26plus zeichen
[Jakob Runge]

26plus, or 26+ is a foundry located in Kiel, Germany. It is a platform to present and encourage student-created fonts. One of those involved is Jakob Runge from Würzburg, Germany, a graduate of Fachhochschule Würzburg-Schweinfurt. He made the free condensed octagonal face Fracmetrica (2009).

Other faces from 2009-2010 (all at 26plus-zeichen) include Singula, Edelsans (a geometric sans), Sinews (a manly sans which he compares with Klavika and Corpid), JJ Realis (a Swiss sans), Ugl-y (2010), Cojonna (2010; curly--an exercise on ball terminals), Capitalis Nova (2010, dot matrix family), Graphit (2010), Devion (2010, semi-angular serif face), Textrusion (2010, Escher-style trompe l'oeuil), Frgmt (2010, experimental), Samblone (2011, an Asian-look stencil face), TJ Evolette A (2011, with Timo Titzmann---a fashionable geometric grotesque caps family).

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

4th February
[Sergiy Tkachenko]

Sergiy Tkachenko (b. 1979, Khrystynivka, Cherkasy region, Ukraine) lives in Kremenchuk, Ukraine, and has been a prolific type designer since 2008. Sergiy graduated from Kremenchuk State Polytechnic University in computer systems and networks in 2007. Various other URLs: Microsoft link, Identifont, 4th February, Behance, Klingspor link, Revision Ru, Russian creators, CPLUV Fontspace, Twitter. Kernest link. Sergey Tkachenko's typefaces:

• 2008: the techno faces Bladi One 4F, Bladi One Slab 4F, Bladi Two 4F, Abia Wide 4F Thin.
• 2009: Serifiqo (a (free) thin didone fashion mag display face), Codename Coder 4F (monospace programming font), Droporado 4F (using circles only), Tovstun (futuristic, ultra-fat and rounded), Perfocard 4F, Modularico (five modular faces based on a logo from Master Kremenchug a company for which Sergiy worked for 4 years), Boldesqo Serif 4F (a splendid informal fat didone, now with Greek support), Tkachenko Sketch, Unicase Slab (a techno slab), Laftatic, Logofontik 4F (techno), PC.DE Stencil (+Italic; custom stencil font), Stenciliqo 4F, Tiap Liap 4F (handwriting), Nut Kit 4F, Rezzzistor 4F, Wrongo 4F, the inline modular face Grand Hotel, and Bijou 4F.
• 2010: PädIn (a custom typeface for Pädagogische Initiative e.V.: rounded fat informal face), Fat Quad (in the fatty trend), Veselka (a free multiline face), Smeshariki Black (+ Gleams: a bubble gum font made for an animation company), Republica 4F (a fat family), Rodeqa Slab 4F, ComFi (semi-octagonal), Grotesqa 4F, Nowy Geroy 4F, Fabryka 4F (a monospaced typewriter family), Placarto4F-Italic (an ultra fat art deco), Lavina 4F (a hairline sans with lachrymal terminals).
• 2011: Kylie 4F (bilined and geometric), Waldemar 4F (a large didone style fat face family), Dinesqo (2011, a monoline sans of utter simplicity), Qargotesk (+Cyrillic) [images: i, ii, iii, iv], Neultica 4F (black unicase family), Squartiqa 4F (2011, constructivist), Clarenta 4F Black (after Clarendon---a great family), Designosaur (free sans), Perfopunto (based on perforated circles and squares), OlaScript 4F, Bayadera 4F (a tamed upright monoline script), Febrotesk4FUnicase (squarish unicase family).
• 2012: Targo 4F (rounded face with stencil and non-stencil styles), Myra (free font), Myra 4F Caps (free), Cedra (wide monolined sans face), Fontatica 4F (rounded techno grotesk), Akzentica 4F, Ukraintica 4F Wide (a monoline wide-bowled sans family), Laventa 4F, Sports World (free athletic lettering font), Web Serveroff (free computer geek font), Octin Spraypaint Cyrillic (a rough stencil done exclusively for Ninja Theory).

  2013: Cedra 4F Wide Thin.

• Cyrillizations: several typefaces such as Lavoisier (by Alec Julien), Budmo Jiggler (Ray Larabie) and JoAnne Display (Sandy Cerovich), Gnuolane (of a Ray Larabie font), Paranoid Cyrillic (based on Kevin Lo's Paranoid), Movavi Grotesque Black (+Cyrillic; ; numerals), Azoft Sans (made for Azoft, and free here).
• Custom fonts: Blue Pill, Sansus Webissimo (since 2011 free at Open Font Library), Minaeff ECT (2011, a free legible family for Latin and Cyrillic, custom-made for and downloadable from WebhostingRating.com), Web Serveroff, Movavi Grotesque, Azoft Sans, PÄd In, Smeshariki, Fat Cow, Comfi, PC.de, League Gothic Cyrillic, Paranoid Cyrillic, 28 Days Later Cyrillic, Acid Label Cyrillic, Dead Secretary Cyrillic, Rezland Cyrillic, Sweet Leaf Cyrillic, Droid Cyrillic, Jo Anne Display Cyrillic, Gnuolane Free Cyrillic, Bosox Cyrillic, Budmo Jiggler Cyrillic.

Abstract Fonts link. Dafont link. Behance link.

View Sergiy Tkachenko's fonts. [Google] [MyFonts] [More]  ⦿

A2 Type
[Henrik Kubel]

A2-Type (or simply, A2) is a type foundry set up in the autumn of 2010 by the London based design studio A2/SW/HK. The designers are Henrik Kubel and Scott Williams. A2's bespoke type design is mainly the responsibility of Henrik Kubel, though every typeface is developed and approved by both partners. Kubel is self-taught, making his first typefaces while studying at Denmark's Design School from 1992-97. Their typefaces:

• 4590
• 60 Display.
• Antwerp (2011). A readable text family designed by Kubel during an Expert Type Design Class in 2011 at Plantin Genootschap in Antwerp.
• A2 Archi (2005, Henrik Kubel): an octagonal face.
• A2 Aveny-T (2000, Henrik Kubel): Poster typeface commissioned as aprt of the identity of the Aveny-T theatre in Copenhagen.
• Agriculture.
• Archi.
• Banknote.
• A2 Battersea (1999, Henrik Kubel): inspired by Meta, DIN and Transport Alphabet. Followed in 2012 by Battersea Slab.
• Bauhouse.
• A2 Beckett (2008). A condensed sans family with the masculinity of Impact.
• Boing.
• Copenhagen
• A2 CPH Tram (2009, Henrik Kubel): revival of an odd mini-serifed type found on the exterior of Danish trams, ca. 1920.
• A2 CWM (2008, Henrik Kubel): constructivist type designed for the headlines and cover of Cold War Modern Design 1945-1970.
• Dane.
• A2 Danmark (2008, Henrik Kubel): a display stencil family.
• A2 Ergonomics (2011).
• Flavin Medium.
• A2 Flowers (2005, Henrik Kubel): arrows, fists, flourishes, ornaments.
• A2 FM: slab serif family.
• A2 Grot 10 (2009, Henrik Kubel): a take on the Grot Series by Stephenson Blake.
• A2 Impacto (2005, Henrik Kubel): Impact?
• A2 Klampenborg (1997, Henrik Kubel): industrial style sans.
• Kunstuff.
• London (2010).
• Magna.
• Maximum.
• A2 Monday (2003, Henrik Kubel): based on 19th century English vernacular serif signage type.
• Naive.
• New Rail Alphabet (2009). A refreshed and expanded version of Margaret Calvert's alphabet from the 1960s which saw nationwide use with British Rail, BAA, and the NHS. Developed in cooperation with Margaret Calvert.
• New Transport (with Margaret Calvert). A digital version of Transport, the Jock Kinnear and margaret Calvert typeface for the British road signs.
• Nosferato.
• Ole.
• Outsiders Light.
• Parsons Green Medium.
• Square.
• Staton.
• Tagstyle.
• Test.
• Triumph.
• A2 Typewriter (2000, Henrik Kubel): based on Olivetti Typewriter 22.
• A2 Vogue Floral: a fashion mag modern display face in two styles.
• Vogue Paris.Granshan 09 Type Design Competition. 1st Prize, Display fonts.
• A2 Zadie (2005, Henrik Kubel): inspired by Edwardian railings surrounding the Royal Army Military College in London. Used on the cover of the Zadie Smith bestseller On Beauty (2005, Penguin Press, NY). Granshan 10 Type Design Competition. 3rd Prize, Display fontt described as an ornamental blackboard bold type.

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

Abdullahal Mamun

Graphic designer in Dhaka, Bangladesh. Creator of an unnamed softly rounded Bangla font in 2013. He writes: In Bangla, Bidyasagar style font (Sutonny MJ) created by Bijoy is the only Bangla font that is almost perfect. Rest of the fonts has problems such as baseline alignment, x-height alignment, character gap and unfinished characters. If we analyze the logic of Bijoy, we see that other than Bidyasagar (Sutonny MJ), rest of the fonts does not work perfectly with Bijoy. All Bangla fonts are monospace fonts which does not use kerning. Creating kerning feature fonts which will run in Bijoy platform is technically impossible. It is because Bijoy using those Unicode glyphs conflicts with kerning code. With the problem in hand, I have attempted to design and create a finished, perfect curve font with perfect baseline and x-height alignment, which will run smoothly with Bijoy. [Google] [More]  ⦿

Achraf Amiri

Prince now lives in Brussels, and has taken a job as art director and graphic designer. Home page. In 2010, he published a booklet, Didot Fashion Victim. His fashion-inspired lettering is quite amazing, and so are his fashion illustrations. In 2011, he continues his amazing mixtures of typography and illustration in his design of a wall logo for Boutique no. 7 in Moscow. He also made the hairdo experimental caps face Touffe (2011). More fashion and vamp illustrations: Milano 2011, New York 2011, Paris 2011, Sophia Loren, Sofitel Brussels Le Louise (2011). [Google] [More]  ⦿

Adam Howard

Saint Louis, MO-based graphic designer who created several typefaces in 2012, including Helvy, Stitch, Digiti, Exposed, Skinny Jeans (hairline caps), Golden Age (fashion mag caps), Tunnel Vision, and Grand Penn (ultra-condensed caps). [Google] [More]  ⦿

Adrián Cattalini

Graduate from FADU, University of Buenos Aires, who created the typeface Tormes (2010), an upright connected script of fashion mag quality. [Google] [More]  ⦿

Alan Luna

Alan Luna (Monterrey, Mexico) created the high-contrast fashion mag art deco typeface Camila. [Google] [More]  ⦿

Alan Prescott

Philadelphia-based designer and PostScript font hacker who runs Prescott Design. He created three substantial sans faces families with many weights starting from hairline, almost in the fashion mag style: Clemente (2011), Ultima (2011), Passion Sans (2011, a Peignotian family). All free at Dafont. [Google] [More]  ⦿

Alberto Romagosa

Barcelona-based designer, b. 1989. He studied at the Swiss-School of Barcelona. His typeface AR Vulcano (2011-2012) has a high-contrast condensed octagonal design for application in fashion mags.

Behance link. [Google] [More]  ⦿

Alejandro Inler

Graphic designer who studied at FADU, University of Buenos Aires, from 1997-2005. Creator of these typefaces:

• Elsie Swash Caps (2012, with Ana Sanfelippo). Free at Google Web Fonts. The this a fashion mag display didone with plenty of additional ball terminals: Elsie is inspired by feminine energy. This new typeface was created to celebrate the world of women, glamour and fashion. It combines the strength of Bodoni with the softness of italics. Sensitive, attractive, full of personality, innovative and subtle with both classic and new design features.
• Elsie (2012, with Ana Sanfelippo). Free at Google Web Fonts. Elsie was Alejandro's graduation typeface at FADU-UBA.
• Wendy One (2012). Free at Google Web Fonts, it is loosely based on the Stabilo logotype, and shows the quirkiness of retro futurism.

Behance link. [Google] [More]  ⦿

Alex O. Kaczun
[Type Innovations]

[MyFonts] [More]  ⦿

Alex Trochut

Barcelona-based grandson of Joan Trochut of Super-Veloz fame. Fantastic graphic designer in his own right. He is the codesigner with Andreu Balius of SuperVeloz (2005, TypeRepublic), a digital version of his grandfather's typeface. It won an award at the TDC2 2005 type competition. Balius says about this face originally created by Joan Trochut from 1920-1980: Super-Veloz could be considered as an Ornamental type design, but in its core it is an experimental typeface based on a set of modular features that, with the combining of its modules, a great range of typefaces, ornaments ---even illustrations---, could be made. That is perhaps the most interesting experiment in early modern type design ever made in Spain during the immediate years after the War. The lecture, considering the borders between type design and ornament design, will introduce the context where Joan Trochut's Super-Veloz was produced (from sketches to published brochures and speciments) in 1942. Also will explain how Super-Veloz works. It is really a "type-ornament" design that could be considered on the edge of what we call type design.

Alex Trochut's lettering must be seen to be believed---it has to be genetic transmission. Recurring themes include adorned initials and modular types. His numerical all-caps alphabet for British Airways is phenomenal and pushes the bling-bling to the fashionable extreme. Stunning dollar sign drawn by him in 2007 for Acido Surtido.

In 2009, he published Neo Deco at HypeForType. Noteworthy type treatments of that year include Nixon and the Futurecraft logo.

In 2012, he designed Trojan Font (like Trajan). He also did some stunning multiline alphabet for V Magazine. Also noteworthy is a swashy calligraphic logo for Wiz Khalifa and Atlantic Records.

Typographic picture by TDC55.

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

Alexander McCracken
[Neutura]

[MyFonts] [More]  ⦿

Alexandra Damalan

Graduate of the Design Department of the National University of Art in Bucharest, Romania. Bucharest-based creator of Fashion Typeface (2011, ornamental caps).

Another URL. [Google] [More]  ⦿

Alexandria Hepburn

Graphic designer in Atlanta, GA, whose typeface Vixens (2013) is presented as a fashion typeface. It has the modularity of a FontStruct font. [Google] [More]  ⦿

Alexey Brodovitch

Russian-born graphic designer, 1898-1971, who taught at various art institutes in New York, such as the School of Visual Arts. He was art director at Harper's Bazaar from 1934 until 1958, and is perhaps best known for his use of white space and unconventional photography and for his fashion mag typography. His typefaces include the slinky modern Brodovitch Albro (1950, or Al-Bro, for Alexey Brodovitch; published by Photo-Lettering Inc) and the stylish Vogue (1950s). Albro has a digital revival by Nico Schweizer called Albroni (1992, Lineto). Brandon Alvarado used Al-Bro as a model for Brodovitch (2011). [Google] [More]  ⦿

Alicia Grady

Sarah Anne (2009) is an experimental typeface that was inspired by fashion designer Sarah Leach and her current brand Sarah Anne. [Google] [More]  ⦿

Ana Gomez Bernaus

Letterer, illustrator and designer in New York City. Creator of Octave (2011): Octave has been created with the intention of fusing together the graphical elements of written musical composition with the English alphabet.

n 2012, she created the tall high contrast fashion typeface Kilimanjaro.

Behance link. [Google] [More]  ⦿

Ana Sanfelippo

Argentinian designer of the part calligraphic part Lombardic text family Almendra (2011, free at Google Web Fonts). Almendra won an award at Tipos Latinos 2012 in the typeface family category. It was her graduation typeface at FADU-UBA. In 2012, Google Web Fonts published Almendra Display and Almendra Small Caps.

Ruluko (2012, Google Web Fonts) is a free typeface created by Ana Sanfelippo, A. Díaz and M. Hernández. Google: Ruluko is a typeface designed to aid those learning to read. The shapes you see are related to the handwriting typically used at schools in Argentina. The concept is that those who have learned to read this handwriting style may recognise this type style more easily than other typefaces often used in this context. But as a warm and stylish sans serif text type, you may use Ruluko for any purpose. Ruluko won an award in the text category at Tipos Latinos 2012.

In 2012, Ana Sanfelippo and Alejandro Inler published the fashion mag didone typeface Elsie at Google Web Fonts. It was accompanied by Elsie Swash Caps.

Fontsquirrel link. [Google] [More]  ⦿

Andrea Braccaloni
[Leftloft]

[More]  ⦿

Andrea Wirth

London-based designer of Dazed&Confused (2011): Custom font derived from Serifa for the fashion section themed 'Vibrations/Movement'. The font looks as though it shivers/vibrates. [Google] [More]  ⦿

Andreu Balius Planelles
[Type Republic]

[MyFonts] [More]  ⦿

Andreu Balius Planelles

Born in Barcelona in 1962, Andreu Balius studied Sociology in the Universidad Autonoma de Barcelona, and graphic design at the IDEP School. He founded Garcia Fonts&Co in Barcelona in 1993 to show his experimental designs. He cofounded Typerware in 1996 with Joancarles P. Casasín. Typerware existed until 2001 and was based in Santa Maria de Martorelles, a village near Barcelona. He cofounded Type Republic (see also here), and ran Andreu Balius (tipo)graphic design. He is presently an associate professor at Pompeu Fabra University in Barcelona.

Balius won a Bukvaraz 2001 award for Pradell. Pradell also won an award at the TDC2 Type Directors Club's Type Design Competition 2002. SuperVeloz (codesigned with Alex Trochut) won an award at the TDC2 2005 type competition.

At ATypI 2005 in Helsinki, he spoke on Pradell and Super-Veloz. Speaker at ATypI 2006 in Lisbon. At ATypI 2009 in Mexico City, he spoke about the Imprenta Real.

Author of Type at work. The use of Type in Editorial Design, published in English by BIS (Amsterdam, 2003).

FontFont link. Linotype link. Behance link.

His production:

• Garcia/Typerware offers about 50 fonts, including some very artsy faces, such as Fabrique (Andreu Balius), Futuda, Garcia Bodoni (Typerware), Alkimia (Estudi Xarop), Ariadna (pixel font, 1988-1989), Garcia Bitmap (1993), Playtext (Andreu Balius, 1995), Matilde Script (Andreu Balius, 1994: an embroidery face), Fabrique (1993, Andreu Balius) and Dinamo (1993, Balius and Casasin at Typerware), Helvetica Fondue (1993-1994), Futuda (1993), Ozo Type (1994), Tiparracus (1994, dingbats), Mi mama Me Soba Script (1994), Parkinson (1994), Garcia Bodoni (1995), Garcia snack's (1993-1995), Juan Castillo Script (1995, irregular handwriting), and Vizente Fuster (1995), all by Andreu Balius and Joancarles Casasin, 1993-1995; Water Knife (Laudelino L.Q., 1995); Alquimia (Estudi Xarop, 1995); Jam Jamie (Malcolm Webb, 1996); Network (Alex Gifreu, 1996); Panxo-Pinxo (David Molins, 1996); Euroface 80 mph (Peter Bilak, 1996); Inmaculatta (Roberto Saenz Maguregui, 1997); Proceso Sans (by Argentinan Pablo Cosgaya, 1996); Afligidos deudos (Adria Gual, 1996); Route 66 (Francesc Vidal, 1997); Popular (Sergi Ibanez, 1997); Visible (handwriting by Fabrice Trovato, 1997); SoundFile (Reto Brunner, 1998); Ninja type (kana-lookalike alphabet by Charly Brown, 1995); Vertigo (Charly Brown, 1996); Loop UltraNormal (Franco and Sven, 1996); Inercia (Inigo Jerez, 1996).
• Fontshop: FF Fontsoup.
• ITC: ITC Temble (1996, a great subdued ghoulish face). With Joancarles P. Casasin, he created ITC Belter (1996) and ITC Belter Mega Outline (1996).
• Typerware: Czeska was developed from Vojtech Preissig's woodtype faces. Andreu Balius completed the design and included an italic version and a large variety of ligatures (both for regular and italic).
• Type Republic: Pradell, Trochut, SuperVeloz, SV Marfil Caps (2004), SV Fauno Caps. Pradell was freely inspired from punches cut by catalan punchcutter Eudald Pradell (1721-1788), and is considered to be Balius' main work. Trochut is based on specimens from the 1940s by Joan Trochut. SuperVeloz is a collection of the type modules designed by Joan Trochut and produced at José Iranzo foundry in the beginning of the 40's, in Barcelona. Digitized and recovered by Andreu Balius and Alex Trochut in 2004. Example of such composition of modules include the great art nouveau faces SV Fauno Caps and SV Marfil Caps. In 2007, he added Taüll, a blackletter type. Still in 2007, he did the revival Elizabeth ND, which was based on an old type of Elizabeth Friedlander.
• In 2008, he created the Vogue mag like family Carmen (Display, Fiesta, Regular), which are rooted in the didone style. Carmen, and its flirtatious companion Carmen Fiesta, were both reviewed by Typographica.
• Barna (2011) and Barna Stencil (2011).
• In 2012, Trochut was published as a free font family at Google Web Fonts. It was based on Joan Trochut-Blanchard's Bisonte.
• Lladro (2012) is a custom sans typeface done for the Lladro company.
• Rioja (2013) is a grotesque typeface that was custom-designed for Universidad de La Rioja.

Andrew H. Leman
[E-phemera (was: HPLHS Prop Fonts, and earlier: Prop Fonts)]

[MyFonts] [More]  ⦿

Andrey Ovchinnikov

Izhevsk, Russia-based creator of the LED-style face Old Style Zip Code (2011) and the fashion mag Cyrillic face Mopoko (2011). [Google] [More]  ⦿

Annemette Foged

Graphic designer in Haderslev, Denmark, who created the hairline fashion mag typeface Balonzo (2012). [Google] [More]  ⦿

Anthony Neil Dart

Graphic and motion graphics designer in Johannesburg, South Africa, where he works as Ontwerp.tv (Idea currency) Pty Ltd.

He created several experimental alphabets, often of a geometric nature, such as Geometric Chic (2008-2009) and Beauty (2009).

The Bends (2011) is a hairline curly-yet-straight display face. SansGoma (2011) is a hairline slab poster face. Nu Gothic (2011), Nu Modern (2011) and especially Vironica (2011) are fashion mag display faces. Neu Nouveau (2011) is a curly art nouveau face. Numera (2011) is an organic fashion mag face. Killoton (2011) is super-fat and beautiful.

Creations in 2012: An art deco example in his Janelle 1945 work. Vorm Type, inspired by the work of Wim Crouwel, is a rounded blocky typeface that is monospaced in the x and y directions.

Typefaces from 2013: Canada (alchemic).

Home page. Behance link. Ontwerp link. [Google] [More]  ⦿

Arevik Shmavonyan

Armenian type and graphic designer and illustrator. She was a student at the National Academy of Fine Arts in Yerevan, Armenia (2005-2009). The Devian Tart site mentions that she lives in Bulgaria. Arevik created the dingbats font Fashion Plate (2007, Paratype).

Devian Tart link. [Google] [MyFonts] [More]  ⦿

Ariel Di Lisio
[Negro]

[MyFonts] [More]  ⦿

Audun Stien
[Prikken over Stien]

[More]  ⦿

Augustine Wong

Fashion typography page by Augustine Wong. [Google] [More]  ⦿

Aviv Studio
[Luis Miguel Torres]

Aviv Studio in Monterrey and Mexico City consists of Diego L. Rodriguez (from Madrid, Spain) and Luis Miguel Torres. Typefaces:

• The funky futuristic alchemic caps face Alquimia (2011). Its ornamental caps are based on mathematical objects. Joint work of Torres and Rodriguez.
• Destroy (2013). A sharp-edged techno face.
• Jagger (2010-2011). A sans family created by Torres.
• The futuristic alchemic face Kinesis (2011).
• Qabalah (2012). A fashion mag face.

Ayelén Starzak

Graduate from FADU, University of Buenos Aires, who created the fashion display typeface Column Roman (2009). In 2008, she created a pair of graffiti typefaces.

Behance link. [Google] [More]  ⦿

BA Graphics
[Robert Alonso]

Bob Alonso (b. Bronx, NY, 1946, d.2007), the founder of BA Graphics in 1994, is an American typographer who designed Damage Control (1993, grunge), Mango Gothic (1991), Pimento (1998), Shooby (1992), Pink Mouse (1992, psychedelic), Tequila (1992, a bouncy play on Didot), Alex (1996, child's hand), Chicken Soup (1993), PC Gothic (2005), Rust Bucket (1994), ITC Aftershock (1996), ITC Outback (1997), ITC Serengetti (1996), ITC Ziggy (1997), Gusto Black (2003), Vinchenso (2003), Blog (2007, 1890's style display egyptian), Nine One One BA (2007, grunge). He also designed the clean handwriting face Zipty Do, Serendipity (2006), CEO Roman (2007), Paladium Gothic (2007, a sans), Snip Tuck (1994, a headline face), Rancho Grande (1995), Radiance Brush (1997, a casual brush script), and Sahara Bodoni (1996). 33 years of experience at NewYork's Photo Lettering, and specializing to some extentv in calligraphic script faces, but not exclusively so. BA Graphics was located in Chester, NY, and later in Toms River, NJ, and now sells its fonts through MyFonts.

The complete list: ITC Aftershock, Alexandra Script (a formal script), Allure, Alons Antique, Alons Classic, Angular, Animated Gothic, Barnboard, Bedrock, Bodoni Roma (1993), Cabernet Sauvignon (2007, a take on Didot---I can't believe BA Graphics trademarked this name!), Cafe Aroma, California Sans, Calafragalistic (1992), Caslon Manuscript (1992), Champ Ultra (1995, Western billboard font), Chunky Monkey, Cookie Dough, Crackers, Crescent, Down Under, Elegante, Elephant Bells, Ellington Manor, Equate (1993), Extreme (chalk writing, 1996), Felicity Script, Flix, Freaky Friday Extreme, French Vanilla, Galactic, Geo (2000), Granny Smith, Gusto Black, Headline Gothic, High Intensity, Island Sans, Italian Didot, Kresson Black, Linear Gothic, Lorraine Script, Mardi Gras, Mega (1993, a fat mini-spurred didone), Milano, Nightmare, ITC Outback, Pecos, Ravenwood, Red Dawg, Relaxed Fit, Richmond Hill, Road Gothic (1996), Robertson, Senegal, ITC Serengetti, Shazam, Sign Gothic Bold Condensed, Slam Dunk, Sleepy Hollow, Swank Gothic, Title Gothic Light, Torino Modern, Triumph Gothic, Vinchenso Regular, Wackado, Yakety Yak (1994), Zany, ITC Ziggy, Zipty Do, Queen of Hearts (1991, script), Steel Magnolias (1995, blackletter family), Steeplechase (1992, wild West saloon font), Waimea (1992, poster font), Black Rising (2006, a black military style face), Summer Nights (1993, script), Sugar Shack (1995, curly script), Beaches and Cream (1996, a sans turned into a connected script), Jr High (1994, sports lettering).

Alonso Flair with its flared pants (2008) and Squat (2011, a stunted black wood style face) were started by Alonso, but finished after his death by John Bomparte, who wrote this obituary: Throughout his career at the legendary Photo-Lettering, Inc. (one that spanned four decades), Bob created original typefaces and tailored type by modifying, revising and filling out families, fashioning pieces of type for hand-lettered jobs, as well as being involved with the updating of a number of well-known logotypes. Bob was blessed with natural teaching abilities; and those in social and professional circles who had the good fortune to know him considered him not just a type designer but a mentor and a friend. As one such person close to him put it, he was a "graphic technician... back when computers were not even in site for graphic arts, he would take on any intricate&complex graphic project that others would shy away from and come up with a solution that achieved a masterpiece. I'll always remember someone saying 'this can't be done' and Bob saying let me see it and a short time later, there it was --done&perfect. I would like to think that attitude rubbed off on me. Along with this gift for teaching and explaining the complex, Bob exhibited a level of professionalism that was unsurpassed. A number of years ago when the need came to make the transition from the traditional to digital way of creating fonts, he rose to the challenge admirably. Towards the last few years of Photo-Lettering, Bob played a vital role in the conversion to digital, of many of the typefaces within the collection, notably those fonts that carry the prefix PL. More recently, Bob Alonso released several fonts through ITC, Adobe and his independent foundry, BA Graphics. Bob was on the cutting edge of his best work, and in the circumstance of his untimely passing, left a measure of unfinished designs. However, the spirit of his typographic talents and his fine sense of humor lives on through the many much-loved, and popular fonts he has left us: fonts such as Cookie Dough, Equate, Elephant Bells and Pink Mouse, to name a few.

The final font listing at MyFonts: ITC Aftershock, Alex, Alexandra Script, Allure, Alons Antique, Alons Classic, Alonso Flair, Angular, Animated Gothic, Bad Boy, Barnboard, Bedrock, Bodoni Roma, Brawn, Cabernet Sauvignon, Cafe Aroma, Calafragalistic, California Sans, Cedar Key, CEO Roman, Champ Ultra, Chardonnay, Chicken Feet, Chicken Soup, Chunky Monkey, Clearmont, Coffee Black, Cookie Dough, Crescent, Deco Inline, Deep Rising (2006, constructivist), Down Under, Elegante, Elephant Bells, Ellington Manor, Equate, Extreme, Fashion Didot, Felicity Script, Flix, Fraggle, Freaky Friday Extreme, French Vanilla, Galactic, Geo, Grandeur, Granny Smith, Gusto Black, Hatari, Headline Gothic, High Intensity, Island Sans, Italian Didot, Jr High, Ka Boink, Ker Pow, Key West, Klingon, Kresson Black, Linear Gothic, Lorraine Script, Malibu Heights, Manchester, Mardi Gras, Mega, Metro Gothic, Milano (2004, a didone face), Mission Hills, National Gothic, Nightmare, Oh Sweet Pea, ITC Out of the Fridge, ITC Outback, Paladium Gothic, PC Gothic, Pecos, Pink Mouse, Queen Of Hearts, Radiance Brush, Rancho Grande, Range Gothic, Ravenwood, Relaxed Fit, Road Gothic, Robertson, Rust Bucket, S&L Gothic, Sahara Bodoni, Senegal, Serendipity, ITC Serengetti, Shadow Gothic, Shangrala, Shazam, Shore Bodoni, Sign Gothic Bold Condensed, Slam Dunk, Sleepy Hollow, Sleezy, Snaggle, Snip Tuck, South Beach, Spice, Steel Magnolias, Steeplechase, Summer Nights, Swank Gothic, Tequila, Thats Amore, Title Gothic Light, Triple Condensed Gothic, Triumph Gothic, Vinchenso Regular, Wackado, Waimea, Wall Street Gothic, Wonka (1996, named after Willy Wonka), Yakety Yak, Zany, ITC Ziggy, Zipty Do.

FontShop link. Klingspor link.

View Bob Alonso's typefaces. View the BA Graphics typeface collection. The BA Graphics typeface library. [Google] [MyFonts] [More]  ⦿

BaseLAB
[Joancarles P. Casasín]

Barcelona-based foundry involved in custom font work, est. 2005. Original fonts: Inclusive (2007), Urbanium (2005, a bold display face), Handwritten, Eixample (2008, octagonal and rounded), Screech (2008) and Begyptienne. Modified fonts (or re-fonts in their words) include Le Grand Palais (stencil, for La Force de l'Art, Paris, 2006), BeTV (for a Belgian TV channel), and VijfTV (a modification of Chalet for a Flemish TV station). Their custom types include Atrapalo, Kipling (a fashion mag family done in 2011), STM Montreal (2011, for the Montreal transportation system), Dialogue, Kidswa, Hangar and Costa Design. One of the main collaborators is Joancarles P. Casasín. Behance link. [Google] [More]  ⦿

Benjamin Weymann

Aka Jonathon the Dog, Benjamin Weymann is located in Kassel, Germany. Behance link. Yay (2011) is a thin elegant geometric avant-garde (or vogue) face. [Google] [More]  ⦿

Bill Troop

Bill Troop, a phenomenal wordsmith, runs Graphos. Just read this quote: TYPEFACE DESIGN is obtuse, incomprehensible, unsuitable, unremunerable, and irresistable. With the aid of the computer, it has never been easier to design a typeface, and never easier to manufacture one. Because of PostScript, TrueType, and font creation programs like Fontographer, Font Studio, and Font Lab, there have never been more typeface designs available, nor have there ever been so many typeface designers active. Yet, just as at all times and places there is very little good of anything to be had, so there are remarkably few fine typefaces available today. Printers now have merely a fraction of the first rate types they had in 1930. He is active in the typophile community, where he is a fervent supporter of high quality and ethical typography. Bill Troop grew up in New York and London. He studied classical piano, type design, photography and writing. He is married to the novelist Elspeth Barker, and lives in England. He designed Busted (2008, Canada Type: grunge family) and the luxurious families Didot Headline (2009, Canada Type) and Didot Display. Images of Didot Display: i, ii, iii, iv.

From 2009-2011, he cooperated with Patrick Griffin at Canada Type on a monumental revival of Alessandro Butti's Semplicità typeface---the new family is called Semplicità Pro. The designers write: Bill and I spent some time looking closely at Futura, the instant popularity of which in the late 1920s triggered Butti's design. This was for the most part a pleasant process of rehashing what constitues a geometric typeface, musing over the fundamental phallacy of even having such a classification in type while in reality very little geometry is left after the application of the optical adjustments inherently needed in simplified alphabet forms, trying to understand how far such concepts can go before entering into minimalism, and scoping the relativity between form simplicity and necessary refinement. Mostly academic, but very educational and definitely worth the ticket. [...] For an answer to Futura, Semplicità was certainly quite adventurous and ahead of its time. It introduced aesthetic genetics that can be seen in popular faces to this very day, which is to say eighty years later. Though some of that DNA was too avant-garde for the interwar period during which Semplicità lived out its popularity, much of it remains as an essential aesthetic typographers resort to whenever there is call for modern, techno, or high-end futuristic appeal. The most visibly adventurous forms at the time were the f and t, both which having no left-side crossbar, with the f's stem also extended down to fully occupy the typeface's descender space. Aside from those two letters, Semplicità's radical design logic and idiosyncracy become more apparent when directly compared with Futura. [...] Futura attempted to go as far as geometry could take it, which ultimately made it too rigid and considerably hurt its viability for text setting. Renner himself acknow- ledged some of its flaws, and even proposed alternate fucntionality treatments, with a more humanistic aproach applied to some forms, all of which went nowhere because Futura's momentum and revenue were deemed undisruptable by some- thing so trivial as aesthetic or functionality. William Dwiggins' Metro design, a direct descendent of the Renner’s design, went almost diametrically the opposite way of Futura, with the deco facets considerably magnified and the geometry toned down. Butti decided a design that finds the middle ground in that aesthetic tug of war was probably a better idea than either extreme. [Google] [MyFonts] [More]  ⦿

Blue Vinyl
[Jess Latham]

Blue Vinyl (est. 1997) has free and commercial designs by Jess Latham (b. 1974, Birmingham, AL).

The early typefaces (before 2003): Grumble (1999, grunge), Hot Fudge (2003), Dia De Los Muertos BV (2003, Halloween-style dingbats), Delorita BV (2003), Dance Craze (2002), Redford (2002, black display font), CharmsBV (2002, dingbats), LearningCurve BV (for children), HornyDevils, Princess (girls stuff dings), TurnTable (2001), Vinyl Smooth (2001), StereoLab, 60sChic, Airwave, Cafe Noire, Lucky Charms, Punk Rock, Chains, Slasher, Blue Melody, Sugar Coma (1999, junk food dingbats), Metal on Metal, Hearts, Crushed Out Girl, Nuwave, Deco Cafe, Screen, Rock Star (dingbats), Gothic Ultra Trendy, Film Star, Mary Jane, Turning Japanese, Lushus, Rockabilly, (my favorite thick display letters) Moma Grape, Modular 2000, Cyber Phonic, Comic Zine (3d), Grrlz Stuff, Retro Bats, Terrible Nervz, Pop Up, Moonbow, Tropicana (Luau dingbats), Tiki Tooka, That 70's Ding, Karaoke Superstar, Pippi, Pocket Calculator, Kool Ding, Kool Ding 2, LittleTroubleGirl, Grumble, SeeingStars, AllStarBV, Awesome80sBV, HellcatsBV, HotRodGangBV, Stereolab, SweetHeartsBV, BumbleBeeBV, CandyStoreBV, CHAINSColorFill, ComicZine, CHAINS, EeronautsBV, Charms, Film-Star, JimmyDoodles, LooseCruseBold, LooseCruse, MODULAR, MonkeyWrench, OneTrickPony, PubertyStrike, PUNKROCKColorFill, PUNKROCK, Plexifont (see-through letters), SeeingStars, SooperDooper, TerribleNerves, Pandamonium BV, TrickorTreatBV, WebstarBV, Sonic Reverb (2003), Jacks (2003), Rodeo Girl BV (2003, handwriting), Jacks BV (2003, free), Majorette, Albedo, Retroclassics (two dingbat fonts), Westmore BV, KnockOut, Spellbound (2000), Speedway, Chocolate Mint Surprise, Pinky, Sparky, Glamorous, Bohemian Garden Party (1999), Fashionista (brush), Pink Martini, ValentinesBV, Macrame BV One (2002, single, double and triple-lined commercial font), Macrame Super Triline (2002), Redford BV (2002), Charms, Wedding Wishes (2002, dingbats), Bric A Brac BV (2002), Meringue BV (2002, handprinting), Retro Classics 3BV (2002, dingbats), Roller Baby BV (2003).

2004: Swan Song (calligraphic), Shimmer (connected cursive handwriting), Spin Cycle, Rock Star 2.0 (dings), Gros Marqueur (marker pen typeface).

2005: MyScars, My Bleeding Scars, Azuki (Japanese brush simulation), Taroca, Taroca Extras.

2006: BV Sans (2006), PrintClearly (2006, children's orthographics).

2007: Save Her (ecological dingbats), Confection (fancy script), Parsley Script, Pointed Brush.

2008: Synthetique (dot matrix), Lavender Script ( calligraphic), Giant Head (ultra fat signage face), Synthetique (thin dot matrix), Print Clearly, Dashed and Bold (simple sans), Disko (comic book style).

2010: Darlena (a swashy didone), Italian Hand (a connected script), Love Romance (Valentine's day dingbats), Patchouli Display (2009-2010), Secret Admirer (connected script).

2011: Fancier Script (signage face), Garden Brush (a flowing brush script).

2013: Barmbrack (a decorative, almost sign-painted typeface).

Fontspace link. Font Squirrel link. Dafont link.

View the typefaces made by Blue Vinyl. [Google] [MyFonts] [More]  ⦿

Bonnie Clas

Bonnie Clas has completed her B.F.A. and M.F.A. at the Savannah College of Art and Design as a major in Graphic Design with a minor in Drawing. She has been developing her career by taking positions as a designer, illustrator, and letterer for SpotCo, Rodrigo Corral Design, and Hsu+Associates in Manhattan. She lives in New York City. Creator of TWD Sans (2011, semi-blackletter), Mecano Neue (2011), Kule Script (calligraphic, for a clothing brand), Kule Slab (2011, didone), Lady Chatterly (curly fashion mag face), Lacie (curly face for Latin and Cyrillic), Methodenstreit (2011, arts and crafts face), Habana (2011, Lost Type), Feverish (2011, experimental), Burlesque (art deco). She also did the lettering for tens of projects. [Google] [More]  ⦿

Brandon Alvarado

Iowa-based typographer and graphic design who was born in California. He created Brodovitch (2011), a fashion mag modern decorative typeface based on Alexey Brodovitch's 1951 face Al-Bro. Behance link. [Google] [More]  ⦿

Bropix
[Dirk Schuster]

Bropix is a foundry in Trier, Germany, est. 2011, by Dirk Schuster. Bropix created Nouvelle Vague (2010-2011), a fat didone fashion mag headline face.

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

Calum Rudd

Wigan, UK-based typographer and graphic designer, who created the high-contrast fashion mag font Myth (2010). Currently studying at Staffordshire University. Behance link. [Google] [More]  ⦿

Chase

Californian designer (b. 1993) with a great motto: No I won't design something just for you. If I make it, it has to be publicly available. Dafont link.

Creator of Liquid Crystal (2012, the ultimate LCD typeface family), Linkin Park, Unbound Pro (2012, a free industrial stencil typeface), Adele, a monoline avant garde sans headline face, modeled after the cover of the CD album Adele 21 by singer and song writer Adele. Couture Bold (2012, free font) is a solid thick sans all caps face based on the Chanel logo.

Home page. Devian tart link. Aka styrofoamballs. [Google] [More]  ⦿

Chris van Niekerk

During his studies at Leeds College of Art, Chris van Niekerk CVN Design) created the fashion mag face Modern No. 4 (2012) and Amstersans (2012). [Google] [More]  ⦿

Christina Stougaard

Graphic designer in Haderslev, Denmark, who is studying graphic design and communication at the School of Visual Communication in Denmark. Behance link.

In 2012, she created the high-contrast fashion mag face Reddish. [Google] [More]  ⦿

Claudio Guzmán

Graduate from FADU, University of Buenos Aires, who created the typeface Queen (2010), a hairline fashion mag face. [Google] [More]  ⦿

Closefonts
[Simon Schmidt]

Closefonts is a foundry that was set up in 1997 by Simon Schmidt (b. 1968, Hamburg). He studied graphic design and typography at Parsons School of Design, New York and at Kunstschule Alsterdamm in Hamburg, Germany. After three years as an art director in advertising, he became aa self-employed graphic and type designer specializing in corporate design. His typefaces can be found at Fontomas and Closefonts.

They include Monolith, Delay (2001, has kitchen tile weights), Beta, Hybrid, Ogra, Ograbic (Couscous, Falafel, Kebab: Arabic simulation faces), Hybrid, Schlager (50s diner font), Ness, Lorem Ipsum, Maxpo, Call (free), Gridder (1999, free), Dotter (free), CloseRaceDrive (2000), CloseRacePark (2000), CloseCall, CloseGridder.

Some of Simon Schmidt's fonts can be bought at Fountain: Delay, Hybrid, Monolith, Ness, Schlager. He designed the pair Park and Drive in his Race series at fontomas.com in 2000. He created Hookline in 2001 at Fontomas. His 2007 fashionably elegant Vogue-style sans face Mondän is stunning.

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

Daniel Barba

Designer and illustrator in Mexico City. Creator of the fashion mag display face Isadora (2013). [Google] [More]  ⦿

Daniel Brokstad

Daniel Brokstad lived in Australia fortwo where he graduated from RMIT University in Bachelor of Design. He returned to Stavanger, Norway, in 2011. He created the extreme-contrast art deco / fashion mag face Casanova (2011), which features two choices of tilt---positive and negative. The way in which this typeface is used by Brokstad is sheer genius. Behance link. [Google] [More]  ⦿

Daniel Hernández Sanchez
[Hernández Type (was: Estudio de diseño Calderón)]

[MyFonts] [More]  ⦿

Daniel Keith Bale
[DKB Fonts]

[MyFonts] [More]  ⦿

Dario Vazquez

Designer in Guadalajara, Mexico, whose studio is called Bimabel. He created the Peignotian fashion mag caps face Animex (2011). [Google] [More]  ⦿

David Hubner
[Formlos (was: Folio)]

[More]  ⦿

DeeAit
[Mathias Doblhammer]

Mathias Doblhammer (DeeAit) is a graphic designer and illustrator from Vienna, His typefaces include Benchmark (2007), Fashion Victim (2009, hairline avant-garde face), Bowler (2008, rounded and ultra-fat), and Lazy Fox (2009, connected octagonal experiment). Behance link. [Google] [More]  ⦿

Dejan Cirkvencic Kralj

Dejan Cirkvencic Kralj (Re-Format, Ljubljana, Slovenia) created the high-contrast smotth-edged fashion mag face Sundari (2011). [Google] [More]  ⦿

Denis Serebryakov
[Dzianis Serabrakou]

[MyFonts] [More]  ⦿

Derek Guo

Designer in British Columbia who created the fashion mag high-contrast typeface Kursive (2013).

Behance link. [Google] [More]  ⦿

Diana Sanchez

Designer in Brooklyn, NY, of Numbers (2013), a beautiful circuit-inspired octagonal set of numbers. She also made the Peignotian fashion mag typeface Victoria (2013).

Behance link. [Google] [More]  ⦿

Didot: Brands

Didot is everyhere, on fashion mag covers like Vogue and Bazaar, on billboards, and in brand logos such as Hilton, Dior, cK, Boss, Yves Saint-Laurent, Giorgio Armani, Zara and Guess. [Google] [More]  ⦿

Dimitris Chatzelas

Designer in Volos, Greece. He made the interesting multiline geometric face Sob (2011), which is built with triangles. Osi (2011) is a rounded geometric sans face for Latin and Greek. Chaplain (2011) is a display face with a religious look.

Unida (2012) is a high-contrast fashion mag face. [Google] [More]  ⦿

Dirk Schuster
[Bropix]

[MyFonts] [More]  ⦿

District (was: CV Type)
[Galen Lawson]

CV Type, since 2013 called District, is Galen Lawson (b. Greensboro, NC, 1975), an artist who specialized first in graffiti type and logotypes and then expanded to cover all bases, including several distinctive masterpieces such as Blancmange and Hoban. He lives in Washington, DC. In 2013, CV Type became District.

His creations from 2010-2012: Aeron (2010, semi-serifed family, with a crippled lower case h), Hijinx (2009, a headline face), Verlico (2009, a take on Optima), and Frusta (2010, a 5-style slab serif family), Level (2010, an elliptical sans family), Reverie (2011, a curly sans), Encoder (2011, a slabby stencil family), Blancmange (2012: a tall informal semi-brush family), Reverie OT (2012).

Typefaces from 2013: Hoban (Light and Bold, a pair of high-contrast fashion mag faces), Fair Sans (unicase), Fair Sans Text.

Klingspor link.

View Galen Lawson's typefaces. [Google] [MyFonts] [More]  ⦿

DKB Fonts
[Daniel Keith Bale]

Located in Casino, NSW, Australia, DKB Fonts is Daniel Keith Bale's outfit. A graphic designer and illustrator, his first typeface is Aurélie (2005), a curly fashionable display face. [Google] [MyFonts] [More]  ⦿

DooType
[Eduilson Wessler Coán]

Curitiba-based Brazilian digital type foundry, est. in 2008 by Eduilson Wessler Coan (b. 1983, Curutiba). Myfonts link. Their fonts:

• Estado Serif (2006), codesigned with Ericson Straub (Straub Design) and Fabio Augusto for use in the Jornal O Estado do Paraná.
• DooSans (2006): custom design for the magazine abcDesign.
• Ninfa (2006-2008), an organic serif face. He calls it a modern semi-serif. Whatever. Ninfa won an award at Tipos Latinos 2008 in the non-text face category. Ninfa Serif followed in 2012. Ninfa Serif won an award in the typeface family category at Tipos Latinos 2012.
• Encorpada Black (2011) is a fat didone display face. It was extended to Encorpada Pro in 2012.
• Fluence (2012) is a calligraphic typeface family. Fluence won an award at Tipos Latinos 2012.
• Tres Tres Chic (2012) is a very thin geometric fashion mag headline face.
• Maestra (2012) is a calligraphic copperplate script.
• Niks Sans (2012).

  Delicatta (2012) is a formal connected script face, destined to win many awards.

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

Dzianis Serabrakou
[Denis Serebryakov]

Denis Serebryakov's Design studio in Minsk, Belarus creates logotypes and identity based on original lettering and own production fonts. Appetite (2011) is a black upright script family. It was followed by Appetite Contrast (2012) and the italic version, Appetite New (2012). Myster (2012) is a random font in which each glyph has three alternatives. General (2012) is an elegant casual sans family. Germes (2012) is a grotesk family with some contrast and with some reverse serifs added sparingly. Germes Sans (2012) is the sans version.

Statut (2012) is an elegant thin typeface that is based on calligraphic work by Belarusian artist Pavel Semchenko.

Oldsman No. 1 (2012) is a fashion mag typeface.

Displace (2013) is a sans face drawn with a tilted nib.

Behance link. Home page. MyFonts link for Denis Serebryakov. [Google] [MyFonts] [More]  ⦿

Eduilson Wessler Coán
[DooType]

[MyFonts] [More]  ⦿

Edward Benguiat

Born in New York in 1927, Ed grew up in Brooklyn. He was once a very prominent jazz percussionist playing in several big bands with Stan Kenton and Woody Herman, among others. He has created a large number of typefaces between 1970 and 1995. About his career, he once said: I'm really a musician, a jazz percussionist. One day I went to the musician's union to pay dues and I saw all these old people who were playing bar mitzvahs and Greek weddings. It occurred to me that one day that's going to be me, so I decided to become an illustrator. He designed more than 400 faces for PhotoLettering. He played a critical role in establishing The International Typeface Corporation (or ITC) in the late '60s and early '70s. Founded in 1971 by designers Herb Lubalin, Aaron Burns, and Ed Ronthaler, ITC was formed to market type to the industry. Lubalin and Burns contacted Benguiat, whose first ITC project was working on Souvenir. Ed became a partner with Lubalin in the development of U&lc, ITC's famous magazine, and the creation of new typefaces such as Tiffany, Benguiat, Benguiat Gothic, Korinna, Panache, Modern No. 216, Bookman, Caslon No. 225, Barcelona, Avant Garde Condensed, and many more. With Herb Lubalin, Ed eventually became vice-president of ITC until its sale to Esselte Ltd.

Ed is a popular keynote speaker at major type meetings, including, e.g., at TypeCon 2011, where he entertained the crowd with quotes such as I do not think of type as something that should be readable. It should be beautiful. Screw readable. His typefaces---those from PhotoLettering excepted:

• ITC Avant Garde Gothic (1971-1977, with Andre Gurtler, Tom Carnase, Christian Mengelt, and Erich Gschwind).
• ITC Modern No. 216 (text family). The Softmaker versions are called M791 Modern and Montpellier.
• ITC Barcelona (1981).
• ITC Bauhaus (1974-1975). ITC Bauhaus was codesigned with Victor Caruso. The Softmaker versions are called R790 Sans and Dessau. The Infinitype ersion is Dessau. The Bitstream version is Geometric 752.
• ITC Benguiat (1977) and ITC Benguiat Gothic (1977-1979). Comic book style faces called Benjamin and Benjamin Gothic on the SoftMaker MegaFont XXL CD (2002). Softmaker also has fonts called B693 Roman and B691 Sans that are identical.
• Benguiat Roman (1960s).
• Souvenir was done by Benguiat in 1967 at PhotoLettering. Morris Fuller Benton's original model was from 1914. It was described by Simon Loxley as follows: Souvenir is a face that is intractably rooted in style to a particular era, although one a half-century after its creation. It is a quintessential late 1960s and 1970s typeface, informal, with full rounded character shapes and rounded serifs, a laid-back Cheltenham. The Bitstream version of ITC Souvenir was called Sovran.
• ITC Tiffany (1974), a fashion mag typeface family. Adobe says that it is a blend of Ronaldson, released in 1884 by the MacKellar Smiths&Jordan foundry, and Caxton, released in 1904 by American Type Founders.
• PL Torino (1960, Photo-Lettering), a blackboard bold didone-inspured typeface.
• In 2004, House Industries released five faces based on the lettering of Ed Benguiat: Ed Interlock (1400 ligatures---based on Ed's Interlock, Photolettering, 1960s), Ed Roman (animated bounce), Ed Script, Ed Gothic and Bengbats.
• He did logotypes for many companies, including Esquire, New York Times, Playboy, Reader's Digesn, Sports Illustrated, Look, Estée Lauder, AT&T, A&E, Planet of the Apes, Super Fly.
• Lesser known Photolettering faces include Benguiat Bounce, Benguiat Boutique, Benguiat Bravado, Benguiat Brush, Benguiat Buffalo (+Ornaments), Benguiat Century, Benguiat Cinema, Benguiat Congressional, Benguiat Cooper Black, Benguiat Cracle, Benguiat Crisp, Benguiat Debbie, Benguiat Montage, Benguiat Roman. Scorpio, Laurent and Charisma, all done in the 1960s, are psychedlic types.

Links: Linotype, CV by Elisa Halperin. Daylight Fonts link (in Japanese). Catalog by Daylight, part I, part II.

Pics harvested from the web: Portrait With Ilene Strivzer at ATypI 1999. One more with Strivzer. With Jill Bell at ATypI 1999. In action. At TypeCon 2011 with Matthew Carter and Alejandro Paul. At the same meeting with Carole Wahler and with Roger Black.

FontShop link. Klingspor link.

View Ed Benguiat's typefaces. Ed Benguiat's fonts. [Google] [MyFonts] [More]  ⦿

Edwin W. Shaar

American type designer, designer, writer, b. 1906 or 1915. For some time he was assistant art director at Monotype and art director at Intertype. He made several phototype typefaces. His typefaces include:

• 1939: Czarin (lowercase only by him), done at Baltimore Type.
• 1939: Flash and Flash Bold (Lanston Monotype), a signage typeface of limited beauty. See also Flash EF. Linotype has a similar fat brush face called Okay. I assume it has the same genetic roots. See Falcon by SoftMaker and Flash EF by Elsner and Flake for a digital version of Flash, Brush Hand (by WSI), Brush Hand New (a free font by Keith Bates) and 0670 Script (also by SoftMaker) for a digital version of Flash and/or Okay. Mac McGrew: Flash is an informal brush-drawn script letter, cut by Monotype in 1939. It was the first face designed by Edwin W. Shaar, who designed Flash Bold the following year. The lighter weight is somewhat similar to Dom Diagonal, cut later by ATF. Also compare Balloon.
• 1940: Valiant (Lanston Monotype), a display face. ac McGrew: Valiant is a vigorous thick-and-thin letter with the appearance of having been lettered quickly but well with a broad pen. It was designed by Edwin W. Shaar for Monotype in 1940, and is similar to Lydian Bold Condensed, though a little heavier. It is suggestive of Samson, but condensed.
• 1952: Futura Extra Bold (Intertype), followed by Futura Extra Bold Italic in 1955 at Intertype as well. For a digital version, see Function Script by SoftMaker.
• 1952: Nuptial Script (Intertype).
• 1954: Futura Script (Scangraphic). See Future Script EF by Elsner & Flake.
• 1954: Imperial (+Bold, +Italic), done at Intertype, and called Gazette by Linotype in 1977. The New York Times uses Imperial for its text since 1967, but it is based on in-house scans of the old metal Imperial (an Intertype design from 1954), not on the digital versions from Intertype or Linotype. The typophiles discuss Imperial: Kent Lew states The New York Times text is Imperial. Has been for at least the last several years. Koppa points out that the NY Times Imperial designed by Intertype looks like an ATF Century Old Style rip-off. [...] I will stick with my opinion that the original, the metal Century Old Style, credited to M Benton, is better than the copy-cat Intertype Imperial and most definitely better than the copy-cat digital Imperial I saw on myfonts.com last night. Bitstream made a digital version of Imperial. Mac McGrew: Imperial was designed by Edwin W. Shaar in 1954 as a newspaper text face. Like most other news faces it has a large x-height with short descenders. but unlike most news faces of the time, it blends certain oldstyle and contemporary characteristics, and is a little narrower and more closely fitted. This gives a feeling of friendliness and warmth, but retains a high degree of legibility.
• 1960: Royal (+Italic, +Bold): a sans family that is easy to read in small point sizes.
• 1960: Windsor (+Bold) (Intertype, New York), a newspaper face.
• Vogue Extra Condensed (Intertype).
• 1974: Satellite (+Italic, +Bold), done at Intertype. Mac McGrew: Satellite is a newspaper face designed by Edwin W. Shaar for Intertype in 1974. With large x-height and sturdy hairlines, especially in the bold version, it is designed for legibility under the rigors of high-speed newspaper production, but without sacrificing a stylish appearance.
• Shaar Diane, a Photo-Lettering calligraphic face.

Linotype link. FontShop link. Klingspor PDF.

View Edwin Shaar's typefaces. [Google] [MyFonts] [More]  ⦿

Elena Kowalski
[Glen Jan]

[MyFonts] [More]  ⦿

Elliot Hutchinson

Graphic design student at Swinburne University TAFE in Australia. Creator of the extremely contrasted didone display face Refined (2012). [Google] [More]  ⦿

E-phemera (was: HPLHS Prop Fonts, and earlier: Prop Fonts)
[Andrew H. Leman]

Andrew Leman is a prop designer in Hollywood, CA. The type foundry HPLHS Prop Fonts (was: Ephemera, Prop Fonts) was started by Hollywood's Andrew Leman, and is now located in Pasadena, CA. Some fonts are free, most are commercial.

Dafont link. Klingspor link.

Andrew Leman's fonts:

• Cablegram (2001, old typewriter face, T-26).
• Leviathan.
• Garamold (2007, 2 styles).
• Journalistic (2007, a blackletter inspired by the nameplate of a New England newspaper from the 1920s).
• Blackburn (2006, distressed).
• RTemporal (2006, blackletter).
• Fonts in the HPLHS series, dated 2002: HeadlineTwoHPLHS, OldStyle1HPLHS, OldstyleItalicHPLHS, OldstyleSmallCapsHPLHS, Rogo, SlabSerifHPLHS, TelegramHPLHS, WW2BlackletterHPLHS, WW2BlackltrAltHPLHS, HPLHS-Lovecraft Cursive and Block (replica of H. P. Lovecraft's own handwriting), HPLHS-Autograph Lanier (replica of the 1875 handwriting of Sidney Lanier, a 19th century American poet), HPLHS-TextSerif (really Linotype Antique No. 1), HPLHS-TypoScript, HPLHS-TextSerif Oblique, HPLHS-Bulfinch, HPLHS-Colwell, HPLHS-Colwell Italic, HPLHS-Cromwell, HPLHS-National Oldstyle (after Goudy's font by that name), HPLHS-Post Monotone, HPLHS-Atlas Italic, HPLHS-Italic, HPLHS-Victoria (from the 1923 ATF book), HPLHS-Manuscript Caps, HPLHS-Tome Pi, HPLHS-TypoGothic, HPLHS-Copperplate Roman, HPLHS-Gothic520, HPLHS-Times Gothic, HPLHS-Persnickety, HPLHS-Roman Engraved, HPLHS-Mercantile, HPLHS-Mercantile Oblique, HPLHS-Mercantile Card, HPLHS-Headline Modified, HPLHS-ExtraExtra, HPLHS-Extra (wood type), HPLHS-Forsythe, HPLHS-MetroThin, HPLHS-MetroLight, HPLHS-MetroMedium, HPLHS-MetroMedium Italic, HPLHS-MetroBlack, HPLHS-Policy Gothic, HPLHS-Black Gothic, HPLHS-Gothic Compressed, HPLHS-Black Condensed, HPLHS-Black Oblique, HPLHS-Electro Gothic, HPLHS-Blackletter (an irregular hand-drawn textura font based on the lettering of French heraldic engraver Charles Demengeot).
• The E-phemera Font Collection, available from MyFonts, which includes these fonts, with a majority being retro or script faces: Policy Gothic (2012, an eroded caps face), Mooseheart (2012), Operapolitan (2012), Fishwrapper (2012), Fred (2007, inspired by a 1930s face by Fred G. Cooper), Schreibweise (2007, a pirate-flavored font inspired by a hand-lettered manuscript dating from 1492), Cablegram-Regular, Golden Ticket-Base, Cablegram-Urgent, Golden Ticket-Fill, Cablegram-Madras, Golden Ticket-Highlight, Cablegram-Ottoman, Julius Klinger (2003, based on 1925 fabric lettering by Julius Klinger), Cablegram-Zagreb, DMV Printer, Landry Gothic, Penitentiary Gothic-Regular, Telegrafo, Penitentiary Gothic-Fill, Toronto Gothic, Penitentiary Gothic-Hilite, Vogue (pencil-lettered caps), Penitentiary Gothic-Lolite, Penitentiary Gothic-Shadow, Chicago House, Compliments-Regular, Compliments-Upright, Satisfaction (script based on 1930s cigarette ads), Vandal Broke Extra Juicy, Lanier (2004), Impersonal. The Cablegram, Penitentiary and DMV series are typewriter fonts. Heck Italic (2010) is based on captions, labels and legends appearing on 19th-century maps and natural history engravings by Johann Georg Heck. Dai Vernon (2010) is based on the handwriting of card magician Dai Vernon.

View Andrew Leman's typefaces. [Google] [MyFonts] [More]  ⦿

EPS51

Design studio of Ben Wittner, Sascha Thoma and Daniel Fürst, located in Berlin. Custom fonts made by them include Newface 51 (for M4 Models / Newfaces), Rayon51 (2011, a monoline sans for the magazine Animated), Futur-A-Script (2010), Bodoni Stencil (2009, for Chris Holzinger), Baseet (2009, an Arabic script face done with Pascal Zoghbi), Holzinger51 (2008), and the Talib family of typefaces (2008, Arabic simulation fonts). [Google] [More]  ⦿

Erik Jay Deleon

Art director in Richmond, VA, who created the fashion mag typeface Giorgioro (2013).

Behance link. [Google] [More]  ⦿

Erté

Erté (Romain de Tirtoff) was a well-known art deco era artist. Born in St. Petersburg, Russia in 1892, he died in 1990 in Paris. In 1912, Erté moved to Paris. In 1915, he began an association with Harper's Bazaar by designing covers of each of their magazines for the next 22 years. He became known for elegant lithographs and sculptures for the fashion industry. On these pages, you find an elegant set of capitals and numerals in which the glyphs are formed by elegantly drawn naked women.

Wikipedia. [Google] [More]  ⦿

Etah Chen

Graffiti letters blended with didone yields a fashion mag typeface called Vato Modern (2012). [Google] [More]  ⦿

F25 Digital Typeface Design
[Volker Busse]

Volker Busse (F25 Digital Typeface Design) is a graphic designer at Grafikkontor in Berlin.

Designer of the old typewriter simulation fonts F25 Executive (2008), F25 BlackletterTypewriter (2006), Typewriter Condensed (2007), Telegraphem (2004), Cella (2007) and Daisy Wheel (2007). He also made Am Sans (2005), which he derived from a 1960s sample of Intertype Vogue (itself a geometric and clean-lined sans, ca. 1930), and F25 Bank Printer (a MICR family, 2005).

At FontStruct, he made F25 Borderfont (2009, a multiline family including styles called Alita and Kapata), F25 Fontstruction 157 (2009, experimental), and Hidden Text 01 (2009).

Klingspor link. Dafont link. Abstract Fonts link. [Google] [More]  ⦿

Fabio Tridenti

Art director at M&C Satchi in Milan. Creator of the high-contrast fashion mag typeface Penguin (2013). [Google] [More]  ⦿

Felix Auer

Felix Auer is an art director, graphic designer and illustrator from Vienna. He graduated from dieGraphische in 2008. Since then he worked together with g-b.at in Vienna, at Twopoints.net in Barcelona, and at gantnerundenzi, Ogilvy & Mather, Himmer, Buchheim & Partner.

In 2012, Roland Hörmann and Felix Auer codesigned the refined didone fashion mag display face Aquus (+the outline version, Aquus Linearis), which was published by Phospho. [Google] [MyFonts] [More]  ⦿

Florencia Garcia

Graduate from FADU, University of Buenos Aires, who created the elegant and fashionable condensed typeface Sergo (2010). [Google] [More]  ⦿

Florencia Vani

During her studies at President University, Florencia Vani (Jakarta, Indonesia) created the fashion mag sans typeface Brat (2013), a modification of Century Gothic. [Google] [More]  ⦿

FontShop: Top Type of 2009

This FontShop list includes best-sellers, most-blogged-about and groundbreaking typefaces in the FontShop stable in 2009:

• Sangbleu: The Fine Lined Fashionista---With gossamer strokes and a classical stature, SangBleu was born to be set at 150 pt. on the pages of a glossy magazine. Pic.
• Geogrotesque: Pic.
• Mousse Script: "best retro script", a revival and expansion of Stephenson Blake's Glenmoy. Pic.
• Effra: A sans for all seasons. Pic.
• Heroic Condensed, by TypeTrust. Pic.
• FF Dingbats 2.0. Pic.
• Axel: A Spiekermann family. Pic.
• Olicana: Nick Cooke's flowing handwriting face. Pic.
• Milo. Pic.
• T-Star, by Die Gestalten. Pic.
• Ingeborg: a fun didone family by Michael Hochleitner. Pic.
• Typonine Stencil: Most sophisticated stencil. Pic.
• Head Pro: For Gearhead and Techjunkies. Pic.
• Mr Eaves Sans and Mr Eaves Modern, by Emigre: Mr Eaves Modern is classy and high-legged. Pic.
• Mic 32 New: A contemporary sans by Chris Dickinson. Pic.
• Unit Slab: By Spiekermann and co. Pic.
• Dessau: 1930 meets 1980 meets 2010. Pic.
• Lexia: A slab for all seasons. Pic.
• Perec: Most literary. Pic.
• Metroscript: Best sports script---I guess they mean baseball, as played in the 1950s. Pic.
• Ludwig: Most unconventional revival. Pic.
• Pinup: Most cuddly curves. Pic.
• Kulturista: a slab family that rocks harder than Rockwell. Pic.
• Carmen: The Iberian didone. Pic.
• Alpine Script: The most delicious script (for signage or food packaging). Pic.
• Regime: A slab with a swing. Pic.

Formlos (was: Folio)
[David Hubner]

Formlos is an independent design bureau, brand consultancy and type foundry, founded in 1999 and originally located in Hellmonsoedt/Vienna, Austria. It seems to be in Berlin right now.

David Hubner (b. 1981, Wels, Austria) is the Austrian designer (based in Hellmonsoedt and Malta) of

• Ventisei (2008, a unicase futuristic sans). Free download.
• Formlos Organik (2002), an experimental techno face.
• Formlos Requii (2003), an artsy concoction.
• Blockrockin (coming soon).
• Fertigbauhaus (Volcano Type, free).
• FormloSerif and FormloSans (2002). FormloSerif is a commercial serif pixel/screen font.
• 4our (2002, pixel face).
• BlockRockin.
• RoundABong.
• Formlos Handsomeone, a scribbly script.
• FormlosMenee, a pixel face.
• Formlos Neonua (2008), an elegant fashionista.
• Formlos_PlayR (2004), an experimental headline face. Commercial.
• Formlos Pimp (2004), an experimental ultra fat geometric face.
• Formlos PxlSans and PxlSerif, pixel faces.
• Flittchen (2013). A blackletter typeface inspired by fishnet stockings.

Lukas Kerecz created Monocrane (2013) while studying in Berlin.

Link to his studio Dav Marken Design. Alternate URL (2003), where you can find his custom typography. Still another URL, called Folio (2003), where you can find his custom typography. Another URL, where Ventisei can be downloaded. Dafont link. Behance link. [Google] [More]  ⦿

Francisco Arellano
[Ixipcalli]

[MyFonts] [More]  ⦿

Francisco López Bustamante

Graphic designer in Guadalajara, Mexico, who works at Memela Studio. Behance link. His typefaces include the seductive multiline beauty, Miami Deco Type (2011), the Italian Western face El Solitario (2011), and the arts and crafts face Poiret (2011). Later in 2011, he promises the fashion mag face Marais Serif, and made the alchemic typeface Arcan.

I am a bit confused, as most of thesetypefaces also show up in the portfolio of Pancho Lopez, also of Guadalajara. [Google] [More]  ⦿

Francisco Medina Walker

Graduate of the Universidad de Belgrano, Argentina. He combined design elements of Gill Sans and Didot when he created the headline / fashion mag typeface Bangguar (2012). [Google] [More]  ⦿

Frederick Eschrich

Illinois-based artist who created the stenciled typeface Horatio (2013), the angular geometric typeface Fois (2012) and the hairline fashion mag typeface Maquila (2012). [Google] [More]  ⦿

Galen Lawson
[District (was: CV Type)]

[MyFonts] [More]  ⦿

Gaslight (or: Valery Zaveryaev)
[Valery Zaveryaev]

Gaslight-type-foundry is collaboration between two type designers---Valery Zaveryaev and Roman Shchyukin---, founded in 2011. Valery Zaveryaev is a Russian designer (b. Bryansk, 1977) at LetterBe, who created the octagonal family Teco (2005), the display face Brut (2005), the clean sans family Maza (2005), the informal unicase family Rezerv (2009, inspired by a logo he created for Evroterm), Barrez (2010, a techno family inspired by the TC-Helicon logo), and the stencil face Marshrut (2005).

He lives in Bryansk. All his fonts are Latin/Cyrillic.

In 2011, Zaveryaev set up the commercial foundry Gaslight. Fonts there include the elliptical family Maza (2005), the angular elliptical family Barrez (2010), Brut (2005), and the stencil face Marshrut (2005). Electrolize (2011) is a free squarish face available from Google Web Fonts. Bad Script (2011, Google Web Fonts) is an informal handprinted face made by Roman Shchyukin.

Rock Logo (2012) is a metal band / tattoo font codesigned with Roman Shchyukin. Wide Display and Wide Display Ribbon are unicase headline typefaces. Teco Sans (2012) is an octagonal military typeface family, accompanied by the icon font TecoSymbol (2012) and the stencil family Teco Sans Stencil (2012). Teco Serif (2012) is an octagonal slab version of Teco Sans.

Still in 2012, Zaveryaev designed Actio, Roz (rounded sans family), Wary (pop art typeface), the fat display overlay families Quadratish Serif and Quadratish Solid.

Delgado (2012) is an elegant tall and thin fashion mag typeface for Latin and Cyrillic, made by Roman Shchyukin.

Typefaces from 2013: Gen (techno), Tesla (techno face, Roman Shchyukin).

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

Geometric sans: early 20th century

Discussion of geometric sans faces in the early 1900s. Some quotes: [...] Geometric sans serifs were all the rage, and every foundry wanted a piece of the pie. For instance, Monotype wanted Gill, Linotype wanted Dwiggins, and yes there was also Renner's Futura and Kabel. [...] A lot of typefaces back then, including Vogue, Metro, Gill, and Tempo, had alternate characters available to allow them to pass as Futura or Kabel. Linotype's Spartan (their version of Futura) also had an alternate two-story a. Monotype also had a Kabel look-alike called Sans Serif that had alternates to make it look like Futura or Bernhard Gothic, plus some really neat rounded capitals designed by Sol Hess. [...] Vogue was cut in 1930 for Vogue magazine and later released generally [by Stephenson Blake]. It differs from Futura in a number of ways. The caps are the full ascender height, the lowercase a is two-story in the lighter weights. The most distinctive characters are the uppercase G, M, and Q. [...] [Google] [More]  ⦿

Georgi Krumov

Designer in Varna, Bulgaria, who made the fashion mag extreme-contrast face Profile (2011). [Google] [More]  ⦿

Gerald Giampa
[Lanston Type Co]

[MyFonts] [More]  ⦿

Germaine Chen

Germaine Chen Shiyun graduated in Visual Communications from Temasek Polytechnic, and is currently pursuing a BA in Design Communication at Lasalle College of the Arts, Singapore. She created Money Talks (2011) and ChiChi (2011, an ornamental caps face inspired by fashion illustrations).

Behance link. [Google] [More]  ⦿

Gilbert Powderly Farrar
[Intertype]

[MyFonts] [More]  ⦿

Glen Jan
[Elena Kowalski]

Glen Jan is the foundry of type designer Elena Kowalski (b. 1986) in Ufa, Russia. Elena created the Latin / Cyrillic face Sreda Slab Serif (2011), Road Radio Sans Serif (2011) and Affect Sans Serif (2011, a fashion sans family for Latin and Cyrillic).

Typefaces from 2012: Road Radio (sans family), Sceptica (a 12-style sans text family), Room (a display geometric all caps sans serif typeface family), Idealist Sans (a humanist sans for Latin and Cyrillic: free download), Echoes Slab, Echoes Sans.

Typefaces from 2013: Leto One (a display slab), Leto One Condensed, Affect.

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

Hans Samuelson
[Samuelstype Design]

[MyFonts] [More]  ⦿

Harold Lohner
[Harold's Fonts]

[More]  ⦿

Harold's Fonts
[Harold Lohner]

Harold Lohner was born in upstate New York in 1958. He received an MFA in printmaking from the University at Albany and is Professor of Visual Arts at Sage College of Albany. He began making fonts in 1997 and starting distributing them the next year through Harold's Fonts. He lives in Albany, NY, with his partner, Al Martino. Originally, most of his typefaces were freeware or shareware, but gradually, he started selling most on his site or via FontBros. His typefaces:

• Famous fonts: Auteur (2007, after the handwriting in the opening titles of Jean Cocteau's The Beauty and the Beast, 1946), 12 to the Moon (2000, runes based on the Columbia Pictures movie "12 to the Moon"), Aardvark Café (2000, extrapolated from the famous Hard Rock Café logo), BENSFOLK (2000, adapted from the work of Ben Shahn, in turn adapted from "folk or amateur" alphabets. Font originally developed for The Arts Center of the Capital Region.), BENSFOLK CONDENSED (2000), Bensgothic (1998), BensgothicLigatures (1998), CALAVERAS (2002, a take on Daisyland), Comet Negative (2000, based on the logo of Country Music Television (CMT)), Comet Positive (2000), HonestJohns (2000, based on the lettering in the classic Howard Johnson's restaurants logo), METRODF (2000, based on the Mexico City subway's lettering), Radio (2002, derived from the old NPR (National Public Radio) logo).
• Handlettering: Frank the Architect (2004, +Bold, 2009: after the lettering of architect Frank Ching), National Archive (2009, calligraphic), Rough Draft (2009, sketched font), Greg's Hand (2009), Rudland Hand (2007, inspired by the work of the British artist and designer Peter Rudland), Gamera (2006), Directors Script (2006, based on a film credits script from the 1940s), National Archive (2005, based on the lettering of Timothy Matlack, who wrote the Declaration of Independence), Frank the Architect (2004, based on Frank Ching's lettering, which also gave rise to the Tekton family), Imitation (2003, inspired by the handlettered titles of the film Imitation of Life (1959), directed by Douglas Sirk and artdirected by Richard H. Riedel), Imitation Two (2004), antiestablishment (2000), Christmas Card (2000, based on the handlettered opening titles of the film "It's a Wonderful Life", Art Director: Jack Okey. This font was retired and replaced in 2006 by Testimonial), Espangle (2002, as the lettering for El Corte Ingles), Dad's Recipe (2000, based on his dad's handwriting), Greg's Hand (2001, Greg Smith's writing), Greg's Other Hand (2002), Kaela (1998, reshaped and extended in 2006), Marker Man (1999), Synch (2000, with Phil Campbell, inspired by the work of the artist Stuart Davis), Synchronous (2000, based on Syncopated Script, again made with Phil Campbell), Syncopated Script (1999).
• Blackletter: Waldorf Text (2011, after a 1914 original), Waldorf Heavy Illuminated (2011), Manucrypt (2011), Rude Goth (2007, grunge blackletter), Alsace-Lorraine, Benighted, Chinese Gothic, Christmas Card II, Kombine Regular, Kombine Kursiv (2000), Olde Chicago.
• Woodtype: Blacktops (caps, 1999), Blacktop Small Caps (1999), Cinderella (1998). The Western font Cattle Annie (2006) is an unauthorized digital interpretation of the analog font "Les Catalanes." According to ABZ: More alphabets and other signs by Rothenstein and Gooding, it was designed in 1952 by Enric Crous-Vidal (1908-1987) but was never produced.
• Stencil fonts: JJ Stencil, JJStencilLight (2000, inspired by the work of Jasper Johns), JJStencil Wet, JJStencilMedium, Sideshow (2000, based on the stencilled lettering on a vintage Ouija board), JJStencilSolid (2003), StencilFour (2001, inspired by the logo of Channel 4 (UK); reworked in 2006 into Oaktag), StencilFourReversed (2001).
• Western: Oklahoma (2006, based on the title of the film by that name), Captain Howdy (1999, 2000, Western font based on the lettering on a Ouija board).
• Fraktur fonts: Benighted (2002), AlsaceLorraine (2000), Chinese Gothic (2000), Kombine Regular (2000), Kombine Kursiv (2000).
• Revived Letraset fonts: BLOCK UP family (2000, based on the font family by the same name by Sally Ann Grover (1974) for Letraset), Good Vibes (2001, based on the analog font "Good Vibrations" by Trevor Hatchett for Letraset, 1973), GoodVibesBackbeat (2001), ObliqueTextBold (2000, based on a Letraset font called Obliq, 1984), ObliqueTextLight (2000), ObliqueTextMedium (2000), Wireframe (2000, based on the Letraset font Bombere designed by Carla Bombere (or Carla Ward)).
• Art deco fonts: Cartel (2005, simply gorgeous), based on the lettering of the 1936 movie by that name), Crazy Harold (2009), Road Jester (2009), Onion (2003), Roberta (2003, based on a font of Bob Trogman, 1962), Roberta Raised Shadow (2003), Boomerang family (1998-2000), LeFilmClassic family (2000, based on the classic Art Deco font of the same name, originally designed by Marcel Jacno and released by Deberny&Peignot, 1927), LeFilmLetters (2000), LeFilmShadow (2000), PopUps (1998, a 3-d art deco font for signboards), Tapeworm (1998, based on the work of artist Ed Ruscha), Farouk (2001, a five-line art deco font, based on an analog font of the same name, as illustrated in Paul E. Kennedy's "Modern Display Alphabets"; in fact, the original source should be Fatima, a font designed by Karl Hermann Schaefer in 1933 at Schriftguss, and a copy of it at FT Française was called Atlas (1933). Lohner renamed Fatima to Atlas at some point, and added Atlas Solid, still in 2001).
• MICR fonts: CMC7 (1998).
• Dingbats: Bingo Dingo (2011, inspired by the classic Mexican game, Loteria), Essene Dingbats (2005), Chapeau (2005, inspired by the 1902 Sears Catalog), Corset (2005, inspired by the 1902 Sears Catalog), Harold's Pips (2004), Alpha Bravo (2003), Rebus, AmericanCheese (1999), Candide Dingbats (1999, a reclinming women dingbat face based on decorations designed by Rockwell Kent for "Candide," circa 1928), Maritime Flags (2000), New Year Dingbats (1999: Japanese patterns).
• Monospace fonts: Chica Mono (2000, based on Apple's Chicago; not really monospaced, by the way), Queer Theory Black, Bold, Regular and Light (1999).
• Arabic simulation faces: Alhambra (2006), Alhambra Deep (2006).
• Oriental simulation fonts: Bruce Mikita (+Solid) (after a metal font by the same name; Dan Solo calls it Lantern), Pad Thai (2006), Mystic Prophet (2002, inspired by Ouija boards), Chines Gothic, Font Shui (inspired by a style of hand-lettering illustrated in Alphabets: Ancient&Modern, compiled by J. B. Russell (Padell, 1946), Rubaiyat Shadow and Inline, Seoul (Korean font simulation), Shazi, Twelve to the moon, Chow Fun (2001, an oriental simulation face based on a sample of hand lettering identified as "Crooks' Stencil Designed Alphabet" in Alphabets: Ancient&Modern, compiled by J. B. Russell and published in 1945 by Padell Book Co), Quasi (1998).
• Cartoon fonts: Laughtrack (2009, based on the work of the cartoonist Jerry Robinson), CokerOne (2000, based on the work of cartoonist Paul Coker Jr), Coker Two (2000) (note: therse fonts were erroneously named. They were renamed to Denney because of this: "The lettering in the fonts you have was developed by Alan Denney at Hallmark in the late 1950s. He also worked for American Greetings Hi Brows from 1960 - 1966 and then returned to Hallmark.... And he later went to a different lettering style when Shoe Box cards became Hallmark's funny card line replacing Contemporary Cards. Alan retired from Hallmark in 1993 and died two years later."), ZITZ (2000, based on the hand lettering in the King Features daily strip "Zits" by Jim Borgman and Jerry Scott), Ohmigosh (2007: 12 styles of comic book lettering).
• Dot matrix fonts: Fortuna Dot (2001).
• Pixel fonts: Larcher (based on a modular font designed by Jean Larcher).
• Medieval script fonts: Sonnet Italic&Swash (2009), Galathea (2000, based on a classic analog font of the same name, "Originalerzeugnis von J. S. Schelter&Giesecke, Leipzig").
• Fonts made in 2012: Humerus (Halloween font inspired by the opening credit sequence of Abbott and Costello Meet Frankenstein, 1948), Retrospace (inspired by the hand-lettered opening credits of the film Some Came Running (1958)), Toynbee Idea (free font based on Toynbee tiles), Hymn (scanbat).
• Fonts made in 2011: Institute Stamps (grunge), Magic Carpet, Shoemaker (shoe stitch face).
• Fonts made in 2010: Salmagundi (grunge), Dynamotor (like Dynamo, which was designed by K. Sommer and first released in 1930), Poignant (inspired by the hand-lettered film titles of certain mid-1900s films from Twentieth-Century Fox, including "All About Eve", "Gentleman's Agreement" and "No Way Out."), Pharmacy MMX (unicase), Karta (3d face), Flores MMX.
• Fonts made in 2009: Wexley (revival of a VGC font called Wexford), Sonnet (based on the printed text of Shakespeare, 1609), Fashion Brush, Fashion Script, Imitation One, Two, and Three, Generation B (all at Font Bros), Gainsborough (2009, an art deco face inspired by the hand-lettered titles of an Alfred Hitchcock film, The Lady Vanishes (1938)), Comfy (FontBros: inspired by an example of "Pinselschrift" (brush lettering) by Wilhelm Dechert), Sirena (FontBros: inspired by the hand-lettered opening titles of the film I Married a Witch).
• Fonts made in 2008: Alumino (inspired by Saul Bass's design for the aluminum company Alcoa), République (four fonts inspired by Paris Metro signs---not the familiar Art Nouveau "Metropolitain" signs, but the later Art Deco design by Adolphe Dervaux), Handbill (based on rubber stamps), Flash Mob, Pen Script Monograms, Royal Wedding (commercial set at Font Bros), 2 Clover Monograms, 4 Heart Monograms, Silverliner (based on the opening titles of the 1951 Hitchcock movie Strangers on a Train), Tricot (lettering as done on a sweater, after a design by Nancy Stahl), Silverliner (based on the opening titles of the 1951 Hitchcock movie Strangers on a Train), Tricot (lettering as done on a sweater, after a design by Nancy Stahl), Carbon Copy, Bracelet Mongrams.
• Fonts made in 2007: Aeolian, Pub Bites, Barril and Barril Doble (a digital interpretation of the 1970s Neufville font Barrio), Circle Monograms, XOXO (grunge), Safety Pin (inspired by the cover of the June 1946 Ladies Home Journal), Swizzle Script (a script based on Stylescript, 1940, Sol Hess: compare with Coronet and Trafton), New England (script), Madfont (after MAD magazine's logo), Quince (a brush version of Klumpp's Murray hill), Plumber's Gothic, Gamera.
• Fonts made in 2006: Humdinger (comic book lettering), Stella Dallas (a Koch Antiqua style face based on he hand-lettered titles of the film Stella Dallas), Foam Light, Mean 26 Sans, Mean 26 Serif, Gaudi, Lapis Lazuli (3 calligraphic fonts based on Dan X. Solo's Papyrus), Garden, Boston Line and Philadelphia Line (inspired by Boston Line Type, developed in the 1830s by Samuel Gridley Howe for use in raised-letter printing for the blind; the Philadelphia Line fonts were inspired by another raised-print font, this one developed by Julius Friedlander and adopted in 1837 by his Philadelphia school, now the Overbrook School for the Blind), Honeymoon (a script based on the Holiday Inn lettering), Blooper and Bloop Script (after Cooper Black and Brush Script), Roman monograms.
• Fonts made in 2005: Don Semiformal, Fabulous Prizes, Valentin (inspired by the work of Valentin Haüy, creator of the first books for the blind), Chelt Press (a grungy Cheltenham), National Debt, Pub Smooth (followed in 2007 by Pub Bites), Baronial Monograms, Vine Monograms, Thaleia (revival of Thalia), Harold's Monograms Bold, Blockograms, CarmenMonograms, Profiler, Goya, Jest, Chaser, Rebus (dingbats), Dilemma, The Birds, CVelestial Alphabet.
• Fonts made in 2004: Snowflake Monograms, Upbeat Demi, Pessima, White Birch, Artistamp, Entwined Monograms, Project, Dirty Finger, Koch Dingbats, Yard Sale, Shield Monograms, Gainsborough (inspired by the hand-lettered titles of the Alfred Hitchcock film "The Lady Vanishes", 1938), Jim Dandy (an interpretation of the 19th century face Jim Crow), Gaumont (based on the hand-lettered titles of the film The 39 Steps (1935), a Gaumont-British Picture, directed by Alfred Hitchcock), Imitation2, Sunset, Bend It, Pretz, Cantabile, Echo, Skidz, Columbia Stamp, Trudeau Sans (a companion of his architectural face Trudeau), Frank the Architect (2004, a Frank Ching-inspired face not unlike Tekton).
• Fonts made in 2003: Card Characters, Pieces, Harlequin, Hexagrams&Octograms, Popstars, Level, Peace, Collegiate Monograms, Bead Chain, Marquee.
• Fonts made in 2002: Level, Backhand Brush, Joggle, Script Monograms, Brickletter, Font Shui (oriental simulation), Heartland (for Valentine's day), Melodymaker (for music), Antiestablishment, Penmanship, RingTV, Cabaletta (now called Roosevelt), Graceful Ghost (caps based on an 18th century French design by Pouget&fils), the Ixat family (grunge fonts), PalimpsestBlack (grunge font), PalimpsestDark, PalimpsestLight, PalimpsestRegular, Pearlie, Repent (based on the work of American folk artist Jesse Howard), WillingRace (upper and lower case together).
• Fonts made in 2001: Carmen Caps, Crazy Harold (2001, based on a font of the same name, as illustrated in Paul E. Kennedy's "Modern Display Alphabets"; extended to 8 weights in 2006), Easter Parade (brush script), Famous Label (pen lettering), FLORES (based on a florist's sign in Valencia, Spain), FONT ERROR, Guadalupe (Mexican simulation face), GuadalupeDos, HMBlackDiamondThree, HMBlackDiamondTwo, HMBlackOvalThree, HMBlackOvalTwo, HMWhiteDiamondThree, HMWhiteDiamondTwo, HMWhiteOvalThree, HMWhiteOvalTwo, Handmedown, Hymn, KaffeehausNeon (based on Kaufmann), PubSmooth (a variant of the classic font Publicity Gothic), Roselyn (a script font based on a font in "Lettering and Alphabets" by John Albert Cavanagh), RubaiyatDoubleLine, RubaiyatEngraved, RubaiyatInline, RubaiyatOutline, RubaiyatShadow, RubaiyatSolid, SanitaryBoldCaps, SanitaryDemi, SanitaryRegular, Shazi, ShaziGhost, Subtext (grunge font).
• Fonts made in 2000: Arrobatherapy, Barbeque, Black Oval Monogram, Bruce Mikita (oriental simulation), Bruce Mikita2, Cantabile, CantabileAlternate, Celestial Alphabet, the Goya family (extrapolated from the logo of the GOYA food products company), King Harold (inspired by the lettering on the Bayeux Tapestry), KingXmas, KingXmasStars, KochQuadratFill, KochQuadrat, KochQuadratGuides, KochQuadratInline, KochQuadratOutlines, Koch Rivoli, Lab Rat, Law School (based on the architectural lettering at Albany Law School, Albany, NY, now named Trudeau, after a design by architect Robert Louis Trudeau), Milky Way (based on a style of hand lettering by Ross F. George included in 1930s Speedball lettering books), MilkyWayTwo (2001), Neurotoxin, Pharmacy, Punchhappy (holes in letters, influenced by Apostrophe's Toolego?), Punchhappy Shadow, Quarterround, Quarterround Tile (a kitchen tile font), RedCircle (based on the lettering on Eight O'Clock brand coffees), Ringpin, ScarletRibbons (inspired by a Speedball lettering book from the 30s by Ross F. George), Screwball (font in memory of Madeline Kahn), Solemnity (an uncial font modeled on the analog font SOLEMNIS by Günter Gerhard Lange, 1952), ThreePartySystemA, ThreePartySystemB, ThreePartySystemC, Vasarely (named in honor of Op artist Victor Vasarely; based on a modular font by Jean Larcher).
• Fonts made in 1999: BrideOfTheMonsterStencil, Bubble Gum Rock A and B (1999-2002), CheltPressDark, CheltPressDarkVariegated, CheltPressLigh, CheltPressLightVariegated, CheltPress, Esquivel, EsquivelEngraved, Fulton Artistamp, MADFONT, Smellvetica, SmellveticaOutline, Vedette Blanche (movie roll font), VedetteNoire.
• Fonts made in 1998: BrideOfTheMonster (caps and numbers are based on Rudolph Koch's Neuland), Cheapskate family, Dominican (coffee bean bag font), Landmark, OldeChicago (based on the Apple Chicago font), Ricecakes, SavingsBond extended in 2006 to National Debt, National Debt Hilite and National Debt 3D), StampAct, StampActJumbled, Thanksgiving, Virile Open, Virile Solid.
• Typefaces from 2011: Bingo Dingo (dingbats inspired by the classic Mexican board game, Lotería), ManuCrypt (blackletter), Waldorf Text (blackletter).
• Typefaces from 2012: Curator (a compact handwriting font), Seafare (circus style face), Hardline (op art prismatic style), London (inspired by London, Susan Kare's bitmap-style Olde English designed for Apple in the early 1980s. Variations include cross-stitch, harlequin (black and white diamonds), and shaded (diagonal lines)).

Link at Dafont. [Google] [More]  ⦿

Hendrick Rolandez

Designer in Bethoncourt, France who studied engineering at the institute of technology of Montbéliard.

He created the free art deco sans face Magna (2012), as well as a free and purely geometric typeface, ORI (2011), specifically for use in the design of logos.

In 2012, the condensed high-contrast fashion mag headline face Coco, also free, was published in eight styles. The 47 typeface (2012) pays homage to vintage lettering from 1947.

In 2013, Rolandez published the free contrasted fashion mag 12-style font family Valkyrie.

Behance link. Aka Moinzek. [Google] [More]  ⦿

Henrik Kubel
[A2 Type]

[MyFonts] [More]  ⦿

Herbert Bayer

Austrian type designer and artist, 1900-1985. A very inflential artist, Bayer joined the Bauhaus in Weimar as a student in 1921, and was a professor ("young master" they called those ex-students who became professors) there from 1925-1928. Bayer was head of the workshop of Graphic Design and Printing at the Bauhaus school of architecture and art in Dessau. He fled Nazi Germany in 1938, and worked in New York until 1946 for such clients as Dorland International, Thompson, Wanamaker's, and developing exhibitions and general graphic design for large corporations. In 1946 he moved to Aspen, Colorado and continued as consultant to firms such as Container Corporation of America. He died in Montecito, near Santa Barbara, CA, in 1985. His typefaces include Universalschrift or Universal Alphabet (1925-1930) and Bayer-Type (for Berthold, 1930-1936). See also this image. He is best known for his unicase proposal (as in Universalschrift).

Dedicated web site. FontShop link. Picture. Klingspor link.

Revivals of his work:

• At P22: P22 Bayer Fonetik (1997, Michael Want), P22 Bayer Shadow, P22 Bayer Universal.
• By Jonathan Hill: WerkHaus (2008) is a 5-style revival.
• Victory Type published Bayer Modern in 2009.
• Nick Curtis: Debonair Inline NF (2008) expands Herbert Bayer's 1931 experimental, all-lowercase "universal modern face," Architype Bayer-Type, by adding an uppercase and adding an architectural inline treatment.
• Paulo Heitlinger did Sturmblund (2008) and Bayer Condensed (2008).

Hernández Type (was: Estudio de diseño Calderón)
[Daniel Hernández Sanchez]

Estudio de diseño Calderón in Chile had the work of two Chilean designers:

• Daniel Hernández has some free fonts at Dafont and Font Squirrel. Klingspor link. His award-winning fonts include Stgotic textura (2006), Stgotic Fracktur (pixel blackletter), and the (free) unicase piano key font Pincoya Black (2008), which was based on Spanish Civil War poster, and won an award at Tipos Latinos 2010. He calls his ultra fat Roxy (2009) tipografia desde el culo del mundo.

  Behance link. His Flickr page. His lettering.

  Hernandez Bold (2010, Sudtipos) has slabs, serifs, and plenty of round curves. It won an award at Tipos Latinos 2012.

  Rita (2010, Sudtipos) is an ultra-slab face inspired by the fat wood types. Merced (2011) is a thin monoline sans. Sanchez (2011, Latinotype and YWFT) is a slab serif family with a free weight. In 2013, he published the beautiful sequel, Sanchez Slab, which is patterned after Rockwell.

• Javier Quintana created the smooth and delectable text family Berenjena in 2007. He also made the roundish display face Botota (2007), which is reminiscent of market signage in Santiago.
• Monroe (2010, Sudtipos) is a swashy slab family. See it in action in this I Love New York poster.
• Patagon (2011, Latinotype) is a rounded wood-inspired poster face done with Daniel Hernandez and Luciano Vergara.
• Guadalupe (+Gota, 2011, Latinotype). A hairline didone family with sufficient contrast and frilliness to satisfy the fashion mags.
• Andes (2011, Latinotype). This is a playful slightly swashy sans family. Followed by Andes Italic (2012) and Andes Condensed (2012).
• Bosque (2012) is a wood style family codesigned with Paula Nazal at Latinotype.
• Magallanes (2012, Daniel Hernandez) is a a contemporary neo humanist sans serif typeface family covering Ultra Light to Black. This typeface was followed by the 8-style Magallanes Essential (2012).
• Trend (2013). A layered type system done together with Paula Nazal Selaive. Followed by Trend Hand Made also in 2013.

The foundry became Hernández Type at some point. The fonts there, repeated from the former foundry, include Patagon, Merced, Hernandez Bold, Monroe, Pincoya Black Pro, Rita Bold and Fat, and Pincoya Black Free. [Google] [MyFonts] [More]  ⦿

High fashion typefaces

When asked for typefaces appropriate for high fashion for 25+-year old women, the typophiles had these recommendations at the start of 2013:

• Parachute's Regal Series originally designed for Grazia magazine: Regal Display Pro, Regal Finesse Pro, Regal Swash Pro, Regal Text Pro, Regal Stencil Pro.
• Nick Shinn's Bodoni Egyptian Pro.
• Typotheque's Karloff Neutral.
• Archer by Hoefler Frere Jones.
• Vinter by Monokrom.
• Nick Curtis's Smart Frocks NF, an art deco typeface.
• Cyrus Highsmith's Escrow (Font Bureau).
• Benton Modern Display by Dyana Weissman and Richard Lipton at Font Bureau.
• Minah by Jacqueline Sakwa at Font Bureau.
• Vulpa by Dave Rowland.
• Moshik Nadav's Paris Pro.
• ITC Tiffany by Ed Benguiat.

Hoefler&Frere-Jones (was: Hoefler Type Foundry)
[Jonathan Hoefler]

Born in 1970 in New York, Jonathan Hoefler ran the Hoefler Type Foundry (or: HTF) in New York. It employed Tobias Frere-Jones, Josh Darden, and Jesse Ragan. In 2004, it was renamed Hoefler&Frere-Jones. Carefully designed and complete families include HTF-Didot (in 42 weights/variations), the text face HTF Hoefler Text (27 fonts, but also distributed with many Apple products), Hoefler Text Ornaments (distributed with Apple products), Saracen, Ziggurat, Leviathan, Historical-EnglishTextura, Historical-FellType, Historical-GreatPrimerUncials, Historical-StAugustin, HTF Hoefler Titling, Gestalt-HTF, Fetish-HTF (blackletter modernized, 1995), Ehmcke-HTF, Champion-HTF, Acropolis-HTF, Requiem, Knockout, all in the period 1998-2000.

In 2003, they published Retina (which was originally designed for the stock listings in the Wall Street Journal), Gotham, and Shades (in Cyclone, Topaz, Giant and Knox weights). The Geometer Screen Fonts are free Mac fonts.

In 2004, they produced an amzing 58-weight sans serif family, Whitney (by Tobias Frere-Jones), designed for use in infographics.

Hoefler received Bukvaraz 2001 awards for HTF Guggenheim, HTF Knockout, HTF Mercury (1997, no relationship with Goudy's Mercury of 1936) and HTF Requiem. In the 1996 Morisawa Awards competition, Hoefler received a bronze prize for Ideal Sans (a slightly flared humanist sans family).

In 2011, HFJ writes it up beautifully: Typefaces are born from the struggle between rules and results. Squeezing a square about 1% helps it look more like a square; to appear the same height as a square, a circle must be measurably taller. The two strokes in an X aren't the same thickness, nor are their parallel edges actually parallel; the vertical stems of a lowercase alphabet are thinner than those of its capitals; the ascender on a d isn't the same length as the descender on a p, and so on. For the rational mind, type design can be a maddening game of drawing things differently in order to make them appear the same. Twenty-one years ago, we began tinkering with a sans serif alphabet to see just how far these optical illusions could be pushed. How asymmetrical could a letter O become, before the imbalance was noticeable? Could a serious sans serif, designed with high-minded intentions, be drawn without including a single straight line? This alphabet slowly marinated for a decade and a half, benefitting from periodic additions and improvements, until in 2006, Pentagram's Abbott Miller proposed a project for the Art Institute of Chicago that resonated with these very ideas. As a part of Miller's new identity for the museum, we revisited the design, and renovated it to help it better serve as the cornerstone of a larger family of fonts. Since then we've developed the project continuously, finding new opportunities to further refine its ideas, and extend its usefulness through new weights, new styles, and new features. Today, H&FJ is delighted to introduce Ideal Sans, this new font family in 48 styles. Ideal Sans is a meditation on the handmade, combining different characteristics of many different writing tools and techniques, in order to achieve a warm, organic, and hand-crafted feeling.

At ATypI in 2002, he received the Charles Peignot award. Time.com provides previews of fonts made for Esquire, Lever House, eCompany Now, The Guggenheim Museum, The New York Times, and the Whitney Museum. He has worked on custom fonts for The New York Times Magazine, Times Mirror, Esquire and McGraw-Hill (1995, free download). Hoefler has made many more custom fonts, but he asked me to remove the names of these fonts from my pages.

From 2005-2007, they made the custom font General GG (available for free here, here and here).

In 2006, HFJ published the Numbers family, 15 fonts with nothing but numbers from various sources: Bayside (based on a set of house numbers produced around 1928 by H. W. Knight & Son of Seneca Falls, New York), Claimcheck, Delancey, Depot, Deuce, Dividend, Greenback, Indicia, Premium, Prospekt, Redbird, Revenue, Strasse, Trafalgar, Valuta. They also made a 30-style art deco-inspired geometric sans family called Verlag in 2006 based on six typefaces originally designed for the Guggenheim.

In 2007, HFJ published the "blended Scotch" newspaper serif text family Chronicle. Still in 2007, we find the gorgeous 30-style semi-Bauhaus sans family Verlag about which HFJ writes: From the rationalist geometric designs of the Bauhaus school, such as Futura (1927) and Erbar (1929), Verlag gets its crispness and its meticulous planning. Verlag's fairminded quality is rooted in the newsier sans serifs designed for linecasting machines, such as Ludlow Tempo and Intertype Vogue (both 1930), both staples of the Midwestern newsroom for much of the century. But unlike any of its forbears, Verlag includes a comprehensive and complete range of styles: five weights, each in three different widths, each including the often-neglected companion italic.

In 2008, they released Archer, a slab serif originally designed for Martha Stewart Living. It has a great range of features, including a classy hairline style. However, I see trouble down the road with the name Archer which has been used previously by several other foundries such as SignDNA, Arts&Letters and Silver Graphics. One can say that Archer is just Stymie with some ball terminals---maybe this should been mentioned on the HTF pages. David Earls on Archer: with its judicious yet brave use of ball terminals, and blending geometry with sexy cursive forms, all brought together with the kind of historical and intellectual rigour you fully expect from this particular foundry, Archer succeeds where others falter.

Sentinel (2009) is HFJ's take on a Clarendon. Yet again, I can't understand why they picked a name already taken by many foundries such as Graphx Edge Fonts, alus, Comicraft, Dieter Steffmann, not to speak of a foundry called Sentinel Type. And they repeated that daredevil naming of fonts with Tungsten (2009), which has been around---as a font name---since 2005 at Sparklefonts. Their sales pitch: That rarest of species, Tungsten is a compact and sporty sans serif that's disarming instead of pushy - not just loud, but persuasive. Douglas Wilson compares Tungsten with Alternate Gothic No. 3 (Morris Fuller Benton).

Naming fonts is Hoefler's weakness. In 2010, they again took an existing name, Vitesse, for their newest font family. The typophiles react to the slab family with praise: I think they're chasing Cyrus Highsmith, Dispatch and Christian Schwartz, Popular on this one. Doing a pretty good job of it too! [...] Looks to me like the love-child of Eurostile and City. To continue the trend, they published Forza in 2010, a sans family, not to be confused with the 2007 font Forza by Michel Luther at Die Gestalten--surely, there must be a way to choose original names. St. Augustin Civilité: St. Augustin Civilité is a digitization of Robert Granjon's extraordinary type of 1562, now in the collection of the Enschedé type foundry, Haarlem. This typeface is reproduced in Civilité Types by Harry Carter and H. D. L. Vervliet (Oxford Bibliographical Society, by the Oxford University Press, 1966.) As figures and punctuation were lacking in the original, these have been borrowed from two other Granjon types, the Courante and Bastarde of 1567. (The remainder of the character set has been invented.)

In 2012, they published the wide sans typeface family Idlewild.

HFJ also sells a package of various number fonts. This includes the following: Bayside (after ornamental house numbers), Claimcheck (inspired by ticket stubs), Delancey (from tenement doorways), Depot (modeled on vintage railcars), Deuce (based on playing cards), Dividend (from an antique check writer), Greenback (based on U. S. currency), Indicia (inspired by rubber stamps), Premium (after vintage gas pumps), Prospekt (based on Soviet house numbers), Redbird (inspired by New York subways), Revenue (from cash register receipts), Strasse (after European enamel signs), Trafalgar (inspired by British monuments), Valuta (after Hungarian banknotes).

Typefaces from 2013 include Landmark (Regular, Inline, Shadow and Dimensional), a collection of architectural caps (which started out as a custom typeface for Lever House in New York). [Google] [MyFonts] [More]  ⦿

Hubert Jocham

German über-type designer (b. 1965, Memmingen) who studied graphic design in Augsburg (Germany) and Preston (England). His degree project dealt with the history of the italic type of the renaissance and the relationship between roman and italic. In 1998 he moved to London to work for Henrion, Ludlow and Schmidt in corporate branding. He worked at one point for Frank Magazine in London. Today Hubert Jocham is a freelance designer located once again in Memmingen, Germany. He develops brandmarks and logotypes for leading brand agencies like Interbrand, Landor, Enterprise and Futurbrand. He designs text and headline systems for international magazines like GQ London, Vogue Moscow, Vogue France (2010), Vogue Turkey, L'Officiel Paris, and New York and German publishers like Milchstraße and Gruner&Jahr. He is responsible for the corporate type of Bally in Switzerland, the Kunsthaus Graz and Agfa Photo. He set up Hubert Jocham Type in 2007. MyFonts link. FontShop link. His typefaces:

• Adonis.
• He created the ecccentric serif families Alida Text and Display (2007).
• Bent (sans family).
• The Contra Sans and Contra Serif families.
• The Crema family (2012) has various flowing thick signage script styles.
• Dolce.
• Element.
• Elsner&Flake fonts: EF Havanna (1996), EH Herbert (1996), EF Panther, EF Sahara, EF Keule and EF Tabard.
• The TV-screen-curved Fernseher family.
• Fire.
• The signage brush script face Flavour (2004).
• Flow (sans).
• Glenda (2009). A script face.
• Granat (2009). A 14-style rounded sans family related to Jocham's own Teleplu and Teleneue.
• Jocham (2012). A fat connected signage script family that won an award at TDC 2013.
• June, New June and New June Serif (1999, after the large x-heighted June, used in W-magazine and Harvey Nichols magazine).
• Keks (2009). A broken angular type.
• The industrial sans family Konsens (with related Konsens Stencil).
• Narziss (a beautiful high-contrast ornamental didone headline typeface, winner at TDC2 2010). Followed in 2012 by Narziss Pro Cyrillic.
• The serif family Leaf.
• The sans family LegauSans (2007).
• Libris, Bally Libris.
• LTA Identity.
• Madita (2011). An upright connected script family.
• Magazine.
• Matrona (2010). An ultra fat rounded family, awarded at TDC2 2011.
• The display serif face Mighty.
• Mommie (2006) was originally designed as a display typeface for L'Officiel magazine in Paris in 2003. It won a display face award at TDC2 2008, and was followed in 2008 by MommieBrush. Boris Bencic, the art-director asked Jocham to design a script with high contrast in the stroke, in the tradition of Spencerian Hand.
• The wide basic sans family Monday.
• Motora Sans (2011). A simple sans family which according to Hubert is pure gasoline and sweat).
• Neopop (2009). A circular type experiment.
• New Libris Sans. This is a multi-weight extension of Libris, the corporate face of Bally, Switzerland, designed by Jocham in 1999. New Libris Serif.
• Oktober.
• Other Sans.
• Other Oldstyle.
• Perfetto (2008) is a new classic serif family based on a typeface penned by Giovanni Francesco Cresci with an x-height of 8 mm, and published in his book Il perfetto Scrittore in 1570 (also seen in Tschichold's Meisterbuch der Schrift).
• Riccia (2010). A grotesk family with schizophrenic "a" and "g".
• The angular serif face Rudolph.
• Safran (2009). A solid 18-style sans family.
• In 2005, he made the brush script headline faces Schoko and Drop.
• In 2008, he added the brush signage families Schwung and Milk.
• September.
• Softedge.
• Spring (2008).
• Susa (2009). A connected script face.
• The comic book family Tasty (2005).
• Teleneue.
• Venturio (50s diner face).
• Verve Sans and Serif (2006-2007) are a pair of fun birds, especially the frivolous serif originally planned for a women's psychology magazine called Emotion. A few days after their publication, they were renamed Verse Sans and Verse Serif, probably because the name Verve clashed with Adobe's VerveMM font made in 1998 by Brian Sooy (by the way, there is also a Verve type family by Dieter Steffmann, dated 2000).
• Vivid (2009).
• Voice (2004-2005, elliptical sans). Subfamilies include Voice Edge, Voice Sans and Voice Shoulder, all done at URW. In 2007, Voice was removed from URW and is solely available at Hubert Jocham Type&Design. The family was extended and now includes many styles, subdivided in Voice (sans), VoiceEdge, VoiceShoulder, VoiceSerif, Voice Heavy, Voice Medium, Voice Ultra Bold, and TeleVoice.
• The *very* interesting asymmetrically rounded Volt (2007), a sans family he claims improves on similar faces such as Bernhard Gothic, Barmeno, Dax, Prokyon, Voice Shoulder, and Phoenica.
• Weekend.
• Work ahead: this serif face (2005).
• Xmas Rudolph (2006). A free display serif face.

View Hubert Jocham's typefaces. Another view.

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

Hugo Hoppmann

German designer (b. Köln, 1988) of the wonderful free paperclip typeface Herrliches Script (2005). Dafont link. Other free faces: Lafayette (2006, sans), Brasil (2006), Piqto80s (2007), Filzmoos (2007), Kaviva (2007, art deco: a free headline font, inspired by the cover-type of the eighties fashion magazine VIVA), Font03. [Google] [More]  ⦿

Intertype
[Gilbert Powderly Farrar]

Defunct foundry. One of its typographic directors was Gilbert Powderly Farrar (1886-1957), who designed Bert Black. Intertype's typefaces include Monterey (1958, Rand Holub, its "version" of Murray Hill; available from Bitstream now), Imperial (designed by Ed Schaar; now a Bitstream font), Intertype Vogue (ca. 1930, see Am Sans by Volker Busse for a free digital version), Stuyvesant (1940, now available from Bitstreeam), and Nuptial Script (now an Adobe font).

MyFonts writes: Harris inherited the Harris-Intertype library, made up of the faces cut by Intertype to compete with Mergenthaler from the First World War. A small group of original typefaces centers on newspaper faces and scripts. In the thirties C.H. Griffith at Mergenthaler believed the linecaster to be unsuitable for the development of scripts, which led Ed Schaar at Intertype to claim this market as their own. Intertype became Harris-Intertype ca. 1960, and Harris ca. 1975.

Cyrillic faces in their library, ca. 1930. The firm still exists as Harris Corporations in Melbourne, FL, but is no longer producing fonts.

Leonard Spencer, in his article Linotype / Intertype Linecasting Machines How They Differ writes: Intertype started as International Typesetting Machine Company in 1911. Many of first machines were rebuilt Linotype bases with improvements patented by the new company. When World War I broke out, International Typesetting Machine Company was reorganized as the Intertype Corporation, and by 1917 had three machines for sale: Model A one magazine, Model B two magazine, Model C three magazine. Intertype was first in cold type with its Fotosetter in 1950. This machine continued the circulating matrix principle but had film image instead of the punched character. Stuart Sandler adds this piece of information: The Harris-Intertype Fotosetter was the first photo typesetting machine invented. It marks the beginning of the Cold Type era and is the machine responsible for it . . . Incidentally this is the machine that inspired the creation of the Filmotype by its inventor Allan Friedman when he saw it unveiled to US audiences in 1948. Instead of lead slugs, the Intertype which was a Linotype machine had replaced them with small film negatives and proceeded to set type as you would imagine the bastardization of a lead type and photo type machine only could. There are many reasons Cold Type caught on and it became the standard some time after that period till digital typesetting machines like the Alphatype came into their own. It wasn't until the release of the first MacIntosh in 1984 when Cold Type was eclipsed by desktop publishing.

Mac McGrew: Ideal (originally called Ideal News) was designed by Herman R. Freund for Intertype in 1926, for the New York Times. It has much the appearance of Century Schoolbook, but with shorter ascenders and squattier capitals. The italic is a little closer to Century Expanded Italic, providing more contrast with the roman. Sturdy serifs, substantial hairlines, and open loops make it a practical face for the demanding production requirements of high-speed newspaper use. Ideal Bold is heavier than the Century bold faces.

View a few digital typefaces with roots in the Intertype collection.

Another famous type is Cairo. Mac McGrew: Cairo is Intertype's adaptation of Memphis, originally designed by Rudolf Weiss for Stempel in Germany about 1929, and first imported into the United States as Girder. Except for Litho Antique, this was the first of the modern square-serif faces, which are revivals of older faces known as Egyptians. The Intertype faces appeared in 1933 to 1940. Lining Cairo features several sizes of caps on 6- and 12-point bodies in the manner of Copperplate Gothic. Compare Memphis, Stymie, Karnak.

Farrar is also the author of The Typography of Advertisements That Pay (1917, D. Appleton and Co., New York). Local download. [Google] [MyFonts] [More]  ⦿

Iñigo Jerez Quintana
[Textaxis]

[MyFonts] [More]  ⦿

Ioana Avram

Fashion illustrator in Bucharest. She did some brush alphabets in 2010. [Google] [More]  ⦿

Irina Braginsky

Creator of the fashion mag typeface Sibilant (2012): Sibilant is a display typeface designed primarily for fashion editorials. The initial basis of the concept was to eliminate parts of the letterforms while still having the typeface recognizable. The typeface is very light and airy, yet the combination of high stoke contrast and elegant curves gives this typeface a whispery, edgy, hissing quality reminiscing of snakes. Hence the name Sibilant. [Google] [More]  ⦿

Ismael Fino

Graphic designer in Guadalajara, Mexico. Textures inspired him to create the geometric textured typeface FN Tekture (2010), FN RE EVO (2011), and the spurred military typeface Nacion Gothic (2012). Monotypo (2012) is a hairline fashion mag sans typeface. [Google] [More]  ⦿

Ixipcalli
[Francisco Arellano]

Foundry in Ixipcalli, Mexico, run by Mexico City-based Francisco Arellano (b. 1981). Creator of the free monoline sans faces Coamei (2011) and Copilme (2011), the informal monoline face InColhua (2011), and Huelic (2011).

In 2012, they published the commercial typefaces Bolta (monoline organic sans), Caronta (a monoline humanistic sans with a large x-height), Tecpana, Naolica (a monoline, elliptical sans family), Auloe (a rounded contrast-laden sans family), Olpan (monoline sans family), Kaodai (monoline sans), Ocelca (a tribal organic type family), Qatana (a Peignotian sans family), Metrica (an organic elliptical sans family in 12 styles), Minimalista (monoline sans family with a hairline weight), and the elegant wide sans family Ekon.

Typefaces from 2013: Ancora (high-contrast fashionable titling face), Binaria.

Dafont link. Aka Jef Triforce. Fontspring link. [Google] [MyFonts] [More]  ⦿

Jakob Runge
[26plus zeichen]

[MyFonts] [More]  ⦿

James Montalbano
[Terminal Design]

[MyFonts] [More]  ⦿

Jan-Christian Bruun

Danish graphic designer in Lyngby. He made the following typefaces:

• The grotesk family Mr Brown (2010).
• Rooni (2011) is an oddly-serifed hybrid face, a cloning experiment that escaped from the hospital.
• Gardens It (2011) comes straight from the Bhagwan's greenhouse.
• Rodian (2011) is an elegant Peignotian sans face.
• Style (2011) and Nopen (2011) are modern sans typefaces with some contrast in the strokes.
• Bruun (2011) is a fashion mag face---a fattish high-contrast semi-didone with lots of modifications in the slabs and endings to create a modern avant garde look.
• LE (2011) is a grotesque display face.
• Dynamik (2011) is a frail miniserifed sans family.
• Fundament (2011) is a sturdy heavy sans face strong enough to be chiseled onto monuments.
• New Harbour (2011) is a slab serif typeface in the mould of typewriter faces.
• Old Estate. A wedge serif face with the feel of an old typewriter. Made for wine labels.
• Parc FF. A grotesk sans family. See Ten Dollar Fonts.
• DELUX.
• Nopen.
• Bero G and Bero G Right Angle (2012) are typefaces that experiment with various styles of serifs.
• Ligan (2012). An angular serif typeface family available from Ten Dollar Fonts.
• Boysen (2012, Ten Dollar Fonts). A strong 3-weight all-caps sans typeface family.
• Gorm Sans and Gorm Serif (2012). An angular typeface family.
• Bossy Stencil (2013).
• Monty (2013). A bold slab serif face with serious ink-trap style dents.
• PTF Metora (2013). A squarish techno typeface.
• Daniam TF (2013). A serifed typeface.
• Sabel (2013). A slab serif typeface.

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

Jésica Sanson

Graduate from FADU, University of Buenos Aires, who created the fashionably slender typeface Blue Velvet (2008). [Google] [More]  ⦿

Jean-François Porchez
[ZeCraft]

[MyFonts] [More]  ⦿

Jennifer Nassef

Burbank, CA-based designer who made the fashion mag typeface Jaylinn (2012).

Behance link. [Google] [More]  ⦿

Jess Latham
[Blue Vinyl]

[MyFonts] [More]  ⦿

Jim Bogenrief

Jim Bogenrief (Pasadena, CA) modified ITC Tiffany when he created the fancy didone fashion mag typeface AM Debbie (2012).

Behance link. [Google] [More]  ⦿

Jimmy Gustafsson

Jimmy Gustafsson (Öga Design, Stockholm) created Gaslight Grotesk (2012), Tribura Sans (2012, for information design), Kraut Display (2012, a typeface inspired by the sonic architecture of early Krautrock), NärCon (2012, oriental brush typeface), Diakrit (2012), and Paul (2012, fashion mag typeface).

Behance link. [Google] [More]  ⦿

Joan Chong

Joan Chong works in Singapore. Her illustrations and fashion mag work is exquisite and refined. In addition, she has made a modular typeface called Ornate (2013).

Behance link. [Google] [More]  ⦿

Joancarles P. Casasín
[BaseLAB]

[More]  ⦿

Joancarles P. Casasín

Catalan type designer who made ITC Belter and FF FontSoup.

He is co-principal of Typerware with Andreu Balius, in Barcelona. At Typerware, he codesigned the following original fonts with Andreu Balius: TW Czeska, TW FaxFont amily, TW NotTypeWriterButPrinter, FF FontSoup, Matilde Script, Garcia Bodoni. Check the Canas Cister Abbey font project. Check also the award winning font Universitas Salamantini by the Typerware duo.

In 2010, he created Adineue Bold for Adidas. For the fashion brand Kipling, he designed a vogueish typeface called Kipling (2012). For the STM Montreal (the transport authority of Montreal), he created a custom typeface called STM Montreal (2011).

Interview with Penela. Fontfont link. FontShop link. Behance link. [Google] [MyFonts] [More]  ⦿

Joao Oliveira

Onrepeat is the type foundry established by Joao Oliveira (b. 1986) in 2011. Oliveira is (was?) a communication design student at Escola Superior de Artes e Design (ESAD) in Matosinhos, Portugal. 1986. He also freelances as a designer in Porto.

He made Gothular (2011) and the 12-style artistic display sans family Bohema (2011). In 2013, he published the super-high-contrast didone fashion mag typeface system Port (2013).

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

John Nahmias
[JonahFonts]

[MyFonts] [More]  ⦿

JonahFonts
[John Nahmias]

Type and logotype company in Polanco, Mexico, run by John Nahmias (b. 1935, New York City). John is a graphic designer who started his career in 1952 in a New York studio with Lucian Bernhard. He left that company in 1958. He now lives in Mexico where he paints and runs his own studio. John's typefaces, mostly but not exclusively scripts, are sold by MyFonts.

• A: Altura (2007, a serif family for covers), Amplia (2008, connected script in the style of Mistral; see also New Amplia (2010)), Annabel Lee (2011, upright connected monoline script), Aristide (2007, grunge), Aros (2009) Arroba (2010, a directionally challenged heavy slab serif), Artichoke (2011, fat signage script).
• B: Bonafide (2009, sans family), Brougham (2012, techno), Buggy Ride, Bulwark (2011, oddly-serifed).
• C: Caravan Script (2007), Casual Brush (2007), Chatter (2010, influenced by signage), Cherry Lane (2011, fat round signage face), Chit Chat (2009, comic book style), Circuitry (2007, rounded octagonal face), Claxon (2009), Clic (2012: rounded comic book style family), Coliseum (2007), Cornerstone, Cornerstone Flair, Credititle (2009).
• D: Designers Gothic (2009, a poster sans family).
• E: Epoch (2009, organic), Etiquette (2009, casual script).
• F: Fabius (2008, a fat-nibbed pen face), Feather Pen (2007), Fidelity Caps (2009), Fountain Pen (2007), Front Page (2011).
• G: Gallivant (6 styles), Garabato (2008, informal hand), Georgie (2011, upright connected script), Goya (2012, a heavy signahge script).
• H: Hacienda (2008, handprinted), Honcho (2007). Lucian Bernhard's Magnetype font series is being revived in 2010 by John Namias, starting with Bernhard's Community Low and Community Condensed, which is called Harpsichord.
• I: Interum (2007).
• J: Janagrace (2007, flowing script), Jonah Brush (2010, basic signage font), Jonahpad (2008, handprinted), Joyscript (2007), Juggler (2010, signage / comic book face), Juke Box (2009, calligraphic).
• L: La Rotonda (2009), Lyanna (2008, brush script).
• M: Mark (2010, a grungy marker script), Medalist (2008, flat-nibbed pen script), Meridia script (2009),Metrolite (2011), Mulberry Road (2011, fat retro diner script).
• N: Nebbiolo (2012, a monoline fashion mag sans family).
• P: Palazzo (2007), Paloma (connected script), Palomar (2012, condensed organic sans), Pinot Noir (2009, calligraphic), Pony Tale (2009, signage face).
• Q: Qualico (2009, semi-serif 1970s family).
• R: Rave (2011), Regalo (2010, an organic family), Reto (2012).
• S: Sevoya (2012, fat signage script), Scriptelle (2007), Scriptonah (2007; John Downer writes: Scriptonah, in any of its four weights, is not particularly pretty or delicate, but it is far from homely. It is firm and fibrous. It is raw.), Scriptonite (2010, a packaging script), Showtime (2011), Sign Brush (2010, a lively signage face), Singular (2009), Starlette (2009), Steletto (2007, condensed), Steletto Oldstyle, Steletto OS Flair, Steletto Serif, Stumpy (2011, display sans), Suite Slab (2011).
• T: Talento (2007, script), Tiggly Wiggly (2009, handprinted), Tingle (2009, comic book face), Trumpet (2013), Tubo, Twiggs (2009, handprinted).
• U: Unigram (2011, monoline unicase family).
• W: Wordscript (2007, almost a brush script).
• Y: Yacqui (2009, Mayan look face).
• Z: Ziggy (2007).

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

Jonathan Hoefler
[Hoefler&Frere-Jones (was: Hoefler Type Foundry)]

[MyFonts] [More]  ⦿

Jose Dones-Mustafa

Specialist in fashion mag typography, who is based in New York City. [Google] [More]  ⦿

Joseph John Myers

London-based graphic designer who created the high-contrast fashion mag bespoke typeface Dahb (2012). [Google] [More]  ⦿

Josip Kelava

Josip Kelava (Jay Kreative, Australia and UK) is an art director and graphic designer. He has done typographic work for fashion mags and fashion-conscious ads such as for Mercedes (2011), Coco Vodka (2011, using an Escheresque typeface), and Click Magazine (2011, see the Olena Cherneyo illustration). Creator of the alchemic yet futuristic family Geomas (2011).

Typefaces made in 2012: Metropolis (a superb bilined retro type family, ideal for posters---free download).

Behance link. Hellofont link. [Google] [More]  ⦿

Julien Mercier
[Julmeme]

[MyFonts] [More]  ⦿

Julmeme
[Julien Mercier]

Foundry in Tokyo. Creator of the techno faces Naname Kun (2010, a 3d octagonal family), Otsuki Sama (2011, a delicate high-contrast geometric fashion mag font), Julmeme Kun (2009) and Kaminari Kun (2009).

The foundry is run by Swiss-born Julien Mercier (b. 1983), who works as a graphic designer in Tokyo.

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

Juraj Chrastina

Freelance designer from Slovakia, b. 1981, Zilina. He set up shop at MyFonts in 2009. His first typeface was Stanislawski (2009, display sans), and his second Bonatti (2009, simplified sans). Motyka (2009) is an octagonal family.

Cassin (2010) ad Primitive Icons (2011) are dingbat fonts. Birkenmajer (2010) combines blackletter and curly. Ruman (2010) is a piano key fonts not unlike many of the modular fonts made over at FontStruct. Komarnicki (2010) is geometric---it is largely based on arcs of a circle. Batura (2010) is a font of ornaments. Flexi Social Icons (2010) is a set of 64 social network and media buttons. Messner (2010) is a hairline sans. Kammerlander (2010) is a high-contrast all caps Peignotian face that Juraj claims is well suited for fashion mags. The hairline typeface Messner (2010) is a perfect companion of Kammerlander. Runout (2010) is a black marker face. Walker (2010) is a floral dingbat face. Trango (2010) is an unevenly spaced fun childish handprinted face. Chogolisa (2010) is an elliptical sans family.

Manaslu (2011) is his first cartoon font. Baltoro Sans (2011) is a humanistic sans. Masherbrum Slab Thin (2011, hairline slab) is made for fashion mags. Latok (2011) is a fat keyhole-themed art deco display face. The flower dingbat face Makalu (2011) was inspired by the lovely drawings of the famous illustrator Zdenìk Miler. Besley Hand (2011) is a handprinted didone. Ambassador (2011) is a hairline roman capitals face, ideal for glossy fashion mags. Its high-contrast Peignotian companion is Snob (2011). Greenhorn (2011) is a comic book face. Gamba (2011) is an elliptical typeface. Valibuk (2011) is a strong black sans headline face. Lomidrevo (2011) is a grunge stencil derived from Valibuk.

Baronessa (2011) and Baron are handprinted poster faces. Rumbarak (2012) was inspired by the titles of a few old Czech movies for children. Boudoir (2012) is a hand-printed poster face.

Typefaces from 2013: Hilton Sans and Hilton Serif (fashion mag headline faces kerned and spaced by Igino Marini), Handy Labels, Loco (a counterless geometric art deco face).

Pic. Myfonts link. Klingspor link. Fontspring link.

Showcase of Juraj Chrastina's typefaces at MyFonts. Behance link.

View Juraj Chrastina's typefaces. [Google] [MyFonts] [More]  ⦿

Justine Thorner

As a student in Cardiff, Wales, Justine Thorner designed the stunning teardrop-laden swashy calligraphic typeface Voracious Vanity (2013), which evokes the style of modern fashion magazines. [Google] [More]  ⦿

Karah Nall

Karah Nall (Kentucky) graduated from the University of Louisville with a BFA in Communication Art&Design. Home page. She created the tall thin monoline slab serif face Hepburn (2011), which has potential as a fashion mag face. [Google] [More]  ⦿

Ketlin Martins

Originally from Rio de Janeiro, Brazil, Ketlin moved to Canada in 2008. She studied at Emily Carr University of Art & Design and ithe British Columbia Institute of Technology in Vancouver. She is working as a freelancer in Montreal. In 2013, she designed the modular fashion mag typeface ABC. [Google] [More]  ⦿

Kimberly Cheung

Kimberly Cheung, an illustrator in Washington, DC, used Walbaum's capitals to design an ornamental caps typeface, Couturier (2013), on the theme of fashion accessories. It was developed during her studies at Corcoran College of Art and Design. [Google] [More]  ⦿

Kinobrand Design
[Nelio Barros]

Nelio Barros is part of Kinobrand Design in Geneva (and now Lausanne). While they are mostly occupied with graphic and brand design in general, they found the time in December 2011 to design a geometric monoline fashion mag family called Nixin.

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

Kohei Ishikawa

Japanese designer of the didone fashion magazine face simply called #01 (2011). Behance link. [Google] [More]  ⦿

Kohei Miura

Japanese calligrapher who did the lettering for the Cacharel logotype. [Google] [More]  ⦿

Kreis

Kreis is a young communication designer from Tenerife, and is into fonts, fashion and film. He lives in Braunschweig, Germany, and is present on Behance. In 2010, he made an experimental alphabet---perhaps not a font---, called Kafka. [Google] [More]  ⦿

Kristina Christensen

Haderslev, Denmark-based creator of the high contrast fashion mag typeface Vertigo (2012). [Google] [More]  ⦿

Lanston Type Co
[Gerald Giampa]

The Lanston Type Co was based in PEI, Canada, moved in 2002 to Vancouver, and moved later that year to Espoo, Finland. In 2004, Lanston was sold to P22. It has classic and wonderful offerings such as Albertan, Bodoni, Caslon, Deepdene (Frederic Goudy, 1929-1934; see D690 Roman on the SoftMaker MegaFont XXL CD, or URW Deepdene, or Barry Schwartz's Linden Hill (a free font)), Goudy Oldstyle, Jacobean Initials, Kennerly, Kaatskill, Water Garden and Jefferson Gothic. Owned by Gerald Giampa (b. 1950, d. Vancouver, 2009), who wrote me this: Frederic Goudy worked for us for 29 years. We manufactured Monotype casters and keyboards. The English sister company sold casters to England and the Commonwealth and we sold to the Americas and wherever else practical. Tolbert Lanston, our founder, was the inventor of Monotype. We still sell matrices and were punching them until several years ago. Soon we expect to have the equipment moved and operational once again. We are placing it into America's largest printing museum which is in Andover close to Boston. However there is a possibility that it will end up in Hull Québec. Our previous type director was Jim Rimmer of Vancouver, noted type designer. He designs, cuts and cast type in lead. Our face Albertan was designed by Jim and is very successful. John Hudson and Ross Mills of Tiro were directly inspired by our facilities in Vancouver. I encouraged them towards type design. The beautiful Bodoni 26 (unicase) can be bought at FontShop. Atlantic 35 (1909-1935) is a modern family first used by the Atlantic Monthly in 1909.

The fonts: Albertan No. 977, Albertan Bold No. 978, Albertan Title No. 980,&Inline No. 979, Bodoni No. 175, Bodoni Bold No. 2175, Bodoni 26 (a Lanston unicase based on an interpretation by Sol Hess), No. 175, Caslon Old Style No. 337, Caslon Bold No's 637,&537, Deepdene No. 315, Figures Square No. 132, Flash No. 373, Fleurons C, Fleurons Granjon Folio, Fleurons Folio One, Forum No. 274, Francis No. 982, Garamont No. 248, Globe Gothic No's 240,&239,&230, Goudy Initials No. 296, Goudy Old Style No. 394, Goudy Thirty No. 392, Goudy Village (#2) No. 410, Hadriano Stone-Cut No. 409, Hadriano Title No. 309, Jacobean Initials, Jefferson Gothic No. 227, Jenson Old Style No. 508, Kaatskill No. 976, Kaufmann (Lanston Swing Bold) No. 217, Kennerley Old Style No. 268, Metropolitan No. 369, Obelisk No. 2577, Pabst Old Style No. 45, Pabst Old Style Open, Spire No. 377, 20th Century No. 605, Vine Leaves C, Vine Leaves Folio One, Vine Leaves Folio Two, Water Garden Ornaments. P22 writes this about Lanston: In the late 1800s, Tolbert Lanston licensed his technology to an English sister company and became a major international force. Lanston grew rapidly with America's pre-eminent type designer, Frederic Goudy, holding the position of art director from 1920-1947. The Philadelphia-based Lanston Monotype eventually parted ways with its English counterpart. English Monotype became simply known as Monotype from that time forth. Lanston was acquired by American Type Founders in 1969. After a series of other owners, the company found its way to master printer Gerald Giampa, who moved it to Prince Edward Island in 1988. During its time of transition, Lanston continued supplying the American market for monotype casters until January 21, 2000, when the hot-metal component of Lanston was tragically destroyed by a tidal wave. Giampa was one of the earliest developers of PostScript fonts. After the loss, he focused on digitization to an even greater extent. Under his stewardship, Lanston's classic faces were digitized in a style that was true to the sources, which are the brass and lead patterns from which the metal type was made. The past few years have seen Giampa and Lanston travel from Canada to Finland, and back again. Now, Lanston has completed another journey back to the United States to come under the care of a new steward: P22. Giampa is answering the call of the sea. He has traded his type founder's hat for that of a ship's captain to sail the northern Pacific coast. During his shore leaves, Giampa will act as typographic consultant to Lanston-P22. The P22 Lanston collection (2005-2006) includes this:

• Artscript (2 style+OT).
• Bodoni 26 (1 style).
• Bodoni Bold (4 styles).
• LTC Bodoni 175 (by Sol Hess; with help in 2006 by Paul Hunt. This is supposed to be a Bodoni revival true to the original.).
• LTC Broadway (by Sol Hess).
• Californian (8 styles + OT).
• Caslon (12 styles+OT).
• Christmas (5 styles).
• Cloister in 11 styles, including LTC Cloister Light Swash, LTC Cloister Bold, LTC Cloister Light, LTC Cloister Oldstyle, and LTC Cloister Swash.
• Deepdene (9 styles).
• LTC Creepy Ornaments (2006).
• Deepdene Bold (2 styles).
• Figures (1 style).
• Flash (1 style).
• Fleurons Granjon (1 style).
• Fleurons Garamont (1 style).
• Fleurons Rogers (1 styles).
• Forum Titling (1 style).
• LTC Fournier le Jeune, a decorative all caps combines the font designed by Simon Fournier for the Peignot Foundry in 1768 with a more elaborate "Vogue Initials" caps offered by ATF in the 1920s.
• Garamont (12 styles).
• Globe Gothic (3 styles).
• LTC Glamour was originally released by Lanston Monotype in 1948. It is based on Corvinus, designed by Imre Reiner. P22 designer Colin Kahn has added some unusual variants.
• LTC Goudy Extras (50 ornaments).
• Goudy Handtooled (2 styles).
• Goudy Heavyface (2 styles + OT).
• Goudy Initials (1 style).
• Goudy Oldstyle Family (7 styles + OT).
• Goudy Sans: Goudy Sans Bold was originally designed by Fredric Goudy in 1922 as a less formal "gothic" and finished in 1929. The light was designed in 1930 and the Light Italic in 1931. Colin Kahn digitized them in 2006 to make a 6-style Goudy Sans family at P22/Lanston, which includes a Goudy Sans Hairline.
• Goudy Text (2 styles+OT).
• Goudy Thirty (2 styles).
• Hadriano (1 style).
• Halloween Ornaments (1 style).
• Hess Monoblack (1 style).
• LTC Italian Old Style (2007, by Paul Hunt, after Goudy Italian Oldstyle).
• Jacobean Initials (8 styles).
• Jefferson Gothic (1 style).
• LTC Jenson Oldstyle was designed by J. W. Phinney of the Dickinson Type Foundry in 1893 and is based on Morris's Golden Typeface. This remastered set features a true italic based on the 1893 ATF italic version as well as a newly digitized Jenson Regular (P22) and Jenson Heavyface (P22) based on Phinney's design of 1899.
• Kaatskill (the Italic was completed by Jim Rimmer).
• Kennerley (9 styles+OT).
• Metropolitan (4 styles+OT).
• LTC Law Italic.
• Nicolas Cochin (2 styles+OT).
• LTC Obelysk Grotesk, a reconsrtruction of Sol Hess's Spire (1937) (digital versions first by Gerald Giampa and then bu Colin Kahn).
• Octic Gothic (2 styles).
• Ornaments 1 (1 style).
• Ornaments 2 (1 style+OT).
• Ornaments 3 (1 style).
• Ornaments Animalia (1 style).
• LTC Ornamental Initials. These are floriated caps.
• Pabst (1 style), Pabst Italic.
• Powell (2 styles).
• Remington Typewriter (2 styles+OT).
• Spire (1 style).
• LTC Squareface (Sol Hess).
• Swing Bold (1 style).
• Twentieth Century (2 styles+OT).
• LTC Tourist Gothic (Sol Hess).
• Village #2 (4 styles + OT).
• Vine Leaves (1 style).
• Water Garden Ornaments (11 styles).

Fonts can be purchased from MyFonts where all fonts have the prefix LTC. Obituary of Giampa and links to obituaries.

Catalog of the Lanston typeface library. View the typefaces designed by Lanston. [Google] [MyFonts] [More]  ⦿

Larissa Fischinger

Information designer from Stutgart who is studyin at Stuttgart Media University. At Denmarks School for Media and Journalism in 2012, she designed the didone font Elegant, which has a fragile yet fashionable look. [Google] [More]  ⦿

Leandro Pita

Designer in Funchal, Portugal, who made the art deco ultra-contrasted fashion mag face Voa (2011). [Google] [More]  ⦿

Leftloft
[Andrea Braccaloni]

Leftloft is a visual communications studio in Milan, founded in 1997 by graphic designer Andrea Braccaloni (b. Bologna, 1973), Francesco Cavalli, Bruno Genovese and David Pasquali. The studio is mainly engaged in corporate identity, and now also has an office in New York. Andrea Braccaloni teaches visual communication at the III Faculty of Architecture/Design at the Politecnico di Milano. At ATypI in Rome in 2002, he spoke about new typefaces he designed the old-fashioned way, as a handicraft. Within the studio, there is a small lab for type design, called "Die kleine Fonderie", at which Andrea Braccaloni and Veronika Burian are active. Designs include LL Egeo (1999, shifted letters), LL Mila (2002, a condensed sans with a trademark "g"), LL Etica (2001-2002, a sans family that derives its name from Helvetica, and has soft strokes and wide apertures---in 2009, Etica Seriffo was published by Type Together as the "trappist type family"), LL Chicane (2001, geometric and experimental, between paperclip and neon sign), LL Impresa (2001, octagonal-themed font), LL SanSiro (masculine sans family), LL EU (a delicate sans), LL Alice ditalunghe (transitional text face), LL Officiel (extreme didone titling face, developed for French fashion magazine L'Officiel, in collaboration with Patricia Sartori), LL Crudo (experimental, now LFT Crudo), LL Ubu Re (2002, made by lines and circles only), Lemon (1998), L'Amante Perduto (1999), Solferino Text (2007, with Luciano Perondi, for Corriere della Sera). [Google] [More]  ⦿

Leta Sobierajski

Leta Sobierajski is a multidisciplinary designer living and working in New York City. Creator of the spurred fashion mag typeface Marle (2012). [Google] [More]  ⦿

Lisa Fleck

Graphic designer and photographer in Amsterdam. In 2009, she created Fashion Typeface, and Typeface-for-musician-Bernhard-Fleischman (experimental). In 2010, she added Ruhrschrift (semi-Tuscan). Behance link. [Google] [More]  ⦿

Ludwig Type
[Ludwig Übele]

Ludwig Übele is a Berlin-based German type designer (b. Memmingen, 1974). In 2007, he established Ludwig Type in Berlin. Ludwig practiced type design and branding in his own studio in Den Haag, The Netherlands. He graduated in 2007 from the KABK in Den Haag, the same year in which he started his foundry Ludwig Uebele (or: Ludwig Type) in Berlin. MyFonts interview. Behance link. His award-winning typefaces:

• The extensive serif family Marat, a winner in the TDC2 2008 competition. Its 9 styles can be bought here.
• In 2008, he published Mokka, a subdued serif family with Zapfian influences (lower case "a"). [Do not confuse it with Mokka, Fidel Peugeot's script font from many years earlier---I wonder how Uebele got the Mokka trademark, quite impressive that oversight by the trademark office].
• Augustin (2004). A renaissance face inspired by the type of Nicolas Jenson made in Venice in 1470.
• Helsinki. A sans based on Finnish traffic signs---has a hairline weight, and a gorgeous Fat weight.
• Mediana. A custom face based on Franklin Gothic.
• NewTaste. Commissioned by McDonald's.
• Walhalla (2008) is a strong and bold uncial family inspired by uncial letters of the Czech type designer Oldrich Menhardt, made in 1948.
• Daisy (2010) is an artsy ultra-fat vogue magazine style display face, best shown in pink. It won an award at TDC2 2011.
• Tundra (2010, FontFont) is a narrow low-contrast small-text type family that was also awarded at TDC2 2011.

View Ludwig Übele's typefaces. A list of Ludwig Übele's typefaces. [Google] [MyFonts] [More]  ⦿

Ludwig Übele
[Ludwig Type]

[MyFonts] [More]  ⦿

Luis Miguel Torres
[Aviv Studio]

[More]  ⦿

Luis Othon

Graphic designer in Monterrey, Mexico, who created the lachrymal fashion mag typeface La Perla (2012).

Behance link. [Google] [More]  ⦿

Luke William Turvey
[Okaycat]

[MyFonts] [More]  ⦿

Luvburn
[Pedro Julien]

Graphic design studio in Geneve, Switzerland, founded by Pedro Julien and Gabriel Comym. Typefaces created by them include Era 21 (2013: a fashion mag high-contrast didone), Quantum (2013: futuristic liquid typeface), She Is Typo (2012: another fashion mag display typeface), Vani (2012).

Behance link. [Google] [More]  ⦿

Manuel Ramos

Valencia, Spain-based creator of these typefaces in 2012: Astralia (oblique monoline sans), Datura (upright unconnected script), Humana (fat finger face), Fantastica (hairline), Cristal, Vernissage (display face), Humate (thin script), Graff, Retorica (an elegant wide techno face), Arsone (graffiti font), Future, Artesana, Subatomic, Aura (caps only), Radiance (thin face), Romantica, Alameda (an Arabic simulation face that conjures up Granada), Abstracta (textured techno face), Understand (an elegant lachrymal typeface), Metropolis (a stiletto typeface), Aritmetica (angular), Regard (hairline display face), Artistica (art deco), Iniciatica (bilined), Isabel (bilined caps-only face), Regard (hairline), Glubgraff (graffiti), Graffont (graffiti font), Extraterrestrial, Expresiva, Rotorica (spiky), Passion (a hairline avant-garde face), Infinita (hairline avant-garde sans), Cosmonautica (fashion mag typeface with just capitals; also called Eternal), New World (thin octagonal), Modes (condensed and straight-edged), Lavande, Modesta (thin octagonal) and Garbage.

Typefaces from 2013: Koda, Amaral (a technical pencil font), Astralasia.

Dafont link. Fontspace link.

View Manuel Ramos's commercial typefaces. [Google] [MyFonts] [More]  ⦿

Marco Bergamini Pzeros

Italian designer of the refined display face Jent (2011), which is fit for a gentleman's fashion mag. Home page. [Google] [More]  ⦿

Marie Rupolo

Toronto-based art director and typographer. Creator of the curly alphabet The Sound of Fashion (2009). [Google] [More]  ⦿

Marina Martins Chaccur

Marina is a Brazilian graphic designer and teacher, graduated at Fundação Armando Alvares Penteado FAAP, and with an MA from the London College of Communication. Designer and college tutor in Sao Paulo, Brazil. She spoke at ATypI in Lisbon on vernacular Brazilian type and the current state of Brazilian type design. On her site we can find some sketchbooks, and a proposal for a blackletter face, among many other type-related goodies. In 2011, she obtained a Masters in the type and media program at KABK, Den Haag. At KABK, she designed the type system Chic (2011). This family includes fashion mag styles from a roman sans to curly caps and a "chic" didone. [Google] [More]  ⦿

Marina Nunes

Graphic design student at Senac, Brazil, b. 1991, Sao Paulo. For her school project, Marina Nunes designed Organdi Cursive (2012) for a fictitious project to change the visual identity of Elle magazine. She also created the free all caps poster sketch font Mayonaise (2012).

Dafont link [Google] [More]  ⦿

Mathias Doblhammer
[DeeAit]

[More]  ⦿

Matías J. Fernández G.

Graduate from FADU, University of Buenos Aires, who created the fashion typeface Black Queen (2008). [Google] [More]  ⦿

Max Rabkin

Cape Town, South Africa-based designer (b. 1988) of Scarange (2005, an organic typeface that was called Maelstrom) and Vogue Sans (2005, see also here). He is working on Satinwood (2007, a quaint face in the style of Bernhard Modern). [Google] [More]  ⦿

Maximilano Grosso

Graphic designer in Buenos Aires who created the high-contrast fashion mag typeface Zephyro (2012).

Behance link. [Google] [More]  ⦿

Maximilian Huber

Maximilian Huber (Cellar Door, Vienna, Austria) created an experimental sketched geometric alphabet called Cellar Sans (2011; images: i, ii) and a fashion mag face called Enie (2011, free).

In 2012, he published Leberkaas Grotesque (Ten Dollar Fonts), Justus, a blackboard bold typeface family, and Walden, a tall hand-printed poster face available from Ten Dollar Fonts.

Still at Ten Dollar Fonts, he published these typefaces in 2013: Selador, Strassenbahn (a seans based on text in Vieenese tramways).

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

Megan Hudson

London-based designer and illustrator. She created a typographic fashion poster in 2010. [Google] [More]  ⦿

Michael Jarboe
[Reserves (or: AE Type)]

[MyFonts] [More]  ⦿

Michael Parson
[Typogama]

[MyFonts] [More]  ⦿

Mok Ultra Pop Design

Graphic design and fashion outfit in Verona, Italy. Behance link. In 2009, they created a fun display face for 2010 Myflea Agenda. [Google] [More]  ⦿

Mom
[Pedro Mascarenhas]

Mom is the foundry of Pedro Mascarenhas, a type designer from Lisbon (b. 1967, Lisbon). Creator of Art Deco Neue (2011).

In 2013, he published the poster / fashion mag display sans typefaces Eliane Ultra Light and Eliane Bold, and the double view experimental typeface Mirror Display. [Google] [MyFonts] [More]  ⦿

Monika Fischer

German designer of the fifties diner family Frigidaire (2004, URW, designed with Peter Guckes) and of the handrwritten face Pirates&Robbers (2004, URW). Also with Peter Guckes, she created the experimental face Kettapila (2006, URW), the squarish and fashionable family FontForum Phet (2008, URW++) and the curvy Curly Lady (2006, URW). FontShop link. [Google] [MyFonts] [More]  ⦿

Moshik Nadav

Type and graphic designer in Jerusalem, where he studied at Bezalel Academy of Art and Design. He also did one exchange student term at OCAD in Toronto. Behance link. He created these typefaces:

• Moshik Hebrew (2010).
• Some Latin display faces (2009).
• His Moshik typeface (2010) has upper and lower cases that emulate chic jewelry. Poster about Toronto. Details of the upper case of his Moshik Nadav typeface (2010): A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, X, Y, Z, a, b, c.
• In 2011, he created an extraordinarily beautiful didone display family called Paris (followed in 2013 by Paris Pro) about which he writes: Paris is a new typeface that inspired by the world of fashion. Paris Typeface should be in use by the most popular fashion magazines and super luxury brands. Paris typeface include awesome ligatures and sexy numerals. Paris typeface include 9 different styles: Paris Regular, Paris Regular Exit, Paris Regular Strip, Paris Regular White, Paris Ultra Light, Paris Bold, Paris Bold Exit, Paris Bold, Strip, Paris Bold White. Examples: i, ii, iii, iv, v, vi, vii, viii, ix, x.
• A few months after Paris came the art deco marquee version called Paris Strip (2011).

Mustafa Celik

Istanbul-based creator of a fashion mag typeface in 2011. [Google] [More]  ⦿

MyFonts: Fashion mag faces

Most relevant typefaces at MyFonts for the keyword fashion. [Google] [More]  ⦿

MyFonts: High Fashion typefaces

High fashion typefaces in the MyFonts collection. [Google] [More]  ⦿

MyFonts: Vogue

Top-ranked fonts at MyFonts on the theme "Vogue". [Google] [More]  ⦿

Natalie Dinnikova

Graphic design student at the Polytechnic University of Saint Petersburg. She created a delicate display face called Tahoma Optical (2011). [Google] [More]  ⦿

Negro
[Ariel Di Lisio]

Negro is a design site where some commercial fonts can be found, all designed by Ariel Di Lisio who lives in Buenos Aires. Marzo (2008) is a hairline vogue face commissioned by the Argentinian mag Atypica, and Donuts (2008) is a layer of round upon a layer of round. Paz Font is a stylish night club or fashion magazine family---stunning. Lynda (2008) is an octagonal/mechanical face. Lunes (2007), Day (2007), Friday (2007) and Nigga (2007) are an ultra-fat art deco faces with an experimental edge. Love (2007) is a mini-serifed geometric beauty. Santino (2008) tries to bring waves into a simple sans face. Normal (2008) is gorgeous, geometric and galant. Mate (2008) is a geometric all caps face for magazine headlines. Caracas (2008), Soko (2009), and Stola (2008) have more geometric fantasies. Pink (2008) is experimental. Cascabel (2009) is a kitchen tile face digitized by Alejandro Paul at Sudtipos. James Font (2009) is a bullet hole-themed face. Inlove (2009, Sudtipos) is a Lubalin-style poster face designed by Di Lisio and digitized by Alejandro Paul. Typefaces shown in 2010, mostly experimental / geometric / art deco: Destiny, Drimpy, Hongki, Mobile, Moonglow, Normal, Vincent.

In 2011, Ariel published the futurismo face Saturna at Sudtipos [and I do not understand HypeForType's claim that it is an exclusve HypeForType font]. Their offices are in Buenos Aires and Caracas.

Typefaces from 2012 include Uma (with Alejandro Paul at Sudtipos: a gorgeous two-weight monoline sans family).

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

Nelio Barros
[Kinobrand Design]

[MyFonts] [More]  ⦿

Nelson Balaban

Brazilian graphic designer and well-known illustrator, b. 1989. Creator of the high-contrast fashion mag face Accent (2011, free download in EPS format on his Behance site). Leigo (2011) is a custom magazine font with an art deco flair. [Google] [More]  ⦿

Neutura
[Alexander McCracken]

Neutura was formed in 2003 by Alexander McCracken, who is located in San Francisco. His typefaces have a large geometric component: Aperture (slab serif family), Autobahn, Belfast (octagonal black-bowled headline face), Children (paperclip face), Circle (avant garde style), Deuce (ultrafat), Deuce Round (fat and counterless), Estrella (2011, a high-contrast fat vogue didone titling face), Frank (fat and counterless), Frank Stencil, Interpol (texture face), Magnum (2006, for Neo2 magazine: free), Neutrino (ultra-fat futuristic beauty, 2006), Neutura (clean geometric sans family), Orange (geometric hairline sans), Orange Round, Rabbit, Register (architectural sans), Royale (fat decorative didone), Saber (octagonal), Sarcophagus (very original blackletter), Spade (fat and counterless), Syrup (paperclip font), Vendella (2011), Wafer (ultrafat). At T-26, he published Children (2006, a paperclip font), Deuce and Sarcophagus.

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

Nick Curtis
[Nick Curtis: Typefaces from 2004]

[MyFonts] [More]  ⦿

Nick Curtis
[Nick Curtis: Typefaces from 2005]

[MyFonts] [More]  ⦿

Nick Curtis
[Nick Curtis: Typefaces from 2006]

[MyFonts] [More]  ⦿

Nick Curtis
[Nick Curtis: Typefaces from 2007]

[MyFonts] [More]  ⦿

Nick Curtis
[Nick Curtis: Typefaces from 2008]

[MyFonts] [More]  ⦿

Nick Curtis
[Nick Curtis: Typefaces from 2009]

[MyFonts] [More]  ⦿

Nick Curtis
[Nick Curtis: Typefaces from 2010]

[MyFonts] [More]  ⦿

Nick Curtis
[Nick Curtis: Typefaces from 2011]

[MyFonts] [More]  ⦿

Nick Curtis: Early commercial typefaces

A list of commercial typefaces made by Nick Curtis from 2001-2003, and not listed elsewhere on these pages. Several of these faces appeared in the ITC and Bitstream collections. In 2003, he set up his own foundry, Nick's Fonts. The list: Atelier Sans, Cuppa Joe, Jeepers (a silent movie font), Mister Chuckles, Vinnie Boombah (2002, an outline font, based on 1950 poster lettering for Cinzano Spumante by Nico Eder), Scram Gravy, Steppin Out, ITC Zinzinnati, BoyzRGross (2001), HardlyWorthit, Margarita Ville NF (2001, a curly monoline slab serif), ITC Atelier Sans (2001), ShangriLa NF (2002), LaModaNF (2002, based on poster lettering for an Italian fashion house of the same name, designed by Wilman Schiroli in 1935), March Madness (2003, inspired by lettering from a 1920s Italian poster by legendary "postermeister" Marcello Dudovich), White Tie Affair (2002, pretty vertical lines), Ciné Miroir NF (2003), Fireside Chat NF (2003, based on lettering of Samuel Welo), Nord Express NF (2003, simulating poster font ideas of A.M. Cassandre; a variation of the typeface Acier Noir, Deberny&Peignot, 1936), Parsival Oldestyle NF (2003, patterned after Camelot, a 1920's font by ATF), Petre Devos NF (2003, based on a 1930s poster for a Flemish beer), Red Star Line NF (2003, based on a 1926 travel brochure), Soda Jerk NF (2003, based on a 1929 travel brochure), Toot Sweet Bistro NF (2003, based on a 1928 restaurant poster by artist Karl Bauer), BoDiddlioniStencil, ITC Photoplay (2002, based on lettering from 1927 by Samuel Welo, intended originally for captions of silent movies), ITC Scram Gravy, ITC Jeepers (2002), Erehwon Roman NF (2002, an exaggeration of University Roman), Heberling Casual NF, Marrakesh Express NF (2002, based on a 30s poster font), Slam Bang Theater NF (2002, patterned after the font Nubian Black, designed by Willard T. Sniffin for American Type Founders in the 1930s), Wagner Silhouette NF (2002, based on a 1946 design by Charles Louis Henry Wagner), Laguna Madre WBW, WHG Simpatico NF (2002), Sabrina Zaftig NF (2002), Bergling Fantasia NF (2002, after handlettering by J.M. Bergling), Bundle of Joy NF (2002), Namesake (2002, loosely based on Allan Gothic by Allan Brandtner), New Deal Deco NF (2002), Perserphone NF (2002, a Greek simulation font), Day Tripper NF (2002, based on a design originally called Dignity Roman by the unconventional 30s lettering artist Alphonso E. Tripp), Vielle Varsovie NF (2003), Raskalnikov NF (2003, Cyrillic simulation font), Spatz (2000, Sign DNA), Mrs Bathhurst (2001; a display face based on a 1916 alphabet by Fred G. Cooper). [Google] [MyFonts] [More]  ⦿

Nick Curtis: Typefaces from 2004
[Nick Curtis]

Typefaces made by Nick Curtis from 2004, not listed elsewhere on these pages. Bayern Handschrift, De Rigueur NF, Refugio Rustic WBW, Refugio Refined WBW, Ponte Vecchio NF, Brazzaville NF (based on Congo, a 1910 font by Barnhart Brothers \& Spindler), Moonshine Script NF (a casual connected script patterned after an offering from the 1930s chapbook 60 Alphabets by The Hunt Brothers), West Coast Antics (based on a showing from Carl Holmes' 1950s book, ABC of Lettering), Nanki Poo NF (based on Mikado from the Boston Type Foundry), Picture Postcard BF (a Broadway style face based on work by lettering artist Alf Becker), Curly Shuffle NF (described as a mix of Alf Becker's style and Leslie Cabarga's), Hardy Har Har NF (based on Samoa from BB&S, 1900), Krazy Kracks NF (based on the so-called California style of lettering used extensively in travel posters of the 30s to the 50s. This version is based on its interpretation by Carl Holmes in a Walter T. Foster artbook entitled ABC of Lettering), Whoa Nelly NF (a comic book face--based on Dan X. Solo's Funhouse), Bushwacked, Cressida (triline face), New Boston (far West face of the "italian" kind), Rumble Seat, Kartoon Kutz 3&4 NF, Magic Twanger NF, Snoodle Toons NF, Beanie Kopter NF, Delysian NF (based on Greeting card from the 1923 catalog of BB&S), Mazurka NF (based on Swagger Capitals and Gothic Novelty title from the 1923 catalog of BB&S), Jungle Holiday Cuts NF (based on holiday ornaments by Carl S. Junge, 1929), Stone Soup NF (based on lettering for a 1925 Buster Keaton movie), Tintern Abbey NF (based on the lettering for a 1905 poster for the Austrian National Highway by artist Gustav Jahn), Period Borders NF, Parsnip and Parsnip Outline (Will Ransom designed the exemplar for this series for Barnhart Brothers&Spindler in the early 1900s---the typeface was originally named Parsons (1918), after the advertising director of a Chicago department store), Wurstwagen (suggested by a poster for beer, designed by German artist Ludwig Hohlwein around 1920), Jackson Park NF (1920s style), Kenosha Antique NF (from the 1903 Racine typeface of Barnhart Brothers&Spindler), Catty Wumpas (based on lettering of Ross F. George). [Google] [MyFonts] [More]  ⦿

Nick Curtis: Typefaces from 2005
[Nick Curtis]

Typefaces made by Nick Curtis from 2005, not listed elsewhere on these pages. Chantilly Lace NF (2005: uppercase letters by Bergling and lowercase letters by Roland W. Paul), Edda MorganaNF (medieval English), Gnarly Dude NF (rough script based on material of Ross F. George), Whirled Peas NF (based on a face called Whitestone Scrawl by Dan X. Solo in his "Showcard Alphabets"), Cool Cat Jim NF (based on a 1953 headline by Jim Flora in Park East Magazine), Sulphur Springs WBW (bone font), Grand Rapids (based on a typeface named Archer from the 1905 specimen book from Barnhart Brothers&Spindler), Hasta La Pasta (designed after a typeface from a pre-1900 specimen book from the Central Type Foundry of St. Louis, called Spiral), La Coupole (based on lettering on a 1927 menu by prominent poster artists Razzia), Shadowlands (this is like Wilcox Initials from the 1992 Solotype Catalog), Possum Saltare NF (a Trajan column style caps face), Pismo Clambake NF (a connected formal script face after a Richard Gans handwriting face from 1933, Gloria), Ransom Clearcut NF (an extension of Will Ransom's 1920s caps-only face Clearcut Shaded Caps for BBS), Almost Heaven (sold in the early 1900s as Perfection), Goodbye Crewel World (stitching font), Jimbatz NF (dingbats inspired by album cover artist Jim Flora), Bad Dookie NF (from The Advertising Cartoon Clip Art Book, 1971), Maple Leaf Rag NF (revival of Nova Bold by Continental Typefounders), Surely You Jest NF (called Arbor in the 1890's type specimen catalog from Farmer, Little&Co), Merry Old Soul NF (a display face discovered in one of the many books on sign writing produced by Eric Matthews), Funky Tut NF (205; the caps are based on J.M. Bergling's Morocco (1914), and the lower cases on Bergling's Kermaic Text (1914)), Groove Thang NF (based on a font called Dado), Novadam Obese (geometric black modern face based on a logotype by the same name of Joan Trochut Blanchard, ca. 1940s), Smackeroo NF (2005, engraved US dollar-bill style face based on Steelplate, a monocase face from ca. 1900 by Barnhart Brothers&Spindler), Snooty Fox NF (an elegant face found in Pen&Brush Lettering and Practical Alphabets, Blandford Press, Ltd., London, 1929), Chez Nous (based on Card Italic from a 1930s Mergenthaler Linotype Company specimen book), Slapdash Deco NF (2005, based on a showcard alphabet presented by Cecil Wade in his Manual of Lettering), Rockin Roman NF (from Blandford Press' Pen&Brush Lettering and Practical Alphabets), Kunstgewerbe NF (artsy face after work by J.M. Bergling, 1914), Details Details NF (a geometric design from Pen and Brush Lettering and Practical Alphabets), Escondido NF (inspired by an Austrian travel poster designed by Johann Süssenbek in the 1930s), Ballyhaunis NF (based on Celtic lettering by Laurence Schall, early 1900s), Inglenook Corner NF (based on art nouveau lettering by Laurence Schall, early 1900s), Mohair Sam NF (caps based on letters of Samuel Welo, and lower case based on ATF's Romany Script), Partenkirchen NF (a Basque style display face), Helena Handbasket NF (after Antique Light, found in the 1888 edition of the James Conners Sons United States Type Foundry specimen book), Kudos Kaps NF (2006: five nice ornamental caps and associated alphabet and border sets, including a Lombardic set, an engraved set; they are based on faces from Ludwig&Mayer). [Google] [MyFonts] [More]  ⦿

Nick Curtis: Typefaces from 2006
[Nick Curtis]

Typefaces made by Nick Curtis from 2006, not listed elsewhere on these pages: Magic Lantern NF, Duly Noted NF (after an ATF face from 1912 called Freeahand), Got That Bling NF (a connected script based on the work of Al Mack, from his Lettering: Brush&Pen in the Single Stroke), Haarlem Nights NF (based on a 1920 Dutch poster for Public Placement Services by Johan Dijsktra), Architectuur NF (based on De Stijl type lettering by H. Th. Wijdeveld, 1925), Gandy Dancer NF (a revival of Tabard, ca. 1912, ATF), Pomfrit Dandy NF (based on Frys Ornamented No. 2 by Stephenson Blake), Smith Premier (Clean and Schmutzy) NF (a typewriter pair after the letters of the Smith Premier No. 3), Faerie Queen NF (based on a typeface named Titania from a 1930s specimen book from the Fundición Richard Gans), Red Hot Mama NF (2006), Jumbo Mumbo NF (a revival of Independant done in 1930 by Collette and Dufour), Union Telegraph NF (2006), Major Production NF (which was followed in 2009 by Major Pro Extras NF), Teeny Boppin NF (gleaned from Schrifti Alphabeti, a book of Cyrillic alphabets published in Kiev in 1979), Rutin Tutin NF (based on Wild West lettering found in Schrifti Alphabeti, 1979), Jampact NF (2006, an ultra fat headline face), Beagle Boyz NF (a bouncy face based on a Cyrillic alphabet presented in the book Schrifti Alphabeti, 1979), Midtown Tessie NF and Downtown Tessie NF (mosaic tile faces), Scary Scrimshaw (based on a 1968 poster for a Doors concert), Speedball No1, Speedball No2 SW (2001), Speedball No3 (2001), Bellagio NF (an interpretation of Robert Wiebking's 1917 font Advertisers Gothic, designed for BB&S), High Society NF (2006, a fashion mag face based on an alphabet found in Lettering for the Commercial Artist by Blandford Press, 1946), Osiyo Dohitsu NF (based on letterforms in the Cherokee Syllabary, reputedly devised by Sequoyah in the early nineteenth century; it has petroglyphs as well), Micro Manager NF (pixel face), Paper Caper NF (2006), Shady Grove (a condensed version of Thorne Shaded), American Pi NF (2006: ATF ornaments from the catalogs between 1913-1934, including some designed by Will Bradley, Frederic Goudy and George Trenholm), The Donald NF (a hyper-curly decorative face), Boo Meringue NF (a Halloween font based on Lithotint (1897, ATF)), Lesser Arcana (a mystical type), Zyklop NF (2006), Deux Chasses NF (based on ATF's Thermotype), Bon Mot NF (based on Barnhart Brothers&Spindler's Engravers Upright Script), Munchkin Land NF (based on a work called Thor, issued by Frederic Wesselhoeft Ltd of London in the 1930s), Didgeree Doodle NF (2006, a curly cursive originally released as Bernhard Heavy Antique Cursive by the Bauersche Giesserei by Lucien Bernhard), Kudo Kaps One, Two, Three and Four NF (a total of eight classical initial caps faces), Crane Titling NF (medieval-inspired uppercase letters drawn by famed book illustrator Walter Crane with charming, if somewhat quirky, lowercase letters by J. W. Weekes), DecimoSexto NF (+italic) (includes Spanish Roman letters and Griffo style italics, both hand-drawn by Francisco Lucas in Madrid, 1577), Visillo Adornado (a caps face based on the typeface Vesta, originally designed by Albert Auspurg for H. Berthold AG, Berlin in 1926). [Google] [MyFonts] [More]  ⦿

Nick Curtis: Typefaces from 2007
[Nick Curtis]

Typefaces made by Nick Curtis from 2007, not listed elsewhere on these pages: Dundee Castle NF (based on lettering by Harvey Hopkins Dunn, 1930), Sheik Of Araby NF (2007), Aethelred NF (a unicase typeface, with alternate characters in several of the lowercase positions, is patterned after Mosaik, designed by Martin Kausche for Schriftgiesserei Stempel in 1954; Sultan (2005, Canada Type) is also based on Mosaik). Cerulean NF (a sans based on Lining Gothic No. 71 (BBS and ATF, 1907)), Rimshot NF (script), Jaunty Gent NF (based on the upright connected script Forelle, aka Rheingold Kräftig, by Erich Mollowitz in 1936-1937 for the Hamburg foundry of J. D. Tennert&Sohn), Baby Cakes NF (a bubblegum face based on a 1974 release by Karlgeorg Hoefer at the Ludwig&Mayer foundry called Big Band), Amper Sans NF (after Hobby, a script designed in 1956 by Werner Rebhuhn for Schriftgießerei Genzsch&Heyse), Wacky Duck NF (2007), By George Titling NF (inspired by silent movie lettering), Dinky Rink NF (partially based on Steile Futura), Fuller Brush NF (a bouncy signage script from The New Lone Pine ABC of Showcard and Ticketwriting by Australian author C. Milnes), Tiddly Winks NF (2007), Iraan (a stars and stripes face based on the ATF face Rodeo), Haut Relief (a 3d face based on a 1960s face called Sculpture), Fiddle Sticks (based on West Banjo (Dave West, 1960s)), Djibouti (an African theme font modeled after African Queen (Dave West, 1960s), Wacky Duck NF (2007), Turing Car NF (2007, a monospaced typeface based on a lineprinter font from the 1960s, the Unisys 0776), Route 66 NF (based on the typefaces used on U.S. Highway signs from the 1930s to the 1950s), Anna Nicole NF (2007, based on the upright semiscript Mirabelle (1926, Wagner&Schmidt); Nick Curtis: Round, firm and fully-packed, it is sure to get attention anywhere it is used.), Keynote Speaker NF (an awkward blocky face patterned after Bloomsbury (1920s, P. M. Shanks&Sons)), Twitty Bird NF (2007, an architectural drawing font based on Dan X. Solo's Conway), Balder Dash NF (the caps are based on Breda-Gotisch (1928, H. Berthold AG) and the lowercase on Goudy Text)), Outer Loop NF (2007), Tutti Paffuti NF (after Stymie Black Flair by Dave West for Photolettering), Weedy Beasties NF (after a variation of Seymour Chwast's Blimp), Bully Pulpit NF (2007), Keepon Truckin NF (a 3d face based on Milton Glaser's Baby Fat). In the 1970s, Vincent Pacella made a Photolettering Egyptian headline face called Blackjack, which was digitized in 2007 by Nick Curtis as Flap Jacks NF. ITC Jeepers and Woodley Park (based on Naudin) won awards at the TDC2 Type Directors Club's Type Design Competition 2002. Artone was digitized as Loose Caboose NF. Edwin Sisty's upright curly semiscript Belcanto (1970s, Photolettering) was revived in 2007 by Nick Curtis as Glissando NF. F.W. Kleukens' Kleukens Antiqua (1910) was digitized by Nick as Kleukens Antiqua NF (2007). Holo Fernes NF (2007) is based on Christian Heinrich Kleukens' Judith Type (1923), a hookish hell-inspired face. Pudgy Puss (2007) is an ultra-fat modern display type based on Fat Face (Herb Lubalin, Tom Carnase). Omaha Bazoo (2007) is patterned after Viola Flare, issued by Franklin Photolettering in the 1970s. Lateral Incised NF (2007) is an engraved old style face originally released in 1929 as Gravure by the London foundry of C. W. Shortt. Tall Scrawl NF (2007) is an original Curtis handprinted font. Alfred Riedel's Domino (Ludwig&Mayer, 1954) was revived as Idle Fancy NF (2007). Boxcar Willie NF (2007) is a quaint curly face. [Google] [MyFonts] [More]  ⦿

Nick Curtis: Typefaces from 2008
[Nick Curtis]

Typefaces made by Nick Curtis from 2008, not listed elsewhere on these pages: Dave West's Nickelodeon was revived by Curtis as Lily Hilo NF (2008). Funky Rundkopf NF (2008) is an adaptation of an LED simulation font of Ray Larabie, called Dignity of Labour. Daffadowndilly NF (2007-2008) is based on art work by Alf Becker from the 1940s. Babes In Toyland NF (2008) has some of the Rennie Mackintosh charm and is based on "Sheet music for Babes in Toyland, USA, 1903". Anagram Shadow NF (2008) is based on handlettering from a 1928 poster for a steamship line by renowned British artist Austin Cooper. Kandinsky NF (2008) is based on shapes found on Kandinsky's painting Succession (1935). An experimental typeface by Jeremy Pettis, illustrating the concept of kangaroo, inspired Pal Joey NF (2008). One of René Knip's experiments, a unicase typeface with an Arab feel, was digitized by Nick Curtis as Turban Hey NF (2008). Calamity Jane (2008) is a stylish Edwardian script based on a 1930s logotype for the Theatre Moderne in Paris. Orion Radio NF (2008) is a 1930s style display face on an African theme. Quinceanera NF (2008) is a a new take on an old dry-transfer standard from the 70s named Barrio. Jobber Wacky NF (2008) is a bouncy handlettering font based on designs of Alan Denney found on greeting cards in the 1950s and 1960s. Franciscan Caps (2008) is based on a 1932 face by Frederic Goudy called Franciscan. Morning Glory (2008) is a simple display face that goes back to the Cleveland Type Foundry, 1893. Tickety Boo (2008) is a take on Goudy Fancy (or: Goudy Black Elongated Swash). Yo Quiero Taquitos uses letters taken from Rotalución Decorativa (Barcelona, 1940s), Disco 79 (2008, multiline), Eclectic Crumpany (2008, multiline monocase neon face based on The Electric Company TV Show), Fire Down Below (2008, block gothic), Joufflou NF (2008, very fat), Bala Cynwyd NF (2001) is an Arts&Crafts style poster face inspired by lettering of Dard Hunter. Csiszarz Latein NF (2008) recreates an old typeface (ca. 1910) of J.V. Csiszarz. Owah Tagu Siam NF (2008) is a faux Thai font. Langoustine Rouge NF (2008) is based on Dan Solo's Sorbonne. Cecil Wade again provided inspiration for Bloc Party NF (2008). My Little Eye NF (2008) is an elegant piano key font. Roundabout NF (2008) is rounded octagonal. Neubank NF (2008) is Nick Curtis's take on Bank Gothic. Warp Three NF (2008) is a Bank Gothic-style family with an uppercase as in Agency Gothic (1932-1933, Morris Fuller Benton) and a lowercase from Square Gothic (1888, James Conner). [Google] [MyFonts] [More]  ⦿

Nick Curtis: Typefaces from 2009
[Nick Curtis]

Typefaces made by Nick Curtis from 2009, not listed elsewhere on these pages: Society Page NF (semi-script based on Morris Fuller Benton's Announcement, 1916), Glyphix One NF (dingbats), Glyphix Two NF (dingbats), Velveteen Round NF (based on Vellvé's only font, 1971), Steno Stout NF (the venerable Underwood Victoria typewriter on steroids), Diosa Rubia (condensed headline face), Mono Amono NF (octagonal), Turista Flaca NF (based on Baltimore Type Foundry's Tourist Extra Condensed), Boop Boop NF (based on handlettering found on Hallmark Studio Cards of the 1950s), Samosata NF (based on Bernhard Gothic), Waddem Choo NF (based on Tschichold's Transito from 1931), Jane Plain NF (architectural blueprint style), Hacky Sack NF (a zany face based on Ross F. George's Stunt Roman), Free Holeys NF (after the 1972 Letraset font Beans by Dieter Zembsch), Kingstown NF (semiscript), Kudos Kaps NF (2006: five nice ornamental caps and associated alphabet and border sets, including a Lombardic set, an engraved set; they are based on faces from Ludwig&Mayer), Melvin Eustace NF (handlettered), Weekly Bazaar NF (based on Harpers by the Central Type Foundry), Really Big Shoe NF (after a Cleveland Type Foundry face called Oxford), Bellwether Antique NF (after a 1913 face by Georg Belwe), Garmisch Rund NF (inspired by Rundgotisch, Emil Rudolf Weiss, 1937), Whitefriars NF (based on a font from the Blackfriars Type Foundry in London), Society Page NF (a curly serif face based on Morris Fuller Benton's Announcement Roman, designed for American Type Founders in 1917), USA Resolute NF (a unicase headline face based on Morris Fuller Benton's Eagle, ATF, 1934), Saturday Morning Toast (2001, based on the logotype font of the Saturday Evening Post from the 1920s), Examiner NF (based on Dwiggins' Metro from the 1930s). Hans Lijklema's Free Font Index has a CD which contains AirstreamNF-Italic, CalamityJaneNF-Bold, CalamityJaneNF, DaddyLonglegsNF, HamburgerHeavenNF, HeavyTrippNF, HutSutRalstonNF (2001), OrionRadioNF, ParkLaneNF, PhattPhreddyNF, RhumbaScriptNF (a silent movie font), Riot Squad NF (2000, after Otto Heim). [Google] [MyFonts] [More]  ⦿

Nick Curtis: Typefaces from 2010
[Nick Curtis]

Typefaces made by Nick Curtis from 2010, not listed elsewhere on these pages.

Typefaces made in 2010: Conners Corners NF (2010: gleaned from the 1888 specimen books of James Conner's Sons United States Type Foundry), Tumbling Dice NF and Banner Year NF (both were done after scroll typefaces featured in the 1869 MacKellar Smiths and Jordan specimen book), Standing Room Only NF (after Broadway, designed by Morris Fuller Benton for ATF in 1928, originally named Broadway Poster), Proud Mary NF (a plump face based on Joseph Churchward's Marianna), Slapsie Maxi NF (based on a Carl Holmes alphabet found in Holmes's ABC of Lettering), Umbriago NF (trying to do a Cooper Black Swash Italic), Picaro NF (based on Harlequin), Palo Pinto NF (based on Pacella Vega Extended 10, a 1960s face by Vincent Pacella), Cartella NF (a 3d beveled shadow face based on a Morris Fuller Benton 1934 offering for American Type Founders called Poster Gothic), Pracht Antiqua NF (a faithful rendering of the cuddly headline script face Pracht Antiqua Schmallfett, which was designed by Carl Pracht for the Norddeutsche Schriftgießerei in 1942), Gitfiddler NF (a futuristic oblique face based on the lettering on a package of Gibson guitar strings from the 1950s) , Seta Reta NF (after Walter Diethelm's 1965 VGC face Arrow), Kleukens Kursiv NF (after Kleukens Scriptura, 1926 by F.W. Kleukens), Kallilu NF (a display face, after George Piscitelle's VGC face Thomac from the 1960s), Occidental Tourist NF (an avant-garde sans inspired by Dave West's Futura Casual), Schelter Grotesk NF (after Schelter's Breite Grotesk, 1886), Vuvuzela NF (a casual, almost sign-painted, and nearly African display face), Block Party NF (2008,, a 3d face), Cromwell NF (a faithful digitization of Cromwell, 1913, Morris Fuller Benton, ATF), Liguria NF (2010, after a face found in a Nebiolo specimen book, ca. 1900), Pony Express NF (2010, after Palmer and Rey's Courier from 1885), Linndale Square NF (a beefed up version of Geometric, 1885, Cleveland Type Foundry---a typewriter style face), Binghamton NF was inspired by the wedge-serifed angular face Bingham (Vincent Patella, PLINC). Albert Kapr designed Faust in 1959, so Nick's derived sans typeface is called Kaprice NF. Double D NF (2010, +Fill, +Outline) is a 3d beveled face based on Dave Davison's Dimensional from the 1970s. Old Softy NF (2010) is a rounded face based on Round Gothic (Keystone Type Foundry, 1884 catalog). [Google] [MyFonts] [More]  ⦿

Nick Curtis: Typefaces from 2011
[Nick Curtis]

Typefaces made by Nick Curtis from 2011, not listed elsewhere on these pages: Jersey City NF (modeled after Times Gothic (1905, ATF)), Petty Despot NF (2011, also modeled after Times Gothic, and possibly renamed from Jersey City NF after Berthold---yes, the same Berthold again---complained about the name Jersey since one of its fonts by Gustav Jaeger was named Jersey. This is my educated guess..., and two thumbs up to Nick for picking the appropriate name Petty Despot NF). Olde Megrat NF is patterned after Antikva Margaret, designed by Zoltán Nagy for VGC in the mid-60s. Herkimer Bunrab NF is an upright scriptish face with bunnyears that is based on Hercules (1926, Amsterdam Typefoundry). Blackbarry NF (2011) is a faithful revival of Deutsch Black (1966, Barry Deutsch, VGC), a unicase piano key typeface. Bindlestiff NF (2011), which won the 2011 Devroye Memorial Medal for funniest typeface name, revives Schmallfette Binder Style (1959, Joseph Binder, Stempel AG), a squarish tightly set headline face. Decked Out NF (2011) is a fat inline face modeled on Dektiv in Homage to the Alphabet. Bazoo Tow NF (2011) is a fun fattish headline face that is a faithful reroduction of Basuto (1927, Stanley Baxter for Stephenson Blake). Are You Shaw NF (2011) is an all-caps blackboard bold face inspired by Pygmalion, a face found in Homage to the Aplhabet. Hoodoo U NF (2011) is a roly-poly romp through the alphabet, based on Jürgen Riebling's irrepressible Mr. Big from the 1970s. Big, bold, bubbly and a little brash, it's a natural choice for happy headlines. The handlettered Mikeys Roman NF (2011) has an uppercase based on the work of Mike Stevens, and a lowercase based on the work of Alf Becker. Outgribe NF (2011) is a rough, raw typeface that is based on the lettering in Ben Shahn's iconic poster protesting the execution of Nicolo Sacco and Bartolomeo Vanzetti in 1927. Nellie Kay NF (2011) is a monoline script face, based on an example by Ross F. George. Shaq Attack NF (2011) is a wooden plank style or brushy face inspired by an alphabet of Alf R. Becker. Relampago NF (2011) revives Hans Möhring's bilined face Elegante Lichte (1928). Squirrely Shirley NF (2011) is a bouncy face based on Phoenix (unknown creator) in Schriftatlas. Spread Out NF (2011) is modeled after Ross F. George's Split Caps. Salzburger Plakat NF (2011) is based on an Austrian winter sports festival poster from 1907 by Swiss poster designer Otto Baumberger (1889-1961). Rightly So NF (2011) is a squarish face based on Geometric Gothic (1884, Palmer and Rey)---it is hard to imagine that this almost pixelish style was around at that epoch. Kenotaph NF (2011) is a condensed headline slab serif modeled after Stymie Obelisk (1930s, Morris Fuller Benton). Vasari NF (2011) is based on Ancient Gothic (1891, William W. Jackson, Keystone Type Foundry). Moslem (Boston Type Foundry) was revived as Suffiya NF (2011). Looky Cookie NF (2011) has eyes placed on the glyphs. Iago NF (2011) is a powerful headline sans inspired by two ATF faces from the 1880s, Othello and ATF Black Caps. Big Bag NF (2011) is called an industrial-strength titling face by Nick Curtis---it has design elements of Hans Eduard Meier's Syntax Antigua. Highpoint Gothic NF (after Morris Fuller Benton's 1932-1935 typeface Raleigh Gothic Condensed). Fernburner NF is an all caps shadow face, modeled after Hans Bohn's 1929 typeface Orplid. Planscribe NF is based on types used by the Leroy Automatic Lettering Machine, a tool for architects. [Google] [MyFonts] [More]  ⦿

Nicolas Massi

Graphic designer in Buenos Aires. His typefaces, dated 2009, include Tesca (a condensed-modern grotesque typeface. Three styles: Flaca, Normal&Gorda), and Arco (a fat face with some geometrical tweaks grabbing fresh and ideal for fashion editorial headlines). With Rodrigo Fuenzalida, he created the textura typeface Pirata+One (2012, Google Web Fonts).

He is working on Tesca Specimen.

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

Niklaz Lönnqvist

Graphic designer in Stockholm, who made the fashion mag sans face Pumps & Skinny Jeans (2012). [Google] [More]  ⦿

Noémie Pasquier

Parisian graphic designer and illustrator. Creator at FontStruct in 2009 of Manhattan (gridded letters) and SoSquare. Zucchini Bold (2010) is an elegant high-contrast fashion face. Home page where one can can ogle her creative ornamental caps from 2009. She also made a quaint face called Indian Times (2010) that was based on Indian patterns. Behance link. Poster: Make Love Original. Poster: Pour G. [Google] [More]  ⦿

Nuria González and Noël Nanton

Creators of a fun counterless fashion mag titling face called Tomeri Nu-No that was fonted in 2011 by Antonio J. Morata as zblackmagic-eYeFS. [Google] [More]  ⦿

Okaycat
[Luke William Turvey]

Takamatsu, Japan-based design division of The LOLO, a content creation company, which was established in 2006. Luke William Turvey (b. London, Ontario, 1978) who lives in Japan started out with street murals but is doing digital work now. His early fonts include Giacinta Ornate (2008, a lovely bastarda), Parabrite (2008, techno), Stefani EHYO Sans Rounded (2008, a clean geometric sans), Antikka (2008, art deco), Calisso (2008, experimental), LOLO Dingcats (2008), Clementine (2008: artsy serif), Okaytext (2008, a fashionable geometric sans in the style of Bernhard Fashion), Okay Cursive (2008, an upright connected script), Okay Crayon (2008), Okay Paint (2008), Japanese Brush Master (2008), Tag Banger (2008, graffiti font), Bapalopa (2008, more graffiti), Hive Mind (2008, nuts and bolts look), Trees of Africa (2008, dings), 3D Fantablock Beveled (2008), Shababa (2008, shadow font), LOLO Animals (2008), LOLO City (2008, inner city dingbat face), LOLO Cursive (2008, curly handwriting), Japoneh (2008, a great oriental-look drippy paintbrush font).

In 2009, Okaycat published Arco Crayon (blackboard writing, but also a lipstick font), 3D Blocky (with Natsuko Hayashida), Carbon Neutral, Hand Writing OC, Okay Cotton, Hand Cursive, Stitch Cursive, Antique Dubplate, Porto (rough calligraphic), Brush Writing OC, Nouveau Rock (engraved), Shababa, 3D Techno, Stefani EHYO (4-style geocratic sans), Japanese calligraphy poster. With Natsuko Hayashida, he did Rustic Stamp (grungy).

Fonts from 2010: Uncertainty (grunge), CASU Aerospatiale (an etched 3d font family), Geodot (a dot matrix face), Zampichi (a video game font family), Country Charm (Natsuko Hayashida: a dingbat face), The Inlines No Inlines (Natsuko Hayashida: a black rounded minimalist sans), CC Angular (Turvey: an octagonal face that comes with an outlined and shadowed style), Pentastic (handprinted), Candy Cursive (a monoline connected script).

Typefaces made in 2011: Okay-A (this font lets one make 3D letters that look to be fastened down with screws), Teselka (a 3d outlined shadow face), Joopica (a casual face created together with Natsuko Hayashida).

Typefaces made in 2012: Meksa (techno).

Klingspor link.

View Luke William Turvey's typefaces. View the Okaycat typeface collection. [Google] [MyFonts] [More]  ⦿

Oleksandr Parkhomovskyy
[Rekord]

[MyFonts] [More]  ⦿

Oscar Fuentevilla

Monterrey, Mexico-based designer of the fashion mag hairline sans face Thin Frank (2011) and of the pixel dingbat face Simbolos Positivos (2011). Behance link. [Google] [More]  ⦿

o-zone

Italian outfit which made the sexy high-contrast fashion mag face Cut Font (2010). Bewhance link. [Google] [More]  ⦿

Ozone Agency Italy

Creators of the fashion mag typeface Cut (2010), which was part pf a project called Paper Cut Fold. [Google] [More]  ⦿

Pancho López

Graphic designer in Guadalajara, Mexico, who made Miami Deco (2011, a multiline art deco jewel), Poiret 1940s (2012, art deco), Juke Box (2010, retro type), El Solitario (2011, an Italian Western typeface, a redesign of an earlier type by Francisco Bustamante), Arcan Magic (2012, an alchemic typeface based on Cherokee Indian symbology), OK Mr Lopez (2012, open caps face), and Bardot Type (2012, a fashion mag typeface). [Google] [More]  ⦿

Panos Vassiliou
[Parachute]

[MyFonts] [More]  ⦿

Parachute
[Panos Vassiliou]

Athens-based Greek typefoundry started in 1999-2001 by Panos Vassiliou. Their fonts cover Latin, Greek and Cyrillic. Panos Vassiliou has conducted numerous seminars for Canadian companies such as Bank of Nova Scotia, Royal Bank and Sony Canada. He graduated from the University of Toronto/Canada, where he studied Applied Science and Engineering. He has been Creative Director for the Canadian design firm AdHaus, former Publisher of the monthly magazine DNA (Greece) and Secretary-General for the Hellenic Canadian Congress (Ontario, Canada). He has been designing typefaces since 1993, including commercial fonts as well as commissions from Vodafone, Nestlé, Ikea and National Geographic. He started Parachute in 1999 setting the base for a typeface library that reflected the works of some of the best contemporary Greek designers, as well as creatives around the world obsessed with type.

Myfonts link. Behance link.

Other type designers at Parachute include Kanella Arapoglou, Alexandros Papalexis, Dimitris Foussekis, Aggeliki Skandalelli, Helen Gabara, Babis Touglis, Vangelis Karageorgos, George Toumbalis, Eva Karapidaki, Charis Tsevis, Pavlos Levendellis, Panos Vassiliou, and George Lygas.

At Granshan 2010, Vassiliou won Second Prize in the Greek text face category for PF Encore Sans POro, and First and Second Prizes in the display typeface category for PF Regal Pro and PF Champion Script Pro, respectively. Typefaces:

• Adamant
• PFAgora Pro: Agora Sans, AgoraSerif, AgoraSlab.
• Amateur
• PF Archive Pro (2004). He received a design award for his typeface Archive at the E AWARDS 2004. It has special typographic features and multilingual support for all European languages including Greek and Cyrillic.
• Armonia
• Astrobats
• Baseline
• Beatnick
• Beau Sans (2011). Inspired by Bernhard Gothic.
• Bodoni Script (2009).
• Bulletin Sans (2000-2005)
• Centro (Sans, Serif, Slab). PF Centro Pro family (Sans, Serif, Slab, a trillion styles) won an European Design Award in May 2008 in Stockholm and at Paratype K2009.
• PFChampion Script Pro (2004-2008). A much lauded connected calligraphic script that is based on a calligraphic script by Joseph Champion, 1709-1765. Winner at Paratype K2009 and Granshan 2010. Images: i, ii iii, iv, v, vi. The 4245-glyph family comprises Cyrillic, Latin and Greek subfamilies.
• Cosmonut (sic) (2002). A retro futuristoc face made by Dimitris Foussekis.
• DaVinciScript (2001-2006). A Treefrog-style script face by Vassiliou and Dimitris Foussekis.
• PF DIN (2010): PF DIN Display (2002-2005), PF DIN Mono, PF DIN Stencil, and DIN Text, PF DIN Text Condensed, PF DIN Text Compressed, DIN Text Arabic, DIN Text Universal. With Latin, Cyrillic and Greek coverage, each font has about 1300 glyphs. The designs go back to the the lettering of the Prussian railways around 1900. In 2013, PF Din Text Pro was published.
• Eco Park. A 3d outline face.
• PF Encore Sans (2009). A rich and versatile sans family supporting Greek, Latin and Cyrillic.
• PF Fuel Pro
• PF Fusion Sans (1996-2006)
• PF Garamond Classic.
• PF Goudy Intials and PF Goudy Ornaments. A winner at Paratype K2009.
• PF Handbook (2005-2007, sans family)
• HausSquare
• HellenicaSerif. Chiseled look, Greek simulation face.
• HighwaySans
• House Square. A Bank Gothic lookalike.
• PF Isotext (2005). Meant for technical documentation, it is modeled after Isonorm.
• Kids, KidsStuff
• Libera
• Lindemann and PF Lindemann Sans (2012).
• Mechanica A and B, 2002-2006. Octagonal families.
• PF Monumenta (2002-2006). A majestic lapidary roman family.
• Muse
• Online (One, Two and Three). Pixelish family.
• PF Ornamental Treasures (2008). Byzantine ornaments and borders.
• PF Pixelscript
• Playskool
• Psychedelia (2003, Dimitris Foussekis). A psychedelic typeface.
• Regal Pro and Regal Finesse Pro: Award-winning high fashion display didone families, 2010-2012, originally designed for the Grazia magazine. Awards include Red Dot Awrd 2012, Communication Arts Annual Competition 2012, Creative Review Type Annual 2011, European Design awards 2011, EBGE awards 2011, Granshan Awards 2010.
• PF Reminder Pro (2003). A hand-printed typeface.
• Scandal
• PFSquare Sans Pro
• PF Stamps (2002-2006). A grungy stencil face by Panos Vassiliou and George Lygas.
• PF Synch Pro (2006). An industrial strength slab-serif typeface.
• PF Uniform
• VideoText
• PF Wonderbats (2003). Funky and strange animals.
• Wonderland (2006). By Dimitris Foussekis.

Their type blog is called Upscale typography.

Catalog. View all typefaces designed by Parachute.

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

Patricia Sartori

Italian codesigner with Andrea Braccaloni (Leftloft) of the extreme didone titling face LL Officiel (or: L'Officiel Titles) for French fashion magazine L'Officiel. [Google] [More]  ⦿

Patrick Griffin

Type designer at Canada Type. Wikipedia tells us that Patrick Griffin had been locked away in a mental institution by Carter and Barbara, after he walked in on his mother performing oral sex on Jackie Gleason. He had a nervous breakdown and was sent to a mental hospital, where he came to the conclusion that Gleason was evil because he was fat, leading him to hate fat people. His work is summarized in this 2009 interview by MyFonts. It includes lots of custom work for banks, TV stations, and companies/groups like New York Times, Pixar, Jacquin's, University of Toronto, and the Montreal Airport. His retail fonts include the following.

• Ambassador Script (2007): a digital version of Juliet, Aldo Novarese's 1955 almost upright calligraphic (copperplate style) connected script, with hundreds of alternates, swashes, ends, and so forth. Done with Rebecca Alaccari.
• Autobats (2005).
• Bigfoot (2008), the fattest font ever made (sic).
• Blackhaus (2005), an extension of Kursachsen Auszeichnung, a blackletter face designed in 1937 by Peterpaul Weiß for the Schriftguss foundry in Dresden.
• Blanchard (2009): a revival and elaborate extension of Muriel, a 1950 metal script face made by Blanchard Trochut for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud.
• Bluebeard (2004), a blackletter face.
• Book Jacket (2010): this is a digital extension of the film type font Book Jacket by Ursula Suess, published in 1972.
• Boondock (2005): a revival of Imre Reiner's brush script face Bazaar from 1956.
• Broken (2006): grunge.
• Chalice (2006). Religious and Cyrillic influences.
• Chapter 11 (2009): an old typewriter face.
• Chikita (2008): an upright ronde script done with Rebecca Alaccari, and rooted in the work of 1930s Dutch lettering artist Martin Meijer.
• Clarendon Text (2007). A 20-style slab serif that uses inspiration from 1953 faces by Hoffmann and Eidenbenz and the 1995 font Egizio by Novarese.
• Classic Comic (2010).
• Coconut and Coconut Shadow (2006). Great techno pop faces.
• Coffee Script (2004): the digital version of R. Middleton's Wave design for the Ludlow foundry, circa 1962. Designed with Phil Rutter.
• Comic book typefaces: Caper or Caper Comic (2008), Captain Comic (2007), Classic Comic (2010), Collector Comic (2006, a comic balloon lettering family), Common Comic (2013).
• Counter (2008): A futuristic beauty with a double-lined cursive thrown in. Available exclusively from P22. This face was based on the idea for an uncredited film face called Whitley, published by a little known English typesetting house in the early 1970s.
• Cryptozoo (2009): Late director of design for VANOC, the Vancouver 2010 Olympic Committee, Leo Ostbaum, commissioned Canada Type to make a typeface for the Vancouver Winter Olympics. Patrick Griffin came up with a rounded signage font called Cryptozoo, whose Notice reads Concept and design by Leo Obstbaum, VANOC Brand & Creative Services. Additional character data and technical production by Canada Type. Copyright 2007 VANOC Brand&Creative Services.
• Dancebats (2004).
• Dominion (2006). Based on an early 1970s film type called Lampoon. Dominions severely geometric shapes are a strange cross between early Bauhaus minimalism and later sharp square faces used for instance in Soviet propaganda posters.
• Doobie (2006). 60s psychedelic style.
• Driver Gothic (2008): based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this face is very similar to, if not outright identical with, the face used on car plates in 22 American states: Arizona, California, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia. Ideal for license plate forgers.
• Expo (2004): an octagonal family.
• Fab (2007). A tube-design family reminiscent of the 1980s. Ricardo Cordoba writes: Fab reminds me of leafing through my first Letraset catalog in the mid-1980s all those decorative typefaces with rounded ends and tubular shapes, trying to imitate the look of neon signage. But Fab, with its contemporary twist on that aesthetic, and its unicase characters, manages to look like a cross between Cholla Bold and Frankfurter Highlight. Its handtooled, narrow shapes are perfectly suited to pop subject matter and bright colors. Fab Trio can be used to create layered chromatic effects, but its components can stand alone, too. The Seventies sure aint drab in Patrick Griffin's hands.
• Fantini (2006). An update of the curly art nouveau face Fantan, a film type from 1970 by Custom Headings International.
• Feather Script (2012). A revival of an old Lettering Inc font from the 1940s, known then as Flamenco.
• Fido (2009) is the official font of dog owners everywhere. Has Saul Bass influences.
• Filmotype Alice (2008): a casual handprinted design based on a 1958 alpohabet by Filmotype.
• Filmotype Brooklyn (2009): a casual script based on a 1958 Filmotype font.
• Filmotype Candy (2012).
• Filmotype Carmen (2012).
• Filmotype Jessy (2009): a flowing upright connected script based on a 1958 design by Filmotype.
• Filmotype Giant (2011, a condensed sans) and its italic counterpart, Filmotype Escort (2011). Both done with Rebecca Alaccari.
• Filmotype Keynote (2013). A connected bold advertising script.
• Filmotype Lacrosse (2013). A retro script from the 1950s sometimes used in department store catalogs of that era. LI>Filmotype LaSalle (2008): based on a 1952 retro script by Ray Baker for Filmotype. Other Filmotype faces by Ray Baker (digitized in 2011) include Filmotype Harmony (original from 1950), Filmotype Kentucky (a 1955 original), Filmotype Kingston (a 1953 original), Filmotype Lucky (2012), and Filmotype Hamlet (a 1955 original), all in the connected signage type category, and all done by Patrick Griffin and Rebecca Alaccari. Filmotype Panama (2012) is a flared casual serif face based on a 1958 original. Filmotype Prima (2011, with Rebecca Alaccari).
• Filmotype Quiet (2010): based on a 1954 military stencil face by Filmotype.
• Filmotype Yale (2012). A wedding invitation script based on a 1964 original by Filmotype.
• Flirt (2005). Based on an art deco face found in a Dover specimen book.
• Fuckbats (2007).
• Fury (2008): an angry techno family.
• Gala (2005). By Griffin and Alaccari. Gala is the digitization of the one of the most important Italian typefaces of the twentieth century: G. da Milanos 1935 Neon design for the Nebiolo foundry. This designs importance is in being the predecessor - and perhaps direct ancestor - of Aldo Novareses Microgramma (and later Eurostile), which paved the worlds way to the gentle transitional, futuristic look we now know and see everywhere. It is also one of the very first designs made under the direction of Alessandro Butti, a very important figure in Italian design.
• Gallery (2004): art deco.
• Gamer (2--4-2006), by Griffin and Alaccari: modeled after a few 1972 magazine advertisement letters, the origin of which was later identified as a common film type called Checkmate.
• Gaslon (2005): a modification of A. Bihari's Corvina Black from 1973.
• Gator (2007). A digital version of Friedrich Poppl's Poppl Heavy (1972), which in turn was one of the many responses by type designers to Cooper Black.
• Genie (2006): a psychedlic face based on a 1970s film type called Jefferson Aeroplane.
• Gibson (2011, with Kevin King and Rod McDonald). This 8-style humanist sans family is a revival of McDonald's own Monotype face, Slate. It was named to honour John Gibson FGDC (1928-2011), Rod's long-time friend and one of the original founders of the Society of Graphic Designers of Canada. All the revenues from its sale will be donated by Canada Type to the GDC, where they will be allocated to a variety of programs aiming to improve the creative arts and elevate design education in Canada.
• Go (2005): a techno face.
• Goudy Two Shoes (2006): a digitization and expansion of a 1970s type called Goudy Fancy, which originated with Lettergraphics as a film type.
• Gumball (2005).
• Hamlet (2006): medieval. Based on an old type called Kitterland.
• Happy (2005). Happy is the digital version of one the most whimsical takes on typewriters ever made, an early 1970s Tony Stan film type called Ap-Ap. Some of the original characters were replaced with more fitting ones, but the original ones are still accessible as alternates within the font. We also made italics and bolds to make you Happy-er.
• Heathen (2005). A grunge calligraphic script: The original Heathen was made by redrawing Phil Martin's Polonaise majuscules and superposing them over the majuscules of Scroll, another Canada Type font. The lowercase is a superposition of Scrolls lowercase atop a pre-release version of Sterling Script, yet another Canada Type font.
• Hortensia (2009): a semi-script face modeled after Emil Gursch's Hortensia (1900). Codesigned with Rebecca Alaccari.
• Hunter (2005). A revival of a brush script by Imre Reiner called Mustang (1956).
• Hydrogen (2007, a rounded geometric unicase family.
• Informa (2009): a comprehensive 36-style sans serif text family based on traditional lettering. He says: While some faces classified as such exhibit too much calligraphy (like Gill Sans, Syntax and Optima), and others tend to favor geometric principles in rhythm and proportion (like Agenda, Frutiger and Myriad), Informa stays true to the humanist ideology by maintaining the proper equilibrium between the two influences that drive the genre, and keeping the humanistic traits where they make better visual sense.
• Jackpot (2005): The idea for Jackpot came from a photo type called Cooper Playbill, which as the name implies was simply a westernized version of Cooper Black. The recipe was simple: Follow Mr. Coopers big fat hippy idea, cowboy it with heavy slabs, give it true italics, then swash away at both for beautiful mixture. And there you have the bridge between groovy and all-American. There you have the country lover shaking hands with the rock and roll enthusiast. There you have your perfect substitute for the very overused Cooper Black.
• Jazz Gothic (2005): an expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare.
• Jezebel (2007).
• Johnny (2006): with Rebecca Alaccari; based on Phil Martin's Harem or Margit fonts from 1969.
• Jupiter (2007): based on Roman lettering.
• Leather (2005): an expansion of Imre Reiner's blackletter face Gotika (1933).
• Libertine (2011). Libertine (done with Kevin Allan King) is an angular calligraphic script inspired by the work of Dutchman Martin Meijer (1930s): This is the rebel yell, the adrenaline of scripts.
• Lionheart (2006). A digitization and extension of Friedrich Poppl's neo-gothic typeface Saladin.
• Lipstick (2006): handwriting. Plus Lipstick Extras.
• Louis (2012). A faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927, and redrawn in 1993 by Rod McDonald as Stylu.
• Maestro (2009) is a 40 style chancery family, in 2 weights each, with 3350 characters per font, codesigned with calligrapher Philip Bouwsma. This has to be the largest chancery/calligraphy family on earth.
• Martie (2006). Done with Rebecca Alaccari. Based on the handwriting of Martie S. Byrd.
• Marvin (2010): a fat comic book face.
• Memoriam (2009): An extreme-contrast vogue display script which was commissioned by art director Nancy Harris for the cover of the 2008 commemorative issue of the New York Times magazine. He also did the typography and fonts for the 2010 issue. This became an unbelievably successful family, and was extended in 2011 with headline, Outline and Iline variants.
• Merc (2007). Based on an all-cap rough-brush metal face called Agitator, designed by Wolfgang Eickhoff and published by Typoart in 1960.
• Messenger (2010), a calligraphic script. Patrick Griffin writes about Messenger (2010, Canada Type): Messenger is a redux of two mid-1970s Markus Low designs: Markus Roman, an upright calligraphic face, and Ingrid, a popular typositor-era script. Through the original film faces were a couple of years apart and carried different names, they essentially had the same kind of Roman/Italic relationship two members of the same typeface family would have. The forms of both faces were reworked and updated to fit in the Ingrid mold, which is the truer-to-calligraphy one.
• Middleton Brush (2010): a redigitization of R.H. Middleton's connected brush face Wave, ca. 1962; see also an early Canada Type face, Coffee Script.
• Miedinger (2007). Created after Max Miedinger's 1964 face, Horizontal. Canada Type writes: The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces a new lighter weight alongside the bold original..
• Militia (2007). An octagonal and threatening stencil.
• Militia Sans (2007).
• Monte Cristo (2012, with Kevin Allan King) is a grand type family with five styles and 1630 characters with many swashes and ways of connecting the calligraphic glyphs---it is the ultimate wedding font.
• Neil Bold (2010): an extension of the fat face Neil Bold (1966, Wayne J. Stettler).
• Nightlife (2005): inspired by a pre-desktop publishing grid design by L. Meuffels.
• Nuke (2005): a fat stencil grunge weith pizzazz.
• In 2011, he and Kevin Allan King published the refined Orpheus Pro family, which was based on the elegant Orpheus by Walter Tiemann (1926-1928, Klingspor), and its Italic which was called Euphorion (Walter Tiemann, 1936). Their enthusiastic description: The Orpheus Pro fonts started out as a straightforward revival of Tiemann's Orpheus and Euphorion. It was as simple as a work brief can be. But did we ever get carried away, and what should have been finished in a few weeks ended up consuming the best part of a year, countless jugs of coffee, and the merciless scrutiny of too many pairs of eyeballs. The great roman caps just screamed for plenty of extensions, alternates, swashes, ligatures, fusions from different times, and of course small caps. The roman lowercase wanted additional alternates and even a few ligatures. The italic needed to get the same treatment for its lowercase that Tiemann envisioned for the uppercase. So the lowercase went overboard plenty alternates and swashes and ligatures. Even the italic uppercase was augmented by maybe too many extra letters. Orpheus Pro has been a real ride. Images of Orpheus: i, ii, iii, iv, v.
• Outcast (2010): a grunge family.
• Oxygen (2006): a great grid-based design.
• Paganini (with Kevin Allan King) is another jewel in Canada Type's drawers: Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text face with obvious roots in the oldstyle of the Italian renaissance, its contrast reveals a clear underlying modern influence. i, ii, iii, iv, v, vi, vii.
• The last joint project of King and Griffin in 2012 was Pipa, a pseudo-psychedelic groovy bellydancing font: Originally made for a health food store chain we cannot name, Pipa is the embodiment of organic display typography.
• Player (2007). An 11-style athletic lettering family.
• Plywood (2007): a retro face based on Franklin Typefounders's Barker Flare from the early 1970s.
• Press Gothic (2007). A revival of Aldo Novarese's Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blakes Impact.
• Quanta (2005, stencil). Two weights, East and West.
• In 2011, Patrick Allan King and Patrick Griffin completed work on an exceptionally beautiful revival, Ratio Modern (the original by F.W. Kleukens is from 1923). This is a didone family with a refined humanistic trait. Images of Ratio Modern: i, ii, ii, iv, v, vi, vii.
• Rawhide (2006): a bouncy Western saloon font based on cover page lettering of the Belgian comic book series Lucky Luke.
• Recta (2011, with Kevin King). This is eighteen-stye sans family that extends Novarese's Recta.
• Rhino (2005): a revival of the informal face Mobil (1960, Helmu Matheis, Ludwig&Mayer).
• Noteworthy (2009). A font commissioned for the Apple iPad. It is based on Griffin's earlier revival face Filmotype Brooklyn.
• Ronaldson (2008), a 17-style oldstyle family based on the 1884 classic by Alexander Kay, Ronaldson Old style (MacKellar, Smith&jordan). Done with Alaccari, Griffin reconstructed this family from the metal face and from many scans from rare documents provided by Stephen O. Saxe, Philippe Chaurize and Rebecca Davis.
• Roos (2009): A 10-style revival of Sjoerd Hendrik de Roos's De Roos Romein (1948), created in cooperation with Hans van Maanen.
• Robur (2010): Done with Kevin King, this set of two fonts revives George Auriol's Robur Noir from 1909.
• Runway (2004): racetrack lettering.
• Rush (2005): futuristic.
• Sailor (2005): digital rendition of West Futura Casual (late 1970s film type).
• Salome (2008). Done with Rebecca Alaccari, this is a revival and expansion of a photolettering era typeface called Cantini (1972, Letter Graphics).
• Santini (2004): Bauhaus-inspired architectural lettering.
• Screener (2006): an extensive octagonal family, including Screener Symbols.
• Secret Scrypt (2004): four shaky script styles done for a New York restaurant. With Alaccari.
• Semplicita Pro (2011). A grand revival of Alessandro Butti's Futura-like Semplicità, executed between 2009 and 2011 by Patrick Griffin and Bill Troop. Image of the Medium weight.
• Shred (2010): an octagonal heavy metal face.
• Siren Script (2009-2010): Done with Rebecca Alaccari, this six-style script family is based on the metal face Stationers Semiscript (BBS, 1899).
• Skullbats (2005).
• Serial Killer (2005): bloody.
• Slang (2004): a blood scratch face.
• Slinger (2010): a flared art nouveau face.
• Social Gothic (2007). After Tom Hollingsworth's Informal Gothic, a squarish unicase grotesk done in 1965. Followed by Social Stencil (2011-2012).
• Soft Press (2012). A rounded version of Canada Type's Press Gothic.
• Sol Pro (2010): a 20-style revival and extension of the monoline sans face Sol by Marty Goldstein and C.B. Smith (1973, VGC), done with Kevin Allan King. Griffin writes: This is not your grandfather's Eurostile. This is your offspring's global hope, optimism, and total awareness.
• Spade (2012). A super-heavy slab face, done with Kevin King.
• Spadina (2010): a psychedelic / art nouveau revival with Kevin Allan King of Karlo Wagner's Fortunata (1971, Berthold).
• Sterling Script (2005): done with Rebecca Alaccari. Sterling Script was initially meant to a be digitization/reinterpretation of a copperplate script widely used during what effectively became the last decade of metal type: Stephenson Blake's Youthline, from 1952. Many alternates were added, so this is a virtually new type family.
• Sultan: a Celtic-Arabic simulation face after "Mosaik" (1954) by Martin Kausche.
• Stretto (2008) is a revival and expansion of Sintex 1 (Aldo Novarese, Nebiolo, 1973), a funky nightclub face. It was used as the basis of Cowboy Hippie (2010, CheapProFonts).
• Swan Song (2006): a calligraphic face based on the hand of Alexander Nesbitt. [A later document states that it is based on work by British artist Rachel Yallop.]
• Symposium Pro (2011). This Carolingian family was drawn by Philip Bouwsma. Patrick helped with the production.
• Tabarnak (2012) and its shadowed version, Tabarnouche (2012). Lovingly named to attract business from Quebec, this is a packaging or signage pair of fonts.
• Taboo (2009) is a geometric display face that was inspired by lettering by Armenian artist Fred Africkian in 1984.
• Testament (2010): a calligraphic uncial family done with Philip Bouwsma.
• Tomato (2005): done with Rebecca Alaccari, this is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare.
• Treasury (2006): a huge type family based on a calligraphic script by Hermann Ihlenburg from the late 19th century. Canada Type writes: The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results. Treasury goes beyond being a mere revival of a typeface. Though the original Treasury script is quite breathtaking in its own right, we decided to bring it into the computer age with much more style and functionality than just another lost script becoming digital. The Treasury System is an intuitive set of fonts that takes advantage of the most commonly used feature of todays design software: Layering.
• Trump Gothic (2005): a revival and expansion of two different takes on Signum (1955, Weber), Georg Trumps popular mid-twentieth-century condensed gothic: Less than one year after Signum, the Czech foundry Grafotechna released Stanislav Marso's Kamene, a reinterpretation of Signum. The differences between the two were quite subtle in most forms, but functionally proved to offer different levels of visual flexibility. Marso changed a few letters, most notably the wonderful a and g he added, and also made a bold weight. Trump Gothic West is a revival of Trump's original Signum, but in three weights and italics for each. Trump Gothic East is a revival of Marso's Kamene, but also in three weights and corresponding italics..
• Trump Script (2010) revives the African look script by Georg Trump called Jaguar (1962). An improvement on an earlier Canada type family called Tiger Script.
• Tuba (2010).
• Valet (2006): inspired by an uncredited early 1970s all-cap film type called Expression.
• Veronica Polly (2005).
• Vox (2007): a 24-style monoline sans family done with Rebecca Alaccari. This was followed in 2013 by a softer version, Vox Round.
• Wagner Grotesk (2010): a sturdy grotesk, after a face from the Johannes Wagner foundry. Kevin King is also credited.
• Wagner Script Pro (2011). Done together with Kevin King, this is a revival of Troubadour (1926, Wagner&Schmidt).
• King and Patrick Griffin published Wonder Brush in 2012. This is partly based on a signage brush script called Poppl Stretto (1969) by Friedrich Poppl.
• Opentype programming help for several fonts by Michael Doret, such as Deliscript (2009), Dynascript (2011) and Steinweiss Script (2010). Deliscript (a winner at TDC2 2010) is an upright connected script with accompanying slanted version. Steinweiss Script is a 2200-glyph curly script face called Steinweiss Script (2010), which captures a lot of the spirit of Steinweiss's album covers from the late 1930s and 1940s.

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

Patrick Seymour

Very talented Montreal-based illustrator and digital artist. Home page. He created several modular typefaces in 2011.

In 2012, he created Muse, Gotham Streets (a prismatic typeface), Slinky, Stencil, Tulipe (counterless), Bad Billy (multilined, art deco), The Great Carnival (beveled caps), Web Font (prismatic), Jump Jump Font (octagonal), Fashion (a horizontally striped typeface), OK (prismatic), The Aviator (horizontally striped poster face), La Bonne Aventure (prismatic and slightly art deco), the rope-themed typeface Noeud Marin, the shadowed boat name typeface Bleu Marine, the multiline caps face Origami, the moustache-inspired caps face Mous Type (ornamental moustache-shaped capitals), the multilined display face Empire, the handdrawn Une Typo Faite A La Main, and the prismatic typeface Anabelypster. After a bout of salmonella, he created Intestino, still in 2012. In Motion (2012) is an awesome prismatic art deco typeface.

Images of his stunning work from 2011: i, ii, ii, iv, v, vi, vii, viii, ix, x.

His Cathédrale project (2011) starts from a squarish face and transforms it gradually into one that contains the features of a cathedral.

Creations in 2013: Spot Light Font (prismatic), Flora, Bright Diamond, Incandescent, XVII (multilined display face), Konga (a multiline script), Shiny Diamond, Splash (paint font), Chicago (prismatic neon tube face), Taxi (a wonderful multiline typeface), Papale (religious symbology alphabet made to mock the papal system), Empreinte (pure op-art), Broken Arrow Font (multiline caps face), Liquid Paper Font, Sunset (prismatic), Boogie (Broadway-style art deco family), New Art Deco (prismatic art deco face), Poule de Luxe, Burnout (a prismatic typeface), Marble Maze Font, M Gagnon (ornamental caps influenced by the design work of Denis Gagnon).

FontStruct fonts: Test3 (2012), Jump Jump 2 (2012).

Behance link. [Google] [More]  ⦿

Paulo Rangel

Aka Skomii. Austrian creator of the hand-printed typefaces Erasaur (2013), Simallos (2012), Scriptia Happy (2012) and Danï Donne (2012), of the sans face Aster (2012), of the avant-garde hairline caps face Veron (2012, +Extra), and of the counterless typeface Chronodue (2012).

Typefaces from 2013: Moondance, Dalmais (Peignotian fashion mag face), Mers (circular arc font), Camieis (squarish face), Cliche 21 (avant-garde hairline sans), Old Cave, Aspargo (hand-printed), Skandar.

Dafont link. [Google] [More]  ⦿

Pedro Julien
[Luvburn]

[More]  ⦿

Pedro Lobo
[Type factory]

[More]  ⦿

Pedro Lobo
[Uppertype]

[More]  ⦿

Pedro Mascarenhas
[Mom]

[MyFonts] [More]  ⦿

Pedro Veneziano

Graphic design student at Universidade Estadual Paulista in Brazil. Creator of the elegant fashionable ultra-contrast geometric face Intent (2012). [Google] [More]  ⦿

Peter Gabor

Born in Budapest in 1957, but Parisian since 1957. Designer and type artist who made many custom and magazine fonts. Blog. There is an ongoing feud between Porchez and Gabor which has invaded the internet waves. Gabor's blog and Porchez's blog are the stages for this royal battle. Generally, Gabor decries the hypocrisy in the type industry and calls for the Foundation of a Sir Francis Drake Society. The Book Antiqua/Palatino case and the Bitstream/Linotype battle irked Gabor, and he likes to expose type designers whose fonts are too close to others. Among his creations:

• American Match. For Paris Match.
• Elle Gabor. A great fashion-conscious geometric sans family. For Elle magazine.
• Firmin Didot.
• Futura Canal.
• Gabor 2000 (TypoGabor Phototitrage, 2000).
• Gabor Script (TypoGabor Phototitrage, 1975).
• Les Échos.
• Libération (1994).
• Manu Script.
• Mermoz (TypoGabor Phototitrage, 1988). A roman style mini-serif family.
• Moka Presse.
• Nintendo: a pixel face.
• Sade (Salon Sade, 1976).
• Serge Lutens: a severe Calvinist face.
• Total: commissioned by the gas company.
• Yves Saint-Laurent.

Peter Guckes

German designer of the fifties diner family Frigidaire (2004, URW, designed with Monika Fischer), the experimental face Kettapila (2006, URW, with Monika Fischer), the squarish and fashionable family FontForum Phet (2008, URW++, with Monika Fischer) and the curvy Curly Lady (2006, URW, with Monika Fischer). FontShop link. [Google] [MyFonts] [More]  ⦿

Phong Phan

Graphic design student based in Denmark, Haderslev. Currently he is studying graphic communication at the School of Visual Communication. Creator of the fashion mag face Vojens (2011). Behance link. [Google] [More]  ⦿

Phospho
[Roland Hörmann]

Austrian foundry (est. 2008) located in Vienna, and run by Roland Hörmann (b. 1976, Krems, Austria), who did some pixel fonts in the nineties for the Commodore64, and is presently art director and graphic designer.

In 2007, he created Eltaus, an art nouveau font. Hörmann created the free brushy blackletter grunge face Adhesive Nr. Seven (2008), and the connected fifties style script face Luxus Brut (2009), and the simple handwriting family Neonoir (2010).

In 2011, he published the graffiti face Whatka.

In 2012, Roland Hörmann and Felix Auer codesigned the refined didone fashion mag display typeface Aquus (+the outline version, Aquus Linearis).

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

Playtype

Place to buy fonts made by E-type designers. Located in Copenhagen and started in 2006. Another URL. The face were designed by Jonas Hecksher (JH), Henrik Kubel (HK), and Jens Kajus (JK). By category:

• Humanist sans: Abidale (JH), Bingo Sans (JH), Flavin (HK), ID00 Sans (JH, a huge family), Ole (HK), Parsons Green (HK), Premiere (JK), Test (HK), Triumph (HK).
• Grotesk: Academy Sans (JH), Battersea 2010 (HK), Boing (HK, fat rounded), Cabo (JK), Contribute (JK, semi-octagonal), Dane (HK), Fletch Text (JH), Grot 10 (HK), Hall (JH), Hill (JH), Jazz House (JH), Lettre Gothic (JH), London (HK), Magna (HK), Mari (JH), Naive (HK), Norwegian (JH), Republic (JH), The Wave (JH), Vertigo (JH), Willumsen (JH).
• Slab serif: Academy Serif (JH), FM (HK), Outsiders (HK, typewriter style).
• Geometric sans: Agita (JK), Cubitt Solid (HK, rounded octagonal and techno), Geometric (JH), Noir Text (JH, avant-garde), Nosferato (HK, squarish), Square (HK, squarish).
• Monospaced: Access Code (JH), Italian Plate (JH).
• Square Sans: JP Special Sans (JH), Zetta Round and Zetta Sans (JH).
• Didone: De Archie (JH), JP Special Serif (JH), Monday (unknown designer), Venti Quattro (JH).
• Garalde: ID00 Serif (JH), Primo Serif (JH).
• Modern: Bingo Serif (JH), Kunstuff (HK), Maximum (HK).
• Display serif: CPH Signs, De Archie Display (JH), Fru Olsen (JH), Home Display (JH), Impacto (HK), Signsystem (HK), S4AE (HK), Symphony Display (JH), Trojan (HK), Vogue Floral (HK), Vogue Paris (HK).
• Ordinary body text serif: Home Text (JH), Typewriter (HK).
• Stencil: Danmark (HK), Staton (HK).
• Various display types: 4590 (HK, thin octagonal), 60 Display (HK), Agriculture (HK), Archi (HK), Aveny T (HK), Banknote (HK), Bauhause (HK, kitchen tile face), CPH Tram (HK), CWM (HK, octagonal), Collecting (unknown designer; +Stencil), Copenhagen (HK), Donny Playtype (unknown designer; fat face), Du Nord Dingbats (JH, circled letters), Elephant (JH, art nouveau), Eyes Lies (unknown designer), Gameover (unknown designer), Glendale (JK, Peignotian), Hazelwood (JH), Hermes Baby (JH, old typewriter), Julius (JH), Klampenborg 2010 (HK), Movie Playtype (JH), New Press (JH, slab serif), Optic (unknown designer, dot matrix), Ornamenta (HK), Safety (JH), Speed Playtype (JH, octagonal, techno), Tagstyle (HK, handprinted), Tempo Playtype (JK, dot matrix), Tobe (HK, mechanical), Trood (JH, octagonal), Zadie (HK, ornamental).
• Dingbats: Flowers (HK).

Prikken over Stien
[Audun Stien]

Audun Stien, a graphic designer from Oslo, is based in Melbourne, Australia. He created the high-contrast fashion mag typeface Strax (2012). [Google] [More]  ⦿

Qamari Ally
[Ultrabrain]

[More]  ⦿

Rani

Type designer and artist at Lettering Delights who made these fonts: Baby Toys, Doodlescrap, Fall Frolic, Fearful Fiends, Gobble Gobble, JDA Frosty, JDA Kris Kringle, JDA Passion Posies, Party Hoopla, Rock n Roll, Sightsee, Travel On, Wedding Tags, Western Ware, Fall Flourish, Whack-A-Doo Blue, Whack-a-Doo Pink, Carnival Treats, Country Carnival, Fashionista, Haute Couture, Sightsee, Travel On, Believe, Princess Ballerina, Craft Queen, Darn and Yarn, In the Kitchen, Recipe Book, Below Freezing, No Peeking, Ski Bunny, Fall Frolic, First Thanksgiving, Gobble Gobble, Alien Alarm, Boogie Monsters, Fearful Fiends, Animal Rock, Band Practice, Rock n Roll, Spotlight, Arrr!, Fishies, Ocean Floor, Sea Maids, At the Ranch, Hoedown, Rodeo Heroes, Western Ware, Bride and Groom, Wedding Day, Wedding Doves, Wedding Tags, Baby Tags, Baby Toys, My Baby Boy - Dark Skin Tone, My Baby Boy - Light Skin Tone, My Baby Boy - Medium Skin Tone, My Baby Girl - Dark Skin Tone, My Baby Girl - Light Skin Tone, My Baby Girl - Medium Skin Tone, Mariachi, Matadors, Mexican Folk Animals, Señoritas, Fairy Princess, Flying Fairies, Gnomes, Knights, Party Hoopla, Party Kids - Boys, Party Kids - Girls, Party Tags, Chinese New Year, Geisha, Koi, Panda, Couple Claus, Santa Mice, Santa's Workshop, Vacation Santa, Heart Queen, Mad Tea Party, Talking Flowers, Wonderland Friends, Boo at the Zoo, Creepy Ghoulies, Haunted Houses, Mummy Spiders, Diva Tags, Dude Tags, Skaterboy, Spirit Squad, Teeny Boppers, Top Jock, JDA Cinderella, JDA Frog Prince, JDA Jack and the Beanstalk, JDA Little Mermaid, JDA Puss n Boots, JDA Thumbelina. [Google] [More]  ⦿

Rekord
[Oleksandr Parkhomovskyy]

Type and design studio located in Hamburg, Germany, run by Oleksandr Parkhomovskyy (b. 1984, Odessa, Ukraine), who created the 6-style ultra-fat Grim family in 2009, which includes Grim Stencil. In 2010, he redesigned the bilined headline font for Zeit Magazin and called it ZeitType---it's just a matter of time before the awards will be rolling in.

Prestiggio (2011) is a sublime vogue fashion mag face, with its perky ball terminal ear on the g, and the high-contrast feel of a decent Peignot. Mingray Mono is a stylish monospaced family in three weights.

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

Reserves (or: AE Type)
[Michael Jarboe]

Reserves (and, since 2012, AE Type) is a commercial foundry offering mostly techno faces. It is located in Carlsbad and Cardiff-by-the-Sea, CA, and run by Michael Jarboe. He graduated from the Maryland Institute College of Art, and now lives and works in San Diego.

The earliest typefaces: Base (stencil), Evac (octagonal), Claes (a heavy blacked out display face named after Swedish sculptor Claes Oldenburg), Raider, Error (LED simulation face), Reserves03 (2009), Output II (2009), Scape (octagonal stencil), Void, Vacant (2009, monoline stencil), Debacle (2009), Scam (2009; a fun geometric experiment), Immortality, Asecs, Analog SE, Scheme (pixel face).

Typefaces made in 2010: Idiom (2010, a piano key family inspired by P22 Albers), Vector RG (2010, an octagonal face inspired by the 1979 Atari Asteroids video game UI screen font), Sevigne (2010, monoline geometric avant-garde sans that looks a bit like a stencil), Velvet (2010, a heavy rounded block retro face inspired by the typeset album covers of the protopunk rock band The Velvet Underground), Monocle (2010, monospaced and monoline geometric sans).

Typefaces made in 2011: Scape (2011, rounded monoline stencil family), Velvet (2011), Defense (2011, octagonal slabbed stencil), Offense (2011, strong octagonal mechanical family), Vanitas Bold (2011, Peignotian fashion mag face rooted in didones).

In 2012, Mike published Enamel (a condensed sans family---the inline version of Sorren), Sorren (a condensed sans influenced by neo-grotesque designs, and dada in style), Sorren Ex, Vanitas Stencil and Memoire (a charming fashion mag monoline hairline stencil).

Typefaces from 2013: A large Neue Haas Grotesk / Helvetica-style sans family called Acronym, from Hairline to Extra Black and Outline.

Klingspor link. Behance link. Flickr site. Behance link. MyFonts link.

View Mike Jarboe's typefaces. [Google] [MyFonts] [More]  ⦿

Ricky Richards

London-based freelance graphic designer who studied graphic design at Worcester University.

In 2011, he created the Rubix Cube Typeface, Suave (2011, an avant garde fashion mag family with art deco elements), Marble Display Font (2011, a geometric experiment).

In 2013, he created the modular display face Marilyn.

Behance link. Old URL. Yet another URL. [Google] [More]  ⦿

Robert Alonso
[BA Graphics]

[MyFonts] [More]  ⦿

Robert Harling

Born in Highbury, north London in 1910, Robert was brought up by an aunt after the early deaths of his parents, and went to school in Brighton and London. He then studied at the Central School of Arts and Crafts, London. He first worked as a designer for the Daily Mail and was simultaneously an adviser on typography for London Transport and for the Sheffield-based foundry Stephenson Blake&Co, designing their literature and three popular display typefaces:

• Playbill (1938) is a Western saloon face. Digital versions exist at Softmaker (as Prescott), URW++ (as Playbill), Elsner&Flake, and Bitstream (as Circus 721).
• Chisel (1939) is an engravers face done at Stephenson Blake. Compare Bavo (Enschede). Digital versions exist at URW++, Elsner&Flake, and SoftMaker (where it is called Carlisle).
• Tea Chest (1939) is an elegant stencil face, revived in 1999 at Apply Interactive by Sigred Claessens and Günther Flake. See also East India Company NF by Nick Curtis in 2011.

While still in his twenties, Robert co-founded and became editor of Typography, a journal of contemporary lettering and print, published by his friend and ally James Shand at the Shenval Press. When it first appeared in 1936, the journal broke new ground in its coverage of the European avant garde---including the first serious article on Jan Tschichold's work to be published in Britain. In 1951, he designed Keyboard (at Stephenson&Blake; Schnelle mentions 1949).

Typographic adviser to London Transport, and director of one of London's leading advertising agencies. With James Shand, he was the founder of the Shenval Press in Hertford. He published the quarterly magazine Typography. After WWII, he published Alphabet&Image. He was also the typographic adviser and architecture correspondent for the Sunday Times.

He lived in Godstore, Surrey, and died in 2008.

Linotype link. FontShop link.

Obituary by Fiona MacCarthy in The Guardian. [Google] [MyFonts] [More]  ⦿

Robert Tirado

Talented illustrator in Madrid who drew some ornamental caps in 2011. Check also his Ladytron poster (2011) and his fashion illustrations. Robert was born in Caracas, Venezuela, in 1977. Home page. [Google] [More]  ⦿

Rodrigo Aguadé

Madrid-based creator of the beveled and drop shadow typeface family Smoking Club (2013), which was inspired by titling in black and white movies. Buy the typeface at MATOI Design lab. Ogle it here.

Typophile link. [Google] [More]  ⦿

Roland Hörmann
[Phospho]

[MyFonts] [More]  ⦿

Roman Shchyukin

Bryansk, Russia-based cofounder in 2011 with Valery Zaveryaev of the Russian type foundry Gaslight. Bad Script (2011, Google Web Fonts) is an informal handprinted face made by Roman Shchyukin.

Codesigner with Valery Zaveryaev of the metal band font Rock Logo (2012).

Delgado (2012) is an elegant tall and thin fashion mag typeface for Latin and Cyrillic, made by Roman Shchyukin. It was followed in 2013 by Delgado Sans.

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

Sabrina Bortoloso

Designer in Buenos Aires. In Pablo Cosgaya's course at UBA, she created the high-contrast dodone-inspired fashion mag typeface Viphnori (2012). [Google] [More]  ⦿

Sam Howard

During his graphic design studies at Liverpool Art and Design Academy, Sam Howard created the fashionista didone typeface Pensiero (2013) and showed its use as a wine bottle label. [Google] [More]  ⦿

Sam Small

Sam Small (Kansas City, MO) designed the ultra-contrasted minimalist squarish typeface >Minutia (2012) during his studies at the Kansas City Art Institute.

Behance link. [Google] [More]  ⦿

Samuelstype Design
[Hans Samuelson]

Hans Samuelson is a freelance graphic designer in Stockholm. He runs Samuelstype Design. Fonts from his hand include Maya Samuels (2007-2010), Malcolm Samuels (2008), April Samuels (2000), the Arnold Samuels family (2007, fashionable sans), Lucy Samuels (2011, a simple rounded monoline sans family), Colin Samuels (2003), Owen S (2012, a sans family with a hairline weight), Rebecca Samuels (2001), Rosemary Samuels (2000), Victoria Samuels (2000, script), Andrew Samuels (2003, minimalist sans), Elliot Samuels (1999), Chelsea Samuels (2003, serif), Henrietta Samuels (2009, calligraphic), Bradley S. (2009, stencil), Orlando Samuels (2009, ornamental script; +Shade), and Spencer Samuels (2003, italic). FontShop link. [Google] [MyFonts] [More]  ⦿

Sara Esnaashari

Canadian creator of the fashion mag face Bravura (2011). [Google] [More]  ⦿

Sasha Saulich

Graphic designer in Saint Petersburg, Russia. Creator of a high-contrast fashion mag Latin typeface called Creative Font (2013). [Google] [More]  ⦿

Sergiy Tkachenko
[4th February]

[MyFonts] [More]  ⦿

Simon Clausen

Haderslev, Denmark-based designer of the high-contrast fashion mag typeface Couture (2013).

Behance link. [Google] [More]  ⦿

Simon Schmidt
[Closefonts]

[MyFonts] [More]  ⦿

Skyline Fonts

Skyline fonts are fonts that are ultra narrow or condensed in a style often seen in American magazines in the 1930s and 1940s. This group contains fonts such as Swifty (2011, Alex Sheldon, Match & Kerosene), Empire (1989-1994, David Berlow and Kelley Ehrgott-Milligan, Font Bureau), Spire (Ann Pomeroy, Group Type), LTC Spire (2005, Lanston), Corvinus Skyline (1991, Ann Pomeroy, Group Type), Niagara (1994, Tobias Frere-Jones, Font Bureau), and Manygo Serif (2012, Michel Troy).

Font Bureau's Empire is a 7-style extension of the Empire type designed in 1937 by Morris Fuller Benton for Vogue, where it was used as a headline style. A year later, in 1938, Sol Hess created an ultra-narrow didone caps only family called Spire, which similar magazine titling applications. It was that face that was extended in digital form by Ann Pomeroy of Group Type and by Lanston in 2005. The typeface family Niagara by Tobias Frere-Jones revisits both styles. A separate duckling with its ultra large x-height is Corvinus Skyline, designed in 1934 by Imre Reiner. It was digitized in 1991 by Group Type. [Google] [More]  ⦿

Stayclean

Las Palmas-based art director who created Royal Navarro (2012, fashion mag high-contrast display face).

Behance link. [Google] [More]  ⦿

Stefan Wetterstrand

Swedish designer. Creator of the fashion mag faces Helit (2011, Peignotian) and Cecill (2011). Typetoken link. [Google] [More]  ⦿

Steve Mehallo

Steve Mehallo was born in San Francisco in 1967. He is a freelance graphic designer, educator, illustrator and font designer specializing in brand strategies, custom font development and logos. His clients have included Monotype, Microsoft, Ascender Corp, The Unicode Consortium, Netscape, TiVo, Nike, The David and Lucile Packard Foundation, The Learning Company and several more. He is also a past president of the Art Directors and Artists Club of Sacramento, board member of Another Poster for Peace, was the lead curator of the contemporary graphic design exhibition Spoken With Eyes at the UC Davis Design Museum and has taught design courses at UC Davis, Santa Clara University, The Art Institute of California and Sacramento-based American River College. First Redwood City, CA, and now Sacramento, CA-based. Creator of these fonts:

• The street lettering font Alta California in 1994 (Agfa): Alta California is a ransom note-style sample of wood type and other types.
• The beautiful old typewriter family Chandler 42 at Psy/Ops.
• MartiniAtJoes family (1996-1997) is available through Agfa-Monotype and PsyOps: futuristic meets the 50s.
• Niedermann Grotesk (2011). He says: It is a peculiar style of lettering - which was originally inspired by the Sachplakat (object poster) work of Lucien Bernhard - and adapted for hot metal in 1908 by Hermann Hoffmann. 100 years ago, the style became a workhorse of the German printing industry.
• Escoffier Capitaux (2008) is named for culinary legend Auguste Escoffier (1846-1835) and inspired by lettering used in vintage French advertising---including the work of commercial illustrator/fashion designer Ernst Dryden (1887-1938), with a hearty serving of 1960s ligatures influenced by the work of Herb Lubalin (1918-81) as well as a twist of Claude Garamond (1480ish-1561).
• TwentyFourNinetyOne (2008, Ascender Corp) is a reinterpretation of the alphabet of 1919 by Theo van Doesburg.
• Jeanne Moderno (2009) is an art deco take on Bodoni, in 9 styles.

Klingspor link. FontShop link. Blog. MyFonts link.

View Steve Mehallo's typefaces. [Google] [MyFonts] [More]  ⦿

Stewart Scott-Curran

Atlanta, GA-based graphic designer and illustrator. His typefaces include Hampden (2011, an art deco caps face), Geometra (2011, octagonal) and Skyler (2011, a great high-contrast fashion mag face). [Google] [More]  ⦿

Suomi Type Foundry
[Tomi Haaparanta]

Tomi Haaparanta (b. Vaasa, Finland, 1967) is a Finnish type designer and art director. He created many great fonts, and founded Suomi Type Foundry in 2005. Speaker at ATypI 2005 in Helsinki. MyFonts link. FontShop link. Klingspor link. His typefaces, suboptimally grouped:

• Typefaces from 2012: SciFly (a free rounded sans commissioned by Flyerzone).
• Typefaces from 2011: Tow (a headline font family), Grumpy Black (Black 24 is based on the headline face ITC Grouch (1970, Tom Carnase), and the other styles are increasingly of higher contrast).
• Creations in 2010: Tenner (very plump and round, good for signage), Tart Heavy (fat slabs to drool over), That (a display family, +Open, +Irregular, +Bold), Thud (an industrial belt octagonal/mechanical family), Steelworks (a sturdy mechanical sans), Taste This (sans family), Telltale, Titillation (rounded), Tide (connected script emulating ink flow), Taffee (narrow sans), Televisio, Tournedot (a very cute and lively semi-serif headline face), Tempest, Tristan (handprinted), Cider Script, Toffee Script (after an art nouveau face called Regina Cursive). Tonsure Script (a high-contrast connected script), Ticketbook (for movie posters), Suomi Sans (a family with special counters).
• Creations in 2009: Tar (rounded sans family), Marimekko (a slab family for a Finnish clothing company, adapted from its 1954 Olivetti typewriter roots), Vektori (monoline octagonal), Kaapeli (Tomi's take on Kabel), Suomi Slab Serif (related to American Typewriter), Marimekko Sans, Tee Franklin (gothic sans family, made for The British Vogue---check out the light weight), Tobacco (octagonal, based on drawing program emulation), Pannartz (based on a scan of a 1476 text by Sweynheim&Pannartz), Suomi Hand (FontShop), That (4-weight serif family), Talbot (connected script patterned after the Talbot car logo), Taint (modular ink trap face), Tailor (slab serif), Tink, Tale 40, Tale 20, Story 40, Story 20 (all pixel fonts), Tictac (a 3D face), Giro (done on purpose to mimic the ugly Giro d'Italia geometric logo font), Tame (rounded sans), Suomi Script, Explosion (grunge).
• Creations in 2007: Caxton Script (blackletter).
• At ITC: ITC Tetra (2005, squarish face), ITC Tomism (2005, modeled after Church Slavonic), ITC Tyke (2004, a take on Cooper Black).
• At Psy-Ops: Temporal, Torus.
• At T-26: Talmud (1998, faux Hebrew), TyrantRoman (1998, an Exocet-style face, T-26), Tumbler, Torino-Book, Tonic, Terylene, Tension, Teebone, Task-Toobig, Target (2004), Tantalus, Aged (1999), and Taper (2009, slab serif), the experimental sans families Target Recut (2004).
• At FUSE: FutuRoman (FUSE95).
• Tang (2004, an anti-inkbleed sans family done for very small point sizes).
• At Agfa Creative Alliance: Tangerine, Teethreedee, Twinkle.
• With Klaus Haapaniemi and Brian Kaszonyi: the 15-font War family in 1999-2000.
• At Linotype: TeebrushPaint LT Std (2003).
• Game (family).
• Tubby.

Dafont link.

View Tomi Haaparanta's typefaces. [Google] [MyFonts] [More]  ⦿

Tamás Birinyi

Graphic designer in Budapest. He created Hand BT (2011). Behance link. He also created the extreme contrast fashion mag face Duett (2010). [Google] [More]  ⦿

Taylor Cash

Spartanburg, SC-based creator of Seagram (2012), a high-contrast fashion serif typeface that is based on the Seagram building in Manhattan, and was inspirewd by Didot and Archer Hairline.

Behance link. [Google] [More]  ⦿

Taylor Hillestad

Originally from Minneapolis, MN, Taylor Hillestad studied at the Kansas City Art Institute, where she created the display chic typeface Highcraze (2013). [Google] [More]  ⦿

Terminal Design
[James Montalbano]

Terminal Design is the company of James Montalbano in Brooklyn, New York, est. 1990. He was the President of the Type Directors Club, 2002-2003. He teaches type design at the School of Visual Arts in New York City. Feature on him by John Berry. James designed these fonts:

• Alfon (2003, serif). Montalbano calls it "muscular".
• The legible sans serif family ClearviewOne, designed for highway signs, and used for US highway signs starting in 2002. The highway sign font family is called ClearviewHwy), and is further explored here. ClearviewHwy is used for highways in the USA starting in 2004 (see the discussion here). The OpenType version of ClearviewOne is called ClearviewText (2007). ClearviewADA (2007) is a family of Clearview fonts that conform to the letterform specifications for signage outlined in the Americans with Disabilities Act legislation. Free download.
• Corporate fonts for Condé Nast Publications, Warner Music, The American Medical Association, the U.S. National Park Service, Vanity Fair, Brides, Gourmet, Mademoiselle, Sassy, Details, Glamour, Jane, Self and Book.
• Consul (Text, Caption, Deck, Display): a 48-style text family. Optically sized, it emerged from a Gustave Mayeur design done by Montalbano for Mens Vogue. Consul has a hint of didone.
• Enclave (2007): A sixteen font slab serif family.
• In an earlier life as part of Fonthaus, ca. 1994-1995, I believe that Montalbano designed fonts like DidotDisplayAntiqueTdi, DidotDisplayRegularTdi, ProgressivePsychoOneTdi (through Six) and SenzaTDI (many weights).
• The well-balanced and interesting sans-serif family Giacomo (2002). Includes Cyrillics.
• Insouciant (2011). An upright connected script family.
• At ITC: The strange experimental face ITC Orbon (1995-1996), ITC Freddo (1996), a thirties style sign font, and ITC Nora (1997).
• Kinney (2011). A type family for tables and information design.
• Moraine (2009): a serif family with a wide generous feel.
• Now Playing (2007): A digital revival of the naïve plastic lettering that was used on the marquee of the Apollo Theater in Harlem.
• Rawlinson (2003, a serif family, which includes a Condensed sub-family). NPS Rawlinson Roadway is an old style serif typeface currently used for the United States National Park Service's road signs. It was created to replace Clarendon and is named after James Montalbano's wife's last name.
• Shenandoah: display type based on the wood letters at Shenandoah National park.
• Social (2012). a rounded sans family for on-line use.
• Tangent (2007): A geometric sans in sixteen styles.
• Trilon (2009, +Condensed, Condensed, Expanded): sans face. Montalbano calls it a 21st century gothic.
• 718 (2010): a middle-of-the-road clean 24-style sans family.
• VF Sans and VF Sans Condensed (2011).
• The Yo series (2010): Yo Lucy, Yo Andy, Yo Frankie, Yo Sophie, Yo Zelda. This is a didone family on two axes (weight, extension) with 100 members (520 were originally planned). They reach in alphabetical order from condensed (Andy) to extended (Zelda).

Behance link.

View James Montalbano's typefaces. [Google] [MyFonts] [More]  ⦿

Textaxis
[Iñigo Jerez Quintana]

Spanish/Catalan foundry run by Barcelona-based Iñigo Jerez Quintana since 1995. His beautiful typefaces include Poster (2013, plus Display and Monster styles: a fat excessive didone family published by Type O Tones), Scozia (2011, didone), Amy, CX Type, School (fat octagonal face), Hidalgo, ASM, 112 Type, Point (2011, rounded typewriter family), Papers (2011, a fat fashion mag didone display family), Slim (2011), Batin (2005, neat garalde family), Palo (2000), Dinamo (1999), Oneline (1998), On Serif (2001), On Sans (2001; with On-Serif, a winner at Bukvaraz 2001), Blok (2004, poster face), Blak (heavy version of Blok), Track (2004, octagonal), Plus (2004, octagonal), Bonus (2004, ink trap face), Interfunktionen (2004, old typewriter), SuiteSerif (2003), Xquare (2003), Interpol (2002), Maeda (2002), Luomo (2002), Borneo (2002), Suite (2001), Self (1999, sans family), Valeria (1997, liquid serif), Inercia (1995, a rounded organic sans done at Garcia Fonts), Latina Sans (1998, a winner at Bukvaraz 2001), Latina Serif (1998), Textaxis (2000, sans).

Suite won an award at the TDC2 2003 competition. His Quixote text family (2005) won an award at TDC2 2006 and at Tipo-Q.

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

The Creative Agency

Studio in Wilkes-Barre, PA. One of their specialties is type design. These typefaces were announced in 2013 (and will soon be available for purchase): Boardwalk typeface (a condensed slab inspired by 1950's boardwalk signage), Full Service (a fashionable sans with oodles of contrast), Milan Sans (another fashionable sans, almost in the style of Peignot), Propaganda (based on WWII posters).

Behance link. [Google] [More]  ⦿

Thierry Fétiveau

Amiens, France-based creator of a set of capital letters in 2012 to illustrate different graphic principles. In 2012, he created the didone typeface Futago (Latin, hiragana, katakana), which is intended for fashion mags.

Behance link. [Google] [More]  ⦿

Tim Degner

Tim Degner (Fort Myers, FL) lists his interests as fashion illustration, CAD and type design, specializing in hand-drawn alphabets (not digital fonts) such as Hipster (2010). Decopolitan (art deco face) and Tartan Cabaret (fontified by Carla Zetina-Yglesias of carlazetina.com) are at Chank's.

Behance link. He is a graphic designer now in Seattle. [Google] [More]  ⦿

Timo Titzmann

Since 2006, Timo is a student of communication design at FH Wismar in Wismar, Germany. His typefaces: TJ Evolette A (2011, an uppercase grotesque (fashion mag?) caps family, done at 26+ with Jakob Runge), Say It Fat (2010; a free font; part of the "Schriftentwicklung Basiskurs" project by Lucas de Groot at the Fachhochschule Potsdam) and Quadro Blackface (2010; in the style of Quencha).

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

Tomi Haaparanta
[Suomi Type Foundry]

[MyFonts] [More]  ⦿

Trine Rask

Danish designer of Tommy Slim (2003, an all caps font to be used at 48 points and above), Case (a casual printed face), Pixel, Covergirl (2006, a stylish upright connected script for the fashion industry), Jewel (extra heavy with large contrast), Brandts (sans serif), Rum (2009, a rounded family; winner at TDC2 2010). [Rum is not named after the drink, but is just Danish for "room, space"] Planning Tommy Fat and Tommy Classic. Trine lived in Den Haag from 2003-2004, as a graduate student at the KABK. In her final project there, she designed North (published by LazyDogs), a book typeface suiting the textimage of the four Scandinavian languages, Danish, New Norwegian, Bokmal and Swedish. Trine Rask teaches type design at The Danish School of Media and The Danish Design School in Copenhagen.

Author of Skriftdesign - øvelser på papiret (2009).

In 2009, Trine went commercial at MyFonts. In 2010, she published Rum Sans, a humanistic modular sans serif to accompany Rum.

In 2012, Trine designed Bornholm Tejn, named after the Tejn village on the rocky Danish island of Bornholm. It is a rough stone-cut typeface. It was followed some time later in 2012 by Bornholm Sandvig.

In 2013, she finished Bornholm Allinge (chiseled stne face).

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

Tuscani Cardoso

Graphic designer in Johannesburg, South Africa, who made the very thin display face Rebanada (2010) and the Peignotian fashion mag face Mayfith (2011). [Google] [More]  ⦿

Tyler Brulé, Monocle, Plantin

Tyler Brulé is the founder of Wallpaper, a mag for art, design, lifestyle, interiors and fashion. He also founded the snobbish mag Monocle, whose typography was discussed by Stephen Coles. It only features Helvetica and Plantin.

Coles: I am convinced that Monocle, now 2 years old, has almost single-handedly given new life to Plantin. The early 20th century relic is suddenly appearing in other magazines and brands after years of relative obscurity. It's not just a copycat trend. With its solemn tone, paper-conserving width, and large x-height, Plantin has definite merit as an alternative to Times and other magazine text faces. Monotype recently released Pro versions of the fonts with small caps, fractions, and both text and lining figures built in. But David John Earls replied to that: Lovely design, unfathomably bad and pretentious content. What a waste of Plantin. [Google] [More]  ⦿

Type factory
[Pedro Lobo]

Type Factory is Pedro Lobo, a Guimaraes, Portugal-based illustrator and designer. In 2011, he set up Uppertype to sell some of his fonts.

Lobo created the experimental geometric face Monkey (2011), the geometric art deco family Jono (2011), the blackboard bold face YDXS (2011), and the logotype Sanjo (2011). Molesk (2011, a free slabby display face) is free.

In 2011, he published the extensive fashion mag family Akila, which comes in two subfamilies, Akila Bouma, and Akila Didone, both adorned with refined outlines and high contrast. Images of Akila: i, ii, iii, iv, v, vi.

Typefaces from 2012 include Codhigo, Borba (a beautiful inline headline face), Wannabe, Desk (3d shadow face), Smart, Kleiner, Tabbaco and Fabrica.

Personal page. Behance link for Pedro Lobo. Behance link for Type factory. [Google] [More]  ⦿

Type Innovations
[Alex O. Kaczun]

Alex Kaczun is the Northport, NY-based designer of Axion (2012, a futuristic, techno-looking type family; +RND, +SSF, +SER, +RX14, +STN (a stencil version)), BottleKaps (1992) at Linotype. Also at Linotype, he worked on the Fairfield family, designed in 1939 by Rudolf Ruzicka, completing the job in 1991. He also made an outlines for Bell Centennial based on Matthew Carter's bitmaps. He runs Type Innovations.

In 2000, he designed the following fonts at Galapagos: Beatnik-SmallCaps, Beatnik (1997), Android (2010, beveled techno family), Big Boy (2010, a heavy wood type), CaltexNovaSans (Galapagos), Contax (1997, Galapagos: Alex says about this family: Contax is the new Univers for the 21st century; sample, another sample, and another one, and one more), Contax Sans (2011---this face is Peignotian in its light weights, and has subtle and not-so-subtle stem variations), Eclipse (1997, shadow beveled face), Extreme SDans (1997), Innovage (1997, a new Helvetica for the 21st century, in his own words), New Renaissance (1997, a true roman face), Shockwave (1997). These fonts are on the Bitstream Type Odyssey CD. He also made Golum (Galapagos, 1997), Kaczun Oldstyle Bold (2010), Doc Holliday (2010, a Western face), Hippyfreak (2010), Mister Twiggs and Misses Twiggs (2010), Geomatrix (2010, geometric stencil face), Swordtail (Galapagos, 1997, a hip handprinted font), New Age (Galapagos, 2002), Extreme Sans (Galapagos, 2002), Oronteus Finaeus (2010, like lettering from a map dated 1531), Piccadilly Circus (2010, a Western face), Switched On and Off (Galapagos, 1997). Racetrack (2010) is an octagonal multiline display face. Mandelia (2010) is a wedge-serif display face.

Typefaces from 2011: New Age Gothic (a kind of 21st century copperplate), Scion (wide techno logo family), Dexter (2011, an artsy grotesque), Metalica (2011, a pointy cult type family).

Typefaces from 2012: Edgar No. 9 (heavy baroque slab serif in the style of 19th century wood type), Langston (outlined and octagonal), Ekeras V2 (inline face), Mecanica, Mariamne (a spurred typeface based on Contax), Axion SER (a triangle-serifed typeface), Beatnik Barbie, Nadia (a modern stencil interpretation of Granjon Oldstyle).

Typefaces from 2013: My Darling (a bastardized didone fashion mag face), Envisage (grotesk).

At MyFonts he writes: Much of Alex's career was spent at the premier type foundry, Linotype-Hell, where he was the principal type designer and worked on many font projects aimed at modernizing the Linotype Library. Alex managed the development of The Adobe PostScript Font Library and created multiple master fonts for Apple Computer's QuickDraw technology. In 1980, he joined a small group of entrepreneurs and pioneered the development of the world's first digital font library at Bitstream, then located in Cambridge, Massachusetts. Afterwards, Alex took a position at Bozell-Worldwide, a large international advertising company, where he was type director and managed the front desk at the CPS Group. The company is well known for their successful "Got Milk" ad campaign. At Bozell, Alex honed his skills in graphic design, desktop publishing, prepress print production and the web.

Showcase of Alex Kaczun's typefaces. [Google] [MyFonts] [More]  ⦿

Type Republic
[Andreu Balius Planelles]

Catalan foundry in which Andreu Balius is involved. Some fonts sold through MyFonts:

• Pradell (2003). This is a Latin text family based on original Spanish 18th century type specimens cut by Catalan punchcutter Eudald Pradell (1721-1788). Balius won a Bukvaraz 2001 award for Pradell. Pradell also won an award at the TDC2 Type Directors Club's Type Design Competition 2002.
• In 2008, Balius designed the curly dance-fest themed Carmen for the new edition of Prosper Merimée's drama. In 2012, Type Republic designed the fashion didone face Carmen Fine Display for Victoria's Secret.
• Mecano (2007, geometric sans).
• Taüll (Basque meets blackletter).
• Czeska (after woodcuts by Vojtech Preissig).
• Super Veloz (2005, with Alex Trochut). This fantastic layered type system is based on Joan Trochut-Blanchard's modular typeface. SV Marfil (2004) and SV Fauno were created from Superveloz modules.
• Barna (2011). A slightly humanist textbook sans, Barna Stencil (2011).
• Trochut.
• Matilde (connected pixel script).

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

Typogama
[Michael Parson]

Typogama is the personal foundry of Swiss designer Michael Parson (b. Geneva, Switzerland, 1979), who published these fonts in 2003 as part of Linotype's Taketype 5 collection: Anlinear LT Std Bold, Anlinear LT Std Light, Anlinear LT Std Regular, Arabdream LT Std (Arabic simulation face), ClassicusTitulus LT Std, Hexatype LT Std Bold, Morocco LT Std, Jan LT Std, Ned LT Std, Pargrid LT Std Cross, Pargrid LT Std Regular, Pargrid LT Std Trash, Piercing LT Std Bold, Piercing LT Std Code, Piercing LT Std Regular, Raclette LT Std.

In 2004, he made Clans (T-26, blackletter) and Boulas (T-26).

In 2006, he released these at T-26: Boutan (Indic simulation face), Heraldry (dingbats), Palm Icons, Wingbat (airplanes).

In 2007, still at T-26: Heraldry, Thunderbolt 73 through 76 (from techno stencil to techno sans).

In 2008, at T26: Ealing (geometric sans family, with a hairline), Bauhau (6 weights), Jane (a rounded sans in 12 weights), Quean, Halja (blackletter), Faddish (a high-contrast vogue family), Big Boy (11 styles, a slab family from grunge to regular).

Fonts from 2010: Tinsel (condensed), Rusty (Cyrillic simulation face), Vindaloo (+Outline, T26), Kimbo (octagonal slabby family), Cyrus Black, Calvin (a monoline sans family, +Hairline), Checkpoint (rounded display sans),Fuera (2011, bilined face, T26).

In 2013, he published Faddish (T26: a fashion mag typeface), Heraldry (T26), Cedi (YWFT: a hand-printed typeface family with huge multi-character ligature set to simulate real handwriting), Tcho (T26: a soft rounded sans family that covers latin, Thai, Arabic, Greek and other scripts), Dejecta (a striking scratched titling face, T26), Nedo (a bold prismatic display typeface inspired by the work of Nedo Mion Ferrario in Venezuela), Quam (an elliptical sans family).

Behance link. Klingspor link.

View Michael Parson's typefaces. [Google] [MyFonts] [More]  ⦿

Typographica: Best of 2007

Typographica's Oscars for 2007, the unofficial but highly respected list of best types of the past year. Double and triple winners are Tomáš Brousil, Kris Sowersby and Christian Schwartz.

• Calligraphic: Burgues Script by Alejandro Paul.
• Scripts and bouncers: Kinescope by Mark Simonson, MVB Sacre Bleu by Mark van Bronkhorst, Olicana by Nick Cooke, Scriptonah and Casual Script by John Nahmias, Los Niches by Juan Pablo de Gregorio, BistroScript by Tomáš Brousil, Beorcana by Carl Crossgrove (too brushy to be labeled a sans), Burbank by Tal Leming (too bouncy to be called a sans).
• Sans family: National by Kris Sowersby, Graphik by Christian Schwartz, Taz III by Luc(as) de Groot, Gloriola by Tomáš Brousil, Urbana by César Puertas.
• Octagonal/mechanical: Purista by Tomáš Brousil.
• Serif text family: Arno Pro by Robert Slimbach, FF Meta Serif by Spiekermann, Schwartz, and Sowersby, Feijoa by Kris Sowersby, Greta by Peter Bilak.
• All purpose families: Leitura by Dino dos Santos, Anselm by František Štorm.
• Slab or heavy serif: Malaga by Xavier Dupré, Lineare Serif by Eduardo Tunni.
• Special purpose: Beowolf & BeoSans by Erik van Blokland and Just van Rossum, Fab by Patrick Griffin.
• Small sizes, pixelish: Minuscule by Thomas Huot-Marchand, Restraint by Marian Bantjes with Ross Mills.
• Blackletter: Blaktur by Ken Barber.
• Vogue: Giorgio by Christian Schwartz.

Ultrabrain
[Qamari Ally]

Specialist of fashion mag typefaces. Qamari Ally (Ultrabrain, Paris, France) made the delicately thin display types Luxurious (2011) and Qult (2011), and the high-contrast serif script face Transition (2011). He also did the grotesk display face Pli (2011). Behance link. [Google] [More]  ⦿

Uppertype
[Pedro Lobo]

Portuguese foundry in Guimaraes and Porto, est. 2011 by Pedro Lobo, that sells Yorker (2012, a layered athletic lettering font), Borba (2012, a beautiful inline typeface), Sahara (2012, an antique shadow caps face), Akila (2012, a fashion mag didone), Public (2012, art deco marquee face), Scape (2012), Smart (2012, inline caps face), Desk (2012, shadow caps face), Kleiner (2012), Fabrica, Wannabe (octagonal), Kodhigo (slab serif), Molesk (2011, a free slab display face), Tabbaco (connected retro script) and Jono (2011, art deco).

Typefaces from 2013: Darko (alchemic, designed under the motto Uppertype goes hipster).

Behance link. [Google] [More]  ⦿

US fonts in 40s and 50s

Fonts popular in the US in the 40s and 50s as listed by typophiles: Alternate Gothic / Alpin Gothic, Futura, Garamond, Baskerville, Century, Caslon, News Gothic / Trade Gothic, Stymie / Memphis / Beton, Poster Bodoni, Onyx, Metrolite, Metromedium, Metroblack, Rockwell, Kaufmann, Balloon, Bank Script, Mademoiselle (Thompson), Alexey Brodovitch (Vogue). [Google] [More]  ⦿

Valery Zaveryaev
[Gaslight (or: Valery Zaveryaev)]

[MyFonts] [More]  ⦿

Vian Peanu

Bucharest-based partner in Dos Cabrones, with Andrei Ograda. His fonts can be bought under the name at Creative Market.

Vian Peanu designed Cirquit, It's Friday, Dioda, Sting, Desgraciado, Daedal, Bastard, Minette, Magnus (rounded piano key face), Lacuna (hairline stencil), Fat Lady (2010), Cylon, Dgtl, Kalypso, Sting, Passio, Maha, Qanat, It's Friday, Violently Violent (2011, art deco/piano key family), Asymptote (2011, thin display face).

In 2012, Vian Peanu and Andrei Ograda codesigned Venin (a beautiful high-contrast thorned fashion mag family with art deco aspirations). Vian designed the layered typeface Uxie.

Behance link. Creative Market link. [Google] [More]  ⦿

Victor Bature

Graphic designer in London. Behance link. Ramen (2010) is a great high-contrast typographic poster for an imaginary fashion mag. [Google] [More]  ⦿

Victoria Byrum

Graphic designer in Raleigh, NC. Creator of these typefaces in 2012: Ezra (she says: Ezra is a Modern typeface designed to break the stereotype of Moderns only being used in the fashion industry. I was heavily inspired by Bodoni's regularity with measurable and repeatable forms and sought to create a typeface that utilized the interchangeable parts concept and pushed Modern typefaces past design stigmas), Beehive. [Google] [More]  ⦿

Vitor Braz

Portuguese designer of the experimental geometric face Agaro (2011), the neon tube face Bulb (2011), Punku (2011), and the high-contrast fashion mag caps face Esquise (2011). [Google] [More]  ⦿

Vogue

Vogue is a Stephenson Blake sans caps face made in 1929. There is a slightly differenbt face called Intertype Vogue, created in 1930, about which Mac McGrew writes: Vogue is an American sans-serif type, cut by Intertype in light and bold weights early in 1930. It had been created for Conde Nast of Vogue magazine. but was released also to the general printing trade. It is generally quite similar to Futura (q.v.), but caps are the full height of ascenders, and descenders are a bit longer; most noticeable in the original version are the very long crossbar of G and the vertical tail of Q. The bold weight is about equivalent to Futura Medium. Extra bold, oblique, and condensed versions were added over the next several years, and it became especially popular for newspaper work. Vogue Extra Condensed was designed by Edwin Shaar in 1971 for the New York Times classified display, and cut in 48-point only. Several sets of alternate characters in some versions enabled users of this series to simulate the general appearance of Futura, Kabel, or Tempo, while r the light and bold weights also offered unusual squared versions of kmnru, derived from early tentative designs for Futura. Through an unusual twist of names, Vogue Medium Condensed is bolder than Vogue Bold Condensed. Vogue Bold Extra Condensed (not to be confused with Vogue Extra Bold Condensed), is made only in a few large sizes and departs somewhat in design. Lining Vogue and Lining Vogue Bold are made in several sizes of caps and figures to cast on a 6- or 12-point body in the manner of Copperplate Gothic; also one small size of 18-point. [Google] [More]  ⦿

Vogue December 2008

Fashion alphabet created for Vogue UK, December 2008. Unknown creator. [Google] [More]  ⦿

Vogue Fonts and more

"Miss at le Playa" takes through a tour of fonts used by fashion mags and fashion houses. On its cover, Vogue uses Didot Display, while Vogue Paris uses the free Exotica and Dogwood, as well as Romantiques. Chanel's logo uses Blue Highway Expanded Bold. For Jimmy Choo, it is University Roman LET, while Dior prefers Nicolas Cochin T Regular. Dolce and Gabbana play it safe with Futura SH-Dem Bold and Light. [Google] [More]  ⦿

Volker Busse
[F25 Digital Typeface Design]

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Walter Käch

Teacher of Adrian Frutiger, b. 1901, Ottenbach, Switzerland. Pic. Here, you can find wonderful advice for making well-adjusted alphabets. In this wikipedia, we read: At the age of 16, Frutiger was apprenticed as compositor to a printer in the nearby town of Interlaken for four years and attended classes at the Zürich School of Arts and Crafts. (Rauri) Under the tutelage of Walter Käch from 1949 to 1951, students learned type design by rubbing forms from Roman inscriptions. The students then applied the knowledge learned from these ancient letterforms to their own type creations. The students came to realize that the way the inscriptions were made was an outline applied with a pen, and then chiseled into the rock. When students were first learning to design typefaces, they used pens to create flowing letterforms. Then students moved on to work with pencil. No instruments, such as rulers were used- everything was done by eye, and corrections had to be made by scraping the markings off with a knife. Frutiger respected Käch, and felt he was a fine teacher who allowed many different views to be prevalent. However, the young student disagreed with his teacher on how technical and defined forms should be. Käch was a calligrapher, and thought because punch cutters used a grid their forms were too harsh and technical. His typefaces are all dated 1949 and were published by ZHdK Zurich:

• Arte Antica (a great fat didone headline face)
• Au cerf (formal calligraphy)
• Capitalis Monumentalis (roman capitals)
• Florist (slab serif)
• Gegr 1845 (multiline)
• Modes de Paris (condensed didone headline Vogue-style)
• Optik Foto Film (fat slab serif)
• Oertli & Co
• Picture Gallery (flared roman)
• Rauchwaren (fat sans)
• Röntgen Therapie (fat humanistic sans)
• Segel Club (fat sans headline)
• Velos