TYPE DESIGN INFORMATION PAGE last updated on Tue Aug 20 15:35:36 EDT 2019
FONT RECOGNITION VIA FONT MOOSE
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] ⦿
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] ⦿
Fatnobrain was Adrien Midzic's design studio in Paris. Born in 1982, he co-founded Pizza Typefaces with Luc Borho in 2018. Midzic designed these typefaces or type families: Fine (lineal), Blokus (free pixel font, 2009), Cimen (strong sans, designed for Smacl Entraide), Mesquine (lineal), Blitz, Cucha, Stencil Reverse, Huit (2009, a gorgeous didone headline face), Stenha (stencil).
Fonts made in 2010: The ETH family (art deco sans).
Custom typefaces by Midzic: Aquitaine (2013, for Région Aquitaine), Nilka (2013, for his personal identity), No End (2013, a fat didone), Ethon Serif (2013, a perked up serif typeface for Penguin Books), Kasai Est (2011, for the Congo-based Kasai Est Magazine), Festival De Film Documentaire (2011), Nevenka (2011, condensed sans).
In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days. Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak co-designed the very humanist sans family Saya FY and Saya Semisans FY. Adrien Midzic and Joana Correia co-designed Saya Serif FY (2015).
At the free font cooperative Velvetyne, he published the sans typeface Lack (2014).
In 2015, he made the 3-style sans typeface Suber for an art fair in Paris. The roman transitional typeface Bota Serif (2015), which was inspired by Cochin (designed by Charles Peignot in 1912) is a custom font designed for Hotel des ventes de Poitiers. In 2017, it was finally released for retail.
In 2016, Adrien designed the bold titling typeface Debeo and the modern condensed Latin/Arabic typeface 29LT Adir (with Naji El Mir; at 29 Letters).
In 2017, he published the piano key typeface Mixal, which became a large experiment on variable fonts and is free for everyone.
Typefaces from 2018: Kern, Kern Office (a sans with some Futura features), Forno (sans), VTF Lack (a free single weight monoline geometric sans for Latin, Greek and Cyrillic, published by Velvetyne), Metal (an all caps multi-width variable font originally designed for marché Dauphine), Orelo (a 120-style high-contrast fashion mag font family).
Typefaces from 2019: Shrill, Gangster Grotesk, Stupid (a hacker / hipster font), Kern (geometric sans).
In 2015, he published the connected swashy script typeface Octavia Script, the brush scripts Carbonera and Shallom, the hand-lettered Vanilla Daisy Script and Mightype, the watercolor script Hollycakes, and the connected Brayden Script (and Sans).
Typefaces from 2016: Drustic Daily, Karlberg Script, Ecosmith Script, Halosense Script (calligraphic), Lunar Cone (connected layered script), Clarkson Script, Salvador Script, Salvador Serif, Salvador Condensed, La Venice Script (retro signage lettering).
Typefaces from 2017: Clarkson Script (brush lettering), Bignord Vintage (with Fauzan Rafhy), Douglas Collection (12 fonts: Aaronade Script, Ancaster Script, Burlington, Calgury, Montreal Rounded, Morphic 60s, Norwood Old, Ogdensburgh, Palmeira, Rutland Extended, Wolves Sans, Wolves Serif), Almost Lover, Rhythmic Dances (rough script), Sevastian (layered font set), Rustling Trees (dry brush), Little Karla Script.
Typefaces from 2018: Figuera Variable (a late Victorian, early art nouveau typeface family; variable font format), Brignola (a calligraphic penmanship script), Eastside Brush (a brush signage script done with Angga Kristiandri), Marshfield, 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).
Tallinn, Estonia-based designer of IDA Display (2018, a variable font that reacts to music) and Sveta Bold Condensed Display (2018, for Latin and Cyrillic), which was developed for the branding of Tallinn Music Week 2018. [Google] [More] ⦿
Prague, Czechia-based designer of these typefaces:
Paris-based graduate of the Type Media program at KABK in Den Haag, The Netherlands, class of 2019. His graduation typeface is Picardy, a variable font designed for the web. Github link. [Google] [More] ⦿
Member of the Contrast Type Foundry in Moscow.
In 2019, Maria Doreuli and Anna Khorash released the variable font CoFo Peshka at Future Fonts. Inspired by the industrial and military lettering in the Soviet era, it is named after the Pe-2 aircraft also called the Peshka. CoFo Peshka features weight and width axes.
In September 2014, Apple announced the imminent arrival of the Apple Watch, which came with a new neo-grotesque sans-serif typeface developed in house. It has a legible, open DIN-like look, but the name of its designer was not released. The 35 fonts are grouped into subfamilies San Francisco Text and San Francisco Display, and are available to designers of Apple Watch applications here.
The reaction of the curmudgeon society, aka The Typophiles, is quite predictably negative, with opinions including Susan Kare's original San Francisco (also done for Apple) was better [note: Kare's was a ransom note font]. I really wonder why the typophiles bother---it's not their magazine or their web page---companies are free to use anything they like, including "not wasting a lot of effort on new typefaces".
Some San Francisco fonts are free from Apple's web site. These come in four groups, SF Pro Text, SF Pro Display, SF Compact Text, and SF Compact Display. Developed between 2015 and 2017, these fonts have become the Apple System fonts for basically all Apple machines. San Francisco has gradually replaced most of Apple's other typefaces on their software and hardware products and for overall branding. It was the original system typeface of watchOS and tvOS and has replaced Helvetica Neue and Lucida Grande as the system typeface of macOS and iOS since OS X El Capitan and iOS 9. Apple uses it on its website and for its product wordmarks, where it replaced Myriad Pro. It is also used on the keyboard of the 2015 MacBook and on the 2016 MacBook Pro, replacing VAG Rounded. It is also used as Apple's corporate typeface. Apple restricts the usage of the typeface by others. It is licensed to registered third-party developers only for the design and development of applications for Apple's platforms.
The San Francisco typeface has four variants: "SF" (or "SF UI") for macOS, iOS, and tvOS; "SF Compact" for watchOS; "SF Mono" (based on SF Compact) for the Xcode application; and "SF Serif" for Apple Books. The main difference is that the sides of letters with round shapes, such as o, e, and s, are round in SF, whereas they are flat in SF Compact. The flat sides allow the letters to have more space between them, thereby making the text more legible at small sizes, which is particularly important for the Apple Watch. Both SF and SF Compact each have two optical sizes: "display" for large and "text" for small text. Compared to display, the letters in text have larger apertures and more generous letter-spacing. The operating system automatically chooses the display optical size for sizes of at least 20 points, and the text optical size otherwise. Additionally, included in macOS Sierra and iOS 10 is a new variant named "SF Compact Rounded". It is used in the new contact placeholder icons introduced in the OSes. The "SF Serif" variant was showcased in June 2018 when the all-new Apple Books app was introduced. This variant is exclusive to Apple Books in iOS 12 and macOS Mojave, is not mentioned in Apple's Typography design guidelines, and is not publicly downloadable like other variants of the San Francisco typeface.
Open Font Library link where one can download the SF UI Text family (2015).
Postscript: The 2014 San Francisco font should not be confused with Susan Kare's ransom note bitmap font San Francisco which was created in 1984 for Apple. An official TrueType version was never made, and Kare's San Francisco was rendered obsolete with the arrival of Apple's System 7.
Wikipedia link. Apple font download site where one can find San Francisco Compact (this sans-serif typeface is the system font for watchOS, and includes a rounded variant), San Francisco Pro (this sans-serif typeface is the system font for iOS, macOS, and tvOS, and includes a rounded variant), and New York (a large transitional typeface family with optical and width sizing; 2017-2018). 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] ⦿
Or Aleksey Popovtsev. Graphic designer in Kiev, Ukraine, who made Jheronimus (2019: a neo-humanistic grotesque variable font), Ezlo Sans (2019) and the commercial sans typeface Rothko (2018) for Latin and Cyrillic. Earlier, in 2016, he published the Latin / Cyrillic sans typeface Nachalnaya. Rentafont link. [Google] [MyFonts] [More] ⦿
Arthur Reinders Folmer
During his studies in Szeged, Hungary, Balazs Szemmelroth designed the multistyle geometric sans typeface family Balage (2016) and the free typeface family Sometimes (2018).
Visual designer in Tirana, Albania, who specializes in technologically-inspired designs. In 2019, together with Mathieu Desjardins, he created the wonderful typeface Neue Machina, which features deep ink traps in a technical / monospaced / geometric body. Neue Machina is destined to win many major type design awards. [Google] [More] ⦿
Benjamin Blaess (Blah, Strasbourg, France) is a graphic designer and letterer. During a summer course called Type@Paris (2015), under the guidance of Jean Fran&ccdil;ois Porchez, Malou Verlomme and Mathieu Réguer, Benjamin Blaess created Brambly, a text typeface with calligraphic tension.
In 2019, Ilya Naumoff and Benjamin Blaess co-designed the variable font Grtsk at Black Foundry. Its three axes, weight, width and slant, combine for 126 styles, that are all captured in one variable font. [Google] [More] ⦿
Bernd Volmer is a graphic and type designer from Germany. Before attending type and media, he graduated with a BA in 2011 from the ArtEZ in Arnhem. During this time he also did an internship at Atelier Carvalho Bernau and developed his knowledge and interest in type design and typography. After graduation he started as a freelancer.
In 2013, he graduated from the Type & Media program at KABK, Den Haag. His graduation typeface, Curtis, is based on broad nib calligraphy, and manages in its palette of styles to cover the broad ground between powerful German expressionist display types and very readable text types. In my view, it is the best of the twelve typefaces of the graduation class.
In 2010, Bernd Volmer and Ateleir Carvalho Bernau published the free typeface Jean-Luc, which is named after Jean-Luc Godard. Carvalho / Bernau write: We didn't find out who originally made the lettering for these two movies. Some speculate it could have been Godard himself---Godard's interest in graphic design and typography is clear, with many of his other films employing such strong typography-only titles and intertitles. They are almost a self-sufficient entity, another character in the movie, another comment. This style of lettering is so interesting to us because it is such a clear renunciation of the pretty, classical title screens that were common in that time more conservative films. It has a more vernacular and brutishly low-brow character; this lettering comes from the street. We can not prove this at all, but we think it may be derived from the stencil letters of the Plaque Découpée Universelle (or PDU), a lettering device invented in the 1870s by a certain Joseph A. David, and first seen in France at the 1878 Exposition Universelle, where it found broad appeal and rapid adoption. We think this style of lettering was absorbed into the public domain vernacular of French lettering, and that the 2 ou 3 choses titles are derived from these quotidien lettering style, as it would seem to fit Godard's obsession with vernacular typography.
In 2019, he published the two-axis (weight and serifs) variable font Seraphs.
Typefoundry in Paris, est. 2016 by Jérémie Hornus, who is the design lead. Type designers associated with Black Foundry include Alisa Nowak and Ilya Naumoff. They initially bought the font collection of FontYou. Typefaces not included in the original FontYou collection:
CJ Dunn has a background in graphic design and typeface design, and currently works on typefaces for Font Bureau. He is a graduate of Type@Cooper, a postgraduate certificate program in typeface design, where he also assisted Sumner Stone & Sara Solskone in teaching typeface design. He started TypeNY.com to keep track of type related events in New York City.
In 2017, he designed 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. Speaker at ATypI 2016 in Warsaw on A Proposal for a Common EULA. [Google] [More] ⦿
Swiss designer Bruno Maag (b. Zürich) founded Dalton Maag in 1991, and set up shop in Brixton, South London. He serves the corporate market with innovative type designs, but also has a retail font line. Ex-Monotype designer Ron Carpenter designs type for the foundry. In the past, type designers Veronika Burian worked for Dalton Maag. A graduate of the Basel School of Design, who worked at Stempel and was invitedd by Rene Kerfante to Join Monotype to start up a custom type department. After that, he set up Dalton Maag with his wife Liz Dalton. He has built the company into a 40-employee enterprise with offices in London, Boston, Brazil (where the main type designer is Fabio Luiz Haag), Vienna and Hong Kong.
Fonts sold at Fontworks, and through the Bitstream Type Odyssey CD (2001). At the ATypI in 2001 in Copenhagen, he stunned the audience by announcing that he would never again make fonts for the general public. From now on, he would just do custom fonts out of his office in London. And then he delighted us with the world premiere of two custom font families, one for BMW (BMWType, 2000, a softer version of Helvetica, with a more virile "a"; some fonts are called BMWHelvetica), and one for the BMW Mini in 2001 (called MINIType: this family comprises MINITypeRegular-Bold, MINITypeHeadline-Regular, MINITypeHeadline-Bold, MINITypeRegular-Regular).
Other custom typefaces: Tottenham Hotspur (2006), Teletext Signature (by Basten Greenhill Andrews and Dalton Maag), Skoda (Skoda Sans CE by Dalton Maag is based on Skoda Formata by Bernd Möllenstädt and MetaDesign London), UPC Digital, BT (for British Telecommunications), Coop Switzerland (for Coop Schweiz), eircom, Lambeth Council, Tesco (2002), PPP Healthcare, ThyssenKrup (Dalton Maag sold his soul to these notorious arms dealers; TK Type is the name of the house font), Co Headline (2006), Co Text (2006, now a commercial font), Telewest Broadband, Toyota Text and Display (2008), TUIType, HPSans (for Hewlett-Packard, 1997). His custom Vodafone family (sans) (2005) is based on InterFace. In 2011, Dalton Maag created Nokia Pure for Nokia's identity and cellphones, to replace Erik Spiekermann's Nokia Sans (2002). The Nokia Pure typeface has rounder letters, and is simultaneously more legible and more rhythmic.
In 2010, the Dalton Maag team consisted of Bruno Maag and David Marshall as managing and operations directors, and Vincent Connare as production manager. The type designers are Amélie Bonet, Ron Carpenter, Fabio Haag, Lukas Paltram and Malcolm Wooden.
In 2015, Kindle picked the custom serif font Bookerly by Dalton Maag for their typeface. Still in 2015, Dalton Maag custom designed the sans typeface family Amazon Ember for Amazon for use in its Kindle Oasis. Free download of both Amazon Ember and Bookerly.
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.
Venn (2019, Bruno Maag). A 5 weight 5 width corporate branding sans typeface, with an option to get Venn Variable.
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] ⦿
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, and the variable sans typeface Melange. [Google] [More] ⦿
David Berlow (b. Boston, 1955) entered the type industry in 1978 as a letter designer for the Mergenthaler, Linotype, Stempel, and Haas typefoundries. He joined the newly formed digital type supplier, Bitstream, Inc. in 1982. After Berlow left Bitstream in 1989, he founded The Font Bureau, Inc. with Roger Black. Font Bureau has developed more than 300 new and revised type designs for The Chicago Tribune, The Wall Street Journal, Entertainment Weekly, Newsweek, Esquire, Rolling Stone, Hewlett Packard and others, with OEM work for Apple Computer Inc. and Microsoft Corporation. The Font Bureau Retail Library consists mostly of original designs and now includes over 1,000 typefaces. In a video made for Mike Parker's TDC medal in 2011, Mike Parker says that David Berlow is the most talented type designer he ever met. David lives in Martha's Vineyard.
At ATypI 2004 in Prague, David spoke about Daily types. At ATypI 2009 in Mexico City, he spoke on The heart of my letter, (and the online version). Since that time he has been very active and vocal on the issue of high quality web fonts. Speaker at ATypI 2011 in Reykjavik and at ATypI 2014 in Barcelona.
David Berlow Type Specimens (free pdf). Another type specimen booklet. Interview by A List Apart in 2009. Speaker at ATypI 2010 in Dublin. FontShop link. www.typovideo.de/david-berlow. David Berlow on web fonts. Interview by The Boston Globe. His typefaces:
David Jonathan Ross
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:
DJR Type (Conway, MA, and before that, Deerfield, MA, and before that Los Angeles, CA, and before that, Lowell, MA) stands for David Jonathan Ross Type. Originally from Los Angeles, he was a student at Hampshire College in Amherst, MA, where he studied information design and typographic tradition. In 2007, he joined Font Bureau as a junior designer and was assisting with custom projects and expanding Font Bureau's retail library. Soon after that, het set up DJR Type. In 2016, DJR Type joined Type Network and pulled all his typefaces from MyFonts. He also runs Font of the Month Club.
In 2018, he was the tenth winner of the Charles Peignot Prize. His typefaces:
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] ⦿
Buenos Aires-based graphic designer and prolific type designer who runs Graphic Design Firm. Since 2005, he has been teaching typography together with Marcela Romero and Pablo Cosgaya at the Centro Cultural Ricardo Rojas. Behance link. Klingspor link. Fontspace link. Google Plus link. Interview by MyFonts. His typefaces, haphazardly organized:
Eduilson Wessler Coán
Edwina Lee works for the Taiwanese foundry Arphic Technologies. Speaker at ATypI 2013 in Amsterdam How to find or develop matched Chinese typefaces for existing Latin typefaces. She also spoke at ATypI 2017 in Montreal and at ATypI 2018 in Antwerp, where together with Jeff Wu of Arphic she pointed out the challenges of designing variable Chinese fonts. Speaker at ATypI 2019 in Tokyo. [Google] [More] ⦿
Graphic designer from Dortmund, Germany, who is also sometimes located in Iceland. MyFonts lists her last name as Scheider, not Schneider. Her design company is called Elefont. Graduate of the University of Reading in 2011.
Creator of these typefaces: Eskorte (2011, her graduation project), Eskorte Persian (2011), Klebo (2011, mechanical / octagonal), Eskorte Armenian (2011), Paroli (2011, a bold rounded signage face, Die Gestalten), and Biec (2012).
In 2016, Elena Schneider and Miles Newlyn co-designed the almost reverse contrast typeface family New Herman.
In 2019, she published the experimental techno typeface Halunke at Future Fonts and writes: Puffling brings these warm handmade qualities from carving to digital type and variable fonts. For now, we start out small with a single dark weight and a variable width axis going from Extra Condensed to Extended but the family will grow to cover many more weights and support a large character set. [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:
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] ⦿
Etcetera Type Company (or: ETC; was: Finck Font Co)
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), Grandstander Classic (comic book style), Korsque (layered), Bico (a rounded condensed organic typeface).
Typefaces from 2016: Porter Rough, Ichabod (an antiqued serif), Altitude Condensed, Imbue (a condensed didone poster typeface), Retrograde (monoline and monospaced organic sans), Plainview (squarish and fat), Nonesuch (condensed sans), Juju (octagonal layered typeface family).
Typefaces from 2017: Juju (a layerable octagonal typeface family), Ichabod (an eroded typeface), Atiga, Imbue FT (a skyline typeface), Porter FT (his earlier font Porter Sans remade, and rounded styles added), Grandstander Classic.
Typefaces from 2018: ETC Gluten (an organic font family), ETC Epilogue (a variable sans font), ETC Anybody (a 72-style variable font with weight, width and slant axes), Furrow (grungy sans), Cease (techno, squarish).
Typefaces from 2019: ETC Trispace (a variable font with weight and width axes; based on League Mono), ETC Imbue (a variable font version of Imbue with a variation in optical size from Text to Display), ETC Tourney (variable font, playing on outline versus inline), Struthio (a rounded sans).
Alternate URL, called The League of Movable Type. Typedia link. Kernest link. League of Movable Type link. Creative Market link, Klingspor link. Dafont link. Home page. Creative Market link. Abstract Fonts link. Google Plus link. YWFT link. Old home page. Behance link. [Google] [MyFonts] [More] ⦿
Fabio Haag Type (was: ByType, and: Foco Design)
ByType is the type subdivision of Foco Design, the Brazilian design company of graphic and type designer Fabio Luiz Haag (b. 1981, Taquara, Rio Grande do Sul), located in Sapiranga, Rio Grande do Sul. Fabio Haag designed FH After (2006, futuristic display typeface to which After Text and After Headline were added in 2007), FH Foco (2003) (a large x-height sans), this futuristic typeface (2003), and Minas Headline, a custom family made for the government of Minas Gerais. He was working on this display font (2005).
Designer (with Jonas Schudel) of a grotesque sans at Dalton Maag, 2007-2009, called Effra, which was inspired by a 1816 design from the Caslon font foundry. Discussion at Typophile. Followed in 2013 by Effra Corp (Dalton Maag) which also supports Greek and Cyrillic.
In 2007, he created the organic sans typeface IronThree.
Cordale (2008) is a workhorse serif typeface jointly done with Lukas Paltram at Dalton Maag. Cordale Corp, the corporate edition, includes Latin Extended A, Greek and Cyrillic characters sets. Cordale Arabic was published in 2013.
In 2009, Foco Italics was published.
At ATypI 2009 in Mexico City, he spoke about Dalton Maag and about the elements necessary to make it in the type business today.
In 2012, the Dalton Maag Brazil team designed the font for the Rio 2016 Olympic Games The 5448-character connected script font Rio2016 was developed by Dalton Maag Brazil, and involved a team that includes Fabio Haag, Fernando Caro and Gustavo Soares. Beth Lula is the Branding Director of the Rio 2016 Olympic and Paralympic Games Organising Committee. Passages of the press release: Each letter expresses a characteristic of Rio 2016 Games, its people and city. The letters are written with a single continuous linework, with a fast and fluid movement, suggesting the movements of the athletes in action. The variety of curves in the letters has a unique informality, inspired by the joyfulness of the Brazilian people. Fabio Haag: As a Brazilian typophile, designing the Rio 2016 font was a dream job. This is a milestone for the design scene in Brazil---it's a great example of how type designers can collaborate with graphic designers, sharing their expertise to strengthen an identity.
In 2013, Fabio designed Almaq, a pair of sans display typefaces in cuts called Refined and Rough.
Codesigner with Bruno Mello, Fernando Caro, Rafael Saraiva and Ron Carpenter of Soleto (2014, Dalton Maag), a sans typeface that won an award at Tipos Latinos 2014.
In 2016, Fabio Haag published Lembra at his new typefoundry, Fabio Haag Type, set up after he left Dalton Maag after eight years. Lembra is a sans that was created specifically for branding. It is characterized by tapered terminals. In 2019, a variable font option was added.
In 2017, he designed the 28-unit legible humanist sans variable font family Margem (Fabio Haag Type), which includes a yummy Rounded subfamily. Still in 2017, he developed the sans typeface Sua, which as a variable option.
In 2018, he published pictograms for SporTV, a forceful constructivist font for the World Cup 2018 also for SporTV and Furacão (for Atletico Paranaense).
Typefaces from 2019: Suzano Sans (a commissioned rounded branding typeface done for Suzano).
Fabio Luiz Haag
Las Palmas de Gran Canaria, Ampuero and Laredo, Spain-based designer (b. 1971) who set up deFharo. Creator of the monoline sans typeface Depez (2011), Fabada (2011), and the free monoline geometric sans typeface La Chata (2011). La chatte, in French? Maybe not.
In 2011, he made the monoline organic sans typeface Lerótica (free at OFL).
In 2012, he created Nabatea (stone chisel typeface), V de Vacia (a grungy outline face), Sabática (organic), the straight-edged data style typeface Gabardina, the grotesk typeface A Bebedera, the shadow typeface B de Bonita, D Puntillas, and the deconstructed Qebrada.
In 2013, he designed Yacarena Ultra, H.H. Agallas, Nacimiento (a dymo label font), J Airplane Swash (a psychedelic typeface named after Jefferson Airplane), CA Garrutas (grunge), CA Gatintas (grunge), I Am Telefono (the largest phone dingbat and scanbat typeface on earth), Wach Op-Art (kaleidoscopic icons), K.O. Activista, I Am Hueca, X Template (stencil), H.H.Samuel (rounded sans), U2 Metalona (a beautiful white-on-black display face), M F Plexus Italic, J.M. Nexus Grotesque (an "thin inline" fat grotesque), Wachinanga, Tabaquera, Pabellona (grunge), El Pececito (video game font), the poster typeface Hobby of Night (OFL), H2O Shadow (outline version of Fabada), Zabatana Poster (a didone-inspired poster font), Oaxaquena Tall, Yacimiento (wood style wedge serif), and Rabanera.
Typefaces from 2014: Babalusa Cut, A Cuchillada, Sabandija (a plump round display typeface), F2 Tecnocratica, F1 Secuencia Quad (pixel face), La Pejina FFP (bilined), Tabaiba Wild, Gabachita (ultra-condensed rounded sans).
Typefaces from 2015: Tabarra Pro (Swiss style sans family for Latin, Cyrillic and Greek), A Sogra Ruth (ultra-condensed art deco), Gaban (an outline version of Tabardo), Tabardo (a heavy blocky font), Wacamoler Caps (a Tuscan typeface inspired opening credits of the Western movie Winchester '73 directed by Anthony Mann in 1950), Ubicada (condensed geometric sans), Rabiosa (neurotic font), Zacatecas (condensed shaded sans), F3 Secuencia Round, La Babaca (a powerful black condensed sans in the style of Impact), Obcecada Sans + Serif (condensed with almost disappearing descenders), Eacologica Round Slab (a nice commercial font with an incomplete set of numerals), Palim Script (curly), Vacaciones (signage face), de La Cruz.
Typefaces from 2016: Yugoslavia (calligraphic), Love Box (stencil), Cienfuegos (connected retro script named after the Cuban her Camilo Cienfuegos), Gaitera Ball (round fat script), The Black Box (a retro banner font), Durum Kebab (shadow sans), Jolgoria In Town (script), Yerbaluisa (signage script), Escobeta One (brush script), Posteratus Rex, Bastardilla (a cursive font), Rotulona Hand, The Juke Box (retro juke box lettering), Angelique Rose (connected monoline script), Promenades, Bucanera (a swashbuckle font), Lucemita, Panama Road (a casual calligraphic font), Deslucida, Disoluta, Sucesion Slab, Tabarra Pro Round, Qebab Pro Shadow, Monserga (white on black), Indulta SemiSerif.
Typefaces from 2017: Partizano Serif (a retro poster font; free demo), Jack Stanislav (a great condensed movie poster font), Fontanero (rounded fat sans), Yonky (fat slab serif), Zigzageo, Libertatus (manual serif fonts based on a Czech poster from 1935), Libertatus Duas (slab serif), Flamante Sans, Flamante Serif, Flamante (Round, SemiSlab, Stencil, Seca, Cairo, Roma), Seisdedos Dead (rough stencil fonts), Neo Latina (stencil), Carta Magna (blackletter), La Sonnambula (signature script), Bola Ocho (an eightball font), Clandestina (textured, layered), Acratica (signage script), Penitencia Inline, Autarquica (outlined vernacular style), Caminata One (shaded signage typeface), Sin Razon (wedge serif), Glotona Black and White (a layered tattoo style font duo), Glotona Dots (the textured versions of Glotona), 6th Aniversario, Tribal Box (squarish sans, with tattoo ornaments and a great environment for borders), Candy Pop (bubblegum font), Sargento Gorila (army stencil font), Libertinas + co (a curly calligraphic script; the free version has no numerals).
Typefaces from 2018: Gudariak (a free color SVG font: Vicente Ballester Marco (Valencia 1887-1980) was a graphic designer and Valencian poster artist affiliated with the CNT (Confederacion Nacional del Trabajo) who created political propaganda posters of clear modernist and post-cubist influence during the Spanish Civil War. The Gudariak typeface is inspired mainly by one of the posters he made for the Government of Euskadi and also in others where the author continues to explore this particular typographic style. ), Farisea Fraktur, Octuple Max (techno), Ordeal Eroded, Panfleta Stencil, Secuela (free), Fragua Pro (condensed sans family), Getho (a geometric semi-sans), Cowboya Tuscan (a curly Tuscan circus font), Txuleta Deco (a striped art deco typeface), Coltan Gea (slab serif), Getho Semi Sans, Cowboys (a Tuscan typeface), Drystick Geo Grotesk, Diezma, Grifa Slab, Coltan Gea (slab serif family), Paloseco (geometric and grotesk), Stoica (a color SVG font), Letrera Caps (a rounded square style layered and color font that pays homage to the sans serif inline genre), Enagol Math (a condensed rounded slab serif based on carefully applied mathematical ratios), Heptal, Velocista, Octagen Condensed, Octagen Black, Sextan Serif, Sextan Cyrillic, Quickat (signage script), Octagen (condensed sand with short descenders), Wolframia Script (flowing handwriting), Pentay Slab, Pentay Sans, Pentay Book, Cuatra, Judera (Flat and Ring: monospaced, unicase and totally sqaurish), Quotus (slab serif), Tripleta Grotesk (a 16-style geometric sans family).
Typefaces from 2019: Pervitina Dex (sci-fi), Megalito Slab, Obesum Caps, Jane Roe (sans), Icons Opentype, Felona (stencil: a variable font), Neo Fobia, Bocartes Fritos (food icons), Red Thinker (a squarish monoline sans), Pena Caldaria (blackletter).
Designer of the free font family Space Text or Space Grotesk (2016), which is based on Colophon's space Mono. In 2019, he published FK Roman VF, a variable font with a weight and optical size axis. Other retail typefaces include FK Display, FK Screamer, and FK Roman.
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] ⦿
Franziska created the text typeface Porta Serif and the science journal text typeface Sphera in 2014. Her graduation typeface at KABK in 2016 is the expressionist Kaligari. It comes in six styles---in its genre, it is the best digital German expressionist typeface published to date.
In 2018, Michael Hochleitner, Christoph Schütz, Simon Liesinger and Franziska Weitgruber co-designed Gretel Script at Typejockeys. This optically sized three-style typeface is based on the hand of calligrapher Natascha Safarik.
Still in 2018, she published Gig at Future Fonts. Gig is monolinear retro felt pen script in the style of Roger Excoffon's Banco.
Typefaces from 2019: Antonia (a variable headline text typeface by Franziska Weitgriber and Michael Hochleitner at Typejockeys; a 64-style font family with optical sizing from headline H1, H2, and H3 to Text, with a variable font added to the mix), Roba (a typeface family in which Franziska experiments with stress and counter-stress, form and counter-form), Nikolai (an elegant display family). [Google] [MyFonts] [More] ⦿
During her studies in Monterrey, Mexico, Nueva Leon-based Frida Medrano created the creamy didone display typeface Kalnia (2014). In 2017, she designed the free "variable font" Fraktur typeface Jabin.
Recipient of The Society of Typographic Aficionados Catalyst Award in 2018. She now cooperates in type design projects at TypeMade. [Google] [More] ⦿
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).
Geen Bitter (Den Haag, The Netherlands) consists of Thom Janssen (b. 1984, Maastricht), Jorn Henkes and Rogier van der Sluis. All three are graduates of the Graphic Design course at the Royal Academy of Art in The Hague, The Netherlands. Thom Janssen is a graduate of the TypeMedia program at the KABK in The Hague in 2017. The work of Geen Bitter has a strong typographical influence and covers designing typefaces, books, websites and identities, all with a typographic approach. Late in 2014, Geen Bitter disbanded. Thom currently works as a freelance type designer and as a researcher at PXL, Hasselt University, Belgium.
In 2013, they published Gewone letters Gerrit's early models. The blurb: A couple of years back, while cleaning the letterpress workshop at the KABK in The Hague, we had an amazing find. A package that hasn't been opened for some time. We opened it and found eighteen printing plates in mint condition. The printing plates, we soon found out, were made by Gerrit Noordzij and date back to the late 1960s. They contain a brief lesson about writing with the broad nib and, once familiar with this basis, writing and drawing some different techniques. Since it seemed the plates are never published before, we decided to do so and made a book containing prints from the plates. Next to the plates we asked former students if they still had old work and sketches with comments by Gerrit Noordzij. The result is a collection of sketches and material, together with five writings about the plates, Gerrit Noordzij and his contribution to the field of type and typography. The text has contributions by Albert-Jan Pool, Frank E. Blokland, Aad van Dommelen, Huug Schipper, and Petr van Blokland. It was published in 2013 by Uitgeverij De Buitenkant, Amsterdam.
Their commercial typefaces:
Creator of the free artsy font Wanta (2008), of Resagnicto (2010), of Rawengulk (2010), of Rawengulk Sans (2011), of Reswysokr (2011), of the bold slab serif typeface Zantroke (2011), and of the free calligraphic typefaces Odstemplik (2009), promocyja (2008) and Konstytucyja (2008).
He published the elegant serif family Foglihten (2010), which includes the inline typefaces Foglihten No. 1 (2011), Foglihten Fr02 (2011), Foglihten No. 3 (2011) and Foglihten No. 4 (2012). The latter is inspired by the Polish Constitution of May 3, 1791. Foglihten Petite Caps Black (2012) and Foglihten Black PCS (2012) are high-contrast fat didone typefaces, minus the ball terminals. The series continues with Foglihten No. 6 (2012) and Foglihten No. 7 (2013).
Qumpellka No 12 (2011) is a flowing italic. Opattfram01 (2011) is a dingbat typeface with onamental patterns. The Okolaks family (2008) has a bit of an art deco feel. It covers East-European languages as well as Cyrillic. Sportrop (2008) is a neat multiline face. Gputeks (2008) is a delicate decorative face. Szlichta07 (2008) on the other hand is an experimental typeface based on tilting the horizontal edges about ten degrees up. Kawoszeh (2008) is a curly Victorian pre-art nouveau face. Spinwerad (2009) and Itsadzoke S01 (2010) and Itsadzoke S02 are display didones. Znikomit (2011) is an impressive lachrymal hairline slab face. See also Znikomit No. 25 (2012) and Znikomit No. 24 (2012; image by Benjamin Frazzetto).
Typefaces from 2014: VECfont FogV4, EtharnigV (a bi-colored font), Risaltyp, Wabroye, Kleymissky, Sortefax (an outline font with engraved versions as on dollar bills), Dragerotypos (blackboard bold), Resamitz.
Typefaces from 2015: Prida 36, Sudegnak No. 3 (script), Vecfont Sudegnak (cartoonish), PridaEn (a vector font for color), Prida S4, Prida01, Prida02 Calt.
Typefaces from 2016: BroshN, Tofimpelik (+Candy), Prosh3, Digitalt, Agreloy (a lovely curly Victorian typeface), Gluk Mixer (ransom note font), Fogtwo No 5.
Typefaces from 2017: Prosh 4B (a variable color font), BroshK2 (an origami style color font, in OpenType SVG format), Fuetargio (a multiline bejeweled typeface).
Typefaces from 2018: Rostef (all caps titling typeface), Fogthree.
Typefaces from 2019: Liserif (a kinetic SVG font).
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] [More] ⦿
Graduate of the KABK in Den Haag in 2008 (Masters in Type and Media), and from the University of Reading in 2007 (Masters in Information Design). He joined dooType in 2016. Originally from Sao Paulo but now based in Rio de Janeiro, he created these typefaces:
Dutch graphic designer, b. 1978. Graduate of the Gerrit Rietveld Academy, who started her own studio in Amsterdam in 2003. She creates alphabets, textures and patterns, both digitally and manually, that she applies to designs for posters, illustrations and public space art works such as gates and floors. In 2017, she developed an experimental typeface called Wind at Typotheque. Technically produced by Peter Bilak, there is variable font version by Thom Janssen. [Google] [More] ⦿
Henrique Beier (Harbor Type, Porto Alegre, Brazil) is the designer of the excellent angular semi-calligraphic text typeface Garibaldi Regular, which won an award at Tipos Latinos 2014. In 2015 it was extended to a great 7-style typeface family. He writes: Garibaldi is a text typeface based on humanist calligraphy. It started with a desire to learn more about the origin of the strokes on humanist typefaces. It features a 20 degree axis, medium contrast based on translation and expansion, asymmetric serifs, and terminals related to the broad nib stroke.
In 2014, he created the free font Densia Sans, which is condensed and has a tall x-height and some contrast. Graviola (2014) is a soft sans family, with possible applications in information design and wayfinding. It won an award at Tipos Latinos 2016.
In 2016, he published Graviola Soft, an even softer version. He also published the fresh corporate sans typeface family Malva, which can be recognized by the typically Latin American curvy tail on the lower case a and l. Malva was a winner at Tipos Latinos 2018. A variable font option was added in 2019.
In 2017, Henrique Beier published Rocher, a wonderful layered stone emulation font, Flintstone style. It won an award at Tipos Latinos 2018. He has a free variable color version with bevel and shadow axes, Rocher Color (2018).
In 2019, Henrique Beier and Ana Leydner, assisted by Luisa Leitenperger, co-designed Kiperman at Harbor Type. This sturdy 4-style text typeface family pays homage to Brazil's publishing icon Henrique Leao Kiperman (d. 2017). Harbor Type also released the branding and pacakaging sans typeface family Dona in 2019. [Google] [MyFonts] [More] ⦿
A large free font family created by Mike Abbink and Bold Monday (Paul van der Laan and Pieter van Rosmalen) for IBM's new corporate identity in 2017. It includes the IBM Plex Sans, IBM Plex Serif, IBM Plex Sans Variable, and IBM Plex Mono subfamilies. Aneliza (2018) is a fork that has a single storey g in the italics.
A later modification / fork is Perplexed by Peter Hull in 2018.
Github link. IBM link. Direct download at Github. CTAN link. Local download. IBM Plex Mono at Google Fonts. IBM Plex Sans at Google Fonts. IBM Plex Sans Condensed at Google Fonts. IBM Plex Serif at Google Fonts. CTAN link for TeX support.
Owen Earl (Indestructible Type, Seattle, WA) takes a new look at old classics. He reinvents them from scratch, and redesigns each glyph very carefully. Some of his work is completely free, and other typefaces are commercial. His fonts:
Insigne Type Design Studio (was: Dooley Type)
Insigne Type Design Studio (est. 2006) is run by Jeremy Dooley, b. Columbia, SC, 1981, who received a masters in graphic design at Savannah College of Art and Design in 2005. He lived in Atlanta, GA, and is now in Knoxville, TN. From 2004 until 2006, he ran Dooley Type in Greenville, SC. Behance link. Klingspor link. Font squirrel link. Creative Market link. MyFonts interview. His fonts:
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.
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.
James T. Edmondson
While living in Karlovy Vary, Czechia, Jan Sindler designed Rodak (2014, a rounded sans typeface) and Maturia (2014, an ink-trapped school project typeface family that was influenced by Rathousky's Metron).
Recently, he joined Lucasfonts in Berlin. At Futurefonts, he published Rotor (2019), a monospaced typeface with an axis for rotating glyphs on the X axis, as if in three-dimensional space. [Google] [More] ⦿
Jason Pamental (Rumford, RI) is Senior Director of Design and Technical Strategy at Isovera, where he heads the design and development team, leads workshops, and works with clients establishing their digital strategy. Jason specializes in typography for the web.
Jeff Wu is the General Manager of Arphic Technology. He has led Arphic R&D Division for more than 20 years. His specialties are development of font technology and products. Also, he is familiar with font design and application in versatile devices. He worked as a Software Engineer and Manager of Software department in Mitac Internationl Corp. before Arphic. He received his B.S and M.S degrees in computer science from National Chiao-Tung University of Taiwan. Speaker at ATypI 2018 in Antwerp on Chinese font design: There are about twenty-eight thousand Chinese characters that need to be designed. The average number of strokes in a Chinese character is 12. In Arphic JingXi Hei, for example, the average number of control points for each stroke is about 100. Therefore, there are about 33,600,000 control points to deal with when developing a Chinese typeface. When creating a Variable Font, the control points of every pole of every axis need to correspond, so it is a huge work to design, test the transfer to a Variable Font, and fix the design and control points. In this talk Jeff Wu shares the problems he met in developing Chinese Variable Fonts and how he overcame them: 1) The traps that must be avoided when designing strokes. 2) How many axes are proper for Chinese typefaces? 3) When transfering to Variable Fonts, how to set up the parameters of each table. 4) How to avoid different results when setting up the same parameter on different platforms (OS, browser, applications).. [Google] [More] ⦿
San Francisco-based designer of the free variable font Barlow (2017). He writes: Barlow is a slightly rounded, low-contrast, grotesk type family designed by Jeremy Tribby. Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. The family includes 54 manually-hinted styles in three widths and nine weights, as well as obliques, suitable for large and small digital and print use. Customizable weights and widths are available via the included variable font (GX) file. Barlow is named after internet pioneer, EFF co-founder, songwriter, and activist John Perry Barlow, in tribute to his lasting impact on the information superhighway. The original motivation was to replace the DIN Engschrift font currently used by the Eletronic Frontier Foundation by an open source font that does not look too different.
Trece Martires, Philippines-based designer of the colorful decorative caps typefaces Pinas, Habi and Habi Pinas, as well as Florida (2019) and Military Industrial (2019). In 2019, he designed the corporate font Stanley Black&Decker and the variable sans typeface Dinamika. [Google] [More] ⦿
Some fonts: Altogether OOky, Addams-AltogetherOoky, Addams-Capitals, Addams-Regular, CCBithead-Bark, CCBithead-Byte, CC Bryan Talbot (2008, created for Bryan Talbot's Alice in Sunderland), CCHooky-Open, CCHooky-Solid, CCAlchemite, CCChills, CCDigitalDelivery, CCDivineRight-Regular, CCDoubleBack-Future, CCDoubleBack-Past, CCElsewhere-Regular, CCFlameOn, CCFrostbite, CCGrimlyFiendish-Regular, CCJimLee, CCJoeMadInt, CCLosVampiros, CCMeanwhile, CCMeltdown, CCMonsterMash, CCSpills, CCSplashdown, CCStormtrooper (1997), CCTheStorySoFar-Regular, CCThrills, CCToBeContinued, WildAndCrazySFX. With Richard Starkings, he designed Achtung Baby (2001), Adamantium and DoubleBack in 2001 for Agfa/Monotype. Other designs: Dave Gibbons (2006), UpUpAndAway (2005), Forked Tongue (2005), Paranoid Android (2005), Snowmany Snowmen (2005), Gibbous (2006), Astronauts in Trouble, Chatterbox, Red Star, Tough Talk, Sean Phillips, Atomic Wedgie, Pass The Port, Divine Right, Shoutout, Battle Scarred, Danger Girl, Primal Scream, PhaseSonStun, Yeah Baby, Nuff Said (2005), Trick Or Treat, MonsterMash, CarryOnScreaming, Chills, Goosebumps, CreepyCrawly, GrimlyFiendish, IncyWincySpider, Spookytooth, Meltdown and TrickOrTreat dingbats, BiffBamBoom, Spellcaster, Cheese And Crackers, FaceFont, Hedge, Meanwhile, Wildwords International, Comicrazy, Storyline (2006), Happy Holidays (2007), Foom (2007).
MyFonts sells these fonts by him: Adamantium, Alchemite, Altogether Ooky (vampire script), Area51, Aztech, Battle Cry, Bithead, Chills, Dave Gibbons, Dead Mans, Destroyer, Digital Delivery, Divine Right, Drop Case, Elsewhere, Euphoria, CC Fairy Tale (2007), Face Front, Fighting Words, Flame On, Foom, Frostbite, Gibbons Gazette (2009, Gobbledygook, Golem (2002), Grimly Fiendish, Happy Holidays, Hellshock, Hip Flask, Holier Than Thou, Hooky, Hyperdrive, Joe Kubert, Meanwhile, CCMild Mannered (2007), Monologous, Near Myth, Overbyte, Phat Boi, PhilYeh, Rough Tongue, Sanctum Sanctorum, Scott McCloud, Smash, Speeding Bullet, Spills, Splashdown, Spookytooth, Stonehenge Runes, Stormtrooper, Storyline, Thats All Folks, The Story So Far, Thingamajig, Thrills, Tim Sale, Tim Sale Brush, Timelord, Treacherous, Treasure Trove (2007), Up Up And Away, Wild And Crazy, Zzzap, Deadline (2007), Kickback (2007, with David Lloyd), Sticky Fingers (2007, scary).
Typefaces made in 2008: Ratatatat (2008), CC Mad Scientist (2008), HammerHorror (2008), EnemyLines (2008, based on WWII lettering used by the nazis), Cutthroat Lower (2008), Philyeh (2008), Doohickey Lower (2008), CC Sign Language (2008, fruit vendor lettering).
Typefaces made in 2009: SpillProof (2009), Slaphappy (2009), Hooky (2009, spraycan style), Long Underwear (2009), Digital Delivery (2009), Grande Guignol (2003, art nouveau), Bronto Burger (2009), Elsewhere (2009, art nouveau), Exterminate (2009, stone carving face), You Blockhead (2009), CC Rugged Rock (2009),
Creations in 2010: Wild Words Lower (2010), Back Beat (2010), Rick Veitch (2010, based on the lettering of comic book artist Rick Veitch), Credit Extension (2010), Shiver (2010, with Richard Starkings), Shake (2010, with Richard Starkings), Elephantmen (2008-2010, squarish family).
Contributions from 2011: Knobbly Knees, Ed McGuinness (comic book script family), Big Top, Clean Cut Kid, Dash Decent (a very round almost-bubblegum family), Fancy Pants (connected script), Goth Chic (blackletter).
Fonts from 2013: Samaritan and Samaritan Tall (with Richard Starkings), Ghost Town (a family of seven gold rush era typefaces), Colleen Doran (a comic book family: A Distant Soil is a classic bold and beautiful science fiction/fantasy comic book series by creator, writer, artist and letterer Colleen Doran. A Distant Soil is being remastered and re-released by those awfully nice chaps at Image Comics and Colleen commissioned Comicraft to create the definitive bold and beautiful Colleen Doran font, based on her original pen lettering), Mega City (an elliptical in-your-face advertising signage typeface family), Soliloquous (fat rounded hand-printed comic book family), Excalibur Stone, Excalibur Sword, Legendary Legerdemain (+Leggy), Cool Beans (beatnik font).
Fonts from 2014: Shaky Kane (based on the comic books by that name), Resistance Is Lowered (techno), Hero Sandwich Ingedients, Hero Sandwich Combos (a layered set of informal typefaces combined in many ways), Monstrosity (a ghoulish typeface), HighJinks, Onomatopedia, Killzone, Killswitch, Killjoy.
Fonts from 2014: Mike Kunkel (based on the hand of comic book artist Mike Kunkel).
In 2015, John Roshell (Comicraft) created the comic book typeface family The Sculptor based on Scott McCloud's lettering. Other fonts from 2015 include AB Flock Poster, Hypnotique, Samaritan Lower (by Richard Starkings and John Roshell), Graveyard Smash, Maladroit, Extra Extra (pen-lettered newspaper headline font family), Merry Melody, Temporal Shift and Temporal Gap (computer emulation typeface), Temporal Shift and Temporal Gap Expanded, Temporal Shift and Temporal Gap Compressed, Danger Girl Hex (with Jeffery Scott Campbell), J. Scott Campbell Lower (with Jeffery Scott Campbell).
Typefaces from 2016: Victory Speech Lower, Man Of Tomorrow, Thrills, Holy Grail, A Likely Story, Victory Speech, Questionable Things (with Richard Starkings), The Story Begins + Ends, Pixel Arcade (video game font), Schadenfreude (octagonal style), Vengeance Is Mine.
Typefaces from 2018: Metcon (+a stencil version, Metcon Rx), Summer Fling, Samaritan Tall Lower (by Starkings and Roshell), Blah Blah Upper (by John Roshell and Richard Starkings), Ultimatum, Wuxtry Wuxtry (art nouveau), Single Bound (a sans), Evil Doings (by Richard Starkings and John Roshell), Prince of Darkness (a gothic layered font family), Empire State Gothic, Empire State Deco.
Dr. Ken Lunde is Manager of CJKV Type Development at Adobe Systems Incorporated, San Jose, CA. He holds a Ph.D. (1994) in Linguistics from The University of Wisconsin-Madison. He wrote Understanding Japanese Information Processing (O'Reilly&Associates, 1993), and CJKV Information Processing (O'Reilly&Associates, 1999). He also wrote CJKV Information Processing: Chinese, Japanese, Korean&Vietnamese Computing (O'Reilly). In 2010, Adobe will release the first genuinely proportional Japanese font, Kazuraki (by Japanese type designer Ryoko Nishizuka), which was developed at Adobe in 2009 under his management.
In 2018, Ken Lunde and Masataka Hattori co-designed Soukou Mincho (free at Fontsquirrel).
Speaker at ATypI 2019 in Tokyo on the topic of The History of Japan's Era Name Square Ligatures, and in particular, the two-kanji square ligatures for the five most recent eras, Reiwa (2019), Heisei (1989), Shouwa, Taishou and Meiji. [Google] [More] ⦿
Kometa is Christian Jansky's typefoundry 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] ⦿
Kyle Wayne Benson
Graphic designer and sign painter in Tallinn, Estonia. 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 custyom 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.
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] ⦿
Studio in Curitiba, Brazil. In 2018, it designed the bespoke wide sans typeface family Massimo. It is unclear who designed this great typeface---Behance associates it with Jean Wojciechowski, Marcelo de Costa, and Erick Donate. Still in 2018, Jean Wojciechowski designed the free variable font typeface Soulcraft. [Google] [More] ⦿
Graduate of the Type Design and Typography program at UMPRUM, Prague, Czechia. Designer of the high-contrast tuxedoed sans typeface Ponzastura (2018). He explains: Ponzastura typeface was inspired by Aldo Novarese's Eurostile, but in this case, monolinear strokes took on contrast and stress. The classical appearance of Ponzastura, whose name is inspired by the Italian city Pontestura where Novarese was born, is more of a reaction and interplay.
MCKL (was: Mickel Design)
Jeremy Mickel runs a design studio in Brooklyn, New York, but lives in Providence, RI. Originally called Mickel Design, the studio and foundry was renamed MCKL in 2012. Mickel has taught at RISD and the Minneapolis College of Art and Design.
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] ⦿
Oh No Type
Oakland, CA-based designer, whose company is called Oh No Type. In 2011, he was a student at California College of the Arts in San Francisco. Graduate of the Type & Media program at KABK in Den Haag in 2014. Before that, he was based in Leeds, UK. James teaches Type at Cooper West. In 2018, James co-founded Future Fonts, a platform for distributing fonts in-progress. Typefaces:
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). [Google] [More] ⦿
Graduate of the TypeMedia program at the KABK in The Hague in 2017, who first worked at some design studios in Spain and now develops typefaces at Bold Monday. His typefaces include:
Pangram Pangram Foundry
Mathieu Desjardins (Pangrampangram) is a senior art director in Montreal, who created the free geometric sans typefaces Charlevoix Bold, and Pier Sans (2015), and the condensed sans typeface Stellar in 2015. However, at Graphicriver, we learn that he is selling Charlevoix Bold (2015), Stellar (2015) and Pier Sans (2015).
In 2016, he designed Supply Mono (which could be used for programming), the (free for personal use) 7-weight geometric sans font family Pangram and the (free for personal use) Fuji Sans.
In 2017, he published Chronos Serif, which is also free for personal use.
In 2018, he designed the grotesque typefaces Formula Condensed, Neue Montreal (together with Sebastien Tremblay; advertized as a great replacement of Helvetica) and Radio Grotesk, the warm and fluid text typefac Woodland, the wide display sans Monument Extended, Casa Stencil and Gosha Sans (influenced by Futura and Russian constructivism; contains Cyrillic as well).
Typefaces from 2019: Editorial New (a 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).
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] ⦿
Pedro Leal graduated in graphic design and advertising from the ESEIG-Escola Superior de Estudos Industriais e de Engenharia in Vila do Conde, Portugal, and lives in Porto. In 2010 he obtained a degree in type design at ESAD (Escola Superior de Artes e Design, Matosinhos) and started working at DSType. MyFonts link. Behance link.
He used FontStruct in 2008 to create the pixel typeface Minimal 8pt (514 glyphs!). In 2010, he created the text family Mafra at DSType. This was followed a bit later by Mafra Display (2010; +Medium, +Black). Apud and Apud Display (2010, DSType) are high-contrast typefaces.
Penna (2011) is a calligraphic type system. Braga (2011, Dino dos Santos and Pedro Leal, DS Type) is a layered font design family. Dino writes: Braga is an exuberant baroque typeface, named after a Portuguese city, also known as the baroque capital of Portugal. Our latest typographic extravaganza comes with a multitude of fonts designed to work like layers, allowing to insert color, lines, gradients, patterns, baroque, floral swashes, and many other graphic elements. Starting with Braga Base, you can add any of the twenty-three available styles, to create colourful typographic designs.
In 2012, he designed User, User Stencil and User Upright>/a>, a monospaced type family with 30 styles, from Hairline to Bold. This too will many awards. Girga (+Italic, +Engraved, +Banner, +Stencil) is a strong black Egyptian family designed together with Dino dos Santos at DS Type. Solido (2012, with Dino dos Santos, DS Type) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts.
In 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: 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). [Google] [MyFonts] [More] ⦿
Peter Baker's old English page at the University of Virginia
Peter Baker, an English professor at the University of Virginia, offers free TrueType and PostScript fonts such as the nice Junius family (1996, modern hybrid Gaelic), Beowulf-1 (1995, a pseudo-Gaelic face) and Anglo-Saxon Caps as well as tens of links related to old English. He also developed Junicode, "the working name of a Unicode font for medievalists." The fonts in the latter project are Junicode-Bold, JunicodeItalic, Junicode (2002), and are by Peter S. Baker and Briery Creek Software. André G. Isaak writes: Junicode isn't the only free font for mediaevalists out there, but it’s certainly one of the two most well-designed ones (the other being Andron Scriptor). I used to teach courses on the history of English and I used Junius (the predecessor of Junicode) for many of my handouts because I preferred it to all of the commercial fonts which I had looked at.
In 2010, he published the elegant Carolingian typeface Eadui: Reproduction of English Caroline Minuscule as written by Eadui Basan, a scribe at eleventh-century Christ Church, Canterbury.
In 2014, he published Bury Caps (OFL). This decorative typeface was inspired by the display capitals in the 12th-century Bury Bible.
Interlace Set (2015) is a dingbat font for making Hiberno-Saxon interlace patterns.
In 2018-2019, Baker published Elstob, a variable font for for medievalists. He writes: The Elstob font, named for Elizabeth Elstob (1683-1756), a celebrated early scholar of Old English language and literature, is based on the Double Pica commissioned by Bishop John Fell (1625-1686) for the use of the Oxford University Press. Wherever possible, it is modeled on a specimen book printed in 1925 with type cast in the 1890s from the seventeenth-century matrices; digital images from the 1693 and 1706 Fell specimen books served as backup, and also an early eighteenth-century folio in which a lengthy dedication was printed in Fell's Double Pica. The type doesn't have a great reputation: the typographer Stanley Morison thought it amateurish in comparison with the excellent Fell English. However, its angular character (especially its flat or flattish serifs with minimal or no brackets) makes it well suited to adaptation as a variable font.
Peter S. Baker
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 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).
In 2018, he designed the free display typeface Trickster at Velvetyne.
Typefaces from 2019: TXT25 (an unconventional extreme-axis (variable) text typeface).
Typefoundry 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] ⦿
Process Type Foundry
Located in Minneapolis and/or Golden Valley, MN, Process Type Foundry is Eric Olson's foundry created in 2002. Its team grew withe additions of Alice Savoie, Nicole Dotin and Doug WilsonIts fonts:
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] ⦿
Senior designer at Adobe Systems in Tokyo, b. 1972, Fukushima, who graduated from Musashino Art University in 1995, and began working as a graphic designer at a design studio. In 1997, Ryoko joined Adobe. She was involved in the development of the Kozuka Mincho and Kozuka Gothic typefaces designed by Masahiko Kozuka.
Kazuraki is an Opentype kanji font developed in 2009-2010 by Adobe for script applications. The Kazuraki design is inspired by the calligraphy of 12th century artist and writer Fujiwara-no-Teika, who is considered one of the greatest poets in Japan's history. It features vertical ligatures. Designed by Ryoko Nishizuka (Tokyo), it was produced by Masataka Hattori (Adobe Systems, Tokyo) and Ken Lunde (Adobe, San Jose, CA) under the management of Taro Yamamoto (Tokyo) and David Lemon (San Jose, CA). Kazuraki won an award at the TDC2 2010 type competition.
In 2002, Ryoko Nishizuka won the Morisawa Award for type design for Teika, a precursor of the 2009 Adobe font. Morisawa commented at the time: Turning superb calligraphy into a typeface requires surmounting many obstacles, not least of which is getting characters of differing size to line up correctly. The designer here controls the direction of the brush strokes in order to give the typeface a stability in horizontal typesetting, and in that coherence one can find the traces of her struggle. The ligature in vertical typesetting has also been given full attention, and the result is a generally excellent work. Specimen.
Ryoko Nishizuka, who designed the Ryo typeface families in Gothic, Text and Display styles. Adobe writes this about her: Ryoko Nishizuka graduated from Musashino Art University in 1995, and began working at Morisawa&Company, a leading type foundry and manufacturer of digital typesetting systems in Japan. Next, she decided to work as graphic designer at a design studio. But her main interest was always in typeface design. In 1997, Ryoko joined Adobe. She has been involved in the development of the Kozuka Mincho and Gothic typefaces designed by Masahiko Kozuka. In 1999, Ryoko received an honorable mention for her typeface "Branch Letter" at the Morisawa Awards International Typeface Design Competition. In 2002, her calligraphic typeface "Teika" won the Silver Prize at the same Morisawa competition, which was later expanded and refined to become Kazuraki, which is being heralded as the first fully- proportional OpenType Japanese font.
In 2003, Ryoko created the Ryo Text and Ryo Display "kana" typeface families. The Ryo Text and Display families are composed of nine sub-set Japanese "kana" OpenType fonts for eight different weights. The brightness emitted from the Ryo typeface is based on her original interpretation of traditional styles of "kana" calligraphy and type design. Kazuraki then consumed much of Ryoko's design effort, and was subsequently released in 2009.
She designed and created ideographs (kanjis) for the Source Han Sans fonts released in 2014 by Adobe and Google for Japanese, Chinese and Korean. She led the design of the glyphs for ideographs, Japanese kana, and other Japanese characters in Source Han Serif (2017).
Designer of Ten Mincho (2017), a Japanese typeface design from Adobe Originals. Ten Mincho also features a full set of Latin glyphs, collectively known as Ten Oldstyle and designed by Robert Slimbach. Prominent in Ten Mincho are the dynamic characteristics of hand-written characters, as well as a stroke formation style that is typically seen in the Kawaraban printed newspapers from the mid to late Edo period (1603–1863) in Japan.
Designer of White On Black VF (2019), a variable font with just one kanji glyph demonstrating an issue related to the non-zero winding rule used for rendering fonts. The issue is especially problematic when negative glyphs are reversed out of a positive background shape. The weight axis shows how the technique for avoiding the problem with static fonts by removing overlaps is not a good solution for variable fonts because the topology of overlapping shapes may change across variations. The antisymmetric font, Black On White VF, is made with the same shapes but with an additional circular path, showing how the issue is not present with positive-on-negative glyphs. The fonts were produced by Ken Lunde using a glyph designed by Ryoko Nishizuka.
Aaron earned a Bachelor's degree in Asian Studies, with a minor in Japanese, at Whitman College in Walla Walla, WA. Aaron is a graduate of the University of Reading in 2011, where he earned an MA in typeface design. His graduation typeface was Saja (2011), which covered Latin and Korean. In the Fall of 2011, he joined the Microsoft Typography team.
In 2015, at Microsoft, he designed the free sans typeface Selawik, which is metrically compatible with the infamous Segoe UI. Selawik now also exists as a variable font.
In 2016, het up his own typefoundry 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 sans typeface Bahnschrift for Microsoft at Open Type Library. This font is flawed (look at the capital A), so I wonder if that post was done by an impostor.
Scribble Tone (Portland, OR) was founded by Lizy Gershenzon and Travis Kochel. Their typefaces at Scribble Tone and Future Fonts: Skyward Sans (a free Hylian alphabet featured in Zelda's Skyward Sword), Kicker (2012-2018: a neon light font), Iso (2018: a monospaced almost typewriter font), Wildberry (based on US National Wilderness signage and trailhead signposts). Future Fonts link.
At University of Aveiro in Portugal, Sergio Martins designed the display typeface Tirana (2017). In 2018, he graduated from the University of Reading's MATD program. His graduation typeface, Argota, is a (variable) typeface family designed for complex multi-script environments. It is divided into two styles, a narrow serif with tall x-height for use in texts and lexicons, and a very contrasting italic. It covers latin and Arabic. [Google] [More] ⦿
German typefoundry, est. 2016 by Christoph Koeberlin, whose passion for FC Kaiserslautern in the Bundesliga led to the creation of Sportsfonts. Koeberlin previously designed retail typefaces such as Fabrikat and FF Mark (the latter with Hannes von Döhren and the FontFont Type Department).
His first typeface at Sportsfonts is the 24,000-glyph 49-font athletic lettering superfamily, Winner.
Studio Sun (or: Sun Brand Co)
During her studies in Bandung, Indonesia, Cahya Sogyan (b. 1994) created the free rounded sans typeface Synthesia (2014), the free sans typeface New Dawn (2015), and the free techno / futuristic typeface Cosmonaut (2015), with accompanying drop caps.
In 2016, she co-founded Spencer and Sons with Gilang Purnama Jaya. In 2017, she started Studio Sun in Denpasar, Bali.
In 2016, Cahyan published June of Fortune, the free hipster typeface family Soda Popp and writes: The new typeface called Soda Popp is inspired by pop-culture, vaporwave music, and seapunk that emerged in the early 2010s among Internet communities. It is characterized by a nostalgic fascination with retro cultural aesthetics, typically of the 1980s, 1990s, and early-mid 2000s.
Typefaces from 2017 at Spencer and Sons: S&S Nickson (a copperplate display font including eight font styles and seven dingbat fonts).
In 2018, she published the retro auto racing font Intensa, the extended sans typeface Matrice, and the free flared poster typeface Florent.
t-1 is Maximilian Müsgens's typefoundry, est. 2019. Its fonts are free for students. Typefaces include Bandeins Sans and Bandeins Strange, both designed as variable fonts in 2019. The latter has two axes, width and "strange width". [Google] [More] ⦿
Designer and lettering artist in Guadalajara, Mexico (and/or Split, Croatia?), who created the Mexican diner signage script typeface Tejuino (2015) and the informal sans typefaces Taqueta, Rabar and Festa, all made in 2015. Astro Regular (or Astro MX) (2015) by Gen Ramirez, Manuel Lopez (with assistance of Rodrigo Heredia and Rodrigo Nuñez) won an award at Tipos Latinos 2016: Astro Mx was a result of Elí Castellano's Type Design Workshop, carried out at the Multimedia Center of CENART in Mexico City in 2015. Astro Mx is a typeface designed for the Mexican Space Agency (AEM). Its purpose lies in its application in the manuals of emergency procedures. In this sense, one of its main characteristics is to facilitate rapid reading in extraordinary conditions. It has a generous x-height, its ascenders and descenders are short to economize lines in the text boxes.
Rabar Ultra Black (2015) also won an award at Tipos Latinos 2016. Winner at Tipos Latinos 2018 of a type design award for Victus (2016), which is a Venetian typeface with all the warmth and calligraphic DNA from the renaissance era.
In 2018, he graduated from the TypeMedia program at KABK in Den Haag with a sans typeface called Entorno Sans. It includes a variable font intended for signage systems in urban and virtual spaces, and comes with a stencil style and many wayfinding icons. That same year, he published Elba.
Grand Rapids, MI-based graphic designer. Terrance worked as a graphic designer for the university book store while earning a bachelor of fine arts degree with an emphasis in graphic design from Grand Valley State University in 2008. After graduation, he joined Ascender Corporation where he worked closely with Steve Matteson.
His typefaces include TW Geo Slab (2007), Dux (2007, ornamental Victorian type), Wingman (2006, handwriting) and Weinzierl Slab (2006, see also here). He joined Ascender and created there the stencil blackletter typeface Stenblak (2010), informal script typeface Rebus Script (2009, with Steve Matteson) and Romany (2009), a non-connecting script which was originally designed by A.R. Bosco and released by American Type Founders in 1934.
In 2012, he created Feldman Engraver and JMC Engraver.
Fonts from 2015: Kairos (Monotype: an octagonal typeface based on 19th century Grecian wood type). In 2015, Monotype set out to remaster, expand and revitalize Eric Gill's body of work, with more weights, more characters and more languages to meet a wide range of design requirements. As part of that project, Terrance Weinzierl designed Joanna Sans Nova (2015: sixteen fonts, loosely based on Gill's slab serif, Joanna, so technically, this is not a Gill revival, but a Gill extension. A well-balanced family with a medium-to-large x-height. But the italic g is disturbing).
Fonts from 2016: Terry Junior Basic (free), Kairos Sans (which accompanies his 2015 typeface Kairos; both cover Latin and Greek). The octagonal typeface Kairos Sans became Monotype's first variable font---it is free at GitHub. Also in 2016, he added some Greek, Cyrillic, weights and widths to Kobayashi's Eurostile Next, for a grand total of 50 styles in this popular Linotype font family.
Pizza Press (2013) won an award at TDC 2014.
In 2017, Jeong-Sook Lee, John Pompa, Terrance Weinzierl and the Monotype team won a Red Dot award for the 72-style typeface family 72 designed for SAP Fiori.
Fonts from 2018: Terry Junior (Monotype; a brush script perhaps with uses for children's books).
Typefaces from 2019: Monarda (Monotype), Terrance Weinzierl's take on the loud and splashy brush scripts of the 1950s.
American type designer, born in Rochester in 1966, who has worked for various foundries including Monotype. He graduated from the Rochester Institute of Technology. He lives in Madison, WI, and is currently employed by Monotype, after a short period at Ascender. He co-designed a revival of W.A. Dwiggins' beautiful Eldorado family, Amanda (1996), Hamilton, the Western font Buffalo Gal (1992-1994, TTGX variations font done while he was at Apple). He worked at Monotype from 1994 onwards, where he hinted Carter's Georgia, Tahoma, Nina and Verdana fonts, for example, commissioned by Microsoft. While employed by Apple Computer, Tom oversaw the development of the first TrueType fonts to ship with Apples System 7. He worked on a freelance basis for Font Bureau for the last 12 years. He has worked on custom font solutions for companies such as Adobe Systems, Apple Computer, Hewlett-Packard, IBM, Lexmark, Lotus, Microsoft and Nokia. His custom fonts include a revival of Bodoni to serve Lexmark as their new corporate typeface. His experience with non-Latin scripts is broad, having designed fonts for the Greek, Cyrillic, Hebrew, Thai, Thaana and Cherokee scripts. Tom also played a key role in the development of fonts for Agfa Monotype's proprietary stroke font format. In his own words, However I did the bulk of the drawing for Siegel's Graphite, and I did about 1/2 of the Tekton MultipleMaster (with Jill Pichotta and Tobias Frere-Jones on the other half of the masters) while in Palo Alto. In 2004, he co-founded Ascender Corporation, where he published
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] ⦿
Russian type designer who was part of the TypeType team in Saint Petersburg. As a student in the TypeType education program, she designed the modern text antiqua Guillaume (2016-2017). In 2019, she founded Type Trends.
In 2017, Vika Usmanova released the octagonal Latin / Cyrillic typeface TT Mussels which includes a stencil subfamily. She also was part of TT Travels in 2017, a wide dense modern grotesque.
In 2017, Vika Usmanova, Philipp Nurullin, and the TypeType Team designed the condensed modular geometric grotesk typeface TT Tunnels.
In 2018, I believe---but am not sure---that Nadezhda Polomoshnova, Phill Nurullin, Vika Usmanova, Nadyr Rakhimov and the TypeType Team co-designed TT Jenevers. In 2018, Sofia Yasenkova, Philipp Nurullin, and Vika Usmanova designed the modern serif TT Tricks at TypeType. TT Tricks has many stencil styles.
In 2018, Ivan Gladkikh, Alexander Kirillov, Philipp Nurullin, Vika Usmanova, Marina Khodak, and Nadyr Rakhimov published TT Severs. That same year, Vika Usmanova published the display sans ans script pair TT Nooks which took inspiration from the Empire State Building. Co-designer of TT Barrels (2018: a Scotch modern typeface by Inessa Mitrozor, Vika Usmanova, Marina Khodak, Nadezhda Polomoshnova and the TypeType Team).
In 2019, Vika Usmanova and the TypeType Team designed TT Trailers, a modern narrow humanist grotesque, that is accompanied by a variable font version. TT Trailers is based on the concept of preserving the amount of white: when changing from thin to bold.
In 2019, Vika published the free font Trappist, which started out as a custom type for a Belgian cafe in St. Petersburg. At TypeTrends, she released TT Frantz, also in 2019. This ultra-condensed monospaced sans typeface has matching upper and lower case heights and comes as a variable type with a waistline axis. [Google] [MyFonts] [More] ⦿
Typearture Type Foundry
Arthur Reinders Folmer (or Arthus) is from Haarlem, The Netherlands. He created the free ornamental all-caps typeface Magical Unicorn (2011), Elerium (2012, an upright italic), and the tringaulated Crystalline (2012). It has been a long wait, but finally someone had the courage to create a typeface with the name Obesitas: Obesitas Sans (2012), advertised as the mother of all fat typefaces. Pylon (2012) was inspired by electricity pylons.
In 2013, he designed Angellocks, a semi-blackletter typeface.
In 2016, he designed Utopia Initials and the ABC of Bad Events.
Typefaces from 2017: The Disclosure Dingbats, Fabel, Pegacorn Initials.
Stephen Nixon (b. South Dakota) was an undergraduate student at the University of Minnesota in the Twin Cities. After that, he moved to New York City to work as a product designer at IBM. There, he focused on visual design & UX for software products, then moved into brand experience design within IBM Watson. Stephen lives in Brooklyn, NY, where he operates Arrow Type, taking on freelance type design & development work. In 2018, he graduated from the TypeMedia program at KABK in Den Haag. He runs Arrow Type. His typefaces:
Typejockeys is a graphic and type design company based in Vienna, Austria, established in 2008 by Anna Fahrmaier, Thomas Gabriel and Michael Hochleitner. Stephan Kirsch and Franziska weitgruber joined the team later. They do posters, editorial and book design, web and screen design, corporate design and signage, and custom type and lettering. Michael Hochleitner obtained an MA in typeface design from the University of Reading in 2008.
His graduation typeface was Ingeborg, a readable didone text family created specifically for periodicals and books. I predict that Ingeborg will win many awards. [Note: Well, a year after my prediction, Ivo Grabowitsch declared it to be the best typeface of 2009, and TDC2 2010 awarded it as well]
Other typefaces include Drunk Type (2008) and Tender (2008).
Premiera (2009) is a type family made for small print.
Henriette (2012) is a beautiful slab serif revival family motivated and developed as follows: In the 1920s the Viennese government decided to standardize the street signs across the city. A typeface was especially constructed for the purpose. It was available in a Heavy and a Bold Condensed version, to support short street names as well as longer ones. As the years went by, the typeface was adopted and redrawn by several enamel factories. These adaptations lead to variations on the design, and to the fact that there isn't a Viennese street sign font but 16 different versions. Henriette is not a digitization of any of those versions; rather, it is influenced by all of them. The italic versions are completely original and designed to accompany the Roman.
Typefaces by Typejockeys in 2015: Vito (60 style sans family by Thomas Gabriel described by them as follows: Masculine and sporty for adrenaline junkies, reliable and elegant for serious typographers, but with a touch of bling for high snobiety).
In 2018, Michael Hochleitner, Christoph Schütz, Simon Liesinger and Franziska Weitgruber co-designed Gretel Script at Typejockeys. This optically sized three-style typeface is based on the hand of calligrapher Natascha Safarik.
Typefaces from 2019: Antonia (a variable headline text typeface by Franziska Weitgriber and Michael Hochleitner at Typejockeys; a 64-style font family with optical sizing from headline H1, H2, and H3 to Text, with a variable font added to the mix), Post Sans (for Austrian Post).
Designer in Berlin, Germany, who created these typefaces:
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:
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] ⦿
Very Cool Studio
Kyle Wayne Benson (b. 1988, Texas) describes himself as an affable graphic and type designer. He has his own commercial foundry, also called Kyle Wayne Benson, which specializes in signage type. It is located in Orem, UT. Some time later, he moved to Oakland, CA and set up Very Cool Studio.
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).
German / American type designer who graduated from the MATD program of the University of Reading in 2013. His graduation typeface family is called Natan (2013), named after the Russian mathematician Sergey Natanovich Bernstein.
Natan covers Latin and Hebrew in styles that range from regular to chunky. William adjusted both scripts back and forth in function of each other in a process he calls script juggling. He writes: Natan is a punch cutting fantasy turned into Bézier curves. A tribute to craftsmanship sans nostalgia. Chunky elegant curves deriving from a broad scuffed nib, worked into metal with gravers and files. Angular calligraphic strokes, cast in typographic solutions for modern day text setting.
You Work For Them (or YWFT; formerly Cinahaus or TrueIsTrue)
Michael Cina (Minneapolis) is the cofounder of WeWorkForThem and YouWorkForThem (in 2002), also known as YWFT. Before that, he ran TrueIsTrue, and before that was partner in Test Pilot Collective (which he left in 2001), and before that he ran Cinahaus. YWFT is located in Knoxville, TN and/or Baltimore, MD. The creative director is Michael Paul Young.
Cina's fonts include the pixel fonts YWFT Caliper (1998), YWFT Bit (1998), 6x7oct (1998) and BlackGold; the handwriting font Cinahand; Blessed (1999, techno), YWFT Cam (1998, a slab serif based on industrial lettering), CommunityService, Crossover (1998, dot matrix with stars instead of dots), Composite (1998, octagonal), Formation (1999, a big octagonal family), Jute (2004, a masculine, military, sans-serif), YWFT Maetl (1999, octagonal, angular family), YWFT Moteur (a technical, retro, machine-like design; it briefly went under the name Alloy---in the early 2000s it was heavily used in the video gaming magazine Playstation), YWFT Novum (2002: a heavy block font that draws inspiration from a typeface originally used by the Swiss graphic designer Siegfried Odermatt), Pakt, Reversion (1997, squarish), Selector, Selek (1998, pixelish), YWFT Blackgold (2000, pixelish), Service (2001-2002, an octagonal family), YWFT Signature (1998), Trisect (1999, three-lined family), Unisect (1999, organic monoline sans), YWFT Ultramagnetic (1996, a popular rounded gothic typeface family), Ultramagnetic2 (1999), YWFT Ultramagnetic Expanded (2011), YWFT Ultramagnetic Rough (1996-2017), Unfinished. Bastard (1998), Kcap6 (with Matt Desmond), Cheese (1998), Novum (2002), Overcross (2002, unfocused letters), Stem (1998), Testacon (with Kral and Desmond, 1999), Praun (2002, pixel typefaces), OneCross (2002, pixelish stitching family), Estenceler (2004, a great stencil family a bit related to Milton Glaser's Glaser Stencil), Graphium (2004, octagonal Western style family), Expos (2004, graffiti or poster face), YWFT Pixacao (2007, after the Brazilian graffiti style), Vox (2007, monoline sans), Militia Sans (2007, like a Russian constructivist stencil), Jupiter (roman), Militia (2007, heavier stencil), Merc (2007, grunge), Guild (2007), Clarendon Text (2007, a complete revival), Jezebel (2007, script), Ambassador Script (2007, a digital revival of Novarese's typeface by that name), Enam (2002, influenced by Crouwel), Enigmatic Hand (2007), Dusty (2007, a Tuscan-eared Western font), YWFT Poplock (2007, experimental), YWFT Pakt (2004, geometric sans), Sudsy (2007), Black Sabbath (2008, ultra black slab serif, by Stefan Kjartansson), YWFT Belle (2008), YWFT Agostina (2008), YWFT Bitwood (2007-2017, pixelish Western typeface), YWFT Mullino (2009, letterpress emulation), Trithart (2008, grunge by Emma Trithart), YWFT Tapscott (2008-2017, informal and nostalgic all caps family, in the style of Rennie Mackintosh), Habano (2008, script), Amorinda (signage script), Retron (2008, connected script), MD01 (medical-themed dingbats), Adelaide (script), Centennial Script (calligraphic), Alexia (calligraphic), Ultramagnetic (experimental), Nash (1997, grunge), Amber (kitchen tile), Fab (3d), 6x7 Oct (1998, pixels and dots), Wool (2009, stencil), YWFT Matter (2009, a wide bold grotesque), YWFT Merriam (2009, a Clarendon-styled slab serif), Agostina Alternate (2011, with Michael Paul Young and Taechit Jiropaskosol), Ramsey (2012), YWFT Dessau (2013, schizograms and capitals like Bauhaus on drugs), YWFT League (2014, inspired by college football jerseys), YWFT Yoke (poster typeface done with Pintassilgo), YWFT Illuminati (2015, abstract capitals).
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).