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Design site in Moscow. Creators of the geometric figure (Latin) stencil typeface Caribe Modular (2013), which was created as a project for the British Higher School of Art & Design. Intrnal Hybrid (2013) was also completed at the British Higher School of Art & Design in Moscow. Deriz (2013) is a high-contrast didone titling face. Intrnal Hybrid (2013) is a grungy techno Cyrillic typeface. Vintage and Coupage Font emulates various wood type and letterpress styles. [Google]
Gugum Gumpita Rahayu is a graphic designer based in Bandung, Indonesia, b. 1991. In 2013, he set up Absolut Foundry, and in 2015, he started Gumpita Rahayu (Foundry).
Creator of the rounded sans typeface Tracks Type (2013, free at Fontfabric). Yuma is a free tweetware alchemic typeface. It is based on navajo patterns. Kurve (2013) is a sans headline typeface. Biere (2013) is a modular display typeface. Mojave (2013) is an all caps sans typeface.
In 2013, he created Rocca, which is modeled after spurred wood type display styles from the Victorian era. Warenhuis de Vries is inspired by the signage on a 19th century colonial Dutch heritage building---the De Vries building, which today houses the OCBC NISP Bank---in Bandung, Indonesia. This font was renamed Oud Warenhuis (2013). Dutch colonial tropical architecture in Bandung led to the West Indian art deco typeface Bandoengsche (2013). Companion League (2013) is an octagonal Latin / Cyrillic signage typeface. Driekleur (2013) is pure Dutch colonial deco based on signage in a 1930s building (called De Driekleur) in Bandung built by Dutch architect A.F. Aalbers. March (2013) is a display family that includes beveled and inline styles.
Free typefaces from 2013 include Swarha (in Neue and Rounded styles; an art deco sans named after the Swarha Islamic Building in Bandung made by Dutch architect Wolff Schoemaker between 1930 and 1935), Mohave (all caps sans) and Flagship Slab Rounded.
Typefaces made in 2014: Metrisch (a wide tall x-height geometric sans family), Luzern (a neutral industrial Swiss sans family---two free weights), Dealers.
Typefaces from 2015: Catesque (grotesque).
Dafont link. Behance link. Creative Market link. Old URL. [Google]
Lexington, SC-based designer of the slab serif typeface Griffin Display (2015), the wood-inspired vintage typeface Woodchuck (2016), the varsity typeface Grizzly0116 (2016), and the stencil typeface Grizzly (2016). Creative Market link. Behance link. [Google]
Aerotype is a foundry in Camarillo, CA (formerly in Glendale, CA). It sells the typefaces of Stephen Miggas. Many types were designed around 1998, and most were rejuvenated and updated in 2005. A list of Aerotype's typefaces typefaces:
- Pixel fonts: Airlock, AirlockWebDings, Fronteer One, Fronteer Two, Microtooth, Microtooth Web Dings, No Biggie One (+Bold), No Biggie Two (+Bold).
- Old typewriter fonts: Obsolete (+Bold, XBold, Light, XLight).
- Handwriting or informal scripts: Arbordale (2014, calligraphic), Bountiful, BountifulBold, Khaki (2007, fun script), Khaki Alternate, Mission, Sanscripta (+Heavy), Siesta, Southbee, Stay True (2011, tattoo-inspired) Boundless, Chillin, Angeleno, Game Street, Jumpshot.
- Stencil typefaces: Expedition Stencil (+Heavy, +Thin), Hogwild (2010).
- Blackletter: Octoberfest, Kingshead (+Alternate, Alternate Gothic, Alternate Light, Gothic, Light), Ladybat (+Alternate, Alternate Light, Light), Ravenwood One (+Bold, Condensed), Ravenwood Two (+Bold, Condensed), Wilhelmschrift, Ravenwood, Octoberfest (blackletter), Gothicus (2006, after Rudolf Koch's Maximilian), Dractura, Dracena.
- Destructionist: Derailer (2016), Americanus (2016, emulating 1800s newsprint type), Dogjaw (2009), Thunderhouse (2009), Sluicebox (2008), Americanus, Conquistador Medium, Derailer (2006), Fiesta, Indigo Medium, Rebound (+Bold, Light, Super, XLight), Coldsmith, Blackstock, Boilerplate, Geoduck, Ghost train.
- Techno: Durandal (+Black, Flat, FlatBlack, FlatLight, Light, Recycle.
- Octagonal typefaces: Expedition (+Heavy, Thin, Super, StencilSuper), Protocol (+Alternate, Alternate Light, Alternate Bold, Bold, Light).
- Dymo label simulation typefaces: Recycle Alternate, Recycle Alternate Reverse, Recycle Reverse, Recycle Standard), Public Works.
- Display typefaces: Pacifico (2009), Rebound, Roughneck, Fiesta (Mexican style), Mediterano, Pitchfork, Serendipity.
- Western style: Buckboard (2009), Bootstrap (2010), Planchette, Protocol, Leadville (Egyptian), Saloon After, Saloon Before, Boxwood, Caboose, Copperjack (2006, Egyptian), Silverton (Egyptian).
- Pre 1999 typefaces that have been discontined or renamed: Clique Serif, Bevel-Broken, CliqueWedge, Vector, Corrode, Looneywood.
- Dingbats: Antique Macabre Ornaments (2007).
- Wood type: Coldsmith (2016), Sluicebox (2016, letterpress style), Applewood (+Alternate, 2009), Blackstock (2015).
- Calligraphic typefaces: Duende (2016), Meritage (2014, a contrast-rich brush face)), Keepsake (2012, also advertised as a tattoo script typeface family), Spindrift (2012).
Creative Market link. View Stephen Miggas's typefaces. [Google]
Affolter und Gschwind AG
Werner Affolter ran a phototype and printing company in Basel, Switzerland, called Affolter und Gschwind AG, Fotosatz&Reprotechnik. In 1981, Affolter published an extensive catalog entitled Letterama that showed over one thousand alphabets. Few of those were original, so I suspect he acted as a vendor of sorts, but at least a couple seemed original, or were claimed to be original or exclusive: Guigoz, Moby Dick. Moby Dick was revived in 2014 by Nick Curtis as Call Me Ishmael NF.
Some examples of the types shown, in alphabetical order: Antique Wood MP363 (art nouveau), Antique Wood MP 364 (oriental simulation face) [the Antique Wood series is quite extensive, and is just numbered], B+T Classic (roman), Bernhard Fett, Beton Fine Line (typewriter), Burko (avant garde family), fonts starting with G, Gaston Fett (a squarish gothic typeface also called Gipsy), Gaston Halbfett (also called Grassy), Gemini Computer, Germanic Sans (more avant garde and Lubalin-style glyphs), Hollandse Mediaeval, Hollywood (a 3d decorative family), typefaces starting with K, Lineamarca (slabby), Linear (avant garde, geometric monoline), Melen (experimental, geometric), Meola Bookman swash (decorative), Metro (art nouveau, after the Metroploitaine font), Moraine (squarish), the Old Foundry sub-collection [another mysterious numbered collection; examples include some uncials, and some more art nouveau typefaces, some Victorian ornamental typefaces (F260 through F262), more art nouveau (MP418 through MP420) and blackletter typefaces (MP421)], Pierrot (psychedelic, groovy), Phydian (one of many Western style ornamental typefaces), Ronda, Roulette, Roulette Schattiert (=Rajah) (more Western fare), Ruby (shaded caps), Runic Small (condensed), Rustic (wood log look), typefaces starting with S, Spengler Gothik, St. Clair (ornamental), Zither (calligraphic script). [Google]
Agent Demonic Ladybug
FontStructor who made these typefaces in 2010: Tessa (an über fat face), Pomegranate, Archipelago Serif, QQQQQ.
In 2011, these typefaces were created: Barnhaus (+Lite), Not My Font (clone of zalamera eYeFS by Antonio J. Morata), Mission Design Sans, Soundproof, Naturally Blonde, Sector12 (an army stencil face), Industrial Sans Better, Elegantite, Grey Hand (texture face), Ubnshufr II Hellllp, Havoc, Havoc Thin (scratchy face), Pixels Redefined (texture face), Capitas Lite (texture face), Capitals Woodcut, Adl Capitals (hand-printed), Useful Sans, Spirit (tattoo/blackletter face), Wanted 2.0, Detaile, fs Greener Grass (grotesk headline face), Bean (pixelish), Small Sans, Doundproof.
In 2012, Agent Demonic Ladybug made these typefaces: Mechans (upright connected script), Tessa Revived, Minimalist No. 2 (piano key face), Laceys (dot matrix typeface), Roundsclean, Squareup, Barnhaus 2012, Mission Design Sans, Barnhaus (+Lite, +Mono; named after Bauhaus), iFontStruct, Squishypixel, Moredetailes, Who Needs Nonconformity (heavy octagonal), Stuckinneurone Error, Stuckingranite, 220a, Boldish (piano key face), Strategy Bold. [Google]
Philadelphia-based designer and PostScript font hacker who runs Prescott Design. He created three substantial sans typefaces 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.
Additional typefaces: the Bizarre series (decorative caps), Advertisers Gothic PD (2010: a large family based on Robert Wiebking's ugly original from 1917), APT Antique, Crayon PDS (2013, a decorative Victorian family), APT Caslon 76 (1997, based on a Compugraphics original), APT Feinen Inline (1997, after Henry Mikiewicz, 1983), APT Millais (1995, unknown origin), APT New Abel Cursive (1996, a revival of Bernie Abel's Abel Cursive (Compugraphic, 1974)), APT New Artcraft (1996), APT New LSC Book (1996, after a 1970 original by Lubalin Smith Carnese), APT New Classic Rubber Stamp (1996: based on DeVinne by G.F. Schroeder, 1890; F.W. Goudy 1898), APT New Hearst (1995, based on an original from Inland Type Foundry, 1901, which was famously ripped off from Goudy; the Italic was by Carl Schraubstadter, 1904), APT New Ticonderoga (1995-1996), APT New Woolly West (1995), APT Horizon Initials (1995), APT New Gill Floriated (1995), Old Gothic Initials Plain (1995: Lombardic caps), Pfister Bible Gothic APT Cameo (1997, blackletter caps), APT Saint Nick (1995: snow-themed caps).
His 19th century series, all made in 1995 or 1996: APT New Abramesque, APT New Alferata (psychedelic), APT New Armenian, APT New Belmont (Victorian), APT New Brenda, APT New Cabinet, APT New Caprice, APT New Dawson, APT New Euclid, APT New Linden, APT New Madison, APT New Moorish, APT New Mystic, APT New Rollo (Victorian), APT New Slapstick (wooden plank font), APT New Spiral, APT New Stephen Ornate, APT New Teahouse, APT New Viola, APT Novelty Script.
The wood type collection of Alan Prescott: APT Antique Wood Double Outline Shaded 1995, APT Antique Wood Extended 1996 APT Caslon Wood w: Alts 1996 APT Clarendon Wood Extended 1996 APT Columbian Wood w: Alts 1996 APT Courier Wood 1997 APT Doric Wood 1995 APT Gothic Wood (+Alts) 1997 APT Grecian FullFaced Wood 1996 APT Jenson Old Style Wood 1996 APT Kurilian Wood w: Decorated Alts 1997 APT Modified Gothic Wood Cond 1997 APT New Venetian Wood 1996 APT New Woodcut Shaded Initials 1995 (Houtsneeletter) APT Roman Wood 1994-1995 APT Tuscan Antique Wood (+Alts) 1995-1996 APT Tuscan Concave Wood 1996-1997 APT Tuscan Contour Wood 1996 APT Tuscan Gothic 1 Wood 1996, APT Tuscan Gothic 2 Wood Cond w: Alts 1996, APT Tuscan Gothic 3 Wood Cond w: Alts 1997, APT Tuscan Gothic Pointed Wood w: Alts 1997 (Ironwood) APT Tuscan Italian Wood 1997 APT Unique Wood 1995 APT Wood 1995-1997 APT Wood No. 501 1996 (orig Wm.H. Page 1887), APT Wood No. 508 1997, APT Wood No. 51 1997, APT Wood No. 510 1997, APT Wood No. 515 1996 Stencil typefaces: APT Crystal Ship (1995), APT New Acapulco Light (1995; after the phototype Acapulco Light VGC), APT New Alpha Midnight (1996; after a typeface from 1969 sold by John Schaedler), APT New Beans w/ Alts (1996, after Beans by Dieter Zembsch, 1973), APT New Checkmate (1995---not a stencil type, really, but rather a modular typeface; after the film type Checkmate), APT New Zephyr (1996). Ornamental typefaces: APT New Courtier Italic (1996, Vanity Fair), APT New Harlequin (1996), APT New June (1996, after Fournier le Jeune). Computer fonts: APT Bugsy (1995), APT New Quote (1996: bilined). Art nouveau typefaces: APT New Abbott (1995; after Joseph W. Phinneys' abbott Old Style, 1901), APT New Ambrosia (1995, after Peter Schnorr's 1898 Jugendstil typeface), APT New Baldur (1996; after Baldur by Schelter (1895) and Julius Klinkhardt (1903)), APT New Jagged w/ Alts (1996), APT New Jason (1996), APT New Livonia (1996), APT New Margit w/ Alts (1996), APT New Nightclub (1995), APT New Quaint (1995), APT New Quaint Open (1995). Various display typefaces: APT Black Dog (1995), APT Blacksmith Heavy (1995), APT New Airedale (1995, after an original tattoo / poster from the 1930s), APT New Blade Display w/ Alts (1996), APT New Cugat (1995; a wedge serif letterpress emulation typeface), APT New Fieldstone (1995), APT New Static (1995), APT New Trump Gravur (1995; after Georg Trump, 1954), APT New Yagi Bold (1996). Avant Garde typefaces: APT Avant Garde Alts and Display (1997), APT Lubalin Graph Alts (1997; to be used with BT Lubalin Graph, Ed Benguiat, 1974). [Google]
Albatross (or: Font Deals)
Albatross is Jay Hilgert's foundry in Oklahoma City, OK, est. 2008. Before Albatross, Jay Hilgert ran Bittbox (or: BB Free Fonts), a site dedicated to free clipart and vector art.
Typefaces from 2008 include the informal outline typeface Tire Shop, the informal 3d shadow typeface Blox (2008), the 3-d wood typeface Baja California, the stunning four-style family called BB Petie Boy (which includes an ornamental caps style, a grunge style, a blackboard style and a sketch style), Fusty Saddle, 23rd Street (a graffiti font) and Whiteboard Modern.
In 2009, he followed up with Oil Change (3d, hand-drawn).
In 2011, he created the futuristic family Naughty Astronaut (+Cowboy), the Western typeface ABTS Gunsmoke, the connected retro script typeface ABTS Milk, ABTS Feather Pen, ABTS Oklahoma (retro deco), ABTS Aviator (2011, art deco caps face), and ABTS Day of the Dead (ornamental skulls, Mexican style), ABTS Crestwing (an inline caps face), Helios Pro.
Typefaces from 2013 include Boom (a comic book typeface family, with hand-drawn Boom Symbols).
Typefaces from 2014: Signyard (a retro overlay font family that evokes motel signage), Microbrew (letterpress emulation in many increasingly grungy styles, accompanied by Ornaments and Banners), Sparhawk (a 3d layered display font), Castor One (wood and letterpress style), Altus (a hand-drawn elliptical sans, +Altus Extras: ornaments).
Typefaces from 2015: Corinth Ornaments, Auburn (brush script), Microbrew Unicase, Corinth (hand-drawn geometric sans with letterpress influences).
Typefaces from 2016: Microbrew Soft.
Creative Market link. Dafont link. Creative Market link. In 2011, he started Font Deals. [Google]
The Alembic Press has built up a collection of founts of wood letter, and has produced a variety of type specimen books and postcards featuring these typefaces. [Google]
Alex De la Cruz
FontStructor who made the Western wood style wanted poster font Quetzal (2012). [Google]
Birmingham, AL-based designer of Fernweh (2016, a hand-crafted typeface with a vintage wood type look) and Xander (2016, in Sans and Serif: 19th century all caps typeface family with a wood type look). His company is called 1871 Project. Creative Market link. Behance link. [Google]
Alex O. Kaczun
Graduate of the Rietveld Academie in Amsterdam. Born in Sicily, he spent half of his life in New York City, and studied for four years in The Netherlands. He worked in Lithuania with a group called Alfa60, and is now based in Turin.
His typefaces: Equo (2006), a VAG Round style display family which also includes Equo Stencil Caps, Equo Extended, Equo Extra Fat, Shaolin Caps, Stout Caps (revised in 2015), Frank-Latin (wide wedge-serifed face), Crasto (serif family), MM Vinny (a multiple master family designed for use by the cosa nostra), Yorker (based on The NewYorker), MM Charlie or Charlie Grotesque (2013, a sans typeface family in the American style of Morris Fuller Benton), Artissima Condensed (a dada poster font, now called Altissma Condensed), Romano Grotesque (angular, chiseled: revised in 2015), Futura Passata (a rounded all caps version of Futura that combines two widths of a wood type version of Futura for use in posters), Novalis Condensed, Bianco (a bespoke sans created for Nero magazine), Bianco Serif (used in some sections of The New York Times), Lago Sans (gemetric superfamily), Arial Grotesque.
Behance link. Klingspor link. [Google]
Graphic designer in Brisbane, Australia, who created Esther Dean (2013), a chromatic layered typeface based on the Gothic Rounded wood type. Behance link. [Google]
Allied Wood Type Co.
American wood type manufacturer from the 20th century. [Google]
Alphabets and Others
Walter B. Clement and Ian L. Robertson wrote Alphabets and Others (1988, The Armstrong Press and The Slow Loris Press, Alabama) This 74-page book contains wood type specimens, all clearly identified. [Google]
Alphabets Inc (or: Fontsonline.com)
Alphabets Inc was founded by type designer Peter Fraterdeus, who made AI Marlowe, AI Prospera, AI Wood (1992, interpreted from examples shown in Rob Roy Kelly's American Wood Types) and AI Quanta (1994, a multiple master face). Check here. This foundry has some of the nicest typefaces anywhere, including many gorgeous typefaces by Philip Bouwsma (example: Alexia, Juliana, BouwsmaScript, Weissenau). Other designers include Bonnie Barrett (Arbor), Brian Sooy (multiple master fonts AIVeritas and AIVeritasItalic), Ejaz Syed, Inna Gertsberg, John Pugh, Karen Ackoff (check out the Russell handwriting), Kurt Roscoe, Lester Dore, Manfred Klein, Mike Brooks, Peter Fraterdeus (Oberon, Prospera and Quanta (multiple master) families), Randall Jones (the multiple master font AIKochAntiqua), Robert McCamant, Martha Chiplis, Serge Pichii, and Steve Meek. In 2007, Peter Fraterdeus started Exquisite Letterpress for top quality printing. In 2010, he promised to release Quanta Uncial.
Dafont link [where one finds the free experimental typeface AI Fragment]. [Google]
American Wood Type Co.
One of two American wood type manufacturers with the same name. This one was started by Frank Gerhardt in Brooklyn, NY, in 1918. In 1922, the name was changed to American Brass and Wood Type Co. [Google]
American Wood Type Co.
One of two American wood type manufacturers with the same name. This one was started by Charles Tubbs, John Martin and George Keyes in South Windham, CT, in the factory built by Edwin Allen in 1851 and sold by John G. Cooley in 1863. The three founders had been employed previously by William Page. In 1902, the company changes name to Tubbs and Co., but Tubbs kicks the bucket in 1903, and the company moves to Luddington, MI, under the new name Tubbs Mfg Co. [Google]
American Wood Type Manufacturing Company
Wood type company that was located in Manhattan. Their catalogs include Wood Type Printers Equipment and Supplies (1938) and Printers Supplies Wood Type Metal Type (1960s). [Google]
American Wood Type Mfg Co.
Wood type manufacturing company located in New York and Chicago in the first half of the 20th century. Images below are from their Catalog No. 36. [Google]
American Wood Type Mgf Co.
American wood type manufacturer in New York City, est. 1932 by Rube Mandel. In 1936, it buys Empire Wood Type holdings. Around 1962, its name changed to American Printing Equipment and Supply Co. Its last catalog was printed in 1968, but the company lasted until 2001. [Google]
Andreas Theodorus van der Vossen
Dutch designer (1893-1963) and cutter of the squarish Houtsneeletter (Enschedé, 1927). [Google]
Andrew Footit (b. 1984) runs his own typefoundry in Johannesburg, South Africa. Until 2014, his type studio was called Virtue Creative and before that, Virtue84. His typefaces:
Behance link. Creative Market link. Home page. View Andrew Footit's typefaces. [Google]
Andrew H. Leman
[E-phemera (was: HPLHS Prop Fonts, and earlier: Prop Fonts)]
Riverside, CA-based designer of the rounded sans poster typeface Tiny Tim (2016) and the heavy poster typefaces Industrious (2016: Industrious is the font friend that will punch you in the mouth when you need it), Third Rail (2016, inspired by old train signage), Reach Sans (2016, +Inline) and Templeton (2016, wood type influences). Andrew taught design at California Baptist University. Creative Market link. [Google]
[Hucklebuck Design Studio]
The book Wood Type of the Angelica Press (Dennis J. Grastorf, Angelica Press, 1976) includes a history of wood type, a specimen book, a group of "posters and miscellaneous," and an essay on how to print with wood type. [Google]
Anna Chaykovskaya was born in Severodvinsk in 1961. An art-critique, journalism, teacher. Since 2001 Anna Chaykovskaya is an assistant editor-in-chief of the "Kuitpohod" magazine in Moscow. At ATypI 2008 in St. Petersburg, she spoke about the end of the era of wood type. [Google]
Antique Categorie 1 (Deberny & Peignot)
A grotesque wood type family by Deberny and Peignot, shown in their 1936 specimen book Spécimen Général des Fonderies Deberny et Peignot Tome II. A PDF scan of Antique categorie 1 by yours truly. [Google]
Randy Jones, who runs AquaToad, is a free lance graphic designer who was in New York, but now lives in Santa Clara, CA, where her is a freelance graphic designer and principal of Aquatoad Design. Creator of Eason (2007, Fountain: a playful revival of Nicolas Jensons 1470 roman), Olduvai (2004, a fun old lettering typeface available at Umbrella Type; +Small Caps), Phaeton, Saint Nicolaus (2003, his take on Jenson, but not a revival), Chagrin (2003, serif face), AT Tenement (2003, wood type simulation), Neweue Helvetica (2003), Extra Wide Sans (2002) and the organic sans serif Cuillere (2003). New project (2003). An Eurostyle/Gothic project (2003). Working on a Sans Companion (2004). Saint Nicolaus was renamed Eason (2005) and now includes inline and titling versions. Hillbrook and Moped (upright connected fifties diner script: Sans, Script, Retrolux) were created in 2009.
Klingspor link. [Google]
Slovenian foundry which specializes in old typefaces found in old prints, books and samples. Typefaces are reproduced as they appeared in print. In order to preserve the original feel of typefaces, no additional characters were added to originals therefore most of fonts consist just of basic character set. Upper case letters, lower case letters, numerals and basic punctuation. It was set up in 2000 by Matevz Medja. Engraving style typefaces: Kludsky (2006), Garfield (2005), Copperplate Head (2005), Western Iron (2005), Cider (2005), French Shaded (2005), Tilt (2005). The blackletter typefaces: School Text (2005), Harlem Title (2005), Copperplate Text (2005), Black Title (2005), Chased Black (2005), Tinted (2005), Steeler (2005), Blackcap (2005). Calligraphic typefaces: Petite Script (2005), Autograph Script (2005), French Script (2005), Penman Script (2005), Magnolia Script (2005), Roundface Script (2005), Roundhand Script (2005). Other typefaces: American Shadow (2005), Lightface Extended (2005), Grotesque Shaded (2005), Gothic Ornate (2005), Antique Extra Condensed (2005), Antique Extended (2005), Ironlace (2005), Atlantique (2005), Mann (2005), Old Style Condensed (2005), Ribbon (2005), Salisbury Script (2005), Black Title Text (2005, blackletter), German Text (2005, blackletter), Archive Hands (2006, pointing fingers), Archive Woodchild (2006). Distressed typefaces: Archive Tale (2006), Archive Egipt Compressed (2006). In 2011, he published the Archive Garamond family, which is closer to the unpolished originals. The 2010 catalog has three parts:
- The Archive 40: Archive Western Iron, Archive American Shadow, Archive Antiqua Extra Cond, Archive Antique Extended, Archive Atlantique, Archive Autograph Script, Archive Black Title Text, Archive Black Title, Archive Blackcap, Archive Chased Black, Archive Cider, Archive Copperplate Head, Archive Copperplate Text, Archive Egipt Compressed, Archive French Script, Archive French Shaded, Archive Garfield (2005), Archive German Text, Archive Gothic Ornate, Archive Grotesque Shaded, Archive Harlem Title, Archive Ironlace, Archive Kludsky, Archive Lightface Extended, Archive Magno Script, Archive Mann, Archive Modern II Open, Archive Modern II, Archive Old Style Condensed, Archive Penman Script, Archive Petite Script, Archive Ribbon, Archive Roundface Script, Archive Roundhand Script, Archive Salisbury Script, Archive School Text, Archive Steeler, Archive Tale, Archive Tilt, Archive Tinted.
- Archive Americana: Archive American Shadow, Archive Steeler, Archive Tilt, Archive Grotesque Shaded, Archive Black Title, Archive Mann, Archive Autograph Script, Archive Tinted, Archive Harlem Title.
- Archive Western: Archive Egipt Compressed, Archive French Shaded, Archive Western Iron, Archive Antique Extended, Archive Copperplate Head, Archive Ribbon, Archive Gothic Ornate, Archive Oldstyle Condensed, Archive Lightface Extended, Archive Ironlace.
Creative Market link.
View Archive Type / Matevz Medja's typefaces. [Google]
Art deco typefaces by Nick Curtis: II
Commercial art deco typefaces by Nick Curtis.
- Bessie Mae Moocho NF (2002). An art deco font based on handlettering found on a travel brochure for IMM Steamship Lines, circa 1927.
- Blitzkrieg NF (2011). A Lufthansa Airlines baggage label from 1936 provided the inspiration for this genuinely German typeface, with strong art deco influences.
- Blue Jay Way NF (2011). An art deco typeface inspired by Ross F. George. This typeface was used on the Beatles' original Magical Mystery Tour album.
- Boeuf au Joost (2003). Art deco based on work by comic book artist Joost Swarte.
- Boho à Gogo NF (2007): a multiline (op art?) typeface inspired by Bauhaus.
- Chalk and Cheese NF (2004). This art deco uppercase is based on 1930s lettering by French poster artist Charles Loupot (based on this art deco poster), and the non-art deco lowercase is based on 1910s lettering by German plakatmeister Ludwig Hohlwein.
- Chemin de Fer NF (2005). An art deco shadowed outline face.
- Chi Town NF (2008) is a heavy art deco creation that is based on a 1931 poster for the film The Man from Chicago.
- Coochie Nando NF (2011). An art deco shadow caps face, after a typeface called Kitchen by Milton Glaser.
- Dooijes Deco NF (2010). A 3-style art deco family in the style of Broadway, based on the Dick Dooijes tryptich, Carlton, Bristol (1929) and Savoy (1936).
- Duck Soup (2003, after a 1928 poster by Italian designer Neri Nanetti for Snob Cognac).
- Elektromoto NF (2011). This family takes its inspiration from two early Art Deco typefaces from Germany. The Normal version is based on Dynamo, designed by K. Sommer for Ludwig&Mayer in 1930, while the Narrow version is based on Stadion, designed by Erhard Grundeis for Die Schriftguß AG in 1929. Their common design motifs epitomize the Age of Streamline.
- Humpty Dumpling NF (2010). A fat art deco typeface based on an offering from the irrepressible M. Draim, seen in La Lettre dans le Décor&la Publicité Modernes, published by Monrocq Frères of Paris in 1932).
- Dusty Rose (2008) is an art deco typeface based on the logotype for the Dutch magazine Geillustreerd Schildersblad in 1940.
- Edgewise (2007), a quirky well-rounded post-art deco and pre-psychedelic face, uses ideas from Ryter Night (VGC).
- Ege Schrift NF (2011). a faithful revival of Ege-Schrift (1921, Eduard Ege), a mix between Mexican party lettering and art deco.
- Engel Stabenschrift NF (2008). In 1927, Ernst Engel created an art deco typeface which was revived by Nick Curtis as Engel Stabenschrift NF.
- Faerie Queen NF (2006). Based on an art deco typeface named Titania made in 1933 by Fundición Richard Gans.
- The Reed and Fox typefaces Viennese and Corinthian were combined in 2014 in Nick Curtis's digital typeface Genever NF.
- Gotham Rail Company NF (2002). Art deco based on an Italian travel poster from 1931.
- Great Lakes Shadow (2008) is an art deco typeface based on a 1930s travel poster for the Canadian pacific Railway.
- Hunky Dory NF (2014). A circus font after William H. Page's wood type Doric, ca. 1850.
- Jazzfest NF and Tinseltown NF (2009). Based on the 1932 art deco typefaces Newport and Hollywood, respectively, both designed by Willard T. Sniffin for ATF.
- Kharon Ultra (2009). An art deco typeface based on Ludlow Stygian.
- Kinkajou Stew (2003). Image of Kinkajou NF.
- Kirschwasser NF (2005). A bubbly art deco face.
- Korner Deli NF (2006, art deco).
- Kymmera Deco NF (2011). Revival and redesign of Rainbow Bass (1982, saul Bass).
- La Reyna Catalina NF (2006). An art deco face based on Aragón, designed by Enric Crous-Vidal.
- Legnano Cuneo NF and Legnano Sassari NF (2014). Italian art deco wood type.
- Linea Nera NF (2011). Based on Wolf Magin's Black Line (1976, Berthold).
- Lodewijk Gothic NF. After Elzevir Gothic (ATF, 1897).
- Luben Tunen (2008) is another art deco face.
- Madison Squared NF (2012).
- Mighty Ditey (2007): a mix between art deco and Peignot, this elegant typeface is based on a 1970s Photolettering typeface by Richard Nebiolo called Aphrodite, and competes with Riesling (1994, Bright Ideas) and Gillespie (2015, Darren Odden) as revivals of Aphrodite.
- Mogzilla NF (2007) is an ultra fat art deco face.
- Monte Carlo Script NF (2002). An art deco font based on a font called Médicis from a Deberny and Peignot catalog, circa 1920.
- Nip&Tuck (2006).
- Odalisque NF (2008, +Stencil, 2010) are art deco fonts based on Morris Fuller Benton's Chic (1927).
- OK Chorale (2003). An art deco typeface based on Carl Holmes' ABC of Lettering book.
- Orchard Street NF (2011, +Inline). A pair of art deco caps typefaces inspired by one of many posters produced by the WPA by anonymous artists during the 1930s.
- Pentaprism NF (2011). Part Futura, part Bauhaus, this 5-style family has multiline, inline, and other variants.
- Picture Postcard NF (2004: based on an alphabet by Alf Becker).
- Raconteur NF (2006-2008) is a wonderful art deco typeface that shouts gin fizz and high heels: it takes its inspiration from a 1923 ad for Piera Nova, designed by Hernando G. Villa.
- Quoi Chou NF (2006). An elegant and quite original beefed-up version of Bernhard Fashion by Lucian Bernhard.
- Radio Days (2008). An art deco typeface based on 1930s logotype lettering for Crosley Radios.
- Rassetta NF and Rassetta Swash Caps NF (2005). An art deco pair of typefaces originally designed by Willard T. Sniffin for American Type Founders in 1931 under the name Rosetti.
- Renard Moderne NF (2010). An art deco typeface inspired by Sol Hess's 1940s typeface Twentieth Century Poster.
- Resolute NF or USA Resolute NF (2009). An all caps fat headline typeface based on Morris Fuller Benton's Eagle, ATF, 1934.
- Retrorocket NF (2015). An art deco alphabet based on a French lettering chapbook from entitled Art du Tracé Rationnel de la Lettre (1934, D. Duvillé).
- Salzmann Deco NF (2011) and Salzmann Deco Deco NF (2011), art deco and Mexican-themed typefaces, modeled after Max Salzmann's Dolmen (1921-1922) and Zierdolmen (1922), respectively.
- Secret Agent (2003). A pure art deco beauty based on this Loupot poster from 1919.
- Ski Alpin NF (2014). An art deco typeface based on a Swiss travel poster from 1927.
- Smart Frocks NF (2008). A Peignotian face, after a shop sign in London, ca. 1930. Designer unknown.
- Stony Island NF (2011). Based on an Alf R. Becker typeface from 1935 called Chicago Modern Thick and Thin.
- Suave Sam NF (2010). An art deco typeface after a 1930 alphabet by Samuel Welo.
- Tasneem (2007) is the ultimate art deco face, originally drawn by Gustav Jensen in 1931.
- Tiny Bubbles NF (2008). An art deco typeface inspired by an alphabet in Pen&Brush Lettering and Practical Alphabets (Blandford Press, Ltd., London, 1929).
- Top Kick NF (2011). Based on Concentra, a geometric marvel with several parallel and concentric lines making up the letters. Concentra was originally published in Schriftatlas: Alphabete von A bis Z .
- Turista Gorda NF (2009). Based on Baltimore Type Foundry's Airport Tourist, which in turn was influenced by Futura Display.
Astype.de is a German foundry started in 2003 by illustrator and type designer Andreas Seidel (b. 1975). He lives in Cottbus, Germany. Home page. See also here. In 2007, he and Ingo Preuss set up The German Type Foundry. The typefaces:
- One of his first typefaces was Crayfish (originally a URW font, but withdrawn by Seidel from URW in 2002). Crayfish is a display type originally designed for an American Football club. The Crayfish typefaces are sold as Thunder Bold and Titan Bold.
- Check his nice weather symbols (not a font).
- He finished Ornaments Thanksgiving and the great ASTYPEOrnaments-WineGrape A (2004).
- He is working on 14th century initials (2003).
- He created Sattler (2003): Joseph Kaspar Sattler, one of the great German art nouveau artists created these nice initials in 1897 for the famous royal monumental book project Die Nibelunge for the Reichsdruckerei Berlin. Only 200 exclusive signed masterpieces were printed in four years from 1900 till 1904. Joseph Sattler was the art director, type designer and designer in one person. The Reichsdruckerei showed samples of the unfinished work in 1900 at the world exhibition in Paris to advertise the high craftsmanship of the German presses.
- He made Heraut (2003), an art nouveau lettering typeface based on a 1901 design of Hermann Hoffmann called Herold Reklameschrift.
- He created Sveva AS Versal (2003, art nouveau).
- About Missa Solemnis, he writes: Solemnis was designed by Günter Gerhard Lange and first cut in metal 1953 (this is the date he quotes himself, other sources mention 1950 or 1952). It seems to be one of his earliest typeface designs that he had done as a freelancer for H. Berthold AG in Berlin. [...] Missa Solemnis AS is a new, remastered and extended version of Mr Lange's typeface. The font is available in the OpenType format and comes in two styles: 1953 and 2003. The 1953 style contains all characters of the original metal type, as well as a few additions. [...] The 2003 cut is more delicate and makes extensive use of the OpenType format. It contains over 650 glyphs, covering Roman-based languages of Western and Central Europe. His Solemnis inspired Simeon AS (2003), a 650-glyph uncial style face.
- In 2004, he created Missale Incana, an interpretation of a typeface from Herbert Thannhaueser.
- Still in 2004, he created ASTYPE Ornaments Christmas A2 and ASTYPE Ornaments Christmas A. These were followed in 2005 by ASTYPE Ornaments Christmas B.
- He made Missale Lunea (2004, uncial). This has astroligical symbols, moon phases and medieval characters.
- In 2005, the exquisite calligraphic script typeface Gracia was added, consisting of Gracia No. 44, 45, 54 and 55 (graceful calligraphic script), and Gracia Solo.
- Paola is a redesigned, new interpretation of a brush typeface from Carl Rudolf Pohl.
- He made Adana (2005): The roots of Adana going back to the year 1930, to the Berlin-based German graphic designer Wilhelm Berg. His typeface can be interpreted as an answer to Lucian Bernhards Schönschrift. The Initials are nearly close to the original drawings but the Circular typeface was changed dramaticly. Excentric, unusual forms and loops were changed to fit todays needs. Due to the lack of a corresponding Roman letter form, the Regular version was designed including small caps, fitting the contrast and swinging shapes of Adana Circular. Both typefaces play well together in all kinds of adverts, as well with designs like Bodoni or Didot.
- Alea AS Initials (2005) is a floral faced based on the drawings of Maria Ballé.
- Taiko (2006). A revival of Otto Arpke's Arpke Antiqua (1928, copperplate).
- ASTYPE Ornaments Accolades A (2007), and ASTYPE Ornaments Accolades C (2011).
- GTF Toshna Std (2008, German Type Foundry) is a garaldic type family in three optical weights, after a 1955 family called Tschörtner-Antiqua by Hellmuth Tschörtner that was very popular in the DDR.
- Secca (2009, German Type Foundry) is a simple sans family rooted in early German grotesque type designs. See also Secca Soft (2014) and Secca Stencil (2015).
- Nepos (2010) is an experimental modular type kit consisting of ready-made typefaces and a set of special BUILD fonts to build your own letters and ornaments. These BUILD fonts can be used on layers with different colors and overprinting for special effects. The effects like Antiplex can be considered as kitchen tiles. There are also color inversions and stencil types.
- Secca Saloon (2011) is a versatile ornamental Western family.
- Popsil (2011) is a white-on-black hand-printed poster face.
- Ademo (2011) is a classic shaded layered 3d caps face, based on two typefaces designed by Carl Albert Fahrenwaldt that were published in 1931-1932 by Schriftguss AG.
- Wood Bonnet Antique No.7 (2012) is based on real vintage wood type blocks from Switzerland.
- VTG Stencil US No. 4 (2012) is based on plate US No. 4 from New York Stencil Works. This revolving stencil-plate was invented by Eugene L. Tarbox and patented in 1868. The military stencil fonts VTG Stencil US No. 2 (+Ornaments), VTG Stencil US No. 51, VTG Stencil UK No. 76, VTG Stencil Germany No. 101 (2014, modeled after historic blackletter stencil plates from Bavaria), and followed in 2014. In 2016, he added Vtg Stencil DIN.
- VTG Stencil Germany No. 1 (2013) is a set of nicely executed didone stencil typefaces based on real models used in Germany from 1871-1918 and later. There is a Sketch style.
- Wood Poster Eight (2015) is a free wood type slab serif.
Behance link. Creative Market link. Klingspor link.
View Andreas Seidel's typefaces. [Google]
Ata Syed (Karachi, Pakistan) has a dual identity at FontStruct, where he is one of the most prolific contributors. He is known there as thalamic and as minimum. Behance link.
Typefaces made in in 2008 as thalamic: Hello (connected upright script), Epilogie (blocks), WimSoft (+U/C), Chunk Chip, Konstruct (Russian constructivism face), Sensei Says, FS Tributary, Twotype Font, Urge (fat octagonal), Subliminal, FS United One, The Game of Type, Anaximander Zooom!, Corrupt and Corrupt Ed (piano key stencil fonts), Blueprint, Monomum, Synergy, Insert Coin Italic, Write I Careful, Write I Casual, Write I Dump, Loop UC, Loop LC, Emergic, Prick!, Insert Coins Pixels, Retro Electro, Bubble Lab IJ, Bubble Lab Bang, A Needle Pulling Thread, Send, Scan (IBM logo look), Intermittent and Intermittent Sans (stencil typefaces), Melt x DR and Melt x tDR (dot matrix), Oval x DR and Oval x tDR (original design by theDesignersRepublic for Issey Miyake), On Grid, Indigo (almost blackletter), orange_2 (dot matrix), Scan (horizontal stripes), Bass, Grape (simple pixel face), Nachahmung and Nachahmung Block (fat and extra condensed, Wim Crouwel simulation typefaces), Nachahmung Block Serif, Conjunction, Interjection, Is It, Sangular (nice experiment), Anonon (nails in square letters), Purple and Purple Very (slab serif headline typefaces, pixelized), Arc Echo (biline and strutted), The Question (a fantastic 3d paper fold imitation face), FS Minimal (a fantastic ultra fat decorative face), FS FontStructor, Vibrant (multiline labyrinthine or op-art face), Writ (upright pixel script), Castor, Ooki (octagonal), Industrial, The I Flat, The I, Indiscrete, Analog (connected script), Dent (mechanical), Digital (connected script), Hello Hello, and Sensei Says.
In 2009, he made Clone It, Entwined, C64, Helix, Fontsration, Bent, Stripe Zoo, Dull, Indent (stencil), Quartertined (kitchen tile), Firox, Orfix, A Priori, Ignore, Confused, S-Ookii, Ookii (octagonal), Very Becoming, Crisis Averted, Crisis (neat bold octagonal face), Penmanship, Up All Night, Sleep All Dayi, Chunk Chip, Grayletter (upright script), Soso, Mostly Harmless (textured face), Etched, La Cross, Twotype, Etched Bare, Aught (One, To, Three), as: Inflate (Pop, Pfft, Puff, Poof), Istic, Very Becoming, Ignore, Ought, Balance, Broken, Dry Flat (dot matrix), La Cross, Etched (+Bare), Fontsration (+Refined: multilined beauties), FS Institutional (fat multiline face), FS Industrial, FS Pixelayers.
Additions in 2010 as thalamic: fs Section, fs Reboot, fs Easy DNA Auto Stencil, fs Institutional (+Ho, +Elements), fs Quartertined, fs Stencil 2.0, fs Rivet, fs Intaglish, fs Dumb Italic, fs Loop Gap, fs GoTeam (stencil), fs ITilic, fs Kerplunk (Startrek face), fs Dumb Italic, fs Ribbon, fs Beringer, fs Ooki Woodcut, fs Croissant (stencil), fs 45 (octagonal stencil), fsXO, fs Pipe, fs Confused Less.
Fonts from 2011 as thalamic: fs Xenon (a paperclip face), fs Instant, fs Twist, fs WIP (blackletter), fs Sparc, fs Reboot (texture face), fs Pod, fs Flute Tune, fs Special, fs Watch Out (stencil), fs Etched Nyle (labyrinthine face), fs No Kerning Required (2011, connected upright script).
Creations in 2012 as thalamic: fs Flip, fs Mom, fs Noise, fs Noise II, fs Junk, fs You Are Here, fs Flash (outlined), FS Easy Too (paperclip face), FS Strict, FS Fix, fs in three (octagonal stencil face), fs Single, fs Wakarimasen, fs r-failed (white on black), fs Permutation X, fs Pan Am, fs Institutional, fs Institutional 2, fs Chunky (counterless), fs Grayletter (textured face), fsXply (op-art).
Creations in 2013 as thalamic: fs So Not Right, fs Grid Urdu (pixel face), fs Not So Right, fs Six Sticks, fs Half (octagonal family), fs Bored, fs Make it Happen, fs Salvage, fs To Be Discarded, fs Connect (stencil), fs Whomp, fs Praxis, fs Fez (3d face), fs Input, fsTramp, fs Five Alive, fs Hote-Zyd (labyrinthine), fs Patterns (Layers, Quarters), fs Five Alive (origami font), fs Go To Sleep (retro speed font), fs Vaerktoj (inspired by the brand identity of Hoejmark Cycles), fs Permutation B, fs Jester, fs Permutation XII (op-art), fs Insatiable, fs Electronic, fs Carbon (a nice chequered face), fs When We Were Young (multiline typeface), fs Shogun Tiny (a lined kitchen tile typeface), fs Optical, fs When We Were Young (multilined), fs Slate, fs Shogun (gridded), fs Iie (+Filled), fs Blocky (dot matrix), fs Thalamic.
Creations in 2014 as thalamic: fs Perhaps, fs Perhaps Perhaps, fs Stability (Turmoil, Flux), fs Industrial (an artsy fat dot matrix face), fs Rehash, fs Ah, fs Curly, fs So, fs Flint, fs ICK (blackboard bold style), fs Wiggle, fs Grid, fs Ah.
Creations from 2015 as thalamic: fs B-Chain (bike chain font), fs Risque (art deco), fs Squangular (Impair, Square, Flair, Pair), fs Oval, fs MIP, fs Flower (kitchen tile face).
Creations as minimum: fs Chips (2014), fs Oh (2014, piano key style), fs Stack (2014, +Overflow), fs llljjj (2014), fs Turn Off The Sun (2014, beveled), fs Zag (2013 textured), fs Zig (2013, textured), fs Mullions (2013), fs The Italic (2013), Gridlock (2009), Mingle Minx (2009), Mingle Co (2009), Mingle (2009, gridded letters), Bevel (2009, 3d beveled family), illiij (2009, multiline family), m.ove.r (2009, multiline family), Grayscale (2009, multiline family), fs Cubed (2010, 3d-face), Bas Relief (2009, 3d face), Silver (2009, 3d face), Tin (2009), Lead (2009), Bevel (2009), Bevel Just (2009), Bevel Just Shadowed (2009), Ceci n'est pas une vague (2009), A Fault in Reality (2009, optical effect font), Blit Slash (2009, experimental), Blit Hack (2009), Dot Dot Hex (2009), Super Black (2009), fs Overlap (2010), fs Fabric (2010, texture font), fs Original (2010), fs Ink Blot (2010), fs Dots and Dashes (2010), fs I Square (2010), fs Squared Up (2010), fs Super Black (2010), fs Unoriginal (2010), fs Minimum (2010, geometric stencil face), fs Pin and Thread (2010, stitching face), fs Shade (2012, 3d face).
FontStructions from 2011: fs Perpetual (dotted line face), fs Slither, fs No Escape, fs Prompt (a DNA-inspired biochemical lab face), fs Plus H (horizontally striped face), fs Arc Test 2:2 (a modular blackboard bold face), fs V Simple (2010, textured face), fs Instant, fs Permutation V, fs Rehash Monoic (labyrinthine), fs Meta (texture face), fs Scroll, fs Scroll Not (stencil).
FontStructions from 2012: fs Translucent (a texture face), fs Bank, fs Shade, fs Confined (white on black), fs Institutional (+Vo, +HeVe, +Ho, +He, +Ve: texture typefaces), fs Bang, fs Random (textured face), fs Random Pattern, fs Lead, fs Tin, fs Silver, fs Tungsten.
Klingspor link. Abstract Fonts link. Behance link. [Google]
Australian Type Foundry (ATF)
The Australian Type Foundry was launched in January 2002 by Wayne Thompson (b. 1967), who is art director at an ad agency in Newcastle, NSW, and is located in Merewether.
Commercial fonts at this ex-signpainter's site include Arum Sans (2009, an elegant humanst sans family), Halvorsen (2006), Fuse Box (2005), Architect (handprinting, now at T-26), Axiom, ATF Bosin (2003, casual hand script, which is also sold by Umbrella Type/Veer), Barkpipe, ATF Iperion (2003), McNeilBlok (2003), Not Sassure, Spud (handprinting), Wobbly Boot (2007, boozy script), Zoobie (2007, handprinting), Virus, Otis and Otis Condensed (since 2007 at T-26), Ogre, Fresh, ATF Euron (2003).
ITC fonts by Wayne Thompson: ITC Panic (grunge), ITC Dont Panic (2000, grunge font), ITC Django (handprinting).
[T-26] fonts by him include many of the above, plus also DallasPlain (1998, handwriting).
Free font page: pick up a free font (was Spud Italic, currently is the grunge font Virus). Another free font by them is Mallee Wooden (Western typeface).
At Phat Phonts, Wayne Thompson created Jungle Bones (2005) and Ratbag (2005). Stuart Brown designed the Neutraliser family, a versatile collection of geometric-based fonts with 24 styles. Artist Paul McNeil has designed the Mcneil family of blocky display typefaces. He has previously produced designs for Mambo and currently works in Sydney. Another designer working for them, out of Indonesia, is Mendiola B. Wiryawan.
Custom typefaces by ATF include Django Modified, Honda Prototype (2012), OBrien Glass (2012), Travel Bats (for Sensis) and JWT Vodafone (grunge).
The retail fonts at the start of 2012: ArumSans, Halvorsen Pro, ITC Django, Grimsby Hand, Bosin, Carbon Credit, Carbon Tax, Chowdahead, Decon, Demented Avenger, ITC Don't Panic, Equaliser, Equaliser Stencil, Euron, Fresh, Fuse Box, Guttersnipe, Iperion, Barkpipe, ITC Panic, Not Sassure, Ogre, Otis Condensed, Pontoon, Ratbag, Spud, Stakeout, Tully, Virus, Wobbly Boot, Zoobie.
In 2013, Thompson created the custom sans typeface Tonsley and participated in the Canberra Centennial Typeface Competition.
In 2014, he designed the brush script typeface Quencher, and the custom sans typeface O'Brien Glass.
In 2015, ATF created Maccas (+Inline) for McDonalds Australia, via their agency DDB Sydney, by modifying, with permission, Cindy Kinash's True North typeface family. For a South East Asian nation's law enforcement agency, he custom-designed Personaliyty (2015).
Behance link. MyFonts site. Linotype link.
View Wayne Thompson's typefaces. View the typefaces made by the Australian Type Foundry. [Google]
German foundry, est. 2009 by Julius Wiescher (b. 1991), who is the youngest son of famous type designer Gert Wiescher. His font Thin Pen (2009) is based on an ancestor of the German DIN-Schrift. The font was traced with a plastic template on transparent paper, scanned and worked over carefully to keep the handmade, authentic touch. Other fonts by him: DonJulio and Donna Julia (2008, Autographis, calligraphic script fonts made with Gert), Flatpen (2008, Autographis, with Gert), Norm Pen (2011, based on an ancestor of DIN Schrift), Bold Pen (2011, bold version of Norm Pen), Groucho (2011, a high-contrast flowing script), Authentic (2011, a connected copperplate script), Oldhand (2011, shaky handwriting), Holz Caps (2011, an irregular wood type simulation face), Poing (2011, a flowing calligraphic script), Cri Cri (2011, slab serif comic book face).
Klingspor link. [Google]
Bob Alonso (b. Bronx, NY, 1946, d.2007), the founder of BA Graphics in 1994, was a prolific American type designer. He created 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 typeface 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 typefaces, but not exclusively so. BA Graphics was located in Chester, NY, and later in Toms River, NJ, and now sells its fonts through MyFonts. Many of its fonts published after Alonso's death in 2007 were completed by John Bomparte.
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 (2000; originally named Gonzales Jeanette and designed by Francisco Gonzales for Photo-Lettering in the early 70s. Jeanette was based on Brandywine. Similar fonts are Italian Script (Bitstream), Gaston, Candice, Julia Script and Benguiat Charisma), 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 (1994), 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.
Footloose (2015, BA Graphics) is a dynamic script typeface that was unfinished when Alonso died. John Bomparte finished it. Bomparte also finished the hand-crafted typeface Hey Dude (2016).
FontShop link. Klingspor link.
View Bob Alonso's typefaces. View the BA Graphics typeface collection. [Google]
Baltimore Type Foundry (or: Baltotype)
[Herbert F. Czarnowsky]
Also known as Fielding Lucas, Jr., Lucas Bros., H.L. Pelouze&Son, and Chas. J. Cary&Co. Specimen may be found in Convenient Specimen Book of Type, Rules, Borders, and Electrotype Cuts from the Baltimore Type Foundry (Baltimore: Chas. J. Cary&Co., 1888. Banta Book of Types&Typographical Tips. Menasha: George Banta, 1961). The company existed until well into the 20th century, and published a catalog as late as 1957 called Type and Rule Catalogue 13, Baltotype.
A selected list of typefaces:
- Airport Gothic: Turista Gorda NF (2009, Nick Curtis) is based on Baltimore Type Foundry's Airport Tourist which in turn used ideas from Renner's 1932 typeface Futura Display. Mc McGrew on Airport Gothic: Most of this series is the first American copy of Futura, which originated in Germany in 1927, designed by Paul Renner for Bauer. One source says it was cut from original Futura drawings, smuggled out of that country, but it seems more likely that matrices were made by electrotyping the imported type. An extrabold weight, Airport Black, was cut by Baltimore about 1943; information on this cutting is scarce and contradictory- one account says it was designed by Bill Stremic or Bill Blakefield, another that it was designed by Carl Hupie (or Hooper), and cut by Herman Schnoor. There is also Airport Black Condensed Title and Airport Broad. The latter is a modification of Airport Black, cut 50 percent wider on the pantagraph by Herman Schnoor. Baltimore later cast some of its Airport series from Monotype Twentieth Century matrices, and in a few cases listed both series. Airport Relief, Baltimore 299, is English Monotype Gill Sans Cameo Ruled, while Airport Tourist, Baltimore 602, is Futura Display, cast from electrotype mats of the German foundry type.
- Baltimore Script (1955). Mac McGrew: Baltimore Script is a fancy style designed by Tommy Thompson and cut by George Battee for Baltimore Type in 1955. The lowercase follows the general style of a script letter hand-written with a broad pen, although the inclination is slight and the letters don't quite connect. Capitals are flourished. It is suitable for stationery, announcements, and greeting cards, but its range of small sizes is hardly enough for advertising use.
- Mac McGrew: Czarin and Czarin Title were produced by Baltimore Type&Composition Corporation about 1948, the name being derived from the Czarnowsky family which owned the foundry. Czarin Title, issued first, is a copy of Offenbach Medium, a set of pen-drawn capitals designed by Rudolf Koch about 1935 for the Klingspor foundry in Germany. Czarin has minor changes in a few characters, but adds a lowercase, designed by Edwin W. Shaar, that is substantially different from that of Steel, the cap-and-lowercase version of Offenbach. The new lowercase harmonizes well with the capitals, and makes a handsome appearance. Compare Lydian. Footnote: McGrew spelled the name of the owner as Czarnowski. Irene Traeger, the granddaughter of Herbert F. Czarnowsky, pointed out the incorrect spelling to me.
- Mac McGrew: Elegante is a decorative, nearly monotone typeface cut by George Battee for Baltimore Type, after the German typeface Sensation of 1913, from Foundry Heinrich Hoffmeister. It is upright, with flourished caps and loops on some of the ascenders and descenders, and is suitable particularly for announcements and personal stationery. Compare Greeting Monotone.
- Mac McGrew: Emperor is a 1957 adaptation by Baltimore Type of Wide Latin which was cut by Stephenson Blake in England and related to nineteenth-century typefaces under other names. However, this Baltimore Type version has been modified and resized, and is less successful due to excess space between letters (although not as much as in the specimen shown here, which is letterspaced). Emperor was originally shown as Imperial.
- Their geometric series from 1884 became famous, and was often imitated. HiH created two font families based on it: Teutonia (2007) and Baltimore Geometric (2008, a revival of Antique Geometric by Baltimore Type Foundry, 1883). HiH writes: Roos&Junge of Offenbach am Main in Germany produced Teutonia in a "back-to-basics" effort that has seen many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923 Joost Schmidt at Bauhaus in Weimar took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. Even though none of these designs took the world by storm, they all made a contribution to our understanding of letterforms and how we use them.
- Mac McGrew: Greco Bold and Italic are Spanish typefaces of the mid-1920s. They are very heavy, with long ascenders and small x-height, and have a hand-lettered appearance. Linotype Vulcan (q.v.) is equivalent. National Matrix&Type Co. in Baltimore, one of several independent companies which made matrices for the popular casting machines, offered Greco Bold in 1929 as its series 100; this was the source of Baltimore Type's mats, but Baltimore and some other sources cast Greco Bold and Italic as series 326-3261. These numbers have not been found in Monotype literature; perhaps another independent source also made mats. Notice the figures, which are termed hanging or old style, although they do not follow the usual form. However, taller 1, 2, and 0 are also available to convert the set to lining figurees. Compare Hess Monoblack. Greco Adornado, an ornamented version, has also been imported.
- Mac McGrew: Homewood is a recutting by Baltimore Type of Metropolis Lined, a German typeface of the 1930s. It was made from a large size of Metropolis Bold, with the fine white lines cut in, and differs from the original in minor details of the curves. Other sizes were cut by pantagraph and do not necessarily match original sizes.
- IBM Executive Modern, a typewriter type.
- Mac McGrew: Mademoiselle was designed by Tommy Thompson in 1953 as a display typeface for Mademoiselle magazine. It was cut by Herman Schnoor at Baltimore Type, which also offered fonts for general sale. It is a delicate, narrow modern roman, with long ascenders and short descenders, rather loosely fitted, and works well for display with transitional text typefaces such as Bulmer and Scotch Roman. Both lining and oldstyle figures are provided, along with several pointing hands as shown.
- Tourist Extra Condensed. Turista Flaca NF (2009, Nick Curtis) is based on Tourist Extra Condensed. McGrew: Tourist Extra Condensed of Baltimore Type is a copy of Phenix (q.v.) in 24- to 48-point sizes, and is Jefferson Gothic (q.v.) in larger sizes. Phenix is a 1935 ATF typeface by Morris Fuller Benton.
- Mac McGrew: Trend is a brush-lettered typeface cut by Baltimore in 1953. It is very similar to Dom Casual (q.v.), but has a slight back slant.
- Mac McGrew: Trylon as made by Baltimore Type was a 1949 copy of Stephenson Blake's Playbill (see Imports in Appendix), but Trylon Shaded and Trylon Shaded Oblique were designed and cut by George Battee of the Baltimore foundry. The solid version has lowercase in some sizes; it is somewhat similar to P. T. Barnum, with greatly exaggerated horizontal strokes and serifs at top and bottom, but is heavier and narrower. The Shaded versions are more properly outlines of the same design, with a small shadow effect at the top (which is unusual) and right of each letter, but without lowercase.
- Mac McGrew: Vernen is essentially a copy of Huxley Vertical (q.v.), but omitting the round characters AKMNWY and using the alternate pointed characters instead. In addition, the slight extensions of cross strokes to the left of stems have been omitted, and a few other characters have been redrawn. It was offered by Baltimore in 1953.
- Mc McGrew: Vista is a very wide square-serif face, cut by Baltimore Type in 1956. It is said to be a pantagraphic modification of Hellenic Wide from Bauer in Germany; actually it does not match that typeface in details, though it has the same general effect.
- Mac McGrew: Wide Line Gothic is a creation of Herman Schnoor for Baltimore Type, modified by pantagraph from Philadelphia Lining Gothic, increasing the width by about 50 percent. The flat sides of round letters. acceptable in the moderately condensed original, make awkward shapes in this extended version. Compare Franklin Gothic Wide, Tempo Black Extended.
- Among the wood types, we have Oak Leaf (1832, ornamental caps).
Rich Hopkins, a printing historian, acquired Baltotype ca. 1993. Based on drawings from the 1950s in the Baltotype material, Miranda Roth at P22 designed LTC Athena, a narrow art deco typeface, in 2013. [Google]
Designer of some Western-themed typefaces at Adobe in the 1990s. These include
- Poplar (1990, after a 19th century wood type typeface by William Leavenworth). Poplar has these digital versions made by Nick Curtis: Copper Canyon WBW Demi Bold, Copper Canyon WBW, and Copper Canyon Inline WBW.
- Madrone (1991, a spaghetti western face---a fat typeface didone, Madrone was digitized from proofs of the wood type collection in the National Museum of American History in the Smithsonian Institution in Washington, D.C.).
- Adobe Wood Type Ornaments (1990-1991 with Joy Redick).
- Cottonwood (1989, ith Kim Buker Chansler and Joy Redick),.
Linotype link. FontShop link. Typedia link. View Barbara Lind's typefaces. [Google]
Barnhart Bros. Spindler Type Founders: Book of Type Specimens, 1907
Trying to fit this 1000-page book into one web page, with discussion of many types. It's impossible, but I tried it. [Google]
Barnhart Brothers&Spindler (or: BB&S)
Chicago-based foundry, which grew out of The Great Western Type Foundry in 1868 when the Barnhart brothers (newspaper publishers in Iowa who came to Chicago as advertising agents) bought out the Toepfer family in 1868. They retained Herman Spindler as the foreman, since he was the only typefounder in the group. Aggressive in business, BB&S became the largest foundry in Chicago. Book of type specimens. Comprising a large variety of superior copper-mixed types, rules, borders, galleys, printing presses, electric-welded chases, paper and card cutters, wood goods, book binding machinery etc., together with valuable information to the craft. Specimen book no.9 (1907) is a 1048-page monster catalog (see also here and here and here). Some pictures from Type Barnhart Type Foundry Co. New York City: Superior Copper-Mixed Type (1908). BB&S was purchased by ATF about 1911 and it operated independently until about 1930. Typophile page on them. Text file with a list of the typefaces in their Catalog 25 (1925). Discussion of some of their typefaces and digitizations:
Wiki page. List of all BB&S typefaces compiled by the American Amateur Press Association in 2009. This includes a PDF file and an Excel spreadsheet.
- Engravers Upright Script, a ronde style alphabet, was revived in 2006 by Nick Curtis as Bon Mot NF.
- Hazel Script, a primary school didactic connected script, digitized in 2006 by Paul Hunt as P22 Allyson (discussed here).
- They made the (sloppy) old-look garalde typeface Fifteenth Century in 1897, which turned into Caslon Antique (American Type Founders). A digital version can be had at MyFonts, but who made it? MyFonts also offers Caslon Open Face (originally, 1915).
- One of their best known designers was Oswald B. Cooper who made Cooper Black (1921) and Cooper Old Style (1919-1924), with characteristically blurred rounded serifs. He also made Cooper Hilite (shaded), Cooper 570 (fat), Cooper 579 (outline), Cooper Tooled Italic (shaded) and Cooper Black Italic 571.
- Delysian NF (2004, Nick Curtis) revives their Greeting Card typeface from the BBS catalog of 1923.
- Lining Gothic No. 71 (1907) is a grotesque typeface with panache. It was digitized by Nick Curtis as Cerulean NF (2007).
- Mazurka NF (2004, Nick Curtis) is a combination of two typefaces from the same catalog, Swagger Capitals, designed by Carl S. Junge, for the uppercase and Gothic Novelty Title for the lowercase.
- Racine (1903) was revived by Nick Curtis as Kenosha Antique (2004).
- Archer (1905) was revived by Nick Curtis as Grand Rapids (2005).
- Umbra (1907) was revived by Nick Curtis as Shady Lady NF (2005). Monotype's Umbra is based on a later metal version by Ludlow though.
- One of their blackletter typefaces is Waldorf Text (1914).
- Steelplate, a monocase engraved US dollar bill-style face, ca. 1900 at BBS, was revived by Nick Curtis as Smackeroo NF (2005).
- Ernst Lauschke designed the oriental look typeface Dormer in 1888 at the Great Western Foundry. BB&S renamed it Pekin. HiH digitized it in 2005. Pekin also is the name of Dan Solo's revival.
- Freak (1889, The Great Western Type Foundry) was renamed Bamboo by BB&S. A digital version by Tom Wallace is also called Freak (2005).
- Parsons (1918, Will Ransom) was digitized by Jess Latham.
- Clearcut Shaded Capitals (1920s, Will Ransom). Extended to a full font by Nick Curtis in 2005 as Ransom Clearcut NF).
- Dotted Roman (1897, a Victorian typeface) was revived as Miss Dottie NF by Nick Curtis in 2014.
- The decorative wood type typeface French Antique, featured in the 1905 catalog, and originally due to William H. Page. Digital versions by Woodentype (Jordan Davies) and Nick Curtis (whose version of French Antique Extended is called Fran Tique NF (2008)).
- The wedge-serifed typeface Vulcan (1884) was revived by Nick Curtis in 2014 as Vulkan NF.
Digital typefaces that descend from Barnhart / BBS. [Google]
Foundry in Wichita, KS, founded in 1999 by Nathan Williams (b. Concordia, KS, 1973), formerly from the University of Kansas Art Museum Library. Its motto: The goal of the foundry is to provide uninterpreted revivals of type samples generated through disappearing printing methods, and create new fonts for dissemination in the type community. Order through MyFonts.Com or Union Fonts or Creative Market. FontShop link. Klingspor link.
- The Rodeo family of wood type fonts: 66 Rodeo, 57 Rodeo, 58 Rodeo (2003), Rodeo Rope, Rodeo Rope Superchunk.
- The Tuscan family: Tuscan (2003, a wild west face). To this group we can add the Tuscan typeface Circus KS (2006).
- Egyptians: Grit Gothic (2013), Grit Sans (2013), Heirloom Artcraft (2013), Worn Gothic (2013), Stately GG (2013), Grit Egyptienne (2005, grunge Egyptian family), Rough Egyptienne (2005).
- Grunge typefaces: Antimony (2005, grunge), Dryden (distressed handwritten face).
- Old typewriter fonts: Slab American Regular (old typewriter), Slab American Titling, Slab American Titling Heavy (2002). Slab American has 55 styles.
- Art nouveau typefaces: Old Paris Nouveau (2003).
- Pixelish typefaces: Base PXL7, 80s PXL Bold.
- Display Sans: Maxime (2004, having support for most European languages; Maxime Shadow is available at FontShop), Woodgrit Thin (based on 19th century American letterpress fonts), Woodgrit Medium, Woodgrit Heavy, Pippen (squarish).
- Calligraphic: Roundhand Regular.
- Victorian: Boback.
- The Grit family: Grit History (2003-2004), Grit Primer (2003), Grit Egyptienne, Grit Typesorts (2006, free).
- The Old Times American family (+Italic, +Titling).
- Pia Regular.
- Kandt: the handwriting of legendary designer and art director James Kandt; 4 styles.
- AVI Sans.
- Country Fang (2003, with Brian Miller).
- Craft Roman
- Licious Script.
- Luxe (2003, casual).
- Momentum (2002).
- George Gibson (handwriting from mid 1800s).
- Dingbats: Megaflakes 2010 (2010) and Megaflakes 2011 (2011).
- Sketchwriter (2011).
- Dusty Circus (2011) is a five-layer stacking display face designed to be infinitely morphed. It is a prototypical member of that old western circus font genre.
- Bobbi Bee (2013). A connected script.
German creator of the Tuscan font Beans (2009) and the italic signage typeface Garcia (2009). Dafont link. [Google]
Graphic designer in Paris, b. 1980. Teacher at the École d'Architecture de la Ville&des territoires in Marne-la-Vallée. Cofounder, with Guillaume Grall, of Building Paris. Creator of the traffic-like sans typeface capitale (2009) for the signage of a concert hall. Werkman Letterpress (2009) is a font designed from letterpress woodblocks. It was inspired by the first issue of the magazine The Next Call (1923) by Hendrik Nicolaas Werkman. UnkleBenz (2009) is based on his own handwriting. [Google]
[Ornaments of Grace]
New York-based creator (b. 1986) of the freescratchy fonts Screw This (2009) and Ink Bleed (2009), the fat finger font Lednar (2011), and the wood cut typeface Wood Is Good (2012). [Google]
Toronto-based designer of the Arts & Crafts scrapbooking style typeface Crafty Font (2013) and of the wood type Bauer Bodoni-inspired slab serif Bodoni Block Font (2013).
In 2016, he designed the geometric wedge serif typeface Equinox. Behance link. [Google]
Bill, Stark, and Co
In 1850, Horatio and HJeremiah Bill, who had previously worked for Edwin Allen in South Windham, CT, start a wood type manufacturing business in Lebanon, CT, and move to Willimantic, CT, the next year. A few years later, they were joined by Stark, and the company became Bill, Stark, and Co. In early 1854, it is renamed again to H. and J. Bill Co., but closes its doors later that year. Their equipment gets purchased by William Page in 1856 who will start his own successful wood type company, Page&Bassett.
Its typefaces included Bill Stark Roman Extended (a "fatface"), and Concave Tuscan Condensed (1853).
For digitizations, see, e.g., Dick Pape's AWT Bill Stark Concave Tuscan Cond (2013), AWT RIT Conc Tuscan Open Shade (2013) and AWT Vandenburgh Concave Tuscan (2013: this typeface was cut by Vanderburgh Wells but is based on an 1853 design by Bill, Stark & Co). [Google]
BIRH Creative (or: Brian Is Right Here)
American creator of these display typefaces in 2016: Birch Fill (woodsy), Birch Outline (stackable). Creative Market link. [Google]
Brazilian type designer Daniel Sabino de Souza studied under Laura Meseguer at the Eina-Escuela Superior de Disseny in Barcelona. His foundry in Sao Paulo is called Blackletra (est. 2012). He has taught type design at IED/Sao Paulo.
He won an award at Tipos Latinos 2012 and at TDC 2013 for Karol. In 2012, he won the Silver Prize in the Latin category of the Morisawa Type Design Competition for Hashar, a beautiful angular connected script face.
In 2013, he published Karol at Type O Tones. Falado (2013) is a delicate display typeface commissioned by Estudio Mucho for the graphic identity of the Spanish orchestra La Filarmónica. It won a Gold Medal at Laus'13.
In 2014, he designed the superb angular script typeface Haltrix (Village). Karol Sans was published at Type-o-Tones in 2014. Haltrix, Gandur (which was inspired by other geometric texturas, specially Max Bittrof's Element (1933)) and Karol Sans all won awards at Tipos Latinos 2014. Expectedly, Haltrix won an award in the TDC 2015 Type Design competition. Gandur New (German expressionist) and Gandur Alte (closer to Textura) followed in the summer of 2014.
Gothiks (2015, Village), a family of condensed typefaces of varyong widths and thicknesses that hearken back to the gothic wood types, and Latam Sans (2015) won awards at Tipos Latinos 2016.
Village link (since 2014). Behance link. [Google]
Blazej Ostoja Lniski
Bill Moran at Blinc Publishing (est. 1996, St. Paul, MN) is the creator with Darrel Austin at Chank of Goshen, Gommorah, and Prospect. He also created Gideon (2001, 999USD!!!!!), Bell Martellus (2006, a Carolingian script family commissioned by the James Ford Bell Library at the University of Minnesota; codesigned with Chank Diesel), and Sodom (1999, with Chank). Hamilton Offset (2002, Chank) was based on an alphabet from the Hamilton Wood Type Printing Museum. He also made Flour Sack (2006).
He writes: As a youngster in Green Bay, Bill began his career as an apprentice in his father's print shop [Jim Moran]. He honed his graphic design skills at the University Of Wisconsin-Stout and proceeded to work for Norwest Banks, The Artist known as Prince, and 3M before starting his own business. Bill serves as the Artistic Director for the Hamilton Woodtype and Printing Museum.
Chank link. Blinc specializes in turn-of-the-century wood and lead type.
Klingspor link. [Google]
Books on Wood Type
Books on Wood Type, as listed by the Design Division of the Department of Art and Art History at The University of Texas at Austin:
A sublist of specimen books held by Columbia University (CU), the Newberry Library in Chicago (NL), the New York Public Library (NYPL) and the Hamilton Wood Type&Printing Museum (HAM) is quite impressive. Here we go:
- 1963 / American Wood Type. Design Quarterly, No 56. Minneapolis: Walker Arts Center.
- 1964 / American Wood Types, 1828-1900, Volume One. Limited edition folio.
- 1965 / Wood Letters in the 20th Century. Matrix 7. Rochester, NY: Office of Educational Research, Rochester Institute of Technology.
- 1969 / American Wood Type, 1828-1900: Notes on the Evolution of Decorated and Large Types and Comments on Related Trades of the Period. 1st ed. New York: Van Nostrand.
- 1977 / American Wood Type, 1828-1900: Notes on the Evolution of Decorated and Large Types and Comments on Related Trades of the Period. 1st Paperback Printing New York: Da Capo Press.
- 1977 / Wood Type Alphabets: 100 Fonts. New York: Dover Publications. Edited by Rob Roy Kelly.
- 1990 / Adobe Wood Type, Vol 1. Moutain View, California: Adobe Systems. Introduction by Rob Roy Kelly.
- 1999 / Specimen Book of Wood Type. Madison: Silver Buckle Press.
- 1828 / CU Darius Wells: Darius Wells, Letter Cutter.
- 1838 / CU George Nesbitt (Edwin Allen): First Premium Wood Types Cut by Machinery.
- 1838 / NYPL J.M. Debow (William Leavenworth): Leavenworth's Patent Wood Type.
- 1840 / CU Wells&Webb Specimens of Plain and Ornamental Wood Type.
- 1841 / CU George Nesbitt (Edwin Allen): Nesbitt's Fourth Specimen of Machinery Cut Wood Type.
- 1846 / CU L. Johnson (Wells&Webb): Specimens of Wood-Letter.
- 1849 / CU Wells&Webb: Specimens of Wood Type.
- 1853 / CU Bill, Stark&Co.: Specimens of Machinery Cut Wood Type.
- 1854 / CU W.&H. Hagar (Wells&Webb): Specimens of Printing Types.
- 1854 / CU / NL Wells&Webb: Specimens of Wood Type. (NL copy is gift from Hamilton Mfg. Co.)
- 1858 / NL D. Knox&Co.: Specimens of Wood Type.
- 1859 / CU / NL William H. Page&Co.: Specimens of Wood Type.
- 1859 / NL J.G. Cooley&Co.: Specimens of Wood Type. (NL copy also contains parts of two smaller undated specimens: J.G. Cooley&Co. Cooley's Wood Type and Vanderburgh, Wells&Co.)
- 1860 / NL William H. Page&Co.: Supplementary Specimens of Wood Type Rules&Borders, Etc..
- 1865 / CU William H. Page&Co.: Price List for Wood Type, Borders, Reglet, Etc.. (Affixed to 1859 Page specimen)
- 1870 / NYPL William H. Page&Co.: Specimens of Wood Type.
- 1870 / CU William H. Page&Co.: German Specimens of Wood Type.
- 1872 / CU / NL / NYPL William H. Page&Co.: Specimens of Wood Type.
- 1872 / NL Marder, Luce (Page): Specimens of Wood Type.
- 1872 / CU Dauchy&Co. (Page): Specimens of Wood Type.
- 1873 / CU William H. Page&Co.: Specimens of Wood Type.
- 1874 / CU / NL William H. Page&Co. Specimens of Chromatic Wood Type, Borders, Etc.. (CU copy is gift from Rob Roy Kelly)
- 1876 / CU William H. Page Wood Type Co.: Specimens of Wood Type. (CU copy is gift from Rob Roy Kelly)
- 1876 / CU / NL William H. Page Wood Type Co.: Poster Specimens. (NL copy is gift from Hamilton Mfg. Co.)
- 1877 / CU Vanderburgh Wells&Co. Specimens of Wood Type, Borders, Rules, Etc..
- 1878 / CU / NYPL William H. Page Wood Type Co.: Specimens of Wood Type. (CU copy is gift from Rob Roy Kelly, NYPL copy contains one additional page showing Aetna Extra Condensed and Egyptian)
- 1879 / NL Vanderburgh Wells&Co. Specimens of Wood Type, Borders, Rules, Etc..
- 1879 / CU William H. Page Wood Type Co.: Page's Wood Type Album, Vol 1, No 1. (CU copy is gift from Hamilton Mfg. Co.)
- 1879 / CU William H. Page Wood Type Co.: Page's Wood Type Album, Vol 1, No 2. (CU copy is gift from Hamilton Mfg. Co.)
- 1879 / NL William H. Page Wood Type Co.: Page's Wood Type Album, Vol 1, No 3.
- 1880 / NYPL William H. Page Wood Type Co.: Specimens of Wood Type.
- 1881 / CU Hamilton&Katz: Specimens of Holly Wood Type.
- 1881 / CU Morgans&Wilcox Mfg. Co.: Specimens of Wood Type, Printing Materials, Presses, Paper Cutters, Etc..
- 1882 / CU William H. Page Wood Type Co.: Specimens of Wood Type&Borders. (CU copy is gift from Hamilton Mfg. Co.)
- 1883 / NL American Wood Type Co.: Specimens of Wood Type.
- 1883 / CU Shniedewend&Lee: Specimens of Page's Wood Type&Borders. (CU copy is gift from Hamilton Mfg. Co.)
- 1884 / NL [microfilm] Hamilton&Katz: Specimens of Holly Wood Type.
- 1884 / CU / NL Morgans&Wilcox Mfg. Co.: Condensed Specimen Book of Wood Type. (NL copy is gift from Hamilton Mfg. Co.)
- 1886 / NL [microfilm] Hamilton&Baker: Specimens of Holly Wood Type .
- 1887 / NL National Printers' Materials Co.: Specimens of Enameled Wood Type.
- 1887 / NL William H. Page Wood Type Co.: Specimens of Page's Wood Type.
- 1887 / CU Hamilton&Baker: Specimens of Holly Wood Type. (CU copy is gift from Rob Roy Kelly)
- 1888 / CU William H. Page Wood Type Co.: Specimens of Machine Cut Wood Type. (A facsimile was produced by David W. Peat in 2002)
- 1888 / CU Hamilton&Baker: Specimens of Wood Type&Borders. (CU copy is gift from Hamilton Mfg. Co.)
- 1889 / CU The Hamilton Manufacturing Co.: Specimens of Wood Type&Borders. (CU copy is gift from Hamilton Mfg. Co.)
- 1889 / CU The Hamilton Manufacturing Co.: Specimens of Wood Type&Borders. (CU copy is gift from Hamilton Mfg. Co.)
- 1889 / CU The Hamilton Manufacturing Co.: Calendar Sets.
- 1889 / NL Vanderburgh Wells&Co.: Specimens of Wood Type, Borders, Rules, Etc..
- 1890 / CU Morgans&Wilcox Mfg. Co.: Condensed Specimen Book of Wood Type.
- 1890 / CU / NL William H. Page Wood Type Co.: Page's New Process Wood Type. (Reprinted by American Life Foundation in 1983)
- 1890 / CU Vanderburgh Wells&Co.: New Styles Wood Letter. (3-color Broadside)
- 1890 / CU Heber Wells: Specimens of Wood Type.
- 1891 / NL Heber Wells: Specimens of Wood Type.
- 1892 / CU Heber Wells: Specimen Book of Wood Letter.
- 1892 / CU The Hamilton Mfg. Co.: New Process Wood Type Manufactured by Page.
- 1892 / CU / NYPL The Hamilton Mfg. Co.: Wood Type&Borders (Oversized). (Front matter indicates that there was an 1891 catalog)
- 1893 / NL Nelson&Chessman&Co. (Hamilton): New Process Wood Type. (NL copy is gift from Hamilton Mfg. Co.)
- 1893 / CU The Hamilton Mfg. Co.: Specimens of Wood Pointers (Broadside).
- 1894 / CU The Hamilton Mfg. Co.: Perpetual Calendar Sets (Broadside).
- 1895 / CU Heber Wells Specimens of Wood Type. (Front matter indicates there was an 1893 catalog)
- 1895 / CU The Hamilton Mfg. Co.: DeVinne Series Specimens.
- 1899 / CU The Hamilton Mfg. Co.: Specimens of Wood Type (No 14).
- 1900 / CU The Hamilton Mfg. Co. Specimens of Wood Type (No 15).
- 1904 / NL Tubbs&Co.: Tubbs Wood Type.
- 1906 / CU The Hamilton Mfg. Co.: Specimens of Wood Type, With Ornaments, Fewer Issues, Dashes, Silhouettes, Catchwords, Corners, Fractions, Calendars&Borders (No 16).
- 1908 / CU / NL The Hamilton Mfg. Co.: Specimens of Wood Type (No 17).
- 1918 / CU / NL The Hamilton Mfg. Co.: Wood Type&Borders. (Hamilton re-used existing Tubbs Mfg. Co. specimen book)
- 1927 / CU The Hamilton Mfg. Co.: Unit Gothic&Hamilton's Series of Roman Borders (2 Broadsides).
- 1927 / CU The Hamilton Mfg. Co.: Cheltenham Faces.
- 1927 / CU The Hamilton Mfg. Co.: Specimens of Wood Type.
- 1928 / CU The Hamilton Mfg. Co.: New Gothic Faces&Wood Type.
- 1929 / CU The Hamilton Mfg. Co.: Poster Cheltenham.
- 1930 / CU The Hamilton Mfg. Co.: Large Wood Type.
- 1932 / CU The Hamilton Mfg. Co.: Display Gothics.
- 1938 / CU / NL The Hamilton Mfg. Co.: Wood Type Catalog No 38.
- 1957 / NL American Wood Type Mfg. Co.: Interim Catalog 1957.
- 1958 / NL American Wood Type Mfg. Co.: Catalog 1958-1959.
- 1961 / NL American Wood Type Mfg. Co.: Catalog 1961-1962.
Borutta is the creative studio of Warsaw-based designer Mateusz Machalski (b. 1989), a graduate of Wydziale Grafiki ASP in 2014. He is the creator of the blackletter-inspired typeface Raus (2012), which also could pass for a Cyrillic simulation font. It was possibly made with Pawel Wypych. He also made Kebab (2012, a fat caps face), Duce (2012, art deco: withdrawn from MyFonts after Charles Borges complained that it was a rip-off of his own Gloria), Fikus (2012), Woodie (2012, a condensed rough wood type face), Polon (2012), Aurora (2012, a German expressionist poster face), Musli (monoline connected script), HWDP (2012, poster font), Wieczorek Script (2012, hand-printed), Hamlet (2012, a sword and dagger typeface, renamed to Prince), Caryca (2012, Cyrillic simulation, done with Pawel Wypych), Bezerro (2012, poster face), Bitmach (2012, pixel face), Meat Script (2012, a caps only market signage brush script), Krac (2012, a tall poster font), Hermes (2012: Ten Dollar Fonts), Berg (2012, a roughened blackletter face), Buldog (2012), Dudu (2012, tall condensed face).
In 2012, Polish designer Wojciech Freudenreich and Mateusz Machalski combined forces to design the techno typeface SYN.
Machalski likes old wood types, which inspired him in 2012 to publish a wood type collection of weathered display typefaces: Condom, Hype, Whore, Banger, Buka. Elo (2012) and Duce (2012) are fat weathered wood types.
Typefaces made in 2013: Wood Type Collection 2 (which includes Brie, Kaszti, Mader, Modi, Rena, Roast, Ursus), Zigfrid (headline face), Salute (letterpress style), Benito (a letterpress or geometric wood typeface), Bojo (heavy wood style poster face), Picadilly (heavily inktrapped open counter sans family), GIT (a manly headline sans), Lito (an eroded poster typeface), Haine (vernacular caps), Aneba (organic sans family), Vitali (sans), Korpo Serif (slab serif), Korpo Sans (elliptical family; +Greek, +Cyrillic).
Typefaces from 2014: Adagio Slab, Adagio Serif, Adagio Sans (a superfamily not to be confused with the 2006 typeface Adagio Pro by Profonts), Adagio Sans Script, Adagio Serif Script, Adagio Slab Script, Tupperware Pro. Tupper Pro (42 styles) was designed by Mateus Machalski and the RR Donnelley team.
Typefaces from 2015: Tupper Serif (again with RR Donnelley: a superfamily for pairing Latin, Cyrillic, Hebrew an Greek), Vitali Neue, Legato Serif, Corpo Serif, Corpo Sans, Zigfrid, Picadilly (a great ink-trapped sans typeface family with an erect g).
Typefaces from 2016: Migrena Grotesque (earlier named Enigma Grotesque but probably in view of a clash with the name Enigma used by Jeremy Tankard cganged to the appropriately named Migrena Grotesque), Alergia Grotesk (a take on the classical geometric grotesque style, in 60 weights, for Latin, Greek and Cyrillic), Alergia Remix (a hipster / hacker font take on Alergia Grotesque).
Home page. Behance link. Another Behance link. [Google]
[T-26] designer of Found (1999, wood style face), VinylDoubleOutline, VinylInline, VinylOblique, VinylOutline, VinylRegular (1998). Klingspor link. [Google]
Brew City Type
Daniel Nisbet (Brew City Type, Milwaukee, WI) designed the wood style slab serif titling typeface Porter in 2016. Creative Market link. [Google]
Paris-based designer of the calligraphic typeface Victor Hugo (2013), New Man (2013, textured and stylish), Candylicious (2013), the vintage condensed typeface Orient Express (2013), and the wood log typeface Wonder of Yosemite (2013). [Google]
[BIRH Creative (or: Brian Is Right Here)]
[The Warehouse (or: Warehouse Design)]
Menomonie, WI-based student at UW Stout, class of 2013. Creator of the fun Western look typeface Jim Jam (2013). [Google]
Sao Paulo-based designer of the Clarendon-style typeface Guanabara (2013, Oficina Tipografica da FAU-USP) and the angular display typeface Garabito (2013). [Google]
Letterpress company in Barcelona run by Jesus Morentin. Morenti studied graphic design at la Escuela d'Arts i Oficis Llotja, at the University of Barcelona and finally at at Escola Superior de Disseny, ESDi. Behance link. [Google]
Caleb B. Wills
Student at the University of North Texas in Denton. Designer of the woodprint-look font Emilee (2003), which he sketched, then scanned, using several woodcarving books (1950's) from his library at UNT as reference. He also designed the display typefaces Max Openace and Max Closed as well as Bunker, Engine, Ethan, and Smack. [Google]
Carl Gustav Naumann
C.G. Naumann is Carl Gustav Naumann, who ran a family printing business in Leipzig. In 1901, he published Schriftproben der Firma C.G. Naumann. Sample pages of that book are shown in the link. Poster by Naumann. [Google]
Carmel Type (or: Just Lucky)
Drew Melton (Carmel Type and Just Lucky, Los Angeles, CA) is a graphic and type designer, letterer and occasional illustrator. He has worked for a wide range of clients including McCann, Saatchi & Saatchi and Penguin Books. Many of his typefaces are exquisite.
He created the vintage shadowed typeface Lastra (2014, improved in Lastra Display in 2015), Westward Numerals (2014), Steel Cut (2014, numerals), Chisel (2014, numerals), Show Stopper (2014, a signage typeface), Ballpoint Script (2014), Awning Display (2014), Brite Script (2014, Ten Dollar Fonts), Handsome Script (2014, a calligraphic copperplate script), the signage typeface Sideshow (2014) and the Tuscan typeface Magnifique (2013, +Inline, +Shadow).
Typefaces from 2015: Numerals (Book Club, Butcher Block, Chisel, Chisel Shadow, Chisel Fill, Elegante, Elegante Fancy, Yuma), Dolcetto (a stunning swashy calligraphic copperplate script for stately occasions), Lumber Co (an Italian Western wood style font family at The Designers Foundry; together with Jason Carne), Rubber Boots (a text typeface with considerable contrast), Stockpile (numerals), Luxus Gothic (blackletter), Yuma Numerals. In 2015, Jason Carne and Drew Melton codesigned the large condensed titling typeface family Skyward and wrote: Robust, towering, and geometrically refined, Skyward is a surefire classic cocktail of equal parts utility and elegance. Stuffed Crust, bold and loud, will be a hit too. Drew writes: Big and greasy never looked so good.
Typefaces from 2016: Boulangerie (a Tuscan typeface by Drew Melton), Motor City (By Drew Melton and Jason Carne; an industrial strength slab serif; the name Motor City was already taken by Casey Cole in 2012, so we'll wait and see if there will be a name change in the works).
Creative Market link. Behance link. Ten Dollar Fonts link. Carmel Type link. [Google]
A woodtype-look font made by Harold Lohner, extrapolated from the logo of the MAD magazine. [Google]
Small printing press in the UK, est. 1860. Paul Davy had access to their wood types in 2015, and created the free digital typefaces Castle Press No 1 (2015) and Castle Press No 2 (2015). [Google]
Chandler Van De Water
Chandler Van De Water (Greenville, SC) is a designer and front-end developer at NewSpring Church in Anderson, SC. He does freelance design, should a project intrigue him. He also makes fonts. In 2012, he designed the black wood-style typeface Cubano (free at Lost Type).
Creative Market link. [Google]
[Herbert F. Van Brink]
Prolific Woodland Hills, CA-based typophile and type designer (1937-2013) whose portfolio consisted largely of revivals and who used the alias Character for his typographic work. The Los Angeles Times posted this obituary: Herb passed away after a brief fight against esophageal cancer. He was a 42 year resident of Woodland Hills Ca. Son of the late Jean and Mary Van Brink, he was born in Manhattan, graduated from Stuyvesant High School (1952) and Queens College (1956) and always considered himself a New Yorker. He had a long career in Information Technology and retired from Arco. He loved traveling, bowling, genealogy, and was a bridge Life Master among his many interests. He was a trickster and a perfectionist. He leaves his wife, Paula, his son, David Van Brink and DIL Deb Culmer of Santa Cruz CA, his daughter Qarin Van Brink and SIL James Ray of Burien WA, grandchildren Amelia and Wilhelmina Ray Van Brink, brother and sister-in-law Jeffrey and Louise Van Brink of E. Northport NY and nephews Matthew and Jordan Van Brink.
- Animal dingbat fonts: AbecedarianZoo (2003, created from an alphabet in Art Explosion 200,000), Turf&surf (2005).
- Alphadings: Jennifer's train (2011), ABCPlay (2005), DiddleTheMouse (2005), Silly Set (2005), Stone Carving (2005), Snow Persons (2005), Alaskan Ice (2005), Peppermin Canes (2005), USStarsNStripes (2003, first called USFlags), XmasTree (2002), XmasTree II (2004), Xmas Alpha (2005).
- Erotic alphabets: Flotner (2002, based on a scan of the human character alphabet by Peter Flötner (1534)), SilvestreBodies (2006, based on a figurative alphabet designed by Joseph Balthazar Silvestre in 1834, with engravings made by Girault), ErotiCaps Outline (2007), ErotiCaps Solid (2007), WeygelBodies (2006, adapted from Martin Weygel's 1560 interpretation of Peter Flotner's 1534 figurative alphabet).
- Stained glass themed fonts: ModernStainedGlass (2007), ModernStainedGlass2Tone (2007).
- Capital alphabets: Cameo Antique (2011, after Cameo Antique on page 17 of The Solotype Catalog of 4,147 Display Typefaces---a shadowed outline version of the typeface called NightShade, on the same page of Dan Solo's book; the only known digitized fonts of NightShade are "Shadowed Serif" by James Fordyce (1994) and NigelSadeSH, from Soft Horizons (1993)), Modern French Capitals (2010, after a set of capitals drawn by Alphonse Mucha), Mucha French Capitals (2010, similar?), Marcel Caps (2007; based on "Crossroads" by August Will (1891)), WoodLook (2007, an improvement of 101's Wooden Alpha BlockZ), 3DAlphabet (2008, based on an alphabet coloring book designed by Jean Larcher, 1978), RomantiqueInitials (2007, based on work by Aridi), Blistered, BlisteredFramed, BlisteredReverse (2005, based on Marwan Aridi's Blister from the Initial Caps Vol I), ChiseledRound, Contemporary CH (2010), CourierInitials (2005, based on an alphabet by Johan)), Eclectica (2003, party-theme), FeathersInYourCaps (2002), FlowerSketches (2002), LACETRIM (2002), LeafyStencil (2003), QuiltedStippled (2004, based on an embroidery alphabet created by DesignsInStitches), RetroCapsBW (2004), RetroCapsWB (2004), Rope5 (2004, rope font), Rustic Black Shadow (2011. He explains: In the Solotype Catalog of 4,147 typefaces, RUSTIC is shown with a black shadow. RUSTIC WHITESHADOW has a white shadow. However, the Solotype digital font named RUSTIC has no shadow. Similar no-shadow fonts are also available as Pinewood (by Rick Mueller and one by Dieter Steffmann) and as Woody (by DincType). As of October, 2011, no digitized version of Rustic Whiteshadow is known. Character has produced a font named RusticBlackShadow, which matches the font named Rustic in the Solotype Catalog. Dick Pape had created an earlier version named Pepin Press Caps FA204, based on fonts contained in the Pepin Press book Fancy Alphabets. ), THINROPE (2002), VALENTINEHEARTS (2002), Printed Circuit (2005), SportsABC (2005), Feathered Flight (2005), Joe Clement (2007, Western pixel face), Ribbon Shadow (2007).
- Fonts based on scans from Awesome Alphabets (Mike Artell, 1999, Good Year): SketchBoards, SketchBones, SketchClothes, SketchLogs (2005), SketchPencils, SketchPipes, SketchTools, all done in 2005.
- Athletic lettering: Collegiate Heavy Outline (2006), Real Madrid 2011-2012 (2011, an expansion of a font by "Adriano"), The Football League (2011), Adidas Euro 2008 (2011), Puma World Cup 2010 (2010: based on Crepello, a custom-made font by Paul Barnes for Puma, that was used on the jersey of Italy, Switzerland and Uruguay during the 2010 FIFA World Cup), Adidas Unity (2010), LINKEB+Regular (2008) uses the lettering of the Geaux font used by LSU.
- Pixel or dot matrix style fonts: Dash It All (2007, based on Cooper Black), Even Hearted (2007, an improvement of CK More Hearts), Square 9x9 (2007).
- Brush typefaces: Skippingbrush (2006), GraffitiPaintBrush (2008).
- Dingbats: Being Sport Pictograms (2008).
- Scanbats: PilobusSilhouettes (2010) is based upon a human alphabet photographed by John Kane.
- Techno: BultacoDual (2010), Dr Who 42 (2007), London MMXII (2008), ArrowheadLake (2009, +Shadows, +Sunlit; based on the nearly blackletter typeface Arrowhead from the Solotype Catalog and alphabet books).
- Historic typefaces: Driftwood 67 (2011, Driftwood on page 67 of The Solotype Catalog of 4,147 Display Typefaces), ArrowheadLake and ArrowheadLakeShadows (2011, based on Solotype Catalog p.74), Cutin (2011, a simple rounded monoline sans called Cut-in Medium on page 163 of The Solotype Catalog of 4,147 Display Typefaces),Cutin (2011, a simple rounded monoline sans called Cut-in Medium on page 163 of The Solotype Catalog of 4,147 Display Typefaces), Pepin FA288 (2011, based on Matra, or Bifur, on page 54 of The Solotype Catalog of 4,147 Display Typefaces by Dan X. Solo), Varicka (2010, from "Decorative Condensed Alphabets", by Dan Solo, p. 94. It is similar to Red Rooster's Triple Gothic Condensed, but the Solo's font has different features), MaxfieldParrish140 (2007: From an incomplete (no "N") hand-drawn alphabet by Maxfield Parrish. See figure 140 of "Letters&Lettering" by Frank C. Brown, 1921. This is a different source than the P22 Parrish font family.), Ronde Antique (2009, based on page 110 of the Verlag Gerlach 1881 catalog).
- Other: Scramble Mixed (2006, scrabble face), Happy Fourth, Emperor AN (2009: this semi-art nouveau typeface is Emperor on page 42 of The Solotype Catalog of 4,147 Display Typefaces---not the same as Dan Solo's Emperor at MyFonts), Wood Gothic Caps (2011, blackletter), WoodWud (2011), Gallia Two (2010, based on a font found on page 55 of The Solotype Catalog of 4,147 Display Typefaces as Gallia No. 2), Charleston (2010, based on page 46 of The Solotype Catalog of 4,147 Display Typefaces), Azteca Regular (2010: based on Azteca Condensed by Dan X. Solo, page 74 of The Solotype Catalog of 4,147 Display Typefaces), Othello Fill and Solid (2011, derived from Othello on page 155 of The Solotype Catalog of 4,147 Display Typefaces), Sharons Shadows (2010, +Bold), Masked Menace (2012, based on Bodoni Poster).
Fontspace link. Dafont link. Fontspace link. And another one. See also at abfonts. Dafont link. [Google]
[American Wood Type Co.]
[Tubbs Mfg Co]
[Roger S. Nelsson]
Started in 2008, this web place by Norwegian entrepreneur Roger S. Nelsson (based in Honningsvåg, Norway) sells fonts by Ray Larabie, Brian Kent, Nick Curtis, Derek Vogelpohl and Kevin King that were originally freeware fonts. Nelsson reworked them (more glyphs, more multilingual) and asks about 10 dollars per font now. He says his fonts now cover these Latin languages: Afrikaans, Albanian, Basque, Belarusian (Lacinka), Bosnian, Breton, Catalan, Chamorro, Chichewa, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino (Tagalog), Finnish, French, Frisian, Galican, German, Greenlandic, Guarani, Hungarian, Icelandic, Indonesian, Irish (Gaelic), Italian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Luxembourgian, Malagasy, Maltese, Maori, Northern Sotho, Norwegian, Occitan, Polish, Portuguese, Rhaeto-Romance, Romanian, Saami (Inari), Saami (Lule), Saami (North), Saami (South), Scots (Gaelic), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Spanish, Swedish, Tswana, Turkish, Turkmen, Ulithian, Walloon, Welsh, Yapese.
Designer at FontStruct in 2008 of cowboy_hippie and Syndrome X (DNA-look typeface inspired by Syndrome BRK by Brian Kent). Nelsson's fonts are Classic Trash BRK Pro, Dynamic BRK Pro, Galapogos BRK Pro, Genotype BRK Pro, King Cool KC Pro (kid's hand; done with Kimberly Geswein), Lamebrain BRK Pro, Matrise Pro and Matrise Text Pro (dot matrix), Phorfeit BRK Pro, Syndrome BRK Pro, Technique BRK Pro, Vigilance BRK Pro, Grapple BRK Pro. The "BRK" refers to Brian Kent, the original free font designer.
In 2009, he added a number of fonts that were done by Nick Curtis some years before that (hence the "NF"): Boogie Nights NF Pro (art deco face), Copasetic NF Pro, Coventry Garden NF Pro, Pro, Fontleroy NF Pro, Hamburger Heaven NF Pro, Monterey Popsicle NF Pro, and Wooden Nickel NF Pro. Trypewriter Pro (2009) is based on Kevin King's Trypewriter. Helldorado Pro (2009) is a Tuscan wood type style typeface based on a font by Levente Halmos.
Designer of Isbit Pro (2012, a magnificent melting ice cube-shaped superlliptical typeface family), Familiar Pro (2011, designed with the same metric as Helvetica but "better than Arial"), Bloco Pro (2010, fat counterless face), Trump Town Pro (2009, athletic lettering slab serif), Geometric Soft Pro (2009), Geometry Script Pro (2010, upright connected script), DIN Fun Pro (2011), Infantometric Pro (2012), Foobar Pro (2012) and Cheap Pro Fonts Serif (2009).
Typefaces from 2013: Adultometric Pro (narrow monoline sans).
Dafont. Fontspace link. Fontsquirrel link.
Catalog of Nelsson's bestselling typefaces. [Google]
With just one name (the other one was lost in an accident!), Chester, the type designer, was born in Montreal in 1971, and worked at Thirstype in Chicago. In 2005, he started up the type coop Village, which is located in New York. His fonts include Syzygy, Schmelvetica (at FontShop), Psyche (unreleased), Orbit (2003, with Rob Irrgang), Rheostat (1996, a grunge dot matrix font family), HateNote, Panderella (2000-2001, ultra geometric), Eclogues (1999, an absolutely stunning romantic high-ascender-descender family), LoveHateCollection, JohnHadANightmareLastNight (2001), Alexey (2003, a stencil family, with Rick Valicenti), Apex Serif (2003, with Rick Valicenti), Exchange (dot matrix), Pizzelle Italic, Phatso (2003), Satchel Paige (2003, a wood type typeface made with Tracy Jenkins), Pixella (2003, pixel font), Nillennium (2000, an octagonal family), Freedumb (2004), Galaxie Polaris (2004, a sans) and Virgil, the last twelve fonts at Thirstype. At Village, he published Mavis (2005), Apex Sans (2004, with Rick Valicenti), and then Apex New (2006), which has a hairline weight, Apex Thin, and Apex Rounded (2010). In 2009, he codesigned the large x-height text family Galaxie Copernicus with Kris Sowersby at Village. In 2010, he and Jeremy Mickel made the poster type family Aero, which took inspiration from Roger Excoffon's Antique Olive. It won an award at TDC2 2011.
His custom-made typefaces from 2006-2007 include these: Rewards (with Kris Sowersby), Always Radio (with Markus Rakeng), 2Wice Egyptian, Apex Compact, Apex New Condensed, Baro Heavy, Baro Light, Baro Medium, Baro Super, DPA Gothic, Endzone, Galaxie Ariane, Galaxie Copernicus, LMVDR, Modernismo, Snickers. [Google]
[Exclamachine Type Foundry]
Designer in Long Beach, CA.
Typefaces from 2014 by Means include CM Pradaesque (a Trajan font).
In 2012, Christopher created CM You Got Me wet, CM Fresh Paint, CM Big Fat Paintbrush, CM Garaflora (floriated Garamond caps), CM Chipped Paint (ornamental caps), CM Sans Serif 2012 (+Aged), CM Jungle Adventure (textured typeface), CM Hot Nurse (chalky font), CM Bank Tower College (an athletic lettering font), CM Western Woodblock (+No. 2), CM Mummy Tape, CM Party Headline (textured caps), CM Shark Week, CM Tropical Script, CM Old Western, CM Cold Request CM Moving Forward (techno face), CM Old Firehouse (grungy), CM Grunge Party.
In 2011, he designed CM Tattoo Dragon, CM Bloat, CM Handwriting One (brush face) and CM Old Halftone. [Google]
Fancy metal or wood type from the second half of the 19th century. According to Ringwalt in his American Encyclopedia of Printing and Bookbinding (1871): type made of metal or wood for color printing and so arranged that there are duplicate or triplicate copies of each letter, which, after being printed, respectively, in different colors, on a given space, blend together in a harmonious whole. Chromatic types were shown regularly in foundry type specimen books of the 1840s and 1850s.
Rob Roy Kelly describes the early history: Chromatic types were first produced as wood type by Edwin Allen, and shown by George Nesbitt in his 1841 Fourth Specimen of Machinery Cut Wood Type. Both William H. Page in 1859, and J.G. Cooley in c.1859, showed several pages of Chromatic type in each of their wood type specimen books. Page showed these types in most of his specimen books in the 1870s. The high point of Chromatic wood type production came in 1874 when the William H. Page Wood Type Co. issued their 100-page Specimens of Chromatic Type & Borders. Though Hamilton, Morgans & Wilcox, and Heber Wells all showed samples of Chromatic types through the rest of the century, none of these ever reached the level of intricate precision attained in Page's 1874 masterpiece.
Free copy of William H. Page's Specimen of Chromatic Wood Type Borders Etc (1874). Local download of this PDF file. [Google]
American designer in Jackson Heights, NY (b. 1965), associated with the Cherokee Nation. He created the graffiti font Chase Zen Jackulator (2015), Chase Zen Jingletruck Karachi (2015), the tattoo font Chase Zen Holy Monkey (2015), the art nouveau typeface Chase Zen Paris (2014), Chase Zen Sprawl (2014), Chase Zen Blight (2014), Chase Zen Punjabi (2014), Chase Zen Basmati (2014), and Chase Zen Bangladesh (2014).
Designer in 2011-2012 of the following free Latin / Cherokee fonts: Nikwasi, Tsiquilisda, Danisvdanvsgv, Alewisdodi, Gola Unole, Nvdaasdawadidohi, Atuyasdodi, Tsi yu gunsini (a copperplate design for Unicode Cherokee, named after a Cherokee chief called Dragging Canoe), Wilma Mankiller Old (2012, also for Cherokee), Gadaquali (flared face), Gageda (Cherokee font).
Further typefaces: Grendel (2011), the tattoo fonts Maelstrom (2011) and Reign Sample (2010), the mechanical typeface Dans Hardware (2010), the graffiti typeface Stone Angel (2010), the Western typeface Mary's Cherry&Co (2010), the squarish typeface Dashboard Jesus (2010), the fat wood style typeface John Brown (2010), Dantone (2010), the fat roundish typeface Creamy (2010), Thermobaric (2011, Star trek face).
Chung-deh Tien created a few Cherokee fonts including Nikwasi San (2012), Sequoya Bold (2012), Oconosota (2012), Kanagota (2012), and Tsalagi Ameliga (2010).
Dafont link. Flickr link. Fontspace link. Another Fontspace link. [Google]
Clarence Pearson Hornung
Prolific author, b. 1899. His books include the typographically magnificent Handbook of Early Advertising Art, Mainly from American Sources (Dover, 2 volumes). The typeface Lexington is attributed to him, as Mac McGraw writes: Lexington is a font of shaded and decorated letters and figures, drawn for ATF by Wadsworth A. Parker in 1926, from a design by Clarence P. Hornung. It is an ornamental form of roman letter, with curly serifs, and tendrils at the ends of light strokes. It was recast in 1954, and copied in one size by Los Angeles Type.
The book Early Advertising Alphabets, Initials and Typographic Ornaments (1956), edited by Clarence P. Hornung, led Dick Pape to creates these digital fonts in 2008: AltDeutsch, Amorette1889, ArabesqueDesign, BreiteEgyptienne (2008), BreiteverzierteClarendon, ChiswickPressGothicInitials, EarlyScrollAlphabet, EarlySignboards, EnglandInitials1880, ErhardDatdolt, FlorentineInitials, FlorentineInitialsReverse (2008), GothicChancery1880s, GothicClosedLetter (2009-2010, Lombardic), Hollandisch-Gothic (2010), JudendstilAlphabet (2009), LilyoftheValley, Papillon 1760 [First shown in Paris in 1760, and reprinted by Clarence P Hornung in Dover Pictorial Archive Series: Early Advertising Alphabets, Initials and Typographic Ornaments (1956, Dover Publications). Hornung's images inspired Pape's typeface], Phantasie (2009-2010), RomaineMidolline (2010), RomanPrintShaded (2010, ornamental roman caps), RusticAlphabet, SilhouetteInitials1880, TheTerrorsofNightLife, VerzierteAltGothic, VerzierteGothic, VictoriaGingerbread1890 (2007).
Download here. More direct link to Pape's digitizations. [Google]
[The Mad Castle]
Coert De Decker
Type designer from Buffalo, NY. His typefaces were mostly developed at P22. Klingspor link. A partial list of his fonts:
- In 2008, he revived and extended Cigno, a 1950s script typeface by Aldo Novarese, and called it P22 Cigno.
- LTC Circled Caps.
- P22 Civilité is a joint effort of Colin Kahn, Richard Kegler and Milo Kowalski.
- P22 Curwen. P22 Curwen Poster is a digitized version of a rare wood type used by the Curwen Press in England in the early 20th Century for poster work. P22 Curwen Maxima is a new hyper-stylized re-interpretation of Curwen Poster.
- The great display/comic book font Ebin (and Ebin Outline).
- In 2006, he created the P22 Gauguin font family (Regular, Alternate, Brush and Extras), a script font set based on the writings and sketches of post-impressionist artist Paul Gauguin.
- Glamour (2006, P22/Lanston; also called LTC Glamour Grotesque) is based on the 1948 design by the same name done at Lanston Monotype, which in turn is based on Imre Reiner's Corvinus.
- Goudy Sans (2006, P22/Lanston, 6 styles): Goudy Sans Bold was originally designed by Frederic 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, which includes a Goudy Sans Hairline.
- In 2008, he revisited Richard Kegler's P22 Platten, which was based on lettering found in German fountain pen practice books from the 1920s, and created the extended typeface P22 Platten Neu.
- Internship (2003), or St G Schrift. P22 swrites: St. G Schrift (2005, P22) is a font based on the type designs of German poet Stefan George. This sans-serif typeface features a few variations found in books published by George in Berlin. Includes P22 St. G Schrift One, P22 St. G Schrift Two and P22 St. G Italic (an art nouveau version of the roman, newly designed). The original font was cast in 1907 by a small foundry in Germany and was used primarily for the works of George as well as other books including a monumental edition of Dante's Divine Comedy. This may or may not contradict the fact that Marcus Behmer designed Stefan George-Schrift in 1904.
- P22 Tuscan Expanded is a digitization of the mid-19th century wood type font Antique Tuscan Expanded - Wells&Webb 1854.
- P22 Vale (2007, in Roman and Kings Fount styles) are based on types by Charles Ricketts that were used by the Vale Press (which in turn were based on Jenson). The Kings Fount is originally dated 1903.
- In 2007 still, he revived Zebra (P22), a font originally designed in 1963-1965 by Karlgeorg Hoefer.
View Colin Kahn's typefaces. [Google]
Wood engraver in Bressuire, Deux-Sèvres, France, active in the 1880s.
Revivals of his work include Audebaud (2010, Mad Type), which is a French Clarendon. Audebaud's work appeared in the 1880s in the Deux-Sèvres département of France. [Google]
Constellation is a creator and publisher of contemporary typefaces and is run by its two partners, Chester Jenkins (based in New York, born in Montreal) and Tracy Jenkins. They also feature typefaces by Magnus Rakeng, Patrick Giasson, Kris Sowersby, Rick Valicenti, and Jeremy Mickel. Constellation contains the main elements of the previous Village and Thirstype foundries. Typefaces:
- Aero (2011, Chester Jenkins and Jeremy Mickel). Based on Roger Excoffon's Antique Olive.
- Apex Sans (2003), Apex New (2005) and Apex Rounded (2010). All by Chester Jenkins. Apex Serif and Apex Sans were codesigned with Rick Valicenti.
- Arbor (2010). Arbor was originally commissioned by the New York Times magazine for use in their 2008 Hollywood special issue. The source was Rob Roy Kelly's book of woodtype samples, and the D and H from Caslon's Italian of the 1820s. An original representative of this Western genre.
- Brooklyn (2013, a brutalist typeface) and Brooklyn Stencil (2013, an octagonal stencil). The original was commissioned in 2007 by Michael Bierut for a sports complex.
- Galaxie Cassiopeia (2006). A round connected upright script. By Chester Jenkins.
- Galaxie Copernicus (2009). An interpretation of Christophe Plantin's Plantin (cut by Robert Granjon) and Frank Hinman Pierpont's Monotype revival of Plantin. By Chester Jenkins and Kris Sowersby.
- Galaxie Polaris, Galaxie Polaris Condensed (2004-2013). Two sans families by Chester Jenkins.
- Oz (1999). A round typeface family by Patrick Giasson. Designed as an homage to Oswald Cooper (whose nickname was Oz), whose Oswald Cooper inspired the fat shapes.
- Radio (1998). A retro script family by Magnus Rakeng.
Cuttlefish Fonts offers free original fonts by Cupertino, CA-based graphic designer Jason Pagura, such as Rutaban (2001), Bernur (1996, sans), Gemelli (handwriting), Gohan (fat finger comic book lettering, updated into ShinGohanSix in 2007), Bolonewt (2003), Antherton Cloister (2003, insect antenna influences! Discussed here) and Rutager (2001). He was working on Palormak (2006, futuristic).
From 2006 until 2010, he published Agamemnon, a large and warm transitional slab serif typeface with wood type influences that covers Latin, Cherokee, Cyrillic and Greek.
Later typefaces include Cartmeign and Posterony (2007, anthroposophic).
Dafont link. 1001fonts link. [Google]
Based in Boston, Dan Forbes is a graphic designer with a keen interest in tyography. In 2009, he created the log-themed Woody Display. [Google]
Dan X. Solo
Dani Rubio Arauna
Graphic designer in Barcelona since 2004. Creator of the wood type-inspired typeface Madera (2014) and of the ornamental caps typeface Metamorfosis (2014). Behance link. [Google]
Daniel Hernández Sanchez
[Hernández Type (was: Estudio de diseño Calderón)]
Aleksandra and Daniel Mizielińscy are from Warsaw, where they set up Hipopotam. Together, they created the hand-drawn 3d outline typeface Bubol (2011), the hand-printed Cartographer (2011), the grungy caps typeface Mr. Black (2011), the upright connected monoline script typeface Mrs White (2011), and the constructivist typeface Olifant (2011).
In 2012, they added Mr. Brown, Mr. Dog Dog (hilarious animal silhouette typeface), Mr. Robot (an octagonal overlay family that can have shadows), Mr. Tiger (eroded woodsy caps), and Mr. Orange (hand-printed).
Typefaces from 2013: Mr. Dodo, Mrs. Lollipop (a hand-drawn layered type system), Mr Lucky (sketched layered family), Mr. Alex, Mr. Happy (hand-drawn), Mr. Cyrk (checkered letters as seen on clowns and in a circus), Mr. Anteater, Mrs. Ant (comic book text typefaces).
Behance link. Klingspor link. [Google]
[Brew City Type]
Student in Moscow, who created Neowood (2012) and Aliens' Alphabet (2012). [Google]
This New York printer, was the first to produce wood type commercially, in 1827, after having invented the lateral router with David Bruce. Saxe says that the preferred woods were maple, pear, and cherry, and to a lesser extent boxwood, mahogany, and holly. Maple won out by 1850. His first specimen book (1828) now resides at Columbia University. Wells, the inventor, was born in Johnstown, NY, in 1800, and died in Paterson, NJ, in 1875. His company was first called D. Wells&Co., but becomes Wells&Webb in 1839 when Wells forms a partnership with E.R. Webb, who had earlier that year bought the company of Leavenworth and Debow from George Bruce. In 1854, Wells sells his partnership to Webb, and so we have E.R. Webb&Co. Webb dies in 1864, and the company reverts to Heber Wells, the youngest son of Darius Wells, Alexander Vanderburgh and Henry Low---it is now Vanderburgh, Wells&Co. Hever Wells buys out the others, and the company becomes just Heber Wells. This last company was absorbed by Hamilton in 1898.
Revivals of the wood types of Darius Wells include AWT Page Antique Black (2013, Dick Pape; after an 1828 typeface by Darius Wells) and AWT Wells Roman Extrabold (2013, Dick Pape; after an 1828 fat typeface typeface by Darius Wells). [Google]
Graphic designer in Los Angeles, where he ran/runs Beautiful Bastards. Subsequently, he is associated with Questus Inc and Big Country Labs, and is now located in Costa Mesa, CA and Tustin, CA.
His early typefaces: Mushman (2012) is a techno-sans typeface inspired by the adventurous spirit of actor Steve McQueen, who raced motorcycles under the false name "Harvey Mushman."
His second typeface, Bronson (2012, free if you ask), is a display type inspired by Danny "Tunnel King" Lewinski, Charles Bronson's character in The Great Escape.
In 2013, he created the elegant (free) futuristic typeface Astroman.
In 2014, Darren designed the free hipster typeface Skandi, which was inspired by Nordic runes. [Google]
Designer from Chicago, IL, who is now in New York City. Home page. Creator of the Western typeface in the Italian style, called Umidità 1832 (2009), about which Darren writes: This re-interpretation of an 1832 wood cut by Caslon was created for the Spring 2009 edition of the literary-arts journal Ninth Letter.
With Will Miller, he created the structural experimental typeface Skky (2011).
Behance link. [Google]
Squid (aka Dave Cohen) is a font designer, sculptor, illustrator and musician. He has executed hundreds of prototypes for the toy, ceramics and gift industries, such as tiki mugs. Squid's fonts are published exclusively by Sideshow Foundry. You can see his other musings at SquidArt. Google Font Directory link. With Stuart Sandler, he created the wooden plank look font Bamboozle (2008, Sideshow), the whacky comic book typefaces Goofball (2008), Weird Bill (2008, with Stuart Sandler), Weirdbats (2008, with Stuart Sandler), Doinky, Doinky Inline (multiline version of Doinky) and Doinkbats (2008), Zombie Rot (2010, with Stuart Sandler), Squidtoonz (2010, a comic book typeface done with Stuart Sandler), Motobats (2010, with Stuart Sandler), Skritchy (2010, a sketch font done with Stuart Sandler), Kitchenbats (2010, with Stuart Sandler), Beachcomber (2009, a wooden plank style face; with Stuart Sandler), Beachbats (2010, with Stuart Sandler), Office Blogger (2010, with Stuart Sandler, hand-printed), Western Dressing (2010, with Stuart Sandler), Canned Corn (2010, with Stuart Sandler).
In 2010, as Wisconsin-based Sideshow, he placed a number of free fonts at the Google Directory, all mostly hand-drawn typefaces: Walter Turncoat, Unkempt, Sunshiney, Slackey, Kranky (blackboard bold), Irish Growler (comic book style), Irish Grover, Chewy (bubblegum face), Rock Salt.
Faces from 2011 at Sideshow: Rancho Deluxe (with Stuart Sandler), Creepster Pro (with Stuart Sandler), Permanent Marker Pro, Rochester (a Victorian upright connected script).
In 2012, David Cohen and Stuart Sandler published these typefaces at Neapolitan: Irish Grover Pro (2010, a bouncy face), Satisfy Pro (2011, a connected retro script face), and Slackey Pro (2010, a paper cut out style face).
Typefaces made in 2012: Mystery Quest (a curly Victorian and/or psychedelic typeface that is free at Google Web Fonts), Seaweed Script (Google Web Fonts), Griffy (spooky face, Google Web Fonts), Skranji (Google Web Fonts).
Typefaces made in 2013: Impala Script (retro script; with Stuart Sandler), Fuzzbox (a funky typeface; with Stuart Sandler), Ramparts (funky font, with Stuart Sandler), Seaweed Script Pro, Griffy Pro, Blinky (chalky, hand-drawn).
Typefaces from 2014: Tradewinds Pro (with Stuart Sandler), Flavors Pro (with Stuart Sandler), Flavors Pro Spicy (with Stuart Sandler), Oyster Shore, Rumpus Room Filled (with Stuart Sandler), Rumpus Room (with Stuart Sandler).
Typefaces from 2015: Mystery Quest Pro (wacky, wobbly, funky, offbeat and groovy), Frijoles (with Stuart Sandler, at Neapolitan), Snackbar (an 18-style fifties diner script family by David Cohen and Stuart Sandler).
Klingspor link. Fontspace link for some free fonts. [Google]
During his studies at Design College Australia in Brisbane, David Harley created the layered font Chromatic No 503 (2013). It is a revival of the wood type No. 500 by William H. Page (1887).
Behance link. [Google]
David Jonathan Ross
In 1855, David Knox started producing wood type in Fredericksburg, OH, together with Edwin and Thomas Ferry, John McNulty, and M.S. Richards. The latter four were on strike at the W.T. and S.D. Day Co., a competing wood type manufacturer in the same city, and left that company to start with Knox. A flood destroys the plant in 1858, and that was it.
Revivals include Grecian Light Face (2016, Wood Type Revival: this revices the 1858 typeface Light Face Grecian). [Google]
[David Thometz Design]
David Thometz Design
David Thometz (b. Everett, WA, 1966) is a designer in South Jordan, UT (near Salt Lake City) who has produced some fonts for his own projects. In 2004, he moved to Hampton, TN. Typefaces by him include DTD Silvertone Woodtype, DTD Architrave Sans, DTD Tinhorn, DTD Venceremos Latin, DTD Hefeweizen (blackletter, beer bottle font), DTD Architrave (2001), DTD Digita (a great screen font), DTD Seriatim [+ Seriatim Gestalt, + Seriatim Uncial, 2003, + Seriatim Sans, 2003), DTW Erwin (2004, a Venetian newspaper typeface for the Erwin Record, a small, weekly newspaper in the town of Erwin in northeastern Tennessee, based on a cross of Plantin and Cloister), and Erwin Gothic (2007), its companion. About Erwin Gothic, he says: The design of Erwin Gothic is based on a series of German grotesque families from the early 1900s, designed originally by Johannes Wagner and distributed originally by Wagner&Schmidt as Wotan (ca. 1914?), Lessing, Reichsgrotesk and Edel Grotesque; and subsequently reworked and re-released by several foundries under these names as well as names such as Annonce Grotesque (ca. 1912?), Aurora Grotesk (ca. 1928), Neue Aurora Grotesk (1964) and Aura. Anzeigen Grotesk (ca. 1943) appears to be another offspring of these designs.
In 2004, David Thometz Design made its debut at MyFonts with Seriatim (dingbats), Silvertone Woodtype and Hefeweizen.
View David Thometz's typefaces. [Google]
David W. Shields
Shields holds a BFA from Memphis State University and a MFA from Cranbrook Academy of Art. He lived in Brooklyn where he co-founded the design studio Viewers Like You, and was a design consultant in New York. He designed Goofypop and Frank Rounded. Now an assistant professor at the University of Texas at Austin, Shields researches and catalogues wood type, and organizes the extensive Rob Roy Kelly wood type collection there. Speaker at ATypI 2009 in Mexico City, and at TypeCon 2012 in Milwaukee. [Google]
Born in the UK in 1949. He trained in the UK, worked for EMI Records and Saatchi&Saatchi and later moved to Southern California, wghere he started his own illustration studio, the David Westwood Studio for lettering (brush style, wood style). Designer of the lino-cut effect font Westwood (Letraset, 1991).
FontShop link. Klingspor link. [Google]
Day & Collins
Wood type foundry in Fann Street, London. Publishers of Wood Type, Printing and Bookbinding Materials (1904, London).
Revivals of their work include MPI Atlas (2013, MPress Interactive). A 1910 catalog inspired Jeremia Adatte to create Day and Collis Logotypes (2014). [Google]
Creator of the DF Organics series of wood-cut style images at Letraset in 1993. Klingspor link. FontShop link. [Google]
[Robert James DeLittle]
In 2014, David Shields researched this British wood type foundry, which was founded in 1888 by Robert Duncan DeLittle as the R D DeLittle Eboracum Letter Factory. The wood type manufacturer was known for their unique production of White-Letter they named Eboracum after the Roman name for DeLittle's native city of York, England.
Books by Claire Bolton: DeLittle, 1888-1988: the first years in a century of wood letter manufacture, 1888-1895 (Oxford: Alembic Press, 1988) and DeLittle: an English wood-letter manufacturer; including a brief history of the development of wood-type (Winchester: Alembic Press, 1981). Starting in 1940, DeLittle also cut wood type for Stephenson Blake, the leading type foundry in the United Kingdom. DeLittle ceased operation in 1998. Robert James "Jim" DeLittle (b. 1936), the third and last owner, died in 2014 in Fulford. The Type Museum in London now houses the archives and machinery of the firm. See also DeLittle's Wood Type Specimens, 1966, The Cary Graphic Arts Collection at the Wallace Center, Rochester Institute of Technology.
Digital typeface revivals: Delittle Chromatic (Matt Braun, 2016; a revival of typeface 56/54). [Google]
Wood type foundry in York, England, est. 1888. Face Photosetting published Specimens of Delittle's wood type, Face book of typefaces, Type catalogue (1976). Robert Lee shows part of Delittle's Wood Type Specimens (1967).
Revivals of their work include MPI Delittle (2013, MPressInteractive). Matt Griifin is also planning a revival. [Google]
Born in Moscow in 1973, he emigrated to Israel in 1990 and has a Bachelor of Arts degree from the Bezalel Jerusalem Academy of Arts, 1996. A professional designer since 1996, he designs type and is involved in typographic projects.
At Google Font Directory, we can download his Latin/Cyrillic poster font Ruslan (or Rusland) Display (2011), the freehand lettering typeface Marck Script (2011, based on the hand of Marck Fogel), and the angular Kelly Slab (2011).
Bolster (2011) is a unicase fat Western face.
Forum (2011) is a classical roman face.
Ruslan Display (2011) was co-designed with Vladimir Rabdu, this decorative typeface is in the poluustav style dating from the 16th century.
In 2011, he set up the Denis Masharov foundry at MyFonts.
Free fonts published at Google Web Fonts in 2012: Ledger (Ledger was likened to Zapf's Melior by Nick Shinn, but Masharov says that it is closer to Swift), Glass Antiqua. This is a revival of the 1913 typeface Glass Antiqua by Genzsch & Heyse (original by Franz Paul Glass, 1912). Poiret (2012, free at Google Web fonts) is a Latin / Cyrillic geometric grotesque that combines art deco with avant garde.
Bolster (2012) is a great Italian wood type face.
Tenor Sans (2012) is a Peignotian typeface (free at Google Web Fonts).
Klingspor link. Behance link. Fontsquirrel link. Google Plus link. Fontspace link. [Google]
Prolific NY-based designer (born in East Los Angeles) who specializes in faithful revivals of old masters and logotype, in Latin and Hebrew. He made over 500 fonts including. He is also a translator and illuminator of Biblical period Hebrew and Aramaic. His clients include The Vatican (Pope John Paul II's Holocaust commemerative CD) and Hadassah, the Women's Zionist Organization of America. His specialties are translations worded in the language and style of the period in which the Biblical text was composed. His translation and enumeration of kabbalistic writings, otherwise known as Hebrew Mysticism and numerology, demonstrate the mathematical base of Biblical miracles.
His typefaces: OL Siynnamin Gothic, OL Radiant Slender, OL Raleigh Gothic (A, B) Display (2013), OL Titling Deco Semi Hilight (2013), OL Gotham Gothic (2013), OL Forum Titling (2013, Trajan column lettering), OL Signpainter Titling Face (2013, copperplate-influenced titling face), OL America The Beautiful (2013, a fashionable didone without ball terminals), OL Braggadocio (Braggadocio is a 1930 design by William A. Woolley), OL Candida Medium Condensed / Extra Condensed, OL Caslon Light / Bold, OL Chamfer Woodtype, OL Contact Bold Condensed, OL Contact Deco Caps, OL Corvinus Bold Condensed, OL Corvinus Versailles, OL Edenesque, OL Egiziano (+Comstock, 2005), OL Egmont (2005, +Medium, Medium Italic, Condensed: after Sjoerd Hendrik de Roos, 1933), OL Engraver's Roman, OL Engraver's Classic Roman (2009), OL Franklin Wide, OL Franklin Extra Bold / Extra Bold Italic, OL Franklin Triple Condensed, OL Garamond (2003), OL Gotham Gothic, OL Grecian Classic Bold Condensed / Bold Extra Condensed, OL Grecian Display, OL Grecian Modern (the Grecian series imitates wood type), OL Gothic Wide and Bold, OL Hairline Gothic (2009), OL Headline Gothic Triple Condensed, OL Heavy Metal Grecian, OL Jenson Bold Condensed / Extra Bold Condensed, OL Latin Classic Condensed, OL Lightline Gothic, OL Marksman Shot, OL Marla Bold, OL Miehle Classic (2009, +Condensed), OL Newsbytes Gothic, OL Purrrbank Gothic, OL Qumran Torah Hebraic Set, OL Racer Roman, OL Raleigh Gothic, OL Roman Compressed (2004), OL Roman Wide Deco Caps, OL Smokler (2006), OL Sharon Gothic Stoned, OL Sinead Stoned and Pointy, OL Smokler, OL Smokler Deco Caps, OL Thorne with Shadow, OL Twenty-five Deco Semicondensed, OL Windowpane Gothic, OL Woody Blocked, OL Avril Roman (2003, a flared face, after Emil Rudolf Weiss), OL Brierwood Grecian, OL Butterfly, OL Egyptian, OL Franklin, OL Garamond, OL London Black, OL Machina Black (2003, octagonal, mechanical), OL Manhattan, OL Marquee, OIL Newsbytes (2003, bold and black newsprint typefaces), OL Radiant, OL Round Gothic, OL Siynnamin Gothic, OL Skeleton Gothic, and HispanicHeritage (1999).
His fonts are sold through Phil's Fonts, Dsgnhaus, International Typefounders, and MyFonts. His 2001 fonts are signed Siynn bar-Diyonn, which is his Hebrew name. His Hebrew fonts published in 2007 include OL Hebrew Formal Script, OL Hebrew Neo Black, OL Hebrew Block, OL Hebrew Calligraphica, OL Hebrew Chisel, OL Hebrew Cursive, OL Hebrew Deco, OL Hebrew Handwriting, OL Hebrew Handwriting Deco, OL Hebrew Headline, OL Hebrew Prismatic, OL Hebrew With Tagin, and OL Qumran Torah.
Buy his fonts at MyFonts. Interview at the end of 2002, in which he recalls the start of his career at Rolling Stone magazine in 1979.
Showcase of Dennis Ortiz-Lopez's typefaces at MyFonts.
Klingspor link. [Google]
Dennis Y. Ichiyama
Professor Dennis Y. Ichiyama teaches in the School of Visual&Performing Arts at Purdue University in West Lafayette, Indiana. From 2000 until 2010, he researched wood type. His current research is on American wood type manufacturer Wm Page and Chromatic Wood Type. Speaker at ATypI 2010 in Dublin. He was involved in the making of the documentary about wood type simply called Typeface---for example, he designed a poster for it. [Google]
[ShyFoundry (was: ShyFonts)]
Rian Hughes studied at the LCP in London before working for an advertising agency, i-D magazine, and a series of record sleeve design companies. Under the name Device he now provides design and illustration for the advertising, entertainment, publishing, and media industries. He works from Richmond, UK, as a comic book artist, letterer and typefounder---his foundry is called Device. He creates mostly display type. List of fonts. Interview. Review by Yves Peters. Monotype Imaging page. Interview by Die Gestalten. Various (overlapping) font listings, still unorganized.
- Dingbats: Pic_Format, Mastertext Symbols, MacDings, RiansDingbats, Autofont.
- FontFont fonts: Identification (1993), Revolver, Rian's Dingbats, LustaOneSixtySans, Knobcheese, CrashBangWallop, and Outlander.
- [T-26] fonts: English Grotesque (1998), Data90 (2003; a free FontStruct typeface that is virtually identical to Data90 is Bitrate by Kummaeno (2010)), Flak Heavy (2003, stencil), Flak (2003, stencil), Freeman (2003), Klaxon (2003, kitchen tile font), Cordite, Substation (2003), September (2003), West Way (2003), Egret (2003), Paralucent Complete (2003), Paralucent Condensed, Paralucent Stencil (2003), Mercano Empire (2003), Iconics (2003), Cantaloupe (2003), Gravel (2003), Acton (blocky screen font, 2002), Ainsdale, Amorpheus, Anytime Now (alarm dingbats), Bingo, Blackcurrant (Blackcurrant Cameo (1997) is free), Bordello, Elektron, Haulage (U-Haul lettering, 2002), WexfordOakley, Telecast, Terrazzo, Transit, Untitled, Scrotnig, Skylab (2002), Silesia (1993), SlackCasual, Ritafurey, Reasonist-Medium, Regulator, GameOver, Novak, Quagmire, PicFormat, Jakita Wide (2000, techno font), Metropol-Noir, Motorcity, Mastertext, Mystique (2002), MacDings, Lusta, Laydeez, Sinclair, Paralucent (sans serif), Judgement, Bullroller, Zinger (a fifties font), Citrus (2002), Popgod (2003), Range (2000, a futuristic font), Hounslow, Jemima, Griffin, GranTurismo, Gargoyle, Foonky, DoomPlatoon, Darkside ("remixed" by FontStructor Kummaeno in his Ubangi (2011)), Cyberdelic, Contour, and the very original Stadia Outline family (Stadia is a kitchen tile font).
- List of all fonts by Rian Hughes, as of 2004: Acton, Ainsdale, Amorpheus, Anytime Now, Bingo, Blackcurrant, Bordello, Bull Roller, Chascarillo, Contour, Cottingley (1992), FF CrashBangWallop, Cyberdelic, Darkside, Data90, Doom Platoon (1996), Elektron, English Grotesque, Flak, Foonky, Freeman, Game Over, Gargoyle, Gran Turismo, Griffin, Haulage, Hounslow, Iconics, FF Identification, Jakita, Jemima, Judgement, FF Knobcheese, Laydeez Nite, Lusta (big family), Mac Dings, Mastertext, Men Swear, Metropol Noir, Motorcity, Mystique, Novak, FF Outlander, Paralucent, Pic Format, Platinum, Quagmire, Range, Reasonist, Register (A and B), Regulator, FF Revolver, FF Rian's Dingbats, Ritafurey, Scrotnig, September, Silesia, Sinclair, Skylab, Slack Casual, Space Cadet, Stadia, Substation, Telecast, Terrazzo, Transmat, Untitled One, Vertex, Westway, Wexford Oakley, Why Two Kay, Zinger.
- At Veer, in 2005, these Device fonts were published: Gentry, Gridlocker, Valise Montreal, Custard, Box Office (moviemaking letters), Sparrowhawk, Monitor, Moonstone, Miserichordia, Yolanda (a great playful medieval text typeface in three styles: Duchess, Princess, Countess), Gusto, Dauphine, Rogue, Ritafurey, Dynasty, Radiogram, Xenotype, Roadkill (grunge), Payload (stencil family comprising Regular, Outline, Spraycan, Narrow, Narrow Outline, Wide, Wide Outline), Catseye, Electrasonic, Absinthe (psychedelic style), Straker, and Chantal (brush).
- In 2006, Veer added these: Profumo, Ironbridge, Cheapside, Battery Park (grunge), Forge, Shenzhen Industrial, Hawksmoor (grunge), Coldharbour Gothic, Wormwood Gothic (grunge), Chase (grunge), Diecast, Roadkill Heavy, Tinderbox (fuzzy blackletter), Dazzle (multiline face), Nightclubber (art deco), Klickclack (2005, comic book or cartoon caper typeface), Vanilla (art deco), Wear it's at (grunge), Diecast, Drexler, Box Office (movie icon font).
- Fonts from 2007: DF Conselheiro (2007, grunge), DF Glitterati (2007), Indy Italic (script), DF Apocrypha (2006, rough outline), DF Quartertone (2007), DF Lagos (2007, rough stencil), DF Pulp Action, DF Reliquary #17 (2006, grunge didone), DF Dukane (2007, octagonal grunge), DF Strand (2007, striped stencil), DF Rocketship from Infinity (2006, futuristic), DF Appointment with Danger (2006), DF Las Perdidas (2006, grunge stencil), DF Kelly Twenty (2007, grunge stencil), DF Heretic, DF Roadkill, DF Ironbridge, DF Forge, DF Shenzhen Industrial, DF Hawksmoor, DF Cheapside, DF Battery Park, DF Saintbride, DF Profumo, DF Coldharbour Gothic, DF Wormwood Gothic, DF Tinderbox, DF Flickclack, DF Vanilla (multiline art deco face), DF Chase, DF Nighclubber (art deco jazz club face), DF Diecast, DF Dazzla, DF Zond Diktat (grunge), DF Yellow Perforated, DF Mulgrave (grunge), DF Ministry B, DF Ministry A (with a hairline weight), DF Gridlocker, DF Gentry, DF Valise Montréal (grunge), DF Custard, DF Box Office, DF Roadkill, DF Payload Wide, DF Payload Narrow, DF Catseye Narrow, DF Catseye, DF Yolanda, DF Xenotype, DF Telstar, DF Straker, DF Sparrowhawk, DF Rogue Serif, DF Rogue Sans Extended, DF Rogue Sans Condensed, DF Rogue Sans, DF Ritafurey B, DF Ritafurey A, DF Radiogram, DF Pitshanger, DF Payload (stencil), DF Outlander Nova, DF Moonstone, DF Monitor, DF Miserichordia, DF Interceptor, DF Gusto, DF Glitterati, DF Galicia (2004), DF Galaxie, DF Electrasonic, DF Dynasty B, DF Dynasty A, DF Drexler, DF Dauphine, DF Chantal, DF Absinthe, DF Register Wide B, DF Register Wide A, DF Register B, DF Register A, DF Quagmire B, DF Cordoba (2007, grunge), Mellotron (2004, stencil), Seabright Monument (2007), Charger (2007, grunge).
- T-26 releases in 2007: Klickclack, Hawksmoor (grunge), Heretic, Ironbridge (old letter simulation), Battery Park (grunge), Chase (grunge), Cheapside (grunge), Dazzle (multiline art deco), Diecast (grunge), and Forge (grunge).
- T-26 releases in 2008: Automoto (fat multiline deco face), Straker (organic). Also from 2008: Mission Sinister (grunge), Gonzalez (grunge).
- FontBros release in 2009: Filmotype Modern. Other Filmotype series fonts include Filmotype Miner (2012), Filmotype Manchester (2012), Filmotype Meredith (2012), Filmotype Marlette (2012), Filmotype Mansfield (2012), Filmotype Power (2012) and Filmotype Major (2012: this is based on a typeface used as the titling font for the popular children's book by Dr. Seuss entitled One Fish Two Fish Red Fish Blue Fish, 1960). Other 2009 fonts: Degradation (grunge).
- Creations in 2010: Pod (2010, fat round stencil), Korolev (2010, a 20-style monoline sans family based on communist propaganda from 1937), DF Agent of the Uncanny (2010, brush face), DF Destination Unknown (2010, Kafkaesque brush), DF Maraschino Black (a sleek, sophisticated high-contrast swash capital font).
- Creations in 2011: DF Capitol Skyline, DF Capitol Skyline Underline and DF Capitol Skyline Capitals (a multi-weight all-caps pair that epitomizes Streamline Moderne), DF Korolev (a 20-weight sans serif family based on lettering by an anonymous Soviet graphic designer who did the propaganda displays at the Communist Red Square parade in 1937. Named in honor of Sergey Pavlovich Korolyov, or Korolev, considered to be the father of practical astronomics).
- Typefaces from 2012: Ember (informal script), Kane (based on the Batman logo), Glimmer Glossy, Glimmer Mate, Galleria (avant-garde caps), Clique (flared sans).
- Typefaces from 2013: Wulf Utility (grungy), Charterhouse (an aggressive black sans), Filmotype Melon (after a 1959 original, this is an offbeat Googie era doo-wop typeface), Filmotype Melody (similar to Melon), Filmotype Mellow (also similar to Melon), Raw (worn wood type), Cadogan (a rhythmic connected script), Whiphand (brush face), Steed (heavy codensed masculine sans inspired by the titles of the Avengers TV show), State Stencil (Clean and Rough: in the style of Futura Black), Korolev Military Stencil (named after Sergei Korolev, father of Soviet astronautics, and based on signs from the Red Army parade of 1932), Armstrong (a 1950s automobile font).
- Typefaces from 2015: 112 Hours (numerals font).
- Typefaces from 2016: Typex (an angular yet rounded monospaced typewriter or OCR-style typeface based on the lettering used on Alan Turing's and Tutte's famous code-breaking machine at Bletchley Park, the Bombe, and the subsequent British answer to the German Enigma machine, the Typex), Serenity (a legible sans family).
- Other: Customised Foonky Starred, Altoona, DfAncestorITC, DfAttitudesPlain, HotRod (2002).
FontShop link. Klingspor link. [Google]
DIA (Dreamers Ink aesthetics)
Creative production studio in New York City led by Mitch Paone. In 2012, they created the sans typefaces MP Margot (inspired by art deco typefaces seen in the streets of Paris), MP Monte (inspired by wood type) and MP Roger.
Behance link. [Google]
[Clarence Pearson Hornung]
[Dick Pape: ornamental typefaces]
[Dick Pape: American Wood Type]
Dick Pape: American Wood Type
In 2013 and 2014, Dick Pape digitized 108 typefaces from the Rob Roy Kelly Collection of American Wood Type. This collection is curated by the Design Division of the Department of Art and Art History at The University of Texas at Austin. The PDF catalog of this collection served as a source for the design and the font names. The typefaces:
- AWTCooleyAntTuscanXXCond, AWTCooleyGrecianXXCondensed.
- AWTGothicTuscanCondReversed, AWTHWGothicTuscanCondNo3.
- AWTHamiltonAntTuscanExt, AWTHamiltonAntiqueExt, AWTHamiltonBenFranklin, AWTHamiltonCaslon, AWTHamiltonClarendonExtended, AWTHamiltonClarendonNo2, AWTHamiltonDeVinne, AWTHamiltonGothicExtended, AWTHamiltonGothicLight, AWTHamiltonGothicSpecial, AWTHamiltonJensonOldStyle, AWTHamiltonLatinExtended, AWTHamiltonTrenton, AWTHamiltonTuscanEgyptian, AWTHamiltonUnique.
- AWTMorgans-WilcoxDoricCond, AWTMorgansCourier4.
- AWTNesbittGothic, AWTNesbittGothicBold, AWTNesbittGothicRound, AWTNesbittOctagon, AWTNesbittRomanCondensed, AWTNesbittRomanExtended, AWTNesbittRomanExtended, AWTNesbittRomanOrnamented, AWTNesbittRomanXCondensed, AWTNesbittVenetian.
- AWTPage&SetchellNo154, AWTPage-SetchellNo515, AWTPageAldine, AWTPageAldineExpanded, AWTPageAldineOrnamented, AWTPageAntTuscanCond, AWTPageAntTuscanOutlined, AWTPageAntiqueBlack, AWTPageAntiqueCond, AWTPageAntiqueNo7, AWTPageAntiqueTuscan, AWTPageAntiqueTuscanNo1, AWTPageAntiqueTuscanNo8, AWTPageAntiqueXXCond, AWTPageAntiqueXXXCond, AWTPageBelgianCond, AWTPageBeveledNo142, AWTPageCelticOrnamented, AWTPageClarendonExtended, AWTPageClarendonNo1, AWTPageClarendonXXCondensed, AWTPageColumbian, AWTPageConcaveTuscanXCond, AWTPageConcaveTuscanXCondOutline, AWTPageCorinthianNo2, AWTPageEgyptian, AWTPageEgyptianOrnamented, AWTPageFrenchAntique, AWTPageFrenchClarendonCond, AWTPageFrenchClarendonXXX, AWTPageFullFacedGrecian, AWTPageGothicLightFace, AWTPageGothicTuscanNo1, AWTPageGothicTuscanPointed, AWTPageIonic, AWTPageIonicCondensed, AWTPageNo500, AWTPageNo501, AWTPageNo506, AWTPageNo508, AWTPageNo51, AWTPageNo510, AWTPageNo515, AWTPageNorwichAldine, AWTPageOrnamentedAldine, AWTPagePeerlessAntNo129, AWTPagePeerlessCondOldStyl, AWTPagePhanitalianNo132, AWTPageRomanAetna, AWTPageRunic, AWTPageSkeletonAntique, AWTPageTeutonic, AWTPageTuscanCondNo2.
- AWTW&WAntiqueTuscan, AWTW&WAntiqueTuscanExpanded, AWTW&WGothicCondOutlined, AWTW&WGothicExtended, AWTW&WGrecianXCondensed, AWTWells&WebbGrecianCondense, AWTWells&WebbTuscanOutlined, AWTWellsAntiqueLight, AWTWellsAntiqueLtExtended, AWTWellsAntiqueXCondensed, AWTWellsGothicTuscanCond, AWTWellsGothicTuscanItalian, AWTWellsPainter'sRoman, AWTWellsRomanExtraBold.
Download here. [Google]
Dick Pape: ornamental typefaces
Ornamental typefaces made in 2008-2010 by Dick Pape: 2 Cute 4 U (+Block), Abstract Alphabet (2009), Aged Ornaments (2009), Ancient Mortises (2008), Angel Alpha (2009), Angelica Alpha (2009), Ani-Red Jello Alpha (2009), Antique Alphabet (2009), Arabesque Design (2009), Art Deco Dingbat Images (2010), Art Deco Frames (2010), AlphabetArt, AndrewHolmesArtA, AndrewHolmesArtB, AndrewHolmesArtC, AndrewHolmesArtD, AndrewHolmesArtE, AndrewHolmesArtF, Angel Alpha, Angelica Alpha, Ani Red Jello Alpha (2009), AvonInitials, BritishAirwaysNumbers, CaFaitDur, CelticDesignDark, CelticDesigns-Light, Continnental, EckenFlowerBorders, GermanGothicManuscript, KafkaFlourishes, LaxtonCommonRevival, NiceOldAlphabet, Portent, RomanoAlphabet, Weissranken-Initialen, Babylon Initials (2009), Bird Drawings Alphabet (2008), Black Buttons (2010, +Bold), Bold Cameo (2009), Bubble Gum (2010, +Condensed, +Extended), Bultaco (2010, after the motorcycle brand), Cardio Black and White (2010, ECG-inspired), Charcoal family (2010, crayon typefaces), Checkerboard (2010), Chinese Flowers (2008), Chiswick Press (2007), Chocolate Type (2011), ChrisGreen (2010), Calligraphia Latina (2010), Dough (2011), Electronic Alphabet (2011), Elo (2010), EstupidoEspezial1, EstupidoEspezial2 (2010, based on the Hoefler Swash variant of OCR_A), TokoFont, Clip People (2010), Clothes Pin Font, Compass Rose (2008), Coptic Letters (2010), Cubes, Cups, Cute Lolo Animals, Dark Herald (2011, Celtic caps), Dave's Glyphs, Design Images, Digital Auto Sampler, Drinking Scenes, Drinking Utensils, DunHuang Art, Eating Signs, EcoLeaf, Eduardo Recife, Eggs And Milk, Eroding Alphabet Italic (2010), Extra Initials, Extra Ornaments, Fantasy Butterflies, Fantasy Dragon FX, Fantasy Monster Skulls, Far Away Places Images, Festival Books Borders, Festival Books Initials, Festival Books Ornaments, Fire Letters, Fire Letters Cameo, Fire Letters Monospaced, Fire Letters Monospaced, Floral Initials, Florentine Initials, Florentine Initials Reverse, Flower Panels, Flower Panels Outline, Flower Vines, Fresh Fish, Funky (2010), Funny Numbers, Furore Mexican (2011), Futorisugi Face, Garden Nouveau Initials, Gill Canterbury Capitals (2011), Give me a break, Gothic Metal Initials, Goudy Initials, Graph Glyphs (2010), Halbfette Egyptienne (2008), Hat Dance Alpha, Haunted Initials (2010), Hellenic Sketch (2010), Hollandisch-Gothic (2008), Holly Alpha, Hula Ribbon, Hula Ribbon 2, Hula Ribbon1, Humanistic Alphabet 106 Italic (2011), Humanistic Alphabet 108 (2011, uncial), India Designs, Irina Batkova HRG (2010, based on Giger's paintings), Japanese Design Parts, Japanese Design Templates A, Japanese Design Templates B, Jugendstil A, Jugendstil B, Kelt Ornaments 1, Kelt Ornaments 2, Kleft Bold (2011, dot matrix face), Lichte Jonisch, Madeleine Shaded (2010), Mayan Affixes A, Mayan Affixes B, Mayan Main Signs A, Mayan Main Signs B, Mayan Profiles, Mc Call's Magazine, Metal Branches (2010), Mimbres Pottery, Moderne-Zelda (2010, after a Dan X. Solo alphabet), Moderne-Zelda Black, More Drinkings Scenes, Mostly Fish, Moto Bykes, Mythological&Fantastic I, Mythological&Fantastic II, Mythological&Fantastic III, Mythological&Fantastic IV, Mythological&Fantastic V, Mythological&Fantastic VI, Mythological&Fantastic VII, Native Designs-Mexico&Peru 1, Native Designs-Mexico&Peru 2, Native Designs-Mexico&Peru 3, New Music, Objects of Nature, Old English Images, Ondawall Versal (2011, Celtic), Panels&Frames, Parapam (2010), Pinto Inline (2010, +Speckled), Random Doodles, RangeMurata, Rankin-Initialen, Really Black Alphabet (2010), Robu Bold (2010), Rons Old Patterns, Rons Old Patterns Bare, Rosart Initials, Rustic Alphabet, Sacon Inititals, Saks (2010, bilined), Schmale Jonisch, Sea Shells of Nature, Shuttershock Vector Demo, Simple Alphabet, Simple China Images, Simple Doodles, Snails&Slugs, Softsquare, Some Guitars, Soviet Founders, Soviet Life Posters I, Soviet Life Posters II, Soviet Life Posters III, Soviet Life Posters IV, Soviet Propaganda Posters, Splish-Splash (2009), Strange Black Blobs, Tauba Auerbach, The Goetia, Tribal Dividers, Tribal Flames, ViaFaceDon Black, ViaFaceDon Black Hats, ViaFaceDon Outline, ViaFaceDon Speckled, Victorine (2010, Tuscan typeface), Viking Design A, Viking Design B, White Buttons Bold (2010), Wood Type Cheltenham Bold (2010), ZEart Designs, Zelek, Zelek Black, Zelek Boldline, Zelek Shadline. From 2012: French Onion.
Download here. [Google]
[Dieter Steffmann's Homepage]
Dieter Steffmann's Homepage
FontShop was the name of Dieter Steffmann's foundry in Kreuztal, Germany (not to be confused with the FontShop foundry and font vendor). He made about 600 self-proclaimed "old-fashioned" fonts, and among these many Fraktur fonts. His site became too expensive to run, and is now hosted by Typoasis. Alternate URL. Current list of fonts. See also here. New stuff. Fontspace link. A nice essay about Fraktur fonts accompanies the fonts. News. As Dieter puts it: I am not a designer but I add missing letters to public domain fonts in order to get a complete character set and I hint the fonts and create new weigths (shadow, inline etc.) His Christbaumkugeln font, and how it was made. The font families:
- Acorn Initialen, Adine Kirnberg, Albert Text, Alpine, Alte Caps, Alte Schwabacher, Ambrosia, American Text, Aneirin, Angel, Anglican Text, Angular, Ann-Stone, Antique No. 14, Arabella, ArabesqueInitialen (2002), Argos George, Aristokrat Zierbuchstaben (2002), Ariston Script, Art Nouveau Initialen, Attic Antique, Augusta.
- Baldur, Ballade Halbfett (2002, a font originally designed by Paul Renner in 1937), Barock Initialen (2002), Becker, Beckett-Kanzlei, Behrens-Schrift (2002), Belshaw, Belwe (Gotisch, Vignetten), Benjamin Franklin Antique, Berlin Squiggle Condensed, Bernhard Schmalfett, Bier und Wein Vignetten (2002, also based on drawings from the Bauersche Giesserei), Billboard, Bizzaro, Black Forest Text, Blackletter ExtraBold, Blackwood Castle, Breitkopf Fraktur, Bretagne Gaelic, Brian James Bold, Bridgnorth, Broadcast Titling, Broadway Poster, Brock Script.
- Cabaret, Campanile, Camp Fire, Canterbury Old English (blackletter), Cardiff, Cardinal Anglican, Carmen, Carrick Caps, Caslon Antique, Caslon Fette Gotisch, Cavalier, Celtic Frames, Celtic Hand, Challenge, Chelsea, Chopin Script (2000, identical to Polonaise), Christbaumkugeln, Chursächsische Fraktur, Cimbrian, Circus Ornate Caps (2001, Western), Cloister Blackletter, Coaster Black, Coelnische Current Fraktur, Colchester Black, College, Courtrai, Coventry Garden, Cruickshank.
- Davy's Dingbats, Debussy, Decorated Roman Initials (2003), Deutsch Gotisch, Deutsche Zierschrift, Devinne Swash, Digits, Direction, Dobkin Script, Domino, Dover, Driftwood Caps, Due Date, Duerer Gotisch, Duo Dunkel (+Licht), Durwent.
- Easter Bunny, Easter Egg, Eckmann-Schrift, Egyptienne Zierversalien (2002), Ehmcke-FrakturInitialen, Ehmcke-Schwabacher Initialen (2002), Eichenlaub Initialen, Eileen Caps, Eisenbahn (2002, based on train vignettes at Bauersche Giesserei), Elzevier Caps, Enge Holzschrift, English Towne, Epoque, Erbar Initialen, Estelle, Evil of Frankenstein, Express.
- Faktos, Fabliaux, Fancy Card Textura, Fat Freddie, Faustus, Fenwick Woodtype, Fette Deutsche Schrift (2002, a revival of a Rudolf Koch font from 1908), Fette Egyptienne, Fette Haenel Fraktur, Fette Trump (2002, original by Prof. Georg Trump, 1936), FetteKanzlei (2002), FetteSteinschrift (2002), Fette Thannhäuser (2001), Firecat, Flaemische Kanzleischrift, Flowers Initials, Forelle, Fraenkisch (2002), Fraktur Schmuck, Fraktur Shadowed, Frederick Text, Futura Script.
- Gabrielle, Gebetbuch Fraktur, Gebetbuch Initialen, Germania (2001, a revival of the 1903 blackletter typeface by Heinz König called Germania as well), Germania-Versalien, Ganz Grobe Gotisch, Gille Fils Zierinitialen (2002), GingerbreadInitials, Globus, Gloucester Initialen, Gorilla Black, Gotenburg A+B (2002), Gothenburg Fraktur, Gotische Initialen, Gotisch Schmuck (2002, Fraktur), Goudy Initialen, Goudy Medieval, Goudy Twenty, Goudy Thirty, Grange, GrenzschInitials, Grusskarten-Gotisch, Gutenberg Textura.
- Haenel Fraktur Fett, Hansa, Hansa Gotisch, Hansen, Happy Easter, Harrowgate, Hazard Signs, Headline Text, Hercules, Herkules, Hermann-Gotisch (2002; after an original by Herbert Thannhaeuser, 1934), Herold (2002), Hippy Stamp, Hoedown, Holla, Holidayfont, Holtzschue, Honey Script (2006, after a Filmotype original from the 1950s), Horror Dingbats, Houtsneeletter, Humboldt Fraktur (2002-2005; after a font by Hiero Rhode, 1938).
- Iglesia Light, Isadora Original.
- Jan Brady, Journal Dingbats, Jahreskreis (seasonal dingbats, 2002), JSL Blackletter Antique, Jugendstil Ornamente (2002).
- Kabinett Fraktur, Kaiserzeit Gotisch, Kanzlei, Kanzlei Initialen (2002), Kalenderblatt Grotesk, Kashmir, Kinder Vignetten (2002), KingsCross, Kinigstein Caps, Klarissa, Kleist Fraktur + Zierbuchstaben (2002), Koch Antiqua, Koch Antiqua Zierbuchstaben (2002), Koch Initialen, Koenigsberger Gotisch, Koenig-Type (2002; a Jugendstil Fraktur originally designed by Heinz Koenig, 1907-1910), Kohelet, Koloss, Konanur Kaps, Kramer, Krone Bold.
- La Negrita, Lautenbach, Legrand, Lemiesz, Lettres ombrées ornées (2002, based on a typeface by Schriftgiesserei J. Gillé, 1820), Linolschrift, Lintsec, Liturgisch + Zierbuchstaben (2002), Logger, Lohengrin Fraktur, Long Island Antiqua, Louisianne Black (bold upright connected script), Ludlow Dingbats.
- Mainzer Fette Fraktur, Marker Felt, Marketing Script, Marlboro, Maximilian (2002, Fraktur font and decorated caps based on Rudolf Koch, 1914), Mayflower Antique, Medici, Mediaeval Caps, Menuetto, Messing Lettern, Metropolitain, Middle Saxony Text, Moderne Fraktur, Monats-Vignetten (2002, based on drawings by Franz Franke for Bauersche Giesserei, 1920), Montague, Monument (2002, original by O. Menhart, 1952), Mordred, Morgan Twenty-Nine, Morris Roman Black, Morris Initialen.
- Napoli Initialen, Neptun Gotisch, NeugotischeInitialen, North Face, Nougat ExtraBold, Nouveau Drop Caps, Nubian.
- Olde English, Old English Five, Old Town, Old London.
- Packard Antique, Paganini Text, Pamela, Parsons Heavy, PaulusFranckInitialen (2002), Penelope (2000, Victorian), Peter Schlehmil (2002, based on work by Walter Tiemann, 1918-1921), Peter Schlemihl Fraktur, Picture Alphabet, Pilsen Plakatschrift, Pinewood (2003, like wooden branches), Pinocchio, Plakat-Fraktur, Plakat Antiqua, Plastisch (2002), Plum Script, Pointage, Polonaise (1999), Polo Semi, Powell Antique, Printer's Ornaments One, Prisma (2003, a four-line typeface inspired by Rudolf Koch's Prisma), Progressive Text, Puritan, Prince Valiant Blackletter.
- Quentin Caps.
- Rediviva, Rediviva Zierbuchstaben (2002), Reeperbahn (aka Rope), Regatta Relief, Reiner Script, Revue Decor, Reynold Art Deco, Rio Grande, Rockmaker, Roland, Rolling No. 1 ExtraBold, Roman Antique, Romantik Initialen, Romantiques (2002), Rondo, RosemaryRoman, Roslyn Contour, Rossano, Rothenburg Fraktur, Royal Initialen, Roycroft Initialen, Rudelsberg (Munich Jugendstil style, based on Otto Eckmann's Eckmann from 1901).
- Saddlebag, Saloon ExtraBold, Saltino, Salto, Sans Plate Caps, San Remo (Paris (art) nouveau style), Savings Bond, Schampel Black, Schmalfette Fraktur, Schluss-Vignetten (2002, also from Bauersche Giesserei), Schmale Anzeigenschrift + Zierbuchstaben (2002), Schwabacher, Sebaldus-Gotisch (2002), Sentinel, Sesame (2000), Shaded (2002, a take on Sans Serif Shaded by Stephenson, Blake & Co. Ltd., Sheffield), Sholom, Showboat Caps, Shrapnel, Siegfried (2001, art nouveau, based on a typeface by Wilhelm Woellmer), Simplex, Sixties, Snowtop Caps, Starburst, Steelplate Textura, Stencil Display, Subway, Supermarkt.
- Tanach (Hebrew), Tannenberg Fette Gotisch, Thannhaeuser Fette Fraktur, Thannhäuser Zier (2002; original by Herbert Thannhauser, 1937/38), Theuerdank Fraktur, Thorne Shaded (2002, a shaded didone based on a Robert Thorne design of 1810), Tierkreiszeichen (2002, Zodiac, based on drawings by Franz Franke for Bauersche Giesserei), Tintoretto (2000, after a Schelter Giesecke original), Titania, Titling Roman Antique, Tobago Poster, Tone And Debs, Tonight, Topic, ToskanischeEgyptienneInitialen (2003), Transport Pictorials, Tribeca (2001, after a David Rakowski original), Trocadero Caps, Trucker Style ExtraBlack, Turtles, Typographer Caps, Typographer Fraktur (2002), Typographer Rotunda (2002), Typographer Subway (2011), Typographer Textur (2002, Fraktur), TypographerGotisch (2002, Fraktur), TypographerWoodcutInitials (2002), Typographer's Schmuck-Initialen.
- Uechi Gotisch, Uncialis Deutsche, Unger Fraktur Zierbuchstaben, Unicorn.
- Vadstena Rundgotisch, Varah Caps, Ventura Bold, Verve, VictorianInitials, Victorian Text, Viking, Vivian, Vogeler Initialen (2002), Volute.
- Walbaum Fraktur, Wallau Deutsch, Wallau Rundgotisch, Wallau Uncial and Wallau Zierbuchstaben (2002; originals by Rudolf Koch 1925-1930), Walthari Text, Washington Text, Waterloo Relief, Wave, Weiß Initialen, Weiss Lapidar (2002, revival of a typeface by Emil Rudolf Weiss), Werbedeutsch (2002, original by Herbert Thannhaeuser, 1934), Westminster Gotisch, Wharmby, White Bold, Wieynk Fraktur (now also in OpenType), Wieynk Vignetten, Will-Harris Caps, Woodcut.
- Yellow Submarine Font, Yonkers, Yorktown.
- Zallman Caps, Zentenar Fraktur, Zentenar Zier (2002; by F.H.E. Schneidler, 1937), Zierinitialen 1 (2002), Zierinitialen Two (2002; based on Deutsche Zierschrift by Rudolf Koch), Ziffern und Pfeile, Zither Script, Zodiac Pictorials.
A set of TeX service files for many of the decorative caps fonts was published by Maurizio Loreti from the University of Padova.
The collection is now also available in OpenType. Fontsquirrel link. Dafont link. Fontspace link. Abstract Fonts link. Home page. [Google]
[David Jonathan Ross]
DJR Type (Los Angeles, CA, and before that, Lowell, MA) stands for David Jonathan Ross Type. Originally from Los Angeles, he was a student at Hampshire College in Amherst, MA, where he studied information design and typographic tradition. After graduation, he joined Font Bureau as a junior designer and was assisting with custom projects and expanding Font Bureau's retail library. Soon after that, het set up DJR Type. His typefaces:
- Manicotti (2010). An ultra reversed-stress Western saloon style typeface that won an award at Modern Cyrillic 2014. a href="http://www.tdc.org/news/2007Results/Manicotti.html">DJR Manicotti won an award at TDC2 2007. For a free lookalike, see Plagiacotti (2009, Saberrider).
- Climax Text (2006) is a text and display series that was designed for Hampshire's student newspaper.
- Trilby (2009, Font Bureau). Trilby is based on a 19th century French Clarendon of wood type fame.
- Condor (2010, Font Bureau). This is a 60-style art deco family.
- Turnip (2012) is an angular and manly text face, also published at Font Bureau.
- In 2013, Ross revived Nebiolo's Forma for the redesign of Hong Kong Tatler, a fashion mag, supervised and commissioned by Roger Black, who was then based in Hong Kong. Read about the whole process in this piece by Indra Kupferschmid.
- Bungee (2013, Google Fonts) won an award at TDC 2014. This homeless typeface, which comes in Regular, Hairline, Inline, Outline and Shade versions, is free: Bungee is a font family that celebrates urban signage. It wrangles the Latin alphabet to work vertically as well as horizontally.
- In 2014, David Jonathan Ross created the formidable 168-style programming font family Input (Font Bureau). Input is free for private use. It won an award at Modern Cyrillic 2014 and in the TDC 2015 Type Design competition.
- Gimlet (2016). A 112-style Opentype family loosely based on Georg Trump's 1938 typeface, Schadow, and advertized as funky and functional. Ross writes: Gimlet is half Schadow, half imagination, and nothing else. And like its namesake beverage, Gimlet is a a little tart, a little sweet, and can really pack a punch.
- Fern. A Venetian typeface designed for screen.
- Output Sans.
- Under miscellaneous, we find an untitled French Clarendon and an untitled semi-serif.
Klingspor link. Home page. [Google]
Cincinnati, OH-based designer of these typefaces in 2011: Frakked (blackletter), Spartan, Octagon, Modern Wood, Wasabi (a free Asian calligraphic simulation face; +Shogun, +Samurai, +Ninja). Behance link. [Google]
Douglas and Lloyd Morgan
Wood type collectors weho started building a collection in 1940 in Dobbs Ferry, New York. [Google]
Creator of Bracelet Victorian (Tuscan Ornate, Victorian) New&Old in 2001. He writes: Scanned from Tschichold's "Treasury of Alphabets and Lettering" (Norton) and painstakingly digitized. For another typeface based on the same alphabet, see Romantiques (2002, Dieter Steffmann).
In 2013, he reappeared at Fontspace and posted these free Victorian / Western / circus style ornamental caps typefaces: Gardenia Victorian, Radiant Antique, Caliope Victorian. All three were scanned from Dan Solo's Victorian Display Alphabets in 2001.
Fontspace link. [Google]
[Carmel Type (or: Just Lucky)]
Eastern Brass&Wood Type
American wood type manufacturer, est. 1910 in New York City by Frederick Gerken. At some point it was in Queens, but it is unknown when it ceased operations. [Google]
[Wells & Webb]
During his studies at Staffordshire University, this Stoke-on-Trent, UK-based graphic designer created the condensed wood type titling typeface Maritime Museum (2013). [Google]
Edward A. Capen
[Empire Wood Type Co.]
Edwin Allen manufactured wood type for newspapers in South Windham, CT, from 1837-1840, after having invented in 1836 his own version of the router/pantograph for wood type manufacture. His wood types were sold exclusively through George Nesbitt in New York City. In 1845, two of his employees, William and Samuel Day, left to set up their own company in Ohio. Two other employees, Horatio and Jeremiah Bill, from Lebanon, CT, left in 1850 to start their own business as well. In 1852, Allen's company was purchased by John G. Cooley and production moved to New York City.
Typefaces by Edwin Allen include Antique Open Shaded (1828), Antique Rose Ornamental (1838) and Antique English Ornamental (1838). [Google]
Brazilian illustrator in Sao Carlos, b. 1974.
Dafont link. Creator of the Kafkaesque wood cut style typeface Eldes Cordel 1 (2011). [Google]
Elizabeth Cory Holzman
Born in Cambridge, MA, in 1970, and educated at the Rhode Island School of Design (1988-1993), Eliabeth now lives near New York City where she is Principal of Elizabeth Cory Studios. From 1993 until 1995 she was senior font designer at Font Bureau, and from 1996-1998, she was font manager and designer at Meta design in Berlin.
Agfa Creative Alliance designer who made the art deco all caps typeface Brok (1995), which first appeared in 1919 as poster letters cut in wood by Chris Lebeau for the Willem Brok Gallery in Hilversum, Holland. At Font Bureau, she designed the heavy geometric slab serif family Constructa, which is based on Morris Fuller Benton's 1934 ATF design called Tower.
Font Bureau link. Klingspor link. FontShop link. [Google]
San Diego-based designer of the Western typefaces Wood Print (2015), Sky High (2014) and Faroest (or Forest) (2014). Dafont link. Home page. Behance link. [Google]
Emma Brown Trithart
Graduate of the Minneapolis College of Art and Design. Saint Paul, MN-based designer at YouWorkForThem. She created several interesting hand-drawn typefaces in 2008 such as Girlyque (curly), Faux Bois (wood type simulation), Mr. Hyde (2012), Dodoots, and Trithart (YWFT). In 2010, she added the YWFT font Trihart (hand-printed).
In 2013, he designed the custom hand-drawn typeface Caribou Coffee.
Behance link. Home page. Klingspor link. [Google]
Empire Wood Type Co.
[Edward A. Capen]
American wood type manufacturer in New York City, est. 1901 by Edward A. Capen. In 1936, the holdings were sold to American Wood Type Co., which was also in New York City.
Examples of typefaces: Bulletin Script (1870, back slanted, a simulated psychedelic brush face). [Google]
Bethany Heck's blog on wood type and letterpress. I especially like her efforts to reassemble the mystery wood typeface Grecian in 2010. [Google]
Type and graphic designer born in Lerida, Spain (1908), who lived and worked mostly in Paris, where he had emigrated to during the Spanish Civil War (1936-1939). He died in 1987 in Noyon. All his fonts are available from Neufville. He was the founder of the movement that is known as Grafía Latina (or La Graphie Latine), which promoted the need to create a new system of typically Latin (as opposed to cold geometric nordic) typographic structures, graphics, alphabets and decorative ornaments.
As art director of the Fonderie Typographique Française, he designed these fonts:
- Champs Elysées (1956).
- Flash (1953). Digital forms include Neufville's Flash ND and the URW copy called Flashes by Ralph M. Unger (2007).
- Aragón: an art deco face. This was digitized by Nick Curtis as La Reyna Catalina NF, 2006).
- Ilerda (1945, Neufville). This typeface is also known as Champs Élysées in France, where it was published by FTF.
- Les Catalanes (1952). A Western saloon font that was never produced. It was digitized by Nick Curtis as Daliwood NF (2006), and by Harold Lohner as Cattle Annie (2006).
- Paris Light (1953), Paris Medium (1953), Paris Bold (1953): all published at Neufville.
- Fuga de Arabescos (1954, Neufville): flowing ornaments.
- Île de France (1960). An incised typeface.
- Revivals of other typefaces by Crous-Vidal include Anomique (2014, Benjamin Woodlock).
Bibliography: Enric Crous-Vidal. Un carácter en tipografía (Andreu Balius, 2008).
View Enric Crous-Vidal's typefaces.
Klingspor link. French wikipedia link. FontShop link. [Google]
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).
- 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 typefaces: Policy Gothic (2012, an eroded caps face), Mooseheart (2012), Operapolitan (2012), Fishwrapper (2012), Fred (2007, inspired by a 1930s typeface 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, Telegrafo, Toronto Gothic (2003: worn wood type or letterpress emulation, close to Condensed Titling Gothic #11), Vogue (pencil-lettered caps), Penitentiary Gothic (+Fill, +Lolite, +Hilite, +Shadow), Chicago House, Compliments (+Upright), Satisfaction (script based on 1930s cigarette ads), Vandal Broke Extra Juicy, Lanier (2004), Impersonal. The Cablegram 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. View the E-phemera typeface collection. [Google]
Erich Heckel (b. 1883, Döbeln, d. 1970, Radolfzell) was a German painter and printmaker, and a founding member of the Die Brücke group which as active from 1905 until 1913. Heckel and the three other founding members of Die Brücke (i.e., Ernst Ludwig Kirchner, Karl Schmidt-Rotluff and Fritz Bley) admired the work of Edvard Munch, and aimed to make a "bridge" (Brücke) between traditional neo-romantic German painting and modern expressionist painting. Primitive, esp. African, art was also an inspiration to the members of the Die Brücke.
In 1937 the Nazi Party declared Heckel's work degenerate. It forbade him to show his work in public, and more than 700 items of his art were confiscated from German museums. By 1944 all of his woodcut blocks and print plates had been destroyed. After World War II, Heckel lived at Gaienhofen near Lake Constanz, and taught at the Karlsruhe Academy until 1955. He continued painting until his death at Radolfzell in 1970.
Heckel's woodcuts and lettering inspired a few typefaces, most notably: [Google]
German type designer and graphic designer par excellence, born in 1947 in Stadthagen. He set up MetaDesign in Berlin in 1979. In 1988 he set up FontShop, home of the FontFont collection. He holds an honorary professorship at the Academy of Arts in Bremen, is board member of ATypI and the German Design Council, and president of the ISTD (International Society of Typographic Designers). In July 2000, Erik left MetaDesign Berlin. He now lives and works in Berlin, London and San Francisco, designing publications, complex design systems and more typefaces. He collaborated on the publication of the comprehensive FontBook. Author of Stop Stealing Sheep & Find Out How Type Works (2nd Edition) (Adobe Press, Second Edition, 2002, First Edition, 1993). He taught typography at the Art Academy in Bremen, and is guest-lecturer at several schools around the world.
In October 2003, he received the third Gerrit Noordzij Prize, which is given every other year to a designer who has played an important role in the field of type design and typography. It is an initiative of the postgraduate course in Type&Media at the Hague Royal Academy of Art with the Meermanno Museum (The Hague).
His essay on information design.
Biography. Bio at Linotype. Laudatio by John Walters of Eye Magazine. Blog.
Presentation at ATypI 2006 in Lisbon. Presentation at ATypI 2008 in St. Petersburg. Interviewed in 2006 by Rob Forbes. Speaker at ATypI 2010 in Dublin.
He made the following typefaces and type families:
- Lo-Type (1913, Louis Oppenheim) was digitally adapted by Spiekermann for Berthold in 1979-1980. BERTLib sells it as Adlon Serif ST.
- PT 55 (1986), the precursor of FF Meta.
- Berthold Block
- Berliner Grotesk (1979-1980, Berthold): based on an old Berthold AG typeface from 1923.
- FF Govan
- The huge families FF Meta1, FF Meta2, FF Meta3 (2003), FF Meta Condensed (1998) and FFMetaCorrespondence. The FF Meta families (1985) were originally designed for Bundespost, which did not use it--it stayed with Helvetica for a while and now uses Frutiger. Meta comes with CE, Cyrillic, Greek and Turkish sets as well. Weights like Meta Light (Thin, Hairline) Greek are available too. Spiekermann is a bit upset that Linotype's Textra (2002, a typeface by Jochen Schuss and Jörg Herz) looks like a cloned of Meta. FF Meta Condensed won an award at Modern Cyrillic 2014.
- Meta Serif (2007) by Christian Schwartz, Kris Sowersby and Erik Spiekermann. Later extensions by Ralph du Carrois and Botio Nikoltchev.
- ITC Officina in versions Sans Book (1989-1990) and Serif Book (1989-1990).
- Boehringer Sans and Antiqua (1996): custom types.
- Grid, which appeared in FUSE 3.
- Codesigner with Ole Schaefer (FontShop, 2000) of FF InfoDisplay and FF InfoText in 1997 and of FF InfoOffice in 2000.
- NokiaSans and NokiaSerif (2002, company identity family). This was in cooperation with Jelle Bosma. Before Nokia Sans and Serif, Nokia used Rotis. Nokia Sans and Serif were replaced by Nokia Pure (Bruno Maag) in 2011.
- Glasgow Type (1999), for the city of Glasgow, taking inspiration from the Rennie Macintosh types.
- Heidelberg Gothic (1999).
- Symantec Sans and Serif (2003): custom types.
- FF Unit (2003-2004; see also here), another sans family, which won an award at TDC2 2004. This was followed by FF Unit Rounded. And FF Unit Rounded started according to Erik as Gravis, the largest Apple dealer in Germany. FF Unit Slab (2009) is the product of a cooperation between Kris Sowersby, Christian Schwartz, and Erik Spiekermann.
- ITC Officina Display (2001).
- FF Meta Thin Light and Hairline (2003) and FF Meta Headline (2005).
- Bosch Sans and Bosch Serif (2004).
- The SeatMeta family (2003) for Seat.
- DB Type in six styles (Serif, Sans, Head, Condensed, Compressed, News): designed in 2005 in collaboration with Christian Schwartz for the Deutsche Bahn (train system in Germany). Some typohiles say that it reminds them of Bell Gothic and Vesta.
- A Volkswagen company family based on a correction of Futura.
- The DWR House Numbers Series (2006): four fonts with numerals for house numbers: Contemporary House Numbers, Tech House Numbers, Classic House Numbers (based on Bodoni), Industrial House Numbers (stencil). DWR stands for Design Within Reach.
- Tech (2008, FontStruct), a rounded squarish headline face.
- Axel (2009): developed jointly with Erik van Blokland and Ralph du Carrois, it is a system font with these features:
- Similar letters and numbers are clearly distinguishable (l, i, I, 1, 7; 0, O; e, c #).
- Increased contrast between regular and bold.
- High legibility on the monitor via Clear Type support.
- Seems to outperform Courier New, Verdana, Lucida Sans, Georgia, Arial and Calibri, according to their tests (although I would rank Calibri at or above Axel for many criteria).
- In 2012-2013, Ralph du Carrois and Erik Spiekermann co-designed Fira Sans and Fira Mono for Firefox / Mozilla. This typeface is free for everyone. Google Web Font link. Open Font Library link. It is specially designed for small screens, and seems to do a good job at that. I am not a particular fan of a g with an aerodynamic wing and the bipolar l of Fira Mono, though. Mozilla download page. Google Web Fonts download page.
- In 2013-204, Erik created HWT Artz, a wood type published in digital form by P22, which is based on early 20th century European poster lettering. Named after Dave Artz, a Hamilton Manufacturing retiree and master type trimmer, the proceeds of the sales will go to the Hamilton Wood Type and Printing Museum.
- n 2015, Fontfont published FF Real, in 13 weights each for FF Real Text and FF Real Head. This typeface family by Erik Spiekermann and Ralph Olivier du Carrois is influenced by the German grotesques from ca. 1900 by foundries such as Theinhardt and H. Berthold AG.
Picture of Eric Spiekermann shot by Chris Lozos at Typo SF in 2012.
View Erik Spiekermann's typefaces. [Google]
Designer of several sets of athletic lettering fonts, including NFL, NHL, NBA and MLB. Dafont link. His web site has the athletic lettering in truetype format for these teams: MLBAngels, MLBAstros, MLBBlock, MLBBlueJaysModern, MLBBlueJaysVintage, MLBBrewers, MLBCubs, MLBDiamondbacks, MLBGiants, MLBMariners, MLBNationals, MLBNationalsBevel, MLBNationalsReverseBevel, MLBPadres, MLBPhillies, MLBPirates, MLBRedSox, MLBReds2007, MLBTuscan, MLB_Tuscan_New, MLB_Tuscan_New, Mlbdia07, NBA76ers, NBABobcats, NBABucks, NBABulls, NBACavaliers, NBACeltics, NBAClippers, NBAGrizzlies, NBAHawks, NBAHeat, NBAHornets, NBAJazz, NBAKings, NBAKingsAlternate, NBAKnicks, NBALakers, NBAMagic, NBAMavericks, NBAMavericksAlternate, NBANets, NBANuggets, NBAPacers, NBAPistons, NBARaptors, NBARockets, NBASpurs, NBASuns, NBASuperSonics, NBATimberwolves, NBATrailblazers, NBAWarriors, NBAWizards, NFLBears, NFLBearsThrowback, NFLBengals, NFLBroncos, NFLCardinals, NFLChargers2007, NFLDolphins, NFLEagles, NFLFalcons, NFLJaguars, NFLOilersVintage, NFLPatriots, NFLPatriotsThrowback, NFLRams, NFLRavens, NFLRavensVintage, NFLSteelers, NFLTexans, NFLTitans, NFLVarsityBlockA, NFLVarsityBlockB, NFLVarsityBlockC, NFLVarsityBlockD, NFLVarsityBlockE, NFLVarsityBlockF, NFLVarsityBlockG, NFLVarsityBlockH, NFLVikings, NHLANA06, NHLAnaheim, NHLAtlanta, NHLBUF06, NHLBoston, NHLBuffalo, NHLCalgary, NHLCalgaryAlternate, NHLCarolina, NHLChicago, NHLColorado, NHLColumbus, NHLDallas, NHLDetroit, NHLEAna_, NHLEAtl_, NHLEBos_, NHLEBuf_, NHLECal_, NHLECar_, NHLEChi_, NHLEClb_, NHLECol_, NHLEDal_, NHLEDet_, NHLEEdm_, NHLEFlo_, NHLELak_, NHLEMinA, NHLEMinH, NHLEMon_, NHLENJD_, NHLENYI_, NHLENYRO, NHLENYR_, NHLENasO, NHLENas_, NHLEOtt_, NHLEPhi_, NHLEPho_, NHLEPit_, NHLESJ__, NHLEStL_, NHLETBL_, NHLETor_, NHLEVan_, NHLEWas_, NHLEdmonton, NHLEdmontonAlternate, NHLFlorida, NHLLosAngeles, NHLMinnesota, NHLMinnesotaAlternate, NHLMontreal, NHLNYIslandersAlternate, NHLNYRangers, NHLNYRangersOutline, NHLNashville, NHLNewJersey, NHLOttawa, NHLOttawaAlternate, NHLPhiladelphia, NHLPhoenix, NHLPittsburgh, NHLSanJose, NHLStLouis, NHLTampaBay, NHLToronto, NHLTorontoAlternate, NHLVancouver, NHLWashington, Nflcoltt, Nflcowbt, Nhlnyi__, VarsityBlockA, VarsityBlockB, VarsityBlockC, VarsityBlockD, VarsityClassicA, VarsityClassicB, VarsityClassicC, VarsityClassicD, VarsityClassicSerifA, VarsityClassicSerifB. [Google]
Exclamachine Type Foundry
Choz Cunningham (b. 1975, Santa Cruz, CA) is a Las Vegas and more recently, Nashville, TN-based designer and artist, who set up Exclamachine in 2005. Until 2012, exclamachine published free fonts. In 2012, it went commercial via MyFonts.
Designer of Whiskey Songs (2007), Crass Roots, Crass Roots Alt (2016), and Crass Roots OFL (2007, stencil), Misqot (2006), The Troubles (2006), Limberjack (2006, an ornate wood titling font), this blackletter-inspired serif face (2006), Futurelic (2006, futuristic), Zugzwang (2006), Sketchy Times Bold (2005, grunge), Sketchy Times (2005, grunge), Basket of Hammers (2005, a nice wallpainting/graffiti font). His company, also called Exclamachine Foundry, where these fonts can be downloaded: The Black Bloc (2006, blackletter-inspired), MISQOT (2006), Kutura Frontalis (2006), PaulMaul (2006), Zugzwang (2006), Sketchy Times (2006), Carlos Caffeinated (2006), Basket of Hammers (2006), Disc Inferno (2006, LED simulation), Rosda Laevigata)2007, handprinting), and this heavy metal band font (2006).
In 2012, Choz published the commercial typefaces MISQOT (scratchy) and Paul Maul XT (irregular hand-printed face).
Typefaces from 2013: FinFang (comic book style caps), Lestatic Slashed (+Condensed), Lestatic Obsidian Outline (grungy), Lestatic Lashed (Arabic simulation face), Lestatic Celerite, Lestatic Carved, Lestatic CSS, Lestatic Withered Condensed, Lestatic Withered, Lestatic Sliced.
Dafont link. Open Font Library link. Home page. Fontspace link. [Google]
Photo era foundry set up in the 1960s by John McConnell and Chris Dubber in London. I could only find Pluto Outline, the art nouveau typeface Desdemona (a digital version was created in 1992 by David Berlow at Font Bureau and in 1994 by Richard Beatty; Letraset showed Desdemona in its 1981 and 1986 catalogs; the original is from the late 19th century by Karl Brendler&Soehne, Vienna), Stack, and Oxford (a multiline face) on-line. Steve Jackaman worked in the studio in Newman Street and Hanway Place, and recalled El Paso (a Western/Mexican simulation face) when he created El Paso Pro (2011, Red Rooster).
According to Wes Wilson's web site, Face Photosetting led the way by launching a number of Art Nouveau revivals which were taken from Ludwig Petzendorfer's "A Treasury of Authentic Art Nouveau Alphabets". A selection of these, which included Arnold Böcklin, Edel Gotisch and Eckmann Schrift, were made more widely available when Letraset produced them for their dry transfer product. They published a number of books and catalogs, ca. 1976-1977: Face headline catalogue [1981/82] (1977), Specimens of Delittle's wood type, Face book of typefaces, Type catalogue (1976). Some of the typefaces were Cyrillicized, such as Bullion Shadow (1970; Cyrillic version by Victor Kharyk, 1978). Bully Pulpit Plain NF (2014, Nick Curtis) is a revival of Bullion Shadow. [Google]
Fann Street Foundry / Reed&Fox
Fann Street Foundry is a defunct London-based foundry, started by Robert Thorne in 1794. It specialized in display types, often Victorian in nature towards the end of the 19th century. The foundry was bought by William Thorowgood in 1820, by Robert Besley in 1849, became Reed&Fox in 1866 and closed in 1906. Its designs passed to Stephenson Blake.
Fann Street Foundry Reed&Fox (1873, London) is one of their specimen books.
The Reed and Fox typefaces Viennese and Corinthian were combined in 2014 in Nick Curtis's digital typeface Genever NF. Johannes Lang and Stefan Ellmer revived Viennese in 2013 as Brevier Viennese. [Google]
Fat wood type: Stephen Coles's List
Stephen Coles points out the warmest, biggest and boldest wood types in the FontShop store. [Google]
Las Palmas de Gran Canaria and Laredo, Spain-based designer (b. 1971) of the monoline sans typeface Depez (2011), Fabada (2011), and the free monoline geometric sans typeface La Chata (2011). La chatte, in French? Maybe not.
In 2011, he made the monoline organic sans typeface Lerótica (free at OFL).
In 2012, he created Nabatea (stone chisel typeface), V de Vacia (a grungy outline face), Sabática (organic), the straight-edged data style typeface Gabardina, the grotesk typeface A Bebedera, the shadow typeface B de Bonita, D Puntillas, and the deconstructed Qebrada.
In 2013, he designed Yacarena Ultra, H.H. Agallas, Nacimiento (a dymo label font), J Airplane Swash (a psychedelic typeface named after Jefferson Airplane), CA Garrutas (grunge), CA Gatintas (grunge), I Am Telefono (the largest phone dingbat and scanbat typeface on earth), Wach Op-Art (kaleidoscopic icons), K.O. Activista, I Am Hueca, X Template (stencil), H.H.Samuel (rounded sans), U2 Metalona (a beautiful white-on-black display face), M F Plexus Italic, J.M. Nexus Grotesque (an "thin inline' fat grotesque), Wachinanga, Tabaquera, Pabellona (grunge), El Pececito (video game font), the poster typeface Hobby of Night (OFL), H2O Shadow (outline version of Fabada), Zabatana Poster (a didone-inspired poster font), Oaxaquena Tall, Yacimiento (wood style wedge serif), and Rabanera.
Typefaces from 2014: Babalusa Cut, A Cuchillada, Sabandija (a plump round display typeface), F2 Tecnocratica, F1 Secuencia Quad (pixel face), La Pejina FFP (bilined), Tabaiba Wild, Gabachita (ultra-condensed rounded sans).
Typefaces from 2015: Tabarra Pro (Swiss style sans family for Latin, Cyrillic and Greek), A Sogra Ruth (ultra-condensed art deco), Gaban (an outline version of Tabardo), Tabardo (a heavy blocky font), Wacamoler Caps (a Tuscan typeface inspired opening credits of the Western movie Winchester '73 directed by Anthony Mann in 1950), Ubicada (condensed geometric sans), Rabiosa (neurotic font), Zacatecas (condensed shadowed sans), F3 Secuencia Round, La Babaca (a powerful black condensed sans in the style of Impact), Obcecada Serif, Obcecada Sans (condensed sans), Eacologica Round Slab (a nice commercial font with an incomplete set of numerals), Palim Script (curly), Vacaciones (signage face), de La Cruz.
Typefaces from 2016: Rotulona Hand, The Juke Box (retro juke box lettering), Angelique Rose (connected monoline script), Promenades, Bucanera (a swashbuckle font), Lucemita, Panama Road (a casual calligraphic font), Deslucida, Disoluta, Sucesion Slab, Tabarra Pro Round, Qebab Pro Shadow, Monserga (white on black), Indulta SemiSerif.
Creative Market link. OFL link. Behance link. Dafont link. Devian tart link. Abstract Fonts link. Fontspace link. [Google]
Japanese foundry in Nagoya that offers these free and commercial Latin fonts made by Ryoichi Tsunekawa, who also runs Bagel & Co, Dharma Type, HolidayType and Prop-A-Ganda. Most of his work was done at Flat-It. His typefaces:
- 2016: Bio Sans, Gomme Sans, Quiet Sans, Siro (sans).
- 2014: Pero (condensed rounded organic sans), Kiro (minimalist organic sans), Graphie (modern geometric sans), Compasse (semi-condensed sans), Como (rounded sans).
- 2013: Spoon (organic, rounded, monoline sans family), Antoinette Monogrammes (based on early 1900s embroideries by Janon Co; with frames), Clonoid (a sci-fi family that pays tribute to arcade game logos in 80s and 90s), All Round Gothic Demi (a sans based on perfect circles),Griffon (copperplate titling face), Antique Spenserian (based on Spencerian Script by Mackellar, Smiths and Jordan).
- 2012: Geom Graphic (a retro sci-fi family that can be considered as a squarish version of Eurostile), Sheepman (modular), House of Cards, Space Colony (a lovely monoline futuristic techno family), Rama Slab (an antiqued wood-style slab serif), Rama Gothic. An antiqued sans serif family that recalls the wood type era), Diamond Ring (an art deco typeface inspired by Japanese cosmetics-packaging designs and posters from the late 19th and early 20th centuries), Controller (techno meets organic in this rounded squaris sans family), Revolution Gothic (an extended version of PAG Revolucion), 2008, which was inspired by retro propaganda posters and wallpainting in Cuba from the 60s to 80s; Revolution Gothic P followed in 2014), Diamond Ring (art deco).
- 2011: Yummo (monoline organic sans), Sheepman (based on the wood type No. 506 of William Page), Onick (2011, an art deco neojaponist fat display face done for Wordshape), Shiva (2011, hairline sans), Mocha Mattari (2011, grunge), Dharma Slab (2011, inspired by 1800s-style wood type), Dharma Gothic (2011, +P), Rama Gothic (2011, also inspired by 1800s-style wood type), Dimensions (2011, squarish), Design System (2011, a large family based on 70s style techno typefaces), Speedometer (2011, condensed piano key face).
- 2010: Stereo Gothic (2010: an extended all caps slightly techno sans family), Behrensmeyer Vigesimals (2010, a pixel format connected script), Civilite Vigesimals (2010, pixelized Civilite), Flat10 Arts and Crafts (2010), Flat20 Hippies, Flat10 Segments (2010), Flat10 Antique (2010), Flat20 Gothic (2010), Flat20 Streamer (2009, pixelized ribbon font), Flat10 Fraktur, Flat10 holy, Flat10 Holly, Flat10 Stencil, Flat20 Headline, Flat10 Artdeco, Word From Radio (2008-2010). Cigarette (2007, Bauhaus/Peignot-style type family).
- 2009: African Elephant Trunk (2009), Concrete Script, Concrete Stencil (2009, a stencil calligraphic script), Perfect Magic (2009), HT Maison (2009, signage face), HT Farmacia (2009, connected school script), HT Espresso (2008, upright script), HT Cartoleria (2008, connected script), HT Cafe (2009), Sneaker Script (2009).
- 2007-2008: Bistro Mono (2007, an awkward monoline face), Thousands (2007), Balaghat (2008), Garash Script (2008, a Halloween face), Woodstamp (2008), Banana (2008, brush script), Rebel Train Goes (2008, a piano key font), Rouge (2007, an elegant lipstick-on-the-bathroom-mirror pair of typefaces), Yasashii (2007, a great geometric art deco Broadway-style family), Lily Wang (2006, calligraphic script), Nothing (2007), Garash (2007, Arabic simulation), Moon Star Soul (2007, Western saloon font), Grandes Vacances (+ Une, Deux) (2007), Pansy Bo (2006, calligraphic), Dremie (2007, an art deco headline typeface with Open and Fill weights), Grandes Vacances (2007, based on 19th century billboard letters), Xesy (2007, a fantastic "ronde" high-contrast upright connected script), Deluta Black (2007, a soft blackletter), Cotoris (2007, a 4-style family that takes inspiration from Koch Antiqua and the art nouveau movement).
- 2006: Daisy Lau (2006, calligraphic), Agedage Luxeuil (2006, based on a monasteric script from the 8th century), Agedage Cancellaresca, Agedage Beneventan, Agedage Simple Versal (2006, Lombardic caps simplified), Amsterdam Modern (2006, art nouveau influences), Flat10 [Holly, Holy, Stencil, Fraktur] (2006, a set of pixel typefaces), Machiarge (2006, a heavy connected brushed signage script), Chic Hand (2006, connected script), Double Dagger (2006, geometric stencil family), Fault (2006, an art deco striped lettering face), Killernuts (2006, headline serif typeface with brush stroke endings), Underconstructionism! (2006, a rectangular look family with associated dingbats), Machia (2006, decorative script), Kiwi (geometric hairline), Bagel (roundish comic book face), Jaguarundi (2006, distressed), Boycott (2006, distressed), Tokyotrail (2006, futuristic techno family), Coconut (noisy outline face), Coconut Split, Fresh Tomato (LED simulation), El Piedra (2006, letterpress emulation), Dried Tomato (LED simulation), Dutch Style, Mocha Harrar (great stencil face), 103 (experimental, Bank Gothic style), Airhead, ArealBlack, Awkward, BagelNew, BagelOld, Banbino, Bebas (2005, industrial sans), Bebas Kai (2014: free!), Bebas Neue (2010: free!), Berlin89, Blackout (redesigned in 2011 as the ulta-narrow Dimensions), Boycott (grunge), Built-1970, Bunyan, Busted, Camera (2007), Canstop, Chiangmai (Thai simulation face), DBLline, Dijkstra, Dutchstyle, Fling, Graphite, Harcomaso, Hiexplosive, Hitech, Honeycomb, Junkmix, Kanatypo, KemikalHi, Machia (2006, a calligraphic family), Meegoreng, Mikrob, Natsupopy, Overwork, Palsu, Plamo, Plasitico, REC001, REC002, REC003, Resistance, SQRT, STdigi (LED font), Shandy, Superstar, Tembaga, Tenaga, Tomodachi, Tragedia, Trucker, VRdigital, VRembroidery, Welcome2M, Workaholic, Zeebraa, plot-A, plot-K, Appendix 3, Gesso (grunge), Pusab (2006, ultra round; one free weight), Sushitaro, Typewrong, Celtics Modern (2006, a Celtic family of fonts). At T-26, he published CRZ (2006), Guppy, Ohana (2006, octagonal), Picnica (2006), and Wearetrippin.
MyFonts link. Fontsquirrel link for their free fonts such as Bebas (2005, industrial sans), Boycott, Gesso, and Pusab.
YWFT link. Bagel & Co. link. Klingspor link. Dafont link. Dafont link.
View Ryoichi Tsunekawa's typefaces. Kernest link. [Google]
American designer who created Sample (2007) and Wood Relief (2007).
At FontStruct, Fleisch made Woodcut Resawn (2009). [Google]
Flickr: Wood type pool
Wood type picture group. [Google]
"Free fonts for free people" by Dieter Schumacher. Interesting designs: Darkskin (textured letters), Movieboard, Zacken (in sacks), Storm, Stripesstars, and Triangle. All fonts are in TrueType and PostScript formats for Windows. List of 84 fonts thus far: 309Italic, 309, AnasthesiaItalic, Anasthesia, AtoZ, BALLbold, Baumarkt, BaumarktBoldItalic, BaumarktBold, BaumarktItalic, BIGARIALUltraBold, BIGARIALLEFT, BizarreBlack, Bizarre, Brialpointed, Bulgari, Certified, CertifiedItalic, CIRCLINEcrazyjumpedBold, CIRCLINEHeavy, CIRCLINEItalic, CIRCLINE2Light, CIRCLINE, Coffeebeans, Competent, Danceclub, DarSkin, Datacut, DatacutItalic, DomoAregatoItalic (oriental simulation), DomoAregatoNormal, Energy Dimension (3d face), Eniltuo, FatmarkerItalic, Fatmarker, FontmakersChoiceItalic, FontmakersChoiceThinItalic, FontmakersChoice (octagonal), FontmakerSlash, Fracksausen, Gawain, HOLE, HOLE2cursive, HOLE3cursiveoutline, HOUSEPIPESItalic, HOUSEPIPESNormal, KingArthurSpecialNormal, LateNite, LoveParade, LoveParadeoutlineBold, LoveParadeitalian, LoveParadewidebold, Mage1999 (pixel), Magehunter, Mage, Mayday, MaydayItalic, MovieTimes, Movieboard, OneworldonefutureExtraBold, OneworldonefutureLight, OpenMindItalic, OpenMind, Palms, Parts, Perlenkette, Rave, Serifonwide, SerifonwideItalic, SerifonNormal, Shreddedforyou, SquareUniqueExtraBold, SquareUniqueNormal, SquareUniqueThin, Starbats, StormExtraBold, STRIPESSTARSNormal, TriangleNormal, University (athletic lettering), Whereistherest, WhereistherestItalic, WoodCut, WoodCutItalic, ZackenNormal, ZoltanKiss, Dornen, FM College (athletic lettering), Beach House Stars, Fontovision, 37 Kilobyte, Grave Digger, Nails and remake Of Fabulous, Milkdrops, Platsch (comic book) and Slimania. This site disappeared and was revived by CybaPee at Moorstation.
Links: Jami, FontNThings, Fontspace. Dafont link. Abstract Fonts link.
Font Studio Four
Paul Bokslag is a Kilkenny, Ireland-based type designer.
FontStructor (aka Four, or Font Studio Four) who made the dot matrix typeface Numbat (2012), the athletic lettering typefaces Atletica (2011) and Atletica Serif (2011), and the texture typeface Milky Way (2011).
In 2011, he created Things That Go (car silhouette dingbat face).
Faces from 2012: Crazy Fredericka (poster stencil face), Twisty, Remix Chinese Whispers, Toastbread (wavy, 3d) and Plywood (3d), Field Day (blackboard bold), Transfer Window (bilined), Walk in the woods (dot matrix face), Rock Paper Scissors (bilined), One Way Ticket (bilined), White Knight (outlined blackletter), Black Knight (blackletter), Shelf Life (stylish), Oystercatcher, Broken Promises (multiline typeface), Tarmac, Hibernation (German expressionist face), Glendalough (nibbed face), Tartan Permutations (multiline face), Return Flight, Orbital Flight, Quatermaster, Featherstone, Gorilla Republic, Granny's Bear Hunt (stencil), Detour Ahead (multiline face), Shanghai Express (angular), Cassiopeia, Camelopardalis.
Creations in 2013: Solo, C Is For Cookie, Early Riser, Firelighter, Timberline (an angular script), Lupo, Polkastruct, Bridger, Six Quinces, Dompteuse, Scandalous, Lane Seven, Singel (cross stitching font), Shadowbox, Hide And Seek, Playroom, Realta 1, Glimpse, Sinistra, Crash Test Dummy, Flightpath, Close Shave, Popover, Switchboard (electrical circuit font), Black and Amber, Wavelength (prismatic), Sightline (multilined), Structurosa Outline, Sparky, Trasna (stencil), Hold Your Horses (Western), Lupo (a winner in the FontStruct Connected Script competition), Skate Park (multiline face), Circumscript, Blinker, Bobs Your Uncle, Snowcat (inline face), Cottage Industry (house silhouettes), Causeway, Springville, Longitude, Pebble Dash, Tulipano, Hitchhiker, Stretcher, Whalewatcher, Solituda, Carbonium, Railway Sleeper (shadowed face), Bricklayer Sans, Candyfloss, Milvi, Bluebell Carpet, Pinball Dingo, Spinfish (blackboard bold), Pelicano (piano key typeface), Metropolaris, Glimpse.
Typefaces from 2014: Thornbrush, Retro Pixel, Spacepixel, Level Rebel, Plutona, Blue Saloon, Seriosa, Bullwhacker, Spiegeltent, Stencilitis, Circumscript, Touchline Script, Brushland, Dordogna, Southbound, Things That Go (ar dingbats), Pacemaker Backslant, Hibernation (wood type emulation), Touchline Script, In Stitches, Stagefright, Process, Cabin Fever, Hamelin, Olingo, Black and Amber, Surftide, Move Over (stencil like Futura Black), Blackrock (rounded stencil), Windway (stencilish), Olingo (bubblegum face), a set of African-themed fonts (Bakelite, Amuletta, Spooner, Chevronel, Yellowhammer, Pinto), Rush Hour, Canario, Nova Zembla (sci-fi), Sleepless, Things That Go (vehicle dings), Cottage Industry (silhouettes of houses), Glimpse, Ticket to Ride (in the style of Tkachenko's Perfopunt), Oluna, Eyeliner, Linearo, Goldfinger, Permanent Black (fat rounded stencil), Solas (artsy dot matrix face).
Typefaces from 2015: Structurosa Italic, Ketting, Panenka, Nook, Companero, Circularity (textured), Recap Stencil, Beach Street, Life Cycle, Waterway, Rock Paper Scissors, Microwave, The Pattern Exchange, Alphabetical Order, Bloem, Synopsis, Microwave, Marbello, Dustcloud, Timberline, Boxthorn.
Typefaces from 2016: Blueback (a retro wood cut look).
Dafont link. Behance link. FontStruct link. Hellofont link. [Google]
[James L. Stirling]
Fontry West is located in Tulsa, OK. At MyFonts, these Fontry West fonts can be bought: Iron, Toxcons (2008, skulls), WILD1 Firstvision, WILD1 Larra, WILD1 Nobody, WILD1 Ruts, WILD1 Toxia, WILD2 Ghixm, WILD2 Keetoowah (2008). Its type designer is James L. Stirling, who cofounded the Watts, Oklahoma-based design and lettering studio The Fontry in 1992 with Michael Gene Adkins. Born in 1964 in Oklahoma, Stirling codesigned WILD1 Firstvision (1997, techno) and Ironrider and Ironhorse (2008, blackletter typefaces based on wood types) with Adkins. In 2000, he co-designed the fonts Modern Poster and Modern Roman, based on the lettering of Alf R. Becker, a sign painter from 1932 to 1957. These fonts were published by Agfa-Monotype. Later fonts there include Steel Narrow, Steel Moderne, Chicago Modern. At The Fontry in the early 1990s, he made Klash (comic books style), Peppermint and Peppermint Openface (Southwest influences), Marbles&Strings, and Keetowah. He also made some Greek fonts at The Fontry.
In 2009, James Stirling started a serious digitization program of the art deco fonts of Alf R. Becker (based mostly on his Signs of the Times series), and made ARB 70 Modern Poster, ARB 93 Steel Moderne, ARB 44 Chicago Modern, ARB08ExtremeRomanAUG-32CASNormal (2009; the original is from 1932), and ARB 67 Modern Roman.
The grunge typeface JLS OverKill Grunge (2009) is free. JLS Smiles (2010) is a family of typefaces consisting of smilies / emoticons. FHA Modernized Ideal Classic (2011, with Michael Gene Adkins) is based on a demonstraton alphabet from Frank H. Atkinson's Atkinson Sign Painting (1908).
Typefaces from 2012 include FHA Condensed French (with Michael Gene Adkins), JLS Space X1C (LED style), JLS Space X2C, JLS Space Gothic, JLS Data Gothic. In 2013, James cooperated with Michael Gene Adkins on FHA Broken Gothic, a layered chiseled type system based on Frank Atkinson's Broken Poster.
Typefaces from 2014: FHA Tuscan Roman (2014, Michael Gene Adkins, James L Stirling).
In 2015, Stirling designed JLS Main Square Frames (corners, rules and frames for vintage ads and monograms).
Dafont link. FontShop link. Fontspring link.
View James Stirling's typefaces. [Google]
A site that sells typefaces reconstructed from found letterforms. The site is dedicated to typographic archeology. Started up in September 2011. Their typefaces include: Creative Market link. [Google]
[American Wood Type Co.]
[Eastern Brass&Wood Type]
Fresh Pressed Fonts
Fresh Pressed Fonts is the foundry of Ryan Welch, who graduated from RIT in 2013. Based in New York City, he created the blackboard bold multi-textured font family Octomorf (2013), the free athletic lettering typeface Matchup (2013), Hickory (2013, a copperplate typeface in which all lowrcase characters are of the same size), Corduroy Slab (2013, free), Matchup Light (2013, free), Parliament (2013, spurred typeface), Grip2X (2013) and Brassie (2013, free regular weight).
In 2014, he published the rounded techno sans typeface Calvaux, Seaside Script, the vintage display typeface Privateer, Sourdough (a creamy script), the wood simulation typeface Fair Trade, the poster typeface Landscaper, and the octagonal typeface Cracker Jack.
In 2015, he published the display sans typeface family Animus and the octagonal typeface Mylodon.
Typefaces from 2016: Rematch 9slab serif), Life Is Gouda (cheese-themed vector format font).
Behance link. Creative Market link (for buying his fonts). A newer creative Market link. [Google]
Cartoonist from Recife, Brazil, b. 1966, whose sense of humor and artsistic prowess shine in his dingbat fonts. Dafont link. Fontsy link.
Creator of the experimental Almost Sanskrit (2009), Zodiac Nice (2009, astrological symbols), Xilo in Zodiac (2009), Xilo-Cordel-Literature (2009, dingbats), Cordel Circo Mambembe (2010), Inside Issue (2009), Stretched Signature Flex (2009), Action of the time (2009, grunge), the dingbat typeface Ugly Cars (2010), the grunge typeface Capitão Galdino (2008), the grunge typeface Saltpeter-N-Fungus (2010), Texture Road (2010, more grunge), BSB DF 50 (2010, grunge), Fine Serif (2009), and the nice dingbat typeface Ochent Silibrina (2008).
Fonts made in 2010: Sport 4 Ever (dingbats for Olympic Games), 60sPop (multiline face), DotSpot (dot matrix), IRON H METAL (tattoo, gothic), IngaStoneSigns (stone age glyphs), Ode2PasteUp (hand-printed), WideSquare (pixelish), ActionoftheTimeNewUL, BSBDF50, Haus-Sweet-Haus, INSIGHT-ISSUE-NEW, Movie Filmstrip, SquareChalk, Action Of The Time New (grunge), CordelValentine (dingbats), IngaStoneSigns (petroglyphs), SustainableAmazon, VeryDamaged (grunge), ParkTechCG (letters as in wired circuits), kidSWritten, Iron H MetallLight, LaceNice (knitted look), Ode2PasteUp, TextureRoad (grunge).
Fonts from 2011: Booklet Cordel (sketched), Cordel Encarnado, Nuclear Accident (texture face), Noncircular (techno), Old Press (grunge), Old Typography (grunge).
Fonts made in 2012: New Press (condensed sans family, +Eroded), Sketch Wall, Comic Gibi, Own Written, Comica BD (comic book shadow font), Cartoon Relief (a 3d cartoon typeface), Riscada Doodle (scratchy hand), Sketch Nice, Needlework Good (a stitching font), Biscuit Made, Just Skinny, Crazy Style, After Cheret (hand-drawn 3d shadowed outline face), Spots in the mirror, TNT Xplosion, Escrita Toska (curly script), Cordel Movies (moviemaking dingbats), Fine N Tall, Cordel Groteska, From Street Art (free graffiti font), Sketch College (sketched athletic shirt font), Thin Press (grungy vernacular type), Sketch Serif, Relief BD, Maxxi Serif (very heavily slabbed serif face), Semi Cursive Gut, Sketch Coursive (sketch face), Salt Pet Non Eroded, Advanced Architecture, Very Fine Serif (a monoline Egyptian), Sketch Nothing, Freehand Nothing, Shark Attack (curly), Do Doodle, Maybe Pollock (dust texture face), Xilo Prosa (grunge), Thin Design, Amazon Palafita (hand-drawn 3d outline face), Snow Times, Snow Traces, USSR Army (rough army stencil with a Russian feel), Needlework US (stitch font), Old Scribe (Greek lapidary face), Nickel Bumpy, Soviet Style (stencil face), Top Modern (heavy slab serif), Lettering Set New, Carton East, Not Tuned TV (sketch font), Scar Bleed (scary font), Maxxi Dots (texture face, +Shadows), Dots Land Gotika (grungy blackletter), Stefanie Dots (textured letters), Karamuruh (textured caps), Broken Type (grunge: a glaz krak font), Touppeka (a Kafkaesque, tribal or painter's font), Old Dreams (grungy), Bad King (sketched typeface), False 3D (hand-printed 3d outline typeface), True2D, I Wrote All, Resistance Until The End.
Typefaces from 2013: Serifa Comica (comic book slab), Press Style Serif (letterpress style), Press Style Large, Triatlhon In (sic: a Greek simulation face), Go 2 Old Western (grungy wood type), Old Serif Gut, Press Style (letterpress style typeface), Dust Serif, Thing Press, Thin Grotesk Serif, Before Collapse (glaz krak face), Stencil Style New (a military stencil), Damaged Serif, Press Serif Cool, Press Feeling, Sketch Toska, Link Parties, Almost Cartoon, Cartoon Toy, Toy Toy Toon, Fine Style (didone caps), Fine Sans (Peignotian), Beyond Blackboard, Forgotten Junk (grunge).
Typefaces from 2014: Simply Rounded, Cartoon 2 Packages, Pain N Bleed, Yummy Lollipop, Hippie Movement, Rotunda Geo, Old Figaro Cursive, Cute Cartoon, Sketch Gothic School (sketched blackletter), Fine College (hatched athletic lettering face), Press Felling Eroded (letterpress emulation), School Book New (sketched), Stencil Cargo Army (military stencil), Fine Eroded, Grunge Poster, Education Is A Way, Cartoon Blocks, Cartoon Bones, Cursive Option, Odd Press (letterpress emulation), Cartoon Tunes, From Cartoon Blocks (3d), Hippie Movement, Yummy Lollipop, Needlework Perfect, Press Gutenberg (blackletter), Unic Calligraphy, Roundfed Eroded, Children's Book (outlined), Neon 2 News, Good Choice (shadowed letterpress emulation), Cartoon 2 Us, O 10 Type, Dust West (grungy Western style), Comic Balloon, Caligraf 1435 (pirate era script), No Name Sans, Top Secret Stamp (grungy stencil), Fine Blackboard (blackboard bold, inline), Press Style Extra L (letterpress), Sounds Good (geometric sans), Sounds Eroded (shadowed letterpress font), Cartoon Blocks Christmas, Street 2 Art (graffiti font).
Typefaces from 2015: Snaps Taste (a grocery store or comic book font), Snaps Taste Christmas, Calligraphy Hand Made, Silly Aliens (dingbats), Sketch Match (3d, sketched), Cartoon 4 Sports (dingbats), Kids Book, Almost Japanese (oriental simulation font, +Comic, +Cartoon), Inga Stone Redesigned, Money Money Plus (engraved money font emulation), Thin Cool, Old N New Media (dingbats), Thinkers World (scanbats of famous intellectuals), Magical Cord, Quick Writing, Eroded 2 Much, Stencil Army WW I (miltary stencil), Stencil WW II (military stencil), D-Day Stencil (military stencil), Western Bang Bang (weathered Western font), Modern Serif, Modern Serif Eroded, Money Money (hand-crafted engraved currency font), Almost Japanese Smooth (oriental simulation typeface), Write Righ, Ease Christmas (dingbats), Sketch Script Cool, Ficticcia College.
Typefaces from 2016: Sketch Toronto, Sketch Fine Serif, Sketch Handwriting, Typewriter Press, Typewriter Style, Sketch 3D. [Google]
French engraver located in Paris. Author of Caractères en bois pour l'impression typographique fabriqés à Paris, 58, rue de Verneuil, 58 (1865, Paris, Imprimerie de l'illustration, Aug. Marc). This 173-page book showcases wood types. [Google]
Gaston Yagmourian (b. Argentina) is an independent design director as well as an MFA instructor at the Academy of Art University in San Francisco, CA. Wonderful artsy fonts designed by Yagmourian include Daliesque, KikinCaps, KikinLow, Notgarmon, Surreal, U27fog, U26fog, and Slantalic. Some used to be shareware, some payware. In any case, Gaston has withdrawn from the font business, and that's it. Sad for such a talented person! Ooops---he came back via Behance in 2011, and showed us the custom typeface San Diego Zoo (2011), which was done with Chiharu Tanaka. In 2012, he published Rantifusa Bold (wood type style).
Link to Etsy shop. [Google]
George Everet Thompson
[No Bodoni Typography]
George J. Becker
Philadelphia, PA-based author of The American system of penmanship ... In ... ten numbers (1842, Uriah Hunt and Son, Philadelphia), Becker's System of Penmanship, Comprising Manual and Elementary Excercises, Business and Epistolary Writing, and Ornamental Penmanship. In Twelve Numbers. No. 10 (1856, Uriah Hunt and Son, Philadelphia), and Ornamental Penmanship Analytical and Finished Alphabets (1854, Uriah Hunt and Son), a lettering manual.
In 2013, James Puckett (Dunwich Type Founders) revived five typefaces from this manual as digital typefaces in his Becker Gothics collection. They include Egyptian, Egyptian Rounded, Stencil, Tuscan and Concave. All have Western and wood type influences. In 2009, Becker's 1854 book was used by Monogram Fonts Co in the creation of Noir Monogram (2009), which was based on Becker's Pearl type.
Downloads of his 1854 book: University of Michigan scan. For a Facsimile, see Becker's ornamental penmanship. A series of analytical and finished alphabets [FACSIMILE]. Free PDF file of the latter book.
In 1993, Dover reprinted 23 complete alphabets in Ornamental Calligraphy [With 50 Plates] (Dover Books on Lettering, Graphic Arts & Printing). Local download of his 1854 book. [Google]
American wood type designer of the 19th century. His 1838 specimen book of wood typefaces is famous in typophile circles.
Several of his creations have been digitized: Fat Face No. 20 (by Dan X. Solo, 2005; based on a didone headline from 1838), Penny (by Jordan Davies, 2007; on a didone headline from 1838), Octagon French (a 3d beveled typeface due to George Nesbitt, 1838, revival by Paulo W, Intellecta Design, 2010). His Antique Extended (1838) was revived as a wood type in 1900 by Tubbs & Co.
A more extensive, and free, collection is provided by Dick Pape (2013) is his AWT or American Wood Type collection. These include AWT Nesbitt Gothic (+Bold, +Round), AWT Nesbitt Octagon, AWT Nesbitt Roman (+Condensed, +XCondensed, +Extended, +Ornamented), AWT Nesbitt Venetian. [Google]
Argentinian graphic designer (b. 1982). He created Can Can de Bois (2005, wood type look) and Ayosmonika-Bold (2005).
Dafont link. Devian tart link. Ventriglia used to use the name Graveman Foundry. [Google]
Born in 1938 in Udine, Italy, Giorgio Giaiotto studied architectural design with Carlo Magnani, and then worked in newspaper typography and finally moved to cartoon design. Creator of typefaces at VGC, such as Giorgio (1966, wood type style). [Google]
Graviton is a small type foundry based in Buenos Aires, Argentina. It was founded by Argentinian type designer Pablo Balcells in 2013.
Balcells created these typefaces in 2012, most of which cover both Latin and Cyrillic: Engranajes (bike gears), Eslava Inline, Eslava Double Line, Eslava Stencil, Eslava Solid, Eslava Outline, Solida (10-style sci-fi blocky sci-fi typeface), Pixelar, Armadura (a monoline octagonal typeface with a stencil style), Oboe (an ultra-fat blocky typeface), Cuantica (sci-fi) and Led.
In 2013, he published Gubia (a condensed elliptical techno sans), Mensura (a gaspipe sans), Mensura Slab, Mensura Titling (all caps titling typeface family that includes outlined and stencil styles), Mensura Slab Titling, Herradura (an 8-style wide wood type slab serif), and LED.
Typefaces from 2014: Necia (modular), Necia Stencil, Tecnica Stencil, Tecnica Slab Stencil, Aguda (modular geometric sans), Aguda Stencil, Cintra (gaspipe sans, +Stencil, +Inline, +Outline), Cintra Slab, Tecnica, Tecnica Slab.
Typefaces from 2015: Violenta Slab (+Stencil, +Unicase, +Inline), Violenta (+Inline, +Unicase, +Stencil).
Typefaces from 2016: Citadina (techno sans family).
Fontspring link. Creative Market link. Behance link. [Google]
Greater Albion Typefounders (or: GATF)
[Paul James Lloyd]
Paul J. Lloyd's typefoundry in Western Australia, est. 2008. Lloyd (b. UK) made over 100 free truetype fonts before that. He writes: What we will offer is new designs, replete with Edwardian Fun, Victorian distinction, or any other piece of elegance we can manage.
Edwardian creations from 2008-2010: Ark Wright (traditional shop signage), Adantine, Goldbarre, Brosse, Crewekerne, Crewekerne Magna and Crewekerne Magister (arts and crafts face), Larchmont, Brissard, Brossard (slab serif), Bonavia, Bonavia Blanc, Clementhorpe, Veneribe, Chiara Script, Howlett, Svengali Roman, Bonning and Bonnington (1920's style families with ideas from University Roman), Absinette (2009, art nouveau), Bamberforth, Tumbletype, Vertrina, Bromwich, Great Bromwich, Fleete, Helenium. Chipping emulates the Edwardian 1920s. In 2012, he added the Bolton Commercial family (late Edwardian, early art nouveau).
Art deco typefaces: Oakland (2011, multiline typeface gleaned from a 1930s French car ad), Zenia (2010, trilined), Plebe (Plebia, 2008: a grotesk emulating the 1930s), Whitehaven (2008, an extensive art deco family with several shadow weights), Merry Fleurons (2008, Christmas ornament dingbats), Braxia (2008), Keynsia (fifties style art deco family with Peignot influences).
Other typefaces: Haymer is a large sans family made in 2010. Clunic (2008) is a blackletter face. Tectura (2008) is a handwriting font. Eldridge is a slab serif family. Aliqua (2009), Chipperly (2009) and Syondola (2008, Tuscan) are Wild West families. Terazza Tilings (2009) and Valentine's Fleurons (2009) are dingbat typefaces. Additions in 2009 include Lowndes (soft blackletter), Christmas Fleurons, Merry Snowmen, Cherritt (described as a Victorian era Courier), DoodleBirds, Halloween Fleurons, ButtonFaces, Sabio (neither slab nor sans), Daub (brush graffiti font), Sabinard (a modern swash face), Cullions (futuristic blackletter), Coronard (blackletter / roman hybrid), Easter Fleurons, Chapter Initials, Paveline (19th century calligraphic script), Mellin Sans and Open, Gildersleeve (evoking the 1920s Arts and Crafts movement), Stannard (a 1920's advertising inspired small caps face), Slattery (a horizontally shaded fun face), Slatterine (2009, more retro futurism), Spillsbury (2010, Victorian family), Cirflex (2010, geometric display typeface based on arcs of circles), Oxonia (2010, a classic roman family) and Vectis (classic Roman elegance, another small caps face).
Creations in 2010: Windevere, Albion's White Christmas, Paragon (a great didone display family with a wood type feel), Compton (slab serif family), Mexborough, Morover (Schwabacher family), Anavio (a classical roman family), Corvone (3d-effect font), Granville (Victorian), Corton (Victorian), Wellingborough (Victorian), Worthing (Victorian), Ark Wright (traditional shop signage), Bonaventure (art nouveau), Federal Streamliner (1950s feel techno face), Deva (classical roman), Crucis Ornaments (crosses), Bronzino (a roman with Arts and Crafts roots), Bertoni (2010, a didone family), Pardon Me Boy (train dingbats), Woodruff (Open Face fonts with a wood type look), Jonquin (based on a WWI poster; +Incised), Luscombe (1920s display family; +Parva), Movella (futuristic from the 1950s), Magdalena Sans (2010: a clear monoline sans), Endymion (2010: Tuscan), Paget (a Tuscan experimental all caps face), Portello (Victorian).
Typefaces made in 2011: Admiral (art nouveau), Tuscaloosa (Tuscan face), Eccles (bombastic Victorian), Wolverhampton (pre-Victorian), Doncaster (Victorian family), Metropole (art nouveau family), Corsham (stone engraved lettering family), Leibix (casual), Albia Nova (an elegant futuristic organic face), Flapper (art nouveau face), Bertolessi (curly Victorian), Tulk's Victorian Banner (all caps banner face), Fitzgerald (Victorian all caps face), Cleveden (Victorian headline family), Spargo (an extensive set of early 20th century-look engraved typefaces for official documents and securities), Bettendorf (2011, based on a 1900s masthead typeface), Wolvercote (2011, similar to Bettendorf), Pittsburgh (2011, a Western-style engraved face), Chubbly (2011), Portmeirion No. 6 (2011, a Victorian / circus design), Bronzetti (2011; images: i, ii, iii, iv, v, vi), Sophie J (hanprinted), Dem Bones (2011, glyphs made from bones), Stout (2011), Birmingham New Street (a Victorian family inspired by the hand lettered title on a 19th century railway map), Beckinslade (ornamental blackletter).
Production in 2012: Alfere Sans Stripes, Albion's Americana (Western stars and stripes face), Tudor Perpendicular (blackletter), Amici (rounded headline face), Amie (rounded sans), Wolverton Text (Edwardian family), Vinea (10-style display family), Par Avion (retro futuristic), AstroBats (retro sci-fi dingbats), Beeching (+Shadowed), Gondolieri (didone meets Tuscan), Penrose Slabserif (an Escher-like trompe l'oeuil 3d face), Haldane (art nouveau, Arabic look), Solidarius (chubby, fat felt-tip pen font), Bluebottle (angular display face), Merrivale (Victorian), Future Runes (runic simulation), Coliseo, Alfrere Sans (inspired by a 1950s television caption style), Tectura II (Lloyd's answer to Comic Sans), Secombe (Edwardian caps family), Milligan, London Court (Tudor-era caps family).
Typefaces from 2013: Speedblur, Belhampton (Edwardian), Merry Baubles (Christmas tree dings), Merry Bauble Letters (Christmas alphadings), Wroxeter (blackletter), Thurbrooke (+Banner, +Initials, +Black, +Reverso, all based on 19th century banner headings and engraved lettering), Bourne (a rounded type system), Henrician (a set of eight Tudor style display typefaces), Belle Jardin (art deco marquee face), Lavery (Edwardian), Baldione (a stylized didone), Chequers (a vintage poster face), Turvy Topsy (fat finger face), Merrivaux (faux medieval), Blout (German expressionist typeface), Easter Egg Letters, Isometrica (a banner typeface family), Valentine's Letters, Imperial Granum (roman titling face), Brollo (chunky display face).
Typefaces from 2014: Albions Very Old Masthead, Albions Engraved Black, Albions Old Masthead, Albions Incised Masthead, Albions Black Holly, Zanderley (pure Victoriana, +Initials), Landsdowne Commercial, Friendly Shaded Sans, Trivette, Wellmere Sans, Uncia Black, Henry VII, Greene and Rollins (layered Victorian typeface), Barollo, Alfrine, Alfrere Banner (+Incised), Lugano, Lanvier (1930s-style caps typeface family), Bonlivet (a hyper-decorative capitals alphabet from the late Victoian or early art nouveau era), Ames Text (a didone family with rounded brackets), Ames Roman (related to didones but with wedge serifs), Ames Weathered, Ames Shadow, Ames Shaded, Amersham (vintage signage family, 2013-2014).
Typefaces from 2015: Netherland Perpendicular (Victorian blackletter), Ledbury (Victorian), Ambergate (Edwardian poster face), Empyrean (futuristic, yet curvy), Flinscher (1920s script), Signwriter Standard, Display Hatched, Albions Marker No.1 (a charming outlined marker pen typeface inspired by Bembo and Caslon), Joyvrie, Kinver (Victorian), Nationale (Victorian), Doges Banner, Doges Darker (Victorian), Doges Delight (Victorian), Doges Venezia (Victorian).
Typefaces from 2016: Allorette, Albion Sharp Italic, Deco Metro (art deco), SpeedSwash (blackletterish), Stridere (blackletterish), SpeedSketch.
Type announcements. Behance link. Klingspor link. Abstract Fonts link. Font Squirrel link. Kernest link. Abstract Fonts link. Hellofont link.
View all typefaces by Paul Lloyd. Images of Paul Lloyd's best-selling typefaces. Greater Albion Typefounders: typeface collection. View Paul lloyd's Victorian typefaces. [Google]
New Jersey-based author of The Art of Wood Type (2008), which is easily the most valuable---and beautiful---text on wood type ever written. Born in Raritan, NJ, in 1925, he served in the US Air Corps in 1943 and strudied at Michigan State College and the Aret Career School (New York City), class of 1949. He settled in Scotch Plains, NJ in 1964 and set up Gergory Ruffa Advertising.
Klingspor link. [Google]
Born in 1980 in Saarbrücken, and a recent graduate at HBK Saar. Working as a designer for the town of Saarbrücken. Somehow associated with Kiosk Type in Berlin, where she created these typefaces: Drückerei (2008, grunge), Rex Mundi (2008), Ghana Signpainters Divine Healer (2008), Wüste Fraktale (2008, a pixel blackletter), Ghana Signpainters Safari (2008), Ghana Signpainters Cocktail (2008, comic book and ad style), Black Frituur (2008, blackletter), Steelcut (2008, slab serif based on Woodcut). [Google]
Hamilton and Cooper Black
On page 170 of Greg Ruffa's The Art of Wood Type, we find a photograph of Copper Black attributed by Ruffa to the Hamilton Co., ca. 1900. But Copper Black was designed by Oswald Bruce Cooper in 1921 only and released by the barnhart Brother & Spindler foundry in Chicago in 1922. Ruffa writes: The attempt to patent the design [of Cooper Black, by Cooper] failed for its resemblance to a previous appearance of a logo. Does Ruffa imply that Copper Black took his ideas from a much earlier wood type? [Google]
Hamilton Holly Wood Type Co.
Founded by Edward J. Hamilton as the J. E. Hamilton Hollywood Type Company after the introduction in 1880 of Hollywood type. Located in Two Rivers, Wisconsin, this company was the successor firm to the William H. Page Wood Type Company, Morgans and Wilcox, and Vanderburgh, Wells&Company, and thus possessed most wood type in the USA in 1906. In 1906, they published a specimen book of all the wood-type designs in their possession, and, incredibly, destroyed all the original paper designs and patterns for the individual letters. This brought a heavy blow to the wood type industry. The lithograph dealt it another blow, and wood type became obsolete soon afterwards. Samples of their specimen books are starting to appear on the web. See here and here for samples of pointing hands from the 1901 catalog, and here for fists from their 1900 catalog. About their start: Just after 1880, Max Katz finances the business, and it becomes Hamilton&Katz for a few years. Katz sells out to William Baker, and the name of the firm becomes The Hamilton Co., or Hamilton&Baker. A bit later, Hamilton buys out Baker, to form the Hamilton Manufacturing Company. And then the takeovers start in earnest: in 1891, they buy the William H. Page Wood Type Company, then in 1898 Heber Wells, in 1899 Morgans and Wilcox Mfg Co., and in 1918 Tubbs Mfg Co. Amazingly, the company lasted until 1985, and enjoyed the lion share of the wood type business in the 20th century.
Hamilton Wood Type Catalog #14 (1899) can now be viewed on-line. Ross Connard's PDF file of that same catalog. Scans from the 1899 catalog: Fist, Page 27, Page 30, Page 35, Page 36, Page 39, Page 65, Page 66, Page 68, DeVinne Condensed, Devinne Double Extra Condensed, Jenson Old Style, Bradley, The Inland, Page 106.
Additional typefaces: Ben Franklin (1895, distressed edge font---other fonts in that style include Plymouth, Pabst and Blanchard), Bradley (1900, based on an ATF typeface by Will Bradley), Old Style (1900, after William Caslon IV's Caslon, ca. 1816), Cheltenham (1891, 1900), Cheltenham Black Expanded (1900), Clarendon Condensed (1899, after the original by Bill Stark & Co., 1853), Cooper Black (ca. 1900). DeVinne Condensed (1895), French Clarendon (1890), Antique No7 (1889), Antique Tuscan (1881, after Wells&Webb, 1854), Etruscan No4 (1895).
A note on digitizations of the collection. There are two main sources, one commercial, and one free. The commercial revival project of Richard Kegler / P22 is called HWT, or Hamilton Wood Type. The free font project is by Dick Pape, who dogitized many of Hamilton's typefaces in his American Wood Type collection. Download page for Dick Pape's fonts. [Google]
Hamilton Wood Type and Printing Museum
Wood type museum in Two Rivers, Wisconsin. [Google]
Hamilton Wood Type (HWT)
Hamilton Wood Type (HWT), established in 2012, is a joint venture between P22 type foundry and the Hamilton Wood Type & Printing Museum. The designs in this collection are based on printed specimens and actual wood type from the historic Hamilton Museum in Two Rivers, WI. HWT is based at P22 headquarters in Buffalo, NY. Typefaces are contributed by its founder, Richard Kegler, but also by Miranda Roth and Terry Wüdenbachs.
In 2012, they published HWT American Chromatic (Richard Kegler, Terry Wüdenbachs), a multilayered Western or circus font based on 19th Century Chromatic.
HWT Antique Tuscan No. 9 (2012) is a very condensed 19th century Tuscan style wood type design with a full character set and ligatures. This font was first shown by Wm H Page Co in 1859. It is the first digital version of this font to include a lowercase and extended European character set.
HWT Borders One (2012) contains 80 modular decorative elements that are based on the designs offered by the Hamilton Manufacturing company at the end of the 19th Century.
In 2013, Richard Kegler released the refreshing retro typeface HWT Bon Air, which is one of a series of script typefaces cut into wood by the Hamilton Manufacturing Company for the Morgan Sign Machine Co. (makers of the Line-o-Scribe showcard press) ca. 1950). He also digitized HWT Star Ornaments and HWT Republic Gothic (with Miranda Roth).
In 2013, James Todd designed the wood type revival family HWT Unit Gothic for Hamilton Wood Type Foundry. The Unit Gothic series was released by Hamilton Manufacturing Co. in 1907, and comprises a flexible range of widths from compressed to very wide.
Still in 2013, William Page's Antique No. 4 is revived as HWT Slab (Antique, Columbian), one with unbracketed square serifs, and one with bracketed serifs as in Clarendons. [Google]
Hannes von Döhren
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: Boom Chicka (2013: a set of three cartoon fonts inspired by the poster for the Marilyn Monroe film, The Prince and the Showgirl (1957), designed by Bill Gold), 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: Empress Monograms (2014), 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), Blacktop Regular (2014), 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: Everyday People (2013, silhouettes), 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 typeface 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 typefaces: 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 typeface 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 2015: Ace of Clubs, Roberta (after Bob Trogman's art nouveau font Roberta, 1962).
- Fonts made in 2013: OK Monograms (retro-futuristic), Splunge (based on Franklin Gothic).
- 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 typeface 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), 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 typeface 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 typeface 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 typeface Trudeau), Frank the Architect (2004, a Frank Ching-inspired typeface 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: Albanita (date unclear though), 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)).
- Typefaces from 2015: Gilded Age (inspired by the opening titles of the 1952 French film Casque d'Or.
- Typefaces from 2016: Bluelakehawk (with Jason Martinez, inspired by Southwest Pueblo pottery patterns and tribal art).
Link at Dafont. . Abstract Fonts link. [Google]
Harrild & Sons
British printing company founded by Robert Harrild (1780-1853) in London. They published a book with chromatic wood types in 1906. [Google]
Defunct film type era foundry started in 1954 in New York City. Its 1959 catalog has 458 typefaces, and its 1984 catalog had blossomed to 1319 photo types. George Abrams started out at Headliners. Headliners is also famous for its release of The Morgan Press collection of wood typefaces. Headliners moved to the suburbs of New York City and set the trend for some years with its Neo series in 1979. ITC and Headliners were then known for their typefaces with large x-height. [Google]
Youngest son of Darius Wells, and, just like his father, a wood type manufacturer in New York. His father's company had fallen into the hands of E.R. Webb, who died in 1864. It was then that Heber Wells, together with Alexander Vanderburgh and Henry Low took over, to form Vanderburgh, Wells&Co. Heber Wells buys out the others some time later, and the company becomes just Heber Wells. It was absorbed by Hamilton in 1898.
Digital typefaces based on Heber Wells's work include Mansard ExtraBold (2005, Jordan Davies) and the following typefaces by Dick Pape: AWT Heber Well Teniers Unique (2013), AWT Page No. 851 (2013, after a font by William H. Page from 1878, but essentially the same as Mansard by Heber Wells), AWT Page Roman Aetna (2013, after an 1870 typeface by William Pagem, which is essentially Painter's Roman by Heber Wells; see also Doric by Morgans Wilcox). Paul Hunt's HWT Bulletin Script Two (2014) is based upon William Page No. 111-113 and Heber Wells' Bulletin Condensed No. 1. [Google]
Hendrik Nicolaas Werkman
Hendrik Nicolaas Werkman, who is usually referred to as H.N. Werkman, was born in 1882 in Leens, The Netherlands. He died in 1945 in Bakkeveen, The Netherlands. He was a well-known Dutch artist, typographer and printer. In 1908, he founded a printing and publishing house in Groningen. It closed in 1923, but Werkman started anew with a small workshop in the attic of a warehouse. Werkman was a member of the artists' group De Ploeg, for which he printed posters, invitations and catalogues. From 1923 to 1926, he produced his own English-named avant-garde magazine The Next Call, which, like other works of the period, included collage-like experimentation with typefaces, printing blocks and other printers' materials. He also used stenciling and stamping to achieve unique effects.
Regarding his death, I cite Wikipedia: In May 1940, soon after the German invasion of the Netherlands, Werkman, together with his friend August Henkels and others, began publishing a series of Hassidic stories from the legend of the Baal Shem Tov through their clandestine publishing house De Blauwe Schuit ("The Blue Barge"). Running to forty publications, all designed and illustrated by Werkman, the series was a subtly rebellious commentary on the Nazi occupation and a call for spiritual resistance. On 13 March 1945, the Gestapo arrested Werkman, executing him by firing squad along with nine other prisoners near the village of Bakkeveen on 10 April, three days before Groningen was liberated. Many of his paintings and prints, which the Gestapo had confiscated, were lost in the fire that broke out during the battle between German and Canadian forces over the city.
Several typefaces were made that were inspired by Werkman. There are also entire web site and exhibitions dedicated to Werkman---see, e.g., the site of Bunker Type (Jesus Morentin) in Barcelona. A partial list of revival typefaces:
Groninger Museum link. [Google]
Herbert F. Czarnowsky
[Baltimore Type Foundry (or: Baltotype)]
Herbert F. Van Brink
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 typeface 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 typeface 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 typeface 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). See also Andes Rounded (2014).
- Bosque (2012) is a wood style family codesigned with Paula Nazal at Latinotype.
- Magallanes (2012, Daniel Hernandez) is a contemporary neohumanist sans serif typeface family covering Ultra Light to Black. This typeface was followed by the 8-style Magallanes Essential (2012) and by Magallanes Condensed (2013).
- Trend (2013). A layered type system done together with Paula Nazal Selaive. Followed by Trend Hand Made also in 2013 and Trend Rough in 2014.
- With Eli Hernandez, Daniel Hernandez published the unicase typeface family Grota in 2013.
- Roble (2013): A slab serif font family which Daniel places halfway between Andes and Sanchez. It is characterized by its clampy backbitten lower case c. The slab serif Roble Alt (2013) has eight weights of two fonts each.
- Together with Miguel Hernandez at Latinotype in 2014, Daniel Hernandez designed the 1930s tall-ascendered sans family Arquitecta, which is promoted as an alternative for Futura, Kabel and Avant Garde. It was followed later that year by Arquitecta Office and Arquitecta Standar. They also codesigned Texta, a geometric sans for all. His Newslab (2014) family is a combination of Andes, Sanchez and Roble; the Regular and Italic styles are free.
- In 2016, Cesar Araya and Daniel Hernandez codesigned the very Latin / curvy / warm slab serif typeface family Hernandez Niu.
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.
In 2016, Daniel Hernandez, now studying at the KABK in Den Haag, The Netherlands (2014-2018), created Lxy, a interesting dynamic (animated) display typeface made entirely with the Python programming language in Drawbot.
Behance link. Home page. [Google]
HiH (Hand in Hand)
Tom Wallace's foundry, HiH (est. 2005), was first located in Woodbridge, CT. Subsequently, Tom Wallace (b. 1944) moved from Woodbridge to Naugatuck to Waterbury and finally in 2009 to New Britain, CT. His type designs are based on historical letterforms:
- Augsburger Initialen and Augsburger Schrift (2001), an art nouveau pair found in Ludwig Petzendorfer's Treasury of authentic art nouveau alphabets, decorative initials, monograms, frames and ornaments (1984, Dover). Augsburger Schrift is originally due to Peter Schnorr (1901, Berthold). In 2007, Wallace added Augsburger Ornamente.
- Figgins Tuscan (2005) is based on the first metal Tuscan typeface by Figgins in 1817.
- Freak, based on Bamboo (1889, The Great Western Type Foundry). HiH explains: Great Western became Barnhart Brothers & Spindler in 1868. At some point, prior to 1925, Freak was renamed Bamboo by BB&S. It was delisted when BB&S was absorbed by ATF in 1929. Compare with Dan Solo's Bamboo (2004).
- Gradl Initialen (2005): based on caps designed by Max Joseph Gradl ca. 1900 for engraving on his art nouveau jewelry in Germany. Samples are in Petzendorfer.
- Huxley Alt (2005), an alternative to the ultra-condensed Lutherian church font Huxley Vertical (or Aldous Vertical) by Walter Huxley (ATF). Huxley Amore (2006) is a major extension of this, and Huxley Cyrillic (2008) adds Russian characters.
- Künstler Grotesk (2005): a simple blackletter caps typeface based on a design seen in Petzendorfer's book.
- Page No. 508 (2006): Page No. 508 was designed by William H. Page in 1887 as one of a series of designs for die-cut wood types for the firm of Page & Setchell of Norwich, CT. Page & Setchell was the successor to The William H. Page Wood Type Company and was sold to the Hamilton Manufacturing Company of Two Rivers, Wisconsin in 1891.
- Pekin (2005): first designed by Ernst Lauschke in 1888 at the Great Western Foundry under the name Dormer.
- Schnorr Dekorativ, Demi Bold and Initialen (2007), all due to Peter Schnorr (ca. 1900), as well as Schnorr Gestreckt (2006), an art nouveau typeface from 1898.
- Rundgotisch (2005): based on a design by Schelter and Giesecke, ca. 1900.
- Edison (2005) is based on Edison Swirl SG, a Spiece Graphics digitization of a late 18-th century design of the Bauersche Giesserei.
- Bethlehem Star (2005) is based on the typeface Accent with the permission of URW++: HiH only added stars to the glyphs.
- Secession (2006): a sans family with art nouveau twists.
- French Plug (2007): A sign painters font based upon work of Frank H. Atkinson, a popular Art Nouveau sign painter in Chicago, who worked for Cadillac, and published Sign Painting in 1908.
- T-Hand Monoline (2007): a printed script family.
- Figgins Antique (2007): an all-caps black slab serif headline typeface based on Figgins, ca. 1815.
- Mulier Moderne (2007): Based on a font designed ca. 1894 by E. Mulier, a French art nouveau era artist.
- Regina Cursiv (2007): an art nouveau design.
- Edelgotisch (2007): a bold Jugendstil design (with caps), based on a design released by Schelter & Giesecke of Leipzig, Germany about 1898 and is very similar to Eckmann-Schrift released by Rudhard'schen Giesserei (later Klingspor) during the same period.
- Teutonia (2007), a revival of Teutonia by Roos & Junge, a squarish art nouveau face. HiH writes: There are many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923, Joost Schmidt at Bauhaus in Weimar took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. And in 2008, HiH itself published Baltimore Geometric.
- Austin Antique, based on Richard Austin's 1827 antique typeface.
- Morris Gothic, Morris Ornaments and Morris Initials One and Two (2007): The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called Troy Type and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called Chaucer Type for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions.
- Larisch (2007): a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift Examples of Artistic Writing).
- Patent Reclame (2007): an art nouveau typeface first cast around 1895 by Schriftgeisserei Flinch, and then by Stephenson Blake, ca. 1896.
- Jugendstil Initials (2007): a blackletter designed by Heinrich Vogeler around 1905.
- Wedding (2007): a multi-style English blackletter family, based on a Morris Fuller Benton original called Wedding Text.
- Brass (2007): two blackletter typefaces from the early 1500s described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY, 1959) as initials and stop ornaments from brasses in Westminster Abbey.
- Auchentaller (2007), a monoline art nouveau typeface inspired by a travel poster by Josef Maria Auchentaller (b. Vienna, 1865, d. Grado, 1949; studied at the Vienna Academy, professor in Munich, member of the secession from 1898, artist) in 1906.
- Phinney Jenson (2007): a Venetian by Nicolas Jenson from the 15th century, about which Wallace writes: In 1890 a leader of the Arts & Crafts movement in England named William Morris founded Kelmscott Press. He was an admirer of Jensons Roman and drew his own somewhat darker version called Golden, which he used for the hand-printing of limited editions on homemade paper, initiating the revival of fine printing in England. Morris' efforts came to the attention of Joseph Warren Phinney, manager of the Dickinson Type Foundry of Boston. Phinney requested permission to issue a commercial version, but Morris was philosophically opposed and flatly refused. So Phinney designed a commercial variation of Golden type and released it in 1893 as Jenson Oldstyle. Phinney Jenson is our version of Phinneys version of Morris' version of Nicolas Jensons Roman.
- Advertisers Gothic (2008): based on Robert Wiebking's tasteless 1917 design for Western Typefoundry. HiH writes: Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline.
- Publicity Headline (2006): an allcaps version of Sidney Gaunt's advertising typeface, Publicity Gothic (1916, Barnhart Brothers & Spindler). Its heavy weight and robust strength allows it to be used against complex backgrounds or reversed out on dark backgrounds without getting lost.
- Herold (2008): a revival of Berthold Herold Reklameschrift BQ (Hermann Hoffmann, 1901), an art nouveau advertising typeface.
- Yes Dear (2008) is a funny hyper-curly blackletter face.
- Besley Clarendon (2008) is the HiH version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. This condensed typeface was very popular in the 19th century, and was copied by most foundries of that era. It was followed by Gutta Percha (2008), a Clarendon in which the upper case letters are dropcaps.
- Waltari (2008): a revival of Walthari (1899, Heinz König for the Rudhardsche Giesserei), a Jugendstil type.
- Hispania Script (2008): revival of a pirate map script typeface by Schelter & Giesecke (1890).
- Cloudy Day (2008), an alphading.
- HiH stumbled on a 1902 publication by Bruno Seuchter called Die Fäche, in which he found the art nouveau typeface that HiH revived in 2008 as Seuchter Experimental.
- Petrarka ML (2006). HiH writes: Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer's Bernard Roman Extra Bold and ATF's Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (1906, Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the H particularly.
- Haunted House (2008), Halloween-themed fonts.
- Gothic Tuscan One (2008) is an all-caps condensed gothic with round terminals and decorative Tuscan center spurs. It was first shown by William H. Page of Norwich, CT, among his wood type specimen pages of 1859.
- HiH Firmin Didot (2008) is a one-style didone based on an 1801 version of Didot. It led to a combined alphabet/stick people alphading called Gens de Baton (2008) after a lower case alphabet that appeared in the Almanach des Enfants pour 1886 (Paris, 1886) under the title Amusing Grammar Lessons.
- Shout (2008), a Compacta-like fat headline sans about which HiH writes: Its lineage includes the Haas Type Foundrys 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as extended sans serif and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a shout, as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black.
- The heavy art deco typefaces Guthschmidt and Guthschmidt Condensed (2008) are based on a 1924 KLM Royal Dutch Airline poster designed by Anthonius Guthschmidt. The poster draws on the imagery of the legend The Flying Dutchman.
- Cherub and Cherub Caps (2008) are based on Phinney Jenson. Not to be confused with the many fonts that already existed with that name, such as Cherub from House of Lime, Twopeas, Graph Edge Fonts, and Fuelfonts.
- HiH Large (2009) is a poster sans.
- Mira (2009) is an art nouveau / Victorian typeface patterned after a font by the Roos & Junge Foundry in Offenbach, ca. 1902.
- Thorowgood Sans (2009): A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street's own Grotesque Shaded of 1834 (with light and shadow reversed).
- Fantastic ML (2009): an art nouveau typeface originally released as "Modern Style" by Fonderie G. Peignot & Fils, Paris, France some time before 1903.
- Gundrada ML (2010): a medieval style typeface inspired by the lettering on the tomb of Gundrada de Warenne, who was buried at Southover Church at Lewes, Sussex, in the south of England in 1085.
- Wedge Gothic (2010). HiH writes: Wedge Gothic ML is the original name of this font released by Barnhart Bros. and Spindler of Chicago in 1893. [...] The typeface was dropped for awhile -- it does not appear in the 1907 catalog for example -- but reappeared in 1925 as Japanette. McGrew says that the new name was Japanet. It was recast by ATF in 1954.
- Norwich Aldine ML (2010) is an all caps typeface with enlarged serifs, designed and produced in wood by William H. Page of Norwich, CT in 1872.
- Rodchenko Constructed ML (2010) is constructivist (Latin and Cyrillic).
- Cruickshank ML (2012): a decorative typeface from the late Victorian period. The typeface was designed by William W. Jackson and released by MacKellar, Smiths and Jordan Type Foundry of Samson Street, Philadelphia, Pennsylvania in 1886.
- Habana Deco ML (2013).
- Chicago Ornaments (2015). a collection of decorative cuts cast by the Chicago Type Foundry of Marder, Luse & Co. of Monroe Street in Chicago, Illinois. This collection was shown in their 1890 catalog. Some of them were designed by William F. Capitain. Included in the font are a set of Victorian caps inspired by Ernst Lauschke's Dormer (or Pekin, 1888).
View Tom Wallace's fonts. View the typefaces designed by Tom Wallace. MyFonts link. [Google]
Hold Fast Foundry
Hold Fast Foundry (State of Washington) was founded in 2013 by Mattox Shuler. Its typefaces:
- The all caps vintage poster fonts Gin (2013, chamfered), Abolition (2013, a propaganda typeface with soft octagonal corners) and Bourbon (2013, which used to be called Moonshiner when it was free).
- The sketched typeface Prohibition Lines and its octagonal solid partner, Prohibition (a WPA typeface), both published in 2013.
- Industry (2013). A six-style squarish industrial sans typeface family. Followed by the layered all caps typeface family Industry Inc in 2014, which includes beveled, inline, outline, stencil and many other options.
- Clt (2015) and Colt Soft (2015). A pair of wide Clarendon / woodish typefaces.
Creative Market link. [Google]
In 1850, these brothers, who had previously worked for Edwin Allen in South Windham, CT, start a wood type manufacturing business in Lebanon, CT, and move to Willimantic, CT, the next year. A few years later, they were joined by Stark, and the company was renamed Bill, Stark, and Co. In early 1854, it is renamed again to H. and J. Bill Co., but closes its doors later that year. Their equipment gets purchased by William Page in 1856 who will start his own successful wood type company, Page&Bassett. [Google]
Hucklebuck Design Studio
Andy Hayes (Hucklebuck Design Studio, springfield, OH) created Reverend Italic (2011), an architectural drawing italic as seen on Foundfont. Priest Condensed (2011) is a condensed wood type headline face. It is unclear if they also made the grotesk typeface Modelfont (2011). Vanity Numbers (2009) is a number font based on old Californian license plates. Model Plane Slab (2009) is a slab serif headline typeface with wood type influences. In 2010, they made M.C. Gothic Condensed. Grain-O (2011) is another grotesk headline face.
In 2012, Andy Hayes designed Bad Postcard and Postal Gothic. [Google]
[Juan José Lopez]
Huy Fonts is a foundry in Madrid run by Juan José Lopez. With Ines Atienza, he designed the multilayered and/or chromatic circus font family Show (2014). Influenced by chromatic letterpress types, it is based on a type family called Concave, a Victorian type launched in 1884 by the foundry Marder, Luse & Co. Inés Atienza and Juanjo López are members of the Familia Plómez association, a small printshop based in Madrid that devote their efforts to promote everything about letterpress printing, calligraphy, and lettering.
With Inés Atienza, Juanjo designed the multilayered and/or chromatic circus font family Show (2014). Influenced by chromatic letterpress types, it is based on a type family called Concave, a Victorian type launched in 1884 by the foundry Marder, Luse & Co.
Lopez made Choriza and Choriza Sans (2013: sausage-inspired type), Adoquin (2013), the informal sketchified family Bodoniez (2011), Chiripa (2011, hand-printed), Hands Up (2011, various hands, including "thumbs up", "a OK", "the finger", and fists), Paquita Pro (2011, informal lettering), Ultramarina (2011, a quaint face based on wood type headline examples), and Pichi (2011).
Earlier, Lopez was a T-shirt designer, who also used the name Juanjo Lopez. Old page of Juanjez Nikis.
At Dafont, one could download the headline handwriting font Paquita (2006), a predecessor of Paquita Pro.
Klingspor link. Home page. Behance link.
View Juanjo Lopez's typefaces. [Google]
[Hannes von Döhren]
Hannes von Döhren (b. 1979, Berlin) is a Berlin-based designer (b. 1979). His foundry is HVD Fonts. He started out with free handwriting and grunge fonts such as HVD Comic Serif Pro (2009, an alternative to Comic Sans, according to HVD), The Subway Types (2009, a graffiti family: Shik (New York), Deon (Paris) and Etan (Berlin) came together to show the typical tag styles of their respective metropolitan areas. The fonts were digitized, spaced, kerned and programmed by Hannes von Döhren).
Later he went commercial, first at T-26, and then under his own label, HVD Fonts. His typefaces: Shelton (2008, T-26), HVD Peace (2008, an army stencil font), HVD Comic Serif (2007, a serifed spoof on Comic Sans), HVD Rowdy (2007), HVDSpencils-Block (2007, stencil), HVDSpencils (2007, stencil), HVD Steinzeit (2005), HVD Edding 780, HVD Rawcut (2005), HVD Age 11 (2006), HVD Shelton (2008, T-26: wood type grunge), HVD Bodedo (2009, potato-Bodoni lettering), Quench Pro (2008, Linotype), HVD Peace (2008), and HVD Poster (2006, grunge).
Typefaces made in 2009: Grandma (great hand-printed style---move over, Comic Sans), Christmas Dingbats, ITC Chino (a soft-edged signage and sans family, done with Livius Dietzel), Klint (sans family, +Rounded), Brevia (a soft sans in seven styles), Cowboyslang (a Western slab serif family), Embryo (superblack), Embryo Open, and Opal, a classy old style text family with tall ascenders. Bumper (2009) is an ultra-black sans family in a style related to Impact.
Typefaces from 2010: FF Basic Gothic (a grotesk family done with Livius Dietzel), Reklame Script, Shelton (grunge), Blow Up is a fat balloon font. His masterpiece of 2010 and perhaps of his career thus far is the Brandon Grotesque family that relives the 20s and 30s. [A year after I wrote the previous sentence, Brandon Grotesque won an award at TDC2 2011, and all during 2011, it was the most sold typeface at MyFonts.] Livory (2010, with Livius Dietzel) is a rounded serif type family of four fonts influenced by the French Renaissance Antiquas from the 16th century.
Production in 2011: Brix Slab (2011, with Livius Dietzel), Brix Slab Condensed (2011, with Livius Dietzel:(24 styles in all), Pluto (16-style semi-scriptish sans family, +Italics), Cheap Pine (a wood type caps family), Supria Sans (free web font family; +Black). Together with Supria Sans Condensed, this 36-style family is a basic sans workhorse. It won an award at TDC2 2011.
Typefaces from 2012: Shelton Slab (eroded wood type or dirty letterpress look), Diamonds (geometric caps only family), Pluto Sans, Love Potion No. 10.
Typefaces from 2013: Embryo Tiny, Niveau Serif (an engravers / copperplate style typeface), Niveau Grotesk, Mikado (signage family for games, food and advertising with a lot of genetic material from Brandon Grotesque: Mikado Bold Demo is free), Brandon Text (similar to, but with a higher x-height and more rounded corners than Brandon Grotesque, it is more appropriate for long texts and small print), FF Mark (together with Christoph Koeberlin and the FontFont team: this font is marketed as Ze new Germanetric sans; one weight is free).
Typefaces from 2014: Brix Sans (2014, created using precisely engineered glyphs for corporate or information design; with Livius Dietzel), Brandon Printed (a caps-only letterpress version of Brandon Grotesque).
Typefaces from 2015: Brandon Grotesque Office (screen-optimized; specially designed for Microsoft Office applications, it has 4 styles), Brandon Text Office (also made for Microsoft Office applications), Goodlife (a hand-lettered collection, consisting of Brush, Sans, Script, and Serif styles), Americane Condensed and Americane (based on American wood types).
Dafont link. URL at T-26. Abstract Fonts link. Another URL. Behance link. Alternate URL. MyFonts link. Creative Market link. Font Squirrel link. Fontspring link. Fontsy link. Pic.
View Hannes von Döhren's typefaces. [Google]
Commercial fonts with free demos. This company in San Francisco was set up in 2013 by Guilhem Greco (France). The typefaces from 2013 include Strong Glasgow (arts and crafts typeface), Deadmobil (a grungy version of the Mobil logo font), Midnight Moon, Google Spies, Tarantino (grungy wood type), Bronx Bystreets (grunge), Hidden Archives, Stallions, Hidden Archives (grunge), Broken Detroit (grunge), Motor (2013, a lovely scratchy grunge face), New Motor (2013), Twisted Stallions (scratchy typeface), Stallions, Dust Overhaul and Grunge Overlords.
Typefaces from 2014: Primetime, Polar Vortex (grungy, 3d, beveled), Crushed, Flexsteel (techno), Diamond Dust, Delicacy, Primetime (sans).
Typefaces from 2015: Above (thin sans), Quartzo, Diamond Dust (an eroded script), Stargazer, Neoteric (geometric sans).
Dafont link. Fontspace link. Creative Market link. Behance link. [Google]
Vienna-based type designer who joined Schriftlabor in 2015. He made the stencil type family Brilliant in 2010 at Facetype.
Still at Facetype, he cooperated with Michael Hager on Stanley Slab (2012), which is an interpretation of wood type combined with the idea of modern stencils. Stanzer (2010, a unicase typeface done with Michael Hager) is an interpretation of wood type combined with the idea of modern stencils.
Vendetta (2011) is a multilingual text type family that support Latin and Cyrillic.
Wiener is an upright italic created with a bamboo-pen.
Typo Passage is a high-contrast piano key display typeface. This is a modification of an original typeface by Mischa Zog at Erwin Bauer's office.
In 2013, he graduated from the MATD program at the University of Reading. His graduation typeface was Salom [peace]: Salom is a type family for complex, yet lively typography, supporting Arabic, Hebrew and Latin. The purpose of this typeface is to balance all three scripts in equal harmony, keeping in mind their individual cultural heritage. Salom is designed to bridge challenging typography with the outspoken voice of the streets. The family comes in Light, Regular, Semi Bold, Bold and Black, every weight in three styles, Roman, Italic and Stencil.
In 2014, Hans Renzler, Dmitrij Ritter and Igor Labudovic codesigned the sans serif and slab serif pair of typefaces Donau Neue and Donau Alte.
In 2016, Manuel Radde and Igor Labudovic joined forces for the development of the multiline OCL family of fonts and icons, where OCL stands for Open Commons Linz. These were developed for the city of Linz, and are distributed freely: The use, reproduction, alteration, or adaptation of the digital resources is expressly allowed.
Behance link. Klingspor link. [Google]
Design company in Brazil run by Paulo W (b. 1970) from Recife. Paulo W is a gaúcho (Brazilian southerner), with interests in multiple areas, including poetry (he has published the digital opus Magical Book), graphic design and, most recently, type design.
Dafont link. MyFonts. MyFonts link. Abstract Fonts link. YWFT link. Behance link. Blog. Home page. Fonthaus. Monotype. Eshops. Facebook. Flickr. Klingspor link. Wordpress. Devian tart. T26. Linkedin. Identifont. Linotype. ITC. Faces.co. His typefaces:
- Free fonts: Inductive Resonance (2014: connected script), Retrodings (+Two, 2014), Living In The Past (outlined Tuscan face), Rough Ornaments Free (2014), CornPop Three (borders), Too Good To Be True (2013, retro script), Blanchard Inland (2013), Living Together (2013), Arresto (2013, brush script), Hertziano (2013, non-connected fat script), Japanese Tourist (2013), Nouveau Never Dies Free (2013), The Beat Goes On (2012, fifties script), Stencix (2012), Figgins Brute Trash (grunge), Fontaniolo Beveled (2011, ornamental caps), Czech Gotika (2011), Random Dingbats (2011), Victorian Free Ornaments (2011), Rustic (2011), Armorial (2011), Woman Silhouettes (2011), The Nile Song (2010, hieroglyphics), Smith Typewriter (2009), Sign Flags (2010, semaphore dingbats), Senectus Morbus (2010), MesoAmerica (2010, Indian symbols), ClassicSketches (2010, dingbats), Columns (2010, dingbats of Greek and Roman columns), EasyCuneiform (2010), EasyLombardicTwo (2010), EasyOpenFace (2010, blackboard bold style), Egidia (2010), Significante (2010, dingbats with, e.g., gender symbols), WhiteDominoes (2010, domino pieces), Easy Heraldics (2010), Intellecta Heraldics (2010), Heraldic Devices (2011), KidingsFree (2010, dingbats), RoughTuscan (2010), The French (2009, Fleur de Lys dings), AprendizCaligrafico (2010), Volitiva (2006, Trajan caps and chancery lower case, all based on work by Ludovico Vicentino Arrighi), Gaivota (2006), KurrentKupferstichThin (2006), PaulKlein (2010), PaulKleinTwo (2010), PortuguesArcaicoLectura (2005), ReproxScript (2009, based on Jerry Mullen's Repro Script from 1953-1954), RickGearyHomage (2007, scanbats), WestBalaio (2006, ornamental caps), Corto Maltese (2006, scanbats), Renaissance Coiffure (2006), Renaissance Ornaments (2007), Renaissance Shoes (2012, free), TTF Tattoef (2006, tattoo-inspired dingbats), ExperiTypo5 (2006), Lower Metal (2006), Geometric Serif PW (2006), Geometric (2006), Geometric Petras PW (2006), War II Warplanes (2005), Carbono (2005), Times New Vespasian (2005), BoldBold (2005), Vengeance (2005), Doppleganger (2005), Chancelaresca (2005), Cursivo Saxonio (2005), Gotische Minuskel 1269 (2005: a Kanzlei Schrift after Dekan Hermann zu Soest, 1269) and Guto Lacaz (2005, dingbats).
- Richard Gans revival project: Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada (2006), Gans Ibarra (2006), Gans Antigua (2006), Gans Antigua Manuscrito (2006), Gans Radio Lumina (2006), Gans Fulgor (2006), Gans Carmem Adornada (2006), Gans Italiana (2006, extensive Italian-style slab serif family), Gans Titania (2007), Gans Titania Adornada (2007), Gans Titular (2007), Gans Gotico Globo (2007: 9 styles by Iza W), Gans Royality (2007: 3 styles by Iza W), Gans Headpieces (2008), Gans Rasgos Escritura (2010: filets---followed in 2011 by Rasgos Escritura Nuevos), Gan Esquinazos (2010, frames), Gans Blasones (2010, shields), Gans Neoclassic Fleurons (2008), Gans Classical Fleurons, Gans Ding.
- Wood-inspired typefaces: Dead Wood Rustic (2007), Taranatiritza (5 wood type styles, after William Hamilton Page), Majestade (2007, by Iza W---two Tuscan style typefaces), Decorative Tuscanian (2007), Concave Tuscan (2010, wood type), Palermo (2007, by Iza W---Tuscan style family), Teatro (2009, Tuscan), Bruce Double Pica (2009, Tuscan; the Beveled weight is free), Antique Extended (2010, slab serif wood type), Dark Wood (2009, gothic), Dark Wood Beveled (2011).
- Charles Bluemlein's script revivals: Bluelmin Kisaburo (2013), Bluelmin Ralph (2012), Bluelmin Ronald (2012), Bluelmin Sandsfort (2012) and Bluelmin Benedict (2012). (2012).
- Blackletter: Salterio (2012, +Trash, +Three, +Gradient, +Shadow, +Shadow Two), Leothric (2011, bastarda), Bruce 532 Blackletter (2011, after George Bruce), Schneider Buch Deutsch (2007, +Trash, +Shadow, +Shadow Two), Schneidler halb fette Deutsch (2009, +Beveled), Schneidler Zierbuchstaben, Hostetler Fette Ultfraktur Ornamental (2007, blackletter caps), Gothic 16 CG (2007), Gothic 16 CG Decorative (2007, blackletter caps), Schneidler Grobe Gotisch (2008, Iza W, T-26), Allerlei Zierat (2008, ornament fonts based on a 1902 catalog of Schelter & Giesecke), Allerlei Zierat Capitals (2007), Psalter Gotisch (2009, a blackletter after the Benjamin Krebs blackletter face by the same name, ca. 1890), Münster-Gotische (2009, a blackletter family after a 1896 typeface by the same created by Schelter&Giesecke), Koberger N24 Schwabacher (2007), Student's Alphabet (2007, blackletter), Like Gutemberg Caps (2007), Nürnberg Schwabacher, Gotische Frame (2007: four framed blackletter styles by Iza W), Gotische (2007: ten ornate blackletter styles by Iza W), Gothic Garbage, Gothic Shadow, Gothic Trashed, Gothic Flourish (2009), Gotica Moderna (octagonal, blackletter), AltDeutsch (2007, four severe blackletter fonts by Iza W), Fin Fraktur, Gotische Bouffard, Heimat RGS, Gothic Handtooled Bastarda (2006), HostetlerFetteUltfrakturOrnamental (2007, blackletter caps), Gothic Handtooled Bastarda (2006).
- Historical revivals: Pantographia (2010: a digitization, as is, of several alphabets from Edmund Fry's Pantographia, 1799), Caslon2000, Caslon B, Delamotte Large Relief (2010), Figgins Brute (2007: 8 heavy Egyptian styles by Iza W based on Figgins' 1817 specimen book), Erased Figgins Brute (2007), Gras Vibert (2007, a didone family; followed by Gras Vibert Two in 2009).
- Erotic or human alphabets: American Way of Life (2011), Roman Silhouettes (2011), Silvestre Weygel (2007, named after Martin Weygel'a erotic alphabet from 1560, which in turn was based on Peter Flötner's 1534 alphabet), Gravure (caps typeface made of human silhouettes), Innocence (2007, dingbats of girls).
- Medieval chancery hand: Portugues Arcaico (2005, three medieval handwriting styles), Kurrent Kupfertisch (2006, a medieval hand done with Fernanda Salmona), Dovtrina Christam 1622 (authentic old manuscript face), Catania (2007, exquisite medieval caps in 3 styles by Iza W).
- Typewriter typefaces: Remix Typewriter (2012), Smith Trash (2012), Neo Bulletin (2010, +Trash), Remington PW (old typewriter face), Olivetti Linea (old typewriter face), Erased Typewriter 2 (2007: 4 styles by Paulo W), RIP Typewriter (2009), Shadow Typewriter (2007), Underwood Typewriter (by Iza W).
- Calligraphic: Broken Kiss (2015), Derniere Script (2015), Bradstone Parker Script (after Zaner's penmanship), Jan van den Velde Script (2011, based on the penmanship of Jan van den Velde as illustrated in vna den Velde's 1605 book Spieghel der schrijfkonste; developed jointly by Paulo and Iza W), Penabico (2010, with Iza W); Penabico is a free interpretation of the copperplate script styles to be found in the Universal Penman, London, 1741, by George Bickham---it contains over 1500 calligraphic glyphs and 250 ornaments. Samples of Penabico: i, ii, iii, iv, v, vi, vii, viii, ix), Easy Calig, Intellecta Mixed Script (2008), Spencerian Constancia (2008), Calligraphia Latina Soft4 (2010, quilled ornaments), Intellecta Script commercial (2009), Spencerian By Product (2009), Spencerian Palmer Penmanship Pro (2010), Indenture English Penman (2010), Calligraphia Latina (2008-2010, in weights called Soft2, Dense, 3, Soft4, Mixed, Square Edition).
- Victorian, Edwardian: Engel (2007, by Iza W in 15 styles that have a 1870s look), Compendium (Victorian), Costado (2009, a Victorian / Western face).
- Ornamental caps: Campi (2009), Doppel Mittel Lapidar Azure (2012), Musirte Antiqua (2012), The House of Usher (2012), Peterlon (2012), Dolphus Mieg Alphabet (2011, +Two), Dolphus Mieg Monograms (2011), Human Nature (2011), English Arabesque Revival 1900 (2011), Imprenta Royal Nonpareil (2011), XVI Century Shaw Woodcuts (2011), Ichweis Caps (2011), Cherubim Caps (2011), Rara Beleza (2011), Gothic 1880 Revival (2011), Angelicaps (2010), Unnamed Caps Two (2010), VertiCaps (2010) Rebimboca Caps (2010), Rebimboca Beveled (2012, free), Rebimboca Gradient (2012, free), Rebimboca Trash (2012, free), Rebimboca Outlined (2012, free), Republica Presente (2010), Speedball Metropolitan Caps (2010, after a design by Ross F. George), Nice Initials (2010), Morphelic (2010), DurerGotischCapitals (2010), Egmontian (2007, ornamental caps family), Saducismus Triumphatus (ornamental caps), Vogus (Victorian caps), Victorian Ornamental Capitals (2009) and Frompac 1889 Arabesque (2007) [both are classical arabesques published in Ludwig Petzendorfer's Schriften-Atlas. Eine Sammlung der wichtigsten Schreib- und Druckschriften aus alter und neuer Zeit nebst Initialen, Monogrammen, Mappen, Landeskarten und heraldischen Motiven fur die praktischen Zwecke des Kunstgewerbes, 1889], Lettrines Petin (+Ornée), Numa Initials (2006), Gradl Initialen, Vampirevich (2009, ornamental caps), Paulus Franck 1602 (2006, ornate caps), Geodec (2006, baroque caps), HostetlerFetteUltfrakturOrnamental (2007, blackletter caps), Cadels (2007, ornate caps by Iza W), Manuscript XIV Century (2007, by Iza W--four Lombardic caps), Merona (2007, by Iza W--ten Lombardic caps fonts), Selena (2007, by Iza W---ornate Victorian caps), Leyenda (great Victorian era ornamental caps), Mixed Capital Style (2007, caps), Lenda (2008, capitals), Kidnaped at Old Times (2008, ornamental caps, ransom note style), Mortised Capitals, Is Not ABrazilian Font (hand-printed blackboard bold caps), Robur The Conqueror (2009, ornamental caps), Georgia Capitals (2009), Decadence avec Elegance (exaggerated ornamental caps).
- The American Advertise series: American Advertise No. 9 (2008), American Advertise No. 17 (2007, 19th century caps), American Advertise 018 and 019 (2008), American Advertise Square Series (2007), American Advertise 003 (2012), American Advertise 004 (2010), American Advertise 005 (2010), American Advertise 006 (2010, alphadings), American Advertise 007 (2010, ornamental caps).
- Ornaments, fleurons: Transportation Dings *2015), Cornucopia of Dingbats Eight (2015), Animals Old Cuts Two (2015), Unpublished Ornaments Two (2013), Classix (2012), Cornucopia of Dingbats (2012-2014, +Two, +Three, +Four, +Five, +Six, +Seven), Cornucopia of Ornaments (2013; +Two, +Three, +Four, +Five, +Six, 2014), Cornucopia Caligrafica (2012), Vintage Hands (2012), Human Silhouettes (2012; +Free, 2013; +Two, 2013; +Human Silhouettes Three, 2013; +Four, 2013; +Five, 2014; +Six, 2014; +Seven, 2014; +Eight, 2014; +Nine, 2015), Easy Fleurons (2012), Floreale Two (2012), Neoclassic Fleurons Free (2011), Calligraphic Frames Soft (2011, +Two), Jugendstil Flowers Free (2011), Easy Ornaments (2011), Blasons (2011), Blasons Free (2012), Armorial (2011), Monograms Soft (2010, with Iza W), Easy Tiles (2010), Free Tiles (2010), Rough Fleurons Two (2010), Vegetable Breathe (2010), Corn Pop Plus (2010), Mortised Fleurons (2010), Mortised Ornaments (2011), Mortised Ornaments Free Two (2013), Golden Times (2010), Stahlhelme und Kronen (2010), Rough Fleurons (2006), Nouveau Never Dies (2009, ornaments), GeodecBruceOrnamented6 (2006, after a sample from the Bruce Type Foundry), Grave Ornamental (2006), BlackOrnaments (2008), Hera Hedelix (2009, ornamental tiles), Mortised Ornaments (2009), Soft Fleurons (2007), Half Flower (2007), Frames 1 (2007, by Iza W), Flower Essences, Micro Fleurons (2009), Naturella (2009, leaf and grape dingbats by Iza W), Black Fleurons (2010), Easy Fleurons Two (2011), Intellecta Borders (2008, by Iza W), Intellecta Style (2007, borders).
- Fonts made before 2007: Brute Aldine (2007, Western family), Bad Situation (2007, after a design by Freeman Delamotte from 1864), Benjamin Franklin (2007), Geodec Petras Enhanced (2006), Deutsche Poster (2006), FatFontGrotesk (2006), Orchis (2006, an art deco family by Iza W), Fantis (2006), Frompac (2006, with Iza W), Geodec Fog (2006), Intellecta Modern (2006), Intellecta Modern 2 (2006), Intellecta Romana Humanistica (2006), Advantage (2006, together with Iza W), Biza (2006, together with Iza W), Elegancy (2006, together with Iza W), Estiliza (2006, a sans family together with Iza W), Experitypo 4, Stairway to Heaven, Copperplate PW, Dings PW, Roger Dean, Gliphs PW, Luxeuil, Watchtower Bible 1965, Gabinete Portugues (11 fonts), Elara (2009), Xilografuras (dingbats), Beta, Alta, Paleolitica Nacional, Shakespeare Studs, Copperplate collection (5 fonts), Wine, Ampersamp, James Poem, Leal Conselheiro, Haeckel Enygma, Iza B, Of, Lementa (2006, ornate family), Pirates (dingbats), Wire Clip (2009), Divina Proportione (2009, dingbats), Tharagaverung (2007), Correo (2009, a nice manly bold face), Titivilus (2007, Roman lettering), Pirates De Luxe (2007, dingbats), Geodec Minuskel (2006), Geodec Spyral (2006), Copperplate Decorative (2006), Feosa (2006), Francesco Decorative (2006, Iza W), Geodec Petras Enhanced (2006), Ibarra Flourished (2006), Intellecta Decorative 017 (2006), Intellecta Decorative 018 (2006), Intellecta Slab Bold (2006), Kansas Decorative (2006), Pingente (2006), Sixties Living (2006), Caractere Doublet (2007), DeutschePosterSteinschrift (2007; by Iza W), GP Casual Script (2007), Colonia Portuguesa (2007), Contouration (2007), Deco Experiment 3 (2007), Floresco (2007), Flower Jars (2007, by Iza W---a very nice idea), Frutisis (2007), Intellecta Monograms (2007: 19 monogram fonts by Paulo W), Intellecta Monograms Random Sample (2012-2013: several typefaces), Peloponeso (2007, by Iza W), Porcupine (2007, by Iza W), Southern Flight (2007, by Iza W---condensed), TTF TTTOEF 4 (2007, by Iza W---dingbats), GeodecBruceFlourished, HostetlerNormande, Victorian Ultra Parphernalia (2007), Angels (2007), Angels Free (2013), Mondrongo (2007), Oorlog (2007).
- Fonts in 2008: Das Riese (3d engraved caps, +Shadow), Economica (sans, T26), Antiqua Double 12, Bad Baltimore (+Beveled, +Typewriter), Calligraphia Latina (2008-2009, in weights called Soft2, Dense, 3, Mixed, Square Edition, Free), Fry's Alphabet, Grissom (bug dingbats, by Iza W), Latinish (by Iza W), Lettering Deco (by Iza W), Litho Romana Inland, Quadratta Serif (a slab serif by Fernando Diaz), TTF TATTOEF 7 (by Iza W).
- Fonts made in 2009: Eingraviert (engraved; scans: i, ii, iii), Eingraviert Beveled (2011), Greko Roman Oldstyle, Ortodoxa do oriente, Sans Square, Speedball (by Iza W, Victorian style), Speedball Western Letters (after Ross F. George's lettering), Elara (2009), Intellecta Roman Tall, Force Brute & Ignorance, Sunamy Caps, Starret, The Pilgrim (alphadings), Renaisperian (alphadings), Real Caps Two, Mateus Bold (4 bold styles), Intellecta Crafts (arts and crafts family), Bruce 1490, Bradley Dingies (five dingbat typefaces, after William H. Bradley), Allerlei Zierat Renaissance, Grave Plus, the grungy Monkey series (Victorian Monkey, Monkey Poesy, Monkey Messed Gutenberg Caps, Monkey Was Here, Monkey Insinuation, Monkey In The Middle Ages), Montezuma (dingbats), Grotesque and Arabesque, Calhambeque (old car dingbats), Eiger (2009, a 3d sketched headline face).
- Faces made in 2010: Polen, Pencraft (capitals were inspired in Swagger Capitals, an original design from Carl Stephen Junge, at Barnhart Brothers & Spindler; lowercase based Pencraft Specials, an ornamental variation of the Pencraft Oldstyle series, as displayed in the BBS catalog from 1922), Salamemingoe (children's hand), BarberPoles, Beware the neighbors (scary), BlackInitialText, CaligrafiaDivina, CornPop, CowboyHippie Pro, Grotesca3-D, Nardis, Senzacuore, Speedball Metropolitan Poster (2010, after a design by Ross F. George), TagWood, Tosca, TypographyTribute, Zooland, Bubbleboddy-Fat, bubbleboddylight-Light, Pretoria Gross (a Victorian family done with Iza W), Wood Font Five (wood plank font), Wood Font Four, Herr Foch (art nouveau), Rebimboca, Octagon French (a 3d beveled typeface due to George Nesbitt, 1838), Picuxuxo (retro futuristic, comic book style), Large Old English Riband, Ornamental Riband, Kidings (Dutch dingbats), Hostil (originally done in 2007: a headline family; followed by Hostil Shadow Two (free, 2012) and Hostil Gradient (free, 2012)), Grotesca, Heptagon French, Antiquariaat (condensed), Cortinado, Sanoxio (3d headline face), Violentia (grunge), Swirlies (spiral dings).
- Faces from 2011: Dia de los Muertos (fantastic skeletal masks), Inland Becker, Rasgos Escritura Nuevos, Jaggard (2007, a renaissance penmanship caps typeface modeled after Joachim Romann's Queen (1954-1956, Stempel)), Jaggard Two, Naive Ornaments Black, Augustus (+Beveled: roman letters), Sayonara (oriental simulation face; the Beveled style is free), Trash Barusa (inline ornamental face), Free Ribbons, Black Ornaments Three, Calligraphia Latina Soft 5, Heraldic Devices Premium, Ornate Blackboards, Benjamin Franklin Beveled, Baltimore Typewriter Beveled, Bernardo Beveled, Van den Velde Script (a free interpretation of the work of the famous master penman Jan van den Velde, found in the Spieghel der schrijfkonste, in den welcken ghesien worden veelderhande gheschrifften met hare fondementen ende onderrichtinghe (Haarlen, 1605)), Indenture English Penmanship, Penmanship Birds and Ornaments (2012), Beware The Neighboors Shadow (texture face), White Free (shadow face), Delamotte Large Relief Beveled.
- Typefaces made in 2012: Porosa, Presto, Derradeira (signage script), About Sweet Memories (brush script), Intellecta Ribbons, Irrelevante (beveled caps), Laus Sus Chris (Christian dingbats), Unpublished Ornaments, Heavy Squared Writing (brush face), Mezcla Titan, Sweet About (retro script), Publicité, Hard to read monograms, Free Medieval, Doctor Polidori (initial caps), Mixed Silhouettes (One through Five), Glosilla Castellana Cursiva (inline type family), Sayonax (a textured version of the oriental simulation typeface Sayonara), Wood Stevens (free), Rockabilly (fifties script), Interdite Script (heavy calligraphic face), Prismatica (free), Cristalid (free prismatic face), Zed Leppelin (free), Neo Bulletin Outline (free), Neo Bulletin College (2012), Victorian Free Ornaments (+Two), Spanish Army Shields (+Two), Varius Multiplex, Stephens Heavy Titling.
- Typefaces from 2013: Face of Yesterday (calligraphic script), Ribbon in the sky, Dreamer (a flowing upright semi-connected script), Vorname (blackletter), Barocque Capitals, Close To You (a rabbit-eared script), Wappen (heraldic shields), Eletroz (hand-printed), Morcrepito (blackletter), Metropolitan Poster Black, Animal Silhouettes, Intellecta Pointers and Hands, The Loyalist (script), Vonnegut (a left-leaning script), Perhaps Love (left-leaning script), So Lonely (script), Exposition (upright script), Plaster of Paris (connected script), Volstead (connected script), Versitia (connected script), Porongo (heavy brush script), Fat Fantasy, Das Krieg (soldier dingbats), Corn Pop Two (ornamental corners), Corn Pop Four, Corn Pop Five, Astrodings, Vulnavia Sans (comic book face), Capitular Heraldica, Mirella Initials Ornamntals (a swashy calligraphic script; with Iza W), Carpete (retro script), Free Writer, Round Hand, Exclusivite (fifties script), Hertz Oscillations (fat retro script), Heavy Rock (fifties script), Raindrops (retro script), Ralph Walker (ronde), Exiles (retro signage script), Mr. Richmond Caps (art nouveau alphadings), Berengard Caps Two.
- Typefaces from 2014: Prester John, Animals Old Cuts, Take a Pebble, Corn Pop Five (borders), Kidnapped at German Lands (ransom note font), Kidnapped at German Lands 2, Kidnapped at German Lands 3, Kidnapped at German Lands 4 (finished in 2016).
- Typefaces from 2015: Rogeer (script), Chart Moss, Eliensee, Speedball Ragged, State Bridge, Derniere Script, Grissom Four (dingbats of critters), Das Modern, Zona Pro (a sans family).
- Typefaces from 2016: Equis (crosses), Mattaaus (a counterless poster font), Holland Morleau (a Kanzlei style blackletter font), Rough Vignettes, Rechnung (a bejeweled didone), Alphabet Fantasie (decorative caps), Phantasinian (blackletter), Loosing Memory (blackletter), Laandbrau (blackletter), Lord Radcliff.
Intelligent Design (was: Intelligent Foundry)
Kostas Barstokas is a designer and illustrator in Thessaloniki, Greece, and in Leeds, UK. He set up Intelligent Foundry and later Intelligent Design in Leeds. In 2011, he used FontStruct to make the counterless typeface UglyKost.
In 2012, he created Kafalan Serif, a square-serifed typeface, and the accompanying Kafalan Sans, which are both available from Ten Dollar Fonts.
Typefaces from 2013: Zona Black (a Latin-Greek geometric sans-serif black display typeface that was inspired by posters from the late 1920s), Zona Black Slab.
In 2014, still in the same style, we find Zona Pro in weights from Hairline to Black. Ridewell (2014) is a wood type inspired 1800-glyph typeface with many opentype features including foremost interlocking pairs of characters. It comes with Ridewell Print, which emulates the degradation of letterpress.
In 2015, he designed the geometric sans typeface family Averta and Averta Standard.
Buy at Ten Dollar Fonts, Hellofont, Creative Market, or MyFonts.
Behance link. The Designers Foundry link. [Google]
Illinois-based designer of a revival of Grecian Condensed (2005) from page 272 of Rob Roy Kelly's book American Wood Type: 1828-1900. [Google]
Isaac Ballesté Martorell
Catalan graphic designer who lives in Olot and/or Montblanch. He created the sans family Alfa (2012), in which he attempts to offer total neutrality by taking common legible features from all famous sans typefaces.
Black Flag (2013) is a poster typeface motivated by revolutions. Dans (2013) is a letterpress typeface. [Google]
J. Randall Harris
[Just My Type]
Jack W. Stauffacher
Hunt Roman is a type designed by Hermann Zapf in the early sixties in collaboration with Jack Stauffacher. Jack wrote a lot about typography, e.g., Janson, a Definitive Collection (The Greenwood Press, 1954), Hunt Roman: the birth of a type, (1965), and Inscriptions at the Old Public Library of San Francisco (2003, edited by Jack). Jack was at Carnegie Tech (now Carnegie Mellon) during the early 1960's. He started the Laboratory Press and taught the creative possibilities of letterpress. He left there about 1964. He now runs the Greenwood Press in San Francisco.
Robert Harlan describes Jack Stauffacher's involvement in Sumner Stone's "Cycles" font.
John Berry on Jack Stauffacher and his use of large wooden letters in illustrations. [Google]
James Clough (b. 1947, London) studied typographic design at the London College of Printing. For more than thirty years he has lived and worked in Milan as typographer, designer and calligrapher and since 1990 also as a teacher of the theory and history of typography and visual communication at various institutions including the Milan Polytechnic University (since 2002) and the ISIA of Urbino. He lectures on many aspects of calligraphy, type design and the history of typography in Italy, Britain and Switzerland. Recent essays of his research for English and Italian publications include a study of the various editions of the Hypnerotomachia Poliphili (first printed by Aldus Manutius in 1499), types used by the earliest printers in Milan and Venice, the 20th century revivals of Bodoni's types and a study of historical and contemporary script types. In 2005 he curated the Mondovì Museum of Printing. He is on the scientific board of Bibliologia, and wrote the introduction to volume 2 in 2007.
In 2015, James Clough and Chiara Scattolin coauthored Alphabets of Wood: Luigi Melchiori & the history of Italian wood type (Tipoteca Italiana, Cornuda, Italy). David Wolske writes: Alphabets of Wood is the most recent and arguably the most beautiful addition to the new wave of wood type scholarship. It is also important because it is the first publication to seriously examine the historical and cultural significance of Italian wood type manufacturers. In the first part of the book, James Clough calligrapher, writer provides a broad historical overview of wood block printing, from fourteenth- and fifteenth-century hand carved imagery and text through the nineteenth-century American origins of moveable wooden type. In Chapter 6 Clough introduces us to Luigi Melchiori, a skilled designer and manufacturer of wood type, active during the late nineteenth and early twentieth centuries in the Veneto Region of Italy. Through beautifully paced layouts, sumptuous photography, and a richly textured typographic palette, Melchiori's life, work, and legacy are situated in the context of other Italian wood type manufacturers. In the second part of Alphabets of Wood, Chiara Scattolin digs deep into the archive of wood type fonts, specimen books, tools, and documents held by Tipoteca Italiana. Detailed testimonies from peers help to humanize "the Bodoni of wood type," making it easy for contemporary typographers, graphic designers, letterpress printers, and artists to recognize themselves in the pride and craftsmanship Melchiori brought to his work. Every chapter of the book is illustrated with stunningly handsome antique wood type specimens. Two eight-page letterpress inserts on a toothy, soft-white paper stock provide an arrestingly modern counterpoint. The Stamperia of Tipoteca Italiana printed all sixteen frame-worthy pages using original wood type from Tipoteca's Wood Type Archive. Typographically the book echoes the best of Italian design, finding a harmonious balance between industrial sharpness and sensuous fluidity. [Google]
James Conner's&Sons United States Type Foundry
19th century New York-based foundry, also called the United States Type Foundry, Conner&Cooke, James Conner&Son, James Conner&Sons, and James Conner's&Sons.
Only a few of its typefaces have been digitized thus far. Among those, we have AWT Connor Tuscan Italian (2013, Dick Pape), Helena Handbasket NF (2005, Nick Curtis) which was modeled after Antique Light (1888). Buffalo Bill (2007, FontMesa) revives a decorative Western style poster font from 1888. Railhead (2007, FontMesa: 4 styles) is a revival of an 1870s type style that was originally available from both Bruce's New York and James Conner's&Sons type foundries. Warp Three NF (2008, Nick Curtis) is a Bank Gothic-style font that borrows its lowercase from Square Gothic (1888, James Conner). Gunsmoke (2010) is a revival of a James Conner's Sons font that has been around the block under different names such as Extended Clarendon Shaded, Original Ornamented and Galena. Ysleta NF (2010, Nick Curtis) revives Conner's Aetna (1888), also known as Painter's Gothic. Conners Corners NF (2010, Nick Curtis) was gleaned from the 1888 specimen books of James Conner's Sons United States Type Foundry. Fists dating from 1888. [Google]
James Edward Hamilton
Aka Edward James Hamilton, born and died in Two Rivers, WI, 1852-1940. Wood type designer and producer active with the Hamilton Manufacturing Co. His innovations led to the production of high quality wood type. Hamilton Manufacturing Co dominated wood type in that era. He designed many wood typefaces, such as Trenton Condensed (1889), digitized in 2005 by Jordan Davies. [Google]
[Hamilton Holly Wood Type Co.]
James L. Stirling
James T. Edmondson
[Oh No Type]
Chicago, IL, and/or Fredonia, NY-based designer, who runs James Todd Design. His foundry, which sells via MyFonts, is located in Fredonia, NY.
Creator of the text family Garvis (2012), which was inspired by didones and the Dutch Fleischmann types.
In 2013, he designed the wood type revival family HWT Unit Gothic for Hamilton Wood Type Foundry. The Unit Gothic series was released by Hamilton Manufacturing Co. in 1907, and comprises a flexible range of widths from compressed to very wide.
In 2015, he published the contemporary didone optically corrected typeface family Essonnes [MyFonts link].
In 2016, James Todd designed the 6-style sans typeface family Cresta.
Behance link. Dribble link. Fontspring link. [Google]
[Jamie Clarke Type]
Jamie Clarke Type
Jamie Clarke (London, UK, now based in Sydney, Australia) creates illustrative type and lettering. He ran his own digital agency for ten years, and retrained after that period by studying type design at the University of Reading and letterpress at the St. Bride Foundation in London. His commercial typefaces include Brim Narrow (2015). He writes about this engraved layered typeface: Brim is inspired by antique woodtype and chromatic type from the 1800s. Its various styles stack together creating a variety of decorative combinations. Each layer can be assigned its own colour. The horizontal etching in some styles and subtle shadow effects can give the typeface the appearance of a vintage money font. In 2016, he added Brim Combined.
His commissioned led him to the Kelmscott Bakehouse K (2016), a decorative letter commissioned by Kelmscott Bakehouse and based based on William Morris's ats and crafts style. Creative Market link. Behance link. [Google]
Owner and Creative Director at Lettering Library, Wentworth Institute of Technology, Saylorsburg, PA. Head honcho, with Drew Melton, at Carmel Type. In 2015, Jason Carne and Drew Melton codesigned the large condensed titling typeface family Skyward and wrote: Robust, towering, and geometrically refined, Skyward is a surefire classic cocktail of equal parts utility and elegance. They also cooperated on the wood style Western typeface Lumber Co (2015) and the nostalgic Railroad Co (2015; inspired by the iconic ultra-extended letter styles that lined the exteriors of many early 20th century passenger train cars).
Typefaces from 2016: Mosler (a Fort Knox slab serif in four styles: Safe, Strongbox, Vault, Fortress), Alchemist (with Drew Melton).
Behance link. Creative Market link. Jason Carne's home page. [Google]
[New Blazing Star Press]
Aka Jimena Vidal. In Longinotti's course at FADU UBA, Javier Vidal designed the Tuscan typeface Caminito (Caminito Adios) (2011). [Google]
Aldine (2011, Lost Type) is a wood-look headline typeface based on original proofs of a 19th Century American Wood Type alphabet, Aldine Expanded. It was created and embellished by Javier Viramontes at the University of Texas, Austin. [Google]
[Albatross (or: Font Deals)]
J.C.C. Dai Davies
Creator of Slab Four Rounded Ext (2010) at Wooden Type Fonts. [Google]
Designer in Tarbes, France, who made Gothic Light (2012) based on a wood type specimen from Hamilton, ca. 1857, called Gothic Light No. 21. Dribble link. He specializes in custom retro type and graphic design. Dribble link. [Google]
Prolific type designer in Florida, b. 1952. His fonts were originally free and consisted largely of dingbats. Around 2005 he went commercial, and now sells his work (over 350 fonts as of 2009) via MyFonts. He has branched out into several font styles, with a soft spot for stencil fonts, fonts for signage, and fonts for advertising. Born in New York, his family moved to Florida in 1963, where he has been ever since. An interview. Alternate URL. Yet another URL with his early free fonts.
My pages on him.
Fontsy link. Picture. Dafont link. Abstract Fonts link. MyFonts link. Klingspor link. [Google]
[Jeff Levine: Art nouveau types]
[Jeff Levine: Wood type]
Jeff Levine: Art nouveau types
Art nouveau typefaces by Jeff Levine: [Google]
Jeff Levine: Wood type
Digital renderings and simulations of wood type by Jeff Levine include Advertiser JNL (2009), Blacksmith JNL (2011, based on a brass stencil image), Brenham JNL (2011), Buckdance JNL (2005, Tuscan), Bushwick JNL (2011, caps-only sans), Cattleman JNL (2013, a condensed French Clarendon), Clarenwood JNL (2014), Clarenwood Stencil (2015), Daily Tablet JNL (2014: based on wood type used for newspaper headlines), DuBois Block JNL (2008), Elida JNL (2011, a didone all caps wood type family), Elk Grove JNL (2009, based on a wood type called Facade), Emporia JNL (2011), Engine Company JNL (2013), Final Edition JNL (2015), Fort Courage JNL (2014, a French Clarendon), Framingham JNL (2010, a widened version of Nostrand JNL), General Merchant JNL (2013), Gristwood JNL (2015), Hayfork JNL (2011), Ingomar (2006), Lenorah JNL (2009), Lockup JNL (2009), Longwood JNL (2014), Normandy Isle JNL (2011), Northfork JNL (2010, based on a William H. Page wood type alphabet called Parisian, circa 1857-58), Nostrand JNL (2009, condensed wood type), Notification JNL (2011), Nouveau Sans JNL (2014, art bouveau-inspired wood type), Old Wood JNL (2013), Ornery Polecat JNL (2014: Western style), Payson (2009), Pleasantwood JNL (2014), Primitive Tuscan JNL (2014), Rachelle JNL (2009, Italian), Ranch Hand JNL (2013), Reverse Gothic JNL (2014), Roman Wood Type JNL (2012, in the Clarendon Condensed style), Rounded Sans Wood JNL (2015), Rustic Setting JNL (2013), Saddle Tramp JNL (2013), Sagebrush JNL (2014: modeled after French Clarendon), Sales Book JNL (2013), Sales Event JNL (2014), Shadowland JNL (2014), Shadowlawn JNL (2014), Sidewinder JNL (2013, an ultra-compressed wood type), Splinters JNL (2009, wood pieces), Stockville JNL (2012), Streamwood JNL (2014), Strongbox JNL (2009), Tamarac (2006, slab-serif wood type), Tent Show JNL (2014, based on a French Clarendon circus style), Teterboro JNL (2010; although built from scratch, this slab serif has a wood type feel), Texarkana JNL (2011, based on a classic condensed wood type from the 1800s, and embellished with stars), Topanga JNL (2010, ultra-condensed sans serif wood type), Trail Boss JNL (2011), Troubadour JNL (2011, ornamental wood type), Weekend Tabloid JNL (2009, a sans serif wood type), Western Wood Type JNL (2015, a Clarendon), Westward JNL (2014: circus lettering typeface), Winnetka JNL (2009, octagonal wood type inspired by Cooley Antique Tuscan Condensed---a printer's wood type manufactured in 1859 by J.G. Cooley), Woodbranch JNL (2016), Wood Condensed Grotesk (2014), Woodcraft JNL (2013), Woodhaven Initilas JNL (2014), Woodlawn JNL (2013, outlined), Woodmark JNL (2014: based on William H. Page's New Process No. 507), Wood Nouveau (2014), Wood Poster Display JNL (2014), Wood Tuscan JNL (2014), Wood Type Bodoni JNL (2013), Wood Type Calendar JNL (2016), Wood Type Grotesk JNL (2014), Woodwork JNL (2014). [Google]
Graphic designer from Groningen, The Netherlands. He is planning digitizations of various wood types he owns. The first one is Origo Narrow (2007), a wood type sans. He also made Sixtypound (2007, an interesting rounded fatface), Rough-Cut Sans (2007) and Jelmar Sans. No downloads. [Google]
New York City-based graphic designer of the squarish typeface Corner Type (2012). [Google]
Lausanne, Switzerland-based type designer. He created Swissa Piccola (2012, an old typewriter font).
In 2014, he designed the multicolor layered typeface Bron and Bron Shadline. Bron is based on Zelek, designed in the early 1970s by Polish type designer Bronislaw Zelek at Mecanorma. This typeface was originally made for dry transfer lettering sheets. It is has been redrawn and refreshed by Adatte. Also in 2014, he created Day and Collins Logotype (2014, based on catchwords and fists fond in a 1910 wood type catalog by Day & Collins, London).
In 2015, he designed Marcel, an angular upright script typeface that was inspired by Jacno (1948) by French type designer Marcel Jacno.
Behance link. [Google]
Designer in Utrecht, The Netherlands. In 2014, he published the excellent Bos Theater Type, a typeface that is reminiscent of rough wood prints and even potato printing. [Google]
Jerry L. Austin
Small wood font archive (wood in the sense of letters that look like they were made from wood). [Google]
Bitstream designer (b. 1955) who lives in Michigan City, IN. At Bitstream, he did in-house work, and had his signature on Candy Bits (1996, an M&M simulation font), Prima Sans (1998), Prima Serif (1998), Prima Sans Monospace (Bitstream, with Sue Zafarana, 1998) and Bitstream Vera (2003).
According to Lyles, Bitstream Vera is actually a detuned Bitstream Prima. Gnome asked that we modify some of the characters in the monospace, particularly for coding legibility. We added a center dot to the zero and modified the lcase l to distinquish it from the figure one. Although I designed Vera (Prima), it was actually Sue Zafarana who adapted it to a mono version, at times a very challenging task. The Vera fonts are also here.
Vera Sans is at the basis of Menlo (2009), a Snow Leopard system font, about which Apple writes: Apple's Menlo is based upon the Open Source font Bitstream Vera and the public domain font Deja Vu.
He revived some Filmotype fonts from the 1950s: Filmotype Jade (2012, based on an original connected script typeface from 1955), Filmotype Reef (2011), Filmotype MacBeth (2007), and Filmotype Austin (2009, brush face).
In 2012, he created a gracious upright script face, Stalemate, which can be downloaded from Google Web Fonts.
The upright connected script Grand Hotel (2012, Google Web Fonts, with Brian Bonislawsky for Astigmatic) finds its inspiration from the title screen of the 1937 film "Cafe Metropole" starring Tyrone Power. The free Rum Raisin was published at Astigmatic One Eye.
Stiggy & Sands is the American typefoundry of Brian Bonislawsky and Jim Lyles, est. 2013. Their first commercial typefaces, all jointly designed, are Luckiest Guy Pro (a fat comic book font based on vintage 1950s ads) and Marcellus Pro (a flared roman inscriptional typeface with both upper and lower case, originally published in 2012 by Astigmatic).
At Hamilton Wood Type, he designed HWT Roman Extended Fatface (2014), which is based on 19th century didone wood styles.
In 2016, Brian J. Bonislawasky and Jim Lyles published the rugged octagonal mega typeface family Tradesman at Grype.
Another MyFonts link. Klingspor link. [Google]
[Stiggy & Sands]
Museum Director of the Hamilton Wood Type Museum in Wisconsin. He runs letterpress workshops, archives the collection and maintains the museum on a daily basis. [Google]
[Parkinson Type Design]
Jim Parkinson on his grotesques
Jim Parkinson (Parkinson Type Design) explains the gradual development of his grotesque typefaces, from the custom headline font Newsweek No. 9 to Banner, Antique Condensed (Font Bureau), ITC Roswell and finally, Balboa and Balboa Plus. In his own words:
Balboa took its sweet time evolving. In 1985, Roger Black was at Newsweek magazine in New York. He was going to do a total redesign of the magazine, Roger had me redesign the logo, and help him fashion a headline font for the magazine. Roger wanted the font to be based on Stephenson Blake's Grotesque No. 9. But he wanted it heavier, way heavier. There was one crazy afternoon during the development of that font when Roger and I were at drawing tables in my tiny Art Room. My office has always been called The Art Room, and it was always the extra bedroom in whatever house I was living in. I was at one drawing table furiously drawing bolder letters, and, as fast as I could draw them, Roger, at the other drawing table, was rubber cementing the comp letters into dummy headlines. Each time he finished a headline, he would look over at me and bark, Bolder. BOLDER. I can still hear him today, Bolder. BOLDER. Eventually we found the right weight and made Newsweek No. 9. I drew it in pen and ink. It was digitized by some company in New Jersey. That was my introduction to the Grotesque letterforms.
About a dozen years later, I found myself working at the San Francisco Chronicle, trying to make digital fonts for the paper. The Executive Editor was a crusty old dude. He had fond memories of the 1950s when San Francisco had a half dozen dailies, all competing to attract readers. Back then, the old editor had had dozens of rack cards printed to scream for attention from atop newspaper racks in the city. The cards were butt-ugly, badly typeset, free of any trace of design, and unintentionally comical.
Still, the old fellow had deep affection for his rack cards and saved them as souvenirs. When he became aware there was a guy in the building designing digital type, he decided the strange wood type from the rack cards would be the Chronicle's first digital font.
The type on the rack cards was old woodtype. The letter weights were so uneven that I am sure characters from other fonts had been mixed in. I turned to an old ATF typeface called Condensed Title Gothic No. 11 to use as my model. I called the result Banner. It was a bomb proof headline gothic. No frills.
By the early 1990s I was working my favorite parts of the Grotesque into other typefaces. I like the endings of the round strokes and I worked them into Antique Condensed No. 2. The thing that I found distracting about the Grotesques was the flat-tire shape of the round characters. Droopy. Finally I combined the character shapes of Banner with the Grotesque details I used in Antique Condensed to make ITC Roswell. And ITC Roswell begat Balboa. [Google]
FontStructor who made the Western wood type look typeface Modern West (2010). [Google]
Wood type manufacturer in Allentown, NJ. Specimen of Leavenworth's Patent Wood Type Manufactured by J.M. Debow (1840s) is on-line at the NYPL. From that book: Italian type, Twelve Lines Gothic. [Google]
Kapitan Studio was Joanna Rzezak and Piotr Karski. Based in Warsaw, they design books, typefaces and magazines. Their typefaces included Captian Blackbeard (2012, a heavy angular condensed caps typeface based on a 19th century wooden type Grecian made by William Page). In 2014, Joanna Rzezak went alone.
Behance link. Old URL for Kapitan Studio. [Google]
Graphic design student from the Estonian Academy of Arts, whose particular interests lie in web design and typography. His free font Vibur (2010) is a script typeface based on handwriting.
In 2012, Johan Kallas and Mihkel Virkus designed Ewert, a slab serif wood type inspired by and loosely based on the collection of cultural infographic maps by Estonian graphic artist Olev Soans. Free at Google Web Fonts. They added Revalia later in 2012---see here.
Meie Script (2012, John Kallas and Mihkel Virkus, free at Google Web Fonts) is described as follows: Meie Script is a typeface, which is based on the original 1910 Estonian handwriting standard. It is less flamboyant then its Western European contemporaries. Estonian handwriting has been influenced greatly by German and Russian handwriting styles and Meie Script embodies a mixture of those two styles.
Klingspor link. [Google]
Celebrated American sign painter and type designer (b. Tacoma, WA, 1951), who lives in Iowa City, IA. Brief bio. Downer's professional activities include sign painting, lettering, glass gilding, type design, typography, and logo design.
Russian piece by Ilya Ruderman on Downer's lettering. His present company is Voltage. At ATypI 2008 in St. Petersburg, he spoke about revivals, and ran a lettering workshop, something he is famous for at previous ATypI meetings as well. His abstract on font revival reads: To understand the intrinsic differences between plagiarism (normally regarded as a bad thing) and preservation (normally regarded as a good thing), we should look at various means by which newer typefaces are derived from older ones. There are indeed many approaches. Outlining them can be helpful in considering the practices surrounding revivalism in general: revivals, recuttings, reclamations - anthologies, surveys, remixes - knockoffs, clones, counterfeits - "me too", copycat - reconsiderations, reevaluations, reinterpretations - homages, tributes, paeans - encores, sequels, reprises - extensions, spinoffs, variations - caricatures, parodies, burlesques.
- Ironmonger (1991-1992), Roxy (1990), SamSans (1993) at FontBureau.
- Chicago Tribune Mag (1989, Roger Black).
- At Emigre: Triplex Italic (1985), Brothers (1999, an almost octagonal family with wood type influences: Its inspiration came from a bright chromolithographed letterhead designed around the turn of the century for the Cole Brothers traveling shows, an extravaganza of acrobatic and circus acts that included trained horses with bareback riders.), Council (1999) and Vendetta (1999). Council was based on lettering found on a candy tin box made in the early 1900s for John G. Woodward&Co. of Council Bluffs, Iowa. It has a wood type look.
- Iowan Old Style (1991, Bitstream--his first font), Iowan Old Style Titling (2002, Bitstream). These are newspaper types. He writes about them: Iowan Old Style is classified as a Venetian old style type design. It is related to earlier, 20th-century American interpretations of Italian Renaissance types cut by Nicolas Jenson and Francesco Griffo, but it is modeled also on classical inscriptional lettering and sign painting seen in certain regions of eastern Iowa.
- Gonick (1992, Larry Gonick).
- Simona (1994-1996, Design Lab, Milan, with Jane Patterson), Simona Swash Italic (1998, Design Lab). Example of its use.
- Airy (1998, Design Lab).
- Panatela (2001, compared by Downer with Jim Parkinson's Modesto).
- Paperback (2005), a family with 6, 9, 12, 24, 48 and 96 point optical sizes. Its polygonal sections of outlines are applauded by John Berry.
Mug shot. Klingspor link. Brief bio. MyFonts page. FontShop link. Bitstream bio.
Showcase of John Downer's typefaces at MyFonts. [Google]
John G. Cooley
American wood type designer/manufacturer from the 19th century, whose company started out in 1852 by taking over Edwin Allen in South Windham, CT. In 1864, he partners with Robert Lindsay, sells the South Windham factory, and moves to New York City as John B. Cooley and Co. In 1866, he enters into a partnership with Samuel T. Dauchy to become Cooley&Dauchy. In 1869, however, that company was bought by William Page, who ironically, had been Cooley's employee in 1855-1856. He published Specimens of Wood Type.
Examples of their wood types: Antique Tuscan No. 1 (1859).
Digital revivals: Jeff Levine's Winnetka JNL (2009) was inspired by Cooley Antique Tuscan Condensed from 1859. See also AWT Cooley Ant Tuscan XX Cond (2013) and AWT Cooley Grecian XX Condensed by Dick Pape. [Google]
John Hansen Budalsplads
John Hansen Budalsplads (1798-1874), a craftsman from Budalen, a remote mountain valley in central Norway, is well known for his production of ornamented, wooden boxes. He also had a great interest and ability in cutting letters in wood. He produced whole alphabets in blackletter and Latin (copperplate) style. On some plates the letters are cut into the wood, but he also cut letters which stand out of the wood (as punches). The latter ones were then printed on paper, to be hung up on walls on the farms. They were both educational and decorative, as the letters are well executed. The article discusses how Budalsplads can have got them printed. Torjorn Eng regards him as the first representative of Norwegian typeface design. A sample from 1820 until 1831. A sample from 1826.
Another link. [Google]
Sign artist in Burbank, CA who runs "L.A. Signs and Graphics" on E. Verdugo Avenue there. MyFonts link. All his fonts are commercial, and can be bought from Letterhead Fonts (LHF). He specializes in signage and retro typefaces. Perhaps his best-selling typeface is Classic Caps (2002). Other typefaces: Casablanca (2003), LHF Ephemera (2002, calligraphic), LHF Ballpark Script (2001, connected signage script), Goldsmith (2003), New Trajan (2002, based on Roman lettering found on buildings), Aristocrat (2002, inspired by a 1930s ad for swallow motorcycles), Big Top (2002, a circus headline font), Bulldog, Burbank (modeled after fire truck lettering), Classic Roman, Light Face Roman (2003), Fairground, Havana, Hertford, Corrie (2004, a roman titling face), The Bat (2004, inspired by lettering of Al Imelli), Pullman Train (2003), Labelle (2003, inspired by a Peace Time cigar label), Stetson (2004, an elegant all-caps display face), Brough Superior (2004), Classic Caps (2006, for Western style signs), Diploma (2006), Watrin (2006), Hamilton Ornate (2006, late 19th century ornamental style), Mackinlay (2006), Hamilton Nailhead (2006), Palms Bold (2006, wood type), Square Block (2006), Bank Note (2006, all-caps pair of typefaces that includes an outline), Gilmore (2006, wood type), Booth (2006, an artsy modern-serifed headline face), LHF Citizen (2007), LHF Prince (2007), LHF Vienna (2007), LHF Victoria (2007, art deco), LHF Roebuck, LHF Quaker Regular (2007, elegant and artsy), LHF Prince (2007, inspired by the old "Farmer's Deposit National Bank" stock certificates), LHF Gilmore (2007), LHF Jumbo (2007, heavy Egyptian), LHF Conservatory (2008, a tall serif face), LHF Iron Horse (2008) and Shopfront (2002).
In 2014, John Studden and Dave Parr codesigned the Victorian display typeface family LHF Blackstone and the retro script LHF Heller's Script. Studden also finished LHF Iron Knight in 2014.
In 2011, J.M. Bergling's work (early 1900s) inspired the development of LHF Monogram Circle, LHF Monogram Diamond, and LHF Monogram Oval.
Klingspor link. [Google]
Johnson & Smith
American typefoundry that acquired Binny & Ronaldson in 1834. [Google]
Birmingham, UK-based design and typography student. Creator of Italic Antique Clarendon (2007), a typeface based on old wood types. [Google]
[Wooden Type Fonts (was: American Wood Type and, Wooden Type)]
Based in Los Teques, Venezuela, graphic design student José Galeano created a wood type emulation typeface called Barberia Alegre Sans (2012). [Google]
Centerville / Dayton, OH-based designer of the hand-crafted typeface pair Parks Sans and Parks Script (2016), the hand-crafted slab serif typeface Trail Ranger (2016, +Shadow), the curvy hand-crafted stencil typeface Drink Up (2016), and the wood emulation sans typeface Ohio (2016). Behance link. Creative Market link. [Google]
Designer of Adobe Wood Type Ornaments (1990-1991, with Barbara Lind), Blackoak (1990, Egyptian wood face), Cottonwood, Ironwood, Juniper, Mesquite, Willow.
Typedia link. Linotype link. View Joy Redick's typefaces. [Google]
Juan José Lopez
Graduate from FADU, University of Buenos Aires, who created the typeface Poster Bondi (2010), a fat poster type that evokes old wood type. [Google]
Graphic designer in Moscow. Creator of the Latin/Cyrillic typefaces Cilesta (2013, curvy fat didone), Arnie Slab (2013, a wood style fat slab named after Arnold Schwarzenegger), Mr. Fox (2013, script) and Atletic (sic) (2013, octagonal). [Google]
Buenos Aires-based designer of Garufa (2012), a wood style poster typeface. [Google]
Just My Type
[J. Randall Harris]
Just My Type is a type foundry that was founded in 2012 by J. Randall (or Randy) Harris (b. 1947, Marion, IN) in Tucson, AZ. Harris is a graphic and type designer who has been making typefaces since 1997. He teaches at the Art Institute of Tucson. His typefaces from 2013: Megatropolis (a stackable deco font system), Historic Warehouse (Victorian).
Typefaces from 2012: Happenstance (a lovely retro-futuristic script), Illuminations Woodcut, Yule Love It (Christmas time dingbats), Gawain (based on the hand of Gawain Douglas), Oaxaca (a Mexican look face), Boxy Code, Channel B (a rounded monoline sans), Curves, Puzzle, Dempsey (based on the writing of Tucson film teacher, media artist and programmer, Vikki Dempsey), Chilespice, Strata, Deco Donut, Jiminy (a comic book face), Invites (a roundish upright script that intends to recreate the 1920s spirit), Hunky Chunky (an obese poster face), the hand-printed typeface Carissa, Got Milk, Cutting Corners, Astro (retro-futurustic), Dix (2012: a slabby wood style typeface inspired by the poster for the 1929 film Redskin, and a desire to create a black Edwardian font with an offbeat serif), and the monoline rounded stripped-down sans typeface family Laszlo (2012: the name is an homage to Laszlo Moholy-Nagy of Bauhaus fame).
Kolega (2012) is a constructivist typeface family that consists of Kolega, Kolega Tall, and Kolega Podrobska (fake comrade).
Steampipe (2012) is an ironwork, Jules Verne, wrought iron and time machine font.
Los Muertos (2012) is a Halloween font.
Typefaces from 2013: Megatropolis (a stackable deco font system).
In 2014, he created the art deco typeface HG Welles, which was originally designed for a privately-published luxury edition of The Time Machine.
Behance link. J Randall Harris Design link. Home page. [Google]
Chicago-based designer of an ornamental typeface in 2010.
In 2012, he created a sans face, Pelago, and added a couple of alchemic versions.
Typefaces from 2013: Here & There (poster typeface), Reynard (bejeweled typeface), Northerly (angular), Rime (ornamental display face).
Behance link. [Google]
Polish graphic and type designer who started her own typefoundry in 2014. Typefaces:
- The squarish typeface Erazm (2014), which is inspired by Polish books from the 1930s.
- Arbuz (2014) is a grungy typeface that emulates letterpress.
- Avocado (2015) is a brush script.
- Banana ans Sun. A handwriting font.
- Woodout (2016). A wooden block font.
Creative Market link. [Google]
Teesside, UK-based graphic designer. Creator of Poster Slab (2011), Stussy Script (2013, hand-printed), Alycidon (2013, condensed wood face), Tulyar, Tulyar Eroded, Meld Bold Extended, Crepello.
Typefaces from 2014, all inspired by wood type: Ballymoss, Green Howard, Blackwatch, Saint Paddy, Nimbus Condensed, Pinza Bold Condensed, Deltic Catchwords, Koyli Compressed (letterpress emulation). Tulyar (2015) is a Tuscan eroded woodbloack typeface.
Dafont link. Old URL Creative Market link. Aka Kitch 22. [Google]
Kapitan Studio is Joanna Rzezak and Piotr Karski. Based in Warsaw, they design books, typefaces and magazines. Their typefaces include Captian Blackbeard (2012, a heavy angular condensed caps typeface based on a 19th century wooden type Grecian made by William Page).
Behance link. [Google]
Karl Schäffer's rustic German expressionist lettering from ca. 1939 was captured by Ingo Zimmermann in 2008 in his Palmona typeface. Ingo writes: The letters present the effect of woodcarving or silhouette cuttings as they are defined exclusively with straight lines and sharp corners. Even in modern times, there is again the demand for hand carved fonts and there is hardly anyone who still wants or can write such a type him or herself. [Google]
Polish / American designer who writes: Karolina Lach is a graphic designer, web designer and typographer residing in New York. She currently works as the Senior Designer for Kiwibox Media, a social network and online magazine for teens. A graduate of The Cooper Union for the Advancement of Science and Art, she has studied under Mike Essl, Emily Oberman, James Craig, Maxim Zhukov and Hannes Famira. Graduate from the type design program at the University of Reading in 2010.
She used FontStruct to create Coney Island Baby (2008: Victorian circus font), Temptation (2008, a crispy serifed face), this Tuscan wood type (2008, done outside FontStruct) and Innocent When You Dream (2008, a dotted lines face).
She She created Sora there in 4 styles, Regular, Italic, Black and Arabic. Karolina tried to give Sora a distinctive Oz Cooper / Frederic Goudy American look. Pompiere (2011, a free font at Google Font Directory, is a low contrast condensed sans serif font with tall ascenders and small x-height, which is based on lettering outside a New York firehouse. Arbutus (2011, a free spiky slab typeface at Google Web Fonts; see also Arbutus Slab made in 2012) is a sturdy medium contrast slab serif cactus skin font.
In 2012, she designed Amarante (art nouveau, Google Font Directory) and Courgette (signage script, Google Font Directory and Sorkin Type).
Behance link. Home page in New York City. Behance link. Klingspor link. [Google]
Kevin Allan King
Kevin Allan King is from Toronto. In 2010, he co-designed Robur and Wagner Grotesk, Slinger (an art nouveau face) and Sol Pro (a 20-style monoline sans family based on the classic Sol design by Marty Goldstein and C.B. Smith, published by VGC in 1973) with Patrick Griffin at Canada Type.
Still with Griffin at Canada Type, he revived a psychedelic / art nouveau typeface called Fortunata (1971, Karlo Wagner) and called it Spadina (2010). He also has a Facebook group on type crimes called TCI: Typographic Crime Investigators. Wagner Grotesk is the elaborate digital version of Edel Grotesque Bold Condensed (also known as Lessing, Reichgrotesk, and Wotan Bold Condensed) a 1914 typeface by Johannes Wagner, which was later adopted by pretty much every European type foundry, exported into the Americas, and used on war propaganda posters on either side of the Atlantic.
In 2011, he and Patrick Griffin 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.
In 2011, Griffin and King co-designed Walter Script, a calligraphic script that revives Troubadour (1926, Wagner&Schmidt).
Still in 2011, King and 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 humanist trait. Images of Ratio Modern: i, ii, ii, iv, v, vi, vii.
Still in 2011, he and Patrick Griffin created the 18-style sans family Recta, a considerable extension of Novarese's Recta. And they also completed Kumlien Pro, a revival and expansion of a beautiful transitional typeface designed in 1943 by Akke Kumlien. King Tut (2011) is a restoration and expansion of the original Egyptian Expanded, a single bold typeface cut in 1850 by Miller&Richard. Libertine (done with Patrick Griffin) is an angular calligraphic script inspired by the work of Dutchman Martin Meijer (1930s): This is the rebel yell, the adrenaline of scripts.
Paganini (with Patrick Griffin) 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 typeface 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 year 2012 starts out with a bang. King and Patrick Griffin published Wonder Brush (partly based on a signage brush script called Poppl Stretto (1969) by Friedrich Poppl), Wagner Script (a revival of Troubadour (1926, Wagner&Schmidt)), Spade (a super-heavy slab face, done with Patrick Griffin; based on Farmer and Little's Antique No2 from 1867), and Louis (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 Stylus). King Wood (2012) is an octagonal flared wood type family with a set of dingbats, King Wood Extras. Monte Cristo (2012) 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. 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.
In 2013, Kevin Allan King and Patrick Griffin revived Georg Trump's transitional typeface Mauritius (1967, Weber).
In 2014, they designed the psychedelic typeface Jingo: This is the digital makeover and major expansion of a one-of-a-kind melting pot experiment done by VGC and released under the name Mardi Gras in the early 1960s. It is an unexpected jambalaya of Art Nouveau, Tuscan, wedge serifs, curlycues, ball endings, wood type spurs and swashes, geometry and ornamental elements that on the surface seem to be completely unrelated.
Klingspor link. [Google]
Trencin, Slovakia-based graphic designer. She created Essen Sans (2012) and Wood Font (2012, based on the patterns in tree bark). [Google]
Kim Buker Chansler
A designer fascinated by Western styles and styles with a wood type look. She made Zebrawood (1994, Adobe) with Carl Crossgrove and Carol Twombly, Rosewood (1994, Adobe, also with Carl Crossgrove and Carol Twombly), Ponderosa (1990, Adobe, with Carl Crossgrove and Carol Twombly--the ultimate wanted poster face), Pepperwood (1994, Adobe, with Carl Crossgrove and Carol Twombly), Cottonwood (Adobe, with Barbara Lind and Joy Redick), and Birch (1990, Adobe, a triangularly serifed wood type style face). Identifont link. Linotype link. FontShop link. Catalog of her typefaces. [Google]
Kimmy Kirkwood (b. 1988, Seattle, WA) (Kimmy Design) studied at Chapman University, and lives in Santa Monica, Orange County.
Kimmy created a gracious curly calligraphic script face, Madeleine (2010), which is based on a logo she designed for Hotel Le Sirenuse.
At Dafont, one can download Kuppel (a hairline display sans) and Hammer Head, both done in 2010 as well.
Phase two of Kimmy's career started late in 2010 as Kimmy Design, where one now has to pay for Madeleine (2010) and Katelyn (2011). Addison (2011) is a wood type Western circus poster font in two styles, West and Circus.
In 2012, Kimmy created the counterless art deco typeface Chelsnuts, the worn wood type typeface Cpl Kirkwood, Elizabeth Script, and Paper Cutout Pro.
In 2013, Kimmy published Lunchbox Slab, the grungy Appareo, the condensed minimalist sans family Maxwell Sans, its companion Maxwell Slab, the scriptish typeface Lunch Box, and the bold headline family Station (inspired by old train station typography).
Typefaces from 2014: Catalina (hand-drawn typeface family with sub-styles called Anacapa, Avalon, Clemente Script, Typewriter and Extras, ideal for hand-drawn menus, table cards, chalkboards, and wall quotes), Amorie (a skinny hand-drawn family, with styles called Modella, Nova, SC and Extras).
Typefaces from 2015: Avaline Script, Baker Street (vintage hand-drawn typeface family), Burford (a 16-style vintage layered family), Burford Rustic (layered font family).
Typefaces from 2016: Rainier (hand-crafted).
Klingspor link. Creative Market link. Dafont link. Behance link. [Google]
Kiosk Fonts (Berlin) was founded in 2008 by Frank Griesshammer (b. 1983, Germany), a graduate of HBKsaar (2008) and of the Masters program in type design at KABK (2010). His graduation project in Den Haag involved the multi-pen typeface Quixo (2010), which seems to be have just the right flexibility for packaging and ads. Frank lived in Den Haag, but joined Adobe's type department in 2011.
His alphabets from 2008: Fleischwurst Fett (blackletter), Drückerei (grunge by Haiko Günther), Sommerfest, Rex Mundi (by Haiko Günther), PX Barok (a stitching and needle typeface), Ghana Signpainters Divine Healer (by Haiko Günther), Pappe (randomized cut-out face), Wüste Fraktale (a pixel blackletter by Haiko Günther), A4, Ghana Signpainters Safari (by Haiko Günther), Ghana Signpainters Cocktail (comic book and ad style by Haiko Günther), Format, Black Frituur (blackletter by Haiko Günther), Monaural (geometric), Steelcut (based on Woodcut; by Haiko Günther), Coswig, Roundenau (very rounded).
In 2009, he did revivals of Memphis (original by Rudolf Wolf, 1929) and Stempel Elan (original by Hans Möhring, 1936). The latter typeface was published by Linotype.
In 2013, he made HWT Tuscan Extended (Hamilton Wood Type). Hamilton Wood Type explains: It is based on the 1872 William Page & Co. version, while also bearing a very close resemblance to the Morgans & Wilcox Tuscan Extended and No. 2106 from Tubbs Manufacturing Co. It is similar to the Heber Wells Tuscan Extended. All four manufacturers were eventually acquired by Hamilton. The Hamilton designation for this design was simply No. 303. The National Printers' Material Co. of New York also offered a similar Tuscan Extended.
FontShop published his school project font Quixo as FF Quixo in 2013. Quixo won an award at TDC 2014.
In 2014, Frank designed the free Source Serif typeface family at Adobe, to accompany Paul Hunt's Source Sans Pro (2012). It is a transitional family influenced by Perre Simon Fournier's styles from 1742. Google Web Fonts download link.
Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam where he spoke on a renewed effort at Adobe with respect to kerning.
Klingspor link. Old URL. [Google]
Also Cyrill Tkachev and Cyrylo Tkachov, depending upon the source. Illustrator and calligrapher. A Ukrainian, Cyrill Tkachev graduated from the Lugansk Taras Shevchenko National University in 2005. He works at the Design Department at Luhansk Taras Shevchenko National Pedagogical University since 2005.
H, the experimental minimalist typeface Absurdity (2009), e made the decorative typeface 9months (2010) and the pixel script typeface Liony (2010). Tkachevica (2011) is a modular and pixel family. Legionary (2011) is an organic sans family in six styles. Bazilic is an informal decorative typeface. Murray Slab (2012) is a 4-style slabby techno family.
In 2013, he published Good Bad Ugly (Western wood type emulation), Kolyada, a roomy scriptish semi-serif.
In 2014, in the middle of the Ukrainian upheaval, he took the pro-Ukrainian side, and created the poster font Lugatype.
Klingspor link. Behance link. [Google]
Kristine Bishop Massey
Savannah, GA-based designer (b. 1992) of the 4-style wood-inspired typeface family JF Shill (2013), which was finished during her graphic design studies. In 2014, she designed Dollop. Elsewhere, like on Dafont, she is known as K. Bishop Martinez. [Google]
K-Type is Keith Bates' (b. 1951, Liverpool) foundry in Manchester, UK, est. 2003. Keith works as an Art&Design teacher at a Salford High School. Dafont link. Yet another URL. Fontspace link. Fontsy link. Behance link. They custom design type, and sell some of their own creations.
- Adequate (2012). A basic geometric monoline sans family.
- Adventuring (2010, comic book style)
- Alan Hand (2005, based on some blobby lettering, handwritten by printer and mail artist, Alan Brignall)
- Alex (2002-2004)
- Alright (2004, cursive script)
- Anna (2002-2007)
- Bank of England (2012, blackletter): Bank of England is loosely based on blackletter lettering from the Series F English twenty pound banknote introduced in 2007. The font also takes inspiration from German Kanzlei (Chancery) typefaces and the 17th century London calligrapher, John Ayres.
- Barbica (2015). A glyphic typeface.
- Brush Hand New (2013): Brush Hand New is a full font based on a copy of Flash Bold called Brush Hand marketed by WSI in the 1990s and more recently distributed through free font sites. Brush Hand was an anonymous redrawing of Flash which simplified, slightly lightened, smoothed out ragged edges, and improved the legibility of the original classic created by Edwin W. Shaar in 1939.
- Building&Loan (2007, engaved face)
- Bigfoot (2005, a Western font based on the slab capitals used by Victor Moscoso in his 1960s psychedelic rock posters)
- Bolshy (2009)
- Bolton750 (2003, a mechanical typeface done with John Washington)
- Charles Wright (2016). A set of fonts based on the UK license plate fonts.
- Chock (2009)
- Circa (geometric sans)
- Collegiate (2009)
- Component (2012). A font for lost civilizations and dungeon rituals.
- Context (experimental)
- Credit Card (2010, font for simulating bank cards)
- Cyberscript (2006, connected squarish face)
- Deansgate (2015). Deansgate and Deansgate Condensed are based on the clearest and most distinctive of the sans-serif letterforms used on Manchester street nameplates, and easily identified by a pointy Z and pointed middle vertices on M and W.
- Enamela (2013). Keith writes: Enamela (rhymes with Pamela) is based on condensed sans serif lettering found on vitreous enamel signage dating from the Victorian era and widely used in Britain for road signs, Post Office signs, the plates on James Ludlow wall postboxes, railway signs, direction signs and circular Automobile Association wayfinding plaques throughout the first half of the twentieth century. The original model goes back to Victorian times, ca. 1880.
- Flip (2011), a western grotesk billboard face.
- Flyer (2009, techno)
- Frank Bellamy (2009, an all-capitals family based on the hand lettering of English artist, Frank Bellamy, most famous for his comic art for Eagle and TV21, and his Dr Who illustrations for Radio Times)
- Future Imperfect
- Gill New Antique (2003)
- Hapshash (2010): an all capitals font inspired by the 1960s psychedelic posters of British designers Hapshash and the Coloured Coat (Michael English and Nigel Waymouth), in particular their 1968 poster for the First International Pop Festival in Rome. A dripping paint font.
- Ivan Zemtsov (2009)
- Kato (2007, oriental simulation face)
- Keep Calm (2015). A geometric sans inspired by a British war poster from 1939.
- Keith's Hand
- Klee Print (2010, Klee Print is based on the handwriting of American artist Emma Klee)
- Latinate (2013). A vintage wedge serif wood style typeface, and a rough version.
- Lexie (an improved or "adult" version of Comic Sans) and Lexie Readable (2006, modified in 2015). Keith writes: Lexie Readable (formerly Lexia Readable) was designed with accessibility and legibility in mind, an attempt to capture the strength and clarity of Comic Sans without the comic book associations. Features like the non-symmetrical b and d, and the handwritten forms of a and g may help dyslexic readers.
- Licencia (2016). A blocky typeface inspired by the tall, soft-cornered lettering on vehicle licence and registration plates world-wide.
- Modernist Stencil (2009).
- Mythica (2012). A slightly condensed lapidary roman with copperplate serifs.
- Modulario (2010): a contemporary sans.
- New Old English (2010, blackletter)
- Norton (2006)
- Nowa (2004, a play on Futura)
- NYC (octagonal)
- Openline (2008, an art deco pair)
- Oriel Chambers Liverpool: A Lombardic small caps font based on the masonry lettering on Peter Ellis's 1864 building, Oriel Chambers, on Water Street in Liverpool.
- Pentangle (2008, based on album lettering from 1967)
- PixL (2002-2004)
- Plasterboard (2004-2005)
- Pop Cubism (2010) is a set of four texture fonts, combining elements of cubism and pop art.
- Poster Sans (2006). A wood type family based on Ludlow 6 EC. See also Poster Sans Outline.
- Rick Griffin (2006, more psychedelic fonts inspired by a 1960s Californian artist)
- Roundel (2009, white on black)
- Runestone (2010, runic).
- Sans Culottes (2008, grunge)
- Solid State (2008, art deco blocks)
- Solus (2004, a revival of Eric Gill's 1929 typeface Solus which has never been digitized; read about it here)
- Stockscript (2008, down-to-earth script based on the pen lettering of the writer, Christopher Stocks)
- Susanna (2004)
- Ticketing (2011): pixelish.
- Total and Total Eclipse (2004, squarish display typefaces based on the four characters of Jaroslav Supek's title lettering for his 1980s mailart magazine, Total)
- Transport New (2009: a redrawing of the typeface designed for British road signs. In addition to the familiar Heavy and Medium weights, Transport New extrapolates and adds a previously unreleased Light weight font originally planned for back-lit signage but never actually applied. Originally designed by Jock Kinneir and Margaret Calvert beginning in 1957, the original Transport font has subtle eccentricities which add to its distinctiveness, and drawing the New version has involved walking a tightrope between impertinently eliminating awkwardness and maintaining idiosyncrasy.)
- Union Jack (octagonal)
- Victor Moscoso (2008, psychedelic)
- Wanda (2007, art nouveau)
- Wes Wilson (2007, psychedelic, inspired by 1960s psychedelic poster artist Wes Wilson)
- Zabars (2001): a Western face.
His free fonts:
- Blue Plaque (2006: a distressed font based on English heritage plaques)
- Blundell Sans (2009)
- Celtica (2007) has Celtic influences
- Dalek (2005, stone/chisel face: Dalek is a full font based on the lettering used in the Dalek Book of 1964 and in the Dalek's strip in the TV21 comic, spin-offs from the UK science fiction TV show, Doctor Who. The font has overtones of Phoenician, Greek and Runic alphabets)
- Designer Block (2006)
- Flat Pack (2006)
- Future Imperfect (2006, grunge)
- Gommogravure (2005)
- Greetings (2006), Greetings Bold (2006)
- Insecurity (2005, experimental) won an award at the 2005 FUSE type competition.
- International Times (2006, inspired by the masthead of the International Times underground newspaper of the 1960s and 1970s)
- Keep Calm (2011). Related to London Underground.
- Klee Capscript (2005: based on the handwriting and capitals drawn by artist Emma Klee (USA) for her Color Museum Mail Art invitation. The upper case is based on Emma's capitals and the lower case is freely adapted from her script)
- Lexia and Lexia Bold (2004)
- MAGraphics (2004)
- Magical Mystery Tour (2005, outlined shadow face), Magical Mystery Tour Outline Shadow (2005), Magica (2015, a serifed titling typeface family).
- Mailart (2004), MailartRubberstamp (2004)
- Mandatory (2004, a UK number plate font based on the Charles Wright typeface used in UK vehicle registration plates).
- Motorway (2015), a companion typeface to Transport, the British road sign lettering. This is an extension of an original design by Jock Kinneir and Margaret Calvert: The Motorway alphabet was created for the route numbers on motorway signage, and is taller and narrower than the accompanying place names and distances which are printed in Transport. However, for Motorway Jock Kinneir and Margaret Calvert created only the numbers 0 to 9, the capitals A, B, E, M, N, S and W, ampersand, slash, parentheses and a comma. So, although the lettering made its first appearance on the Preston bypass in 1958, K-Type Motorway is the first complete typeface and contains all upper and lower case letters, plus a full complement of punctuation, symbols and Latin Extended-A accented characters. As with the Transport alphabet the starting point was Akzidenz Grotesk, Motorway taking inspiration from condensed versions. Changes were mainly driven by a quest for legibility, resulting in some reduced contrast between horizontal and vertical strokes, and Gill-esque straight diagonal limbs on the 6 and 9, and high vertex for the M.
- Penny Lane (2014). A a sans serif derived from twentieth-century cast-iron signs displaying Liverpool street names.
- Provincial (2014). A Victorian set of outline fonts.
- Ray Johnson (2006-2008)
- Roadway (2005, based on New York roadside lettering).
- Savor (2011). An art nouveau family.
- Sgt Peppers Lonely Hearts Club (2014).
- Sinkin Sans (2014, free) and Sinkin Sans Narrow (2015, commercial).
- Soft Sans (2010)
- Subway Ticker (2005)
- Taxicab (2016). A squarish style.
- This Corrosion (2005)
- Wildcat (2016). An athletics typeface family.
Custom / corporate typefaces: With Liverpool-based art director Liz Harry, Bates created a personalized font, loosely based on Coco Sumner's handwritten capitals, for the band I Blame Coco. Medium and Semibold weights of Gill New Antique were commissioned by LPK Design Agency. Stepping Hill Hospital and Bates created Dials, a pictorial font to help hospital managers input data about improvements. A custom font was designed for Bolton Strategic Economic Partnership.
Klingspor link. Dafont link. Abstract Fonts link.
View Keith Bates's typefaces. [Google]
[Coert De Decker]
Kustomtype is Coert De Decker's typefoundry in Otegem, Belgium. Coert (b. 1966) created KTF Roadbrush (2014) and KTF Roadstar (2012, a retro connected script).
Coert started his career as an assistant type cutter and stone carver in 1983, and founded the Kustomtype foundry in 2011.
In 2013, he published the frame family Label Pro XL, the stencil typeface family Bomber TV and the stencil typeface Crate Pro. The Far West poster style and circus font styles are recalled in the 19th century wood type revivals Wood Factory, Buffalo Western and Buffalo Circus.
Typefaces from 2014: Atlantic Cruise (avant garde), Copperhead (a titling all-caps typeface influenced by Goudy's Copperplate), Biscuit Pro (monoline sans), Medoc (a didone titling face).
Typefaces from 2015: Starbounder (stencil), Integra Chic, Chic Chalk, Romantico, Annexxus, Beatboy.
Dafont link. Another Dafont link. Behance link. Creative Market link. Fontspring link. [Google]
Graphic design student at UW Stout (b. 1985) who worked with Luis Fitch. At Chank's place, he designed the Tuscan wood type Dickens McQueen (2006). Now based in Hudson, WI, he created the experimental typeface Algo Right (2007). [Google]
Kyle Wayne Benson
Kyle Wayne Benson (b. 1988, Texas) describes himself as an affable graphic and type designer. He has his own commercial foundry, also called Kyle Wayne Benson, which specializes in signage type. It is located in Orem, UT. Creator in 2013 of Benson Script (with three contrast levels, from didone to monoline), the octagonal angular typefaces Millie and Truth, and of Clayton, Red Benny, Tide's In, Tide Sans (the surf-inspired humanist with a humorous selection of weight names ranging from Lil Bunny, to Dudette, Bunny, Mondo, Kahuna and Dude), Tide Sans Condensed, and Farmer's Co-Op (a vernacular sans with wood type influences).
Typefaces from 2014: Jeames (a high-contrast decorative typeface with vintage serifs), Maritime Champion, Maritime Champion Stencil, Good News Sans (a set of 18 display sans typefaces, mostly for titling or short pieces), Kansas Casual (a sign painting font), Maritime Champion (inline typeface), National Champion (octagonal athletic lettering family).
Typefaces from 2015: Qualtrics.
Creative Market link. Behance link. [Google]
Graphic designer and typographer from Copenhagen. His typefaces include Lagen (2007, fat and counterless), Darkcut (2008, like wood cut), Paten (2008, constructivist), Antiwar (2009, military stencil) and the rounded black typeface M52 Black (2014). Behance link. [Google]
Chuck Davis (Palmdale, CA) is the founder of Letterhead Fonts, which is now loacted in Reno, NV. LHF was established in 1999. They specialize in sign and logo fonts, taking inspiration from wood type and late 19th century style typefaces.
Free fonts "Letterhead Tuscan" (handlettering), Quadrex (2006, 3d effect font), and Wal-Mart People (dingbats). Early display fonts include Esoteric (1999), Wall Dog, Double Gild, Convecta, Smalts, Splash, Lisa. His Atkinson collection has a few nice lettering alphabets: Heavy Sign Script, Eccentric French, Fancy Roman and Modern 1908 Classic (now called Cafe Nouveau).
Mike Stowe designed Old Blackletter in 2001. Ken McTague made the hand-lettered style typeface Boston Truckstyle. Designed by Brian Kniceley in 2000: LHF Henderson Church, LHF Ohnimus Florid, LHF Ohnimus Spiked, LHF Strong Tea House, Strong Caliope, Strong Nouveau.
Fonts made around 2000 by Chuck Davis: LHFActionMovie LHF Bulletin Plug, LHF Classic Block, LHF Condensed French, LHF Convecta (2005, beveled face), LHF Cool Blue, LHF Crouching Tiger, LHF Def Artist, LHF Def Writer, LHF Double Gild, LHF Eccentric French Lt, LHF Esoteric, LHF Heavy French Roman, LHF Heavy Sign Script, LHF Jami (2000), LHF Letterhead Tuscan, LHF Lisa, LHF Modern 1908 Classic, LHF Quantum (2001, techno family), LHF Smalts, LHF Splash,LHF Tuscan Full Block (Western style), LHF Wall Dog, LHF Letterhead Tuscan. Fonts made in 2001 by Chuck Davis: LHF Advertisers Plug ATK, LHF Argentine Solid, LHF Boston Truckstyle, LHF Esoteric New, LHF Grants Antique, LHF Mister Kooky, LHF Mister Spooky, LHF Scriptana (2003, angular calligraphic script).
The following are all by Chuck Davis: LHF Antique Shop, LHF Fat Cat (2011, a round informal typeface influenced by Alf Becker's rounded block letterstyle), LHF Bank Note (2007), Quadrex (2005), Menace (2004, comic book style), Michelle (2004, calligraphic script), LHF Ambrosia (2004, free), Sofia Script (2003), Stanford Script (2003), Sarah Script (2003), Fancy Full Round (2003, a Western typeface inspired by Al Imelli, ca. 1900), Matthews Thin (2003, tall caps face), New Modern Classic (2003), LHF Birgitta (2003, roman style typeface, inspired by an E.C. Matthews book), LHF Happy Fun Ball (2003, comic book style), CD Esoteric, OldSignFont, Robin, LHFDefWriter, LHFDefArtist, LHF Amarillo (2001, a spurred serif), LHFBeckerMonogramEnglish, LHFBeckerPosterScript, LHFBeckerRoundedBlock, LHFConclaveFLATreg, Cool Blue (2003), LHFConclaveFLATwide, LHFConclaveROUNDreg, LHFConclaveROUNDwide, LHFConclaveSHARPreg, LHFConclaveSHARPwide, LHFCrouchingTiger, LHFCrouchingTigerCONVEX, LHFEquinox, LHF Esoteric3 (2004), LHFMirageBOLD, LHFMirageITALIC, LHFMirageREG, LHFMonogram, LHFQuantumCONVEX, LHFQuantumREG, LHFRomanaClassico, LHFScriptana (great lettering font), LHFTimberlodge, Village, Kelly Ann, Outlaw, Hensler (2002, a cigar box face), Antique Half Block (2002, wood type), Spurred Egyptian, Wolverine, Ortlieb, Super Thick&Thin, Denise, Hensler, Charlotte, Antique Half Block (2002), Supabad (2003), Brianna (2003, techno), Happy Fun Ball (2003, comic book family), Naylorville (2004), LHF Grant's Antique (2004, caps only Victorian face), Michelle (2004), Cafe Corina (2006, a decorative 19th century style free font by Chuck Davis), LHF Ambrosia (2004, a purely Victorian free font by Chuck Davis), Lincoln (2006), No Fishin (2006), LHF Bell Boy (2004, a free art deco font, Chuck Davis), LHF Full Block (2003; free slab serif athletic number typeface by Davis), Mike's Block (free slab serif by Davis), Old Block (free athletic numbering typeface by Davis), LHF Old Stock (2007), (2007, lettering from old stock market certificates), Hick Sticks (2007, letters made from sticks), LHF Fast Slant (2007, comic book style), LHF Cartoon Cowboy (2009), LHF Big Daddy (2012, fat signage family), LHF Comic Caps 2 (2014), LHF Advertisers Square (2014, after a signage alphabet by Al Imelli, 1922), LHF Asylum (2015, scratchy brush).
At one point, Chuck Davis was running Blu Creative Media, where he published BLU Esoteric (1999).
Interview at MyFonts. Letterhead link. Behance link. [Google]
Beautiful letterpress type showcase site by David Wolske, who has taught design, typography, and letterpress printing at Indiana University, Herron School of Art and Design, Columbia College Chicago's Center for Book and Paper Arts, Hamilton Wood Type and Printing Museum, and The University of Utah. [Google]
Florian Zietz (b. Salzgitter-Bad, Germany, 1967) studied graphic design at Fachhochschule Hildesheim and participated in the German art and design school's exchange program with the University of Wisconsin-Stout. Since completing his studies in 1994, he has been working as a freelance graphic designer and illustrator for a variety of clients. Creator of the dingbats typeface FF Headz (2005), which won an award at TDC2 2006. Librito is the web outfit of Agnes von Beöczy and Florian Zietz, who are located in Hamburg, Germany. They are involved in graphic and type design, calligraphy and illustration. Besides FF Headz (dingbats), they created Just Seven (2010, a child's hand), Cutz (informal script that is way better than Comic Sans), Segmenta (2008, modular, octagonal, slightly stencilish; based on grids similar to those used in train station and airport signage), Stars (2009, dingbats), and Zansibar (a great type project concerned wit the reconstruction of an old map alphabet). Viktor (2011) is based on wood type.
In 2012, he published the Sketchimpact family (a sketched version of Impact) and the roughened antiqua typeface Argento.
Typefaces from 2014: Ahoy (based on cruise line posters), Neometrix (3d, layered, outlined and hand-drawn).
Typefaces from 2015: Fatone (a high contrast semi-didone caps family, with wood type ancestry).
FontShop link. Klingspor link. Librito link. [Google]
Liebhaber's wood type
Robert Kroetsch published "Liebhaber's wood type" (Toronto: imprimerie dromadaire, 1987). [Google]
Graphic designer who graduated in 2010 from Menomonie, WI. Behance link. She made a nice wood type poster in 2010, based on material from the Hamilton Wood Type Museum. [Google]
Founded in 1989, Louise Fili Ltd is a graphic design studio specializing in brand development for food packaging and restaurants. Formerly senior designer for Herb Lubalin, Louise Fili was art director of Pantheon Books from 1978 to 1989, where she designed close to 2,000 book jackets. She has received Gold and Silver Medals from the Society of Illustrators and the New York Art Director's Club, the Premio Grafico from the Bologna Book Fair, and three James Beard award nominations. Fili has taught and lectured extensively, and her work is in the permanent collections of the Library of Congress, the Cooper Hewitt Museum, and the Bibliothèque Nationale.
She is co-author, with Steven Heller, of Italian Art Deco, British Modern, Dutch Moderne, Streamline, French Modern, Deco Type, Deco España, German Modern, Design Connoisseur, "Typology Type Design from the Victorian Era to the Digital Age" (Chronicle Books, San Francisco, 1999), Typology, Stylepedia, Euro Deco, Scripts, Shadow Type, Belles Lettres, Cover Story, and Stencil Type. Fili has also written Elegantissima, Grafica della Strada, Graphique de la Rue, The Cognoscenti's Guide to Florence, and Italianissimo. A member of the Art Directors Hall of Fame, she has received the medal for Lifetime Achievement from the AIGA and the Type Directors Club.
Her book cover (done with Jessica Hische) won a design award at TDC 55.
In 2015, she made a futuristic counterless typeface, Mardell, which is named after retired Hamilton type cutter Mardell Doubek. It was published in 2016 in the HWT (Hamilton Wood Type) collection over at P22. [Google]
Graphic design studio in Madrid. Creators of an elegant wood and rubber stamp set called Barquito (2012).
Behance link. [Google]
Luisa Massi de Almendra Freitas (Rio de Janeiro, Brazil) designed the outlined typeface Woody Sans (2016), which she uses for obtaining a wood textured look. [Google]
German type designer born in Frankfurt in 1973. He studied in Offenbach at the Hochschule für Gestaltung. He assisted Akira Kobayashi with some projects, and still lives in Frankfurt.
At Typeoff.de, he created the Western billboard typeface Jeans (2004), AT Stencil (2004) and the kitchen tile typeface Disco3000 (2004). At the Hochschule, he created Gazoline, a grotesk face. Lukas Schneider has free-lanced for companies in Frankfurt as well as for the magazine form and for Linotype. He runs his own studio in Frankfurt, called Protago Graphic, and most recently started Snider Inc, also in Frankfurt.
In 2007-2008, his masterpiece appeared in the FontFont collection: FF Utility, 15 styles of Bank Gothicalized alphabets specially made for information design. See also YB Utility Slab.
He custom designed in 2006-2007, under the supervision of Prof. Johannes Bergerhausen and Prof. Ulysses Voelker at Fachhochschule Mainz the Plus family (for the Plus supermarket). In particular, one font is called Plus Exklusiv Medium. Another custom design is DRAFTFB for Eikes Grafischer Hort, a hand-printed typeface that covers Latin and Cyrillic.
In 2013, he graduated from the Type and Media program at KABK in Den Haag. His graduation typeface was the delicate and quite readable text family Damien, which was created for editorial design.
Typecache link. Klingspor link. FontShop link. [Google]
M. M. (Dave) Davison
American letter designer in the phototype era. He contributed to the Photo-Lettering library with many Spencerian designs. His typefaces include
- Western typefaces: DavisonBaroque (this Western / Tuscan typeface was revived by House Industries in 2012), Davison Variety A through J (pre 1954), Davison Carousel A though H (pre 1954).
- The spurred Egyptian wood type simulation font ATDavison Americana (1965, Monotype). The digital Photolettering revived it as PL Davison Americana.
- The fat brush typeface Davison Zip (1965) or Davison Swash Zip, which was digitally revived as PL Davison Zip.
- Dimensional, a 3d beveled typeface done in the 1970s. We had to wait until 2010 for a proper digital version, when Nick Curtis published Double D NF in Fill and Outline versions. Caps only.
- Spencerian scripts done in or before 1954: Davison Condensed Spencerian, No. 1 Davison Spencerian, No. 2 Davison Spencerian No. 3 Davison Spencerian.
- Other formal scripts done in or before 1954: Davison Victorian Script, Davison Victorian Backhand, Davison Vanity, Davison Vanity Fair.
Other Photo-Lettering typefaces, all done before 1954: Savison Airfield Medium, Davison Ebony, Davison Steno Antique, Davison Antique Gothic, Davison Harlequin (+Black), Davison Julien Condensed.
Author of the article Notes on Designing for Photo-Lettering (Print Magazine, Volume IX, Number 1, June-July 1954).
A second MyFonts link. [Google]
MADtype (est. 1996) is Matt Desmond's place in the type world. He has had a prolific career that started out with shareware fonts while Matt was at the Minneapolis Technical and Community College. His page back then said A haven for quality shareware type for the Mac. Later, Matt started mattdesmond.com, and co-founded the Test Pilot Collective (est. 1998 with Joseph Kral and Mike Cina). Many of his early typefaces were experimental and/or futuristic. In late 2003, mattdesmond.com disappeared, and MADtype, commercial now, resurfaced at the MyFonts site. Currently, Matt is based in Minnetnka, MN. He has also lived in Atlanta, GA, Fayetteville, GA, Rochester, NY, Redwood City, CA, and San Francisco, CA. His fonts can also be purchased via You Work For Them. He also does commissioned type design. Some fonts are freely available at the Google Font Directory.
Retail types as of 2011:
- Abel (2011, Google Font Directory). Abel Pro was published in 2013.
- Aldrich (2011). A Bank Gothic style face, free at OFL.
- Amber (2000): kitchen tile face.
- American Gothic (1998): squarish.
- Audebaud (2010): a 19-th century style French Clarendon (wood type look). The design was inspired by the work of Constant Audebaud, an engraver of wooden type that was used for posters. Audebaud's work appeared in the 1880s in the Deux-Sèvres département of France.
- Beat (1998): rounded OCR face.
- Brauhaus (2004): Textura face.
- Cagliostro (2011). A free font at Google Web Fonts that is based on the handlettering of Ozwald Cooper.
- Curbdog (1998).
- Desmond Text (1998): a roman that has features of University Roman.
- Distill (2009): a De Stijl font that shouts 1920s.
- Dunelm (1996): emulation of 17th century printing styles.
- Dwiggins Deco (2009): This typeface was originally designed in 1930 by W.A. Dwiggins as the cover for the book "American Alphabets" by Paul Hollister. Only the 26 letters of the alphabet were included on the cover, so the rest of the numbers, punctuation, symbols, and accented characters have been crafted in a matching [art deco] style.
- Findon (2007): stencil.
- Futuristic category: ER9 (1999), KAH (2005, LCD style), Lunarmod (1997), Retron (1997; can be considered as a retro upright connected script as well), Shifty (1998).
- Grunge category: Bulletin (1997), Gothico Antiqua (1999), Rubba (1997), Stomper (1997--a rubber stamp font), Zapatista (1998-2007).
- Handwriting, handprinting category: Casino Hand (2005), Ghouliez (1996), Handegypt (2002---hand-drawn slab serif), Handy Sans (1997, hand-drawn sans), Joppa (1997), Pufficlaude BT (1998).
- Hessian (2009): Tuscan style wood type.
- Hydrochlorica (2004): organic.
- Invoice (1997).
- Ironside Crosses (2004): dingbat face.
- Marble Roman (2004-2009): angular roman all caps type.
- Matterhorn (2013). A 9-style sans family created with Michael Cina for Disney. Not to be confused with the many retail typefaces that are also called Matterhorn, such as Paratype's PT Matterhorn (1993) and Treacyfaces' TF Matterhorn (1990s).
- Pacioli or Luca Pacioli Caps (2007: emulating a mathematically constructed caps font by Pacioli (1509) published in his treatise De divina proportione.
- Pixel category: Basis (1999), Mang (1997).
- Plenti (2004): ultra plump.
- Quantico (2007): octagonal.
- Stencil category: Bandoleer (2009, +Tracer: a couple of stencil fonts with art deco and army influences), Madison (2007, slab serif stencil), Mercado (2005; has a non-stencil Mercado Sans).
- Variable (2004-2010): a sans-serif monoline typeface that includes ultra thin weights.
- Vexed (2005): sketched face.
- Wolfsburg (2007): blackletter stencil.
- Wooddale (1999): wood type emulation.
Free types as of 2010: Marble Roman, Environ regular, Dorkbutt, Europa, Exsect, Inthacity, Liquidy Bulbous, Lustria (2012, Google Web Fonts), Stomper.
Commissioned types: 77kids (2007, for the children's brand; the sketched typefaces were done with Justin Thomas Kay), AE Aerie (2005-206, American Eagle Outfitters), AE Newburgh (2005-206, American Eagle Outfitters), AE Summer Fonts (2007, all for American Eagle Outfitters), EEL Futura (2006, for Enjoying Everyday Life), Nike World Cup (2006), Virgin America (2006).
Orphaned types that disappeared or were planned but never executed: BrotherMan, Caprice, Convolve, HipstersDelight, Lugubrious, ModestaSmallCaps, Serifity, Skitzoid, Sliver, ThrowupSolid, Auresh (1998, futuristic; Test Pilot Collective), Kcap6 (1998, with Cina; Test Pilot Collective), Epiphany (1997; Test Pilot Collective), Testacon (with Kral and Cina; Test Pilot Collective), Civicstylecom (1999; Test Pilot Collective), Lutix (1998; Test Pilot Collective), Xerian (1997; Test Pilot Collective), Swoon, Furtive (2004, a sans), the display typeface Flathead (2004), the blackletter typeface Bahn (2004), Mesotone BT (2006, Bitstream, a monoline sans), Practical (a monoline connec script, planned in 2007 but not published), Poliphili (planned in 2007, as a revival of an Aldus/Griffo font), Wutupdo (1996, Garage Fonts), GFDesmond (Garage Fonts), Drone, Golden Times (2014, a corporate small caps typeface for the University of Minnesota), Vapiano (2014: hand-printed typeface for Vapiano International).
View Matt Desmond's typefaces. [Google]
Maria Herrera Vicalvaro
Art director in Barcelona. Creator of a 3d wood alphabet (2012). [Google]
Buenos Aires-based designer of the didone display typeface Goût (2014) and the warm wood type-inspired Dobro (2014), which was finished during her studies at FADU / UBA. She calls Dobro a bluegrass typeface. It was designed, according to her web site, for a special edition of Rolling Stone magazine. [Google]
[Wood Type Impressions]
Mark Kusek sells 300dpi resolution images of faded and used wood types. [Google]
Graphic designer based in Tubbergen, The Netherlands. He made an alphabet made out of wood sticks (2011) [I do not think that this was "fonted"]. Behance link. [Google]
Mark van Wageningen
[Novo Typo (was: Atelier van Wageningen)]
Dutch type designer whose fonts may be bought from 2Rebels in Montreal. They are now generally available from T-26. Some creations: BlackMail (1996, ransom note font), Educational, EricsSome (dot matrix face), Mould Archi (1997, grunge), Tsjecho (1997, a wood type simulation face), Wire And Planks (1997, a semi-stencil).
Future URL. Klingspor link.
View Martijn Oostra's typefaces. [Google]
Match&Kerosene is Alex Sheldon's Detroit-based graphic design and typographic illustration company, est. 2008.
Klingspor link. Behance link.
Typefaces designed by Sheldon (b. Michigan, 1984) include Slab Sheriff (2009), Western, Kerosene Boxley (2009, a multiline art deco revival of a Solotype font; some say that it is based on a pair of 1972 alphabets by Marcia Loeb called Zig Zag and Rainbow), Kerosene Woodtype (2009), Kerosene Retroface, Kerosene Stereo (2009, revival of an Italian typeface from 1869), Kerosene Killowatt, White Wolf (2009, condensed horror movie face).
Typefaces designed in 2011: Quimby (Copperplate Gothic style titling face), Black Bear (2011, straight-edged display family), Swifty (2011), Grizzly Bear (a set of 12 constructivist titling typefaces), Detroit (a modular family for superpositions), Prismatic (another superimposable multi-purpose family), Duotone (2011, Duotone is a layered font system that allows one to title two-tone headlines), Volcano Gothic (+Inline), Volcano Island (jungle look family), Lightyears. [Google]
Matias Romero was born Eduardo Alves da Silva in the city of Santos. He is a Brazilian nature photographer and multimedia artist, b. 1965. Currently, he is based in Sao Thomé das Letras, MG.
Typefaces from 2016: Aleijadinho, Aiuruoca.
Typefaces from 2015: Elis (inspired by a dream about singer Elis Regina).
Typefaces made in 2014: Cassiopea, Ignoto, Minguarana (a display sans).
Typefaces from 2013: Neroli, Jailed Celts, Demodée (art deco).
Typefaces made in 2012: Endora (gothic), Nix, Sampa Midnight (a spurred typeface), Olho de Peixe, Peixes e subpeixes, Rita Mouse.
Creations from 2011: Gotham Lullaby (2011, a blackletter tattoo face), Lizard (2011), Glix (2011), Linea (2011, a squarish face), ClassIndicativa (2011), Atomium (2011), Maquina Pneumatica (2011), Futurafrica (2011), Amorphica (2011).
Typefaces made before 2011: Vieira (2010), Hobo Signs (2010), Knights Who Say Ni (2010), Antibios (2010, slab serif), Oleo (2010, wedge serif face), Jet Black Night (2009), King Pineapple (2009), Glove (2009, avant garde sans), Quanta (2009), Arcoverde (2009, display face), Wax (2009), Crazy Circles (2005, hand-printed) and Xylogravura (2009, inspired by crude woodcut typography printing practiced in northeastern Brazil).
Home page. Fontspace link. Creative allies link. Flickr pages. Devian tart link. Morguefile link. Multimedia stock page. Twitter page. Klingspor link. Dafont link. [Google]
[Wood Type Revival]
Matt Frost Type is located in Madison, WI. Matt designed some fonts at Chank's place, including Cowboy Rhumbahaut (2000), a take on a mid 19-th century ornamental face. His home page. In 2011, he set up Matt Frost Foundry.
His commercial typefaces include
- Escape From Budapest (2011). Art deco, based on a type specimen in the Communist Sculpture graveyard outside of Budapest.
- Baron of Arizona (2011). A Victorian ornamental face.
- Praha Nouveau (2011). Art nouveau. Praha Nouveau is based on a type specimen on the statue of Jan Hus in Prague's Old Town Square. The statue was designed in 1903 by Ladislav Saloun.
- King of Prussia (2011) is an angular Halloween face.
- Dubliners (2011) is a signage script face.
- Quijibo (2011) is a quaint handmade slab serif.
- Street of Crocodiles (2011) is inspired by the main title of the Quay Brothers film Street of Crocodiles (based on the 1934 Bruno Schultz book).
- Aegean (2012). A swashy take on roman capitals. The spurred version is Cirque (2012).
- Antler (2014). A spurred woody vintage family of typefaces. The Western typefaces Antler West (spurred; in Regular, Wood and 3d) and Antler South (Tuscan) were published in 2016.
- Cow Boss (2015). A Tuscan Western typeface.
- Baboon (2015). A hand-crafted poster typeface.
[Rare Letterpress Wood Type]
Matthew Carter (born in London in 1937, and son of Harry Carter) is one of today's most influential type designers. He trained as a punchcutter at Enschedé in 1956. In 1963 he was hired by Crosfield, a firm that pioneered the new technology of photo-typesetting, to lead their typographic program. He worked for Mergenthaler Linotype (1965-1981), and co-founded Bitstream Inc. with Mike Parker in 1981, adapting many fonts to digital technology. In January 1992, he founded Carter&Cone with Cherie Cone, and often collaborated with Font Bureau. In 1995, he won the Gold Prize at the annual Tokyo type Directors Club competition for Sophia. In 1997, he received the TDC Medal for significant contributions to the life, art, and craft of typography. In 2010, he received a MacArthur grant. He lives in Cambridge, MA.
John Berry on Carter's art (2002). Apostrophe comments on Berry's article. Interview. His fonts:
- The Microsoft screen fonts Verdana (1996), Georgia (1996), Georgia Greek, Georgia Cyrillic, Nina and Tahoma. Georgia (in roman and italic only) is a screen version of Miller, Carter's Scotch design. Nina was designed to address the requirements on smaller screens such as phones, and was used in Windows Mobile smartphones before Microsoft switched to Segoe. The Greek and Cyrillic versions of Nina were developed by François Villebrod. Georgia Pro (2010, Ascender) was developed from Georgia with the help of Steve Matteson. For Verdana Pro (2010, Ascender), Carter was assisted by David Berlow and David Jonathan Ross.
- Apple's Skia (1993), a sans serif designed with David Berlow for Apple's QuickDraw GX technology, now called AAT. [Carter's Skia and Twombly's Lithos are genetically related.]
- Monticello (2003), based on Linotype's Monticello (1950), which in turn goes back to Binny&Ronaldson's Monticello from 1797, a typeface commissioned by Princeton University Press for the Papers of Thomas Jefferson. It is in the Scotch roman style.
- Miller (1997, Font Bureau), an extremely balanced family co-designed by Carter, Tobias Frere-Jones and Cyrus Highsmith. Carter explains: Miller is a Scotch Roman, a style that had its beginnings in the foundries of Alexander Wilson In Glasgow and William Miller in Edinburgh between about 1810 and 1820. It is considered that the punchcutter Richard Austin was responsible for the types of both Scottish foundries. Miller is a revival of the style, but is not based on any historical model. Now, there is also a 16-weight newspaper version, Miller Daily (2002), and an 8-weight Miller Headline (2002). This was followed by News Miller, a typeface designed for the Guardian. Note: Georgia (1996) is a screen version of Miller, and Monticello (2002) is a later modification. A comparison of these typefaces.
- Alisal (1995, +Bold).
- ITC Galliard (1978), a recreation of Robert Granjon's garalde letters. Note: Bringhurst recommends a Carter and Cone version of this font, called Galliard CC: it has old style figures and small caps. Further versions include Aldine 701 (Bitstream), Matthew (Softmaker), ITC Galliard Etext (2013, Carl Crossgrove, Linotype), and Gareth (Softmaker).
- The ITC Charter family (1987 for Bitstream and known as Bitstream Charter; licensed to ITC in 1993; see the Elsner&Flake version of ITC Charter). An upgraded commercial version was released by Bitstream in 2004 under the name Charter BT Pro.
- Vincent (1999), a font commissioned for use in Newsweek. It is named after Vincent Figgins, an English foundry owner and punch cutter who lived in the late 18th century.
- Walker (1994), designed for The Walker Art Center.
- Ionic Number One (1999, Carter&Cone).
- Mantinia (1993, Font Bureau), based on inscriptional forms, both painted and engraved, by the Italian renaissance artist Andrea Mantegna.
- Big Caslon (1994, Font Bureau), a display typeface based on the largest romans from William Caslon's foundry.
- Big Figgins (1992) and Big Figgins Open (1998, based on types shown in the specimens of Vincent Figgins of 1815 and 1817). Big Figgins was called Elephant and Elephant Italic in Microsoft's Truetype Fontpack 2.
- Sammy Roman (1996), loosely based on the 17th century romans of Jean Jannon. A beautiful typeface designed to accompany kanji and kana typefaces produced by Dynalab in Taiwan.
- Sophia (1993, Font Bureau), a mix with Greek, uncial and classical Roman influences.
- Shelley Script (1972), a family of formal scripts, split into Andante, Volante and Allegro. It is based on intricate English scripts of the 18th and 19th centuries attributed to George Shelley.
- Cochin (1977, at Linotype). MyFonts writes: In 1913 Georges Peignot produced a typeface based on Nicolas Cochin's eighteenth century engravings. In 1977, Matthew Carter expanded this historic form into a three part series.
- Bell Centennial (Linotype-Mergenthaler, 1975-1978), a legible heavily ink-trapped family designed by Matthew Carter as a replacement of Bell Gothic at Mergenthaler. There are also digital Linotype and Bitstream versions. AT&T commissioned the font to replace their previous typeface choice Bell Gothic for their 100th Anniversary.
- Cascade Script (1965-1966, Linotype, now also known as Freehand 471 BT in the Bitstream collection). Paratype's extension of Freehand 471 to Cyrillic is by Oleg Karpinsky (2011).
- New Century Schoolbook was designed from 1979-1981 in the New York Lettering office of Merganthaler Linotype based on Morris Fuller Benton's Century Schoolbook from 1915-1923. It was the second face, after New Baskerville, that was digitized and expanded using Ikarus (digital technology). The Bitstream version [Century Schoolbook] is a virtually exact copy, only being moved from a 54 unit to a 2000 or so unit design.
- Auriol (Linotype), an art nouveau family (including Auriol Flowers 1 and 2 and Auriol Vignette Sylvie) based on the lettering of the painter and designer Georges Auriol. MyFonts explains: Auriol and Auriol Flowers were designed by Georges Auriol, born Jean Georges Huyot, in the early 20th century. Auriol was a French graphic artist whose work exemplified the art nouveau style of Paris in the late 19th and early 20th centuries. In 1900, Georges Peignot asked Auriol to design fonts for Peignot&Sons. The resulting Auriol font was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. It was re-released by Deberny&Peignot in 1979 with a new bold face, designed by Matthew Carter. These decorative fonts with a brush stroke look are well-suited to display settings. The Peignot drawing office insisted on a more normal appearance in the boldface, calling it Robur. Matthew Carter has returned to Auriol's original design for the whole series.
- Helvetica Greek (Linotype).
- Helvetica Compressed (Linotype, 1974, with Hans-Jörg Hunziker).
- Wilson Greek (1995), compatible with Miller Text, and based on a type cut by Alexander Wilson for the Glasgow Homer of 1756. See here.
- Olympian (1970, Linotype), designed for newspaper use. This is Dutch 811 in the Bitstream collection. The custom typeface Milne (Carter&Cone) done for the Philadelphia Inquirer is based on Olympian.
- Gando, a French "ronde" typeface based on the work of Nicholas Gando (mid 1700s), and designed for photo-typesetting at Mergenthaler by Carter and Hans-Jörg Hunziker in 1970. Very similar to Bitstream's Typo Upright.
- Fenway (1998-1999, Carter&Cone), commissioned by Sports Illustrated to replace Times Roman.
- Snell Roundhand (1965-1966): a connected cursive script based on the 18th-century round hand scripts from English writing masters such as Charles Snell. Early in the digital era, Matthew published this in the Bitstream collection as Roundhand BT. A Cyrillic version by Isabella Chaeva and Vladimir Yefimov was released by ParaType in 2013.
- Auriga (1970). (Wallis dates this in 1965 at Linotype.)
- CRT Gothic (1974).
- Video (1977).
- V&A Titling (1981).
- Deface (in the FUSE 18 collection).
- Madrid (2001), done for the Spanish newspaper El País.
- Milne, done for the Philadelphia Inquirer (a revised version of Olympian). Not available.
- Durham, a sans serif family for US News&World Report.
- Century 725 (Bitstream, for the Boston Globe: after a design by Heinrich Hoffmeister).
- For Microsoft: Georgia, Verdana, Tahoma, Nina.
- New Baskerville. [Matthew Carter says that this is wrongly attributed to him. It was directed by John Quaranta.]
- Postoni [or Post-Bodoni], for the Washington Post, which is still using it. See here.
- Le Bé, a Hebrew typeface that was used in the Pennyroyal Caxton Bible.
- Rocky (2008, Font Bureau, with Richard Lipton), for the Herald in Scotland.
- Time Caledonia.
- Wiredbaum, for WIRED.
- Wrigley (for Sports Illustrated). Matthew Carter designed Roster in the 1990s, and it was adopted as a display face for Sports Illustrated under the name Wrigley. Jesse Ragan was instrumental in later expanding the family from its original seven styles to the current 60. In 2015, Carter & Cone and Font Bureau released an expanded 60-style family of this typeface under the new name Roster.
- Benton Bold Condensed (for Time Magazine).
- Foreman Light (for the Philadelphia Inquirer).
- Newsbaum (for the New York Daily News).
- Carter Latin: Matthew was commissioned in 2003 to create a new design to be cut in wood type by the Hamilton Wood Type&Printing Museum in Two Rivers, WI. He came up with an all-caps, chunky, Latin-serif design.
- Times Cheltenham (2003), which replaces in 2003 a series of headline typefaces including Latin Extra Condensed, News Gothic, and Bookman Antique.
- The Yale Typeface (2004), inspired by the late fifteenth-century Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius. This extensive family is freely available to members of Yale University.
- DTL Flamande (2004, Dutch Type Library), based on a textura by Hendrik van den Keere.
- Meiryo (2004, Microsoft, with Eiichi Kono): this font is part of Microsoft's ClearType project, and includes full Latin and kanji glyph sets. Suntory corporate types (2003-2005), developed with the help of Akira Kobayashi and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
- Rocky (2008, Font Bureau): A 40-style high contrast roman family that is difficult to classify (and a bit awkward). Developed with Richard Lipton.
- Carter Sans (2010, ITC), based on epigraphic letters used in inscriptions. Created for the identity of the Art Directors Club 2010 class of its Hall of Fame, one the laureates in the 2010 Hall of Fame. Codesigned by Dan Reynolds, this chiseled typeface is loosely based on Albertus.
- In 1997, he designed Postoni for the The Washington Post's headlines, a sturdy Bodoni.
- MS Sitka (2013). A typeface with six optical sizes that are chosen on the fly if an appropriate application is present. Developed at Microsoft with the help of John Hudson (Tiro Typeworks) and Kevin Larson (who carried out extensive legibility tests). German link. Typophile link. Sitka won an award at Modern Cyrillic 2014.
- Van Lanen Wood Type (Hamilton Wood Type, 2002-2013). Carter started work on the wood type in 2002, but technical accuracy issues postponed the implementation. Digital versions were finally done in 2013 by P22's Hamilton Wood Type.
- Big Moore (2014, Font Bureau): A 1766 specimen by Isaac Moore, former manager of Joseph Fry's foundry in Bristol, England, shows many types inspired by John Baskerville. But a century later, standardization had foisted inept lining figures and shortened descenders upon these designs. Matthew Carter remedies the tragedy with Big Moore. Oldstyle figures, full-length descenders, and historic swashes are restored to this regal serif in two styles. Big Moore won an award in the TDC 2015 Type Design competition.
Speaker at ATypI 2013 in Amsterdam.
Linotype link. FontShop link. Favorite quote: Watching me work is like watching a refrigerator make ice. Another quote: A typeface is a beautiful collection of letters, not a collection of beautiful letters.
View Matthew Carter's typefaces. Matthew Carter's fonts. The typefaces made by Matthew Carter. See also here. Wikipedia page. Klingspor link. [Google]
Matthew Urlwin Sears
British wood engraver of the first part of the 19th century. Author of "Specimen of stereotype ornaments, 1825". [Google]
[Hold Fast Foundry]
In 2009, Californian Meredith Mandel graduated with a BFA in Communication Arts from the Otis College of Art and Design. At The League of Moveable Type she designed Chunk (2009), an ultra-bold slab serif typeface that is reminiscent of old American Western woodcuts, broadsides, and newspaper headlines. Her Chunk Five font was extended as Chunk Five Ex in 2013 by Peter Wiegel.
Links: Home page. Kernest link. Typedia link. Klingspor link. Kernest link. [Google]
Creator of the wood-style slab typeface Deering (2012). [Google]
Michael Gene Adkins
Austrian type designer. At Facetype, Igor Labudovic cooperated with Michael Hager on Stanley Slab (2012), which is an interpretation of wood type combined with the idea of modern stencils. He also codesigned Stanzer (2010), a semi-stencil typeface. [Google]
[Urban Pixel (or: UP Font Studio)]
Michelle Alise McCallister
Graduate of Flagler College in Saint Augustine, FL, in 2012.
She created Pratt Slab in 2012, a slab serif with a wood style. [Google]
During her graphic design studie at the Pratt Institute, Michelle Wang (Brookyn, NY) created Synthetic (2013, a display typeface) and Cambridge (2014, a wedge serifed typeface that emulates wood type). Behance link. [Google]
Miguel Angel Hernández Montoya
Miguel Hernandez is a graphic designer, type designer, illustrator and teacher in Santiago de Chile. Born in 1977 in Concepcion Chile, he studied Graphic Design at Universidad del BioBio State University in Chillan, Chile. He currently teaches Typography at Universidad Diego Portalesand& Universidad de las Americas in Santiago de Chile. Miguel contributed greatly to the early success of the Chilean typefoundry Latinotype which he cofounded in 2007 with Felipe Soto in Concepción, Chile. In 2011, he cofounded Los Andes Type. Some time in or just before 2015, he broke his relationship with Latinotype. His typefaces:
- Arquitecta (2014, Latinotype), Arquitecta Standard (Latinotype), Arquitecta Office (Latinotype).
- The Google Web Font Ceviche One (2011). This is an angular yet curvy extra black expressionist sans serif type.
- Chela One (2012). A bold condensed brush script, free at Google Web Fonts.
- Fatta (2011, Los Andes). Round and fat.
- Fiancé (2011, Sudtipos). A fat signage typeface.
- Lolita (2012, Latinotype). A playful rounded sans family.
- Mija (2011, Latinotype). Inspired by vernacular signs.
- Patagon (2011, Latinotype): a rounded wood-inspired poster typeface done with Daniel Hernandez and Luciano Vergara.
- Sail (2012). A didone script.
- Sofia (2012). An upright script, free at Fontsquirrel.
- Texta (2014, Latinotype), Texta Narrow (Latinotype). a geometric sans for everyone.
- Tikal Sans (2012, Latinotype).
- Uomo (2014, with Tania Chacana) is a contemporary typographic system that explores the geometric sans style and Italian art deco in combinations of four widths and three weights.
Before Latinotype, Miguel Hernandez created many pixel typefaces. The typefaces made in that period before 2007 include:
- The truly perfect pixel font family Fundamental (2003).
- The pixel font Sligthest.
- The sans family Chile (2004), Chile Sans (2005). Chile Sans won at the Tipos Latinos 2008 competition.
- The highway signage typeface Optica (2004).
- The fifties diner-style screen font Detroit 45 (2002).
- The bitmap display font Kuppa (2003).
- The church stone engraving simulation typeface Finaita (2002).
- The Western pixel font Arizona (2003, perfect!).
- The bitmap handwriting font Wolfgang Bold.
- The screen font Screenager (2002).
- The funky bitmap font Groobit.
- Minority (2002, a very small screen font).
- Fundamental (2002, a very original screen font, with ligatures for "rr" and "LL", for example), which was subsequently published at tipografia.cl.
- The ultimate pixel font Miguel's Three Dots (2002).
- The pixel display font Circa (2002).
- The pixel fonts Capitalista, Garadot (2003, a fantastic pixel version of an elegant Garamond) and Harmonica.
- The script pixel fonts Anticrisp (2003) and Essential Bold.
- The gray pixel typeface Sushi (2004, hiragana, katakana, Latin).
- The serif font Quetzal (2003).
- The bitmap family Sugar (2003).
- The bitmap family Apple (2004, based on Apple's Chicago).
- At Atomic Media, he released Carbona and Carbona Bold in 2002, as well as 12 bitmap fonts in 2003: Maya, Fundamental, Azteca, Tekilla, Aymara, Minority, Quadratis, Carnoa Plain&Bold, Machina Typewriter, Dotic (blackletter), Mezcal, Circa.
- In 2004, he joined Ultra Pixel Fonts, where he made the pixel typefaces Orbital, Sugar, Odyssey, Solar, Voltage, Jetson.
- At Latinotype, he made Picara Sans (2007, an organic sans), Cadena (2007, a rounded sans which won at Tipos Latinos 2008), Love (2007, ultra fat rounded) and Mote (2007, rounded sans display face).
View Miguel Hernandez's typefaces. Another look at Miguel Hernandez's typefaces. [Google]
Miguel Sousa is a Portuguese graphic designer with a big interest in Typography and Typeface Design. After completing his five-year degree in Technology and Graphic Arts from the Instituto Politécnico de Tomar in 2002, he worked for the children's books publisher O Bichinho de Conto for one year, as a graphic designer, typographic designer, book designer, web designer and web developer. Before going to Reading he also worked in MBV Design as a graphic designer, web designer and web programmer.
He graduated from the Master of Arts in Typeface Design programme at the University of Reading, where he developed text typeface named Calouste with extensive support for the Latin and Armenian scripts. Calouste (2005) won an award at TDC2 2006.
In April 2006, he joined Adobe's type development department. He had a hand in these Gerard Unger fonts in 2006, custom produced for the University of Reading: RdgSwift-Bold, RdgSwift-BoldItalic, RdgSwift-Italic, RdgSwift-Regular, RdgVesta-Bold, RdgVesta-BoldItalic, RdgVesta-Italic, RdgVesta.
In 2013, he created the beautiful typeface Gothic Round (Hamilton Wood Type): After Hamilton bought out Page, Wells and Morgan & Wilcox, they briefly offered the various cuts from their former competitors before standardizing. In settling on which version would best inform this new digitization, designer Miguel Sousa of Adobe looked at specimens from the Newberry Library in Chicago as well as visiting and printing at the WNY Book Arts Center and of course the Hamilton Wood Type Museum to get a full immersion into this font project. Ultimately it was settled upon to use exemplars from multiple cuts to create a more pleasing hybrid. The Upper case was primarily based on the Heber Wells version, while the lower case referenced the Wm. Page version. Overall some of the most jarring quirks found in various versions were left out in favor of a solid type. [Google]
In 2012, Estonian type designers Johan Kallas and Mihkel Virkus designed Ewert, a slab serif wood type inspired by and loosely based on the collection of cultural infographic maps by Estonian graphic artist Olev Soans. Free at Google Web Fonts. They added Revalia later in 2012---see here.
Meie Script (2012, John Kallas and Mihkel Virkus, free at Google Web Fonts) is described as follows: Meie Script is a typeface, which is based on the original 1910 Estonian handwriting standard. It is less flamboyant then its Western European contemporaries. Estonian handwriting has been influenced greatly by German and Russian handwriting styles and Meie Script embodies a mixture of those two styles. [Google]
An oriental simulation type. On this page, we read: The wood-type Mikado was apparently inspired by Gilbert and Sullivan's comic opera of the same name. The show opened in London in March of 1885 and in New York later that same year. According to Nicolete Gray in her classic book on ornamented typefaces, the English foundry of Sir Charles Reed and Son introduced a metal type called "Japanese" also in 1885. She characterized this typeface and other oriental based typefaces as superficial in their foreign influence. Nonetheless it appears that it was later copied by several of the American Wood-type companies. The 1906 Hamilton wood-type specimen catalog shows four versions of this design; one by Hamilton and three by acquired companies. The versions by Wells, and Morgans&Wilcox are called Mikado. The Hamilton and Page versions use model numbers 204 and 156 respectively. It is difficult to determine the specific dates when this particular wood-type was introduced, but the earliest wood-type catalog I could find showing Mikado is the 1888 Page catalog. This sample is a 15 line unstamped type most similar to the Hamilton version. Another English foundry, Miller and Richard introduced a metal typeface in 1887, also named Mikado. That typeface is totally different than the one presented here. [Google]
Serbian book illustrator, graphic arts teacher and phototype, woodtype and linocut letter type designer, b. Despotovo, 1931, d. Belgrade, 1999. His sons Rastko and Vukan write about both aspects of his life. His CV: he graduated in 1954 from the Academy of Applied Arts, Belgrade and took his Masters Degree in 1959, under Professor Mihailo S. Petrov. He was professor at the Faculty of Applied Arts, University of Arts, Belgrade from 1964 until 1997. He was Head of the Graphic Department from 1974 to 1975. His publications include Graphic identification 1961-1981 (SKZ, Belgrade, 1982), Graphic communications 1954-1984 (Vajat, Belgrade, 1986), Heraldry 1 (University of Arts, Belgrade, 1983) and Coat-of-Arms of Belgrade, Heraldry 2 (Cicero, Belgrade, 1991). Most of Ćirić's types were for Cyrillic, while some have Latin alphabets as well. Many would be classified today as poster types, type to accompany illustrations. The list of his typefaces:
- Rastko, Latin, 1955: It is a versal typeface made in only one weight. Rastko himself thinks it was devised as light, almost linear and it was a part of his character.
- Vukan, Latin, 1960: Named after his second son, Vukan, this is a sharply cut orthogonal typeface.
- Galerija Grafiki kolektiv, Cyrillic, 1962 (Graphic Collective Gallery): A beautiful Cyrillic display face. This was the first of his typefaces transformed in a computer font.
- Triptihon, Cyrillic, 1962 (Triptych): Another cut face, but this time really taken from the sample made in linocut. The prototypical Cyrillic poster face.
- Akademija, Cyrillic, 1966 (Academy): This typeface was made for the University and Academy where he worked. It was designed so that it can be used equally well on the paper, metal plates, seals, plaques and everything else Academy needed. He used similar typefaces on book covers and charters, in solemn situations. Rastko: Although one may think it is an ordinary serif face, it contains Cira's specific typographic handwriting. The shapes are almost geometrically reduced thus providing a decorative effect, legibility and possibility to be transferred in all materials..
- Bolsko, Latin, 1966/67/68: Bol is a small place on the island Brač. This simple condensed headline typeface was designed for pedagogical purposes made to be used for lectures at the Faculty of Applied Arts abd in its graphic identity.
- Devojačko, Cyrillic, Latin, 1969 (Maiden): A curly affectionate face.
- Ćirićica, Cyrillic, 1970/72: This typeface was designed as a result of the first research on transforming Serbian handwritten Cyrillic into constructive letterforms. The raw model was the manuscript of the Fourth Gospel (John's Gospel) written at time of Despot Djurdje Barnković (1428) created then by by a Inok from Dalša. The result was a letterform of optimal proportions. The study was made on the occasion of the opening of the new building of the National Library, Republic of Serbia.
- Vojničko, Cyrillic, 1975 (Soldiers): When designing this typeface Ćirić consulted the book Blue Line of Life (Plava linija života) by Branko V. Radičević, a book about monuments and tombstones posted along roads. It is a sentimental ornamental headline face.
- Face VMA, Latin, 1976/77: A big project for the Military Medical Academy (abbreviated VMA) in which the letters had to be constructed on grids using rulers and compass only. The result is a Bank Gothic look.
- Bogradsko, Cyrillic, Latin, 1982: This typeface was used for designing the covers and title of his second book of graphic communications.
- Duklja, Cyrillic, Latin, 1984: In this case the typeface makes basis of graphic identification. As a model for designing the typeface of Montenegrin Lexicographic Institute was a text from leader seal of Petar, Prince of Duklja. Ira wrote that he enlarged and systematize the letters from the drawing which was made in time when the seal was in good condition and that he wanted to preserve the freshness of irregularities and that there were several weights in each letter while their height is only optically the same. It seems that save for that irregularity which inspired and provocative vagueness this model could not offer many clear stylistic characteristics. But what ira could read from those forms is the language of their linocuts and cut symbols. Thus his personal style naturally added to all that was missing to finish the face. In compromise between typeface with serifs and sanserifs in combination of legibility and universal applicability he saw practical solution for many tasks.
- Iva's typeface, Cyrillic and Latin, 1986: Rastko: My brother's daughter, Iva, was the first child that joined our family of applied artists. Ćirić immediately awarded himself with the title of granddad, opened the door of his studio and showed her all those games and toys from the world of the applied and other arts. Apart from the crazy games, obligatory signum and many other things Iva got many picture books which her grandpa made from time to time. The picture books contained poems, drawings, pictures and of, course letters. On one of those picture books entitled Grandpa' Stories I have found, so far, the only place where the typeface was used. It is a type of typeface imitating relief forms.
- Vukov bukvar, Cyrillic, 1987 (Vuk's Abecedary): One of the rare typefaces with lower case letters, this typeface is dignified and named after Vuk Kardžić.
- Sava's face, Cyrillic, 1987: A gorgeous old slavonic style typeface with upper and lower case.
- Epitaf, Cyrillic (Epitaph, my name, unknown year): An unpublished typeface found by his sons in the files. Ćirić used it to write names of births and deaths of friends and family members in a notebook. It could be seen as a prototype for tombstones.
American creator of HWT Antique Tuscan No.9 (2012, Hamilton Wood Type). The HWT explanation: A very condensed 19th century Tuscan style wood type design with a full character set with ligatures. This design was first shown by Wm H Page Co in 1859.
She also made Roman Extended Light (2012), which is a revival of No. 251 in the 1872 catalog of Page Manufacturing Company.
Typefaces from 2013: HWT Catchwords, HWT Republic Gothic (with Richard Kegler).
Rich Hopkins, a printing historian, acquired Baltotype ca. 1993. Based on drawings from the 1950s in the Baltotype material (and in particular, a 1955 font by George Battee called Athena), Miranda Roth at P22 / Lanston designed LTC Athena, a narrow art deco typeface, in 2013.
Typefaces from 2014: LTC Archive Ornaments (Richard Kegler and Miranda Roth), P22 Saarinen (a set of eight architectural styles based on the lettering of Finnish American architect Eero Saarinen). [Google]
[DIA (Dreamers Ink aesthetics)]
For a project at the University of Tecnology, Sydney, Mitchell Hockey designed Professor Whiskers (2013), a spurred all caps typeface that is modeled after vintage American wood types. [Google]
Mac McGrew describes the slab serif Modern Antique: Modern Antique and Modern Antique Condensed were adapted to Monotype in 1909 from traditional typefaces dating from about 1820, commonly known simply as Antiques or Egyptians. They were forerunners of the square serifs, but closer to romans in general appearance, and were usually used for boldface emphasis with roman types, particularly modem romans. In most sizes these two Monotype typefaces are the same set width as each other, and have the same figures and points. Otherwise they differ only in the proportions of the C2 and C 1 arrangements, being good examples of adaptations to the basic Monotype unit system. (See "Practical Design Limitations" in Introduction.) Also see Bold Antique; and Latin Modern under Latin Bold Condensed.
In 2015, Jeff Levine did a revival of Modern Antique No. 26 (1909, Monotype) called Antique Slabserif JNL. [Google]
Morgan Press is located in High Point Road, Scarsdale, New York. They published two wood type specimen books: Morgan Press Presents A First Showing of Wood Type Specimens (1955), WOOD TYPE Specimens for Reproduction from the Morgan Press (1964). [Google]
Morgans&Wilcox Mfg Co.
[William T. Morgans]
American wood type manufacturer from the 19th century, set up in 1880 by William T. Morgans and H.K. Wilcox. The latter had taken over Young's shares at Young and Morgans Mfg Co., prompting a company name change. It was located in Middletown, NY.
On-line 1890 catalog by Robert Lee. On page 22, that 1890 catalog even shows a typeface called Belgian.
Some digitizations can be found. See, for example, HWT Geometric (2013, James Grieshaber, Hamilton Wood Type Foundry). This is a squarish wood type family based on a design by Gustave F. Schroeder from 1881, as explained by HWT: Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version. Dick Pape designed AWT Morgans Wilcox Doric Cond in 2013. Matt Braun (Wood Type Revival) designed French Octagon (2016) based on a Morgans&Wilcox model. Cosmopolitan (1890s) was revived by Matt Braun in 2016. [Google]
Typefoundry set up in 2013 in Champaign, IL, by John Bonadies who has an MFA in graphic design from the University of Illinois. In 2011, he set up an iPad application in which one can move wooden letters around as in a letterpress. He says: LetterMpress will be a virtual letterpress environment---released first on the iPad---, that will allow anyone to create authentic-looking letterpress designs and prints.
The typefaces are based on letterpress and/or vintage wood type, and have names that are prefixed by MPI.
In 2013, Mpress Interactive published MPI Roman Condensed (based on a typeface from Showcard Machine Company), MPI Old Style, MPI Bodoni Ultra, MPI Sardis (after Warren Chappell's Lydian from 1938, ATF), MPI Republic Gothic, MPI No. 510 (based on a design by William H. Page, 1887), MPI No. 508 (based on William H. Page, 1890), MPI No. 507 (based on William H. Page, 1890), MPI Headline Modified (also called Modified Gothic by some type manufacturers, it is based on a typeface by Hamilton Manufacturing Company from 1897), MPI Gothic, MPI Aldine Extended (based on a 1872 wood type by William H. Page), MPI Antique (slab serif), MPI French Clarendon (based on wood type from 1865 by William H. Page), MPI French Antique (a typical far West saloon font based on wood type by William H. Page, 1869), MPI Egyptian Ornamented (a western typeface based on a 1870 wood type by William H. Page), MPI Arcadian (based on a 1870 design by William H. Page), MPI Tuscan Extra Condensed (based on William H. Page wood type from 1872), MPI Norwich Aldine Reversed (from a 1872 original), MPI Nouveau, MPI Delittle (based on a wood type by DeLittle), MPI Deco (art deco caps), MPI Atlas (slightly art nouveau typeface based on a font by Day & Collins), MPI Circle Sans (white on black letters). [Google]
MyFonts hit list for Clarendon style typefaces, popular in the wood type era. A longer list of implementations of Clarendon. [Google]
MyFonts: French Clarendon
A list of French Clarendon (almost exclusively wood) typefaces that are available via MyFonts. [Google]
MyFonts: Wood type
The main (digital versions of) wood type at MyFonts. A longer list of wood type typefaces. [Google]
MyFonts: Woodcut typefaces
A list of commercial woodcut typefaces. [Google]
During her studies at Design College Australia in Brisbane, Nadia Raineri created the layered ornamental wood typefaces Alvaro (2013) and Maria (2013) that are based on Aetna, a wood type from 1870 by William H. Page. [Google]
During her studies in Caldas da Reinha, Portugal, Nadina Fialho created the wide woiod-inspired titling typeface Elisus (2014). [Google]
Nancy Neale Typecraft
According to the ad, We have the largest collection of wood type and printing memorabilia in private hands in America. Wood type sold via the web. [Google]
National Printers Materials Co.
American wood type manufacturer that existed from 1876 until 1895, and was set up by John Stevens and William Wood in New York City. They In 1874, they had patented a process for laminating celluloid to wood to produce celluloid wood type. Example of that: No. 20 Eureka (1888), Clarendon X Condensed (1890). [Google]
[Pixel Sagas (was: Protoform Project, and Fontshack)]
New Blazing Star Press
The New Blazing Star Press (Jason Wickersty, Bayonne, NJ) revives historical fonts, borders, ornaments, rules, and woodcut artwork from the 18th and 19th centuries, copying every letter from original type specimen, business directories, broadsides, and advertisements printed over 150 years ago. The foundry sells 100 fonts under the title Fonts of the Civil War Era (60 fonts in 2012, 40 fonts in 2014).
Creative Market link. [Google]
Vernon Adams (born England, 1967) is a furniture restorer, woodcarver and typeface designer. New Typography is his type design site. Vernon graduated in 2007 with an MA in type design from the University of Reading and lives in California. Fontspace link. Dafont link. Google Plus link. Fontsquirrel link. Klingspor link.
He developed Mako (2007), a type family for text and image in magazines. Earlier, he created AutoPacHousehold. Nobile (2010) is part of the Google font directory. Through the Open Font Library, one can get the source Fontforge code for this open source sans family. About Mako, he writes that he submitted the font to Fontsmith, which sat on it for a while and rejected it, only to publish a few weeks later Lurpak, which according to Vernon is too similar to his rejected design. Free fonts at Google Code by Vernon, as of the end of 2010 include Coda (a heavy elliptical face), Nobile (mentioned above), Corben (a curvy bold typeface in the style of Cooper Black), and Gruppo (a thin sans).
In 2011, he added Coustard (a slab serif family), Damion (connected signage script), Smythe (Victorian), Radley (display face), Oswald (a reworking of the Alternate Gothic style: see this dedicated typeface), Candal (sans), Pacifico (connected signage face), Bangers (comic book face), Anton (heavy sans), Bevan (a reworking of Beton, a traditional slab serif display typeface created by Heinrich Jost in the 1930s), Six Caps (a condensed headline face), Meddon (a display font created from the handwritten script of an Eighteenth century legal document), Rokkitt (an Egyptian), Paytone One (headline face), Holtwood One SC (wood block simulation face), Monofett (white on black), Carter One (casual face), Francois One (gothic sans), Sigmar One (think mid twentieth century pulp magazine advertising), Bigshot One, Metrophobic, Mako, Francois One, Nunito (rounded), Shanti, Sigmar, Muli (minimalist sans), Kameron (an Egyptian), Stardos Stencil, Bowlby One, Bowlby One SC (fat poster face), Tienne (serif), Monoton (a multiline face in the style of Koch's Prisma, 1931), Sancreek (emulating an ornamental wood font), Amatic SC (hand-printed poster family), Sancreek (a Tuscan face), Oswald (in the old Alternate Gothic tradition of sans typefaces), Rammetto (based on the Stephenson Blake uppercase display font Basuto, released in 1926), and Michroma (modeled after Microgramma).
Typefaces made in 2012 include Bench Nine (Google Web Fonts: based on old Stephenson Blake typefaces), Oxygen (a sans typeface available from Google Web Fonts), Oxygen Mono (Google Web Fonts), Norican (free script font at Google Web Fonts based in part on Stephenson Blake's Glenmoy from the 1920s), Cutive (free at Google Web Fonts, based on the IBM typewriter typefaces Executive and Smith-Premier), Pontano Sans (Google Web Fonts: a light basic sans), Trocchi (Google Web Fonts: derived from Nebiolo's Egiziano, and Caslon & Co's Antique No.4 and Ionic No.2), Seymour One (Google Web Fonts: derived from Sigma One), Anaheim (sans, Google Web Fonts), Cutive and Cutive Mono (Google Web Fonts: based on the typewriter typefaces of IBM's Executive and the older Smith-Premier).
Typefaces from 2013: Mondo (sans), Oswald (grotesque and stencil), Anton (grotesque). [Google]
Nick Curtis (b. Chicago, 1948) lived in Texas from 1952-1997, and lives since 1997 in Gaithersburg, MD and Alexandria, MD. From ca. 1990 onwards, he has been designing fonts, first for free, and then commercially. He had a great reputation as a "revivalist" type designer, with a particular interest in retro fonts and art deco types. In 2003, his site had become too popular and too expensive to maintain, and thus he went commercial as Nick's Fonts. In 2013, he stopped making fonts, and donated his collection of rare books and type material to the University of Virginia. Interview. Free downloads at TypOasis. Complete list of names and other info, maintained by Sander de Voogt. Interview in which we learn about his fondness for Corel Draw as a type design tool.
Near the end of 2012, he posted this comment on his web site: Fifteen years ago, I embarked on a wonderful voyage of discovery, when I created my very first font with Fontographer 3.15. My maiden voyages were, frankly, rather clunky and amateurish, but I have been told that they showed promise. Well, sure enough, thanks to the diligent (and patient) efforts of Ilene Strizver, I polished up my craft enough to sell my humble efforts---first as a sideline business and, since 2006, as my full-time job. In total, I have produced over eleven hundred fonts---almost five hundred of them freeware fonts, which I conservatively estimate have been downloaded and enjoyed by over three million people worldwide. Unfortunately, this past year has brought a series of unanticipated setbacks, culminating in the loss of my wife's beautiful mind and soul to the scourge of alcoholism. In an effort to generate extra income to cover the expenses for her long-term care, I have proposed a number of, I believe, innovative ways to revamp the online font business; unfortunately, those efforts have fallen flat, primarily due to the professional font community's abject fear of crossing the $165 million Elephant in the Room. I even offered a special discount rate of 75% off retail price for full-time students of Typohile Forum. To date, there have been zero takers. Hell: even the webfont kit of one of my own fonts which I purchased from myfonts.com turned out to be an empty folder. Talk about a run of bad luck. Which leaves my with you, dear readers. If you or someone you know has had fun or made a buck from my humble efforts throughout the years, please donate whatever you can---even a lousy dollar would help---to help me out. I would greatly appreciate it.
Home page. Dafont link. FontShop link. Klingspor link. Abstract Fonts link.
View the typefaces designed by Nick Curtis. [Google]
[Nick Curtis: Wood types]
[Art deco typefaces by Nick Curtis: II]
[Nick Curtis: Commercial typefaces]
[Nick Curtis: Typefaces from 2015]
[Nick Curtis: Typefaces from 2014]
Nick Curtis: Commercial typefaces
Nick Curtis (b. Chicago, 1948) lived in Texas from 1952-1997. Since 1997, he is in Gaithersburg, MD and Alexandria, MD. Since the 1990s, he has been designing fonts, first for free, and then commercially. He had a great reputation as a "revivalist" type designer, with a particular interest in retro fonts and art deco types. In 2003, his site had become too popular and too expensive to maintain, and thus he went commercial as Nick's Fonts. Interview. Free downloads at TypOasis. Complete list of names and other info, maintained by Sander de Voogt. Interview in which we learn about his fondness for Corel Draw as a type design tool. Home page. His free fonts are listed elsewhere.
On MyFonts, he says this about himself: Nick's Fonts is a modest little foundry dedicated to the preservation of our rich typographic heritage. Most of the foundry's designs are based on authentic historical sources, gleaned from the massive collections of the Library of Congress. If you are looking for a font that captures the essence of the Wild West, the Gay Nineties or the Jazz Age, look here first: if it is not in the catalog, it will be soon. [Google]
Nick Curtis: Typefaces from 2014
Typefaces made by Nick Curtis in 2014:
- Alto Rey NF. A revival of a Victorian typeface issued by the Palmer and Rey Type Foundry of San Francisco in 1884.
- Angler NF. A revival of a Victorian typeface by Barnhart Brothers and Spindler, 1895.
- Argentina Cursive NF. Based on a typeface by Morris Fuller Benton, 1919.
- Bandiera Del Legno NF. A Tuscan wood type that revives Gothic Tuscan Condensed Reversed by William H. Page.
- Belgique NF. A revival of the (Western) wood type French Clarendon XXX Condensed No. 117 by William H. Page.
- Benton Gothic Thin NF. A revival of Lightline Gothic (1908, Morris Fuller Benton, ATF).
- Big D NF. Based on a Speedball pen font by Ross F. George.
- Bricoleur NF. A connected script from a French magazine in 1927.
- Bully Pulpit Plain NF. After Bullion Shadow (1970, Face Photosetting).
- Call Me Ishmael NF. After Moby Dick (Affolter and Gschwind).
- Chapeaux Noirs NF. After a MacKellars, Smiths & Jordan typeface.
- Chieftain NF. Revival of Pontiac (1893, ATF).
- Coronation Street NF. Based on a typeface created in 1936 by Stephenson Blake.
- De Roos Mediaeval NF. After Sjoerd de Roos.
- Dimanche NF. An art nouveau typeface revival. The original is known as Domingo or Brillante.
- Fluid Drive NF. A take on an art deco typeface by Samuel Welo.
- Gloriosus NF. Revival of the Victorian typeface Apollo (1888, Gustave F. Schroeder, Central Type Foundry).
- Grieshaber Monos NF. After a Schelter & Giesecke typeface designed in 1911 by Moritz Grieshaber.
- Harley Quinn NF.
- Hi Ho Steverino NF. In the Beat style of the 1960s and 1970s.
- Koralle Rounded NF. A rounded revival of Koralle (1913, Schelter & Giesecke).
- Leabhar Ceilteach NF. Inspired by lettering in the Book of Kells.
- Legnano (2014, Italian art deco wood type).
- LevellerNF (2014, Nick Curtis). A revival of Roundhead (Charles Beeler, Mackellar Smiths & Jordan, 1883).
- Lodewijk Gothic NF (2014). Adter Elzevir Gothic (1897, ATF).
- Loopy Loo NF. Upright script based on an original by the Hunt Brothers.
- Marmorherz NF. After an 1866 font, Marble Heart, by Farmer, Little, and Co.
- Maxed Out NF (+Inline, +Starstruck). This series of fonts is based on a 1970s art deco series at PhotoLettering Inc called Riverside Drive by Peter Max.
- Meriwether Circular NF. After a 1905 Victorian typeface by William Martin Johnson for ATF called Meriontype.
- Millrich Olivian NF. A revival of Olivian by Richard & Miller.
- Miss Dottie NF. After Dotted Roman (1897, Barnhart Brothers and Spindler).
- Morticia NF. Based on an ATF original.
- National Oldstyle NF. After a 1916 font by Frederic W. Goudy.
- Nickel Box NF.
- Olden Daze NF. From Alphabets A to Z.
- Page Ephesian NF. A wood type after William H. Page, 1890.
- Page Etruscan No 5 NF. A wood type after William H. Page.
- Painters Roman NF. A wood type based on Painters Roman by Vanderburg and Wells (1878).
- Pique-Nique NF. Based on the art nouveau typeface Outing (1888, John F. Cumming, and 1895, ATF).
- Receding Hairline NF. After L&C Hairline (1966, VGC, Herb Lubalin and Tom Carnase).
- Renaissant NF. After the Victorian typeface Renaissant (1880, by John F. Cumming, Dickinson Typefoundry).
- Rythme NF. After a Mexican simulation typeface from 1935 by Maximilien Vox called Éclair.
- Scalar Biform NF.
- Schweimann Moderne NF. An art nouveau typeface.
- Skelett Antiken NF. After William H.Page's wood typeface Clarendon XX (1859).
- Ski Alpin NF. An art deco typeface based on a Swiss travel poster from 1927.
- Sodbuster NF. After William H. Page's wood type Gothic Dotted.
- Southie Signboard NF.
- Strassenmeister NF. After an art deco typeface called Buick Schmalfett by Herbert Thannhaeuser.
- Sweet Afton NF. After a silent movie font by Samuel Welo.
- Talsmann NF. A faithful reproduction of the Advocate font used by the IBM Selectric typewriter.
- Trading Hoss NF. After Ross F. George's Speedball alphabet D-nib Display.
- Tuscalooza NF. After William H. Page's font Tuscan Extended.
- Twinkletoes NF. After a comic book typeface by Ross F. George.
- Unjustified NF. Inspired by the opening credits for the television series Justified.
- Vauxhall NF. Based on Angelica, a 1970s typeface by Robert Trogman (FotoStar).
- Venusian Ultra NF. A heavy sans based on the extra bold extended version of Bauersche's classic sans typeface family Venus (1907-1927).
- Vulkan NF. A wedge-serifed typeface based on a Barnhart Brothers and Spindler original called Vulcan (1884).
- Well Said Black NF. Modeled after Welling Black, a 1970s typeface by Robert Trogman (FotoStar).
Nick Curtis: Typefaces from 2015
Typefaces made by Nick Curtis in 2015:
- Bothas Ruhm NF. After Blockschrift (1897, Genzsch and Heyse).
- Chiselle NF. A revival of Rustikalis, a typeface designed for the VGC Phototypositor in the 1960s. See Rustikalis DT (1=2007, Malcolm Wooden) for the revival of the bolder version.
- Coins Coupes NF. Modeled after Chamfer, a 19th-century octagonal typeface by Barnhart Bros & Spindler.
- Doright Black NF. Based on Dudley Upright (Dan X. Solo, 1960s).
- Feedbag NF. Based on Horse Tank (Fotostar).
- Inland Edwards NF. Based on Nicholas J. Werner's Edwards (1895, Inland Type Foundry).
- Millrich Grange NF. A revival of the 19th century font Grange by Miller & Richards.
- Mitchell NF. A digital revival of the grotesque all-caps typeface Mitchell (1906, Inland Type Foundry), the bold version of Blair (1900, Inland Type Foundry).
- Newfangle NF. A Victorian typeface based on Newfangle (1892, Hermann Ihlenburg).
- Page Five Fifteen NF. After William H. Page.
- Retrorocket NF. An art deco typeface after D. Duvillé, 1934.
- Rockwall NF. After Aldine by William H. Page.
- Telecomm NF.
- Versacrum NF. A psychedelic / art deco typeface inspired by the lettering of Alfred Roller for the Ver Sacrum magazine in 1903.
- Old Number Ten NF. A revival of a typeface Gothic Number Ten by the Cincinnati Type Foundry.
- Terranova NF. A prismatic typeface based on Earth (Dan X. Solo).
Nick Curtis: Wood types
Nick Curtis's typefaces that took inspiration from wood types. Many of these have WBW in the name, which stands for Whiz-Bang Woodtype.
- Bandiera Del Legno NF (2014). A Tuscan wood type that revives Gothic Tuscan Condensed Reversed by William H. Page.
- Belgique NF (2014). A revival of the (Western) wood type French Clarendon XXX Condensed No. 117 by William H. Page. Skelett Antiken NF (2014) revives Wiliam Page's Clarendon XX (1859).
- Blandford Woodland NF (2005). A light version with lower case of Neuland as seen in Pen&Brush Lettering and Practical Alphabets (Blandford Press, Ltd., London, 1929).
- CopperCanyonInlineWBW, CopperCanyonWBW, CopperCanyonWBWDemiBold.
- Falfurrias WBW (2004). Based on authentic xylographic designs from the late nineteenth century.
- Fran Tique NF (2008). The decorative wood type typeface French Antique Extended, featured in the 1905 BB&S catalog, and originally due to William H. Page, was revived as Fran Tique NF.
- Fredericksburg WBW (2006). Based on a wood type by Rob Roy Kelly, which is the same source Jordan Davies used for his Teutonic.
- Grand Prairie WBW (2004). Based on an ornamental wood type called Medallic.
- Hunky Dory NF (2014, a circus font after William H. Page's wood type Doric, ca. 1850).
- Indubitably NF (2011): based on Stephenson Blake's 1880s wedge serif typeface Latin Antique.
- Matamoros NF (2010): wood type simulation.
- Page Ephesian NF (2014). A wood type after Ephesian (1890, William H. Page).
- Page Etruscan No 5 NF (2014). A wood type after William H. Page.
- Pgae Five Fifteen NF (2015). After William H. Page.
- Page Wood Borders NF (2011).
- Painters Roman NF (2014). A revival of Painters Roman (1878, Vanderburg & Wells).
- Rockwall and Rockwall Expanded NF (2015). After William H. Page's Aldine (1870) and Aldine Expanded (1872).
- Round Rock WBW (2006). A Western style font called No. 154 by Rob Roy Kelly.
- San Angelo NF. Based on a 1890 William H. Page Foundry woodtype grotesque specimen.
- Sodbuster NF (2014). After William Page's Gothic Dotted.
- Terlingua WBW (2005). A wood type called Phanitalian in Rob Roy Kelly's collection.
- TradingPostNF (2003). Based on this poster.
- Tuscalooza NF (2014). After William H. Page's Tuscan Extended (1872).
- Woodtype Borders NF (2010), Woodtype Borders 2 NF (2011).
- Woody Goodies 1 and 2 WBW (2004): ornaments, including fists.
- Ye Olde Block NF (2004). Lewis F. Day, in his book Alphabets Old and New, offered this typeface as an example from sixteenth-century England of lettering incised in wood.
- NF (2010). Based on James Conner's wood style typeface Aetna (1888), aka Painter's Gothic.
Nick Sherman (b. 1983) is from Hyannis Port and Boston, MA, and studied graphic design at MassArt in 2005. He is currently based in Brooklyn, NY, where he works with Font Bureau. His degree project there, entitled A Modern Day Specimen Book, is beautifully presented, and leads us through thoughts on type classification to the idea of type molecules, with the nodes in the molecules representing styles or descriptions or dates, and the edges representing typefaces. He is interested in wood type, and occasionally helps out the organizers of the TypeCon conferences. As a designer at MyFonts (from 2007 until 2010), he was in charge of the interviews, presentations, and web designs of their successful and useful pages. He lived in Brooklyn, NY, and taught typography at MassArt in Boston. In 2010, he joined Font Bureau. Flickr page. He is the founder of Woodtyper, an online journal focused on large and ornamented type and related matters. He also set up the type documentation project Type Record together with Indra Kupferschmid. His type designs:
He wrote Type from the Crypt about horror fonts. He started the Flickr group called Manicule about pointing hands (fists; see, e.g., here and here). He wrote the long essay on printing fists called Toward a History of the Manicule (2005). Check out this pic he took of Lucha Libre posters in Mexico City in 2009. He also designed the poster for the 2008 documentary on wood type called Typeface.
- Ambient (2005): a simple geometric monoline logotype for Ambient Devices.
- Sargent (2004): inspired by the lettering on the gravestones at Boston's Old Granary Burial Ground.
- Meatland (2004): a grotesk inspired by the lettering on a shop in Jamaica Plain.
- Plan 9 (2005): a squarish masculine sans typeface originally designed for a TV program called 3-B which would feature B-movies, including many horror flicks.
Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. [Google]
Type designer born in 1986 in Lviv, Ukraine. She created the Kafkaesque woodcut face Messy Linocut 2D (2011, 2D Typo).
Klingspor link. [Google]
No Bodoni Typography
[George Everet Thompson]
Glenview / Chicago, IL-based foundry run by George E. Thompson (b. 1945, Chicago). George Thompson teaches at the Art&Design Department of Columbia College Chicago since 1986: He has a deep involvement in letterpress printing and co-founded Columbia's private press, the Calhoun Press, named for John Calhoun, the first printer in Chicago. He also founded his own Spurius Press, devoted to publishing matters of typography and named for Spurius Carvillus, the ancient Roman credited with designing the letter G.
Expensive but high quality typeface families designed by Thompson include Estiennium (quirky humanist sans), Isbellium (a sans serif version of Dick Isbell's Americana type, the last type cut in metal by American Type Founders), Nirvanium (wedge serif), ITC Oldrichium (2011, angular lettering in the style of Oldrich Menhart), Parmatype, Parisette, Marseillette, Lyonette, and Berlinette (2001).
MyFonts is selling these fonts now: Claudium NB (2002), Crowbird Pro Bold (2012), Dog Butter (2004, script face), the eerie didone font Floridium NB (2002, based on wood type from the 1800s), Ms Kitty NB (2002, a fun face), Parma Typewriter NB (based on Bodoni), and Tinman Pro (2011).
In 2013, George published the dingbat typeface Ovoid Two Zero, ITC Oldrichium.
FontShop link. Klingspor link. Behance link.
View the No Bodoni typeface library. [Google]
Novo Typo (was: Atelier van Wageningen)
[Mark van Wageningen]
Mark van Wageningen is a Dutch type designer. Born in 1969, Mark lives in Amsterdam. Novo Typo is the typefoundry of Atelier van Wageningen.
The display type Stavba (inspired by Rodchenko's constructivist lettering) appeared in 1994 as a part of his presentation for his final examination at the Gerrit Rietveld Academie in Amsterdam, and was later renamed Ärst. He continues making display types on his own account. He created the fonts Linotype Cerny (1995, caps only), Linotype Laika and Linotype Sjablony (a roughened stencil font) in 1997.
Fontshop and 2Rebels sell his Gagarin family (2000), which include Anna (constructivist and unicase), Boris, Christa, Dmitri (MICR), Eleno, Fjodor, Gregor, Hektor (stencil), Igor, Youri, Leonora (with Nele Reyniers), Magda (with Nele Reyniers), Ossip and Petrov (LED simulation). As he tells it, four Russians, Gustav Klucis, Vladimir Majakovski, Alexander Rodchenko en Gregory Rasputin each had an affair with Anna Gagarin, and out of all that came forth Boris, Christa, Dimitri, Elena, Fjodor, Gregor, Hektor, Igor, Jouri, Kurt, Leonora, Magda, Nina, Ossip, Petrov, Quirina, Rudolf and Sonia.
Atelier Van Wageningen made the curly typeface HC type (2010) for packaging.
Typefaces from 2012 include NT Lucien, NT Plakaty (poster font), NT Theo, the NT Gagarin family, NT Zkumavka (rough stencil based on stencils from the 1920s in Russia; first published in 1995-2002 at Two Rebels), NT Cornelia (wood type caps), NT Novo (with Novo Alla, Bila, Cela, Dada, Enno, Fika and Gigo), Louis Douze and Therese Quatorze, Caren (a soft-edged corporate typeface for a Dutch women's organization, Vrouwen van Nu).
Typefaces from 2013: NT Guru (a layered ornamental type system), Sjiq (with a crazy roofed lower case s), and flower photographic typefaces such as Fall, Lily and Pure. Novo Typo also made several corporate typefaces.
Typefaces from 2014: NT Wolf (layered typeface), NT Yaki (hipster layered font family), NT Fest (a curly inline caps face).
Typefaces from 2015: NT Fata (a layered decorative font family), NT Rashmir (Indic simulation inspired by Sanskrit; styles Amal, Baya and Cyra).
Creative Market link. Behance link. Linotype link. FontShop link. Another Behance link. Klingspor link. [Google]
Born in Pamplona, Octavio got his first degree in Fine Arts at the University of Barcelona. After several years working for various design studios and advertising agencies, he moved to UK where he graduated from the MA in Type Design at the University of Reading. After collaborating with the Typofonderie in Paris for several months, Octavio went back to Pamplona.
Blackwood (2011) is an ornamental all-caps typeface that takes its inspiration from a mixture of the woodcuts of the early 18th century and fat typefaces of today's magazines.
Other typefaces designed by Octavio: Cabriole (2011, serif text family), Terabyte (2011, a monoline corporate typeface in current development for Aspa Company), Sutturah (fat signage face, published by Rosetta Type, and awarded by TDC 2012). The Cyrillic was developed with the help of Sergei Egorov.
In 2013, he contributed to the Cyrillic of Adelle (2009, Type Together), a typeface first developed by Veronika Burian, Jose Scaglione and Alexandra Korolkova.
In 2016, he created an experimental, almost hipster, typeface, and finished a custom typeface, NRK Ethica Slab, for Norway's main media group. For the logo and credits of Fashion Film directed by Human Produce, he designed Myth (2016). With Elena Ramirez, he created Cubit (2016), a custom monospaced typeface for a Chicago-based interior design Studio.
Behance link. [Google]
Oh No Type
[James T. Edmondson]
Leeds, UK-based designer, whose company is called Oh No Type. In 2011, he was a student at California College of the Arts in San Francisco. Graduate of the Type & Media program at KABK in Den Haag in 2014. Typefaces:
Klingspor link. Behance link. Dribble link. Old home page. [Google]
- 2008: at FontStruct of the blackletter typeface Eclyptico and of Mopper.
- 2010: Edmondson, Dode (script).
- 2011: Edmond Serif (in progress) is being designed in Rod Cavasos Type Design class at CCA. Edmond Sans (2011) is a headline all caps sans face. Duke (Lost Type) is a beveled typeface based on the signage for the Cup and Saucer Luncheonette in New York. Wisdom Script (Lost Type) was originally designed for Woods of Wisdom, a 50 part poster series on bad advice. Working on a roman caps version in Ed Interlock style. Lavanderia (2011, free at Lost Type) is a signage script family inspired by fancy laundromat lettering in San Francisco's Mission District.
- 2012: Edmond Sans (Lost Type).
- Mission Script (2012) is a connected signage script, also inspired by lettering in San Francisco's Mission District.
- 2013: Mission Gothic. Influenced by wood types, this sans was codesigned with Trevor Baum.
- 2014: Covik, his graduation typeface at KABK. He writes: Covik was designed with the goal of creating a small text family with complimentary display typefaces which work together to create a rich typographic palette. How divergent could a style be while remaining kindred? In what ways could weight, width, proportion, and construction be played with in order to create a varied family?
- 2015: Hobeaux (a take on Morris Fuller Benton's art nouveau typeface Hobo), Viktor Script (a retro script done with Erik Marinovich).
- Year unknown: Bordeaux Script.
Old Towne No536
A decorative Western style typeface originally relaeased by Stephenson Blake (see Linotype) and ATF. Digital versions include Old Towne No536 (URW; images: i, ii), Old Town (FontSite), Osborne (Softmaker), Old Towne No536 SB (2004, Scangraphic), Old Towne Pro (2010, Ralph M. Unger---it is feasible that he also engineered the URW version). [Google]
Omtype is Oleg Macujev's Russian foundry and studio (est. 2008) located in Novokuznetsk in the Kemerovskaja region of Siberia. Graphic and type designer, calligrapher and typographer Oleg Macujev was born in Novokuznetsk in 1984. He graduated from Lomonosov Moscow State University (design of mass media specialization). In 2004-2007 he studied at the Alexander Tarbeev Type Design Workshop of Moscow State University of Printing. From 2004 to 2009 Oleg worked as a graphic designer in different Moscow design studios and publishing houses. In 2007-2008 he also lectured on type and calligraphy at the National Institute of Modern Design. He received the second prize for excellence in type and graphic design in a student competition organized by ParaType for his Epiphany typeface (2008). He has obtained the Certificate of Excellence in Type Design at the Modern Cyrillic 2009 competition for the Epiphany and Fry typefaces. Since 2009 he has been living in Novokuznetsk and working as a freelance graphic designer. Samples of his calligraphy. Alternate URL. Behance link. His name is also written Oleg Matsuev. Klingspor link. His great collection of typefaces:
- Default (2010). A condensed monospaced sans for Latin and Cyrillic.
- Epiphany (2008). A monoline script based on Old Russian skoropis (cursive writing) of the 15th, 16th and 17th centuries. Award winner at Paratype K2009).
- Fry (2008). A comic book style typeface that won an award at Paratype K2009 under the name Fray, and a Certificate of Excellence in Type Design at the Fry ProModern Cyrillic 2009 competition. Fry also received Second Prize in the display typeface category at Granshan 2011. Fry Pro (Latin, Greek, Cyrillic) was released in 2013. Oleg writes about this round sans: Fry was developed in 2008 specially for the Sky-Fish company (fish and seafood dealer). This type is designed for small texts and has a friendly and a fairytale historic flavor. Fry takes the openness and dynamism of humanist sans serif, the simple and softness of lubok's letters (primitive style) and the fluidity of shallow marine fry.
- Mamontov (2007-2008). A wood type with large incisions for ink traps. It has 25 weights and is based on Clarendon, except that the serifs are asymmetric (missing on one side). Mamontov won an award at Modern Cyrillic 2014.
- Pich (2014). Hand-drawn, almost a comic book typeface.
- Ryba Kit (Fish-whale). Designed for large headlines and display typography, and based on halfustav handwriting.
- Siberian (2013). A geometric unicase sans serif inspired by Russian avant-garde typography and old Siberian runic scripts (Orkhon-Yenisey script): The idea was to create a typeface so simple, cold and beautiful as the snow in Siberia. This typeface with its numerous stylistic sets could be used for Cyrillic simulation. Siberian won an award at Modern Cyrillic 2014.
- Slovolitnaya (2008). A pixel typeface based on the old forms of Cyrillic and works of the Russian style artists like Mihail Vrubel and Ivan Bilibin, who revived these forms in their design in the beginning of the 20th century.
Typeface catalog. [Google]
Pixel font specialist who created these pixel typefaces using FontStruct in 2013: fs Inspira 2 (pixel face), fs Mikibit, FS Tacticalreminds, FS Terc.butyl (slab serif), Fin Competition, Opipik's Caps, Stencil, Cond, Alter Ego, Anakin, Nonsense Remix, Simple, Fluid PX (pixelish), Fluid, Shamewriting (wide techno face), The FS Ion (stencil), Opirus Semi-Serif, Launching a similar one, F Serif Q, Opirus OPIK, Sans Tai Na, Leftleaning, FSPx Kayah D70, 1234 Font, Random Regular.
Other typefaces made in 2013 include fs Logo, fs Mansion, fs Kismet, LASO Serif, fs Ad, fs Groszak's Dreams, fs Road Sans, fs Connet (retro automotive script), fs Large, fs Mico, fs Use, fs By, fs Part, fs Strongness, fs Permutoo 1 through 7 (op-art), fs Ethstruct, fs Ais (wood type simulation), fs Eng (like fs Ais), fs 01, fs Jim Jam (sencil), fs Sor, fs Nothing (blackletter), Anakin Mono (a sci-fi face), Shaak Sans, LASO Serif, 42 Stencil, 42 Sten Grid (kitchen tile face), 42 Bold (piano key face), 42 Sten Vert, Sten Bold Vert, 42 Light Vert, 42 Bold Vert, 42 Light Grid, 42 Cond, 42 Light, 42 Black, Iont Slab (monospaced), Experiment Elongated Ears, Pixel Old English, Check It, Trifolium Stencil (like a Bauhaus stencil), Avatars New, Shaakmono, and Better Sans.
Typefaces from 2014 include fs Pixalic (a great textured typeface), fs Weighted, fs Monital, fs Pixnod Serif, fs Gaelpix, fs Jenson 1 (+Italic), fs Hand2, fs Wood Type 1, fs135 Opinno Serif, fs135 Inno Huge, fs Dotnudge Biggerterm, fs Nudgershoots, fx 8x6, fs Eng, fs Streetsign, fs Fassyrian, fs Apjop, fs Jenson 1, fs Stenserife, fs Recover, fs Lapa 1 Bold, fs Dotital, fs Lapa 1, fs Hikinspot, fs Geofut, fs Samil, fs Pxalic, fs Stdb Regular, fs Papeda, fs Greekpix, fs Stylized Arpeggios, fs Teimodern, fs My Take on Parsifal 1, fs Samil, fs Eco, fs Dotmatrix Serif Mono, fs Dotmatrix Sans, fs Uahkoch, fs Fluffy, fs Computer Says No Mild Italic, fs Paseky Ideograms, fs Eatit Bold, fs Mind, fs Switch, fs Dotty Serif, fs Smallmicro, FSerifQ, fs Afterline, fs FontstrFillersMono, fs Four Ideas.
Typefaces from 2-15: fs Konhex.
FontStruct link. [Google]
Ornaments of Grace
Rittman, Ohio-based creator of a set of 23 Victorian-style vintage fonts called Church in the Wildwood (2014). She also made a free set of Victorian drop caps called Month of Sundays (2014). Along the same Victorian rustic wood emulation theme, she published the layered typeface family Sunday Best (2014) and the poster font collection Thankful (2014).
In 2015, she created the hand-crafted funky typeface Capriccio (Plain and Rough).
Typefaces from 2016: Miss Elizabeth Script, Humoresque (a signpainter's family emulating the 19th century Western style; it has 12 weights designed for layering),
Home page. Behance link. Creatove Market link. [Google]
Type foundry in Amsterdam, run by Donald Roos (b. Haarlem, 1978). Also involved are Jantoon Roos (Haarlem, b. 1953) and Benz Roos. Donald Roos studied type design at KABK in Den Haag. In 2008, he started up his own studio Bureau.Donald, based in Amsterdam. He created the online typographic library Typebase and is co-founder of tech-startup Triqle. Donald has been a teacher at several academies; the Willem de Kooning Academy, Rotterdam College and Fontys College. He currently teaches type design at KABK in Den haag.
Typefaces (all by Donald Roos) include LD Spaghetti (2004), LL Bint (2004, potato stamp face), LL Gaufre (2004, an "OpenPixelType"), MagGothic (in progress). They are also involved in the digitization of wood type.
In 2009, he got involved in Vette Letters, and there he published VLNL Bint, VLNL Gaufre, VLNL Knoffel, VLNL Brak, and VLNL Spaghetti Bolognese, VLNL Woodburger, VLNL Wasabi, VLNL Irish Stew, VLNL Hollandsche Nieuwe.
Typefaces by Donald Roos from 2013: VLNL Wood Burger (based on American wood type), VLN Wasabi Turbo.
In 2015, he published VLNL Boulangerie.
Klingspor link. Creative Market link. Behance link. Bureau Donald. [Google]
P22 sells a Woodtype CD, which has pictures (not fonts!) of four complete wood alphabets taken from the wood type collection of art director and designer John Housley. [Google]
P22 Analog is an offshoot of Richard Kegler's P22 Type Foundry, a digital type house founded in 1994 and located in Aurora-on-Cayuga, NY. P22 Analog is dedicated specifically to hand-printing and hand-craft along with research related to printing, letterpress and typographic history. [Google]
P22 Type Foundry
Richard Kegler's fun Buffalo-based foundry, which he founded in 1995 together with his wife, Carima El-Behairy. Currently, on staff, we find type designers James Grieshaber and Christina Torre. In 2004, it acquired Lanston Type. P22 has some great unusual, often artsy, fonts.
The fonts are: Industrial Design (an industrial look font based on letters drawn by Joseph Sinel in the 1920s---this font is free!), LTC Jefferson Gothic Obliquie (2005, free), Sinel (free), P22Snowflakes (2003, free), Acropolis Now (1995, a Greek simulation typeface done with Michael Want), P22 Albers (1995; based on alphabets of Josef Albers made between 1920 and 1933 in the Bauhaus mold), Arts and Crafts (based on lettering of Dard Hunter, early 1900s, as it appeared in Roycroft books), Ambient, Aries (2004, based on Goudy's Aries), Arts and Crafts ornaments, Atomica, Bagaglio, Bauhaus (Bauhaus fonts based on the lettering of Herbert Bayer), Bifur (2004, Richard Kegler, after the 1929 original by Cassandre), Blackout, P22 Brass Script Pro (2009, Richard Kegler; based on an incomplete script fond in a booklet from Dornemann&Co. of Magdeburg Germany, ca. 1910 entitled Messingschriften für Handvergoldung; for years, P22 and MyFonts claimed that Michael Clark codesigned this, but Michael does not want any credit, as he did only about 20 letters), Cage (based on handwriting and sketches of the American experimental composer John Cage), P22 Casual Script (2011, Richard Kegler, a digitization of letters by sign painter B. Boley, shown in Sign of the Times Magazine), Cezanne (Paul Cezanne's handwriting, and some imagery; made for the Philadelphia Museum of Art), Child's Play, Child's Play Animals, Child's Play Blocks, Constructivist (Soviet style lettering emulating the work of Rodchenko and Popova), Constructivist extras, Czech Modernist (based on the design work of Czech artist Vojtech Preissig in the 20s and 30s), Daddy-o (Daddy-o Beatsville was done in 1998 with Peter Reiling), Daddy-o junkie, Da Vinci, Destijl (1995, after the Dutch DeStijl movement, 1917-1931, with Piet Mondrian inspired dingbats; weights include Extras, P22 Monet Impressionist (1999), Regular and Tall), Dinosaur, Eaglefeather, Escher (based on the lettering and artwork of M.C. Escher), FLLWExhibition, FLLW Terracotta, Folk Art (based on the work of German settlers in Pennsylvania), Il futurismo (after Italian Futurism, 1908-1943), Woodtype (two Tuscan fonts and two dingbats, 2004), P22 Woodcut (1996, Richard Kegler: based on the lettering carved out in wood by German expressionists such as Heckel and Kirchner), , Garamouche (2004, +P22 Garamouche Ornaments; all codesigned with James Grieshaber), GD&T, Hieroglyphic, P22 Infestia (1995), Insectile, Kane, Kells (1996, a totally Celtic family, based on the Book of Kells, 9th century; the P22 Kells Round was designed with David Setlik), Koch Signs (astrological, Christian, medieval and runic iconography from Rudolf Koch's The Book of Signs), P22 Koch Nueland (2000), Larkin (2005, Richard Kegler, 1900-style semi-blackletter), London Underground (Edward Johnston's 1916 typeface, produced in an exclusive arrangement with the London Transport Museum; digitized by Kegler in 1997, and extended to 21 styles in 2007 by him as P22 Underground Pro, which includes Cyrillic and Greek and hairline weights), Pan-Am, Parrish, Platten (Richard Kegler; revised in 2008 by Colin Kahn as P22 Platten Neu; based on lettering found in German fountain pen practice books from the 1920s), Preissig, Prehistoric Pals, Petroglyphs, Rodin / Michelangelo, Stanyan Eros (2003, Richard Kegler), Stanyan Autumn (2004, based on a casual hand lettering text created by Anthony Goldschmidt for the deluxe 1969 edition of the book "...and autumn came" by Rod McKuen; typeface by Richard Kegler), Vienna, Vienna Round, Vincent (based on the work of Vincent Van Gogh), Way out West. Now also Art Nouveau Bistro, Art Nouveau Cafe and the beautiful ornamental font Art Nouveau Extras (all three by Christina Torre, 2001), the handwriting family Hopper (Edward, Josephine, Sketches, based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art), Basala (by Hajime Kawakami), Cusp (by James Grieshaber), P22 Dearest (calligraphic, by Christina Torre), Dwiggins (by Richard Kegler), Dyrynk Roman and Italic (2004, Richard Kegler, after work by Czech book artist Karel Dyrynk), Gothic Gothic (by James Grieshaber), La Danse (by Gábor Kóthay;), Mucha (by Christina Torre), Preissig Lino (by Richard Kegler), P22Typewriter (2001, Richard Kegler, a distressed typewriter font), the William Morris set (Morris Troy, Morris Golden, Morris Ornaments, based up the type used by William Morris in his Kelmscott Press; 2002), Art Deco Extras (2002, Richard Kegler, James Grieshaber and Carima El Behairy), Art Deco Display, the Benjamin Franklin revival font Franklin's Caslon (2006), Dada (2006) and the Art Nouveau font Salon (bu Christina Torre).
In 2006, Kegler added Declaration, a font set consisting of a script (after the 1776 declaration of independence), a blackletter, and 56 signatures. Many of the fonts were designed or co-designed by Richard Kegler. International House of Fonts subpage. Lanston subpage (offerings as of 2005: Bodoni Bold, Deepdene, Flash, Fleurons Granjon, Fleurons Garamont, Garamont, Goudy Thirty, Jacobean Initials, Pabst, Spire).
Bio and photo.
In-house fonts made in 2008 include Circled Caps, the Yule family (Regular, Klein Regular, Light Flurries, Heavy, Klein heavy, Heavy Snow, Inline; all have Neuland influences). Kegler / P22 created a 25-set P22 Civilité family in 2009 based on a 1908 publication from Enshedé, the 1978 English translation by Harry Carter, and a 1926 specimen also from Enshedé.
P22 Declaration (Script, Signatures, Blackletter, 2009) is based on the lettering used in the 1776 Declaration of Independence.
At ATypI 2004 in Prague, Richard spoke about Vojtech Preissig. Speaker at ATypI 2010 in Dublin, where he presented Making Faces: Metal Type in the 21st Century about which he writes: This film has the dual aim of documenting the almost-lost skill of creating metal fonts and of capturing the personality and work process of the late Canadian graphic artist Jim Rimmer (1931-2010). P22 type foundry commissioned Mr. Rimmer to create a new type design (Stern) that became the first-ever simultaneous release of a digital font and hand-set metal font in 2008. At ATypI 2011 in Reykjavik, he showed Making Faces.
Typefaces from 2014: LTC Archive Ornaments (Richard Kegler and Miranda Roth).
View Richard Kegler's typefaces. View the IHOF / P22 typeface library. [Google]
Parkinson Type Design
Jim Parkinson's Parkinson Type Design is based in Oakland, CA. This prolific type designer was born in 1941 in Richmond, CA, and lives in Oakland, CA. Originally, a letterer, he went digital in 1990. His Keester and Azuza typefaces won awards at the TDC2 Type Directors Club's Type Design Competition 2002. MyFonts on Jim Parkinson and on his Parkinson Foundry. His impressive output:
- Typefaces at the Parkinson Foundry: Fresno (2001, inline gothic), Hotel (2001, inline caps), Azuza (2001, a Latin serif family designed for newsprint; some italics were based on Dwiggins' Electra), Amboy (2001, inline like for signpainting), Chuck (2004, a display titling face), Richmond (2003, a geometric sans family in the spirit of Dwiggins' Metro, Erbar by Jakob Erbar and the Underground type of Edward Johnston), Modesto (2001, strikingly similar to John Downer's Panatela, even though both admit that this an unbelievable coincidence; Parkinson's copperplate gothic evolved from Parkinson's lettering on the famous Ringling Bros. and Barnum&Bailey Circus logo), Balboa (2001, a 19th century style condensed sans; extended to a wonderful chromatic layering typeface family in 2015 as Balboa Plus), Sutro (2003, a 19-style slab serif family), Wigwag (2003, a display family inspired by the mid-twentieth century Speedball lettering of Ross George and the work of Samuel Welo and Cecil Wade), Amador (2004, blackletter), Cabazon (2005, blackletter), Avebury (2005, blackletter based on types from the Caslon Foundry), and the lovely Benicia (2003, influenced by GoldenType).
- At ITC (now Linotype), he designed ITC Bodoni, ITC Bodoni Twelve, ITC Bodoni Seventy Two, ITC Roswell Two, ITC Roswell Four (1998) and ITC Roswell Three (1998).
- His typefaces at Font Bureau include Antique Condensed Two, Buster, Comrade (1998, nice poster font, after the constructivist lettering by Belgian artist Jozef Peeters), El Grande (1991, fat display face), Parkinson (1994), Poster Black (1993), Showcard Gothic (1997), Showcard Moderne.
- At the Agfa Creative Alliance, he published Showcard Moderne, Antique Condensed Two, Bonita, Commerce Gothic (1998), Diablo (1996), Dreamland (1999, retro-futuristic), Fancy Stuff (1999), Generica Condensed (1994, grotesk), Industrial Gothic (1997), Mojo (psychedelic), Pueblo (1998).
- At Adobe, one can find Montara, his striking and psychedelic Mojo, and the gorgeous Jimbo.
- At FontFont, we have the FF Moderne Gothics series [FF Motel Gothic (1996), FF Matinee Gothic (1996), FF Goldengate Gothic (1996)] and FF Catch Words (1996).
- At Chank, he created Keester (2001).
- He designed the 4-weight family Electric for the San Francisco Chronicle (it was close to Dwiggins' Electra), but the Chronicle is no longer using it.
- Parkinson Electra (also based on Dwiggins's type) was published by Linotype in 2010.
- Typefaces from 2012: Meatball (fat lettering-style typeface), Hoosier Daddy (Western font).
- The list of newspapers and magazines using his fonts: Activa, Atlanta Journal, Birkenstock, Boston, Brownsville Herald, The Daily Cardinal, Charlotte Observer, Charleston Post&Courier, Chicago Tribune, The Citizen, Journal of Comm, Cromos, Daily Californian, Dallas Morning News, Rochester D&C, Financial Morgen, Design Magazine, Detroit Free Press, Editor&Publisher, El Graphico, National Enquirer, Entrepreneur, Esquire, SF Examiner, The New Examiner, Fast Company, New Fast Company, Montreal Gazette, Hamilton Spectator, Herman Miller, Ilta=Sanomat, InStyle, Kathemerini, Las Vegas Life, Newsweek.
- Typefaces from 2014: Sutro Deluxe (a layered chromatic wood type emulation font family that extends his 2003 font, Sutro).
MyFonts interview. FontShop link. More FontShop material on him. Klingspor link.
View Jim Parkinson's typefaces. [Google]
[Font Studio Four]
Paul D. Hunt
Aka Pilaster Davy, b. 1964. UK-based designer of Whitby Brewers (2015: inspired by the hand lettering on a reverse glass painted Victorian advertising mirror, found in the Beck Isle Museum in Pickering, North Yorkshire), Castle Press No 1 (2015, after original wood type from Castle Press, est. 1860), Medhurst (2015, a high-contrast display typeface), Providence (2015, tattoo typeface), Allegheny (2015, a spurred typeface), York Whiteletter (2015, white-on-black ribbon font inspired by a Delittle design called Eboracum No3 Improved White Letter Type and late 18th century woodtype), Spartanburg (2015, inspired by the 1923 Sanborn Insurance Map cover for Spartanburg, South Carolina; a tattoo typeface) and Galveston (2015, a tattoo typeface): GalvestonTX is derived from a Sanborn Insurance Map cover published in 1912 for the city of Galveston, Texas.
In 2015, he also created Eboracum (based on a wood type from a 1972 wood type sample book by Delittle found at the Castle Press), Catle Press No 2 (a condensed gothic font, after original wood type from Castle Press, est. 1860), Philadelphian Gothic (a revival of a 19th century type called Philadelphia Lining Gothic), Archaic 1897 (a revival of a Victorian typeface from ATF), Metropolian (a revival of Metropolis (1897, American Type Founders)), Austin Nichols (Victorian: inspired by the hand lettering from an Austin, Nichols & Company advertising cover), and Hex (a hexagonal typeface).
Typefaces from 2016: LF Clipped (fifties script: a faithful revival of Clipper by Louis Ferrand, Fonderie Typo. Française, 1952), Queens Square ( inspired by a 1911 Sanborn map cover). [Google]
Paul James Lloyd
About 100 free TrueType fonts by University of Western Australia lecturer Paul Lloyd (b. UK), many of them elaborate caps fonts: Larkin Capitals (2004), QuaNauticale Initials (2004, with Manfred Klein), Blavicke Capitals (2002), FoliarInitials (2002, Caps), Halftone (2003, blackletter), UltraBlack (2003, blackletter), Saraband (2002, an ornamental ribbon font after Karl Klimsch, 1869), Infula (2002, Caps), Strelsau (2002, Fraktur), Dampfplatz-DemiBold (2002, Fraktur), DampfplatzShadow-Black (2002, Fraktur), DampfplatzSolid-Black (2002, Fraktur), GenzschEtHeyse (2002, Fraktur), GenzschEtHeyseAlternate (2002, Fraktur), Moderna (2002, Fraktur), Lightfoot (2002), Nuffield Initials (2002), Cantebriggia (2002, Fraktur), Charterwell (2002, Fraktur), Portcullion (2002, blackletter), Portculliard Initials (2003, blackletter), Proclamate (2002, blackletter), Zenda (2002, blackletter), Teutonic (2002, blackletter), Medieval Victoriana (2002, caps), Portland Roman (2002), Wolnough (2002, caps), Landsdowne (2002, + Shadow: Victorian typefaces), Grimeswade (2002, caps), Orotund-Heavy, OrotundCapitals-Heavy (2002), Minster (2002, a 6-font Fraktur family), Killigrew (2002, Fraktur), Minim (2002, Fraktur), Coltaine (2002), Emporium Capitals (2002), Penshurst (2002), Cherubim Initials (2002), Pompadour Initials (2002), Casua (2002), Wadsworth's Industria (2002), Radaern Script (2002), Queen Empress (2002), Lisburne Initials (2002), Dundalk (2002), Claritty (2002, handprinting), Mysterious Voyage (2002), Arborial (2002), Deepwoods (2002), Florana (2002), Springtime (2002), Topiary (2002), Woodland (2002), Bertham, Camelot Initials, Chocolate Box (2002), Altea, Mosaic (2002, caps), Burgoyne (2002, caps), Hentzau Initials (2002), Engravier (2002, caps), Rustick Capitals (2002), Louvaine (2002), Chipperfield&Bailey (2002), Boister Black (2002, blackletter; the commercial Boister Black Pro was done in 2009 at CheapProFonts), Quill (2002), Erasmus (2002), Birmingham, Bolton, Brassett (2001), Chancera, Glastonbury, Grantham, E-Caps, CleaversJuvena, CoronationScot, Chronos, Brodgnorth, Draughtsman (2002), Duvall, Helena, Hominis (1997), Imperator, Lewisham, Newstyle, Noir-et-Blanc, Peake, Priory, Ruritania, Shrewsbury, Simplicity, Sylph, Ubiqita_Europa, Woodcut Capitals, Watson, Wrenn, Imperator, Trefoil Capitals (2002), TinplateTitling, Freame, Graphis, Dutch I, Festival, Festival Flourish, d'Spenser, Sylvan-Capitals, Helena, Bridgnorth and Paladin Caps. In his Black Jewels series (as in "blackletter"), he published Black (2002), Germanica (2002), and is working on Minim and Killigrew. Most typefaces come in many weights, and are carefully manicured products. Other Lloyd creations may be found here, here, here, here, or here in Russia. In 2008, he started a commercial foundry, Greater Albion Typefounders. Font Squirrel link. Behance link. [Google]
Paul James Lloyd
[Greater Albion Typefounders (or: GATF)]
Paula Nazal Selaive
Santiago de Chile-based creator of Selaive (2011, Latinotype), a geometric monoline sans with an extreme hairline weight, a bold, and several curly alternates. She also made the curly swashy script typeface Dulce (2011; Dulce Pro appeared in 2013 at Latinotype). Dulce has slight teardrop terminals.
In 2012, she and Daniel Hernandez created the Bosque family at Latinotype, which comes with six variants, Normal, Wood, Shadow, Wood Shadow, Dingbats and Shadow One. Julieta is a curly swashy thin monoline typeface family. Romeo (Latinotype) is a swashy curly condensed unicase typeface.
In 2013, with Daniel Hernandez, she designed the layered type system Trend, also at Latinotype. See also Trend Rough (2014).
In 2014, together with Daniel Hernandez, she created the upright good-spirited coffee shop script Showcase. It is morally supported by a set of Ornaments and a few Sans and Slab styles.
Revista (2015, Paula Nazal Selaive, Marcelo Quiroz and Daniel Hernandez, at Latinotype) is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. It has Revista Script (connected style), Revista Stencil, Revista Dingbats, Revista Inline and the didone Revista all caps set of typefaces. Revista won an award at Tipos Latinos 2016.
In w016, she designed the delicate display didone typeface family Camila (Latinotype), for which she was influenced by Coco Chanel. [Google]
Graphic designer and typographer in Miami, FL. Behance link Creator of the beautiful Wood Cuts font (2010), which attempts to simulate something cut out of linoleum. [Google]
During his studies at Staffordshire University, Peter Austin (Stroke-on-Trent, UK) created a typeface based on woodblock letters (2014). [Google]
[Alphabets Inc (or: Fontsonline.com)]
Kosal Sen (b. 1982, Philadelphia) is a graphic and identity designer, aka Koleslaw. He used to live in Philadelphia, but is now in Anaheim, CA.
- His early typefaces, some of which were free, include the graffiti typeface Drupal (2005), Unnamed Sans (2009), "Kosal Says Hy" (sic, 2003), Olney (2010, a basic square sans), Gravity Sans (2010, slab serif; +GravityNova, GravitySupernova), Merge (2011, a plumpish round monoline sans family), Philly Sans (2008, comic book style face) and the comic book typeface Arfmoochikncheez (2006).
- In 2009, he founded Philatype. At Philatype [Twitter link], he created Olney (2010; inspired by the Bank Gothic style; Olney Light is free), Ryno Slab (2009, macho), Markup (2007, a fresh hand-printed comic book style face), Gravity (2010, slab serif), Tryst (2013, transitional: free download), Lovato (2014, a 5-style wedge serif family with a free Lovato Light style), and Merge (2011, free). Merge Pro Greek and Cyrillic (2012) are codesigned with Elexei Vanyashin.
- Creator of this heavy slab face (2006) in true Western wood type style.
- Regalia (2014) is a heavy angular typeface.
- Sen is a free 3-style geohumanist sans.
- Toddle (2015): a sans modeled after Google's logo.
Kosal was embroiled in a minor controversy. He claimed that Wilton's commercial font Shallow (2005) was based on Kosal Says Hi. Wilton subsequently removed it from its site.
Also called Typophilesal Ko, and Koleslaw. 1001 Fonts link. Klingspor link. Behance link. Dafont link. Behance link. Fontspring link. Alternate URL. Creative Market link. [Google]
Type designer born in Boston in 1948 who created many exquisite designs such as Alexia (1992), Sallando Italic, Dorothea or Cresci Rotunda. His work shows the influence of masters such as Arthur Baker.
View Philip Bouwsma's typefaces. [Google]
Graphic designer in Auckland, New Zealand. In 2013, he summarizes his career: Early career working in New Zealand for not for profit clients in theatre, music and fine arts. Two years at Saatchi & Saatchi NZ followed by ten years in New York City as a type director, design director and photographer. Recently returned to New Zealand after two years in Shanghai.
Typefaces designed by him include Basalt (2011, bilined), Brutalism (2008), Cement (2009, octagonal), Hellvettika (1998, gothic, tattoo font), Esosquare (1998, squarish), Phrank (1997, experimental), and Hanson Unicase (2006).
In 2015, the custom octagonal typeface Pure Pakati was developed at Whybin TBWA Auckland for Tourism New Zealand. Its design team comprised Philip Kelly (design director), Karl Wixon (Maori design consultant), Kris Sowersby (type designer) and Rangi Kipa (Maori carver). Pure Pakati blends the traditions of wood type with the traditional indigenous carving style of Aotearoa (New Zealand) in a hand-carved and digital fonts.
Behance link. Another Behance link. Old URL. [Google]
A subsidiary/part of House Industries in Yorklyn, DE. I quote: Photo-Lettering was a mainstay of the advertising and design industry in New York City from 1936 to 1997. PLINC, as it was affectionately known to art directors, was one of the earliest and most successful type houses to utilize photo technology in the production of commercial typography and lettering. It employed such design luminaries as Ed Benguiat and sold type drawn by the likes of Herb Lubalin, Milton Glaser and Seymour Chwast as well as countless other unsung lettering greats. The company is best known by most of today's graphic designers for its ubiquitous type catalogs. Physically, the collection takes up about 1500 cubic ft (42 cubic meters) of space and consists of film negatives and positives of most of the 6500 fonts produced in the company's 55 years. There are also countless patterns, cartouches, borders and dingbats, all of which have been preserved in film negative form. Each negative is approximately 28 in (71 cm) by 5 in (13 cm) high. House Industries, a Yorklyn, Delaware-based independent type foundry, purchased the entire physical assets of Photo-Lettering in April of 2003. Through a partnership with Ken Barber, Christian Schwartz and Erik van Blokland, House Industries is carefully digitizing select alphabets from the collection and plans to offer them through a modern web-based interface. The Photo-Lettering interface has allowed us to reach beyond the rigid confines of typography to offer extended features such as layering, color control and multiple master interpolation over six axes. With some of the most talented minds in display typography behind this new display lettering system, users of the system will enjoy the same refined typography as the original Photo-Lettering customers.
A snapshot of their production, as of mid 2012, in alphabetical order:
- Atrax. A Mexican simulation typeface.
- Aztec. A videogame typeface.
- Banjo Playbill. A tear drop typeface.
- PL Barclay Outline.
- BenguiatBuffalo. By Ed Benguiat.
- BenguiatCaslon, BenguiatCaslonOutline, BenguiatCaslonPlain. By Ed Benguiat.
- PL Brazilia (sans).
- PL Britannia.
- Bubblegum, Bubblegum Drop.
- Carlyle Eventide. A 3d titling face.
- CopelandMilo. A connected script by L.H. Copeland.
- CopelandTrilliumFills, CopelandTrilliumOutline. A beveled prismatic typeface by L.H. Copeland.
- DARegatta. A flared didone.
- DAmicoGothic. A casual flared typeface.
- DavisonBaroque. A Western / Tuscan typeface.
- FederalTwelveDiagonal, FederalTwelveHorizontal. These are engraved copperplate typefaces.
- PL Fiorello (squarish sans).
- Galaxy Didot (based on a didone typeface by C.E. Coryn).
- Goliath. A fat Egyptian typeface with a wood style flavor.
- HanoverBold. A nice Fraktur typeface.
- HaslerCircus. A Tuscan circus font.
- HenrionBA. A beveled typeface with several layers.
- HouseGothicWide. A shadowed unicase typeface.
- Housebroken. A two-layer stencil caps face.
- PL Latin.
- Mierop Inline. A bilined art deco typeface.
- Millstein Flourish. A beautiful tall-descender typeface.
- PL Modern Heavy Condensed.
- Neutra Inline, Neutra Thin. Neutra Thin is a phenomenal geometric hairline sans.
- Norton Slapstick. A wood simulation typeface by S.E. Norton.
- Norton Tape. A stencil paper-fold typeface by S.E. Norton.
- Quaint. After an ornamental typeface from 1938 by Paul Carlyle and Gus Oring.
- Quintet. A calligraphic connected script
- Raymund Circus (+Inline, +Outlined).
- Smidgen. A signage face.
- SuperstarScript. A bubblegum typeface.
- SwissTwoTone. A display sans with two layers.
- Tiki Palms.
- TimesSquare. A dot matrix typeface.
- Tuggle. An oil slick typeface.
- Voodoo House.
- PL Westerveldt.
- WestBarnumUltra, WestBarnumUltraDrop. A fat Egyptian typeface by Dave West.
- WestBehemoth, WestBehemothItalic. Egyptian typefaces by Dave West.
- WestEmperorScript. A fat didone by Dave West.
- WestThud. A fat signage typeface by Dave West.
- West Elephant. By Dave West.
- West Italiano. A didone by Dave West.
- West Kerpow. A comic book typeface by Dave West.
- Worthe Numerals.
[Paul D. Hunt]
Type and graphic designer from Joseph City, AZ. His first degree was from Brigham Young University. He was a type designer at P22/Lanston from 2004-2007. In 2008, he obtained an MA in typeface design from the University of Reading where he designed the typefaces Grandia and Grandhara (Indic). In January 2009, he joined Adobe just after Thomas Phinney left. He lives in San Jose, CA. His talk at ATypI 2014 in Barcelona was entitled The history of non-Latin typeface development at Adobe.
He created Howard (2006, a digitization of Benton's Sterling), P22 Allyson (2006, based on Hazel Script by BB&S; a winner at Paratype K2009), the P22 FLWW Midway font family (2006: Midway One, Two and Ornaments; based on the lettering found on the Midway Gardens working drawings of Frank Lloyd Wright---tall-legged and casual), Kilkenny (2005, P22), a Victorian-style font based on the metal types named Nymphic and Nymphic Caps which were designed by Hermann Ihlenburg in 1889. This typeface has almost 1000 glyphs and comes in OpenType format. It includes Cyrillic characters. Check the studies here and here. For another revival of Nymphic Caps, see Secesja by Barmee.
Designer of the display typefaces Seventies Schoolbook (2004) and Interlocq (2004).
Hunt also digitized Goudy's Village (2005). Village was originally designed by Fredric Goudy in 1903 for Kuppenheimer & Company for advertising use, but it was decided it would be too expensive to cast. It was later adopted as the house face for Goudy's and Will Ransom's Village Press. The matrices were cut and the type cast by Wiebking. The design was influenced by William Morris's Golden Type. This Venetian typeface was digitized by David Berlow (1994, FontBureau) and by Paul D. Hunt (2005). Hunt's version was eventually released in 2016 by P22/Lanston as LTC Village.
He revived Hazel Script (BB&S), which he renamed Allyson (2005).
Still in 2005, he created a digital version of Sol Hess' Hess Monoblack called LTC Hess Monoblack.
In 2006, he published a nice set of connected calligraphic script fonts, P22 Zaner. Bodoni 175 (2006, P22/Lanston) is a revival of Sol Hess' rendition of Bodoni. He was working on Junius (2006), a revival/adaptation of Menhart Antiqua. Frnklin's Caslon, or P22 Franklin Caslon, was designed in 2006 by Richard Kegler and Paul Hunt in collaboration with the Philadelphia Museum of Art. This slightly eroded font set includes faithfully reproduced letterforms digitized directly from images of impressions made by Benjamin Franklin and his printing office circa 1750. It comes with a set of ornaments.
In 2007, he used Goudy's 1924 typeface Italian Old Style in the development at P22/Lanston of LTC Italian Old Style. That typeface was remastered and extended to cover several languages by James Grieshaber in 2011.
In 2014, Paul Hunt finished work on the wood type revival font HWT Bulletin Script Two (P22 & Hamilton Wood Type). This backslanted psychedelic typeface can be traced back to the wood type manufacturers Heber-Wells (Bulletin Condensed, No. 5167), Morgans and Wilcox (Bulletin Script No. 2, No. 3184), Empire Wood Type (1870: Bulletin Script), Keystone Type Foundry (1899: Bulletin Script), Hamilton (117), and Wm. H. Page & Co (No. 111 through No. 113).
Free fonts at Google Web Fonts: Source Sans Pro (2012), Source Code Pro (2012, a companion monospaced sans set by Paul D. Hunt and Teo Tuominen). Source Serif Pro, its Fournier-style relative, was developed at Adobe by Frank Grießhammer. They can also be downloaded from CTAN and Open Font Library.
Fun creations at FontStruct in 2008-2009: Possibly (a stencil loosely based on the Mission Impossible series logo), Probably (same as Possibly but not stenciled), Med Splode, Arcade Fever, negativistic_small, New Alpha_1line, New Alpha_4line, New Alpha_bit, New Alpha_dot [dot matrix font], New Azbuka [after Wim Crouwel's New Alphabet from 1967], positivistic, slabstruct_1, slabstruct_too, structurosa_1, structurosa_bold, structurosa_bold_too, structurosa_caps, structurosa_faux_bold, structurosa_leaf, structurosa_script, structurosa_soft, structurosa_tape, structurosa_too, structurosa_two, Slabstruct Too Soft, Structurosa Clean Soft, Structurosa Script Clean, Structurosa Clean, Structurosa Clean Too, Structurosa Clean Leaf, Structurosa Boxy, Stucturosa Script Heavy.
Klingspor link. Google Plus link. [Google]
Pixel Sagas (was: Protoform Project, and Fontshack)
Free original designs, often with a science fiction feel, by Neale Davidson (b. 1971). Does some custom font work. Adventure.
Neale Davidson's typefaces:
- 4E Dings (based on those used in WotC's 4E Dungeons and Dragons game).
- AdventureNormal (1998), AdventureSubtitlesNormal, Alpha Mutation (2012, based on the title logo to the 2011 version of "Gammaworld"), Algol (2013, based on the logo for R Talsorian's "Mekton Zero" role-playing game), Alternity, Amuro (2013, +Condensed: an ocragonal typeface), Anayanka (2013, Cyrillic simulation font), Ancient Thorass (2013), Angel Arms (2012, a shothole font), Anglo Celestial (2014, connect-the-dots typeface), Anglorunic (2011), AngloYsgarth (2014), Angolmois (2013, based on the Hasbro 'Dark Energon' exclusive toy line), Armorhide (2013, sci-fi face), Arneson (2013), Artifact (2011; became Ravenwood), Aurebesh (2013, based on the WEG version of Star Wars Imperial Writing).
- Bantorain (2013, spurred), Barazhad (2014, flourished, runic typeface based on the demonic and occult and necrotic languages from Wizards of the Coast's Dungeons and Dragons game), BattleBeasts (2000), Bayformance (2014), Beastformer (2011, based on the long-ago logo of Hasbro's "Battle Beasts"), Bayformance (2014), Beast Wars (2011, based on the logo of the show of the same name), Betazed (2013, for Star Trek betazoids), Bidan (2013, constructivist), Bienvenu (2011, pixel face), Blitzwing (2013, octagonal family), Blofeld (2013, a distressed font based on the title logo of Exile's cult-classic "Evil Genius"), Bloomingworth (2013), Braddington (2013, art deco), Britannian (2014, runes), Broadmoor (2012, art deco).
- Callie Mae (2013: a rounded organic sans), Cardosan (2013, runic script), Carlton (2012), Celestial, Chapleau (2012, art deco), Chinyen (2005, oriental simulation), Clark (2013), Classic Robot (2011), Coburn (2013: miltary stencil), Colony Wars (replaced by Gallonigher), Comic Book, Constitution Class Hull, Convoy (2011, based on the logo for "Armada" and "Robots in Disguise"), Counterfire (2014, stencil), Crichton (2013, an avant-garde font based on the title logo from the "Farscape" television series), 2015 Cruiser (2013, based on the police-car lettering used in the move "Back to the Future II"), Crystal Deco (2008, based on the logo for much of the merchandising for "Indiana Jones and the Crystal Skull"), CuniformEnglishNormal, Cyberfall (2013, octagonal / mechanical typeface based on the logo of the console game "Fall of Cybertron"), Cybertron Generations (dingbats, now replaced by Transdings), Cybertron Metals, Cybertron OpCode (2014), Coulson (2014, stencil), Cyberverse (2011, futuristic), Cyrodiil (2014).
- Daedra (2012: based on the Elder Scrolls series of games), Dai Atlas (2013, based on the original Transformers logo from Hasbro), DalelandsNormal (a Celtic typeface based on the lettering used in early TSR Dungeons and Dragons products), Datacron (2013: based on the Fall of Cybertron toyline), Davek (2014, based on the dwarven and "under-mountain" runic scripts found in Wizards of the Coast's Dungeons and Dragons fourth edition role-playing game), Decahedron (2012), Destronic Graffiti (2013), Dethek Stone (2011, runes), DiamondFantasyNormal, Dinobots (based on the Dinobots logo from Hasbro's Beast Machines line), Dodecahedron (2012), Downlink (2013, techno), Dragonmaster, Droid (2015), Dunkin and Dunkin Sans (2012, based on the rounded fat letters of the Dunkin Donuts logo), Dovahkiin (2013), dPoly (2013, polyhedra and game dingbats), Duodecahedron (2012), Dwemer (2013), Dynotherm (2013, a heavy octagonal face).
- Eladrin (2011, based on the third edition version of the Elven font used in Dungeons and Dragons), Electrorocket (2012, art deco), Elminster, Emotion Engine (2012, based on the Playstation 2 logo from Sony), Empanada (2013), Emulator (based on the old Nintendo game font), Energon (2011), Equestria (2012: based on the My Little Pony Line), Erte (2013), Espruar (2011, based on the Elvish script found within TSR's "2nd Edition: Dungeons and Dragons" Forgotten Realms Elvish script), Eurocorp (2012, based on the logo and menus within the classic "Syndicate Wars" game from Bullfrog Entertainment), Exodite Distressed (2013, a custom design for LPJ's "Neo-Exodus" Pathfinder campaign world), Explorien (2014), Eyvindr (2014, rune simulation font).
- Falmer (2013), Fhokki (2014), Flipbash (2012, an octagonal typeface that is based on the logo of Hasbro's Bot Shots), Flynn (2011, futuristic stencil face), Fontana (2011, techno-futuristic), Fractyl (2013, used for the Predacons' speaking bubbles in the BotCon "Ground Zero" comic in 1997), Furmanite (2011).
- Gaiking (2012: Based on the logo of Mattel's Giant Robot toyline, Shogun Warriors), Galaxy Force (2011, based on Hasbro's Transformers: Cybertron logo), Gallonigher (was Colony Wars), Gamedings, Gargish (2013), Gargoyles, Garriott (2013, runic), Geddes (2011, art deco sans related to Futura), Gemcut (2013), Generation Two, GIColton (2014), GiediAncientAutobot (2014), GiediDecepticonGraffiti, GiediGoldenDisk, GiediMaximal, GiediPredacon, Gin Rai (2011, based on the logo of Hasbro's latter-era "Generation One" Transformers series), Gold Box (2012, a pixel typeface based on the in-game lettering from the classic SSI "Gold Box" game collection, featuring Dungeons and Dragons: Pool of Radiance, Curse of the Azure Bonds, and so on), Gosub (2011, a pixel typeface similar to the on-screen lettering of the Timex Sinclair), Gotham Nights (2011, based on the lettering used in "Batman: The Animated Series"), Green Martian (2013), Gutcruncher (2011, based on the logo from the famous Blood Bowl game), Graalen (2013: an alien-glyph typeface based on the Andorian writing found in Last Unicorn Games' Among the Clans supplement for their Star Trek: Roleplaying Game).
- Harker (2013), Harpers (runes), Hauser (octagonal, futuristic; Former "Action Force", based on the logo of GI Joe), Hellpoint (2013, based on some of the plate markings founds in IDW's "Transformers" comic series), Hetfield (2013: a spurred typeface), Hexahedron (2012: dice), Hexahedron Rounded (2013), Hyperspace (2012, thin monoline octagonal, based on the original Atari vector font from Battlezone, and on Asteroids).
- Imaki (2011, futuristic; was Cybertron Metals; based on the logo of the Japanese Beast Wars Metals series), Indiana (2012, from the titling for the Indiana Jones movies and comics), Instruction (2012, monospaced and monoline caps typeface for engineering applications), Interceptor (2014, sci-fi), Invaders (2012, based on posters for the 1960s movie), Iokharik (2014, a Mandarin-stylized runic typeface based on the language described in Wizards of the Coast's Dungeons and Dragons), Iori (2013, octagonal stencil family).
- Jedi (2012: Star Wars logo font), JediHollowNormal, JediSolidNormal, Jefferies (former Constitution Class Hull, based on the original Star Trek Enterprise lettering), Jhiaxus (2011, based on the logo of "Transformers: Generation Two"), Joystick (2011, based on the lettering used from Sears' Tele-Games cartridges), Jumpman (2012, based on the logo of the original Donkey Kong game from Nintendo).
- Kanno (a geometric sans formerly called Sharon Apple), Kargi (2014), Kentaurus (2013, Greek simulation typeface; he writes: This 'microgramma-like' font is based on the "Kentaurus" writing found within Franz Joseph's "Star Trek: Technical Manual"), Ketchum (2011, a comic book typeface based on the logo of the popular Pokemon franchise), Kehdrai (2014), Kreon (2011, a round techno typeface based on the logo of Hasbro's Kre-O line).
- LaBoeuf (2011, techno: based on Indiana Jones subtitles), Laser Rod (2011, based on the Transformers line), Lassiter (2012, a spurred Western typeface), Lorre (art deco).
- Mage Script (2013), Majel (2013, an avant-garde typeface), Majoram (2012, a hairline avant garde typeface), Majoram Serif (2012), Manga (2011, oriental simulation), Mara's Eye (2013, based on the lettering used on Disneyland's Indiana Jones "Forbidden Eye" ride), Marston (2013, on the title logos of numerous Spaghetti westerns), Masterforce, MasterforceHollow, MasterforceSolid, MaximalBeasts, Maximus, Mechalock (2013, based on the "Combiners" subline logo from Hasbro's "Robots in Disguise" Transformers series), Mech Tech (2013, based on Hasbro's "Transformers: Dark of the Moon's" toys' "Mech Tech" logo), Medabots (based on the Hasbro toy line), Megatron (2011, based on the logo of the live-action Transformers movies), Microgramma Extended (later replaced by Probert), Minerva (2012: based on the logos used for Shout's releases of Transformers: Headmasters, Masterforce, and Victory), Mission GT-R (2013, based on Takara's "Transformers: GT-R"), Mode X (2012, based on lettering from classic "Mode X" games of the early 1990s), Modern Cybertronic (2013: an alien-dings font based on Jim Sorenson's "Ancient Autobot" script), Modern Destronic (2013: based on Jim Sorensen's "Ancient Decepticon" script), Modern Iaconic (2014: based on the 'runic' letting found in Transformers: Legacy), Mons Olympia (2014, sci-fi), Montalban (2011, based on the title credits of Star Trek II: The Wrath of Khan), Moria (runes), Morse Tech, MysticEtchingsNormal.
- Nakadai (2011, a unicase techno font based on Hasbro's Transformers: Prime figures), Neo Gen (2011, based on the logo for the SD Gundam series of games), Neostar (2012, sci-fi), Neverwinter (2011, based on the logo of the popular "Neverwinter Nights" computer game from Bioware) (see also here), Night Warrior, Nippon Tech (faux oriental), Nite Club (2011, dot matrix), Nyctographic (2014).
- Octohedron (2012), Okuda (formerly Okudagrams; based on the LCARS characters from Star Trek: The Next Generation), Omnicron, Ophidian, Optic (2011), Optimus (2011, based on the original Transformers logo from Hasbro), Orion (2012, a techno-style font based on the "Robots in Disguise" logo from Hasbro's 2012 Transformers toyline), Overseer (2011).
- Pacmania (2013), Palisoc (2013), Pcap Terminal (2014, sci-fi face), Phoenixians (2012: based on the logo of Centuri's Phoenix arcade game), Pixel Cowboy (2015), Pixel Musketeer (2013, based on Sony's Wild Arms and Wild Arms 2 games for the Playstation), Pixel Azure Bonds (2015), Pixel Combat (2015), Pixel NES (2013: based on screen fonts of Colecovision, Timex Sinclar, Nintendo, SimTech's ModeX VGA, Tandy Color), Planewalker (formerly called Magic Cards. Based on the text used in older Magic: The Gathering cards), PlanewalkerDings (2014), Plavsky (2013), Pokemon, Politik (2014, constructivist), Powerpuff (based on the logo of "The Powerpuff Girls" from Cartoon Network), PredaconBeasts, Probert (replaces Microgramma Extended), Protoculture (2012, based on the franchise logo of Robotech).
- Qijomi (2013), Quintanar (2011), Quantum (2013: based on the title credits of the James Bond movie "Quantum of Solace").
- Rapier Zero (2013), Ravenwood (2011), Razorclaw (2013: based on the logo of the Beast Hunters Transformers line), Reanaarian (2014), Reconstruct (2013), Red World (2014), Regen (2012: a science-fiction font based on the logo used on the cover of the Transformers: Regeneration One comics), Rellanic (2014), Renegade (2013, techno stencil, based on FASA's "Renegade Legions" gaming line), Resavy (2012, a Broadway style art deco beauty), Rio Oro (2012, a Far West Tuscan marquee font), Robot Masters (now called Takara), Roddenberry (2011, based on the StarTrek logo), Roughknight (formerly Materia Arms. Based on the Wild Arms 5 video game logo---it simulates wood type and is Western in concept), RubCaps (2013), RunicEnglishNormal.
- SandsofFireNormal, Schnaubelt (2011, rounded technical caps face), Semphari (2014), SharpAvienne (2014), Sierra Madre (2012: an avant-garde typeface based on the Sierra Madre casino's logo from Fallout: New Vegas: Dead Money), Silverball Oblique (2012, LED font), Simple Runes, Sinescript (2013), SkeksisNormal, Skir, Sorenson (2013, a stencil typeface), StarburstPips (2014), StarcraftNormal, Starfleet (2004), Stark (2012: based on the title logo of the Iron Man and Iron Man 2 movies), Steamcog Caps (2013), Steampuff (2012), Steamwreck (2012), Steiner (2014), Sternbach (2011), Straczynski (2011, based on the opening credits for the classic television series "Babylon 5"), Strongarm (2014, based on the title logo of Hasbro's Transformers: Robots in Disguise (2015) line), Suchet (2013: a nice art deco typeface inspired by the material of BBC Production's legendary "Poirot" series starring David Suchet), Symtext (2012, a faux 5x5 bitmap font based on the lettering used in early VGA games, such as Syndicate).
- Taibaijan (faux Arabic), Takara (former Robot Masters; based on the "Robot Masters" logo from Takara's Transformers), Tandysoft (2011, based on the old typeface of the MC-10 computer), Tellarite (2013: based on the canonical glyphs of the "Tellarite" language from Paramount's Star Trek franchise), Tetrahedron (2012), Thorass (runes), Thundara (the old name was Thundercats), Tirolese (2013, an alien glyph font), Tonopah (2012, western font), Toril (2011), Transdings (replaces Cybertron Generations: based on Transformers logos from Hasbro), Transformers, TransformersHollowNormal, TransformersSolidNormal, Transmaidens, Transmetals (based on Hasbro Inc's, "Beast Wars: Transmetals" logo), Trek Arrowheads (2013), Trek Arrowcaps (2013), Tsa Script (2011, based on logos used within TSR's classic "Dragon Magazine"), Turok (2011, based on the logo of the "Turok" video game), Turtles (2011, based on the popular classic "Teenage Mutant Ninja Turtles" logo), Twobit (2013, LCD font)
- Vector Sigma (2011, based on the secondary "Beast Machines" logo), Vecna (2014), Videopac (2013, a stencil typeface based on a Philips gamme from the 1970s), Virtucorp (2014), Visionaries, Visitor Script (2013), Volkoff (2013, a Russian style tencil face).
- Warlords (2011, based on the logo of the game series), Whitestone (2014, octagonal), Whittle (2013, octagonal), Winslett (2012, Far West face), Wreckers (2013, octagonal).
- XBall (2013, loosely based on several title logos from Electronic Arts's (EA's) sports gaming titles).
- YsgarthEnglishNormal (2011, almost blackletter).
- Zarathos (2012, based on the titles for the Ghost Rider movie series), Zebulon (2013, sci-fi typeface based on the title logo of TSR's classic "Star Frontiers" game series), Zentran (2013, based on the Zentraedi glyphs found in Harmony Gold's "Robotech" franchise).
- Typefaces from 2014: Rebellion, Politik (squarish).
- Typefaces from 2015: RPM, Pixel Calculon, Pixel Intv, Pixel Digivolve (based loosely on the title logo from the classic Digimon), Mechfire (military stencil and octagonal styles), Aurabesh Cantina (trekkie font), Huggy Bear, Sigma Five, dPoly Block Dice, dPoly Imperial, dPoly Steampips (steampunk genre), Pixel Gosub, Pixel Symtext, Strongarm (circled glyphs), Chromia, Pixel Countdown, Pixel Tactical, Pixel Azure Bonds, Pixel Combat, Pixel Cowboy, IDroid.
- Typefaces from 2016: Timepiece, Norfolk (octagonal; based on US Navy ship lettering), Nuffle (slab serif), Nuffle Dice, Outland (octagonal), Subspace (based on the early logo for CBS/Paramount's 2017 Star Trek television series), Spellweaver Nodes (a simple runic connect-the-dots font based on Dragon Magazine's fantasy hieroglyphics), Gobotronic (based on a design from Jim Sorenson, Gobotronic is a symbolic interpretation of the language of Hanna-Barbera's own take on robots in disguise), Kaplah (angular sans), Brainstorm, Manhattan Tower, Persis, Exostencil, Phelps (based on the Mission Impossible series), Inquisitor (insipired by the Dark Heresy sub-titles from Fantasy Flight Games), Steamwheel (steampunk style), Horizon, Thirty-Seven (art deco), Draconis (loosely on the title logos of Wizards of the Coast's Dungeons and Dragons: Fifth Edition game line).
Dafont link. See also here and here, here, and here. Klingspor link. Abstract Fonts link. Devian Tart link. Fontspace link. [Google]
French typographical non-profit organization, run by Guillaume-Ulrich Chifflot, but now off-line. It had sections entiteled "Font user's guide', "Anatomy of a font", "Bibliography", "Intro to wood type" (Stephen O. Saxe, 1983), "Font-making tutorial". [Google]
PRG South Signs
Signage business involved in truck lettering, truck decals, custom signs, vinyl lettering, pinstriping and font design. Located in Lee County in Florida. Their free fonts: Armament (2007), Blackchalk Down (2007), Bumrush (2007, brush face), Dispatch Black (2007), reminiscent of wood type, and Bajenna (2007, simulated brush face). At Dafont, they use the name phallicymbal. [Google]
Born in Edmonton in 1957, David Vereschagin set up Quadrat Communications in Toronto (Quadrat Communications, 18 Grenville Street, Suite 1501, Toronto, Ontario, Canada M4Y 3B3). A graphic designer by profession, he has made a number of carefully crafted font families such as Spike, Ratcaps (free keycaps sample font available), MyAuntCelia, Farquharson, Clear Prairie Ornaments (1992), Clear Prairie Dawn. A free copy of Farquhason is here.
At MyFonts, one can buy Clear Prairie Dawn (Optima-like), Clear Prairie Ornaments, Farquharson (like wood type), My Aunt Celia, Ratcaps, Ratkeys, Spike, Toronto Subway (2004: based on the (art deco sans) lettering originally used for station identification and signage in the Toronto subway system, which first opened to the public in 1954. Developed from rubbings of the lettering on station walls and photographs of painted signage.) In 2008, he designed the cool constructivist poster family Kubrick, about the same time as Iconian Fonts' Kubrick family---I hope that they can settle the naming fight amicably. Behance link. [Google]
Graphic designer in Barcelona, b. 1990, who graduated from Elisava in 2012. Designer of Fausto (2013), a heavy sans typeface that is based on late XIXth century wood grotesque typefaces. [Google]
Ralph Michael Unger
[RMU (Ralph Michael Unger Typedesign)]
Rare Letterpress Wood Type
Matt Braun and Matt Griffin (Pittsburgh, PA) are interested in digitizing some old letterpress wood types from original specimen. Their first font, Fatboy Husky (2011), is free. Matt Griffin is one of the founders of the design firm Bearded. He also teaches letterpress printing to young designers at Carnegie Mellon University. Matt Braun is a senior designer at Bearded and letterpress printer. [Google]
Rashi Goil (Singapore) was inspired by wood block printing when he created the Wood Block Typeface (2014). [Google]
Red Rooster Typefoundry
Red Rooster is a Cedars, PA-based foundry run by Steve Jackaman (b. 1954, Greenwich, London). Steve started out at London's Face Photosetting. Red Rooster was founded in Philadelphia in 1990 and has about 500 fonts, mostly complete text families in the classical mould, revivals of Ludlow and other foundries, and revivals of fonts by Canadian designer Les Usherwood from the phototypesetting era. Families of fonts:
FontShop link. MyFonts link.
- Alexon (1993, by Les Usherwood), Alghera, Alphabet Soup (2007, a delicatessen signage typeface based on an 80s font he did while at Typographic House in Boston), Alys (calligraphic), Appleyard (1992, A. Pat Hickson), Aquarius (2007, based on a VGC font by that name), Argus (1992, Les Usherwood and Paul Hickson)
- Badger, Bannock Brae Gothic, Banque Gothique, Bassuto, Beckenham (1992, Les Usherwood and Paul Hickson), Bellini (an Egyptian family), BlockGothic (1996, Steve Jackaman at the Rabbit Reproductions Typefoundry), Bodoni Black Condensed (after R.H. Middleton, 1930), Bodoni Campanile (after R.H. Middleton, 1930), Byron
- Cameo, Canterbury, Canterbury OldStyle, Canterbury Sans (a tall-ascender sans family based on the 1920-1926 design by Morris Fuller Benton for ATF), Casablanca (1997, avant-garde typeface based on Carlos Winkow's Electra), Caslon Extra Condensed (based on a Ludlow face), TCCentury (1996, Les Usherwood and Steve Jackaman at the Rabbit Reproductions Typefoundry), Century New Style, Chamfer Gothic (after a condensed Ludlow typeface, ca. 1898), Chase, Chelsea (1993, Les Usherwood and Steve Jackaman), Claremont, Coliseum (1992, A. Pat Hickson and Julie Hopwood), Commander (1994, Steve Jackaman), Consort (1994, Steve Jackaman), ConranScript, Creighton (2009, a sans family), Coronet (after a 1937 typeface by R.H. Middleton).
- Dominus, Dundee (1993, A. Pat Hickson), Dungeon
- El Paso (2011, a Western/Mexican simulaton typeface based on El Paso from the Face Photosetting collection), Elston, Equestrienne, Erasmus, EuropaGrotesque, Extension
- Faust (1993: based on a 1958 typeface by Albert Kapr), Flexion Pro (2007, by Hal Taylor and John Langdon), Florentine Cursive (after a 1956 script by R.H. Middleton), ForumTitling, Frenchy
- Garamond RR Light (after a 1929 typeface by R.H. Middleton), Gargoyle RR (Based on an Adrian Williams design, circa 1976 and Brook Type in 1903 designed by Lucien Pissarro for his private press, Eragny Press), GilmoreFahrenheit, GilmoreSansExtBolExtCondTitl, Gothic Extension, Gothic Medium Condensed (after a 1939 Ludlow typeface), GoudyY38, Grand Canyon (2002, a condensed slab serif family based on wood type). GroveScript
- Hancock, Hauser Script (after a 1934 Ludlow font by Georg Hauser), Helium (1994, a mini slab serif face), Hess Old Style (1993, a revival of the garalde typeface Hess Old Style by Sol Hess for Lanston, 1920-1923), Honduras
- Inverness, Iron Maiden RR
- Jardine, Javelin, Jolly Roger (2003, a digitization of a 1970 font by Phil Martin), Jubilee
- Keyboard, Kingsley, Kingsrow
- Leighton, Lesmore, Los Alamos (2007, a condensed sans companion of Grand Canyon)
- Madrid (based on Nacional, a 1941 typeface by Carlos Winkow), Maximo, Mechanic Gothic DST, Megaphone, Motorcross (2008, after an art deco font from 1930 by Ludwig&Mayer)
- PallMall, Phoenix Pro (2011), Phosphate (based on Phosphor by J. Erbar, 1922-1930; contains a nice Inline; Phosphate Pro Solid and Inline was done with Ashley Muir in 2010), Pipeline, Poor Richard, Portobello (loosely based on Aldo Novarese's Pontecorvo)
- Radiant RR (after a 1938 typeface by R.H. Middleton), Railroad Gothic (an American caps-only grotesque based on a Ludlow original, ca. 1900), Raleigh, RRRaleighGothic, Razor Bill (based on the original typeface from Face, London, circa 1972), Ribbit, RivoliInitials
- Rocklidge Pro (2011, with Ashley Muir). Based on Jana (Richard D. Juenger, VGC, 1965).
- Roman Tyres (1997).
- SaintLouis, Salzburg, Schiller Antiqua (based on Nacional's Hispalis), Schindler, Secret Service Typewriter (2002, based on a 1905 proof of an early Remington typewriter font from the Keystone Type Foundry), Shinn, Shortwave Gothic, Silverado, Sinclair, Sphinx (1992, Steve Jackaman, based on a 1925 design by Deberny&Peignot), Stanhope, Stirling, Superba, Sycamore
- TCAdminister (1994, Les Usherwood and Steve Jackaman), Tempo, Thingbat, TitanicCondensed, Triple Condensed Gothic
- Ultraduck, Ultra Modern RR (after a 1928 art deco typeface by Douglas McMurtrie).
- Venezuela (2000, Mexican simulation face, based on Albert Auspurg's Vesta from 1926, created by Pat Hickson), Veronese
- Waverly, Willard Sniffin Script (2007, based on Willard Sniffin's 1930s ATF brush script called Keynote)
- Yeoman Gothic
- Xctasy Sans (2002, an avant-garde family influenced by the the 1960s typeface Design Fineline)
Text listing of their typefaces. Alphabetic catalog of the Red Rooster typeface library [large web page warning]. [Google]
Designer of Holz-Fraktur-Schrift. [Google]
Giuseppe Salerno (aka Resistenza.es) is an Italian graphic designer, specializing in web design. He lived in Torino, Amsterdam, Madrid, and Valencia, and currently works in Berlin and Turin. Studio Resistenza was cofounded by Giuseppe salerno and Paco Gonzales.
In 2010, he made the circular multiline face Afrobeat (+Light), the fat counterless typeface Vito Sans (2010), Wonderwall (2010, like a skeletal construction), the high-contrast art deco typeface Zaza (2010), and the pure Italian vintage art deco face Luxx (futurism).
Other work: an art deco poster.
Direct links to his fonts: Zaza, Afrobeat, Vito Sans, Luxx, Wonder Wall, Afrobeat Light.
Creations from 2011: Ratatan, Bodoni At Home (a handpainted Bodoni), Arcanotype (2011, delicate caps, individually drawn using Chinese ink on Japanese calligraphy paper), Babushka (2011), Dolce Caffe (2011, hand-printed), Adelaida (hand-printed poster face), Monella (octagonal).
Production in 2012: Ampersanders (a font with many ampersands), BLAQ (an ornamental blackletter caps typeface inspired by Henry W. Troy), The Bay (hand-printed all caps poster face), Bratislove (an artsy hand-drawn typeface), Modernissimo, Clementina (hand-printed caps), Afrobeat Gothic (angular multiline face).
Typefaces from 2013: Glob (bubblegum face), Archivio (slab serif family with very open counters), Mina (connected script), Monster Hand (brush script), Berliner Fraktur (a flat brush fraktur inspired by Rudolf Koch), The Luxx (a redesign of the 2010 art deco sans typeface Luxx---a comparable typeface is Mostra Nuova by Mark Simonson), Starburst (calligraphic gestural light script), Caramello Script, Copperlove (copperplate script), Yma Italic (retro script), Sonica Brush.
Typefaces from 2014: Stencil Creek, Elastica (hand-crafted typeface family), Elastica (hand-drawn poster family), Nautica (copperplate script), Ingles (copperplate script), Peperoncino Sans (a decorative sans serif font system designed with a marker), Attica RSZ (inspired by Caslon Italian and Novarese's Estro), Montana (poster family, +Icona), Superb (a yummy creamy script, codesigned with Paco Gonzalez), Dolce Caffe 3D, Coming Home (a hairline curly script based on a childish handwriting), Rachele (a monoline connected script with a large x-height), The Crashed Fonts (a glaz krak family), Newland (inspired by Rudolf Koch's Neuland), Two Fingers (a funky hand-drawn family that includes, e.g., Two Fingers Bodoni, Two Fingers Courier, Two Fingers Poster [blackboard bold] and Two Fingers Script).
Typefaces from 2015: Modern Love">Modern Love (brush script), Mela (a gorgeous pointed brush / walnut ink typeface), , Turquoise (a calligraphic serif type influenced by capitalis romana; not to be confused with Ahmet Altun's Turquoise typeface from 2011), Mina Chic (a wide connected calligraphic fashion mag script), Natura (connected fountain pen script, with accompanying Notebook, Icons and Stamps (initial caps) styles), Stencil Creek (inspired by Akzidenz Grotesk and influenced by street signs of the North West Pacific), Quaderno (monoline upright signage script).
Typefaces from 2016: Respect (a brush script sign painting typeface), Mentha (a calligraphic connected script typeface).
His type blog is called It's Not My Type. Behance link. Creative Market link. Klingspor link. Creattica link. [Google]
Santarem, Portugal-based designer of Clarendon Stencil (2014). [Google]
[Stamp & Prtess]
[Hamilton Wood Type (HWT)]
[P22 Type Foundry]
RMU (Ralph Michael Unger Typedesign)
[Ralph Michael Unger]
Ralph M. Unger (b. 1953, Thuringia, East Germany) says this about himself at MyFonts: Typesetter from the composing stick via Linotype setting machines to the Mac. Jobs in various Thuringian printeries. Barred further education by Communist authorities due to political reasons. Imprisoned in East Germany. Since 1988 in the state of Baden-Wuerttemberg, former West Germany. Jobs in several newspaper printing houses as advertisement compositor. Own office since 1995, in Aalen, Baden-Wuerttemberg. He lives in Schwaebisch Gmuend, and was a freelance type designer for Profonts and URW++, where he contributed frequently to these libraries between 2002 and 2009. In 2009, he founded RMU. MyFonts link. I split his contributions into two groups, the URW / Profonts group, and the RMU group. The prefix FontForum refers to a subseries of URW++ fonts. Unless specifically mentioned, all the following fonts are at URW++ and/or Profonts:
The list of RMU fonts:
- FontForum Admiral Script (2005): revival of Middleton's Admiral script from 1953.
- Amitié (2009): a garalde family.
- Arabella Pro (2006): after the script by Arnold Drescher from 1936, published at Joh. Wagner.
- Fontforum Atrament (2006): architectural lettering. Do not confuse with a Suitcase Type Foundry font from 2003 by the same name.
- Atze (2010): a comic book family.
- Behrensschrift D (2007): after the jugendstil typeface Behrens Schrift, 1902, by Peter Behrens.
- FontForum Bernhard Script (2005): after Bernhard Script from the 1920s.
- Bradley (2005): blackletter, after the original by William H. Bradley.
- Breite Kanzlei (2007).
- Breitkopf Fraktur (2003): after the original by Johann Gottlob Immanuel Breitkopf, done in 1793.
- Brocken (2011) is a signage typeface inspired by a design of Volker Küster (1960s).
- Profonts Bureau (2010, Profonts): a minimalist rounded sans family.
- FontForum Calypso (2005): a revival of Roger Excoffon's Calypso (1958).
- Card Pro (2006): a decorative display based on Ella Cursief (1916, Sjoerd Hendrik de Roos, Lettergieterij Amsterdam).
- Chaweng (2006, Profonts): an oriental all caps simulation face.
- Civilite URW (2005).
- Compliment (2004, casual script). Based on a 1965 script by Helmu Matheis for Ludwig & Mayer.
- Cranach (2007): a blackletter typeface modeled after Kuenstler Gotisch from the Krebs Foundry.
- Dominante (2007): a serif family based on Johannes Schweitzer's font by that name, 1959.
- Dominique (2010, profonts): an informal typeface.
- FontForum URW Ecsetiras (2005): revival of Ecsetirás (Zoltan Nagy, 1967, a brush face).
- Edda Pro (2008): an art nouveau face that revives a Heinrich Heinz Heune typeface from 1900.
- Energia Pro (2008, Profonts): connected monowidth script, based on Arno Drescher's Energos from 1932.
- Estro (2003, Western lettering). Seems close to Nebiolo's Estro from the 60s.
- Eurobrush Pro (2007, Profonts): handwriting.
- EuroSans (2008).
- Euroscript Pro (2006, Profonts): school script typeface based on his own handwriting.
- Flashes (2007): a revival of Crous-Vidal's Flash, 1953.
- Fox (2007): a brush script based on W. Rebhuhn's original from the 1950s.
- Gamundia (2010): a calligraphic copperplate script inspired by Excoffon's Diane.
- Ganz Grobe Gotisch (2006): a fat blackletter modeled after the original by F.H.E. Schneidler.
- Gmuender Elan Pro (2011) is a 1950s style script face.
- Gradl Nr 1 (2008): based on hand-drawn art nouveau upper case characters by M. J. Gradl, ca. 1900.
- Graphique Pro (2008): shadowed caps face, based on Graphique, which was originally created by Swiss designer Hermann Eidenbenz in 1945, and issued as hot metal font by Haas'sche Schriftgießerei. See also New Graphique Pro (2011).
- Handel Slab (2009): a 6-style extension of Trogram's 1980 typeface Handel Gothic.
- Hanseat (2010): a grotesque family done at Profonts. It was heavily inspired by Germany's official DIN 1451 Engschrift.
- Iova Nova (2007): based on Jowa Script, designed by J. Wagner in 1967.
- Profonts>Impression (2008): art deco.
- Jessen Schrift (2004): after the Rudolf Koch blackletter typeface by that name.
- FontForum URW Konzept Pro (2005): revival of Konzept (1968, Martin Wilke's handprinting face).
- Legende (2002): a script typeface based on the original typeface of Friedrich Hermann Ernst Schneidler (1937).
- Leipziger Antiqua. The original Leipziger Antiqua by Alfred Kapr at Typoart dates from 1971 until 1973. The digital version of Leipziger Antiqua was developed by Ralph M. Unger in 2005.
- Manuskript Antiqua (2005): after Oldrich Meinhart's Manuskript Antiqua.
- The Maszynysta family of heavy industrial sans typefaces (2010) have a textured style (Struktura), a Shadow, and a plain Roman.
- Maxim (2003, Profonts): The heavy brush typeface Maxim was originally designed by Peter Schneidler in 1956 for the Bauer foundry.
- New Bayreuth (2008): after Friedrich Hermann Ernst Schneidler's Bayreuth from 1932.
- Old Borders and Lines (2010). A free font.
- Ornella (2008): Jugendstil.
- Peter Schlemihl (2008, Profonts): a revival of a blackletter by Walter Tiemann.
- Pedell (2009): a casual script.
- Polo (2002): a brush face modeled after Carl Rudolph Pohl's Polo (1960).
- In 2012, Ivana Koudelkova codesigned the grungy headline typeface Retroactive Pro with Ralph M. Unger at Profonts.
- Fontforum Rhapsody (2006): a revival of Ilse Schüle's rotunda face.
- Roberta (2003): art nouveau typeface after obert Trogman's typeface for FotoStar.
- FontForum Signs and Symbols (2006).
- Splendor (2009): a revival of a brush script typeface by Wilhelm Berg, Schriftguss, 1930. See also Splendor Pro (2014).
- Sportowy (2009): an outline face.
- Stanford (2011). A sports lettering face.
- Stiletto (2006): a medieval script.
- Fontforum Stripes (2007): a multistripe op art display typeface based on a Letraset font from 1973 by the same name.
- Fontforum Thalia (2006): retro font.
- Tintoretto (2006): shadow display face based on an origonal by Schelter & Giesecke.
- Tip Top Pro (2008): a Julius Klinkhardt art nouveau typeface revival.
- FontForum Unciala (2005): a revival of Oldrich Menhart's typeface Unciala (1953, Grafotechna).
- Unger Chancery (2005).
- Unger Script (2003): based on H. Matheis' Slogan typeface designed for Ludwig&Mayer in 1957.
- Veltro (2007): after a 1931 original by G. da Milano at Nebiolo.
- Profonts Woodpecker (2008).
- Amati Pro (2010): after Georg Trump's condensed didone face, Amati, 1951.
- Avus Pro (2012). A sans family that extends Gert Wunderlich's Maxima (1970).
- Behrens Kursiv (2013). After a 1906 original by Peter Behrens.
- Bernhard Cursive Extra Bold (2010).
- Borghese (2015). An art nouveau font after a Schelter & Giesecke oroginal from 1904.
- Borgis Pro (2012). A Clarendon-style text family.
- Boulette (2015, a fat creamy script).
- Bravura Pro (2013). After G.G. Lange's Publica.
- Bricklayers (2012). An original fat slab display face.
- Brillant (2009): art nouveau and ultra heavy.
- Butti (2011). A script family paterned after Fluidum (1951, Alessandro Butti, Nebiolo).
- Cable Condensed (2014). Based on Koch's Kabel.
- Caesar Pro (2011). A flared sans typeface after Caesar Schrift (1913, Georg Schiller, C.F. Rühl).
- Capitol Pro (2012). An art deco typeface based on Capitol (Karl Hermann Schaefer for Schriftguss, 1931).
- Carla Pro (2013). A broad-nibbed script modeled after Ballantines Script (Elsner & Flake, 1974; see also Ballantines Serial by SoftMaker).
- Caslon Gotisch (2009): after the original by William Caslon from 1763.
- Celebration (2009): blackletter.
- Claudius (2010): after a 1937 blackletter font at Klingspor.
- Constanze Pro (2012). A light cursive typeface based on Constanze (1954, Joachim Romann, Klingspor).
- Contact Pro (2010): after Contact, a 1963 font by Helmut Matheis.
- Diamant Pro (2012). A transitional serif face.
- Emilia (2016). Based on Weiss Antiqua (1928) by Emil Rudolf Weiss.
- Erler Titling (2015). After Erler Versalien (1953, Herbert Thannhaeuser for Typoart).
- Eurotech Pro (2011): a slabby techno family.
- Faulkner Pro (2011): a connected heavy signage script based on Alan Meeks's Kestrel.
- Fette Unger Fraktur (2010).
- Forelle Pro (2010): after the original Forelle script typeface by Erich Mollowitz, 1936.
- Frankenberg Pro (2012). An antique script face.
- Gabor Pro (2014). A connected copperplate script.
- Garamond Antiqua Pro (2015).
- Gillray Pro (2015). A copperplate script after Hogarth Script (by Harald Bröder for Typoart).
- Gmuender Gravur (2011). A 3d shadow face. Gmuender Antiqua Pro (2015) is influenced by the metal font Imprimatur (1952-1955, Konrad F. Bauer and Walter Baum).
- Haenel Fraktur (2011), after Haenel Fraktur, ca. 1840 (Haenel'sche Letterfoundry in Berlin).
- Impuls (2010): a brushy typeface based on Paul Zimmermann's Impuls (1945).
- Initials RMU One (2012) consists of revivals of Rudhardsche Initialen (Otto Eckmann, ca. 1900) and Walthari Initials (ca. 1900, Rudhardsche Giesserei). Initials RMU Two (2012) consists of revivals of Jubilaeumsinitialen (by Bauersche) and Augsburger Initialen (by Peter Schnorr, 1901).
- Jobs Gravure (2011). It had to happen---a few days after Steve Jobs' death, Unger released the beveled engraved typeface Jobs Gravure, which is an extension of Trump Gravur (1954, Weber).
- Jolly Polly (2012): a curly non-connected script face.
- Kleist Fraktur<