TYPE DESIGN INFORMATION PAGE last updated on Thu Jan 14 11:49:14 EST 2021
FONT RECOGNITION VIA FONT MOOSE |
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29 Letters
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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:
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38 Lineart Studio (or: Grayscale, or: Fontsources)
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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 hand-crafted 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), Blacl Orchestra (a horror font). Creative Fabrica link. Another Fontbundles link. [Google] [MyFonts] [More] ⦿ |
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. [Google] [More] ⦿ | |
Aaron Bell
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During his studies at the Visual Arts Institute, of Eszterhazy Karoly University in Eger, Hungary, Adam Csider designed Sad Samurai (2019: free) and Signum (2019, an experimental variable font). [Google] [More] ⦿ | |
Adam Fathony
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In 2019, he designed the 62-style sci-fi typeface family Ares (+Ares VF), the condensed Latin / Greek / Cyrillic sans Rywalka, the creamy stencil typeface Aromatron and the leafy Aromatron Ornaments. Typefaces from 2020: AJ Quadrata (a revival of Textura Qadrata). Aka Quadratype. Devian Tart link. Creative Fabrica link. [Google] [MyFonts] [More] ⦿ | |
Adaptype
| 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] ⦿ |
Frutiger's books include Type Sign Symbol and Signs and Symbols. Their Design and Meaning (1989, with Andrew Bluhm, published by Studio Editions, London; Amazon link). Linotype link. FontShop link. Adrian Frutiger, sa carrière française (2008) is Adèle Houssin's graduation thesis at Estienne. Klingspor link. Wikipedia link. View Adrian Frutiger's typefaces. View some digital versions of Avenir. Vimeo movie on Frutiger by Christine Kopp and Christoph Frutiger entitled "Der Mann von Schwarz und weiss: Adrian Frutiger". More Vimeo movies. [Google] [MyFonts] [More] ⦿ | |
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). Dafont link. Klingspor link. Behance link. Another Behance link. Hellofont link. Velvetyne link. [Google] [MyFonts] [More] ⦿ | |
AF Studio
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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). [Google] [MyFonts] [More] ⦿ |
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Type foundry specializing in experimental type. As of 2020, their typefaces included Blaque, Harveaux (Modern and Grotesk) and Caeli. Most of the fonts have variable versions. [Google] [More] ⦿ | |
Akira Kobayashi
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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] ⦿ | |
Cofounder of Sudtipos (2003), where he does custom work and creates new typefaces. His work there includes Tierra (a titling face), Latinaires (2003-2018: originally called Latina Sans), Reflex, Downtempo (2003), Stardust and Mosaico (1999, pixel face). Still at Sudtipos, he digitized the beautiful handwriting/calligraphic typefaces by Angel Koziupa called Alma (2005), Murga, Habano and Tiza, which together with his script typeface Argenta (2004), Oxida (2005), the medieval script typeface Mama Script (2004, designed with Alfredo Graziani), Divina (2004, with Alfredo Graziani), and the sans family Kautiva (2004) can be bought via Umbrella Type. For children's orthography, he developed Estrada Hand, on commission for Editorial Estrada. He was working on the serif family Libertina (2004). Herencia (2004, a handwriting typeface done with Diego Giaccone), Grover (2004, slab serif), Milk Script (2004, with Alfredo Graziani), Mama Script (2004, with Alfredo Graziani), Politica (2004, a techno typeface with a very thin Thin weight) are at Sudtipos. The Bluemlein Scripts (2004-2005, Umbrella and Veer) are based on the calligraphic renderings of Charles Bluemlein, shown in a 1943 ink catalog: Miss Le Gatees, Mr Rafkin, Mr Keningbeck, Mr Lackboughs, Lady Dawn, Mrs Von Eckley, Mr Sheppards, Mr Dafoe, Mr Canfields, Mr Stalwart, Mr Sandsfort, Mr Leopolde, Mr DeHaviland, Mr Blaketon, Miss Stanfort, Miss Packgope, Miss Fajardose, Mrs Saint-Delafield, Mrs Blackfort, Mr Sopkin, Mr Sheffield, Miss Lankfort, Herr Von Muellerhoff, Dr Sugiyama, Dr Carbfred. (Note: Soft Horizon's Lainie Day (1993) is an earlier free font in the style of Lady Dawn and Mr Lackboughs). In 2011, that series was made available at Google Web Fonts. Sudestada (2005, Sudtipos) is a handwriting script developed with Diego Giaccone. Cuisine (2005, Umbrella Type) is an informal bold script. Mousse Script (2005, Sudtipos) is based on Glenmoy, a 1932 Stephenson Blake typeface. Suave Script (2005) is a 4am jazz bar script. Ministry (2005) is related in style but less funky, Chocolate (2005) is for sales ads, and Cenizas (2005, with Angel Koziupa) is straight from an old manuscript. Whomp (2006, Umbrella) was based on a partial sign-painting font by Alf Becker (1930s), and so was Buffet Script (2006, Sudtipos). Affair (2006, Umbrella) is swashy and calligraphic, while Candy Script (2007) and its italic version Sugar Pie (2011) are based on Argentina's market lettering. Galgo Script (2007) is a brush calligraphic font based on a design of Angel Koziupa. Burgues Script (2007) is an ornate calligraphic script based on the lettering of calligraphy teacher Louis Madarasz (1859-1910) (award at TDC2 2008). Burgues Script, Adios Script (2008: it won an award at TDC2 2009), Feel Script and Sugar Pie all won awards at Tipos Latinos 2008. Sinfonieta (2006) and Buffet Script are fifties style connected scripts. Feel Script (2007) is based on lettering that calligrapher and logo designer Rand Holub created in 1950 and that was subsequently captured in Intertype's typeface Monterey (1958). Some letterforms were redrawn from vintage American magazine ads (some by Holub himself), Cuisine (2008, food advertising script), Pronto (2008, comic book style, by Alejandro Paul and Angel Koziupa), Grover (2004, rounded sans family), Grover Slab (2004). Burgues Script, Adios Script, Feel Script and Sugar Pie all won awards at Tipos Latinos 2008. Calgary Script (2008, Umbrella) is a pure signpainting job. Accolades from all typophiles for his calligraphic wunderkind, Compendium (2008). The 2009 haul: Sugar Pie (signage font), Bravissima Script, Theorem (upright semi-script). Speaker at ATypI 2009 in Mexico City. The year 2010 starts off with a bang, five awards at Tipos Latinos 2010: a grand prize for Brownstone Sans, and four standard awards, for Semilla, Kewl Script (for food packaging and store windows), Calgary Script, and for Business Penmanship. Typefaces from 2010 include the baseball lettering typeface Fan Script and the tattoo script face Piel Script (piel=skin), which was influenced by Burgues Script and more remotely by showcard lettering by B. Boley (1930s, Sign of the Times Magazine). Piel Script won an award at Tipos Latinos 2012. In 2011, he and Koziupa made the fat signage typeface Aventura and Viento (a grunge version of their earlier 2004 face, Brisa). He added one retro connected signage font to the Filmotype collection in 2012, called Filmotype Kitten (original from 1955). Filmotype Zephyr (2012) is an italic roman formal script. Filmotype Yukon (2012) is inspired by the classic Palmer style of penmanship. Storefront (2012) is a swashy signage typeface based on an incomplete alphabet by Alf Becker. His signage script typeface Hipster Script won an award in the TDC 2012 competition and at Tipos Latinos 2012. Typefaces from 2013: Rolling Pen (a connected script that recalls the business penmanship genre), Bellissima Script (based on a copperplate calligraphic alphabet from Bellezas de la Caligrafía by Ramón Stirling, 1844). In 2014, he helped Panco Sassano, a lettering artist and illustrator from Mar del Plata, who designed the wide connected semi-calligraphic handwriting typeface Horizontes Script (Horizontes subsequently won an award at Tipos Latinos 2016). Still in 2014, he published the fat packaging or signage script Bowling Script, which is based on Freely Drawn Italic, a non-font alphabet by Ernst Bentele (1953). In 2015, Alejandro Paul, Yani Arabena and Guille Vizzari combined forces in the signage script typeface Quotes (Script+Caps) (2015, Sudtipos). Merengue Script (2015, with Panco Sassone) is a fun creamy script, ideal for pastry shops, tea rooms or supermarkets. Steak (2016) is a connected vintage signage script based on an Alf Becker design. Envelove (2017) is a script typeface family consisting of Script, Icons, and Caps, designed at Sudtipos by Yani Arabena, Guille Vizzari, and Alejandro Paul. Winner at Tipos Latinos 2018 of a type design award for Envelove. Still in 2017, Guille Vizzari and Alejandro Paul co-designed the great Moleskine notebook-inspired typeface family Proprietor. Proprietor comes in Script, Icon, Deco, Wide, Open and Roman styles. It won an award at Tipos Latinos 2018. Rigatoni (2017): A skyline didone based on mid-20th century example by Eugen Nerdinger. Bibliophile Script (2017). A pair of copperplate calligraphic typefaces. Fixture (2018: a 72-font grotesk family published by Sudtipos). Newbery Sans Pro (2018). A simple workhorse sans typeface family that is inspired by German industrial design and the lettering of Eugen Nerdinger. Winner at Tipos Latinos 2018 of a type design award for Tennis Set, Bibliophile Script, French Bulldog, Envelove, La Taqueria, and Speakeasy Set (a collection of (copperplate) script, sans, modern, flare and gothic substyles). From 2019: Hot Salsa (a retro brush script; with Ximena Jimenez), Old Letterhand, Clockmaker (arts and crafts style), Steak Script (inspired by an old alphabet by Alf Becker), Address Sans Pro (a sans family inspired by Butti and Novarese). In 2019, Alejandro Freitez and Claire Menager, under the art directoship of Alejandro Paul, designed the multistyle wood type look / Western / Victorian / reverse stress / hyper-decorative Presley Slab. Typefaces from 2020: Apothicaire (a wonderful quaint serif family in the frivolous didone genre; three variable fonts, 16 styles in all), Inglesa (a penmanship script), Dilemma, Dilemma Serif (Dilemma is a sans/serif type system with 42 styles; it is inspired by the anonymous Polyphème, Cyclopéen and Extra Condensé designs from the early 1900s at the Peignot Fonderie; two variable fonts are included), Sporty Pro (a large sports / athletics font family). Typefaces from 2021: Regional (27 styles, plus variable styles). [Google] [MyFonts] [More] ⦿ | |
In 2017, he designed the commercial typefaces Lagu Sans and Lagu Serif, which feature large x-heights and open counterforms. Typefaces from 2020: Pani Sans (which takes inspiration from Italian rationalist and art deco genres, and includes variable types). Open Font Library link. Fontspring link. Fontown link. [Google] [MyFonts] [More] ⦿ | |
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Alexey Popovtsev
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In 2020, he published the rounded display typeface Caspar Condensed at Future Fonts. Caspar Github link. Future Fonts link. [Google] [More] ⦿ | |
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Alvaro Franca
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Andree Nguyen
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Andrew Bellamy
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Andrew Footit
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Andriy Dykun
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In 2019, Maria Doreuli and Anna Khorash released the variable font CoFo Peshka at Future Fonts. Inspired by the industrial and military lettering in the Soviet era, it is named after the Pe-2 aircraft also called the Peshka. CoFo Peshka features weight and width axes. Future Fonts link. [Google] [More] ⦿ | |
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Saint Petersburg, Russia-based designer of Celestina (2017, Piñata), a brush script typeface, Disruptors Script (2018) and Gentlemens Script (2018). Typefaces from 2020: TT Octosquares (an octagonal superfamily by Antonina Zhulkova, Yulia Gonina and Kseniya Karataeva; TT Octosquares comes with a 3-axis variable type option), TT Runs (a 20-style sports sans by the TypeType team in cooperation with Vika Usmanova, Antonina Zhulkova and Philipp Nurullin). In 2020, she co-designed TT Lakes Neue, a 91-style sans family by Vika Usmanova, Antonina Zhulkova and Kseniya Karataeva at TypeTypType. Tt is a functional sans-serif that draws inspiration from Finnish signs of the functionalism era. TT Lakes Neue is an almost monolinear sans, with ovals in the form of rounded rectangles, reminiscent of Nebiolo's Microgramma. It comprises a useful variable font. [Google] [MyFonts] [More] ⦿ | |
Anupap Jaichumnan
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The reaction of the curmudgeon society, aka The Typophiles, is quite predictably negative, with opinions including Susan Kare's original San Francisco (also done for Apple) was better [note: Kare's was a ransom note font]. I really wonder why the typophiles bother---it's not their magazine or their web page---companies are free to use anything they like, including "not wasting a lot of effort on new typefaces". Some San Francisco fonts are free from Apple's web site. These come in four groups, SF Pro Text, SF Pro Display, SF Compact Text, and SF Compact Display. Developed between 2015 and 2017, these fonts have become the Apple System fonts for basically all Apple machines. San Francisco has gradually replaced most of Apple's other typefaces on their software and hardware products and for overall branding. It was the original system typeface of watchOS and tvOS and has replaced Helvetica Neue and Lucida Grande as the system typeface of macOS and iOS since OS X El Capitan and iOS 9. Apple uses it on its website and for its product wordmarks, where it replaced Myriad Pro. It is also used on the keyboard of the 2015 MacBook and on the 2016 MacBook Pro, replacing VAG Rounded. It is also used as Apple's corporate typeface. Apple restricts the usage of the typeface by others. It is licensed to registered third-party developers only for the design and development of applications for Apple's platforms. The San Francisco typeface has four variants: "SF" (or "SF UI") for macOS, iOS, and tvOS; "SF Compact" for watchOS; "SF Mono" (based on SF Compact) for the Xcode application; and "SF Serif" for Apple Books. The main difference is that the sides of letters with round shapes, such as o, e, and s, are round in SF, whereas they are flat in SF Compact. The flat sides allow the letters to have more space between them, thereby making the text more legible at small sizes, which is particularly important for the Apple Watch. Both SF and SF Compact each have two optical sizes: "display" for large and "text" for small text. Compared to display, the letters in text have larger apertures and more generous letter-spacing. The operating system automatically chooses the display optical size for sizes of at least 20 points, and the text optical size otherwise. Additionally, included in macOS Sierra and iOS 10 is a new variant named "SF Compact Rounded". It is used in the new contact placeholder icons introduced in the OSes. The "SF Serif" variant was showcased in June 2018 when the all-new Apple Books app was introduced. This variant is exclusive to Apple Books in iOS 12 and macOS Mojave, is not mentioned in Apple's Typography design guidelines, and is not publicly downloadable like other variants of the San Francisco typeface. Open Font Library link where one can download the SF UI Text family (2015). Postscript: The 2014 San Francisco font should not be confused with Susan Kare's ransom note bitmap font San Francisco which was created in 1984 for Apple. An official TrueType version was never made, and Kare's San Francisco was rendered obsolete with the arrival of Apple's System 7. Wikipedia link. Apple font download site where one can find San Francisco Compact (this sans-serif typeface is the system font for watchOS, and includes a rounded variant), San Francisco Pro (this sans-serif typeface is the system font for iOS, macOS, and tvOS, and includes a rounded variant), and New York (a large transitional typeface family with optical and width sizing; 2017-2018, that won an award at the Type Directors Club's Type Design Competition 2019). Also included is the variable font San Francisco Rounded, which includes a weight axis and a grade axis for adjusting the stroke weight without changing glyph widths. [Google] [More] ⦿ | |
Aring Typeface
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View Mans Grebäck's typefaces. Abstract Fonts link. Fontspace link. MyFonts link. Another URL. Dafont link. Klingspor link. Buy fonts directly from Måns Grebäck. Old URL. [Google] [MyFonts] [More] ⦿ |
Arkitype (was: Virtue Creative)
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Behance link. Creative Market link. Home page. View Andrew Footit's typefaces. Home page. [Google] [MyFonts] [More] ⦿ |
Aronetiv
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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). [Google] [MyFonts] [More] ⦿ |
Arrow Type (or: Typefloundry, or: Recursive Design)
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Arthur Reinders Folmer
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The original announcement of OpenType 1.8 that covers for the first time variable or multiple-axis fonts. [Google] [More] ⦿ | |
Aulia Rahman
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Laurence Penney's test site for variable fonts. Requires Mac OS Sierra or later, or Webkit Nightly. He writes: Axis-Praxis relies on the font-variation-settings property in the draft CSS4 specification, implemented in WebKit. On the server, it uses TTX to extract the variations information from the font. Once it has this data and has delivered the font back to the browser as a @font-face webfont, the server has no further use for the font so it is deleted immediately. In the browser, the CSS font-variation-settings property of the textboxes is changed using JavaScript when you adjust the sliders or click the named instances. [Google] [More] ⦿ | |
During his studies in Szeged, Hungary, Balazs Szemmelroth designed the multistyle geometric sans typeface family Balage (2016) and the free typeface family Sometimes (2018). In 2018, he created the 4-axis variable font Fluido at Visual Arts Institute Egere. [Google] [More] ⦿ | |
Baron von Fonthausen
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He was working on commercial fonts such as TyPress, Ballpoint and B-Day. Sardines (2008, Vette Letters) is described by Jan Middendorp as an amusing parade of heavyweight characters crammed into squares. In 2010, that monospaced family was expanded to VLNL Neue Sardines (42 styles). Designer of the pixel font Mekka. Macula (2010) is a trompe l'oeuil typeface that is available from Bold Monday. It was inspired by Oscar Reutersvärd's impossible perspectives and M.C. Escher's optical illusions. In 2016, Jacques Le Bailly extended Vernon Adams's Nunito (2011) to a full set of weights, and an accompanying regular non-rounded terminal version, Nunito Sans, which is free at Google Fonts and Open Font Library. In 2018, he designed the free family Crimson Pro (a major update of Sebastian Kosch's Crimson from 2011) and VLNL Thueringer (at Vette Letters), and wrote: Jacques got inspired by Albrecht Düer's 15th century Fraktur (blackletter) alphabet, and decided to design a contemporary rounded version of it. It's a modern techno-style blackletter with a (beer)truckload of interesting design details. In 2019, he released the free font Livvic. Livvic is a 16-style custom corporate sans typeface designed by Jacques Le Bailly for LV (Liverpool Victoria Friendly Society Limited), an insurance company based in the UK. The typeface is part of a brand redesign. In 2020, Jacques Le Bailly, Cereal and Vernon Adams (posthumously) released the sans typeface family Mulish at Google Fonts. Mulish is a minimalist sans, designed for both display and text typography. It was initially drawn in 2011 by Vernon Adams and then refined until 2014. In 2017 the family was updated by Jacques Le Bailly to complete the work started by Vernon after he passed away, in collaboration with his wife Allison, an artist who holds the trademark on the typeface family name. In August 2019, it was updated with a variable font weight axis. Behance link. Bold Monday link. %Z Liebe Petra, Die Site ist jetzt erstmal dafür gemacht, um Leuten zu zeigen was ich gerade mache. Leider sind die meisten der gezeigten Fonts noch nicht ganz fertig und werden deshalb noch nicht angeboten. neben Schriftgestaltung, mache ich auch noch Grafik-Design. Im Moment arbeite an der Font TyPress, die bei der 1. Ausgabe folgende Schnitte enthalten wird: Roman, Italic, Bold, Bold-Italic, Caps-Roman and Caps-Bold. Unsicher ist noch wo, oder von wem sie vertrieben werden. Der Font B-Day wird 1 Schnitt haben und wenn alles gut geht, wird sie ab Februar 2002 von Lineto (www.lineto.de) verkauft. Wenn Sie interessiert sind an meinen Entwürfen, oder z.B. an Custom-Type, fragen Sie bitte nach. Oder, wenn Sie gerne sehen möchten, wie meine Schriften im Druck aussehen, kann ich Ihnen ein PDF schicken. Freundlichen Grüsse, Greetings, Baron von Fonthausen, auch Jacques Le Bailly [Google] [MyFonts] [More] ⦿ |
Baugasm
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Italian designer of Iki Mono (2020, at CAST) Iki Mono is a multifaceted monospaced typeface designed for publishing and coding. It has two variable styles. [Google] [MyFonts] [More] ⦿ | |
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] ⦿ | |
Beatriz Diogo
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Designer of the variable modular typeface Stoplight (2019). [Google] [More] ⦿ | |
Talib (2004) is a type project of eps51, a Berlin-based graphic design studio founded in 2004 by Sascha Thoma and Ben Wittner. They developed these faux Arabic fonts: Talib Old Style (calligraphic), Talib Kulkufi, and Talib Mohandes. In 2020, Pascal Zoghbi (29LT) and Ben Wittner released the monospaced Arabic / Latin typefaces 29 LT Baseet Variable and 28 LT Zawi Variable. [Google] [More] ⦿ | |
BenBenWorld (or: BB Bureau)
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Designer of the pixel fonts Logotix (2004), Latham and 5x7 Negatie Moyenne. In 2010, he made the paperclip typeface Pipo (first published in 2011 by Die Gestalten, and in 2017 by bb-bureau). He created the commercial angular sans typeface S-L (2006) which was originally made for the University of Arts Saint-Luc in Tournai. It was published by Volcano. Commercial typefaces include S-L Bold (2012, a hexagonal typeface based on his design at St. Luc in 2006), Zigzag (2012, Volcano Type; a font originally made for the Vivat theater), and Marianne (2012, BenBenWorld: an inline and modular typeface family). In 2013, he published the stencil / fractured typeface Mineral. In 2014, he designed the experimental triangle-based Bauhaus-inspired Side A typeface. In 2016, Bodhuin designed the expressive Italian typeface family BB Book A and bb-book Contrasted. He added the wedge serif BB Book B, BB Book Mono and BB Book Text to that series in 2018. Typefaces from 2017: Brutal, Elastik. Typefaces from 2019: Grotesk Remix (extended to Grotesk Remix Monospace and Grotesk Remix Variable in 2020), Tme (experimental: an update of Sl drawn in 2006 for the University of Arts Saint-Luc de Tournai), Standard-bb, Pickle Standard (extravagant and thought-provoking). Typefaces from 2020: Gikit (in Text and Title version, for a perfect gridnik feel), Ballpill (designed for printing at very small sizes). Volcano Type link. View Bodhuin's commercial typefaces. [Google] [MyFonts] [More] ⦿ |
In 2019, Ilya Naumoff and Benjamin Blaess co-designed the variable font Grtsk at Black Foundry. Its three axes, weight, width and slant, combine for 126 styles, that are all captured in one variable font. Mini-site. [Google] [More] ⦿ | |
Benoît Bodhuin
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In 2013, he graduated from the Type & Media program at KABK, Den Haag. His graduation typeface, Curtis, is based on broad nib calligraphy, and manages in its palette of styles to cover the broad ground between powerful German expressionist display types and very readable text types. In my view, it is the best of the twelve typefaces of the graduation class. In 2010, Bernd Volmer and Ateleir Carvalho Bernau published the free typeface Jean-Luc, which is named after Jean-Luc Godard. Carvalho / Bernau write: We didn't find out who originally made the lettering for these two movies. Some speculate it could have been Godard himself---Godard's interest in graphic design and typography is clear, with many of his other films employing such strong typography-only titles and intertitles. They are almost a self-sufficient entity, another character in the movie, another comment. This style of lettering is so interesting to us because it is such a clear renunciation of the pretty, classical title screens that were common in that time more conservative films. It has a more vernacular and brutishly low-brow character; this lettering comes from the street. We can not prove this at all, but we think it may be derived from the stencil letters of the Plaque Découpée Universelle (or PDU), a lettering device invented in the 1870s by a certain Joseph A. David, and first seen in France at the 1878 Exposition Universelle, where it found broad appeal and rapid adoption. We think this style of lettering was absorbed into the public domain vernacular of French lettering, and that the 2 ou 3 choses titles are derived from these quotidien lettering style, as it would seem to fit Godard's obsession with vernacular typography. In 2019, he published the two-axis (weight and serifs) variable font Seraphs. Future Fonts link. [Google] [More] ⦿ | |
Black Foundry
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Blaze Type Foundry (was: Adèle Type Foundry)
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Cargocollective link. [Google] [More] ⦿ |
Borutta (or: Duce Type)
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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. Typefaces from 2018: Bilbao (an innovative blend of sans, slab and mono genres in 18 styles), Cukier (a logo font family inspired by the vernacular typography from Zanzibar). In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms. 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: 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: Engram (a soft geometric sans family in 22 styles; close to his own earlier font, Enigma, 2016). Home page. Behance link. Personal Behance link. Behance link for Duce Type. Another link. [Google] [MyFonts] [More] ⦿ |
Box Tube Labs
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In 2018, he designed Kensmark (athletic lettering in 45 styles), Jawbreak (Sans, Serif and Slab), Infield (an athletic lettering font), Hitch Route (a sports typeface family), and Backcheck. In 2019, he released North Block (an octagonal sports font), Campione Neue (an octagonal sports font, with two variable font styles), Le Bronn (a condensed movie credit sans), and Mavericks (an industrial strength octagonal typeface). Typefaces from 2020: 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] ⦿ |
More recent fonts: BC Minim, BC Baseliner (a variable font by Simon Matejka), BC 3018 (2018: dingbats), BC Brief (2017, Matyas Machat), BC Novatica (2016, Tomas Brousil and Marek Pistora), BC Sklonar (2016, Marek Pistora and Martin Vacha). [Google] [More] ⦿ | |
Bruno Maag
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Buffalo Gals is one of the first variable fonts, originally made in 1992 for an Apple TrueType GX developer CD. [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)
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Free fonts include(d) the gorgeous GalaQuadra (by Angela Pestalozzi, 1999), Eject Katakana (1998), Dippex (1995, grunge font), Ticket (1995), Rocket 70 (1996), Ratterbit (1995, pixel font), Plakatbau (1995), Lodel Fizler (1996), Flossy (1995), Faxer (1995), Console Remix (1998), Cravt (1998, by "Katrin"), Stereotype (1998, by M. Brunner), Brockelmann (1995, free), Kristallo (1997, very original display face) and Billiet (1996). Other fonts: Acidboyz (1998), Alustar (1999), BD Asciimax (1999, ascii art font), BD Billding, Bdr_mono (1999), Brick (1996, like Kalendar), Cluster (1996), Console (1997), Doomed (1998), Eject (1998), Electrobazar (1995), Elside (1995), Globus (1996), Fazer (1996), Lofi (1997), Medled (1995), Paccer (1995), Solaris (1998), Spicyfruits_brush_rmx (1998, a nice high-contrast face), Spicyfruits_rmx, Wurst (free, by Heiwid, 2000), Relaunch (2000), Relaunch Katakana (2000, free), Rainbow (2000), DeLaFrance (2000, free, by Heiwid), Electronic Plastic (2000), Colonius (2001), Cash (2001), Cashbox (2001), Bilding (2001), Meter (2001), Mustang (2001), Bankwell (2001), BD Alm (2001), Balduin (2001), Tatami (2001, oriental look font), Hexades (2001, free), Nippori (2002, techno), Jura (2002), Bonbon (2002, free), Band (2002, free), Navyseals (2002, kitchen tile font), Ritmic (2002), BDR Mono (1999, OCR-like font), Mann (2003, ultra fat stencil), Aroma (2003), Zenith (2003), Nebraska (2003), BD Equipment (2004), BD El Autobus (2004), BD Unexpected (2004), BD Wakarimasu (2004, free kana face), BD Bernebeats (2004, futuristic), BD Deckard (2004), BD Spinner (2004), BD Victoria (2004), BD Designer (2004), BD Kalinka (2005, a curly ultra-fat display face), BD Equipment (2004), BD El Autobus (2004), BD Unexpected (2004), BD Varicolor (2005, stencil), BD Chantilly (2005), BD Memory (2005), BD Emerald (2005, beveled), BD Kalinka (2005, Cyrillic simulation), BD Extrwurst (2005), BD Aquatico (2005), BD Mandarin (2005), BD Polo (2005), BD Beans (2005), BD Tiny (2005, pixel face), BD Times New Digital (2006), BD Panzer (2006), BD Jupiter, BD Jupiter Stencil (2006), BD Pipe (2006), BDR Mono 2006 (2006), BD Fimo Outline (2007, free, by Nathalie Birkle), BD Bermuda (2007, experimental and geometric), BD Smoker (2007, psychedelic), BD Radiogram (2007), BD Mother (2007, exaggerated black Egyptian), BD Fimo Regular (2007, free), BD Demon (2007), BD Reithalle (2007, free), BD Halfpipe (2007, free), BD Broadband (2008, free; not to be confused with the much older fonts BroadbandICG or FLOP Design's Broadband), BD Viewmaster and BD Viewmaster Neon (2008), BD Electrobazaar (2008), BD Motra (2008, stencil), BD Virtual (2008), BD Spacy 125 (2008), BD AsciiMax, BD ElAutobus (2004), BD Equipment (2004), BD Ramen (2003), BD Retrocentric (2009), BDR A3MIK (2009, virile Latin and Cyrillic slab), BD HitBit (2009), BD Unicorse (2010, unicase and techno), BD Telegraph (2011), BD Schablone (2012, stencil face), BD Pankow (2013, stencil), BD Algebra (2014), BD Hiragana Kuro (2014), BD Qualle (2014, a fat poster typeface), BD Tribler (2015, a tribal font). Alphabetical listing of their pre-2015 free typefaces: Algebra, Alm, Apotheke, AsciiMax, Baldrian, Band, Bankwell, Bardust, Beans, Billding, Billiet, Bonbon, Brockelmann, Burner, Cash, Cashbox, Chantilly, Circo, Console, Console Remix, Cravt, Delafrance, Designer, Destination, Dippex, Eject Katakana, ElAutobus, Elmax, Elside, Equipment, Faxer, Fazer, Fimo, Flossy, Fluke, Galaquadra, Geminis, Halfpipe, Hexades, Hiragana Kuro, Jayn Fonta, Kristallo, Lodelfizler, Lofi, Medled, Meter, Mustang, Outline, Paccer, Pipe, Plakatbau, Plankton, Polo, Ragout, Ramen, Ratterbit, Reithalle, Relaunch, Relaunch Ktna, Rocket70, Sirca, Sirca Rmx, Solaris, Spacy125, Spicyfruits, Spinner, Stella, Stencler, Stereotype, Ticket, Times New Digital, TinyFont, Tribler, Unfold, Wakarimasu. Alphabetical listing of their pre-2015 commercial typefaces: A3mik, Acidboyz, Alustar, Aquatico, Aroma, Balduin, BDR Mono 2006, Bermuda, Bernebeats, Breakbeat, Brick, Broadband, Calamares, Central, Cluster (Corporate), Colonius, Deckard, Demon, Discount, Doomed, Edding850, Eject, Electrobazar 2008, Electronicplastic, Elk, Emerald, Endless, Extrawurst, Fontabello, Globus, Good Wood, Hell, Hitbit, Jupiter, Jura, Kalinka, Kameron, Kinski, Las Palmas, Mandarin, Mann, Memory, Mother, Motra, Naranino (2012: a children;s script), Navyseals, Nebraska, Nippori, Nokio, Orlando, Pankow, Panzer, Qualle, Radiogram, Rainbow, Retrocentric, Ritmic, Robotron, Schablone, Showlong, Smoker, St.Moritz, Stalker, Stonehenge, Sweethome, Tatami, Telegraph, Unexpected, Unicorse, Varicolor, Victoria, Viewmaster, Virtual, Wotka, Wurst, Wurst Directors Cut, Zenith. In 2015, Gianfreda designed BD Barbeaux (a condensed typeface with the fashionable chic of the French art nouveau or film noir). Typefaces from 2016: BD Kickrom Mono (LED emulation type). Typefaces from 2018: BD Westwork. Typefaces from 2020: BD Aubergin (an experimental poster font with Bauhaus elements), BD Microna (a pixelish variable font), BD Micron Robots (dingbats). Alternate URL. Dafont link. Behance link. View the Typedifferent typeface library. [Google] [MyFonts] [More] ⦿ |
Cahya Sofyan
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Canada Type
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Typefaces made in 2005: Jazz Gothic (Patrick Griffin), Showboat, Hunter (a revival of Imre Reiner's brush script Mustang, 1956), Quanta (stencil), Quiller (a script typeface based on J.J. Sierke's 1964 typeface Privat), Rhino (revival of Mobil, a 1960 typeface by Helmut Matheis for Ludwig&Mayer), Dominique (donated to FontAid), Secret Scrypt (donated to FontAid), Jackpot (2005, Western typeface remotely based on Cooper Playbill which in turn is related to Cooper Black, but it also has hippy 1968 influences), Sincerely (handwriting typeface based on Karlgeorg Hoefer's 1968 Elegance), Fontella (a digitization of Novarese's calligraphic script Elite), Boondock (digitization of Imre Reiner's Bazaar from 1956), Gumball (digitization of Papageno, a 1958 bubblegum font by Richard Weber for Bauer), Runway, Gamer, Dominique (OpenType handwriting face), Sterling Script (2005, by Alaccari and Griffin: a 7-weight digitization and extension of Stephenson Blake's 1952 clean copperplate script Youthline Script), Vox (2007, a 24-style monoline sans family done with Patrick Griffin), Vox Round (2013, a softer version), Swan Song (2006: a calligraphic typeface based on the hand of Alexander Nesbitt. A later document states that it is based on work by British artist Rachel Yallop from 1986), Evolver (2006, a 4-style futuristic family), Ambassador Script (2007, an Alaccari-Griffin revival of the angle-reduced calligraphic script Juliet by Nebiolo, 1955). In 2005, Philip Bouwsma joined Canada Type, and designed a great calligraphic blackletter-inspired family, Torquemada. He designed many other typefaces for Canada Type in subsequent years. VIP (2007, Rebeca Alaccari) is a humanist sans serif uppercase (and figures) combined with a freshly redrawn revival of the classic VGC Constanze initials originally designed by Harry Brodjian in 1970, and even further back, the Constanze Initials by Joachim Romann (1954-1956, Stempel). Chopper (2007, by Rebecca Alaccari) is a revival of Venture (a 1972 typeface for VGC by Harry Villhardt). Walter (2007, Rebecca Alaccari) is a digitization of Heritage (1952, ATF, a calligraphic script by Walter H. McKay). Celebrity (2007, Rebecca Alaccari) revives and extends the retro/techno typeface Latus (Willy Wirtz, 1971). Sympathique (2008, Alaccari) is an ultra-thin and ultra-tall typeface in the mold of Bernhard Fashion and other era poster or film typefaces (they say that it is rooted in the film typefaces Hairstreak and Mossman). Mullen Hand (2008) is a revival of Repro Script (1953, Jerry Mullen, ATF). Filmotype Giant (2011, a condensed sans) and its italic counterpart, Filmotype Escort (2011) were both co-designed with Patrick Griffin. In 2020, they released the variable informal sans typeface Bananas: Bananas was sourced from multiple American film era faces, all from 1950s and 1960s, when the casual sans genre was at its popular peak. Headliners' Catalina and its very similar cousin, Letter Graphics' Carmel, served as initial study points. Klingspor link. [Google] [MyFonts] [More] ⦿ |
German designer who studied communication design in 2013. In 2020, she released Lina Serif, a five-style hybrid of antiqua and didone (and a variable font). [Google] [MyFonts] [More] ⦿ | |
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] ⦿ | |
Graphic designer who studied and now works in Münchberg, Germany. In 2019, he designed the sans typeface family Tabularasa, and added a variable font option. [Google] [MyFonts] [More] ⦿ | |
Christian Jansky
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Christoph Koeberlin
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C.J. Dunn
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CJ Type
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In 2017, he released the stunning 2-axis variable font Dunbar and writes: Dunbar is an exuberant geometric sans with a unique structure, including Tall and Low display versions for large sizes and a Text version for smaller sizes. Inspired by Jakob Erbar's Erbar-Grotesk, it is not a strict revival but interprets the design for contemporary applications, rediscovering some of Erbar's innovative ideas of alternate letterforms and proportions. Dunbar comes in large and small x-heights, Dunbar Tall and Dunbar Low. His other major typeface is Louvette (2017), a typeface with four optical sizes (Banner, Display, Text, Deck) and five weights. He explains: Louvette is a sharp, stylish, modern serif including a range of optical sizes from Banner to Text. The design of Louvette is optimized to maintain thin, elegant hairlines at a wide range of sizes. Ideal for publications and cultural institutions, exhibitions and fashion. The design process for Louvette started during Type at Cooper in 2010, under the guidance of Jesse Ragan, with an interest in reviving ATF Louvaine by Morris Fuller Benton for contemporary usage. After some helpful feedback from Christian Schwartz, the project soon evolved away from the source material to include a large optical size version with ultra thin hairlines, and to expand the weight into the fatface range of designs such as Ultra Bodoni, also by M. F. Benton. Further research into the italics led to sources such as Doppel Tertia Cursiv from J. F. Unger, Berlin, and the small heavy sizes drew inspiration from Compacte Romain by Enschedé, Haarlem. Speaker at ATypI 2016 in Warsaw on A Proposal for a Common EULA. [Google] [More] ⦿ |
He published the books "Projet Tipográfico" (Ed. Rosari), "Trajan e Franklin Gothic" (Ed. Rosari), and "Tipografia Comparada" (Ed. Rosari). Claudio now lives in Treviso, Italy, from where he launched the type magazine Tipoitalia in 2009. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
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The handwriting of Lord Byron led Pancini to develop the brush script typeface Byron (2013, Zetafonts). MyFonts credits him with the rounded avant garde sans family Antipasto (2007), but elswhere we read that this typeface is made by Matteo di Iorio, so there is some confusion. It was extended in 2017 by Pancini as Antipasto Pro. In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro co-designed Amazing Grotesk (+Ultra). He also designed the calm bold geometric rounded sans typeface Cocogoose (2014; replaced by Cocogoose Pro in 2017) and the stylish deco font Offensive Behaviour. Cocogoose Letterpress is free. Cocogoose is part of the Coco Gothic family, a collection of twelve typefaces each inspired by the fashion mood of every decade of last century, named after fashion icon Coco Chanel. Cocogoose is Coco Gothic for the 1940s. In 2015, Pancini published the grand family Coco Gothic. This Latin / Greek / Cyrillic typeface family features a small x-height and sligghtly rounded corners to make the avant garde and geometric sans typefaces in vogue in the 1970s come alive again, ready for 21st century fashion magazines. It comes with substyles that recreate many moods, including art nouveau and arts and crafts (Cocotte), Italian propaganda style and Italian deco (Cocosignum), hipster style (CocoBikeR), or Bauhaus (Cocomat). Coco Gothic was initially developed as a corporate font for Lucca Comics & Games Festival 2013. The rounded geometric sans family Cocomat (by Cosimo Lorenzo Pancini, Deborah Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of Italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia. Updated in 2019 as Cocomat Pro. Still in 2015, Cosimo and Zetafonts published the connected creamy baseball script Bulletto, the grungy handvetica Neue, and the calligraphic wedding typeface Hello Script. In 2015, at Zetafonts, Cosimo Lorenzo Pancini designed CocoBikeR (2015) to celebrate the hipster and bike cultures. CocoBikeR (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. In 2017, Pancini designed the 1930s Italian art deco typeface families Cocosignum Maiuscoletto and Cocosignum Corsivo Italico. Typefaces from 2016: Adlery (a curly brush script), Kitten (Fat, Swash, Swash Monoline, Slant, Bold: signage script family), Adlibitum (a blackletter typeface by Cosimo Lorenzo Pancini and Francesco Canovaro), Morbodoni (a display didone by Cosimo Lorenzo Pancini and Francesco Canovaro). In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free. Still in 2016, Pancini designed Calligraphunk, an experimental typeface that mimicks polyrythmic calligraphy, by alternating two sets of lowercase letters to emulate handwriting. In 2016, Cosimo Lorenzo Pancini, Matteo Chiti, Luca Chiti and Andrea Tartarelli co-designed the retro connected brush script font family Advertising Script, which is based on an example from Ross George's Speedball 1947 Textbook Manual. Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima. Amazing Grotesk (2016) is based on a logo designed by Francesco Canovaro. Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita. Hello Script and Hello Sans can be used for layering and coloring. The Christmas-themed version is Hello Christmas. Pancini designed the 64-strong typeface family Body Grotesque and Body Text in 2017-2018, together with Andrea Tartarelli. It was conceived as a contemporary alternative to modernist super-families like Univers or Helvetica. In 2017, Cosimo Lorenzo Pancini and Andrea Tartarelli co-designed the sans typeface family Kabrio, which gives users four different corner treatment options. Anaphora (2018). Anaphora is a contemporary serif typeface designed by Francesco Canovaro (roman), Cosimo Lorenzo Pancini (italic) and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to heavy. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display size. Anaphora covers Latin, Greek and Cyrillic. Canovaro's Arista served as a basis for the 29-style monolinear rounded sans typeface family Aristotelica (2018) by Cosimo Lorenzo Pancini and Andrea Tartarelli. See also Aristotelica Pro (2020). In 2018, he published Radcliffe, with Andrea Tartarelli, a Clarendon revival with Text and Casual subfamilies. Radcliffe (a Clarendon revival by Cosimo Lorenzo Pancini and Andrea Tartarelli), and added the layerable condensed Cocogoose Narrows to the Cocogoose family. Codec (2018) by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli is a geometric sans typeface family in which all terminal cuts are horiontal or vertical. See also Codec Pro (2019). His Double Bass (2018) is a jazzy 4-style typeface family that pays tribute to Saul Bass's iconic hand lettering for Otto Preminger's The Man with the Golden Arm film title sequence and other movies, Bass's vibrating, almost brutal cut-out aestethics, and the cartoonish lettering and jazzy graphics of the fifties. In 2018, he published the sharp wedge serif typeface Blacker to pay homage to the 1970s. In 2019, that was followed by Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli, who write: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs). Still in 2018, he designed the swooping polyrhythmic calligraphic typeface Calligraphunk. In 2018, Cosimo Lorenzo Pancini and Andrea Tartarelli designed Holden, a very Latin cursive sans typeface with pointed brush aesthetics and fluid rhythmic lines. In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic, the sans family Aquawax Pro, and the condensed rounded monoline techno sans typeface family Iconic. In 2019, Cosimo Lorenzo Pancini, Andrea Tartarelli and Maria Chiara Fantini at Zetafonts published a slightly calligraphic Elzevir typeface, Lovelace. In 2019, the lapidary typeface family Beatrix Antiqua (Francesco Canovaro) was reworked by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini into a 50-style type system called Monterchi that includes Text, Serif and Sans subfamilies. Monterchi is a custom font for an identity project for a famous fresco in Monterchi, developed under the art directorship of Riccardo Falcinelli. Tarif (2019) is a typeface family inspired by the multicultural utopia of convivencia---the peaceful coexistence of Muslims, Christians and Jews in tenth century Andalusia that played an important role in bringing to Europe the classics of Greek philosophy, together with Muslim culture and aesthetics. It is a slab serif typeface with a humanist skeleton and inverted contrast, subtly mixing Latin zest, calligraphic details, extreme inktraps, and postmodern unorthodox reinvention of traditional grotesque letter shapes. The exuberant design, perfect for titling, logo and display use, is complemented by a wide range of seven weights allowing for solid editorial use and great readability in body text. Matching italics have been designed with the help of Maria Chiara Fantini and Cosimo Lorenzo Pancini, while Rania Azmi has collaborated on the design of the arabic version of Tarif, where the humanist shapes and inverted contrast of the Latin letters find a natural connection with modern arabic letterforms. Late in 2019, Cosimo Lorenzo Pancini released the fun typeface family Hagrid at Zetafonts, which writes: Crypto-typography---the passion for unknown, weird and unusual character shapes---is a disease commonly affecting type designers. Cosimo Lorenzo Pancini has celebrated it in this typeface family, aptly named Hagrid after the half-blood giant with a passion for cryptozoology described by R. K. Rowling in her Harry Potter books. Extreme optical corrections, calligraphic counter-spaces, inverted contrast, over-the-top overshoots: all the inventions that abound in vernacular and experimental typography have been lovingly collected in this mongrel sans serif family, carefully balancing quirky solutions and solid grotesque design. In 2020, Pancini released Stinger (2020, a 42-style reverse contrast family by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Maria Chiara Fantini) and Boring Sans (a typeface family designed along two variable axis: weight and weirdness). As part of the free font set Quarantype (2020), Cosimo Lorenzo Pancini designed Quarantype Embrace, Quarantype Hangout, Quarantype Hopscotch, Quarantype Joyride, Quarantype Sackrace, and Quarantype Uplift (with Maria Chiara Fantini). In 2020, Cosimo Lorenzo Pancini and Mario De Libero revived Nebiolo's Carioli (1928) as Cairoli Classic and Cairoli Now at Italian Type / Zetafonts. They extended the original weight and width range and developing both a faithful Classic version and a Now variant. The Cairoli Classic family keeps the original low x-height range, very display-oriented, and normalizes the design while emphasizing the original peculiarities like the hook cuts in curved letters, the high-waisted uppercase R and the squared ovals of the letterforms. Cairoli Now is developed with an higher x-height, more suited for text and digital use, and adds to the original design deeper inktraps and round punctuation, while slightly correcting the curves for a more contemporary look. Cairoli Variable has a 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. [Google] [MyFonts] [More] ⦿ | |
Creative Media Lab
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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). [Google] [MyFonts] [More] ⦿ |
Cristóbal Henestrosa
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A great article by Ollie Williams that explains how we should use variable Opentype fonts on web sites. [Google] [More] ⦿ | |
Dalton Maag
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The Dalton Maag team designed these commercial fonts:
Fonts sold at Fontworks, and through the Bitstream Type Odyssey CD (2001). At the ATypI in 2001 in Copenhagen, he stunned the audience by announcing that he would never again make fonts for the general public. From now on, he would just do custom fonts out of his office in London. And then he delighted us with the world premiere of two custom font families, one for BMW (BMWType, 2000, a softer version of Helvetica, with a more virile "a"; some fonts are called BMWHelvetica), and one for the BMW Mini in 2001 (called MINIType: this family comprises MINITypeRegular-Bold, MINITypeHeadline-Regular, MINITypeHeadline-Bold, MINITypeRegular-Regular). Other custom typefaces: Tottenham Hotspur (2006), Teletext Signature (by Basten Greenhill Andrews and Dalton Maag), Skoda (Skoda Sans CE by Dalton Maag is based on Skoda Formata by Bernd Möllenstädt and MetaDesign London), UPC Digital, BT (for British Telecommunications), Coop Switzerland (for Coop Schweiz), eircom, Lambeth Council, Tesco (2002), PPP Healthcare, ThyssenKrup (Dalton Maag sold his soul to these notorious arms dealers; TK Type is the name of the house font), Co Headline (2006), Co Text (2006, now a commercial font), Telewest Broadband, Toyota Text and Display (2008), TUIType, HPSans (for Hewlett-Packard, 1997). His custom Vodafone family (sans) (2005) is based on InterFace. In 2011, Dalton Maag created Nokia Pure for Nokia's identity and cellphones, to replace Erik Spiekermann's Nokia Sans (2002). The Nokia Pure typeface has rounder letters, and is simultaneously more legible and more rhythmic. In 2010, the Dalton Maag team consisted of Bruno Maag and David Marshall as managing and operations directors, and Vincent Connare as production manager. The type designers are Amélie Bonet, Ron Carpenter, Fabio Haag, Lukas Paltram and Malcolm Wooden. In 2015, Kindle picked the custom serif font Bookerly by Dalton Maag for their typeface. Still in 2015, Dalton Maag custom designed the sans typeface family Amazon Ember for Amazon for use in its Kindle Oasis. Free download of both Amazon Ember and Bookerly. Dalton Maag created the custom typeface family Facebook Sans in 2017. ATT Aleck is a large custom typeface family designed in 2016. Netflix Sans (2018): Netflix replaced Gotham to combat spiraling licensing costs and commissioned its own bespoke typeface: Netflix Sans under design lead Noah Nathan. Comments by designers at The Daily Orange. In 2018, Dalton Maag designed the custom typefaces Itau Display and Itau Text for Itau Unibanco, a large Brazilian bank. In 2019, Dalton Maag produced a corporate typeface for Air Arabia. Venn (2019, Bruno Maag). A 5 weight 5 width corporate branding sans typeface, with an option to get Venn Variable. Typefaces from 2020: 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 Jones
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Daniel Quisek
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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. [Google] [More] ⦿ | |
Daria Zorkina is a 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. [Google] [More] ⦿ | |
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:
View David Berlow's typefaces. Another catalog of David Berlow's fonts. Speaker at ATypI 2018 in Antwerp. [Google] [MyFonts] [More] ⦿ | |
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
Blog. Myfonts link. Klingspor link. Speaker at ATypI 2013 in Amsterdam on the topic of multilingual type design. [Google] [MyFonts] [More] ⦿ | |
David Jonathan Ross
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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)
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Klingspor link. [Google] [MyFonts] [More] ⦿ |
Delve Withrington
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Deni Anggara
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Denis Serebryakov
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Diego Aravena Silo
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Dino dos Santos
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Dirtyline Studio
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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: Cigra (a decorative serif by Aulia Rahman and Hendra Maulia). [Google] [MyFonts] [More] ⦿ |
Displaay
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DJR Type
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In 2018, he was the tenth winner of the Charles Peignot Prize. His typefaces:
Speaker at ATypI 2016 in Warsaw and at ATypI 2017 in Montreal. Klingspor link. Home page. [Google] [MyFonts] [More] ⦿ |
Dmitrij Greshnev
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He received a TypeArt 05 award for the display family DR Galushki (and DR Galushki Hole, 2011), which was designed for children's books. Other creations: LQ Wow and LQ Anisett (2010, for women's magazine LQ), LQ Didot (2011, also for LQ), Dekapot (grunge), Gomorrah (2013), Usquaebach (2013), Kinescope (2013), Goshen (2013), Rhode Black (2014), UT Magazine (2014), Madmix (2014, for Esquire), Variety Square (2015, for the nmagazine Variety), DR Agu (comic book face), DR Agu Sans (2013), DR Agu Script (2016), DR Trafaret (army stencil face), DR Vixi, DR UkrGotika Sans, DR UkrGotika Serif, Tsar Peter, Pelican (for Esquire magazine), Fugue. In 2014, Gayaneh Bagdasaryan and Dmitry Rastvortsev created the Latin / Cyrillic sans typeface family Brutal Type (Brownfox) that is genetically linked to DIN. His funny DR Krokodila won an award at Paratype K2009. In 2014, Dmitry Rastvortsev, Lukyan Turetsky, and Henadij Zarechnjuk cooperated on the design of the free Latin / Cyrillic handwriting typeface Kobzar KS, which is based on the handwriting of Taras Shnvchenko, a famous Ukrainian poet, artist and philosopher. In 2016, he designed the op-art typeface family DR Lineart. In 2017, he published the military stencil font DR Zhek. In 2018, he designed DR Ukrainka, which is inspired by the lettering works of these Ukrainian artists of the 1920s: Vasyl Yermilov, Vasyl Krychevscky, Heorhiy Narbut. He also designed Sumy for the branding type for the city of Sumy, Ukraine. Rastvortsev won an award in the kanji category at the 22nd Morisawa Type Design competition in 2019 for DR Kruk. In 2019, on commission for Banda for the National Art Museum of Ukraine, Dmitry Rastvortsev designed the Cyrillic (and Latin) family Namu, which has substyles according to various eras, from 1400 until today. On commission for Vinnytsia, he designed the free typeface family Vinnytsia ((a lapidary) Serif, Sans, City). He finished 2019 with the free sans-serif-display superfamily Kyiv Type, which consists of KyivType Variable, KyivType Sans, KyivType Serif, and KyivType Titling. Typefaces from 2020: DR Krapka Rhombus, DR Krapka Round, DR Krapka Square (a set of dot matrix typefaces). Behance link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Dohee Lee received a BA in visual communication design from Seoul National University. Her first Korean typeface, 134340, won a New Wave award from the Korea Font Association. Since joining Sandoll---the oldest and best known type foundry in Korea---in 2016, she has developed custom typefaces for major global brands along with retail fonts. She studied in the interdisciplinary Art Science program at the Royal Academy of Art (KABK) in The Hague. Speaker at ATypI 2019 in Tokyo on the topic of Building Hangul like an Architect: Utilizing Variable Fonts: In order to handle 11,172 glyphs of Hangul, designers often take an architect-like approach: they carefully devise a system to maintain consistency across all glyphs. This can't be done without sophisticated technology. Focusing on Smart Components and extensions in Glyphs 2, this presentation discusses how to categorize characters and how to create a Hangul development system. [Google] [More] ⦿ | |
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Doni Sukma
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DooType
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Klingspor link. Creative Market link. Behance link. MyFonts interview. [Google] [MyFonts] [More] ⦿ |
dstype
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DS Type also has typefaces by other type designers, such as Pedro Leal. They worked with leading companies, world scale events and well-known design agencies including: Appetite, Banco CTT, Banco Economico, BBDO, CondéNast, CTT Correios de Portugal, Electronic Arts, Errea Communicacion, Erste Bank, ESPN, Expo 2020 Dubai, Fifa World Cup 2018 Russia (the Ducha typeface), Garcia Media, Gatorade, Gruner + Jahr, Hearst, Innovation, King Games, McCann-Erickson, Meredith, Palmer Watson, Pentagram, Sagres, Starbucks, The New York Times (the Nyre typeface), Vox Media and Wolff Olins. View Dino dos Santos's typefaces. DS Type's typeface library. [Google] [MyFonts] [More] ⦿ |
Behance link. MyFonts link. His most popular typefaces showcased. Fontspring link. Klingspor link. View Dusan Jelesijevic's typefaces. [Google] [MyFonts] [More] ⦿ | |
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:
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Eduilson Wessler Coán
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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 ReykjavÃk, and a mentor at Alphabettes, a network to support and promote women in the type industry. Creator of these typefaces: Eskorte (2011, her graduation project), Eskorte Persian (2011), Klebo (2011, mechanical / octagonal), Eskorte Armenian (2011), Paroli (2011, a bold rounded signage face, Die Gestalten), and Biec (2012). In 2013, Eskorte was published by Rosetta Type. Eskorte supports Arabic, Farsi, Urdu, and over ninety languages using the Latin script. Titus Nemeth was consulted for the Arabic portion. In 2016, Elena Schneider and Miles Newlyn co-designed the almost reverse contrast typeface family New Herman. In 2019, she published the experimental techno typefaces Halunke and Konsole at Future Fonts. She writes about Konsole: Konsole is a clean sans serif typeface with a touch of technology. Inspired by audio equipment, it gives off robotic energy. A variable font was added in 2019. Still in 2019, she released the German expressionist typeface Birra Bruin at Darden Studio. At Tomorrow Type, she released the Cyrillic version of Halunke (2020). [Google] [MyFonts] [More] ⦿ | |
Font engineer and open source software advocate located in New York City, where he is studying mathematics at CUNY. Github link. His typefaces:
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Ellen Luff
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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] ⦿ | |
Eric Olson
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Erik van Blokland
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Estudio CH
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Designer of Espinosa, mentioned here. Author of Espinosa. Rescate de una tipografía novohispana (México, Designio, 2005), a book about Antonio de Espinosa, a 16th century Mexican typographer, who in all likelihood cut the Espinosa type. The commissioned text family Fondo (2007) won an award in the TDC2 2008 competition and at Tipos Latinos 2008 (for extensive type family). Creator of the angry hand-printed typeface Prejidenjia (2008, with Luis Novoa). Speaker at ATypI 2009 in Mexico City, where he introduced the work of 16th century printer Antonio de Espinosa to the world. Espinosa Nova (2009) won an award at TDC2 2010 and a grand prize at Tipos Latinos 2010. Guaca Rock (2009) is a stone chisel typeface based on the logotype of the rock band Botellita de Jerez. Gandhi (jointly designed with Raul Plancarte) won an award at Tipos Latinos 2012. Soberana Sans (Raúl Plancarte and Cristóbal Henestrosa), made for the Mexican Government in 2012-2013, won an award at Tipos Latinos 2014. Ayotzinapa (2015, by Raul Plancarte and Cristobal Henestrosa) won an award at Tipos Latinos 2016. His titling typeface Royal Charter won an award at Tipos Latinos 2018. This is a digital revival by Cristobal Henestrosa based on an experimental typeface named Charter, designed yet never fully finished by William Addison Dwiggins. It is an upright italic, unconnected script typeface, whose main features are a pronounced contrast, condensed forms and exaggerated ascenders. While Dwiggins worked on this project from 1937 to 1955, he only completed the lowercase and a few other characters. However, it was used to set a specimen in 1942 and a short novel in 1946. The sources that Cristobal used for Royal Charter (and later, Mon Nicolette) were the original sketches by WAD as well as printing trails kept at the Boston Public Library, and a copy of the 1946 edition of The Song-Story of Aucassin and Nicolette. This gorgeous typeface can be used successfully in headlines, subheads and short passages of text from 12 points onwards. It was published in 2020 as Mon Nicolette at Sudtipos, where the help of Oscar Yanez was acknowledged. Fontsy link. Mon Nicolette also comes in a variable format with weight and optical size axes. Dafont link. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Etcetera Type Company (or: ETC; was: Finck Font Co)
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He created the fat counterless caps typefaces Blackout and Blackout Midnight (2008), and his most famous typeface, Ostrich Sans (2011). This typeface includes many weights, including a beautiful Ostrich Sans Inline and a hairline. In 2016, this was followed up by the layered monoline sans typeface family Ostrich Proper (+Inline). Porter Sans (2013) is a large wide headline type family. It has a free inline outline weight. Elm (2013) is hand-printed. Blackout Sunrise (2013) is an outlined face. Lickety Split (2013) is a crayon or brush face. Almost (2013) is a poster face. Guilder (2011) is a free typeface family with an inline thrown in. Itthaca Sans and Guilder were made in 2013. At Google Web Fonts, he republished Knewave (2011), a brush signage face. Typefaces from 2014: Fartlek Sans (hand-crafted poster typeface), Katahdin (free), Upstater (a classical American gothic with shaded and layered styles), Grandstander (comic book face), Boo City (pixel face), Didactic Display (grunge), Upstater Ink (grunge), Blackout Noon, Finck32A, Saturnight (heavy brush), Porter Sans Ink, Typocopia (letterpress emulation), Taurus Mono (outline), Southpaw (nice informal hand), Chawp (crayon face), Mr. Brunch (brush face), Gluten FT. Typefaces from 2015: Flabbergast (a didone), Korsque (layered), Bico (a rounded condensed organic typeface). Typefaces from 2016: Porter Rough, Ichabod (an antiqued serif), Altitude Condensed, Imbue (a condensed didone poster typeface at Google Fonts), Retrograde (monoline and monospaced organic sans), Plainview (squarish and fat), Nonesuch (condensed sans), Juju (octagonal layered typeface family). Typefaces from 2017: Juju (a layerable octagonal typeface family), Ichabod (an eroded typeface), Atiga, Imbue FT (a skyline typeface), Porter FT (his earlier font Porter Sans remade, and rounded styles added), Grandstander Classic. In 2020, Grandstander became a free Google font that is accompanied by a two-axis variable font. Typefaces from 2018: ETC Gluten (an organic font family), ETC Epilogue (a variable sans font; Github link; Google Fonts link), ETC Anybody (a 72-style variable font with weight, width and slant axes), Furrow (grungy sans), Cease (techno, squarish). Typefaces from 2019: ETC Trispace (a variable font with weight and width axes; based on League Mono), ETC Imbue (a variable font version of Imbue with a variation in optical size from Text to Display), ETC Tourney (variable font, playing on outline versus inline), Struthio (a rounded sans). Typefaces from 2020: Birdo (an inline typeface), Prologue (a reworking of ETC Epilogue). Alternate URL, called The League of Movable Type. Typedia link. Kernest link. League of Movable Type link. Creative Market link, Klingspor link. Dafont link. Home page. Creative Market link. Abstract Fonts link. Google Plus link. YWFT link. Old home page. Behance link. Github link. [Google] [MyFonts] [More] ⦿ |
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. [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] ⦿ | |
Fabio Haag Type (was: ByType, and: Foco Design)
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Fabio Haag designed FH After (2006, futuristic display typeface to which After Text and After Headline were added in 2007), FH Foco (2003) (a large x-height sans), this futuristic typeface (2003), and Minas Headline, a custom family made for the government of Minas Gerais. He was working on this display font (2005). In 2006, Foco became a Dalton Maag Ltd font family, and Fabio Haag became the new Creative Director of the Brazilian wing of Dalton Maag in 2008. MyFonts sells Foco and Foco Corp (2007). Designer (with Jonas Schudel) of a grotesque sans at Dalton Maag, 2007-2009, called Effra, which was inspired by a 1816 design from the Caslon font foundry. Discussion at Typophile. Followed in 2013 by Effra Corp (Dalton Maag) which also supports Greek and Cyrillic. In 2007, he created the organic sans typeface IronThree. Cordale (2008) is a workhorse serif typeface jointly done with Lukas Paltram at Dalton Maag. Cordale Corp, the corporate edition, includes Latin Extended A, Greek and Cyrillic characters sets. Cordale Arabic was published in 2013. In 2009, Foco Italics was published. At ATypI 2009 in Mexico City, he spoke about Dalton Maag and about the elements necessary to make it in the type business today. In 2012, the Dalton Maag Brazil team designed the font for the Rio 2016 Olympic Games The 5448-character connected script font Rio2016 was developed by Dalton Maag Brazil, and involved a team that includes Fabio Haag, Fernando Caro and Gustavo Soares. Beth Lula is the Branding Director of the Rio 2016 Olympic and Paralympic Games Organising Committee. Passages of the press release: Each letter expresses a characteristic of Rio 2016 Games, its people and city. The letters are written with a single continuous linework, with a fast and fluid movement, suggesting the movements of the athletes in action. The variety of curves in the letters has a unique informality, inspired by the joyfulness of the Brazilian people. Fabio Haag: As a Brazilian typophile, designing the Rio 2016 font was a dream job. This is a milestone for the design scene in Brazil---it's a great example of how type designers can collaborate with graphic designers, sharing their expertise to strengthen an identity. In 2013, Fabio designed Almaq, a pair of sans display typefaces in cuts called Refined and Rough. Codesigner with Bruno Mello, Fernando Caro, Rafael Saraiva and Ron Carpenter of Soleto (2014, Dalton Maag), a sans typeface that won an award at Tipos Latinos 2014. Setimo (2015) was co-designed by Fernando Caro, Ken Gitschier, Fabio Haag and Lukas Paltram at Dalton Maag, and won an award at Tipos Latinos 2016. In 2016, Fabio Haag published Lembra (a sans that was created specifically for branding, characterized by tapered terminals) at his new type foundry, Fabio Haag Type, set up after he left Dalton Maag after eight years. Fabio Haag Type grew in 2020 to a team of four, now also including Ana Laydner, Henrique Beier and Eduilson Coan. In 2019, a variable font option was added top Lembra. In 2017, he designed the 28-unit legible humanist sans variable font family Margem (Fabio Haag Type), which includes a yummy Rounded subfamily. Still in 2017, he developed the sans typeface Sua, which as a variable option. In 2018, he published pictograms for SporTV, a forceful constructivist font for the World Cup 2018 also for SporTV and Furacão (for Atletico Paranaense). Typefaces from 2019: Suzano Sans (a commissioned rounded branding typeface done for Suzano). Typefaces from 2020: Margem (a fine 7-style rounded sans family by Henrique Beier, Ana Laydner and Eduilson Coan). View Fabio Haag's typefaces. Fabio Haag Type. [Google] [MyFonts] [More] ⦿ |
Fabio Luiz Haag
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Fabrizio Schiavi
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Fabrizio Schiavi Design (or: FSD)
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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), Essential 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 Ferrari and Philip Morris. In 2007, he produced a stencil and signage font, Siruca (see also here), for the Al Hamra Complex, one of highest skyscrapers in the world, located in Kuwait. Siruca Pictograms (2008) is free. In 2015, he followed that up by a non-stencil rounded sans called Sirucanorm: Designed using golden ratio formulas, it's inspired to DIN and Isonorm typeface. In 2013, he published Sys Falso, Abitare Sans (30 weights, originally commissioned by the group Rizzoli Corriere della Sera. Abitare is an Italian magazine). Typefaces from 2014: Nove (a German expressionist typeface inspired by B movie typography: Nove freshly reworks exploitation film era movie poster lettering, refitting the genre to a contemporary audience. The expressive typeface was done for a Nike Italy spoof campaign featuring 1970s cult film director Enzo Castellari and a recently found film reel from his archives, featuring several current Italian athletes and American basketball star Kobe Bryant). The rounded sans typeface Widiba Bank (2015) was co-designed with Jekyll & Hyde in 2015 for the brand identity of the new bank of Gruppo Monte dei Paschi di Siena. In 2016, he designed the custom corporate typeface R&M in art nouveau style. In 2020, he released the (variable) retail version of CP Company called oook. At ATypI in Rome in 2002, he spoke about the need for more fonts. Behance link. FontShop link. Klingspor link. Font Squirrel link. Dafont link. Showcase of Fabrizio Schiavi's typefaces. [Google] [MyFonts] [More] ⦿ |
Future Fonts link. [Google] [More] ⦿ | |
In 2011, he made the monoline organic sans typeface Lerótica (free at OFL). In 2012, he created Nabatea (stone chisel typeface), V de Vacia (a grungy outline face), Sabática (organic), the straight-edged data style typeface Gabardina, the grotesk typeface A Bebedera, the shadow typeface B de Bonita, D Puntillas, and the deconstructed Qebrada. In 2013, he designed Yacarena Ultra, H.H. Agallas, Nacimiento (a dymo label font), J Airplane Swash (a psychedelic typeface named after Jefferson Airplane), CA Garrutas (grunge), CA Gatintas (grunge), I Am Telefono (the largest phone dingbat and scanbat typeface on earth), Wach Op-Art (kaleidoscopic icons), K.O. Activista, I Am Hueca, X Template (stencil), H.H.Samuel (rounded sans), U2 Metalona (a beautiful white-on-black display face), M F Plexus Italic, J.M. Nexus Grotesque (an "thin inline" fat grotesque), Wachinanga, Tabaquera, Pabellona (grunge), El Pececito (video game font), the poster typeface Hobby of Night (OFL), H2O Shadow (outline version of Fabada), Zabatana Poster (a didone-inspired poster font), Oaxaquena Tall, Yacimiento (wood style wedge serif), and Rabanera. Typefaces from 2014: Babalusa Cut, A Cuchillada, Sabandija (a plump round display typeface), F2 Tecnocratica, F1 Secuencia Quad (pixel face), La Pejina FFP (bilined), Tabaiba Wild, Gabachita (ultra-condensed rounded sans). Typefaces from 2015: Tabarra Pro (Swiss style sans family for Latin, Cyrillic and Greek), A Sogra Ruth (ultra-condensed art deco), Gaban (an outline version of Tabardo), Tabardo (a heavy blocky font), Wacamoler Caps (a Tuscan typeface inspired opening credits of the Western movie Winchester '73 directed by Anthony Mann in 1950), Ubicada (condensed geometric sans), Rabiosa (neurotic font), Zacatecas (condensed shaded sans), F3 Secuencia Round, La Babaca (a powerful black condensed sans in the style of Impact), Obcecada Sans + Serif (condensed with almost disappearing descenders), Eacologica Round Slab (a nice commercial font with an incomplete set of numerals), Palim Script (curly), Vacaciones (signage face), de La Cruz. Typefaces from 2016: Yugoslavia (calligraphic), Love Box (stencil), Cienfuegos (connected retro script named after the Cuban her Camilo Cienfuegos), Gaitera Ball (round fat script), The Black Box (a retro banner font), Durum Kebab (shadow sans), Jolgoria In Town (script), Yerbaluisa (signage script), Escobeta One (brush script), Posteratus Rex, Bastardilla (a cursive font), Rotulona Hand, The Juke Box (retro juke box lettering), Angelique Rose (connected monoline script), Promenades, Bucanera (a swashbuckle font), Lucemita, Panama Road (a casual calligraphic font), Deslucida, Disoluta, Sucesion Slab, Tabarra Pro Round, Qebab Pro Shadow, Monserga (white on black), Indulta SemiSerif. Typefaces from 2017: Partizano Serif (a retro poster font; free demo), Jack Stanislav (a great condensed movie poster font), Fontanero (rounded fat sans), Yonky (fat slab serif), Zigzageo, Libertatus (manual serif fonts based on a Czech poster from 1935), Libertatus Duas (slab serif), Flamante Sans, Flamante Serif, Flamante (Round, SemiSlab, Stencil, Seca, Cairo, Roma), Seisdedos Dead (rough stencil fonts), Neo Latina (stencil), Carta Magna (blackletter), La Sonnambula (signature script), Bola Ocho (an eightball font), Clandestina (textured, layered), Acratica (signage script), Penitencia Inline, Autarquica (outlined vernacular style), Caminata One (shaded signage typeface), Sin Razon (wedge serif), Glotona Black and White (a layered tattoo style font duo), Glotona Dots (the textured versions of Glotona), 6th Aniversario, Tribal Box (squarish sans, with tattoo ornaments and a great environment for borders), Candy Pop (bubblegum font), Sargento Gorila (army stencil font), Libertinas + co (a curly calligraphic script; the free version has no numerals). Typefaces from 2018: Gudariak (a free color SVG font: Vicente Ballester Marco (Valencia 1887-1980) was a graphic designer and Valencian poster artist affiliated with the CNT (Confederacion Nacional del Trabajo) who created political propaganda posters of clear modernist and post-cubist influence during the Spanish Civil War. The Gudariak typeface is inspired mainly by one of the posters he made for the Government of Euskadi and also in others where the author continues to explore this particular typographic style. ), Farisea Fraktur, Octuple Max (techno), Ordeal Eroded, Panfleta Stencil, Secuela (free), Fragua Pro (condensed sans family), Getho (a geometric semi-sans), Cowboya Tuscan (a curly Tuscan circus font), Txuleta Deco (a striped art deco typeface), Coltan Gea (slab serif), Getho Semi Sans, Cowboys (a Tuscan typeface), Drystick Geo Grotesk, Diezma, Grifa Slab, Coltan Gea (slab serif family), Paloseco (geometric and grotesk), Stoica (a color SVG font), Letrera Caps (a rounded square style layered and color font that pays homage to the sans serif inline genre), Enagol Math (a condensed rounded slab serif based on carefully applied mathematical ratios), Heptal, Velocista, Octagen Condensed, Octagen Black, Sextan Serif, Sextan Cyrillic, Quickat (signage script), Octagen (condensed sand with short descenders), Wolframia Script (flowing handwriting), Pentay Slab, Pentay Sans, Pentay Book, Cuatra, Judera (Flat and Ring: monospaced, unicase and totally sqaurish), Quotus (slab serif), Tripleta Grotesk (a 16-style geometric sans family). Typefaces from 2019: Pervitina Dex (sci-fi), Megalito Slab, Obesum Caps, Jane Roe (sans), Icons Opentype, Felona (stencil: a variable font), Neo Fobia, Bocartes Fritos (food icons), Red Thinker (a squarish monoline sans), Pena Caldaria (blackletter). Typefaces from 2020: Anoxic (a sqaurish monoline sans). Creative Market link. OFL link. Behance link. Dafont link. Devian tart link. Abstract Fonts link. Fontspace link. [Google] [MyFonts] [More] ⦿ | |
Flavia Zimbardi
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Open Font Library link. Fontsquirrel link. Github link. [Google] [More] ⦿ | |
Font Kitchen
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In 2019, he released the rounded geometric sans typeface Pastrami. Typefaces from 2020: Latte (a vintage serif family in 16 styles and a variable font). Fontsquirrel link. Open Font Library link. [Google] [MyFonts] [More] ⦿ |
A major font editor originally marketed by Pyrus, which also published TypeTool, BitFonter, AsiaFont Studio, TransType, FONmaker, ScanFont, FontFlasher, SigMaker, and CompoCompiler. It acquired Fontographer. This popular commercial font editor can be used for designing and editing glyps, drawing type, kerning, spacing, and hinting. FontLab VI was released in December 2017. It covers multi-color and variable fonts on both Mac and Windows. [Google] [More] ⦿ | |
Fontpeople
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Discussion at Typedrawers regarding the legality and morality of Fontpeople's relicensing practices. [Google] [MyFonts] [More] ⦿ |
Fontsmith
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Smith's custom typefaces include Casey, Seat, Tractebel, PPP Healthcare, Powergen, Allied Irish Bank, UUnet, Channel 4, and Saudi Aramco, Champions (2009: for the UEAFA Champions League), Colgate Ready (2014: for Colgate, covering Latin, Cyrillic, Eastern European, Devanagari and Thai), More4 (2005, for the Channel 4 Adult Entertainment channel), ITV (2006, for the ITV network), BBC ONE (2006, for the BBC), Post Office Sans (2003), Severstal (2009), and Moto GP (2020: a custom techno / sports font). Vernon Adams and Fontsmith got into a quarrel about Vernon's Mako, which was submitted and rejected by Fontsmith, which published its own similar typeface Lurpak a few weeks later. Most of his typefaces are now at MyFonts, after the take-over:
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Formatpunktotf (or: Format.otf; was: t-1, type-eins)
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In 2020, Müsgens released the hipster typeface family Garconne Display. [Google] [More] ⦿ |
Formatype Foundry
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Francesco Mistico Canovaro
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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. [Google] [MyFonts] [More] ⦿ | |
Fredrick R. Brennan
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Recipient of The Society of Typographic Aficionados Catalyst Award in 2018. She now cooperates in type design projects at TypeMade. [Google] [More] ⦿ | |
In 2014, he published the thin but striking fashion mag and all caps titling typeface Uberschrift at FDI. In 2020, he released the variable font CoronaFaceImpact, which has three axes, Effects from wearing a face mask, Change of look due to closed hairdressers, and Results of home schooling. Behance link. Kernest link. Old URL. Interview with Friedrich Althausen. Google Plus link. Github link. [Google] [MyFonts] [More] ⦿ | |
Frostype
| Graduate of UCA Farnham. Leicester, UK-based designer who specializes in producing visual identities through branding, editorial and art direction. Creator of the modular multiline typeface Luminous (2015). During his studies at UCA in 2016, he created the sans typefaces Typic, Deep and Camber. In 2017, he designed Wolfgang Sans and Passo (a custom sans for the new Italian restaurant Passo). In 2018, Harrison founded Frostype. His typefaces at Frostype: FT Switch (2018), FT Polar (2018: sans), North (2018: sans), Frigid (2018, a variable font). In 2019, he released FT Base (a sans family) and FT Made (a transitional tyoeface). Home page. [Google] [More] ⦿ |
Gabriel Richter
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Geen Bitter
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In 2013, they published Gewone letters Gerrit's early models. The blurb: A couple of years back, while cleaning the letterpress workshop at the KABK in The Hague, we had an amazing find. A package that hasn't been opened for some time. We opened it and found eighteen printing plates in mint condition. The printing plates, we soon found out, were made by Gerrit Noordzij and date back to the late 1960s. They contain a brief lesson about writing with the broad nib and, once familiar with this basis, writing and drawing some different techniques. Since it seemed the plates are never published before, we decided to do so and made a book containing prints from the plates. Next to the plates we asked former students if they still had old work and sketches with comments by Gerrit Noordzij. The result is a collection of sketches and material, together with five writings about the plates, Gerrit Noordzij and his contribution to the field of type and typography. The text has contributions by Albert-Jan Pool, Frank E. Blokland, Aad van Dommelen, Huug Schipper, and Petr van Blokland. It was published in 2013 by Uitgeverij De Buitenkant, Amsterdam. Thom's graduation typeface in 2017 at KABK was Rikhard. He wrote: A variable font project with letter shapes inspired by English letter forms from around the 1780s, mainly Richard Austin, hence the name. With a weight axis for hierarchy in texts and an optical size axis in order to make small and larger text sizes look good. This project is an exploration in variable fonts. The goal was to learn about it, build workflow solutions, and have fun. This project is meant for typography on the screen. Browsers can take advantage of variable fonts, optical size can be automated and with CSS and JavaScript all the styles of the variable font can be accessed. One font, many styles: the future. Their commercial typefaces:
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Gen Ramirez
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Gestu
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In 2020, he released Closeby (ultra-condensed, rounded, italic) and Tocco (which is based on chunks of wood type; it includes a variable style) at Papanapa. [Google] [MyFonts] [More] ⦿ |
Giuseppe Salerno
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Gluk Fonts
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Creator of the free artsy font Wanta (2008), of Resagnicto (2010), of Rawengulk (2010), of Rawengulk Sans (2011), of Reswysokr (2011), of the bold slab serif typeface Zantroke (2011), and of the free calligraphic typefaces Odstemplik (2009), promocyja (2008) and Konstytucyja (2008). He published the elegant serif family Foglihten (2010), which includes the inline typefaces Foglihten No. 1 (2011), Foglihten Fr02 (2011), Foglihten No. 3 (2011) and Foglihten No. 4 (2012). The latter is inspired by the Polish Constitution of May 3, 1791. Foglihten Petite Caps Black (2012) and Foglihten Black PCS (2012) are high-contrast fat didone typefaces, minus the ball terminals. The series continues with Foglihten No. 6 (2012) and Foglihten No. 7 (2013). Qumpellka No 12 (2011) is a flowing italic. Opattfram01 (2011) is a dingbat typeface with onamental patterns. The Okolaks family (2008) has a bit of an art deco feel. It covers East-European languages as well as Cyrillic. Sportrop (2008) is a neat multiline face. Gputeks (2008) is a delicate decorative face. Szlichta07 (2008) on the other hand is an experimental typeface based on tilting the horizontal edges about ten degrees up. Kawoszeh (2008) is a curly Victorian pre-art nouveau face. Spinwerad (2009) and Itsadzoke S01 (2010) and Itsadzoke S02 are display didones. Znikomit (2011) is an impressive lachrymal hairline slab face. See also Znikomit No. 25 (2012) and Znikomit No. 24 (2012; image by Benjamin Frazzetto). Creations from 2012: Charakterny, Garineldo, Mikodacs (an Impact-like black display sans), Yokawerad (a didone headline face), Resagokr, Nikodecs, Garineldo SC. Typefaces from 2013: Etharnig, Namskin, Namskout (a layered heavy display face), Prida 65 (spurred antique face), Ketosag, Prida 61, Gatometrix, Glametrix, Gallberik. Typefaces from 2014: VECfont FogV4, EtharnigV (a bi-colored font), Risaltyp, Wabroye, Kleymissky, Sortefax (an outline font with engraved versions as on dollar bills), Dragerotypos (blackboard bold), Resamitz. Typefaces from 2015: Prida 36, Sudegnak No. 3 (script), Vecfont Sudegnak (cartoonish), PridaEn (a vector font for color), Prida S4, Prida01, Prida02 Calt. Typefaces from 2016: BroshN, Tofimpelik (+Candy), Prosh3, Digitalt, Agreloy (a lovely curly Victorian typeface), Gluk Mixer (ransom note font), Fogtwo No 5. Typefaces from 2017: Prosh 4B (a variable color font), BroshK2 (an origami style color font, in OpenType SVG format), Fuetargio (a multiline bejeweled typeface). Typefaces from 2018: BroshK, Rostef (all caps titling typeface), Fogthree. Typefaces from 2019: ResotE, ResotE-Pastels (a color font), ResotYc (a decorative unicase font), Resot Yg, Liserif (a kinetic SVG font). Typefaces from 2020: Digico M (a color font), Resotho (a wide all caps geometric sans). Dafont link. Digart link. Fontspace link. Dafont link. Open Font Library link. Scribus Stuff link. Fontspace link. Kernest link. Abstract Fonts link. Behance link. Font Squirrel link. Klingspor link. Creative Market link. [Google] [MyFonts] [More] ⦿ |
Green Type
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His typefaces include Stopwatch (2010, LED face), Sokol (Old Slavonic Latin simulation face), Slavica (2010), Reliant (2010, with Iza W at Intellecta Design), Reliant Beveled (2012, free), Logistica (2010, army stencil), Danger (2010, another army stencil), Dusk Thin (2010), and Multicross (2003-2004, stitching font). Typefaces from 2011: Zoo300 (techno sans; +Shadow, +yrillic). Behance link. In 2012, he created Patriciana (a Peignotian typeface for Latin and Cyrillic) and Directo. Typefaces from 2013: Finch, Hypermarket (dirty typewriter). Typefaces from 2014-2015: Trali-Vali (a children's book or party font family), Moveo Sans (with Condensed and Extended subfamilies, 80 fonts in all covering Latin, Greek and Cyrillic), Artica Pro (a flared all-caps typeface family for Latin, Greek, and Cyrillic that is based on classical roman (Trajan) letterforms) and Artica Rough Pro (2015). Typefaces from 2016: Festa (a brush typeface for Latin, Greek and Cyrillic). Typefaces from 2017: Festa Classica (a happy all caps hand0crafted typeface family), Normative Pro (a neutral techno sans with glyphs tending towards the rectangular), Normative Lt. Typefaces from 2018: Streetline. Typefaces from 2019: Hubba (a modular squarish typeface family; has a variable font). Typefaces from 2020: Danger Neue (a military stencil). Behance link. Creative Market link. MyFonts link. Klingspor link. View Dmitry Greshnev's typefaces. [Google] [MyFonts] [More] ⦿ |
Grzegorz Luksza
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Alternate URL. Behance link. Old URL. [Google] [MyFonts] [More] ⦿ | |
Dutch graphic designer, b. 1978. Graduate of the Gerrit Rietveld Academy, who started her own studio in Amsterdam in 2003. She creates alphabets, textures and patterns, both digitally and manually, that she applies to designs for posters, illustrations and public space art works such as gates and floors. In 2017, she developed an experimental typeface called Wind at Typotheque. Technically produced by Peter Bilak, there is variable font version by Thom Janssen. [Google] [More] ⦿ | |
Harbor Type
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In 2014, he created the free font Densia Sans, which is condensed and has a tall x-height and some contrast. Graviola (2014) is a soft sans family, with possible applications in information design and wayfinding. It won an award at Tipos Latinos 2016. In 2016, he published Graviola Soft, an even softer version. He also published the fresh corporate sans typeface family Malva, which can be recognized by the typically Latin American curvy tail on the lower case a and l. Malva was a winner at Tipos Latinos 2018. A variable font option was added in 2019. In 2017, Henrique Beier published Rocher, a wonderful layered stone emulation font, Flintstone style. It won an award at Tipos Latinos 2018. He has a free variable color version with bevel and shadow axes, Rocher Color (2018). In 2019, Henrique Beier and Ana Leydner, assisted by Luisa Leitenperger, co-designed Kiperman at Harbor Type. This sturdy 4-style text typeface family pays homage to Brazil's publishing icon Henrique Leao Kiperman (d. 2017). Harbor Type also released the branding and packaging sans typeface family Dona in 2019. In 2020, Henrique Beier joined Fabio Haag Type, where he promptly published the circular sans family Igual. [Google] [MyFonts] [More] ⦿ |
Harrison Marshall
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Hendra Maulia
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Henrique Beier
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Herzberg Design
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How to create a variable OpenType font using only open-source tools
| A Youtube tutorial by Fredrick R. Brennan, who shows how to make a variable font using FontForge, AFDKO and fontmake. [Google] [More] ⦿ |
Hyber Type
| 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] ⦿ |
Ian Party
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IBM Plex
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A later modification / fork is Perplexed by Peter Hull in 2018. Github link. IBM link. Direct download at Github. CTAN link. Local download. IBM Plex Mono at Google Fonts. IBM Plex Sans at Google Fonts. IBM Plex Sans Condensed at Google Fonts. IBM Plex Serif at Google Fonts. CTAN link for TeX support. IBM Plex won an award at TDC Typeface Design 2018. [Google] [More] ⦿ |
Typefoundery, est. 2016 located in Aceh, Indonesia. Publisher of the signage typeface Specta Retro Script (2018, by Hendra Maulia and Aulia Rahman). In 2019, they released the decorative didone typeface Matao Serif, which was designed by Aulia Rahman and Hendra Maulia. Typefaces from 2020: Nagaiya (a 15-style display sans (+a variable cut) characterized by sharp spurs; by Aulia Rahman and Hendra Maulia). Typefaces from 2021: Cigra (a decorative serif by Aulia Rahman and Hendra Maulia). [Google] [MyFonts] [More] ⦿ | |
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Type Tomorrow link. [Google] [MyFonts] [More] ⦿ | |
Indestructible Type
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Aka Ewon Rael. Github link. Another Github link. FontSpring link. Facebook page. [Google] [More] ⦿ |
Insigne Type Design Studio (was: Dooley Type)
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Catalog of their typefaces. View Jeremy Dooley's font library. View Jeremy Dooley's typefaces. [Google] [MyFonts] [More] ⦿ |
A plug-in for Glyphs that allows you to add variable font axes to glyphs or points. [Google] [More] ⦿ | |
Intelligent Design (was: Intelligent Foundry)
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In 2011, he used FontStruct to make the counterless typeface UglyKost. In 2012, he created Kafalan Serif, a square-serifed typeface, and the accompanying Kafalan Sans, which are both available from Ten Dollar Fonts. Typefaces from 2013: Zona Black (a Latin-Greek geometric sans-serif black display typeface that was inspired by posters from the late 1920s), Zona Black Slab. In 2014, still in the same style, we find Zona Pro in weights from Hairline to Black. Ridewell (2014) is a wood type inspired 1800-glyph typeface with many opentype features including foremost interlocking pairs of characters. It comes with Ridewell Print, which emulates the degradation of letterpress. In 2015, he designed the geometric sans typeface family Averta and Averta Standard. Averta CY won an award at Granshan 2017 in the Cyrillic category. He writes about his University of Reading graduation typeface, Eqil (2016): Eqil is a multiscript type family for extensive texts. It is conceived as a typographic system wise enough to respond to complex publishing challenges. It consists of a range of styles and its quiet personality transforms and gets louder as the intended sizes increase. Eqil identifies as an elegant contemporary take on transitional types. It does not intend to be a showstopper, instead it aspires to be the lever that silently elevates the content. The combination of straights and curves creates a dynamic yet fluid character and the relatively low contrast gives it a slightly dark and warm texture on the page. The four scripts, Latin, Arabic, Cyrillic, and Greek, were designed to work harmoniously together without compromising each scripts historical and individual characteristics. Eqil won an award at Granshan 2016 in the Latin / Cyrillic category. His super-fat free typeface Oi (2017) is described as a Clarendonesque on steroids. Commercial version of Oi!. Oi won an award won an award at TDC Typeface Design 2018. His big project in 2019 is the free 4-axis (weight, slant, flair, volume) variable font Commissioner. 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). Buy at Ten Dollar Fonts, Hellofont, Creative Market, or MyFonts. Behance link. The Designers Foundry link. Github link. [Google] [MyFonts] [More] ⦿ |
Irene Vlachou
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Irene Vlachou Type
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Speaker at ATypI 2019 in Tokyo on the topic of Parametric Fallback Fonts for the Web. Klingspor link. Cannibal Fonts link. Github link. [Google] [More] ⦿ |
Graduate of the TDi program in 2018 at the University of Reading. Kim Irin is a visual designer in the Google Fonts team, based in New York City. She has focused on developing design systems and visual identities, and has contributed to UX/UI projects such as the Material Design guidelines, the SPAN design and technology conference, and surfacing variable fonts in Google Fonts. She recently led a project to add more Korean fonts to the Google Fonts library. Speaker at ATypI 2019 in Tokyo, on the topic of variable fonts in Google Fonts. [Google] [More] ⦿ | |
American designer currently (i.e., 2019) studying at the Rhode Island School of Design. Creator of the free variable font Tiny (2019, Velvetyne), a monospaced dot-matrix typeface based on the smallest type size of five dots on the HandJet EBS-250 hand-held printer. The sizes of the dots make up the variable axis. He writes: The TINY font family was originally created at over the summer of 2018 as the visual identity for an experimental retail pop-up shop in Chinatown, New York City called Today in New York, or TINY for short. The shop was the result of an intern project at Verdes, a creative agency, between Jack Halten Fahnestock and Theia Flynn. There they sold T-shirts and tote bags customized on the spot with a fancy (and stupid expensive) handheld inkjet printer called a HandJet EBS-250. Personal web site. [Google] [More] ⦿ | |
Jacques Le Bailly
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James T. Edmondson
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Milan-based designer of a variable typeface in 2019 with geometric and tone of voice axes. [Google] [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). Future Fonts link. [Google] [More] ⦿ | |
Jan Weidemüller
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Jason Harcombe
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Jason Pamental (Rumford, RI) is Senior Director of Design and Technical Strategy at Isovera, where he heads the design and development team, leads workshops, and works with clients establishing their digital strategy. Jason specializes in typography for the web. Author of Responsive Typography (O'Reilly). [Google] [More] ⦿ | |
Jason Smith
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Jason Tselentis
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Jérémie Hornus
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Jérémy Landes
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Jean Wojciechowski
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Jean-Baptiste Morizot
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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] ⦿ | |
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Github page with many of his unfnished typefaces. [Google] [MyFonts] [More] ⦿ | |
Jeremy Dooley
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Jeremy Mickel
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Jetsmax (was: Riljs, or: Typograph Pro)
| Makassar, Indonesia-based designer (b. 1996) of Stretch Sans (2020), Desolator (2020: a free variable sans typeface), the signature script carefour (2020), Celebes Signature (2020), Stretch Sans (2020), Huntsville (2020), Hiromaru Script (2020), the hand-crafted typefaces Halo Emak (2020) and Qawber Pro (2020), the squarish Meja Block (2020), the upright script Fillpattern (2020), Nekofie (2020: a 2-style sans), and the display sans Massedi (2020). Creative Fabrica link. Aka Jetsmax. [Google] [MyFonts] [More] ⦿ |
Jipatype
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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. [Google] [More] ⦿ |
John Hudson's informative introduction to OpenType variable fonts. [Google] [More] ⦿ | |
Trece Martires, Philippines-based lettering artist and type designer, known for the official typeface of the American industrial tools maker Stanley Black & Decker. In 2019, he designed these typefaces: the colorful decorative caps typefaces Pinas, Habi and Habi Pinas, Florida, Military Industrial, the free vernacular typeface BBT Martires, the script typeface Cute Bouncy, the modular typeface Arturo, the corporate font Stanley Black&Decker and the variable sans typeface Dinamika. Typefaces from 2020: Nilad Pro (a display serif inspired by the flourishing bud of the yamstick mangrove or nilad), Leandro (inspired by the brutalist architecture of Filipino architect Leandro Locsin). [Google] [MyFonts] [More] ⦿ | |
John Roshell
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Some fonts: Altogether OOky, Addams-AltogetherOoky, Addams-Capitals, Addams-Regular, CCBithead-Bark, CCBithead-Byte, CC Bryan Talbot (2008, created for Bryan Talbot's Alice in Sunderland), CCHooky-Open, CCHooky-Solid, CCAlchemite, CCChills, CCDigitalDelivery, CCDivineRight-Regular, CCDoubleBack-Future, CCDoubleBack-Past, CCElsewhere-Regular, CCFlameOn, CCFrostbite, CCGrimlyFiendish-Regular, CCJimLee, CCJoeMadInt, CCLosVampiros, CCMeanwhile, CCMeltdown, CCMonsterMash, CCSpills, CCSplashdown, CCStormtrooper (1997), CCTheStorySoFar-Regular, CCThrills, CCToBeContinued, WildAndCrazySFX. With Richard Starkings, he designed Achtung Baby (2001), Adamantium and DoubleBack in 2001 for Agfa/Monotype. Other designs: Dave Gibbons (2006), UpUpAndAway (2005), Forked Tongue (2005), Paranoid Android (2005), Snowmany Snowmen (2005), Gibbous (2006), Astronauts in Trouble, Chatterbox, Red Star, Tough Talk, Sean Phillips, Atomic Wedgie, Pass The Port, Divine Right, Shoutout, Battle Scarred, Danger Girl, Primal Scream, PhaseSonStun, Yeah Baby, Nuff Said (2005), Trick Or Treat, MonsterMash, CarryOnScreaming, Chills, Goosebumps, CreepyCrawly, GrimlyFiendish, IncyWincySpider, Spookytooth, Meltdown and TrickOrTreat dingbats, BiffBamBoom, Spellcaster, Cheese And Crackers, FaceFont, Hedge, Meanwhile, Wildwords International, Comicrazy, Storyline (2006), Happy Holidays (2007), Foom (2007). MyFonts sells these fonts by him: Adamantium, Alchemite, Altogether Ooky (vampire script), Area51, Aztech, Battle Cry, Bithead, Chills, Dave Gibbons, Dead Mans, Destroyer, Digital Delivery, Divine Right, Drop Case, Elsewhere, Euphoria, CC Fairy Tale (2007), Face Front, Fighting Words, Flame On, Foom, Frostbite, Gibbons Gazette (2009, Gobbledygook, Golem (2002), Grimly Fiendish, Happy Holidays, Hellshock, Hip Flask, Holier Than Thou, Hooky, Hyperdrive, Joe Kubert, Meanwhile, CCMild Mannered (2007), Monologous, Near Myth, Overbyte, Phat Boi, PhilYeh, Rough Tongue, Sanctum Sanctorum, Scott McCloud, Smash, Speeding Bullet, Spills, Splashdown, Spookytooth, Stonehenge Runes, Stormtrooper, Storyline, Thats All Folks, The Story So Far, Thingamajig, Thrills, Tim Sale, Tim Sale Brush, Timelord, Treacherous, Treasure Trove (2007), Up Up And Away, Wild And Crazy, Zzzap, Deadline (2007), Kickback (2007, with David Lloyd), Sticky Fingers (2007, scary). Typefaces made in 2008: Ratatatat (2008), CC Mad Scientist (2008), HammerHorror (2008), EnemyLines (2008, based on WWII lettering used by the nazis), Cutthroat Lower (2008), Philyeh (2008), Doohickey Lower (2008), CC Sign Language (2008, fruit vendor lettering). Typefaces made in 2009: SpillProof (2009), Slaphappy (2009), Hooky (2009, spraycan style), Long Underwear (2009), Digital Delivery (2009), Grande Guignol (2003, art nouveau), Bronto Burger (2009), Elsewhere (2009, art nouveau), Exterminate (2009, stone carving face), You Blockhead (2009), CC Rugged Rock (2009), Creations in 2010: Wild Words Lower (2010), Back Beat (2010), Rick Veitch (2010, based on the lettering of comic book artist Rick Veitch), Credit Extension (2010), Shiver (2010, with Richard Starkings), Shake (2010, with Richard Starkings), Elephantmen (2008-2010, squarish family). Contributions from 2011: Knobbly Knees, Ed McGuinness (comic book script family), Big Top, Clean Cut Kid, Dash Decent (a very round almost-bubblegum family), Fancy Pants (connected script), Goth Chic (blackletter). Fonts from 2012: Lunar Modular, Lunar Orbiter, Lunar Rover, Geek Speak, Ancient Astronaut, Totally Awesome (comic book caps face). Fonts from 2013: Samaritan and Samaritan Tall (with Richard Starkings), Ghost Town (a family of seven gold rush era typefaces), Colleen Doran (a comic book family: A Distant Soil is a classic bold and beautiful science fiction/fantasy comic book series by creator, writer, artist and letterer Colleen Doran. A Distant Soil is being remastered and re-released by those awfully nice chaps at Image Comics and Colleen commissioned Comicraft to create the definitive bold and beautiful Colleen Doran font, based on her original pen lettering), Mega City (an elliptical in-your-face advertising signage typeface family), Soliloquous (fat rounded hand-printed comic book family), Excalibur Stone, Excalibur Sword, Legendary Legerdemain (+Leggy), Cool Beans (beatnik font). Fonts from 2014: Shaky Kane (based on the comic books by that name), Resistance Is Lowered (techno), Hero Sandwich Ingedients, Hero Sandwich Combos (a layered set of informal typefaces combined in many ways), Monstrosity (a ghoulish typeface), HighJinks, Onomatopedia, Killzone, Killswitch, Killjoy. Fonts from 2014: Mike Kunkel (based on the hand of comic book artist Mike Kunkel). In 2015, John Roshell (Comicraft) created the comic book typeface family The Sculptor based on Scott McCloud's lettering. Other fonts from 2015 include AB Flock Poster, Hypnotique, Samaritan Lower (by Richard Starkings and John Roshell), Graveyard Smash, Maladroit, Extra Extra (pen-lettered newspaper headline font family), Merry Melody, Temporal Shift and Temporal Gap (computer emulation typeface), Temporal Shift and Temporal Gap Expanded, Temporal Shift and Temporal Gap Compressed, Danger Girl Hex (with Jeffery Scott Campbell), J. Scott Campbell Lower (with Jeffery Scott Campbell). Typefaces from 2016: Victory Speech Lower, Man Of Tomorrow, Thrills, Holy Grail, A Likely Story, Victory Speech, Questionable Things (with Richard Starkings), The Story Begins + Ends, Pixel Arcade (video game font), Schadenfreude (octagonal style), Vengeance Is Mine. Typefaces from 2017: Right In The Kisser, Music To My Eyes">, True Believer. Typefaces from 2018: Metcon (+a stencil version, Metcon Rx), Summer Fling, Samaritan Tall Lower (by Starkings and Roshell), Blah Blah Upper (by John Roshell and Richard Starkings), Ultimatum, Wuxtry Wuxtry (art nouveau), Single Bound (a sans), Evil Doings (by Richard Starkings and John Roshell), Prince of Darkness (a gothic layered font family), Empire State Gothic, Empire State Deco. Typefaces from 2019 by John Roshell: Whatchamacallit (a variable cartoon sans with weight, width and italic axes), Ask For Mercy, Excelsius, Space Race, When Suddenly. Typefaces from 2020: 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. | |
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] ⦿ | |
Future Fonts link. [Google] [More] ⦿ | |
As a student at ESNE in Madrid, Spain, Jorge Gutierrez Marco designed the free monoline variable sans typeface Devanesa (2020), with a "1" that looks like a "J". [Google] [More] ⦿ | |
Just in Type (was: Tipomovel)
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As a type designer, he created over 50 typefaces for the newspaper Noticias Populares, for America Online, and the magazines Moderna, Saraiva, FTD and Atica. Free fonts at the Tipomovel site included Ariana, Beabá, Bloco, CyberComix, Cyber Rounded, Cyber-Zinha, Digital Typewriter, Egly (my favorite--a Bodoni with curly serifs), Futura Vítima, Futura Vítima Bold, Futura Vítima Extra Bold, Games, Genoveva, Helvetica Backlight, Illinoise, Macmania Bold, Neurastenic, Notícias Populares, Oficina Bold, Pin ups, Pixel, Pravda, Sequestro, Simbolo, Splash, Stalin, Sumô, Super Braille (created for the Dorina Nowill Foundation), Times Change, Tipografia, Toxic Bodoni, Web Power, Zine. Samba LT (2003, Linotype, designed with Carlo de Marco; this art deco typeface was inspired by the lettering art of J. Carlos, a Brazilian illustrator during the early 20th century) won an award at the Linotype International Type Design Contest 2003. Just in Type typefaces include HallowHell Dingbats (2006, Halloween dingbats), Drop It (2005, dot matrix), Illinoise (2005, techno-grunge, by Tony and Caio de Marco), Pixel Zoo (2008, dingbats), Inferno Dingbats (2008), Brazil Pixo Retro (2007, rune simulation), Fractal (2010), Concreta (2011, a stencil typeface in the style of Josef Albers, done with Niko Fernandez). In 2012, Tony de Marco and Diego Maldonado co-designed Garoa (a black rounded sans). Influenced by Herb Lubalin, it was derived from the free font Garoa Hacker Clube (done with Diego Maldonado). In 2014, Bernardo Faria and Tony de Marco created the masculine typeface family Terrorista, and wrote this blurb: Terrorista is a homage to everyone who fought against the Millitary Regime in Brazil from 1964 to 1985. The Terrorista Marighella features generous inktraps, fits perfect for small sizes. Terrorista Dilma has the same design as the Marighella, but without inktraps, made for display. The last typeface from the package is Terrorista Lamarca, stencil version. This is the font for the political propaganda machine. Completely in line with Tony's exuberant and delightfully mischievous views, he published Represent (2017), a typeface with sexual orientation symbols that can be compared with Luc Devroye's own Sekushii font from 2002. In 2019, Tony de Marco and Monica Rizzolli released the free octagonal typeface family Tomorrow at Just in Type. Github link. Open Font Library link. Typefaces from 2020: Letrix1 (a programmed experimental variable font). Fontspace link. MyFonts link. Dafont link. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Kadek Adi Mahardika
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Type designer (b. 1992) based in Essen (and before that, Berlin), Germany. Graduate of Bauhaus University Weimar, and later the TypeMedia program at KABK, class of 2018. Her graduation typeface, Tweak, was released by Future Fonts in 2018. Tweak comes in two groups of styles, Tweak Text and Tweak Display. After graduation, she became a font engineer at Alphabet-Type in Berlin, and wrked briefly with Grilli Type. Contributor in 2019 to the variable programming font Recursive Sans+Mono, the brainchild of Stephen Nixon. Github page where we learn that contributors besides Stephen Nixon include Katja Schimmel, Lisa Huang and Rafal Buchner. In 2019, these authors published Recursive as a variable font with five axes: mono, casual, weight, slant and italics. Dedicated page. It will be added to Google Fonts at some point. Co-designer with Loris Olivier and Noheul Lee of McQueen Superfamily (2020, at Fontwerk), a 20-style sans family. Fontwerk link. [Google] [More] ⦿ | |
Dr. Ken Lunde is Manager of CJKV Type Development at Adobe Systems Incorporated, San Jose, CA. He holds a Ph.D. (1994) in Linguistics from The University of Wisconsin-Madison. He wrote Understanding Japanese Information Processing (O'Reilly&Associates, 1993), and CJKV Information Processing (O'Reilly&Associates, 1999). He also wrote CJKV Information Processing: Chinese, Japanese, Korean&Vietnamese Computing (O'Reilly). In 2010, Adobe will release the first genuinely proportional Japanese font, Kazuraki (by Japanese type designer Ryoko Nishizuka), which was developed at Adobe in 2009 under his management. Ken managed the Source Han Sans project---these are open source fonts released in 2014 by Adobe and Google for Japanese, Chinese and Korean. He also headed the development of Source Han Serif. In 2018, Ken Lunde and Masataka Hattori co-designed Soukou Mincho (free at Fontsquirrel). In 2019, he created the experimental variable font Width at Adobe. Github link. Speaker at ATypI 2019 in Tokyo on the topic of The History of Japan's Era Name Square Ligatures, and in particular, the two-kanji square ligatures for the five most recent eras, Reiwa (2019), Heisei (1989), Shouwa, Taishou and Meiji. [Google] [More] ⦿ | |
Khairil Anwar Husain
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Kia Tasbihgou
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In 2014, Kimya Gandhi and Rob Keller published the free Latin / Devanagari font family Vesper Devanagari Libre. An extension of Rob Keller's Vesper (2006), the Vesper Devanagari character set was completed in 2014. Vesper Devanagari Libre is a special web version that has been optimized for online use. Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading.is a special web version that has been optimized for online use. Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading. In 2015, she designed the Devanagari handwriting font Sharad 75, which was subsequently published in 2016 by Mota Italic. She writes: Rugwed Deshpande, of Setu Advertising wanted to commission the design of a typeface based on the handwriting of his father, Mr. Sharad Deshpande who has been a prolific copywriter for 50 years years and has been an intrinsic part of Setu. Rugwed explained how handwriting has been an important aspect of his copy-writing career. Her own handwriting was turned into a font in 2017, Maku. In 2019, she released the Devanagari / Gurmukhi / Latin stone-cut variable typeface Chikki at Mota Italic. [Google] [More] ⦿ | |
Kometa
| Kometa is Christian Jansky's type foundry located in Brno, Czechia. His typefaces: Attila Sans (a contemporary sans with an attitude, 2019), Labil Grotesk and Stabil Grotesk (2018, based on his Masters thesis), Victor Serif (2019, a transitional typeface famiy named after Victor Lardent who designed Times New Roman; it has a variable option with a weight axis). Home page. [Google] [More] ⦿ |
Koray Özbey
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In 2020, he published the squarish typefaces Ankara and Ankara Texture. [Google] [MyFonts] [More] ⦿ |
Koray Özbey
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Kostas Bartsokas
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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. [Google] [MyFonts] [More] ⦿ | |
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. [Google] [MyFonts] [More] ⦿ | |
Kyle Wayne Benson
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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] ⦿ | |
In 2020, he released the (variable) text typeface Fulmar at CAST, and wrote: Named after a practical seabird, Fulmar is a modern Scotch intended for extended reading. More European than American, it draws on a range of influences from around the North Sea, from Fife's Alexander Wilson to 17th-century French experiments in modulation and 18th-century Belgian flash, and combines them with contemporary structure and proportions.. [Google] [MyFonts] [More] ⦿ | |
Letter Omega
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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 regaular and stencil styles and a variable OTF option). You Work For Them link. [Google] [MyFonts] [More] ⦿ |
LettError
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Erik van Blokland is a graduate of the Royal Academy of Art in The Hague (KABK), class of 1989. He develops niche tools for type design and font production and has been involved with Tal Leming in the development of the UFO (for font sources) and WOFF (for font binaries) formats. Since 1999, he is a senior lecturer at the TypeMedia master at the Royal Academy of Arts in Den Haag. Erik developed many type software tools such as the acclaimed type interpolation tools MutatorMath and Superpolator, and the teaching tool TypeCooker. Their typefaces:
Erik speaks often about his work. At ATypI 2004 in Prague, LettEror spoke about education in type design, and the RoboFab toolkit. Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona [on interpolations with Superpolator3]. Klingspor link. FontShop link. Wired interview. Shop. FontFont link. [Google] [MyFonts] [More] ⦿ |
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), Auroc (a flared incised petite-serif), Cindie 2 (an extension of Cindie Mono, this family has 26 monospaced widths). Future Fonts link. [Google] [MyFonts] [More] ⦿ | |
Hamburg-based studio, est. 2014 by David Liebermann and Maximilian Kiepe. Jana Reddemann joined in 2019. They released two free fonts:
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Lillan Team
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In 2017, he designed the free modular display typeface Golem. Typefaces from 2018: Haki (a free squarish variable font), Carbono (an octagonal family in 42 styles, and a 3-axis variable font), UT Morph (with Wete; a piano key variable opentype font that was inspired by Wim Crouwel's Nagasaki poster). Typefaces from 2019: Concasse (a sans typeface family, +a variable font). [Google] [MyFonts] [More] ⦿ |
Limo Studio
| Russian codesigner, with Jovanny Lemonad, of the free rounded sans typeface Matias (2016, TypeType). In 2019, he designed the rounded sans typeface Koryaka and the sans family TS Maka. In 2020, he released TS Kirt (with a variable style; a condensed sans family). [Google] [MyFonts] [More] ⦿ |
Lisa Huang
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In 2020, Literata 3, entirely free and a totally new re-design, was released. This 48-style family comes with a variable style. The designers in 2020 were Veronika Burian (Latin), José Scaglione (Latin), Vera Evstafieva (Cyrillic), Elena Novoselova (Cyrillic) and Irene Vlachou (Greek). Github link. [Google] [More] ⦿ | |
Lizy Gershenzon
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Lorenz Lopetz Gianfreda
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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). [Google] [More] ⦿ | |
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] ⦿ | |
Mage Type
| Indonesian designer of these typefaces:
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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] ⦿ | |
He wrote Technological Shifts in Type Design and Production (2006). His typefaces: Respublika (2013, a humanist sans done with Gregori Vincens, Fontyou), Camille (2010-2011, for Camille Muller), ECAM (2009-2010, for the ECAM theater), Dijon (2011, for the identity of Dijon's Opera house), Arbre (2010, for the identity of the coffee brand L'Arbre de Cafe), Totem, Ficus (2005-2006), Syneas (2009, for Syneas), Digitaline (2007, a Futura-like family done for Agence Digitaline), Vingt-huit (2007), Sabasi (2008), Gem (2007, art nouveau), Oops (2006). Marion Andrews, Malou Verlomme and Laurence Bedoin collaborated on the school fonts Écriture A and Écriture B which are presented in Modèles d'écriture scolaire (2013), a document issued by the French Ministry of Education. These fonts are available from Eduscol. Verlomme set up Long Type in 2012 with Mathieu Chévara, Mathieu Reguer and Thomas L'Excellent. In 2016, for Monotype, on commission for the Transport For London company, he redesigned / tweaked New Johnston, called Johnston100. It will be used in TfL's trains and station signage including for London's new Crossrail Elizabeth line that is scheduled to open in 2018. In 2018, he published the geometric sans typeface family Madera and the revival typeface Placard Next (based on an old Monotype condensed poster typeface) at Monotype. In 2019, he released the 12-style high-contrast Ariata (Text, Display, Stencil) at Monotype. In 2020, he published the superfamily Macklin (Sans, Display, Text, Slab) at Monotype. Influenced by early 19th century designs in Europe, and especially by the work of Vincent Figgins, it is intended for use in headlines and short blocks of text. Variable fonts are also available. Typecache link. Speaker at ATypI 2017 Montreal. [Google] [More] ⦿ | |
Marc Kappeler
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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. [Google] [MyFonts] [More] ⦿ | |
Måns Grebäck
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Marlene Arnold's Masters Thesis entitled Dir Rolle der Typografie im Internet der Dinge (HS Mainz, 2017) covers variable fonts. [Google] [More] ⦿ | |
Martin Lorenz
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Martin Vacha
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Massimo Studio
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Mateusz Machalski
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Mathieu Desjardins
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Matt Bailey
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Matthieu Salvaggio
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Matthijs Herzberg
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In 2019, he published the variable font BC Minim Variable at Brieface Type Foundry. It was designed for extreme small size print, and offers weight and ink trap axes. [Google] [MyFonts] [More] ⦿ | |
Max is a Dutch graphic and type designer, now based in New York. His first commercial release, Fran (2016), is sold exclusively by The Designers Foundry. In 2020, Jason Harcombe and Max Saille published the 18-style variable sans font family Mazin the sans typeface family at Fontpeople. [Google] [More] ⦿ | |
Maximilian Müsgens
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MCKL (was: Mickel Design)
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He is working on this VAR-Rounded sans serif style face (2007) that was based on plastic cut letters seen in New York's subway. See also here and here. Mickel's typefaces:
Klingspor link. Village link. Speaker at ATypI 2018 in Antwerp. [Google] [More] ⦿ |
Meat Studio
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Typefaces from 2015: Fortima (octagonal typeface), Nevo (a modern sans family in 14 styles--simple, organic and slightly techno). In 2018, he designed Rigrok, which he advertizes as oh so bold, brash and ballsy. Typefaces from 2020: Cantilever (a 26-style variable techno font). [Google] [MyFonts] [More] ⦿ |
Brooklyn, NY-based contributor and administrator of The League of Moveable Type. Home page. In 2020, League Spartan Variable was released, thanks to Micah Rich and Tyler Finck. League Spartan was an early free font of The League of Moveable Type. Github link. [Google] [More] ⦿ | |
Michael Cina
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Michael Gent
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Michael Hochleitner
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Michael Sharanda
| 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). Home page. Fontsquirrel link. [Google] [More] ⦿ |
Mike Abbink
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Graduate of CIC Elisava. Barcelona-based designer of a variable font in 2019. Still in 2019, he drew Gothic Alphabet. [Google] [More] ⦿ | |
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. [Google] [MyFonts] [More] ⦿ | |
Spartan is Matt Bailey's open-source typeface based on early 20th century American geometric sans serifs. In 2020, Mirko Velimirovic converted Spartan MB to a variable font downloadable at Google Fonts. [Google] [More] ⦿ | |
Miss
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Moiré
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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] ⦿ |
An article by Jason Tselentis in February 2017 on variable fonts through the eyes of Monotype's Tom Rickner. [Google] [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] ⦿ |
Muhammad Iqbal Firdaus
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Muhammad Ridha Agusni
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In 2018, Fatih Hardal and Muhittin Gunes set up Bold Type Istanbul. Both graduated from Marmara University Faculty of Fine Arts. They co-designed the sans typeface families Bold Type Modern (2018) and Bold Type Grotesk (2018). In 2019, Muhittin Günes released the ink-trapped variable font OR Ranua, the fashion mag typeface Zermatt, the art deco sans typeface MT Maeve Deco, and the 14-style Muana grotesque. [Google] [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). | |
Naipe Foundry
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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 2020, Naipe released Pacaembu, a seven-style sans serif typeface by Alvaro Franca and Felipe Casaprima that 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. Future Fonts link. [Google] [More] ⦿ |
Namela (or: Syamsi Namela)
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Naum Type
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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). Type Department link. [Google] [MyFonts] [More] ⦿ |
Nav Raw
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Now based in New Delhi, he created Hagna (2017; although inside the font we find another name, Webvilla) and Gorgeous (2017, a free tall fashion mag typeface family). Typefaces from 2019: Emberly (a free 54-style didone, with a variable option), Morganite (an ultra-condensed sans in 18 styles). |
NC Type (or: Netvarec Typefaces)
| Prague-based type foundry offering typefaces by The designers of the typefaces are Daniel Quisek and Lukass Chladek, who gained their experience type during their MA studies in The Netherlands. Their fonts include NC Burrata (2020: a geometric sans; +a variable style), NC Fontina (2020: a grotesk sans that celebrates Mille Miglia, a Thousand Miles open-road race established in 1927 in Italy.) and NC Kobyla (2020: a workhorse text typeface family; +a variable font). [Google] [More] ⦿ |
Neue Frutiger
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In 2019, the Linotype team developed and released the single variable font Neue Frutiger Variable. [Google] [More] ⦿ |
Neutype Foundry
| 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] ⦿ |
Newglyph
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The team:
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Nguyen Type
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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:
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Nick Sherman
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Nicolas Massi
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NREY
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Typefaces from 2018: Fontuna (+stencil), Sansterdam (a geometric condensed grotesk with a few deco styles), Ethna (a fashion mag sans typeface family), Voguer Sans (a free Latin / Cyrillic display typeface with fashion applications in mind), Ravenholm (an expressionist blackletter), Jorick (vintage, Latin and Cyrillic), Ultravog and Ultravog Glitch Black (extreme contrast stencil styles: free), Walpurgis Night, Voguer (a high-contrast fashion mag font), Voguer II (didone-inspired, accompanied by a script typeface). Typefaces from 2019: Anicon Sans, Anicon Slab, Thephir (a variable cursive typeface), Oblique Rain (monoline script), Skiff (a quaint almost painted sans), Cadency (a monoline script), Waymar (Serif and Script font duo; include the textured caps typeface Waymar Ornate and the blackboard bold style Waymar Outline), Phagoth (blackletter), Gunhill (a vintage font family that includes blackboard bold styles), Heartland (Script & Sans), Marvin Slab. Typefaces from 2020: Calmius, Calmius Sans. Calmius Sans has Oppo (reverse contrast), Low and High (Peignotian) subfamilies, all experiments on contrast. Typefaces from 2021: Barosa (2021: inspired by the slavonic style, all glyphs in this typeface have the same height). Graphicriver link. Behance link. Newest Behance link. Dafont link. [Google] [MyFonts] [More] ⦿ |
Nur Syamsi
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Designer of the monolinear square-spaced neon light font family Night Variable Display (2020). [Google] [More] ⦿ | |
OGJ Type Design
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In 2015, influenced by the work of Swiss master designer Max Bill, Oliver Jeschke created the Greek simulation typeface family Bill Display, the sans typeface Bill Corporate, and Bill Corporate Narrow. See aso Bill Corporate Mx (2016) and Bill Display Lowercase. Spectators Headline (2016) is a breezy semi-informal notebook sans family. Typefaces from 2017 include Sequel Sans and Sequel Rounded. Calling it a "post-Max Bill design", Sequel Sans was developed in collaboration with the Max Bill Georges Vantongerloo Foundation. In 2018, Sequel 100 Wide and Sequel 100 Black were added to that collection. Typefaces from 2018: Shapiro (a 32-style grotesk in which horizontal and vertical strokes are nearly identical in width), Temper Wide (slab serif). Typefaces from 2019: Shapiro Pro (138 styles), Shapiro Base (sans), Darbee Legend (a sans family with cuts named after famous racehorses). Typefaces from 2020: Sequel Sans VF (the variable font version of Sequel Sans), JT Energy (a great addition to the geometric sans genre featuring optically consistent line thickness; it comes with two condensed styles called JT Energy Placard, and with JT Energy Variable). [Google] [MyFonts] [More] ⦿ |
Oh No Type
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Oliver Jeschke
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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. Displace (2013, +Displace Cut, +Displace 2.0 in 2019, +Displace Serif in 2019) is a sans typeface drawn with a tilted nib. Ultratype (2013) is an angular typeface designed for Ultralab. Typefaces from 2014: Bouquet (a fat brushy script, with Cyrillic). Typefaces from 2015: Ultratype Beta. Typefaces from 2016: Nature Product. Typefaces from 2017: Canapa (humanistic sans), Rozza (a curvy decorative stencil typeface). 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). Type Tomorrow link. [Google] [MyFonts] [More] ⦿ |
Op. Cit. Ibid. (or: OCI)
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She also does custom design, including a titling typeface for Christie's Magazine, commissioned by B.A.M. in 2018. |
David Berlow explains OpenType Font Variations. [Google] [More] ⦿ | |
Oscar Cobo
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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. Viga (2011, free at Google Web Fonts) is a heavy angry macho sans. 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)
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Andrew Bellamy designed 64-SRC (2017), a rare condensed monospace font inspired by IBM's Selectric type from the 1960s. His 57 Nao (2016) is a revival of a Japanese typewriter font from the 1950s called Messenjaa. They explain: Designed in 1950s Japan by Okanao & Kushiro, the perfect partnership until artistic temperaments drove them apart. The duo spent years crafting the font with the working title Messenjaa, Okanao bringing technical expertise to craft letterforms, while Kushiro made it his life, obsessively working late into the night to check pages for errors. For him the project was never about making money, it was an artistic endeavor to reprint the great Western works of literature. When he found out Okanao had secretly sold the rights of the font for use as a logo for a major Japanese manufacturer, Kushiro burned all evidence of the designs in a fit of passionate fury. The two reportedly never spoke again. Messenjaa was thought lost forever until a type specimen was discovered in a vintage typewriter box bought on eBay. Now redrawn and available as 57-nao, a faithful and beautifully crafted monospace characterized by what is considered Okanao's defining moment, the angular loop on the lowercase a. 52-Kfx (2017) is an extra tall sans typeface. 35-FTR (2017) was custom drawn specifically for the book Analogue Photography which required the timeless elegance of Futura and the compact utilitarian typesetting of Helvetica. In 2018, he designed the fashion mag typefaces 19Pra and Coutura Sans. In 2019, Bellamy published OC Bartok (a wedge serif), OC Pajaro (a sans family between Futura and Akzidenz Grotesk), OC Format Sans (a geometric grotesk sans serif that fuses the style of Futura with the rhythm and proportions of Akzidenz), OC Rey. Typefaces from 2020: OC Format Stencil (a variable font design inspired by the work of Bruno Munari, Paul Rand, and Max Huber), OC Format Collage, OC Format Shards. 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] ⦿ |
Owen Earl
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Italian codesigner, with Giuseppe Salerno and Andrea Tardivo, of the chocolate box script typeface family Gianduja (2016, Resistenza). In 2018, he co-designed Contigo and Contigo Vintage with Giuseppe Salerno. In 2019, Paco Gonzalez and Giuseppe Salerno co-designed the brush typefaces SmoothyPro, Pando Script and Parkour, Auster Rounded, the Tuscan family Royale, the chalk font Dolce Caffe Chalk, the layered hand-crafted sans typeface Dolcissimo, the dry brush script typeface Blue Jeans, the brush script Batticuore and Turquoise Inline. Typefaces from 2020, all with Giuseppe Salerno: 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] ⦿ | |
Magelang, Indonesia-based designer of the modular sans typeface Gumela (2019, by Nur Syamsi and Panca Ahmadi Hasan) and Gumela Arabic (2020, by Nur Syamsi and Panca Ahmadi Hasan). 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). [Google] [MyFonts] [More] ⦿ | |
Pangram Pangram Foundry
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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). |
Pascal Huber
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Pascal Naji Zoghbi
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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] ⦿ | |
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With Ivan Gladkikh, he designed the free font Prosto (2012), which covers Latin, Cyrillic and all East-European languages [see also Google Web Fonts]. 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. [Google] [MyFonts] [More] ⦿ | |
Pedro Alexandre Teixeira
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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 2012, he created the sans family Global, with its own dedicated web site, The Global Font. In 2013, he followed that up with the Global Stencil typeface family. In 2013, Dino dos Santos and Pedro Leal published Diversa, a set of nine very different fonts that are jointly kerned so that letters can be swapped out and replaced at will. Diversa Std (2014) extends this to include Stencil, Inline and other decorative styles. Pedro Leal's main typeface of 2013 is Aparo, a script that is calligraphic, yet keeps the characteristics of penmanship scripts, and the pizzazz of a good fashion font. In 2014, he published Ocre and Ocre Poster in sans and slab serif substyles inspired by W.A. Dwiggins, Torio, a penmanship script based on a style used in Arte de Escribir por Reglas y con Muestras (1798, by Spanish penman Torcuato Torío de la Riva y Herrer). Torio received the Communication Arts Type Award of Excellence in 2014. In 2015, he created the large Rudo and Rude Slab typeface families that exhibit many humanist traits: Rude ExtraWide, Rude Icons, Rude SemiCondensed, Rude SemiWide, Rude Wide, Rude, Rude Condensed, Rude ExtraCondensed, Rude Slab, Rude Slab Condensed, Rude Slab ExtraCondensed, Rude Slab ExtraWide, Rude Slab SemiCondensed, Rude Slab SemiWide, Rude Slab Wide, Rude Slab, Rude Slab Condensed, Rude Slab ExtraCondensed, Rude Slab ExtraWide, Rude Slab SemiCondensed, Rude Slab SemiWide, Rude Slab Wide. Early in 2015, he also did a custom typeface family for the Jornal de Notícias, including sans, serif and micro sub-styles. Dino dos Santos and Pedro Leal published Jules and Jules Text in the summer of 2015---a fat fashion mag didone 45-style family inspired by several plates from Portuguese calligrapher Antonio Jacintho de Araujo; it comes in Big, Colossal and Epic. Ecra is a workhorse slab serif, also done in 2015. Viska (2015, by Dino dos Santos and Pedro Leal) is designed for small print. Finally, TCF Zellige (2015, TypeCult) is a modular typeface inspired by the tiles that can be found in Southern Europe and North Africa. Typefaces from 2016: Oposta (Italian, Western style pushed to the esthetic extreme; received the Communication Arts Type Award of Excellence in 2017), Ardina (with Dino dos Santos: a text typeface family with three optical sizes). Typefaces from 2017: Scrittore (a heavy dark Italian bastarda influenced by the connected hand of Giovanniantonio Tagliente and Robert Granjon's Civilité; at DS Type), Zart (a voluptuous ebullient black didone, or fat face). Fusta (a gorgeous wood-type inspired poster typeface), Ordem (a low-contrast contemporary Capitalis Monumentalis). Typefaces from 2018: Glitched (an experimental variable spacing font), Striver (a crisp contrasted curvy display typeface), Certo Slab and Certo Sans, Foreday (a forward-looking typeface family with associated variable font, covering sans, serif, semi-sans and semi-serif), Perfil (an inline and swashy high end script). Typefaces from 2019: Akut (a purely angular typeface with some rounded corners), Denso (by Dino dos Santos and Pedro Leal: a great condensed variable font with weight, serif and optical size axes), Jornada (a multistyle family with a Fraktur, a chancery, a bookish style called Libro, a news text serif, a clean sans, a slab serif, a monospace, and a penmanship script, all in one family dubbed hygienic post-punk by Leal). In 2020, Dino dos Santos and Pedro Leal designed Larga, which was inspired by the typefaces shown in the specimens of the Fundiçãao Typographica Portuense from 1874. Larga is a wide all caps family and comes with a variable opentype format. Pedro also designed 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: Elaine (+Ombre, +Fleurer; a complete baroque / Elzevir family influenced by Jacques-François Rosart in its ornamental styles). [Google] [MyFonts] [More] ⦿ | |
Pedro Teixeira Foundry
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Typefaces from 2017: Signaturistar, Toxic Marker (dry brush), Scratched Brush Script, Serene Textured (script), Feris Script, Boemia, Savage Adventure (brush script), Casual Mark Script, Rough Beauty Script, Cartoon US Presidents. Typefaces from 2018: Constancia Script (a thin refined calligraphic script), Bow Tie (script), Black Fox (upright script). Typefaces from 2019: Aleante Sans (+a variable font option, Lets Get Crazy (script+sans), Stylish Marker. Typefaces from 2020: Ungap Blocks Variable, Cursive Signa Script Variable (a signature script), Zinekiss. Creative Market link. Another Creative Market link. [Google] [MyFonts] [More] ⦿ |
Peter Baker's old English page at the University of Virginia
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Alternate URL. Dafont link. Open Font Library link, where he is known as psb6m. Fontspace link. Link to his foundry, Thornbec Staefwyrhtan. Github link. [Google] [More] ⦿ |
Peter S. Baker
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Phaedra Charles
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Phantom Foundry
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In 2015, he switched to the commmercial camp, and cooperated with the Fontyou team in the production of the didone typeface family Télémaque FY, which brings Didot in its most rigid and tuxedoed manner, for the black-and-white fashion mags showing James Bond with a black bowtie and spotless high-contrast shirt. In 2016, Alisa Nowak, Julie Soudanne and Jean-Baptiste Morizot co-designed Graphico (Indian Type Foundry): Its letterforms are industrial and square-sided. The typeface looks like the product of precision mechanics: it should be featured together with tech---either old tech like appliances or watches, or new tech like apps and laptop stands. Still for Indian Type Foundry in 2016, he designed the hipster sans typeface family Bobo---perhaps one of the greatest hipster typefaces of all times. Bobo stands for bourgeois Bohemian---I am not sure it is identical to gauche caviar, but that is the societal class the author of this typographic encyclopedia belongs to. In 2016, Morizot designed the high contrast wedge serif newspaper typeface families Editor and Editor Condensed, and the car license plate font License at Indian Type Foundry. In 2017, as part of the new Black Foundry, he extended his free font Bluu and even added a variable font to the set, as well as a collection of emojis. The new name is Bluusuuperstar: Bluu Suuperstar is a brutalist serif typeface featuring very prominent triangular-wedges for serifs and terminals. Bluu Suuperstar's letters have a tall x-height, and the diamond dots are a chief characteristic of the design. Notches like these [diamonds] are found in several blackletter designs; but most-famously in the romain du roi created for Louis XIV. Nothing in Bluu Suuperstar is soft or cuddly; this is a sharp typeface, and you could cut yourself on its letters. The separate emoji font, designed by Gaëtan Baehr, is wittily named Bluumoji, and it includes 73 glyphs. In 2018, Morizot set up Phantom Foundry, where he published Super Fat Bob (2018) and Phantom Sans (2018: trying to bring some warmth to the geometric sans genre, and now also a variable typeface). Typefaces from 2019: Cosmetic (Indian Type Foundry: a high-contrast fashion mag sans family), TXT25 (an unconventional extreme-axis (variable) text typeface). Typefaces from 2020: Token (at Future Fonts---on purpose, Morizot mixes discordant styles to create a Frankenstein monster of a typeface), Kola (a molecular rounded stencil typeface published at Indian Type Foundry), Claire (with Alisa Nowak, Jérémie Hornus and Gaetan Baehr: a 12-style bracketed serif newspaper type with small x-height in the mold of late-nineteenth century typefaces along the Century model). Fontshop link. Future Fonts link. Home page. Fontsquirrel link. [Google] [MyFonts] [More] ⦿ |
Philip Lammert
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Pilcrow
| Free software by Simon Cozens first published in 2020. Pilcrow allows you to build variable fonts using a graphical interface. It requires, among other things, python and fonttools. [Google] [More] ⦿ |
Type foundry set up in 2018 in Paris by French type designers Adrien Midzic and Luc Borho. Their fonts are also available on other sites. The initial offering includes many fonts by Midzic (Orelo, Kern, Metal, Bota, Forno) and one by Borho (Fadoli). They intend to offer many variable type fonts. [Google] [More] ⦿ | |
Polyform
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Lisa's specializes in multi-cultural projects, especially mixing Latin / French and Chinese cultures. In 2019, she founded a graphic and type design studio with her partner Thomas Kim called Polyform Studio (Paris). At Type@Paris 2016, Lisa Huang designed the warm text/sans typeface pair Julie et Julien. Her graduation typeface at KABK was Model Sans and Display (2018). She writes: I paid my attention to the balance between conventional structures of sans serif typefaces, optical corrections for legibility, and details from hand drawn shapes to give it personality. Contributor in 2019 to the variable programming font Recursive Sans+Mono, the brainchild of Stephen Nixon. Github page where we learn that contributors besides Stephen Nixon include Katja Schimmel, Lisa Huang and Rafal Buchner. In 2019, these authors published Recursive as a variable font with five axes, Mono, casual, weight, slant and italics. Dedicated page. It will be added to Google Fonts at some point. [Google] [More] ⦿ |
Process Type Foundry
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Fonts sold by MyFonts. Behance link. View the Process Type Foundry typeface library. View Eric Olson's typefaces. [Google] [MyFonts] [More] ⦿ |
Boom Promphan Suksumek is a type designer at Cadson Demak, a type foundry based in Bangkok, Thailand. She also currently teaches courses at local universities on typography and the fundamentals of type design. Suksumek studied type design while doing a master's in communication design at the Basel School of Design in Switzerland. She wrote a master's thesis on variable fonts (emotionaltype.org). Speaker at ATypI 2019 in Tokyo on the topic of The Evolution of Thai Loopless Script. She writes: Thai script is divided into the looped and the loopless. Loopless Thai is generally considered to be the modern form of Thai script. However, loopless Thai has its own history. This presentation examines the evolution of the Thai loopless form and attempts to map its development. Originating with the Thai Naris typeface in 1863, the Thai loopless form was initially constructed using a broad-nib pen. Later on, it was adopted and transformed by the locals. It initially appeared mainly in headlines; it was also used in books, newspapers, and local consumer products to make a bold statement. In the 1940s, it began to be embraced by local calligraphers and sign painters. The dry-transfer era saw even more experimentation with the loopless form---it showed up on the posters of the 1976 student-activist uprising in Thailand, for example. It is currently part of daily life there. Cultural influence has simplified the loopless form over time. Loopless Thai raises many questions about what we consider modern versus what we deem outdated. [Google] [More] ⦿ | |
Pyotr Bushuev
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In 2018, he graduated from the TypeMedia program at KABK in Den Haag. His graduation typeface is called Gamer. He writes: Gamer is a typeface which originates from nostalgia for the games, films, and technology I grew up with. The main aim of the project is to make letterforms that work well both on low and high-resolution screens. To accomplish this, the core shapes of the typeface are drawn on top of pixelated letters. The wider-than-usual proportions are informed by the logos of technology companies. The squarish letterforms are inspired by fonts that commonly appear in sci-fi movies. Contributor in 2019 to the variable programming font Recursive Sans+Mono, the brainchild of Stephen Nixon. Github page where we learn that contributors besides Stephen Nixon include Katja Schimmel, Lisa Huang and Rafal Buchner. In 2019, these authors published Recursive as a variable font with five axes, Mono, casual, weight, slant and italics. Dedicated page. It will be added to Google Fonts at some point. [Google] [More] ⦿ | |
Rajesh Rajput
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Open Font Library link. Github link. Linkedin link. Aka rsms. [Google] [More] ⦿ | |
Rebecca Alaccari
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Resistenza
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In 2010, he made the circular multiline face Afrobeat (+Light), the fat counterless typeface Vito Sans (2010), Wonderwall (2010, like a skeletal construction), the high-contrast art deco typeface Zaza (2010), and the pure Italian vintage art deco face Luxx (futurism). Other work: an art deco poster. Direct links to his fonts: Zaza, Afrobeat, Vito Sans, Luxx, Wonder Wall, Afrobeat Light. Creations from 2011: Ratatan, Bodoni At Home (a handpainted Bodoni), Arcanotype (2011, delicate caps, individually drawn using Chinese ink on Japanese calligraphy paper), Babushka (2011), Dolce Caffe (2011), Adelaida (hand-printed poster face), Monella (octagonal). Production in 2012: Ampersanders (a font with many ampersands), BLAQ (an ornamental blackletter caps typeface inspired by Henry W. Troy), The Bay (hand-printed all caps poster face), Bratislove (an artsy hand-drawn typeface), Modernissimo (decorative modern art-inspired caps), Clementina (hand-printed caps), Afrobeat Gothic (angular multiline face). Typefaces from 2013: Glob (bubblegum face), Archivio (slab serif family with very open counters), Mina (connected script), Monster Hand (brush script), Berliner Fraktur (a flat brush fraktur inspired by Rudolf Koch), The Luxx (a redesign of the 2010 art deco sans typeface Luxx---a comparable typeface is Mostra Nuova by Mark Simonson), Starburst (calligraphic gestural light script), Caramello Script, Copperlove (copperplate script), Yma Italic (retro script), Sonica Brush. Typefaces from 2014: Stencil Creek, Elastica (hand-crafted typeface family), Elastica (hand-drawn poster family), Nautica (copperplate script, extended in 2018 to Nautica Sottile and the monoline version Nautica Line), Ingles (copperplate script), Peperoncino Sans (a decorative sans serif font system designed with a marker), Attica RSZ (inspired by Caslon Italian and Novarese's Estro), Montana (poster family, +Icona), Superb (a yummy creamy script, co-designed with Paco Gonzalez), Dolce Caffe 3D, Coming Home (a hairline curly script based on a childish handwriting), Rachele (a monoline connected script with a large x-height), The Crashed Fonts (a glaz krak family), Newland (inspired by Rudolf Koch's Neuland), Two Fingers (a funky hand-drawn family that includes, e.g., Two Fingers Bodoni, Two Fingers Courier, Two Fingers Poster [blackboard bold] and Two Fingers Script). Typefaces from 2015: Modern Love (brush script), Mela (a gorgeous pointed brush / walnut ink typeface), Turquoise (a calligraphic serif type influenced by capitalis romana; not to be confused with Ahmet Altun's Turquoise typeface from 2011; co-designed with Paco Gonzalez, it was extended in 2019 in Turquoise Inline), Mina Chic (a wide connected calligraphic fashion mag script), Natura (connected fountain pen script, with accompanying Notebook, Icons and Stamps (initial caps) styles), Stencil Creek (inspired by Akzidenz Grotesk and influenced by street signs of the North West Pacific), Quaderno (monoline upright signage script). Typefaces from 2016: Xmas Wishes, Gianduja (2016, a chocolate box script typeface family co-designed with Andrea Tardivo and Paco Gonzalez). Apero (a hand-crafted emulation of sans and slab styles; the sans serif was inspired by vintage local liquor labels), Respect (a brush script sign painting typeface), Mentha (a calligraphic connected script typeface). Typefaces from 2017: Peperoncino Vintage, Shabby Chic (wide signature script), Merendina (rounded sans family), Adore You (dry brush script), Quaderno Slanted (monolinear connected script), Love Wins (a collection of signage type phrases), Beach Please (watercolor brush), Timberline (dry brush script), Orbita (stencil shadow), Modern Love Slanted (brush style), Gessetto (a chalk lettering family). Typefaces from 2018: Pesto Fresco (a wonderful 28-font layerable font family for use in hand-lettered posters), Instamood (a casual script), Auster (an unconventional flared and reverse contrast sans; followed in 2019 by Auster Rounded by Paco Gonzalez and Giuseppe Salerno, and in 2020 by Auster Variable), Smoothy (brush script), Voguing (a multiline typeface inspired by the movement and glamour of the 80¿s and New York ballrooms scene), Beach Please Vintage, La Bodeguita (calligraphic), Contigo (with Paco Gonzalez; see also Contigo Vintage ), Story Tales (folklore style, with many choices of textures and possibility of layering), DreamTeam (multilined). Typefaces from 2019 co-designed by Paco Gonzalez and Giuseppe Salerno: the brush typefaces Pando Script and Parkour, the Tuscan family Royale, the chalk font Dolce Caffe Chalk, the brush script Batticuore, the bry brush script typeface Blue Jeans, the layered hand-crafted sans typeface Dolcissimo, and the font duo Sunday Morning. Typefaces from 2019 by Giuseppe Salerno: SmoothyPro (with Paco Gonzalez), Auster Slab (a reverse stress slab). Typefaces from 2020: Vermouth (a layerable font based on Italian signs from the 1960s), Big Mamma (a hand-printed slab serif by Giuseppe Salerno and Paco Gonzalez), Suerte (a reverse contrast display type, inspired by Aldo Novarese's Estro; with Paco Gonzalez), Norman (a fashion mag typeface by Paco Gonzlaez and Giuseppe Salerno), Royale Italic (Tuscan; with Paco Gonzalez), Groupie (a psychedelic delight), Hello Fresh (with Paco Gonzalez), Nostalgia and Nostalgia Flowers (with Paco Gonzalez), Tresor (a romantic flared sans; with Paco Gonzalez), Pesto Fresco Italic (with Paco Gonzalez). His type blog is called It's Not My Type. Behance link. Creative Market link. Klingspor link. Creattica link. [Google] [MyFonts] [More] ⦿ |
Grotesk cc is Tobias Rechsteiner, Reto Moser, and Simon Renfer in Bern, Switzerland. The former two designed GT Haptik (2009), which is a grotesk typeface in which the letters are optimized to be read blindfolded and by touching them. GT Haptik was published at Grilli Type. In 2015-2016, Reto Moser designed the sans typeface family GT Eesti at Grillitype. GT Eesti has Soviet roots: It is a free-spirited interpretation of the Soviet geometric sans serif Zhurnalnaya Roublennaya, first released in 1947 and designed by Anatoly Shchukin. Another URL. In 2020, Reto Moser finally released the 70-style workhorse serif family GT Alpina at Grillitype. GT Alpina a three-axis variable font (weight, width, display). [Google] [More] ⦿ | |
Google Plus link. [Google] [More] ⦿ | |
Richard Rutter explains how to use variable fonts in web pages. [Google] [More] ⦿ | |
Founder of Glyph Co in Brooklyn, NY, and Arlington, VA. Designer of the free slightly flared text typeface family Petrona (2019), which has a variable style. [Google] [More] ⦿ | |
Roland Hüse
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Lincoln and/or London, UK-based graphic designer who studied first at the University of London and then at the University of Lincoln. Creator of the sans typeface family June (2014), which was inspired by Adrian Frutiger's style. Five years later, we re-discover June (2019) at Schriftlabor (by Lisa Schultz and Ross Hammond). It has evolved into a 16-style low contrast sans family with humongous counters and a small x-height. Two variable fonts are offered as well. [Google] [MyFonts] [More] ⦿ | |
Braga, Portugal-based multidisciplinary graphic and web designer, who set up his own type foundry in 2020. In 2020, he released the squarish variable width font Monbloc. [Google] [MyFonts] [More] ⦿ | |
Runes & Fonts (or: My Handwritings)
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Typefaces from 2013: November Sky (art deco sans), Windy Wood, Cool Weekdays, Yellow Peas Light (clean thin monoline sans; free), Back To The Future 4, Yellow Peas Demo (hairline sans), Yellow Peas Bold, Pagan Winter (bilined), Beer Money (brush face), Poor Weekdays (+Serif), Hun Legion (inspired by ancient Hungarian runes), Freehand Roman, Esthajnal (inspired by ancient Hungarian runes), Buffalo Chicken (a connected script), Telihold. Typefaces from 2014: Sunny Winter (thin script), Sunny Merry Christmas (dingbats), Fox in the snow (connected hand), Dersu Uzala Brush (Asian brush), Good Karma (connected script), Stitch Warrior, Chickpeas, Jaspers Handwriting, Margarita in August, Wheatland, Slim Extreme (a gorgeous geometric hairline sans), Sparkler (a clean geometric sans), Factory Worker, Brushido (Japanese simulation font), Mojito in June, Mesa Grande, Altering The Future, Black Olives (thin calligraphic script), Hangyaboly (comic book font), Fecske (Peignotian sans), Windy Rain, Rainy Wind (calligraphic script), Comic Roman, Wizard of the Moon, Urban Stone (grunge version of Urban Tour), Urban Tour (avant garde sans), Wacky Sushi (hiragana emulation), Constrocktion (multilined typeface). Typefaces from 2015: She Always Walk Alone (hand-crafted), Transatlantic Cruise (an outline script), Csemege (upright connected script), Milano Traffic (sketched typeface), Undergrunge Tornado (a great brush font, +Cyrillic, +Hiragana, +Katakana), Dirt Road, Kikelet, Kikelet Brush, Have A Great Day (rough brush script), Sorsod Borsod, City Birds (script), Loonaria, Texas Grunge (brush script), Solaria (minimalist techno), Biloxi Script, Chicken Fried Steak, Texas Grunge (brush face), Sharky Spot, Autumn Chant (connected script). Typefaces from 2016: Tribal Case (decorative caps), Shopping Script, Biloxi Calligraphy, Tribal Case (tattoo font), Ting Tang, Alaska Script, Take It Easy (fat finger font), Mi Amor (wide monoline handwriting), Spring Script, Fox in the Snow (connected school script), Kazincbarcika Script (a gorgeous calligraphic script). Typefaces from 2017: Interconnected, Bar Hoppers, Ciao Baby (retro signage script), De Rotterdam, Abigail Script. Typefaces from 2018: Christmas Wish Calligraphy, Christmas Wish Monoline, Chicago Moonshine (art deco), Poker in October (a layered color typeface), Personalitype (connected monoline script), Yellow Peas (sans), The Laughing Wolf (script), Italian Breakfast, Saturday Champagne, Teach (by Moataz Ahmed), Long Night (signature script), Relapse (rough brush script), Just Be (brush script), Air in Space (stencil), Beach Script, Interconnected, Beaumaris (slab serif). Typefaces from 2019: Christmas Wish (calligraphic script), Brachetto (a formal calligraphic typeface developed together with lettering artist Leah Chong), Mulled Wine Season, Colder Weather (spurred), Unlocking Your Dreams (brush script), Gold Under The Mud (a fine scratchy brush script), The Mumbai Sticker (script). Typefaces from 2020: Roberts Script, Alone Together Script (a swashy tattoo script), Shopping Script (a signature font), Shape Variable (a variable script font), Jam Session (blackboard bold), Un Jour Merveilleux (a script), Stars + Love. Fontspace link. Dafont link. Creative Market link, Old URL. Home page. Another Fontspace link. Creative Fabrica link. [Google] [MyFonts] [More] ⦿ |
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Kazuraki is an Opentype kanji font developed in 2009-2010 by Adobe for script applications. The Kazuraki design is inspired by the calligraphy of 12th century artist and writer Fujiwara-no-Teika, who is considered one of the greatest poets in Japan's history. It features vertical ligatures. Designed by Ryoko Nishizuka (Tokyo), it was produced by Masataka Hattori (Adobe Systems, Tokyo) and Ken Lunde (Adobe, San Jose, CA) under the management of Taro Yamamoto (Tokyo) and David Lemon (San Jose, CA). Kazuraki won an award at the TDC2 2010 type competition. In 2002, Ryoko Nishizuka won the Morisawa Award for type design for Teika, a precursor of the 2009 Adobe font. Morisawa commented at the time: Turning superb calligraphy into a typeface requires surmounting many obstacles, not least of which is getting characters of differing size to line up correctly. The designer here controls the direction of the brush strokes in order to give the typeface a stability in horizontal typesetting, and in that coherence one can find the traces of her struggle. The ligature in vertical typesetting has also been given full attention, and the result is a generally excellent work. Specimen. Ryoko Nishizuka, who designed the Ryo typeface families in Gothic, Text and Display styles. Adobe writes this about her: Ryoko Nishizuka graduated from Musashino Art University in 1995, and began working at Morisawa&Company, a leading type foundry and manufacturer of digital typesetting systems in Japan. Next, she decided to work as graphic designer at a design studio. But her main interest was always in typeface design. In 1997, Ryoko joined Adobe. She has been involved in the development of the Kozuka Mincho and Gothic typefaces designed by Masahiko Kozuka. In 1999, Ryoko received an honorable mention for her typeface "Branch Letter" at the Morisawa Awards International Typeface Design Competition. In 2002, her calligraphic typeface "Teika" won the Silver Prize at the same Morisawa competition, which was later expanded and refined to become Kazuraki, which is being heralded as the first fully- proportional OpenType Japanese font. In 2003, Ryoko created the Ryo Text and Ryo Display "kana" typeface families. The Ryo Text and Display families are composed of nine sub-set Japanese "kana" OpenType fonts for eight different weights. The brightness emitted from the Ryo typeface is based on her original interpretation of traditional styles of "kana" calligraphy and type design. Kazuraki then consumed much of Ryoko's design effort, and was subsequently released in 2009. She designed and created ideographs (kanjis) for the Source Han Sans fonts released in 2014 by Adobe and Google for Japanese, Chinese and Korean. She led the design of the glyphs for ideographs, Japanese kana, and other Japanese characters in Source Han Serif (2017). Designer of Ten Mincho (2017), a Japanese typeface design from Adobe Originals. Ten Mincho also features a full set of Latin glyphs, collectively known as Ten Oldstyle and designed by Robert Slimbach. Prominent in Ten Mincho are the dynamic characteristics of hand-written characters, as well as a stroke formation style that is typically seen in the Kawaraban printed newspapers from the mid to late Edo period (1603–1863) in Japan. Designer of White On Black VF (2019), a variable font with just one kanji glyph demonstrating an issue related to the non-zero winding rule used for rendering fonts. The issue is especially problematic when negative glyphs are reversed out of a positive background shape. The weight axis shows how the technique for avoiding the problem with static fonts by removing overlaps is not a good solution for variable fonts because the topology of overlapping shapes may change across variations. The antisymmetric font, Black On White VF, is made with the same shapes but with an additional circular path, showing how the issue is not present with positive-on-negative glyphs. The fonts were produced by Ken Lunde using a glyph designed by Ryoko Nishizuka. Behance link. Typekit interview. Speaker at ATypI 2014 in Barcelona and at ATypI 2019 in Tokyo. [Google] [More] ⦿ | |
Saja TypeWorks
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In 2015, at Microsoft, he designed the free sans typeface Selawik, which is metrically compatible with the infamous Segoe UI. Selawik now also exists as a variable font. In 2016, het up his own type foundry in Seattle, Saja TypeWorks. At Saja TypeWorks, he published the sans-serif typeface Salish, which is inspired by the art of the Salishan tribes in the Northwest Americas: It draws heavily on the concept of the ovoid, a wide ovular shape that is flat on the bottom and top heavy, that is central to the art style known as Formline. Language support includes some 200 Latin-based languages as well as the necessary orthographies for all Salishan languages, including: Comox, Sliammon, Klahoose, Pentlach, Sechelt, Squamish, Halkomelem, Nooksack, Straights Salish (Saanich), Lushootseed, S'Klallam, Quinault, Upper Chehalis, Lower Chehalis, Cowlitz, Bella Coola, Ditidaht, Tseshaht, Nuu-chah-nulth, Ehattesaht-Nuchatlaht, Kwak'wala, Shuswap, Lillooet, Thompson River Salish, Coeur d'Alene, Columbia-Moses, Colville, Okanagan, and Montana Salish. Haida (a non-Salishan language) is also supported. At FontStruct, he designed Syzygy. In 2017, he published HWT Aetna at P22. Aetna is a sturdy roman wood type first see in William H. Page's 1870 specimens. Aaron Bell digitized the free logo font Air America in 2018. He writes: This font was produced for William G. Sherman who recreated this alphabet from samples of the logo and other sources from the airline company Air America. In 2018, he published the free DIN-based sans typeface Bahnschrift for Microsoft at Open Type Library. The font posted at Open Font Library is flawed (look at the capital A), so I wonder if that post was done by an impostor. Typefaces from 2019: Industrial Spill (with Dave Savage), Tipsy Waitress (beatnik, cartoonish; with Dave Savage), Super Chill MC (with Dave Savage). For Microsoft's Windows 10, he designed the open source monospaced font Cascadia Code. The plan is to add support for Greek, Cyrillic, Vietnamese, Arabic and Hebrew during 2020. Speaker at ATypI 2012 in Hong Kong: Seeking the Korean true italic. Speaker at ATypI 2013 in Amsterdam: Directionality in Korean type design. Fontsquirrel link. [Google] [MyFonts] [More] ⦿ |
In 2016, Salvador Rodriguez and Diego Aravena Silo co-designed the geometric sans typeface family Fuse and Fuse V.2, which are characterized by a large x-height and some humanist elements. Salvador Rodriguez and Julia Martines Diana added Fuse V.2 Printed in 2018. Still in 2016, Salvador Rodriguez published Urbani at Without Foundry. This narrow tightly set sans family was inspired by Frutiger and Renner but mixes in Latin curves. Eren and Eren Condensed (2016) is a 32-style slab serif family with a humanistic touch and rounded corners---it was designed by Salvador Rodriguez and programmed by Diego Aravena. Typefaces from 2017: Sonny Gothic (a geometric sans in 36 styles, W Foundry: an homage to Herb Lubalin; followed in 2018 by Sonny Gothic Vol.2, which was co-designed with Gaspar Muñoz), Nutmeg (geometric sans, W Foundry), Kappa (a modern sans serif with humanistic and geometric features, co-designed by Salvador Rodriguez and Diego Aravena), Kappa Vol 2 (the slab serif version of Kappa), Ulises (with Diego Aravena Silo: an eclectic slab serif with some grotesque features). Typefaces from 2018: In 2018, he designed Helios Antique and Helios Stencil together with Felipe Sanzana at W Foundry. Hermann (2018, Salvador Rodriguez and Diego Aravena) is a wonderful readable garalde book typeface family. Typefaces from 2019: Campora (a revival and extension of K. Sommer's awkwardly serifed Dynamo, 1930). Typefaces from 2020: Supera Gothic (2020: an 18-style geometric sans by Diego Aravena Silo and Salvador Rodriguez; plus variable fonts), Gallos (2020: a 20-style mix of architype, geometric, gaelic, unicase and uncial, by Diego Aravena Silo and Salvador Rodriguez; containing variable styles as well). [Google] [MyFonts] [More] ⦿ | |
Samuel Oakes
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Samuel Powell
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During her studies at Kent State University, Sarah Riedlinger (Columbus, OH) designed Bobbins (2018), a variable neo-grotesque typeface that was inspied by embroidery. [Google] [More] ⦿ | |
Scribble Tone
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The only thing we know about the designer is his birth year, 1986. [Google] [MyFonts] [More] ⦿ | |
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Setiadi Karya Pertiwi
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ShowUp Type Foundry
| Or Aulya Rahman. Banda Aceh, Indonesia-based designer of the signage script typefaces Mekar Script (2016) and Nelda Script (2015). In 2016, he made the connected monoline script font Sakura, the logotype script The Angel (removed after a few days, but then reinstated), the script package Beauty Sunset, the hand-crafted typeface Oliver, the poster typeface Lumberjack, the brush font Strength Script, and the connected signage typeface Florance Script. In 2017, he designed Bagman (connected monoline script), The Moon (a free brush script), Alaska (a fat brush script), Maveric (a dry brush script) and Signature Script. Typefaces from 2018: Margents (signage script), Specta Retro Script (2018, with Hendra Maulia). Typefaces from 2019: Lumberjack, Oliver, Matao Serif (a decorative didone typeface done with Hendra Maulia), The Night (curly script). Typefaces from 2020: Monesta (an 18-style sharp-edged display serif; +a variable style), Nagaiya (a 15-style display sans (+a variable cut) characterized by sharp spurs; by Aulia Rahman and Hendra Maulia), Rustler Barter (a display font done with Hendra Maulia), Neue Metana (a wide display sans by Aulia Rahman and Hendra Maulia), Masculine Script. Typefaces from 2021: Cigra (a decorative serif by Aulia Rahman and Hendra Maulia). [Google] [MyFonts] [More] ⦿ |
Simon Cozens
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Digital descendants abound:
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Sportsfonts
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His first typeface at Sportsfonts is the 24,000-glyph 49-font athletic lettering superfamily, Winner (2016), and its follow-up font, Winner Sans (2019, designed with Sven Fuchs). In 2016, he created the free variable font typeface Gingham. [Google] [MyFonts] [More] ⦿ |
In 2018, he published the free all caps lapidary typeface Colus at Fontfabric. 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). With Plamen Motev and Ventsislav Djokov, he co-designed Panton Rust and Panton Rust Script in 2019. In 2020, Mirela Belova and Stan Partalev co-designed the 22-style (+variable) geometric sans family Gogh at Spacetype. [Google] [MyFonts] [More] ⦿ | |
Stephen Nixon
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Stew Deane
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Studio Oakes
| Cheltenham, UK-based designer of the free geometric sans typeface Orkney (2016, with Alfredo Marco Pradil). Orkney progressed into the 12-style sans typeface family Oakes TF (2016) and the more corporate Oakes Grotesk (2017). It was further extended to Cello Sans, which is free at Open Font Library. In 2017, he published the sans typefaces Metro Sans and Granary. In 2019, he released Arbeit, a variable neo grotesque typeface family with twelve predefined styles. You Work For Them link. [Google] [More] ⦿ |
Studio Sun (or: Sun Brand Co)
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In 2016, she co-founded Spencer and Sons with Gilang Purnama Jaya. In 2017, she started Studio Sun in Denpasar, Bali. In 2016, Cahyan published June of Fortune, the free hipster typeface family Soda Popp and writes: The new typeface called Soda Popp is inspired by pop-culture, vaporwave music, and seapunk that emerged in the early 2010s among Internet communities. It is characterized by a nostalgic fascination with retro cultural aesthetics, typically of the 1980s, 1990s, and early-mid 2000s. Typefaces from 2017 at Spencer and Sons: S&S Nickson (a copperplate display font including eight font styles and seven dingbat fonts). In 2018, she published the retro auto racing font Intensa, the extended sans typeface Matrice, and the free flared poster typeface Florent. Typefaces from 2019: Alathena (a decorative Victorian and Arts & Crafts typeface family), Rustob Club (a variable font), Tropiline, Matahari Sans (a large family that includes Matahari Sans Mono). Typefaces from 2020: Rachee (a 6-style renaissance text font), Klose Slab (an ultra-fat variable font), Gulfs Display (a 6-width ultra bold cartoon font family), Gliker (an extraordinary comic book font family; a new take on the Hobo typeface), Radiate Sans (40 styles), Balgin (a large display family that celebrates the 1990s), Brice Pop (a sixties display style; with Syarif Hafidh). [Google] [MyFonts] [More] ⦿ |
Studio Triple
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He joined Velvetyne Type Foundry, where he designed Hyper Script (2017, a custom design for the Hyper Chapelle exhibition by AAAAA Atelier) and Solide Mirage (2017). In 2018, Landes, under the art direction of Julien Alirol and Paul Ressencourt of Murmure, published the great display sans typeface Le Murmure, which won an award at the Type Directors Club's Type Design Competition 2019. Free download at Velvetyne. Open Font Library link. At Future Fonts, he published the intestinal and accidental art nouveau typeface Digestive (2018, +a variable font): Digestive borrows shapes from the submarine universe (mainly seaweeds) and from anatomic parts, organs and guts. P>In 2019, Anton Moglia and Jérémy Landes co-designed Pilowlava, a free font that was originally a custom font for the last issue of Cercle Magazine. In 2020, Studio Triple released Jaune Grande at Future Fonts: Jaune Grande makes everything that can touch, touch. Like an overcooked cheese gratin, Jaune is sticky and really fat and we like it that way. Future Fonts link. [Google] [More] ⦿ |
Suitcase Type Foundry
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The Tabac family started with Tabac Sans in 2010. It was augmented in 2012 with Tabac Slab and Tabac Mono, which have a full range of weights from Hairline to Black. Tabac Glam, a fashionable Peignotian high contrast sans, was added in 2016, and Tabac Micro in 2018. In 2019, he published Tabac Big Glam, Tabac Big Sans, Tabac Big Slab and Tabac Big. Other typefaces from 2008-2010 include Monopol (a six-weight condensed sans that includes a hairline weight), Idealista (2010, organic, a mix of styles), Nudista (2009, a multistyle take on DIN with a superb fashion mag hairline, Nudista Thin), Kulturista (2009, a part slab part serif extension of Nudista), Comenia Sans (2008, a 12-style complementary family to Storm's Comenia Serif for school textbooks), Metalista (2008, unicase octagonal metallic face). 2007 was a successful year. Brousil created Bistro Script (2007, fifties diner style script), Corpulent (2007), and Gloriola (2007, a sans in 14 styles, including a hairline. The last typeface family won an award at TDC2 2008 and at Typographica's Best of 2007. Stephen Coles likes its position between the cool sterility of de Groot's monolinears and the warmth of Latin designers: With a broad range of weights, a complete Western character set, and a sack of ligatures and alternates, Gloriola has the depth required for complex identity systems and publication design. This shrewd response to the fashions of today is going to be useful for many years to come.). The year 2007 also saw Purista (a 10-style cousin of Eurostile), which includes hairline weights. Ellen Lupton says this about Purista: I've been feeling hungry for a stylish, edgy sans who enjoys evenings out on the town and long mornings of crisp conversation. In other words, I've been craving a font who likes to party but who can also help out with the dishes. Production in 2005-2006: Teimer's Antiqua (2006: a didone family based onn unpublished 1967 design by Pavel Teimer), Rokoko (2006, an octagonal custom typeface for the Rokoko Theatre in Prague), Sandwich (2006, a lively display caps set), Vafle (2006: based on an original concept by Marek Pistora from 1997, with minor adaptations and 11 new weights), Dederon Sans and Serif (2005, the sans version being inspired by TypoArt's Liberta; see also here for a comparison with Underware's Dolly), Dederon Serif. Typefaces from 2004 or earlier include Fishmonger (2004, a sans family), RePublic (a 2004 revival, done with Radek Sidun, of Public by Stanislav Marso, 1955. Note that Public was used to set the text of a Czechoslovak Communist party newspaper, Rudé Právo), Botanika (2005, a sans family including many typewriter styles and several mono weights), Atrament (2003, a narrowed grotesque inspired by the lettering used on the title of the almanac "Devetsil - Revolucni slovnik" (1922) edited by Karel Teige, in 30 styles!), Magion (2004, a simple geometric font), Fishmonger (2004, a broad 50-weight futuristic family), Katarine (2004, a warm sans family with appropriate dingbats added in), and Orgovan (2004-2005, a punk/brush family). Typefaces from 2013 include the roundish sans family Ladislav: The Ladislav font revitalises Sutnar's legacy, while not explicitly copying any of his original fonts. It however keeps true to their technicist character and initial principles of character creation - a simple modular system of combined geometrical segments. This approach affects all round shapes of capital and lowercase letters, as well as the shapes of the majority of numbers. The g consists of two disjoint circles. Typefaces from 2014: Urban Grotesk (a very airy, open grotesque typeface with large x-height and uniform grayness). Typefaces from 2015: Pacifista (stencil). Typefaces from 2016: BC Novatica (by Tomas Brousil and Marek Pistora, t Briefcase Type): Novatica was created based on a commission from the Czech commercial television station Nova in 2007. Marek Pistora worked with Tomas Brousil to create an alternative to a readable, simply designed sans. They naturally called the typeface Novatica. In 2014 TV Nova decided to abandon Novatica for good, and in so doing it released the exclusive licence it had been using. Novatica thus became a new typeface offered by Briefcase Type Foundry. Typefaces from 2017: Jaroslav (monolinear sans, named after Jaroslav Benda, followed in 2020 by Benda), Pepi and Rudi (a sans and slab pair based on basic shapes such as circles, rectangles and triangles). Typefaces from 2020: Atyp BL (+variable), Atyp (+variable). A 25-style sans family remotely influenced by Bauhaus. Brousil made many corporate or identity fonts. Examples include Brzda (a custom font for Czech artist Pavel Brazda), Budovatel (a custom font for the Bohemian National Hall in New York), and Union (custom webfonts for the Czech graphic design union). MyFonts page. Behance link. Klingspor link. MyFonts interview. |
Swell Type
| Type foundry set up in 2020 by Comicraft's John Roshell, who is based in California. In 2020, he released the squarish all caps family Silver Streak (+variable font), the futuristic typeface Hyperspace Race and the 25-style (variable) display family Paradise Point. [Google] [MyFonts] [More] ⦿ |
Tapatipo
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Rabar Ultra Black (2015) also won an award at Tipos Latinos 2016. Winner at Tipos Latinos 2018 of a type design award for Victus (2016), which is a Venetian typeface with all the warmth and calligraphic DNA from the renaissance era. In 2018, he graduated from the TypeMedia program at KABK in Den Haag with a sans typeface called Entorno Sans. It includes a variable font intended for signage systems in urban and virtual spaces, and comes with a stencil style and many wayfinding icons. That same year, he published Elba. Gen runs the type and graphic design studio Dual Type with Zrinka Buljubasic. [Google] [More] ⦿ |
CargoCollective link. [Google] [MyFonts] [More] ⦿ | |
Tegami Type
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In 2018, he published the low contrast geometric sans typeface family TG Neuramatica. Typefaces from 2019: TG Praktikal (with a variable type option), TG Axima (a neo-humanist sans). Typefaces from 2020: TG Glifko (a quirky 14-style sans with overcurled terminals of the c, f, r, and other letters), TG Haido Grotesk, TG Frekuent Mono. Behance link. Type Network link. [Google] [MyFonts] [More] ⦿ |
His typefaces include TW Geo Slab (2007), Dux (2007, ornamental Victorian type), Wingman (2006, handwriting) and Weinzierl Slab (2006, see also here). He joined Ascender and created there the stencil blackletter typeface Stenblak (2010), informal script typeface Rebus Script (2009, with Steve Matteson) and Romany (2009), a non-connecting script which was originally designed by A.R. Bosco and released by American Type Founders in 1934. In 2012, he created Feldman Engraver and JMC Engraver. Fonts from 2015: Kairos (Monotype: an octagonal typeface based on 19th century Grecian wood type). In 2015, Monotype set out to remaster, expand and revitalize Eric Gill's body of work, with more weights, more characters and more languages to meet a wide range of design requirements. As part of that project, Terrance Weinzierl designed Joanna Sans Nova (2015: sixteen fonts, loosely based on Gill's slab serif, Joanna, so technically, this is not a Gill revival, but a Gill extension. A well-balanced family with a medium-to-large x-height. But the italic g is disturbing). Fonts from 2016: Terry Junior Basic (free), Kairos Sans (which accompanies his 2015 typeface Kairos; both cover Latin and Greek). The octagonal typeface Kairos Sans became Monotype's first variable font---it is free at GitHub. Also in 2016, he added some Greek, Cyrillic, weights and widths to Kobayashi's Eurostile Next, for a grand total of 50 styles in this popular Linotype font family. Pizza Press (2013) won an award at TDC 2014. In 2017, Jeong-Sook Lee, John Pompa, Terrance Weinzierl and the Monotype team won a Red Dot award for the 72-style typeface family 72 designed for SAP Fiori. Fonts from 2018: Terry Junior (Monotype; a brush script perhaps with uses for children's books). Typefaces from 2019: Monarda (Monotype), Terrance Weinzierl's take on the loud and splashy brush scripts of the 1950s. Typefaces from 2020: Futura NowKlingspor link. Linotype link. [Google] [MyFonts] [More] ⦿ | |
Thiago Bellotti
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Thom Janssen
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In 2020, he designed Dédale at 205TF. Dédale is a hybrid (sans to slab serif) type family inspired by stone-carved inscriptions in the catacombs of Paris. It has a variable style as well. [Google] [More] ⦿ | |
Tobias Alexandersson
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Monotype's technical font guru, Tom Rickner, discusses the 25 year history behind the events which led to the OpenType 1.8 variations announcement. Follow-up article from December 2016. [Google] [More] ⦿ | |
Tomás Brousil
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Tomo Fonts (was: We Are Tomo)
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Typefaces from 2018: Tomo Acuario. Typefaces from 2019: Tomo Bossa (a cartoon font for Latin and Cyrillic), Tomo Haraka, Tomo Fango (a comic book font). Typefaces from 2020: TOMO Ziguret (a fat finger font), TOMO Sponge, Tomo Pillo (an expressive blocky typeface), Tomo Trompa Pro (a retro poster font), Tomo Catcher (tall, hand-crafted), Tomo Tosca (a stone age font), Tomo Dora Sans (tall, hand-crafted), Maryhoid (a casual all caps sans), Mindwalk (a casual hand-printed font), Unione (a geometric sans in 24 styles), Unione GX (a variable font version of Unione). |
Tony de Marco
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Github link. [Google] [More] ⦿ | |
It should have the best proportions in the category, as well as a wide palette of styles, characters and OpenType features. The typeface should fit well in the layout when replacing the old interface font with our new typeface. [...] For programmers, we decided to make a monospaced version of the typeface with four styles. This typeface should become a universal and convenient tool for designers who actively use interface fonts in their projects. [...] The typeface should be beautiful, elegant and at the same time invisible and neutral. From the technical point of view, this typeface should be perfect, have the most modern hinting, as well as a variable version for those who are well versed in the subject. The team members:
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Twitter news on variable fonts. Edited by Nick Sherman. [Google] [More] ⦿ | |
TwoPoints.net
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In 2019, TwoPoints published On The Road To Variable (Victionary). [Google] [MyFonts] [More] ⦿ |
Tyler Finck
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Type Trends
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In 2017, Vika Usmanova released the octagonal Latin / Cyrillic typeface TT Mussels which includes a stencil subfamily. She also was part of TT Travels in 2017, a wide dense modern grotesque. In 2017, Vika Usmanova, Philipp Nurullin, and the TypeType Team designed the condensed modular geometric grotesk typeface TT Tunnels. In 2018, I believe---but am not sure---that Nadezhda Polomoshnova, Phill Nurullin, Vika Usmanova, Nadyr Rakhimov and the TypeType Team co-designed TT Jenevers. In 2018, Sofia Yasenkova, Philipp Nurullin, and Vika Usmanova designed the modern serif TT Tricks at TypeType. TT Tricks has many stencil styles. In 2018, Ivan Gladkikh, Alexander Kirillov, Philipp Nurullin, Vika Usmanova, Marina Khodak, and Nadyr Rakhimov published TT Severs. That same year, Vika Usmanova published the display sans ans script pair TT Nooks which took inspiration from the Empire State Building. Co-designer of TT Barrels (2018: a Scotch modern typeface by Inessa Mitrozor, Vika Usmanova, Marina Khodak, Nadezhda Polomoshnova and the TypeType Team). In 2019, Vika Usmanova and the TypeType Team designed TT Trailers, a modern narrow humanist grotesque, that is accompanied by a variable font version. TT Trailers is based on the concept of preserving the amount of white: when changing from thin to bold. In 2019, Vika published the free font Trappist, which started out as a custom type for a Belgian cafe in St. Petersburg. At TypeTrends, she released TT Alientz (Variable, serif, Grotesque) and TT Frantz, also in 2019. The latter ultra-condensed monospaced sans typeface has matching upper and lower case heights and comes as a variable type with a waistline axis. Typefaces from 2020: TT Geekette (2020; with the TypeType Team), TT Runs (a 20-style sports sans by the TypeType team in cooperation with Vika Usmanova, Antonina Zhulkova and Philipp Nurullin). In 2020, she co-designed TT Lakes Neue, a 91-style sans family by Vika Usmanova, Antonina Zhulkova and Kseniya Karataeva at TypeTypType. Tt is a functional sans-serif that draws inspiration from Finnish signs of the functionalism era. TT Lakes Neue is an almost monolinear sans, with ovals in the form of rounded rectangles, reminiscent of Nebiolo's Microgramma. It comprises a useful variable font. [Google] [MyFonts] [More] ⦿ |
Type Union
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In 2014, they published the fluid sans typeface Silo and its companion Silo Slab. In 2015, they added Silo Soft top this superb collection. The harmonious sans family Karlsen was published in late 2014. In 2015, they released Karlsen Round. In 2017, they published the slab serif typeface families Arbour and Arbour Soft, the simple geometric sans Project Sans, and the fluid sans typefaces Chopsee Softee and Chopsee. Typefaces from 2018: Neometric (a strong geometric sans with outstanding capital M and N), Hoodie, the 80-style elliptical blue collar rounded sans typeface family Manual, the 18-style Dillan, the 66-style large x-height cinematic geometric sans family Nominee, the rounded sans typefaces Yoshida Soft, Yoshida Sans and Project Soft. Typefaces in 2019: Ponder (a sans typeface family). Typefaces from 2020: Biotic (18 styles and two variable fonts; a sturdy and simple not-quite-geometric techy sans family), Palo (a 72 style utility type system built around 4 widths and 9 weights plus matching italics). [Google] [MyFonts] [More] ⦿ |
Typearture Type Foundry
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In 2013, he designed Angellocks, a semi-blackletter typeface. In 2016, he designed Utopia Initials and the ABC of Bad Events. Typefaces from 2017: The Disclosure Dingbats, Fabel, Pegacorn Initials. Typefaces from 2019: Schijn Variable (a gemstone-styled variable font, with layering and outlines). Schijn won an award at 23TDC. Typefaces from 2020: Gimme (experimental color fonts including Constructo and Battleships; +a variable font). Future Fonts link. [Google] [MyFonts] [More] ⦿ |
Discussion on Typedrawers of Variable Fonts. [Google] [More] ⦿ | |
Typejockeys
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His graduation typeface was Ingeborg, a readable didone text family created specifically for periodicals and books. I predict that Ingeborg will win many awards. [Note: Well, a year after my prediction, Ivo Grabowitsch declared it to be the best typeface of 2009, and TDC2 2010 awarded it as well] Other typefaces include Drunk Type (2008) and Tender (2008). Premiera (2009) is a type family made for small print. Henriette (2012) is a beautiful slab serif revival family motivated and developed as follows: In the 1920s the Viennese government decided to standardize the street signs across the city. A typeface was especially constructed for the purpose. It was available in a Heavy and a Bold Condensed version, to support short street names as well as longer ones. As the years went by, the typeface was adopted and redrawn by several enamel factories. These adaptations lead to variations on the design, and to the fact that there isn't a Viennese street sign font but 16 different versions. Henriette is not a digitization of any of those versions; rather, it is influenced by all of them. The italic versions are completely original and designed to accompany the Roman. Typefaces from 2014: Carabelle (roundish upright script based on Nebiolo's Calipso), Sauber Script (a warm signage script; for Cyrillic, see here), Freude (roundish script). Typefaces by Typejockeys in 2015: Vito (60 style sans family by Thomas Gabriel described by them as follows: Masculine and sporty for adrenaline junkies, reliable and elegant for serious typographers, but with a touch of bling for high snobiety). In 2018, Michael Hochleitner, Christoph Schütz, Simon Liesinger and Franziska Weitgruber co-designed Gretel Script at Typejockeys. This optically sized three-style typeface is based on the hand of calligrapher Natascha Safarik. Typefaces from 2019: Antonia (a 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), Post Sans (for Austrian Post; by Michael Hochleitner, Anna Fahrmaier and Stephan Kirsch). Corporate typefaces besides those mentioned above: Mautner Script (for Mautner Markhof), The Bank Script, Johannes Trapl (typographic development), Cafe Am Hof (lettering), Piatnik (lettering), Drei Script (a variable font for Three Hutchison), OMV Highlight (an inline font for Latin and Cyrillic). Flickr page. [Google] [MyFonts] [More] ⦿ |
TypeKit Blog: Variable fonts, a new kind of font for flexible design | TypeKit (Adobe) reports on variable fonts. [Google] [More] ⦿ |
Ultra Kühl
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Many variable fonts were designed by the students in the Type Design and Typography studio at the UMPRUM Academy in Prague during the Winter term of 2017. These include:
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Undercase Type
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In 2020, Phaedra Charles and Flavia Zimbardi co-designed the free decorative text typeface Fraunces at Undercase Type. Commissioned by Google Fonts, Fraunces is huge--it has over one hundred styles and covers four design axes: optical size (9pt to 144pt), weight, softness, and wonk. Fraunces is a display "Old Style" soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as Windsor, Souvenir, and the Cooper Series. At Lost Type and Undercase Type, Phaedra Charles, Kelly Thorn, and Flavia Zimbardi published the chunky art nouveau typeface Regina Black (2020; +a variable font). In 2018, Charles&Thorn published Phaedra Charles's (variable) back-slanted Mollydooker at Future Fonts. It was republished in 2020 at Undercase. Future Fonts link. [Google] [More] ⦿ |
In 2014, he codeveloped Skolar Sanskrit and Skolar Devanagari with David Brezina at Rosetta Type. Myriad Devanagari, designed by Vaibhav Singh, won an award at Granshan 2016. In 2017, Adobe Type released Myriad Devanagari and Myriad Bengali. Designed by Vaibhav Singh and Neelakash Kshetrimayum, respectively, these typefaces translate the design of Adobe's popular Myriad family (by Carol Twombly and Robert Slimbach) to the most-used writing systems of India. Earlier, in 2012, Vaibhav Singh and Paul D. Hunt published Adobe Gurmukhi. Typefaces from 2020: Marble (with Alessia Mazzarella, at URW: Marble is part of Asterisk Type Collection by URW Type Foundry. Marble is a modern sans serif with a distinct character and comes in 108 styles plus variable fonts). At ATypI 2011 in Reykjavik, he spoke on Devanagari letterforms in multi-script typography through the twentieth century. [Google] [MyFonts] [More] ⦿ | |
Tim Brown (Head of Typography for Adobe Typekit & Adobe Type) takes us in September 2016 on a tour of the new proposal for Variable Fonts. This new format in which one font file represents multiple fonts, is jointly developed by Apple, Google, Microsoft, and Adobe. He argues that at this point in time, we need (1) fonts, (2) rendering engines for the fonts, (3) browsers to support the rendering engines, (4) tools for designing the fonts. [Google] [More] ⦿ | |
The text below is quoted from "Introducing OpenType Variable Fonts" by John Hudson. Version 1.8 of the OpenType font format specification introduces an extensive new technology, affecting almost every area of the format. An OpenType variable font is one in which the equivalent of multiple individual fonts can be compactly packaged within a single font file. This is done by defining variations within the font, which constitute a single- or multi-axis design space within which many font instances can be interpolated. A variable font is a single font file that behaves like multiple fonts. There are numerous benefits to this technology. A variable font is a single binary with greatly-reduced comparable file size and, hence, smaller disc footprint and webfont bandwidth. This means more efficient packaging of embedded fonts, and faster delivery and loading of webfonts. The potential for dynamic selection of custom instances within the variations design space---or design-variations space, to use its technical name---opens exciting prospects for fine tuning the typographic palette, and for new kinds of responsive typography that can adapt to best present dynamic content to a reader's device, screen orientation, or even reading distance. The technology behind variable fonts is officially called OpenType Font Variations. It has been jointly developed by Microsoft, Google, Apple, and Adobe, in an unprecedented collaborative effort also involving technical experts from font foundries and font tool developers. In addition to specifying the font format additions and revisions, the working group has also committed to the goal of interoperable implementation, defining expected behaviours and test suites for software displaying variable fonts. This should be welcome news to font developers and users, who have often struggled with incompatible implementations of earlier aspects of OpenType that were left to the interpretation of individual software companies. [Google] [More] ⦿ | |
John Hudson introduces OpenType Variable Fonts on Septemer 14, 2016. [Google] [More] ⦿ | |
A Youtube video of the announcement of Variable Fonts at ATypI 2016 in warsaw. [Google] [More] ⦿ | |
Handles variable fonts through OpenType.js [Google] [More] ⦿ | |
Vasjen Katro
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Very Cool Studio
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Creator in 2013 of Benson Script (with three contrast levels, from didone to monoline), the octagonal angular typefaces Millie and Truth, and of Clayton, Red Benny, Tide's In, Tide Sans (the surf-inspired humanist with a humorous selection of weight names ranging from Lil Bunny, to Dudette, Bunny, Mondo, Kahuna and Dude), Tide Sans Condensed, and Farmer's Co-Op (a vernacular sans with wood type influences). Typefaces from 2014: Jeames (a high-contrast decorative typeface with vintage serifs), Maritime Champion, Maritime Champion Stencil, Good News Sans (a set of 18 display sans typefaces, mostly for titling or short pieces), Kansas Casual (a sign painting font), Maritime Champion (inline typeface), National Champion (octagonal athletic lettering family). Typefaces from 2015: Qualtrics. Typefaces from 2018: Gooper (a take on Cooper Black; at Future Fonts). Typefaces from 2019: Bruphy (a variable font modeled after hand-painted brush lettering and released at Future Fonts). [Google] [MyFonts] [More] ⦿ |
v-fonts
| A list of variable fonts, maintained and regularly updated by Nick Sherman. [Google] [More] ⦿ |
Vibrant Types (was: Calligrafiction)
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In 2018, he published DIN Neue Roman, a serif experiment based on DIN 1451. DIN Neue Roman is part of his 2015 Masters Thesis at HAW Hamburg. In 2020, he changed the name of his foundry to Vibrant Types. In that same year, Lammert released the dynamic chiseled typeface family Slandic. Slandic includes a variable font. [Google] [MyFonts] [More] ⦿ |
Vika Usmanova
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Typefaces from 2020: Oskal (a wedge serif in the pointy sendse of the word), Engin (a futuristic font for Latin and Cyrillic), Dulya (an experimental and delightfully irrational font), Krays (a hairline display typeface), Eskos, Drab, Koysan, Fluse (a thin squarish display sans; + Cyrillic). Type Department link. [Google] [MyFonts] [More] ⦿ | |
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Vitaliy Tsygankov
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Wahyu & Sani Co
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In 2019, they designed Genera (a 44-style almost monoline sans family; by Wahyu Wibowo), Kiyana Display (a high-contrast display sans), the 18-style sans typeface Creo, the stylish typeface Regatto, the connected script Lambo, the techno typeface Tenika, the flared typeface Pocus Primera, the fashion mag typeface Kiyana, the flared serif typeface Serat, the font duo Melanic Black, the script typeface Heinsler, the display typeface Borui and the 20-style geometric sans typeface Guerrer (by Wahyu Wibowo). Typefaces from 2020: Frock (a swashy 16-style sans), Algera (a 20-style spurless, almost organic, sans), Berka (a 14-style mixed genre sans), Regave (a 24-style (+variable) typeface inspired by Danish lettering of Knud Valdemar Engelhardt (1882-1931) who designed the street signs for the Copenhagen suburb of Gentofte. Engelhardt's design was loosely based on the lettering of two Danish architects of the time: Thorvald Bindesbøll (designer of the Carlsberg logo) and Anton Rosen. The signs were so successful that they are still in use today; Regave features the cut-off Danish g), Neufreit (an 18-style sans), Morn (an interesting geometric sans in 20 styles: all counters, e's excepted, are perfect circles), Scatio (an information design sans family), Goldbill (a 56-style geometric sans with short (Goldbill XL), regular or tall (Goldbill XS) ascenders and thus inversely proportional x-heights; + two variable styles). |
Wahyu S. Adi Wibowo
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Natan covers Latin and Hebrew in styles that range from regular to chunky. William adjusted both scripts back and forth in function of each other in a process he calls script juggling. He writes: Natan is a punch cutting fantasy turned into Bézier curves. A tribute to craftsmanship sans nostalgia. Chunky elegant curves deriving from a broad scuffed nib, worked into metal with gravers and files. Angular calligraphic strokes, cast in typographic solutions for modern day text setting. In 2019, at Rosetta Type, together with Slava Jevcinova and David Brezina, he released the variable font Adapter (with three axes, for latin, Greek and Cyrillic). At Kilotype, he released Old School Grotesk (2019). [Google] [More] ⦿ | |
Wired: Tech Giants Team Up to Fix Typography's Biggest Problem | |
Without Foundry (or W Foundry; was: Diego Aravena)
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Creative Market link. Behance link. Another Creative Market link. Old foundry link at MyFonts. Behance link for Without Foundry. Yet another Creative Market link. [Google] [MyFonts] [More] ⦿ |
You Work For Them (or YWFT; formerly Cinahaus or TrueIsTrue)
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Cina's fonts include the pixel fonts YWFT Caliper (1998), YWFT Bit (1998), 6x7oct (1998) and BlackGold; the handwriting font Cinahand; Blessed (1999, techno), YWFT Cam (1998, a slab serif based on industrial lettering), CommunityService, Crossover (1998, dot matrix with stars instead of dots), Composite (1998, octagonal), Formation (1999, a big octagonal family), Jute (2004, a masculine, military, sans-serif), YWFT Maetl (1999, octagonal, angular family), YWFT Moteur (a technical, retro, machine-like design; it briefly went under the name Alloy---in the early 2000s it was heavily used in the video gaming magazine Playstation), YWFT Novum (2002: a heavy block font that draws inspiration from a typeface originally used by the Swiss graphic designer Siegfried Odermatt), Pakt, Reversion (1997, squarish), Selector, Selek (1998, pixelish), YWFT Blackgold (2000, pixelish), Service (2001-2002, an octagonal family), YWFT Signature (1998), Trisect (1999, three-lined family), Unisect (1999, organic monoline sans), YWFT Ultramagnetic (1996, a popular rounded gothic typeface family), Ultramagnetic2 (1999), YWFT Ultramagnetic Expanded (2011), YWFT Ultramagnetic Rough (1996-2017), Unfinished. Bastard (1998), Kcap6 (with Matt Desmond), Cheese (1998), Novum (2002), Overcross (2002, unfocused letters), Stem (1998), Testacon (with Kral and Desmond, 1999), Praun (2002, pixel typefaces), OneCross (2002, pixelish stitching family), Estenceler (2004, a great stencil family a bit related to Milton Glaser's Glaser Stencil), Graphium (2004, octagonal Western style family), Expos (2004, graffiti or poster face), YWFT Pixacao (2007, after the Brazilian graffiti style), Vox (2007, monoline sans), Militia Sans (2007, like a Russian constructivist stencil), Jupiter (roman), Militia (2007, heavier stencil), Merc (2007, grunge), Guild (2007), Clarendon Text (2007, a complete revival), Jezebel (2007, script), Ambassador Script (2007, a digital revival of Novarese's typeface by that name), Enam (2002, influenced by Crouwel), Enigmatic Hand (2007), Dusty (2007, a Tuscan-eared Western font), YWFT Poplock (2007, experimental), YWFT Pakt (2004, geometric sans), Sudsy (2007), Black Sabbath (2008, ultra black slab serif, by Stefan Kjartansson), YWFT Belle (2008), YWFT Agostina (2008), YWFT Bitwood (2007-2017, pixelish Western typeface), YWFT Mullino (2009, letterpress emulation), Trithart (2008, grunge by Emma Trithart), YWFT Tapscott (2008-2017, informal and nostalgic all caps family, in the style of Rennie Mackintosh), Habano (2008, script), Amorinda (signage script), Retron (2008, connected script), MD01 (medical-themed dingbats), Adelaide (script), Centennial Script (calligraphic), Alexia (calligraphic), Ultramagnetic (experimental), Nash (1997, grunge), Amber (kitchen tile), Fab (3d), 6x7 Oct (1998, pixels and dots), Wool (2009, stencil), YWFT Matter (2009, a wide bold grotesque), YWFT Merriam (2009, a Clarendon-styled slab serif), Agostina Alternate (2011, with Michael Paul Young and Taechit Jiropaskosol), Ramsey (2012), YWFT Dessau (2013, schizograms and capitals like Bauhaus on drugs), YWFT League (2014, inspired by college football jerseys), YWFT Yoke (poster typeface done with Pintassilgo), YWFT Illuminati (2015, abstract capitals). Blog. His lovely g poster (2010). House fonts at YWFT by unknown designers: YWFT Knit (2010: knitting patterns), YWFT Motif (2015), Ramsey Condensed (2015), YWFT Roamer (2016), YWFT Whisky (alchemic), YWFT Psychosis, YWFT Processing (2001-2010: YWFT Processing was developed in 2001 for Casey Reas, the co-creator of the Processing programming language. We created this display face to be sharp, tall, unique and interesting...much like Mr. Reas himself. The font was derived from an original logo that already existed, and we continued the idea into a fully working six-weight font family. YWFT Processing was converted to Opentype format in 2010), YWFT Filbert (2012), YWFT Nim (2012, combining the hipster style with overlays for bevel and shadow effects), Dogma (2012, alchemic), Attic (spooky poster face, in EPS format), YWFT Yoke (textured all-caps), Riblah (2003, dot matrix), YWFT Fraktur (tattoo face), YWFT Burls (2013, fat poster typeface), YWFT Coltrane (2011, handdrawn poster typeface), YWFT Symplify (2013: haute couture snowflakes), YWFT Smoothie, YWFT Chance (2016), YWFT Skipper (2016), YWFT Wheatgrass (2016), YWFT Estee (2002-2017), YWFT Watermelon (2017), YWFT Ink (2017, originally designed in 2008), YWFT QUE, YWFT Burtonian (2017, named after Tim Burton), YWFT Crew (hand-crafted), YWFT Maudlin (2017), YWFT Liana (2017; perhaps plumbing dingbats, who knows?), YWFT Victoria (2010: a bonbonnerie type), YWFT Valley (2017: a Memphis movement type), YWFT Wellsworth (2017), YWFT Harmony (2008-2017, a curly calligraphic script), YWFT Edger (2017), YWFT Chateau, YWFT Gummy (2002-2018), YWFT Blender (2018), YWFT Fluctuant (2018: a variable font). View Michael Cina's typefaces. Alternate URL. Behance link. Interview. [Google] [MyFonts] [More] ⦿ |
In 2020, Antonina Zhulkova, Yulia Gonina and Kseniya Karataeva co-designed the octagonal typeface family TT Octosquares at TypeType. TT Octosquares comes with a 3-axis variable type option. Co-designer of TT Norms Std Condensed (2020: an 18-font family by Pavel Emelyanov, Yulia Gonina and the TypeType Team). 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 TT Autonomous, a 25-style wide brutal technological sans family that includes a monospaced subfamily and a trio of variable fonts. [Google] [MyFonts] [More] ⦿ | |
Developer and maintainer of Variable LM (2017), a package for scaling the Latin Modern fonts. [Google] [More] ⦿ | |
Zetafonts (or: Studio Kmzero, or: ZeroFont)
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Zimbardi Calomino
| The Brazilian duo of Flavia Zimabrdi and Caetano Calomino, a signpainter and lettering artist in Brooklyn, NY. In 2018, using a speed stroke technique, Caetano developed the signpainter font ZC Casual together with Flavia. In 2019, Flavia Zimbardi released Lygia at Future Fonts: Lygia explores the duality of sharp and round forms with stylish cues and historical references from 16th-century masterpieces by Robert Granjon to the geometric approach of W.A. Dwiggins. An homage to Brazilian neo-concrete artist Lygia Clark, originally designed in 2017 as Flavia Zimbardi's degree project for the Type@Cooper extended program in New York. Lygia is a variable font with a weight axis. Future Fonts link. [Google] [More] ⦿ |
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