TYPE DESIGN INFORMATION PAGE last updated on Fri Sep 17 21:45:22 EDT 2021
FONT RECOGNITION VIA FONT MOOSE
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:
38 Lineart Studio (or: Grayscale, or: Fontsources)
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: 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).
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.
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] ⦿
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.
Typefaces from 2020: AJ Quadrata (a revival of Textura Qadrata).
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] ⦿
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:
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] ⦿
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:
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: Pleasure (hipsterism pushed to the fringe of addiction), Model Standard (ModelStandard Mono, ModelStandard SemiMono, ModelStandard Sans).
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: Monvar (a layerable Cooper Black style typeface by Ilham Herry and Adam Fathoni Haris), Rische (a 6-style dis[play 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). [Google] [MyFonts] [More] ⦿
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] ⦿
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] ⦿
Originally from Maracay, Venezuela, Alejandro Freitez is now based in Buenos Aires, Argentina. Designer of the free text font Calicanto (2015), which was published by Sudtipos in 2019. In 2013, he published the squarish inline typeface Rectil.
In 2019, Alejandro Freitez and Claire Menager, under the art directoship of Alejandro Paul, designed the multistyle wood type look / Western / Victorian / reverse stress / hyper-decorative Presley Slab.
In 2020, Freitez released Ansage at Sudtipos. Ansage is a 61-style sans family (and a variable font) that revisits the early sans types from the 19th century, rough, raw and unsophisticated. [Google] [MyFonts] [More] ⦿
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.
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.
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).
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.
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.
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). [Google] [MyFonts] [More] ⦿
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).
Typefaces from 2020: Pani Sans (which takes inspiration from Italian rationalist and art deco genres, and includes variable types).
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:
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.
Alfredo Marco Pradil
Slovenian type designer, who co-founded Type Salon together with Krista Likar in Ljubljana in 2020. Alja's typefaces:
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] ⦿
Graduate of the University of Applied Sciences, Hamburg, Germany, who was initially associated with URW++ in that city. Co-designer with Michael Hoffmann of the stamped font URW Urban (2013). She also made the strong-willed handwriting typeface Quendel (2013, URW++; extended in 2015 to include the textured Quendel Wood and the eroded Quendel Crayon) and Hangulatin (2014, URW++). Hangulatin applies the principles of Hangul to make letter combinations in Latin. See also Hangulatin EN (2016).
In 2018, she set up her own type foundry, and published Umba Sans, a 30-style family that exudes joy and is useful for display applications. It is accompanied by Umba Soft (2018) and Umba Slab (2019).
Typefaces from 2019: Cosima (a low contrast workhorse sans), Captura (a simplified geometric sans), Famosa (+the pearl-studded Famosa Diara), Diara (a colorable wedding font package including ornaments), Crossfit (an elliptical sans family), Hyper (a wonderful packaging font).
Typefaces from 2020: Orangina (a creamy supermarket typeface), Mireille (a decorative serif) , Marilka (a snappy 4-style modern text typeface characterized by the vertical terminals atop a, c, f, s and z), Lovebeat (a Valentine's Day font).
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.
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] ⦿
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 co-designed the 32-style geometric sans TT Fors which comes in standard, display and variable versions. In 2021, she designed TT Globs (+Variable), a 3-style Latin-only typewriter-style slab serif. [Google] [MyFonts] [More] ⦿
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] ⦿
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:
Arkitype (was: Virtue Creative)
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:
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).
Arrow Type (or: Typefloundry, or: Recursive Design)
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:
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 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
Azza Alameddine has worked as a graphic designer in Lebanon, the Netherlands and London since 2009, and is now based in Barcelona. A graduate of the Masters in Typeface Design progra 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. [Google] [More] ⦿
During his studies in Szeged, Hungary, Balazs Szemmelroth designed the multistyle geometric sans typeface family Balage (2016) and the free typeface family Sometimes (2018).
Baron von Fonthausen
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.
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] ⦿
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] ⦿
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. [Google] [More] ⦿
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] ⦿
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.
BenBenWorld (or: BB Bureau)
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.
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).
Benjamin Blaess (Blah, Strasbourg, France) is a graphic designer and letterer. During a summer course called Type@Paris (2015), under the guidance of Jean Fran&ccdil;ois Porchez, Malou Verlomme and Mathieu Réguer, Benjamin Blaess created Brambly, a text typeface with calligraphic tension.
In 2019, Ilya Naumoff and Benjamin Blaess co-designed the variable font Grtsk at Black Foundry. Its three axes, weight, width and slant, combine for 126 styles, that are all captured in one variable font. Mini-site. [Google] [More] ⦿
Bernd Volmer 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.
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:
Blaze Type Foundry (was: Adèle Type Foundry)
Lyon, France-based designer founded first Adèle Type Foundry and in 2018 renamed it Blaze Type Foundry. Creator of these typefaces:
Borutta (or: Duce Type)
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.
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), 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: 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).
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
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 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 (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] ⦿
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'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.
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 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] ⦿
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).
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.
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] ⦿
C.J. Dunn has a background in graphic design and typeface design, and studied under Ed Benguiat at The School of Visual Arts in New York. He worked on typefaces for Font Bureau, and continued his relationship with the Berlows at Type Network. He is a graduate of Type@Cooper, a postgraduate certificate program in typeface design, where he also assisted Sumner Stone & Sara Solskone in teaching typeface design. He started TypeNY.com to keep track of type related events in New York City. In 2016, he launched CJ Type.
In 2017, he released the stunning 2-axis variable font Dunbar and writes: Dunbar is an exuberant geometric sans with a unique structure, including Tall and Low display versions for large sizes and a Text version for smaller sizes. Inspired by Jakob Erbar's Erbar-Grotesk, it is not a strict revival but interprets the design for contemporary applications, rediscovering some of Erbar's innovative ideas of alternate letterforms and proportions. Dunbar comes in large and small x-heights, Dunbar Tall and Dunbar Low.
His other major typeface is Louvette (2017), a typeface with four optical sizes (Banner, Display, Text, Deck) and five weights. He explains: Louvette is a sharp, stylish, modern serif including a range of optical sizes from Banner to Text. The design of Louvette is optimized to maintain thin, elegant hairlines at a wide range of sizes. Ideal for publications and cultural institutions, exhibitions and fashion. The design process for Louvette started during Type at Cooper in 2010, under the guidance of Jesse Ragan, with an interest in reviving ATF Louvaine by Morris Fuller Benton for contemporary usage. After some helpful feedback from Christian Schwartz, the project soon evolved away from the source material to include a large optical size version with ultra thin hairlines, and to expand the weight into the fatface range of designs such as Ultra Bodoni, also by M. F. Benton. Further research into the italics led to sources such as Doppel Tertia Cursiv from J. F. Unger, Berlin, and the small heavy sizes drew inspiration from Compacte Romain by Enschedé, Haarlem.
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:
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.
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] ⦿
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] ⦿
Born in Firenze in 1969. Cofounder with Francesco Canovaro and Debora Manetti of the Italian design firm in Firenze called Studio Kmzero. He co-designed some typefaces there such as Arsenale White (2009). Targa Monospace (2002) is a sans inspired by Italian vehicle registration plates. It has an handmade version (Targa Hand) that can be used for comic book lettering.
MyFonts credits him with the rounded avant garde sans family Antipasto (2007), but elswhere we read that this typeface is made by Matteo di Iorio, so there is some confusion. It was extended in 2017 by Pancini as Antipasto Pro.
In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro co-designed Amazing Grotesk (+Ultra). He also designed the calm bold geometric rounded sans typeface Cocogoose (2014; replaced by Cocogoose Pro in 2017) and the stylish deco font Offensive Behaviour. Cocogoose Letterpress is free. Cocogoose is part of the Coco Gothic family, a collection of twelve typefaces each inspired by the fashion mood of every decade of last century, named after fashion icon Coco Chanel. Cocogoose is Coco Gothic for the 1940s.
In 2015, Pancini published the grand family Coco Gothic. This Latin / Greek / Cyrillic typeface family features a small x-height and sligghtly rounded corners to make the avant garde and geometric sans typefaces in vogue in the 1970s come alive again, ready for 21st century fashion magazines. It comes with substyles that recreate many moods, including art nouveau and arts and crafts (Cocotte), Italian propaganda style and Italian deco (Cocosignum), hipster style (CocoBikeR), or Bauhaus (Cocomat). Coco Gothic was initially developed as a corporate font for Lucca Comics & Games Festival 2013. The rounded geometric sans family Cocomat (by Cosimo Lorenzo Pancini, Deborah Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of Italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia. Updated in 2019 as Cocomat Pro.
Still in 2015, Cosimo and Zetafonts published the connected creamy baseball script Bulletto, the grungy handvetica Neue, and the calligraphic wedding typeface Hello Script. In 2015, at Zetafonts, Cosimo Lorenzo Pancini designed CocoBikeR (2015) to celebrate the hipster and bike cultures. CocoBikeR (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. In 2017, Pancini designed the 1930s Italian art deco typeface families Cocosignum Maiuscoletto and Cocosignum Corsivo Italico.
Typefaces from 2016: Adlery (a curly brush script), Kitten (Fat, Swash, Swash Monoline, Slant, Bold: signage script family), Adlibitum (a blackletter typeface by Cosimo Lorenzo Pancini and Francesco Canovaro), Morbodoni (a display didone by Cosimo Lorenzo Pancini and Francesco Canovaro).
In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free. Still in 2016, Pancini designed Calligraphunk, an experimental typeface that mimicks polyrythmic calligraphy, by alternating two sets of lowercase letters to emulate handwriting.
In 2016, Cosimo Lorenzo Pancini, Matteo Chiti, Luca Chiti and Andrea Tartarelli co-designed the retro connected brush script font family Advertising Script, which is based on an example from Ross George's Speedball 1947 Textbook Manual.
Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima.
Amazing Grotesk (2016) is based on a logo designed by Francesco Canovaro.
Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita.
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.
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.
C-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. [Google] [MyFonts] [More] ⦿
CoType is the London-based type foundry of Mark Bloom and Joe Leadbeater, est. 2019. Their typefaces include
Creative Media Lab
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, Rajjah Famillia (a blackletter), Allaina (a Victorian serif), Kaoly (a stylish bold serif), Cattedrale (blackletter).
Typefaces from 2021: 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), Losta Masta (a decorative serif), Mavera (a modular display font). [Google] [MyFonts] [More] ⦿
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] ⦿
Cuchi qué tipo
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:
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.
Fonts sold at Fontworks, and through the Bitstream Type Odyssey CD (2001). At the ATypI in 2001 in Copenhagen, he stunned the audience by announcing that he would never again make fonts for the general public. From now on, he would just do custom fonts out of his office in London. And then he delighted us with the world premiere of two custom font families, one for BMW (BMWType, 2000, a softer version of Helvetica, with a more virile "a"; some fonts are called BMWHelvetica), and one for the BMW Mini in 2001 (called MINIType: this family comprises MINITypeRegular-Bold, MINITypeHeadline-Regular, MINITypeHeadline-Bold, MINITypeRegular-Regular).
Other custom typefaces: Tottenham Hotspur (2006), Teletext Signature (by Basten Greenhill Andrews and Dalton Maag), Skoda (Skoda Sans CE by Dalton Maag is based on Skoda Formata by Bernd Möllenstädt and MetaDesign London), UPC Digital, BT (for British Telecommunications), Coop Switzerland (for Coop Schweiz), eircom, Lambeth Council, Tesco (2002), PPP Healthcare, ThyssenKrup (Dalton Maag sold his soul to these notorious arms dealers; TK Type is the name of the house font), Co Headline (2006), Co Text (2006, now a commercial font), Telewest Broadband, Toyota Text and Display (2008), TUIType, HPSans (for Hewlett-Packard, 1997). His custom Vodafone family (sans) (2005) is based on InterFace. In 2011, Dalton Maag created Nokia Pure for Nokia's identity and cellphones, to replace Erik Spiekermann's Nokia Sans (2002). The Nokia Pure typeface has rounder letters, and is simultaneously more legible and more rhythmic.
In 2010, the Dalton Maag team consisted of Bruno Maag and David Marshall as managing and operations directors, and Vincent Connare as production manager. The type designers are Amélie Bonet, Ron Carpenter, Fabio Haag, Lukas Paltram and Malcolm Wooden.
In 2015, Kindle picked the custom serif font Bookerly by Dalton Maag for their typeface. Still in 2015, Dalton Maag custom designed the sans typeface family Amazon Ember for Amazon for use in its Kindle Oasis. Free download of both Amazon Ember and Bookerly.
Dalton Maag created the custom typeface family Facebook Sans in 2017.
ATT Aleck is a large custom typeface family designed in 2016.
Netflix Sans (2018): Netflix replaced Gotham to combat spiraling licensing costs and commissioned its own bespoke typeface: Netflix Sans under design lead Noah Nathan. 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. [Google] [MyFonts] [More] ⦿
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] ⦿
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] ⦿
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 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
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:
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
David Jonathan Ross
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.
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:
Delve Fonts (was: Delve Media Arts)
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:
Diego Aravena Silo
Dino dos Santos
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: 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). [Google] [MyFonts] [More] ⦿
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:
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:
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.
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.
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.
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.
Partner in Moiré (Zürich) who designs typefaces at Grilli Type in Switzerland. His typefaces:
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:
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:
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.
Dyaharum Pungki Revitasari
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:
Eduilson Wessler Coán
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] ⦿
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 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.
Font engineer and open source software advocate located in Seattle, WA. Before that, he studied mathematics at CUNY in New York. Github link. His typefaces:
Started by creative duo Tom Watkins & Ellen Luff in 2021, Peregrin Studio is exploring new font technology such as SVG and variable fonts. Based in the UK but working worldwide, their clients included Apple, NASA, Sony and Netflix. In 2021, Ellen Luff published Denton, a 14-style expressive sans, with two variable fonts. [Google] [MyFonts] [More] ⦿
Ellen Luff Type Foundry (was: Miss)
Together, Elliott Amblard (France) and Gia Tran created the bold signage / retro baseball script typeface Paname FY at FontYou in 2014. At Long Type, he created Oradour: Inspired by french vernacular lettering, it is also a very contemporary re-interpretation of Eurostyle typeface (Aldo Novarese) by stripping it from this dated aesthetic. FontYou link.
In the TypeMedia program at KABK in Den Haag, he designed Emil for his graduation in 2015. Emil is situated between a text typeface and a slab serif typeface. It is characterized by convex stems and low contrast and includes a Hairline weight.
In 2016, he published Yuzu at Indian Type Foundry. It is a simple yet effective straight rounded sans typeface family. Guide (2016), also published by Indian Type Foundry, is a wayfinding and traffic sign sans typeface family.
In 2017, Elliott Amblard and Théo Guillard designed Read Greek Condensed, which won an award at TDC Typeface Design 2018.
In 2018, Elliott Amblard and Jérémie Hornus co-designed the information design humanist sans typeface family Drive. It is accompanied by the more typewriter-styles families Drive Mono and Drive Prop, and published by Black Foundry. Angus (2018) is a multiplexed rounded sans typeface family by Elliott Amblard that includes a variable font. [Google] [MyFonts] [More] ⦿
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] ⦿
Erik Van Blokland
Erik van Blokland
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.
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.
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.
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.
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)
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] ⦿
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] ⦿
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] ⦿
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:
Fabio Haag Type (was: ByType, and: Foco Design)
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).
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.
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.
Fabio Luiz Haag
Fabrizio Schiavi Design (or: FSD)
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.
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.
Feliciano Type Foundry
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:
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].
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.
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 Sans (a squarish techno sans family), Speeday (a speed emulation sans).
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:
Designer of exclusive high quality typefaces:
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.
Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. Highly innovative designer whose creations have lots of style and flair. Many fonts are for both Latin and Cyrillic. Picture. Typegoodness link. YWFT link.
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). [Google] [MyFonts] [More] ⦿
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] ⦿
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:
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).
Most of Jason Smith's typefaces are now at MyFonts, after Monotype's take-over in 2020:
Formatpunktotf (or: Format.otf; was: t-1, type-eins)
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.
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:
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). Forme Grotesque performs remarkably well both on screen and in print, and shines at very small sizes. It also covers Arabic. [Google] [MyFonts] [More] ⦿
Francesco Mistico Canovaro
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.
Fredrick R. Brennan
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] ⦿
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.
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).
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.
Their commercial typefaces:
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).
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] ⦿
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).
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 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 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 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 2018: Streetline.
Typefaces from 2019: Hubba (a modular squarish typeface family; has a variable font).
Typefaces from 2020: Danger Neue (a military stencil).
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:
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:
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] ⦿
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 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] ⦿
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:
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 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. Tumblr link. Twitter link. Future Fonts link. [Google] [More] ⦿
How to create a variable OpenType font using only open-source tools
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
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: 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). [Google] [MyFonts] [More] ⦿
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] ⦿
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).
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).
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:
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:
Insigne Type Design Studio (was: Dooley Type)
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:
Intelligent Design (was: Intelligent Foundry)
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 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.
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).
Irene Vlachou Type
Or Eirini Vlachou, b. 1981. Graduate of of Vakalo School of Art & Design in Athens and the University of Reading, where she earned the nickname Miss Fontlab before graduating there with a Masters in 2004. Type designer who used to be at POPtype in Athens, and now works in both Bristol, UK and Athens. From 2013 to 2019 she was senior designer and variable font expert at Type-Together. From January 2020 she is back to full time freelancing Greek and variable fonts. Her typefaces:
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.
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] ⦿
J Foundry (was: Greyscale Type)
Jason Vandenberg (Greyscale Type, 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 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).
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.
Jacques Le Bailly
James T. Edmondson
Senior brand designer in Milan, Italy. His typefaces:
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] ⦿
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).
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.
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] ⦿
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 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:
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] ⦿
Jetsmax (was: Riljs, or: Typograph Pro)
Khairil Anwar Hussein (or Ril Anwar, b. 1996) is the Makassar, Indonesia-based founder of Jetsmax in 2018. Designer of these typefaces in 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, 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.
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: 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). [Google] [More] ⦿
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.
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] ⦿
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 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 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 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).
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 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. [Google] [MyFonts] [More] ⦿
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 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).
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:
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.
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] ⦿
Just in Type (was: Tipomovel)
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 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.
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).
Kadek Adi Mahardika
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.
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.
In 2018, Ken Lunde and Masataka Hattori co-designed Soukou Mincho (free at Fontsquirrel).
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 (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:
Khairil Anwar Husain
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.
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] ⦿
Turkish designer of Mezitha (2019: an alchemic or hipster 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 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] ⦿
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 TRypeType 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
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] ⦿
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] ⦿
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).
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.
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].
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).
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).
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).
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 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),
Hamburg-based studio, est. 2014 by David Liebermann and Maximilian Kiepe. Jana Reddemann joined in 2019. They released two free fonts:
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).
Russian codesigner, with Jovanny Lemonad, of the free rounded sans typeface Matias (2016, TypeType). In 2019, he designed the rounded sans typeface Koryaka and the sans family TS Maka. In 2020, he released TS Kirt (with a variable style; a condensed sans family). [Google] [MyFonts] [More] ⦿
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).
Lorenz Lopetz Gianfreda
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 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).
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] ⦿
During her studies at Washington University in St. Louis, MO, Maddy Angstreich designed the text typeface Galileo (2019: a didone with altered angular terminals) and the free variable typeface Jailbird (2019), in which the size of dominos changes.. She also designed the pixel typeface Dot Dot Dot (2019). [Google] [More] ⦿
Indonesian designer of these typefaces:
References for making variable color fonts:Google] [More] ⦿
Maks Barbulovic studied communication design at the Hochschule Düsseldorf (Germany), and participated in an internship program at Ecole Nationale Supérieure d'Art et de Design in Nancy (France). At Type Tomorrow, he published the dot matrix typeface Dusseldot (2020) together with Ilya Bazhanov. [Google] [More] ⦿
French type designer who graduated from l'Ecole Duperré in Paris and the University of Reading (2005). He cofounded the type foundry LongType in 2012. Since 2016 he works for Monotype UK. His typeface Ficus (2005) won an award in the Creative Review Type Competition 2005.
He wrote Technological Shifts in Type Design and Production (2006).
His typefaces: Respublika (2013, a humanist sans done with Gregori Vincens, Fontyou), Camille (2010-2011, for Camille Muller), ECAM (2009-2010, for the ECAM theater), Dijon (2011, for the identity of Dijon's Opera house), Arbre (2010, for the identity of the coffee brand L'Arbre de Cafe), Totem, Ficus (2005-2006), Syneas (2009, for Syneas), Digitaline (2007, a Futura-like family done for Agence Digitaline), Vingt-huit (2007), Sabasi (2008), Gem (2007, art nouveau), Oops (2006).
Marion Andrews, Malou Verlomme and Laurence Bedoin collaborated on the school fonts Écriture A and Écriture B which are presented in Modèles d'écriture scolaire (2013), a document issued by the French Ministry of Education. These fonts are available from Eduscol.
Verlomme set up Long Type in 2012 with Mathieu Chévara, Mathieu Reguer and Thomas L'Excellent.
In 2016, for Monotype, on commission for the Transport For London company, he redesigned / tweaked New Johnston, called Johnston100. It will be used in TfL's trains and station signage including for London's new Crossrail Elizabeth line that is scheduled to open in 2018.
In 2019, he released the 12-style high-contrast Ariata (Text, Display, Stencil) at Monotype.
In 2020, he published the superfamily Macklin (Sans, Display, Text, Slab) at Monotype. Influenced by early 19th century designs in Europe, and especially by the work of Vincent Figgins, it is intended for use in headlines and short blocks of text. Variable fonts are also available.
Co-designer, with Clement Charbonnier Bouet, of Ionic No 5 (2021), a ten-style Clarendon that revives and refreshes a classic Linotype Clarendon-style serif for Monotype. Noteworthy is that the designers replaced Clarendon's ball terminals by 21st century serifs, even including the hipsterish coathanger f. The ball terminals are relegated to the "alternates".
In 2021, he took part in the development of Helvetica Now Variable (Monotype). Helvetica Now Variable was designed by Max Miedinger, Charles Nix, Monotype Studio, Friedrich Althausen, Malou Verlomme, Jan Hendrik Weber and Emilios Theofanous and published by Monotype. Monotype writes: Helvetica Now Variable gives you over a million new Helvetica styles in one state-of-the-art font file (over two-and-a-half million with italics!). Use it as an extension of the Helvetica Now family or make custom-blends from its weights (Hairline to ExtraBlack), optical sizes (four point to infinity), and new Compressed and Condensed widths. It contains 144 static styles.
Moscow-based Armenian type designer (b. 1960, Artashat, Armenia) and graphic artist. In 1984 graduated from the Moscow Poligraphic Institute, department of Polygraphic Product Design. He worked for the Type Department of Committee of Print in Yerevan, and for the publishing houses Ayastan, Luys and Sovetakan Grokh. At Microsoft's request, in 1999, he was consulted for the Armenian section of the Sylfaen project.
Creator of PT Margarit Armenian and Asmik (1997, Armenian, based on PT Petersburg, 1992, by Vladimir Yefimov), available from ParaType, where he is an active type designer. These fonts won awards from the Type Directors Club in 1999.
At ParaType, he also published Propisi Cyrillic + western (1997, a school script family), PT Henman Pictograms (2001, based on Armenian ornaments revived by Henrik Mnatsakanyan), Cooper BT (2000, a Cyrillic version of the Bistream family by the same name), Henman Western, Karolla Western (2002, art nouveau face, based on an alphabet of Lucian Bernhard, 1912), Zagolovochnaya Western (2002, based on a Caslon model from 1725), Haverj Western (2004, flared mini-serifed typeface with an f and a j ready for the paralympics), PT Margarit (1997, based on PT Bodoni by A. Tarbeev), Bardi (2004, Paratype, an extra compressed decorative stenciled typeface based on the lettering created in 1970s by the Armenian type designer Henrik Mnatsakanyan (1923-2001)), Haverj (2004, Paratype, also based on Mnatsakanyan's work), and PT Noah (1997, to accompany Tagir Safayev's PT FreeSet, 1992).
Asmik, and Humanist 531 Cyrillic (the latter co-designed with Isay Slutsker) won awards at Bukvaraz 2001.
In 2010, he designed the Ripe Apricot humanist sans family (ParaType). Narevik (2011, Paratype) is a dynamic low contrast design with slightly rounded triangle serifs.
Jacques Francois and Jacques Francois Shadow (2012, Cyreal) were co-designed with Alexei Vanyashin. They are revivals of the Enschedé no. 811 type specimen (ca. 1760) by Jacques François Rosart (1714-1774), made for Enschedé Printing House. Free at Google Web Fonts.
In 2015, he made Levnam (ParaType), a sans with wide proportions for small text.
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.
In 2018, Alexandra Korolkova and Manvel Shmavonyan designed Fact at Paratype. Fact is based on Frutiger. The fact type system contains 48 upright styles with variations in width and weight and eight italics of normal width.
Vast (2021, Paratype) is a 56-style sans family, with three variable fonts, by Manvel Shmavonyan and Alexander Lubovenko. Choices are from thin to black and regular to extra wide.
As a student at TypeType Education, Marina Khodak designed the rounded slab serif typeface Splash (2016-2017). She joined TypeType after these studies. In 2018, Ivan Gladkikh, Alexander Kirillov, Philipp Nurullin, Vika Usmanova, Marina Khodak, and Nadyr Rakhimov published TT Severs. Still in 2018, Nadezhda Polomoshnova and Marina Khodak co-designed the forceful display typeface TT Phobos, which features striling stencil and inline styles. Continuing in 2018, Sergey Kotelnikov, Philipp Nurullin, Nadezhda Polomoshnova, Marina Khodak and the TypeType Team designed the not-quite-geometric 18-style typeface family TT Smalls, which is characterized by a small x-height and modulated joins. Co-designer of TT Barrels (2018: a Scotch modern typeface by Inessa Mitrozor, Vika Usmanova, Marina Khodak, Nadezhda Polomoshnova and the TypeType Team). At the end of 2018, TypeType published TT Supermolot Neue (Roman Ershov, Marina Khodak, Nadezhda Polomoshnova, Ivan Gladkikh and the TypeType Team).
In 2019, TypeType published TT Tsars, a 20-style font family with five subfamilies. It is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century and seen on book title pages in Russia. A reference for the development was Abram Shchitsgal's book Russian Civil Type. The fonts were designed by Marina Khodak, Inessa Mitrozor, Nadezhda Polomoshnova and the TypeType Team.
In 2020, Marina Khodak and Anna Tikhonova co-designed TT Marxiana (TypeType). It is an attempt to reconstruct a set of pre-revolutionary fonts that were used in the layout of the Niva magazine, published by the St. Petersburg publishing house A.F. Marx, and includes antiqua, grotesque and elzevir styles.
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, she designed the thin roman capital lettering typeface TT Ricordi Fulmini which was inspired by an inscription on the altar in the National Gallery of Umbria in Perugia. Still in 2021, she co-designed TT Commons Classic (a 24-style geometric sans by Ivan Gladkikh, the TypeType Team, Pavel Emelyanov and Marina Khodak; it includes two variable fonts). [Google] [MyFonts] [More] ⦿
Mark Simonson Studio
Mark Simonson Studio is located in StPaul, MN. Mark founded Mark Simonson Studio around 2000, and describes himself as a freelance graphic designer and type designer. From his CV: Early in my career I worked mainly as an art director on a number of magazines and other publications including Metropolis (a Minneapolis weekly, 1977), TWA Ambassador (an inflight magazine, 1979-81), Machete (a Minneapolis broadsheet, 1978-80), Minnesota Monthly (Minnesota Public Radio's regional magazine, 1979-85), and the Utne Reader (1984-88). I was head designer and art director for Minnesota Public Radio (1981-85) and an art director for its sister company, Rivertown Trading Company (1992-2000). During that time, I designed over 200 audio packages, including most of Garrison Keillor's, along with several hundred products (t-shirts, mugs, rugs, watches, etc.) for the Wireless, Signals, and other mail order catalogs. I have frequently done lettering as part of design projects I'm working on. This has always been my favorite part, so in 2000 I opened my own shop specializing in lettering, typography and identity design. I've also been interested in type design since my college days. I started licensing fonts to FontHaus in 1992, and since starting my new business, stepped up my efforts in developing original typefaces. I now have more than 70 fonts on the market with many more to come. This is increasingly becoming the focus of my activities. His fonts:
Links to his typefaces, in decreasing order of popularity: Proxima Nova, Bookmania, Mostra Nuova, Proxima Nova Soft, Coquette, Refrigerator Deluxe, Felt Tip Roman, Grad, Changeling Neo, Goldenbook, Lakeside, Kinescope, Metallophile Sp8, Blakely, Felt Tip Woman, Snicker, Felt Tip Senior, Kandal, Sharktooth, Anonymous, Raster Bank, Raster Gothic.
FontShop link. Fontspace link. MyFonts interview. View all typefaces designed by Mark Simonson. Fontspring link. Google Plus link. Klingspor link. Abstract Fonts link. Kernest link. Font Squirrel link. [Google] [MyFonts] [More] ⦿
Martype Co (was: Tyfrography)
Umar Farouq or Umar Al-Farouq or Mohammed Bendoel Kazar. Yogyakarta or Sleman, Indonesia-based designer (b. 1998) of these typefaces:
Mash Creative is the East London / Exxex-based design studio of Mark Bloom, who graduated from Middlesex University in 1998. Its first typeface is the basic sans RM Regular (2011). RM Regular was updated in 2016 to RM Pro (which can be bought at The Designers Foundry).
At some point before 2019, Joe Leadbeater and Mark Bloom founded CoType Foundry. Bloom released these typefaces at CoType:
Studio in Curitiba, Brazil. In 2018, it designed the bespoke wide sans typeface family Massimo. It is unclear who designed this great typeface---Behance associates it with Jean Wojciechowski, Marcelo de Costa, and Erick Donate. Still in 2018, Jean Wojciechowski designed the free variable font typeface Soulcraft. [Google] [More] ⦿
Canadian designer who is part of the cooperative type foundry Type Juice, est. 2019. In 2021, he released Unison Pro (an 8-style all caps superelliptical sans), the 32-style wide display sans Joyride and designed Merchanto (an 8-style all caps display sans) and Presta (a 12-style variable width family). [Google] [MyFonts] [More] ⦿
Graduate of the Type Design and Typography program at UMPRUM, Prague, Czechia. Designer of the high-contrast tuxedoed sans typeface Ponzastura (2018). He explains: Ponzastura typeface was inspired by Aldo Novarese's Eurostile, but in this case, monolinear strokes took on contrast and stress. The classical appearance of Ponzastura, whose name is inspired by the Italian city Pontestura where Novarese was born, is more of a reaction and interplay.
Max is a Dutch graphic and type designer, now based in New York. His first commercial release, Fran (2016), is sold exclusively by The Designers Foundry. In 2020, Jason Harcombe and Max Saille published the 18-style variable sans font family Mazin the sans typeface family at Fontpeople. In 2021, Jason Harcombe and Max Saille released the 20-style text family Leyendo at Fontpeople. [Google] [More] ⦿
MCKL (was: Mickel Design)
Jeremy Mickel runs a design studio in Brooklyn, New York, but lives in Providence, RI. Originally called Mickel Design, the studio and foundry was renamed MCKL in 2012. Mickel has taught at RISD and the Minneapolis College of Art and Design.
In 2018, he designed Rigrok, which he advertizes as oh so bold, brash and ballsy.
Brooklyn, NY-based contributor and administrator of The League of Moveable Type. Home page. In 2020, League Spartan Variable was released, thanks to Micah Rich and Tyler Finck. League Spartan was an early free font of The League of Moveable Type. Github link. [Google] [More] ⦿
Michael Rafailyk is a brand designer, illustrator, type designer and composer from Sumy, Ukraine. In 2003 he earned a Bachelors in music composition and conductor of orchestra at Bortnianski Art & Music College. In 2007 he earned a Bachelors degree in graphic design at the Open International University of Human Development. Until 2021 worked in a branding agency as an illustrator and graphic designer. Designer of these typefaces:
Design director at Huawei in Shenzhen, China. Creator of the free semi-condensed Latin / Cyrillic semi-condensed sans serif typeface Vladivostok (2017) and the free Latin / Cyrillic sans typeface Manrope (2018; +a variable font). Cristiano Sobral altered Manrope in his free font Russisch Sans (2020).
Emma Marichal (Lyon, France) is one of four designers at the French foundry Minitype (est. 2020). Her fonts can be bought at Type Department. These include the thorny serif typeface Gallique Light (2020), which was designed while she was still a student at ESAD Amiens.
Graduate of the postgraduate type design program at ESAD Amiens, France, class of 2021. Her graduation typeface there was Ploquine, whixh was designed under the supervision of Sebastien Morlighem. Ploquine is a typographic family inspired by wooden typefaces and is intended for editorial use. The family consists of a variable display and 5 styles for text. The drawings for the text are directly inspired by the French specimens of E. Ploquin or the French Typographic Foundry. She writes: With generous serifs and mechanical shapes, this contrasting but solid typeface is perfectly adapted for long texts in exhibition catalogs.
Mint Type (was: PDesign 6.0)
Ukrainian Andrey Konstantinov (b. 1981, Moscow, lives in Kiev) graduated from the National Technical University of Ukraine in 2002. He lived for some time in Tallinn, Estonia. He ran PDesign 6.0, and later established the commercial foundry Mint Type.
His typefaces generally cover Latin and Cyrillic: Tecco (techno), Radix, Aera Sans, Aera Serif, Careless Hand Script (2005), Guarda Sans (2012), Vitra Sans (2005), Terra Sans (2005), Terra Semi Slab (2005), Terra Slab (2005), Radix (2004), Cyntho Pro (2012, a geometric sans), Cytia Pro (2012, a geometric sans with built-in contrast), Cytia Slab Pro (2013), Lytiga Pro (2012, a 48-font techy sans family, starting with hairline weights).
Typefaces from 2013: Pancetta Pro (elliptical sans), Pancetta Serif Pro, Clinica Pro (a clean non-geometric sans), Cyntho Slab Pro, Cytia Slab Pro, Espuma Pro (a soft humanist sans family with lots of curviness), Ristretto Pro (a narrow display sans), Ristretto Slab Pro.
During the riots and revolution in Ukraine in 2014, Andrey designed Anglecia Pro, a text typeface in Text, Display and Title subfamilies. Just before the 2014 elections in Ukraine, he designed the geometric partially humanist sans typeface Proba Pro, which has wide spacing and small x-height---the regular and italic styles are free.
Synerga Pro (2014) is a humanist slab serif with rounded terminals.
In 2016, Oleh Lishchuk and Andriy Konstantynov co-designed the rounded scientific or technical paper font Midpoint Pro.
Typefaces from 2017: Skema Pro (a 84-style serif text family with Livro, Text, Omni, News, Title and Display subfamilies), Excentra Pro (a sans family with stroke variation and inclined axis), Opinion Pro (by Oleh Lishchuk), Orchidea Pro.
Typefaces from 2019: Ponzu (a stencil-style display sans), Greenwich (a modern-looking humanized sans-serif typeface with open aperture inspired by Gill and Johnson; +Cyrillic), Closer Text (a sans with overclosed apertures), Cyntho Next Slab, Cyntho Next (advertized as Swiss and Dutch).
Typefaces from 2021: Accia Forte (a 16-style serif with large x-height), Accia Variable, Accia Moderato (a 16-style serif with large x-height), Accia Piano (a 16-style serif with large x-height), Accia Sans (a 16-style humanist sans), Accia Flare (also in 16 styles), Extatica (a 16-style eclectic (or: hipster) sans), Inerta (an 18-style geometric/neo-grotesk hybrid for Latin and Cyrillic).
Type designer in Sofia, Bulgaria, who first studied mathematics and then graphic design (at New Bulgarian University). During her studies, Mirela Belova created the Latin / Cyrillic blackboard bold typeface Cheque (2017), which is free at Fontfabric. She was part of the Fontfabric team that designed the 521-font family Zing Rust, Zing Sans Rust and Zing Script Rust in 2017.
In 2018, Mirela Belova and Svetoslav Simov co-designed the 20-style geometric sans typeface family Mont.
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 2020, Stan Partalev and Mirela Belova set up Spacetype.
In 2020, Mirela Belova and Stan Partalev co-designed the 22-style (+variable) geometric sans family Gogh at Spacetype.
Typefaces from 2021: Steam (a 13-style layerable Western family that emulates wood type; with Stan Partalev), Code Next (a 20-style geometric sans by Svetoslav Simov, Mirela Belova and Stan Partalev; it includes two variable fonts).
Spartan is Matt Bailey's open-source typeface based on early 20th century American geometric sans serifs. In 2020, Mirko Velimirovic converted Spartan MB to a variable font downloadable at Google Fonts. [Google] [More] ⦿
The Dynamic Font System of Beijing-based MIUI---the operating system that powers Xiaomi's mobile phones---enables the users to finely adjust the weight and size of the system fonts to the most suitable state. Their variable MIUI 11 Dynamic Font, Mi Lan Pro (2016-2019) for Latin and Chinese, was developed by a team that includes Flynn Lee (China), Jonathan Lu (Beijing, China) and Gary Chen (Beijing, China). [Google] [More] ⦿
Zurich-based graphic design studio that often work for art and architecture clients. It is run by Marc Kappeler, Markus Reichenbach and Ruth Amstutz. Font subpage. Regina (2008) is a custom rounded typeface in Latin and Cyrillic for Regina Gallery in London and Moscow. Balkankaravan (2008) is a layered typeface custom-designed for Balkankaravan. In 2010, they made an ornamental caps typeface consisting of building demolitions.
In 2012-2013, Grilli Type published their typeface family GT Pressura (with monospaced and proportional versions), which was inspired by type stamped on shipping boxes. GT Pressura was co-designed by Ruth Amstutz and 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. GT Sectra won first prize in the TDC 2015 Type Design competition. 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 typeface that works well in text, but not at the expense of character. GT Sectra strikes that balance.
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] ⦿
Brazilian artist located in Sao Paulo. In 2019, Monica Rizzolli and Tony de Marco (Just in Type) published the octagonal typeface family Tomorrow, which can be downloaded from Google Fonts. Github link. In 2019, Tony de Marco and Monica Rizzolli released Tomorrow at Just in Type. Github link. Open Font Library link.
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). [Google] [MyFonts] [More] ⦿
Monotype on The History and Future of Variable Fonts
An article written in 2017 by Jason Tselentis, a designer, writer, and educator based in North Carolina. As Associate Professor at Winthrop University, he teaches visual communication design, brand strategy and development, web design, and typography. [Google] [More] ⦿
Morula Type (or: Type01 Foundry, or: T1 Foundry)
Barcelona-based designer of these typefaces:
Muhammad Iqbal Firdaus
Muhammad Ridha Agusni
In 2018, Fatih Hardal and Muhittin Gunes set up Bold Type Istanbul. Both graduated from Marmara University Faculty of Fine Arts. They co-designed the sans typeface families Bold Type Modern (2018) and Bold Type Grotesk (2018).
In 2019, Muhittin Günes released the ink-trapped variable font OR Ranua, the fashion mag typeface Zermatt, the art deco sans typeface MT Maeve Deco, and the 14-style Muana Grotesque.
Typefaces from 2021: Olten (a didone-based display serif), Gronland (a sans serif typeface designed in 2018-2021 and inspired by Swiss public transport signage, NYC wayfinding systems and Greenland), Tofua (a hybrid between a didone and a gothic cathedral). [Google] [MyFonts] [More] ⦿
Digital type foundry based in Manchester, UK. Designer at Type Department of the sans typefaces Quench Variable (2020: ultra-compressed), Labour Grotesk (2020) and Metrik (2020), and the decorative stencil serif typeface Celine (2020).
Typefaces from 2021: Merchant (a 4 weight sans serif that goesback to the 20th century British typefaces, particularly those by Eric Gill, Edward Johnston, and Margaret Calvert).
Naipe Foundry is the type design, lettering & font production company set up in 2018 by Alvaro Franca and Felipe Casaprima (and before that, Leandro Assis as well). Alvaro Franca is a graphic designer from Rio de Janeiro who studied at ESDI in Rio and EINA in Barcelona. He teaches at Domestika and ELISAVA in Barcelona. He created Aladdin Sans (2011) when he was studying at ESDI in Rio. Other early typefaces by him include the wedge serif text typeface Selsdon (2015) and the didone numerals typeface Baleia Heavy (2015), which was influenced by Herb Lubalin's style.
In 2016, he created the 9-width titling or poster typeface family Bonde and wrote: It is the result of a year long research project on the hand painted lettering used in Rio de Janeiro tramways between 1868 and 1966. The carioca engineers who lettered the original signs used compression and expansion of letters so that station names of all sizes would occupy the same horizontal space. Because they didn't have lettering training or a model to follow, they had to come up with their own unique solutions for the problem of width variation in letterforms. Bonde applies these quirky and ingenious designs to a multi width type family, but adapts letterforms for contemporary use in their original function: signage and wayfinding.
In 2016, he designed the informal typeface Noturna. In 2017-2018, he participated in the Type Expert program at the Plantin-Moretus Institute in Antwerp.
He won an award at Tipos Latinos 2018 for Discordia (Naipe Foundry and Future Fonts): Developed originally for use in magazines, the goal was to create a concise text family that blurred the lines of type classification, mixing things that normally don't go together but which could be persuaded to play nice this one time. In 2020, Hebrew support was added thanks to Ben Nathan. In 2021, MyFonts published Discordia and credited Felipe Casaprima and Alvaro Franca.
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.
Namela (or: Syamsi Namela)
Magelang, Indonesia-based designer of Resalatyn(an inky script), Balise (a rounded display sans; +a variable font; by Nur Syamsi and Panca Ahmadi Hasan), Manche (2020: a 56-style geometric sans by Nur Syamsi and Panca Ahmadi Hasan), the soft serif typeface Aligarh (2020: by Nur Syamsi and Bustanul Arifin), Aligarh Arabic (2020: by Nur Syamsi and Bustanul Arifin), the fat finger font families Childos Arabic and Childos (2020, by Nur Syamsi and Bustanul Arifin), the modular sans typeface Gumela (2019, by Nur Symasi and Panca Ahmadi Hasan), Tasmik (2020: for Arabic), Khayma (2020: for Arabic), Tufuli (2020), Tufuli Arabic (2020, by Nur Syamsi and Bustanul Arifin), Counte (2020, a slab serif typeface family by Nur Syamsi and Bustanul Arifin), the 20-style geometric sans family Madani (2020, by Nur Symasi and Panca Ahmadi Hasan), Madani Arabic (2020: a geometric sans / kufi in ten styles; includes a variable font), and Gumela Arabic (2020, by Nur Symasi and Panca Ahmadi Hasan).
Typefaces from 2021: Mahameru (a 20-style display typeface by Nur Syamsi and Bustanul Arifin), Mahameru Arabic, Meila (a plump almost-bubblegum font family in seven styles; by Nur Syamsi and Bustanul Arifin), Meila Arabic, Bandy (a 16-style slab serif by Panca Hasan and Nur Syamsi), Kidzhood (a children's book font family by Nur Syamsi and Bustanul Arifin), Gestura (an upright connected typeface in 14 styles, and two variable fonts; by Nur Syamsi and Bustanul Arifin), Naveid (an 18-style mini-serif typeface; and two variable fonts; by Nur Syamsi and Bustanul Arifin), Naveid Arabic (a ten-style Arabic typeface by Nur Syamsi and Bustanul Arifin), Resalaty Arabic (a handwriting style by Nur Syamsi). [Google] [MyFonts] [More] ⦿
Peter or Pyotr Bushuev is the Pskov, Russia-based designer of the geometric typeface families Umbero (2016, retro deco) and Kontora (2016, for Latin and Cyrillic). He also designed the brush typeface Burelom (2015).
Typefaces from 2017: Juxta (Sans, Sans Mono, Script), Juxta Sans Mono, Ravensara Antiqua Stencil, Ravensara Sans, Ravensara Serif (a high contrast fashion mag font derived from didones; in Sans and Serif styles).
Typefaces from 2019: Base + Bloom (experimental).
Typefaces from 2020: Strikt (a viariable pixelish font on a 3x3 grid with two axes, weight and animation), Cascadeur (Pyotr writes: Cascadeur is a variable modular sans with 3 axes, a modernistic hommage to space-age typography).
Rajesh Rajput (since 2014 with Cognizant Technologies, Gurgaon / Delhi, India) designed the free 5-style stencil typeface family Break in 2015. Interestingly, a guy called Steven Han calls it his font in 2016. He worked for four months on an elaborate decorative set of 26 capitals under the project name Type Soul (2015).
Now based in New Delhi, he created Hagna (2017; although inside the font we find another name, Webvilla), the free variable condensed sans display family Thunder (2017) and Gorgeous (2017, a free tall fashion mag typeface family).
Typefaces from 2018: Morganite (a free condensed movie credit sans in 18 styles),
Typefaces from 2019: Emberly (a free 54-style didone, with a variable option).
Typefaces from 2021: Moniqa (a free 162-style (+variable font) family of art deco typefaces for Latin and Cyrillic).
NC Type (or: Netvarec Typefaces)
Prague-based type foundry offering typefaces by Daniel Quisek and Lukass Chladek, who gained their experience type during their MA studies in The Netherlands. Their fonts include NC Burrata (2020: a geometric sans; +a variable style), NC Fontina (2020: a grotesk sans that celebrates Mille Miglia, a Thousand Miles open-road race established in 1927 in Italy.) and NC Kobyla (2020: a workhorse text typeface family; +a variable font).
Neue Frutiger was developed by Akira Kobayashi and the Monotype (ex-Linotype) Design Team, in 2018. An outgrowth of Adrian Frutiger's successful Frutiger font, this wayfinding family was split by Monotype into several packages:
Graduate of the University of Gloucestershire, class of 2018. In 2018, Samuel Powell set up Neutype Foundry, and designed the geo-grotesque monolinear sans Kontur, and the monolinear sans New Highway. Designer in 2019 of Arbeit, a simple sans with a two axes (weight, italic) variable font option. You Work for Them link. [Google] [More] ⦿
Swiss type foundry set up by Ian Party in Lausanne in 2020, with a focus on variable font technology. All newglyph typefaces are variable fonts with three axes of variation: weight, width and contrast. Their initial typefaces in 2020:
Nguyen Type is a small type foundry founded by Andree Nguyen in Ho Chi Minh City, Vietnam. In 2019, Andree released the display typeface family Iconique Sans, the cross-cultural Latin typeface House of Nguyen (2019) and the fantastic decorated caps typeface Khong Gian Am (2019: inspired by negative things and sins). In 2020, Andree designed Iconique Serif and the experimental typefaces Froot Mono and Seed Mono. [Google] [More] ⦿
Nice to Type
Gabriel Richter studied communication design at Düsseldorf University of Applied Sciences from 2010 till 2015, and attended a workshop by Jakob Runge and Max Kostopoulos. After working on experimental type projects, Richter did an internship at FontShop International in 2013. His Bachelor's project was the grotesque Richter Grotesk (now called FF Infra, published by FontFont). In 2017, he became independent and founded Übertype with Andreas Uebele. Richter teaches type design at Düsseldorf University of Applied Sciences. Übertype later morphed into Nice To Type. His typefaces:
Macclesfield, UK-based type designer who has a degree in graphic design from Nottingham Trent University. David Brezina introduces Nick as follows: Nick Job saw my baby steps as a type designer on the Typophile forum and kindly offered advice and new sources of inspiration. That's how I learned about his enthusiasm for British Rail and modernist design in general. He is a sans-serif specialist by heart, exploring mechanical influences (FS Hackney) as well as Englishness in design (FS Elliot).
Nois (was: Makenois)
Barcolona-based designer who set up Makenois and then Nois, a studio engaged in branding, web design and digital campaigns. Creator of Mirtha Display (2020), Britti Sans (2020: a 14-style brutalist sans), Lalo Grotesk (2020) and Beni (2020: a condensed headline sans).
Nonpareille (was: Chastellun.net)
Matthieu Cortat was born in Délémont (Switzerland) in 1982, and became a French citizen later. After a degree in graphic design in 2005, at the University of Art&Design Lausanne (Ecal), he obtained a Masters at the Atelier National de Recherche Typographie in Nancy (France). Cortat heads the Master Type design program at the École d'art de Lausanne (ECAL). He lives in Lyon where he is advisor to the collections of the museum of Printing and Graphic communication. He created the French typographical corpus, which brings together the typefaces in France between 1850 and today. He set up Nonpareille. Most of his typefaces can be bought at 205 Corp.
Speaker at ATypI 2017 Montreal.
Makeevka, Donetsk, Ukraine-based designer of these typefaces in 2017: Vector Waves, Quasimodo (a free spurred and curvy decorative display typeface), Courtney (monoline script), Lumberjack (blackletter; see also Lumberjack Zombie in 2019), Marvin (a 10-font Marvin Heemeyer-inspired bulldozer and wrench font family with a free heavy slab serif), Awakening (signage script), Bang Bang, Round Compound, Rot Shield (blackletter), Rust (spurred), Furious, Dry Brush, Balalaika (Cyrillic emulation typeface), Moustache, Barbara (script), Arigato, The Pontifice (blackletter), Amsterdam, Megapolis (inline), Megapolis Black Bold (free, for Latin and Cyrillic), Phoenix Gothic, Brush Pen, Nround (rounded sans), DieCunst (free connected script).
Typefaces from 2018: Fontuna (+stencil), Sansterdam (a geometric condensed grotesk with a few deco styles), Ethna (a fashion mag sans typeface family), Voguer Sans (a free Latin / Cyrillic display typeface with fashion applications in mind), Ravenholm (an expressionist blackletter), Jorick (vintage, Latin and Cyrillic), Ultravog and Ultravog Glitch Black (extreme contrast stencil styles: free), Walpurgis Night, Voguer (a high-contrast fashion mag font), Voguer II (didone-inspired, accompanied by a script typeface).
Typefaces from 2019: Anicon Sans, Anicon Slab, Thephir (a variable cursive typeface), Oblique Rain (monoline script), Skiff (a quaint almost painted sans), Cadency (a monoline script), Waymar (Serif and Script font duo; include the textured caps typeface Waymar Ornate and the blackboard bold style Waymar Outline), Phagoth (blackletter), Gunhill (a vintage font family that includes blackboard bold styles), Heartland (Script & Sans), Marvin Slab.
OGJ Type Design
Aka OGJ, Oliver Jeschke is based in Berlin. With Oliver Mayer (Tatin, Basel), he created the avant garde linear grotesk typeface family Version 1 International (2013). The typeface family, characterized by upward diagonal strokes in the f, h, m, n and u, was published by Volcano. Volcano writes: The Version 1 font family is a mannered geometric linear-grotesque, hand-drawn and developed by Oliver Jeschke and Oliver Mayer at Tatin Design Enterprises in Basel, Switzerland and Berlin, Germany. It was created in a three-month training and was further developed in the later stages as OpenType font.
In 2015, influenced by the work of Swiss master designer Max Bill, Oliver Jeschke created the Greek simulation typeface family Bill Display, the sans typeface Bill Corporate, and Bill Corporate Narrow. See aso Bill Corporate Mx (2016) and Bill Display Lowercase.
Spectators Headline (2016) is a breezy semi-informal notebook sans family.
Typefaces from 2017 include Sequel Sans and Sequel Rounded. Calling it a "post-Max Bill design", Sequel Sans was developed in collaboration with the Max Bill Georges Vantongerloo Foundation. In 2018, Sequel 100 Wide and Sequel 100 Black were added to that collection.
Typefaces from 2020: Sequel Sans VF (the variable font version of Sequel Sans), JT Energy (a great addition to the geometric sans genre featuring optically consistent line thickness; it comes with two condensed styles called JT Energy Placard, and with JT Energy Variable).
Oh No Type
Oakland, CA-based designer, whose company is called Oh No Type. In 2011, he was a student at California College of the Arts in San Francisco. Graduate of the Type & Media program at KABK in Den Haag in 2014. Before that, he was based in Leeds, UK. James teaches Type at Cooper West. In 2018, James co-founded Future Fonts, a platform for distributing fonts in-progress. Typefaces:
German designer of Vary (2021, Monotype). Vary is an 10-style geometric sans serif typeface (+a variable font) inspired by Bulgarian Cyrillic. Its weights range from Hairline to ExtraBlack. [Google] [MyFonts] [More] ⦿
Hector Gatti, aka Pocho Gatt, is an Argentinian who runs Gatti Studio and Omnibus Type, and who co-designed the sans typeface Patagonia (1994) with Pablo Cosgaya. Omnibus (est. 2011) is a coop that focuses on web typography and high quality web fonts. All typefaces can be found at the Google Font Directory. All designers are from Argentina and Mexico. Their typeface library:
Onetypethree Foundry (or: Dzianis Serabrakou)
Denis Serebryakov's Design studio in Minsk, Belarus creates logotypes and identity based on original lettering and own production fonts. Appetite (2011) is a black upright script family. It was followed by Appetite Contrast (2012) and the italic version, Appetite New (2012), the sketched version, Appetite Sketch (2013), and Appetite Rounded (2014). In 2016, it was updated to Appetite Pro. In 2017, it was extended to Appetite Pro Rounded.
Myster (2012) is a random font in which each glyph has three alternatives. General (2012) is an elegant casual sans family. Germes (2012) is a grotesk family with some contrast and with some reverse serifs added sparingly. Germes Sans (2012) is the sans version.
Statut (2012) is an elegant thin typeface that is based on calligraphic work by Belarusian artist Pavel Semchenko.
Oldsman No. 1 (2012) is a fashion mag typeface.
Typefaces from 2014: Bouquet (a fat brushy script, with Cyrillic).
Typefaces from 2015: Ultratype Beta.
Typefaces from 2016: Nature Product.
Typefaces from 2018: Epos.
Typefaces from 2019: AMDG (a sans commissioned by Artox Media design Group).
Typefaces from 2020: Nekst (a 7-style geometric sans with a reference to bent metal tubing; +a variable style).
Typefaces from 2021: Taler (a 7-style avant-garde slab serif featuring plastic stiffness).
Op. Cit. Ibid. (or: OCI)
London-based type designer. Creator of these retail typefaces:
She also does custom design, including a titling typeface for Christie's Magazine, commissioned by B.A.M. in 2018.
Oscar Yáñez has a Bachelor's degree in Graphic Communication Design from the Universidad Autónoma Metropolitana (UAM) and a Master's degree in Typographic Design from the Centro de Estudios Gestalt.
Designer of Fabrica Texto (Italica, Versalita, Bold, 2008) and Lucrecia Texto (Itálica, Versalita, Bold), both winners in the Tipos Latinos 2008 competition for best text family. Grand prize winner at Tipos Latinos 2010 for his titling type family Carlota. Other typefaces by him include Aion, Moneda, and Condesa.
In 2012, he created Amate, a type that was designed for a newspaper in Cuernavaca. Calavera (2012, Cocijotype) is an ornamental display typeface that is based on the Mexican Tuscan letter style and on the work by Mexican engraver Manuel Manilla. It won an award at Tipos Latinos 2014. Dorotea (2012) is a Latin / Greek / Cyrillic typeface family created for text in books and periodicals. The name is in honor to Dorothy Abbe, typographer, puppeter and close friend of William Addison Dwiggins.
At ATypI 2009 in Mexico City, he spoke eloquently about Boudewijn Ietswaart and the development of the Balduino typeface (by the Círculo de Tipógrafos).
In 2014, he created the curly ronde script typeface Bistro for Gastronomie Magazine.
He lives in Mexico City and is Design Editor at GEE. Founding member of Círculo de Tipógrafos in Mexico.
In 2010, Cristobal Henestrosa strated work on Charter, which is 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. Mon Nicolette also comes in a variable format with weight and optical size axes. [Google] [More] ⦿
Otherwhere Collective (or: Ilott Type)
British born designer Andrew Bellamy worked for agencies in London, Oslo, and Miami, and is currently developing various global brands as Design Director at JKR in New York City. He started Ilott Type and then Otherwhere Collective.
Andrew Bellamy designed 64-SRC (2017), a rare condensed monospace font inspired by IBM's Selectric type from the 1960s.
His 57 Nao (2016) is a revival of a Japanese typewriter font from the 1950s called Messenjaa. They explain: Designed in 1950s Japan by Okanao & Kushiro, the perfect partnership until artistic temperaments drove them apart. The duo spent years crafting the font with the working title Messenjaa, Okanao bringing technical expertise to craft letterforms, while Kushiro made it his life, obsessively working late into the night to check pages for errors. For him the project was never about making money, it was an artistic endeavor to reprint the great Western works of literature. When he found out Okanao had secretly sold the rights of the font for use as a logo for a major Japanese manufacturer, Kushiro burned all evidence of the designs in a fit of passionate fury. The two reportedly never spoke again. Messenjaa was thought lost forever until a type specimen was discovered in a vintage typewriter box bought on eBay. Now redrawn and available as 57-nao, a faithful and beautifully crafted monospace characterized by what is considered Okanao's defining moment, the angular loop on the lowercase a.
52-Kfx (2017) is an extra tall sans typeface.
35-FTR (2017) was custom drawn specifically for the book Analogue Photography which required the timeless elegance of Futura and the compact utilitarian typesetting of Helvetica.
In 2019, Bellamy published OC Bartok (a wedge serif), OC Pajaro (a sans family between Futura and Akzidenz Grotesk), OC Format Sans (a geometric grotesk sans serif that fuses the style of Futura with the rhythm and proportions of Akzidenz), OC Rey.
Typefaces from 2020: OC Format Stencil (a variable font design inspired by the work of Bruno Munari, Paul Rand, and Max Huber), OC Format Collage, OC Format Shards. A special mention for the masking tape font OC Revolt, a variable display font made for the protest graphics of the NYC-based Trump Brexit era Non-Complicit project who initially made guerrilla type with masking tape applied directly in situ or to silk screens. [Google] [MyFonts] [More] ⦿
Graduate of the TypeMedia program at the KABK in The Hague in 2017, who first worked at some design studios in Spain and now develops typefaces at Bold Monday. His typefaces include:
Codesigner with Giuseppe Salerno of Superb (2014, Resistenza: a creamy signage script) and the calligraphic brush script Modern Love (2015).
Italian codesigner, with Giuseppe Salerno and Andrea Tardivo, of the chocolate box script typeface family Gianduja (2016, Resistenza).
In 2019, Paco Gonzalez and Giuseppe Salerno co-designed the brush typefaces SmoothyPro, Pando Script and Parkour, Auster Rounded, the Tuscan family Royale, the chalk font Dolce Caffe Chalk, the layered handcrafted sans typeface Dolcissimo, the dry brush script typeface Blue Jeans, the brush script Batticuore and Turquoise Inline.
Typefaces from 2020, all with Giuseppe Salerno: Big Mamma (a hand-printed slab serif), Suerte (a reverse contrast display type, inspired by Aldo Novarese's Estro), Norman (a fashion mag typeface), Royale Italic (Tuscan), Auster Variable, Hello Fresh, Nostalgia and Nostalgia Flowers, Tresor (a romantic flared sans), Pesto Fresco Italic. [Google] [MyFonts] [More] ⦿
In 2020, Nur Syamsi and Panca Ahmadi Hasan co-designed Balise (a rounded display sans; +a variable font), the slab serif typeface family Counte, the 20-style geometric sans family Madani and Manche (2020, a 56-style geometric sans).
Pangram Pangram Foundry
Mathieu Desjardins (Pangrampangram) is a senior art director in Montreal, who created the free geometric sans typefaces Charlevoix Bold, and Pier Sans (2015), and the condensed sans typeface Stellar in 2015. However, at Graphicriver, we learn that he is selling Charlevoix Bold (2015), Stellar (2015) and Pier Sans (2015).
In 2016, he designed Supply Mono (which could be used for programming), the (free for personal use) 7-weight geometric sans font family Pangram and the (free for personal use) Fuji Sans.
In 2017, he published Chronos Serif, which is also free for personal use.
In 2018, he designed the grotesque typefaces Formula Condensed, Neue Montreal (together with Sebastien Tremblay; advertized as a great replacement of Helvetica) and Radio Grotesk, the warm and fluid text typeface Woodland, the wide display sans Monument Extended (version 2 appearing in 2020), Casa Stencil and Gosha Sans (influenced by Futura and Russian constructivism; contains Cyrillic as well).
Typefaces from 2019: Hatton (a collaboration with London-based design studio Two Times Elliott, Hatton is a homage to the history of the London diamond trade district, Hatton Garden), Editorial New (a partly free editorial text font family), Neue Machina (inspired by the aesthetics of robotics and machines, this powerful variable opentype typeface family is characterized by monospace/geometric features and deep ink traps; designed by Mathieu Desjardins and Vasjen Katro / Baugasm). It is inspired by the aesthetics of robotics and machines).
Typefaces from 2020: Neue World (an 48-style and variable cut modern serif with roots in vintage display type).
Typefaces from 2021: Pangram Sans V2 (with Valerio Monopoli: 144 styles, and a 3-axis variable font; Pangram Sans was originally published in 2015; followed by Pangram Sans Rounded (2021)), Editorial New Version 2.0.
French designer of these typefaces:
London, UK, and Athens and Kifissia, Greece-based type foundry started in 2001 by Panos Vassiliou. It specializes in fine multilingual (usually Latin, Greek and Cyrillic) typeface families. He is a graduate of the University of Toronto, Canada with a major in Applied Science and Engineering. Following his University of Toronto graduation, he studied Graphic Communications at Ryerson University. Panos Vassiliou has conducted numerous seminars for Canadian companies such as Bank of Nova Scotia, Royal Bank and Sony Canada. He graduated from the University of Toronto/Canada, where he studied Applied Science and Engineering. He has been Creative Director for the Canadian design firm AdHaus, former Publisher of the monthly magazine DNA (Greece) and Secretary-General for the Hellenic Canadian Congress (Ontario, Canada). He has been designing typefaces since 1993, including commercial fonts as well as commissions from Vodafone, Nestlé, Ikea and National Geographic. He started Parachute in 2001 setting the base for a typeface library that reflected the works of some of the best contemporary Greek designers, as well as creatives around the world obsessed with type. Apart from its commercial line of typefaces, Parachute offers bespoke branding services for corporate typefaces and lettering. Customers include Bank of America, the European Commission, UEFA, Samsung, IKEA, Interbrand, National Geographic, Financial Times, National Bank of Greece, Alpha Bank and many others.
Other type designers at Parachute include Kanella Arapoglou, Alexandros Papalexis, Dimitris Foussekis, Aggeliki Skandalelli, Helen Gabara, Babis Touglis, Vangelis Karageorgos, George Toumbalis, Eva Karapidaki, Charis Tsevis, Pavlos Levendellis, Panos Vassiliou, and George Lygas.
At Granshan 2010, Vassiliou won Second Prize in the Greek text typeface category for PF Encore Sans POro, and First and Second Prizes in the display typeface category for PF Regal Pro and PF Champion Script Pro, respectively. Typefaces:
Their type blog is called Upscale typography.
Pascal Naji Zoghbi
Reflecting on the future of type in 2021, straight from Patrick Griffin's desk: The Future Of Fonts (Maybe). ...whereby the (Maybe) in the highfaluting title being the necessary contextual hand-washing, since what we're really talking about here is a tech slugger's third at-bat, and the count is 0-2. Of course the grand allusion here is to variable fonts (or variation fonts, or font variations), a technology that has been around in one form or another for almost three decades. [...] Font interpolation. The condensed version of digital font interpolation history is this: In the early 1990s, both Apple and Adobe introduced their own interpolative font technologies, respectively called GX Variations and Multiple Master. Quite a few fonts were made in both formats in the 90s, but for various reasons they never really took off with layout artists. So type designers stopped releasing interpolative fonts, though they kept using the technology in the background to build large font families. Most individual fonts in large families in use now come from some kind of interpolation under the hood. In the fall of 2016, the Open Type specification added support for variations, and since then that has been the go-to subject of presentations in pretty much every type design conference out there. Support for the stuff was duly added to both major font-building apps, and here were are now, entertain us. The 0-2 count. GX Variations failed mostly because Apple insisted the technology would only work on the Mac, which turned off the major layout design software manufacturers (Adobe, Corel, Quark) who were heavily vested in Windows at the time. The Multiple Master tech failed mostly because most layout artists were confused by it, and whatever application support was there for it proved to be spotty at best. So attempts at using interpolative fonts in the mainstream pretty much altogether stopped in the late 90s. Some, perhaps even most, font makers held on to the Multiple Master technology as an internal process to produce families, because it helped speed things up, allowed for extreme precision and more impressive output and, well, nerds like us just like to play with such tools. The third at-bat. The GX and MM technologies failed during an ancient time, when the only beast roaming the planet was the Printosaur---a time when everything was judged by its potential for print, long before the interwebs was a thing. About a dozen years after the public burial of both technologies, people got their ducks in a row about using fonts on the web. At some point a few years later, a few young webheads thought, Hey, what if web fonts can be interpolated!? And that is how you make a snowball and roll it down a hill. With this latest at-bat now, the major difference is that we are almost positive that web-driven technologies (as opposed to print-driven ones) have a much better shot at survival, even better odds at flourishing and going mainstream. Case in point: Variable fonts can now be used in Adobe Illustrator CC, and Adobe Photoshop CC. And they work quite well, within an impressively simple and efficient interface implementation. [...] So here's to the future of fonts. Maybe. [Google] [More] ⦿
During his studies in München, Germany, Paul Christ designed the angular typeface Oh No (2017) and the wavy typeface Crooked (2017). In 2018, he designed the variable font typeface Herbivore. [Google] [More] ⦿
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] ⦿
English designer in West Cork, Ireland. In 2014, he designed the classical roman caps typeface Carrig---not Trajan, but still influenced by stone carving. He also created the similar typefaces Carrig Roman (2015), Carrig Italic (2015), Carrig Refined (2015), Carrig Rough (2016), Carrigeen (2014), and Carrig Pro (2017). Woodford Bourne (2015, 8 weights for 16 fonts in all, from Hairline to Black) is a 19th century grotesque typeface that pays homage to the historic stone cast type in the building façades of the former Woodford, Bourne & Co. in Cork City, Ireland. It was imprioved and extended in 2016 as Woodford Bourne Pro. Arundel (2015) is a beveled medieval typeface.
Typefaces from 2016: Didonesque (didone headline typeface characterized by a large x-height and slightly curved v, w and y), Fnord (a serif family designed with a mischievous streak), Fnord Display (in Engraved, Inline and Woodcut styles), Eponymous (an experiment with chunky serifs), Pseudonym (a subtly falred sans with interlocking and unicase features).
Typefaces from 2017: Didonesque Ghost (a stylish very contrasted didone typeface family), Banjax (humanist sans, followed in 2018 by Banjax Notched), Faded Grandeur (inspired by stone engravings that have withered and decayed over time), Torus (a rounded monoline organic sans; see also Torus Variations (2018): Torus Notched, Torus Inline, Torus Outline and Torus Biline), Meccanica (an intoxicating nuts and bolts-style engineering typeface).
Typefaces from 2018: Eurocine (this is in the wide elliptical sans genre: This typeface attempts to capture the mood of movie credits from European Cinema in the 1970s, with a focus on Giallo films in particular. In terms of style, Eurocine sits somewhere between Walter Baum and Konrad Friedrich Bauer's Folio, and Aldo Novarese's Eurostile), Polyphonic (a 60-font slab serif family), Majesty (flared, incised), Verbatim (a 60-font sans family that was inspired by the best (and worst) of 1970s science fiction TV shows and movies, and aims to extract the essence of futuristic type from that era).
Typefaces from 2019: Didonesque Script, Modica (an 18-style geometric sans that came from Technica), Technica (a more conservative rounded geometric sans / techno family than his earlier Meccanica), Rhetoric (a semi-cursive typeface), Quorthon (blackletter, in Black, Dark and Grey substyles), Yolk (a sans family based on the shape of an egg yolk), Transcend (an all caps titling typeface), Ergonomique (a humanist sans in 18 styles), Eloquence (a renaissance font family), Didonesque Stencil.
Typefaces from 2020: Rodia (an 18-style oddball (sic) geometric typeface inspired by the iconic RADIO signage that was once in place at 5041, Pico Boulevard, Los Angeles in 1985), Arise (an 18-style text typeface family characterized by hooked terminals), Slabber (a slab serif inspired by 19th century wood type), Audacious (a 20-style decorative serif), Cream (a warm text family, with the heavier weights leaning towards Cooper Black), Sqwared, Logik (sci-fi).
Typefaces from 2021: Sienna (14 styles and two variable fonts; a warm soft serif with some angular design elements that make it a great choice as a text typeface), Torus Pro, Harmonique (a 32-style incised serif).
In 2018, Ivan Gladkikh and Pavel Emelyanov, with the technical assistance of Marina Khodak, Vika Usmanova and Nadyr Rakhimov, designed TT Commons. TT Commons is a universal sans family originally created for the branding and in-house use of TypeType, but it was finally released due to many requests. Pavel also helped with the design of TT Norms in 2018.
In 2019, Pavel Emelyanov and Ivan Gladkikh released the 20-style geometric sans typeface TT Hoves, which is intended for use in architecture, design, industry, science, astronomy, drawing, high tech, research, space and statistics.
Co-designer of TT Norms Std Condensed (2020: an 18-font family by Pavel Emelyanov, Yulia Gonina and the TypeType Team).
In 2020, he 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, Antonina Zhulkova, Pavel Emelyanov and Yulia Gonina co-designed the 32-style geometric sans TT Fors which comes in standard, display and variable versions. Still in 2021, she co-designed TT Commons Classic (a 24-style geometric sans by Ivan Gladkikh, the TypeType Team, Pavel Emelyanov and Marina Khodak; it includes two variable fonts). [Google] [MyFonts] [More] ⦿
Pedro Alexandre Teixeira
Pedro Leal graduated in graphic design and advertising from the ESEIG-Escola Superior de Estudos Industriais e de Engenharia in Vila do Conde, Portugal, and lives in Porto. In 2010 he obtained a degree in type design at ESAD (Escola Superior de Artes e Design, Matosinhos) and started working at DSType. MyFonts link. Behance link.
He used FontStruct in 2008 to create the pixel typeface Minimal 8pt (514 glyphs!). In 2010, he created the text family Mafra at DSType. This was followed a bit later by Mafra Display (2010; +Medium, +Black). Apud and Apud Display (2010, DSType) are high-contrast typefaces.
Penna (2011) is a calligraphic type system. Braga (2011, Dino dos Santos and Pedro Leal, DS Type) is a layered font design family. Dino writes: Braga is an exuberant baroque typeface, named after a Portuguese city, also known as the baroque capital of Portugal. Our latest typographic extravaganza comes with a multitude of fonts designed to work like layers, allowing to insert color, lines, gradients, patterns, baroque, floral swashes, and many other graphic elements. Starting with Braga Base, you can add any of the twenty-three available styles, to create colourful typographic designs.
In 2012, he designed User, User Stencil and User Upright>/a>, a monospaced type family with 30 styles, from Hairline to Bold. This too will many awards. Girga (+Italic, +Engraved, +Banner, +Stencil) is a strong black Egyptian family designed together with Dino dos Santos at DS Type. Solido (2012, with Dino dos Santos, DS Type) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts. In 2020, a variable font was added to Solido.
In 2013, Dino dos Santos and Pedro Leal published Diversa, a set of nine very different fonts that are jointly kerned so that letters can be swapped out and replaced at will. Diversa Std (2014) extends this to include Stencil, Inline and other decorative styles. Pedro Leal's main typeface of 2013 is Aparo, a script that is calligraphic, yet keeps the characteristics of penmanship scripts, and the pizzazz of a good fashion font.
In 2014, he published Ocre and Ocre Poster in sans and slab serif substyles inspired by W.A. Dwiggins, Torio, a penmanship script based on a style used in Arte de Escribir por Reglas y con Muestras (1798, by Spanish penman Torcuato Torío de la Riva y Herrer). Torio received the Communication Arts Type Award of Excellence in 2014.
In 2015, he created the large Rudo and Rude Slab typeface families that exhibit many humanist traits: Rude ExtraWide, Rude Icons, Rude SemiCondensed, Rude SemiWide, Rude Wide, Rude, Rude Condensed, Rude ExtraCondensed, Rude Slab, Rude Slab Condensed, Rude Slab ExtraCondensed, Rude Slab ExtraWide, Rude Slab SemiCondensed, Rude Slab SemiWide, Rude Slab Wide, Rude Slab, Rude Slab Condensed, Rude Slab ExtraCondensed, Rude Slab ExtraWide, Rude Slab SemiCondensed, Rude Slab SemiWide, Rude Slab Wide. Early in 2015, he also did a custom typeface family for the Jornal de Notícias, including sans, serif and micro sub-styles. Dino dos Santos and Pedro Leal published Jules and Jules Text in the summer of 2015---a fat fashion mag didone 45-style family inspired by several plates from Portuguese calligrapher Antonio Jacintho de Araujo; it comes in Big, Colossal and Epic. Ecra is a workhorse slab serif, also done in 2015. Viska (2015, by Dino dos Santos and Pedro Leal) is designed for small print. Finally, TCF Zellige (2015, TypeCult) is a modular typeface inspired by the tiles that can be found in Southern Europe and North Africa.
Typefaces from 2016: Oposta (Italian, Western style pushed to the esthetic extreme; received the Communication Arts Type Award of Excellence in 2017), Ardina (with Dino dos Santos: a text typeface family with three optical sizes).
Typefaces from 2017: Scrittore (a heavy dark Italian bastarda influenced by the connected hand of Giovanniantonio Tagliente and Robert Granjon's Civilité; at DS Type), Zart (a voluptuous ebullient black didone, or fat face). Fusta (a gorgeous wood-type inspired poster typeface), Ordem (a low-contrast contemporary Capitalis Monumentalis).
Typefaces from 2018: Glitched (an experimental variable spacing font), Striver (a crisp contrasted curvy display typeface), Certo Slab and Certo Sans, Foreday (a forward-looking typeface family with associated variable font, covering sans, serif, semi-sans and semi-serif), Perfil (an inline and swashy high end script).
Typefaces from 2019: Akut (a purely angular typeface with some rounded corners), Denso (by Dino dos Santos and Pedro Leal: a great condensed variable font with weight, serif and optical size axes), Jornada (a multistyle family with a Fraktur, a chancery, a bookish style called Libro, a news text serif, a clean sans, a slab serif, a monospace, and a penmanship script, all in one family dubbed hygienic post-punk by Leal).
In 2020, Dino dos Santos and Pedro Leal designed Larga, which was inspired by the typefaces shown in the specimens of the Fundiçãao Typographica Portuense from 1874. Larga is a wide all caps family and comes with a variable opentype format. Pedro also designed Effigy (a text typeface with slightly ballooning stems), Haste (a typeface that flirts with reverse contrast), Mescla and Enorme (an ultra massive and modular 3000-glyph mastodont of a font, together with Dino dos Santos; based on constructivist principles) in 2020.
Typefaces from 2021: Orla (a straightforward interpretation of the Skeleton Antique No2 from the Stephenson, Blake & Co. foundry; for the sans, the serifs were removed), Elaine (+Ombre, +Fleurer; a complete baroque / Elzevir family influenced by Jacques-François Rosart in its ornamental styles). [Google] [MyFonts] [More] ⦿
During his Masters studies, Braga, Portugal-based Pedro Pereira, together with Rafael Pereira and Francisco Pires (Braga; b. 1996), designed the free squarish variable typeface Pure (2021), which was inspired by New York City. [Google] [More] ⦿
Pedro Teixeira Foundry
Pedro Alexandre Vilas Boas Teixeira is a Porto, Portugal-based type designer. Creator of the monoline gemetric organic sans typeface Constantine (2012). In 2016, he designed the comic book typeface Crazy Cartoon, the brush script Forever Brush Script, the sans typeface Rabelo, Westkreep (a wide wood type typeface), the tall cigarette typeface Long Tall Palito and the rounded sans typeface Sogu.
Typefaces from 2017: Signaturistar, Toxic Marker (dry brush), Scratched Brush Script, Serene Textured (script), Feris Script, Boemia, Savage Adventure (brush script), Casual Mark Script, Rough Beauty Script, Cartoon US Presidents.
Peter Baker's old English page at the University of Virginia
Peter S. Baker, an English professor at the University of Virginia, offers free TrueType and PostScript fonts. these include:
Peter S. Baker
Type designer at the open source type foundry Velvetyne in Paris. His creations there include Trickster (2017: blackletter), Bluu Next (2014, a free wedge serif typeface) and Steps Mono (with Raphael Bastide).