At Future Fonts, he showcases an outgrowth of his Type Media project, now renamed Louche.

    Typefaces from 2021: Dolph (a faux monospaced monolinear rounded sans).

    Future Fonts link. [Google] [More]  ⦿

    Jorge Gutierrez Marco

    As a student at ESNE in Madrid, Spain, Jorge Gutierrez Marco designed the free monoline variable sans typeface Devanesa (2020), with a "1" that looks like a "J". [Google] [More]  ⦿

    José Scaglione

    José Scaglione (b. Rosario, Argentina, 1974) is a graduate of the MA program of the University of Reading, 2005. He was co-founder and art director of Vision Media Design Studio in Argentina and Multiplicity Advertising in USA; and he was a part-time lecturer for four years at the Visual Comunications Institute of Rosario, teaching design for the internet. He lectured on typography at post-graduate level at the National University of Rosario and presently teaches at the at the University of Buenos Aires. He runs his own design studio, specializing in editorial design and branding. In 2006, he started Type Together with Veronika Burian. In 2013, he became President of ATypI.

    His books include Cómo crear tipografías. Del boceto a la pantalla, and Introducción al estudio de la tipografía (in collaboration with Jorge de Buen Unna). His fonts:

    • Abril (2010) is a didone font family engineered mainly for newspapers and magazines that features friendly and elegant styles for headlines and robust and economic styles for text. It won an award at Tipos Latinos 2012. Abril Fatface is free at Google Font Directory. Abril Titling was published in 2013.
    • Fabula (2005), about which he writes: Based on a series of drawings by Sue Walker and originally digitized by Vinnie Connaire, Fabula is the new display typeface for the cover of Collins Children Dictionaries. Its basic monolinear structure and stroke economy are the foundation for this typeface.
    • OUP Math&Pi: This Math and Pi font was designed to match the typefaces used by Paul Luna and Nadja Guggi in the new design of the Oxford University Press Dictionaries: Argo and Swift, designed by Gerard Unger.
    • With Veronika Burian, he designed the text typeface TT Carmina (2006). This morphed into Karmina Serif (2007), a complete text family, and later Karmina Sans (released in 2009, 12 styles). Karmina was selected in the text typography category at the Letras Latinas exhibition 2006 and won a merit in the European-wide ED-Awards competition 2007, and at Tipos Latinos 2010. Karmina, Bree and Ronnia were selected as part of the travelling exhibition Tipos Latinos 2008.
    • Athelas (2006), an outgrowth of his studies at Reading. It now ships with Apple's Mavericks OS.
    • Ronnia (2007), designed with Veronika Burian at Type Together: a humanist sans family.
    • Bree (2008, with Veronika Burian): a 5-style display sans with a cursive a and e.
    • Adelle (2009, with Veronika Burian): a 12-style slab serif engineered for intensive editorial use. Adelle Mono was added in 2020.
    • The Google web font Jockey One (2011, with Veronika Burian).
    • Tablet Gothic (2012). A joint design of Veronika Burian and José Scaglione, it is a grotesque meant for titling.
    • In 2015, Veronika Burian and José Scaglione finally published the 18-style editorial sans typeface family Ebony.
    • In 2016, Veronika Burian and José Scaglione co-designed Portada, a sturdy serif typeface family for use on screen and small devices. It comes with an extensive free set of icons. Winner at Tipos Latinos 2018 of a type design award for Portdada.
    • Protipo (2018) is a large information design sans family designed by Veronika Burian and José Scaglione.
    • In 2019, Type Together released Catalpa (Veronkia Burian, Jose Scaglione, Azza Alameddine) and wrote: Primed for headlines, Catalpa is designed to give words bulk and width and gravity itself. The Catalpa font family is José Scaglione and Veronika Burian's wood type inspired design for an overwhelming headline presence.
    • In 2021, Veronika Burian and José Scaglione designed Belarius, a three-axis variable family that shifts from sans to slab serif, from condensed to expanded widths, and includes every possibility in between. Published by Type Together in 2021, it was developed under the guidance of Veronika Burian and José Scaglione, with type design by Azza Alameddine and Pooja Saxena, and additional kerning and engineering help from Radek Sidun, Joancarles Casasin and Irene Vlachou.

    Karmina, Bree and Ronnia, all co-designed with Veronika Burian, won awards for extensive text families at Tipos Latinos 2008. Karmina won an ED Award in 2007 and Athelas won a first prize in the Gransham competition 2008. Bree won a bronze award in the 2009 edition of the ED Awards competition. Bree Serif (2009) won an award at Tipos Latinos 2014. Abril wan gold at the ED Awards.

    Coauthor of these books:

    Speaker at ATypi 2006 in Lisbon, the Third International Conference on Typography and Graphic Communication in Thessaloniki 2007, 3CIT in Valencia, and ATypI 2008 in St. Petersburg, where his talk was entitled From laser printer to offset press. Speaker at ATypI 2009 in Mexico City, where his talk (with Andreu Balius) is entitled A sign to convey sound. Speaker at ATypI 2017 Montreal.

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

    Jovana Jocic

    Jovana Jocic is a type and graphic designer from Belgrade, Serbia. After obtaining both a BA and MA in Graphic Design at the University of Applied Arts in Belgrade, Jovana joined TypeMedia program at the Royal Academy of Art (KABK) in Den Haag, The Netherlands, class of 2020. For her graduation project, she designed the Cyrillic / Latin wayfinding font Petria: Petria is a signage typeface inspired by old Art Nouveu signs and overall art movement present ion the Balkans in the early 20th century. Its Roman and Italic were born out of the idea of designing a type family that would be used for street signage and way-finding for the city of Belgrade, Serbia.

    In 2020, Jovana joined Neil Summerour's Positype Flourish.

    In 2021, Jovana Jocic drew Forma DJR Cyrillic, adapting David Jonathan Ross's and Roger Black's Forma, which in turn was a revival of Nebiolo's famous sans typeface, Forma. Forma DJR Cyrillic is currently available in Extra Light, Light, Regular, Medium, and Bold weights, including all size-specific variants as well as variable fonts. [Google] [More]  ⦿

    jpFonts

    German type foundry and type engineering company founded in Hamburg in 2021 by Peter Rosenfeld, Volker Schnebel and Juergen Willrodt, after their former employer, URW, was absorbed by Monotype. Their typefaces:

    • Bartosh (2021, Volker Schnebel). An organic sans.
    • DIN Vario (2021, Volker Schnebel). A 3-axis variable version of DIN.
    • Vernacular Clarendon, Vernacular Serif, and Vernacular Sans (2021, H.-J. Hunziker and Volker Schnebel).
    • Hanyi. A full collection of Chinese fonts: HY Bai Qi Jian, HY Bai Qing Jian, HY Cai Die Jian, HY Cai Yun Jian, HY Chang Mei Hei Jian, HY Chang Yi Jian, HY Chen Pin Jian, HY Da Li Shu Jian, HY Dai Yu Jian, HY Deng Xian, HY Die Yu Jian, HY Du Du Jian, HY Fang Die Jian, HY Fang Li Jian, HY Fang Song, HY Gan Lan Jian, HY Ha Ha Jian, HY Hai Yun Jian, HY Hei, HY Hei Mi Jian, HY Hei Qi Jian, HY Hu Po Jian, HY Hua Die Jian, HY Huo Chai Jian, HY Jia Shu Jian, HY Kai Ti, HY Li Hei Jian, HY Ling Bo Jian, HY Ling Xin Jian, HY Luo Bo Jian, HY Man Bu Jian, HY Mi Mi Jian, HY Nan Gong Jian, HY Qing Yun Jian, HY Shen Gong Jian, HY Shou Jin Shu Jian, HY Shu Hun Jian, HY Shu Tong Jian, HY Shuang Xian Jian, HY Shui Bo Jian, HY Shui Di Jian, HY Song, HY Tai Ji Jian, HY Wa Wa Zhuan Jian, HY Wei Bei Jian, HY Xiao Li Shu Jian, HY Xing Kai, HY Xing Shi Jian, HY Xiu Ying Jian, HY Xue Feng Jian, HY Xue Jun Jian, HY Ya Ya Jian, HY Yan Ling Jian, HY Yuan, HY Yuan Die Jian, HY Zhong Li Shu Jian, HY Zhu Jie Jian, HY Zong Yi Jian.
    • Tensen Type. A full collection of Chinese fonts from the Beijing-based company, Tensen Type: TX Cao Shu, TX ChaoHei, TX ChaoYuan, TX FanKai, TX GangBi, TX Hei, TX Hei VF, TX JianDu, TX JinZhuanHei, TX KaTong, TX LingHei, TX MaiHei, TX MingKe, TX Qian, TX RuiHei, TX ShiTou, TX Shu Song, TX SongTi VF, TX TieKai, TX XianBo, TX XingKai, TX YingLi, TX YouEr, TX Yuan, TX ZhiHei, TX ZhiLi.
    [Google] [More]  ⦿

    Juan José Lopez
    [Huy Fonts]

    [MyFonts] [More]  ⦿

    Julien Fincker

    Julien Fincker is a French designer in Stuttgart, Germany, where he is art director at Sieber & Wolf. In 2018, he designed the great art deco typeface Bourget.

    In 2019, he published the soft geometric sans typeface Finador and the accompanying Finador Slab.

    In 2020, he published the 20-style text typeface Spitzkant and Spitzkant Variable, which are characterized by pointed sharp serifs and considerable contrast.

    Typefaces from 2021: Garino (a 20-style hipster sans, complete with coathanger lower case f), Ardena (a 20-style grotesk with vertical terminals), Ardena Variable. [Google] [MyFonts] [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), Kindergarten (a school font), 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).

    Typefaces from 2021: Just Pixo (a seven-weight pixacao font by Tony de Marco and Monica Rizzolli designed for monumental type sizes and vertical alignments, and released by Latinotype; +a variable font).

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

    Jürgen Huber
    [Supertype]

    [More]  ⦿

    Kadek Adi Mahardika
    [Creative Media Lab]

    [MyFonts] [More]  ⦿

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

    [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, and wrked briefly with Grilli Type.

    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.

    Co-designer with Loris Olivier and Noheul Lee of McQueen Superfamily (2020, at Fontwerk), a 20-style sans family. Fontwerk link. [Google] [More]  ⦿

    Kedar Gadge
    [Tall Chai]

    [MyFonts] [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]  ⦿

    Keya Vadgama

    Keya Vadgama (Pickering, Ontario) is a British born Gujarati-Canadian UX designer turned typeface designer. She previously attended Type@Cooper and has taught type and design at Sheridan College in Toronto. Keya is currently freelancing as a type designer at Black Foundry. Graduate of the MATD program at the University of Reading, class of 2020. Her typefaces:

    • The child-friendly Gujarati font Ojara Sans (2014).
    • Mango (2020). Her graduation typeface at Reading. Mango is a multi-script variable type family intended for short and long passages of text, ideal for documents employing interrupted and/or continuous reading using the Latin and Gujarati scripts.
    [Google] [More]  ⦿

    Khairil Anwar Husain
    [Jetsmax (was: Riljs, or: Typograph Pro)]

    [MyFonts] [More]  ⦿

    Kia Tasbihgou
    [Op. Cit. Ibid. (or: OCI)]

    [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 / Gurmukhi / Latin stone-cut variable typeface Chikki at Mota Italic. [Google] [More]  ⦿

    Kobuzan
    [Maksym Kobuzan]

    Or Max Kobuzan. Kyiv, Ukraine-based designer of these typefaces:

    • The tall condensed typeface family Segment B Type (2021), which is inspired by the first condensed European grotesques of the 19th-century. See also Segment A Type (2021; a technical extra-condensed sans family).
    • The 15-style humanistic sans typeface family Prostir Sans for Latin and Cyrillic.
    • Varp (2021). Varp is a rather narrow 2-axis variable geometric typeface with slight reverse contrast inspired by utilitarian and technical design. The letterforms are based in part on the shapes of DIN fonts, with the deliberate addition of contrasting connections, sharp spurs and massive ink traps for sharpness. The variable axes control width and slant (forward and backward).
    • Vistr (2022). A reverse-contrast display typeface inspired by western movies and infused with the tension of classic horror films. Vistr covers Latin and Cyrillic.
    • Klaster Sans (2022). A 15-style geometric Bauhaus-inspired sans; +Cyrillic.
    [Google] [MyFonts] [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]  ⦿

    Koray Özbey
    [Koray Özbey]

    Turkish designer of Mezitha (2019: an alchemic or Aztec font, +Ornaments), Spaco Stencil SC (2019: a futuristic stencil typeface) and the 36-style Sadi (or Sadi Slab) (2019), which has enough sturdiness to make it shine in small print. In 2020, he added Sadi Sans (+Variable) to that family.

    In 2020, he published the squarish typefaces Ankara and Ankara Texture. [Google] [MyFonts] [More]  ⦿

    Koray Özbey
    [Koray Özbey]

    [MyFonts] [More]  ⦿

    Kostas Bartsokas
    [Intelligent Design (was: Intelligent Foundry)]

    [MyFonts] [More]  ⦿

    Kousuke Nagai

    Aka Kyosuke Nagai. Japanese designer of the free Japanese hand-printed Mincho style Google font New Tegomin (2021) and the free (variable) Latin penmanship font Kapakana (2020). [Google] [More]  ⦿

    Krista Likar

    During her studies, Ljubljana, Slovenia-based Krista Likar created the exaggerated serif typeface Serifnik (2015) and the gorgeous sans display typeface Kros (2015).

    In 2016, she designed the slab serif typeface Josephine.

    In 2020, she released Sopran through Type Salon, an independent type design studio based in Ljubljana, Slovenia, founded by Alja Herlah and Krista Likar. Sopran is an attractive didone display style in which the traditional ball terminals have been replaced by vertical hairline serifs.

    Co-designer with Alja Herlah of Spektra (2020, Type salon), a black condensed sans that combines five scripts: Latin, Arabic, Cyrillic, Greek and Hebrew. It also has a variable typeface with an italic axis.

    In 2021, Krista Likar and Alja Herlah published Plecnik, which is named after Slovenian architect Joze Plecnik. Plecnik is defined by classical elements and shapes, classic proportions, humanist stroke endings and low contast. It has a capital A with an overhang. Plecnik Display is quite different as it features flaring in every stroke. [Google] [MyFonts] [More]  ⦿

    Kristof Van Proeyen
    [Punch]

    [MyFonts] [More]  ⦿

    Ksenia Churilova

    Illustrator, graphic and type designer, b. 1997 in Moscow. She graduated from MGHPA (Faculty of Graphic Design of the Stroganov Academy) in 2018.

    In 2022, Matthew Grouss, Ksenia Churilova and Pavel Nevsky released the 16-weight constructivist typeface Nowar, a variable typeface that features Latin, Cyrillic and Hebrew scripts. [Google] [MyFonts] [More]  ⦿

    Kseniya Karataeva

    Russian type designer associated with TypeType in Saint Petersburg, Russia. She is originally from Rostov-on-Don. 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.

    In 2020, she was part of the Type Type team that designed TT Ramillas, a 20-style high contrast transitional serif by Pavel Emelyanov, Marina Khodak, Yulia Gonina and Kseniya Karataeva. TT Ramillas also contains variable styles.

    In 2021, Kseniya Karataeva and the TypeType team released the 21-style TT Travels Next, which is intended as a trendy and radical counterpart of TypeType's earlier font, TT Travels (2017).

    Still in 2021, she designed TT Ricordi Greto, a non-contrasting Florentine caps-only sans-serif with dynamic proportions and a hint on what would be serifs, that was inspired by a floor plaque dating from 1423 found in the Basilica di Santa Croce in Florence. TT Ricordi Greto also has a variable format. [Google] [MyFonts] [More]  ⦿

    Kyle Wayne Benson
    [Very Cool Studio]

    [MyFonts] [More]  ⦿

    Laire Banyu
    [The Ocean 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]  ⦿

    Leo Philp

    MyFonts lists him as Leo Philip, but it should be Leo Philp, without an i. Scottish student-designer at the University of Reading of Makar (2014), a Latin / Gurmukhi / Cyrillic / Greek typeface family whose angular forms confirm Philp's description of Makar---an opinionated typeface for opinionated texts.

    In 2020, he released the (variable) text typeface Fulmar at CAST, and wrote: Named after a practical seabird, Fulmar is a modern Scotch intended for extended reading. More European than American, it draws on a range of influences from around the North Sea, from Fife's Alexander Wilson to 17th-century French experiments in modulation and 18th-century Belgian flash, and combines them with contemporary structure and proportions.. [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: Bauziet (a 25-style grotesk with exaggerated inktraps: +a variable font), Gimbo (a fun super-fat poster or logo typeface family), Mono Spec (an all caps monospaced family with regular and stencil styles and a variable OTF option).

    Typefaces from 2021: Rioma (an 48-style sans font that is a descendant of Antique Olive; it includes a variable font and stretches from wide to very wide), Grafical (a 20-style geometric sans). You Work For Them link. [Google] [MyFonts] [More]  ⦿

    LettError
    [Erik van Blokland]

    LettError is a foundry in Den Haag, founded by the interesting duo, Just Van Rossum (b. 1966) and Erik van Blokland (b. Gouda, 1967). Many of their fonts can be found in the FontFont library.

    Erik van Blokland is a graduate of the Royal Academy of Art in The Hague (KABK), class of 1989. He develops niche tools for type design and font production and has been involved with Tal Leming in the development of the UFO (for font sources) and WOFF (for font binaries) formats. Since 1999, he is a senior lecturer at the TypeMedia master at the Royal Academy of Arts in Den Haag. Erik developed many type software tools such as the acclaimed type interpolation tools MutatorMath and Superpolator, and the teaching tool TypeCooker.

    Their typefaces:

    • At FUSE 11, Erik designed FF Beowolf (1989-1990, a randomized font, sometimes still called Beowulf; with Just van Rossum), FF Erikrighthand, FF Kosmik (1993), FF Trixie (based on an old typewriter: Trixie was taken from a typed sample from a typewriter owned by a friend in Berlin, Beatrix Günther, or Trixie for short.) and FF Zapata.
    • Erik created LTR ThePrintedWord and LTR TheWrittenWord (2001), both free fonts designed to be unreadable.
    • LTR Salmiak (2001).
    • Critter (2001) and New Critter.
    • Bodoni Bleifrei.
    • LTR BitPull.
    • Federal: great dollar bill lettering font family, which earned him an award at the TDC2 Type Directors Club's Type Design Competition 2002.
    • What You See/What You Get (with Just Van Rossum).
    • At FUSE 2, Erik published Niwida.
    • FFAdvert.
    • Schulschrift.
    • FFHands.
    • FFBrokenscript.
    • LTR Monsta.
    • In 2005, Erik and his brother Petr made the Künstlerbrüder-Schriftfamilie of 30 fonts (10 widths, 3 weights) based on 3 width masters for each of two weights. It is a quirky and refreshing family made for banners for the Münchener Haus der Kunst in 2005.
    • Jointly with Erik Spiekermann and Ralph du Carrois, Erik developed Axel (2009), a legible system font.
    • His masterpiece, in my view, is the 2009 family Eames Century Modern, finished at House Industries, a take on Clarendon. It won an award at TDC2 2011. A special extra award was given at that competition for Eames Poster Numerals. For another complete modern Clarendon family, see Canada Type's Clarendon Text.
    • Plinc Hasler Circus (2011, House Industries) is a digitizztion of a photo era font, Circus, done by Hasler for Photo-Lettering, Inc. in the 1950s. This circus font was digitized by Erik van Blokland in 2011 at House Industries, with a helping hand from Ken Barber.
    • In 2016, he published Action Condensed at Commercial Type. Action Condensed was designed for the screen. Each of the family's four weights has three grades of the same width, allowing text to change weight on rollover without disrupting the layout. In 2020, he added Action Text in 16 styles, with Bright and Dark options. And variable styles.

    Erik speaks often about his work. At ATypI 2004 in Prague, LettEror spoke about education in type design, and the RoboFab toolkit. Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona [on interpolations with Superpolator3].

    Klingspor link. FontShop link. Wired interview. Shop. FontFont 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 Typeverything.

    Typefaces from 2019: Cham (heavy, octagonal, based on fascia lettering from 1875 in Liverpool; released by Typeverything), 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; Grand Prize winner at Granshan 2019).

    Typefaces from 2020: Salford Sans (an 8-weight headline sans family; a collaboration between Lewis McGuffie (Latin, Greek, Cyrillic), Dave Williams of Manchester Type (Latin, Arabic) and Elsa Baussier (symbols)), Jooks Script (in the style of Kurrent and Sütterlin; reviving Walter Höhnisch's Werbeschrift), Auroc (a flared incised petite-serif), Cindie 2 (an extension of Cindie Mono, this family has 26 monospaced widths).

    Typefaces from 2021: Tekst (a Latin / Greek / Cyrillic font family based on Literaturnaya---a book type popular in the Soviet Union; it comprises ekst A (Analog for print), Tekst D (Digital for screen) and Tekst M (M for Mono)).

    Typefaces from 2022: Mushy (a soft-edged joining script display type with four substyles, Cheese, Butter, Yoghurt and Cream), Rulik (unicase, uncial), Narwa (a wonderful all caps poster typeface).

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

    Lián Types
    [Maximiliano Sproviero]

    Argentinian foundry located in Buenos Aires, est. in 2008 by Maximiliano Sproviero (b. 1987, Buenos Aires). It specializes mainly in gothic, uncial, script and handwriting typefaces. Sproviero graduated from FADU, University of Buenos Aires in 2008 with a script thesis typeface called Colofon.

    His fonts from 2008 include Devil Kalligraphy, Pumba (great futuristic rounded look), Tobogan (retro), Kiwi Sans Serif, School Rainbow, Suave Calligraphy, Tonika (handwriting), Goddess (handwriting), Cursivessca (calligraphic; 4 styles), Friendship (6 styles), Chechelo Lawyer (modern italic condensed), Quijote Italic (calligraphic with tall ascenders and descenders), Miscelanea (arabesques), Lunga (a condensed hairline family consisting of Real Ligada, Exacta, Versalita and Extras), Mabela (a rounded fat display font), Red Wagon (ultra-condensed), Valeria Script (swashy), Kalligrand (2008, a tall calligraphic face), Intima Script One, Two and Three (described by him as a sensual calligraphic script family), and Paradise Script (96 styles, all calligraphic).

    Creations from 2009: Kaligrafia, Galana, Mon Amour Script (hyper-calligraphic), Oh Lara (also hyper-calligraphic), and Quijot sauvage (a 7-style calligraphic feat).

    In 2010 he made these typefaces: Parfait Script (a high-contrast calligraphic script), Kanikama, Breathe Pro (calligraphic with didone serifs), Boston Script.

    Creations from 2011: Reina (a curvaceous didone family, +Engraved). He updated this in 2021 to the 45-style Reina Neue.

    At Tipos Latinos 2012, Maximiliano Sproviero won awards in the display type category for Aire (2012, a thin curly didone family), Breathe Pro, and Reina. At TDC 2013, he won an award for the copperplate script Erotica. Erotica also won an award at Tipos Latinos 2014.

    Typefaces from 2013: String (a hairline Spencerian script), Brand (a signage script family), Agile Pro (a hairline swashy calligraphic family), Bird Script (which an award at Tipos Latinos 2014), Live Pro.

    Typefaces from 2014: Selfie (connected monoline signage script), Heroe (a script that takes Lubalin and Caslon to the extreme), Dream Script (a chancery script that won an award at Tipos Latinos 2016), Dream Caps (Trajan capitals), Beatle (a Spencerian script with psychedelic touches).

    Typefaces from 2015: Seventies (a funkadelic typeface), Indie (a signage script family that won an award at Tipos Latinos 2016), Model (a hairline fashion mag calligraphic script family).

    Typefaces from 2016: Lubaline (decorative caps inspired by Herb Lubalin), Skill (signage type: winner at Tipos Latinos 2018 of a type design award).

    Typefaces from 2017: Posh (a fat didone), Fluire and Fluire Caps (a greeting card font pair), Preta (almost psychedelic script), Vinyle (a remarkable monoline decal script).

    Winner at Tipos Latinos 2018 of a type design award for Lubaline, Posh and Preta.

    Typefaces from 2018: Burger (a fast food slab serif bonanza), Fleur (inspired by some lettering in Palais Garnier in Paris---Sproviero calls this the Napoleonic style), Pantera (a lively pointed brush calligraphic typeface family), Girasol (based on sketches by Susana Maurette), Rafaella (all caps---described by Sproviero as coquette).

    Typefaces from 2019: Hot Script (monoline), Elipses (a Peignotian sans family in 7 styles), Fabulous Script, Breathe Neue.

    Typefaces from 2021: Selfie Neue Rounded (40 styles), Selfie Neue Sharp (39 styles), Ballet VF (Maximiliano Sproviero: a variable Spencerian penmanship font with optical sizing from 16pt to 72pt---a technical feat accomplished with the help of Eduardo Tunni and the Omnibus team; free at Google fonts; Github link),

    Klingspor link. Behance link. Interview by MyFonts in 2014. [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).

    Typefaces from 2022: TS Remarker (a marker pen font). [Google] [MyFonts] [More]  ⦿

    Lisa Huang
    [Polyform]

    [More]  ⦿

    Literata

    Literata is a typeface designed in 2014 and 2015 by Type Together for use in Google Play Books on many different kinds of devices. As of 2015, it replaces Droid Serif (2006-2007, Steve Matteson). The project was headed by Veronika Burian and José Scaglione. The final Literata family featured two weights and matching italics including more than 1100 characters per font with Pan-European language support. It coversedPolytonic Greek (designed by Irene Vlachou, advised by Gerry Leonidas) and Cyrillic (designed by Vera Evstafieva, advised by Kiril Zlatkov).

    In 2020, Literata 3, entirely free and a totally new re-design, was released. This 48-style family comes with a variable style. The designers in 2020 were Veronika Burian (Latin), José Scaglione (Latin), Vera Evstafieva (Cyrillic), Elena Novoselova (Cyrillic) and Irene Vlachou (Greek).

    Github link. [Google] [More]  ⦿

    Lizy Gershenzon
    [Vectro Type Foundry (was: Scribble Tone)]

    [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Lucas de Groot
    [Floris]

    [More]  ⦿

    Lucas Gini

    Type and graphic designer in Sao Paulo. His typefaces include Arcadum (2018: pixel-based) and Ficus (2017), a typeface family whose shapes are like those of the Figueira Mata-Pau tree in the Brazilian Pantanal.

    In 2020, he co-designed the vernacular script typeface Cada Dia Sadia with Crystian Cruz for a refrigerated food company in Brazil. Other typefaces from 2020 include the vernacular Chef Aprendiz and the free variable rectangular cutout typeface Unbox. [Google] [More]  ⦿

    Luis R.H. Rapp

    Luis Richtiger Horst Rapp is the Stuttgart, Germany-based designer of the free display typeface Inter Norse (2020), the free painted typeface Crooked (2020), the free variable squarish techno family Faber (2020), the free font Ikarus (2020), the free variable techno family Obarne X (2020), the free pixel typeface Invader (2020), the free grunge typefaces Brutalism (2020: dry brush style) and Riot (2020), the free tuxedoed typeface Grotesque (2020).

    Typefaces from 2021: Karpaten (a free squarish blcky display type). [Google] [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]  ⦿

    Luke Lee

    Graphic designer in Beijing. Creator of the free twisted and glitch variable font family LL Detechno (2021). [Google] [More]  ⦿

    M+ Fonts
    [Coji Morishita]

    Free font producer in Japan that started out as a bitmap font specilaist. The M+ Fonts Project is jointly run by Coji Morishita, Hiroki Kanou, Imazu Kazuyuki and Taro Muraoka.

    All fonts are totally free: Unlimited permission is granted to use, copy, and distribute them, with or without modification, either commercially or noncommercially. . Download page. Free monospaced and variable width outline fonts containing kana, kanji (97% coverage of jinmeiyo), Chinese (81% coverage of traditional Chinese), Korean, Cyrillic, Greek, Hebrew, and Latin (sans), all made between 2006 and 2016 and still being developed: mplus-1p-black, mplus-1p-bold, mplus-1p-heavy, mplus-1p-light, mplus-1p-medium, mplus-1p-regular, mplus-1p-thin, mplus-2p-black, mplus-2p-bold, mplus-2p-heavy, mplus-2p-light, mplus-2p-medium, mplus-2p-regular, mplus-2p-thin.

    In 2018, they published MPlusRounded1c at Google Fonts. Additions in 2021: M Plus Code Latin, M Plus 1 Code. Mplus 1 Code is a sans serif programming font with seven weights from Thin to Bold, supporting 5,700+ kanjis for Japanese with GF Latin Plus. iM Plus Code Latin is a multi-weight programming font for Latin only. Both have variable fonts as well.

    Open Font Library link. Local download of the M+ family. Google Fonts link. Github link. [Google] [More]  ⦿

    M XiangHe Hei

    M XiangHe Hei Simplified Chinese (2018, Monotype) merges traditional brush strokes with modern letterforms to carefully balance traditional calligraphy with humanist design. Named for the smooth movements of a flying crane, the M XiangHe Hei typeface is designed to glide across the page, and features strokes that are partly derived from the Kaishu calligraphic style---an everyday script which dates back hun