Avant-garde typefaces

Adrien Joufflineau

At a workshop held in his home town of Mulhouse, France, Adrien Joufflineau designed an avant-garde typeface family (2016). [Google] [More] ⦿

Adult Human Male
[Alex Hy]

Adult Human Male is the type foundry of Malaysian designer Alex Hy, who is located in Berlin or Ireland. His Twitter account says that he is New York, Paris and Coolock. His Dafont account calls him Irish. Whatever. Alex has two aspects, a commercial one, expressed in his commercial foundry Adult Human Male, and a free one via his Squack site on Dafont.

The commercial Alex created the grunge stencil typeface Butterworth (2011), the hand-drawn Teksi (2011), the monoline squarish family Ebdus (2011), Valis (2011, futuristic), and the thin avant garde monoline typeface New Slang (2011). Gordito (2011) is a graffiti style bubble font that says Smurf.

In 2012, Alex published the poster caps typeface Areaman, Stink Lines (multilined typeface) and Penang (art deco signage typeface seen on Penang by the creator). Straights Light is a beautiful pair of bilined all caps typefaces. Dale Kids is a children's book typeface. Hokkien (2012) is an art deco typeface with Chinese influences. Mister Mustard is a chubby rounded art deco typeface. Barkley (2012) is a textured caps typeface with a chalk board feel. Liner Notes (2012) is a bilined hand-drawn typeface. Bartleby (2012) is a hand-drawn all caps display font.

The free font foundry Squack has the hand-printed typefaces Barker Allcaps (2012), Scrapist (2012, sketched), Billy Boy (2011, 3d), Quito Chicken (2011, 3d), Fred Wild West (2011, a grungy western face), Coolock Black (2011), Zapftig (2011), Ringworm (2011), Suicide Draft (2011), National Granite (2011, a 3d stone chisel face), Whiskey Fingers (2010), Wank Hands (2010) and Middle Man (2010), and the irregular typefaces Zapftig (2011), Shock Corridor, Pollo Asado, Middle Woman, Ghost Words, Late Puberty, Parrannoyed (2010, ransom note face), the hairline typeface Rexic (2011), Black Grapes (2012), Chump (2012, hand-printed capitals), Areman OT (2012), and the grungy Skidmarks (2012).

Typefaces from 2013: Salas (a chunky cartoon face), Rabid (a crayon font), Strokin (a great brush face---part charcoal part paint strokes), Bevel Hands, Bunk (a layered beveled type system absed on a monoline fat rounded sans, Bunk Base 2), Spengler (inline face), Vastra (Bauhaus style, organic), Swingers (curly and cartoonish), Chump Change, Treves Sans (crayon face), Quincey (2017).

We read that the fonts are designed by EircomTest. Aka Squack, MiddleMan and Alex H.

Dafont link. Creative Market link. Twitter link.

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

Affolter und Gschwind AG
[Werner Affolter]

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] [More] ⦿

Aga Silva

Aga Silva (aka Mme. Ping) is an ex-architect/urban designer, who now lives in Krakow, Poland. Creator of the Glitter family (kaleidoscopic, star-shaped, and possibly of use as snow fonts), Stars Promo (2012), Ivy Tiles (2012), Lillius (2012, floral and froggy dingbats), Maya Tiles (2012), Ballpen (2012, hand-printed), Mickey Script (2012), and Nillie's Love Letters (2012).

In 2011, she designed Grand Duchess (script face), Rosette110621 (kaleidoscopic dingbats), Brasserie (connected script), Marker Script, Skarpa LT (an avant-garde hairline face), Skarpa Regular, Skarpa Bold, Auld Magick (blackletter), Two Am, and Fantasy Dingbats.

Typefaces from 2013: Monmica (an upright copperplate script), Skarpa 2.0, Trufla (English round hand, copperplate script), Trufla Words (calligraphic), Calissa (copperplate script), Calissa Words.

Typefaces from 2014: Mavblis, Lavenda (a connected copperplate script), Roicamonta (connected script).

Typefaces from 2015: Skarpa Round, Nistiver (calligraphic script), Lavenda (calligraphic script).

Typefaces from 2016: Lidaxid (connected script), Hinzatis (calligraphic script), Roicamonta Basic (an upright connected calligraphic script), Monmica Fancy, Bisalir (heavy script), Piambis (thick signage script), Piambis Round, Piambis Sharp.

Typefaces from 2020: Skarpa (a revised version of her 2011 typeface), Skarpa Condensed.

Typefaces from 2021: Timernis (a 9-style humanist sans based on 1940 stone engraving commemorative plaque). [Google] [MyFonts] [More] ⦿

Agung Aris

R. Agung Aries Triyanto is the Indonesian designer (b. 1975) of the brush script typeface Destain (2016), the Broadway style deco typeface Broad (2015: originally called Broadway, it as renamen Broad in 2016), and the Victorian typeface Brandals (2016).

In 2017, he created the connected script typeface Molluca, the signage typeface Cheese Latte, the heavy brush typeface Breed and the avant garde sans typeface Moody Rock (+the shadow version called Moody Rock Extrude).

In 2018, he designed the handcrafted typeface Cuties Caps. The mini-slabbed Bounaville was added in 2019. [Google] [More] ⦿

Ahmad Shawki

Egyptian designer of the avant-garde Arabic font Slavian (2002). [Google] [More] ⦿

Ai Photographics

Photographer in Philadelphia, PA. Creator of the display sans typeface Duma Font (2014). [Google] [More] ⦿

AJPT
[Alan Jay Prescott]

Pottstown (Philadelphia)-based designer and PostScript font hacker who ran Prescott Design and now Alan Jay Prescott Typography, but was also involved in other ventures such as the Black Walnut Winery. Originally from Greenfield, MA, he graduated from Saddleback College, and worked for some time as a typesetter in New York. He advertizes himself as a leader in PostScript Open Type Font development specializing in the revival of print-only letterforms into digital typographic materials. He operates as APT and more recently as AJPT. In 2019, he announced that he would stop making typefaces altogether. His work can be partitioned into time periods. For this reason, Prescott's oeuvre is split over several pages:

His late period (2017-2019). In these three years, he showcased his work on Facebook, and was mainly involved in reving 19th century typefaces, about half of which were from the Victorian era. The annotations in the list below are quoted from Prescott's pages.
- Absolution Cursive (2017). When I was a typesetter in New York City, I had one of the largest collections of typefaces from CompuGraphic's library available for setting. One of the faces I never used in two decades of work was a rather ungainly decorative font called Abel Cursive. Apparently it was designed by Bernie Abel (perhaps one of CompuGraphic's employees) and I'm not sure it got much use, since I don't recall seeing it anywhere except my type catalog. Before I sold my equipment and closed my business for good, I made a scan of every typeface at 72-point size that I owned for future development, if there ever came a time to work on something crazy like that. Most of those 2,000 scans were lost when I changed computers a long time ago, but Abel Cursive survived and I made a down-and-dirty mow-and-blow font back then. I have recently worked on it extensively to make it usable as a multilingual slightly redesigned font in OTF format. I would classify it is as neo-Victorian medium-contrast decorative italic. It is definitely an oddball and may never see use.
- Algol (2017). Based on a scan from Dan X. Solo, Algol is a vastly expanded character set for Algernon, a typeface that clearly presages Machine and other "octics." I don't have any source material for the original design, but it may have been a Dan Solo original.
- Aloysius and Aloysius Ornamented (2017). This is a digital revival of the original Algonquin, cut by J.F. Cumming in the late 1880s for the Dickinson Type Foundry in Boston. While this was not my most challenging project, it was a doozy.
- Alpenhorn Roman (2017). Another oddball typeface is revived here, renamed from the design called Alpine by Henry Schuenemann for the Cleveland Type Foundry in the 1880s. Buried in the "gingerbread" of this weird face is technically a Latin serif, but otherwise it is an entirely unique letterform for which I had a heart soft enough to revive here in digital form.
- Androgen Roman (2017). I know next to nothing about this ultra-geometric blackletter called Anderson that I found displayed in a Dan X. Solo catalog, but it is another oddball that is attractive and very simple to revive in digital format. It is one of those projects I would recommend to a beginning revivalist who wanted to cut his or her teeth on a moderate challenge after mastering some basic tools in font development software.
- Angolan Text (2017). I found Angular Text in a Solo catalog and revived it as a digital font with diacritics and other characters for expanded typesetting possibilities. It was designed by Herman Ihlenburg in 1884 for MacKellar, Smiths & Jordan, which information I found in a link from Tom Cruz for a fellow named Toto who revived the font as well; he has several glyphs I do not have and I like his showing better. Interesting to see what others have done with the exact same typeface and scan and some research for tantalizing missing glyphs...kudos.
- Antiochia Series (2017). This collection of typefaces represents a revival of several bold slab-serif wood types with the name Antique that are related. Their individual histories will follow at another time, but note that several here are useful derivatives that add to the variety of this letterform's impact.
- Azurine Roman (2017). Azurine is a digital revival of a typeface known as Aztec, drawn by an unknown designer for the Union Type Foundry before 1889.
- Beltane Roman (2017). The very complicated story behind the work on this revival is too long for this space (and perhaps too boring to most), but suffice it to say that this letterform started out in 1886 as drawn by the great Herman Ihlenburg as Artistic and assigned to MacKellar Smiths & Jordan. Dan Solo called this face Belmont but only showed caps and was suspect anyway. I was able to find specimens elsewhere and a motherlode of other interesting things in the Inland Printer. I developed my first full-featured OTF using this typeface and designed Greek and Cyrillic glyphs as well. I also fitted it out with a set of small caps to make a font that now has 4,000 glyphs for nearly every non-Asian language. To top it off, Robert Donona revived the decorative caps for this typeface, an excruciating task that I once considered for myself but was lucky enough to have this other crazy person take up. The number of hours dedicated between Robert and myself in reviving this complete series digitally is probably unprecedented.
- Bernhard Swirl (2019). This is a digital revival of the letterform of the same name. It is equipped only with the upper case, an ampersand, a spacer dingbat and the numerals. The numerals are quirky, not only in design, but the fact that they seem to have been intended as old-style figures with the exception for the 4 and 7. Lucian Bernhard is either the designer of this limited-use typeface or inspired a reworking of his "wobbly" poster typefaces for which he is known as an innovator. I have reworked the scanned samples I had used as templates and drew them with a little more consistency than the originals to improve color on the page.
- Bireme Roman (2017). Below is a digital revival of a typeface called Bijou. As I have come to understand, several people have revived this face already. It is similar to Flirt in many respects. I will update information as I come across it, but I wanted to post my version here for your appreciation.
- Blackguard (2018). This is a digital revival of a typeface known as Black Cap. William E. Loy writes that Black Cap was designed and cut by Charles H. Beeler Jr. for MacKellar, Smiths & Jordan. The earliest-known commercial specimen was advertised in the January 1891 edition of The Inland Printer, so he probably created it in 1890.
- Blackminster (2017). One of the more interesting treatments of blackletter forms in the 19th century is this beauty called Black No. 544 designed by Henry Brehmer in 1889, who assigned the rights to Bruce Type Foundry. Originally I was unable to locate certain key glyphs in this font, but they were graciously supplied by others in our crazy network of type geeks. More information on the people behind these projects will follow in other articles.
- Bleak (2017). Bleak is a series based closely on a typeface called Stark. As with nearly all typeface names, there are several unrelated fonts developed in recent years that bear no resemblance to this gorgeous sans serif.
- Brotherly Roman (2017). Among many "antiqued" letterforms developed in the late 19th century, Ben Franklin was offered by Keystone Type Foundry in Philadelphia. Several glyphs were missing from my best showing of the font, but I was luckily able to find them, as well as logotypes, two ornaments, several alternate characters and some punctuation. There had already been a digital revival of this typeface kicking around as shareware in the 1990s, but it was very poorly drawn and incomplete. I believe it has been rendered nicely and consistently here for posterity.
- Busker Contour (2017). Burlesque was the name given by Solo to a typeface originating through Caslon or Figgins around 1843 and shown in German specimens a couple of years later.
- Cane Gothic (2018). Cane Gothic was designed and cut by Edwin C. Ruthven c.1886; he patented it in March–April 1886 and assigned the rights to David Wolfe Bruce (son of George Bruce, holder of the first design patent in US history). The Bruce catalog number is unknown. The tradename Cane Gothic, an apt description of the caning patterned background, may have been assigned by Dan X. Solo, who had revived the face for his photo-lettering service, but it has previously been considered impossible for digitizing. Although the average character in this font contains something like 3,000 Bézier control points, it turned out to be doable once I figured out the original mathematics that Ruthven must have used to guide his design objectively. It is digitized for posterity and I thank Anna Allen once again for the patent specimen (No. 16,643) indicating, if extremely faintly, five missing glyphs from my otherwise excellent scan. Thus I've generated the border glyphs and a pound Sterling symbol to augment this letterform. As far as I can determine, this character set is complete, and I have generated three fonts in order to accommodate chromatic typesetting with very little effort.
- Cantini Casual (2019). This is a digital revival of the typeface of the same name (or at least that is the name Solo gave it in the type specimen book from which it was scanned). It is a great example of the exuberant fancy characters that came to ascendance during the 1960s and 1970s. It is a medium-weight Latin italic with unusual decorative details in addition to crazy swash choices. I do not have any information on the history of this trippy face, but it is likely it was revived at some time in the recent past. It includes a large number of alternate glyphs as well.
- Capulet (2017). This is a revival of a typeface called Caprice that was patented in 1888 by Arthur M. Barnhart and assigned to Barnhart Bros. & Spindler of Chicago. This letterform is a prime example of the explosion in design ideas occurring before the turn of the century, hundreds of which remain to be translated into digital format.
- Carmenite Roman (2017). This beautiful digital revival covers a letterform drawn by the Bauer Type Foundry of Stuttgart, Germany sometime before 1896. It was originally called Carmen and has been referred to as Carmencita in the Solo books.
- Centrum Text (2017). This is my digital revival of one of the more complex decorated blackletters, among my favorite and most difficult projects to work on and just finished today. It is identified as Celebration Text on p. 18 of Solo's "Gothic and Old English Alphabets." The lowercase for this letterform is also presented for two other typefaces, Testimonial Text and Innsbruck in his larger catalog, presenting some confusion. But I believe all three were drawn by the same designer, although I have no idea how old they are. The lowercase may simply have been used for all three decorated capitals, since they are a very good match. Intentional, who knows? It is a real beauty and I'm going to perhaps revive the other two in this triplet of great examples of decorated capitals.
- Chapterhouse Roman (2017). This is an interesting typeface known as Ecclesiastic from Caslon around 1870. It was also known as Albion and Chapel Text No. 30. Most of those names were applied to completely unrelated designs, adding to the confusion that permeates typographic development and history to this day (and only gets worse over time). There are probably more alternate characters out there, but this is the best showing I could make with the resources I have and it is now available from me as a digital font.
- Chapterhouse Roman (2017). This is an interesting typeface known as Ecclesiastic from Caslon around 1870. It was also known as Albion and Chapel Text No. 30. Most of those names were applied to completely unrelated designs, adding to the confusion that permeates typographic development and history to this day (and only gets worse over time). There are probably more alternate characters out there, but this is the best showing I could make with the resources I have and it is now available from me as a digital font.
- Clarence Roman and Dotted (2017). Clarence Roman is a revival of Clown Alley and Clarence Dotted that of Cooktent (also called No. 515). Wood typeface Cooktent comes from W.H. Page before 1890 and the other looks to be a back-formation from it.
- Commissioner Script (2017). The typeface known as Commercial Script was designed by Morris Fuller Benton in the early twentieth century and enjoyed widespread use for decades. There have been many variations from other foundries, varying mostly in contrast; but as far as I know there was ever only one rather bold weight produced. I have redesigned the letterforms for consistency on the way to producing the ten weights shown here. It is interesting to see the font in lighter weights that accentuate the beauty lurking in this standard, and the heavier weights to see that the design still holds up under even heavier lifting.
- Courtesan Roman (2017). Among the dozens of wood types I have revived digitally is Courier, here called Courtesan. Many of these letterforms have been revived by others, all slightly different in their interpretations. More information on wood types will follow in articles I plan to write in the future on various areas of interest in the field of revival in particular and typography in general.
- Cranston Ornamented (2017). This is one of the most difficult digital revivals I have worked on. It started as Crayon, another masterful design from the prolific Ihlenburg, available at MSJ in 1885. There are sister fonts in an Open and a Solid that differ slightly in design and will be available from me at some point in the future.
- Creekside Playful and Calligrapic (2018). These are two digital casual scripts of my own creation based loosely on hand-drawn types from the 1950's. One is a calligraphic interpretation and the other is a more mono weight design that is a bit more slanted, both available for multi-language setting.
- Criticism (2017). This is a digital revival of Critic, a typeface designed by William F. Capitain in the mid-1880s with rights assigned to Marder, Luse & Co. Several logotypes had been designed for this letterform and many alternate glyphs. I added a few of my own, as well as diacritic marks, for balance to this surprisingly modern face that can be rendered multilingually as well.
- Crosby Roman (2017). This is a digital revival of the typeface known as University Text, designed in 1862 and shown by MacKellar, Smiths & Jordan in 1869 as Crosier. It was also known much later as Morningside. It is a stylized Latin with great charm.
- Crossan Roman (2017). This is digital multilingual OTF revival of a typeface called Cross Gothic, another one of those unique, nearly unusable letterforms I adore. I got a million of 'em.
- Cullane Roman (2017). Cullane is a digital revival of Herman Ihlenburg's Culdee, patented in 1885 and offered through MSJ. Others helped me scour the literature for missing glyphs and no one is sure we've got them all, but this is a wonderful showing of what we think is available until something randomly shows up in the future.
- Currier (2018). J.B. Lieberman, Ph.D. identifies it as Deberny & Peignot Lettres Ombrés Ornés (ornamented shaded letters) and adds that it was originally cut by Gillé in 1820, thus making it one of the oldest typefaces I have revived digitally. It is an exuberantly decorated engraved shadowed heavy-weight Egyptian.
- Danuvius (2017). Danube is the original name for this letterform, again found in a Solo catalog, and its links with medieval letterforms is obvious despite the trends toward modernization at the time it was first produced. I otherwise have no information on this face.
- Devonian Roman (2017). This is a digital revival of a wood typeface known as DeVinne. More information updated later.
- Dorothy Series (2017). The original Doric Chromatic was designed as a wood typeface and made its appearance in the United States in the 1850s, though it probably got its start in France in the 1840s according to Rob Roy Kelly.
- Doughboy Roman (2017). This series of decorative caps is shown as Dodge City in Solo. I am not sure it is very old; it may very well have been a photographically slanted version of an older wood typeface in the Thunderbird category with flourishes added on at the same time. This has been revived before because of its simplicity, but I made my own version a little more consistent and they make attractive drop caps.
- Enclave Roman and Expanded (2017). These two related digital revivals represent Enchorial in two versions. The roman came out of the Caslon Type Foundry in 1884 and was extremely popular (sometimes known as London). Petzendorfer showed the expanded Enchorial around 1903.
- Esteban (2017). Esteban is an original design I developed around 2010, named after the recently deceased Esteban Arriaga, a leading seascape painter in the area of Málaga in Spain. It is a medium-contrast sans serif produced in nine weights plus italics. Currently it is available only for the Macintosh OS, but an OTF cross-platform font is anticipated.
- Euclid, Euclid Initials,Euclastic, Elberon, Astral, and Auroral (2018). Elberon existed by November 1886 from Cleveland Type Foundry in The Inland Printer. Euclid (a lighter version of Elberon with a few different glyphs) is an obvious derivative from Illinois Type Founding Co. in Chicago in August 1890. Euclid appears with several Euclid Initials, a full sample of which appears as "Grant Iniitials" from Minnesota Typographic Co. Auroral (basically a shaded form of Elberon) appears in January 1887 from Central type foundry. Astral, also from Central type foundry, (the almost exact shading concept) whose base form is a condensed, heavier form than Euclid) appears in December 1886. Euclastic is my name for a complete set of weights, from a Hairline at the extreme end of lightness, through Black at the other extreme, using redesigned examples of Euclid and Elberon.
- Farmerboy and Farmergirl (2017). Although these two typefaces have both been called Fargo in the past, they are distinctly not the same letterform despite sharing some characteristics. They are both probably late 1850s, early 1860s and some sources say they are German. In any case, two interesting oddballs with no usage in the last century-and-a-half are revived digitally by AJPT.
- Fastidious Series (2017). The typeface known as Fashion started out in 1876 and was patented by Andrew Little for A.D. Farmer & Son. There are a total of five related typefaces in the same design: the prototype, condensed, ornamented, antique and extra-condensed. It turned out that the samples I had available when I originally revived these two were rather suspect and I have to consider going back to these and try to figure out what the "real" glyphs are. I believe that the Solo ornamental showing was rather a hatchet job on the base font, so I consider these two on hold pending further research, but they are interesting to view how they are so far.
- Flare Serif Striped (2018). This is a digital revival of a face called Ornamented 1,079. This over-the-top candy-cane-with-curls design was created by Henry Brehmer, who patented it in December 1884–January 1885. The application was submitted and approved on the same days as Ornamented No. 1,077 (Hermann Ihlenburg), and the rights to both were assigned to David W. Bruce of the Bruce TF (New York) [USPTO D15748]. It was advertised in The Inland Printer of October 1885. Thanks again to Anna Allen Conroy for the background on Ornamented 1,079 and for the patent samples giving a good idea of the design of glyphs missing from the catalogs. I have produced AE and OE ligatures as well as a decent set of diacritical marks for setting in a few important languages, but it is not at OTF font at the moment and exists only as PostScript for Mac only.
- Flippant Roman (2017). This fun font is a revival of a typeface known as Flirt. Although it has that 1960s feel, like many fonts popular then, I believe it has a much older pedigree. I will supply more information as I come across it. (There is currently an unrelated script font called Flirt on the market now, designed in 2009.)
- Fusion (2017). i developed three weights (including small caps) for the popular typeface Futura, all of them lighter than the Futura Light that is widely available. You can never be too thin.
- Gallantry Roman (2017). The earliest known specimen of the original Gazelle is found in the 1893 catalog of ATF in Cleveland and designed by Henry Schuenemann. This digital revival has multilingual capabilities and is quite unusual, demonstrating again the almost limitless possibilities of type design over the centuries.
- Gamut (2017). The Gamut series of very condensed sans serifs is based on a wide range of typefaces that all began with the letter "G": Galaxy, Gable, Garfield, Giant, Gamma, etc. (Their italics began with the letter "E", perhaps to come at a later time). I produced these typefaces under the same name to keep them all in one place, all ten weights that are floating around somewhere undigitized until now. They are currently available from me as Mac-only fonts, but OTF may be developed over time. They are members of the large "family" of typefaces whose members can be difficult to separate, such as the Helveticas, Trade Gothics, Standard Gothics, etc. I believe this was a well-designed condensed face that has nice nuances.
- Gironde and Gironde Extended (2017). Giraffe is the original name for this digital revival. It has been difficult to find a complete character set for this typeface, as I'm sure whatever existed in the roman also existed for the extended version. I revived what I could find, but it is a rather simple design and other characters can be imagined that are congruent with what is seen here. I'm not sure how much use these two oddball typefaces got in their time, but they were designed by Charles Beeler, Jr. in 1891for MacKellar , Smiths & Jordan.
- Gothic Decorated (2018). This is my temporary name for the digital revival of a typeface once called Ornamented 1,078. In the past couple of weeks, I have revived the "ornamenteds" on either side of this number. I have no information on this other than that it appears in the Inland Printer of October 1885 from George Bruce's Son & Co. TF in New York City.
- Goudy Flare Extra Bold (2019). This is a digital revival of another typeface in the Goudy superfamily, titled originally as simply Goudy Flare. I don't know the provenance of this particular letterform, but it was found in a Solo publication and could very well be one of his own creations, since I have never seen it used in print. It turns out that this is a modification of Goudy Old Style Extra Bold, and so I was able to find a suitable digitized version that matched the base forms very closely and modified the existing characters to accommodate these rather simple swashes. A reader added: "Goudy Flair was created by Mr. Phil Martin of Alphabet Innovations, that is he took Goudy Extra Bold and added swashes to this."
- Goudy Long Fancy (2019). This is a digital revival of the typeface of the same name, again another addition to the large Goudy family. There is a tremendous selection of swashes and alternate characters in this font, especially the upper case. It is an extra bold italic Goudy whose slant is less steep than normal for this family. There are no figures or punctuation provided for this letterform; those provided in the scan from which I worked were incorrect, and possibly back-formations from a different Goudy, so they were not produced for this version.
- Goudy Swash Heavy Italic (2019). This is a digital revival of the typeface of the same name. There are literally hundreds of revivals of letterforms in the Goudy "family" of typefaces. Nearly every foundry has produced its own version of this popular form, with many nuances between them. There are many weights, italics, various alternate characters and swashes galore, but I haven't seen a revival of this particular set of gorgeous swashes and alternates. Thus, I worked on very good printed samples, perhaps from a photolettering catalog half a century ago.
- Goudytype Antique (2019). This is digital revival of a typeface designated as Goudytype in a Solo catalog, with a slight twist. There is no punctuation for this font, but several nice swash alternates, a dollar sign and an ampersand. I decided to draw this as an "antique," because the ink spread in the original lent itself to this sort of treatment. Although a bit tedious, it can be used in the same way as other faces, such as Packard, Benjamin Franklin, Caslon Antique, Papyrus (heaven forbid) and others. Although one would assume this is in the Goudy superfamily, there are some characteristics that set it apart. The stresses and some other features are rather reminiscent of Palatino. And the slant is so slight as to make it unlike both typefaces' italics.
- Gracile (2019). Gracile is based closely on Greyhound Script, but has been expanded and standardized to include weights on either side of the two available in Solo. It is a semi script, since not all characters can be joined, and thus has a more casual feel. It is a strictly monoweight letterform in all six stroke thicknesses, with several alternate glyphs. There are digital versions in two medium strokes available from others, but those I was able to locate are rather poorly realized despite having diacritical marks for foreign languages. They can readily be designed and added to my interpretations, but I have chosen to do this later if anyone requires them.
- Griego Wood Series (2017). Several typefaces classified as Grecian were produced in wood for large sizes. Here I show Full Faced (William Page, 1859); Condensed and X Condensed (Wells & Webb/L. Johnson, 1846); X Condensed Bold (probably handmade, Nebraska, before 1885), and XX Condensed (John Cooley, 1859). I had revived some of these digitally years ago, but I revisited them recently and gave them a real facelift. They have undoubtedly been revived before because of their relative simplicity.
- Grosgrain (2017). This is a revival of a typeface called Grotesque No. 120. The lineage of the most famous typeface in the world, Helvetica (and, sort of, Arial) is evident in the early "grotesques." Although there are distinct differences in many of the characters of this very light typeface designed for mostly display use with alternate flourished glyphs, its resemblance to the later sans serifs of the twentieth century is striking. Marder, Luse & Co. of Chicago shows this face in 1885. Another similar typeface from around the same time called Circular Gothic is even closer to the Helveticas and derivatives of today. The alternate characters are revived from the sister font called Grotesque Fancy.
- Grounded Series (2017). I have revived Abramesque again, this time in congruence with the series from which it originated, thus it is called Grounded Ornamented. The original types started with Gothic Rounded. There was a Roman, an Outline, an Open and an Ornamented. The story behind these beauties is (as usual) too long, but briefly, information from Anna Allen: Old Bowery and Abramesque were originally called Rounded Open and Rounded Ornamented and have led interesting lives. Nicolette Gray identifies them with Caslon c1844. As a teenager, Rounded Open visited the Bruce TF (c1854), where she was called Ornamented No. 1007. After a suspected Bruce facelift as Gothic Round Shaded (≤1869), she was reintroduced by ATF as Old Bowery in 1933. McGrew writes, “Old Bowery is an ATF revival, in 1933 and again in 1949, of Round Shade No. 2, originated by Bruce , one of its predecessor companies, about 1854, as Ornamented No. 1007.“ Only an ornamented version, different from Abramesque and not illustrated by Gray, is shown in Bruce 1856. At a recent Oak Knoll event, Nick Sherman shot a photo of the page in Caslon's 1844 catalog showing Rounded, the solid prototype of these faces (not documented by Gray) and shared it at flickr.com. Albert-Jan Pool (designer of DIN and keen historian of sans-serif faces) observed that the footer is dated “September 1836,” so it was reprinted (probably as a stereotyped page) from an earlier Caslon publication. Until then, the earliest specimen examined by THP is shown in Caslon 1841. All agree that, so far, it is the earliest-known rounded sans-serif face in history—and this pleasingly plump family of three is as appealing today as ever! Of a very similar wood-type face tradenamed Gothic Round, Kelly reports: “First shown by George Nesbitt in his 1838 specimens. … The Nesbitt design was an Outlined or Rimmed Gothic Round. The Caslon Foundry issued several Gothic Round designs, of which an ornamented one (Abramesque), in particular, came into general usage in America around mid-century.” George Nesbittt, a New York printer, distributed wood types produced by Edwin Allen (Windham, CT ). Sherman adds that “Miguel Sousa at Adobe is in the process of making a digital revival of this face (Gothic Round|Old Bowery) for the Hamilton Wood Type Foundry.”
- Heraldry Roman (2017). This is a digital revival of a typeface called Heraldic, patented by John K. Rogers in 1880, an agent of the Boston Type Foundry.
- Hinterland (2017). Attached is a revival of an exuberant, heavy sans serif called Hibernian in Solo's catalogs. I've included alternate glyphs that I know of, but there may be some floating out there somewhere. The origin of this typeface is obscure, but there is some evidence it may have been from Genzsch & Heyse around 1893 according to one knowledgeable source.
- Hopscotch Roman (2017). Hopscotch is a revival of a wood typeface known as Hopkins.
- Jackdaw (+Open) (2017). This is a revival of a wood typeface known as Jackpot in Solo's catalogs, but was originally named Tuscan Shade No. 1. I have also produced a derivative called Jackdaw Open. Otherwise, I have little information on this bizarre beauty.
- Jeffers Contour (2017). Another decorative cap discovered as Jeffrey in a Solo catalog has been digitally revived here.
- Jeremiad (2018). A digital revival of Jenson Old Style, a typeface cut by Hamilton with the permission of American Type Founders in 1906. It has undoubtedly been revived before, as many wood types already have, but this is my interpretation and has been given a measure of consistency without losing its charm. I post this now, but it was produced a couple of years ago and I overlooked posting
- Joshua Contour (2017). I found a rather odd display typeface called Joseph in a Solo catalog, and it seems not to have a history longer than that, so who knows?
- Juvenilia Roman (2018). Juvenilia is a revival of a semiserif medium-weight typeface called Jumbo. Anna Allen's description follows: This slick stylized sans serif was designed and patented by Ernst Lauschke in 1887; he assigned the rights to Arthur M. and Alson E.Barnhart. This letterform is very unusual in having the tops of the characters generally devoid of the expected serif. Overall the design has medium contrast, which would be expected of a serif face. Several characters reflect missal-style influences (e.g. T, M), which was common for the time, but they are sprinkled in with standard types. The ampersand is influenced by wood types of the era. It is a distinctly odd species, another Lauschke innovation and unique.
- Katy Beth (2017). I discovered in the Inland Printer typefaces called Katherine and Elizabeth that were identical to each other and I was able to piece together a complete set of glyphs between the two to make a full digital revival.
- Kodiak (2017). Kodiak is a revival of Komet, an exuberant calligraphic sans serif produced by Roos & Junge Type Foundry around 1902
- Latchkey Roman (2018). This is a digital revival of Lattice, a face designed by Carl/Charles E.Heyer (1841 Berlin–1897 Chicago). He patented it in October–December 1883 and assigned the rights to Arthur M. and Alson E. Barnhart by name (the firm was not yet incorporated). Among other things, his unique hooked C was probably inspired by the hint of a hook in Copley (a sign-painter face dated before or in 1877 and cut by J.F. Cumming in 1881-1884). As Heyer's talent flourished at BBS (Chicago, 1868–1929), he led his new employer from one loathed by traditional TFs for bartering stolen designs for newspaper advertising space to one at the forefront of truly innovative display types. In the history of this TF historically regarded as great, he conceived at least 50% of their designs. Thanks to Anna Allen for the background on Lattice. Thanks to Dan X. Solo for the complete specimen, which although inconsistent and ink-heavy for some characters, was complete as far as I know. I have substantially reworked this typeface to bring a consistency for modern-day typesetting, but it is entirely faithful to the original cutting. Several of the characters are adventurous for their time (the C and ampersand, for example).
- Latin Fancy (2018). The Latin Fancy Engraved Shade version of these three fonts (the two others are derivatives) started life as Ornamented No. 1,077. Thanks again to Anna for the research that follows and for a patent specimen that gave a very rough idea of glyphs that did not appear in the catalog showings. It has ben digitally revived for posterity and is available for now as Mac-only. It appeared in October 1885 in the Inland Printer. Herman Ihlenburg, usually associated with MacKellar, Smiths & Jordan (Philadelphia), designed and cut this sizzling all-caps Latin face for the Bruce TF (New York). The patent application, submitted and approved on the same days as the one for Ornamented No. 1,079 (Brehmer), was likewise assigned to David W. Bruce (New York) [USPTO D15752]. A caveat for purists out there: The "A" has been drawn to compensate for a cutting or design error that appears in all examined versions of the typeface. No alternate has been provided for the misdrawn A.
- Lipo Caps Series (2017). Lipo Caps is a typeface series whose members are related in the sense that they have never existed as digital fonts (as far as I know), they are hand-lettered (probably by the same person), they were unlikely ever to have been developed as typefaces at the time they were drawn, and they were found in the same publication of bizarre letterforms. I have given them consistency without sacrificing the hand-drawn qualities and produced two versions of each one that I found, five fonts altogether (with "undecorated" versions as the lower-case keystrokes in each case). It is interesting to see great drawing technique that nevertheless never resulted into typography until now.
- Livornese Roman (2018). This is a digital revival of Livonia, an art nouveau-inspired typeface for which I have no information. There is a full set of alphanumerics, but no punctuation. It is a monoweight bold condensed sans serif with minimal descenders and an x-height that is at the maximum allowed visual percentage of cap height. This is another example of a face I revived in the 1990s but has been tightened up considerably for consistency and professional typesetting.
- Lubricious (2018). This strictly monoweight rounded sans serif typeface was referred to as Lute Medium in a Dan X. Solo publication, but I otherwise have no information on this letterform. It is influenced by the Art Nouveau movement and I have drawn a plausible Light and Bold as well; it seems that either one or both must have existed if it was referred to as a medium and I have made a rough guess as to the stroke weight. I think this face is quite pretty and has several innovations that are not over the top.
- Luring Series (2017). Luring is a faithful rendition of MacKellar , Smiths & Jordan's Luray and patented by Charles H. Beeler around the mid-1880s. Because the lining work in each was different depending on the point size of the metal type used (in order to achieve the same visual "grayness" when printed), I have developed each of these in such a way that when the same size is selected for each font, the optimal relative size is actually produced. The same technique was used for the equally challenging typeface called Tinted.
- Luscious (2017). This is a revival of a typeface called Lulubelle found in Solo's catalogs. It has been rendered in 7 weights, several of which correspond to known weights of this interesting sans serif condensed Art Deco-influenced letterform.
- Maggie Tried (2018). This is my digital revival (there have been others) of a typeface called Margit. According to sources I believe to be reliable, it was designed in 1969 by Phil Martin. An inquiry from a follower of this page generated a look back at a face I had once revived in the 1990s, but it was not as well-rendered as it could have been. I started from scratch and brought it back to life in a way more congruent with my current skills. It is a lovely example of letterforms developed in the late 1960s and early 1970s.
- Maltic (2018). In the six original sizes advertised and an additional three sizes to fill the gaps: This is a revival of the typeface by the same name, since it may not have been patented or trademarked by anyone until further notice. This typeface may never have been used and certainly is rather odd, but it can be seen that it must be one of the oldest forerunners of typefaces that were built from discrete "pieces" into a dot pattern, presaging the use of pixelation on monitors a hundred years later, as well as many other examples of typefaces built from pixels, dots, rectangles, stars and numerous other doodads and dingbats. In this case, the strict grid is violated for diagonals and many other interesting work-arounds; there are actually three different shapes used to build this geometric sans serif letterform. Information by Anna Allen: "Maltic is an interesting sans-serif face built from geometric motifs, was shown by the Illinois Type Foundry in The Inland Printer edition of December 1886. The specimen is marked patented, but extensive THP research finds no verification of this claim. This typeface is a complete mystery to me, as is the Illinois TF [Chicago, 1872–1892]… Annenberg (who bewails the lack of history details) reports that it was originally a distributor for the BruceTF (New York) and no record exists of any types that were originated by the Illinois Type Foundry. A showing of ornamental borders in the August 1890 edition of The Inland Printer advertises that they were Western Agents for Conner (New York) types as well."
- Margarethe (2017). It is hard to believe, but the original typeface was shown by Eduard Haenel (Berlin) in 1847 and was later adopted by American type houses. Eventually it was called Marble Heart, but most samples show only the upper case. Eventually I was ably to put together a large character set for multilingual setting after a rare, complete lower case specimen was discovered. This digital revival also covers typefaces variously known as Ornamented No. 11, 13 and 33. It is an early forerunner of faces known as grotesques (sans serifs that resemble Helvetica, Standard Gothic, etc.) This is another very difficult drawing exercise, but made all the more enjoyable after valuable sleuthing for missing glyphs by Anna at Type Heritage Project.
- Minster (2018). Minster was yet another style ground-breaker by Herman Ihlenburg, who patented the design in May–June, 1878 with assignment to MacKellar, Smiths & Jordan. This rimmed dual-case ornamented Latin beauty was consistently shown by MSJ and by ATF as late as 1897. It was also distributed by the Franklin TF (Cincinnati) [aka Allison & Smith]. Charles H. Smith, foreman, was the son of Lawrence Johnson's former partner (Johnson & Smith, 1833–1843). It has been digitally revived for posterity and took about two weeks to produce the full set of glyphs. Thanks to J. Choi and Anna Allen for very good specimens of printed materials.
- Molto (Fiorito, Ombreggiato and Nero) (2018). Molto Fiorito is a digital revival of MoléFoliate, whose history below has been researched by Anna Allen. Ombreggiato is a derivative with just the shadow, and Nero is the central characters adapted for separate setting, Bodoni or Didone letterform with high contrast and thin slab serifs. It has been produced in multiple sub-fonts for a wide variety of pin-register multicolor setting. Researching the topic on Fonderie Générale (Paris, 1834–1912) raised some perplexing questions about the history of this famous ornamented Didone. Twentieth-century historians attribute the design to Joseph Moléin c1819. Indeed, the conservative styling is compatible with fonts intended for title pages of scholarly and literary books, mainstay of the publishing industry during this period. The 1835 catalog issued by Tarbé (Molés successor) states that text, titling and display faces are offered therein. Even so, none resembling MoléFoliate is shown by any Molésuccessor in five digital specimen books dated 1835–1896. On the contrary, surface ornamentation is limited almost exclusively to Tuscans and Egyptians. Jaspert et al. (2001) note the then-current letterpress font source as Stephenson Blake & Co. Ltd. (Sheffield). Millington explains that the face was "redrawn by S.L. Hartz from a design by the Parisian typefounder Molé". Sem L. Hartz was associated with the Enschedé TF (Haarlem). SB introduced it in 1958 as "An Exotic Display Type". Did Molétransfer rights to this design before Tarbé's acquisition in 1835? If so: to SB? Enschedé? Another TF in existence at the time? Did Moléhimself design the leafy ornamentation attributed to him today? Or… Did Hartz superimpose his own concept on the surface of a MoléDidone roman? An anonymous developer digitized free revivals of this font and a matching plain one in 1997. They are difficult to find now [and are poorly executed].
- Montrose Roman (2017). Montrose is a display typeface with many interesting features, an example of numerous "banner style" letterforms produced at the time, such as Stephen Ornate and Arboret. It was called Motto (a design claimed by John P. Rogers for the Boston Type Foundry in 1879) and I understand there is still a typesetter who has the original metal matrices. Mine was produced from rather poor scans, so some interpretation was necessary. It came out quite nicely, but not quite exacting enough for some standards. It is definitely of historical interest.
- Moocher Roman and Moocher Open (2018). These digital revivals are based on Moorish and Moorish Open as described below: Moorish was designed, cut and patented by German immigrants Julius Schmohl and Ernst Lauschke, who assigned the rights to Barnhart Brothers & Spindler in April–May 1891. Commercial specimens consistently showed Moorish Open on the same page or in a spread. As advertised, this handsome stylized Latin was meant for multi-color effects.
- Morton Roman (2017). It is plausible for reasons too long to explain here that Ludwig S. Ipsen of Boston designed the typeface known as Mother Hubbard sometime before 1886 when it was offered by Dickinson Type Foundry. There were numerous swashes and alternate characters for this typeface, and I'm certain some will never be discovered. (The unadorned caps of this font bear a close resemblance to Monopol from Petzendorfer in 1903 and I have heard a rumor that a lower case alphabet was designed in modern times. As with many typefaces, the stories behind the letters are sometimes fascinating to those who are interested to know more.)
- Muralla Text (2017). This is a digital revival of Music Hall text. I have no information about it except that it appears in one of Dan X. Solo's publications, but it is quite pretty. Robert Donona added: "This was called Teuton Text, shown in MacKellar, Smiths & Jordan type specimen books, it is also shown in the 1898 book entitled Shriftatlas by Ludwig Pfetzendorfer of German and also shown in some German Printing periodicals entitled Archiv für Buchdruckerkunst by Alexander Waldow, this publication ran from 1864 to the early 20th century."
- Mystica (2019). Mystica was found in a Dan Solo publication on swash alphabets. It consists of the upper and lower case only, but is a very pretty example of a slightly quirky calligraphic letterform that appears to have been hand-drawn. There are several features that I retained when digitizing, and there are others I standardized without sacrificing the overall feel. I'm not sure whether this was ever really a typeface; until now it probably would have been classified as ephemera.
- National Pride (2018). This is a digital revival of a typeface known as National or National Gothic that is surprisingly old, and more surprisingly, not digitized until now despite being a rather obvious project. It was completed a few weeks ago, but it required a little massaging to get a few parameters more in line with afterthoughts I had. Thanks to Anna again for research and some good specimens to go with mine. In his correspondence with William E. Lo , German immigrant Julius Herriet Sr. (then in his 80s, with a life-long career in type design/cutting) recalled producing this face during the few years he worked in Philadelphia. As was customary at the time, his boss, the "hyper-active" Lawrence Johnson, patented it in 1856 [USPTO D760]. Johnson's patent affidavit explains that the design was geared to chromatic separations for printing with blue and red inks with white paper as the third color. What a great idea 150+ years later! Incidentally… It is said that Mr. Johnson [1801-1860] "worked himself to death." In the process, he promoted three of his employees to partners and groomed them to succeed him: Thomas MacKellar, John F. Smith and Richard Smith (sons of his first partner, Johnson & Smith). Together with Peter A. Jordan (the CFO of his time), these men built on Johnson's foundation to become the "largest and most celebrated type foundry in the world."
- New Orange (2017). New Orange is a revival of a typeface called New Orleans but originally called Romantiques No. 3 in catalogs from the 19th century. The Decorated is the original design and the roman is one I created for special interest. Like many of these decorative typefaces from the 19th century, they can be produced as dual fonts for chromatic separations on special request.
- Nile (2017). Nile is an original work based loosely on typefaces called Egyptians, particularly that of VGC. I've greatly expanded the possibilities of this letterform by generating 8 weights with accompanying italics and small caps, suitable for a wide range of languages as well as English, both text and display.
- Nova Sandra Script (2017). Novelty Script has been revived as Nova Sandra. I've produced the typeface as an Extra Light, Light, Roman, Medium, Bold, Extra Bold and Black. (The Bold is a revival of the Novelty Script available from specimens.) The six other weights were added as an extra-special challenge. It is a beautiful connected script that has many unusual quirks unique to this design. There are several alternate characters and I have supplied a full set of “beginning forms” as well. I have also created a reasonable set of punctuation that did not exist in the original. It is a connected script, and therefore, one of the most difficult projects to undertake.
- Octic Latin Drop Shade (2018). This is my digital revival of a typeface that started out life around 1884 at Illinois Type-Founding as Octagon Shaded. Several typefaces over the years have had "Octagon" somewhere in their name, but this is really an octic Latin with distinctive features such as a certain curviness where one would expect linearity, so not a true octagon type, and it in any case has a Latin serif, which was itself applied differently in later Latin designs. It has a wonderful drop shade that gives it great depth. There is no known lowercase for this font and the showing in Inland Printer was nearly complete.
- Octuple (2017). This is a digital revival of a very old wood typeface called Octagon, which seems to have been first shown by George Nesbitt in specimens from 1838, believed to have its origins in France.
- Partisan Ornamented (2017). One of the most challenging projects I've undertaken in the digital preservation of antique letterforms is this remarkable typeface that started off as a reference to "French 1838" and what Figgins showed as Parisian in 1843. Johnson & Smith showed it as Ornamented in 1841, but it was also known elsewhere as Dandy and Ornate No. 6. The principal trouble (beyond the sheer work involved in reviving this monster) lies in assembling anything like a complete character set. Showings in catalogs for nearly all typefaces have been several letters and perhaps a figure or two, but it is often impossible to get enough glyphs from even a dozen showings; Q, X, Z, J are commonly not shown. I revived the letter N to see whether it was even feasible to start the project and estimated it would take two months to complete, even if the missing letters could be found. Beyond my wildest dreams, several people were able to track down every missing letter and even the numerals and the AE and OE ligatures, in varying degrees of resolution from ancient catalogs. I was able to generate this type over many enjoyable, hellish hours.
- Pattycake Condensed (2017). Attached is a digital revival of a lovely monoweight casual serif font called Pastel Condensed. I have seen revivals of this typeface, but I believe mine is a more complete and consistent version, and includes diacritical characters for setting in a wide variety of languages.
- Paymaster Roman (2017). This wood typeface was called Painter's Roman and cut by both Page and Wells, being made available in the 1870s. It was revived a while ago by a major font developer with many glyphs added, but my cut retains some of the quirkiness of the sample I had available from Rob Roy Kelly's masterpiece, American Wood Type 1828–1900. Its numerous specimens are the source of many of my wood type digitizations.
- Pencilings (2018). Pencilings has been digitally revived in three versions known to exist. Pencilings One was originally shown as Paragon Pencilings. Pencilings Two was originally shown as Paragon Pencilings No. 2 and uses the same caps as Pencilings with the lower case characters at 75% the size of No. 1 and with different cuts; both showings have several ligatures and alternates. Pencilings Three is a rendition of Solo's version, which was much heavier and was shown in "Grunge Alphabets" on page 65. The alphabet I scanned for One and Two is shown by Marder, Luse & Co., January 1885 in The Inland Printer. This is a lovely if somewhat inconsistent example of early explorations of typefaces that mimicked handwriting, particularly printing as opposed to calligraphy or penmanship. As such, these irregular examples are sometimes called casuals, a large group that includes brushes and bounces.
- Pisa Semiscript (2017). A seldom-used font available from Bitstream, Piranesi Italic is nevertheless a lovely letterform whose designer I do not know. I have discovered that there was also a bolder version at some time in the past, but have never seen it except in type catalogs existing before digital typography, so quite rare. Despite its being called an italic, there never was a "Piranesi Roman." I have produced nine weights, both lighter and heavier than the original, completely redrawn for consistency and available in OpenType PostScript multilingual cross-platform fonts.
- Precocious (2017). Preciosa was the original name for this little gem and it dates from around 1898 from Bauer & Co. in Stuttgart. It has been fonted before as freeware from Klaus Johansen of Svendborg, Denmark, but did not include lowercase. I'm not quite sure the lowercase I came across is the one designed for that face, as it comes from a Solo catalog, and occasionally he used lowercase alphabets from other faces to accompany his perhaps all-caps blackletter fonts, so who knows? More on that subject later as I revive a couple other drop-cap Gothic beauties whose lowercase characters are the same.
- Protagonist (2018). This series is a digital revival of a face known as Program. Thanks to Anna Allen for the following research as well as a few critical scans from materials I didn't have in my possession: According to William E. Loy, this typewriter-like Egyptian was designed and cut by William F. Capitain [1851–1915]. Carl Müler, an executive of Marder, Luse & Co. (Capitain's employer since November 1874), patented the design in November 1881–April 1882 and assigned the rights to [USPTO D13862]. Contrary to USPTO regulations effective in 1874, he got away with identifying the intended commercial tradename. It was advertised in The Inland Printer of April 1885. In February–May 1885, Capitain himself patented Inclined Program, a dual-case back-slant derivative [USPTO D161054]. Like Program, it was shown in the Marder, Luse catalogs issued in 1889 and 1890. Unlike Müler, he retained the rights.
- Rochelle (2017). This series is intended as an extension of Herb Lubalin's 1970 creation, Ronda. It has always been available in several weights, but I extended the utility of this face to some lighter forms as well as the inclusion of small caps (except in the bold).
- Rose Madder (2017). This is another example of reviving a letterform that may never have been a typeface. It was found unnamed in Carol Belanger Grafton's "Bizarre & Ornamental Alphabets" on pp. 96–97.
- Rosemary Series (2017). Rosemary is a revival of various Roman woods found in "100 Wood Type Alphabets," by Rob Roy Kelly. Ornamented (p. 230) first shown by George F. Nesbitt in 1838 specimens (Shadow and Expanded are derivatives); X Condensed (p. 234) same Nesbitt; Condensed (p. 233) same; Extended (p. 231) same; Roman (p. 232) first shown by Darius Wells 1828.
- Ruinous Titling (2018). This is a digital revival of a face called Parable that appears in one of Dan X. Solo's publications. It would be strange if no one has revived this face, and I do so solely as a demonstration of how it is that people get into doing the sort of work I do, even as an occasional hobby and nothing more. With the right software and a little determination to learn something new, the average person can produce a typeface in a few hours, albeit one this simple and lacking anything more than the capital letters. It whets a lot of folks' appetites for something more challenging, but rarely ending up where I am at a level of astonishing self-inflicted pain! The typeface was less than two hours from turning on the scanner, through drawing and spacing to a usable font.
- Rye Roman (2017). This is a digital revival of a typeface identified as Ryan Jackson on p. 85 of Solo's "Victorian Display Alphabets," but I have found no other reference so far as to its origins before that publication. Technically, it is a moderately decorated low-contrast Latin.
- Saluzzo font (2017)> Giambattista Bodoni, one of the first rockstars of typography and printing, flourished in the latter half of the eighteenth century in Parma, Italy. His fans included Benjamin Franklin, Napoleon and Pope Pius VII. The typeface we know as Bodoni has been developed by numerous foundries, particularly in the late twentieth century, no two of which are identical. It has generally been drawn as a high-contrast serif and was itself based on some of the transitional forms originating in Baskerville's studios at the time Bodoni ran his printing business. I have developed a unique Bodoni myself, slightly lower in contrast to render it more readable at smaller sizes. I have produced the letterform in Open Type PostScript format for cross-platform use in eleven different weights, italics and small caps (in the roman only), for a total of 33 multilingual fonts. Saluzzo is named for Bodoni's birthplace in Italy.
- Santa Claus (2018). This is a self-named digital revival of Santa Claus and Santa Claus Initials, both No. 1 and No. 2. This irresistible pair of fun faces was introduced by Central TF in the December 1885 edition of The Inland Printer. A patent pending notice was displayed in at least one commercial specimen; no such patent exists and none was claimed in the post-ATF catalog issued by the Central /Boston TFs in 1892. According to policies of the US Patent and Trademark Office in effect at the time, Santa Claus was positively new, novel and non-obvious and absolutely worthy of a design patent. No approved applications for design patents were filed by Central executives nor assigned by others after 1886. Apparently this notice was of the "beware of the (non-existent) dog" variety. The designer is unknown. William E. Loy does not account for Santa Claus in his biographies of Gustave F. Schroeder or Nicholas J. Werner, Central's staff type designers/punch-cutters until 1889, when they partnered an independent business. In 1891, Schroeder moved to California; he and Werner continued to contract design commissions from Central and other clients.
- Saprophyte Roman (2018). Saprophyte is a digital revival of a typeface that started out as Ornamented No. 1060. Thanks to Anna Allen for the commentary on its provenance. This Latin gingerbread face was designed and patented by Julius Herriet, Sr. in 1878–1879. He assigned the rights to David Wolfe Bruce , the last family member involved with the Bruce TF. After the USPTO established the trademark division in 1870–1874, the Bruce TF switched from naming its new faces to numbering them. Presumably, this expedient circumvented payment of additional attorney and registration fees. The name Safari may have been dubbed by Dan X. Solo. Those comparing my version with Solo's and the patent specimen will find there to be discrepancies with Solo. The patent specimen was poor but indicated significant changes that occurred by the time Solo had samples. I went as best I could by indications from the patent application of 1878 in regards to overall form and design and had to rely on Solo for only several details. It is my creation based on the information I have available and is nevertheless stunning and unique.
- Shifty Wide (2017). Shifty is a revival of a typeface identified as Shimmer Wide in Solo's "Victorian Display Alphabets," p. 88. I don't otherwise know the origin of this letterform, but because of its regularity I don't believe this was a wood type, or at least the version I'm seeing comes from a metal face that may have been based on a wood design. There is a resemblance to Antique Tuscan No. 1, a wood face from the 1850s.
- Snitch Script (2017). Based squarely on one of the most familiar scripts, Snell Roundhand, my version has several major design changes. Charles Snell developed this letterform many decades ago and it was translated by Matthew Carter into phototype in the mid-1960s with a total of three weights made available. I have developed a total of 12 weights of this very difficult connected script, all the way from a Hairline to an Extra Black, beyond the ranges previously available—keeping in mind that this form has some very different glyphs in place of the originals, and quite a bit of standardizing in ways the original designer would perhaps find offensive. But I love it, so there.
- Solomonic, Cliffhanger and Deerfield (2017). I revived Solar, Climax and Dearborn Initials consecutively, since they had been shown in many catalogs adjacent to one another and were offered by Barnhart Brothers & Spindler in the late 1880s. They are decidedly modern-looking display faces, and as I always say, all of our best ideas were stolen by designers of the past!
- Spiral Swash (2019). This is a digital revival of the typeface of the same name, found in one of Solo's publications. Technically it is a higher-contrast extra-bold, wide, extreme flare-serif with ball swashes. It is reminiscent of the Euclids I revived last year and would work well as drop caps with the entire range of undecorated forms from that revival. It is equipped with a very nice range of alternate characters, but there is no punctuation supplied. I don't know the designer of this face or the time period, but it looks to be something that would have appeared in a photolettering catalog in the late 1960s and early 1970s.
- Springfield Roman (2017). This is a revival of a previously undigitized typeface called Spangle in some catalogs but has been also named Uncle Sam, Carnet de Bal, Ornate No. 3, Ornamented No. 851 and Romantiques No. 1; which demonstrates with one font the tremendous problem in type identification. In any case, it's hard to believe this was designed in the 1830s by Laurent & de Berny of Paris, calling it Ornamented No. 1071.
- Sprinkle Roman (2017). Based on the original typeface called Spring, this is a display letterform that I digitized a few years ago from one of Dan X. Solo's catalogs. It is notable for containing a huge number of alternate characters that make it a lot of fun to work with for a distinctly retro feel. Also called Bonaparte by Photo-Lettering, and Radiant Flair by OptiFont.
- Stakeholder Roman (2017). This wood typeface was called Staccato by Solo, but was originally released as Tuscan Extended by W.H. Page before 1872. I suspect this is another letterform that has been revived by others.
- Stengel Roman (2018). This is a digital revival of Sterling. There have been other unrelated typefaces with the same name, but the history of Sterling follows. Again, thanks to Anna Allen for the sleuthing: A far cry from ATF Sterling (Morris F. Benton, 1917), this suave stylized Latin has just the right slinky curves! The designer, Charles E. Heyer, reprises his trend-setting hooked C and extends the style to the G with a new interpretation for this stunning all-caps alphabet [with two alternates, an E and an L]. His patent application was promptly approved in September–October 1890; rights were assigned to Barnhart Brothers & Spindler, his employer since 1878. It was shown by BBS until at least 1909. A few of my own comments on this letterform follow. For its time, it is certainly a departure from standard interpretations of alphabets. To begin with, we are finding terminals in some of the characters that are unexpected, swashes where we would expect traditional terminals. The A is square with a swash crossbar, echoed in the H, and the H itself is like the M and H in being bandy-legged. The W is practically an inverted M. The J and the U are very wide. All characters are quite a bit wider than usual, in line with Clipper, which it resembles in some respects; but the question mark is super-condensed. The A, B, E, F, H, P and R have compressed upper stories, giving the face a top-heavy look, which became very popular in the Art Nouveau craze. The curves are much thicker than expected, perhaps a bit outside acceptable for good color, so a high contrast in places where you would not expect. The serif is minimal and difficult to discern in my specimens, so I interpolated somewhat. Its modern sort-of-equivalent look is like Newtext, Americana or the modern Copperplates. I worked mostly from the patent specimen, because it was quite different from all the printed materials I examined.
- Stigmata (2018). Only rock-solid project management, determination and a tolerance for tedium will get a typographic revivalist though the gantlet in bringing back to life one of the most complex typefaces ever designed, Stipple. The history of this unique letterform is provided by Anna Allen as follows: The brilliant Herman Ihlenburg completed design of this masterpiece in 1889; in January–February 1890, he patented it and assigned the rights to MacKellar, Smiths & Jordan [USPTO D19660]. Concurrently, he patented a set of related ornaments for line finials and a semi-rectangular frame [USPTO D19659]. The earliest commercial specimen examined was shown in the June 1890 edition of The Inland Printer by Shniedewend & Lee Co., then MSJ's Chicago agent. Widely considered unvectorizable, it was thus a challenge I undertook because the number of good specimens was high enough to consider the challenge. The rest of the story of this revival is too long and technical to relate, so I will describe this is as a maximally decorated modified bold Latin banner typeface. Just one of these characters contains around 2,000 data points, close to the maximum possible to create a font that will not crash. Thanks to all and sundry for a few rare specimens and particularly the US Patent Office for its poor but complete specimen of the 48-point characters; and several others for the serendipitous discovery of a couple important 36-point characters. The bang, question, period, comma and colon were designed by me to make the font more usable. Stipple is now available for the first time in 130 years.
- Sundog (2019). This 9-weight series is a revival of a typeface shown as Sunningdale (in three weights from Dan X. Solo). It is a slab face Egyptian italic with very nice swashes, but there is no punctuation for this letterform. It contains a large range of alternate characters. Although I don't know the origin of this typeface, it is almost certainly the same designer as Whitley Sans, revived most recently by me. The lighter weights in this series are almost strictly monoweight, but there is an increase in contrast from Light through Heavy, as in the original forms.
- Sunnybrook Script (2019). This is a very light monoweight upright semiscript of my own design with a lot of features found in traditional scripts of 150 years ago. The exuberant swash capitals are very loosely based on Flemish Script but have been modified a great deal and standardized across several glyphs. It can be set in a wide variety of languages.
- Superior (2018). This is a digital revival of Superior, whose first showing I have as April 1886 from Great Western Type Foundry in Chicago. It is a slightly decorated extra-light condensed Latin existing only in caps as far as I can tell. There is a full set of numerals and minor punctuation. Superior is a rather simple revival in relative terms and requires only a few hours because of that simplicity and paucity of other glyphs. It has perhaps been revived by other developers, but I am not sure.
- Tanglewood (2017). This revival ranks in the top five of the most difficult projects I've undertaken, not only because of the sheer amount of work involved in drawing the characters but in addition because of the number of glyphs that happened to be available. The name of this face was originally offered as Conner Ornamented No. 43, patented by James M. Conner in 1881. My undying thanks must go to Robert Donona, who supplied an incredibly good specimen from Graphic Compositions, Inc.'s phototype specimen book wherein the typeface is called Tangier. Diacritical marks, superior and inferior characters and basically enough glyphs to complete a large OTF file were evident in the specimen. Specimens of such completeness are rare in the world of typography, but having them available for viewing makes the revival process a time-consuming, if satisfying, venture. It required an absolutely stupid amount of time to finish. Several people have said this is my magnum opus...so far at least!
- Tasty Gothic (2018). This is a digital revival of typefaces variously known as Tasso, Gotham and No. 205). 1890 (Tasso, Gotham), Barnhart Bros. & Spindler; 1895 (No. 205) George Bruce's Son. Some hunting around was necessary to find missing glyphs, but my version appears to contain everything that was originally designed for this very pleasant monoweight gothic.
- Tender Regard (2018). This is a digital revival of a graceful letterform originally known as Tendril. The design for Tendril was patented by Herman Ihlenburg [1843–1905] in 1878. Along with Camelot (Goudy-Phinney/ATF Boston 1900), his application was one of the fastest-approved in 19th-century history. Rights were awarded in less than three weeks during November and assigned to MacKellar, Smiths & Jordan [MSJ ] of Philadelphia.
- Thursday Roman (2017). Attached is my digital revival of Thurston, a letterform appearing in one of Dan Solo's numerous type specimen books. I don't have any information on the source of this form, but like other postings here, this will be updated at some point in the future for the curious. This face is strongly reminiscent of the Peignot types, sans serifs with relatively strong contrast, but in this case with quirky ornamentation.
- Tiberius (2017). Tiberius is a revival of a typeface called Tirolean. This is another strange letterform that has distinct Art Nouveau influences, but I'm not at all sure of the history of this face except that it was found in a Solo catalog.
- Tinting Series (2017). Tinting is a faithful rendition of MacKellar, Smiths & Jordan's Tinted and patented by Charles H. Beeler around 1885. Because the lining work in each was different depending on the point size of the metal type used (in order to achieve the same visual "grayness" when printed), I have developed each of these in such a way that when the same size is selected for each font, the optimal relative size is actually produced. The same technique was used for the equally challenging typeface called Luray.
- Trinitro (2018). This super-sophisticated stylized Latin (known originally as Trinal) was patented by British immigrant William F. Capitain [b1850] of Chicago in September–October 1888. The Marder Luse Type Foundry (a.k.a. Chicago Type Foundry ), his employer since 1874, advertised it in The Inland Printer edition of November 1888. It was shown by ATF until c1900. Trinal has been digitized, containing many of the variously decorated characters that make up a large font. I am not at all sure I found everything, and it took the sleuthing of several other fanatics to find anything like a final set of everything that may have been produced.
- Tunbridge Shadow Ornamented (2017). This is a revival of Tungsten, another oddball ornamented style probably originating in the late 19th century.
- Unitary Roman (2017). Unitary is a revival of a wood type published as Unique. I have no other information as to the provenance of this typeface except that it was taken from a Dan X. Solo publication.
- Valor Shade and Rimmed Shade (2017). These digital revivals started out in 1847 at V & J Figgins and there were several other variants in wood type at the time. Van Horn, Zebra and Tuscan Condensed Shade were other names used over the years, but the latter best describes the letterform. This is a moderately challenging revival that can be made available for chromatic separations, as many of these complicated characters were intended originally.
- Venetian Tulip Wood (2018). The story of this revival is unfolding, but to make it short, this was digitized from a very large point-size specimen of what purports to be wood type from Kelly's collection. But upon further investigation, it is unclear whether this sample was a drawing made from an impression (or printed specimens) or whether it is an actual impression of wood type itself. I suspect the former, but it is indeed a legitimate typeface (and an important early 19th-century face) that existed in several different decorated forms. It is unclear which came first, the metal or the wood letterform. Technically this is an exuberantly decorated drop-shadow concave Tuscan.
- Vicarage Initials (2017). This challenging revival took many hours to complete for digital font use, but well worth it. Vatican Initials was found in a Solo publication and much has been done here to achieve consistency of color and design without sacrificing the nuances of this rare beauty.
- Warpath (2017). Warpath is a revival of a wood typeface called Wampum in Dan Solo's publication; otherwise, I don't know the provenance of this letterform.
- Whitestone Sans (2019). This is a digital revival of a very unusual face called Whitely Sans, found in a Solo publication. It is a medium-weight sans serif italic with very nice swashes and an interesting treatment of shading. There is a wide variety of alternate glyphs, including rare "ending forms," several of which I produced on my own to make it a little more consistent with typefaces supplied with ending forms.
- Wood Types Numbers 154, 500, 506, 508 & 510 (2017). These are five unrelated wood types that were occasionally used in foundries setting metal type because of their availability in large sizes. No. 154 is a modified Tuscan; Nos. 508 and 510 are flared sans serifs; and Nos. 500 and 506 are Latins. Like most wood types, the character availability was usually quite limited.
The free sans typeface families done in 2003: Clemente, Ultima, Passion Sans (a Peignotian family).
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 Jay 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 designed in 1995 and 1996: 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).
Computer fonts designed in 1995 and 1996: APT Bugsy (1995), APT New Quote (1996: bilined).
Art nouveau typefaces designed in 1995 and 1996: 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).
Decorative typefaces designed between 1995 and 1997: 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), 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), APT New Courtier Italic (1996, Vanity Fair), APT New Harlequin (1996), APT New June (1996, after Fournier le Jeune).
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).

Local download of some of his fonts. [Google] [More] ⦿

Alaa Alsaraji

During her studies in London, Alaa Alsaraji created the hairline avant-garde typeface Vienna (2015). Behance link. [Google] [More] ⦿

Alan Jay Prescott
[AJPT]

Alberto Cerezo Narvaez

Architect, designer and photographer in San Fernando, Spain. In 2013, he designed the pair of avant garde typefaces ACN 2 and ACN 1.

Alejandro Cabrera

Designer in La Laguna, Canary Islands, Spain. He created Ciclo (2011), a monoline arc-and-straight-edge typeface. Seoul (2011) is a geometric avant-garde family. [Google] [More] ⦿

Alex Grecian
[Elemeno]

Alex Haigh
[HypeForType]

Alex Haigh
[Thinkdust]

Alex Hy
[Adult Human Male]

Alex Parinova

Vilnius, Lithuania-based designer of a stylish avant-garde sans typeface in 2013. [Google] [More] ⦿

Alex Traian Munteanu
[Zeppelin Graphics]

Alexander Cherepanov

Alexander Cherepanov (White Russian Studio, Moscow) designed the Latin / Cyrillic sans typeface Transgender Grotesque (and Transgender Grotesk), the serifed display typeface New York City, Sport Super Italic, the blackletter typeface Kendrick Human Sacrifice, the avant garde typeface Hueviy Thin, and the piano key typeface Trust Me, the sans typeface November, the triangle-serifed Naaah, and Sestra Thin in 2017. [Google] [More] ⦿

Alexander McCracken
[Neutura]

Alexander Sizenko

Russian creator of the free chess font Chess 7 (2008), the free pixel fonts LED Stadion 7 (2013), Dash Dot Square 7 (2013), Enhanced Dot Digital 7 (2013), Small Dot Digital 7 (2013), Modern Dot Digital 7 (2013), Square Dot Digital 7 (2013), Bold Dot Digital 7 (2013), Serif Dot Digital 7 (2013), Serif LED Board 7 (2013), Modern LED Board 7 (2013), Half Bold Pixel 7 (2013), Dash Pixel 7 (2013), Serif Pixel 7 (2013), Power Pixel 7 (2013), Enhanced LED Board 7 (2013), Thin Pixel 7 (2013), Smallest Pixel 7 (2013), Modern LCD 7 (2013), Advanced LED Board 7 (2012), Digital 7 (2008, LED face), Post Pixel 7 (2013), Triple Dot Digital 7 (2013), Dash Dot Square 7 (2013), Enhanced Dot Digital 7 (2013), Dash Digital 7 (2013), Light Pixel 7 (2013), High Pixel 7 (2013), Mini Pixel 7 (2012), Long Pixel 7 (2013), LED Counter 7 (2013), Digital Counter 7 (2013), LED Digital 7 (2013), LED Board 7 (2013), Light LED Board 7 (2013), Advanced LED Board 7 (2013), Printed Circuit Board 7 (2013), Brick LED 7 (2013), Rounded LED Board 7 (2013), Pixel Dingbats 7 (2013), Square Wood 7 (2013), Small Bold Pixel 7 (2013), Rounded Pixel 7 (2013), Line Pixel 7 (2013), Bold LED Board (2013), Narrow Rectangle 7 (2013), Dot Digital 7 (2013, +Advanced), Square Metal 7 (2012), Stencil Pixel 7, Computer Pixel 7 (2012), Small Pixel 7 (2012), LED Counter Plus 7 (2013), LED 7 Display (2012, +Light), Neon Pixel 7 (2012), Old Pixel 7 (2012), Square Stone 7 (2012), Square Pixel 7 (2012), Pixel Font 7 (2012, +Outline), Pixel LCD7 (2012), Advanced Pixel 7 (2012), Ice Pixel 7 (2012), Void Pixel 7 (2012), Dash Dot LCD 7 (2012), Dash Dot Square 7 (2013), Enhanced Dot Digital 7 (2013), Double Pixel 7 (2012), Advanced Pixel 7, Advanced Dot Digital 7 (2013), ZX Spectrum 7 (2012), Bubble Pixel 7, Cyrillic Pixel 7, Basic Square 7 (2013), Basic Sans Serif 7 (2013), Effective Way 7 (2013), Arrow 7 (2013), Abricos 7 (2013), Computer 7 (2013), Disco 7 (2013), Software Tester 7 (2013), Elegant Line 7 (2013), Soft Lines 7 (2013), Effective Way 7 (2013), and the free LED display font Digital-7 (2008).

Typefaces from 2014: Game Font 7, Square Sans Serif 7, High Sans Serif 7, Smooth Line 7, Bright Line 7, Double Line 7, Rounded Line 7, Rounded Sans Serif 7, Android 7, Arial Narrow 7, Bold Sans Serif 7, Light Sans Serif 7 (avant-garde sans), Modern Sans Serif 7, Software Kit 7 (dingbats), Advanced Sans Serif 7m Strong Line 7.

Typefaces from 2015: Steel Blade 7, Semi Rounded Sans Serif 7, Bold Game Font 7, Double Force 7, Roman Font VII, Game Sans Serif 7, Sans Serif Plus 7, Soft Sans Serif 7, Smooth Pixel 7, Clear Metal 7, Military Font 7 (stencil).

Typefaces from 2019: Clear Line 7.

Open Font Library link. Fontspace link. See also here. Aka Chess 7 and as Style 7. [Google] [More] ⦿

Alexandra Szantai

During her graphic design studies at MOME university, Alexandra szantai (Pilisszentivan, Hungary) created an untitled display typeface by blending Manhattan ITC (1970) and Avant Garde (1970). [Google] [More] ⦿

Alexey Malkov

Graphic designer from Kiev, Ukraine. He created the geometric typeface Midnight (2010), which was inspired by Herb Lubalin. Switch Connect (2011) is a high contrast art deco face. Lighter (2011) is a techno typeface that cries speed. Times New Fuck (2011) is a Peignotian sans with stiletto terminals on some glyphs. Blamed Neverland (2011) is a connect-the-dots avant-garde display face. Vampire (2011) is a gothic octagonal face. Geometria (2011) is a minimalist straight-edged face.

Typefaces from 2019: Beast (a sharp-edged and pointy humanist sans), ALS Hauss (a Bauhaus sans family, released by Art Lebedev), Wagon (at art Lebedev: Wagon is a low-contrast closed neogrotesque typeface with static proportions and expressive decorative elements. It is a good rough, technological and industrial typeface, perhaps useful for signage on trains).

Typefaces from 2020: Span (at Art Lebedev Studio). He writes: Span is a family of variable typefaces combining the traditional shapes of block antiquas of the 19th century with the geometry of modern digital type. Span is based on the cult typefaces of the era, Clarendon and Century Schoolbook. [Google] [More] ⦿

Alexis Graf

Alexis Graf (Brookly, New York) created the avant-garde family Courtney Crawford (2012).

Alfred Mahlau

German (?) designer who made the avant garde typeface Mahlau in 1926, which was in the Elsner&Flake and Scangraphic collections. The Elsner&Flake typeface dates from 1986. [Google] [More] ⦿

Alien Typefaces
[Nicholas Fabian]

Six futuristic typefaces by Canadian Nicholas Fabian, yours if you can decode his encrypted messages. Try them out! One is called FModernMedium (avant-garde style, 1993). Fabian died in April 2006. [Google] [MyFonts] [More] ⦿

Alisa Nowak

French type designer who studied at Fachhochschule Düsseldorf (2009) and at the Ecole supérieure d'art et de design d'Amiens, France, class of 2011. At ESAD her graduation typeface was called Eskapade. In 2012, the blackletter typeface Eskapade Fraktur was published by Type Together. The angular weights Eskapade Regular and Eskapade Italic were added in 2012.

With Sebastien Degeilh, she is a partner in Nowak & Degeilh, a French type foundry started in 2012. At Nowak & Degeilh, she created the 3d geometric overlay font family Carton (2012).

For the next few yours, her work was published by Fontyou:

She co-designed the stylish Egyptian typeface Achille FY (2012) with Gia Tran, Gregori Vincens, Valentine Proust and Bertrand Reguron, and Achille II FY (2014) with Valentine Proust and Gregori Vincens.
With Gia Tran, Gregori Vincens, Valentine Proust and Elvire Volk, she co-designed the monoline sans display typeface Younion FY (2013). Younion One FY is free at Dafont.
Codesigner of Kaili FY (2013): an exotic typeface with crazy ligatures, inspired by Indian scripts, designed by Gregori Vincens, Bertrand Reguron, Gia Tran and Alisa Nowak.
The EPS format display typeface Alice FY (2013). Co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust. Alice FY was inspired by Adrien Genevard's lettering. Sub-themes are Alice in Wonderland and playing cards.
The EPS format frilly script typeface Lullaby FY (2013), co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It too was inspired by Adrien Genevard's lettering.
Exquise FY (2013). A fashion mag didone co-designed by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou.
Bruum FY (2013) by Gia Tran, Alisa Novak, Micaela Neustadt, Bertrand Reguron and Grégori Vincens. Bruum FY is a curvy stressed elliptical sans typeface.
Four typefaces done with Luis Gomes and Jeremie Hornus: Booster FY (2013: a rounded sans), Gauthier FY (2013: a transitional typeface family, followed in 2014 by Gauthier Next FY), Lean-O FY (2013: a slab serif with leaning asymmetrical brackets; see also LeanO Sans in 2014), Marianina FY (2013: a contemporary condensed 24-style headline sans family with simple strokes. Characterized by kinks in the ascenders).
Gregori Vincens, Gia Tran, J&eacxute;rémie Hornus and Alisa Nowak co-designed the humanist sans typeface Klaus FY (2013).
The slender display typeface Sérafine FY (2013). Co-designed with Jason Vandenberg and Jérémie Hornus.
Codesigner with Mr. Zyan of the alchemic hipster font Pyrenees FY (2013).
She collaborated with Jérémie Hornus and Fabien Gailleul on the design of the astrological simulation typeface Astral FY (2013). The same group of three collaborated in 2014 on Naive Gothic FY.
In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days.
Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak co-designed the very humanist sans family Saya FY and Saya Semisans FY.
Luis Gomes, Jérémie Hornus and Alisa Nowak co-designed the rounded sans typeface family Booster Next FY in 2014.
Joao Costa co-designed the thin lachrymal typeface Zitrone FY in 2014 at FontYou with Jérémie Hornus and Alisa Nowak.
In 2014, Monica Munguia, Alisa Nowak and Jérémie Hornus co-designed the blackletter typeface Blackmoon FY.
In 2014, Matthieu Meyer, Alisa Nowak and Jérémie Hornus co-designed the wedge serif typeface Ennio FY at FontYou.
The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak.
In 2014, Joachim Vu, Jérémie Hornus and Alisa Nowak co-designed the classical copperplate script typeface Vicomte FY.
Codesigner with Jan Dominik Gillich of Sperling FY (2014, FontYou), a didone-inspired headline or fashion mag display typeface family.
Designer of Marianina Wide FY (2014).
In 2014, Alisa Nowak, Gregori Vincens and Andrey Kudryavtsev created Achille II Cyr FY.
Codesigner of Hansom Slab FY (2014, Gia Tran, Jeremie Hornus and Alisa Nowak).
Still in 2014, Julien Priez, Hugo Dumont, Jérémie Hornus and Alisa Nowak co-designed Rowton Sans FY, a sans family patterned after Gill Sans in six weights, from Hairline to Bold---named after Arthur Eric Rowton Gill, it has the Gillian lower case g but italic lowercase is a bit too far afield for my own taste, especially the squeezed g.

In 2015, Jérémie Hornus, Clara Jullien and Alisa Nowak co-designed the spurless / organic slightly inflated sans typeface family Diodrum at Indian Type Foundry. Diodrum Rounded (2020, by Manushi Parikh, Jérémie Hornus, Clara Jullien and Alisa Nowak) is a spurless organic sans family.

In 2016, Alisa Nowak, Julie Soudanne and Jean-Baptiste Morizot co-designed Graphico (Indian Type Foundry): Its letterforms are industrial and square-sided. The typeface looks like the product of precision mechanics: it should be featured together with tech---either old tech like appliances or watches, or new tech like apps and laptop stands.

In 2016, Alisa Nowak designed the all caps art deco / avant garde typeface family Inbox that comes with many great ligatures and interlocking glyph pairs. It was published at Indian Type Foundry.

Alpinist (2016) is a humanist sans with a small x-height optimized for magazine design and other editorial applications. The edges are slightly rounded for easy reading. It was designed by Jeremie Hornus and Alisa Nowak. Somehow, it evolved into Alpino at Fontshare.

In 2016, Jeremie Hornus and Alisa Nowak released Associate Sans and Slab (+Stencil), and Associate Mono at Indian Type Foundry. This is a family with an American gothic look.

Vesterbro (Jeremie Hornus, Alisa Nowak, Ilya Naumoff, Black Foundry, 2017) is a high-contrast Latin / Cyrillic typeface with a Viking feel that won an award at Granshan 2017.

Papelli (2016) is an informal typeface family by Alisa Nowak and Julie Soudanne.

At Fontstore / Fontshare, she released the 6-weight sans typeface Excon in 2017. Excon is named after and a tribute to French designer Roger Excoffon (1910–1983). Excon's letters are top-heavy, a rarely-explored idea in type design Excoffon himself experimented with.

In 2017, Jérémie Hornus, Théo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu co-designed Bespoke Sans, Bespoke Serif and Bespoke Slab at Fontstore / Fontshare. In 2020, Bespoke Stencil was added.

In 2017, Jérémie Hornus, Julie Soudanne and Alisa Nowak designed the attractive titling didone typeface Zesta.

Zodiak (2021, Jérémie Hornus, Gaetan Baehr, Jean-Baptiste Morizot, Alisa Nowak, and Théo Guillard at Fontshare) is a free 24-style text family with Century-like newspaper roots and sturdy bracketed slab serifs that was originally named Claire (2020).

In 2020, Jeremie Hornus, Theo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu co-designed Bespoke Stencil (2020, Fontstore). [Google] [MyFonts] [More] ⦿

Allison James
[Chequered Ink]

Allison Supron

Marquette, MI-based creator of the thin avant-garde sans typeface Fondant (2012).

Alvaro Thomáz Oliveira
[Alvo Type (or: ATF, or: Alvaro Thomaz Fonts)]

Alvo Type (or: ATF, or: Alvaro Thomaz Fonts)
[Alvaro Thomáz Oliveira]

Ipatinga, Minas Gerais-based (or Santa Barbara-based, or Belo Horizonte-based) designer of these typefaces in 2011: Gogating Book (a Helvetica-like face), Mytupi, Pirates Writers, Chapenettoer 8 Thin, a large x-height and large-bowl minimalist sans face. This was followed by the bold caps sans typeface Laranja Pro and Laranjha Pro Fraco, Aovel Cool (geometric monoline sans), Aovel Sans Rounded, Aovel Sans Light, Aovel Neo (based on Avant Garde), Yagora (humanist sans), Salika, Sheep Sans (2011), Mariana Family, Extrememame, Timo Roman, AvantFox (based on Avant Garde), Brasil (based on ITC Lubalin), Hasteristico (monoline geometric typeface based on Avant Garde), Amiju Book, DMF Arreia Black (fatted up Helvetica), DMF Cantell, DMF Handwriter, DMF Handatme, BDP Sergipe, BDP Fox, BDP Clien, BDP Up, and BDP Gelly.

Typefaces made in 2012: Flex Display (a free thin sans), Meva (geometric sans), Duase Light (a thin rounded avant-garde geometric sans), Tenue Sans (a distinguished sans---tuxedo required), Cridigo Sans, Cogga (a display sans face), Homizio (a free 6-style geometric sans family), Aliquam, Regencie, Blouding (from blood samples?), Quinfo (avant garde family), Frugal Sans, Agnele Modern (a didone titling face), Salutino, Bondoluo (geometric avant-garde sans, +Light, +Display), Duase (rounded monoline sans).

Typefaces from 2013: Panjo (humanist titling sans inspired by Eric Gill), Grieff (a DIN-like sans), Burne (a geometric all caps sans with elements of Futura and Avant Garde), Suicca (hairline sans), Datidi (custom slab face).

Typefaces from 2014: Homizio Nova (sans), Amper.

Typefaces from 2015: Savass Sans.

Typefaces from 2016: Cerko (a gemoetric circle-based futuristic typeface).

Typefaces from 2017: Beaga (a slab serif named after Belo Horizonte).

Typefaces from 2019: Antropil (a rounded sans), Finis Grotesk (inspired by the Bauhaus movement), Finis Text, Finis Text Soft.

Typefaces from 2020: Dumont (a 27-style structural geometric sans named after Brazilian aviation pioneer Alberto Santos dumont), Hauslan (a sans family).

Home page. Fontspace link, where he is known as authimie. Another Fontspace link. About me page. Behance link. Another Behance link. About Me link. Dafont link. Aka Alvaro Ovelha. Creative Market link. Future URL. Home page of Alvaro Thomaz. [Google] [MyFonts] [More] ⦿

Amanda Mocci

For the Australian wine brand Swoon, Amanda Mocci drew the hairline avant-garde typeface Swoon in 2010. Amanda is a graphic designer in Montreal. [Google] [More] ⦿

Amondo Szegi
[FONTana Typestudio]

Ampersand Creative

Ampersand Creative (Liverpool, UK) created the hairline avant-garde sans typeface Duality (2013). [Google] [More] ⦿

Anastasia Maslennikova

Motion graphics designer in Auckland, New Zealand. Creator of Le Milse (2015: an avant-garde typeface). [Google] [More] ⦿

Andfonts (was: Andrikos)
[Andrii Shevchyk]

Ukrainian designer (b. 1987) of the sans display typefaces Mitroe (2017) and Andtioh (2017, perhaps useful as a neon or sci-fi font). In 2019, he published the very tilted script typeface Olean and the stylish text typeface family Agatho.

Typefaces from 2020: Arlian (formal, cursive), Xbka (a techno speed circuit font), Alyin (hand-printed at a very steep slope), Strila (cyberpunk).

Typefaces from 2021: Saneyi (a high-contrast display typeface), Ausion (a six-style sans with micro wedge serif terminals), Riveruta (a monolinear geometric sans), Sklow (an avant-garde monolinear sans).

Typefaces from 2022: Galifex (a wide monolinear modernist sans). [Google] [MyFonts] [More] ⦿

André Gürtler
[Team 77]

Andreas Dauerer

Graphic designer in Berlin. His typefaces include Asgard Grotesk (2012), Evil Neue (2012, sans), Jjang (2012), Ladro (2012), Schicke (2012, geometric sans), Tano (2012), Sherman Mono (2012), Tsukunft (2012, experimental), Arsene (2012), Decodorant (2012), Kirky (2012), Nordfrost (2012), Sedadda (2012), Sloth (2012, an avant garde sans), Svangard (2012), Yueah Mono (2012), and Kamek (2012, a great feather pen rendering of a Venetian renaissance typeface).

Andreas Pihlström
[Subtype (was: Typisc or Suprb)]

Andres Moreno Walter
[Nima Type (or: Nima Visual)]

Andrew Galarza
[Andrew Galarza Foundry (was: Chance Type Co, and Krayon Ink, and before that, Jedi Serpent Fonts)]

Andrew Galarza Foundry (was: Chance Type Co, and Krayon Ink, and before that, Jedi Serpent Fonts)
[Andrew Galarza]

Chance Type Co evolved out of Krayon Ink (ex- Jedi Serpent). It has commercial fonts by American designer Andrew Galarza who lives in Miami, who started making type in 2001. These used to be shareware when the place was called Jedi Serpent Fonts.

Galarza's early typefaces: Jeannette (2002), Display Swash, KY and an Urge, 65 Swash, Melfina, Redheads in Transit (beautiful handwriting), Butterfly Collection (dingbats), 5 Am Summer, Transit One, Superchalmers, Like Wind in The Summer, Delithium, Fane Serane, 5am Andrew (2005, handwriting), 5am Chance No 01, 5am Transit (handwriting), 5am Gender, Grey (2005), Melfina (2002, inspired by Emigre's Council), 5 AM Chance No. 1 (which used to be called Vespers), Vespers (2001, based on lettering for a Bjork album), NewTimesRomanHyper and CourierStrange (reworked Monotype fonts: the latter one has letters in brackets), 90Days, Blistel, Cancer, Freeware, Futura, Lode, Love-Quickie, Image Times, Stylus (modified Monotype font), Jenice, Element, Prozac Child, Codeca, Ginger, Ginger2, Boredom, Awitched, Mastillo, Mastillo2, PaperChase2blockedinside (reworked BadFilms by Ray Larabie), Screwupsuprock, Arialbullets39mmwideclear and Arialbullets4VerbRicochet (reworked Monotype Arial-Plain: letters in and on balls), Dots, VanishingBoy (modified Ray Larabie font; the best in the series I think), 1979 (fantastic avant-garde font), Agent 508 (equally great display font), Aloin, Bionic, Backspace, ChemicalTest, Click, Dragon, Eggman, Feelings, Flowery Text, Gallows, Gigayoda, Impression, Lavero, Lorent Roman, LoveJoy, Melody Metrics, Never, Noose, Numbers (hacker font), Opagan, Opus-sc, Panama, Poison Pill, Potheads, Rainy, RoamJapan, Room, Butterfly, Thinker, Veronica, Western Flick, Reterik, MisbehaviorTake23, Thinker, Paperchase2blockedinside, Children's Television Workshop (letters based on the Sesame Street TV show, 2002), KY and Urge, 65 Swash, Redheads in Transit, and I Love My Momma.

On my last visit, there were just a few shareware fonts left (in OpenType format): 5AMButtercup, 5AMButterflyCollection, 5AMDelithium, 5AMLikeWindInTheSummer, 5AMSuperchalmersItalic, 5AMSuperchalmers.

MyFonts sells some of his fonts: 5 AM Buttercup (Andrew Galarza), Grey (Andrew Galarza), 5 AM Gender (Andrew Galarza), 5 AM Chance No 01 (Andrew Galarza), 5 AM Andrew (Andrew Galarza), 5 AM Transit (Andrew Galarza), 5 AM Summer (Andrew Galarza), Melfina (Andrew Galarza), Childrens Television Workshop (Andrew Galarza), Vespers (Andrew Galarza).

Jedi Serpent evolved into 510 ink and then Krayon Ink. In 2005, Krayon Ink was renamed Chance Type Co. Home page. Old MyFonts link. [Google] [MyFonts] [More] ⦿

Andrew McCluskey

Independent game developer Andrew McCluskey (NAL Games, Dundee, Scotland, b. 1991) published hundreds of free typefaces before 2015 under the NAL label. In 2015, Andrew McCluskey, after becoming Allison James, joined forces with Daniel Johnston and set up Chequered Ink in bath, UK. They live in Newport, Wales. Andrew's pre-merger fonts are listed here.

Andrew McCluyskey designed the free LED-inspired Kinglify (2011), Digital Display (2012), and Princelify (2011). Manly Man (2011), Metal Arhyrthmetic (2011) and Ace Futurism (2011) are semi-octagonal. Consider Me Vexed (2011) and Pixel Flag (2011) are pixel typefaces.

In 2012, he made She Curls in the Mist, Xero's Karma, Pastcorps (army stencil), Gnome Splinters, Fought Knight, Vermin Vibes (futuristic), Vermin Vibes 1989 (pixel face), Vermin Vibes 2, Vermin Vibes 3 (2014), Vermin Vibes Diet, Vermin Vibes Redux, Dubbing Star (futuristic), Sorrier Statements, Particulator (an octagonal paper fold typeface), Coder's Crux (a pixel typeface created for programmers, FontStruct), Triggering Fanfares (octagonal), Alt West, Notalot25 (pixel face), Notalot35 (pixel face), Lord Juusai (inspired by the logo for Lord Tensai from WWE), Zephyr Jubilee (an alien language simulation typeface), Bevel Fifteen, Xero's Theorem (sci-fi), Sawchain (2012, FontStruct), Dubbing Step and Here Be Dubstep (FontStruct), Italic Bricks, Gang Wolfik (angular, +Blade), Ruaturecu, Quous Inno, Electramaniacal, Xodohtro-Nu (a black octagonal typeface), Distortion of the Brain, Berate the elementary (techno face), Not sure if weird or just regular, Opulent Fiend, Rawhide Raw 2012 (techno, inspired by the WWE Raw logo of 2012), Particulator II (octagonal), The Missing Link (trekkie), Thunderstrukk, Understrukk, Ganf Wolfik Blade (a pointy Blade style font).

Typefaces made in 2013: Call of Ops Duty, Spinebiting, Laceration, Casual Hardcore, Zany Races, Vermin Vibes 2 Nightclub, Exoskeleton, Perspire, Piston Pressure (sans), Particulator III, Liberty City Ransom (grunge), Zdyk Leo, Variety Killer (grunge), Savantism, Vermin Vision, Zdyk Sagittarius (a circle-based experimental font), Milestone One (a gaspipe sans), Comfortably Fucked, Noasarck (+Sporadico, +Quattro), Future Time Splitters, Heart Breaking Bad, Jan Hand, Erhank, Exoskeleton, The Rave Is In Your Pants, Minecraft Evenings (inspired by the Minecraft logo), FoughtKnight Victory (a video game font), Piescese, Comic Spans, Cauterise, Dead Font Walking (rough-edged poster font), Cutthroat Clawmarks, Eride (grunge), Effervescent Superbeings, Front Page News, Kill The Noise (brush script), Distort You A Lesson (grungy), Vermin Vibes 2 Black, Vermin Vibes 2 White, Vermin Vibes 2 Soft, Dubstep Cadence, Relapse Into Madness, Kings of Kings Lynn (dadaist), Smorgasbord, Scream When You'Re Ready, I Phone You Phone, Respire, Perspire, Vermin Vibes Slant, Sharp, Cursivertex, Rick Lobster (stencil face), Cursivertex, Vermin Vibes Dystopia (cyberpunk), Wabbit Sans, Calligraphy Aquiver, Agra Axera (knife-edged sci-fi face), The Keepsake Days, See You At The Movies, Xero's Proof, Vermin Vibes Out Of Ink (textured), Melancholic Roadeo, Wickermanor (a stiletto typeface), Lord Juusai Rises, Vermin Vibes Ex, Vermin Vibes Roundhouse, Just in the Firestorm, Stuntcroft (modular), Ghetto Magnetic (grunge), QA Reports (fat finger typeface), Y-Andermo (stiletto style), Dragon Slapper.

Typefaces from 2014: Man Flu (FontStruct), Zany Races, Big Quicksand, Modern Caveman, Alpha Sapphire (a Pokemon typeface), Omega Ruby (a Pokemon typeface), Schweiz, Beta (FontStruct), Jawbreaker (FontStruct), Tomorrow Wind, Embezzler, Royal, Final Gambit (grungy athletic lettering), NAL Hand, Fingbanger, Dont Waste That Napkin (squarish font), Bold Testament, Cisgender, NonchalantLove, Grelsey Kammar (sic), Valiant (stencil), Anger Management, Italipixel, Ultramarine, Nero (sci-fi font), Bamboozler, Seriffic, High Jinks, Iregula (sic), LNR Phonetic Alphabet, Primary School, Playtime (3d face), Electromagnetic Lungs, Node to Nowhere, Alienated (trekkie font), Questrian, Scars, Da Se Nei (art deco), Dance Floor (dot matrix face), Edge Cutting, Lord Juusai reigns, Superpower Synonym (fat brush), Fought Knight Die (techno), The Thrill of the Kill, Lay of the Land, Deavantgar (art deco), Confidel, Fight Night, Comeback of the Damned, Vermin Vibes Corrupto, Chandstate, Scars, Bustin Jieber (pixel typeface), A Dash of Salt, Come Rain or Fall, Xsotik, Sanseriffic (avant-garde sans), Cassius Garrod, Effortless Tattoo, Coder's Crux 2, Radaro, Overdrive Sunset (brush face), Dead CRT, Fatality's Edge, Tolerant, Coder's Crux 2 (dot matrix), Consider Me Vexed (pixel face), Diamante, Pixel Flag, Aardvark CWM Type, Enter The Grid, Vermin Vibes 2 EDM XTC, Byron, See You at the Movies 2, And Then It Ends, God Hates Westboro, Writing Without Ink, Zdyk Aquarius, Curvert, Superdie, Rocky Road, Animal Silence (constructivist), Gnaw Hard, 19th Century Renegade, Trip Trap, Freudian Slit, Digital Dismay (LED face), Zdyk Pisces (circle-based typeface), Zdyk Scorpio, Guilty Treasure (techno), Wolfganger (inspired by Wolfgang Gartner), Xero's Retreat, Sitdown (octagonal), Stencylette, No More Justice (blackletter), Masterblast (sci-fi), Kesha (sci-fi), Primal Dream, Grandma's Television, Keyboard Warrior, Foughtknight, Blissful Thinking, Positive Reinforcement, The End of Days.

Typefaces from 2015: This Sucks (pixel font), Front Page Neue, Vermin Vibes Mert, Rock Elegance, Stripes.

Typefaces from 2016: Enter The Grid, Fill In The Gaps, FoughtKnight, Grunge Tank, Alt West.

Dafont link. Most of his typefaces were made using FontStruct, where he is known as NAL or Notalot. Fontspace link. [Google] [More] ⦿

Andrii Shevchyk
[Andfonts (was: Andrikos)]

Angela Wong

Graphic designer in Ontario, who created Arch Type (2011, a geometric avant-garde face). [Google] [More] ⦿

Angelina Kovel

Graphic designer from Saint Petersburg, Russia, who specializes in hand-printed typefaces, often with applications in children's books. In 2020, she released these typefaces: Touch (display), Gravitas (a thin avant garde sans), Little Dinosaur, Jamie (script), Rocking Horse.

Typefaces from 2021: Charming Lines, Tutti Frutti, Sweet Apricot, Magical Time, Tropicana, Garden's Secrets. [Google] [More] ⦿

Angus Macpherson

British designer who works as a designer at Church of London. Creator of commercial typefaces at The Type Foundry, such as Nord Express (art deco; based on the Nord Express train poster) and Grande Fete (hairline avant garde caps face). [Google] [More] ⦿

Anissa Carrington

Wurzburg, Germany-based creator of Kabana (2014), an avant garde sans typeface custom designed for a soccer world championship afterparty. Behance link. [Google] [More] ⦿

Ann Camp

Author of Pen Lettering (1958), an interesting penmanship book. The construction of an alphabet as presented by Ian Taylor on his blog, based on Ann Camp's book, is fascinating. It all starts with a square, and within it, an inscribed circle and an oblong rectangle of area equal to the circle. All letters relate, as Ann Camp shows, to that basic structure. Ann's all caps skeleton alphabet obtained in this manner predates Avant Garde and Herb Lubalin by almost twenty years! [Google] [More] ⦿

Ann Zemlyankina

Graphic designer and food stylist in Moscow. Creator of an avant-garde Latin / Cyrillic typeface (2014). [Google] [More] ⦿

Anna Ilich

Novi Sad, Serbia-based designer of an untitled Latin / Cyrillic avant garde typeface in 2014. [Google] [More] ⦿

Anna Nangia

Creator of the hairline avant garde font Visart (2013). It was developed during her studies in Budapest. [Google] [More] ⦿

Anna Werigo

During her studies, Minsk, Belarus-based Anna Werigo designed the free Latin / Cyrillic avant garde typeface Minsk (2016) and the hipster typeface Minsk Accent (2016). The download link no longer works. [Google] [More] ⦿

Anthony Carlucci

Graphic designer from Massepaqua, NY, who proposed the avant-garde font Codegraphik in 2002. [Google] [More] ⦿

Antje Driemeyer
[Driemeyer Design]

Antony De Meester

Canadian designer of the artsy avant garde caps display typeface Vienna Extended (1989, Letraset).

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

Antony Walton

Londoner who created the oriental simulation typeface Japanish (2010). He also got interested in the Russian avant garde period, and made a constructivist family called Potemkin (2010). Behance link. [Google] [More] ⦿

Architaraz Type (or: Kassymkulov Design)
[Zhalgas Kassymkulov]

Architaraz Type (Kassymkulov Design) is located in Shanghai, China, and Taraz, Kazakhstan. Its type designer, Zhalgas Kassymkulov, was born in 1986 in Kazakhstan. His initial type designs were all done with the help of FontStruct. In 2013, he went commercial as Architaraz Type.

He made a gridded modular typeface called Targeted (2011). Sliced (2011) is a counterless stencil face. Discostructed (sic) (2011) is a texture face. Mono Dot (2011) is a thin dot matrix face. Mono Hor (2011) is a horizontally striped version of it, Mono Ver (2011) a vertically striped version, and Mono Bold (2011) a bold version. Promo (2011) is purely geometric. Semiz (2011) and Semiz Light (experimental) are partly art deco. Audio (2011) is based on the logo of audiojelly. Arro (2011) has letters with arrowed terminals. Hexa (2011) is hexagonal. Happi (2011) is a fat finger face. Semiz Black (2011) is a free fat pixel face.

Creations from 2012: Pearls of Margar, Korgan, Phunni, Carbo, Carbo ii, Lenta, Phunni, Jambul, Extraterrestrial (sci-fi), Rap My Hip-Hop, Armada 1991 (monospaced), Venus (white on black), Garage Garbage (bold avant-garde design), WHAQ, Extra Fontestrial, Algae, A Tasbaqa, Salem (rounded bold typeface), Thaiana Jones, Salem (fat rounded face), Audio 2012, Balapan, Dalmat, Bonn (an art nouveau army stencil face), Mgla, Teris (white on black), Degoratix (curly), Barney Stencil (a fantastic brushy stencil), Lentalicious, Blackway Str, Schengbers (a great piano key stencil family), Tramcar Typo, Mgia, Brushure (a fat curvy display face), Extralien, Serrific Terif, Missinger, Tolkyn, Murt, Twisture, Soliture, Threedure, Antillic, Garage Garbage, Arro, Happi, Schengbergs Hi.

Typefaces from 2013: AT Dombra (psychedelic typeface after Motter Ombra), AT Hoppy (fat letters), AT Liniya (blackboard bold), AT Karagai, Hed Kandi (techno face), AT Traffa Stencil, AT Schema, Naation, AT Nayman, AT Roughin, AT Rooktura Stencil, AT Duba, AT Archistency, AT Liena, AT Bombarda (fat stencil face), AT Sulfur ii, AT Mad Pilot, AT Tasbaqa, Vaia Con Dios, Betaport, Mooltyashka, AT Stincel (a lively stencil font), Millio, Tamshy, Offelia, Jalgas (retro script: a winner in the FontStruct Connected Script Competition), Laffa (connected stencil script), Dlinalys, Diagona, Kitara (psychedelic), Archtitalic, Bonn (bony stencil), Teka 1, Teka 2, Unknownim, Khara (ultra-heavy slab face), Shlab (slab serif), Unknownim (slab serif), Archtalic, Argyn, Linea Runde, Mechatraps (+Plain), Eliksir, Drilliant, Katamaran (art deco), Lagman, Neurojet (experimental), Jazzure (bullet hole display face), Diagon, Aroth, Pharaoh's Delight (piano key / art deco typeface), Cocomi, AT Burshak, AT Sulfur, AT Taspa, AT Affina.

Commercial typefaces done in 2013: KD William, William Shakespears, AT Archistency (piano key stencil face) AT Bombarda (piano key stencil face), AT Audio, AT Argyn.

Typefaces from 2014: AT Sudoku (each letter is actually a sudoku puzzle!), AT Tactica (tic tac toe voard), AT Sudoku+, AT Pixtensans, AT Ayna, AT Kerey, AT Giveaway, AT Lagman, AT Asotika, AT Tugan, AT Yertegi, AT Nudgera, AT Diagona, AT Golovkin (stencil typeface named after middleweight boxer Gennady GGG Golovkin), AT Arachis (stencil), AT Tugan (fat rounded sans), AT Baktera, AT Jumpa Jumpa (stencil), AT Nudgera, AT Digitta, AT Archaus, AT Ladya (ball terminal stencil), AT Yin Yang, At Keste, AT Yazyk (rounded stencil), AT Sulfurian (techno stencil), AT Fasten Your Seatbelts (diagonally cut stencil), AT Buckle Up (like AT Fasten Your Seatbelts), AT Droppix, AT Knitka (knitting font), AT Sagat, AT Wild Archid (african theme font), AT Steglo.

Typefaces from 2015: ATAday, ATArchistruct, ATAttache, ATBogomol, ATCastleryRock, ATChaperon, ATKitay (oriental simulation), ATQuba, ATRaushan, ATRoyal, ATShlanga, ATSkos, ATTrassa, AT Giveaway 4, AT Sherit, AT Ribborn.

Typefaces from 2016: ATArchaus2, ATArchistructOutline, ATDornach, ATDrogo, ATEnschede, ATExtrema, ATGiveawayNo5, ATGiveawayNo6, ATHadamard, ATTwelve, Windows Icon Font.

Typefaces from 2017: ATBals, ATBevelour, ATEsrever, ATHitchook, ATImagiro, ATLauda, ATMigdalia, ATRozalla, ATUniversiade, ATYangster, ATZabor, ATThinnetry.

Typefaces from 2018: KD Eight, KD Tramcar, KD Algae Brush, Forza Juve (inspired by Juventus FC's logo), KD Hachure (a multiline typeface family), KD Half Arc, KD Space Band, KD Hachure (+Inline, +Outline), KDAnniversary, Armiya (army stencil), KD Baba Yaga (multiline).

Typefaces from 2019: KD Para, KD Pempo (a multiline art deco font).

Typefaces from 2021: KD Ziberia (based on Antonio J. Morata's Ziberia typeface from 2011), KD Dekorat (a modular labyrinthine or Maya genre set of capital letters).

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

Archive Type
[Matevz Medja]

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 (avant garde sans), Archive Autograph Script, Archive Black Title Text, Archive Black Title, Archive Blackcap, Archive Chased Black, Archive Cider (engraved; a vintage money font), 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 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 (blackletter), Archive Mann (an industrial 3d typeface), Archive Autograph Script, Archive Tinted, Archive Harlem Title (blackletter).
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] [MyFonts] [More] ⦿

Ariel Di Lisio
[Negro]

Armtype
[Edik Ghabuzyan]

Head of the Department of Creating and Keeping Armenian fonts of the National Book Chamber in Yerevan, Armenia. Edik Ghabuzyan (b. 1952) has been creating Armenian computer fonts since about 1988---a total of about 300 digital fonts. In 1997, one of his fonts won the Best Font prize in HiArt Armenian Fonts competition. In 2005, his Vernatun and ArmTimesST fonts were awarded the main prizes and the Titghosagir the first prize in Mashtots-1600 Electronic Fonts competition. In 2006, several of his fonts won the main prizes in Armenian Schoolbook Fonts competition. He has designed Armenian letters in Unicode and later Latin, Cyrillic and Greek letters, preserving a uniform style /across the spectrum. Today, Edik Ghabuzyan works at the National Book Chamber of Armenia as the head of the section of Saving and Creating Armenian Fonts. He won several awards at Granshan 2008, and organized both Granshan 2008 and 2009.

He created (free) Armenian extensions of Microsoft's Tahoma, GHEA Tahoma (Regular, Bold), in 1996. His winning entries in Granshan 2009 include Aragast (for Cyrillic), Asparez, Parmani, Not grir, and Diana.

He also designed Mariam, GHEA Tigran (2008, awarded the Grand price in the Granshan 2008 International Type Design competition), GHEA Koryun (2011), GHEA Gohar (2009), GHEA Aspet (2011), GHEA Lilit (2012, a nice text family), GHEA Narek (2012, a sans family with built-in contrasts), Mijnadaryan (2013), GHEA Arpi (2013), Avandakan (2013), GHEA Dvin (2014), GHEA Tatevik Display (art deco), GHEA Kamar (geometric avant garde sans), GHEA Katil (a plump display typeface related to the modern fat typefaces), GHEA Narek Serif, GHEA Aram.

Free official fonts of the Armenian Government: Grapalat, Mariam. Most of his fonts cover Latin, Greek, Cyrillic and Armenian.

A partial list of his typefaces: ASF Angela, ASF Angela Sans, ASF Daniel, ASF Daniel Sans, ASF Daniel Slant, ASF Dar21, ASF George, ASF Goga, ASF Library, AVH Arman, GHEA Anahit, GHEA Aragast, GHEA Araks, GHEA Aram (skeletally related to didone), GHEA Aram Display, GHEA Aram Title, GHEA Ararat, GHEA Aratta, GHEA Architect, GHEA Arpi, GHEA Ashot Erkat, GHEA Aspet, GHEA Ayb (2020: a multilingual sans typeface for Latin, Cyrillic (+Bulgarian Cyrillic, +Ukrainian Cyrillic) and Armenian), GHEA Ayg, GHEA Bekum, GHEA Bever, GHEA Biayna, GHEA Circle, GHEA Davit, GHEA Diana, GHEA Dvin, GHEA Erebuni, GHEA Gohar, GHEA Granshan (an 18-style sans) (2021), GHEA Hayk Davtyan, GHEA Hayk Title, GHEA Helvetica Geo, GHEA Heqiat, GHEA Kamar, GHEA Karpet, GHEA Kars, GHEA Katil, GHEA Khoragir Pro, GHEA Koryun, GHEA Lilit, GHEA Mymekh, GHEA Narek, GHEA Narek Display, GHEA Narek Poster, GHEA Narek Pro, GHEA Narek Serif, GHEA News (2021), GHEA Parisp, GHEA Pastar (2021), GHEA Petur, GHEA Samo (wedge serif) (2021), GHEA Script, GHEA Sepatar, GHEA Shooter (2020), GHEA Tamara (2021), GHEA Tatev, GHEA TatevikArt, GHEA Terti, GHEA Tigran Pro, GHEA Title, GHEA TitleSS, GHEA Urartu, GHEA Vanadzor, GHEA Vem, GHEA Vernagrayin, GHEA Warm (2021), GHEA VoskeDar, GHEA Yerevan, GHEA Yerevan Serif, GHEA Yerkar, GHEA Zartonk (2021: an 11-style display sans for Latin, Cyrillic and Armenian), GHEA Zeytun, HASH Ani, HASH Ani Soft, HASH Anna, HASH Anush, HASH Ashtghik, HASH Ashtghik Serif, HASH Eva, HASH Heqiati, HASH Hripsimeh, HASH Romantic, IT Grinnar, LGSH Liana, MAA Marieta, MAA Sergo.

GHEA Narek Display won an award at the Morisawa Type Design Competition 2014.

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

Arthur Taquin

Graphic designer in Geneva, Switzerland, who designed the avant garde sans typeface Avok in 2016. [Google] [More] ⦿

Artur Frankowski
[FontArte (was: Magdart Fonts)]

Avant Garde: Die synthetische Schrift

Ashley Cook

As a graphic design student in Auckland, New Zealand, Ashley Cook created the avant garde typeface Blank Space (2015). [Google] [More] ⦿

Atipo

Design studio in Gijon, Spain, set up by Asturian designers Raul Garcia del Pomar and Ismael Gonzalez. One of them studied graphic design in Salamanca. Atipo produced the donationware typeface Cassannet in 2012. This beautiful sans typeface is modeled after art deco lettering by Cassandre. It was adjusted and expanded to six styles in 2016 as Cassannet Plus.

In 2012, they published the free twitterware round sans family Bariol, which has its own dedicated web page. This was followed by the wonderful set of icons called Bariol Icons. In 2015, they published the tweetware / donationware rounded typeface family Bariol Serif.

Typefaces from 2013: Salomé (a fat didone, +Stencil, +Italic, +Deco). Dedicated web page.

The text typeface Calendas (2011, Paula Gutierrez). Additional weights were custom-made for the magazine Town & Country.

They created a bespoke wayfinding font / icon set for London Luton Airport in 2014.

Typefaces from 2015: Geomanist---I guess the name comed from geometric and humanist. In general, I can't imagine a worse marriage but this one actually works.

Typefaces from 2016: Seville (a custom font for Fitbit Blaze, based on Bariol), Semcon (for the Swedish engineering firm Forsman & Bodenfors).

Typefaces from 2017: Archia (a technical / architectural sans family), Noway (Noway was originally designed as a corporate and signage typeface for London Luton Airport. It has 159 icons and five weights, and is an ideal wayfinding font family), Noway Round.

Typefaces from 2018: Solano & Catalan (a corporate typeface), Aceña (a corporate typeface), Silka (a geometric descendant of Futura), Musetta (a fashion mag thin sans), Basier (a Helvetica-style neutral sans family with horizontal and vertical terminals, with a choice of round or square tittles).

Typefaces from 2019: Parking (an all caps art deco by Marc Valli), Basier Mono, Bould, Chaney (caps only, for display).

Typefaces from 2020: Sawton (a 15-style monolinear condensed geometric sans family consisting of Circular, Industrial and Bauhaus subfamilies), Silka Mono, Wotfard (a malleable geometric sans: time for soulful functionality), Argesta (a fashion mag typeface).

Typefaces from 2021: Novela ( a rational serif for use in texts), Izoard and Izoard Soft (a monolinear sans inspired by the text on the monument atop the mythical Col d'Izoard in France which is frequently featured in the Tour de France), Strawford (a 14-style monolinear neo-geometric sans), Scilla Display ( an elegant high-contrast serif typeface inspired by the shapes of the flowers with sharp edges and organic curves).

Typefaces from 2022: N27 (an over-the-top hipster sans classified as avant-garde by Atipo), Stampa (an all caps sans serif typeface inspired by La Stampa's nameplate used by the weekly's sports supplement in Turin in 1902).

Behance link. Bariol site. Interview in 2012 by Unostiposduros. [Google] [More] ⦿

Augusta Lindquist

Australian designer of the thin geometric avant-garde style monoline sans Cumulus (2010), which was part of her Masters project. Behance link. Home page. Augusta lives in Adelaide. [Google] [More] ⦿

Article about Lubalin's Avant Garde (in German). A true product of the sixties, it draws severe criticism from today's designers. Ed Benguiat: The only thing that looks in Avant Garde is the word Avantgarde. Tony di Spigna: The most abused font in the world.

View some commercial avant garde typefaces. [Google] [More] ⦿

Avant Garde: John Berry

John Berry muses about the quintessential seventies font, Avant Garde (Herb Lubalin) and the downfall of multiple master technology. Alex White explains its development, and how sublime it is when used as intended---all caps with lots of ligatures, crossing legs, and so forth. It was created for the cover of Avant Garde Magazine by Herb Lubalin and his group. This racy magazine (Jan 1968-mid 1971) was edited by Ralph Ginzburg (Eros). [Google] [More] ⦿

Avant-garde

From the wiki: Avant-garde means "advance guard" or "vanguard". The adjective form is used in English, to refer to people or works that are experimental or innovative, particularly with respect to art, culture, and politics. Avant-garde represents a pushing of the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The notion of the existence of the avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism. Many artists have aligned themselves with the avant-garde movement and still continue to do so, tracing a history from Dada through the Situationists to postmodern artists such as the Language poets around 1981.

Thus, avant-garde encompasses almost all innovative art that introduces discontinuities. Art movements that can be called avant-garde include constructivism, cubism, De Stijl, impressionism, pop art, and vorticism. Typographically speaking, many styles could or should be called avant-garde, but in my own pages, I prefer to use that term specifically for the typefaces that use the minimalist and geometric forms that can be seen in Lubalin's ITC Avant Garde, and its predecessors and followers.

View some commercial avant garde typefaces. [Google] [More] ⦿

Avenir versus Futura

Emalie Mooren (Grand Rapids, MI) provides a great visual comparison between Avenir and Futura in a series of posters developed during her studies. Behance link. [Google] [More] ⦿

Azor Design
[Thiago Rosa]

In 2016, for school projects in Curitiba, Brazil, Thiago Rosa designed the monline avant garde sans typefaces La Belle (free) and Azor Avant (free). [Google] [More] ⦿

Barry Stock
[Stock Graphics]

Bart van der Leck

Born in 1876 in Utrecht, died in 1958 in Blaricum. Bart van der Leck was a Dutch painter and designer. With Theo van Doesburg and Piet Mondriaan he founded the De Stijl (abstract, geometric) art movement. In 1930, he was commissioned by Jo de Leeuw, owner of the prestigious Dutch department store Metz&Co. to design interiors, window packaging, branding and advertising. For these print materials van der Leck developed a rectilinear geometrically constructed alphabet. In 1941, he designed a typeface based on this alphabet for the avant-garde magazine Flax. One digital version of this typeface exists: Architype van der Leck (1994, by David Quay and Freda Sack of The Foundry). The wiki page writes: The typeface is geometrically constructed, and based upon an earlier stencil lettering alphabet van der Leck designed in the early 1930s for use in branding and advertising Jo de Leeuw's presigious Dutch department stores Metz&Co. The typeface shares structural similarities with Theo Van Doesburg's 1919 geometric alphabet, and anticipates later typographic explorations of geometric reductionism of Wim Crouwel's 1967 New Alphabet and early digital typefaces like Zuzana Licko's typefaces Lo-Res and Emperor 8.

One of his alphabets was creatively used by Marc ter Horst in Restaurant Walem.

In 2012, for an exhibition in Paris, Chloe Marchand designed a special van der Leck style poster. [Google] [More] ⦿

Before & After

Great recommendations on how to choose a typeface for text at Before&After magazine: Character widths should be similar. For example, Futura or Avant Garde are bad. Medium height-to-width ratio, so no compressed types. Medium x-height. Small variations in stroke weight: out with the didones. No mirrors. Pick typefaces in which letters are sufficiently different. Avoid large counters. Avoid quirkiness. Their favorite text typefaces: Adobe Caslon (11/12.75pt), Adobe Garamond (11.5/12.75pt), ITC Stone Serif (9.5/12.75pt), Janson Text 55 Roman (10.5/12.75pt, Linotype). PDF file. [Google] [More] ⦿

Ben Archer
[100types]

Ben Green

Ashford, UK-based creator of the avant garde sans family Alvar Benjamin (2011), and a dada paper cut-out typeface (2012). Behance link. Another Behance link [this one goes to a Londoner, who made the dada face---they are possibly different Ben Greens]. He graduated in 2007 from The University of Kent at Canterbury. [Google] [More] ⦿

Ben Mecke-Burford
[M-B Creative]

Ben Wood

Student at Brighton University, Hastings, UK. He created the thin avant-garde type family Quantis (2012). [Google] [More] ⦿

Benjamin Crooke

During his studies in Cardiff, Wales, Benjamin Crooke created the avant garde typeface Bar Sanctuary (2015). [Google] [More] ⦿

Benjamin Weymann

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

Berserker Studio
[Christopher Mooij]

Berserker Studio is Christopher Mooij's graphic design studio in Monterrey, Mexico. He created La Revolucion and Green in 2009. He designed the hairline geometric typefaces This is her type (2010) and BRSRKR (2010), and the experimental geometric typefaces Bibo (2010), Nova (2010) and Balla (2010). At the end of 2010, he started work on a big avant garde sans family called República Sans. Raw (2011) is a modular experimental face. Behance link. Cargo Collective link. Another Behance link. [Google] [More] ⦿

Beta
[Tanawat Sakdawisarak]

Beta is the company of Tanawat Sakdawisarak, a graduate of the Faculty of Visual Communication Arts and Graphic Design at Assumption University in Bangkok. It sells fonts and EPS format typefaces through YWFT, all more or less alchemic in nature.

In 2009, Tanawat designed several Latin and Thai typefaces such as Bedhead Sweet (avant-garde face) and Bedhead Sway (paper-fold face).

In 2012, he and Praire Kongpairin co-designed the alchemic hieroglyph-inspired typeface Saita (available at Ten Dollar Fonts). Still in 2012, he created YWFT Roland (an EPS format ornamental caps face), Baltic and Whiskey in a related style. YWFT Dogma (2012) is an EPS caps typeface based on the same design principles.

In 2013, he published the EPS vector set YWFT Pipe and writes: It's not a flatbed truck, it's a series of tubes, and this totally tubular Pipe will carry you down the water slide to bubble town before you can say "pop art." A little touch of Nintendo, some extra olive juice, and a green Jell-o chaser make for this bubbling EPS vector handset, containing two different styles: flat and glossy/reflection. In 2015, a regular font family was published. King (2013) is an alchemic EPS forrmat typeface family.

Betina Todorova

During her graphic design studies in Stara Zagora, Bulgaria, Betina Todorova created the avant garde typeface Orbita (2016) for Latin and Cyrillic. [Google] [More] ⦿

Beyra Moreno

Graphic designer in Monterrey, Mexico. She created a couple of typefaces in 2012, including Bimore (avant-garde). [Google] [More] ⦿

Bjorn Capens

Bjorn Capens (possibly from Beveren and/or Antwerpen, Belgium) made these typefaces at Fontasia International in the mid 1990s: Blake (an avant-garde typeface after the comic strip album Blake and Mortimer), Suske en Wiske, Karolingisch, and Unciaal. The original link disappeared. Alternate URL. Blake is at Dafont.

A sad comment: In 2014, the Blake font was claimed by a certain Rebecka Danielle and posted on Fontspace. [Google] [More] ⦿

Bo Berndal

Swedish designer born in 1924 in Stockholm. He says of himself: Compositor, Linotype operator, teacher of typography. Type designer in a small matrix factory 1950-51. Calligrapher, book designer, author, lecturer and trade mark specialist. Now retired, but does type design as a hobby and to special orders for museums, ad agencies, companies and even to private persons. His typefaces:

Art Gallery (Monotype).
Batory (T4).
Batoswash (T4).
Belltrap (1995, ITC).
Benedict (uncial).
Beowulf (uncial).
Berndal (2003, Linotype).
Boberia (1994, Linotype). A formidable didone text family with an antique bouquet.
Boscribe (2005, Monotype).
Bosis (1991, Monotype). A sans.
Botobe (2011, T4). An informal script.
Brigida (Monotype).
Buccardi (1998, Monotype).
Byngve (2004, Linotype). In the style of 15th century Italy.
Caballero Script (2011, T4). Inspired by Spanish handwriting from the 15th and 16th centuries.
Carl Beck Script (1992 Monotype).
Cartesius (2006, T4). A beautiful 5-style family done at T4 in a mix of garalde and Venetian fashions.
Linotype Dala (2002, Linotype). A Fraktur, accompanied by Linotype Dala Pics and Linotype Dala Borders.
Eknaton (T4).
Esseltube (Monotype).
Euclides.
Exlibris (1998, ITC).
Frisans (2005, Monotype).
Geometra (2011, T4).
Gertrud (2006, T4). Based on 16th century calligraphy).
Gianpoggio (1992).
Golota (1998, Agfa).
Grafilone (1994, Linotype). An avant-garde family that is almost illegible.
Grantofte (1995, Monotype).
Hagalind (2011, T4). A calligraphic connected script. Linotype Hieroglyphes One and Two (2002).
Jerrywi (1994).
Johabu (Monotype). A blackletter typeface.
Lacko (Monotype)
Lebensjoy (1994, Monotype).
Logoform (Monotype).
Magellan (1993, Monotype).
Maricava (Monotype).
Mixtra Roman (T4).
Mixtra Sansserif (T4).
Mixtra Slabserif (T4).
Moorbacka (Monotype).
Naniara (1998).
Nordik (1992, Monotype). A revival of Genzsch Antiqua or Nordische Antiqua (1906, Genzsch & Heyse).
Olaus Bandus and Olaus Magnus. Medieval scripts.
Ornabo dingbats.
Palekin (1994, Monotype).
Pelegotic (2006, T4). An art deco inspired but minimalist sans.
Picadyll (2011, T4). Art deco.
PocketType (1994).
Promemoria.
Ringlingje.
Sabellicus (1997, Monotype).
Sergel (T4).
Siseriff (2003, Linotype).
SpaceKid (Monotype). Runes.
Swing Bill (Monotype).
Trotzkopf (1998).
Tyma Garamont (T4).
Unotype (1997, Monotype). Monospaced.
Vadstenakursive (1989, Monotype). a blackletter typeface with almost Lombardic-looking capitals.
Viger Spa (runes).
Linotype Zurpreis (Linotype).

Pelle Anderson interviews Bo Berndal. Bitstream write-up. Agfa/Monotype write-up. Author of Typiskt typografiskt (Fisher and co, 1990). MyFonts page. Linotype page. MyFonts interview. FontShop link. Klingspor link. View Bo Berndal's typefaces. [Google] [MyFonts] [More] ⦿

BombHaus Digital Foundry
[David M. Debus]

This used to be a foundry until some time in 2001 (old URL gone). It had nice free fonts such as AtomicBomb, BombCindy, BombCircuit, BombDaja, BombRazor, BombSchnakendoodle, BreastBomb, CherryCoke, CherryNeptune, FireBomb, HydrogenBomb, MailBomb (old typewriter), NeutronBomb, ObcessedBomb, StinkBomb, BombGrunge, BombNew, CherryBomb, and the beautiful avant-garde fonts Ticking Bomb and Time Bomb. Seems like most fonts were by David M. Debus (Venice Beach, CA) but Kristine M. Laca (now Kristine Debus) was also mentioned on the web page. Fontspace link. Dafont link. [Google] [More] ⦿

Brass Fonts
[Guido Schneider]

Cologne-based group of type designers, founded in 1996: Guido Schneider, Hartmut Schaarschmidt, Martin Bauermeister, René Tillmann, Rolf Zaremba. There are many original free fonts here: Amnesia (René Tillmann; now also sold by URW), Anorexia (G. Schneider, 1996), Battery, Battery Seriph, Battery Leak (Tuschemann, 1996), Matula (G. Schneider, 1997), Nobody (G. Schneider), Paul D (Guido Schneider, 1996), Sanctus, SubZero (Guido Schneider, 1996), SynkopSemi, Veto, Visitor (R. Zaremba, 1996), BiaBia (very avant-garde, G. Schneider, 1996), Corpa Gothic (sold by URW++), Cuba (G. Schneider, 1997), Hone (Piano Dog, 1996), Saw, SoloSans (G. Schneider, 1996), Souper, Styptic, Fluxgold (slabserif, G. Schneider 1999), Rotwang (G. Schneider 1998), Styptic (Tuschemann, 1995), Stoneman (Tuschemann, 1998), Jaruselsky (1997, G. Schneider). Well, that is, these fonts have just the basic alphabet and all numbers 3 and 6 have been removed. The full versions are ultra-expensive, at about 110DM per weight (typically, 4 weights per font). More fonts: Temptice (dingbat by A. Groborsch/G. Schneider 98/99, 80DM), Tara (G. Schneider, 1998, 240DM), Corpa Serif (G. Schneider 1998), Fiona Serif, Slab and Script family (2003, G. Schneider). URW marketed these fonts: BF Anorexia, BF Corpa Gothic, BF Corpa Serif, BF Cuba, BF Fluxgold, BF Invicta, BF Jaruselsky, BF Matula, BF Nobody, BF Paul'D, BF Rotwang, BF Solo Sans, BF Stoneman, BF Stypic, BF SubZero, BF Tara.

Custom fonts by Schneider: Girato (Giraffentoast), Fiona (MDR - Mitteldeutscher Rundfunk), Sion Script (Sion Brauerei), Supralux (Super RTL). He is working on Veltro Pro (a script) and Breite Kanzlei (blackletter).

MyFonts sells BF Anorexia (a grunge typeface by Schneider), BF Corpa Gothic (a DIN-like family done in 1997 by Schneider), Corpa Gothic Pro (a 2019 revival of Corpa Gothic), BF Corpa Serif (1997, a slab serif family by Schneider), BF Cuba (a pixel typeface by Schneider), Fiona Script (2006, connected), Fiona Serif, BF Fiona Slab (2006, Guido Schneider), BF Fluxgold (1998, Schneider), BF Invicta (2006, a roman inscriptional family by Schneider), BF Jaruselsky (1997, Guido Schneider), BF Matula (1996, an organic typeface by Guido Schneider), BF Nobody (1995, a roman typeface by Schneider with pointy experimental serifs), BF Paul D (a grunge blackletter typeface by Schneider), BF Rotwang (1997, a transitional typeface by Guido Schneider), BF Solo Sans (1995, Schneider's grotesk family), BF Stoneman (1997, a decorative poster typeface by Schneider), BF Styptic (a grunge paperclip typeface by Schneider), BF Sub Zero (experimental, by Schneider), BF Tara (1999, a humanist sans family by Schneider), BF Girando Pro (a garalde made by Guido Schneider in 2010).

Typefaces from 2018: BF Rotwang Pro (a redesign by Schneider of his 1997 typeface, BF Rotwang; named after C.L. Rotwang, the inventor of the Mensch-Maschine from the film Metropolis (1925/1926), BF Rotwang relates to the high-contrast transitional and didone styles), BF Konkret Grotesk Pro (a 16-style grotesk family by Guido Schneider with over 1500 glyphs per font).

Typefaces from 2021: BF Garant (a 20-style geometric sans with open counters, tapered spurs and diagonal cut ascenders and descenders).

British Standards for Type Classification

View Guido Schneider's typefaces. [Google] [MyFonts] [More] ⦿

Bree McMahon

Graphic artist in Racine, WI. Her Nouveau Font (2013) is a school project---its name suggests art nouveau, but it is actually an avant-garde font. [Google] [More] ⦿

Brenda Muñoz

Brenda Muñoz Muro Amarillo is a Nexican graphic designer. In 2017, she published the free avant-garde monoline sans typeface Lilith. Behance link. [Google] [More] ⦿

Typeface classification according to "British Standards 2961:1967" (or BS 2961), British Standards Institution, London, 1967.

Humanist: Centaur, Jenson, Verona, Kennerley.
Garalde: Stempel Garamond, Garamond, Caslon Old Face, Granjon, Sabon, Bembo.
Transitional: New Baskerville, Baskerville, Caslon, Fournier, Perpetua.
Didone: Bodoni, Bauer Bodoni, Torino, Walbaum.
Mechanistic: Clarendon, Memphis, Rockwell, Lubalin.
Lineal
- Lineal Grotesque: Franklin Gothic Demi-Bold, Franklin Gothic, News Gothic, Alternate Gothic.
- Lineal Neo-Grotesque: Helvetica Light, Akzidenz Grotesk, Folio, Helvetica, Univers.
- Lineal Geometric: Avant Garde Medium, Avant Garde, Futura, Eurostile, Erbar.
- Lineal Humanist: Gill Sans, Goudy Sans, Optima.
Incised: Albertus, Latin, Friz Quadrata.
Script: Brush Script, Mistral, Park Avenue, Zapf Chancery.
Manual: Neuland, Broadway, OCR-A, Pritchard.
Black Letter: Fette Fraktur, Old English, Goudy Text, Wilhelm Klingspor-Schrift.
Non-Latin.

[Google] [More] ⦿

Britta Siegmund

Graphic designer in Hanover, Germany, who studied at FHH in Hanover. Behance link. Another Behance link. She is experimenting with letters, and designed letters by dissolving ink in water (Tinten in Wasser), such as in the Sepia alpha bet (2009). Connected (2009) is another experimental alphabet. There is also the avant-garde Sepia family (2009). Fency (2009) uses fences to populate the glyphs. High Five (2010) is a monoline geometric hairline sans. Poster. [Google] [More] ⦿

Bruno Aedys Camargo

Brazilian designer of the Avant Garde-inspired Ultravioleta (2008). I am unsure if this Dafont designer of Huggies (2012, an uncial typeface made with FontStruct) is the same Bruno Camargo. [Google] [More] ⦿

Bruno Andrade

Porto Alegre, Brazil-based designer of the new deco / avant garde typeface Avant Vita Gothic (2017). Behance link. [Google] [More] ⦿

Büro für Gestaltung Janssen
[Daniel Janssen]

Büro für Gestaltung Janssen, or Janssen Design, is located in Hamburg. It is involved in print, screen, animation, corporate and type design, and was founded in 2002 by Sylvia and Daniel Janssen. Together, they designed these typefaces:

Bias Regular (2008, T-26). An experimental pixel-based face.
Gretel (2005, Fountain), a cross-stitch pattern font.
Loop (2005, T-26).
Kaa, a multilined hypnotizing face. This and some other typefaces are also available at T-26.
Engel (2003, At T-26). See also here.
Vitus (2003, Fountain: Vitus is a bold typeface with occasional delicate strokes. It'a based on a typeface found on one of the million mark notes released during the inflation in the 1920's). See also here.
Emily, a connected script font, with some borders. Designed in 2003 with Sylvia Janssen, it is similar to Monte Carlo Script NF (2002, Nick Curtis), and both are based on a font called Medicis by Deberny and Peignot, ca. 1920.
AF Nitro, a techno/LED collection of typefaces.
Diavolo, a fifties diner face.
Unovis, a minimalist squarish typeface with hard to distinguish u, n and v lower case characters.
Sektor, a sans face.
Sonar, a display sans.
Masina, a simple geometric sans.
Cash (no idea what this looks like).
Initialen, a 21st century initial caps face.
EF Gigant, a 96-weight techno family (Elsner and Flake, 2006).
Emily: a connected upright script available from T26.
Atlantik: six sets of line elements, sold by Veer and Fountain. The Atlantik typeface is a result of a poster design made for the Habour Museum Hamburg.
Diago (2008, T-26): a striped op art sans.
Oceane (2009, T-26). An avant-garde face.
Karl (2010, T26). A script face.

FontShop link. Klingspor link. T26 link.

View Daniel Janssen's typefaces. [Google] [MyFonts] [More] ⦿

Calligraphics
[Paul Veres]

Calligraphics is Paul Veres' outfit in Berkeley, CA. Paul Veres was born in 1944 in Budapest, and started out as a calligrapher and graphic designer. He is the creator of Caterina (1999-2004, Psy/Ops; a calligraphic sans used in some places by movie director Francis Ford Coppola), and of Linotype Banjoman Roman (1996, an avant-garde font) and Linotype Aperto at Linotype (1995-1996: a lapidary typeface).

Fonts at Calligraphics: Caterina (1998), Aperto (1995, a stressed sans family), Harmonica (2005, script), DemiTasse (2001), Gargoyle (2001, a rounded informal script) and Espresso (2001).

FontShop link. Linotype link. Klingspor link. View Paul Veres's typefaces. [Google] [MyFonts] [More] ⦿

Camila Burgos

Bogota, Colombia-based designer of the stylish avant garde display typeface Geometrica (2016), which was inspired by Jacques Tati's movie Play Time (1973). [Google] [More] ⦿

Carlos Matteoli
[Q-BO]

Carlos Winkow

Carlos Winkow is a version of his original name, Carl Winckow. Winkow (1882-1952) was born in Sömmerda, Germany but worked in Spain from 1909 until 1934 for Richard Gans, in Germany from 1936 until 1939 for Norddeutschen Schriftgiesserei in Berlin, and in Spain again from 1940 onwards at Fundicion Tipografica Nacional in Madrid. His typefaces include

Alfrodita (1946). An engraved typeface published by FT Nacional.
Alcazar (FT Nacional, 1944). An inline 3d titling font.
Astur (1948, FT Nacional). A wooden plank typeface.
Belinda (FT Nacional).
Cursiva Rusinal (FT Nacional). This is identical to Reporter except in the alternates.
Electra (FT Nacional, early 1940s). An almost avant-garde sans family, which includes the ultra thin Estrecha Fina weight. Romeo (Font Bureau) takes some cues from Electra and says that it is a spectacular art deco sanserif with an unusually fine condensed series. See also Casablanca (1997, Steve Jackaman for ITF, now Red Rooster Collection; a revival of Electra Clara) and Carlos (Jason Castle, CastleType). Klingspor dates Electra Fina in 1942.
Elzeviriano Ibarra (1931, for Fundicion Tipografica Richard Gans). Lucia Walter revived Winkow's 1931 text typeface Elzeviriano Ibarra in 2011. See also Gans Ibarra (2006, Intellecta Design).
Gong (1945, Johannes Wagner; Norddeutschen Schriftgiesserei). A chalk script face. Jaspert mentions the date 1951. A standard non-chalk version of Gong was done by J. Wagner in 1967, and was published as Jowa Script (Jowa Schreibschrift), which in turn provided inspiration for Iova Nova (2007, Ralph M. Unger)
Grotesca Radio (Richard Gans Foundry), at least according to some sources. For a revival and reinterpretation, see Radar (2019) by Marta Sanchez Marco for Type-o-Tones.
Hispalis (+Cursiva, +Negro, +Titling, +Negro Titling) (1940, FT Nacional).
Iberica (FT Nacional, 1942). An open shaded inclined 3d lineale. See Roller (1997, Pat Hickson, ITF and Red Rooster Collection).
Nacional (+Cursiva, +Negra) (1941, Nacional). A calligraphic roman in old medieval Spanish style with Clasico Nacional 1 and Clasico Nacional Negro weights. See Madrid (Steve Jackaman, Red Rooster Collection) for a digital revival.
Numantina (1940, FT Nacional). Revived by Nick Curtis as Numancia NF (2011, Nicks Fonts).
Radar (1940, FT Nacional). a brush script.
The brush script typeface Reporter (1938, the Wagner foundry; Norddeutschen Schriftgiesserei). Digital revivals: Reporter No. 2 (Adobe), Reporter 2 (Linotype).
Rusinol (1941, FT Nacional).

Linotype page. Klingspor link. FontShop link. View some digital versions of Winkow's typefaces. [Google] [MyFonts] [More] ⦿

Carta & Carta
[Felipe Goes]

Fortaleza, Brazil-based designer of the free thin hipster typeface Votu (2017). They explain: Some of the elements were inspired by the Brazilian indigenous typology. Votu means 'wind' in Tupi-guarani (Brazilian indian language). The font was originally designed for the Matheus Santiago new album. All the images presented here have a free license (Kawahara Keiga, 1823-1829 / Zacharias Wagener, 1641). Behance link. [Google] [More] ⦿

Cassandra Marie Boler

Indianapolis-based designer of the avant-garde typeface Ooops (2011). [Google] [More] ⦿

CAT Design Wolgast
[Peter Wiegel]

Wolgast-based type designer Peter Wiegel (b. 1955) runs CAT Design Wolgast. Designer of these free fonts:

In 2019: Kufi Pattern.
In 2018: Aurach Tri (a trilined typeface), Googee (monoline circle-themed sans), Gianna (medieval script), Hamburger Schwabacher.
In 2017: Eyechart (heavy slab serif), Border Control (inline), Espresso Dolce (rounded sans), Gotisch Weiss, Halt (a dry brush typeface after Walter Hoehnisch's Stop from 1939), Kanzler, Llewie (rounded sans), Schulze Werbekraft (expressionist, after Arthur Schulze, 1926).
In 2016: Ronaldson Gothic (after a MacKellar, Smiths & Jordan Co original), Vorgang (a great 1920s geometric sans), 5by7 (LED pixel font), BP 12-22 (industrial sans), u DIN 1451 Mittelschrift, Flubby, Gaeilge (Irish / uncial), Junior CAT (after Hans Heimbeck, 1936), CAT Liebing Gotisch (after Kurt Liebing), Tippa (an old typewriter font based on Adler Tippa 1).
In 2015: Nuernberg (blackletter), CAT Schmalfette Thannhaeuser (blackletter), Offenbacher Reform (a revival of Offenbacher Reform, a blackletter typeface by Roos & Junge), Autobahn (blackletter), Barloesius Schrift (after Georg Barloesius's Barlösius Schrift, 1906), CAT-Franken-Deutsch (after Alfons Schneider, 1936), Fuckin Gwenhwyfar, CAT Kurier (a script after Herbert Thanhaeuser's Kurier from 1939), CAT Linz, CAT Rhythmus (a sharp-edged black grotesk after a Schriftguss AG original), DIN Schablonierschrift (DIN-based stencil), CAT North Licht, Feronia, Fette National Fraktur (after Walter Hoehnisch, 1934), Grobe-Plakat-Fraktur, CAT Childs (fifties style cursive typeface), Jena Gotisch (decorative caps), Kabinett Fraktur (after Johann Friedrich Unger, 1793-1794), Wattauchimma (heavy hipster sans), Friedolin (blackletter), Lorem Ipsum, Symphonie (a calligraphic script, reviving Imre Reiner's Symphonie (1938), also called Stradivarius (1945)), Power (a retro techno typeface), Krugmann Brush, Omega.
In 2014: BernerBasisschrift1, BernerBasisschrift2 (school script), Berolina, Brausepulver (after Brause & Co., 1912), Fette Mikado (psychedelic style oriental look), Germanica, Gloria, HentimpsCirclet (blackletter), Hofstaetten (blackletter), Kleinsemmering, KuenstlerGotisch (blackletter), LacledeCAT (psychedelic), NeptunCAT, Neue Zier Schrift (a mischievous curly script), Pommern Gotisch, Reclame, CAT Report (retro brush script), Rueck-Italic, Rueck, RueckLeft, RueckLicht, RundschriftCAT (hairline ronde), Standard Graf (German expressionist and hexagonal typeface), Teutonic, VerzierteFavorite, VictoriaCAT, AdmiralCAT (a retro script), Dynamo (poster font), Des Malers Fraktur, Kanzleyrath (blackletter), Ober-Tuerkheim (art nouveau), PopplFrakturCAT (blackletter), Rundkursiv, Modeschrift (fifties script), Biedermeier Kursiv, Ehmcke Federfraktur (after a 1935 font by F.H. Ehmcke), Wernicke Schwabacher (after an original by Emmi Wernicke), Gotische Missalschrift, Hand Textur (after a 1935 font by F.H. Ehmcke), Renata (after a 1914 bastarda by Bauersche Giesserei), Rundgotisch Rauh (possibly after a Schelter & Giesecke design from 1903), Offenbacher Schwabacher (after Kurt Wanschura's bastarda from 1900), Incopins Clusters (multilined typeface), BadGong, Bernardo Moda (Bold, Semibold, Moda, Contrast: modeled after Lucian Bernhard's Bernhard fashion), CAT-Hohenzollern (after a 1902 art nouveau font by Bauersche), CATNorth, CATNorthLicht, CATNorthShadow, CAT Zentenaer Fraktur UNZ1 (a blackletter after a 1937 original by F.H.E. Schneidler), Coggers-Tariqa, EirikRaude, Fabrik (a geometric sans), Grobe Deutschmeister (German expressionist face), Harry Piel (or Piehl--a tattoo font), Kanalisirung, Klaber-Fraktur, Peter Obscure, Rumburak (a fat retro script), Flottflott (retro script), Indira K, Regent UNZ (a Schwabacher), Postamt, TGL 0-1451 Engschrift (a DIN-like font).
In 2013: Spartakus (+Round), Cut Me Out (white on black sans), 5by9 (dot matrix face), Tartlers End (high-contrast ball terminal face), Alpha 54 (rounded flared script face), Chunk Five Ex (slab serif; he writes: With permission of Meredith Mandel, the original author of the ASCII-Font Chunk Five, I have extended Chunk Five Ex to a full featured unicode font with all figures used in Latin and Cyrillic writing), Simple Print (simple sans), Fette Bauersche Antiqua (a didone fat face), Manuskript Gothisch (after Manuskript Gotisch (1899, Bauersche), which was modeled after Wolfgang Hopyl's 1514 Textura), Quast (hairy font).
Still in 2013, he published a number of school scripts, including Neue Rudelskopf, Deutsche Normalschrift, Imrans School, Rastenburg (German school font), and Bienchen.
In 2012: Hardman (connected fifties script), Immermann (a quaint slab serif), Quast (grunge), Fundamental Brigade (sans family), DiffiKult (a bilined face), Men Nefer (a Memphis lookalike), Fette Unz Fraktur (like Fette Fraktur), Mutter Krause (for the reconstruction of the 1929 silent movie "Mutter Krausens Fahrt ins Glück", where it is used for intertitles, that where missing. The font is redrawn from the original intertitles), Youbilee (a font with laurels).
In 2010: Alfabilder (dingbats), Gondrin (athletic lettering with a 3d effect), Helvetia Verbundene (making Helvetica into a school script? The original typeface was by Carl Albert Fahrenwaldt 1901), Proletarsk (a grotesk face), Vis-à-vis (great idea--a double-storied serif face), ApolloASM (Victorian), BertholdrMainzerFraktur, Doergon-Regular (license plate font), DoergonBackshift, DoergonShift, Eureka (Victorian, ornamental face), GoeschenFraktur (1880-style Fraktur used in Sammlung Göschen books), Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, Moderne3DSchwabacher, ModerneGekippteSchwabacher, StrassburgFraktur, TGL0-16 (same as DIN 16), TGL0-17 (same as DIN 17), TGL0-17Alt, Tank (emblems of gas companies), EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular (typewriter), ErikaOrmig, Fibel Vienna (2012, a high-legged sans), GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift (German Schreibschrift), Midroba-Regular (a strong mechanical octagonal face), MidrobaSchatten, MMX2010 (futuristic), Präsent60, Rotunda Pommerania (blackletter), TengwarOptime, TengwarOptimeDiagon, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe.
In 2009: 18thCenturyInitials, 18thCenturyKurrent-Regular, 18thCenturyKurrentAlternates, German writing from the 18th century), CentreClaws, CentreClawsBeam1, CentreClawsSlant, Cöntgen Kanzley Regular (blackletter), Cöntgen Kanzley Aufrecht (2009), ElficCaslin, H1N1, Loxembourg1910Shadow (an art nouveau-influenced stencil face), Luxembourg1910, Tschichold, VarietScala (an art deco sans family), Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, KochFetteDeutscheSchrift (blackletter), MoradoFelt-Regular (upright connected script), MoradoMarker (2009), MoradoNib, PreussischeVI9 (DIN-like family), PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, SchatternvonPreussischeVI9, Stage (art deco), Ring Matrix (dot matrix), Nathan, Amptmann Script (2009, upright connected script), Cat Shop, Blankenburg (blackletter), Murrx (arched face), Schwaben Alt (1988, bastarda), Vrango, 14LED (Regular, Phattt-Heavy, Rised-Black), 24LED (+Bright, +Grid, +Modul), DIN1451fetteBreitschrift1936-Regular, FibelNord (basic sans family with an architectural twist), FibelSued (family), PaneuropaBankette, PaneuropaCrashbarrier-Black, PaneuropaFreeway, PaneuropaHighway, PaneuropaRoad, PaneuropaStreet, PaneuropaWrongWay, Quirkus (family), RingMatrix (dot matrix family), RingMatrix3D, RingMatrixTwo, DiscipuliBritannica (connected script), GruenewaldVA-Regular (connected school script), Rudelskopfdeutsch-Aufrecht, WiegelLatein (connected school script), WiegelLateinMedium (2009), Morado, Moebius Bicolor (art deco), Elbaris (sans), ElbarisOutline, Nomitais (multiline face), RostockKaligraph, Waschkueche, WaschkuecheGrob-Ultra, WiegelKurrent (traditional German school script), WiegelKurrentMedium, XAyax, XAyaxOutline (2009), Kaufhalle (squarish), Quimbie (art deco), CasaSans-Regular, Elb-Tunnel, MeyneTextur (blackletter), Yiggivoo, TGL 31034-1 (futuristic sans), Beroga (a simple organic sans).
Before 2009: Xayax, PreussischeIV44Ausgabe3 (2006, a severe sans), Utusi Star (1989, very condensed all-caps face), Avocado (2006, script face), CbeNormal (2006, script face), Leipzig Fraktur (+Bold) (2006), Berlin Email (2006, a condensed sans family, followed in 2009 by Berlin Email Serif), MaassslicerItalic (2006, a futuristic typeface made for Rudolf Maass + Partner GmbH), Powerweld (a gorgeous avant-garde typeface made for OPTI Pumpen und Technik GmbH), WolgastScript (2005), WolgastTwo (2006, connected script), WolgastTwoBold, ZeichenDreihundert-Regular, ZeichenHundert-Regular, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular (2006, traffic dingbats), Djerba simplified (Arabic font, Computer and Technologie, Hamburg, 1995; it can be downloaded here), Titus FrakturBaltic (1998), TITUS FrakturEast Normal (1998), and TITUS FrakturWest Normal (1998) [which used to be downloadable here; these fonts were retired and the Titus name dropped; most of the glyphs made it to Schwaben Alt].

Dafont link. One more URL. Fontspace link. Yet another URL. Font Squirrel link. Fontsy link.

The list of his truetype and opentype typefaces as of 2011: 18thCenturyInitials, 18thCenturyKurrentStart, 18thCenturyKurrentText, Alfabilder, AlteDIN1451Mittelschrift, AlteDIN1451Mittelschriftgepraegt, AmptmannScript, ApolloASM, Avocado, Barnroof, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, BerlinEmailWideSemibold, Beroga, Beroga, BerogaFettig-Bold, BerogaFettig-Bold, BertholdMainzerFrakturUNZ1A-Italic, BertholdMainzerFrakturUNZ1A, BertholdrMainzerFraktur, Blankenburg-Regular, BlankenburgUNZ1A-Italic, BlankenburgUNZ1A, CasaSans-Regular, CasaSans, CasaSansFettig-Bold, CatShop, CentreClaws, CentreClawsBeam1, CentreClawsSlant, ChunkFiveEx, CntgenKanzley-Regular, CntgenKanzleyAufrecht, DIN1451fetteBreitschrift1936-Regular, DiscipuliBritannica, DiscipuliBritannicaBold, Doergon-Regular, DoergonBackshift, DoergonShift, DoergonWave-Regular, Elb-Tunnel, Elb-TunnelSchatten, Elbaris, ElbarisOutline, ElficCaslin, EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular, ErikaOrmig, Eureka, FibelNord-Bold, FibelNord-BoldItalic, FibelNord-Italic, FibelNord, FibelNordKontur, FibelSued-Bold, FibelSued-BoldItalic, FibelSued-Italic, FibelSued, FibelSuedKontur, GoeschenFraktur, GoeschenFrakturUNZ1A-Italic, GoeschenFrakturUNZ1A, Gondrin, GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift, GruenewaldVA-Regular, GruenewaldVA1.Klasse, GruenewaldVA3.Klasse, H1N1, HelvetiaVerbundene, KochFetteDeutscheSchrift, KochFetteDeutscheSchriftUNZ1A-Italic, KochFetteDeutscheSchriftUNZ1A, LeipzigFrakturBold, LeipzigFrakturHeavy-ExtraBold, LeipzigFrakturLF-Bold, LeipzigFrakturLF-Normal, LeipzigFrakturNormal, LeipzigFrakturUNZ1A-Bold, LeipzigFrakturUNZ1A-BoldItalic, LeipzigFrakturUNZ1A-Italic, LeipzigFrakturUNZ1A, Luxembourg1910, Luxembourg1910Contur, Luxembourg1910Ombre, MMX2010-Regular, Maassslicer3D, Maassslicer3D, MaassslicerItalic, MaassslicerItalic, Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, MeyneTextur, MeyneTexturUNZ1A-Italic, MeyneTexturUNZ1A, Midroba-Regular, MidrobaSchatten, Moderne3DSchwabacher, ModerneFetteSchwabacher, ModerneFetteSchwabacherUNZ1A-Italic, ModerneFetteSchwabacherUNZ1A, ModerneGekippteSchwabacher, MoradoFelt-Regular, MoradoMarker, MoradoNib, MoradoSharp-Regular, Murrx, Nathan-CondensedRegular, Nathan-ExpandedRegular, Nathan-Semi-expandedRegular, Nathan, NathanAlternates-CondensedRegular, NathanAlternates-ExpandedRegular, NathanAlternates-Semi-expandedRegular, NathanAlternates, Nomitais, Nomitais, Numikki, Numukki-Italic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, PreussischeIV44Ausgabe3, PreussischeVI9, PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, Proletarsk, Prsent60, Quimbie, Quimbie3D, QuimbieShaddow, QuimbieUH, Quirkus-Bold, Quirkus-BoldItalic, Quirkus-Italic, Quirkus, QuirkusOut, QuirkusUpsideDown, RostockKaligraph, RotundaPommerania, RotundaPommeraniaUNZ1A-Italic, RotundaPommeraniaUNZ1A, Rudelskopfdeutsch-Aufrecht, SchatternvonPreussischeVI9, Schulfibel-Nord-Linie-2, SchwabenAlt-Bold, SchwabenAltUNZ1A-Italic, SchwabenAltUNZ1A, Stage, StrassburgFraktur-Regular, TGL0-16, TGL0-17, TGL0-17Alt, TGL31034-1, TGL31034-1, TGL31034-2, TGL31034-2, Tank, TengwarOptime, TengwarOptimeDiagon, TitilliumMaps29L-1wt, TitilliumMaps29L-400wt, TitilliumMaps29L-800wt, TitilliumMaps29L-999wt, TitilliumText22L-1wt, TitilliumText22L-250wt, TitilliumText22L-400wt, TitilliumText22L-600wt, TitilliumText22L-800wt, TitilliumText22L-999wt, TitilliumTitle20, UtusiStar-Bold, UtusiStar, VarietScala, Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, Via-A-Vis, Vrng, Waschkueche, Waschkueche, WaschkuecheGrob-Ultra, WaschkuecheGrob-Ultra, WiegelKurrent, WiegelKurrent, WiegelKurrentMedium, WiegelKurrentMedium, WiegelLatein, WiegelLateinMedium, WolgastScript, WolgastScript, WolgastTwo, WolgastTwo, WolgastTwoBold, WolgastTwoBold, XAyax, XAyax, XAyaxOutline, XAyaxOutline, YiggivooUnicode-Italic, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D-Italic, YiggivooUnicode3D, YiggivooUnicode3D, ZeichenDreihundert-Regular, ZeichenDreihundertAlt, ZeichenHundert-Regular, ZeichenHundertAlt, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular, ZeichenZweihundertAlt, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalle, kaufhalleblech, kaufhalleblech, moebius.

His type 1 fonts as of 2011: Avocado, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, Beroga, BerogaFettig-Bold, CasaSans, Elb-Tunnel, Elb-TunnelSchatten, Maassslicer3D, MaassslicerItalic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, Quimbie, QuimbieUH, RostockKaligraph, TGL31034-1, TGL31034-2, UtusiStar-Bold, UtusiStar, Waschkueche, WaschkuecheGrob-Ultra, WolgastScript, WolgastTwo, WolgastTwoBold, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalleblech.

A list of typefaces in alphabetical order, with descriptive comments provided by Reynir Heidberg Stefansson from Iceland: 18th Century Kurrent (Kurrent-style handwriting, Wiegel-coded), Alfabilder (Alphabetic picture font for the German alphabet), Amptmann Script (Partly-connected, upright writing, used on Prussian Railways pattern drawings), ApolloASM (Jugendstil, vaguely resembling an ornate Bocklin), Avocado (Handwriting, broad-nib pen-style), Berlin Email (Narrow sans-serif, based on emailled signage; Wiegel-coded), Berlin Email Serif (Narrow serif, based on emailled signage; Wiegel-coded), Beroga (All-minuscule, rounded marker-style sans-serif with ca. 8° slope), Berthold Mainzer Fraktur (Fraktur in Wiegel (Regular only) and UNZ1(A) coding), Blankenburg (Semicondensed Tannenberg in Wiegel (Regular only) and UNZ1(A) coding), Casa Sans (Squarish, broad-nib pen-style block writing), CatShop (Serif, soft of an acid-washed didone), cbe Normal (Sans-serif, narrow, somewhat cuneiform), Centre Claws (Sans-serif, Art Deco display, a bit like Broadway), Cöntgen Kanzlei (Cöntgen Kanzley) (Fraktur-based calligraphy by Heinrich Hugo Cöntgen, Wiegel coding), DiffiKult (Sans-serif, display, no horizontal lines), DIN 1451 fette Breitschrift 1936 (The now-withdrawn Wide version of DIN 1451 traffic font), Discipuli Britannica (UK school handwriting), Doergon (Slab-serif, narrow-ish, all majuscule), CAT Eckmann, Elabris (Elbaris) (Sans-serif, caps/smallcaps, shades of DIN1451 Engschrift), Elb-Tunnel (Sans-serif, based on signage in the old Elbe tunnel in Hamburg), Elbic Caslon (Elfic Caslon, Elfic Caslin) (a Caslon for the Queen Galadriel), Erika Type (Erica Type) (Slab-serif, typewriter, comes from Wiegel's old Erika typewriter), Eureka (Serif, caps/smallcaps, Art Deco/Jugendstil), Fibel Nord (2009, sans-serif, based on German school primer), Fibel Sued (2009, sans-serif, based on German school primer), Fibel Vienna (Sans-serif, based on Austrian school primer), Fundamental Brigade (Sans-serif, geometric, some UNZ1 ligatures), Göschen Fraktur (Goeschen Fraktur) (Fraktur with a biblical feel, Wiegel (Rg only) and UNZ1 coding), Gondrini (Gondrin) (Sans-serif, geometric, display, shaded outlines, cookie-cutter), Greifswalder Deutsche Schrift (Handwriting, based on Rudolf Koch's Offenbacher Kurrent, Wiegel coding), Greifswalder Tengwar (Tengwar handwriting in Offenbach style), Gruenewald VA (Latin-style schoolhand, Wiegel coding), H1N1 (Heavy display typeface made of parallel wavetrains), Hardman (Heavy, wide, squarish logotype with connecting letters), Helvetia Verbundene (Swiss handwriting), Immermann (Display, resembles a seriffed Radio/Rundfunk, UNZ1 coding), Kaufhalle (Display, recreation of HO Kaufhalle logotype), Koch Fette Deutsche Schrift (Very plain fraktur, Wiegel (Rg only) and UNZ1 coding), Leipzig Fraktur (Fraktur for bread text, Wiegel coding), Leipzig Fraktur UNZ1A (Fraktur for bread text), Luxembourg 1910 (Sans-serif, Jugendstil display typeface from old spice drawers), Maass Slicer (Maassslicer) (Sans-serif, oblique display face, orig. logotype), Makushka (Sort-of an Elabris with minuscules, looks overlayable), Men Nefer (Slab-serif, geometric, UNZ1 coding), Midroba (Spur-serif, display, all-majuscule, heavy, octal), MMX2010 (Sans-serif, display, caps/smallcaps, TV game machine feel), Moderne Schwabacher (Heavily reworked, Wiegel coding), Moderne Fette Schwabacher UNZ1A (Heavily reworked, Wiegel coding), Möbius (moebius) (Sans-serif, display, bicolour (u/c = non-spacing fills, l/c = spacing outlines)), Morado (Connected handwriting with nib or marker pen), Murrx (Heavy display typeface made from ellipsoids on NE-SW axis), Mutter Krause (Serif, slanting, Jugendstil-feel), CAT Neuzeit and CAT Neuzeit Schatten (2012-2014), Nathan (Slab-serif, hand-drawn.), Nomatais (Nomitais) (Elabris with multiple levels of outlines), Numukki (Conlang, knotted-line, good for separators and scenebreaks), Powerweld (Sans-serif, Bauhaus style, all-minuscule), Präsent 60 (PI font with various East German logos), Preussische IV 44 (PreussischeIV44Ausgabe3) (Repro of Prussian Railways pattern type IV 44 version 3), Preussische VI 9 (Repro of Prussian Railways pattern type VI 9 version 2), Proletarsk (Sans-serif, monoline, doubled-up questionmark), Quast (Brush type, all-majuscule, very rough outline), Quimbie (Sans-serif, all-majuscule, resembles Amelia), Quirkus (Sans-serif), Ring Matrix (LED matrix with ring LEDs, solid LEDs and ring LEDs with shadow), Rostock Kaligraph (Very round calligraphy, resembles rotunda), Rotunda Pommerania (Rotunda style, Wiegel-code (Regular only) or UNZ1-coded), Rudelskopf deutsch (Sans-serif, based on Kurrent-style letterforms), Schwaben Alt (Schwabacher in Wiegel- (Rg only) or UNZ1-coding.), Stage (Sans-serif, narrow, Art Deco, fleeting taste of Broadway), Strassburg Fraktur (Handwritten fraktur, ornate majuscules, Wiegel-coding), Tank (PI font with (gas/petrol) tank station logos), TengwarOptime (Optima for Tengwar), TGL 0-16/0-17 (East German versions of DIN 16 and DIN 17 blueprint types), TGL 31034-1, TGL 31034-2 (East German versions of DIN 6776 / DIN EN ISO 3098 blueprint types), Utusi Star (Sans-serif, slight resemblance with Rundfunk), Varieté (Sans-serif, all-majuscule or caps/smallcaps), Vis-A-Vis (Serif, all-majuscule, split in middle), Volk Redis (Kurrent handwriting, anno 1930-1941), Vrångö (LED matrix type like Ring Matrix), Waschküche (Serif, resembles Antykwa Torunska), Wiegel Kurrent (Kurrent-style handwriting), Wiegel Latein (Latin-style handwriting), Wolgast Script (Sloppy-looking handwriting with a broad-nib pen), Wolgast Two (Latin/Cyrillic handwriting), XAyax (Serif, Jugendstil, narrow, all-majuscule), Yiggivoo Unicode (Sans-serif, wide, tall x, board game packaging feel), Youbilee (PI font with various jubilee laurels), Verkehrszeichen (Zeichen) (PI fonts with traffic signs (in layers)), Verkehrszeichen alt (Zeichen Alt) (PI fonts with old traffic signs (in layers)).

Abstract Fonts link. Dafont link. Kernest link. Klingspor link. CAT Fonts link. Fontesk link. [Google] [More] ⦿

Cenz Qobbal

Malaysian designer (b. 1984) based in Petaling Jaya.

Creator of these typefaces in 2012: Afro, Stitches (stitch font), Pop Jazz, Galah Panjang, Bunga Cengkih, Senandung Malam (Victorian all caps family), Kunang Kunang, Raja Drama (hairline avant garde sans), Piring Hitam (Peignotian sans), Dayang Senandung (hairline caps), Kaberet (a squarish outlined typeface), Kata Bidalan (hairline sans), Halusinasi (hallucination), Pak Pandir, Primadona, Mohsuri, Badang (a strong sans), Si LuNcai (monoline geometric sans), Kata Bidalon (a hairline avant garde sans), ContenG (grungy), Chempaka, Retak Seribu, Batik Indo (a textured typeface), Berus Rambut Kuda, Usang (sketched face), Songket (textured caps), Ugly Hand Writing, Dedaun (floriated), The Garden (ornamental caps), Seni Pop (a textured typeface), Modern Kerawang (ornamental caps), Cakar Ayam (scratchy hand), Sticky Notes, and Kerawang (ornamental caps).

Typefaces from 2013: Selari (bilined), Haru Biru (bilined).

Charlie Beadle

UK-based designer who created a Herb Lubalin poster in 2010. [Google] [More] ⦿

Charlie Boyden

During his studies in in Suffolk, Ipswich, UK-based Charlie Boyden created an untitled avant garde typeface (2014). Also in 2014, he created the Bauhaus-inspired typeface Circles. [Google] [More] ⦿

Charlie Middleton

During his studies in the UK, Charlie Middleton created the avant-garde sans typeface family Deko (2013). Behance link. [Google] [More] ⦿

Chase Babb

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

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

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

Chequered Ink
[Allison James]

Chequered Ink (est. 2015) is a two-man design studio consisting of Daniel Johnston (b. 1993) and Allison James (b. 1991; Allison is a reincarnation of Andrew McCluskey). Their business is based in Bath, England but they currently reside in Newport, Wales. Before 2015, Andrew McCluskey operated as NAL Games. That font collection was merged with Chequered Ink. As of early 2019, they designed 912 fonts, virtually all downloadable at Fontspace. For detailed attributions, we have:

Typefaces from 2015, mostly made with FontStruct: Heartbeat Synchronicity, Sawchain, Man Flu, Ace Adventure, Disco Nectar, Hex Girlfriend, Future Now, Lycra, Rygarde (pixel font), Empire Straight (avant garde caps), Kitty Katastrophe, Gang Wolfik Craze, O.K.Retro, Xxrdcore, the blocky sans serif Horticulture, the modular angular Heartbreaker, Ninja Thing, Fort Brewith, Urgently, Baxter's Slab (heavy octagonal style), Lady Radical (pixel font), Provisionary, Quickfyr, Vermin Vore, Even Stevens.

Typefaces from 2016: Sportscream, Assvssin, Brandsom (ransom note font), BromineCocktail, DestinationMercury, Eviscera, Halloween*Heresy, IReallyReallyReallyReallyReallyReallyLikeFonts, Viadukt, Yetimology, Indocorno, Overdose Sunrise (dry brush), Happy Talk, Camaraderie, Death Hector (sci-fi), Scones And Crossbows, Casual Softcore, Notepads & Roleplay, Order in Chaos, Stencil of Destiny, ViceVersus, Magenta Flow, Prick Habit, Go Faster, BlackboardRovers, Caperput, Chavelite, Lovecraftimus, RawhideRaw2016, SmackLaidethDown2016, SmackLaidethDown2016Oblique, Pelode, The Nineties Called They Want Their Font Back, You Can't Kill Old School, Thoroughbred, Card Shark, Sheeping Dogs, Zen Monolith, The Joy Facade, Cerulean Nights, Pounds of Violence, Altered Quest (octagonal), Thrash Decision (dripping paint font), Afroed Dizzy Yak (handcrafted style), Circulus (octagonal style), 53 Dollars and 92 Cents, Endless Boss Battle (pixel font), Guest Circus Paradiso, Niagaraphobia (sans), Noseblood (squarish italic), Shake Your Plums, The Light Brigade (trekkie font), Beautiful Heartbeat (handcrafted), Poisoned Paradigm (dripping paint font), Development Hell (modular), Energetic Star (stencil), Men Down (display or poster type), Apple Korea (Hangul emulation typeface), Zdyk Capricorn, CQ Mono (a rounded monoline monospaced sans programming font), Pyrsing, Executionist, Mono a Mano (pixel typeface), Toxico, Swiggity (hexagonal), Mono a Mano (pixel font), Dissolved Exchange, Thundercover, Hors d'oeuvres The Garter, Distortion Dos Digital, Acetate, Arcapulse, ChelseaSmile, Headshots, Here&NotFound, IregulaTo, Japers, MidnightsontheShore, RallyBlade, Sothin (a great ultra-condensed squarish typeface), VerminVibes4Helium, 6Cells, DistortionDosAnalogue, SpotMonkey, Summoners, UnderwearProtest (Piano key style), VerminVibes4, Shapeshifters, Puerto Magnifico (Mexican party style font), Zdyk Gemini (intergalactic font), Bones To Your Generic Script Font, Breathe Fire (medieval style), Escalatio (hipster style), Pocket Monka (beatnik style), Jack Frost, Hiruleon, Cfour, CrystalCathedral, DigitalDust (LED font), DotLirium, Griefmachine, KillerCollege, OfMaidsandMen (oriental emulation typeface), Red Dragons, Grimeplex, Iron Amore, Twizzled, ZedSaid, Vermin Vibes, Major League Duty (military stencil), Moist (dripping paint font), Wondertribute, Of the Blue Colour of her Eyes, Anastasia (script).

Typefaces from 2017: Technoma (rounded sans), Gothiqua, Tune Up De Ting, Diary of an 8-bit mage, Night Machine, The Wastes of Space, Nuernberg Messe, Torque Sense, Crevice Stencil, Glitch Slop, Balloonatic, Typist's Pseudonym, Flob Out A Bork, Tumbling Down (grungy), Onomber, Have a Banana (angular style), Not The Far East (oriental simulation font), Electric Shocker, Lady Radical 2 (pixel), AmidVerrion, Basilisk, Beillingsday, Butcher the Baker (a gory brush), CQ-Full-Stretch, Chillit, Diagon, Durmstrong, Embryonoid, Gravedigger, Gridget (gridded), Gridlocked, Hannover-Messe-Sans, Hannover-Messe-Serif (pixel), Ineptic, I Shot the Serif, JesusFrank, Messe Muenchen (slab serif), Ode-to-Idle-Gaming, Punishment (grungy stencil), Rumutocu (squarish), Slitter, Slim Stradiva, Supercarver, Technoma, VitruvianMan, VoiceInMyHead, Riemann Theatre (art deco), The Messenger, Revengeance, Pimlico, North to South, Qui Finn, Oganesson, Xmas Sweater Stitch, Tinsel Christmas, Inky Thin Pixels, Saint Knick Knack, Cookie Cutter Culture, Talking Baseball, Balls of Bastille, Vegan Abattoir, Oxen Crossbow, Thumbs Down, Enter the Harbinger, Im Not Like Most Fonts, We Used To Be Friends, Trendgetter, Strings Theory, Carnival trash, The Life of Flight, Sci Auralieph (rounded sci-fi style), Foreplayer, Pixel or GTFO, Block Stock, Unability, Swore Games (military stencil), Clintwood (Western, spurred), Floral Compass, Skull and Void, Weymouth Ribbon (7 pixel font), Four Mad Dogs, Blaize, Chisholm Heliport, ConfettiWestern, EdgyMarker, Ganymedian, Klein Bottle, LeipzigerMesse, LifeInTheFastLane, Messe-Duesseldorf, MilestoneOutline, Oilrig, QueenofClubs, Peking Assignment, Racetrack-Stencil (trilined typeface), RodentRage, Spoopy Ghost Pixels, SquareRaising, Whisperer, ZdykLibra, Equalize (sci-fi), Helicopta (sci-fi), Saveloy, Hangar Nine, Robo Arriba (a font with Mexican-patterned texture), Clutching Toth, Freestyling Centipede, Idiot Stax, Lorra Lorra Dates (an image font simulated on FontStruct), Rampant, Typingrad (constructivist), Lovesauce (squarish), Scaremonger, Happy Accidents, Aztechno (Mexican Aztec culture emulation typeface), BeastofRage, ComicKhazi, DaisyRoots, DogRough (ink splatter font), Drowsy, FrankfurtMesse-Serif, FrankfurtMesse-Wide, FrontPageSupplement, HipsterHandGrenade, MerrimentHelicopter, OffspringRemorse, PlacktheHanet, RevolutionWillBeHypnotised, SomersetBarnyard, Almond Rocks, Gridking, Rollcage (circle-themed sans), Satire, Some Kinda Madness, Blackletter Buffoonery, Toe the Lineless, Merriment Helicopter, Revolution Will Be Hypnotised, Long Haired Freaky People, Sui Coward, Pirates of Cydonia, Old School Adventures (pixel style), Mersey Cowboy, Disco Everyday Value, Koln Messe-Deutz, Stress Genesis, Vermin Vibesy, Madness Hyperactive, Nebulous Content, Toe The Line, Chunky Felt, Madness Hyperactive, Member Kinglify, Bristol and Bath, Dirty Princess, Modern Bohemian, Chocolate Cavalcade, Capital Clickbait, Frogotype, Ipscrik, Front Page Supplement, Sex Drugs and Fidget Spinners, Pickle Pushing, Thickedy Grunge (crayon font), Knockout Grunge, League of Extraordinary Justice, Thickedy Quick, Avenged for Yourself, Zoon Hoot, Ambidextrose, Thinly Handled, Sketchit Means Sketchit, Return of the Grid, Fierce Brosnan, Chubby Thumbs, Pseudonumb, West End Knights, Cybercrime 2004, Reflecques, Death Knell, Fake News, Zealousy, Aquamarina (rounded sans), Amateur Camcorder, Mighty Squidge, Track & Shield (multilined), Wander Z, Gardenfreude, The Wild Breath of Zelda, Effective Power, Techno Agony, LED Specimen (textured), Projectionist, Splinter Wonderland, Shiny Eyes, Uncopyrightable, Hallowed Grad, Peace and Equality, Steriliser (heavy sans), Electro Shackle, Castforce (titling sans), Butterfly Reflect.

Typefaces from 2018: January Fair, Scared of the Unknown, Teddy Bears, Wicked Jumps, Enter The Grid 2, Chump Change, Take Me Out, Breathe Fire II, Toon Around, Tabloid Scuzzball, The Jjester, Play Pretend, A Friend In Deed, Girlesque, Bumblebear, Joyful Theatre, Snow Deep, Car Lock, Digital Display (an LED font), Game Played, Seldom Scene, The Shape Of Things, Candy Beans, Internal Rainbows, Pride Thusly, Armwarmer, Futuristic Armour, Refresher (dry brush), Brick Shapers, Frostbite Boss, Armed and Traitorous (a rough-edged stencil typeface), Ambystoma Mexixana, The Slug and Lion, Gourmet Hearth, Virtu, Star Doors, Winter Spice Cake, Canvas Bags, Shocking Headline, Tiny Islanders (pixel font), Yumi, Nobody Talks, Finished Sympathy (white on black), One Slice, Somerton Dense, Sunday Afternoon, Close & Open, Another Flight, Kuiper Belt, Platonica, Smoother, Ladders, Cold Warm, Name Smile, Shepherdy, Friend Head, Kevlar Underwear, Scrambled Tofu, Dillydallier, Joy Kim, Office Square, You've Gotta Point, District Four, Scare Arms (grunge), 22 September, Alimony, Xmas Fairy Lights, Segreteria, Leg Hug, Coded Message, Madeleina Sans, Trample Over Beauty, Emerald Grey, Fine Allie, Bottled It, Glee Finder, Pill Anthropic, Achtung! Polizei, Say the Words, Outcome, First In Line, Brain Wants, Green Strand, Die Grinsekatze, Eight Bit Dragon (a pixel typeface), KreepTown, Loudhailer, Progesterone, Insomniax, Quick Fuse, Rowdy Space Pirates, Oestrogen, Whisper Quiet, Zosilla, Construction Lines, Construction Lines, Juxtaposer, Tommi, Under The Weather, Xero's Punishment, Betryal of Mind, Rustic Love Tattoo, Younger Love (heavy octagonal typeface), Gossamer Girls (a pixel font), Dispence, Time Won, Blessings of Babylon, Requires Moonshine, Stroud, Hot Bleb, Nightmare Codehack, Manilla Cellos, Teeny Tiny Pixls, Ava Meridian, Wonders of the Orient, Float The Boat, Cute Zealand, Super Renewables, Lean Foreword, Mister Fisher, Love Nature, Exposure Salary, A Goblin Appears (pixel type), Project H, There Must Be, Charlestoning, Sportsquake, Violet Wasteland (dry brush), Clubbed to Life (sans), Moonwalk Miss, Best Tease, Reach The End (art deco), Slalom, A Grazing Mace, Boomer Tantrum, Disarmer (military stencil), Hell Underwater, Carnival Centenary (Tuscan), Mahalo Brother, Glue Gun, Tyrannothesaurus, Casanova Scotia, Fatherland Faker, Daughter Of A Glitch, Sparkles, Europhonic, Betelgeuze, Goregeous, Supermarketed, All The Way To The Sun, Russia Five, Soccer Scoreboard, Cinqcent, Megan June, Big Old Boldy, 501, Earthshattering, Sheeping Cats, Thousandyard, Closet Dwellers, Clicky Bricks, Painter Decorator, The 27 Club, Adventure ReQuest, Miamagon, Nineteen Ninety Seven, Vermin Verile, Great Attraction, Great Attraction, Zirconia, Oh Beehive (hexagonal), Gofuyo (experimental geometric sans), Wideboy, Im Spiegelland, Battenberg and Custard, Bugfast, Robotic Harlequin, Scouser Ste, Blend Her, Ancient Venusian, Sivereign State (constructivist), Daily Mix 3, Brushstroke Horror, Hellgrazer, Corporation Games (sci-fi), Pride Cometh (dry brush), Squirk (stone cut), Mecklabecka (octagonal), Nineteen Ninety Three (pixel), Dominian (octagonal), Perfectly Together, Super Comic, Nrvsbrkdwn, Bottom Brazil, Don't Delay Act Now, Nu Home, Just My Type, techno at Dusk, Starbirl, Hate Agent, Fool's errand, Bullet Rain, Orchestra of Strings, One Pill Makes You Larger, Interlewd, Fandomonium, Ball Bearing, Jamboree, Hot Thin Roof, No Added Sugar, X Termination, Real Fun Time, Der Neue Spargel, Nineteen Eight Seven (pixel), Bittypix Countdown, Nineteen Ninety Six, Fasterisq, Peekavous, Modest Felt, Im Wunderland, Megarok, Sunk Foal Brother, Skydiver, Chasing Rabbits, Background Noise, Viridian College, Sacred Hertz, Sawyers Whitewash, Brittle, Cupcake Smiles, Machine Gunk, Dubspikes, Onslaughter, Eyes Wide Suicide, Boatycabiners, All Square Now (pixel), Hawking Bowen (octagonal), Style Thief, Tagon (octagonal), Withheld Data (LED font), Dubstep Blackletter, Pixabubble, Hopelelessly in Lurve, Springtime Daydream, Techno Til Dawn, Fluid Lighter, Rush Rush (stencil), Incompetent Landlord, Danger on the Motorway (dot matrix), Hippopotamus Apocalypse (hexagonal), Homunculus, Bittypix Monospace (pixel font), Unicorn Scribbles, Rockout, Truly Madly Dpad, Tincture, Virtual Pet Sans (dot matrix font), How Are You Today (ultra-condensed), Juicebox, Chemical Superior, Organic Teabags, Broadsheet Bubble, Document Two, Slope Opera, Blockbrokers, Off The Haze, Gang Wolfik, Gnorts Mr A, Radiator Falls, Take Me On, Cyberspace Raceway, Rocket Rinder, May We, The Citadels, Life Is Okay, Astrolab, Simple Stitch, Feeding A Moment, Gooseberry Juice, Namso, Rabbit Fire, Texas Drop, Short Xurkit, Maiden Crimes, Hysterix, Introducing Pretentiousness, Lullaby Weight, Slumbers Weight, Vampires, Veal Nerve (a neurotic typeface), Be Kind To Earth, Aardvark Sk8, Ancient Modern Tales (blackletter), Spider Talent (Halloween font), Pooch Doo, Plan G, Rhapsodies (art deco), Lab Pulsar (sci-fi), Hamburg Messe (blackletter), Xide, Scrawling Pad, Bun Ting, Speedeasy, Itty Bity Notebook.

Typefaces from 2019: Hindsight 2020, Provicali, Go Everywhere, Smack Laideth Down 2019, China Fad, Monster Twenty, Into Deep (sci-fi), Mandatory Plaything, Galaxy Girl, San Marino Beach (a shadowed font), Acorn Caravan (a rounded sans stencil), Hairy Beard, Phonograph, Sterelict (futuristic), Egosurf, Bankruptcy, Wayfarer's Toy Box (a pixel font), Fox Cavalier, Heartisan, Modular Amplitude (heavy octagonal, Dolphin with a Massive Shotgun (a glitch font), Jasmine Laslo, Earth Spirit, Nemesis Grant, Daily Mix 4 (an all caps blackboard bold typeface), Uplifting, Ministry of Moron (a heavy sans), Extinction Event, Cut Deep, Q For The Memories, Wozcott, Super Legend Boy (pixelish), Chopsic, Lesotho Beach (octagonal), Illiead, Ten Pin, Isite, Motorstrike, Hwyl Fawr Hello, Undersided, Shut Up and Love Me (shaky letters), Terminal Day, I Am A Designer, Born to Grille (a semi-stencil), Amuse-Bouche, Die Frau, Err Hostess (octagonal), Cthulhu's Calling, Fresh Eaters, Gamma Orionis, Greatsby Gat, Hands Oversaturation (sans), Joy Multiplication, Kotoba, Midnight Champion (an extra tall sans), She Smiles, Read Wharf, Ohno (poster sans), Prodigy Forever (a blood and paint splatter font), Questrian 2 (sans), Nau Sea (squarish), The Macabre, Long Fox, Roll Accurate (stencil), Princess Saves You (pixel font), Clone Machine, Cyberpunk Sealion, Misery Garment, Klimaschutz, Space Obsessed, Serpentire, Squidgy Sweets (fat rounded sans), Yokelvision (fat letters), Coral Colour, None Away From The Moon (counterless), Squidgy Sweets, Yokelvision, Coral Colour, None Away from the Moon, Robot Roc, Figure Things, Gaeilge Kids, FoughtKnight Haymaker, Medical Shape, Revenant (octagonal), Pinch My Ride, Dire Gramme, Assembled from Scratch, Premier 2019 (squarish).

Typefaces from 2020: Hardigan (a titling sans), Petrichor Sublimey, Bardolatry, Star Trebek, Fast Hand (sci-fi), Bonk Robbers, Neuterous, Demoness, Lucid Streams (sci-fi), Fosterama (an elliptical sans), Woman, Shock Mint Fund (octagonal), Milletun (an all caps slab serif), Mille, Vudotronic, Elder Head, Dead Revolution, Charge Off, Asleepytiming, Questrian3, SplendidConfusion, XXIX, Septacharge, Dark Seed, Hawkeye, Dustfine, We Are Survivors, Be A St, Computo Monospace, Dealer Strikes, Zdyk Virgo, Bathrind, Honk, Revamped, Clease Plap, Zdyk Cancer, Cyberway Riders, Memorial Lane, Doubleplus, Ominus (italic), Army Buster (stencil), Tudor Victors (a grungy stencil), Romantic Chemicals, Migraine Machine, Warhead (constructivist), X-Heighting.

Dafont link. Creative Market link. Fontspace link. [Google] [More] ⦿

CHK Design
[Christian Kösters]

Fonts by Christian Kösters: RemoveOverlap, Retrospecta (avant-garde family), UnzialisSans. [Google] [More] ⦿

Chris Chew

CT-born creator of Serious (2013), an avant garde sans typeface, during his studies at The Art Institute of Boston at Lesley University, where he is in the class of 2014.

Christian Kösters
[CHK Design]

Christie Liberatore

American graphic designer from Baltimore, MD, who studied in SVA;'s Masters program in Rome in 2012. Roman signage inspired her in the creation of four alphabets in 2012: Sermoneta (Victorian), Giolitti (Victorian), Credito Italiano (Victorian), and Deccio (avant-garde).

Christine Carforo

Designer in Pleasantville, NY. She created the geometric monoline avant-garde typeface Lemoncake (2012).

Christopher Maden

At The School for Visual Communication in Haderslev, Denmark, Christopher Maden designed the avant garde all caps sans typeface Informativ (2016). Thanks to the careful use of white space, it uses 43% less ink than the average of Times New Roman, Helvetica, Avenir and Franklin Gothic. [Google] [More] ⦿

Christopher Mooij
[Berserker Studio]

CircleD

Avant-garde font in hairline weight by URW, 1994. [Google] [More] ⦿

Clara Rodriguez

A graduate of Universidad ORT, Clara Rodriguez (Montevideo, Uruguay) created the avant-garde typeface Regatta (2013) and the squarish sci-fi typeface Caliza (2013). [Google] [More] ⦿

Clarissa Harteveld

Cape Town, South Africa-based graphic designer and illustrator. She created an untitled high-contrast avant-garde typeface in 2014. Behance link. [Google] [More] ⦿

Claudio Piccinini

Type designer from Modena, Italy, b. 1969. Designer of these fonts:

Memory (1993): will be on the Fontomas CD for the Kids Organization Woldvision Germany later in 2002.
Ottomat (1994, Emigre), an avant-gardish font family.
Neoritmo (1996), a gorgeous semi-experimental font family completed in 2002 for Psy-Ops [read about its development here].
Reality (1996), Exegetic (1997), Fear Unknown (1997), Inexpressed (1997): all at Thirstype.
Ideal (1999), unreleased.
Ogilve (2001, Thirstype).
Squatront (2002, Thirstype): to be released soon.

He started Thoughtype, a site for critiques and type talk. Bio at Emigre. Speaker at ATypI in Rome in 2002. [Google] [MyFonts] [More] ⦿

Clotilde Olyff

Belgian designer (b. 1962) who lives in Brussels where she taught (teaches?) at the École supérieure des arts visuels de La Cambre and at the École supérieure de l'image. Her fonts were published by 2Rebels in Montreal, and by FontHaus in the USA. Her fonts are experimental and geometric in nature.

Some creations: Billes (1995), Boulbar (1995), Boules (1996), BubbleBath (1996), Craaac (1996) Caaarc (1996), Design, Douff, Graphic, Handex (1995; an alphading based on fists), Inbetween (1996), Lines (1994), Lolo (1992, funny figurines), Minimex (1996), Modern (1996), Perles (1995), StencilFull (1997), StencilFullBraille (1997).

She is most famous for her avant-garde geometric fonts Alpha Bloc (1994) and Alpha Geometrique (1994) published by Font Bureau. Alpha Geometrique Compact, for example, is a Bauhaus style stencil face.

View Clotilde Olyff's typefaces. [Google] [MyFonts] [More] ⦿

Coert De Decker
[Kustomtype]

Connary Fagen

Art director, designer and consultant who grew up in Colorado and is now based in Heber City (was: Park City and before that Salt Lake City), UT. He created the commercial Latin / Cyrillic geometric sans font family Venti CF in 2014---Venti can be purchased here. His second typeface is the geometric / techno typeface Filter CF (2014).

In 2015, he created Waverly (avant garde caps), Articulat CF (an 18-style Swiss sans typeface), Argent CF (a 13-style display serif family), Ironfield (bold husky brutalist display font), Visby CF (geometric sans), Visby Round CF, Quincy CF (a warm serif text face), and Manifold CF (a squarish cold utilitarian sans with 16 styles; extended to the corporate typeface Manifold DSA in 2017). See also Manifold Extended CF (2022; 16 styles).

Typefaces from 2016: Vanguard CF (a strong ultra-compressed sans in 16 styles), Addington CF (a 14-style text typeface family), Cartograph CF (monospaced sans), Greycliff CF (sans), Turismo CF (a wide rounfded open sans inspired by midcentury motorsports, technology, and business).

Typefaces from 2017: Gryffith (angular), Visby Slab CF, Filter v2 CF (hipster style), Couplet CF (humanist sans), Integral CF (an all caps titling font).

Typefaces from 2018: Argent Pixel (free), Artifex CF (a 9-weight serif family), Artifex Hand CF (a flared version of Artifex), Criteria CF (a geometric sans with horizontal and vertical terminal endings), Roxborough CF (a sharp-edged roman typeface).

Typefaces from 2019: Wayfinder CF (a sharp-edged display typeface).

Gumroad site, where one can download free trial versions of many of his fonts, and purchase licenses for the other ones.

Typefaces from 2020: Hexaframe CF, Olivette CF (a sharp-edged angular and contrast-rich typeface family), Ellograph CF (a rounded monoline sans in 16 styles).

Typefaces from 2021: Mielle CF (a monolinear script), Greycliff Thai CF, Greycliff Arabic CF, Greycliff Hebrew CF, Quiverleaf CF (ten flared / lapidary styles).

Typefaces from 2022: Quiverleaf Arabic CF.

Interview by MyFonts in 2021. [Google] [MyFonts] [More] ⦿

Connor Jaxk

During his studies in London, Connor Jaxk designed the free avant garde sans typeface Indent (2016). Behance link. [Google] [More] ⦿

Constructivists

This 20s-30s movement, with lettering and alphabets done by people such as Wladyslaw Strzeminski, Josef Albers, Kurt Schwitters, Jan Tschichold or Herbert Bayer has no decorations, and uses horizontal and vertical edges and arcs of circles make up the shapes. Fonts in this style include ITC Avant Garde, Avenir, Futura, Industria, Insignia, ITC Kabel and some stencil designs. [Google] [More] ⦿

Cool Fonts Online
[Todd Dever]

Cool Fonts in Long Beach, CA, was created in 1995 by Todd Dever (b. 1962, USA). It offers Todd Dever's funky and sometimes grungy font creations. Very incomplete trial version fonts are downloadable for inspection. List of fonts: Block Dog (1996), Black Dog (2009, 3d-hand-drawn), Jean Splice (1999), Freak, Smash (old typewriter), Overexposed, RingOfFire, Zapped, Z-Rex, BlackDog, Poozer (2006), Truncheon (2006), Yaroslav (avant-garde, art deco), Twiddly Bitz (pixel font), Tritto (handwriting), Skribler, KillerAnts, Goombah, Bokonon (haunted style). Full versions sold at Philsfonts and MyFonts sells BlackDog, Bokonon, Cowboy Burt, Freak, Goombah, Jean Splice, Killer Ants, Newt Juice, Okra Cubo, Overexposed, Poozer, Ring O Fire, Skribler, Smash, Snoofer, Tritto, Truncheon, Twiddlybitz, Yaroslav, Z-Rex, Zapped. Creative Market link. [Google] [MyFonts] [More] ⦿

Corey Holms

Graduate from Cal Arts (1996), who runs CoreyHolms.Com in Fullerton, near Los Angeles. MyFonts link. MyFonts foundry link. Most of his fonts were republished in the 2020s at Canada Type.

Designer of Compunabula (2015: a low resolution, 8-bit alphabet imagined for our high resolution world), NE10 (2010, a stencil / neon tube typeface), This (a stencil typeface), Area (2008, Umbrella Type, an art deco nightclub face; hints of Avant Garde), Mode (2007, experimental modular type, Umbrella and later Canada Type, Babbage (2005, Umbrella Type, a capricious typewriter font), Sange (2002, a dot matrix blackletter font), Brea and Brea Light (2004, a dot matrix blackletter family at Umbrella Type; republished in 2021 at Canada Type), Mince and Mince Shadow (2004, Umbrella Type), DecadesOS (2002, for Decades Inc), Air-Port (1999), Attractor (2001, based on Alexei Tylevich's NoGlow), Granule (2009, fat rounded sans), Cartridge (2001), Claes (2001, based on a Wim Crouwel design), Consume (1996), Den (1998, for the Digital Entertainment Network), Digital (1997, for "The Apartment"), Empire (1995), Fascia (2002), Hobart (2001, a kitchen tile font), Pea (2005, Veer: letters made up of springs), Phia (another kitchen tile font), Progress (2001, for Progress City), Rasputin, RMX, Savante (1999), Sears (2000), Stencil, Thirty, Untitled and WebType (2000). Many of these fonts are futuristic, experimental, logo-inspired or minimalist.

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

Corridor
[Florian Kriegner]

Linz, Austria-based designer of these typeface families, ca. 2018:

Dueblo Sans and Serif. Dueblo Sans is almost Peignotian.
Nomad Sans.
Ratatam Egyptienne.
Berto Headline (avant-garde).
f-Line. A signature script.
Slabton (slab serif).
Turale. A painted typeface.

[Google] [More] ⦿

Cosimo Lorenzo Pancini

Born in Firenze in 1969. Cofounder with Francesco Canovaro and Debora Manetti of the Italian design firm in Firenze called Studio Kmzero. He co-designed some typefaces there such as Arsenale White (2009). In 2002, Pancini developed Targa, TargaMS and TargaMSHand (for comic books?), basing his design on the peculiar sans serif monospace typeface with slightly rounded corners and a geometric, condensed skeleton that Italy had been using for its license plates. In 2022, Francesco Canovaro redesigned this font into a versatile multi-weight typeface, Targa Pro, which includes Targa Pro Mono (which keeps the original monospace widths), Targa Pro Roman (with proportional widths), both in five weights plus italics, the handmade version Targa Hand, and Targa Pro Stencil.

The handwriting of Lord Byron led Pancini to develop the brush script typeface Byron (2013, Zetafonts).

MyFonts credits him with the rounded avant garde sans family Antipasto (2007), but elswhere we read that this typeface is made by Matteo di Iorio, so there is some confusion. It was extended in 2017 by Pancini as Antipasto Pro.

In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro co-designed Amazing Grotesk (+Ultra). He also designed the calm bold geometric rounded sans typeface Cocogoose (2014; replaced by Cocogoose Pro in 2017) and the stylish deco font Offensive Behaviour. Cocogoose Letterpress is free. Cocogoose is part of the Coco Gothic family, a collection of twelve typefaces each inspired by the fashion mood of every decade of last century, named after fashion icon Coco Chanel. Cocogoose is Coco Gothic for the 1940s. See also Coco Gothic Pro (2021).

In 2015, Pancini published the grand family Coco Gothic. This Latin / Greek / Cyrillic typeface family features a small x-height and sligghtly rounded corners to make the avant garde and geometric sans typefaces in vogue in the 1970s come alive again, ready for 21st century fashion magazines. It comes with substyles that recreate many moods, including art nouveau and arts and crafts (Cocotte), Italian propaganda style and Italian deco (Cocosignum), hipster style (CocoBikeR), or Bauhaus (Cocomat). Coco Gothic was initially developed as a corporate font for Lucca Comics & Games Festival 2013. The rounded geometric sans family Cocomat (by Cosimo Lorenzo Pancini, Deborah Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of Italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia. Updated in 2019 as Cocomat Pro.

Still in 2015, Cosimo and Zetafonts published the connected creamy baseball script Bulletto, the grungy handvetica Neue, and the calligraphic wedding typeface Hello Script. In 2015, at Zetafonts, Cosimo Lorenzo Pancini designed CocoBikeR (2015) to celebrate the hipster and bike cultures. CocoBikeR (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. In 2017, Pancini designed the 1930s Italian art deco typeface families Cocosignum Maiuscoletto and Cocosignum Corsivo Italico. In 2021, he published the 48-style (+variable) font family Coco Gothic Pro. This is a redrawn and expanded set of fonts: Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicita) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. [...] A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true typographic time machine, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties' minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century. There is also attention to Darkmode and there is coverage of Cyrillic and Greek.

Typefaces from 2016: Adlery (a curly brush script), Kitten (Fat, Swash, Swash Monoline, Slant, Bold: signage script family), Adlibitum (a blackletter typeface by Cosimo Lorenzo Pancini and Francesco Canovaro), Morbodoni (a display didone by Cosimo Lorenzo Pancini and Francesco Canovaro).

In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free. Still in 2016, Pancini designed Calligraphunk, an experimental typeface that mimicks polyrythmic calligraphy, by alternating two sets of lowercase letters to emulate handwriting.

In 2016, Cosimo Lorenzo Pancini, Matteo Chiti, Luca Chiti and Andrea Tartarelli co-designed the retro connected brush script font family Advertising Script, which is based on an example from Ross George's Speedball 1947 Textbook Manual.

Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima.

Amazing Grotesk (2016) is based on a logo designed by Francesco Canovaro.

Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita.

Hello Script and Hello Sans can be used for layering and coloring. The Christmas-themed version is Hello Christmas.

Pancini designed the 64-strong typeface family Body Grotesque and Body Text in 2017-2018, together with Andrea Tartarelli. It was conceived as a contemporary alternative to modernist super-families like Univers or Helvetica.

In 2017, Cosimo Lorenzo Pancini and Andrea Tartarelli co-designed the sans typeface family Kabrio, which gives users four different corner treatment options.

Anaphora (2018). Anaphora is a contemporary serif typeface designed by Francesco Canovaro (roman), Cosimo Lorenzo Pancini (italic) and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to heavy. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display size. Anaphora covers Latin, Greek and Cyrillic.

Canovaro's Arista served as a basis for the 29-style monolinear rounded sans typeface family Aristotelica (2018) by Cosimo Lorenzo Pancini and Andrea Tartarelli. See also Aristotelica Pro (2020).

In 2018, he designed the italics for Cosimo Lorenzo Pancini's Domotika typeface family. Between 2018 and 2021, Cosimo Lorenzo Pancini and Andrea Tartarelli developed the 8-weight humanist sans typeface Domotika for Latin, Cyrillic and Greek, further into the 18-style Domotika Pro (2021).

In 2018, he published Radcliffe, with Andrea Tartarelli, a Clarendon revival with Text and Casual subfamilies. Radcliffe (a Clarendon revival by Cosimo Lorenzo Pancini and Andrea Tartarelli), and added the layerable condensed Cocogoose Narrows to the Cocogoose family. Codec (2018) by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli is a geometric sans typeface family in which all terminal cuts are horiontal or vertical. See also Codec Pro (2019).

His Double Bass (2018) is a jazzy 4-style typeface family that pays tribute to Saul Bass's iconic hand lettering for Otto Preminger's The Man with the Golden Arm film title sequence and other movies, Bass's vibrating, almost brutal cut-out aestethics, and the cartoonish lettering and jazzy graphics of the fifties.

In 2018, he published the sharp wedge serif typeface Blacker to pay homage to the 1970s. In 2019, that was followed by Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli, who write: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs). Still in 2018, he designed the swooping polyrhythmic calligraphic typeface Calligraphunk.

In 2018, Cosimo Lorenzo Pancini and Andrea Tartarelli designed Holden, a very Latin cursive sans typeface with pointed brush aesthetics and fluid rhythmic lines.

In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic, the sans family Aquawax Pro, and the condensed rounded monoline techno sans typeface family Iconic.

In 2019, Cosimo Lorenzo Pancini, Andrea Tartarelli and Maria Chiara Fantini at Zetafonts published a slightly calligraphic Elzevir typeface, Lovelace.

In 2019, the lapidary typeface family Beatrix Antiqua (Francesco Canovaro) was reworked by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini into a 50-style type system called Monterchi that includes Text, Serif and Sans subfamilies. Monterchi is a custom font for an identity project for a famous fresco in Monterchi, developed under the art directorship of Riccardo Falcinelli.

Tarif (2019) is a typeface family inspired by the multicultural utopia of convivencia---the peaceful coexistence of Muslims, Christians and Jews in tenth century Andalusia that played an important role in bringing to Europe the classics of Greek philosophy, together with Muslim culture and aesthetics. It is a slab serif typeface with a humanist skeleton and inverted contrast, subtly mixing Latin zest, calligraphic details, extreme inktraps, and postmodern unorthodox reinvention of traditional grotesque letter shapes. The exuberant design, perfect for titling, logo and display use, is complemented by a wide range of seven weights allowing for solid editorial use and great readability in body text. Matching italics have been designed with the help of Maria Chiara Fantini and Cosimo Lorenzo Pancini, while Rania Azmi has collaborated on the design of the arabic version of Tarif, where the humanist shapes and inverted contrast of the Latin letters find a natural connection with modern arabic letterforms.

Late in 2019, Cosimo Lorenzo Pancini released the fun typeface family Hagrid at Zetafonts, which writes: Crypto-typography---the passion for unknown, weird and unusual character shapes---is a disease commonly affecting type designers. Cosimo Lorenzo Pancini has celebrated it in this typeface family, aptly named Hagrid after the half-blood giant with a passion for cryptozoology described by R. K. Rowling in her Harry Potter books. Extreme optical corrections, calligraphic counter-spaces, inverted contrast, over-the-top overshoots: all the inventions that abound in vernacular and experimental typography have been lovingly collected in this mongrel sans serif family, carefully balancing quirky solutions and solid grotesque design.

In 2020, Pancini released Stinger (2020, a 42-style reverse contrast family by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Maria Chiara Fantini) and Boring Sans (a typeface family designed along two variable axis: weight and weirdness). As part of the free font set Quarantype (2020), Cosimo Lorenzo Pancini designed Quarantype Embrace, Quarantype Hangout, Quarantype Hopscotch, Quarantype Joyride, Quarantype Sackrace, and Quarantype Uplift (with Maria Chiara Fantini).

In 2020, Cosimo Lorenzo Pancini and Mario De Libero revived Nebiolo's Carioli (1928) as Cairoli Classic and Cairoli Now at Italian Type / Zetafonts. They extended the original weight and width range and developing both a faithful Classic version and a Now variant. The Cairoli Classic family keeps the original low x-height range, very display-oriented, and normalizes the design while emphasizing the original peculiarities like the hook cuts in curved letters, the high-waisted uppercase R and the squared ovals of the letterforms. Cairoli Now is developed with an higher x-height, more suited for text and digital use, and adds to the original design deeper inktraps and round punctuation, while slightly correcting the curves for a more contemporary look. Cairoli Variable has a weight and width axis.

In 2020, Cosimo Lorenzo Pancini and Mariachiara Fantini---with the help of Solenn Bordeau---released Erotique at Zetafonts. Erotique evolved from Lovelace, an earlier Zetafonts typeface. Zetafonts describe this evil serif as follows: it challenges its romantic curves with the glitchy and fluid aestethic of transmodern neo-brutalist typography. Late in 2020, they added Erotique Sans, the sans version of Erotique, also designed by Cosimo Pancini and Maria Chiara Fantini.

Late in 2020, he co-designed the 46-style font family Eastman Grotesque together with Francesco Canovaro and Andrea Tartarelli. This monolinear sans with a tall x-height comprises an interesting Eastman Grotesque Alternate subfamily with daring and in-your-face glyphs. The typeface evolved from Zetafonts' earlier Bauhaus-inspired typeface Eastman (2020). Later fonts in this family include Eastman Condensed (2021, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli).

In 2020, Cosimo Pancini, Andrea Tartarelli and Mario De Libero drew the 60-style Cocogoose Pro Narrows family, which features many compressed typefaces as well as grungy letterpress versions.

Sunshine Pro (2020, Zetafonts) was designed by Cosimo Lorenzo Pancini and Solenn Bordeau expanding the original Sunshine design by Francesco Canovaro, part of the Quarantype collection (2020), which in turn was designed as a typeface for good vibes against Covid-19. Sunshine Pro is an experimental Clarendon-style font with variable contrast along the weight axis---contrast is reversed in light weight, minimized in the regular weight and peaks in the bold and heavy weights.

Coco Sharp (2021) is a 62-style sans feast, with two variable fonts with variable x-height, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli.

Co-designer of Heading Now (2021), a 160-strong titling font (+2 variable fonts) by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Mario De Libero that provides an enormous range of widths.

Keratine (2021, Cosimo Pancini, Andrea Tartarelli and Mario De Libero). A German expressionist typeface that exists in a space between these two traditions, mixing the proportions of humanistic typefaces with the strong slabs and fractured handwriting of blackletter calligraphy. Pancini, its main designer, writes that it explores the impossible territory between antiqua and blackletter.

Geppetto (2021) is a frivolous Tuscan font that started out as a revival of a condensed Tuscan wood type family appearing in the 1903 Tubbs Wood Type catalog and which was probably derived from an 1859 typeface by William Hamilton Page. Pancini built a variable font on top of it and calls it a font for fake news.

In 2021, Pancini added Coco Tardis as a variable font with a time travel slider to the Coco Gothic family.

Millard Grotesque (2021) is a true "grot" in the Akzidenz Grotesque sense of the word. This typeface family was designed by Cosimo Lorenzo Pancini and Andrea Tartarelli.

Pancini's Descript (2021) is a variable script font with two axes, slant and speed of writing.

Milligram (2021) is a very tightly set grot by Cosimo Pancini and Andrea Tartarelli. [Google] [MyFonts] [More] ⦿

Craig Cummings

UK-based designer in 2008-2009 of the free fonts ABC (using arcs of circles), UNC (2008, gorgeous multiline headline face), Getting Blocky (geometric, abstract), London 2012 (based on the font of the Olympic Games), Fox Font (extremely simple monoline sans), Artree (2008, hairline geometric monoline sans), myfoxhandwritenItalic (2008, sic), Moraz (2008, experimental titling font), WeWant (2008, hand-printed), Kylie Baker (2009, soft techno avant garde face), My Handwriting, Contempory (2008, elegant avant-garde sans), Alta (2008, hand-printed geometric sans experiment), GettingBlocky (2008, experimental), MyFox (2008, simp0le sans), and Everyone (aka London2012). [Google] [More] ⦿

Cris Garcia de Vinuesa

Mexico City-based designer. Creator of Abraxha (2011), a monoline avant garde display face. [Google] [More] ⦿

Cuong Truong Van
[iTypeface (or: Exfont)]

Cykle (was: Mr. Dogo)

Parisian-Chinese graphic designer who created Celsius (2015), Megève (2013), Apollo (2012, a monoline avant-garde typeface), Comma (2012, a geometric typeface), FoldFont (2011), Croxxtypo (2011, octagonal), and CrossTypo (2011).

Old Behance link for Mr. Dogo. [Google] [More] ⦿

Daisuke Yajima

Japanese designer. Together with Hiroaki Nagai, he won an award at TDC55 for an experimental typeface called Utsuba Moon Avant Garde (2009). [Google] [More] ⦿

Dan Hardie

Designer born in Miami in 1967. Dan Hardie designed the Avant Garde-inspired Miami Citype (2016). Free download at Fontesk. [Google] [MyFonts] [More] ⦿

Dan Jones
[Nice Type]

Daniel Augusto Ferreira e Santos

Brazilian graphic designer (b. 1982) who lives in Belo Horizonte. He created the monoline avant-garde typeface Amorino (2011) during a study project at the University of the State of Minas Gerais in Belo Horizonte.

Dafont link. [Google] [More] ⦿

Daniel Janssen
[Büro für Gestaltung Janssen]

Danilo Alves

Designer in Sao Paulo. In 2011, Danilo created an unnamed avant-garde sans face. [Google] [More] ⦿

Danny Guerra

Pasto, Colombia-based designer of an untitled avant garde typeface (2014). [Google] [More] ⦿

Darim Kim
[About Letters]

David A. Occhino
[David Occhino Design (was: Treehouse Graphic Design)]

David Gasi

Designer in Leeds, UK. Behance link. In 2010, he created Uniblock Ultra (fat and counterless), Neo Georgia (based on Georgia), Neo Calibri (based on Calibri) and Emira (an avant-garde face). In 2011, on commission for Ben Bowser, he created the geometric "coded message" family Theory (2011). Digital Delay (2011) is an angular face. [Google] [More] ⦿

David Laidlaw

Edinburgh, Scotland-based graphic designer, illustrator, writer, artist and photographer. Designer of the avant garde typeface famly Sketchbook Bold (2014). Behance link. [Google] [More] ⦿

David M. Debus
[BombHaus Digital Foundry]

David Occhino Design (was: Treehouse Graphic Design)
[David A. Occhino]

Treehouse Graphic Design was David Occhino's font outlet. It is now called David Occhino Design. The Treehouse collection specialized in Startrek, futuristic, Disney and Indiana Jones style fonts, but has widened lately. Most fonts are commercial, but there are a few free ones:

Exclusive Designs: Tangaroa (2009, tiki font), TradeWind, Nautilus, Graviton, Voyager, Cinema, Firefly, Forest, Emblem.
Signage typefaces: Craftsmen (2010), Craftsmen Ornaments (2010).
Movie Fonts: Safari (1996, based on the famous Indiana Jones movie logo created by Mike Salisbury and David Willardson; version 2 in 2011), Venture, Astro, Galax-E, Time Travel, Iron Hero, Knight, Blade, Aeronaut (1997, avant-garde).
Art Deco Fonts: Aeronaut (1997; Aeronaut 2.0 in 2011), Cinema, Pan-Pacific (2010: based on the classic 1940s lettering style that was used for the signage for the famous Pan-Pacific Auditorium).
Theme Park Fonts: Kingdom (1996, blackletter), Mansion, Encounter, World.
Sci-Fi Fonts: Astro SE, Basestar, Blade, Encounter, Galax-E, Graviton, Nautilus, Time Travel, Voyager.
Halloween Fonts: Hocus Pocus, Nautilus, Mansion 3.0 (1996-2009), MansionCryptBats (2009, free).
Education Fonts: School.
Free Fonts: Aurebesh (for Star Wars, 1997), Forbidden Eye, Tangaroa Glyphs (Hawaiian petroglyphs, 2009), World Symbols, Big Thunder Dingbats (2009: Western dingbats).
Western fonts: Big Thunder (2009).
Fonts I can no longer find: Aurebesh, DNealianArrows, DNealianGuides, DNealianRegular, Starspeeder, StarspeederUpright, Pyramid's Venture, Victorian Mansion.

Abstract Fonts link. [Google] [More] ⦿

David Rault
[Sans serif classification]

David Rudnick

Born in 1986, David Rudnick is a graphic designer in the UK. He created quite a number of typefaces ca. 2013. These include:

Sans: Caszius Caps (titling sans, +Hebrew), Caszius Hallow, Zoa (+Zoa Wassenaar, a sans after Piet Zwart), Amos, Poptimo Blast (heavy and condensed beauty), Ezekiel, J Smith (named after signwriter and typographer Percy J. Smith, 1882-1948).
Grotesks: Clinic Grotesk, Erhard Grotesk (after Nuremberg-based woodcutter Erhard Schön, 1491-1592), Erbar Grotesk Light (after Jakob Erbar).
Avant garde sans: Specter.
Rune simulation: Jerusalem (straight-edged).
Geometric display types: KapilDev.
Lapidary / flared: Neu Symbol (after Philip Bouwsma's Neuhengen), Alsatian.
High contrast fashionable sans: Arcelor.
Octagonal/techno: F Type.
Trajan: Petrus.
Blackletter: Hyperzeit (2013).
Pixelish: Eclipser (2020).

Typefaces not listed above: Alastor, Etude, Ezekiel, HyperTerra, HyperZoa, Kala Light, ManMake, Mandem, Marathon, Tranz Mono, Unity Terminal, Verseau. [Google] [More] ⦿

David Trooper
[DTrooper Foundry]

Daylight Fonts
[Shinya Okabe]

Japanese foundry with excellent web pages on early 20-th century type design. Shin Oka, or Shinya Okabe (b. 1976, based in Himeji) created various revival fonts in or just before 2009, many connected in some way to Tom Carnase and the phototype era. He specializes in 1970s and 1980s typefaces, often with open counters and high contrast. His fonts:

Bentley (2010). This is the same as Avant Garde Gothic.
Bernhard Neo DF (2010).
Caslon223 DF (after ITC/LSC Caslon 223 by Tom Carnase). Other Caslons include Caslon Headlione DF (2010) and Caslon Swash DF (2010).
Didot DF (2008).
Garamond DF (2010).
Grouch DF (after ITC Grouch by Tom Carnase and Ronne Bonder)
Lubalin Graph DF (after ITC Luabalin graph by Herb Lubalin, Ed Benguiat, Joe Sundwall, and Tony DiSpigna)
Busorama DF (after ITC Busorama by Herb Lubalin and Tom Carnase)
L&C Hairline DF (after L&C Hairline by Herb Lubalin and Tom Carnase)

Additionally, they identified the fonts on many covers and albums from the 1960s and 1970s. Further revivals of photolettering era fonts:

Baby Teeth (2009): after the art deco typeface of Milton Glaser, 1968, PhotoLettering.
CBS Didot (2009): after the original by Freeman Craw, 1970s.
Indigo (2009): after a font by Albert Hollenstein, 1970s.
Pacella Collegiate (2009): after Vincent Pacella's typeface at PhotoLettering.
Penny Bee (2009): a Peignot lookalike.
Tiffany Heavy With Swash (2011). A swashy Didot display face. This type was used by Quentin Tarantino's movie Jackie Brown in 1997. Tiffany Heavy (Ed Benguiat, Photolettering) is basically identical to Benguiat Caslon Swash (1960s) and to Foxy Brown (1974). Similar typefaces include LSC Book with Swash by Herb Lubalin and Tom Carnase (ca. 1970).
Wexford (2009): after the typeface of Richard A. Schlatter, VGC, 1972.

They are working on Permanent Massiv (after a 1962 Ludwig&Mayer font by Karlgeorg Hoefer---comparable to Impact or Compacta in its massiveness and masculinity), Michel, Didoni, Tiffany, Ginger Snap, Patriot, Motter Ombra, Pistilli Roman, Benguiat Caslon (a large size display Caslon by Ed Benguiat at PhotoLettering; digitized at House Industries by Christian Schwartz and Bas Smidt), and Via Face Don.

In 2020, Shin Oka released the caslon-sinspired Ivy Ivy, the piano key version of a fat Bodoni, the fashionable Gara Gara, the 1970s font Bern Bern, Super Bodo Bodo, the art deco / Bauhaus typeface Sophi Sophi, the art deco typeface Fifty Four, the fashion mag typeface Rache Rache, the Peignotian sans typeface Mid Mid Sun Sun, and the display didone Fau Fau. [Google] [MyFonts] [More] ⦿

DCO (or: dcoxy medina, or: Atelier Oxydes)
[Greg Médina]

DCO (or: dcoxy medina, or: Atelier Oxydes) is Greg Médina. Atelier Oxydès is located in St Maurice de Cazevieille, France. He specializes in very funny drawings. Creator of these typefaces in 2012: the fun figurine dingbat typefaces called Alien DCO and Warrior DCO, the hilarious typeface dingbat fonts Zombiz and Teubé, Bubbledco, Profilsdco, Ovni (futuristic dingbats), Punkskull DCO (2012), and the kaleidoscopic Formes (2012).

Typefaces from 2013: Felicity (ornaments), Gross Brush (grunge), Dark Forest, Follow The Arrow, Snow for Santa, Eat My Cookie, Cooking Set (dingbats), Florality, Big Bang Comix, Babydoll (geometric monoline sans, with a shadow style), Dirty Macadam, Elegance Two (frames), My Sweet Sunshine, Lucie Mandragore, Pimp My Christmas (dingbats), Magic Kiss, Women and Shoes, Halloween Bell, Dust Scratches, Elegance (ribbon ornaments), Dumbass Town, Meaning of Life, Life Style Memory, Tribal Tattoo Addict, Ornaments Soul, Lost Area, Funny Toys, Space Dude, Sick Crew, Teubé 5, Teubé 3, Teubé Hat, Teubé Bot, Plastic Pets, Girl Power, Alien Dude, Formes 2, Alien DCO2, Teubé2.

Typefaces from 2014: Gants de Soie, Anne Exilum, Kaboom & Bang, Dcoxy Stamp (a baby-themed dingbat font), Rooster Serif, King Rooster (constructivist), Speak Easy, Skater Girls Rock, TheCinthia Edito, Bad Spirit, Birdy Game (creamy typeface), Shell Gate (tattoo font), Mandala Home, Macaroni&Cheese, Holy Moly (rounded comic book sans), Delphine et Mathias Script (tattoo font), Limonade de Camomille (signage script), Indians Lives (signagecscript), Ether Cute Poison (signage script), Tartare de Violettes (vampire or tattoo script), Karl Wright Script, Bubble & Soap, Break The Silence, Spooky Night, Right Balance, Peanut Butter Cookies, Rabbit Hole (brush script), Smile Parade, Radio Trust, Oakland Sista, Dust & Blast, Psycho (weathered shadow typeface), Bowling Shoes (connected script), Ornament Mix (dingbats), Shuriken Dance Like A Tiger (script), Arthus Hightone (tattoo script), Dark is the Night, City of Angel, From Brush to Caps, Donovan Quidaw (a ronde), Not A Drope (brush face), Karl Wright, Kerala Quest, Rock and Roll Street, Ray Morgan Style, Wind of Change, Mama Love, Mama Punch (athletic lettering), Queen Luna, Kelly Brush The World, Shadow Boxing (an upright connected script), Header Ornament, Sweet Dreamz, Zombie Morning (brush typeface), Dragonfly on my Nose, Estella Cello, Djah Beat, Roses Kingdom (uopright connected script), Buddha Moon, War Brush, Icarus Kharma, Cheese Cake, Badiane (upright loopy script), Meny Please, Young Shark (spurred typeface), Keep It Up (heads), Purple Shadow (Victorian decorative typeface), Tears of Joy (flourishes), Hilarious, Teubé Tribute.

Typefaces from 2015: Radical Beat (tattoo script), Raisin des Sables (script), Bandits (tattoo script), Vinegar Stroke, Mad Rats, Sliced by Hand, Ready to Ride, Chardons, Mr Sunshine, Chardons Brush, Gueules de Loup, Atlantic Mail (rhythmic script), Daily Quantum, La Maison de Papier, Friday Night (supermarket signage style), Butter Kings (tattoo script), Lady Bohemia (tattoo script), Kilowatts, Akodia (a lava lamp typeface), Moustache Club, Brioche au Potiron (avant garde sans), Bisous (signage script), Deadly Inked (tattoo script), Spider Monkey (poster font), Qualité Deluxe Platinium (signage script), Distillated, Blood Shade, Ribambelle (thin script), Burning Man, Amandes Salées (tattoo script), Bring Me That Glyph (alchemic), Mad Potato Bill, Authentic Ratatouille, Fugu + Maki (a great set of thin-veined poster fonts), Une Sale Histoire de Yak (script), Pamela Wants to Ride, Sani Andrew des Kiwis, Grilled Chicken, Ancestral Katana Sword, Magic Bean Salade, Alice And The Wicked Monster, Rhum Banane, Honey Moon (borders and filets), Rookies Showtimes (signage font), Digging The Grave.

Typefaces from 2016: Watch Out (brushed typeface), America Stars, Grown Localy (sic), Winter in Alaska (glaz krak style), Dusty Muffin, Gillie & Hilda, Chatelain des Radis, Manhattan Avenue (heavy script), Seasider, Suburban Pledge, Baldaquin, Original Woody, Your Fear (vampire script), Drone Nation, Big Car Short Gun, Cameltoe Kalypse, Doctor Cosmicucumber, La Cithare (connected script), Agatha Needs Flesh (script), Bostella (script), Jonquilles, La Cité des Mille Reines, Shotgun, Thunder Strike, Atelier Omega, Aldebaran, Bichette, Bulldozer (brush font), La Citadelle des Papillons.

Typefaces from 2017: Polibrush (monoline sans), Endless Wall, Chicken Socks, Barry Kades, Sansaul Petronika, Stubborn Shark, Sharky & Meduza, Oblivion (script), Brainfish Rush, Summer Fever, Bethanie Snake, Last Shade (weathered), Raku (heavy brush), Lily of the Valley, The Bully (grungy signage script), Stick & Kick, Sketch (brush script), Joly Death (blood drip type), Bambino, Gatalike, Lucia (connected monoline script), Gatalike, Island of Dreams, Snow Riders, Amtrash, Stardust (signage script).

Typefaces from 2018: Mustardy, Wawie Patch, Anathematise, Delich (an SVG dry brush font), Sweet Spot (doodles), Detrimental, Shitzu & Porko (a comic book font family), Detective Bildo, Daylight & Moonlight (brush script), Deadline Countdown, Rotten Pumkin (sic), Rhapsodize, Chunks (heavy script), Shenanigans (dry brush), Cassandre, Ridiculous, Slam, Lithium Hill (dry brush), Litchis Island (a painted script), Snowballs City, Litchis on Velvet, Brainfish, Burglar, Action Protocol, Snowballs Season, Shania & Heinz (brush script), Slamers, Madera studio, Chaude Sourie, Barber Street.

Typefaces from 2020: Pickle Juice, Klaxon Gaston, Mezalia Sumatra (hatched), Bozos (squarish), Niktalope, Livie (a fat finger script), Ornamentis, Artisanalerie, Marbles Trick, Komou, Black Swan, Historic Seattle, Iconic Poopies (yes, poop-shaped icons!), Thurdy Sticks, House Marker, Zorgho, Blue Mist, Dreambats (dingbats), Strike Block (dingbats), Esteban+Solina, Rusty+Gosh.

Typefaces from 2021: Shelter (script), Seekers, Game On (sketched, 3d), Green Room (a marquee font), Madame Viviane (script), Lemon Sangria (inline), Chicken Pot Pie (arched), Wombats (squarish), Chico Rocket (inline), Red Bee (a half-black typeface).

Dafont link. Old URL. [Google] [More] ⦿

Deeait Creates
[Mathias Doblhammer]

Mathias Doblhammer (DeeAit) is a graphic designer and illustrator from Vienna, His typefaces include Benchmark (2007), Fashion Victim (2009, hairline avant-garde face), Bowler (2008, rounded and ultra-fat), the octagonal / rhombic typeface Symbolis (2012), and Lazy Fox (2009, connected octagonal experiment). [Google] [More] ⦿

Denis Gorohovskiy

Kiev, Ukraine-based "designer" of the sans typefaces Axiom (2016) and Equilibrium (2016), Arsenal Slab (2016), Parabola (2016, geometric display font), the hairline avant-garde typeface Amsterdam (2016), the minimal rounded sans typeface family Straus (2016), the sans family Aurora (2016), the condensed sans display typeface Tokiozza Light (2016) and the circle-based display typeface Parabola (2016).

Typefaces from 2017: Arson (sans family), Arthur, Adderley, Ashley, Azalea, Havana (a great super-heavy display sans), Atlas, Alicia, Martin, Apollo, Aroma, Tilt (modern geometric sans), Napster (ultra-condensed sans), Equilibrium, Arizona (condensed rounded sans), Argentina (a smooth high-contrast brush typeface), Aroma, Melony Sans, Argo (rounded monospaced sans), Aura (squarish sans), Bloke, Arnold Thin, Arnold Black (heavy geometric titling sans), Anima (rounded sans), Axiom Sans, Arcadia (minimalistic sans), Diod (a tall minimalist sans), Diod Bold, Aurora Thin, Emerald Modern Serif (a skyline typeface), Aqueduct, Arcanzas (a didone, +3D), Alabama (squarish and tall small caps), Antsy (a slab serif that comes across as a typewriter font), Steady Hand (handcrafted caps). Graphicriver link.

Now, alert typophiles have pointed out that most---if not all---of Gorohovskiy's fonts are renamed and plainly stolen fonts. I leave the images on my site for the historical record. Here is a list of equivalences, as reported by this Italian blog:

Bebas Neue (Adderley)
Canter Bold (Alabama)
Chivo (Arthur)
Dense (Aroma)
Gotham with unofficial (pirated corporate) Cyrillic part (Arson Pro)
Josefin Sans (Arsenal Sans)
Josefin Slab (Arsenal Slab)
Long Tall Sally EEN Plain (Emerald)
Source Sans (Equilibrium)
TT Chocolates (Arnold)
Uniform Black by Miller Type Foundry (Tilt)
Vidaloka (Arcanzas)
Vollkorn (Martin)

As a result, Gorohovskiy's Creative Market account has been suspended. But why did Creative Market let this matter go on for a full two years? Incompetent editors? As a matter of fact, another distributor, Graphicriver, still has not removed his account as of late February 2018. His sales there amount to about 900 dollars, so this is plain theft. But then again, is this very different from Book Antiqua (Monotype's copy of Palatino) and Fotura (Linotype's not-so-subtle copy of Futura)? [Google] [More] ⦿

Denis Masharov

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 free classical roman face. TeX support.

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. TeX support for Poiret One.

Bolster (2012) is a great Italian wood type face.

Tenor Sans (2012) is a Peignotian typeface (free at Google Web Fonts).

In 2017, Denis Masharov and Roman Shchyukin co-designed the custom squarish sans typeface Match TV for the Russian TV sports channel MachTV. Still in 2017, he designed TNT Sans for the Russian entertainment TV channel TNT (on commission for Elena Shanovich, Shandesign).

Denis did the logo and typeface for the bakery brand Volkonsky in 2017.

In 2019, he created the Elzevir style titling typeface Matilda Titling for Coronation, а historical TV seriеs by Alexei Uchil. It was inspired by typefaces from Georges Revillon's type foundry, ca. 1860.

Klingspor link. Behance link. Fontsquirrel link. Google Plus link. Fontspace link. [Google] [MyFonts] [More] ⦿

Dennis Ludlow
[Sharkshock]

Designers talk: favorite fonts

Derush.net

Avant-garde typography links. [Google] [More] ⦿

Favorite fonts as listed by designers, with votes tallied:

4 votes: Helvetica Neue
2 votes: Clarendon, Eurostile, Futura, Optima
1 vote: Avenir, Avant Garde, Bliss, Bryant, Chevin, Da Plume, Egyptienne, DIN Engschrift, Frutiger, FS Clerkenwell, FS Albert, Gill Sans, Haas Unica, Haettenschweiler, Humanist, Interface, Interstate (1993, Tobias Frere-Jones), ITC Garamond, Klavika, Miller, Mister Giacco, Mostra, Officina Serif, Requiem, Sabon, Sansa, VAG, Whitney

[Google] [More] ⦿

Device Fonts
[Rian Hughes]

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)), Kallisto (2010), Kallisto Lined (2010), 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). In 2018, Korolev was expanded to Korolev Rounded and Korolev Rough.
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).
Typefaces from 2017: Pitch (a heavy block sans in chrome and solid variants), Shard (originally commissioned for Nickelodeon's 3D reboot of the Teenage Mutant Ninja Turtles franchise), Championship Inline, Mood (a great liquid deco font), Grange, Grange Rough, Dazzle Unicase, Urbane (sans), Urbane Rounded, Albiona (a modern take on Clarendon; includes Albiona Heavy Stencil), Albiona Soft (a rounded version of Albiona), Pact (a modular geometric font).
Typefaces from 2018: Rutherford, Salvation (a potato cut font), Kano (inspired by the work of Dutch furniture designer and architect Gerrit Rietveld, one of the principal members of the Dutch artistic movement De Stijl), Rogue Sans Nova, Fairtrade (rough-edged font), Goddess (Victoriana), Neuropa (a five-weight semi-extended sans that projects a muscular corporate authority), Worthington Arcade (a caps-only lapidary typeface), Zeno (a piano key stencil typeface), Vektra (an experimental crosshatch-textured typeface), Recon (a quartz display font), Kinesis (Kinesis is inspired by the work of Dutch furniture designer and architect Gerrit Rietveld, one of the principal members of the Dutch artistic movement De Stijl. It is a modular headline font, constructed from white, black and grey overlapping rectangles), Freehouse (Freehouse is a reinterpretation of the well-remembered Watney's logo, a brewery and pub chain infamous for its poor quality beer and brutalist decor.), Zipline (a great multiline typeface), Argent Sans, Craska (a multiline font), Panther Black, Carilliantine (art nouveau with many interlocking letter pairs), Regulator Nova, Broadside, Bubblegum Pop, Heft (a heavy slab serif), Faction (stencil style), Metaluna (techno, engineering), Magnetron (futuristic), Urbane Rough, Urbane Adscript (a monoline semi-linking sans), Revolver (original from 1992), Albiona Inked (a Clarendon).
Typefaces from 2019: Gerson Rand, Gravesend Sans (an all caps sans family based on the unique typeface used for the iconic grass-green signage for the now-defunct Southern Railway in England).
Other: Customised Foonky Starred, Altoona, DfAncestorITC, DfAttitudesPlain, HotRod (2002).
Typefaces from 2020: Breach (a display typeface with partitioned capital letters), Epiphany (stencil), Aurore Grotesque (an elegant geometric art deco sans family with small x-height), Faculty (a geometric sans with large x-height), Fathom (a flared serif typeface), Atomette (a stylized comic book typeface family), Conquera (a stylish extended caps-only font in five weights plus an inline), Dare (a tape font, that borrows a pinch of the hand-drawn swagger of Bauer's Cartoon (designed in 1936 by H. A. Trafton), used as Dan Dare's signature logo in the British boy's comic Eagle, and also the upward-pointing serifs of machine-moderne typefaces such as Dynamo (designed by K. Sommer for Ludwig & Mayer in 1930), Urbane Condensed.
Typefaces from 2021: Maximum (a blocky techno or sports font), Paralucent Slab (a monolinear slab serif), Guildhall (a 10-style strong-willed mechanical font family), Broadside Text (14 styles), Cynosure (a 14-style elliptical sans), Valvolina (a geometric display typeface inspired by Italian Futurismo), Chassis (a sci-fi or computer game font), Fomalhaut (a space exploration font), Disclosure (a grungy font), Sheffield Fiesta (a squarish font based on the brutalist concrete landmark nightclub in Sheffield, now the Odeon Cinema), Grange Text (a 14-style sans), Wilko (a fat rounded poster typeface), Farthing (a 5-style wedge serif).
Typefaces from 2022: Bradbury Five (a vernacular / bubblegum / supermarket / cartoon typeface in 18 styles), Tracker (an inline space-age disco font from the 1960s or 1970s, reminiscent of the Mexico City olympics font), Salient (a 12-style didone).

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

Dick Pape
[Dick Pape: February 2013]

Dick Pape
[Dick Pape: Initials]

Dick Pape: February 2013
[Dick Pape]

In February 2013, Dick Pape published a number of typefaces grouped together here. Local download page. The typefaces:

Blok: A beautiful negative font originally designed by Jarrik Muller for Neo2 magazine in 2011.
Bogart Heavy: An elegant fat round sans.
Darabo: An avant-garde typeface.
DarkHerald (2011): A collection of caps based on Stylus fonts.
ElegantFloralDesigns:
FancyRansomInitials (2011).
GridDrops (2012): Black squares.
HandDrawnIcons.
IguanaMedium: A stiff thin slab serif.
Kabel ABC: A paperclip font.
Lettres Majuscules Fantasie, Lettres Minuscules Fantasie: Based on Modèles de Lettres D'Art Nouveau (E.A. Ducompex, Imp. Firmin Didot & Cie, Paris), where these caps are called Lettres incrustées dorées.
Masks2.
MatchBoxes: match boxes from Finland and Portugal.
Noel's Thes: "The" refers to the word "The".
PLM Posters: A beautiful set of travel posters from 1926 called Paris-Lyons-Mediterranée Travel Posters.
Pre-Roman Carolingian Caps.
Pre-Romanesque 031, Pre-Romanesque 032, Pre-Romanesque 033, Pre-Romanesque 034, Pre-Romanesque 035.
Roman Rustic Capitals A, Roman Rustic Capitals B:
Simple Block Stencil: A Bauhaus-style stencil.
Speedy.
Steamboat Shaded: A Western shadow font.
Union Jack Rough, Union Jack Smooth.

[Google] [More] ⦿

Dick Pape: Initials
[Dick Pape]

Dick Pape revived hundreds of initial caps typefaces. Some came from collections. The unclassified ones include these fonts from 2009 (unless date specially mentioned): Antique Alphabet, Avante Light (2010, avant garde caps), Babylon Initials (2009), Bird Drawings Alphabet (2008), Boast Feder Bold (2010, horizontally-striped caps), Boast Plain Bold (2010), BoldCameo (2009), Clea Initials (2010, nudes), Command (2010), Dover Old Fashion Alphabet (2010, silhouettes), Fancy Nouveau (2010, art nouveau caps), Floral Initials (2010), Flotner Anthropomorphic (2010), Flower Panels Outline (2010), Flower Panels (2010), Flower Vines (2010), Flowery Alphabet (2010), Framed Alphabet (2010), Frankfurt Stempel-Series 52 (2011), Frankfurt Stempel-Series 55 (2011), Garden Nouveau Initials (2010: great art nouveau initials), Genteliza Hand (2011), Gothic Metal Initials (2008), Goudy Initials (2008), Haas'sche 1925 (2010), Humanistic Alphabet 107 (2011, uncial), Humanistic Alphabet 109 Swash (2011), Humanistic Alphabet 110 (2011), In Bloom Alpha (2010), Iniciales Greco (2010, after Richard Gans, 1922), Initialen Feder Grotesk (2010, after Jakob Erbar's 1908-1910 typeface at Ludwig & Mayer), Lichte Jonisch (2008), Light Me Up (2010), Madeleine (2010), Nelma (2011), New Music (2010), Rankin-Initialen (2010: Celtic), Rosart Initials (2010), Sacon Initials (2010: birds, beasts and flowers by Jacques Sacon, Lyon, 1519), Schmale Jonisch (2008), Schriftgiesserei Series 56 (2013: after D. Stempel, 1915), Victorine Embellished (2010).

Download here. [Google] [More] ⦿

Diego Consalter

Florianopolis, Brazil-based designer of the thin monoline avant garde typeface Aba (2014). [Google] [More] ⦿

Diego Maldonado
[Notdef Type]

Dimitris Anastasiadis

Art director in Athens, Greece. Creator of the hairline avant garde typeface Mythont (2013). [Google] [More] ⦿

Diogene's monospace list

As posted on abf by Diogene:

Arial Monospaced (Monotype)
Base Monospace (Emigre)
Bitstream Typewriter (Bitstream)
Cash Monospace (Elsner&Flake)
Courier 10 Pitch (Bitstream)
courier 12 Pitch (Monotype)
Courier Line Drawn (Monotype)
FF Airport (FontFont)
FF Burokrat (FontFont)
FF Elementa (FontFont)
FF Letter Gothic / FF Letter Gothic Italic (FontFont)
FF TheSans Mono (FontFont)
ITC Avant Garde Monospace (ITC)
Letter Gothic (Adobe/Linotype-Library)
Letter Gothic 12 Pitch (Bitstream)
Matricia (Type-ø-Tones)
Monanti (Elsner&Flake)
Monkey Mono (Nick Shinn)
Monospace 821 (Bitstreams' version of Helvetica Monospaced) Bitstream
OCR A (Adobe/Linotype-Library)
OCR B (Adobe/Linotype-Library)
Old Typewriter (Apply Design)
Orator (Adobe/Linotype-Library)
Orator (Bitstream)
Prestige 12 Pitch (Bitstream)
Prestige Elite (Adobe/Linotype-Library)
Sjablony (TakeType)
Typewriter (Monotype)

Others have suggested to add Cinncinatus and Angelus, both by Scriptorium. [Google] [More] ⦿

Dipali Bajaj

At the Savannah College of Art & Design in Savannah, GA, Dipali Bajaj created the thin symmetry-themed sans typeface Twins (2016). [Google] [More] ⦿

Doni Sukma
[Letter Omega]

Douglas F. Olena
[Keystrokes]

Driemeyer Design
[Antje Driemeyer]

Type foundry in München run by independent designer Antje Driemeyer, a graduate from the University of Applied Sciences Augsburg, Faculty of Design in 2004. Antje specializes in type design, corporate design and editorial design.

Creator of Halvan (2012) and Henny (2012, hand-printed).

In 2013, Antje designed the remarkable rounded blueprint sans family Herrmann, which comes in ten styles. Near the end of 2013, she published the avant garde architectural sans family Bauhans. Hanami (2015) is a set of kaleidoscopic ornaments. Frieda (2015) is a thin calligraphic typeface. [Google] [MyFonts] [More] ⦿

DTrooper Foundry
[David Trooper]

Dave Trooper (New Jersey) was associated with the photo type foundry VGC. Almost 40 years later, he set up his own digital type foundry, DTrooper Foundry, which publishes digital versions of his typefaces. Creator of these typefaces:

Trooper Roman (1974, VGC), a didone display face. [Klingspor puts the date at 1976] TypeShop made TS Toledo based on this idea, especially Toledo TS-XBold. Another digital clone is Talon (BuyFonts). Infinitype / Softmaker have a set called Toledo. And Nikita Vsesvetsky extended it cyrillically to Troover (SoftUnion, 1994). Dave's own digital font Trooper Roman Bold Display was finished in 2013. The typeface is characterized by the left-leaning "o". In 2020, Jordan Davies published Trooper Roman Black.
Trooper Grotesque (2010). This too is based on his own VGC font from the 1970s.
Trooper Jazzerini (2011). An elegant geometric avant-garde typeface with weights from hairline to bold.

[Google] [MyFonts] [More] ⦿

Dusan Jelesijevic

Serbian graphic designer located in Gornji Milanovac, Serbia. Cofounder in 2009 with Slobodan Jelesijevic, his father, of the Serbian foundry Tour de Force. Creator of these typefaces:

Dusan Script (2009, Ascender: a monoline informal hand-printed script).
Artvod (2009, slabby and octagonal at the same time).
Qiltray (2009, handwriting for long texts).
Punkerro Crust (2009, delicious scratchy type).
Rough the Type (2009, blackboard style).
Shuma (2009, handwriting).
Dolina Script (2010).
Econs (2010, ecology dingbats).
Sensor (2010, an ink-trap monoline face).
Enforcer (2010, an elliptical headline sans).
Epruveta (2009).
Passage (2010, a great art deco family, including Initials and Borders).
Amanet (2011). A flared display face.
Osmacka azbukovica (2011). A Cyrillic font made by his kids in school.
The clean-cut semi-humanist sans family Centim (2011).
The Egyptian typefaces Saxophone Soprano and Saxophone Baritone.
Debelly (2011), one of the best typefaces to come out of Tour de Force. They say about this elegant fat poster face: Debelly is catchy fat typeface, with lovely geometric shapes. Inspired with contrast strokes, with square joins, Debelly gives an impression of retro style combined with contemporary trends. It is designed specially for packaging, posters, logotypes or headlines, even it can be pretty handfull in smaller sizes. Contains 375 glyphs.
Epitet (2011). A simple monoline family built around elegant elliptical shapes.
Refren (2012): A monoline script face.
Equator (2012): An avant-garde caps headline family.
Brisko Sans (2013). A straightforward sans family. Extended to Brisko Display (2012).
A day before Serbia was crushed by the Belgian soccer team, Dusan published the organic sans typeface Publio (2013).
Kamenica (2013). A display sans. Followed in 2017 by the gorgeous Kamenica Texture typeface family.
Nervatica (2013). A children's book font.
Lasta (2013) is an informal serif typeface advertized as poetic.
Selektor (2013). A geometrical almost techno sans family. This was followed by Selektor Slab (2013).
Bartender (2013). A copperplate typeface.
Lumier (2013). An all caps geometric sans family inspired by art deco posters from the interwar period. Followed by Lumier Texture and Lumier Rounded (2018).
Scholle (2014). A bouncy two-style inline family with cartoonish elements.
Hedon and Hedon Display (2014). A hedonistic sans that exhibits the sort of contrast one finds in inscriptional types.
Lumberjack (2014). A bouncy fat cartoon typeface. Not to be confused with Thiago Bellotti's Lumberjack (2013, Mushroom Type), it was renamed 24 hours after its first appearance to Lumberjacky.
Trampoline (2014). A funky typeface.
Dondolare (2014). A primitive hand-drawn typeface.
Balcon (2014) and Balcon Round (2014, a condensed rounded sans).
Scripton (2015). An urban wall brush type.
Manzello (2015: a workhorse text typeface).
Pleyo (2015). Hand-crafted, perhaps for children's books.
Dusan Script (2015).
Fartitudo (2015). Just for the name alone, this typeface deserves a medal. Fartitudo is a 3-style handcrafted all caps poster family in a genre that was kickstarted by Pintassilgo in Brazil.
Avram Sans (2016).
Dambera (2016) and Dambera Retro (2016). A connected script, perhaps suitable for children's books. Crazymond (2016). Hand-crafted semi-connected script.
Lunatino (2016). A poster script.
Plonker (2016). An all caps hand-printed typeface.
Fine New Bonbons (2016). A quaint candy store script.
Napolitanka (2016). A delicate high-fashion hifgh-contrast didone.
Businessland (2016). A rough handcrafted poster typeface.
Escondida. A high-contrast connected script.
Alonga (2017). A serif family with considerable contrast characterized by sharp triangular serifs.
Nula (2017). A 22-style humanist sans typeface family.
Mymoon (2017: a geometric sans in 22 styles), Mymoon Stencil, Mymoon Stencil Texture.
Landsick (2018). An intense script.
Blond (2018). A sans family that tends towards the humanist side.
Penfriend (2018). A script typeface.
Modny (2018). A fashion mag Peignotian sans family with a gorgeous inline style.
Stropha (2018). A compact slab serif family.
Hlad (2018). A distinguished 5-weight incised / lapidary typeface family.
Masny (2019). A no-nonsense modern sans family in 22 styles.
Connectica (2019). A retro connected script.
Dietal (2019). A condensed squarish military parade slab serif. Accompanied by Dietal Sans (2019).
Mondish (2019). A stylish sans family, perhaps best suited for fashionable environments.
Edicia (2019). A charming serifed typeface family.
Plaisir (2020). A serifed text family that oozes style.
Roanne (2020). a 44-style sans family characterized by a yawning lower case a.
Prego (2020). A 23-style Peignotian sans.
Prelom (2020). A retro wedge serif family in 15 styles.
Hartia (2020). A 10-style serif.
Silqa (2020). An art deco typeface on Novichok.
Finoteca (2020). A beatnik font.
Kondes (2020). A 20-style condensed squarish sans with variable styles.
Lupio (2021). In 20 styles: a variable and static geometric sans family.
OK Moral (2021). A Western font.
Ragazzi (2021). A 21-style with a didone skeleton but dwarfed serifs and sharper terminals.
Metropola (2021). A Victorian era sans accompanied by a variable font.
Stray (2021). An 18-style geometric sans for Latin and Cyrillic, with pinched connections.
Ancress (2021). A wide geometric sans in 14 styles.
Klaud (2021). A 14-style slab serif of Clarendon pedigree.
Fabular (2021). A twelve-style display serif.
Cat Fight (2021).
Bottled Moon (2021). A Victorian serif.
Povetarac (2021) and the superfamily consisting of Povetarac Didone, Povetarac Display, Povetarac Sans (2022). Each subfamily has 6 or 12 styles and contains a variable font.
Poruka (2022). A monolinear script.
King of August (2022). A retro signage script.

Behance link. MyFonts link. His most popular typefaces showcased. Fontspring link. Klingspor link. View Dusan Jelesijevic's typefaces. [Google] [MyFonts] [More] ⦿

E. Victor-C
[EVCCo]

Élodie Mandray
[Acmé-Paris]

Edgar Flores Diaz

Art director in Chicago, who created the avant-garde typeface Caracas Sans Serif in 2013. He studied in 2012 at University of the Sacred Heart, San Juan, Puerto Rico, and has a BFA from Florida International University, Miami, FL. [Google] [More] ⦿

Edik Ghabuzyan
[Armtype]

Eduardo Garza

Monterrey, Mexico-based type and graphic designer. Creator of Prepa Liceo (2009), a display sans based on a combination of Helvetica, Avant Garde and Avenir. [Google] [More] ⦿

Eduardo Manso
[Emtype]

Edward Benguiat

Born in New York in 1927, Ed grew up in Brooklyn. He died in 2020. Ed was once a very prominent jazz percussionist playing in several big bands with Stan Kenton and Woody Herman, among others. He has created a large number of typefaces between 1970 and 1995. About his career, he once said: I'm really a musician, a jazz percussionist. One day I went to the musician's union to pay dues and I saw all these old people who were playing bar mitzvahs and Greek weddings. It occurred to me that one day that's going to be me, so I decided to become an illustrator. He designed more than 400 typefaces for PhotoLettering. He played a critical role in establishing The International Typeface Corporation (or ITC) in the late '60s and early '70s. Founded in 1971 by designers Herb Lubalin, Aaron Burns, and Ed Ronthaler, ITC was formed to market type to the industry. Lubalin and Burns contacted Benguiat, whose first ITC project was working on Souvenir. Ed became a partner with Lubalin in the development of U&lc, ITC's famous magazine, and the creation of new typefaces such as Tiffany, Benguiat, Benguiat Gothic, Korinna, Panache, Modern No. 216, Bookman, Caslon No. 225, Barcelona, Avant Garde Condensed, and many more. With Herb Lubalin, Ed eventually became vice-president of ITC until its sale to Esselte Ltd.

Ed Benguiat taught at SVA in New York for more than fifty years.

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

ITC Avant Garde Gothic (1971-1977, with Andre Gurtler, Tom Carnase, Christian Mengelt, and Erich Gschwind).
ITC Modern No. 216 (1982: a didone text family). The Softmaker versions are called M791 Modern and Montpellier. Ed writes: It's a revival of the classic British Modern design. I tried to capture the dignity and grace of the original designs, but not make it look stuffy. Moderns were often numbered to distinguish different versions. 216 East 45th street was where I worked when I drew the ITC Modern No. 216 font.
Modern No. 20, after the Stephenson Blake original from 1905. [Image by Kristen Cleghorn]
ITC Barcelona (1981). Ed writes: I was one of the design consultants for the 1992 Olympics in Barcelona, Spain. What could be more appropriate then to design a typeface for the event? The design of the ITC Barcelona font family, with its soft triangular serifs set the mood for the soft-spoken Catalan people.
ITC Bauhaus (1974-1975). ITC Bauhaus was co-designed with Victor Caruso. The Softmaker versions are called R790 Sans and Dessau. The Infinitype version is Dessau. The Bitstream version is Geometric 752.
ITC Benguiat (1977) and ITC Benguiat Gothic (1977-1979). This eponymous comic book (or art nouveau style) typeface family appeared in the 1980s on the covers of Stephen King novels and Choose Your Own Adventure books, in the copyright notice at the beginning of all Paramount Pictures' VHS tapes and in title sequences for Quentin Tarantino's films, the Next Generation series of Star Trek films in the mid-to-late '90s, and the recent Netflix series Stranger Things. It was revived as Benjamin and Benjamin Gothic on the SoftMaker MegaFont XXL CD (2002). Softmaker also has fonts called B693 Roman and B691 Sans that are identical. Benguiat Pro ITC was published in 2008.
Benguiat Roman (1960s).
PL Bernhardt (Photo-Lettering, 1970), modeled after a 1930-1931 design by Lucian Bernhard.
ITC Bookman (1975). See B791 Roman on the SoftMaker MegaFont XXL CD (2002).
Calendar (1960s).
ITC Caslon 224 (1983). In 1960, he added Benguiat Caslon Swash, and in 1970, Caslon 223 followed. See C790 Roman on the SoftMaker MegaFont XXL CD (2002), and Caslon CP (2012, Claude Pelletier). Christian Schwartz and Bas Smidt at House Industries digitized Benguiat Caslon.
ITC Century Handtooled (1993).
ITC Cheltenham Handtooled (1993).
ITC Edwardian Script (1994).
ITC Garamond Handtooled.
ITC Korinna (1974): after a 1904 typeface called Korinna by Berthold. Michael Brady thinks it is very close to the Berthold original.
Laurent (1960s).
Lubalin Graph (1974, ITC). By Herb Lubalin, Ed Benguiat, Joe Sundwall, and Tony DiSpigna.
ITC Panache (1987-1988). Ed writes: I put my heart, soul, sweat and tears into the design of the ITC Panache font family. I was striving to create an easy to read, legible typeface. I know in my heart that I accomplished what I set out to do. Not only is it easy to read, it's also sophisticated.
Scorpio (1960s).
ITC Souvenir. Kent Lew: Benguiat revived Benton's Souvenir for ITC in the '70s and that was well-received for a while. On the other hand, look what happened after that. Souvenir in the ATF 1923 catalog looks really nice, IMO. Souvenir in the '70s seems cliché now. Souvenir these days would be downright dorky. Souvenir was done by Benguiat in 1967 at PhotoLettering. Morris Fuller Benton's original model was from 1914. It was described by Simon Loxley as follows: Souvenir is a typeface that is intractably rooted in style to a particular era, although one a half-century after its creation. It is a quintessential late 1960s and 1970s typeface, informal, with full rounded character shapes and rounded serifs, a laid-back Cheltenham. The Bitstream version of ITC Souvenir was called Sovran.
ITC Tiffany (1974), a fashion mag typeface family. Adobe says that it is a blend of Ronaldson, released in 1884 by the MacKellar Smiths&Jordan foundry, and Caxton, released in 1904 by American Type Founders.
PL Torino (1960, Photo-Lettering), a blackboard bold didone-inspired typeface.
In 2004, House Industries released five typefaces based on the lettering of Ed Benguiat: Ed Interlock (1400 ligatures---based on Ed's Interlock, Photolettering, 1960s), Ed Roman (animated bounce), Ed Script, Ed Gothic and Bengbats.
He did logotypes for many companies, including Esquire, New York Times, Playboy, Reader's Digesn, Sports Illustrated, Look, Estée Lauder, AT&T, A&E, Planet of the Apes, Super Fly.
Lesser known Photolettering typefaces include Benguiat Bounce, Benguiat Boutique, Benguiat Bravado, Benguiat Brush, Benguiat Buffalo (+Ornaments: a western wood type font), Benguiat Century, Benguiat Cinema, Benguiat Congressional, Benguiat Cooper Black, Benguiat Cracle, Benguiat Crisp, Benguiat Debbie, (Benguiat) Montage (a fat face didone revived in 2018 at House Industries by Jess Collins and Mitja Miklavic), Benguiat Roman. Scorpio, Laurent and Charisma, all done in the 1960s, are psychedelic types. In 2021, Donald Roos digitized Plinc Buffalo for House Industries.

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

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

View Alex Gecian's typefaces.

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

Eesha Azam

Karachi, Pakistan-based designer of the avant-garde typeface Crescent (2014), which is a hybrid of ITC Avant Garde and ITC Anna (1991, Daniel Pelavin). [Google] [More] ⦿

Elemeno
[Alex Grecian]

Elemeno is a foundry in Topeka, Kansas, where one can buy fonts made by graphic designer Alex Grecian (b. Hospital, 1969), who markets his fonts through MyFonts.

Partial list of typefaces: Aldersgate, Betabet (2002, a scratchy sketched typeface), Bindle, Black Bull (2005), Boller, Borealis, Bungalow, Cadence, Camryn, Cerulean, Dragon Drop, Plummet (2006), Handwriting fonts Boller, Benchley (2004), Chalk, Parmesan Serif, Trade Dress, Chockablock (comic book face), Broadway, Classical Drop Caps (2002), Classical Engraved (2002), Chocolate Shop (2005, display face), Christy Marie (curly face), Circus Peanut, Zero Tolerance Block, Zero Tolerance College, Zero Tolerance Serif, Kryptonite, Zap Bats, Extreme Junction, Grecian Empire, Helvetian Times, Platypus (2002), Saint Vitus, Saturday Night, Vibraphone, Xanthippe, Christy Marie (2002, crazy curly font), Zero Tolerance, Kings in Disguise, Peaches, Betabet (2004), Minuitia, Natural Dark, Wittgenstein, Drop Down, Erector Dysfunction, Flaster Platypus, Gorey, High Water, Hypewriter, Iteration Grap, Jejune Bebug, La Brea Typist, Macon Tracks, Merkin, Nicodemus, Orbiculate, Parker (2004), Parmesan Serif, Pillow talk, Reading Railroad, Rejoinder, Rock Bottom, Ross (2004: an avant-garde geometric monoline regualr face), Ross Round (2004), Rubric Cuped, Salutation, Saturday Night, Trade Dress, Structure, Salutatorian, Spiroglyph, Tattersall, Tenpenny Dreadful, Times Kangaroo Down, Trivet, Wendigo, Whiffle (2004), Woodcutter (2005), Woollcott, Wordplay, Writers Block, Zap Bats.

View Alex Grecian's typefaces at Elemeno. [Google] [MyFonts] [More] ⦿

Elias Torres

Madrid-based designer of the avant-garde sans caps typeface En Serio (2012).

Elisa Brandi

Florence, Italy-based designer of the experimental typeface Monocle (2015), which represents Elisa's eyes---the left part is sharp, while the right side is blurred. In 2015, she also designed the hairline avant garde typeface Flamingo. [Google] [More] ⦿

Elora Lauzon

Montreal-based creator of the hipster typeface Quadeam Littera (2015), a typeface based on ITC Avant Garde. [Google] [More] ⦿

Elvin Leblebici

Graduate of Anadolu University. Ankara, Turkey-based designer of the avant garde typeface Alien (2018), the paper cutout stone cut typeface Caveman (2018) and the hipster typeface Plien (2018). [Google] [More] ⦿

Emilia Dzitko

Poznan, Poland-based designer of the thin avant-garde typeface Splot (2017) and the connected retro script PRL (2017). [Google] [More] ⦿

Emily K. Moore

Emily Moore (Rochester, NY) created an experimental shadow caps typeface called Houdin (2012), based on Avenir.

During a type design class of Kris Holmes, Emily Moore (Rochester, NY) designed Sanscery (2013), a calligraphic sans. [Google] [More] ⦿

Emily Ryan

During her studies, Emily Ryan (Geelong, Australia) created the avant-garde typeface Wanderlust (2013). [Google] [More] ⦿

Emraan Mayow

Graduate of Birmingham Metropolitan College. London (was: Birmingham), UK-based designer of Kronen (a free monospaced typeface family), Bolde (2013), a sans titling face. The octagonal hipster typeface Ontwerp (2013) was a school project at Birmingham Metropolitan College. Emraan also designed the hairline sans caps typeface Ava (2013, avant-garde) and Sanotra (2013, an alchemic / hispter typeface). [Google] [More] ⦿

Emtype
[Eduardo Manso]

Emtype is the foundry in Barcelona that was founded in 1997 (in Buenos Aires) by Eduardo Manso. Eduardo was born in Buenos Aires in 1972 and studied graphic design at the Escuela de Artes Visuales Martín A. Malharro and at the Universidad Nacional de Mar del Plata, both in Mar del Plata. Art director of the Argentinian graphic design mag "el Huevo". He currently lives in Barcelona. His typefaces include the pixel font family Dixplay (2003, Emtype), the grunge font Eroxion (1997) and Rina Linea and Rina (2001), all at Bitstream, the Scotch roman text family Bohemia (2004), Andromeda ([T-26]), Garadonis, Fluxus, Ovalus (2005, free dot matrix face), Relato (2005, advertised as a muscular serif family), Relato Sans (2005, which won an award at TDC2 2006), Merss (2000, ITC), Argot (2004, winner of an award at TDC2 2004), Flour, and Flour Inline.

Argot was renamed Bohemia (published in 2004 with Linotype), and won an award at the Linotype International Type Design Contest 2003. EMT Lorena won an award at TDC2 2007.

He custom designed Sunday Times Modern (2008) for the Sunday Times.

Still in 2008, he published Geogrotesque, a semimodular geometric display typeface in 7 styles. Geogrotesque won an award at Tipos Latinos 2010. This was followed in 2009 by Geogrotesque Stencil and in 2015 by Geogrotesque Stencil Italic, Geogrotesque Compressed, Geogrotesque Condensed, and Geogrotesque Extra Compressed. In 2016, he added Geogrotesque Slab, in 2018 Geogrotesque Cyrillic, in 2019 Geogrotesque Expanded and in 2020 Geogrotesque Sharp (98 styles, and a variable font).

He created the custom typeface La Grilla.

Periodico (Text, Display) was originally commissioned by the Spanish daily newspaper 'ABC', and was published as a 30-font family with lots of old Spanish ingredients in 2011.

In 2012 the London agency GBH commissioned Emtype to develop a custom typeface for the Puma football teams for use in the Brazil World Cup 2014 as well as in the national competitions.

Ciutadella (2012) was originally commissioned by Mario Eskenazi's studio. It is a versatile geometric sans serif, a simple, clean and direct family. In 2015, Emtype published Ciutadella Rounded and in 2016 Ciutadella Slab and Ciutadella Display.

Typefaces from 2014: Shentox. This squarish nearly monoline typeface family started out from British license plates.

Camber (2015) is a workhorse sans typeface, slightly squarish and on a geometric base.

Eduardo's keen eye strikes again in the variable width grotesque typeface family Akkordeon (2017), whose black weight will give Impact serious competition. Akkordeon Slab< (2017) is equally impressive.

Other typefaces from 2017: Isotonic (a rounded almost monoline sans typeface based on Ciutadella).

Corporate typefaces: Sunday Times, Lorena Serif (newspaper type; certificate of excellence in TDC2 2007).

Typefaces from 2018: Steradian (a geometric sans), Aribau Grotesk (a low contrast geometric sans).

Typefaces from 2019: Approach (a low contrast sans in the style of the earliest grotesques, with slightly angled terminals and plenty of elbow pipes, and a characteristic snub nose "1").

Typefaces from 2020: Approach Mono (a typewriter or programming font family derived from Approach), Majorant (a stocky monoline avant-garde geometric sans).

Typefaces from 2021: Classike (a 13-style high contrast squarish display typeface inspired by art deco), Chiaroscura (Eduardo writes: inspired by an art technique, Chiaroscura is a display typeface that conveys elegance and finesse; it has high contrast, sharp terminals and compact vertical proportions that makes it ideal for headlines), Inklination (a low x-height neo-grotesque with five romans, ten italics, five monospaced versions and 50 fun fists and icons).

Interview in 2013. Myfonts page. Linotype page. Behance link. FontShop link. Klingspor link.

Catalog of Eduardo Manso's typefaces. View Eduardo Manso's typefaces. View even more of Eduardo Manso's typefaces. [Google] [MyFonts] [More] ⦿

Ergisto Reggiani
[Fonderia Reggiani]

Erich Gschwind

Designer (b. 1947) based in Basel of ITC Avant Garde Gothic Book Oblique, one of many Oblique weights made by Gschwind in 1977 for ITC. He is part of Team 77 together with André Gürtler and Christian Mengelt. At Autologic, those three designers published Media (1976) and Signa (1978). From 2012-2014, Christian Mengelt of Team 77 revived Haas Unica (1974-1980) as Unica 77 at Lineto. Linotype link. FontShop link. [Google] [MyFonts] [More] ⦿

Erik Bertell
[Erik Jarl Bertell]

Helsinki, Finland-based Erik Bertell graduated from Lahti Institute of Design. His fonts include Neon, Mama and Mama Round. Born in Helsinki in 1980, Erik was at first a type designer for Fenotype, which was founded by his brother Emil Bertell. He holds an MA in graphic design from aalto University in Helsinki. Around 2012, he set up his own foundry, simply called Erik Bertell.

Erik's fonts EB Base Mono (2009, monospaced), EB Futuretro (2002, bilined art deco techno face), EB Neon (2002), EB Boogie Monster (2002, multiline prismatic op art family), EB Vintage Future and EB Humboldt (2002, ultra fat).

EB Martin (2010) is, in his own words, a post modern take on several traditional blackletter types. EB Bellissimo Display (2010) is a rounded monoline geometric sans typeface family. EB Jessica (2011) is part typewriter, part cemetery.

Typefaces from 2013: Steamer (which he calls a grimy grotesque), EB Vintage Future, EB Martin (blackletter), EB Jessica Condensed Book.

Moomin (2015) is a custom typeface designed for the Moomin brand. It is based the type used in the early comic strips by Tove Jansson, the author and creator of the Moomins. Cavalier (2016) is an avant-garde sans in the style of the 1970s.

Typefaces from 2018: Capital (a sans and serif family by Teo Tuominen, Erik Jarl Bertell and Emil Karl Bertell).

Typeface from 2019: Portland (a reverse contrast typeface by Emil Bertell, Erik Bertell and Teo Tuominen), Taurus (an all caps logotype family by Emil Bertell, Erik Bertell and Teo Tuominen), Zeit (a transitional text typeface by Emil Bertell, Erik Bertell and Teo Tuominen), Avion (a sans family by Emil Bertell, Erik Bertell and Teo Tuominen), Fabrica (a decorative frilly didone by Emil Bertell, Erik Bertell and Teo Tuominen), Tapas (by Emil Bertell, Erik Bertell and Teo Tuominen: a Serif, Sans, Deco and Script collection), Galatea (a 48-style sans family by Erik and Emil Bertell), Well (Erik Bertell and Toni Hurme: a wavy custom display typeface for Well Coffee), Morison (a great 32-style wedge serif typeface by Erik and Emil Bertell and Teo Tuominen), Frank Sans (grungy).

Typefaces from 2020: Laurel (by Teo Tuominen, Emil Bertell and Erik Bertell: a 4 style sans with amnay wedge elements), Resolve Sans (by Teo Tuominen, Emil Bertell and Erik Bertell: an extensive grotesk super family of 124 fonts: from compressed to extended, thin to black), Rockford Sans (2020: an 8-style geometric sans with large x-height and slightly rounded corners; Emil Bertell, Erik Bertell and Teo Tuominen), Walden (a heavy rustic serif typeface by Emil Bertell, Erik Bertell and Teo Tuominen), Klik (a geometric sans family with Bauhaus influences, by the dynamic trio of Emil Bertell, Erik Bertell and Teo Tuominen).

Typefaces from 2021: Imagist (a 12-style sharp-edged serif by Emil Bertell, Erik Bertell and Teo Tuominen), Alonzo (a 24-style Peignotian sans by Emil Bertell, Erik Bertell and Teo Tuominen), Maine (a 12-style modernized book antiqua by Emil Bertell, Erik Bertell and Teo Tuominen), Lagom (a 16-style slab serif with some Clarendon charm; by Emil Bertell, Erik Bertell and Teo Tuominen), Wonder (a 12-style rounded serif in the style of Windsor; by Emil Bertell, Erik Bertell and Teo Tuominen), Grand Cru (a refined serif family with 36 styles; by Emil Bertell, Erik Bertell and Teo Tuominen).

Link to Bond Creative Agency. Behance link. [Google] [MyFonts] [More] ⦿

Erik Jarl Bertell
[Erik Bertell]

Erin Browell

During her graphic design studies in London in 2015, Erin Browell designed a typeface that was inspired by Herb Lubalin. [Google] [More] ⦿

eskema

Designer at FontStruct in 2008 of helena_pixelated, squaresans_more_latin, structesk, vintee3, Avantesk (Avant Garde simulation), VINTEe3. [Google] [More] ⦿

Essqué Productions
[Stephen M. Knouse]

Stephen Knouse (Essqué Productions) is the Alaskan designer in Wasilla (b. 1976) of several free fonts. These include the display typeface Petal Glyph (2007), Avante Go (2008, avant-garde) and Avante Return (2008, avant-garde). He also created the free comic book fonts Happy Sans (2009, beatnik style) and Happy Serif (2008), Diagano (2012, monoline avant-garde sans), the trekkie typeface Dark Future (2011), and Neon 80s (2010, a rounded sans in the style of VAG Round but more so a faux neon font).

Spyced (2012) evokes Arabian nights, lava lamps, and Indian mystery. In 2014, Stephen designed Geo Grid 9 (a kitchen tile font) and Tall & Lean. In 2016, he added the octagonal trekkie font Commander Edge.

Typefaces from 2021: Power Talks (a bold tuxedoed art deco sans for Latin, Hebrew, Greek and Cyrillic).

Dafont link. Fontspace link. Devian tart link. Creative Market link. Behance link. [Google] [MyFonts] [More] ⦿

Esteve Padilla

London-based graphic designer who made the custom avant-garde typeface Nowadays (2009). Behance link. [Google] [More] ⦿

Ethan Barber

During his studies at Full Sail University, Winter Park, FL-based Ethan Barber created Regal Triumph Sans (2015, avant garde), Rubber Flex Sans (2015) and Cacti (2015, decorative caps). [Google] [More] ⦿

Evan Scott Sharfe

Cincinnati, OH-based creator of the thin avant-garde sans typeface Zephyr (2012). [Google] [More] ⦿

EVCCo
[E. Victor-C]

EVCCo is the foundry of London, Ontario-based type designer E Victor-C, est. 1980. EVCco has engaged in numerous acts of illustration, photography, and graphic design for clients representing fields as diverse as education, architecture, and the music industry.

He created West Warp (2010), Evcial (2000, monoline geometric avant garde sans) and Chapeau (2010, experimental). In 2020, he released the art nouveau-inspired typeface Annadalea. [Google] [MyFonts] [More] ⦿

Everythinks

Design and corporate identity studio in Lisbon. Creators of the elegant sans headline typeface Caixa Alta (2013), the stencil typeface Caffein (2011), Beedrones (2011, hexagonal), Ink (2012, a heavy brush face), Ecotour Portugal (2012, brush face), Lusofonia (2012, a decomposable typeface), Arte No Feminino (2012, a mosaic typeface), Ponte Romana (2012, a thin avant-garde wine label typeface).

F37 (or: Face37)
[Rick Banks]

Rick Banks (b. 1985, Manchester, UK) established F37 (Face37) in 2010 in London, UK. His typefaces:

F37 Xan (2010). A counterless geometric typeface based on a geometric solid typeface from 1925 by André Vlaanderen.
F37 Form (2010). A mimimalist circular experimental (Bauhaus?) font. He writes about Form: After looking at Armin Hoffman's Die Gute Form poster and Herbert Bayer's universal typeface I constructed an alphabet based on their letterforms. Inspired by Wim Crouwel's Soft Alphabet, I constructed a grid to create the modular alphabet and programmed very tight letterspacing into the font lending itself to the style of Die Gute Form.
F37 Bella (2011). An extremely contrasted didone display typeface. He says that he was influenced not only by Didot, but also by Pistilli and by Tschichold's Saskia. F37 Bella won an award at TDC Tokyo 2012. See also F37 Bella Pro (2020), in Text, Hairline, Stencil and Display substyles.
F37 Ginger (2013). A Swiss geometric sans inspired by the work of Herb Lubalin, Jan Tschichold and Paul Renner. The customized version of F37 Ginger, Boots Sharp (2019), was commissioned by Coley Porter Bell and True Story as part of an extensive rebrand. F37 Ginger Pro was released in 2019.
F37 Neue Grotesque (2013).
F37 Stencil Bella (2013).
F37 Glaser Stencil (2015).
F37 Bolton (2016). A sans family influenced by the style of Berthold's G.G. Lange.
F37 Jan (2016). Inspired by Jan Tschichold's geometric sans-serif and Matthew Carter's Bell Centennial font, F37 Jan features pronounced ink traps.
F37 Jagger (2017). A sans inspired by Edward Johnston's London Underground font.
F37 Bergman (2017). A Peignotian typeface family that revives a revival Hans Möhring's Florida typeface. The Swedish director Ingmar Bergman consistently used Florida in his films.
BHF Beats (2018): Working alongside Wolff Olins we were comissioned to create the new font for the British Heart Foundation. The letterforms are based on their iconic logo featuring waves of a heart beat.
F37 Bobby (2018). A warm text typeface.
F37 Ping Pong (2018). A 1970s style dot matrix font that was inspired by the 1970s Letraset font Pinball created by Alan Dempsey.
F37 Factory (2019). Named after Andy Warhol's The Factory in New York City, F37 Factory was inspired by stencil letters etched into marble in what was once a Hovis flour mill in Ramsgate. That building was designed by E. W. Pugin. F37 Factory was originally conceived for a commercial development project for Want Marketing and commissioned by London design studio Bold & Bold.
F37 Judge (2019). Banks's take on DIN and old wood types.
F37 Moon (2019). Influenced by Avant Garde and Futura, in 14 styles.
F37 Flux (2019). Experimental and intestinal.
F37 Neuro (2019). A Swiss sans family.
F37 Beckett (2020). A sans based on British road signs from the 1930s. F37 Beckett pays homage to the British Ministry of Transport's 1933 alphabet.
F37 Stout (2020). An octagonal family base on a letterpress font called Stoutheart.
F37 Gruffy (2020). A grotesque.
F37 Hooj (2020). A geometric sans family.
F37 Wicklow (2020). A 24-style wedge serif inspired by the Gaelic letter carvings by Irish sculptor Michael Biggs in Dublin. It includes a set of stencil fonts as well.
F37 Snake (2020). an octagonal industrial stencil typeface inspired by John Carpenter's film Escape From New York.
F37 Caslon (2020). He explains why the world needs another Caslon: F37 Caslon is our personal take on a stone-cold classic. Originally designed by William Caslon in 1726, this old-style serif has fascinated typographers ever since. Over the years, the font has been tweaked, reworked, modernised, pulled, stretched, squashed and embellished, as successive generations have created their own versions of Caslon, particular to their times and tastes. We have taken the best of these seminal Caslon revisions to create our own super family in a huge range of weights and styles. Our cut features a tall x-height, old-style numerals, capital italic swashes, ligatures and discretionary ligatures.
F37 Grotesc (2021). Inspired by Pica Sans.
F37 Attila (2021). A sans serif is inspired by Albert Auspurg's Krimhilde (1933).
F37 Drago (2021). A serif typeface based on Columbus (1892).
F37 Wyman (2021). F37 Wyman is based on lettering work created by graphic designer Lance Wyman in 1976, which was commissioned as part of the graphic identity marking 200 years of American Independence.
Corporate typefaces include Dunlop Sans, F37 Selfridges (=F37 Bella), F37 Avid (=F37 Ginger), Pamela (for Foilco), F37 Zip (for the hotel chain), Pizza Pilgrims, Dar Headline (octagonal), Lloyds Bank (icons).
F37 Lineca (2021). A fifteen-weight geometric sans with a strong emphasis on the horizontal.
Ocado (2021). A custom sans done for a grocery company.
Stonewall (2021). A sans font for Stonewall, a cmpany that has championed a world where LGBTQ+ people everywhere are free to be themselves and enjoy life fully.
F37 Incise (2021). A heavy, experimental display font, inspired by stone cutting.

He also published Type Trumps, a set of playing cards that feature the main typefaces. Behance link. [Google] [MyFonts] [More] ⦿

Faberfonts
[Frank Béla]

Frank Béla (b. 1978, Orosháza, Hungary) is a graphic design student at Krea Art School in Budapest who uses the pseudonym Fabergraph. Home page. Blog. In 2010, he started out commercially as Faberfonts. Dafont link. Behance link. Klingspor link.

He created the ink trap font Portrait Of A Lady (2009), FR Irisz (2009, didone family), Pontifex (2009), the hand-printed Munkácsy 1120 (2009), the unicase Reka Sans (2009), the thick-thin Azur (2009), the simple sans Babyface (2009), the medieval sorcery font Elmulas (2009), the Valentine;s Day font Sapet (2009), the avant garde sans family Hopper Sans (2009) and the ultra-fat typeface Rendezvous (2009). Callimachos (2009) is a fun triple-lined hand-printed headline typeface (with a Cyrillic version added in). Azur Title Font (2009) is a hairline slabbed typewriter type. Pasta Simpla (2009, followed by FR Pasta Mono in 2010) is another experimental jewel. Hobbista (2009) mixes symbols and glyphs. FR Rama Nous (2009) is a free modular font. In 2009, he also made Arrow, Enamel Paint Type, Belonging (Roman caps).

Commercial fonts made in 2010: FR Unalom, FR Sniccer (stencil), FR Ceruza, FR Minta (a dingbat typeface to make labyrinthine patterns; +Two), FR Tabula (beveled face), FR Smaragdina, FR Mintry One and Two (pattern fonts), and a custom alphabet for Esquire Russia, FR Hopper (monoline sans family).

Activity in 2011: A didone-inspired typeface called MFA Dagi that was was commissioned for a catalog of an exhibition at The Museum of Fine Arts (Budapest, Hungary). [Google] [MyFonts] [More] ⦿

Face Ronchetti
[Michael Chave]

Or Mick Chave. Michael Chave was director of Face Ronchetti in London. Phototypefaces by him include Aetna 1968, Alten Book 1969, Amigo 1972, Antique schmal 1975, Antique Tuscan 1975, Antique Tuscan Extended 1975, Arnold fett 1968, Bevelled 142 1975, Childs 1969, Cupid 1970, Curly Hairline 1969, Joanna 1969, Marvin 1969 (also at Face Photosetting), Matra 1971, National 1973, Pipeline 1970, Secession 1976. Digital revivals of the avant garde typeface Marvin:

Lodestone Pro (2017, Steve Jackaman, Red Rooster).
Marvin Visions (2017, Mathieu Triay).
Marbolo (Page Technology Marketing Inc). A free typeface. Unknown date.
Marbold (1992-1993, Thomas E. Harvey). Stephen Coles writes: In the early 1990s, Thomas E. Harvey did a rather poor digitization named Marbold. See this thread on Typophile. On the other hand, Marbold is free.

[Google] [More] ⦿

Faqih Sandri
[Typollery (was: Dri Zy)]

Fat Factory
[Mico Samardzija]

Designer in Zagreb, Croatia. Creator of the avant garde hipster typeface Non Bell (2014) and the monoline sans typeface Alex (2014). Over at Dafont, one can download Non Belle (2014), which is identical to Non Bell. However, inside the font we find the name Justine Lazo. Alex in DR ExtremEdit (2014) is a modular typeface.

Federico Galvani
[Happycentro]

Felipe Goes
[Carta & Carta]

Felix Beckheuer
[Felix Beckheuer]

Felix Beckheuer set up his own type foundry in Germany in 2013. His typefaces include the geometric headline typeface Pavo (2013), which was inspired by Lubalin's Avant Garde. [Google] [MyFonts] [More] ⦿

Felix Beckheuer
[Felix Beckheuer]

Felix Braden
[Floodfonts]

Felix Summ

During his studies, Newtown, CT-based Felix Summ designed the hairline avant garde typeface Helios (2017) and the tattoo typeface Greaves (2017). Behance link. [Google] [More] ⦿

Ferianto Aryo N

Indonesian designer of the hairline avant-garde typeface Dont Buy Stuff (2016). [Google] [More] ⦿

Fernando Loza

During his graphic design studies at CRGS, Universidad de Monterrey, in Monterrey, Mexico, Fernando Loza created the beautiful hairline geometric avant-garde sans typeface Gum (2013). Karaiza (2013) is a hybrid font based on Bodoni and Courier New.

In 2014, he created the outlined uppercase Road Alphabet. In 2016, he designed the newspaper typeface Nomarili. [Google] [More] ⦿

Fiona Finn Tao

Singaporean photographer and graphic designer who graduated from Temasek Design School. Her typefaces Goldrush (2011) and Villains (2011) both have an avant-garde look. Behance link. [Google] [More] ⦿

Floodfonts
[Felix Braden]

Floodfonts has freeware fonts by Felix Braden (b. Koblenz, Germany, 1974, an ex-student at the Trier College of Design). In 2000 he founded the free-font site Floodfonts with Peter Hoffmann. After working for five years as an art director for Gaga-Design, Koblenz, he decided to set up his own graphic design studio in Cologne. He now lives in Cologne working as a freelance designer and as a art director for MWK Cologne. In 2016, he set up his own Felix Braden type foundry.

His free fonts at Floodfonts included Polaris (2011), Floodicons (2003), Hydrophilia (2003. He writes: Hydrophilia family was created in 2003 by Felix Braden as a further development of Moby and comes with two fonts: The gothic typeface (liquid) is a revised version of the pixel font (iced). Hydrophilia liquid got a lot of letterforms with a diagonal axis, which reminded me of the technical fonts used on early liquid crystal displays.), Squid (2002, free), SquidCaps (2002), Ninetwist (2002), Catherine (2002), Moby (2002, a Bauhaus style corporate and headline font for the Cologne based design bureau Glashaus), Babelfish (2002), Blendfontsexperiment (2001), Incpot (1997), Hammerhead (2001: an angular constructivist typeface---free), HammerheadBlack (2001), HammerheadBold (2001), HammerheadMedium (2001), Multikultur (1997, Fraktur font), MultikulturExtraBold (2001), Orchidee (2001), Sadness (2001), Wuestling (1997). His commercial typefaces at Floodfonts include Kontiki (2018: a woodprint emulation typeface family; a grungy version of Clarendon), Capri Pro (2011-2015): an expressive constructed sans serif typeface in the tradition of Kabel and Avant Garde, partly constructivist, and partly hipster.

Peter Hoffmann designed Alita (2001) and Lacuna (2001).

Commercial fonts at Fountain: Grimoire (since 2015 at Floodfonts), Sadness (2001).

In 2004, he cofounded Timetwist with Pia Kolle, where you can download Rabbits (2004, Kolle), Pirates Stoertebecker (2004, Braden at Floodfonts, a ransom note face), Pirates Drake (2004, Braden at Floodfonts), PiratesBlackbeard (2004, Braden at Floodfonts), PiratesBonney (2004, Braden at Floodfonts), Bigfish (2009, a Western billboard face).

At Ductype, Braden published Timetwisteight (2005, a pixel face).

At URW++, he published the Supernormale family (part techno, part pixel) in 2006.

At Volcano, he made the rounded display face Bikini (2010).

At Fountain, he published the original version of Capri in 2011. After Fountain's demise, it reappeared as Capri Pro at Floodfonts in 2015.

The Orchidee project started in 1999 led to a fantastic free font. Felix: Orchidee was created as a part of the business stationary of the restaurant Orchidee located in the luxory hotel Quellenhof in Aachen, Germany. After the founding of the restaurant the hotel manager realized that there earlier was a bordello in the city with the same name, so he wanted to change the name. At the time when our agency had to presentate the logotype the name was not appointed so I created the font. The restaurant was specialized on crosscultural european-asian cuisine. Because of that I wanted to mix up some elements of traditional asian typography with european typography. The letters are designed in freehand by the repetition of just a few basic elements. To create the rough outline I used xerox-copier because I wanted to have some chaotic elements to give the font a handmade touch.

Other free fonts: Coraline (2012), Sonar Script (2013), Rollmops (2013).

At FontShop, he published FF Scuba (2012), as an offline companion to Verdana. It was one of the winners of the Communication Arts Typography Annual 2013.

In 2019, he published Pulpo, a ten-style family inspired by Century Schoolbook and Clarendon.

In 2020, he released Turbine (at Fontwerk: a 14-style neo-grotesque family), and Arpona, an 18-style lapidary flared typeface with slight wedge serifs.

Typefaces from 2021: Capitana (an 18-style geometric sans with large counters; not as severe as Futura), Arpona Sans (a 20-style humanist sans with rhombic tittles).

FontShop link. Klingspor link. Fontspace link. Dafont link. Behance link. Fontsquirrel link. Personal page. Another Behance link. Fountain Type link. Home page of Felix Braden. [Google] [MyFonts] [More] ⦿

Florian Kriegner
[Corridor]

Fonderia Reggiani
[Ergisto Reggiani]

Or Fonderia Tipografica Enrico Reggiani. Italian foundry in Milan, started by Enrico Reggiani in Milan in 1883. The business was taken over by his son Ergisto Reggiani (1888-1964). Reggiani published a bulletin in the 1930s entitled Tipografia (in which we find contributions of Edoardo Persico and the typographer Guido Modiano). It shows 44 very modernist typefaces, such as Reggiani, Macchina, Bodiniana, Jenson, Mascotte, Zaza, Mignon, Tosca, Manon, Mimi, Fedora, Butterfly, Fanciulla West, Turandot, Norma, Fornarina, Parisina, Isabeau, Fiammetta, Licia, Gioconda, Beatrice, Laura, Francesca, Asteria, Rosmunda, Minnie, Rossana, Mirandolina, Saida, D'Annunzio, Sansone, Nerone, Van Dyck, Olimpo, Olimpia, Olimpionica, Rubria, Ottocento, Pre Italica, Italia Nova, Era Nova, Vittoriale, Vittoriosa, Eia, Alala, Ardita, and Asse d'Acciao. Standout art deco designs included Ciclope and Mefistofele.

They published the avant-garde font Triennale in 1933, a typeface that set the tone for the institutionalized graphics imposed by the Italian fascists. Some of the posters of that era are here.

A scan of Campionario Caratteri da Stampa e per Contorno (Enrico Reggiani Foundry, Milan, 1937). See also Campionario Caratteri Fonderia Tipografica Enrico Reggiani (1937).

Digital revivals by Now Type (Lucas Franco and Claudio Rocha) include Ciclope and Mefistofele. TIF Balilla is a custom digital revival for Tipoteca Italiana Fondazione and not available for licensing. The original was Serie Balilla. [Google] [More] ⦿

FONTana Typestudio
[Amondo Szegi]

FONTana is a font design studio in Szeged, Hungary, started in 1999. Free and commercial typefaces (39USD/piece) by Gabor Kóthay (La Danse, Luxury, Sehrgut (Fraktur), Faximile (1999), L&R (1999), Monsoon (1999)), and Amondó Szegi (Telegdi family, which is based on the worn typefaces used by Abbot Nicolaus Telegdi at the Vienna Jesuit press in the 16th Century; Velorex (1999)). Very beautiful web page, and fantastic fonts in all respects!

Free typefaces: Zodiac (2000), Cards (Gyula Zsigri, 2001), Maldoror, Domino (Gabor Kóthay), Count, Csenge (a Hungarian rune font by Csaba Dávid), Qwerty (Gabor Kóthay, 2000), Y2K (Gabor Kóthay, 2000).

Early commercial fonts: Woodini (caps), Sleeping Beauty (caps), Zimbalo (1999, Amondó Szegi), Pacalsone (1999, Amondó Szegi), Paradox (1999, Amondó Szegi), Construct (2001, Amondó Szegi), Binario (2000, Amondó Szegi), Bikewrench (2001, Amondó Szegi), Cabin (2001, Gábor Kóthay).

At T-26, in 2001, Amondó Szegi published the commercial typefaces MuseFace (art nouveau), Glosso (2003), Xodus (2001, Regular, Italic, Forgotten), Kozma-Ornaments, all showing old Slavonic and/or Armenian influences in Latin letters. In 2000, he made Alian Ornaments (floral ornaments) for T-26.

At T-26, Gábor Kóthay published Adagietto (2000), Minerva (2000), Archetype (2000). At PsyOps, Gábor Kóthay published the formal script Anglia (2001), Berill (2001), and Plexo (2001).

Amondó Szegi's typefaces at T-26: Nexodus (2008, medieval style), Zenthes (2008), Alien Ornaments, Glosso, Iskola (2002, a Victorian typeface done with Silas Dilworth), Kozma (great ornaments), Melico, Melico Ornaments (2004, another great set), Xodus.

At P22, Szegi designed the curly typeface Mantra (2005). Amondó Szegi's Telegdi family is since 2001 available from P22.

At The Type Trust, he created the playful Gepetto (2006).

Typefaces from 2013: Ma (avant-garde, constructivist, done as an hommage to Lajos Kassak), Overdose, Sorry (kitchen tile typeface), Atett (hommage to Lajos Kassak), Street Soul, Samizdat, Velorex (brush script), Zsir (fat octagonal face), Kedves (hipster font).

Typefaces from 2014: Iseum, Pix Gotisch.

Among their custom corporate identity jobs, the Losonczi Hair Salon work (2012) is quite outstanding.

Dubstep (2012) is an experimental triangulated grid-based typeface.

In 2013, Glosso Novum (2013, Fontana Type Foundry), a remastering of Glosso (2003), was published. Nexodus (2013) is a reworking of his 2001 typeface Xodus, with new ornaments and zodiac signs, and more weights. Xodus (2001, Regular, Italic, Forgotten) revives work by Miklós Kis Misztótfalusi (Nicholas Kis), who was one of the first designers of Armenian type: He prepared his first set of exotic types before September 1685 for the Armenian printing house in Amsterdam. It was the knowledgeable mayor of Amsterdam who requested that those types be founded. These types were used to print the mayor's (Nicolaes Witsen) work entitled Noord en Oost Tartarye. Misztótfalusi's name appears in the colophon of the book. Later, in 1687, he found Georgian types, which were, in many respects, similar to the Armenian set. Since there was no printing house in Georgia, he designed the types on the basis of some manuscripts. Unfortunately, as legend has it, the types never reached the Georgian court, which had commissioned Misztótfalusi to design them. They were either lost or stolen somewhere in Sweden. However, a sample sheet survived and was found in 1980 in Amsterdam. It may seem to make no sense to re-Latinise the types of Misztótfalus, who himself was a great master in founding Latin types, and for whom Armenian types meant the first step in a new direction.

Typefaces from 2016: Crave Sans.

Klingspor link. Fontspace link. Behance link. Dafont link. Creative Market link. [Google] [MyFonts] [More] ⦿

FontArte (was: Magdart Fonts)
[Artur Frankowski]

FontArte (est. 2004; ex: Magdart Fonts) is Artur Frankowski's foundry in Warsaw, launched in cooperation with Magdalena Frankowska. Frankowski is a Polish graphic designer, typographer, type designer and lecturer, b. 1965, Zamosciu. He taught typography at the Technical University of Warsaw and is professor of typography and design at the Faculty of Design of the Academy of Fine Arts in Warsaw. In 2004 he finished his PhD thesis on legibility of type on cartographic maps at the Warsaw University of Technology. In 2013 he presented a habilitation thesis on street lettering as an inspiration for a graphic designer. In 2015 Artur graduated from the Expert Class Type Design (EcTd) at the Plantin Institute in Antwerp. He has published type and visual communication-related articles in design&print magazines. Through FontArte he wants to preserve Polish typographic heritage, specially Polish Avantgarde and introduce new directions in Polish type design culture. Author of Typespotting Warszawa and co-author (with Magdalena Frankowska) of a book about Henryk Berlewi, a pioneer of functional typography.

He spoke at ATypI 2005 in Helsinki on Type on maps and at ATypI 2007 in Brighton on Designing a regional typeface. Speaker at ATypI 2016 in Warsaw on From Typespotting to Warsaw letters. Designer of several typefaces:

From the Magdart era: MF Ala i As, MF Norma 1 i 2, MF Trond, MF Multi Putli, MF Plazma, MF Towarowy, MF FCR, MF Proteza, MF Strzeminski.
FA Berlewi (2006): a stencil typeface based on poster lettering from 1924 by Henryk Berlewi. Together with Magdalena Frankowska, he wrote a book called Berlewi (2010). Henryk Berlewi was a Polish pioneer of typography and design.
FA Cindy (2002): shoe dingbats by Magdalena Frankowska.
FA Desiconz (2005): dingbats by Magdalena Frankowska.
FA Dropsy (2000)
Grotesk Polski FA (1996-2006): inspired by the first Polish typeface design---Antykwa Poltawskiego. Has sans weights, and one stencil style.
FA Domestic Godess (2005): domestic dingbats by Magdalena Frankowska.
FA Julian (2003): avant garde ransom face, based on Wladyslaw Strzeminski's lettering in the 1930 publication "Z Ponad".
FA Karaker: medieval script based on a scan.
FA Komunikat (2004): almost unreadable, an experiment in minimalism, inspired by Wladyslaw Strzeminski (1932).
FA Merz.
FA Modernista (2004): grungy sans based on Baccarat, an early 20th century typeface by the Polish foundry Jan Id'zkowski.
NASZ Stencil.
FA Norma (2000): destructionist.
Ozdoby Gardowskiego (2004): ornaments based designs by Ludwik Gardowski (1923).
FA Praesens (2004): great avant garde display face.
FA Prototyp (2007): minimalist unicase.
FA Relief (2006): pixelish.
Co-creator with Henryk Sakwerda in 2006 of Silesiana 2006 (see also here), a great calligraphic font whose development was supported by the Silesian Government.
FA Supersam (2003): dot matrix style.
FA Szczuka (2000): avant garde poster display typeface based on pixel type.
FA Zero One (2007): experimental pixel style type family.
Designer of a character in the September 11 charity font done for FontAid II.

[Google] [MyFonts] [More] ⦿

Fontfabric
[Svetoslav Simov]

Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. They design highly innovative typefaces that have lots of style and flair. Most fonts cover both Latin and Cyrillic. Until 2022, their fonts were sold through MyFonts, but gradually they switched to their own independent shop.

Typefaces from 2008: Cubic (3d face), Clou (cloud-like letters), Colo (double-lined and geometric), Snail, Blou (very thick and counterless letters).
Typefaces from 2009: Uni Sans (first called United Sans), Kare (psychedelic), File (fat face), Zag (7-style monoline sans with tear drop terminals; it include Zag Drps and Zag Deco), Clou (cloudy letters), Facet (Black and Ultra: paper fold typefaces), Noveu (psychedelic, art nouveau), Pastel (brush face), Rolka (round ultra-fat and curly lettering), Val (rounded fat), Kvant (severe and octagonal), Duplex (fat techno), Avatar (ultra fat black), Dovde (bubbly, co-designed by Maria Karkova), LOT (fat art deco), MOD (ultra-fat), Oval (rounded sans), Quad (octagonal outline), Portal Strips and Portal Black (hyper-experimental geometric typefaces), Prisma (more ultra-fat experimentation) and Wigan (Wigan Thin and Bold of this paperclip typeface appeared in 2014).
Creations in 2010: Hero (free sans family), Null (ultra fat, free), Aston (a modern high-contrast rounded display face), DAN (free piano key font; Dan Pro is not free though), Solomon (headline sans family) [Images of Solomon: i, ii, iii, iv, v, vi, vii, viii], Dox (ultra fat geometric poster face), Sudoku (a geometric display family with several biline and triline styles, done with Fontan2), VAL Stencil (a stencil in which repeating letters makes them tilt the other way; free), Code (2010, a fantastic monoline sans family; images: i, ii, iii, iv, v), Dekar (techno), Clipdings Web, Clipdings Travel, Clipdings Graphic Arts, Babydings, Artdings, Reader (Light, Bold: avant garde sans), SAF2010 (comic book/signage: well, Jan Erasms, the designer in 2006 of Menyaka for FIFA WC 2010 is not happy, calling SAF a blatant imitation), Age Free (free fat organic face), GOTA (a free fat finger sans face).
Typefaces from 2011: Gabriel Sans (grotesk family), La Boheme (signage face), Qero Mite (an organic monoline sans), Code Pro (caps only clean sans headline family), Solomon Sans (a headline monoline sans family).
Typefaces made in 2012: Nexa (a geometric sans in 16 styles), Nexa, Rex (free octagonal family for Latin and Cyrillic), Hagin (free), Intro (26-style superfamily in the Futura style) and Intro Inline (free Futura-style family for Latin and Cyrillic). Intro Condensed was created in 2014.
Typefaces from 2013: Nexa Slab, Nexa Slab XBold, Nexa Slab Bold, Nexa Slab Book, Nexa Slab Light. [Recognize the typeface by the a and the g (an 8 with a small piece missing).
Typefaces from 2014: Nexa Rust (a weathered letterpress emulation family of 83 typefaces by Radomir Tinkov, Ani Petrova, Svetoslav Simov and Vasil Stanev).
Typefaces from 2015: Bronn Rust, Bronn Script and Bronn Rust Extras is a handcrafted collection of 22 typefaces created on the coat tails of the hugely popular Nexa Rust and other typefaces in the grungy worn letterpress and layering vogue. The roundish tightly set broad-ranged sans typeface family Panton is sure to make waves for years to come---it is the typeface for mobile devices. Sensa (2015, Radomir Tinkov and Svetoslav Simov) is a handcrafted 21-style family divided into the subfamilies Sensa Brush, Sensa Pen, Sensa Wild, Sensa Sans, Sensa Serif and Sensa Goodies.

View Fontfabric's typefaces. In 2015, Ani Petrova, Svetoslav Simov and Radomir Tinkov co-designed the 214-style mammoth font system Intro Rust, a rough version of Fontfabric's Intro. The fonts are partitioned over Intro Rust, Intro Script, Intro Head and Intro Goodies. Still in 2015, we find Nexa Script.

In 2017, Plamen Motev and Svetoslav Simov co-designed Uni Neue, a total remake of Fontfabric's earler typeface Uni Sans (2009). Svetoslav Simov, Plamen Motev and the Fontfabric team (Vladislav Jordanov, Stan Partalev, Mirela Belova, Jacklina Jekova, Nikolay Petroussenko) produced Zing Rust, Zing Sans Rust and Zing Script Rust in the same year: it consists of 521 handmade typefaces.

In 2018, Mirela Belova and Svetoslav Simov co-designed the 20-style geometric sans typeface family Mont. Svet Simov and Svetlin Balezdrov co-designed the humanist sans family Squad, and Simov published the free all caps flared terminal font Colus in 2018. Gilam was designed in 2018 by Ivan Petrov, Plamen Motev and Svetoslav Simov---it is based on DIN, but is more geometric and has obliquely cut terminals.

In 2019, Svet Simov, Radomir Tinkov and Stan Partalev designed the 72-strong Noah family of geometric sans typefaces, which is partitioned into four groups by x-height from small (Noah Grotesque) to medium (Noah and Noah Text) to large (Noah Head). Codesigner of Mozer (2019, by Svetoslav Simov, Ani Petrova, Mirela Belova and Nikolay Petrousenko: a condensed headline sans family that covers Latin, Greek and Cyrillic; Mozer SemiBold is free).

In 2021, Svetoslav Simov and Vika Usmanova dusted off the 18-style update of Mont called Mont Blanc. It has very short descenders and medium-sized ascenders, two variable styles, and some redesigned glyphs. Its biggest problem will be the name---surely, the famous Swiss pen maker Mont Blanc will complain sooner or later about its trademark. I am puzzled about MyFonts, which did not catch this problem when they announced the typeface. In 2021, Simov also co-designed Code Next (a 20-style geometric sans by Svetoslav Simov, Mirela Belova and Stan Partalev; it includes two variable fonts).

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

Fountain--A Friendly Type Foundry
[Peter Bruhn]

Fountain is a Swedish foundry in Malmö, founded in 1994 by Peter Bruhn (1969-2014). In 2008, its designers include Rui Abreu, Lee Basford, Lars Bergquist, Felix Braden, Lotta Bruhn, Peter Bruhn, Lucas Brusquini, Matthew Chiavelli, Stefan Claudius, Thomas Crolla, Jay David, Stefan Hattenbach, Peter Hoffman, Nina Hons, Sylvia&Daniel Janssen, Randy Jones, Gábor Kóthay, Martin Lexelius, Ricardo Santos, Góran Sóderstróm, Simon Schmidt, and Dirk Uhlenbrock.

Some offerings over the years: the avant-garde Anarko (nice!), the curly Pizzicato (also nice), Pussy, Udo, Barbera, Gas, the gorgeous bottle dingbats Mini (by Peter Bruhn), Kundera, the free downloads Animals, Doggystyle, Egg, Egg Cameo, Fat Ultra, Kundera, Maceo, Mothafucka, Pavement, Pavement-Kana and Sevenet. All of the aforementioned typefaces have mostly been designed by Peter Bruhn. They also do custom work. Other fonts: Jinchi1, Hebrew, Greek. Recent fonts by Simon Schmidt include CloseCall, CloseGridder, Ogra and Schlager. Martin Fredrikson Core made the fat display typeface Filt (based on Antique Olive, it now has a Greek weight as well), Borgstrand, FTN Sauerkrauto [see also Sauerkrauto Pro (2000)], and Malmo Sans. Matthew A. Chiavelli made Ultura (1996).

Peter Hoffmann created Alita.

Lars Bergquist published Paracelus (a modern version of Schwabacher), Baskerville 1757 (2002), Montrachet, Monteverdi, and Waldstein (a Scotch typeface). Steve Payne designed COMA. Felix Braden made Sadness and Grimoire. Lee Basford created Nuephoric.

Peter Bruhn made the commercial fonts Mayo, Ketchupa, Mustardo and the free fonts Partisan, Jinichi, Lipo-D, Dopil, Deuzhood, Azteak (initial caps) and Anticca. Lotta Bruhn designed Lucifer. Stefan Caludius made Dekoria (2003), a Tuscan titling face.

Fountain released Stefan Hattenbach's sans family Stalemate in 2004, which was originally an OEM family designed for but not used by a German IT company, Gretel (by Sylvia&Daniel Janssen), Scrixel 8 and 16 (pixel families by Thomas Crolla).

View Peter Bruhn's typefaces. [Google] [MyFonts] [More] ⦿

Fran Board
[Frans Font (was: Siren Fonts)]

Francesca R. Luzzi

Graphic designer in Paris, who designed the avant garde display typeface Tuba Sans in 2016. It was inspired by the first drawing of Paul Renner's Futura. [Google] [More] ⦿

Franco Grignani

Designer at Nebiolo (b. 1908, Pavia, d. 1999, Milan). He was part of a team (with Giancarlo Illiprandi, Bruno Munari, Ilio Negri, Till Neuburg, Luigi Oriani and Pino Tovaglia) that designed the lineale family Forma from 1966-1970 under the direction of Aldo Novarese. Forma was revived by Tankboys as Forma Nova.

Sergio Polano writes: Alone master, the Italian visual designer, painter and photographer Franco Grignani, born in Pieve Porto Morone (Pavia) in 1908, trained as architect at the Polytechnic School of Turin (1929-1933); after being part as painter of the late, second futurism, his artistic research came across the European abstract avantgarde movements, and developed a strong interested in the perception psichology of form, that results from the Fifties in his dinamic kind of OpArt, years before it: the mastering of perception rules is expressed by his visual experiments on virtual movement, optical illusion, subperceptions, distortions, moirés, dilatations, flous and so on, applied, with no breaks, from painting to graphic design, through pictures, images, patterns, signs and words. From the Thirties he works in the field of graphic design, collaborating a with Borletti, Breda Nardi, Cremona Nuova, Dompé, Domus, Mondadori, Montecatini, Spi, Triennale; his artistic direction for Alfieri&Lacroix printing firm is particularly interesting, as it shows an exceptional integration of words (wrtitten by himself) and images. Very well known, his trademark for Lambswool is a paradigmatic example of his approach to sign design. For 26 years he has been art director of Pubblicità in Italia, a magazine devoted to Italian advertising and visual design. He wrote many essays on design and arts, and lectured in Europe and USA. [Google] [More] ⦿

Frank Béla
[Faberfonts]

Frank Hainze
[MicroLogic Software]

Frank Marciuliano
[Marciuliano Design]

Franko Rosas

Graphic designer in San Diego and Tijuana, who created the block typefaces Powinaky, Liber and SqL in 2010. Baika (2010) is a thin avant-garde face. On Behance though, he mentions Barcelona as his home base. Finalist in the 17th Annual San Diego Latino Film Festival's Poster Competition. Besides some custom typefaces, he also designed experimental typefaces such as Liber13 (high-contrast squarish poster face) and Lisa The Lush. [Google] [More] ⦿

Frans Font (was: Siren Fonts)
[Fran Board]

Frans Font (or: Siren Fonts) is a foundry, est. in 2009 in Cheltenham, Gloucestershire, United Kingdom, by British designer Fran Board. Their fonts include Rounded Two (2009), Manic (2009, grunge), Rooky Hand (2009, irregular hand), and Mesh Stitch (2009, a stitching font). All are free for personal use and pay fonts for commercial use. In an earlier life at Dafont, one could download the hand-printed 3d font Decade 3d (2008), the stitching typeface Mesh Stitch (2009), the thin sans faceRound (2009), RoundNormal (2009, an avant garde face), Bloc Regular (2009, pixel face), Pixel Regular (2009), Zuben (2009, classy sans), Manic (2009, an angular face), Rounded Two (2009) and the squarish Blablabla (2009, FontStruct). Another URL. [Google] [MyFonts] [More] ⦿

Frederico Ferreira

Based in Oporto, Portugal, Frederico Ferreira is a graphic design student at IPCA-EST. He created an avant-garde slab serif typewriter typeface called Stab (2011). [Google] [More] ⦿

Free Goodies for Designers (or: FGD)
[Marcelo Reis Melo]

The site Free goodies for designers offers a number of tweetware and free products including the hand-printed typefaces Gant (2015) and Skinny Bastard (2014, tweetware), the brush face Leon (2014, free) and the poster typeface Reis (2014, tweetware) by Marcelo Reis Melo.

In 2015, Marcelo made the tweetware fonts Parabola and Bellaboo, the clean sans typeface Bavro, and the tweetware font Melo.

In 2016, he made the tweetware multiline typeface Lines, the free avant garde sans typeface Boot Camp, the free Impact-style sans headline typeface Alberto, the Bauhaus-inspired Alva, and the tweetware brush script typeface Tindra.

Typefaces from 2017: Kung (brush style), Sans Jose (a free Peignotian typeface), Rimbo (a great fat poster typeface).

Typefaces from 2018: Brux (dry brush), Eighties, Kung (brush), Bolden (a free condensed black sans).

Typefaces from 2019: Bavro Pro, Serifina (a high-contrast all caps typeface).

Typefaces from 2020: Wired.

Marcelo was born in Sao Paulo, graduated from Belas Artes University there, and settled in Stockholm. Marcelo Reis Melo. Behance link. [Google] [More] ⦿

Froso Leventi

Froso Leventi (Limassol, Cyprus) created the thin avant-garde caps typeface Long Cherry (2013). [Google] [More] ⦿

G3 Typefaces (or: TechFonts LatAm)
[Yun Gonzalez]

Yun Gonzalez (b. 1990; aka GrooveThree Typefaces and as G3 Typefaces and as TechFussion) is the designer in Bogota, Colombia, of the free techno typefaces Elegan Tech (2010), Ponderatta (2010), Inspyratta (2010), Ynnovatta (2010) and Curvature XD (2010).

In 2011, he made Anklada (an avant-garde sans), Groove Next (sans) and Revo (sans).

In 2012, he designed Revofit by Drakoheart (+Solid, 2014), Bookietastic, Stylatta, RevoPop, Straightforward, Bogotana (an informal sans family), Drakoheart Leiend, Konztante (a clean sans), Digicity, Typomoderno (squarish and modular), and V-Zel.

Typefaces from 2013, the year in which G3 became commercial: Drakalligro (+Sans, +Slab display types), Drakoheart Revofit (+Sans, +Serif), Drakolomb (2015).

Dafont link. Another Dafont link. Alternate URL. [Google] [MyFonts] [More] ⦿

Gabriel Martinez Meave
[Kimera Type (was: Diseño Kimera)]

Gabriela Pineda

Graphic designer in Monterrey, Mexico. Creator of the elegant avant-garde sans typeface Sundance (2013, with Teresa Martinez). This was a school project at the Universidad de Monterrey. [Google] [More] ⦿

George Dobrogeanu
[Something Design]

George Pizzuci

American designer of the free hand-printed typeface Anarchy Sans (2011) and of the thin geometric Keenton (2011, Open Font Library). [Google] [More] ⦿

Georgia Cowley

Georgia Cowley (Washington, DC) created the avant garde style typeface Avatura (2010). [Google] [More] ⦿

Gerard Sierra

Barcelona-based designer of these typefaces:

Centcelles (2018). A typeface that is inspired by the calligraphic shapes of the Capitalis Rustica.
Rhinob (2020). A custom octagonal / industrial / soccer / sports font for the identity of Rhinob.
Hooligan (2020). An ultra-condensed octagonal family custom-designed for Palco23. It was inspired by Matt Willey's Timmons, the previous corporate typeface used.
BigSlab Quadrata (2020). Each letter occupies a full square, and the reverse stress provides a Western aura.
Triomf Display (2020). Triomf is an experimental cubist display face inspired by a Spanish civil war poster . The designer also claims inspiration from Herb Lubalin and Avant Garde.
Derrida (2021). A lapidary poster typeface.

[Google] [More] ⦿

Gergely Bogányi

Graphic designer in Budakeszi, Budapest, Hungary, who cofounded Typogravity Studio with Tamas Ilsinszki. Creator of the extreme contrast display typeface Slash Pro (2011), and the multiline prismatic typeface Grand Avant Garde (2011).

In 2012, he designed Lineo Serif (thin geometric face).

In 2013, he created a fantastic set of graph-based experimental capitals called Regenerative. Georabic (2013) is a calligraphic Arabic simulation font completely based on the principles of Arabic font design, i.e., with beginning, medial and end forms for each letter. He writes: Georabic Typface is my diploma work at Hungarian University of Fine Arts / Graphic Design Department. During my Erasmus studies in Istanbul I had the chance to learn a bit of Arabic language and typography and I realized that the logic of Arabic writing could be used for a calligraphic Latin typeface too. I started with calligraphy to find the right way to create the glyphs and the connections. [Google] [More] ⦿

Gert Wiescher
[Wiescher Design]

Gianfranco il Cane Bisceglia

Graphic designer in Milan, Italy. Creator of the avant garde typeface Atype (2014). Behance link. [Google] [More] ⦿

Giulio Battelli

Graduate of Quasar Design University who is based in Rome, Italy. Giulio Battelli's Kenya (2014) is a light all caps typeface created during his studies as a hybrid situated between Avenir Next Ultra Condensed (Adrian Frutiger) and Adobe Caslon Pro. [Google] [More] ⦿

Giulio Grigollo

Based in Verona, Italy, this graphic designer and art director created the typeface Swan (2009) and the avant garde typeface Architecta (2009, Happycentro).

In 2015, he designed the condensed piano key typeface Clexidra 8. In 2016, he designed the data typeface No Fly Zone, and the airport signage typeface Terminale.

Typefaces from 2018: Ragazi Fugazi, Sabotage (experimental), Abracadabra (condensed and modular), Nultras (a free all caps monoline and monospace typeface). [Google] [More] ⦿

Greg Médina
[DCO (or: dcoxy medina, or: Atelier Oxydes)]

Greg Ponchak
[SINDSINDSIND]

Grilli Type

Grilli Type is Noël Leu and Thierry Blancpain, graduates of the University of the Arts in Bern, Switzerland. Grilli Type is an independent Swiss type foundry, founded in 2009, and located in Zürich. They offer a range of display and text typefaces, based either on historical sources or with an experimental background.

In 2010, their catalog had four type families: GT Walsheim, GT Haptik, GT Skeletor (monoline grotesk) and GT Lena (avant garde sans).

In 2013, that number decreased to three, GT Walsheim, GT Haptik and GT Pressura. GT Pressura was designed in 2013 by Moiré and Dominik Huber.

In 2014, they added GT Sectra and GT Eesti. GT Sectra won first prize in the TDC 2015 Type Design competition.

In 2021, Grilli was asked, in cooperation with Twitter design director Derrit DeRouen, to design Chirp, a new grotesk to replace Helvetica in Twitter. The reactions from Twitter users are quite damning. Jeffrey Jose compares it with GT America, which Noel Leu and Grilli cite as the source of inspiration. Free download. [Google] [More] ⦿

Guido Schneider
[Brass Fonts]

Guille Monge

Costa Rican designer based in San Jose. Creator of the avant-garde / futuristic typeface Asteroids (2012). [Google] [More] ⦿

Guillermo Rodriguez

Mendoza, Argentina-based designer of these typefaces, ca. 2014: Etc, Janis, Espacios (squarish), Minime (rounded sans), Neo Avant (rounded geometric sans), Rono (monoline and rounded), Terra (also rounded). [Google] [More] ⦿

Gustavo Garcia
[Papanapa]

Gustavs Andrejs Grinbergs

Born in Riga, Latvia, in 1943, he has mainly cooperated (since 1990) with Tilde in the font development of East-European languages, and has created the AG fonts collection for Cyrillic. He specializes in Cyrillic and East-European extensions of prominent typefaces (such as the ones in the Bitstream collection). His typefaces:

Linotype Brewery (Linotype), Brewery No2 Pro (2015, Linotype). Brewery No. 2 is based on his submission in 1997 to the Second Linotype Design Contest, and was inspired by early 20th century German type. The Black weight is expressionist.
Waldorf Pro (2003, Tilde). A didone.
Robusta (2002, Tilde). A large sans typeface family.
Linotype Rowena (1996, Linotype).
Constellation Pro (2009, Tilde). An avant garde sans family with very thin hairline weights.
Linotype Gneisenauette (Linotype).
Baltic Ornaments (1999, Tilde).
Stencil Moonlight (2003, Linotype). This typeface won an award at the Linotype International Type Design Contest 2003.
Snowbird (Tilde).
Am Beauty (2011, Tilde). An art deco family. Includes Am Beauty Stencil.
Kette Pro (2009, Tilde).
Rigaer Tango Pro (2009, Tilde). A connected script family with high contrast.
Brunch Pro (1996, Tilde).
Exquisite Pro (1998, Tilde).
Scintilla Pro (2001, Tilde). A delicate text family.
Tourandot Pro (1999, Tilde).
Starfighter (Tilde).
He published the AG Fonts collection, mostly between 1992 and 1994. In the AG fonts collection, we find the following families (non-exhaustive list): AGAalen, AGBengaly, AGCenturion, AGCrown, AGFriQUer, AGGalleon, AGGloria, AGLettericaCOMpr, AGMelanie, AGNewHandbook, AGOpus, AGPalatial, AGPresquire, AGReverence, AGZeppelin.

FontShop link. Linotype link. Klingspor link.

MyFonts collection. View Grinbergs's typefaces. [Google] [MyFonts] [More] ⦿

Hadrien Degay Delpeuch

Parisian designer. Behance link.

Creator of various typefaces such as Neeo (2012, avant-garde), E-Pure (2012, geometric), Pixa (2012, hexagonal), Recompose (2012), TypEra (2012), and an unnamed alchemic typeface (2012).

In 2013, Hadrian published the experimental typefaces Texta and Beyond Font and the display sans Modular.

In 2015, he designed Deconstruct (experimental type) and Wide (a very narrow pixacao graffiti-inspired font created for the Graphic Design Festival Scotland competition).

Typefaces from 2016: Decorum. [Google] [More] ⦿

Haizea Najera

Graphic designer in Valencia. Creator of Fairfont, an avant garde style typeface co-designed with Alicia Raya, Cristina Bonora and Dailos Pérez.

Han Na Jung

Designer in Chicago. Behance link. In 2011, she created a beautiful poster entitled Avenir, using Frutiger's 1988 typeface Avenir. [Google] [More] ⦿

Hans-Rudolf Lutz

Swiss typographer (b. Zürich, 1939, d. 1998). He had his own studio, Lutz Verlag, in Zürich. He published books such as "Typoundso" and "Ausbildung in typografischer Gestaltung". He taught at the schools of design in Zürich and Luzern for over thirty years, and founded the typography department in Luzern in 1968. [Google] [More] ⦿

Happycentro
[Federico Galvani]

Happycentro is a creative studio based in Verona, Italy. Members include Federico Galvani, Giuliano Garonzi, Roberto Solieri, Giulio Grigollo, Andrea Manzati, and Federico Padovani. Behance link. They made various experimental types. Federico Galvani and Sebastiano Boni drew the caps typeface ProtoType by hand. Giulio Grigollo made the avant garde typeface Architecta (2009). [Google] [More] ⦿

Harley Scotland

Designer in Adelaide, Australia, who created the avant garde typeface Round Map in 2013. [Google] [More] ⦿

Harris Design
[James M. Harris]

James M. Harris' Colorado Springs, CO-based foundry sells five fonts designed by himself, SignPix (1, 2, 3, 4), Earth Font One (1993), PictographOne (1996), and Strasbourg (blackletter) through Fonthaus and Agfa/Monotype. It specializes in tourist and road signs. Harris Design will turn your logo into a (TTF or type 1) font. List of fonts.

Jim Harris made the old shareware fonts Bellerose (1992, an avant-garde face: poster by Benbouzid Fatim-Zohra), Bellerose Pro (various weights are done in 2016), Mazama, Premium Thin, RhyoliteVertical (1990) and Andesite (1991) which can be found on many archives. He also made Harris Modern Extended.

Old home page. Creative Market link. Dafont link. FontShop link. [Google] [MyFonts] [More] ⦿

Harrisson
[Open Source Publishing (or: OSP)]

Herb Lubalin

Born in New York in 1918, Herbert Frederick Lubalin died there in 1981. Founding editor and art director of U&lc from 1973-1981. Co-founder of ITC in 1969, together with Edward Roundthaler and Aaron Burns, as a result of the marriage of Lubalin Burns & Co (est. 1969) and PhotoLettering Inc. Professor at the Cooper Union in New York from 1976-1981. Director of the avant garde magazine Fact between 1965 and 1967.

His fonts: Pistilli Roman (VGC, see here; with John Pistilli), L&C Hairline (ca. 1966, VGC, with Tom Carnase), ITC Avant Garde Gothic (with Tom Carnase, Gschwind, Gürtler and Mengelt, 1970-77; see Avignon on the SoftMaker MegaFont XXL CD, 2002), ITC Busorama (1970), Ronda (1970), ITC Lubalin Graph (1974; see Square Serif on the SoftMaker MegaFont XXL CD, 2002; poster by Pablo Monachese), ITC Serif Gothic (with Tony DiSpigna, 1974; see Serenade Two on the SoftMaker MegaFont XXL CD, 2002). His companies: Herb Lubalin Inc (1964-1969), Lubalin, Smith&Carnase Inc (from 1975 onwards).

In 1985, Gertrude Snyder and Alan Peckolick published Herb Lubalin. Art Director, Graphic Designer and Typographer (New York). Retrospective at ITC.

Revivals: Receding Hairline NF (2014, Nick Curtis) revives L&C Hairline. Pudgy Puss (2007, Nick Curtis) is an ultra-fat modern digital display type based on Fat Face (Herb Lubalin, Tom Carnase).

Linotype link. Klingspor link. FontShop link.

View Herb Lubalin's typefaces. [Google] [MyFonts] [More] ⦿

Herb Lubalin
[Lubalin Graph]

Iakov Georgievich Chernikhov

Hilde Ottesen

Gjøvik, Norway-based designer of the gothic arc-themed typeface Kalligrafi (2015). [Google] [More] ⦿

Hiroaki Nagai

Japanese designer. Nagai and Daisuke Yajima won an award at TDC55 for an experimental typeface called Utsuba Moon Avant Garde (2009). [Google] [More] ⦿

Horacio Lorente

Graphic designer from Córdoba, Argentina. Currently working as a freelance designer, involved in print design and art direction. Designer of the trendy sans display typeface Aeropuerto (2009) and of the minimal thin-lined avant-garde Sur (2009). Behance link. MyFonts link. [Google] [More] ⦿

Hubert Munier

Art director in Versailles, France. For the visual identity of L'Espace Andrée Chedid, Hubert Munier designed an elegant bi-lined typeface family, L'Autre (2016). For a Luxemburg-based African food truck, he created Afrikan Gourmet (2016), a deco typeface with African tribal themes worked in. He also created the fun art deco logotype Le Popcorn Bar (2016), which hearkens back to old Hollywood. For the music label LSM, he created the hipster typeface Les Sales Mômes (2016). For ESAM (Ecole Superieure des Arts Modernes), he designed a piano key stencil typeface, ESAM. He designed a squarish typeface for the fitness club Aqualoft (2016). With Emilie Rad, he created L'Esperluette in 2016. Other typefaces from 2016: Retro Futura (avant-garde), Neo Gothic (hexagonal), Sweet, Tarot (bi-colored and origami), Fitness Type, Now Bretonne (dot matrix), Massive (shadow pixel font). Earlier typefaces include the vertically-striped Riley Type (2012), LSM (2014: a hipster typeface).

Typefaces from 2017: Bim, Bodo Me (a variation on Bodoni), Kit (a piano key stencil typeface). Home page. [Google] [More] ⦿

Hurme Design
[Toni Hurme]

Toni Hurme (Hurme Design, Helsinki) started publishing fonts in 2013. His first series, numbered 1 through 4, is Hurme Geometric Sans, a geometric sans family of large x-height and simple avant-garde structures. Each series has 14 styles and true small caps.

In 2016, he updated Hurme Geometric Sans 1 + 2, Hurme Geometric Sans 4, and Hurme Geometric Sans 3.

In 2019, Erik Bertell and Toni Hurme co-designed the wavy custom display typeface Well for Well Coffee. Also, Hurme releases Hurme FIN 1a and 1b, and Hurme FIN Mono in 2019, all more or less monolinear with a wide choice of widths from Compressed to Extended.

In 2021, he published Hurme tek (a squarish techno family). [Google] [MyFonts] [More] ⦿

HypeForType
[Alex Haigh]

British foundry started in 2009 in Sheffield, but now located in Dronfield. Their fonts include Nanami (2013, avant-garde sans), Nanami 3D (2014, free shadow typefaces, among the prettiest ones ever created), Miyagi (2008, a paperclip / neon sign typeface that revives Letraset's Yagi Link Double, a 1970s typeface of Robert Trogman for Facsimile Fonts) and Taku (2008, Taku stencil), BAQ Outline, BAQ Rounded (like VAG Rounded), Hiruko (geometric sans family, free at Dafont), Hiruko Pro (2013), Ebisu (2010), Sukato (very fat), Aiko, Kata (2009, grandissimo grunge).

It seems that this foundry grew out of Alex Haigh's Thinkdust in Nottingham, UK. They have some exclusive typefaces by Si Scott (the curly typeface Hunter, 2009), Alex Trochut (Neo Deco, 2009), HelloHikimori (Lace, 2009), Luke Lucas (Lukano, 2009), and Jon Burgerman (the hand-drawn fun type Burgerman, 2009).

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

A Russian architect and artist, Iakov Chernikhov was born in 1889 in Pavlograd, Yekaterinenskav Gubernia, Ukraine (now Dnepropetrovskay Oblast). He died in 1951 in Moscow. He studied at the Odessa Art School, a branch of the St. Petersburg Academy of Arts. In 1914, having graduated from the Art School, he moved to St. Petersburg and entered the Academy of Arts. In 1916 Chernikhov transferred from the painting faculty to the architecture department and graduated in 1925. He became a successful architect, and taught at the Leningrad Institute of Transportation Engineers (after 1933 LIIZhT) in the school of architecture (1928-45), at the Industrial Academy (NKTP) in the course for factory and plant construction (1930-32), at the Stalin Transportation Academy (NKPC) (1930-32), and at the Institute of Engineers of Water Transportation (1929-31). He published Fundamentals of Modern Architecture (1929-1930), Construction of Architectural and Machine Forms (1931), and Architectural Fantasies. 101 Compositions (1933). These classics are all about architectural fantasies. The last work of Iakov Chernikhov, which remained uncompleted, was the book An Analysis of the Construction of Classical Typeface (written in 1945-1951). It was published in 1958, seven years after his death. Iakov Chernikhov used for construction of the types some principles taken from the theory of architectural forms having much in common with the type forms that obey the same regularities. Some of his work looks like the early attempts at regularization by Duerer and Tory, or as found in the Romain du Roi.

In 2009, Dmitry Yakovlevich Chernikhov (editor), Uta Keil (German translation) and Heike Maria Johennig (English translation) published the Russian / German / English text Graphic masterpieces of Yakov Georgievich Chernikhov : the collecton of Dmitry Yakovlevich Chernikhov (DOM Publishers, Berlin).

Wiki page. Scans: I, II, III, IV. Image of his Cyrillic Trajan (1945-1951). [Google] [More] ⦿

Icelar

Spanish art student (in 2013). FontStructor who created these typefaces in 2013: Beauvoir, Lancaster, Figaro, Abel, Cawdor (octagonal), Dilior (a didone), Harmond (blackletter), Antelopes, Godiva (blackletter), Autumn, Sasanida, Help I Need Somebody (circle-based geometric sans), Goodbye Fontstruct, Fairy Tale Vanishing, Slanton, Kyrie, Eat Me, De Stijl, Chiara, Hecate, Stancyl (piano key), Ionica, Winty's Gothica, Vintage America, El Greco, Fairy Tale, Ozawa, Donibo Display, Decade (blackletter), Donibo, Weirdy Moves (+Party), Bliss (crayon font), Ibsen (a dark copperplate style inspired by an Ikea logo), Avenzo, Avenzo Mad Serif, The Code of Honour (constructivist), Yago, Vienna Cafe Big (art nouveau), Castillian (Textura, +SmallCaps), Lumpy, Origami (3d face), Baldur2 (a lava lamp typeface), Trinity (Victorian), Patterns For Everyone, Evangelion, Scriptura, Maverick, Giralda, Freak Fraktur, Vienna Cafe (art nouveau), Sportiva (Small Caps, Deco1, Deco2 [blackboard bold], Sans, Alternates 1, Alternates 2, Alternates 3, Regular), Carmina, Hieronimus (a pixelish typeface inspired by Bauhaus: +Slab, +Stencil).

Typefaces from 2014: Bronzino, Hagia, Decodrops, Kobe Slab, Enoe (blackletter), Adagio, Nemesis (thin avant garde sans), Shalott (geometric sans), Origami, Kobe Regular, Kobe Stencil, Giovanni (textura blackletter), Decan, Thoreau (blackboard bold), Blue Requiem, Funky Business, Red Requiem, Dreamcatcher, Drastic, Retropix, Vanity Strong, Dotchild, Reya (blackletter).

Typefaces from 2015: Stanwyck (stencil), Tiberian (roman caps), Dresde Sans, Fraktur in the Forest, Dingbat Tribe, Action (in the style of Impact), Hibiscus (sans), Oranienbaum (a stylish serif), Amphora (sans), Lazzaro (squarish), Pineapple Juice, Sheldon.

Typefaces from 2016: Watercolor (an art deco sans inspired by Carlos Winkow's Grotesca Radio), Hipster, Lakme Mondrianesque, Humanist Sans.

Typefaces from 2017: Dublin, Dresde Serif. [Google] [More] ⦿

Idiot Copenhagen
[Kasper Ledet]

Kasper Ledet made a great handlettered avant garde poster that reads I love the smell of Napalm in the morning (2008). [Google] [More] ⦿

Ilya Zherikov

Moscow-based designer of the free avant garde Latin / Cyrillic typeface Oks (2016). Behance link. [Google] [More] ⦿

Isaiah Garcia

FontStructor who made these fonts in 2012: fs Small Stroke, fsToo Close (graffiti style), fs Losing Shape, fs Cursive Rounded, fs Bold Truth, fs Blocky, fs Nice And Tall, fs Drop It Hard, fs Under Line, fs Bas Drop Collection, fs Bold Strike, fs Curvy, Fat Glyph (oil slick simulation or bubblegum face), fs Bass Dropping, fs Stretchy, fs Systematic, Simply Bolded, Only A Pixel, Cal Culator (LED face), fs Modern, Solid Shade (3d shadow face), Kinda looks like SEGA, Fuse Defont, Simply Round, FS Compact (3d typeface), Smallpox Not Smallpox, Yuno, Tech Timee, Boxie [and its remake, FS Boxier], The Average Font, One Digit, Speedie (oblique retro techno font), de Fizzy, Another 3d Paper Font, Super Mario Bros 3 NES, Lets get together.

Typefaces from 2013: fs Glom Sans, fs 10th (+Scripture, +Vert), FS Round Rebirth (a macaroni font), More Curves, FS Recent, FS Oblique, FS Recent Cursive, FS Mod, FS Rapidly, Circles Filtered, FS Bezier Pixel, FS Fatline (piano key face), FS Reprint (a piano key typeface in the style of Wim Crouwel), FS Try Again, FSZen, FS Thicken, FS Lean Clean, FS Idea (avant-garde), FS Semi Circle, FS Big Moment, FS Oblique, FS Curvature, FS Fragile, FS Hurry, FS Smooth Joke.

Typefaces from 2014: FS Geometrik, FS Broadcast, Experimental WIP, MS MicroIsh, FS Punchline.

FontStruct link. [Google] [More] ⦿

Ismael Castillo

Mexican designer of Britney Femme Fatale (2011, avant garde). [Google] [More] ⦿

iTunes

The iTunes script collection has 25 free fonts that Apple gives away. View. List: Academy Engraved, Algerian Condensed, Arriba Arriba, Avant Garde Mono, Banco, Blackmoor, Bodoni SvtyTwo, Braganza, BraganzaSC, Cabaret, Hazel, Jazz, Jenson Old Style, Mona Lisa Solid, Portago, Princetown, Santa Fe, Savoye, Shatter, Souvenir Mono, Synchro, Temble, Type Embellishmnt One, University Roman Bold, Ziggy. [Google] [More] ⦿

iTypeface (or: Exfont)
[Cuong Truong Van]

Or Binh Ngo Thi, b. 1987. Hanoi, Vietnam, and now Canberra, Australia-based designer. I am not sure if she made all the fonts on her multiple web sites, so take the list below with a grain of salt. Thus, creator (?) of the free connected script font Beacon (2015). In 2016, she created Pateglamt Script (calligraphic), Aring (a gorgeous Treefrog style calligraphic brush script), Akita (avant garde), Akita Air (art deco style), Amery Brush, Dakota, Easy Brush, Purdue Script, Beach Brush Font, and Beautiful (thick brush script).

Typefaces from 2017: Traveling, Rebli, Asmae, Cinderella Script, Merthy Script, Bodega Script, Gorgeous Script (watercolor brush), Le Beaune (roman capitals; a free font with a reference to a 2010 typeface by Damien Gautier), Restaurants Script, IT Encore Sans, Brook, Theage (script).

In 2021, she released the scripot typeface Overwatch.

Dafont link. Behance link. Creative Market link. Dafont link. Another Creative Market link. Newest Behance link. Gumroad link. Defonts link for Exfont. [Google] [More] ⦿

Ivan Y.R. Zhao

Graphic designer in Toronto, who created the avant garde typeface Roundtancle Sans (2014) and of Kolour (2015). Behance link. [Google] [More] ⦿

Ivi Topp
[Wood Studio]

Jack Jennings

Brooklyn, NY-based designer, who created several typefaces, such as Pixineo (2013, an avant-garde sans co-designed with with Marija Radisavljevic for a Boston-based startup), Marx (an ink-trap serif typeface), Valence Grotesque (a school project typeface at RISD), HJ Round (2011, a dot matrix typeface), Neruda Modern (2011, RISD: a fat didone), and Saecularis (an angular text face). [Google] [More] ⦿

Jakob Kanior

Berlin-based designer (b. 1974, Bydgoszcz, Poland) of the great avant garde font Droelma (or: Skylounge, 2000), and the dingbat font Seppuku, both free at Typotek. Jakob calls hiimself "Droelma, da King". [Google] [More] ⦿

James K Graphics

Design student in the UK, who created a multicolored avant garde typeface in 2012. [Google] [More] ⦿

James M. Harris
[Harris Design]

James Montalbano
[Terminal Design]

Jan van Krimpen

Major Dutch typographer and type designer, b. Gouda, 1892, d. Haarlem, 1958. He studied at the Koninklijke Academie van Beeldende Kunsten in Den Haag (1908-1912) and joined Enschedé in 1925. He had a considerable influence on the next generation of type designers. His typefaces include:

Cancellaresca Bastarda (1934-1935, Enschedé). 100 Types writes: Cancellaresca Bastarda is a graceful narrow italic with long descenders and ascenders, and a large array of character variations and swashes. The uppercase and lowercase alone ran to 167 characters including ligatures, anticipating large-family calligraphic fonts such as Poetica Chancery by at least 50 years. Jan van Krimpen's types have been called 'austerely beautiful' but are little known outside of his native Holland. The Enschedé Foundry for whom he worked in the mid 20th century still rigidly controls his types, and none of these have been cross licensed, redistributed or pirated. As a result, Cancellaresca Bastarda is one of the rarest typefaces.
Haarlemmer (1938). Berry, Johnson and Jaspert write: Designed by Jan van Krimpen, and commissioned in 1938 by the Vereeniging voor Druk- en Boekkunst. This originally private type was intended for an edition of the Staten Bijbel to be printed in small folio format. The type has the qualities of an old face. The serifs on the capitals are thin; on the lower case they are stronger and not quite horizontal. The capitals are wide, especially the M. The g has a large bowl. The italic is slightly inclined and has angular beginning strokes; the g has a calligraphic tail; v and w have cursive forms. Two styles of figures are provided. Now digitized as DTL Haarlemmer and DTL Haarlemmer Sans (1994). Frank E. Blokland published it at Monotype in 1998, and later at his own type foundry, Dutch Type Library. This is a prototype example of a design that is totally destroyed by one glyph, the lower case g in the italics.
Lutetia (Enschedé, 1924). Berry, Johnson and Jaspert write: The type shares some of the qualities which we have found in a number of contemporary types, small serifs and unobtrusive capitals. The capitals are wide, note especially E and F. U has the lower-case design. In the lower case the e has an oblique stroke to the eye, the g a large bowl, and the t is very short. The figures are old style. In the italic there is a swash series of capitals with prolonged strokes in A, K, M, N and R. The lower case, very slightly inclined, resembles Blado in the angularity of the begininng strokes, but the serifs on ascenders are flat. The g has a calligraphic form. It is an italic which, again like Blado, will stand on its own. The roman alphabet shown here is the first Lutetia of 1925 designed 1923-1924. With the co-operation of Jan van Krimpen an American printer, Porter Garnett, had it revised in 1928. The present Enschedé Lutetia is of the first form with the exception of the horizontal bar to the e. Monotype Lutetia was adapted by the designer to the Mono-unit system. Lutetia Open was cut about 1930 on the model of handtooled capitals which the designer had been using occasionally. Lutetia was digitally revived as Lutetia Nova Book in 2014 by Ralph M. Unger, and as Lutetia Open by ARTypes in 2007. For her type revival project at KABK, Barbara Bigosinska picked Lutetia (2013) and writes: Lutetia was designed as a commission from Enschedé by Jan van Krimpen. The drawings of the typeface were ready in the middle of 1924 and first cut and cast in 16 point size in the Enschedé Type Foundry. For the first time the typeface was used in the book dedicated to the exhibition that took place in Paris in 1925. Therefore the name Lutetia refers to the Roman name of Paris. Essay by Doyald Young on Van Krimpen and his Lutetia.
Open Roman Capitals (or: Open Kapitalen, revived in 2006 by Ari Rafaeli; see also Open Capitals by ARTypes, 2007).
Romanée (Enschedé, 1928). For a digital revival, interpretation and extension, we refer to Holger Koenigsdoerfer's Romanée (2017, unpublished).
Romulus (Enschedé, 1931 for the Capitals and 1936 for the Open version). Romulus Kapitalen and Romulus Open were revived in 2006 by Ari Rafaeli. See also Romulus Capitals and Romulus Open in 2007 by ARTypes. Now digitized as DTL Romulus (2002).
Curwen Initials, done in 1925 for The Curwen Press at Plaistow, London. Digitized by ARTypes as Curwen Initials (2008, Ari Rafaeli).
Spectrum (Monotype, 1952--a very beautiful modern type family, legible, and flexible in all situations; part of the Linotype library). MyFonts writes: Spectrum is based on a design by Jan van Krimpen, who worked on his typeface from 1941 to 1943 for use in a Bible of the Spectrum publishing house in Utrecht. The bible project was later cancelled but the typeface was so beautifully formed and universal that the Monotype Corporation in London completed it.
Van Dijck.

Van Krimpen had a difficult character. Lines&Splines wrote this: Alastair Johnston, from an issue of Ampersand, once posed the question, "Do you have to be an asshole to be a good type designer?" Gerard Unger replied to the effect that even to this day, people will look over their shoulders before discussing Van Krimpen. One can almost imagine Van Krimpen waving one of his sharp serifs over his head like a stick, flailing against the difficulties of his everyday relations, his nostrils flared as they were in every portrait taken of him. MyFonts page. CV at Linotype. FontShop link. Some of his work and correspondence can be found at the University of Amsterdam.

A list of typefaces based on Jan Van Krimpen's work:

Spectrum MT (Adobe)
Spectrum (Monotype)
Curwen Initials (ARTypes)
Haarlemmer (Monotype)
Lutetia Nova (RMU)
Combi (AVP)
Bague (Eurotypo)
Apolline Std (Typofonderie)
DTL Haarlemmer (1994). By Frank E. Blokland at Dutch Type Library.

Author of On Designing and Devising Type (1957, New York: the Typophiles, & Heemstede). [Google] [MyFonts] [More] ⦿

Jana Prokopovich

Saint Petersburg, Russia-based designer of the thin Cyrillic typeface Avangard (2017). [Google] [More] ⦿

Jan-Christian Bruun
[JC Design Studio]

Jaroslav Andel

Czech art historian and author of Avant-Garde Page Design 1900-1950 (Delano Greenidge Editions, 2002). This book presents a comprehensive visual lexicon of early 20th-century page design. Illustrations include designs by Pablo Picasso, Henri Matisse, Wassily Kandinsky, Marcel Duchamp, Aleksandr Rodchenko, Lázló Moholy-Nagy, El Lissitzky, and Jan Tschichold. [Google] [More] ⦿

Jasco Jasco

Designer in Curitiba, Brazil, who created Minimo Stella (2014, an avant garde caps typeface) and Deco Avenue (2014, art deco typeface). [Google] [More] ⦿

Jason Gilliland
[Nowheresburg]

Jason Huebsch
[Petty Wage Fonts]

Jason R. Welter

Poulsbo, WA-based designer of the avant garde sans typeface Suave (2015). [Google] [More] ⦿

JC Design Studio
[Jan-Christian Bruun]

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

The grotesk family Mr Brown (2010).
Rooni (2011) is an oddly-serifed hybrid face, a cloning experiment that escaped from the hospital.
Gardens It (2011) comes straight from the Bhagwan's greenhouse.
Rodian (2011) is an elegant Peignotian sans face. This was followed by Rodian Serif (2013), Rodian Sans (2012) and Rodian Stencil (2013).
Style (2011) and Nopen (2011) are modern sans typefaces with some contrast in the strokes.
Bruun (2011) is a fashion mag face---a fattish high-contrast semi-didone with lots of modifications in the slabs and endings to create a modern avant garde look.
LE (2011) is a grotesque display face.
Dynamik (2011) is a frail miniserifed sans family.
Fundament (2011) is a sturdy heavy sans typeface strong enough to be chiseled onto monuments.
New Harbour (2011) is a slab serif typeface in the mould of typewriter typefaces.
Old Estate. A wedge serif face with the feel of an old typewriter. Made for wine labels.
Parc FF. A grotesk sans family. See Ten Dollar Fonts.
DELUX.
Nopen.
Bero G and Bero G Right Angle (2012) are typefaces that experiment with various styles of serifs.
Ligan (2012). An angular serif typeface family available from Ten Dollar Fonts.
Boysen (2012, Ten Dollar Fonts). A strong 3-weight all-caps sans typeface family.
Gorm Sans and Gorm Serif (2012). An angular typeface family.
Bossy Stencil (2013).
Monty (2013) and Monty Stencil. A bold rounded slab serif typeface with serious ink-trap style dents.
PTF Metora (2013). A squarish techno typeface.
Daniam TF (2013). A serifed typeface.
Sabel (2013). A slab serif typeface.
JC Stencil (2013, Ten Dollar Fonts).
Bruun Modern (2013).
Superbix (2013). A sturdy hip 14-style typeface family.
Centuma (2013). A grungy stencil typeface.
Hauk (2013) is an art deco typeface with a blackboard bold sub-style.
Fellars (2013). A modular in-your-face display face.
Teo (2013) is a rounded monoline sans typeface.
Rodian Sans (2013) and Rodian Stencil (2013). A large softly rounded sans family with little contrast.
Hagen (2013) is a straight-edged monoline typeface.
Pitchland (2014) is a set of sans titling typefaces with arts and crafts influences.
Arkibal (2015, +Stencil). A sans family based on lettering from 1838. Followed by Arkibal Serif (2015), Arkibal Display (2016) and Arkibal Serif Stencil (2017).
Regius (2015). A retro octagonal typeface family.
Monrad Sans and Monrad Grotesk (2016). A 12-style grotesque.
Rono (2019). Described as a friendly heavy weight champion.
Darc (2019). A retro squarish typeface family with inline options.
Lonkie sans and Lonkie Brush (2019). Hand-crafted.

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

Jeff Levine
[Jeff Levine: Additional typefaces]

Jeff Levine: Additional typefaces
[Jeff Levine]

This is a list of fonts by Jeff Levine not categorized anywhere else on my pages.

A: Adelanto JNL (2009), Adhesive Letters JNL (2011), Adhesive Serif Letters JNL (2015), Adventure Film JNL (2021: a casual sans based on the titles and credits for Texas Across the River, 1966), Afternoon Edition JNL (2015), Air Circus JNL, Aisle Seats JNL (2006, based on letters cut by the Redikut Letter Company of Hawthorne, CA), Album Cover JNL (2008), Alleway JNL (2012, a condensed sans), Allograph JNL (2007), Alphacal JNL (2008, outlined, and like Juneway JNL, based on water-applied decals once made by the Duro Decal Company (now Duro Art Industries) of Chicago), Alton JNL (2010: a bold display sans), Amateur Printer JNL (2007, grunge), Ampersorts JNL (2011: ampersands), And So Forth JNL (2011), Anecdote JNL (2009), Announcement Board JNL (2018: white-on-black), Antique Packaging JNL (2019: Victorian), Antique Price Tags JNL (2019), Arcaro JNL (2013, a calligraphic typeface based on the movie credits of the ABC TV series Naked City, 1958-1963, starring detective Frank Arcaro), Antique Show Card JNL (2018: based on an alphabet from the first Speedball Lettering Book in 1915), Arch Creek JNL (2010, an all caps revival of Beton), Ardball (2006), Arrevederci JNL (2018), Arrow Callouts JNL (2021: an arrow-themed alphading font), Art Deco Monograms JNL (2015), Arte Critique JNL (2009), Artist Colony JNL (2009), Arts District JNL (2014), Art Student JNL (2010), Art Techno JNL (2017), Astrospy JNL (2008: techno), Awkward Gothic JNL (2008), Axelby JNL (2013).
B: Backpage Article JNL (2010), Bal Harbour JNL (2008), Balcony Seats JNL (2007, narrow retro sans), Ball Game JNL (2018), Bandmaster JNL (2021: based on the opening movie titles from the 1940 musical comedy Strike up the Band starring Judy Garland and Mickey Rooney), Barricade (2011, a great shadowed caps face), Bayview JNL (2008, based on Inland Type Foundry's Studley), Best Bet JNL (2014, a slab serif redesign of Beton), Bike Decals JNL (2008), Billing and Shipping JNL (2010), Bingo Player JNL (2010), Birch Beer JNL (2008), Bitmap Typewriter JNL (2017), Bit Part JNL (2017: extra condensed), Bit Player JNL (extra-condensed tall poster font) (2015), Bloktor Mosaik JNL (2007), Blue Parrot (2006), Bluesman JNL (2014: based on the lettering of the blues album "I'm Jimmy Reed" released on the legendary Vee-Jay label out of Chicago), Bold Display Sans JNL (2016: based on an imge in a Speedball book), Bonehead JNL (2013, bones), Bookkeeper JNL (2019: based on R. Hunter Middleton's slab serif, Karnak), Bookkeeping JNL (2019, like an extra bold version of R. Hunter Middleton's slab serif Karnak (1936)), Boss Jock JNL (2021: an informal font based on the title and credits from the 1965 film Strange Bedfellows), Box Lunch JNL, Brass Rail JNL (2015), Brazil Nut JNL (2015), British Cinema JNL (2021, based on the hand lettered titles and credits from the 1945 British film The Way to the Stars), British Vehicle JNL (2020; based on the UK license plate font created by Charles Wright in 1935; with Ahmed Eraqi), Broadcast JNL (2015), Broadletter JNL (2009), Brochure Sans JNL (2022: based on Sans Serif No.7 from the 1921 Miller & Richard type specimen book), Brogado (2006), Brookside JNL (2016), Brushmark JNL (2011), Brush Off JNL (2017), Bulk Weight JNL (2017), Bum Steer JNL (2015), Burger Joint (2006), Burger Royale JNL (2007), Burlesk Queen JNL (2020: blocked letters), Business Helpers JNL (2014), Business Letter JNL (2021: based on the squarish typeface Geometric in the 1894 catalog of the John Ryan Foundry in Baltimore, MD).
C: Calendar Blocks JNL (2009), Calling Card JNL (2010), Callouts JNL (2011, in Circle and Square styles; white letters on black background), Canby (2006, a squarish caps face), Candle Wax JNL (2014, based on the movie poster for Bell, Book and Candle starring James Stewart), Cast And Crew JNL (2015, condensed monoline), Cast Shadow JNL (2010), Casual Lunch JNL (2009), Casual Friday JNL (2008, roman lettering), Casual Tune JNL (2015), Catalog Serif JNL (2015), Catalog Sheet JNL (2022: based on an extra condensed serif typeface from the 1892 MacKellar, Smiths & Jordan type foundry specimen book), Catch Words JNL (2009), Channel Tuning JNL (1999), Channel Surfing JNL (2010), Charlies Bar BQ JNL (2008, heavy slab serif), Charmer JNL (2014), Chive Turkey JNL (2007), Chunky Nouveau JNL (2020), Circuletter JNL (2016), Ciribiribin JNL (2014), Classification JNL (2015), Classroom JNL (2009), Cling Vinyl JNL (2009), Coal Train (2004), Cocktail Hour JNL (2016, a beatnik typeface based on the opening title for the 1962 Blake Edwards film Days of Wine and Roses starring Jack Lemmon and Lee Remick), Coffee Bar JNL (2021: a squarish typeface), Coldfield JNL (2008), College Nouveau JNL (2018), Colmar JNL (2018), Columnist JNL (2020, after Morris Fuller Benton's News Gothic, 1908, ATF), Commentary JNL (2010, almost typewriter type---easy on the eye), Composer JNL (2017), Concierge JNL (2014), Conscription JNL (2017), Corkboard JNL (2010: a rounded all caps family), Cornfield JNL (2008), Crepe Paper JNL (2018), Criminal Intent JNL (2018: based on the trailer of the 1942 movie Mr. and Mrs. North), Crown Heights JNL (2007, slab serif caps), Cruise Director JNL (2021: an inline typeface based on a hand-lettered title on the poster for the 1933 musical comedy film Melody Cruise), Courtship JNL (2018), Cover Letter JNL (2019), Curtain Up JNL (2018), Cyberglass (2010, techno), Cybrox JNL (2012, grunge).
D: Dance Hall JNL (2011), Dance Lesson JNL (2015, a wedge serif in the style of Latin Wide), Rotisserie Menu JNL (2021: based on a 1928 menu for the restaurant Rotisserie Du Cardinal), Dangits JNL (2009), Danish Script Initials JNL (2019, based on letters designed by Copenhagen-born industrial artist and letterer Gustav Boerge Jensen (1898-1954), Date Book JNL (2021; based on the credits of the movie The Awful Truth, 1937), Decal (2006), Decalcomania JNL (2017), Deco Of Tomorrow JNL (2014), Deconstructed JNL (2012), Decorative Panels JNL (2009), Deco Template JNL (2018: squarish), Deerfield JNL (2006, Bank Gothic style), Department Store JNL (2019), Desk Jockey JNL (2008), Deskplate JNL (2011: an all caps copperplate font), Desk Job JNL (2018), Detective Client JNL (2021: based on the cast credits of the 1941 film, The Maltese Falcon), Detention JNL (2007, hand-printed), Diamond Callouts JNL (2019, letters in triangles), Diamond Jim (2010), Diamondwood JNL (2015, rhombic), Dip Pen JNL (2017, rounded, handcrafted), Disclaimer JNL (2010, condensed thin headline face), Display Board JNL (2020: based on Paul Renner's Futura Display from 1932), Display Inline JNL (2009), Displayced (2006, LED font), Display Roman JNL (2014), Doggone It JNL (2019: based on the movie posters for the 1962 film, Mono Cane), Do It Yourself JNL (2008), Doo Wop Initials JNL (2007), Doowop (2006), Dormitory Decals JNL (2009), Double Take JNL (2008), Drafting Class JNL (2021: based on an all caps alphabet in The Essentials of Lettering by Thomas E. French and Robert Meiklejohn (circa 1912)), Dreamy JNL (2017), Dual Line Roman JNL (2021: an inline titling typeface), Duonor JNL (2010), Durable JNL (2016, based on a 1940s cover of a catalog for the Duro Decal Company of Chicago).
E: Eastport JNL (2019: an interpretation of Morris Fuller Benton's 1931 classic, Stymie Extra Bold), Eat More Fruit JNL (2016), Eccentric Sans JNL (2018), Edessa JNL (2009: chiseled stone look, faux Greek), Editorial Comment JNL (2009, grotesk caps-only headline face), Edits and Credits JNL (2008), Egg Farm JNL (2021: based on the opening titles and credits of the 1947 film comedy The Egg and I), Electric Newspaper JNL (2021: a dot matrix font based on the moving message board electric newspaper from 1931 installed by the Los Angeles Times---in partnership with the Richfield Oil Company---on its building), Electrostatic JNL (2017, textured), Elite Resort JNL (2017, slab serif), Elsinor (2006), Endless Journey JNL (2009), Ensemble Inline JNL (2014), Entitled JNL (2007, squarish as in Bank Gothic), Evening Edition JNL (2009), Evening Event JNL (2021; based on hand lettering from the title credits for the 1950 film All about Eve), Evening Paper JNL (2015), Evening Walk JNL (2018), Expressions (smilies).
F: Factual JNL (2010,headline face), Fairgrounds (2006), Fancy Free JNL (2016: decorative caps), Fancy Show Card JNL (2021), Farragut JNL (2008, hairline geometric), Fastenating JNL (2012, paper clip font), Federal Agent JNL (2021: a condensed typeface based on the opening title of the 1959 premiere season of The Untouchables), Feltboard JNL (2008), Fence Post JNL (2012), Festival Nights (fancy letters), File Clerk JNL (2020, Jeff Levine: based on Cushing (1897)), File Folder JNL (2010, Bank Gothic style family), Film Crew JNL (2009), Fincastle JNL (2011, all caps sans titling face), First Responder JNL (2017: a left-slanted version of Catalog JNL), Flagstaff JNL (2010), Flatbush Beanery (2006), Flipboard JNL (2011), Flivver (2006, a slab-serif display font), Floor Tiles JNL (2009), Florida (2006, retro), Food Vendor JNL (2011), Fordham JNL (2011, all caps slab serif), Formal Invite JNL (2021: thin, condensed serif lettering found in a 1937 magazine ad for Chris Craft boats), Formal Notice JNL (2020: a revival of an alphabet by Samuel Welo in Studio Handbook for Artists and Advertisers), Frankly Plain JNL and Franky Ornate JNL (2010, all caps typefaces after Franklin Gothic), Frantic Pace JNL (2016, a bouncy retro party font), Free Form Retro JNL (2021: an all caps sans based on the titles and credits from the 1960 French film Le Passage Du Rhin), French Calligraphic JNL (2019), French Cinema JNL, French Serif Moderne JNL (2009), French Slab Serif JNL (2018: based on the 1934 French lettering instruction book L'Art du Tracé Rationnel de la Lettre), French Song JNL (2021: a whimsical typeface based on the titles and credits of the 1952 British comedy Song of Paris), Freunlaven JNL (2006, psychedelic), Front Row JNL (2017: a tall condensed typeface that reinterprets Morris Fuller Benton's Empire from 1937), Fruit Juice JNL (2020), Fun and Games (2011, a casual retro typeface redrawn from the lettering found on the cover of a 1935 Speedball Lettering Pen book).
G: Gene Condensed JNL (2014), Generic Sans JNL (2022: modeled after Condensed Blair from the 1907 specimen book of the Inland Type Foundry), Generic Gothic JNL (2013: an interpretation of Franklin Gothic Condensed), Genesee JNL (2010), Gift List JNL (2016), Gift Wrap JNL (2014), Gilbert JNL (2011, after Eric Gill's sans), Go Home JNL (2017), Good Sport JNL (2019), Goose Creek JNL (2021: based on hand lettered credits from the 1942 British film comedy The Goose Steps Out), Go To Town JNL (casual inline type style) (2015), Gothic Grotesk JNL (2020; a revival of Royal Gothic (1930s, Stevens, Shanks & Sons), which in turn was based on Charter Oak (1899, Keystone Foundry)), Greenwich Village JNL (2014), Groovy 3D Caps JNL, Groovy Happening JNL (2005, psychedelic, in the style of Action Is), Groovy Summer (2006, a casual sans), Guadalajara JNL (2014, a Mexican party font), GummedAlphabet JNL (2011), Gummed Letters JNL (2010).
H: Halavah Twist JNL (2007; see also its extension Zydeco JNL in 2009), Hallandale (2006), Halliday JNL (2013: an outlined typeface based on Beton Open Condensed), Handbills And Posters JNL (2015), Handmade Caslon JNL (2015), Handmade Dropshadow JNL (2010), Handmade Gothic JNL (2011, inspired by lettering samples in a 1941 Speedball Lettering Pen instructional booklet), Handmade Headline JNL (2018: a 1940s style typeface), Handmade Roman JNL (2011), Hand Stamped JNL (2006, rubber stamp look), Hanford (2010, a sans headline family), Hash and Beans JNL (2007), Headstone Roman JNL (2015), Hectonoid JL (2008), Heller Sans JNL (2019: after an experimental alphabet by Steven Heller), Highbrow Cafetorium JNL (2009), Hippie Comics JNL (2021: based on poster lettering in the 1920 edition of How to Paint Signs and Sho Cards by E. C. Matthews), Home Address JNL (2019), Home Economics JNL (2018), Home Room JNL (2009), Horse Puckey JNL (2008), Hotel Suite JNL (2017), Hoxie JNL (2008).
I-J: Impecunious JNL (2017), Impressionable JNL (2012, based on a rubber stamp set), Incarceration JNL (2020), Industriality JNL (2015), Informational Gothic (2013: The Wood-Regan Instruments Company (Wrico) of New Jersey manufactured for decades a line of lettering kits called the Wrico Sign Maker. With only special ink pens, plastic templates and a template guide anyone could letter clean, clear signs, posters and notices. This typeface is based on one of those kits), Informational Sans JNL (2021: squarish, caps only), Initial Seals JNL (2012), Inkpad Letters JNL (2011), Inline Lettering JNL (2011, inspired by the opening title of a classic 1940s horror film, The Invisible Man's Revenge), Inlet JNL (2017), Inline Square JNL (2017), Innerspring JNL (2015), Intermediate JNL (2019: based on a home movie titling kit from circa the 1950s or 1960s called the Magna Tech Titler Number 312, modeled after Futura Bold), Interoffice Memo (2011), Intrigue JNL (2014, based on the hand-lettered movie titles from one of the William Powell / Myrna Loy Thin Man series of films), Island Time JNL (2015), Jalopy (2014), Jive Jump (2006), Jobseeker JNL (2011: hand-printed), Juneway (2006, modeled after a set of water-applied decals made by the Duro Decal Company of Chicago), Jungle Drums JNL (2017, African theme), Junior Printer JNL (2015), Just Great JNL (2016: angular display typeface).
K-L: Katydid JNL (2015, a connect-the-dots typeface), Katz Pajamas JNL (2017), Keyden Drop Caps JNL (2021: a set of slab serif framed capitals based on John Alden Initials, shown in the 1906 edition of the Keystone Type Foundry specimen book), Key Largo JNL (2011, all caps slab serif), Lakeland JNL (2013), Kiddie Blokz JNL (2010), Kids Activities JNL (2017, handcrafted), Lamp Post JNL (2012, an interpretation of Post Old Style, ca. 1901), Last Date JNL (2018), Lasting Impression JNL (2008), Late Breaking News JNL (2016, headline sans), Late Hours JNL (2021: inspired by the hand lettered titles for the 1961 film The Children's Hour), Lecture Hall JNL (2012), Lefferts (2006, squarish display face), Legal Brief JNL (2021), Legal Eagle JNL (2017, with engraved lines), Les Folies JNL (2009, Victorian), Lettering Lesson JNL (2021: a bold serif typeface based on the 1922 instructional booklet from the St. Louis Show Card School), Lettering Pen JNL (2015, handcrafted), Library Book Initials JNL (2018: Library Book Initials JNL was modeled from examples of Sidney Gaunt's Publicity Initials; originally sold in metal type by Barnhart Brothers and Spindler as a companion to the Publicity Gothic typeface), Liebestraum JNL (2014, a decorative caps font), Limited Appeal JNL (2016), Linem Up (2010), Lobby Card JNL (2010), Local News JNL (2021: a condensed sans based on the hand lettered title for the 1954 film Power of the Press), Location JNL (2017), Longbranch Initials (2006, for decorative monograms), Longacre JNL (2013, fat rounded sans), Long And Thin Initials JNL (2015), Loose Leaf JNL (2010), Love Notes JNL (2011: alphadings), Luminum JNL (2007).
M: Made in Japan (2014), Mailbox Letters JNL (2008), Main Feature JNL (2017, a marquee sans), Mainline JNL (2014), Manual Typewriter JNL (2017: allegedly after a 1933 example by Morris Fuller Benton), Manufactory JNL (2019, a wedge serif not unlike the ones used in advertizing in the late 19th century), Manufacturer JNL (2020: a reinterpretation of the Extra Bold Extended weight of Bauersche's Venus Grotesk (ca. 1907)), Marble Cutter JNL (2015, based on dies used for stamping text into marble headstones or other monuments manufactured by The Vermont Marble Company (Vermarco), which operated from the 1880s until 1976), Marching Band JNL (2019), Margate JNL (2013, based on water-applied decals manufactured in 1962 by the American Decalcomania Company for Goodyear), Marketing Strategy JNL (2017), Marking Device JNL (2014), Maryland JNL (2014), Matchbook JNL (2014: based on lettering on a matchbook from the Carrousel Restaurant in Miami Beach), Mayville JNL (2009), McCadden JNL (2013, inspired by the hand-lettered credits for the George Burns and Gracie Allen Show [1950-1958]), Meal Ticket JNL (2008, squarish), Merchandiser JNL (2010), Merchandising JNL (2014, brush signage script), Merchant Trade JNL (2020, after the Matthews Series by Inland Type Foundry, 1901), Merrymakers JNL (2020), Midnite Movie JNL (2017, inspired by the hand lettered title credits from the 1961 Hammer Pictures film Curse of the Werewolf), Millport (2006, squarish display face), Mimeograph Template JNL (2019: based on a plastic lettering guide manufactured by the Albert Blake Dick Company of Chicago), Misdirection JNL (2009), Mixed Messages JNL (2007, ransom note), Mocombo JNL (2010, an African look typeface that is a slightly modified version of one of the numerous alphabets created by the late Alf R. Becker for Signs of the Times Magazine during the period of the 1930s through the 1950s), Model Railroad JNL (2015), Moderator JNL (2013), Modern Appliances JNL (2014), Monoline Rounded JNL (2014), Monster Movies JNL (2018: a Halloween font), Monthly Meeting JNL (2013), Monthly Newsletter JNL (2011), Monthly Statement JNL (2018: based on the 1934 French lettering instruction book L'Art du Tracé Rationnel de la Lettre), Morning Edition JNL (2021), Morning Paper JNL (2015), Morningside Heights JNL (2015), Morningstar JNL (2012, named after Jeff's friend, Estella Dawn Roberts of Stella Roberts Fonts), Movieland JNL (2008), Movie Night JNL (2011), Movie Set JNL (2021: an all caps wedge serif based on a 1911 movie poster for the film How Bella Was Won), Movie Show JNL (2021: an all caps wedge serif based on a 1911 movie poster for the film How Bella Was Won), Moving Message JNL (2015, dot matrix typeface), Musical Arrangements JNL (2014), Musical Comedy JNL (2021: hand-printed), Musical Score JNL (2015), Music Course (2019), Mystery Show JNL (2018: modeled after the hand lettered titles found on various early episodes of the 1950s TV suspense program Alfred Hitchcock Presents).
N: Naroid Initials JNL (2010, one of the most ultra-compressed sets of initials available in digital type), Narrow Minded JNL (2014), National Spirit JNL (2009), Newark JNL (2014: a strong slab serif), New Car Tag JNL (2020: based on the new license plates in Florida, which were introduced in 2018), Newsbreak JNL (2008), Newsbreaker JNL (2016; a vintage newspaper titling typeface), News Crew JNL (2017), Newshawk JNL (2007, a condensed sans), Newspaper Publisher JNL (2021: based on a headline in the 1917 edition of Logansport, Indiana Pharos-Observer), Newsprint JNL (2011), Newsreel Caps JNL (2014), Newsreel Text JNL (2021), News Ticker JNL (2021: based on the New York Times Square ticker operational in the 1930s), Newsworthy JNL (2011: a condensed headline sans), New Thin Roman JNL (2019, based on an alphabet called Compressed Roman in Essentials of Lettering, 1912), Nightcap JNL (2011), Nighthawk JNL (2009, a retro headline sans), No Entry JNL (2021: a bold blocky slab serif based on the hand lettered titles and credits from the 1958 war film The Young Lions), Nondescript JNL (2012), Nouveau Date JNL (2021: arts and crafts style), Nouveau Fashion JNL (2018), Nouveau Spur JNL (2019: neither art nouveau nor spurred), Nouveau Standard JNL (2018), Nouveau Handlettered JNL (2017), Nouveau Lettering JNL (2019, based on a 1916 slab serif alphabet by Thomas Wood Stevens), Nouveau Romance JNL (2017), Nouveau Roundcorner JNL (2015), Nouveau Square JNL (2017, squarish), Nouveau Standard JNL (2018), Nouveau Work JNL (2018), Nouveau Years JNL (2019), Nouveau Yorke JNL (2015), Novelty Nouveau JNL (2021), Now Playing JNL (2010).
O: Oblogram JNL (2008, techno), Occidental Tourist JNL (2009), Odditype JNL (2006, computer simulation), Off Duty JNL (2021: based on the hand lettering from the titles and credits of the 1964 French film comedy Le Gendarme de Saint-Tropez), Office Staff JNL (2021: a version [with serifs added] of Popularity JNL---a condensed art deco design based on a popular typeface known as Radiant), Office Space JNL (2021: based on Condensed Edina from the 1921 Miller & Richard type specimen book), Office Work JNL (2021: a squarish typeface based on the title and credits of the 1965 film Mirage), Off The Wall JNL (2008). Old Bodoni Wide JNL (2016), Old Songs JNL (2018), Old Tijuana JNL (2018: in the serape style of pseudo-Mexican lettering found on ad designs of the 1930s and 1940s), Order Form JNL (2021: after MacKellar, Smiths & Jordan's Lining Gothic Extended from their 1892 catalog), Ordinary Gothic JNL (2017: gaspipe style), Outline Sans JNL (2018), Overnight JNL (2017), Oversimplified JNL (2019), Overton JNL (2017, based on early letter designs of Rudolf Wolf).
P-Q: Pacific Atoll JNL (2021: a stylized slab serif type design based on the movie title lettering for the 1942 wartime film Pacific Rendezvous), Pacific Island JNL (2017: a tiki font based on the sheet music cover for the title song from the 1957 Marlon Brando movie Sayonara), Packaged Cookies JNL (2021; based on the first Oreo Sandwich package from 1923), Packaged Goods JNL (2016), Park Slope JNL (2014), Parfum de Paris JNL (2014), Paint Store JNL (2006), Parking Lot Sale JNL (2021: a flag font), Parkitechture (2006), Part and Parcel JNL (2009), Partial Eclipse JNL (2012), Patriotica JNL (2011, American flag face), Pavement JNL (2010, based on the extra-condensed lettering used on roadway information signs as revised by the U.S. Government in 2000), Pendraw Roman (2006), Pen Elegant JNL (2018, after an alphabet from a 1918 lettering instruction book by William Hugh Gordon), Pen Gothic JNL (2017: a rounded sans), Penmanshift JNL (2006, ronde style), Pen Nib Square JNL (2019), Penny Wise JNL (2017), Pen Sans Rounded (2019: based on a Speedball book from 1940), People Talk JNL (2021; a squarish all caps typeface based on a title card with cast credits for the 1935 movie The Whole Town Talking starring Edward G. Robinson and Jean Arthur), Performer JNL (2014, re-drawn from condensed hand lettering found on a piece of vintage sheet music), Personal Invitation JNL, Personalization (2019: a squarish typeface), Personal Note JNL (2011), Photo Developer JNL (2021), Picz JNL (2009), Pillow Puff JNL (2008, fluffy and cloud-like lettering), Pistol Twelve JNL (2008), Pitkin JNL (2006, a hand-lettered sans), Plastic Display JNL (2010, sketched from photo examples in an old sales promotion sheet for the Movitex Do-It-Yourself Plastic Sign Kit by Pryor Marking Products of Chicago), Plastic Template JNL (2011), Pleasantville JNL (2012, a condensed slab serif), Pocket Initials JNL (2008), Podunk JNL (2007), Political Poster JNL (2021: a condensed casual sans inspired by the hand lettering on a 1940 campaign poster for Franklin Delano Roosevelt), Pool Deck JNL (2015), Popstix JNL (2013), Pop Tune JNL (2014), Popularity JNL (2014, after Radiant), Port Of Call JNL (2015), Postal JNL (2009, white on black, as on stamps), Poster Contoured JNL (2018), Poster Pen JNL (2017), Poster Inline JNL (2014), Poster Plain JNL (2012), Poster Project JNL (2020), Post Production JNL (2021: a slab serif modeled after title card of the 1950 Humphrey Bogart and Gloria Grahame drama In a Lonely Place), Prehysteric JNL (2010), Presentation JNL (2011, a slabby family), Press Run JNL (2015, a reinterpretation of the classic typeface Cheltenham Condensed), Pricing Labels JNL (2010), Printed Letters (2006, made from stamped impressions made by a 1940s childrens sign making set), Printing Set JNL (2006, based on a rubber stamp alphabet), Printing Sorts JNL (2009), Prismatiq JNL (2009, shadow face), Privilege Sign JNL (2021: based on above-the-store signage for many newspaper stands, soda shops, candy stores, luncheonettes and pharmacies of the 1950s and early 1960s), Privilege Sign Two JNL (2021: based on decorative signage for many drive-ins, motels, food stores and other businesses of the 1940s), Promotional Copy JNL (2012), Proofreader JNL (2011, a rounded slab serif face), Prospect Heights JNL (2015), Public Notice JNL (2009), Public Transportation JNL (2008), Public Utility JNL (2012), Public Works JNL (2007: emulates the hand-cut lettering silk screened onto metal), Publication JNL (2010, a revival of DeVinne, 1890), Punch Tape JNL (2016, dot matrix font), Quick Meal (2019: a hand lettered interpretation of Morris Fuller Benton's 1905 design Miehle Extra Condensed Title), Quick Poster JNL (2019), Quick Response JNL (2015, based on QR codes), Quick Titling JNL (2019), Quorfid JNL (2010).
R: Raccoon Coat JNL (2014), Radio Interference (2019: grungy), Radio Show JNL (2019: based on a logo from the TV show Car 54 Where Are You?), Rail Bum JNL (2016, basically Morris Fuller Benton's Hobo with slab serifs added), Railway Station (2019: a spurred wedge serif), Recording Artist JNL (2019), Record Jacket JNL, Recreation JNL (2013, outlined shadow face), Red Border Labels JNL (2015), Rendering (2011, architectural draftman's lettering), Reprint JNL (2013), Restaurant And Lounge JNL (2015, handcrafted), Retail Merchant (2006), Retail Monoline JNL (2021: a stylish thin headline typeface), Retail Packaging JNL (2019), Recruitment JNL, Retail Price JNL (2021, +Inline; for catchy price cards), Retail Shop JNL (2018: based on vintage New York City neon signage), Retirement JNL (2021: a flared headline typeface based on the hand lettered film credits for the 1937 movie Make Way for Tomorrow), Retro Packaging JNL (2018), Retro Resort JNL (2011), Reveler JNL (2019), Reverberation JNL (2011, horizontally striped face), Reverse Calendar Blocks JNL (2011), Rhineland Roman JNL (2017), Ritz Slab Serif JNL (2018), Road Picture JNL (2021: modeled after the hand lettered title and credits for the 1940 Bob Hope-Bing Crosby semi-musical comedy Road to Singapore), Roadside Diner JNL (2021: a signpainting font in the style of pre-war Miami), Rockaway JNL (2006, titling sans), Rock Concert JNL (2021; an all caps curly Victorian typeface inspired by the opening title and credits for the 1964 motion picture comedy Send Me No Flowers starring Rock Hudson, Doris Day, and Tony Randall), Roma Initial Caps JNL (2009), Rotisserie Menu JNL (2021: based on a 1928 menu for the restaurant Rotisserie Du Cardinal), Rough Print JNL (2012, rubber stamp lettering), Roundpoint Pen JNL (2011, based on instructional lettering found in an old Speedball Pen textbook), Roughshod (2006), Running Board JNL (2017, monoline, pen-lettered), Rural Route JNL (2010), Rustic Inn JNL (2014).
S: Salad Bar JNL (2013), Sales Convention JNL (2021: a squarish typeface based on a menu printed in 1937 for the Starlight Room of the Waldorf-Astoria in New York City), Sales Pitch JNL (2014), Sales Slip JNL (2013), Sandcastle JNL (2011), Sans Poster Bold + 3D, Savings And Loan JNL (2014), Scandals JNL (2017), School Project JNL (2015, based on self-adhesive poster board letters once made by the E-Z Letter Stencil Company and sold under the name Quik Stik), Schoolroom JNL (2020: a school font based on the type style used for the Superior Sign and Chart Printer No. 929), School Age (2019: based on Trixy Toy Educator, a 1930s-era set of letters and numbers for teaching children, manufactured by the Durrel Company of Gardner, MA), Schoolyard Blues JNL (2018), Sea Cruise JNL (2015), Scoreboard JNL (2014: dot matrix typeface), Screentext JNL (2010, pixel), Screenwriter JNL (2021; based on the all caps hand lettered credits from the 1950 Humphrey Bogart film In a Lonely Place), Second Guess JNL (2017), Second Impression JNL (2008), Sennetarium JNL (2008, after lettering in a Charlie Chaplin movie), Semi Calligraphic JNL (2018), Sentzoff Coupon (2006, stitched), Series A Signage JNL (2018: this is based on Highway Gothic, also known as FHWA, by the United States Federal Highway Administration; the widths varied from A (condensed) to F (wide), but A was discontinued, hence the motivation to create Series A Signage), Serif Callouts JNL (2017), Sew What JNL (2010, stitching face), Shareholder JNL (2015), Shelf Numbers JNL (2008), Shelf Tags JNL (2017), Shicken Zoop JNL (2008, Hebrew), Shipping Carton JNL (2012), Sign and Poster JNL (2009, die-cut letters), Sign and Display JNL (2019: a companion of Sign and Poster), Shopkeeper JNL (2010, after a a vintage rubber stamp sign and chart printing set), Shopping Guide (2019), Short Subject JNL (2016, based on some hand-lettered title cards from various vintage Columbia Pictures two-reel comedies), Show Card Freehand JNL 2021; based on the title and credits for the 1951 Dick Powell and Rhonda Fleming film Cry Danger), Show Card Pen JNL (2021: based on an alphabet in the 1920 edition of How to Paint Signs and Sho Cards by E. C. Matthews), Show Card Sans JNL (2021: based on an alphabet in the 1922 book Modern Show Card Writing), Showmanship JNL (2017), Show Poster JNL (2021: A vernacular typeface based on a design from the 1960 edition of Samuel Welo's Studio Handbook for Artists and Advertisers), Shutterbug JNL (2021: a blocky typeface based on the signage of Jerry Lewis's Camera Exchange on Vine Street in Hollywood in 1950), Sightseeing Boat JNL (2021: based on the titles and credits for the 1966 romantic comedy The Glass Bottom Boat), Sign Expert JNL (2021: based on an alphabet in The Expert Sign Painter, 1922), Sign Studio JNL (2019: a multiline typeface modeled after an alphabet found in Martin Meijer's Album de Lettres Arti (1949)), Sign Template JNL (2015, based on one of the many plastic lettering guides manufactured by the now-defunct Wright-Regan Instrument Company also known as Wrico), Silent Film JNL (2021: a display slab serif used by the Uptown Theater in Wichita, Kansas, in 1928), Silent Movies JNL (2021; a rounded monolinear sans of the interbellum period), Silly Behavior (2019: a shaded bouncy letter font that revives a 1930 alphabet from 100 Alphabets Publicitaires dessinés par M. Moullet), Simplicity JNL (2014), Simply Grotesk JNL (2012, Peignotian), Simply Nouveau JNL (2017), Slab Compact JNL (2019), Sleuth JNL (2013, after the trailer for the 1936 movie After The Thin Man), Slim Chance JNL (2015, an ultra-narrow font based on an image of vintage packaging for Aquapruf Ear Drum Protectors), Slim Nouveau JNL (2017), Snack Shop JNL (2007, the retro diner look in a bold outline face), Snorkel JNL (2014), Snow Job JNL (2017, inspired by the hand-lettered titles for the 1964 Rankin-Bass animated holiday classic Rudolph the Red Nosed Reindeer), Socialite JNL (2009), Soda Fountain JNL (2015, bilined), Solid Serif JNL (2014), Songbook JNL (2014), Song Composer JNL (2017), Song Merchant JNL (2017), Song Plugger JNL (2014), Song Publisher JNL (2015), Song Stylist JNL (2016), Song Vendor JNL (2017), So Unusual JNL (2021: based on the hand lettered credits for the 1942 film comedy I Married a Witch), Southwest Serenade JNL (2015), Special Edition JNL (2021: based on a newspaper headline font used in 1924), Specimen Book JNL (2020: based on Lining Antique (1889. Illinois Type Foundry) and Central Lining Antique (1892, Central Type Foundry)), SplintersJL (2004), Sporting Event JNL (2021: a slab serif based on the title and credits of a British boxing film from 1953 called The Square Ring), Sportsboard JNL (2020: a flipboard font), Sport Shaded JNL (2009), Spring Fashion JNL (2010), Spring Season JNL (2020: textured caps), Spur Handlettered JNL (2008), Squarity JNL (2008), Stage Production JNL (2020), Stage Show JNL (2021: based on the movie credits for 9 Garcons...Un Coeur starring Edith Piaf), Stamp of Approval JNL (2007), Stamped Metal JNL (2012, beveled), Starlight Sans, Stationer JNL (2018), Stellator JNL (2006, a high-tech modular font), Stenographer JNL (2021: close to Bank Gothic Condensed), Stickball JNL (2017), Stonecut JNL (2014), Store Clerk JNL (2020: outlined), Store Tags JNL (2011), Streetcar JNL (2019: a vintage railroad wagon lettering font), Streeter JNL (2013, based on Beton Bold Condensed), Stylish Title JNL (2021: based on the cover title of the July 1935 issue of Harper's Bazaar), Subscription JNL (2018), Summer Holiday JNL (2021; based on the hand lettered production credits for the 1930 film Holiday), Summertime Breeze JNL (2021: based on the opening title sequence for the 1958 film The Long, Hot Summer), Sunlight JNL, Sunny South JNL (2015), Sunshine Susie JNL (2018), Supporting Cast JNL (2011), Surf Bum (2019), Swing Band JNL (2013: inspired by the title lettering from "Hi-De-Ho", a 1930s all-black cast film starring legendary bandleader Cab Calloway), Swing Vote JNL (2020: a beatnik font).
T: Tabloid Edition JNL (2021: based on a headline newspaper font from UK's Daily Mail in 1918), Tabloid News (2019: an all caps condensed slab serif), Tabloid Press JNL (2015), Take Charge JNL (2016, based on the opening title card for the 1936 film The Charge of the Light Brigade starring Errol Flynn, Olivia de Havilland, Donald Crisp and David Niven), Tallahassee Chassis JNL (2007, modeled from a toy rubber stamp set imported from Japan), Tall And Narrow JNL (2015), Tamiami JNL (2009, Victorian, known as "Cuba"), Tea Bag JNL (2013), Tea Time JNL (2014), Technerd JNL (2011, a thin technical/mechanical face), Technopen JNL (2013: a rounded techno sans from a 1929 instructional booklet for the Esterbrook Drawlet Pens), Teenagers JNL (2021: a beatnik font that was inspired by the hand lettered opening credits for The Many Loves of Dobie Gillis, a teen-oriented television comedy that ran from 1959 to 1963 on CBS), Teen Years JNL (2021: a blocky sans inspired by the hand lettered name for the Joyce Records label (circa 1956)), Template Basic JNL (2021: a simple sans), Template Sans (2019: based on a lettering template by the Wright-Regan Instrument Company (Wrico)), Template Shadow (2019), Tenement JNL (2020: based on a Cooper Black style alphabet by Harry Lawrence Gage that was shown in Thomas Woods Stevens's book Lettering (1916)), Terrace JNL (2015), Terror JNL, That Stuff JNL (2009), Theater Lights JNL (2014), Theater Tickets JNL (2021: Based on the marquee signage for Detroit's Majestic Theater built in 1934), Theatrics JNL (2009, 3d face), Thin Mint JNL (2011), Thinly Disguised JNL (2016), Three Day Pass JNL (2009), Tiler JNL (2012, a gridded face), Title Block Sans JNL (2011, an avant-garde titling face), Too Much Information JNL (2007), Top Billing JNL (2008, dot matrix), Top Forty (2019: handcrafted), Topographic Sans JNL (2018: a mapmaking sans featured in a U.S. Army Corps of Engineers topographic drafting manual), Toucan Tango JNL (2007, multiline face), Tough Guy (2006, shaded titling face), Tough Stuff JNL (2008), Toy Decals JNL (2018), Toy Letters JNL (2018: based on die-cut letters and number by Village Toys (circa 1930s or 1940s)), Toyprint JNL (2009, grunge), Trade Journal JNL (2010), Trade Printer JNL (2007, Victorian-era sans emulation), Train Car JNL (2021: based on the hand-lettered opening credits of Alfred Hitchcock's Strangers on a Train (1951)), Transactive JNL (2007, dot matrix), Transcendental JNL (2017), Tribal Council JNL (2011, jungle lettering with a linocut look), Trilium JNL (2010, triline face), Tropicano JNL (2013, a wavy typeface), Tunesmith JNL (2014, Victorian), Twelve Oaks (2006), Two Cents Plain JNL (2012), Two Reeler JNL (2006; see also its follow-up typeface Positive Vibe JNL, 2007, both modeled after title cards of an early Charlie Chaplin movie), Two Step Nouveau JNL (2018), Type Catalog (2011, bilined all caps face), Typemonger JNL (2022: based on Two Line Sans Serif from the British type specimen book of Vincent Figgins (circa 1860)), Typesetter JNL (2011), Type Vendor JNL (2012), Typewriter Sans JNL (2015), Type Wronger JNL (2013, old typewriter typeface).
U-V: Unpretentious JNL (2014), Urmeba JNL (2012, named after amoebas and co-designed with Ray Larabie; a barf font), Used Cars (2012), Utica JNL (2010, squarish all caps face), Vacation Resort JNL (2021: based on the hand lettered cast and production credits for the 1942 musicl comedy Holiday Inn starring Bing Crosby and Fred Astaire), Vaudevillian JNL (2017), Utility Signage JNL (2017), Vehicle JNL (2010, a condensed block font as for car plates), Vendor JNL (2010, Victorian era ribbon face), Vertical Roundpoint JNL (2011, found in a 1941 edition of the Speedball Lettering Pen instruction book and re-drawn digitally by Jeff Levine), Victorian Typewriter JNL (2020), Vintage Designs JNL (2009, dingbat which has some fists), Vintage Price Tags JNL (2015), Vododeo JNL (2014).
W: Washington Heights JNL (2016), Wavely (2010), Weekend Date JNL (2020), Weeneez JNL (2011, wiener-shaped glyhs), Welcome Home JNL (2009), Werble JNL (2010), What A Night JNL (2018), Whoosh JNL (2007), Wild About Myself JNL (2015), Willoughby JNL (2006, based on 1950s toothpaste lettering), Window Sign JNL (2013), Wine Cellar JNL (2014), Winery JNL (2012: a soft-serifed caps face), Winkle Picker JNL (2021: a cut paper font based on the 1963 movie poster for an Italian documentary called Sexy Nudo), Winter Garden JNL (2017), Wireline JNL (2021: a paperclip font), Wire Mesh JNL (2009), Work Force JNL (2011), Wynwood JNL (2009).
X-Y: Yankee Doodle Boy JNL (2017), Yard Sale JNL (2013), Yargo JNL (2009, hand-printed), Yayazout JNL (2008, fun titling face), Yorso Square JNL (2007).
Z: Zera JNL (2007, intersecting rings), Zodor JNL (2010), Zoning Department JNL (2012), Zydeco JNL (2009).

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Jeffery Keedy

Born in 1957 in Battle Creek, USA, Jeffery Keedy is an educator, designer, type designer, and writer, who has been teaching in the Graphic Design Program at California Institute of the Arts since 1985. He is best known for Keedy Sans (1989, Emigre). Keedy Sans was influenced by Ed Fella's style with inconsistent spacing, and rounded and sometimes sliced characters.

Other fonts by Keedy include HardTimes (1990), NeoTheo (1989), Jot, LushUs (part of FUSE 4, see also here), SkelterBold, and Zanzibaralt.

FontShop link.

Author of Emigre: Graphic Design into the Digital Realm (1993, Rudy Vanderlans, Zuzana Licko, Mary E. Gray, Jeffery Keedy). [Google] [MyFonts] [More] ⦿

Jen Lea

Illustrator and art director in Belfast, Northern Ireland. Designer of the hairline avant-garde caps display typeface EO (2012-2013), which is inspired by and named after biologist E.O. Wilson.

Jen Wagner

Jennifer Wagner (Nashville, TN; was: Denver, CO) designed these typefaces:

In 2022: Essential Sans (16 styles and one variable font), California Coast (a bold display serif), Casa Sol.
In 2021: Avanti (script), Mezcal (a thin display serif), Runaways, Levitate (an experimental sans and serif combination), Barnaby (a 2-style text typeface), Montmartre (a display serif), Kyrie (a display serif), Bonne Nuit (script).
In 2020: Violet, Ostuni (script), Larkspur (a fat finger font), Amora, Bastia (a transitional typeface), Oliver Label, Palmer Lake.
In 2019: Rylan, Margo, Palmer, Tangerine Skies (font duo), Halifax, Capri (Sans, Serif), Lyon (Sans, Script), Paris (Sans, Script), Noelle (a wedge serif), Rylan, Norfolk.
In 2018: Sorrento, Folsom (sans), Modena, Versailles, Albany, Osaka, Phoenix (a geometric sans family), Amaro (script), Sucre (condensed sans), Paris (SVG font duo), Laguna Beach (font duo), San Clemente (script), London (luxurious style), Rome (sans), Dallas (vintage sans), Calgary, Wink Wink (font duo), Nashville, Adelaide, Bordeaux (script), Oxford (sans).
In 2017: Milan (vintage sans), Prague, Sydney (font duo), Manhattan (high contrast city chic), San Diego (informal sans), Newport (brush script), Joshua Tree, Charleston (signature script), Knoxville, Malibu, Bronx (blackboard bold), Stockholm (sans), Ontario (four-layer sans), Tokyo (sans), Rochester (handcrafted), Brisbane (script), Florence (script), Montauk (all caps), Brooklyn (sans).
In 2016: Aleppo, Edinburgh (a didone), Paris (a heavy brush typeface), Christmas Town (handcrafted), Glasgow, Austin, North Pole, Chicago (handcrafted), Oceanside (a great romantic brush script), Louisville, Los Angeles (avant garde sans), Kingsland (a vintage sans), Baton Rouge, Venice (fashion mag style), Nashville (handcrafted), Manhattan (an all caps didone), Anchorage (sans), Athens (minimalist sans), Santa Barbara, Orlando, Jackson Script, Denver, the avant garde typeface Sacramento, the brush typeface Atlanta, the sans typefaces Pasadena, Vancouver and Portland, Portland Serif, the stencil typeface Faroe and the handcrafted typefaces Seattle, Dana Point and Honolulu.

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Jennifer DeAngelis

Born in New Jersey in 1985, Jennifer DeAngelis Gunn still lives in New Jersey, where she runs the graphic and web design company Jennifer DeAngelis Design (est. 2008), which is also listed on MyFonts. DP Fonts (est. 2010) sells fonts created by Jennifer and her New York college friend, Amanda Pastenkos.

Jennifer designed the intricate wool strand-themed font Strands (2010) and the children's hand Right Height (2010). Majordomo (2010) is a pretty hand-drawn didone.

The first DP Fonts font on MyFonts is the dingbat typeface Wintery Mix (2010). In 2011, Jennifer published the hand-printed 3d outline typeface Marquee, Mermaid NY (mermaid dingbats), Donald (hand-printed outline face), Bluebird (2011, a connected italic script), Quail (2011, grunge), REST BORT (2011, a hand-drawn blackboard bold family), White Rabbit (2011, a gorgeous hand-printed swashy caps face), Monocle86 (avant-garde), the grungy Snatch n Sniff, and the warped zebra typeface WEALD.

Creations from 2012: the white on black tiled typeface Inthabox, the art deco typeface Esther.

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

Jeremy Vessey
[Pixel Surplus]

Jeroen Kant

Jeroen Kant (b. 1996) is from Herten, The Netherlands. As a FontStructor called ITellYa, he made the pixel typeface Yourself Regular (2010), the chalk simulation typeface Angry Chalk (2011), the avant garde typeface Epic Fusion (2011), and the experimental family Problems (2010). Aka Jeronimo. [Google] [More] ⦿

Jerry Hodge

Graphic design student in Kansas City, MO. Creator of a monoline geometric avant garde sans called Eight One (2012, a free font originally created for a musician's logo) and of the pixel typeface Sample (2012). In 2015, he created the techno typefaces Skwair and Schlant.

Jim Wasco

Type designer who worked at Adobe from 1989-2002 and for Monotype from 2003 until today. His typefaces in chronological order:

1974 to 1989: As a freelance, he assisted Jim Parkinson in the Cochin, and Kennerley revivals, an old Perspective metal type design, and Rolling Stone alphabet additional weights Elephant, Italics and Condensed, done in pen and ink. For several ad agencies, he designed the Franzia winery logo, and many other logos for packaging and advertisementsi and was mainly a lettering a logo artist.
1985: He produced font designs for DHL Express and SFO International Airport at Primo Angeli Inc.
1986 to 1989: He produced various font families like Garamond, Goudy, Eras, American Typewriter, Futura and Stymie at SlideTek using a B-Spline vector graphic system.
1989 to 2002: He produced fonts at Adobe Systems in Redwood City, CA. There, he designed Tekton Bold, Mythos (1993: a mythical figure caps face done together with Min Wang), Tekton GX (with David Siegel), Waters Titling word ligatures. He designed and produced the Romaji Latin characters of Heisei Maru Gothic W4 and W8, Adobe Sans and Adobe Serif. He did font production work on ITC Garamond, ITC Cheltenham, Albertus, Castellar. He helped expand Adobe Originals to Pro character sets in Jenson Pro, Minion Pro, Kepler, Sanvito Pro, Cronos, and Calcite Pro. He played an important role in the production of Multiple Master fonts.
2003 to present: He produced fonts at Monotype Imaging:
- For Microsoft, he designed the family of five weights of Segoe based on Segoe Regular.
- He directed design production and programmed OpenType features for Segoe Script and Segoe Print.
- He designed Wasco Sans a font for the gaming and flight simulator groups at Microsoft.
- He designed AT&T Sphere Gothic Sans fonts.
- He designed a new slab serif family for Gatorade.
- He directed a new design for General Electric called GE Sans.
- He designed and directed production of various non-Latin scripts for Monotype for Armenian, Ethiopic, Khmer, Thai, Arabic, Hebrew and African language scripts including Tifinagh, N'Ko and Bamum.
- He designed the original geometric sans font family Harmonia Sans (2011), which is a blend of contemporary geometric sans serif lettershapes and classic calligraphic proportions. Jim Wasco was aided by George Ryan in the production of the typeface family. He said: I wanted to create a simple and legible typeface by pulling the best aspects of classic geometric sans designs, such as Futura and ITC Avant Garde Gothic.
- He directed a language expansion project for Edward Johnston's London Transport fonts, adding Cyrillic and Greek.
- He designed a script typeface based on Ed Benguiat's calligraphy for the ITC logo in 1970 called Elegy (2010-2011). Elegy has 1546 glyphs, and was awarded at TDC2 2011.
- He designed nine new weights for the Neue Aachen font family (2012) expanding it to 18 fonts including Italic.
- He designed swash caps and directed Morris Freestyle.
- He designed ITC Avant Garde Pro ligatures for the new OpenType version.
- He designed Baskerville Cyrillic and Greek for E reader fonts (2012).
- Daytona (2015) is a sans family that grew out of a desire to provide improved fonts for use in televised sporting events.
- Elicit Script (2018, by Laura Worthington and Jim Wasco). A hybrid (casual and formal) scrpt typeface based on pointed pen Spencerian Script handwriting.

Linotype link. Linotype interview. FontShop link. Pic. His talk at ATypI 2014 in Barcelona was entitled OpenType features for Script Typefaces. Linotype link. Klingspor link. [Google] [MyFonts] [More] ⦿

Jimmy Duus

Jimmy Duus (Copenhagen, Denmark) created the avant garde typeface family Espanoles and the sans typeface Summer Sans in 2014. Behance link. Cargo Collective link. [Google] [More] ⦿

JNP Studio
[Juan Pablo Bello]

Art director in Santiago, Chile. Designer of the dry brush fonts Zeyk Brush (2016) and Bruship (2015), the avant-garde font Decad (2016), and the signage typeface Great Man (2016).

In 2017, he designed the dynamic hand-printed Boluda. Behance link. Behance link for JNP Design. Creative Market link for JNP Studio. [Google] [More] ⦿

Joanne Abellar

Creator (b. 1991, The Philippines) of the outlined hand-drawn typeface Chickfactor (2013), as well as Ham And Eggs (2013), Bookends (2013), Bookends with Accents (2014), Font5 (2013) and Whiplash Girl Child (2013).

Typefaces from 2014: Basic Space, Hypersober (textured shadow face), Hypersober Clean.

In 2015, she designed the avant garde sans typeface Morning Crescent. In 2016, she published the handcrafted typeface Summer Fling.

Dafont link. Fontspace link. Home page. [Google] [More] ⦿

Joel Bertram

Graduate of University Of Applied Sciences Mannheim. Mannheim, Germany-based designer of Berthaus Grotesque (2017), a geometric typeface that fuses Futura, Bauhaus and Avant Garde. [Google] [More] ⦿

Jon Grafton

Mellieha, Malta-based designer (b. 1983) of Futura Hand (2010). Finally a Comic Sans replacement, perhaps? With iFontMaker, he made these fonts: BestMarker, Crazy, Gillhand, JonnyBravo, JonnyBravoLight, Party, Typewriter Hand. In 2014, he created Party hand and Avenir Condensed Hand. [Google] [More] ⦿

Jonatan Xavier
[Types and Boats]

Jose Luis Eguidazu de Maortua

Jonathan Bernard Pace

Jonathan Bernard Pace (Paola, Malta) created the stylish avant-garde / art deco all caps typeface 20s Font (2013). [Google] [More] ⦿

Jorge Moreno

Designer of the squarish typeface Invisible City (2015) and the crcle-based avant garde typeface Night (2015). [Google] [More] ⦿

Joschko Hammermann

A graduate of FH Potzdam, Germany, Joschko Hammermann (now in München) created the squarish sans typeface Joham (2010, 26plus). In 2014, he created the avant garde sans typeface Joham Journal. Behance link. [Google] [More] ⦿

Madrid-based designer of a hairline compass-and-ruler avant garde caps typeface in 2016. Aka Double Monkey. [Google] [More] ⦿

Josef Maria Auchentaller

Austrian artist (b. 1865, Vienna) who studied at the Vienna Academy, and became a Professor in Munich. Member of the Secession from 1898. He died in Grado, Italy, in 1949. A travel poster by Josef Maria Auchentaller in 1906 led Tom Wallace to design the avant garde / art nouveau all caps typeface Auchentaller ca. 2007.

Read about his participation in the Viennese Secession. [Google] [MyFonts] [More] ⦿

Juan Manuel Escobar Bernal

Mexican designer of Neon Lights (2013), En Mi Cuadra Nada Cuadra (2013), Mundonick (2010, unicase), Partofme (2012), Moonstone (2011), Princess And The Frog (2011), When the goes sun scene (2011, avant garde), Jessie Normal (2011, grunge face), Grachi (2011, bouncy spiky face, modeled on Fontdiner.com), Anahi (2011, art nouveau), Grachi 2 (2011), Tangled (2011, tattoo face), Femme 2 (2011), and Carly (2011). [Google] [More] ⦿

Juan Pablo Bello
[JNP Studio]

Juliana Demarque

While studying design at SENAC in Brazil in 2009, Juliana Demarque designed the avant-garde typeface Sfera Light. [Google] [More] ⦿

Juliana Duque

Colombian graphic designer. Behance link. She created the thin avant-garde typeface Amapola (2011). [Google] [More] ⦿

Julie Bowers Lineberry

Ex-North Carolinian designer who has a BFA in graphic design from Columbia college Chicago, and lives in Chicago. Behance link. Creator of Aimiee (2011, an avant-garde face). [Google] [More] ⦿

Julie Lobo

Curitiba, Brazil-based designer of the avant garde typeface The Unbearable Lightness Of The Font (2017). [Google] [More] ⦿

Julien Protière
[Qréalib]

Julisa Amavizca

Mexican designer of the free avant-garde typeface Cosmoluna (2018). [Google] [More] ⦿

Jussi Jokinen

Visual information designer, consultant and teacher who lives and works at Tampere, Finland. He has an MA in media from Tampere University and Tampere University of Applied Sciences. He specializes in designing complex visual systems, like newspapers, magazines and web sites. He made the avant garde geometric sans typeface Alvar (2010). [Google] [More] ⦿

Justin Kraning

Rogers, AR-based designer of the tall avant garde display typeface Albatross (2015). [Google] [More] ⦿

Kaiser Zhar Khan

Kaiser Zhar Khan (b. 1980, Chile), aka Zanatilja, used to run a new defunct archive called True Type Fonts. He also designed many typefaces himself. The most famous among these is his free African-themed typeface South Afirkas 2100 (2009), which is downloadable from Dafont.

In 2012, he made Stickerman Bad Times, Rock X Start TFB, Aespiro TFB, Perspectivo TFB (3d face), Desgarvuda (textured face), Estancofida TFB (textured face), LEDisplay TFB, Restroom Signs TFB, Chinese Cally TFB, Discontinuo, Suast Ornad TFB (a textured face), Scoolar TFB (3d face), Katakana TFB, Hiragana TFB, Dragons TFB, Arrows TFB, Old Retro Keys TFB, Pycuaf, Pycuafodi, Dragon Ball TFB, Escaned (texture face), Chess TFB, Seagram TFB, Army Weapons TFB, Stamp Seal TFB, Logos TFB, Scripto TFB, Another Ornaments TFB, Vintage Auto Cars TFB, Simple (a monoline sans), Travesia TFB (information design dings), Music TFB (dingbats), Xmas Cartoon, Wings of Wind TFB, Mickey M TFB, Pincel Handwrite, Jigsaw Pieces TFB, Valentines Day TFB (heart dingbats), Proportional TFB (squarish sans), Stars TFB, Working Signs TFB, Signs Language TFB, Ornaments Labels and Frames, Snowflakes TFB, Christmas Nativity TFB, Chinese Zodiac TFB, Zodiac TFB, Only Skulls, Calendar Note TFB, Sports TFB (sports silhouettes), Old Retro Labels TFB, 11 Vator TFB, Xmas TFB (Christmas dings), Trees TFB, Clothing Logos TFB, Dirty Sweb, Can Dog TFB, Ornaments, Finger Print, Kitty Kats TFB, Batman Logo Evolution TFB, Light TFB (avant garde sans), Digital Display TFB (LED face), Skullx (dingbats), Tribal Tattoo (dingbats), Klingon, The Meme Font (dingbats), Rongorongo (a system of glyphs discovered in the 19th century on Easter Island), Strangferfixcs, Hotel Transilvania and Frankenwine.

Typefaces made in 2013: Pudahuel Sans, Variada TFB (simple circle-and-arc-based sans), Estorea TFB, New LED Board TFB, Rayada TFB (textured face), New Barcode Font TFB, Estrellas TFB (stars), Estrellass (sic) TFB, Spirits Dots Drinks, Mero Ornad TFB (fishnet textured), Toolz TFB, New Stencil TFB, Logocarsbats TFB, Caritons TFB (smilies), Illustrations TFB (scanbats), Edgebat TFB (knives), Crossbats TFB (crosses), Abstrec TFB (organic sans), Frames TFB, BitxMap Font TFB, Austera Simple TFB, Traffic Signs TFB, Extranger Sol TFB, Rifle Bats TFB, New X Digital TFB (LED typeface family), Dasgastada TFB, El Alambre TFB, Punk Not Dead TFB, Triangled TFB, Noxtrey Auf TFB, Cross LED TFB (+Bold), Cursi Extra TFB, Hearts Shapes TFB, Ornamentsss TFB, Eggfaces TFB, Orniste TFB, Shadded TFB (sic) (shadow face), Spoghetti Western (sic) (Italian Far West face), Groovy Font (shaded), Fireguns TFB (dingbats), Only Revolver TFB (dingbats), Aeg Flyon Now (condensed sans), Espinuda TFB, T1 Logoso TFB, Social Logos TFB, Hearts and Flowers for valentines, Astrology Astrological TFB, Ornametss TFB, Astrology TFB, Old Ornaments, Old Foundry Prints TFB, Old seals TFB, English Two Line TFB (pearly alphabet from 1796), Amame TFB (dot matrix face), Fontesda TFB (sketched face), Flowers Dots Bats TFB, Queen Destroy TFB, Bicycle TFB (dingbats), Stone Army, Ancient Weapons TFB, Numismatic Bats TFB, Elizabethan Initials TFB, Anome Ibul, Big Daddy LED, Mavole Sinpo TFB (spurred), Dowted Remix TFB (dot matrix face), QR Font TFB, Another Barcode, Display Free TFB (LED face), Cadabra Debilex, Initials TFB, Music Logos TFB, Toxic Waste TFB, Ornad Dentro TFB, Logos and Logos TFB, Amore Mio, Hearts Shapes TFB, Another X Display TFB (dot matrix), Pro Display TFB (dot matrix), Juino Net, Quiwo Luse TFB, Aliencons Two, Cargante TFB, News Board TFB, Aliencons TFB, Barcode TFB, Birthday Balon TFB, Birds TFB (silhouettes), Le Fish (fish silhouettes), Motos TFB, Love You Too TFB (Valentine's day font), LED LCD 123, Noteame (fat sans), Badopus TFB (monoline script), Estrellado TFB, Love You TFB (Valentine's Day font), Cubs LED TFB (LED / dot matrix typeface), Text Inside TFB (textured face), Kuwa Ronmcie Q (circle-based face), Zebra TFB, Distrogrunge TFB, Carillas TFB (smilies).

Another URL. [Google] [More] ⦿

Kaitlyn Verdonk

Toronto, Ontario-based designer of the avant garde all caps typeface Hard Love (2015). [Google] [More] ⦿

Karina Nuñez

Graphic design student in Monterrey, Mexico.

In 2012, she created a thin avant-garde caps typeface called Sendak. [Google] [More] ⦿

Karl Nayeri
[Prime Graphics (was: PolyType)]

Kasper Ledet
[Idiot Copenhagen]

Kate Brankin

Type designer from Batavia, IL. She designed Mia Mano (2010, handwriting), and the simplistic monoline avant-garde geometric typeface Tumbly (2011).

Typefaces from 2012: Mano Danielli (children's hand), Hard Shadow, Hercule (a curly hand-printed typeface that was inspired by the moustache of Hercule Poirot), Something Fishy (dingbats).

In 2014, she published the dingbat typeface Tea and Crumpets and the handwriting typeface Altra Mano.

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

Kate Thrower

Designer from San Marcos, TXZ, who drew a cute typographic character Little Miss Avenir (2012). [Google] [More] ⦿

Katerina Gamkova

Moscow-based student-designer of the avant garde sans typeface Taurus (2015). [Google] [More] ⦿

Kathy McCord

Creator of Genny (1970), an avant-garde typeface from the photo type era. [Google] [More] ⦿

Kelly Media

Crooked font vendor in Germany who has a few cheap CDs with renamed commercial fonts. Run by Hans Fremuth, who founded Kelly Data GmbH in 1994 (since 1999 Kelly Data AG). Kelly Data AG went bankrupt in 2002. Ulrich Stiehl has evidence that Fremuth is based in München. On the Kelly Media or Kelly Data web sites, one can find cheap font CDs under names such as Profi-Schriften Business Schriften (679 truetype fonts), Firle Fonts, and Profi-TYPO (2000 fonts). Stiehl discovered a connection between Hans Fremuth and Charles Biddle, who set up Bay Animation, an Annapolis, MD, outfit of equal questionable taste. Font names used by both Kelly Data and Bay Animation include Alps (Hevetica), Amaretto (Bitstream Amerigo), Amethyst (Garamond No. 3), Antiqua 101 (Antique Olive), Attila (ITC Avant Garde), Bangla (ITC Benguiat), Bid Roman (Melior), Bliss (Janson), Block (ITC Machine), Centime (Century Old Style), Chelsey (ITC Cheltenham), Chisel (Copperplate Gothic), Clayton (Caxton), Clean (Orator), Congo (Trump Medieval), Cupid (Cooper Black), Schroeder (Schneidler), Tech (Arquitectura), and Vogel (VAG Rounded). Stiehl's PDF file shows without a shadow of a doubt that Biddle copied several fonts, giving examples of Bid Roman (a copy of Zapf Elliptical).

Owner info: Hetzner Online AG, Stuttgarter Strasse 1, 91710, Gunzenhausen, DE, +49 9831610061, +49 9831610062, info@hetzner.de. [Google] [More] ⦿

Kenneth Pilo
[Pilo Bold Me GBG]

Kentaro Terajima

Japanese graphic designer in Barcelona, where he studied at Eina. His typefaces:

In 2010 he created the large x-height roman typefaces 06RM and 12RM so that Latin text could be set in small sizes alongside Japanese text (and in particular, with the Japanese font Ryumin M-KL).
He recreated the 1930s German newspaper art deco styles in his elegant typeface Tageszeitung (2010).
He is involved in an information typography project for the Barcelona metro.
Alps (2011). A bilined display typeface inspired by the lettering of Japanese artist Shinro Ohtake.
Abend (2012). An art deco grotesk inspired by German news headlines from the 1930s.
156 (2011). A clean sans typeface inspired by the shapes of numbers in the streets of Sao Paulo.
Colophon (2011). An avant-garde typeface based on the movie The War of Roses (1989).
A hypermodular typeface (2018).

Keystrokes
[Douglas F. Olena]

Douglas Olena's company, Keystrokes, is located in Birmingham, AL. Great typefaces by Doug Olena (b. 1953) include Adastra (Herbert Thannhaeuser, 1928, revival 1995), Ampersands (1995), Arwen (1995), Blocks (1995, a very black geometric face), Elegant (1995, art deco), DecoBats, Hindenburg (1995), Informal Black (1995), Marquis (1995, like Broadway), Maximilian (Rudolf Koch, 1917, revival 1995), Metropolis and Metropolis Shaded (1928, after Willy Schwerdtner), Minimal (1995, a very thin avant garde font), FFD Neuland (Rudolf Koch, 1922, revival 1995), Newton Inline (Rudolf Koch, 1928, revival 1995), Poetry (1995), Questions (1995), Searsucker (1995, another Broadway style font; see Agfa), FFD Sphinx (Deberny&Peignot, 1925, revival 1995), Stalk (1995), Tube (1995), and the classy MontBlanc Regular and MontBlanc Engraved. Fox and Arwen are freeware. His fonts at Agfa/Monotype: Adastra, Ampersands, Arwen, Blocks, Elegant Inline, Elegant Open Face, FFD Neuland, FFD Neuland Inline, FFD Sphinx, FFD Sphinx Inline, Hindenburg, Informal Black Condensed, Informal Black, Marquis, Maximilian, Metropolis ShadedCS, Minimal, Newton Inline, Poetry, Poetry Inline, Questions, Searsucker, Searsucker Bold, Searsucker Outline, Stalk, Tube. His CV reveals that he has a Masters in Philosophy! Many of his fonts have been absorbed into the Monotype collection without further mention of Olena or Keystrokes.

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

Khaled Abdelaziz
[Khillo Graphics]

Khillo Graphics
[Khaled Abdelaziz]

Khillo is Khaled Abdelaziz, a Sétif, Algeria-based illustrator and designer, b. 1986. He created Architek (2010) and Burger (a free avant-garde typeface).

Behance link. Dafont link. Another URL. [Google] [More] ⦿

Khiro

Collo, Skikda, Algeria-based designer (b. 1995) of the techno typeface Accedent (2013) and the artsy textured typeface KH Tempery (2013).

In 2014, he created KH Erza Script (upright connected script), KH Faygt (circus font), KH Faygt SP, Masiode (avant-garde typeface family), KH Idonx (alchemic typeface) and KH Cosan. [Google] [More] ⦿

Kimberley Tsui

Chicago-based creator of the avant-garde typeface Ainsley Deco (2010). Behance link. [Google] [More] ⦿

Kimera Type (was: Diseño Kimera)
[Gabriel Martinez Meave]

Kimera Type (was: Diseño Kimera) is a commercial Mexican design firm founded in 1994 by Gabriel Martinez Meave (b. Mexico City, 1972), who is by far Mexico's most prolific and talented type designer. The only freebie is Presidencia at the Mexican Government site.

Meave.org deals with illustrations and other occult arts. Behance link. Speaker at ATypI 2009 in Mexico City. Interview. Some of his early typefaces were published at Tiypo. Diseño Kimera has made numerous custom fonts for Mexican clients. His typefaces:

Arcana (2000, +Manuscript) won an award at Bukvaraz in 2001. The script font Arcana was traced out with a pointed metal quill and then digitized to give it a thoroughly 19th century look. It won an award at TDC 2000.
In 2006, he made the powerful serif typeface Artifex.
Aztlan (1998) is a fun artsy slab serif.
Basilica (1999, +Rotunda) is an extra-condensed experimental font based on a modern high-contrast design. Award winner at TDC2.
Comanda (handwritten).
Darka (2005) is a roman blackletter face. This typeface won an award at TDC2 2006.
Economista is a text typeface created for the Mexican business newspaper El Economista.
Ferra Sabs, commisioned by the department stores El Palacio de Hierro.
Fulgora. Inspired by late-medieval Basarda and Civilité blackletter styles, the Kannada and Sinhala writing systems from Southern India, Celtic uncials, and diverse vernacular Mexican scripts, it includes a Black and a Negra style. Released by Sudtipos in 2019.
Indio (handwriting). Commissioned for a beer ad.
Integra: a contemporary roman sans family. It was republished by Sudtipos in 2019.
Jumex Sans (2012). Custom font for a fruit juice advertising campaign.
For Lagarto (2001) is based on the hand of Luis Lagarto, a colonial illuminator and scribe, working in Mexico City and Puebla in the late 1500s. It won an award at Bukvaraz 2011 and an Award of Excellence at the Type Directors Club of New York annual competition.
Liverpool Sans (2015). A corporate avant garde sans family of fonts for Liverpool, a Mexican chain of department stores.
Mexica (1996) is a large octagonal font family created to set text in náhuatl, the tongue of the Aztecs, but also the lingua franca of ancient Mexico. Mexica received an Award of Excellence at the Type Directors Club of New York annual competition. It was republished by Sudtipos in 2019.
Mystix is a rune font based on a secret alphabet for a Delaware Punch promotional program.
Neocodex (1996) is an organic family.
At Adobe he designed Organica (2000), a display semiserif. That typeface family was republished in 2021 by Sudtipos as Organica Pro.
Pearson Calligraphic (1999).
Presidencia (2008, free at the Mexican Government site) won an award at TDC2 2008 and at Tipos Latinos 2008 (for extensive text family). He writes about Presidencia Sans: Inspired by Toltec and Aztec architecture, the letterforms of Presidencia follow a humanist sans-serif scheme that combines Mexican character with Latin structure. This grand family was commissioned by the Mexican Federal Government, to suit its new identity program, impeccably designed by Mexican firm Ideograma. The type family comprises twenty variants, to cover a full spectrum of possibilities, from official documents to corporate signage, billboards and nation-wide campaigns in all media.
Puuc, according to Meave, was inspired by the Mayan puuc style of modular architecture.
Rondana (2002) is a rounded character family in the style of VAG Round. It was republished by Sudtipos in 2019, which writes that Rondana is a typographic tribute to the retro-futuristic aesthetics of the 1960s and 70s, as well as an exercise in purity of line.
Sol and Solida. Sol was made for a beer ad.
In 2011, he created the Telcel Sans family, which was commissioned by Mexico's main telecommunications company for use in corporate communication, advertising and printed matter, as well as billboards, television and many other visual media. It won an award at Tipos Latinos 2012.
Tlatoani Sans won an award at Tipos Latinos 2010.
Tolteca.
Wordless Script (2019, at Sudtipos). A penmanship script with weathered outlines. Sudtipos writes: Wordless Script is the font of choice for writing those things that go beyond words. Based on the connected-scripts of the late 18th-century England, this typeface preserves the irregular finish and stroke gestures of the pointed nib. It is, so to speak, a personal rendition of the English roundhand as originally executed with the bird's quill. Imbued with a rococo, neoclassic, romantic spirit, Wordless Script radiates the gallantry of a time when the celebrated douceur de vivre that Talleyrand was so fond of was still alive and well; echoes of which still haunt us in our eclectic 21st-century, that now has once again come to appreciate again these magnificent styles of old. Wordless Script [...] is meant to be read with the eyes only or to be whispered into someone's ear.

Klingspor link. Behance link. Old Kimera type link. [Google] [MyFonts] [More] ⦿

Kimi Kaste

Boone, NC-based Kimi Kaste created the hipster avant-garde typeface Just My Type in 2015, taking inspiration from ITC Willow. [Google] [More] ⦿

KLIM (or: Klim Type Foundry)
[Kris Sowersby]

KLIM is a type and graphic design studio run by Wellington, New Zealand-based designer Kris Sowersby, now affiliated with Village. Interview. Behance link. Klingspor link. Views on engineered geometry. His creations:
Retail

Feijoa (2007, a serif family for text, Village).
National (2007, a sans serif family, Village). This type family won an award at TDC2 2008. Duncan Forbes: National is slightly mannered, which becomes more apparent in the heavier weights yet it still remains simple, subtle and serious. [...] It has a human charm that gives such warmth and learned beauty to text.
FF Meta Serif (2007, Serif counterpart of FF Meta, with Erik Spiekermann and Christian Schwartz).
Galaxie Copernicus (2009) is a large x-height serif family done at Village in cooperation with Chester Jenkins. It was inspired (from very far) by Plantin's types. Another outgrowth of Plantin is Tiempos (2018), in Fine, Headline and Text subfamilies, which has both Times New Roman and Copernicus Galaxie as its parents.
Domaine Text and Display, in 48 styles (2013). Wedge serif on a didone skeleton. The Domaine Sans Display and Domaine Sans Fine subfamilies are exquisite fashion mag typefaces.
Founders Grotesk (2010). Roughly based on Miller&Richard Grotesque (No. 4, No. 7, No. 3), from a 1912 Miller&Richard specimen book. The proportions are just right---I will place my bets on this one for several best of 2010 award lists. The Condensed and X-Condensed are from 2011, and Founders Grotesk Text was published in 2013. Founders Grotesk Mono followed in 2014.
Metric (2011). A sans family with hints of art deco in the heavier weights. It is paired with Calibre (2011). Sowersby writes: Metric&Calibre are a pair of typefaces that share a fundamental geometry yet differ in the finish of key letterforms. Metric is a geometric humanist, sired by West Berlin street signs. Calibre is a geometric neo-grotesque, inspired by the rationality of Aldo Novarese's seldom seen Recta. They were conceived as a pair but function independently of each other. In a clever twist, Metric offers vertical stroke endings and Calibre horizontal ones in a selected number of glyphs.
Tiempos Text and Tiempos Headline (2010). Named for Times New Roman, this type has influences from the Egyptian Galaxie Copernicus, which is based on Plantin, as well as from Times New Roman.
FF Unit Slab (2007, with Erik Spiekermann and Christian Schwartz).
Newzald (2007), an economical text serif based on rough lettering found in New Zealand. Review of Newzald at Typographica.

Custom

Pitch (2011). A typewriter face.
Hardys (2008), an elegant serif typeface custom designed for Australia's Constellation Wines. Hardys won an award at TDC2 2009. Hardys reviewed at Typographica.
Serrano (2008): a sans family designed for the Bank of New Zealand. It will be available for licensing starting in October 2013. In addition, it won an award at TDC2 2009.
Eliza (2003).
NZ Rugby Chisel (2006, The All Blacks Typeface).
Hokotohu (2007, a typeface for the Moriori).
Victoria Sans and Serif (2007, custom typefaces for Victoria University).
Methven Flow.
Rewards (2006). A serif family designed with Chester Jenkins for American Express.
Financier (2014). A corporate typeface done for Financial Times.
The blackletter pixel font Pixel Fraktur (2002).
The pixel script font Nobody came to class (2003).
Pixel uncial (2003).
Luca Titling (2003, an ancient roman titling typeface based on inscriptions from 1590).
Mono, Mono Pre (2003).
Kilbernie Sans (2003), Kilbirnie Serif (2004).
Klim Sans (2004).
A Slabb (2004, a slab serif), Slabb (nice slab version of Klim Sans).
Karv (2005, alternative for Trajan), Karv Sans.
National Condensed and National Compressed (2007).
Aperture (2007), a sans for small sizes.
Valencia (2007), a warm didone.
Salamanca (2005).
Sevilo (2005).
Zinc (2005).
Elegantia (2005, based on Polyphilus).
Karbon, Karbon Serif (2006: raves from the typophiles!). Karbon is an open, geometric sans serif with a contemporary spartan finish. It is an exploration of Paul Renner's reductionist Futura concept channelled through the proportions of Eric Gill's eponymous sans, with a slight nod towards Jan Tschichold's Uhertype sans-serif. Includes seven weights in roman and italic.
The Italian (negative stress) typeface Maelstrom (2018). Review by Bethany Heck.
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. It won an Nga Aho Award from the Designers Institute of New Zealand and Nga Aho Inc in 2015.
Domaine Sans (2014, with Dave Foster) won an award in the TDC 2015 Type Design competition.
Stern Metric (2011).
The monospaced / typewriter typeface family Pitch Sans (2018).
Geograph (2017-2018) was designed by Kris Sowersby and engineered by Noe Blanco. Panos Haratzopoulos designed Greek versions. The Geograph fonts are currently licensed for the exclusive use of National Geographic. It is a comprehensive replacement of several typefaces that National Geographic had been using such as Verlag and Neue Haas Grotesk. Free download.
Heldane (Text, Display) (2018), designed by Kris Sowersby and engineered by Noe Blanco: Heldane is a contemporary serif family inspired by the renaissance works of Hendrik van den Keere, Claude Garamont, Robert Granjon and Simon de Colines. Rather than emulating a specific font, Heldane amalgamates the best details from these sources into a cohesive whole. The classical typographic foundations of Heldane are refined with rigorous digital drawing. I consider Heldane a third generation garalde typeface drawn from secondary sources. The first generation are 16th century works from the likes of Van den Keere, Garamont, Granjon and De Colines. The second generation are 20th century conscious metal revivals. By conscious, I mean the concerted effort to revive a specific style, whether the source was accurate---like Stempel Garamond; or not---like American Type Foundry Garamond No.3. The third generation are those made since 1955, after the re-discovery of the Plantin-Moretus archives and subsequent scholarship. These are types like Sabon, Galliard, Adobe Garamond and Renard. The designers of these faces skilfully exploit modern scholarship, disambiguation of punchcutters, and trace accurate lines to their primary sources. Heldane won an award at the Type Directors Club's Type Design Competition 2019.
The Future Mono (2018). A superb take on Futura, which Kris describes as follows: Imagine if Paul Renner moved to Japan and Kyota Sugimoto asked him to adapt Futura to a typewriter. A mono version of Futura thanks to a great plastic surgeon. the Future Mono v0.2 was released at Future Fonts in 2020.
Soehne or Söhne (2019). Superlatives fail me. This complete sans family in Normal, Mono, Schmal, and Breit subfamilies is described by Sowersby as follows: Söhne is the memory of Akzidenz-Grotesk framed through the reality of Helvetica. It captures the analogue materiality of Standard Medium used in Unimark's legendary wayfinding system for the NYC Subway.. Engineered by Noe Blanco, and with help from Dave Foster and Tim Kelleher.
Signifier (2019). A digital remake of the Fell types. Sowersby calls his own attempt brutalist. The outcome is sharp-edged and very much 21st century stuff.
Manuka (2019-2021, by Dave Foster and Noe Blanco). Award winner at 25 TDC in 2022. Compressed typefaces for large sizes. Described by Klim Type: With deviant details pilfered from Teutonic timber type, Manuka grafts a contemporary antipodean aesthetic onto 19th century German root-stock. Tight spacing, closed apertures and sharp joins make a compelling texture, like sunlight sparkling through a forest canopy.
Untitled Sans and Untitled Serif (2020). Klim writes that they are quotidian typefaces: Untitled Sans is a plain, neogrotesk sans validated by the ideas of Jasper Morrison and Naoto Fukasawa's Super Normal project. Untitled Serif is drawn from the old-style genre of typefaces: the post-Caslon, pre-Times workhorses offered by almost every metal type foundry of the time. Untitled Sans and Untitled Serif are related neither by skeleton nor a traditional aesthetic connection, but by concept only.
Epicene Text & Display (2021, by Dave Foster and Noe Blanco). Award winner at 25 TDC in 2022. These are baroque typeface families inspired by the work of 18th century masters J-F. Rosart and J.M. Fleischmann. AIGA describes the result as a baroque typeface celebrating ornamental idiosyncracy.

In 2020, he started writing the text The Art of Letters. [Google] [MyFonts] [More] ⦿

Koelooptiemanna Productions (was: KosteX)
[Roel Koster]

Dutchman Roel Koster made the royalty-free KosteXSchool (or: SchoolKX) font for kids' letter tracing. It is in fact an Avant-Garde style font. Direct access. See also here and here. [Google] [More] ⦿

Kohato Design

This site offers highly original artsy avant garde creations: Peace, Waterdrop, Miyabi, KJohato Bit 15, Planet to Planet. Its web site too is simply gorgeous. [Google] [More] ⦿

Kris Sowersby
[KLIM (or: Klim Type Foundry)]

Kustomtype
[Coert De Decker]

Kustomtype is Coert De Decker's type foundry 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.

Typefaces from 2018: Fontwax (inspired by 1960s sign painting), Luckystrikes (a heavy comic book style typeface that was inspired by 1950-style advertising of these well-known American cigarettes), America Line (based on posters from the 1930s for the Holland-America Line made by Dutch graphic designer Wim ten Broe), New York Line (based on the Holland America Line inscription at Hotel New York in Rotterdam), Comicblast (based on the style of several Belgian comic book artists), Steampunk (a slab serif inspired on sixties hand-lettered French movie poster of Charles Bronson).

Typefaces from 2019: Newbeats (based on a poster of the film A Hard Day's Night starring the Beatles), Burlesk (Regular and Inline; based on the paper cutout letters in a 1950s Bollywood movie poster), Soundboy (a beatnik typeface that pays homage to Elvis Presley: it was drawn by hand from a number of images from Elvis's Blue Hawaii film), Poppin (a beatnik family), Sunbeam (a branding sans), Stonetype (an all caps for stonemasons, by an ex-stonemason), Initials BB (a hand-printed typefaces; BB stands for Brigitte Bardot).

Typefaces from 2020: Doggybag, Strak (a squarish typeface family that celebrates the tight, precise lines in the work of Belgian comic strip artist Eddy Vermeulen), Deaffont (an experimental font specially designed for a music video and album concept by the metal band Deafcon), Mars Model (futuristic, sci-fi). [Google] [MyFonts] [More] ⦿

La Katsula

Quito, Ecuador-based designer of the thin avant garde typeface Muyu (2018). [Google] [More] ⦿

Leila Gabard

Graphic designer and photographer in Buenos Aires, who created the avant garde typeface PeiPaKoa in 2014. [Google] [More] ⦿

Lera Bazankova

Graphic designer in Moscow, who created the multilined Latin typeface Guitar (2014), which uses Avant Garde Gothic's skeleton. Behance link. [Google] [More] ⦿

Letter Omega
[Doni Sukma]

Jakarta, Indonesia-based type foundry that surfaced in 2016. Its typefaces include Neufile Grotesk (2018, a neo-grotesk by Doni Sukma) and Gelion (2018, by Doni Sukma: inspired by Avenir and Avant Garde).

Typefaces from 2019: Upton (a condensed grotesk with hipster features (such as the vertical-eared g) that was inspired by Bauhaus and Wim Crouwel's Hiroshima), Poligon (a geometric sans family inspired by Avant Garde and Futura), Rifton (an all caps truck stop headline sans).

Typefaces from 2020: Bauziet (a 25-style grotesk with exaggerated inktraps: +a variable font), Gimbo (a fun super-fat poster or logo typeface family), Mono Spec (an all caps monospaced family with regular and stencil styles and a variable OTF option).

Typefaces from 2021: Rioma (an 48-style sans font that is a descendant of Antique Olive; it includes a variable font and stretches from wide to very wide), Grafical (a 20-style geometric sans). You Work For Them link. [Google] [MyFonts] [More] ⦿

LetterGraphics
[Marc Jones Barry Kimbrough]

Photolettering foundry run by Marc Jones Barry Kimbrough in Culver City, CA. Russell Bean worked for the Los Angeles studio of Lettergraphics International in charge of lettering, logo design and converting type designs to film fonts. It was at this time (1973) that the Washington family (digital version at Type Associates, Russell Bean's present company) was completed. The company ceased operations in the mid-1980s.

The 1968 catalog of Lettergraphics featured typefaces like the psychedelic Mod Poster in Alfred Roller's Viennese secession style. The 1974 catalog of Lettergraphics shown in ULC 1974 includes these typefaces:

House styles: Virginia, Vantage, Grading, Joe, Heritage, Chaparral, Radius, Nectar, JoJo, Dojo, Harvey, Spatz, Mamoru, Wellington, Sebastian, Belden, Parquet, Della, Nippy, Hess, Totemic, Ruby, Big Fat, Simoes Classic, Serendipity, Kiwi, Angelo, Bethany, Right-On Neon, Klein Lined, McGrath, Fitzner Caps, Skidoo Outline, Plastic.
By Joseph Churchward: Twenties, Churchward Sans, Churchward Roman, Churchward Lined.
By Marlene Steen: Steen Sans.
By Michael Di Canzio: Di Canzio Sans.
By Donald Carboni: Carboni.
By Patrick Collins: Arlenette.
By Edston J. Detrich: Detrich Sans.
By Martha A. Rowland: Rowland Grotesk.
By John E. Lorish: Lorish Shadow.
By Alfted Guerra: Times Square.
By Reynolds M. Roberts: Roberts Square.
By Peter Solly: Colescombe.
By Robert F. Brightman: Streak, Brightman.
By Robert L. Cooley: La Grange, La Grange Black.
By Herbert L. Frager: Frager Punch.
By Anthony Liliefeldt: Padua.
Ray L. Herness: Herness Script.
Robert E. Gotsch: Botsch Glob, Botsch Toe.
Donald L. Vernon: Chrome.

Digital revivals:

Latitude Sans (2019, Stiggy & Sands). A heavy sans based on Lettergraphics' Free.
Mushmouth PB (2019, Phil Bracco). A revival of the comic book font Albert.
Nudity PB (2018, Phil Bracco) revives Ad Shadow as a layerable font.
Wintermint (2018, Phil Bracco) revives and extends the flared almost psychedelic typeface Lori.
Boilermaker (2018, Stiggy&Sands) is a revival of the tall condensed sans LetterGraphics typeface Flair G100.
The psychedelic (art nouveau inspired) typeface called Cantini (1972) was digitally revived and expanded by Patrick Griffin as Salome (2007, Canada Type).
Intrigue is a Lettergraphics film typeface that was digitized, revived and expanded to a large octagonal / mechanical typeface family, Contraption, by Phil Bracco (Pink Broccoli).
Scrwby (2013, Phil Bracco) is a revival of Surf.
Virginia (2008, Russell Bean) is a digitization of an old avant garde typeface by Bean himself from ca. 1970 that won a Lettergraphics typeface competition. It was extended by two weights and redrawn in 2016 as Virginia Neo.
Rebecca Alaccari (Canada Type) designed Goudy Two Shoes in 2006, an expansion of the film typeface Goudy Fancy by Lettergraphics.
Good Grief PB (2015, Phil Bracco) started out as a revival of Carmel (or Karmel).
MardiKrewePB (2015, Phil Bracco) started as a digitization of a (psychedelic) film typeface called MardiGras by Lettergraphics.
Maile was digitized and extended by Stiggy & Sands as Husk in 2018.
Gene Eidy's Sukiyaki (1968, Lettergraphics) was eventually digitized (without permission) by Jonathan Smith as Hirosh (1993). In 2020, Steve Harrison did a proper digital revival giving full credit to Eidy---his free typeface is also called Sukiyaki.
Laurel was revived and extended/modified by Stiggy & Sands in 2019 as Lorette.
Rackem PB (2019, Phil Bracco) is a beatnik font that started as a digitization of the LetterGraphics film typeface Eightball. There are other Eightball film fonts of a very different look elsewhere, so that name is a bit confusing.
The bullethole typeface Circue Solid was revived by Phil Bracco as Blackhole PB (2019).
Wood Grotesk. This font was revived and expanded in 2020 by Stiggy & Sands as Bugleboy. Berkshire Pro (a plump display typeface).
Caren. A great stencil font revived in 2021 by astigmatic One Eye as Rinzler AOE Pro.

[Google] [More] ⦿

Levi Bunyan

Designer from Aberdeen, Scotland, whose studio is called Aekido.

He created Relic (2011, an abstract geometric caps face), UniStenc (2011, stencil face), Wonderland (a simplistic sans headline face), Body (2011, monoline geometric typeface with some stenciled letters), and Diamond Sans (2011, caps only).

In 2012, he designed Blackjack Gothic, and Body Shop (a thin stencil typeface for The Body Shop).

In 2013, he published Oznacheniya (inspired by Bulgarian signage), Pipeline (a gaspipe caps only typeface), Modular, and Black Grape (a monospaced sans typeface).

Behance link. Cargo Collective link. [Google] [More] ⦿

Lili Lieber
[42 Studio]

Lorena Fernandez Gomes

Graphic designer in Vigo (Galicia) who made the avant-garde geometric face Lorilight (2011). [Google] [More] ⦿

Lubalin Graph
[Herb Lubalin]

From the ITC site: ITC Lubalin Graph is based on the ITC Avant Garde Gothic typeface. The design of ITC Lubalin Graph stemmed from a need for a flexible Egyptian alphabet that was suitable for the phototypesetting technology of the 1970s. The original roman typefaces were designed by Herb Lubalin and drawn by Antonio DiSpigna and Joe Sundwall. The oblique versions were designed by Herb Lubalin and drawn by Ed Benguiat. The condensed versions were developed in 1992 by Helga Jörgensen and Sigrid Engelman.

There are versions of this idiosyncratic slab serif typeface by ITC and Adobe. In 2013, Svetoslav Simov created a lookalike extension of Lubalin Graph called Nexa Slab. In the same style, we also find Kettering 105 (2012) and Kettering 205 by Adrian Talbot. For alternates, see APT Lubalin Graph Alternates (1997, Alan Jay Prescott).

Posters of Lubalin Graph include a set by Benjamin Schmidt (Columbus, OH) in 2014. [Google] [More] ⦿

Lucas Benjamin Sharp
[Sharp Type]

Lucky Halim

Indonesian artist and student. Creator of the modular typeface Xonar (2011), which was based on ITC Avant Garde Demi. No downloads. [Google] [More] ⦿

Lucy Costa Araujo

Teresina, Brazil-based designer of the avant garde sans typefaces Amira (2017) and Enif (2017), and the minimalist sans typeface Good Lingua (2017). [Google] [More] ⦿

Luis Mello

Sao Paulo-based designer who studied at FAAD. He created the avant-garde sans Estrondo Sans (2011) and the geometric texture typeface Conj Nacional (2011). [Google] [More] ⦿

Luiza Morgado

During her studies, Rio de Janeiro-based Luiza Morgado created the hairline avant garde sans typeface Hiper Cool (2015) and the modular octagonal typeface Box (2015). She also designed a set of playing cards based on the work of Cassandre. [Google] [More] ⦿

Magdalena Torres

Chilean designer (b. 1989) who created the beautiful Avant-Garde style geometric sans typeface Caprichosa WIP (2007) as well as Magdalena_Handwritting (2006). [Google] [More] ⦿

Magnus Holder Bjørk

Norwegian designer of the avant garde sans family Daco (2004) sold by Luth. He was also commissioned to make Aenigma, a techno face. Identifont says: Magnus Holder Bjørk is a freshly educated designer now working in Trondheim, Norway. While at a design school in Australia he started developing an Art Deco font family, and with the helping hand of FontShop Norway his Daco font family was prepared for sale. [Google] [More] ⦿

Malecho

Studio in Mexico City, who created the avant garde typeface Lilith in 2016. Behance link. [Google] [More] ⦿

Malgorzata Wodczak

Gdynia, Poland-based designer of the avant garde typeface Trakoja (2017). [Google] [More] ⦿

Manasee Savarkar

During his studies at Eastern Michigan University, Manasee Savarkar (Farmington Hills, MI) created the avant-garde caps typeface Manasee (2013) and the wide techno typeface Auto Showroom (2013). [Google] [More] ⦿

Manuel Birnbacher

Student at Bauhaus University Weimar who created some avant-garde type posters. Behance link. [Google] [More] ⦿

Manuel Ramos

Based in Valencia, Spain, and born in Madrid in 1969, Manuel Ramos is the creator of these free and commercial typefaces in 2012: Astralia (oblique monoline sans), Datura (upright unconnected script), Humana (fat finger face), Fantastica (hairline), Cristal, Vernissage (display face), Humate (thin script), Graff, Retorica (an elegant wide techno face), Arsone (graffiti font), Future, Artesana, Subatomic, Aura (caps only), Radiance (thin face), Romantica, Alameda (an Arabic simulation typeface that conjures up Granada), Abstracta (textured techno face), Understand (an elegant lachrymal typeface), Metropolis (a stiletto deco typeface), Aritmetica (angular), Regard (hairline display face), Artistica (art deco), Iniciatica (bilined), Isabel (bilined caps-only face), Regard (hairline), Glubgraff (graffiti), Graffont (graffiti font), Extraterrestrial, Expresiva, Rotorica (spiky), Passion (a hairline avant-garde typeface), Infinita (hairline avant-garde sans), Cosmonautica (fashion mag typeface with just capitals; also called Eternal), New World (thin octagonal), Modes (condensed and straight-edged), Lavande, Modesta (thin octagonal) and Garbage.

Typefaces from 2013: Transient, Evaow, Stella, Oval, Koda, Amaral (a technical pencil font), Astralasia.

Typefaces from 2014: Radiance (avant garde), Valerie, Akasic, Destiny, Ensure (a casual sans), Exacta, Oldskool.

Typefaces from 2015: Arsone (graffiti style), Manuscripta (script), Valerie (high contrast cursive typeface), Bertica, Exacta, Manuscripta, Spirituality, Bertica, Pleiadian, Positive Thinking, Lovelica, Dawn (sketched), Picasa (sketched painter's font), Abstracta, Future, Akasic.

Typefaces from 2016: Artesana, Graff, Astralia, Idilica (avant garde), Yass, Sharik.

Typefaces from 2017: Magnetic, Soma (an elegant tall display font), Solar (avant garde), Reason (a geometric hairline sans).

Typefaces from 2019: Zen Garden (oriental simulation), Sistematica, Inedita, Galaxy, Existence (art deco), Amaral (architectural lettering), Kasparosky, Destiny (graffiti letters), Yes (a hairline art deco sans).

Dafont link. Fontspace link. Behance link. Old URL.

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

Marc Jones Barry Kimbrough
[LetterGraphics]

Marcela Romero

Since 1994, Marcela Romero is an Assistant Professor at Typography 1, Cosgaya Chair (Bachelor Degree, FADU/UBA). She is a Professor in the post-graduate program of Typeface Design, (Carrera de Diseño de Tipografía, CDT-UBA), acting as Faculty Coordinator.

She is a founder and partner of Estudio Cosgaya, a studio specialized in editorial design, corporate image and communication. In 2003, she designed CD Icons (published by Pixiefonts) with Pablo Cosgaya, with whom she cooperates on numerous projects. She plays an active role in the Latin American type design community. Editor of OERT (Open Educational resources for Typography).

Pragati Narrow (2015, Omnibus Type and Open Font Library), derived from Chivo, is a free Google web font family that covers both Latin (in the 19th century American grotesque style with vertically or horizontally cut terminals) and Devanagari. The Devanagari was developed by Marcela Romero, Pablo Cosgaya and Nicolás Silva.

The free Asap Symbol font (2015, Omnibus Type) was designed by Tania Quindos, Marcela Romero, Elena Gonzalez Miranda and Pablo Cosgaya, to accompany the rounded sans family Asap.

Typefaces from 2019: Museo Moderno (by Pablo Cosgaya, Hector Gatti and Marcela Romero at Omnibus Type: an avant garde geometric sans specially created for the new identity of the Buenos Aires Museum of Modern Art). Github link. Google Font link. [Google] [More] ⦿

Marcelo Reis Melo
[Free Goodies for Designers (or: FGD)]

Marciuliano Design
[Frank Marciuliano]

Fonts made by New Yorker Frank Marciuliano: at Linotype, Abstract, Automat (1997), Bordeaux, Breeze (nice), Charleston, Constitution, Isilda (1997), Labyrinth, Mediterraneo (1997), Lindy (very avant-garde). At ITC, ITC Jaft (1996), ITC Jambalaya (1996, party time!), and ITC Schizoid (1997). Finally, from Frank directly: Burst, CurlyWurly, GellyBelly, Display, Goo-Goots, Isilda Italic, Stiletto, JellyBelly and Sprockets.

View Frank Marciuliano's typefaces. [Google] [MyFonts] [More] ⦿

Marcos Lopez

Graphic designer in Tui, Spain, who created the avant garde typeface Markway in 2016. [Google] [More] ⦿

Marcus Eriksson

Swedish graphic, type and logo designer, and photographer, born and raised in Skelleftea in Northern Sweden, but now located in Vancouver. His typefaces include SD Stencil, Bolsrf (ultra fat), Street Typeface (squarish), Swedisc (avant garde sans), Crispy (hairline octagonal), SubStreet (sturdy sans headline face), Miru (experimental), Subscript (upright connected script), and Bulky (ultra fat). [Google] [More] ⦿

Maria Georgiou

Architect and designer in Thessaloniki, Greece. Creator of Techand (2015), an uppercase avant-garde Greek typeface. [Google] [More] ⦿

Maria Hammerstrøm

Graphic designer in Oslo, b. 1987. Creator of the avant garde sans family Uni ve rs e (2009).

In 2013, she published the geometric custom typeface Huxley and created the identity typeface for Kunsthall Oslo.

Underfundig is her studio in Norway.

Mariana Pariani

Argentinian type designer in Buenos Aires. Her major interest are typography, identity programs and book design. Award winner at Tipos Latinos 2010 for her avant garde typeface Club Universo (2008, done with Eduardo Tunni, originally for the identity of a club). Behance link. Dondo (2011) is a flared typeface that won an award in the display type category at Tipos Latinos 2012. [Google] [More] ⦿

Mariano Weinzettel

Mariano Weinzettel (SEEYA Designs, Buenos Aires, Argentina) created the in-house corporate font Avant Quick (2011), which is based on Avant Garde. Behance link. [Google] [More] ⦿

Marie-Lulu Högemann

During her studies in Hannover, Germany, Marie-Lulu Högemann designed the rounded children's book typeface Molli (2016). [Google] [More] ⦿

Marija Radisavljevic

Graduate of ECAL (Ecole Catonale d'Art de Lausanne) in 2012 and RISD (Rhode Island School of Design) in 2011. With Jack Jennings, she co-designed the avant-garde typeface Pixineo in 2013 for a Boston-based start-up company. [Google] [More] ⦿

Mario Maranta

Art director at Leo Burnett in Bogota, Colombia, who designed the avant garde typeface Maranta (2016). [Google] [More] ⦿

Mark White

Mark White (Bournemouth, UK) designed the free playful soccer-inspired triptych Tiki Taka (2016, in Mediocentro, Trequartista and Ramdeuter styles), the free monoline sans typeface Inflecto and the free thin avant garde typeface Abyssopelagic in 2016. In 2017 he designed the free all caps sans typeface False Nine, the modular typeface Petrichor and the free neon typeface Klaxons. [Google] [More] ⦿

Marten Fischer

Swedish creator of Pilo Regular (2007, at Pilo Bold Me GBG; with Kenneth Pilo, Ray Larabie and Goran Soderstrom). Kenneth Pilo writes: Kenneth Pilo had never designed a typeface and this particular project was long overdue. In collaboration with Marten Fischer, Ray Larabie of Typodermic, and Goran Soderstrom of Pangea Design, the font Pilo Regular was born in 2007. Pilo Regular is a bold, single weight OpenType typeface featuring subtle inline detailing and a solid sporting aesthetic. It feels both hard and soft, decorative and stoic, vintage and modern. The typeface is inspired by the logo for Bold (community for swedish advertising business), which was designed by Bjorn Hoglund, CP+B Europe. Pilo Regular is a multilined typeface that takes a bit from YagiBold, the CNN typeface. Pilo Thin (2008) is a hairline avant garde sans designed by the same group, Larabie excepted. [Google] [More] ⦿

Maryina Madworld

Santiago, Chile-based designer of the thin avant-garde caps typeface Malice (2014). [Google] [More] ⦿

Matevz Medja
[Archive Type]

Mathias Doblhammer
[Deeait Creates]

Mathieu Loutre
[Mathieu Triay]

Mathieu Triay
[Mathieu Loutre]

Mathieu Triay (Mathieu Loutre) is a software engineer who studied at University College London and the University of London. In 2017, he designed Marvin Visions to revive the successful avant garde typeface Marvin (1969, Michael Chave, Face Photosetting) for the sci-fi magazine Visions. It also contains Cyrillic. Mathieu explains: The result of that process is a more consistent Marvin. It has larger counters and strong, stable shapes. It's a little more versatile, will look great on screen and in print, and it can be tracked without collapsing. It retains the charm and genial look of its forefather but brings its distinctive feel into the digital world with a bang. Updated in 2018. Unusual and restrictive licensing.

Download link for personal use. Github link. Twitter link. Home page. [Google] [More] ⦿

Matias Romero

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 2018: Marielle Franco. This typeface was politically motivated as it pays homage to Marielle Franco (b. 1979 as Marielle Francisco da Silva, d. 2018), a Brazilian politician, feminist, and human rights activist. After earning a master's degree in public administration from the Fluminense Federal University, she served as a city councillor of the Municipal Chamber of Rio de Janeiro for the Socialism and Liberty Party (PSOL) from January 2017 until her death. On 14 March 2018, while in a car after delivering a speech, Franco and her driver were shot multiple times and killed by two murderers in another vehicle, in Northern Rio de Janeiro. Franco had been an outspoken critic of police brutality and extrajudicial killings, as well as the February 2018 federal intervention by Brazilian president Michel Temer in the state of Rio de Janeiro which resulted in the deployment of the army in police operations.

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. [Google] [More] ⦿

Matjaz Tozon

Graphic designer in Ljubljana, Slovenia, who created the hairline avant-garde typeface Tozonsky in 2014. Behance link. [Google] [More] ⦿

Matt Grey

Graphic designer and illustrator (b. Southampton, UK, 1993) who studied graphic design at University College Falmouth.

He created the dingbat face Social Networking Icons (2011) and the counterless geometric typeface Grobsidian (2011).

Other typefaces: Debunk (2012, a grunge family), Kranx (2012), Bloq (2012), Beehive (2012), Echo Gothic (monolinear and minimalist/geometric), Hanson, Interlocked, Pixter (dot matrix face), Scrawlster (hand-printed), Tubular Type, Unnamed.

He set up the Matt Grey type foundry in 2011 in Southampton. In 2017, he designed the octagonal and rounded octagonal typefaces Kunst, Kunst Imprint and Kunst Rounded. In 2020, he published the pixel family Pixter.

Catalog of his typefaces. [Google] [MyFonts] [More] ⦿

Matteo Di Iorio

Treviso, Italy-based designer (b. 1989, Forlimpopoli, Italy) of the monoline rounded avant garde sans typeface Antipasto (2007, Zeta Fonts). Antipasto Pro (+Icons) was published in 2017.

Max Burchartz

German Photographer, 1887-1961. In 1924, he proposed the introduction of one alphabet (no more upper case and lower case). That idea was picked up by other avant-garde type designer, and was developed at Bauhaus by Herbert Bayer, and by Joost Schmidt, Kurt Schwitters, Jan Tschichold and at the end of the 30s by Peignot. [Google] [More] ⦿

Max Infeld
[Xerographer Fonts]

Maxim Butsky

Donetsk, Ukraine-based designer of the elliptical avant garde (Latin) typeface Megapolis Round (2015) and the handcrafted Pen Poster (2015). [Google] [More] ⦿

M-B Creative
[Ben Mecke-Burford]

M-B Creative is a British type foundry in Presteigne, Pows, est. 2013 by Ben Mecke-Burford, or just Ben Berford, who has created many stunning art deco and other typeface families.

Typefaces made in 2013 include MB Noir (an art deco sans), the experimental minimalist MB Negative Space, the piano key typeface MB Sixtythree, the gorgeous art deco/avant garde titling typeface MB Deco, and the circle-based monoline typeface MB Geometrixa.

In 2014, he published MB Vintage (sic: an art deco sans family), MB Empire (a sans that goes back to Gill Sans), MB Narrow (a compressed sans family), MB Edwardsson (handwriting font) and MB Picture House (an all caps art deco typeface family).

Typefaces from 2020: Faustian (medieval, blackletterish), Nuovo Deco (an improvement of MB Deco), Loopkin (a playful fashion mag didone). [Google] [MyFonts] [More] ⦿

Mehmet Abaci
[Studio Typo]

Mehmet Reha Tugcu

Mehmet Reha Tugcu (Tugcu Design Company, Istanbul, Turkey) designed these typefaces:

In 2020: Calamity (squarish), Blight (a spurred typeface), Kasumi (a rounded all caps sans), Nezuko (a Saul Bass style poster font), Avalon (a glitch font), Anima (a horror font), Belmont (medieval), Starforge (sci-fi).
In 2019: Bios (octagonal), Magnate (a trilined art deco typeface), Megaton (a great stencil typeface), Polaris (cyber typeface), Quartz (art deco), Visage (an all caps titling sans), Solaire, Cinderheart (a cutout typeface), Osiris (a sci-fi typeface), Pandemic (dry brush), Loki (a comic book font), Coven, Valencia (an art deco font).
In 2018: Mistlock, Wraith (a super wide sci-fi typeface), Sojourn, Gore (blocky), Grind (grunge), Junkdog, Wisteria (foliated caps), Brigmore, Lash (a free weathered font), Halcyon, Kusanagi (futuristic), Periwinkle, Minerva (art deco).
In 2017: Vera (a vintage all caps typeface), Odachi (a free rough brush font), Quas, Stargaze (retro-futuristic), Derelict (a macho octagonal typeface), Noatun (hispter sans), Nigma (dry brush), Wisp, Honeysuckle (watercolor brush), Kohm (vintage), Nectar (sans), Emporia (art deco), Drip, Ghoul, Voyager (trekkie font), Heatwave, Njord (a hipster sans), Robinson (a free poster typeface family with various texture styles), Grimtotem (handcrafted).
In 2016: Ico (multilined, labyrinthine), Nikopol (comic book style), Aoki (rounded sans), Jotunheim (rune emulation typeface), Hikou (sans), Quas, Brigmore (art deco sans), Sumac (hand-painted), Okami (rough brush font), Björn (a sharp-edged Scandinavian sans), Grind (eroded style), Equinox (sans), Bonfire, Covenant (brush font), Cormier (art deco).
In 2015, he created Beast (brush font), Glaive (inspired by metal rock), Prospekt (a squarish headline typeface family), Primal (a squarish futuristic typeface), Muertos (a cartoon font named after Day of the Dead), Brigand (spurred Western font), Fairwind (rounded all caps sans), Portico (layered multi-style all caps headline sans typeface), Ironclad (art deco), Cred, Muertos, Beast (brush face), Mecha 08 (a free futuristic typeface), Robinson (vintage newspaper titling typeface with many styles such as Regular, Shadow, Press, Rough, Oblique, Distorted, Urban, Corroded, Diagonal, Inline, Outline), Bronco (+Inline), Centauri (futuristic), Omicron (circle-based sans), Hyperion (futuristic), Atone (a brush font), Venge (a fashionable sans), Thiket (an interlocking poster typeface), Phage (a free squarish font), Fenrir, the Soviet propaganda typeface Sputnik, the brush typeface Veritus, the retro-futuristic Dagon, the stencil typeface Ember, the tall condensed typeface Ogre (+Inline), the art deco / avant garde typeface Metropolis, the free display typeface family Geist, the hipster typeface Pandora, the handcrafted typeface Saryn, the techno sans typeface Helios, the stylish art deco typeface Fontaine (+Rough, +3D), free inline typeface Timber, the great inline slab serif typeface Decurion, and the commercial typefaces Solaris (fururistic), Sledge (grungy black sans), Behemoth, Zephyr (sans), and Manticore (brush).
In 2021: Witch (a Halloween font), Scourge (a grungy rune simulation font), Azurite (a sci-fi font), Monolith.

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

Melanie Coggio

During her studies, Melanie Coggio (Sydney, Australia) created Grooove (2014). [Google] [More] ⦿

Meskhi Toolbox
[Slava Meskhi]

Order any of 31 Georgian TrueType fonts by Slava Meskhi. Commercial fonts: Sanet (1999), downloadable here; the famous Georgian script font "Zaza" (ARGO SHEUDAREBELIA), the Georgian twin of Latin "Arial" - "Arial Georgian"; Arachveulebrivi Thin; Eka (script); "Avaza" and "Avaza Mtavruli", the Georgian versions of AvantGarde made in 1997. Download 8 free Georgian fonts: Aracveilebrivi Thin, Amiran, Avaza, Avaza Mtavruli, Eka, Peikari, Phatima, Zaza. There are also the Georgian truetype fonts Ia and Margo. Eka is also here. This (dead) site has Aladini, Amiran, ArachveulebriviThin, Avaza, AvazaMtavruli, Babuka, BabukaMtavruli, Barnaba, Beka, Bolnisi, BolnisiMtavruli, BrushScriptGeorgian, Calligraphy, Constitution, Daviti, Eka, EkaHor, Elguja, Fido, Ia, Imedi, Lali, Liziko, Margo, Migdebuli, Muqara, Naniko, PataraNino, Peikari, Phatima, Phunji, PhunjiMtavruli, Saba, Sanet, Shalva, Tamaz, Tamta, Tinano. Zaza is also here. [Google] [More] ⦿

Michael Caine

Assistant of the typographer and master printer François Da Ros, specializing in printing with metal founder's type. Part-time teacher at the Ecole Estienne in Paris. [Google] [More] ⦿

Michael Chave
[Face Ronchetti]

Michael Jarboe
[Reserves (or: AE Type)]

Michael Muranaka

San Salvador-based designer (b. 1985) of the thin slab typeface Espacio (2011), the monoline extended sans typeface Añejo (2011), the playful Antelope (2011), the razor blade-themed Font Interrupted (2011), the sci-fi typeface Cerebro (2011), the headline sans Jenkins (2011), the stencil typeface Mura Knockout (2011), which can be downloaded from Dafont.

He also made Diminuto (2011, monoline slabby face), Wednesday (2011, gridded), Diamante (2011, elliptical architectural sans face), 50 Blizzards (2011, stencil face), Kiona (2011, headline caps face), the geometric logotype New Drop Era (2011), the angular typeface A Brand New Day Midnight (2011), Catman (2011), Lowery (2011), and the tattoo font Slayer Dragon (2011). Naomis Citadel (2011) is a font comissioned by author Rick Austinson for his upcoming Consecution Books series. Ocho Siete (2011) and La Quince de Mayra (2011) are hairline sans typefaces. Ciudad Nueva Caps (2011) is a geometric avant garde caps face. Home page. Mariko Chan (2011) is a soft rounded and friendly monoline display sans. Alto Voltaje (2011) is also a monoline typeface but its sharp corners make it much more threatening.

Typefaces from 2012: Bad Handwriting, Sessions, Gorila (sic) (techno sans), Daiichi (hairline elliptical sans), Elite Hacker Corroded, Impalinger (hand-printed).

In 2013, he made Dolce Vita (avant garde sans), Blackbook Two, Giorgio (organic sans), Blackbook One (graffiti face), Tokyo Pop Star.

Typefaces from 2014: Tranquila (grungy), Blackbook 3rd (graffiti brush face), Bobby Corwin, Outlier (sci-fi face).

Typefaces from 2015: Break Label (monoline techno font), Generica (clean sans), Sylphie, Mnml Fnt (experimental stroke removal font), Espacio Novo (thin slab serif).

Typefaces from 2017: Head Traffic.

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

Michasia Lotkowska

Based in Epe, The Netherlands, Michasia Lotkowska designed the wide avant garde sans typeface Roundabout for Marit Otto. In 2015, she designed the 3d typeface Hoekjes. [Google] [More] ⦿

Michelle Chandra

Based in Pematangsiantar, Indonesia, and/or Singapore, Michelle designed the Angku display typeface during her graphic design studies in 2013. In 2014, she made the avant garde sans typeface De Arch. [Google] [More] ⦿

Mick Sylvestre
[Sylvestre Studios]

Mickey Rossi
[SUBFLUX experiment]

Mico Samardzija
[Fat Factory]

MicroLogic Software
[Frank Hainze]

Frank Hainze (Emeryville, CA) used to sell typefaces such as Adorable, Artisan, Celebrity, Crescent, Duchess, Elegance, Formal, Heather, Imperial, ImperialBold, ImperialBoldItalic, ImperialItalic, Legend, MajesticBold, MasonBook, MasonBookOblique, MasonDemi, MasonDemiOblique, Opera, Salsa, Samurai, Victorian (blackletter, 1994), Wedding.

No longer in business. The fonts are still out there, however. For example, check Samurai here.

Ulrich Stiehl documents all forged fonts on the PrintMaster CD and reports that the quality is remarkably good. Examples: Advantage = ITC Avant Garde Gothic, Architect = Adobe Tekton, Editor = ITC American Typewriter, Enchanted = ITC Korinna, Fantasy = ITC Tiffany, Gallery = ITC Galliard, Geneva = Linotype Helvetica, Gourmand = ITC Garamond, Imperial = ITC New Baskerville, Manuscript = Linotype Palatino, Mason = ITC Lubalin Graph, Mirage = ITC Benguiat, Optimum = Linotype Optima, Tiempo = Monotype Times. [Google] [More] ⦿

Miguel Angel Padriñán Alba
[Mr. Black Fonts]

Miguel Angel Sanser

Graphic designer in Madrid, Spain, who created the avant garde sans typeface Rematle2015 in 2014 to celebrate the Champions Cup final in 2014 between Atletico and Real Madrid. It seems that Spaingraph is also run by Sanchez Serrano. In 2015, they offered a free set of dingbats called Spaingraph. Behance link. [Google] [More] ⦿

Mijan Patterson

Student at Queensland College of Art, 2011-2013. Brisbane-based designer of the striking avant-garde all-capitals typeface Krach (2013), which includes an elegant hairline weight.

Mike Charness
[WSI: Weatherly Systems Inc]

Monotype's copies of fonts

Milton Glaser

Milton Glaser (b. 1919, New York, d. 2020) was an important American graphic designer who founded Push Pin Studios (in 1954) in New York where he worked with Seymour Chwast. He left in 1970 and founded Milton Glaser Inc in New York in 1974. He taught classes at SVA, where according to Michael Samuel he said to his students: There are three responses to a piece of design---yes, no, and WOW! Wow is the one to aim for. One of his most iconic designs is the New York City logo from 1977 set in ITC American Typewriter. Glaser designed type on art boards. In the 1973 monograph Milton Glaser Graphic Design, George Leavitt is credited for lettering execution. Author of Sketch & Finish: The Journey from Here to There (2020, Princeton architecural Press). Glaser's typefaces:

Baby Teeth (1968, Photolettering). Milton Glaser's inspiration for his Babyteeth typeface came from a hand-painted advertisement for a tailor he saw in Mexico City. He was inspired by that E drawn as only someone unfamiliar with the alphabet could have concieved. So he set about inventing a completely legible alphabet consistent with this model. Available in the grapevine as BabyTeats. Cyrillically extended by Alexey Kustov (1993, TypeMarket) as Bebit. For a variation of Glaser's psychedelic Baby Teeth Baroque, see Nick Curtis's Aint Baroque NF (2009). Other digital versions include OPTI Buford (Castcraft: after Baby Teeth Ajar) and Baby Teeth (2009, Daylight). Drew Maughan's Wisdom Teeth (2020) is a modern and personal take on the original Baby Teeth, made in response to the large number of hideously bad clones of Baby Teeth (in Drew Maughan's own words). Finally, in 2021, Richard Kegler at P22 published P22 Glaser Babyteeth. Kegler writes: In 2019, P22 Type Foundry met with Milton Glaser to initiate the official digital series of typefaces designed by Glaser in the 1960s and 70s. P22 Glaser Babyteeth is the first family released in the series. P22 Glaser Babyteeth was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official Babyteeth fonts approved by Milton Glaser Studio and the Estate of Milton Glaser. The solid and open versions are designed to overlap for two-color font effects and can even be mixed and matched for multi layer chromatic treatments.
Glaser Stencil (1967, avant-garde typeface available at URW, Elsner&Flake, Linotype, and Apply Interactive). The Cyrillic version is due to A. Kustov (1993). For another digital version, see F37 Glaser Stencil by Rick Banks (2015). Glaser Stencil is sometimes referred to as Neo Futura and Futura Stencil.
Hologram (1970). For a revival see Capital Ideas NF (2012, Nick Curtis).
Baby Fat (1964). Glaser's first typeface. Digitized by Nick Curtis as Keepon Truckin NF (2007) and Baby Curls, and by Richard Keglet at P22 as P22 Glaser Babyfat (2021), which introduces six additional variations to allow the user to easily colorize the type as Glaser envisioned: Keyline, Fill, Glyph, Left, Right, and Down.
Test (1996, a Braille simulation face).
Houdini (1964). Milton Glaser commented about this type family: The typeface is called Houdini after the famous American magician. I wanted to produce a letterform that would gradually disappear as one line after another was removed. For a digital revival, see Richard Kegler's layerable family P22 Glaser Houdini (2021).
Kitchen or Big Kitchen (1976), an art deco shadow caps face. It was digitally revived by Nick Curtis as Coochie Nando NF (2011) and by Richard Kegler as P22 Glaser Kitchen (2021).
Einstein (1970s).
Film Sense (1968, Photolettering, with Seymour Chwast). This typeface was digitized and extended by Adrian Candela in 2013 as Newsense.
Sesame Place (1980).

Musings about life (dead link). Linotype link. FontShop link. A brief tour of Milton Glaser's typography. [Google] [MyFonts] [More] ⦿

Mindofone Fonts

Dallas, TX-based creator of the free art deco stencil typeface Glas Deco (2012), which is based on a specimen found in Hoffmanns Schriftatlas: Das Schriftschaffen der Gegenwart in Alphabeten und Anwendungen, Stuttgart 1930. Another download site. View the original.

Creator of Mexico 86 (2011), a bilined headline typeface that was modeled after the Mexico 1986 World Cup logo font, which in turn was based on Avant Garde Extra Light. Free download at abfonts.

Creator of Twin Mo 1 (2012, bilined).

In 2013, he/she created Hadley Numerals (based on the numbers originally generated by Gunter Gerhard Lange for his Derby typeface), and Hadley Stencil (based on the letters originally generated by Gret Mengelt-Mergenthaler and Walter Ballmer for their Swiss typeface TEXPO). Free download.

North Dallas Forty (2012, free) is based on the custom letters in the original 1979 movie posters and marketing materials for the film North Dallas Forty.

In 2011-2012, Dick Pape created a number of free fonts based on designs pointed out to him by Mindofone, and he calls them his Mindofone collection, 86 files strong. They include French Alphabets (FA) and French Advertising Alphabets (FAA). The French Advertising Alphabets were designed by M. Moullet in Brussels in 1946.

The FAA series: FAA3DLettresEnRelief, FAAAllongees, FAAAllongeesBold, FAAAntiqueAllongee, FAAAntiqueGrasse, FAAAntiques, FAAAntiquesGrasses, FAABaroque3DInitiales, FAABlockLettresEnRelief, FAACameoHollow, FAACaracteresdeFantaisie, FAAChevauchantes, FAACubiques, FAAEcossaises, FAAEcritureGrasseEmoussee, FAAEgyptienneGrasse, FAAEgyptiennesEmoussees, FAAFantaisie, FAAFantaisieBlaireau, FAAFantaisieHardi, FAAFantaisieHaut, FAAFantasio, FAAFloralGothiqueInitiales, FAAFrenchMecane, FAAItalianHeavySlab, FAALettresAuCrayonItalic, FAALiberty, FAANormandes, FAANormandesAllongees, FAAOmbreeEnRelief, FAAOnciale, FAAOrientales, FAAPochoir, FAARomainClassique, FAARomainTypographique, FAScenesPaysannes, FAASerifEgyptienne, FAAVetteFantasieAntieke.

The FA series consists first of all of digitizations that are from a booklet by signpainter Roumond entitled 32 Alphabets Modernes, published in Paris by A. Charayron and Léon Duran, some time in the 1930s. Pape's 32 fonts are FAModerne0369, FAModerne0562a, FAModerne0562b, FAModerne0946aBold, FAModerne0946bBold, FAModerne1367a, FAModerne1367b, FAModerne2021a, FAModerne2021b, FAModerne2491a, FAModerne2491b, FAModerne2491c, FAModerne2491d, FAModerne4441, FAModerne5204, FAModerne5204a, FAModerne5204b, FAModerne5204c, FAModerne6183a, FAModerne6183b, FAModerne6518a, FAModerne6518b, FAModerne6518c, FAModerne6518d, FAModerne7287a, FAModerne7287b, FAModerne7666, FAModerne7798, FAModerne9002a, FAModerne9002b, FAModerne9321a, FAModerne9321b.

The other fonts in the FA series are FAAntique2748, FAAntiqueShaded, FACondensedGothic, FACondensedReversedGothic, FAGillSignWritersGuide, FAGothicInitials, FAHerrickSignWriters, FAJeuSubstantoBold, FAPutti, FARoundSans4901, FAThin3394, FATransportReversed4858, FAUltraLight, FAVineInitials, FAWildFlowers.

Further typefaces by Dick Pape: Cathedral (2011, a sketched expressionist face, based on Martin Wait), ColorLinesFont (2010, based on work by Anton Gridz), ColorOutLinesFont, FuroreMexicoCameo, FuroreMexicoNormal, FuroreMexicoPlain, FuroreMexicoWide. The Furore series was made in 2011 based on Furore No. 11 The Mexico Issue (Piet Schreuders, Amsterdam, 1978).

Dick Pape font download page. [Google] [More] ⦿

Mirco Kirsch

Hamburg, Germany-based designer of Fancy No Name Grotesk Regular (2015), No Fancy Name Font (2015) and No Fancy Name Grotesk Bold Rounded (2015, free), all caps avant garde typefaces. Various weights were published in 2016 including No Fancy Name Grotesk Caps Light and No Fancy Name Grotesk Bold. Behance link. [Google] [More] ⦿

Mark Simonson explains Monotype's cheap substitutes for not only Helvetica, but all the other proprietary fonts Adobe has included with PostScript. These were created at the request of Microsoft for inclusion with its PostScript clone, TrueImage, and also included with Windows and Microsoft Office. A quick list:

Monotype Book Antiqua (+Italic) is a copy of Palatino (+Italic), unauthorized by Herman Zapf, Palatino's creator.
Monotype Corsiva is a poor substitute for ITC Zapf Chancery.
Monotype Sorts is intended to replace Zapf Dingbats.
Twentieth Century is Monotype's version of Futura. Now, Monotype Century Gothic is Twentieth Century, redrawn to match the weight and proportions of ITC Avant Garde Gothic.
Bookman Oldstyle is the original Bookman (late 19th century, ATF) redrawn to match the weight and proportions of ITC Bookman, including its cursive italic.
Century Schoolbook is simply the earlier design upon which New Century Schoolbook (1980, Matthew Carter, Linotype) is based, which both Monotype and Linotype licensed from American Type Founders. The two are virtually indistinguishable except for the extra weights offered in the Linotype version.
Monotype's Arial is a poor subsitute of Helvetica with exactly the same proportions, metrics and weight. Mark Simonson takes Arial apart.

[Google] [More] ⦿

Morten Iveland
[The Infamous Foundry]

Mr. Black Fonts
[Miguel Angel Padriñán Alba]

Iztapalapa, Mexico City-based graphic designer. Creator of Pixa Square (2014: a dot matrix typeface family that includes some arcade game dingbats as well), Domino (2014: digitization of a typeface by Sabino Gainza), Norma Script (2014, avant-garde sans), Norma Cursiva (2014), Macmillan (2014, sans), El Corondel (2014, signage script), Taller (2014, done with Manuel Flores), Mr. Pascal (2014: LED or kitchen style typeface for numbers on watches), Britannia Capital (2014: a calligraphic copperplate typeface), Alfaomega (2014, avant-garde sans), Alfaomega Cursiva (2014, school script font), Espiral (2013, a Victorian school project font at Escuela Nacional de Artes Plásticas UNA).

In 2016, Ayi Studio (Mexico City) published the constructivist typeface family Alek Rodchenko, which was jointly designed by Miguel Angel Padrinan Alba and Victor Manuel Flores Lopez. One must assume that they run Ayi Studio.

Behance link. Newer Behance link. Old Wordpress link. Newest MyFonts link. [Google] [MyFonts] [More] ⦿

MyFonts: Avant Garde

MyFonts selection of Avant Garde style typefaces. View some commercial avant garde typefaces. [Google] [More] ⦿

Nadeen Tawfik

Cairo-based designer of the school project typeface Majoram Arabic (2013, avant-garde and circle-based), Extremity (2013, squarish), Speech Bubble (2013, modular), Neo Kufic (2013, squarish Arabic). [Google] [More] ⦿

Nasanbileg Enkhbold

Graphic designer in Sydney, Australia. Creator of the avant-garde typeface Black Quartz (2011) and the stylish Masuyo (2011). [Google] [More] ⦿

Natalia Cruz

Graphic designer in Sao Paulo. She took some glass windows on Av. Paulista there to design a monoline geometric avant-garde sans face in 2010. [Google] [More] ⦿

Natalia Grosner

Toronto-based freelance graphic designer who moved to New York City. Creator of the multiline typeface Neon (2007), the hairline avant garde typefaces Gisele (2014) and Daria (2014), and the display typeface Electro Font (2014). Behance link. [Google] [More] ⦿

Neale Davidson
[Pixel Sagas (was: Protoform Project, and Fontshack)]

Ned Bunnel

Designer in 1983 of ITC AvantGarde Mono and ITC Souvenir Mono. Note: The geometric sans family ITC Avant Garde Gothic was designed by Herb Lubalin and Tom Carnase and based on Lubalin's logo for Avant Garde Magazine. Ed Benguiat designed the condensed fonts for ITC. Souvenir was originally drawn by Morris Fuller Benton in 1914 as a single weight for the American Type Founders company. It was revived in 1967 by Photo-Lettering and optimized for phototypesetting equipment. ITC was formed in 1971 and, with the help of Photo-Lettering, introduced ITC Souvenir as one of its first typeface families. ITC Souvenir was designed by Ed Benguiat and comes in four weights, each with a matching italic. Linotype link. [Google] [MyFonts] [More] ⦿

Negro
[Ariel Di Lisio]

Negro is a design site where some commercial fonts can be found, all designed by Ariel Di Lisio, a native of Buenos Aires. He studied graphic design at the University of Buenos Aires. From 1993 to 1997 he worked in the design department at Puma. Since 2015, he is a professor at FADU / UBA in Buenos Aires. Still in 2015, he set up Nodo Type Foundry in Buenos Aires together with Mexican designer Aldo Arillo.

His typefaces from before 2010: Marzo (2008: a hairline vogue typeface commissioned by the Argentinian mag Atypica), Donuts (2008: a layer of round upon a layer of round), Paz (2008: a stylish night club or fashion magazine family---stunning), Lynda (2008: an octagonal/mechanical face), Lunes (2007: art deco), Day (2007: art deco), Friday (2007: art deco), Nigga (2007: an ultra-fat art deco typeface with an experimental edge), Love (2007: a mini-serifed geometric beauty), Santino (2008: trying to bring waves into a simple sans face), Normal (2008: gorgeous, geometric and galant), Mate (2008: a geometric all caps typeface for magazine headlines), Caracas (2008), Soko (2009), Stola (2008), Pink (2008: experimental), Cascabel (2009: a kitchen tile typeface digitized by Alejandro Paul at Sudtipos), James (2009: a bullet hole-themed face), Inlove (2009, Sudtipos: a Lubalin-style poster face designed by Di Lisio and digitized by Alejandro Paul).

Typefaces shown in 2010, mostly experimental / geometric / art deco: Destiny, Drimpy, Hongki, Mobile, Moonglow, Normal, Vincent.

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

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

In 2013, he created the stencil typeface Anima for a housing project in Punta Chica, San Fernando, Argentina.

In 2015, he designed the cold sans typeface family Stockholm Type, and the display typeface Roska. In 2015, he set up Nodo Type Foundry in Buenos Aires together with Mexican designer Aldo Arillo.

Negro Nouveau link. [Google] [MyFonts] [More] ⦿

Nelson Cardoso

Creative director in Sao Paulo, who designed Revolução (2013), a counterless and subversive typeface, Sampacity (2013), and octagonal typeface, and Paulista (2013), an avant-garde caps typeface. [Google] [More] ⦿

Neo Font
[Yi Min]

NeoFont is a Korean type foundry. Among its designs, we find Neo (2013, avant-garde Latin face) by Yi Min (Hays, KS). There are, of course, tens of Hangul (Korean) fonts as well. Behance link. [Google] [More] ⦿

Neutura
[Alexander McCracken]

Neutura was formed in 2003 by Alexander McCracken, who is located in San Francisco. His typefaces have a large geometric component: Aerion, Aperture (slab serif family), Autobahn, Belfast (octagonal black-bowled headline face), Cerie Outline, Children (paperclip face), Circle (avant garde style), Deuce (ultrafat), Deuce Round (fat and counterless), Estrella (2011, a high-contrast fat vogue didone titling face), Frank (fat and counterless), Frank Stencil, Frank3, Gulden Draak (blackletter), Interpol (texture face), Magnum (2006, for Neo2 magazine: free), Maisalle, Neutrino (ultra-fat futuristic beauty, 2006), Neutura (clean geometric sans family), Orange (geometric hairline sans), Orange Round, Rabbit, Register (architectural sans), Royale (fat decorative didone), Sabre (octagonal), Sarcophagus (very original blackletter), Slayer Heavy, Spade (fat and counterless), SPQRExlight, Syrup (paperclip font), Vendella (2011), Wafer (ultrafat). At T-26, he published Children (2006, a paperclip font), Deuce and Sarcophagus.

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

Nice Type
[Dan Jones]

Nice Type (London) is Dan Jones's original foundry. Later he started publishing his fonts at Type Union. Dan Jones created the geometric monoline sans typeface Air (2011), which has a bit of the openness and flair of Avant Garde. Johann (2012) is a squarish monoline sans family.

At Type Union, he published the slab serif typefaces Arbour and Arbour Soft, and Project Sans, in 2017.

In 2018, he added the 80-style elliptical blue collar rounded sans typeface family Manual, the 18-style Dillan, the 66-style large x-height cinematic geometric sans family Nominee, the rounded sans typefaces Yoshida Soft, Yoshida Sans and Project Soft.

Typefaces from 2019: House Sans (a superelliptical sans family in 100 styles!).

Typefaces from 2020: Palo (a 72 style utility type system built around 4 widths and 9 weights plus matching italics), Robson (a tall movie credit sans family), House Soft.

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

Nicholas Fabian
[Alien Typefaces]

Nick Curtis

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. 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] [MyFonts] [More] ⦿

Nick Curtis
[Nick Curtis: Free avant garde typefaces]

Nick Curtis
[Nick Curtis: Commercial avant garde typefaces]

Nick Curtis
[Nick Curtis: Commercial typefaces]

Nick Curtis
[Nick Curtis: Typefaces from 2014]

Nick Curtis: Commercial avant garde typefaces
[Nick Curtis]

Nick Curtis made many retro typefaces, including typefaces that followed in the path of art deco and degenerated into the avant garde style, of which Herb Lubalin's Avant Garde is the main representative. Here is a list.

ChicaGogo NF (2010) is a monoline geometric family inspired by an alphabet in Alphabete: ein Schriftaltas von A bis Z.
Hess Gothic Round NF (2008) is a rounded family inspired by Twentieth Century (Sol Hess) and Avant Garde (1970, Herb Lubalin).

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Nick Curtis: Commercial typefaces
[Nick Curtis]

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] [MyFonts] [More] ⦿

Nick Curtis: Free avant garde typefaces
[Nick Curtis]

Nick Curtis's passion for retro typefaces took him to the fads and fashions of the times, such as the semi-geometric look of avant garde. His free typefaces in this category are listed below.

Arizona Airways NF (2003, 2007). Based on this advertising poster (1947).
BittersweetCapital, BittersweetCapitalBold, BittersweetCapitalOutline, BittersweetNF, BittersweetRevised (1999, 2007). Based on this 1933 movie poster by Hans Flato.
CameoAppearanceNF (2000, 2007).
Chi Town NF (1999, 2007, commercial version 2008) is a heavy art deco creation that is based on a 1931 poster for the film The Man from Chicago.
CopaseticNF-Bold, CopaseticNF (1999, 2007). The Pro version at CheapProFonts followed in 2009.
DubbaDubbaNF (1999, 2007). Based on this logo.
GrenadierNF (2000, 2007). Grenadier NF (Nick Curtis) is based on Samuel Welo's Modernistic.
JunebugStompNF-ExtraBold, JunebugStompNF (2003, 2007). Based on a 1925 poster for the chanteuse Arlette Montal, signed simply Bouchard.
LakeWobegonNF (2002, 2007). Based on this poster made in 1938 by Glaesser.
Perisphere (2000).
SnappyServiceNF (2000). Nick: In the olden days B.C. (before cholesterol), there was a barbeque stand in East Dallas called Snappy Service BBQ. The cook called his sauce "rich," which really meant that it was swimming with grease. Mmmmm-good! Anyhow, times, tastes and LDL levels change: the BBQ joint isn't there anymore, but its sign lettering lives on.
ValleyGrrrlNF (2003, 2007). ValleyGrrrlNF (Nick Curtis) is based on Johann Cissarz's poster lettering in Erste Hoehenluft Radfahr-Bahn (1897).

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Nick Curtis: Typefaces from 2014
[Nick Curtis]

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 Anglo, 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 Type foundry).
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).

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Nick Dean

Creator of the multiline typeface Confessions (2009) and the thin avant-garde sans typeface Confusion Girl (2010). [Google] [More] ⦿

Nima Type (or: Nima Visual)
[Andres Moreno Walter]

Andres Moreno Walter (Nimo Visual, Bogota, Colombia) started out by creating free typefaces. In 2018, Nima went commercial, via this site.

Nima Visual created the free monoline avant-garde geometric sans typeface Time Burner (2012), the thin modular typeface Trench (2013), the counterless Diskopia (2013), the display typeface Breve SC (2014), and the sci-fi typefaces Moonhouse (2013), Breve SC (2014), Krunch (2014), Quango (2015, a free organic font), Superfruit (2015: a grocery store font), Worm Box (2015, squarish and techno), Monopoly (2015: a clean sans), Neonclipper (2016: a free neon light font family), Quesha (2016), and Clearlight (2016).

Typefaces from 2017: Quesha, Autobus (modular). One free weight.

Typefaces from 2018: Monopoly Inline, Pauraque Serif Rough.

Typefaces from 2021: Balinera (a condensed poster typeface), Kubots (blocky, octagonal).

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

Nimio Insight

Design studio in Toledo, Spain, who created the hipster typefaces Anfora (2014, Greek simulation) and Prenzlauer (2013). In 2014, Nimio created a decorative set of numerals called Numerologia (2014) and the custom avant-garde sans typeface Geome. Behance link. [Google] [More] ⦿

Nina Gregier

Polish graphic designer who is based in Krakow. Nina is exploring geometric concepts such as in her Alfabetczi White (2012), My Republic, Teleport (2011, monoline hexagonal), in her Stripes typeface (2010), in Do Not Cut (2011), in CLN 3000 ID (2011), in the multiline typeface Pink Twist Alphabet (2011), in the hand-printed poster typeface Bambi Letters (2011), and in Garaz (2011). Ksavery (2011) is an architectural typeface designed for the logo of the Krakow School of Art and Fashion Design's blog.

In 2012, she created the alchemic typeface Keep Going.

Fruits of the Forest (2013) is an alchemic typeface family. Classic Geometry (2013) also uses geometric patterns.

In 2014, she created the geometric display typeface Baltazar, the multilined typeface Wake Up, and the avant-garde Proste Wnetrze (for the interior design studio by that name).

In 2015, Nina designed the free EPS format polygonal typeface Kendrick.

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

Nippa Downey

Nippa Downey (DJ Nippa) is the creator in 2008 at FontStruct of these typefaces: NCD Paperclip (2008), NCD Paperclip Closed, the NCD Black Square family (2008, he writes: The Black Square of Kazimir Malevich is one of the most famous creations of Russian art in the last century. The first Black Square was painted in 1915 to become the turning point in the development of Russian avant-garde.), Snake, Snake Rebel, Mooch Rounded II and Mooch Squared II.

Additions in 2009: The NCD Dot Matrix family (many styles), NCD Grand Theft Autostruct (based on the logo for the Playstation/Xbox computer game "Grand Theft Auto"), NCD Dorky Corners Sans, NCD Amphibian (+Stencil), NCD Blagger (+Stencil), NCD Gigantica2, NCD Gigantica, NCD Brick Stacker, NCD Amoeba family (dot matrix), NCD Deejayon (nice), NCD Blagger (+Stencil), NCD Phusion Bold (octagonaal), NCD PS Magazine (+2) (octagonal), NCD Fabrica 50 (vertical stripes), NCD Scansion, NCD Octangle 20, NCD Neopolicia Harlequin, NCD Reinforcia (piano key, stencilized), NCD White Picket Fence, NCD Autonium Small Caps (not free...).

In 2010, he created the NCD Chromica family (athletic lettering typefaces) and NCD Bezica 10 (elliptical), NCD Nu Arc Stencil Linked, NCD Nu Arc Linked Stencil, NCD Edding 5.0 (brush), NCD Patchwork (texture face), NCD Embroidery (+Comp Size), NCD Snippa Sharp (2011), NCD Nufraktura Gothic (2009), NCD Autonium Small Caps.

Typefaces from 2012: NCD Black Square, NCD Black Square II.

Typefaces from 2013: NCD Neopolicia (+Drop Serif, +Harlequin, +Jump Drop), NCD Grand Theft Autostruct (based on the logo for the Playstation/Xbox computer game "Grand Theft Auto"), NCD Isometrica Horizontal 1 (3d block face), NCD Mooch Squared, NCD Mooch Rounded II.

In 2014, his striped octagonal art deco typeface NCD Deconium SC Black Serif Inlines won an award at the FontStruct Inline Font Competition. Other typefaces from 2014 include NCD Reinforcia and NCD Dottica Serif 60.

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

Noémie Belasic

Paris-based designer of New Wave Font (2015, thin avant-garde sans). Behance link. [Google] [More] ⦿

Nolen Strals
[Post Typography]

Notdef Type
[Diego Maldonado]

A disciple of Tony de Marco, this Sao Paulo, Brazil-based designer has worked on digital magazines in Brazil such as Elle (fashion), Audi Magazine (lifestyle) and Trip (lifestyle). He set up Just in Type with Tony de Marco. Later he started his own foundry, Notdef Type. His typefaces:

The rounded avant garde typeface Garoa (2011, Just in Type). Codesigned with Tony de Marco.
The free font Garoa Hacker Clube Bold was published at OFL in 2013. They write: Inspired by the 70s design, specially on Herb Lubalin's work, the typeface Garoa is a rounded mechanical display font without optical compensations, ideal for large bodies.
In 2013, he created the informal children's book typeface Sapeca, a script full of ligatures and alternates.
The connected spaghetti-inspired script typeface Pasta Script (2015, Just in Type).
Sorvettero (2015). Designed with Tony de Marco, Sorvettero is a sans, layered and unicase typeface inspired by some wood signs in Descansapolis, a neighborhood of Campos do Jordao. It won an award at Tipos Latinos 2016.
Befter Sans (2016). A humanist sans typeface family with flared strokes.
Suit Sans (2016, Just in Type), Suit Sans STD (2017, Just in Type).
Tupa (2017, a squarish techno titling sans with interlocking ligatures).
Couturier (2018, Latinotype). A didone typeface family with several surprises (f and y, for example) and possible applications in fashion mags. Followed in 2019 by Couturier Poster.
Railroad Text (2018). A custom sans for Eisenbahn beer.
ND Type One (2019). A sans family.
Wright (2020). A 48-style art deco sans family with small x-height and wide letters for headline or display use.
Galadali (2021). A confident flared-terminal serif in six styles.
Nd Harquied (2021). A 7-style hipster sans with deep ink traps meant as a Halloween font.
Nd Tupa Nova (2021). An 11-style (+variable) squarish font family with support for both Latin and Cyrillic. In this slightly constructivist genre, one of the best fonts around.

Behance link. Old URL. Creative Market link for Just in Type. [Google] [MyFonts] [More] ⦿

Nousheen Zaidi

During her studies in Karachi, Pakistan, Nousheen Zaidi designed the avant garde typeface Nano (2017). [Google] [More] ⦿

Nowheresburg
[Jason Gilliland]

Jason Gilliland (Nowheresburg, Edmonton, Alberta) created the sharp-edged display typeface Marvis in 2015. It was followed in 2016 by NWB Marvis Display Pro (free demo).

Typefaces from 2017: NWB Ultra Violent (an 8 weight geometric sans-serif display typeface inspired by the poster type of A Clockwork Orange. It's design combines the aesthetics of Futura and the complex ligature structures of Avant Garde and other type designs of Herb Lubalin; free demo). Creative Market link. Behance link. [Google] [More] ⦿

Obys Agency

Kharkiv, Ukraine-based design agency that comprises Viacheslav Olianishyn, Olia Olianishyna, Konstantin Yakovlev, and Roman Salo. Together, they designed

The Night Watch (2021). a free all caps display serif inspired by the paintings of Rembrandt van Rijn.
OTF Glusp (2021). A free all caps avant garde font.

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Oksana Sergienko

Graphic designer and typographer in Moscow. She screated the avant garde and ultra thin sans typeface Hair (2009, Paratype). [Google] [More] ⦿

Omar Olague

Design student in Monterrey, Mexico, who created the avant-garde monoline typefaces Olague Light (2012) and Olague Bold (2012). [Google] [More] ⦿

Open Source Publishing (or: OSP)
[Harrisson]

Free software project based in Belgium and run by four people (and I quote from their web page):

Harrisson: Graphic designer and typographer, based in Liege and Brussels. Started to use as much Open Source software as possible on his Macintosh, as part of a research project The Tomorrow Book at the Jan van Eyck Academy in Maastricht.
Pierre Huyghebaert: Exploring for eighteen years several practices around graphic design, he currently drives his own studio Speculoos. Interested to use free sofware to re-learn to work in others way and collaboratively on cartography, type design, web interface, schematic illustration, teaching and book design.
Nicolas Malevé: Systems- and software developer from Brussels with a long interest in the politics and practice of software. Uses Linux since 1998 and makes publishing- and distribution systems for collaborative work.
Femke Snelting: Graphic designer and artist based in Brussels. Most of her current work is for the web. Recently switched to Linux after using Apple Macintosh for more than ten years.

Alternate URL. They also describe interesting autotrace software included in Inkscape and UNIX batch tools for good autotracing of images. Designers of free fonts:

Alfphabet (2009). Based on the Belgian road signage system in use from 1945 until 1975. It came from Minneapolis to Brussels with 3M.
Broodthaers.
Cimatics (2009). Totally experimental. This font was designed in July 2009, for the graphic identity of Cimatics A\V Platform. It gathers glyphs from FreeSerif, FreeSerifItalic, DejaVuSans, DejaVuSerif, the OSP_frog mascot, the Cimatics two piece heart, a baronchon_palm_tree from Open Clip Art Library and private use dingbats drawn for Cimatics (Cimatics_scare_eye, white_pentagon).
Crickx. A digital reinterpretation of a set of adhesive letters.
Distilled Spirit and Whisky Jazz. In September 2009, Harrisson and Jean Baptiste Parre from LPDME remixed URW Gothic (Avant Garde) and published the free fonts Distilled Spirit and Whisky Jazz.
DLF. DLF stands for Dingbats Liberation Fest.
Libertinage. In August 2008, Harrisson designed 26 variations on Philipp H. Poll's 2006 font Libertine, and called the new family Libertinage. It covers Greek, Latin and Cyrillic.
Limousine. This font was made for a poster to support nine people accused of "criminal association for the purposes of terrorist activity". They were arrested the 11th of November 2008, in France. They and others are the victims of a witch-hunt where the word "terrorism" was applied to any idea or practice which challenges the status quo. An international movement is emerging in their support. For the poster, we re-mixed an open font, the Free Sans from Free UCS Outline Fonts. Open Font Library link.
Logisoso. Logisoso is a reinterpretation of the Delhaize logo lettering.
NotCourierSans. NotCourierSans is a reinterpretation of Nimbus Mono and was designed in Wroclaw at the occasion of Linux Graphics Meeting (LGM 2008). We took Nimbus as the base of the design. We proceeded to remove the serifs with raw cuts. We did not soften the edges. We are not here to be polite.
OSP-DIN (2009). The first cut of OSP-DIN was drawn for the festival Cinema du réel.
Polsku Regula (2010). Polsku Regula is inspired by polish signage, street signs and shop windows lettering.
Reglo (2011) was used for the new identity of Radio Panik.
Sans Guilt (2011). The three Sans Guilt fonts have been produced during "Read The Fucking Manual", an OSP workshop at Deparment 21 (Royal College of Art), using Gimp, Fonzie and Fontforge. They are different versions of Gill Sans based on three different sources. Sans Guilt MB: based on a rasterized pdf made with the Monotype Gill Sans delivered with Mac OSX. Sans Guilt DB: Based on early sketches by Eric Gill Sans Guilt LB: Based on lead type from Royal College of Arts letterpress workshop. Open Font Library link.
Univers Else (2010-2012). A geometric sans, about which they write: Univers Else is an experiment, a first attempt to escape the post ’80 era of geometrical purity that is so typical of Postscript vector based font drawing. The shapes of Univers Else were obtained from scanning printed textpages that were optically composed by cheap phototypesetting machines in the sixties and seventies. Some of Univers Else beautiful features are: round angles, floating baselines, erratic kerning. More precisely in this case, George Maciunas of the Fluxus group used an IBM composer (probably a Selectric typewriter) for most of his own work, and as a former designer, for all Fluxus work. In the 1988 book Fluxus Codex, kindly given to Pierre Huyghebaert by Sylvie Eyberg, the body text is typeset in a charmingly rounded and dancing Univers that seems to smile playfully at its dry swiss creator. Different scans were assembled by Grégoire Vigneron following different grids. These huge bitmaps were processed with appropriate potrace settings by the Fonzie software* through a .ufo font format as a working format, and an OpenType as output. Some testing and fine-tuning was done by Pierre Marchand, Delphine Platteeuw and Pierre Huyghebaert in FontForge and the font was ready, in a finished state enough to typeset the book. The oblique versions was simply slanted on the fly.
VJ12 (2009).
W Droge. In 2008, they ran a workshop in Wroclaw, Poland, to design a font in a day with the free tools Inkscape, Gimp and FontForge---called W Droge. It was based on Polish traffic signs. Cooperation with Dave Crossland, Alexandre Prokoudine and Nicolas Spalinger. The designers were Malwina Pukaluk, Marcin Wajda, Anna Bartoszek, Kacper Lenczuk, and Ludivine Loiseau.
Le Patin Helvète (2011) is a slab typeface derived from Nimbus L. It covers Latin, Greek, Cyrillic and Hebrew: Patin Helvete is a attempt to turn the slick propergol purity of the modernist lines back to the coal dirt of the iron horse by going backward in time and space through little pieces of rail. Designed by Harrisson, Ludi Loiseau and Sebastien Sanfilippo.
Mill (2012) is an architectural style typeface that has been created for engraving building instructions into the wood of a bench.
Sans Guilt Wafer (2012) is described by OSP as follows: Gill Sans eats a Gaufrette.

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Papanapa
[Gustavo Garcia]

Papanapa is a Sao Paulo-based multidisciplinary design studio founded by Gustavo Garcia. Designer of these typefaces:

2004: Almaga, Sketch Book, Tokiorama (oriental simulation).
2005: Chubby Round, Chubby Square, Classic 1952, Ishtencil Popular, Round Balcony.
2006: Bonfim (paper-fold face), Com Las Manos.
2007: Bad Tattoo Artist, Brocos Tortos, Electro Punk, Molecula Toxica, Roundin.
2008: Flat Pipe, a typeface that won an award at Tipos Latinos 2008 in the experimental type category.
2012: PeKu is a free alchemic display typeface inspired by the Mayan fabric patterns. It was developed especially for the tenth edition of PechaKucha in Brazil. Gigla is an avant garde typeface. George is a hand-drawn poster face. Hot Kiss is an informal sans. Divinitus is a mini-slabbed typeface family.

In 2020, Thiago Bellotti released Tocco (which is based on chunks of wood type; it includes a variable style) at Papanapa. Thiago also created the custom typeface Bib Sans (2021) at Papanapa.

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

ParaType

The main digital type foundry in Russia. ParaType was established as a font department of ParaGraph International in 1989 in Moscow, Russia. At that time in the Soviet Union, all typeface development was concentrated in a state research institute, Polygraphmash. It had the most complete collection of Cyrillic typefaces, which included revivals of Cyrillic typefaces developed by the Berthold and Lehmann type foundries established at the end of 19th century in St. Petersburg, and artwork from Vadim Lazurski, Galina Bannikova, Nikolay Kudryashov and other masters of type and graphic design of Soviet time. ParaType became the first privately-owned type foundry in many years. A license agreement with Polygraphmash allows ParaType to manufacture and distribute their typefaces. Most of Polygraphmash staff designers soon moved to ParaType. In the beginning of 1998, ParaType was separated from the parent company and inherited typefaces and font software from ParaGraph. The company was directed by Emil Yakupov until February 2014. After Yakupov's death, Irina Petrova took over the reins.

Products include FastFont, a simple TrueType builder, ParaNoise, a builder for PostScript fonts with random contours, FontLab, a universal font editor and ScanFont, a font editor with scanning module. Random, customized fonts. Multilingual fonts including, Latin, Cyrillic, Arabic, Greek, Georgian and Hebrew fonts for Macintosh and Windows.

Catalog. Designers. Alternate URL.

Famous typefaces by Paratype include Academy, Pragmatica, Newton, Courier, Futura, Petersburg, Jakob, Kuenstler 480, ITC Studio Script, ITC Zapf Chancery, Amore CTT (2004, Fridman), Karolla, Inform, Hafiz (Arabic), Kolheti (Georgian), Benzion (Hebrew).

The PT Sans (Open Font Library link), PT Serif and PT Mono families (2009-2012) are free. PT stands for Public Type. Another download site. PT Sans, for example, consists of PTSans-Bold, PTSans-BoldItalic, PTSans-Caption, PTSans-CaptionBold, PTSans-Italic, PTSans-Narrow, PTSans-NarrowBold, PTSans-Regular.

Other free ParaType fonts include Courier Cyrillic, Pushkin (2005, handwriting font), and a complete font set for Cyrillic.

Type designers include Vladimir Yefimov, Tagir Safayev, Lyubov Kuznetsova, Manvel Schmavonyan and Alexander Tarbeev. They give this description of the 370+ library: The Russian constructivist and avant garde movements of the early 20th century inspired many ParaType typefaces, including Rodchenko, Quadrat Grotesk, Ariergard, Unovis, Tauern, Dublon and Stroganov. The ParaType library also includes many excellent book and newspaper typefaces such as Octava, Lazurski, Bannikova, Neva or Petersburg. On the other hand, if you need a pretty typeface to knock your clients dead, meet the ParaType girls: Tatiana, Betina, Hortensia, Irina, Liana, Nataliscript, Nina, Olga and Vesna (also check Zhikharev who is not a girl but still very pretty). ParaType also excels in adding Cyrillic characters to existing Latin typefaces -- if your company is ever going to do business with Eastern Europe, you should make them part of your corporate identity! ParaType created CE and Cyrillic versions of popular typefaces licensed from other foundries, including Bell Gothic, Caslon, English 157, Futura, Original Garamond, Gothic 725, Humanist 531, Kis, Raleigh, and Zapf Elliptical 711.

Finally, ParaType offers a handwriting font service out of its office in Saratoga, CA: 120 dollars a shot.

View the ParaType typeface library. Another view of the ParaType typeface collection. [Google] [MyFonts] [More] ⦿

Patricia Bouffard Lavoie

Nicolet, Quebec-based designer of the avant garde sans typeface Insomnie (2017). Creative Market link. [Google] [More] ⦿

Paul Veres
[Calligraphics]

Paul Willocks

British logotype and type designer (b. 1979) who created the avant garde typeface Evolution (2007-2008). In 2010, Paul made the modular kitchen tile typeface Consume Or Die, the octagonal typeface Wipeout, and the geometric arc-based MSD10. See also here. The copyright notice says that the font is co-designed by Matt Schoch. [Google] [More] ⦿

Paulo Heitlinger

Portuguese author of Tipografia: origens, formas e uso das letras (2006, Paulo Heitlinger, Lisbon) and Alfabetos, Caligrafia e Tipografia (2010, Lisbon). Born in Lisbon, he studied nuclear physics in Germany. He lectured on communication design at the Universidade do Algarve. His pages (in Portuguese) are quite complete, with a great glossary, a beautiful section on the history of type, a mag called Cadernos de Tipografia, links to type design in the world in general, and in Brazil, Spain and Portugal in particular, and more general information on type. Font-making how to. Useful timeline of 16th century writing manuals. An absolute must. He has also created or revived a number of typefaces, which can be bought on-line.

An incomplete list of his typefaces:

Sinalética: A sober serif typeface for excellent legibility.
CantoneirosRegular (2008), Cantoneiros-Thin (2008): art deco / avant-garde.
Transito (2008): the famous 1930s stencil face of Jan Tschichold at Lettergieterij Amsterdam, with reinvented forms for f, g and y. [Note: the pic on the right-hand-side is Transito, as grabbed from Heitlinger's page---the grammatical error is not mine.]
Sturmblond-Medium (2008): Revival of simple lettering of Herbert Bayer.
Bayer Condensed: Revival of simple lettering of Herbert Bayer.
Imperatorum (2008)
Ratdoldt (2008): a blackletter typeface made from scans, and attributed to Erhard Ratdolt.
Valentim (2008): a blackletter typeface made from scans of the book Vita Christi. Named after Valentim Fernandes, a printer active in Lisbon, ca. 1480-1519.
Incunabulo Normalizado (2008): a blackletter typeface made from scans of the book Vita Christi.
Uhertype-Medium (2007): Revival of another Bauhaus era typeface, by Joost Schmidt.
Arkitekto: A Bauhaus style piano key font based on an image found in a book of Kurt Weidemann.
His Spanish collection includes Bastarda de Francisco Lucas, a versão espanhola da Cancelleresca italiana do século XVI. Um ponto alto da Caligrafia del Siglo de Oro.
Redondilla de Francisco Lucas, a penmanship font based on Arte de Escribir (1577).
Gótica Rotunda Gans.
Juan Bravo, based on azulejos (tiles).
Segovia, a titling font.
Centauro, a decorative font.
Kurrsiva, inspired by scripts from the 1960s.
Deco de Avila, an avant-garde face.Bertrand (2008): an art deco typeface patterened after the shop sign of Livraria Bertrand in Chiado, Lisbon.
Rotunda:
Visigotica: based on the calligraphic writings of the 10th and 11th centuries. This font has many alternates. Based on scans of a text of the 10th century called Actas de Concilio de Caledonia de 451. Styles: Imperatorum, Isidoro.
Typefaces based on the calligraphic work of Francisco Lucas, 1570: Bastarda de Lucas Italic (2009), Bastarda de Lucas (2009), Redondilla de Lucas (2009).
Uncialis (2009): a Lombardian type based on a 16th century model of Giralde de Prado.
Escolar Portugal (Fino, Forte) and Escolar Brasil are school fonts of the "upright connected script" style that were made in 2008. For more on didactic fonts, read the booklet Caderno de Tipografia e Design Nr. 14 (March 2009).

[Google] [More] ⦿

Paulo Rangel

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

Typefaces from 2013: Rhino Luz, Erasaur, Always Together, Aspergit (avant-garde sans family), Science Fair, Our First Kiss (upright monoline connected script), Marchesa, Marte (hairline avant-garde font), New Spirit (2013), Max And The Dust, Essence Sans (avant-garde sans), Moondance, Dalmais (Peignotian fashion mag face), Mers (circular arc font), Camieis (squarish face), Cliche 21 (avant-garde hairline sans), Old Cave (brush face), Aspargo (hand-printed), The Rainmaker (outlined 3d face), Skandar.

Typefaces from 2014: Oxymorons, I Never Learn, Realize My Passion, Stark (geometric sans), Pistara (thin avant garde sans), Maloire, Arenq (bilined).

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

Pavlina Suhajova

Brno, Czechia-based designer of the hairline avant garde typeface Brite Lites (2015). [Google] [More] ⦿

Pedro Azedo

Graphic designer in Alcanena and/or Terres Novas, Portugal, who created the free bilined caps typeface Kanji (2015), which was inspired by kanji. He also made the free avant garde sans low-center-of-gravity display typeface family Azedo (2015).

In 2016, he designed the free art deco typeface Tagus, the bilined and outlined Irene, the bilined titling typeface Kanji (which contains no kanji), and the free decorative Pole Numerals.

In 2017, he designed the informal typeface Phan, the Escher-inspired typeface Aclo, the children's book typeface Phan, and the blackboard bold font Quira.

In 2018, he published the Escher font Loophole and the soft poster typeface Gelato. [Google] [More] ⦿

Pedro Cramer

Creator of the avant-garde typeface Poker Face (2013) while studying at the Universidade Federal de Pelotas, Brazil. [Google] [More] ⦿

Pedro Cruz

Pedro Cruz (PCZ Design) is an art director in Porto, Portugal. He made the avant garde techno typeface click-ec (2011) for a client. Zentzua (2013) is an octagonal custom typeface. Polis (2014) is a hairline sans typeface made for the short film Polis. Epiq (2015) is a two-width typeface made for the fashion brand Epiq of Africa. Behance link. Old URL. [Google] [More] ⦿

Pete McCracken
[Plazm Fonts]

Peter Bruhn
[Fountain--A Friendly Type Foundry]

Peter Höglund

Designer of the avant-garde commercial sans family Jantzen (2012, Ten Dollar Fonts). [Google] [More] ⦿

Peter Wiegel
[CAT Design Wolgast]

Typefaces from 2022: Montgrove (a luxury serif), Rigero (a reverse contrast display typeface), Patheos (a sharp-edged decorative serif). [Google] [More] ⦿

Petty Wage Fonts
[Jason Huebsch]

Jason Huebsch (b. 1979) lives in Alaska. At Devian Tart, he designed Eatrocks (1999, avant-garde), Whatever (1999, handwriting), Dick Lucas (handwriting). [Google] [More] ⦿

Pilo Bold Me GBG
[Kenneth Pilo]

Swedish design group. Their typefaces include Pilo Regular (2007) and Pilo Thin (2008). Kenneth Pilo writes: Kenneth Pilo had never designed a typeface and this particular project was long overdue. In collaboration with Marten Fischer, Ray Larabie of Typodermic, and Goran Soderstrom of Pangea Design, the font Pilo Regular was born in 2007. Pilo Regular is a bold, single weight OpenType typeface featuring subtle inline detailing and a solid sporting aesthetic. It feels both hard and soft, decorative and stoic, vintage and modern. The typeface is inspired by the logo for Bold (community for swedish advertising business), which was designed by Bjorn Hoglund, CP+B Europe. Pilo Regular is a multilined typeface that takes a bit from YagiBold, the CNN typeface. Pilo Thin (2008) is a hairline avant garde sans designed by the same group, Larabie excepted. [Google] [More] ⦿

Pixel Sagas (was: Protoform Project, and Fontshack)
[Neale Davidson]

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: military 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; for an extension, see Dieter Steffmann's Turtles), 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: Diner Bold, 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 (Star Wars 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: Hastings (art deco), 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] [More] ⦿

Pixel Surplus
[Jeremy Vessey]

Jeremy Vessey set up Hustle Supply Co in 2014. In 2016, he founded Pixel Surplus in Montreal. His first fonts there are Wild Youth (brush script), St. Jacques (a free avant-garde font), Buffalo (connected script font), Old Growth, Ambarella (free script), Greenstone (connected script), Summer Hearts (brush), Wayward, Wayward Sans (free), Gutenberg (a free soft blackletter typeface), Pilsner (also free, all caps and almost art deco), Westfalia (free, handcrafted), Cast Iron and Halogen (a free squarish industrial sans typeface).

Typefaces from 2017: Harvester (script), Particle Regular (all caps sans), Hunter River (signature script), Garment District (a free monoline script designed together with Alex Joganic), Ciderhouse (free all caps sans), The Woodlands (a free brush script), Rustico (a free dry brush font), Chisel Mark (free, by Savanas Design), Ocean Six (free brush typeface), Terrain (condensed sans), Gritstone Script Bold, The Brewers Collection, The Woodblock Collection, Bourbon Grotesque (free).

Typefaces from 2018: Schoolhouse (a free chalkboard SVG font), Rock N Roll (a free dry brush script), Calibre Super Condensed (free), Blackstone Script.

Typefaces from 2019: JV Signature SVG, Bellanche, (a free curly calligraphic typeface), Lightshow (dry brush), Carlanta (by Faras Dina), Highfield (a free Peignotian sans), Heavy MFG, The Woodlands (brush script), Gallagher (a vintage font family), Whiskey Sour (font duo), Rose Blush (SVG opentype brush font), Emily Smiles (brush script), Rhythmic (a dry brush SVG font), Ashfort (dry brush), Flintstock.

Typefaces from 2020: PS Botanical, Montero (script), Aelyn (a free art nouveau font), Paradizo (a didone-inspired typeface), Athletic Dept, Skream (a free horror dry brush font), Traverse (a painted SVG font), Blackshore (a painted SVG font), Morning Brew (grungy letters), Halden (SVG brush font), Strive (a dry brush SVG font).

Typefaces from 2021: Hatfield Park (a baseball script), Avondale (a monoline script), Drag Race SVG (brush), Portside (an old map font), Wild Youth (script), Melrose (a rough-edged script), PS Ambiance (a signature script), Drag Race SVG (dry brush), Strive (dry brush, SVG), Underground Ink SVG (painted), Earthtone (dry brush), Kinlock (a stencil serif), Presque, Haute (a decorative serif), Le Grand Amour (a wild calligraphic script), Adventurist (a free SVG format dry brush script), Game Day (dry brush).

Plazm Fonts
[Pete McCracken]

Portland, OR-based company. Its timeline:

Plazm magazine started as a free zine in 1991. The founding partners were Pete McCracken, Joshua Berger and Niko Courtelis.
Plazm Fonts was founded in 1993 by Pete McCracken and Joshua Berger. McCracken led the effort to create the foundry and is the director and sole type designer there.
Plazm incorporated into Plazm Media, Inc. in 1995.
McCracken buys all of the assets of the type design portion of the company in 2006.
In 2010, the branding and type design business that was Plazmfonts become the Portland Type Co. Plazm continues as a design company not involved in type design, led by creative director Joshua Berger.

The typefaces, by designer:

Marcus Burlile: Stelefont (1993), Widows (1994), Flytrap (1995), GhostTown (1995), Ablefont (1993, of Harry Potter fame), Anvil (1993), Autumnull (1995), Colony (1993), Pilgrim (1993), Reckon (1996), Sillbat (1994), Spiderust (1995), Thistlem (1995), Kitsch (1993), COLONIST.
Andrew D. Taylor: Avenatha (1995).
Robert James Foley Jr: Blitso-funk (1995).
Angus R. Shamal: CensorSans (1994), CensorSerif (1994), Credit (1995), Epilogue.pfa (1995), Humain-Graphica (1995), Humain-Synthetica (1995), Platrica (1994), Roscent (1995).
Ermin Mededovic: Centrifuga (1996), Board (1995).
Marty Bee: Cibola (1995), ThreeRivers (1994), WetandWilde (1994).
Don Synstelien: Derision (1995), NudE (1995), SlickDog (1995).
Dave Henderleiter: DizzySpell (1995).
Opulux Fonts (Dave Henderlieter): DoeMan (1995), DogboySplitHome (1995), Pulsitallia (1995).
Pete McCracken: Erosive (1993), Facsimiled (1994), INKy-black (1994), Mtvpe (1997), NeoDeko (1993), Petescript (1992: based on Pete's handwriting, this font was used on Aerosmith's album Big Ones), PresidentNixon (1994), Altered (1993).
Jim Marcus: EscalidoGothico (1994), EscalidoStreak (1994).
Stephen Farrell: Flexure (1993).
Christian Kusters: Hadrian (1996), Retrospecta (1994), Unzialis (1994), Hybrid (1996), Interface One (1996).
Garland Lyn: Milk (1994).
Paul Bissex: Pscruf (1995), Rufnu (1994).
Robert Selby: Selbezi (1994), NewHamburger (1993).
Charles Wilkin: Velvet (1995).
Roland Henss: Capitalis Pirata.
Riq Mosqueda: Codesigner of Mtvpe (1997)
Elliott Peter Earls: Subluxation (1994).
Scott Yoshinaga: Grunge (1994).
Travis A. Waage: Belch (1994).
Pablo A. Medina: Vitrina, Cuba.

Other fonts: CarPlatesCarPlates, NorthBergen, PHatFont, Pilgrim, RocketScience-1, Twiggy, Victory (2002-2004, an Avenir-Futura style geometric sans family custom made for Nike. The typographers at Typographicom are blasting this typeface. Marc Oxborrow writes: It seems that the less original the work, the more overblown and pretentious the description.).

Write-up at Fontnews. Fonts also sold by Mindcandy.

Bio of McCracken by ATypI: Pete McCracken is a type designer, designer, artist, musician and educator in Portland Oregon. He owns and runs Plazm Media with business partner Josh Berger. Current projects include 20+ custom typefaces for Nike, the recently published book "XXX The Power of Sex in Contemporary Design", and an extensive branding project for Pierce Brosnan. He also owns and runs Crack Press producing music and custom artwork using silkscreen and letterpress. Current projects include a 43 color commissioned screen print of the Last Supper; Heavy Grass, a metal bluegrass band; and a cd of various compositions called Crack Tracks. He also teaches in the design programme at PNCA.

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

Post Typography
[Nolen Strals]

Originally conceived in 2001 as an avant-garde anti-design movement by Nolen Strals and Bruce Willen, Post Typography specializes in graphic design, conceptual typography, and custom lettering/illustration with additional forays into art, apparel, music, curatorial work, design theory, and vandalism. In 2007, Strals and Willen incorporated Post Typography as a full time design studio. Their type and lettering subpage describes some custom typographic work. Noteworthy are Conjoined Font (2006), Negative Font (2006) and Pattern Font (2003, octagonal). [Google] [More] ⦿

Prime Graphics (was: PolyType)
[Karl Nayeri]

Sports glyphs, dingbats, ornaments, by Karl Nayeri, made in 1993 at PolyType, now Prime Graphics. Nayeri studied at University of Paris I (Panthéon-Sorbonne) and Institute of Technology of Tehran. He now lives in West Palm Beach, FL.

His fonts: Polytype-Optix, PolytypeAllure, PolytypeAnimals, PolytypeArrowtek, PolytypeArtdeco, PolytypeBirds, PolytypeBusIcon, PolytypeCorners, PolytypeCorners, PolytypeFruits, PolytypeHolidays, PolytypeImages, Polytype Leisure (2004), PolytypeOptyx, PolytypeOrnaments, PolytypePatterns, PolytypeVegetables. MyFonts sells these typefaces by Nayeri: Achiva, Arius, Aviana, Balboa, Betique, Bohemian, Boracho, Bristol, Exvoto, Fouras, Fulton, Janus, Kaptiva, Montique, Polyma, Polytype Animals, Polytype Images, Polytype Birds, Polytype Ornaments, Polytype Sports, Polytype Fruits, Polytype Arrowtek, Polytype Leisure, Polytype Business Icons, Polytype Vegetables, Polytype Allure, Polytype Holidays, Polytype Art Deco, Polytype Optyx, Polytype Corners, Polytype Artimus I Frames, Polytype Artimus II Frames, Polytype Brutus I Frames, Polytype Brutus II Frames, Polytype Dumas I Frames, Polytype Dumas II Frames, Polytype Medoc I Frames, Polytype Medoc II Frames, Polytype Numa Frames, Polytype Patterns, Shiraz, Signum, Sombrero, Soraya (2004, avant garde), Vasco, Vitalique, Wichita, Woko, Xerxes, Yakima, Zealous. For a period of time, he permitted distribution of his library to International Type Fonders, but now his fonts can be bought from MyFonts.

The typophiles raised an argument about Soraya (2004), which seemed very close to Cirkulus (Michael Neugebauer, Letraset).

Images of some of Nayeri's typefaces. Catalog. The Prime Graphics typeface library. [Google] [MyFonts] [More] ⦿

Q-BO
[Carlos Matteoli]

Q-BO is the foundry of Carlos Daniel Matteoli, a type designer from Santiago del Estero, Argentina, b. 1980.

Old URL. His typefaces, both free and commercial, often have a sci-fi or industrial component:

Djs Symbols (2011). A scanbat font of famous disc jockeys.
Q-Bo (2011) is a fat typeface in which each glyph occupies a perfect square.
2Lines (2011) is a squarish bilined caps face.
Equ (2011).
Ovnis (2011, a flying saucer dingbat face).
Voker (2011, +Rounded: a techno family) and Basica (2011; +Basica 2.0, 2012; +Basica Cartoon, 2014), Teio (2011), Sistema (2011), Ameba (2011) and Abix (2011) are techno typefaces.
Bim (2011) is an outlined techno face. It was followed in 2012 by Bim Eroded.
Hexa (2011) is an experimental hexagonal face.
Cable (2011) is an experimental face.
Crakos (2011) is slightly grungy.
Kram (2011, +Espaciada) is a rounded techno / sci-fi / stencil face.
Spac3 (2011, a sci-fi all caps face), Spac3 Selenium (2014), Spac3 Halftone (2012), Spac3 Destroyed (2011), Spac3 Neon (2011), and Spac3 Tech (2011, a tech stencil face), Spac3 Slim (2017).
Digital (2011), Digital Cognitive (2011) and Digital Tech (2011): semi-pixelized.
Bim (2011).
Djs Symbols (2012). A scanbat of disc jockeys.
Plig (2012) and Plig Nova (2012). An avant garde family.
Capital (2012). A squarish all caps typeface.
Zuber (2012), Zuber Stone (2012, a heavy chiseled textured typeface), Zuber Tech (2015), and Zuber Future (2012, a fat counterless octagonal typeface).
Orena (2012-2016). A squarish caps-only futuristic typeface.
Complex (2012). A block-serifed all caps typeface.
Plig Nova (2012).
Amirox (2012). A fat counterless typeface.
Basica Industrial (2012). An industrial grunge face.
Zian (2012). A fat rounded sans.
Complex Bruja (2012).
Voker Baxer (2012).
Oxin (2012), Oxin Army (2013, stencil), Oxin War (2013), Oxin Brush (2013).
Moiser (2013), Moiser Techno (2013, counterless), and Heavy Moiser (2013). A purely geometric sans.
Argentina (2013). A copperplate style caps face, possibly created after a national soccer team lettering style. Followed in 2014 by the grungy Argentina Austral.
Rixon (2013). A mechanical octagonal typeface.
Gtek (2013). A sci-fi face. Followed by Gtek Broken (2014), Gtek Technology (2014), Gtek Nova (2014), Gtek Cavern (2015), and Gtek Minimal.
Xenik (2014).
Fiker (2014, squarish sci-fi face) and Fiker Futura (2014).
Oki (2014). A blocky outlined typeface.
Cerena (2015).
Zian V15 (2015). A rounded techno sans.
Begok (2015) and Begok v15 (2016). A techno sans.
Kiwik (2017). A heavy display sans.
Basica Cicionica (2017). A squarish techno typeface.
Ertek (2017). A trekkie font.
Abser 391 (2017). Straight-edged.
Spac3 Slim and Spac3 Tech v17 (2019).
Esba (2019).
Basica (2020).
Tauler (2020). A floriated typeface.

Creative Market link. Graphicriver link. [Google] [MyFonts] [More] ⦿

Qréalib
[Julien Protière]

Graphic designer in Veauche, Loire, France.

Dafont link.

Creator of the free typefaces Aqualib (2012), Rastalib (2012), Erolib (2012, white on black), Ginolib (2012), Qréalib (2012, monoline avant-garde unicase sans), Airlib (2012, grunge), Angelib (2012, fat finger face), and Tramlib (2012, grungy). [Google] [More] ⦿

Rachael Park

Graphic designer in New York City who made a straight-edged but rounded typeface called Cato (2013) and the avant-garde typeface family Bagel (2013).

Ramon Lo

Production designer in New York. He created two monoline sans typefaces called Prototype (2012). The first one has a geometric avant-garde look. The second set falls in the rounded squarish category.

Ray Larabie
[Typodermic]

Rémi Lagast

Rémi Lagast lives in Le Soler, Perpignan, France, but is also reported to be in Lille. As a student, he created the modular purely octagonal typeface Aurora (2014) and the free avant garde typeface Gasalt (2014). Asgalt (2014) is a free sci-fi typeface. Creator of the free handcrafted typeface Vulcane (2015), and the free rounded monoline sans typefaces Rhanoll (2015) and Nemesia (2015). Dafont link. [Google] [More] ⦿

Red Rooster Type foundry
[Steve Jackaman]

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:

Alexon (1993, by Les Usherwood), Alghera Pro (1996, Pat Hickson), 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, Barnsley Gothic (2017, a copperplate relate to Steelplate Gothic), Bassuto, Beckenham (1992, Les Usherwood and Paul Hickson), Bellini (an Egyptian family), BlockGothic (1996, Steve Jackaman at the Rabbit Reproductions Type foundry), Bodoni Black Condensed (after R.H. Middleton, 1930), Bodoni Campanile Pro (1998 and 2017, after R.H. Middleton, 1930), Byron
Cameo, Canterbury, Canterbury Old Style (1992, by Ray Vatter and Steve Jackaman after a 1920 original by Morris Fuller Benton at ATF), Canterbury Old Style Pro (2017, a remastering by Steve Jackaman), 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 Type foundry), Century New Style, Chamfer Gothic (after a condensed Ludlow typeface, ca. 1898), Chase, Chelsea (1993, Les Usherwood and Steve Jackaman), Claremont, Coliseum (1992, by A. Pat Hickson and Julie Hopwood for ITF). Steve Jackaman completely redesigned, redrew, and improved the Coliseum family in 2017 and called it Coliseum Pro. That redesign also produced the sister typefaces Clydesdale and Torpedo), 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 (based loosely on a VGC design by Dick Jensen, Serpentine, 1972).
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, Franklin Gothic Pro (2011, with Ashley Muir), French Fries (2017, handcrafted), 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 Pro (2017), 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), Lodestone Pro (2017; based on Marvin (1970) by Face Photosetting).
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)
NewJohnston
PallMall, Phoenix Pro (2011: after Morris Fuller Benton's condensed typeface Phenix American, 1935), 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)
Quest
Radiant RR (after a 1938 typeface by R.H. Middleton), Railroad Gothic Pro (2017: 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), Sandbox (2017, after a typeface from the Robert D. DeLittle Foundry, ca. 1888), 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, Steelplate Gothic Pro (1993 and 2017: a copperplate gothic based on Robert Wiebking's original, ca. 1918), Stirling, Superba Pro (1992 and 2017, after Hass's Superba, 1928-1930), Sycamore
TCAdminister (1994, Les Usherwood and Steve Jackaman), Tempo, Thingbat, TitanicCondensed, Triple Condensed Gothic (a movie credit font)
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 1960s typeface Design Fineline)

FontShop link. MyFonts link.

Text listing of their typefaces. Alphabetic catalog of the Red Rooster typeface library [large web page warning]. [Google] [MyFonts] [More] ⦿

Renae White

New Zealand-based designer of the avant-garde typeface Hawkes Bay Deco (2017). [Google] [More] ⦿

Reserves (or: AE Type)
[Michael Jarboe]

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

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

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

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

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

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

Typefaces from 2014: Reload (octagonal), Reload Stencil (military stencil). Reload Alt and Reload Alt Stencil were added in 2015.

Typefaces from 2015: Averes Title (a sharp geometric sans titling typeface), Averes Title Roman (fashion mag styles).

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

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

Rhys Tomlinson

Rhys Tomlinson (Studio Push, UK) is based in Newcastle, UK. He created the Peignotian avant-garde typeface Kirstie McCrystal (2010). Behance link. [Google] [More] ⦿

Rian Hughes
[Device Fonts]

Richard Krt

Richard Krt (Brisbane, Australia) created the this circle-themed sans typeface Circa (2013). [Google] [More] ⦿

Richard Redfern

München-based designer of the monospaced thin avant garde typeface ABC2 (2014) and the squarish almost constructivist Pinguin (2017). Behance link. Tumblr link. [Google] [More] ⦿

Rick Banks
[F37 (or: Face37)]

Rick Poynor

London-based founding editor of Eye in 1990. Author of Typographica (2001, Princeton Architectural Press), described by the editor as follows: The magazine Typographica--brainchild of founder, editor, designer, and renowned typographer Herbert Spencer--had a brief life, a total of 32 issues published over nineteen years. But its influence stretched--and stretches--far beyond its modest distribution and print runs of the time. Indeed, for many graphic designers, Typographica is something of an obsession, to be collected if and when found, savored, and poured over for designs and techniques not seen since. Remarkably, Spencer never intended to turn a profit, so no expenses were spared in the making of the magazine. Different papers, letterpress, tip-ins, and more were all employed in the presentation of an eclectic range of subject matter: Braille, locomotive lettering, sex and typography, typewriter typefaces, street lettering, matches, and avant-garde poetry all found their way into the magazine. Rick Poynor, founding editor of Eye, recreates the excitement of Typographica in this carefully researched, accessibly written, and beautifully illustrated book that pays tribute to the man and the magazine that changed the course of graphic design.

Author of Typography Now: the Next Wave (1991), and frequent invited speaker at meetings. His other books include The Graphic Edge, Design Without Boundaries, and Obey the Giant. At ATypI 2004 in Prague, he spoke about the crossroads of civilizations. [Google] [More] ⦿

Ricky Richards

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

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

In 2013, he created the modular display typeface Marilyn. iHis 2016 typeface Quizle is similar.

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

RNS Fonts (was: Impacto Laser, or: SuperFlexia)
[Yorlmar Campos]

RNS Fonts (and before that, Impacto Laser, and before that, SuperFlexia) is a type and design group in Caracas, Venezuela headed by J. Campos, Felix Molina and Yorlmar Campos (b. 1976). Yorlmar, who is an architect, designed RNS Underwood (2010, Western face), RNS Bobo Dylan (2007, art deco headline), RNS Baruta Black (2004, fat display typeface based on the Letraset Frankfurter font from 1974), RNS Round Stencil (2011), RNS Cochinilla (2011, avant garde), RNS Camelia (2008-2016: a demi-slab serif), RNS-TNT (2003, counterless and octagonal), and RNS Serial (2003, fat octagonal sports T-shirt font).

All early fonts are free. In 2014, Yorlmar went commercial and started marketing RNS Fonts on the MyFonts site. Commercial fonts include RNS Pictographica (dingbats), which includes RNS Pictographica Cocina.

In 2015, he made the geometric sans typeface RNS Miles (which won an award at Tipos Latinos 2016), the signage brush script RNS Susana, the poster font RNS Ahumada (+Ornaments), the great neurotic script typeface RNS Oladys, the gorgeous ultra fat font RNS Obesa Fat, and RNS Weather Icons (free).

Typefaces from 2016: Zangano (an angular typeface), RNS Sanz (a 14-style typeface family for wayfinding and information signage).

Winner at Tipos Latinos 2018 of a type design award for Mosonyi.

In 2019, Yorlmar Campos and Martin Sesto released RNS Atlante at RNS Fonts. This text family in one weight is based on 16th and 17th century cartography.

In 2020, Yorlmar Campos and Martin Sesto co-designed the Swiss style neo-grotesk typeface family RNS Physis.

Alternate URL. Another URL. Old URL called SuperFlexia. Home page. [Google] [MyFonts] [More] ⦿

Robby Woodard
[WoodardWorks Type Design (was: Robby Woodard Design and Illustration)]

Robert A. Paauwe

Rotterdam-based interaction designer. Student at the Delft University of Technology who is researching designer-oriented programming languages and paradigms. Creator of the free avant garde monoline typeface Thesis (2012). In 2014, he designed the glass krak typeface Polygon, and in 2015 the rounded sans typeface Artificers (with Wang Long Li).

Dafont link. Behance link. FontM link. Revolge link. [Google] [More] ⦿

Robert Harling

Born in Highbury, North London in 1910, Robert was brought up by an aunt after the early deaths of his parents, and went to school in Brighton and London. He lived in Godstore, Surrey, and died in 2008. He studied at the Central School of Arts and Crafts, London. He first worked as a designer for the Daily Mail and was simultaneously an adviser on typography for London Transport and for the Sheffield-based foundry Stephenson Blake&Co, designing their literature and three popular display typefaces:

Playbill (1938) is a Western saloon face. Digital versions exist at Softmaker (as Prescott), URW++ (as Playbill), Elsner&Flake, and Bitstream (as Circus 721).
Chisel (1939) is an engravers typeface done at Stephenson Blake. Compare Bavo (Enschede). Digital versions exist at URW++, Elsner&Flake, and SoftMaker (where it is called Carlisle).
Tea Chest (1939, Stephenson Blake) is an elegant stencil typeface. Digital revivals: Tea Chest (1999, Sigred Claessens and Günther Flake, Apply Interactive), East India Company NF (2011, Nick Curtis), Pekoe JNL (2020, Jeff Levine).

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

Typographic adviser to London Transport, and director of one of London's leading advertising agencies. With James Shand, he was the founder of the Shenval Press in Hertford. He published the quarterly magazine Typography. After WWII, he published Alphabet&Image. He was also the typographic adviser and architecture correspondent for the Sunday Times. He was a during their service with naval intelligence in the second world war. Author of Ian Fleming (2015), a book about Fleming published seven years after his death.

Linotype link. FontShop link.

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

Robert Tepper

Graduate of the School of Visual Arts in New York City. He created Helvetica Style Avant Garde (2012). [Google] [More] ⦿

Rodrigo Bessa

Brazilian creator in 2008 of an Avant Garde style font RavenGarde for TIM Festival 2008. He works at Tátil Design. [Google] [More] ⦿

Roel Koster
[Koelooptiemanna Productions (was: KosteX)]

Roland Hüse
[Runes & Fonts (or: My Handwritings)]

Ronlee Ben-Gal

Graphic design student in Greensboro, NC. She created a hairline avant garde custom face in 2011. [Google] [More] ⦿

R-Type (or: Rui Abreu)
[Rui Abreu]

R-Type was founded by Rui Abreu in 2008. Rui graduated from FBAUP (Faculdade de Belas Artes da Universidade do Porto) in 2003. He has been working as an interactive media designer in different design agencies, and he has been designing typefaces. Based in Porto, he created Tirana (2006, sans family at T26), Catacumba (2007, a gorgeous bold didone titling face, T26; in 2009 at Fountain/PsyOps), Cifra (2006, a lovely ten weight sans family, T26), Nomada (2007, a monoline slab serif), Salto Alto (2006, avant garde sans family, with octagonal influences), Foral (2008, monoline slab serif; published by Fountain in 2010), and Forma (2006, stencil family, T26).

In 2008, he published Orbe (Fountain), an exotic all-caps blackletter inspired by Portuguese and Lombardic calligraphy [it deservedly won an award at TDC2 2009; Orbe Pro at MyFonts], Gesta (2008, sans family), Gesta Condensed (2012), Gesta Semi Condensed (2012), Gira Sans (2012, a grotesque family), Foral Pro (2011, an elliptical slab serif), Catacumba (2011, a high-contrast ball terminal wedge serif family), Aria Pro (2011, a delicate high-contrast transitional serif family), Forma Solid (T26).

In 2013, Rui published Aria Text (a rational (transitional) toned-down version of Aria that comes in three sets of optical sizes, G1, G2, and G3), the geometric sans family Azo Sans and Azo Sans Uber, a geometric sans with a humanist element. Grafolita Script (2013) is a connected typeface family that borrows ideas from signage scripts.

Typefaces from 2014: Litania (medieval-style typeface with roman capitals, Lombardic capitals, and Carolingian minuscules; nice fists accompany the type), Signo (a dynamic sans serif with reverse contrast, designed for editorial and branding). Signo won an award in the TDC 2015 Type Design competition.

Typefaces from 2015: Montblanc (a custom sans for the Montblanc company that won the IF Design award in 2015), Usual (a neutral sans with large x-height). In 2010, Peter Bruhn started a typeface but he died before it was finished. In 2015, Rui Abrey and Göran Söderström finished it as Bruhn Sans (Fountain Type). In 2010 Peter was commissioned to design a wordmark for the documentary Harbour of Hope. The type was to ellicit Malmö's harbor, and Peter found inspiration from the painted type of industrial tankers docked in his hometown.

Typefaces from 2016: Grifo, Symbio and Symbio Arabic (at Typotheque; prize winner at Granshan 2016), Sul Sans (a geometriclly constructed sans with features frequently seen on signs and buildings in Portugal).

Typefaces from 2017: Sul Mono (a typewriter style), Grifito, Grifinito (condensed versions of the sharp-edged display typeface Grifo), Aquino (by Rui Abreu and Ricardo Santos; a display calligraphic stencil typeface inspired by a liturgic book made by Portuguese friar Tomas Aquino in 1735).

Typefaces from 2018: Gliko Modern (an award winner at the Type Directors Club's Type Design Competition 2019).

Typefaces from 2019: Flecha (a sharp and streamlined old-style typeface made for editorial design that won an award at 23TDC in 2020), Staff (a neo-grotesk from X Wide to XXX Condensed).

Typefaces from 2020: Flecha Bronzea (M, L: the condensed version of Flecha).

Typefaces from 2021: Azo Super (a heavy display font), Staff Grotesk (a low key sans family derived from Abreu's 2019 font, Staff), Gineto (a grotesque developed from the brevier size of Gothic no. 4, a nineteen century design by the New York type foundry Farmer, Little & Co), Chassi (in three optical sizes, S, M and L: a revival of Garamond as a genre, slightly reinterpreted for our times; I duisagree though with the word "slightly").

MyFonts interview in August 2013. MyFonts page. T-26 page. Old home page. Klingspor link. Fountain Type link.

View Rui Abreu's typefaces. [Google] [MyFonts] [More] ⦿

Ruben Mac-Lean

Graphic designer in Oslo. Ruben created the avant garde family Cocaine (2010), which is based on Panda by Alexis Marcou. [Google] [More] ⦿

Rui Abreu
[R-Type (or: Rui Abreu)]

Runes & Fonts (or: My Handwritings)
[Roland Hüse]

Kazincbarcika, Hungary-based type designer Roland Hüse (b. 1980) sells his fonts through My Handwritings (Kazincbarcika, Hungary), which was renamed Runes&Fonts. His first font is Zuider Postduif (2012, an informal type family). Florida Shark (2012) is a free Death Metal or tattoo version of one of his commercial fonts. Tamiami (2012) is a headline typeface. Granny's Handwriting (2012), Script Demolition (2012), Sharon Lipschutz's Handwriting (2012), Isa Por Es Homou (2012) and Kinga's Handwriting (2012) are hand-printed typefaces. Napping Cat (2012) and Cubic Sub (2012) are angularly designed, while Mgla (2012) is round and plump. Greek Stone (2012) is a squarish Greek simulation face. On The Road (2012) is a textured typeface. Whirly Wood (2012), Hargita (2012, inspired by ancient Hungarian runes), Dreamcatcher (2012) and Bee Ridge Vantage (2012: see also Bee Ridge) are grunge typefaces. Individigital (2012, +Black, +Thin) is a techno set of typefaces.

Typefaces from 2013: November Sky (art deco sans), Windy Wood, Cool Weekdays, Yellow Peas Light (clean thin monoline sans; free), Back To The Future 4, Yellow Peas Demo (hairline sans), Yellow Peas Bold, Pagan Winter (bilined), Beer Money (brush face), Poor Weekdays (+Serif), Hun Legion (inspired by ancient Hungarian runes), Freehand Roman, Esthajnal (inspired by ancient Hungarian runes), Buffalo Chicken (a connected script), Telihold.

Typefaces from 2014: Sunny Winter (thin script), Sunny Merry Christmas (dingbats), Fox in the snow (connected hand), Dersu Uzala Brush (Asian brush), Good Karma (connected script), Stitch Warrior, Chickpeas, Jaspers Handwriting, Margarita in August, Wheatland, Slim Extreme (a gorgeous geometric hairline sans), Sparkler (a clean geometric sans), Factory Worker, Brushido (Japanese simulation font), Mojito in June, Mesa Grande, Altering The Future, Black Olives (thin calligraphic script), Hangyaboly (comic book font), Fecske (Peignotian sans), Windy Rain, Rainy Wind (calligraphic script), Comic Roman, Wizard of the Moon, Urban Stone (grunge version of Urban Tour), Urban Tour (avant garde sans), Wacky Sushi (hiragana emulation), Constrocktion (multilined typeface).

Typefaces from 2015: She Always Walk Alone (handcrafted), Transatlantic Cruise (an outline script), Csemege (upright connected script), Milano Traffic (sketched typeface), Undergrunge Tornado (a great brush font, +Cyrillic, +Hiragana, +Katakana), Dirt Road, Kikelet, Kikelet Brush, Have A Great Day (rough brush script), Sorsod Borsod, City Birds (script), Loonaria, Texas Grunge (brush script), Solaria (minimalist techno), Biloxi Script, Chicken Fried Steak, Texas Grunge (brush face), Sharky Spot, Autumn Chant (connected script).

Typefaces from 2016: Tribal Case (decorative caps), Shopping Script, Biloxi Calligraphy, Tribal Case (tattoo font), Ting Tang, Alaska Script, Take It Easy (fat finger font), Mi Amor (wide monoline handwriting), Spring Script, Fox in the Snow (connected school script), Kazincbarcika Script (a gorgeous calligraphic script).

Typefaces from 2017: Interconnected, Bar Hoppers, Ciao Baby (retro signage script), De Rotterdam, Abigail Script.

Typefaces from 2018: Christmas Wish Calligraphy, Christmas Wish Monoline, Chicago Moonshine (art deco), Poker in October (a layered color typeface), Personalitype (connected monoline script), Yellow Peas (sans), The Laughing Wolf (script), Italian Breakfast, Saturday Champagne, Teach (by Moataz Ahmed), Long Night (signature script), Relapse (rough brush script), Just Be (brush script), Air in Space (stencil), Beach Script, Interconnected, Beaumaris (slab serif).

Typefaces from 2019: Christmas Wish (calligraphic script), Brachetto (a formal calligraphic typeface developed together with lettering artist Leah Chong), Mulled Wine Season, Colder Weather (spurred), Unlocking Your Dreams (brush script), Gold Under The Mud (a fine scratchy brush script), The Mumbai Sticker (script).

Typefaces from 2020: Delugional, Roberts Script, Alone Together Script (a swashy tattoo script), Shopping Script (a signature font), Shape Variable Script (a variable script font that can be programmedi to react to music), Jam Session (blackboard bold), Un Jour Merveilleux (a script), Stars + Love.

Typefaces from 2021: Long Story Short (a monolinear signature script), The Racoon Quest (a condensed all caps typeface), Delugional (Greek emulation), Neon Love (a monolinear neon sign script font released at Schriftlabor).

Fontspace link. Dafont link. Creative Market link, Old URL. Home page. Another Fontspace link. Creative Fabrica link. [Google] [MyFonts] [More] ⦿

Russell Bean
[Type Associates]

Ryan Atkinson

South African graphic designer who lives in Johannesburg. His typefaces include Atcurve (2008, avant-garde). [Google] [More] ⦿

Rylee Jackson

During her studies in San Francisco, Rylee Jackson designed the minimalist Avenir Altered (2017). [Google] [More] ⦿

Saeka Shoda

Tokyo-based designer (b. 1989, Tokyo) who created tha avant garde typeface SS Anemone (2016) according the strict geometric principles that characterize Herb Lubalin's work. He also designed Minimal Icons (2016), which is optimized for use in 96px by 48px settings. In 2015, he designed the interesting Meet Metro logo for the Tokyo Marathon in that year. Behance link. [Google] [More] ⦿

Salvador Rodriguez Lagos
[Soda]

Sans serif classification

Sandra M

Zaragoza, Spain-based designer of the thin avant-garde typeface Fania (2016). [Google] [More] ⦿

Sandro Laliashvili

As a student at GIPA, this Tbilisi, Georgia-based designer created the avant-garde typeface Flamingo (2015). Behance link. [Google] [More] ⦿

Sandro Londero

Udine, Italy-based designer in 2016 of the geometric solid typeface Moon and Diamonds (created to celebrate Aretha Franklin), Bazar (a sans loosely based on Mark van Bronkhorst's Conduit designed in 1997), Woman Serif, Man Sans (avant garde), and HausNCo (inline Bauhaus style).

In 2017, he designed the sharp-serifed Syrah and the sans typeface Halifax. [Google] [More] ⦿

Sans serif classification
[David Rault]

David Rault classifies sans designs following a slight modification of Lewis Blackwell's list in Typography of the 20th Century:

Grotesque, the first sans serif, from the early 19th century to the 1920's: Akzidenz Grotesk, Franklin Gothic
Humanistic : Gill Sans, Johnston
Geometrical: Futura, Avant-Garde, Kabel
Modern : Helvetica, Univers, Folio
Contemporary : FF Meta, Fedra Sans, Hybrea, FF Cocon

[Google] [More] ⦿

Several groups are generally distinguished:

Grotesque or Grotesk: These are the early sans-serif designs, but also include the 20th century work horses, Helvetica and Univers. Among the earlier ones, we list Akzidenz Grotesk, Bureau Grot, Grotesque, Franklin Gothic and Royal Gothic. The latter typefaces are sometimes classified as Gothic (two-story lowercase g, angled strokes on C and S).
Humanist sans such as Johnston, Gill Sans, Frutiger and its copy, Myriad. These typefaces are alive with variations in width and calligraphic influences. Some appreciate them for beauty, others for legibility.
Geometric sans: These typefaces are pregnant with geometric shapes, and are in some (most) cases less legible. On the other hand, they are more effective on posters and headlines. The main families in this category include Renner's Futura, and Lubalin's ITC Avant Garde. Other styles include Gotham, Spartan and Century Gothic.
Neo-grotesque, transitional or realist: These are modern sans typefaces, often rather dull with little variation in line widths and lacking any extravagant features. Arial, Standard and Bell Centennial are in this group.
Square Gothic, in the style of Bank Gothic: low contrast typefaces with straight lines and curved or rounded corners. Macho look.

In the DIN 16518 German classification, all sans typefaces are globbed together under the name Gruppe VI: Serifenlose Linear-Antiqua.

Credit for some images below: Danielle West. [Google] [More] ⦿

Schriftklassifikation nach DIN 16 518

Type classification (in German) according to the DIN 16 518 system invented in 1964. Pages by Bernhard Schnelle. I will use his German nomenclature, and quote his examples of each style.

I. Venezianische Renaissance-Antiqua: Amalthea, Ascot, Berkeley Old Style, Centaur, Concorde, Deepdene, Eusebius, Goudy Italian, Guardi, Horley Old Style, Jersey, Lutetia, Menhart-Antiqua, Normandy, Seneca, Schneidler-Mediaeval, Trajanus, Verona, Weidemann, Worcester Round.
II. Französische Renaissance-Antiqua [garalde types]: Aeterna, Aldus-Buchschrift, Bembo, Berling, Charter, Comenius-Antiqua, Garamond, Granjon, Leipziger Antiqua, Meridien, Michelangelo, Octavian, Palatino, Perpetua, Plantin, Sabon-Antiqua, Trump-Mediaeval, Van Dijck, Vendome, Weiß-Antiqua.
III. Barock-Antiqua [transitional types]: Baskerville, Bernhard Modern, Bookman, Caledonia, Caslon, Century, Century Schoolbook, Cheltenham, Cochin, Diotima, Ehrhardt, Imprimatur, Janson, Life, Nicolas Cochin, Poppl-Antiqua, Raleigh, Schoolbook, Scotch, Tiffany, Times.
IV. Klassizistische Antiqua [modern or didone types]: Bauer Bodoni, Bodoni-Antiqua, Linotype Centennial, Corvinus, De Vinne, Linotype Didot, Ellington, Falstaff, Fat Face, Fenice, Madison-Antiqua (Amts-Antiqua), Normande, Tiemann-Antiqua, Torino, Walbaum-Antiqua.
V. Serifenbetonte Linear-Antiqua [slab serif]: Aachen, Clarendon, Memphis, Old Towne, Pro Arte Schadow-Antiqua, Serifa, Volta.
VI. Serifenlose Linear-Antiqua [sans]: Akzidenz-Grotesk, Antique Olive, Avant Garde Gothic, Cosmos, Delta, Erbar-Grotesk, Eurostile, Folio, Franklin Gothic, Frutiger, Futura, Gill, Helvetica, Univers.
VII. Antiqua-Varianten: Abbot Old Style, Amelia, Americana, Arnold Böcklin, Banco, Calypso, Churchward, Cooper Black, Dynamo, Eckmann, Glaser Stencil, Hobo, Lasso, Mexico Olympic, Plastica, Profil, Souvenir, Stop, Superstar, Tintoretto, Traffic, Washington, Windsor, Zipper.
VIII. Schreibschriften [scripts]: Arkona, Amazone, Bison, Boulevard, Brush Script, Caprice, Charme, Choc, Diskus, Englische Schreibschrift, Künstler-Schreibschrift, Lithographia, Mistral, Reiner Script, Rondo, Signal, Swing, Vivaldi.
IX. Handschriftliche Antiqua: American Uncial, Antikva Margaret, Arcade, Codex, Delphin Dom Casual, Hadfield, Klang, Koch-Antiqua, Libra, Lydian, Ondine, Poetica, Post-Antiqua, Prima, Ritmo, Solemnis, Studio, Time Script.
X. Gebrochene [Fraktur, blackletter], subdivided into Xa Gotisch, Xb Rundgotisch, Xc Schwabacher, Xd Fraktur, Xe Fraktur-Varianten.
XI. Fremde Schriften [foreign types]: all non-Latin typefaces.

[Google] [More] ⦿

Schrift-Klassifikationen

Type classification at typografie.info. By Ralf Hermann. Interesting to get used to the German terminology, so here we go:

Venezianische Renaissance-Antiqua (ca. 1470): Venetians such as Berkeley Old Style, Centaur, Deepdene, Horley Old Style, Kennerley Old Style, Trajanus, Schneidler-Mediaeval, Seneca.
Französische Renaissance-Antiqua (ca. 1540, humanist): Garamond, Aldus-Buchschrift, Bembo, Berling, Diethelm-Antiqua, Goudy, Palatino, Sabon-Antiqua, Trump-Mediäval, Weiss-Antiqua.
Barock-Antiqua (1750, transitional): Baskerville, Caslon, Imprimatur, Janson-Antiqua, Poppl-Antiqua, Tiffany, Times-Antiqua.
Klassizistische Antiqua (1800, didone, modern): Bodoni-Antiqua, Didot, Madison-Antiqua, Torino, Walbaum-Antiqua.
Serifenbetonte Linear-Antiqua (1850, slab serif) Egyptienne: American Typewriter, Beton, City, Lubalin Graph, Memphis, Rockwell, Serifa, Stymie.
Serifenbetonte Linear-Antiqua Clarendon: Clarendon, Impressum, Melior, Volta.
Serifenbetonte Linear-Antiqua Italienne: Figaro, Hidalgo, Memory, Old Towne, Pro Arte.
Serifenlose Linear-Antiqua (1850, sans): Akzidenz-Grotesk, Avant Garde Gothic, Avenir, Berthold Imago, Franklin Gothic, Frutiger, Futura, Folio, Gill Sans, Helvetica, Kabel, Meta, Neuzeit-Grotesk, Rotis Sans, Stone Sans, Syntax, Univers.
Antiqua-Varianten: Arnold Böcklin, Blur, Eckmann, Exocet, Mambo Bold, Moonbase Alpha, Revue.
Schreibschriften: Ariston, Ballantines, Berthold-Script, Commercial Script, Diskus, Englische Schreibschrift, Künstlerschreibschrift, Lithographia, Mistral, Slogan.
Handschriftliche Antiqua: Arkona, Delphin, Dom Casual, Express, Impuls, Justlefthand, Poppl-College, Post-Antiqua, Vivaldi.
Gebrochene Schriften (blackletter): Gotisch (Fette Gotisch, Wilhelm-Klingspor-Gotisch), Rundgotisch (Tannenberg, Wallau, Weiss-Rundgotisch), Schwabacher (Alte Schwabacher, Renata), Fraktur (Fette Fraktur, Neue Fraktur, Unger-Fraktur, Walbaum-Fraktur, Zentenar-Fraktur), Fraktur-Varianten (Breda-Gotisch, Breite Kanzlei, Rhapsodie).

[Google] [More] ⦿

Scott Calo

FontStructor, aka truth14ful, who made these pixelish typefaces in 2010: Ball Point, Symbol Sans, Balance sans, Tetris, Math, Marquee, Spacewave, Math, Evening (a stencil based on the EVE logo). In 2011, he made the flared serif typefaces Sophistry Serif Compact and Sophistry Serif Modular, the pixel typefaces fs Gaux 7px Bold (2011), fs Gaux 9px, fs Gaux 7px, and fs Gaux 5px Bold, as well as the avant-garde style Plato Sans, fs Salted Library (2011, a headline font based on the old Union Pacific logo) and Lindenmayer Dingbats (based on IFS fractals---looks like a Sierpinski triangle). FS Greener Grass V2 (2011) is a grotesque headline typeface that imitates FS Greener Grass by Agent Demonic Ladybug. fs Pincoya (2011) and its renamed version, fs Pink Oil (2011) imitate Pincoya Black (Daniel Hernandez). fs Schultasche (2011) is a grotesque face. fs Hudson (2011) is a fat display typeface named after Walter Hudson, one of the heaviest people who ever lived. fsCentury Humanist (2011) is a condensed sans. fs Kaputt (2011) is a pixel face.

Typefaces from 2012: fs Off The Chain, fs Halo, fs Liberty, Sukai Tsuri (tall condensed face), fs Lesen (perfectly square white on black typeface), fs Washington One, fs Schultasche, fs Savant garde (pixel face), fs Mechanuscript (Trajan caps; +Celtic), fs Gaux (+Ambigram, +9px: pixel typefaces), fs Hard Times (high contrast didone face), Avica, fs Torvalds, fs Titanium, fs Neuron, fs Inception, fs OffTheChain.

Typefaces from 2013: Dragon Slayer FS.

Typefaces from 2014: Turnin Two, Down with Jezebel FS, FET Title 2014, fs Messenger, Klein Bottle, Amohat New, ECDb.

One of my favorites in this collection is fs Hällvetyka 2011), a tall display typeface for posters and murals. [Google] [More] ⦿

scribblez grafixs

Studio in London. Behance link. They made the (rejected) avant-garde CD cover face Kadija Kamara (2010). [Google] [More] ⦿

Sean Kane

Adelaide-based illustrator and graphic designer. Creator of Suzuka (2012), a tightly kerned piano key typeface that was modeled after Wim Crouwel's Nagasaki. In 2015, he designed the free avant garde sans typeface SK modernist.

Sebastian Mechelk

Berlin-based graphic designer and digital artist who made the avant garde typefaces Helenistic Thin (2009), Amaso (2009, thickj outline face) and Logarde Thin (2009, free). Kernest link. [Google] [More] ⦿

Serge Cortési

French graphic and type designer who makes mainly typefaces for companies. His oeuvre:

Freisz (1990).
In 2002, he was awarded the Trophée d'Or by Agfa Monotype for his typeface Carrefour.
With Sylvie Chokroun he designed the new Gaz de France typeface, called Dolcevita, for the studio Plan Créatif. It is organic with a big O.
Shiseido, an avant-garde typeface done with Adrian Frutiger. A hint of Peignot perhaps.
Scripte Bonne Maman, which every Frenchman recognizes from the jars of "confiture".
CMI, or Cockerill Maintenance et Ingénierie, an organic industrial typeface.
Luxerine.
Ticker Restaurant.
Accor (a hotel chain).
Gamm Vert.
Petit Bateau, grunge.
Citroën (2008): corporate sans typeface. See also here.
DS (2017). A didone typeface family for DS Atomobiles. By Serge Cortési and Christophe Badani.

Serge Cortesi's Studio Cortesi also has typefaces by Christophe Badani and Stéphane Gabrielli.

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

Sergio Martins

Portuguese designer of the display typeface Cabra (2014), which is named after its source of inspiration, the Coimbra University Tower. In 2015, he made the circle-based avant-garde typeface Undique. In 2016, he designed Clarendon Stencil and Sudoeste. Behance link. Another Behance link. [Google] [More] ⦿

Serse Rodriguez

Serse Rodriguez (Barcelona) created the avant garde all-caps sans typeface Basico Typo (2014), Tangram Typo (2009) and the thin geometric beauty Panama Jack (2014). Behance link. [Google] [More] ⦿

Sharkshock
[Dennis Ludlow]

Dennis Ludlow (Sharkshock Productions, Raleigh, NC) started making mostly free fonts in 1999. On August 28, 2001, Dennis announced that he would stop producing fonts, forever. To prove himself wrong, he became more prolific trhan ever, and ultimately started designing retail fonts as well.

His early typefaces include Hot Pizza (2001), Hawaiian Punk, Royal Acidbath, Little Caesar, Subway, Holiday India, Mobsters, Dallas Cowboys (Western look, 2004), Dark Crystal, Queen of Camelot (2015), Green Eggs and Spam (2015), Ludlow Strong Ale (2015, German beer label font), Space Angel (2014), Electrox, Cowboys, Dolphins, Viking Stencil, Lexust (2002), Padaloma (2002), Fujita Ray (2002), Willy Wonka, Hursheys, Grinched (a Halloween or beatnik font), Honda, Busch Gardenz, Holiday India (2000), Simpsons, Blockbusted, IHOP, Chicken Fool A, Playtoy (2000: like the masthead of Playboy), Cowboys (2001), Dreamscar (2001, has a Cyrillic version), Mr. Goodbaur, Dr. Peppers, Oreos, Air Millhouse, Fruitopia, Raiders, TGI Friday, Jolly-Raunchy, Mouser, Pirate-Keg, Fujita Ray (2015), Modeccio (2015, art deco), Wendyville (2015, Western), Vonique 64 (2015, avant-garde style), Your Royal Majesty (2015, a unique blackletter-inspired vampire script), Hackney Block (2015), Thunder Lord (2015, an outlined variant of Raiderfont), Republica Minor (2015), News of the World (2015: a news headline font), TH3 Machine (2015), Funkrocker (2015, inky, grungy), Tiki Tropic (2015: a tiki font), TypoGraphica (2015, a strong geometric sans), Vonique 92 (2015, circle-based fashion sans), Reisenberg (2015, a black titling sans; v2.0 dates from 2018). There is also a medium-sized categorized archive, with subsections such as cartoon fonts and movie fonts.

Typefaces from 2016: Twiddlestix, Konigsberg (rounded sans), Wicked Mouse (looney tunes typeface), Heathergreen (a tall condensed sans), Wonderbar (psychedelic), College Block (athletic lettering), Death Star, Ring of Kerry (uncial style), Blockletter (octagonal), Café Françoise, Cronus (round monoline sans), Suissnord (a wide sans display typeface), Grinched 2.0 (an update of Grinched), Red Seven (futuristic), Enchanted Land (derived from the blackletter genre), Freakshow (ornamental ransom note font), Deutschlander (a condensed sans for movie credits and similar applications).

Typefaces from 2017: Lemonade Stand, Dark & Black, Hennigar (a heavy compact sans in the spirit of Impact), Durango Western, Banbury (a heavy display didone), United Kingdom (techno), Goldoni, Kingsmen.

Typefaces from 2018: Bloomsburg (a 6-style organic sans; +Cyrillic), Stupid Meeting (an all caps display typeface), Medusa Gothic, Carson (tall grotesque), Collegeblock 2 (an octagonal varsity font), Medusa Gothic, Royal Crescent (sans), Praetoria, Papaya Sunrise, Helmswald Post (blackletter).

Typefaces from 2019: Deutschlander 2.0 (an organic monoline sans, with coverage of Cyrillic and Greek), Zanzabar (a genie lamp or Arabic emulation typeface), Vonique 43 (an organic fashion mag sans), Delacorso Outlines (tall decorative caps), Kwixter Sketch (for Latin and Cyrillic).

Typefaces from 2020: Stupid Meeting (an all caps sans with a comic book feel, appropriately named to describe most COVID era Zoom work sessions), Toyster (a plumpish typeface), Wonderbar 2 (psychedelic, all caps), Boldstrom (a tightly spaced heavy industrial sans), Reisenberg, Snicker Snack, Crosshatcher (a sketched font), Czesko (a skyline font), Storybook Ending (a mix of uncial and Tuscan), Toyster (a bubblegum font).

Typefaces from 2021: Kamryn (a display serif), Mouser (an organic geometric sans in six styles), Dottingham (a Victorian typeface), Tempestua (a sharp bold display sans), Lemonade Stand, Brontoburger (a vernacular typeface).

Typefaces from 2022: Jumbalo (a bubblegum font).

Abstract Fonts link. Creative Fabrica link. [Google] [MyFonts] [More] ⦿

Sharp Type
[Lucas Benjamin Sharp]

Lucas Sharp is a designer (b. 1986, San Francisco) set up Sharp Type in Brooklyn, NY, and later in New York City proper. Before that, Lucas Sharp was involved with Typeslashcode in New York. In 2011, he and Juan Carlos Pagan set up Pagan&Sharp in Brooklyn, NY, but they split a few years later. In 2015, Lucas Sharp and Chantra Malee [at Sharp Type, Malee handles business, brand management, marketing, graphic design and sales] started Sharp Type in New York City. In 2020, the collaborators and type designers included Josh Finklea, Connor Davenport, Marc Rouault, My-Lan Thuong, Calvin Kwok, and Justin Sloane. Lucas Sharp's typefaces:

Happy Stache (2010). A blackletter.
Hera (2010). A ball terminal-laden ornate didone done for his thesis at Parsons. His talent shines through his award-quality ornamental didone family, Hera Big (2010), which is an extension of his earlier thesis work.
Designer Sucks (2010). An ultra-fat and counterless typeface.
The free fat counterless typeface Doughboy (2010). In 2014, Greg Gazdowicz and Lucas Sharp co-designed Doughboy Pro, a bubble bath typeface.
Lucas Sharp does penmanship drawings such as Go Big Or Go Home (2010) and We're on a roll (2010).
Together, Pagan and Sharp published Malleable Grotesque Regular (2011).
Sharp Sans (2013, Incubator subfoundry of Village). Sharp Sans is a geometric sans with a non-geometric semi-curvy italic. Sharp Sans No. 2 (2015) is more geometric. It has Bayer / Bauhaus alternates, Lubalin avant garde style interlocking capitals, and pays tribute to those styles. Sharp Sans No. 2 (2015, Incubator): While Sharp Sans No. 1 ends its round monolines with diagonally sheared terminals, Sharp Sans No. 2 shears those terminals on a 90 degree angle.
Ogg (2013) is a fashion mag typeface inspired by the hand lettering of 20th century book designer and calligrapher Oscar Ogg. Ogg won an award at TDC 2014. Review by Bethany Heck.
Frauen [Roman, Script] (2015, Incubator). A calligraphic pair. The Roman is partially based on the calligraphy of Friedrich Neugebauer [on the cover of an almanac of Berlin debutantes published in 1945 titled, Die schönsten Frauen der Welt], and partly Lucas's own creation. Production assistance from Wei Huang.
Sharp Sans was modified in 2016 for Hillary Clinton's campaign, on commission for Michael Bierut of Pentagram. They write: The newest iteration of Sharp Sans was conceived for the Hillary Clinton 2016 campaign. Michael Bierut and the Pentagram team chose Sharp Sans Display No.1 as the main typeface of the campaign identity, but such a monumental project required a sturdier and more utilitarian typeface. The new Sharp Sans is completely redrawn and shaped by the rigorous typographic demands of modern visual communications. What sets the new Sharp Sans apart is a raised x-height, and newly opened counters that make it optimal for both text and display layouts; a new, more versatile approach, of which the two Display versions were not previously designed for. The set has Slab and Stencil styles as well.
In 2016, Sharp designed a custom Trajan-inspired typeface for Anthonly Lent, the jeweler.
Sharp Grotesk (2017), 259 fonts strong and several years in the making. Village writes: Sharp Grotesk sits at the intersection of mid-century modernist rigor and Victorian hand-hewn vernacular. Lucas considered Adrian Frutiger's monumental Univers suite of fonts, with its grid of multiple weights and widths, applying this underlying construction principle to letterforms echoing the forms of American and northern European wood types. Sharp Grotesk won sixth prize in the TDC Typeface Design competition in 2017.
Lucas Sharp and Connor Davenport finished the Dutch oldstyle typeface Eros Text in 2017. Eros Text was influenced By Jan van Krimpen's Sheldon and Bram de Does's Lexicon. Eros Text B has longer ascenders than Eros Text A.
Halyard (2017). An information design sans typeface family by Joshua Darden, Lucas Sharp and Eben Sorkin.
Respira Black (2017). A contemporary blackletter inspired by Spanish and English models from the 15th and 16th centuries.
Sharp Slab (2018).
Beatrice and Beatrice Display (2018) by Lucas Sharp assisted by Connor Davenport and Kia Tasbihgou: Beatrice is a new kind of typeface. The family is an exploration of contrast methodologies, combining various aspects from the canon expansionist systems, inverted contrast, and the contrast behavior of standard sans-serif grotesks. These methodologies were dissected and used as cornerstones in building our own system, with the final result landing largely in unexplored territory. Built on the foundation of a traditional American Gothic but with tight-as-can-be spacing, the superfamily spans a robust set of weights and includes 2 optical sizes: a super high-contrast, tightly packed Display cut, as well as a standard low-contrast cut, designed to function beautifully in a wide range of optical sizes.
In 2019, Lucas Sharp and Marc Rouault wrapped up Doyle at Sharp Type. The chubby Doyle interpolates between Cooper Black and ITC American Typewriter.
In 2021, Lucas Sharp and My-Lan Thuong, assisted by Wei Huang and Marc Rouault, designed Salter. Slater Roman is based on calligraphic book jackets by Georg(e) Salter from 1941, and Salter Italic is inspired by two of Oscar Ogg's book jacket alphabets from 1942.

Type catalog, 2010. [Google] [MyFonts] [More] ⦿

Shinya Okabe
[Daylight Fonts]

Sigbjørn Sørensen

Norwegian graphic designer with a Bachelor of Creative Arts (Graphic Design) from Deakin University, Melbourne, Australia. Based in Tromso and then in Oslo, Sigbjørn Sørensen created these typefaces: Bris (2013, avant-garde), Organs (2013, an organic typeface that was inspired by Dali's paintings), Old Days (2012, a hairline runic simulation typeface).

Sila Özyildiz

During her studies in Ankara, Turkey, Sila Özyildiz created the avant-garde typeface Moderna (2015). Now based in Alicante, Spain, she created the squarish typeface Brick, and a battery-themed all caps typeface in 2016. Cargo Collective link. [Google] [More] ⦿

SINDSINDSIND
[Greg Ponchak]

Greg Ponchak (SINDSINDSIND) is a graphic designer in North Royalton (Cleveland), OH. His company was called SINDSINDSIND, but in 2013, he sold his outfit to Thinkdust.

He created the minimalist high-contrast Qag (2009, Mostar Design Company), Muneris (2010, squarish), some experimental typefaces, the minimalist geometric sans typeface Monolite (2013), Berque (2010, a minimalist rounded sans typeface with hints of DIN), Kolg Gothic (2011), Jirue (2011, high-contrast didone), Kajf (2011, piano key face), NERC (2011, avant-garde), ARGN (2011, a rounded monospaced stencil family), FOSU (2010, hairline avant-garde sans, at HypeForType), Kosumi (2014, experimental), Roxic (high contrast art deco typeface), Shine Pro (2014, a neutral sans), and Squoosh Gothic (2014, a headline sans).

(Dead) Behance link. Klingspor link. [Google] [MyFonts] [More] ⦿

Sinem Ünal

Istanbul, Turkey-based designer of a circle-themed avant garde typeface in 2017. [Google] [More] ⦿

Sinisa Wolf
[Sinisa Wolf GraphicumMMI]

Sinisa Wolf GraphicumMMI
[Sinisa Wolf]

Swedish logotype, type and graphical studio, which shows two typefaces, probably made by themselves: GrMMI#1 (a bold sans based on Industria) and GrMMI#2 (an avant-garde sans). [Google] [More] ⦿

Skyhaven Fonts

Skyhaven (Alex, b. 1993) is located in New York City. He designed free typefaces between 2012 and 2015, and turned professional after that.

In 2012, he designed the hand-printed typefaces Scrappy Le Doot, On Kayak, The Low Down, Lunar Oatmeal, Datamost, Retro Supermarket, Konata, Luna Graph, Clark Summit, Real Toyz, Nocturne, The Snails, StPauls, Arking (graffiti style), Conspiracy, Skeluna, Lava Lamp, Summertime Lovin (outlined signage typeface), and Nonsense. Wub Machine and Spikes are playful typefaces. Penn Avenue and The Enemy Gene are fattish poster fonts. Get The Fuck Up and Des Pot) are outlined comic book typefaces, while Nammy Sans is a comic book typeface designed for balloons. Centipede is a squiggly typeface. Mega Sans and Ursa Cape) are outlined shaded typefaces. Ursa Minor is a sci-fi typeface. Retro Gamer is a horizontally-striped geometric typeface. Raditad) is a horizontally-striped sketch face. Iron Furnaces) is ultra-condensed. Nite Owl) is an avant-garde typeface. Red Fish) is a grunge typeface based on napkin writing. Ded End) is a grungy typewriter typeface. In Metro Caves is a grungy textured typeface. Super Rad) is a geometric sans typeface.

Further typefaces from 2012 include Red Snapper, Metro Skies, Belle West, The Moon, Fisher, Alisky, Enjoy The Alien, Whisperings, The Real World, Swift Death, Tall Trees, Windsor Hand, Distort Me, Split The Atom, Ursa Drop, Klondike7, Belle West, Nammy Sans, Pixel This, Summertime Lovin (comic book lettering), Spikes, Monday Morning, Where My Keys, Firefly Navigator, Coconut Point, Clarks Summit Panic (blood drip typeface), First Impressions (hand-printed), Ocean City Park (hand-printed), Limit Break, Space Game, Sky Metropolis (hand-printed), California Rad (poster face), Yellowjackets (hand-printed), Organic Fear (scary typeface), Frenzy (ornamental caps), Green Surf, Sky Fanci, Killin It, Fix You (outlined face), Punkin Pie (3d outline font), Alligator Sky (hand-printed), Freaking Strange (grunge), Oh God Why (sketched face), In The Know (condensed and hand-printed), Kamikaze (brush face), Wintered Debts, Overhead (alchemic), Wintermint, Festivala, Freaking Strange, Whale Watching, Everything's Fine, Goodnight Freak, Twilight Ozone, Distort Me, Snow Fox, Bouncing on the walls, Sleeping on a cloud, Sketchbook Nasty, On the edge, Outta Da Box, Bold Universe, Splendid Stencil, First Impressions, Strange Rituals (an avant-garde geometric sans), Regular Font (hand-printed outline and shadow font), Shanty Hand, Strawberry Avalanche, Take Warning (blood drip face), Playtitle, Hairliner, Over Atlantic City (tall hand-drawn poster font), Skyliner (tall poster font), Retroland, Owl Creek (a campground font), Insanity, Lake Script, Lakeshore Drive (poster font), Gorilla Comix, Bamboo Brisk, Scranton Fancy, Ruby Glow, Happy Dreams Med Mono, Lost in the Sound (chalk font), Ice Cream Sandwich, Art Center, Shark Fighter, Minds Alike, Supersonic Love, Brushie Brushie, Rainy Day (thin poster font), Maggie Moo (comic book font), Kinda Messy, Midsummer Circus, Ocean Coastlines, Hillside Vista, Fox Connection, Cheap Frames, Problems, Rustik (grungy), Tribal Type, Songbird, Angry Mob, New Visions, Parachutes, Loud and Clear (scratchy typeface), From The Woods.

Typefaces designed in 2013: Brinetext Black (a poster font), The Grand Staircase, Windsor, Spacecraft, Nevermore, Paper Airplanes, Whipped Scream, Paper Airplanes, Sing Out, Bright and Beautiful, Into The Vortex, Embxz, Awkward, Summer Jams (outlined face), Sombody (sic) to Love, Tekno Trance, Spinning Around, Up with the Birds, Campground, Linemaster (outline face).

Typefaces from 2014: Supersonik, Whirly Birdie, The Ramble, Lazy Summer, Red Moon Rising (alchemic font), The Perfect Wave, Realistik (upright script), Brinetext Pattern (textured typeface).

Typefaces from 2015: Wednesday Lettering Practice, Roundmarker, Dragon Night, Sinister Black (heavy brush), February 11 2015, February 10 2015.

Typefaces from 2018: Spindle Refined, Moonrise (a geometric mulilayered hipster font), Clam Shack, Nicholson Gothic, Lake Giles, Anitype Journal (a fat finger font), Anitype Redwood, Wednesday Lettering Practice, Sinister Black, Garden (lapidary vintage caps, aka Lake Giles 26).

Creative Market link. Old URL for Skyhaven Fonts. Dafont link. Fontspace link. [Google] [More] ⦿

Slava Meskhi
[Meskhi Toolbox]

Soda
[Salvador Rodriguez Lagos]

Mexican type designer who sert up Soda (in London, UK). He created the rounded sans typeface family Gardenia (2015-2016, Without Foundry). The name Gardenia may create confusion as there are at least five other typefaces with the same name.

In 2016, Salvador Rodriguez and Diego Aravena Silo co-designed the geometric sans typeface family Fuse and Fuse V.2, which are characterized by a large x-height and some humanist elements. Salvador Rodriguez and Julia Martines Diana added Fuse V.2 Printed in 2018.

Still in 2016, Salvador Rodriguez published Urbani at Without Foundry. This narrow tightly set sans family was inspired by Frutiger and Renner but mixes in Latin curves. Eren and Eren Condensed (2016) is a 32-style slab serif family with a humanistic touch and rounded corners---it was designed by Salvador Rodriguez and programmed by Diego Aravena.

Typefaces from 2017: Sonny Gothic (a geometric sans in 36 styles, W Foundry: an homage to Herb Lubalin; followed in 2018 by Sonny Gothic Vol.2, which was co-designed with Gaspar Muñoz), Nutmeg (geometric sans, W Foundry), Kappa (a modern sans serif with humanistic and geometric features, co-designed by Salvador Rodriguez and Diego Aravena), Kappa Vol 2 (the slab serif version of Kappa), Ulises (with Diego Aravena Silo: an eclectic slab serif with some grotesque features).

Typefaces from 2018: In 2018, he designed Helios Antique and Helios Stencil together with Felipe Sanzana at W Foundry. Hermann (2018, Salvador Rodriguez and Diego Aravena) is a wonderful readable garalde book typeface family.

Typefaces from 2019: Campora (a revival and extension of K. Sommer's awkwardly serifed Dynamo, 1930, and Avant Garde from the 1980s; +inline).

Typefaces from 2020: Supera Gothic (2020: an 18-style geometric sans by Diego Aravena Silo and Salvador Rodriguez; plus variable fonts), Gallos (2020: a 20-style mix of architype (based on Paul Renner's Architype), geometric, gaelic, unicase and uncial, by Diego Aravena Silo and Salvador Rodriguez; containing variable styles as well).

Typefaces from 2021: Samy (a warm rounded geometric serif in 36 styles). [Google] [MyFonts] [More] ⦿

Sofie Graff Horup

For a school project at Skolen for Visuel Kommunikation, Haderslev, Denmark, Sofie Graff Horup (Aarhus, Denmark) created the circle-and-arc-based avant garde monoline neo deco typeface Metric Sans (2015). [Google] [More] ⦿

Sol Hess

American typographer and type designer, b. 1886, Philadelphia, d. 1953. He was a man with class and style, who influenced many through his work. He managed the Lanston library from early in the 20th century (he joined Lanston in 1902) until the second World War. He created many of its typefaces himself, and commissioned many from Frederic W. Goudy. His typefaces (LTC stands for Lanston Type Company):

Alternate Gothic Modernized.
LTC Artscript (Lanston Monotype, 1940; digital version in 2005 at P22/Lanston). McGrew: Artscript is a delicate calligraphic letter designed by Sol Hess for Monotype, which calls it "an attempt to convert into rigid metal the graceful penmanship of the ancient scribe. ..based on the writing of Servidori of Madrid (1798)." It was designed in 1939 but not released until 1948, because of wartime restrictions. It is a pleasing design for limited use, but its delicacy requires special care in handling. Compare Heritage, Lydian Cursive, and Thompson Quillscript.
In 1928, he created the now famous Broadway Engraved. P22 writes: LTC Broadway was originally designed by Morris Benton. Sol Hess added a lower case in 1929 and also drew Broadway Engraved for Lanston Monotype. That font is now available in digital format from LTC/P22. Other digital fonts include OPTI Broadway Engraved from Castcraft, Broadway Inline (Softmaker), B820 Deco (Softmaker), B821 Deco (Softmaker), Deco 901 (Bitstream) and Bravo (Corel).
Bodoni 26: a unicase interpretation of Bodoni by Hess at Lanston, designed by Giampa; digital version at P22/Lanston in 2005.
Bodoni No. 175 (remastered in 2006 by Paul Hunt).
LTC Bodoni Bold.
Bruce Old Style No. 31: a transitional font at Lanston Monotype in 1909. Now a Bitstream face. Based on Bruce Old Style No. 20 from Bruce Foundry (1869).
Linotype states that Sol Hess is responsible for a version of Cochin Bold (1921): Georges Peignot designed Cochin based on copper engravings of the 18th century and Charles Malin cut the typeface in 1912 for the Paris foundry Deberny&Peignot. The font is named after the French engraver Charles Nicolas Cochin (1715-1790) although its style had little to do with that of the copper artist's. The font displays a curious mix of style elements and could be placed as a part of the typographical Neorenaissance movement. Cochin is especially large and wide and was very popular at the beginning of the 20th century. Note: Cochin is now sold by Linotype, Adobe, Monotype, URW++ and Bitstream (as Engravers' Oldstyle 205).
English Caslon no 37.
Flash.
Goudy Bible (1948). Mac McGrew: Goudy Bible is a modification of Goudy Newstyle (q.v.), adapted by Bruce Rogers with the assistance of Sol Hess for use in the Lectern Bible Rogers designed for World Publishing Company in 1948.
Goudy Bold Swash.
Goudy Heavyface Open (1926) and Condensed (1927). Mac McGrew: Goudy Heavface and Italic were designed by Goudy in 1925 in response to a strong request by Monotype for a distinctive typeface on the order of the very popular foundry Cooper Black. Such typefaces had little appeal for Goudy, and he always felt that Monotype was disappointed in his efforts, but the result is more informal than other similar types, and has had considerable popularity. Note the extra set of figures and the unusual number of tied characters and ornaments in the font. Goudy Heavyface Open is a variation produced by Monotype in 1926, probably designed by Sol Hess, who designed Goudy Heavyface Condensed in 1927. Compare Cooper Black, Ludlow Black, Pabst Extra Bold. See LTC Goudy Heavyface, or Goudy Heavyface (Bitstream).
Hadriano Stone-Cut.
Hess, Hess Bold (1910). Mac McGrew: Hess Bold was designed by Sol Hess for Monotype about 1910, as a companion typeface for Goudy Light, drawn earlier by Frederic W. Goudy. Of medium weight, it accurately reflects the characteristics of the lighter face with a high degree of legibility, but neither typeface is distinguished. There is also an italic by Hess.
Hess Monoblack. A great display poster typeface that looks like a hand-drawn version of Nicolas Cochin. Mac McGrew: Hess Monoblack is a Monotype typeface that no doubt was drawn by Sol Hess, but it has not been found in any accounts of his work nor in the regular specimen books. The showing here is reproduced from Monotype's "specimen on request" sheet; no other information has been found except that there are only two sizes with seventy-seven characters each, a practical minimum for cap-and-lowercase fonts. Compare Greco Bold. See P22/Lanston for a digital version called LTC Hess Monoblack done by Paul Hunt in 2005.
Hess New Bookbold (1946). Mac McGrew: Hess New Bookbold was designed for Monotype in 1946 by Sol Hess. with italic the following year; both were released in 1948. An adaptation of Garamond Bold, the typeface was reproportioned to fit a new standard arrangement which was intended to make it readily available for use with several standard oldstyle typefaces still in common use at the time, but little use seems to have been made of it. Ascenders and descenders are shorter than in Garamond, anticipating later phototype trends, weight is slightly greater, and letters are more tightly fitted.
Hess Old Style (1920-1923). Mac McGrew: Hess Old Style was designed about 1920 (one source says 1912) by Sol Hess for Monotype, which says it was modeled after a typeface shown by Nicolas Jenson about 1479. It is neat, but does not have much in common with Centaur, Cloister, and other typefaces based on Jenson's work. However, it is a little heavier than most of them and so works to good advantage on smooth papers. The italic followed in 1922. Revived by Steve Jackaman in 1993 as Hess Old Style RR.
Hess Neobold (1933-1934). Mac McGrew: Hess Neobold was designed by Sol Hess for Monotype in 1934. It is a narrow, bold, and very squarish gothic with small serifs, designed for attention-getting display in a style of the day, but never made in more than one size. Compare Airport Tourist (Futura Display), Othello.
Hess Title (+Italic, 1910). Mac McGrew: Hess Title and Italic were the first type designs drawn by Sol Hess. Produced in 1910 as advertising types, they were designed for and first used by a prominent New York department store. Only the roman was made in display sizes.
Italian Old Style Wide.
Janson.
LTC Jefferson Gothic: an adaptation of News Gothic Extra Condensed drawn by Sol Hess in 1916; digital version at P22/Lanston in 2005. Mac McGrew: Jefferson Gothic was originally Monotype's copy of News Gothic J Extra Condensed, using the same foundry name. In 1916 Sol Hess designed several alternate round capitals; matrix fonts include both styles of these letters, but no lowercase. Baltimore Type called it Tourist Extra Condensed. Compare Phenix.
Kennerley Open Caps.
Laurentian.
Martin (+Italic). Mac McGrew: Martin and Italic are listed as a Monotype production of 1945, adapted by Sol Hess from old sources, but no specimen or further information has been found.
New Bookman.
Onyx Italic (1939, for Monotype). The italic version of Gerry Powell's 1937 ATF typeface Onyx, a condensed version of Poster Bodoni.
Pendrawn (1934). Mac McGrew: Pendrawn was designed for Monotype about 1933 by Sol Hess. It retains much of the quality of sixteenth-century hand-lettering, and is generally modem in character without the severity typical of most modem types. Serifs are long and thin, slightly concave, but those at the top of lowercase stems are slanted as in oldstyle types. Stems taper slightly toward the ends, and figures are hanging. Round letters tend toward an egg shape, with the small end down. It has been made only in two sizes: regular 36-point as a complete font and 36H4 as oversize capitals only.
Postblack Italic.
Post-Stout Italic.
Poster or Hess Poster. Mac McGrew: Poster or Hess Poster is a heavy, narrow, very compact gothic designed by Sol Hess for Monotype. Its general appearance suggests a contemporary serifless design but in fact there is a slight hint of serifs. The slightly splayed M and the single-bowl g are suggestive of British grotesques. Ascenders and descenders are short, giving a large x-height, and the typeface is closely fitted.
Slimline (1939). Mac McGrew: Slimline was designed by Sol Hess in 1939 for Monotype. It is a lightweight, very narrow, monotone typeface with tiny serifs and a number of alternate round characters. It has had some use for stationery. Compare Huxley Vertical.
Spire (1937): a condensed didone, see the digital LTC Spire in the Lanston collection. Mac McGrew: Spire is a modernization of the old modern roman extra-condensed style. drawn by Sol Hess for Monotype in 1937. There is no lowercase, but there are several alternate round characters. Compare Greenwich, Modern Roman Extra Condensed, also Empire, Slimline. Spire is also the name of a dissimilar BB&S face, cut in 1898 or earlier and shown as late as 1927. Spire has been digitized/revived by Ann Pomeroy under the same name for FontHaus and then Group Type. LTC Obelysk Grotesk was designed by the Lanston Drawing Office in the late 1980s. This typeface is a reconstruction of Spire. The skeleton of Spire Roman stands with the serifs removed. Like Spire, this font has no lower case, but does offer alternate cap styles in some of the lower case positions.
Squareface (1940). Now available digitally as LTC Squareface from LTC/P22. Mac McGrew: Squareface was designed by Sol Hess in 1940 as a variation of Stymie Extrabold. A number of characters are the same for both typefaces, but normally round letters have been squared considerably, with only slightly rounded corners. It makes a vigorous display face, and harmonizes well with other square-serif designs.
Stationers Gothic (1942-1948). Mac McGrew: Stationers Gothic Light and Bold were designed by Sol Hess for Monotype in 1942, and Medium in 1944, but wartime and post-war conditions delayed their release until 1948. They are similar to the Bank Gothics. following a style of squared letter popular for copperplate engraved stationery and announcements, and in effect constitute a more contemporary form of the style typified by Copperplate Gothics. Like the others, there are several sizes on each of several different bodies, making various cap-and-small-cap combinations easily practical.
Style Script (1940). Mac McGrew: Style Script was designed by Sol Hess for Monotype in 1940. It is a popular bold thick-and-thin cursive style, which has had considerable use in advertising. It is somewhat like the earlier Coronet Bold of Ludlow, but heavier and with a greater x-height; some characters seem to make a conscious effort to differ.
Stymie.
Tourist Gothic (Lanston, 1909; now available digitally as LTC Tourist Gothic from LTC/P22). Mac McGrew: Tourist Gothic is a Monotype copy of Modern Condensed Gothic with a set of several round alternate caps designed by Sol Hess in 1928. (Sizes under 14-point continued under the Modern Condensed Gothic name, without the alternates.) In 1938 Hess drew a matching Tourist Gothic Italic, which added to the popularity of the face, although it lacks the round characters. The Outline Gothic Medium Condensed (or Franklin Gothic Condensed Outline) from some sources is actually an open version of Tourist Gothic. 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.
Twentieth Century was designed by Hess between 1936 and 1947 as a monoline version of Paul Renner's Futura. Mac McGrew: Twentieth Century is Monotype's copy of Futura (q.v.), and in display sizes is essentially an exact copy, while composition sizes are only slightly modified. Several additional versions were drawn for Monotype by Sol Hess, including Twentieth Century Bold Italic and Extrabold Italic in 1937, Extrabold Condensed Italic in 1938, Ultrabold in 1941, Ultra bold Condensed in 1944, and Medium Condensed Italic and Ultra bold Italic in 1947. Some of these weights have different names than their counterparts in the original Futura series or other copies; see the list under Futura for comparison of these names as well as technical data. The main version is sold by Monotype as Twentieth Century MT. The digital type foundry Lanston, or LTC, sells LTC Twentieth Century. Hess Gothic Round NF (2008, Nick Curtis) is based on Twentieth Century. The design was reinterpreted by Herb Lubalin as Avant Garde in the 1970s. Curtis' version softens the harsh geometry of the original designs with rounded line endings. Revivals and derivations of Twentieth Century Poster include Renard Moderne NF (2010, Nick Curtis).
Ward (1942). McGrew: ard or Montgomery Ward is an adaptation by Sol Hess in 1942 of Memphis Light, specially redesigned for use in the large catalogs of that mail-order company. Strokes are lightened a bit, and the x-height is increased slightly. It was cut by Monotype for private use. One reference says there were light and medium weights; another says there were roman and italic in normal width and also an extended version. The latter account seems more authentic.

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

Something Design
[George Dobrogeanu]

Ploiesti, Romania-based designer of Winchester Condensed (2014), Picnic Caps (2014) and Grocery Rounded (2014).

In 2015, he designed the beautiful watercolor brush typeface Toscana, the old typewriter font Enigma Typewriter Sans, the connected script typeface Melancolie, the script typeface Annabelle (2015), the hyper-curly script La Provence, and the thin avant garde fashion sans typeface Eva.

Typefaces from 2016: Tall and Tiny Font Duo, Novus Sans, Playbook, Agave, Wanda Script (which he calls a pin-up style), Capital (dry brush font), Halftone Sans (textured), Quantum, Dystopia.

Typefaces from 2018: Faun (an exquisite decorative caps typeface).

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

S-pov

Bulgarian illustrator and digital artist in Varna who made the jazz room typeface Comans (2010, aka Komans). Other typefaces include Road (2010, constructivist), Soryanna (2010, rounded geometric avant garde monoline sans), and Debat (2010, constructivist), Abula (2010, a modular techno face). [Google] [More] ⦿

Stefania Arredondo

Or Maya Arredondo. Graphic design student in Monterrey, Mexico.

In 2012, she created the hairline avant-garde typeface Sencilla Light while studying at UANL.

Home page. [Google] [More] ⦿

Stefano Buffoni

Creative designer from Milan, who co-founded Typojungle, now defunct. His typefaces include Nero (2010, avant-garde), Minimo (2010, hairline geometric sans), Boulevard (2009, fat stencil face), Studio 45 (almost a paperclip face), Nu Classic (ornamental caps, 2008), Rocket (2009, techno) and Metropolitain (2009, a display didone of high contrast). Behance link. Twitter link. Another URL. Yet another URL. [Google] [More] ⦿

Stelios Constantinides

Designer who used FontStruct to make Bouldo (2010, dotted face), TNR Bold (2009), Balltype (2009), Octastruct (2009), Weejie (2009), Times Neue Roman (2009, called the illegitimate child of Times New Roman and Helvetica Neue (Condensed)), Elion (2009, dor matrix pixel script), Tweed (2009, squarish), Akia (2009, experimental slab serif), Tesla (2009, dotted font based on Superpois), Pressure (2009, severe octagonal family; +Compressed, +Extended), Simplest (2009), Agora, Agora3D and Agora Dots (2009), Simplest (2009), Billboard (2009), Avant (2009), Imprinted (2009, dotted lines), Pivot Fill (2009), Pivot (2009), Handgloves Neue (2009), Paperclipped (2009), Handgloves (2009), Heart (2009), Foldstruct Pix (2009), Foldstruct (2009), Lino (2009), Linea (2009), Eurotype (2009), Stack (2009), Bloc Stripe (2009), Bloc (2009), Stencileaf (2009), Paul Was Here (2009), Sweetness (2009), Squidlike (2009), Rokice (2009), Current (2008), Theory (2008), Apatype (2008), Dot Script (2008), Dotize (2008), Poiis (2008), Poiis Wide (2008), Wired (2008, white on black), Bloct (2008, pixel shadow font), Construct (2008, like Bloct with a crane effect), Mazal (a great rectangular white on black idea), Keyal (Indic simulation with multilines), Squarial (pixelish), Classico, Unireal, Yoko (simple stencil), Splice (squarish condensed), Goodmorning Tokyo (labyrinth-like glyphs), Poii (pixel face), Gogic, Giant, Wikial (diner script simulation), Futoni (squarish letters). [Google] [More] ⦿

Stephen Bird
[Uusimaa Type Foundry Incorporated]

Stephen M. Knouse
[Essqué Productions]

Steve Jackaman
[Red Rooster Type foundry]

Stock Graphics
[Barry Stock]

Barry Stock (Hollywood, FL) at Stock Graphics made HotRodSCLF10baby, Monstroula and the gorgeous avant-garde font Opticon (1997, +Opticon Loose, 2013). He also created Amity (2014, textured typeface), East Ganglia (2013, grunge), Pandemic (2013, grunge), Drugged Individualist (2013, a halftone-textured typeface), Code Border (2013), Saturday Morning Hand (2013), Urban Forestry (2013), Shrimp Fried Rice (2013, oriental simulation face), Batman's Trip (2013, encased caps), Kathedral, Brainchild Graphique and Brainchild Standard.

Pandemic comes with the following chilling story: On Vozrozhdeniya Island in the Aral Sea, the strongest recipes of smallpox were tested. Suddenly I was informed that there were mysterious cases of mortalities in Aralsk. A research ship of the Aral fleet came to within 15 km of the island (it was forbidden to come any closer than 40 km). The lab technician of this ship took samples of plankton twice a day from the top deck. The smallpox formulation---400 gr. of which was exploded on the island---"got her" and she became infected. After returning home to Aralsk, she infected several people including children. All of them died. I suspected the reason for this and called the Chief of General Staff of Ministry of Defense and requested to forbid the stop of the Alma-Ata Moscow train in Aralsk. As a result, the epidemic around the country was prevented. I called Andropov, who at that time was Chief of KGB, and informed him of the exclusive recipe of smallpox obtained on Vozrazhdenie Island.

In 2018, Barry designed the free sans display typeface family Byway. [Google] [More] ⦿

Studio Typo
[Mehmet Abaci]

Mehmet Abaci (b. 1978) is based in Istanbul. In 2014, he established Studio Typo, where one can buy his typefaces. Limited forms of the fonts can be downloaded fpr free from the Dafont site.

Creator of the elegantly plump rounded sans typeface Vinyl Cuts (2013), Samatya (2013, a unicase piano key typeface), Boldie (2013), Laundry Day (2013, alphadings), and the wood log typeface Timbers (2013).

Typefaces from 2014: Smush, Slim Fir (athletic lettering), Typonome, Typo Slab, Neons, E-Square (sci-fi typeface), Screamer, Typoline (piano key typeface), Omniblack (flared display face), Papillons (flared caps), Typoster (a great fat geometric slab serif typeface family accompanied by an equally great shaded outline style), Typo Comica (a family drawn to compete with Comic Sans), Tipo Press, Manyeto (calligraphic), Quatroline (prismatic typeface), Wardoom, Cabold Comic, Digiform, Akaju (oily fat typeface with lighting effects), Almira, Bonebastic, Comic White Rabbit, Sinema (a bit of retro movie art deco), Sober, Cali Brush, Tiny Plate, College Player, Smart Kid, Barbed, Wideroy, Angella (+outline: a poster family), Megi Sans.

Typefaces from 2015: Bro 4D (outlined 3d capitals), Typo GeoSlab, H&B Sketch (a gorgeous sketched didone), Mixiva (a six-style athletic lettering slab serif family), Typo Sketch (sketched font), Malter Sans, Parole Script, Degaws (a great sketch font), Typo Comics, Gribal, Gribal Shadow, Early Times (a sans family), Quizma (an elegant sans family), Super Seven (shaded), Typo Slab Inline, Type Slab Irregular, Geoma (hairline geometric sans), Double Bubble (bubblegum typeface), Mona Bella, Typo Grotesk, Typo Grotesk Rounded, The Matic, Typografix (avant garde sans), Move X (techno family), Savaro Stencil (in the geometric style that is characteristic of Futura Black), MindBlue (sans), A Space.

Typefaces from 2016: Wox Striped (multiline typeface), Wox Modelist (organic sans), Aprikas (sans), Meltix (techno sans family), Widolte (sans family), Mayeka, The Wireframe, Typo College (athletic lettering), Halftone Poster, Chocolate Bar (oily and gleaming), Type Round (circle-based sans typeface family).

Typefaces from 2017: Zelta Six (octagnal), Wida Round (round sans), Prestij (geometric sans), Typo Style, Naughty Squirrel (fat poster typeface family that includes hatched and shadow styles), Typo Quik, Ageta (bubblegum style), Rock On (glaz krak typeface), Typo Square, Typo Angular Rounded, Planetium-X (monoline, techno), Big Pixel (octagonal), White Festive, Watchword Hairline.

Typefaces from 2018: At the Midday, Typo Hoop (rounded circle-based sans family), Typo Longest (tall condensed sans), Maccos (a multilined font family), Asectica, Magettas (rounded monoline sans), Bluefish, Bluefish Eroded, Bluefish Scratched, Quesat (rounded sans), Quesat Striped.

Typefaces from 2019: Manti Slab College, Pesta Stencil, Type Draft (a drafting font), Pages Grotesque (a caps only geometric sans), Typo Cut-Out, Swera, Minalis (futuristic).

Typefaces from 2020: Typo Cut-Out Shaky, Typo Oval, Typo Formal (a tall monolinear sans), Typo Ring (circle-based, monolinear), Manti Slab, Manti Sans (+Fixed), Geco Strong (a fat sans), Tually, Slabten (an inline typeface), Minalis Double (an inline typeface). Home page. Fontspace link. [Google] [More] ⦿

SubConArt

Collage artist in San Francisco who made the avant garde monospaced sans typeface Ambiguous in 2014. [Google] [More] ⦿

SUBFLUX experiment
[Mickey Rossi]

Mickey Rossi graduated in 1986 from the Philadelphia College of the Arts. He then worked in Maryland and Virginia, such as at AOL in Dulles, VA, and is a creative director in Atlanta, GA since2004.

He offers these free typefaces under the Subflux label: Alpha Male Modern (1997), AthleticSupporter, BallparkWeiner (connected fifties script), BarBenderBold, BobbiTheHippie, BongoFraktur (in Koch's Neuland style), CargoCrate (stencil), CollegeBoy (athletic lettering), FlandersRideItalic, FlandersRide, Fleetwilly, FlyTrapExtended, Hair Brush, HighlightsCondensed, Helga Broad, Hilda Broad, JimThorpeHigh (octagonal / mechanical), LevelFourteenDruid (medieval), LifestyleCondensed (avant garde), NotANumber, On That Shark (angular), RetroSuperSkinny (Peignotian), SatansMinions, Scrawlly, Scritchy Eye, Zerengetti (African look), ZiggyStandard. Rossi calls himself also "Loveless".

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

Subtype (was: Typisc or Suprb)
[Andreas Pihlström]

Swedish commercial foundry, est. 2006, earlier called Suprb or Typisc. Commercial fonts: NTMY (2009, ultra-black), Alasca (2008), Quick16 (2008: pure geometry), ASCA (2008, "the cousin of OCR"), Myld (2008, avant garde ideas), Wyld (2010, hairline version of Myld), DIRR (2007, an unreadable extra black concoction), ASCA and ASCA-D (2007, rounded octagonal), LIW (techno, in bold and regular versions), Wyld (2007, Avant Garde to the extreme), Quick16 (2008, experimental), Alkasca (2008), Building (2006), Asphalt (2007, avant garde). Free fonts: Quart (2008, kitchen tile style), SWEM (2007, experimental), Cloud (2006, hairline font with connected letters, by Andreas Pihlström). Alternate URL. YWFT link. [Google] [More] ⦿

Sudden Yap Khai Wen

During his studies at Nanyang Academy of Fine Arts in Singapore, Sudden Yap Khai Wen created the deco typeface Jack & Ennis (2015-2017). [Google] [More] ⦿

Sumedh Sonare

Creator of Avanti Devanagari (2013), a Devanagari typeface influenced by ITC Avant Garde. Behance link. [Google] [More] ⦿

Susan Lee

Susan Lee (Bethesda, MD) is a graphic designer. In 2010, she created the avant garde typeface Modania. [Google] [More] ⦿

Sutrisna Khaidir

Art director and designer in Jogjakarta, Indonesia, who made some nice typographic posters in 2010. Another link. [Google] [More] ⦿

Svenja Muenster

During her studies in Trier, Germany, Svenja Muenster created the thin avant garde typeface White Venice (2015). [Google] [More] ⦿

Svetlana B

Graphic designer in Sao Paulo. Behance link. Creator of the hairline avant-garde sans Iuvi (2010). [Google] [More] ⦿

Svetoslav Simov
[Fontfabric]

Sylvestre Studios
[Mick Sylvestre]

New Westminster, BC-based foundry of Mick Sylvestre (b. Regina, Saskatchewan, 1968), who designed the gothic families Cardinal (2005) and Scriptura (2005). He also created Hashi (2006, techno), Voussoir (2006, heavy display face), Caricatura (2005, hand-printed), Dingums (2005, dingbats), Diva Pop (2006, avant garde), Cannabis (2005), Glam Rock (2005), Vlad (2005, condensed and sectarian), Bramare (2006), Pepperjack (2006, blocky with round holes), Colby Script (2006, brush), Mickster (2006, comic book lettering), Nine Volt (2007, grunge), Savasato (2007, art nouveau look) and Quadra (2005, black blocky face).

Additions in 2009: the handwriting typefaces Caramella, Fantillo, Shaelynn, Manta, Seussian, and the LED-meets-art deco font Katzenklo.

In 2015, Sylvestre designed the carnival font Rodinia (Latin and Cyrillic) and the curly kitschy typeface Garish.

View Mick Sylvestre's typefaces. [Google] [MyFonts] [More] ⦿

Szonja Balint

München, Germany-based designer of the free avant garde typeface family Barrow (2017). [Google] [More] ⦿

T. Jeffery

Creator of the avant-garde hairline sans typeface Party at Gatsby's (2012). [Google] [More] ⦿

Tagir Safayev

Tagir Safayev is a Russian type and graphic designer. He created more than one hundred fonts, among which ITC Stenberg (1997, Cyrillic simulation face), which was originally called Rodchenko (a stencil font). Tagir Safayev is also active in book design and advertising. From 1991 until 2003 he worked as a type developer for ParaType. In 1995 he received the Rodchenko Award of the Society of Designers of Russia for Rodchenko typeface [look for Rodchenko here (italic version) and here, or for the ParaType family (1996-2002)]. He is a member of the Moscow Artists Union and of the Association Typographique Internationale (ATypI), and a co-founder of the Type Designers Association, Moscow. He won an award at Bukvaraz 2001 for Serp'n'Molot (2001, meaning hammer and sickle; forms inspired by lettering of Sergey Chekhonin (1878-1936)). Professor of the National Design Institute of the Designers Union of Russia. Teacher at the Higher Academic School of Graphic Design in Moscow. Currently staff designer at ParaType in Moscow. Faces: Bloc (designed at ParaType in 1997 by Tagir Safayev for advertising and display typography; based on Block of H. Berthold, 1908 by Heinz Hoffmann), Black Grotesk (1997, based on Gasetny Chorny ("Newspaper Black"), of the O.I. Lehmann foundry, St.Petersburg, 1874, and Kompakte Grotesk (Haas)), PT Courier (1990, ParaGraph), PT Courier Monotonic Greek (1990), PT Courier Polytonic Greek (1990), PT DIN Condensed (1997), Birch (1995, handwriting, ParaGraph), PT FreeSet (1991-2000, based on the Frutiger typeface family), LEF Grotesque (1999), PT Epsilon (1995, handprinting), Etienne (Kremlin Pro (2010, Paratype), PT Hermes (1993; Based on Placard MT Condensed typeface (Hermes Grotesk by Wilhelm Woellmer, 1911) of the Lange type foundry (St.-Petersburg), an adaptation of Hermes Grotesk, of the Woellmer type foundry (Berlin, 1911). This sans serif with its old-fashion stability looks well in advertising and display typography), Bitstream Humanist Cyrillic 521 (1999), PT Plain Script (1995, comic book lettering), PT Irina (1995, caps-only comic book face), ITC Kabel Cyrillic (1993, after the Original Kabel, 1976, Vic Caruso), Frutiger (1992, after the 1976 original), Meta+ Cyrillic (2000), Mirra (1999), ITC New Baskerville Cyrillic (1993, ParaGraph), ITC Banco (2000: the Cyrillic version of the font by Phill Grimshaw, 1997, which in turn was based on Roger Excoffon's Banco at Fonderie Olive in 1952), Bank Gothic (1997: a Cyrillic version of the 1930-1933 original by Morris Fuller Benton at ATF), ITC Officina Sans Cyrillic (1995), PT Proun (1993, a Cyrillic version of Choose One/Ten), PT Rodchenko (1996), ITC Stenberg (1997), ITC Stenberg Inline (1997), Swift Cyrillic (2002), PT Yanus (1999, originally created as a corporate identity for Aeroflot), PT Unovis (2001, inspired by the Russian avant garde of the 1920s), this unfinished Cyrillic version of Trajan (1994-1996), and Serp n'Molot (2001). At ATypI 2008 in St. Petersburg, he spoke about the various Cyrillic adaptations of Cheltenham done in the last century, prior to his own Cyrillic extension for NYTimes Cheltenham, done in 2008.

View Tagir Safayev's typefaces. [Google] [MyFonts] [More] ⦿

Talbot Type
[Adrian Talbot]

Adrian Talbot (b. 1964, Worthing, Sussex, England) heads the type foundry Talbot Type in London. He made the Bauhaus-style Bremner family in 2000 for the visual identity of Mute Records.

In 2012, he designed these typefaces: Kinghorn 205 (Egyptian), Kinghorn 105, Kamerik105 (+Kamerik 105 Cyrillic, 2014), Kamerik205 (an avant garde type family with many weights, including a hairline), Karben, KarbenMono (a mono-width sans family in the style of DIN), Karben 205 Mono, Karben 205, Karben 105, Karben 105 Mono, Kessel105, Kessel205 (a geometric sans family influenced by Futura; see also Kessel 105 Remix, 2016, and Karben 105 Stencil, 2016), Kettering105, Kettering205 (a slabby almost typewriter typeface influenced by Lubalin and similar avant garde styles), Kiruna (a legible and very open sans family), Kursk105, Kursk205 (constructivist), Kaleko 105 and 205 (Gill Sans-style sans families with large x-heights; see also Kaleko 105 Remix (2016) and Kaleko 105 Round Remix (2016), and the more geometric and medium x-height families Kaleko 105 Text and Kaleko 205 Text (2018)).

Typefaces from 2013: Kilburn (a gothic sans serif), Kroppen Round (a geometric stencil), Kampen (square-spaced family), Kaleko 205 Round, Kaleko 105 Round.

Typefaces from 2014: Kelso (an outline font with outlines that consist of a single continuous line), Klef (a geometric sans influenced by Avant Garde), Kenwyn (a playful bullet-holed Egyptian; +Stencil), Korbin (a semi-geometric grotesque family), Kandel 105 and 205 (geometric, tri-line, display and headline font).

Typefaces from 2015: Kinsey.

Typefaces from 2016: Keith (a sans family with layerable Umbra-like shadow styles), Korto (a geometric sans inspired by Futura and Avant-Garde).

Typefaces from 2017: Kittle Round (stencil), Kittle Rough, Kitami (monoline sans), Keymer (a sans typeface family inspired by Margaret Calvert's Transport typeface), Keymer Thug (distressed), Keymer Radius (a rounded version), Keymer Block (a grungy version).

Typefaces from 2018: Kessel 105 Text, Klamp 105 (a tall geometric sans with a handicapped g, followed in 2019 by Klamp 105 Mono), Klamp 205 (a tall geometric sans with a fine two-storeyed g, Klamp 205 Mono).

Typefaces from 2019: K-haus 105, K-haus 205 (to celebrate 100 years of Bauhaus, an organic typeface family based on Herbert Bayer's universal alphabet), Kong Script.

Typefaces from 2020: Koi (an inline / outline typeface close to a paperclip font), Kamerik 105 Text, Kamerik 205 Text.

Typefaces from 2021: Kelso Round (a paperclip font), Benelux (a 10-style rounded monolinear sans).

View Adrian Talbot's typefaces. [Google] [MyFonts] [More] ⦿

Tanawat Sakdawisarak
[Beta]

Tasuki's blog
[Vit Brunner]

Vit "Tasuki" Brunner (Czechia) recommends the 14 best free fonts. Summarizing his recommendations:

Antykwa Torunska is an original typeface created by Polish type designer Zygfried Gardzielewski in 1960. It was digitized by Janusz Marian Nowacki. The font contains many diacritical marks, math symbols, and comes in many weights.
Typo Latin Serif is a slab serif (Egyptian) typeface with an extremely large x-height. It was created by Manfred Klein.
The DejaVu fonts are extensions of the free Bitstream Vera typefaces.
Palatino (Hermann Zapf) is gorgeous, period. Palladio L is a free Palatino clone created by URW in cooperation with Hermann Zapf. Download it in URW fonts pack (together with 79 other fonts).
Gentium, a typeface for many languages by Victor Gaultney. Extensive unicode support.
Optima by Hermann Zapf. A free version: MgOpen Cosmetica.
Bembo is a nostalgic antiqua created by Francesco Griffo in 1496. Cardo (David Perry) is based on Bembo.
Vollkorn is an old style numerals typeface created by Friedrich Althausen.
Computer Modern is a didone typeface created by Don Knuth.
Avant Garde (Herb Lubalin) can be downloaded in the URW font pack where it is known as URW Gothic L.
Goudy Bookletter 1911 is a revival of Frederic Goudy's Kennerley Old Style by Barry Schwartz.
Helvetica by Max Miedinger. Magenta Ltd has a free version in its MgOpen pack: MgOpen Moderna.
Geo Sans Light (Manfred Klein) is based on Futura, a geometric typeface created by Paul Renner in 1926.

[Google] [More] ⦿

Team 77
[André Gürtler]

Born in 1936 in Basel, Switzerland's André managed the design office at Deberny&Peignot in the late fifties and early sixties. He taught production letter design at the Künstgewerberschule in Basel from 1965 onwards. He started Team 77 with Christian Mengelt and Erich Gschwind in order to make a correct grotesk improving over past grotesks, including Helvetica.

Gürtler's typefaces:

Basilia (1978, Haassche Schriftgiesserei). This didone typeface family is available from URW and Linotype who has the date 2004 for its latest digital version.
The slab serif Egyptian 505 (1966, VGC). First Prize in the 1966 VGC National Type Face Design Competition, developed in cooperation with his students. This became Egyptian 505 at Bitstream and Linotype.
Media (1976, Bobst Graphic, with Chr. Mengelt and Erich Gschwind).
Signa (1978, Bobst Graphic).
LinoLetter (1978). A slab serif co-designed with Reinhard Haus. The digital version at Linotype is dated 1992. Adobe also sells this typeface.
ITC Avant Garde Gothic (1971-1977). With Edward Benguiat, Tom Carnase, Christian Mengelt and Erich Gschwind. ITC Avant Garde Gothic is a font family based on the logo font used in the Avant Garde magazine. Herb Lubalin designed the logo and its companion headline typeface. Lubalin and Tom Carnase, a partner in Lubalin's design firm, worked together to make a full typeface. The condensed fonts were drawn by Ed Benguiat in 1974, and the obliques were designed by André Gürtler, Erich Gschwind and Christian Mengelt in 1977.
Alpin Gothic (1974, Compugraphic, and Team77). This is Alternate Gothic No. 2 in the early Bitstream collection, and goes back to Morris Fuller Benton's typeface from 1903.
Cyrillic Gothic (Compugraphic).
Haas Unica (1980, Haas). Hrant Papazian writes: Unica is amazing. The only grot I like - although some people don't think it's a grot - which would explain my attraction! It avoids both the sterility of Univers and the... well, idiocy, of Helvetica. [...] art of it is Gurtler's mystique. Another is the amazing "rationalization" exercise Team 77 carried out in making it (elaborated just as amazingly in a small publication I have a copy of). I guess the main reason I can cling to is that it's not "naive". Most old grots (like Akzidenz) are like backwards villagers to me, and new grots (like FF Bau) are urbanites pretending to be villagers. In comparison, Unica is like an urbanite who has had to move in with his villager in-laws, but has decided to make the best of it. On the other hand, I suspect this is exactly why some people think Unica is not in fact a grot - it's a geo in grot's clothing. Stephen Coles writes: Scangraphics Digital Type Collection (which included Haas Unica) was purchased by Elsner + Flake in 2003, to which they added font-specific Euro and @ symbols in 2004. The revamped typeface was set to be sold by Scangraphic and its distributors, but Linotype is currently preventing the release, citing trademark violations. Although similarities to other typefaces often occur between foundries, it is rare that one finds typefaces that have been shelved indefinitely due to such resemblances. In truth, the real problem lies within a dispute over who owns the name Haas Unica, rather than any resemblance infringment. Haas Unica was commercially unavailable for a long period thanks to Linotype and Scangraphic. Linotype especially stood to lose a lot of Helvetica money if it ever appeared somewhere else. Michael Hernan digitized Unica Deux in 2006. And then finally, in 2014, Linotype itself released a digital version, Neue Haas Unica (by Toshi Omagari). PDF of Unica. The Ministry of Type calls it the ultimate archetypal sans serif face.
Media77 (2015), published at Optimo, after an orih=ginal design for Bobst Graphic going back to 1974. They write: In 1974, the designers André Gürtler, Christian Mengelt and Erich Gschwind were commissioned by Bobst Graphic to draw a new text typeface specifically conceived for phototypesetting. Rather than a constraint, they considered that the technical parameters of the composing system could bring interesting typographic solutions detached from the usual historical classifications: not another historical replica, but the design of a contemporary typeface with a modern aesthetic. Media was originally released by Bobst Graphic in 1977 and immediately featured in the issue 8/9 of Typographische Monatsblätter. Forty years later, the redrawing of Media by Team 77 is extraordinarily sophisticated: very legible at small sizes and full of refined details at display sizes, Media77 proposes a unique asthetic for text and headlines..

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

Teresa Martinez

Graphic designer in Monterrey, Mexico. Creator of the elegant avant-garde sans typeface Sundance (2013, with Gabriela Pineda). This was a school project at the Universidad de Monterrey. [Google] [More] ⦿

Terminal Design
[James Montalbano]

Terminal Design is the company of James Montalbano in Brooklyn, New York, est. 1990. He was the President of the Type Directors Club, 2002-2003. He teaches type design at the School of Visual Arts in New York City. Feature on him by John Berry. In 2019, he declared at Typedrawers: I'm so tired of type design, so we must assume that threw in the towel. James designed these fonts:

In an earlier life as part of Fonthaus, ca. 1994-1995, I believe that Montalbano designed fonts like DidotDisplayAntiqueTdi, DidotDisplayRegularTdi, ProgressivePsychoOneTdi (through Six) and SenzaTDI (many weights).
718 (2010). A clean 24-style sans family influenced by as many typefaces as there are immigrants in Brooklyn. Named after the non-Manhattan area code.
Alfon (2003). Montalbano calls it a muscular text typeface. It has chamfered corners and cupped serifs.
Badinage. A connected retro script.
Cappella (2013). It is a direct result of the work done on the Fordham Chapel custom font commission. A one weight, all caps design based on wood carved lettering from a Fordham University chapel honoring fallen alumni.
Choice Sans, Choice Sans Compressed, Choice Sans Condensed (2014).
ClearviewADA, ClearviewADA Condensed, ClearviewHwy, ClearviewText, ClearviewText Compressed, ClearviewText Condensed. The legible sans serif family ClearviewOne, designed for highway signs, and used for US highway signs starting in 2002. The highway sign font family is called ClearviewHwy), and is further explored here. ClearviewHwy is used for highways in the USA starting in 2004 (see the discussion here). The OpenType version of ClearviewOne is called ClearviewText (2007). ClearviewADA (2007) is a family of Clearview fonts that conform to the letterform specifications for signage outlined in the Americans with Disabilities Act legislation. Free download. Clearview was discontinued in 2016 by the US Federal Highway Administration, in favor of the older Highway Gothic from the 1940s: Report by Citylab.
Consul Caption, Consul Deck, Consul Display, Consul Text (2009). A 48-style text family. Optically sized, it emerged from a Gustave Mayeur design done by Montalbano for Mens Vogue. Consul has a hint of didone, but the brackets are rounded and the stems gently flared. In Montalbano's palette, this is one of the beauties.
Enclave (2007): A sixteen font slab serif family.
Fervent (2013). A sans version of Badinage.
Giacomo 2.0. a well-balanced and interesting sans-serif family. Includes Cyrillics.
Insouciant (2011). An upright connected script family..
At ITC: ITC Orbon 2020, ITC Orbon (1995-1996: a strange experimental typeface), ITC Nora (1997), ITC Freddo (1996, a fat poster typeface).
Kaboodle (2018). A wood type with extended Latin, Greek and Cyrillic.
Kinney (2011). A type family for tables and information design. James's self-proclaimed attempt at creating a neutral serif.
Latin 512, Latin 512 Compressed, Latin 512 Condensed, Latin 512 Expanded. An 80-style didone family with triangular or wedge serifs typical of the Latin style.
Moraine (2009). A serif family with a wide generous feel. Stems are flexed and tapered and serifs are cupped.
Notary (2017).
Now Playing (2007): A digital revival of the naïve plastic lettering that was used on the marquee of the Apollo Theater in Harlem.
Quotient (2015). An elegant sans typeface family without italics. Montalbano describes it as trajan Sans because of its classical roman proportions. many details such as the rhombic dots on the i's are inscriptional in nature.
Rawlinson 2.0, Rawlinson 2.0 Condensed, Rawlinson Roadway (2003). A serif family, which includes a Condensed sub-family). NPS Rawlinson Roadway is an old style serif typeface currently used for the United States National Park Service's road signs. It was created to replace Clarendon and uses James Montalbano's wife's last name.
Shenandoah. A display type based on the wood letters at Shenandoah National park.
Social (2012). A rounded sans family for on-line use.
Tangent (2007): A geometric sans in sixteen styles.
Trilon, Trilon Compressed, Trilon Condensed, Trilon Expanded (2009): A sans typeface family. Montalbano calls it a 21st century gothic.
VF Sans, VF Sans Condensed (2011). An avant-garde family with 32 styles. James explains its release: Back in the late 90s I designed a family of sans serif fonts for Vanity Fair magazine. I based them on various sans serif designs from the 1930s with nothing particular in mind. They have been compared to Intertype's Vogue, and I do see the connection, but it wasn't my intention of doing a Vogue revival. They have been kept out of circulation these last many years at Vanity Fair's request, but it appears that during the last few years Vanity Fair has lost interest in them. They no longer grace the front cover of the magazine, and they appear with less and less frequency inside the publication. I've also noticed several pirated uses of them as they have popped up on some book jacket designs. So with Vanity Fair's permission I felt it time to set them free.
Yo Andy, Yo Frankie, Yo Lucy, Yo Sophie, Yo Zelda. The Yo series (2010) consists of 200 didone styles. It is subdivided into Yo Andy, Yo Frankie, Yo Lucy, Yo Sophie and Yo Zelda. This didone family has two axes (weight, extension) with 100 regular members finished in 2010 and 100 italics added in 2014. They reach in alphabetical order from condensed (Andy) to extended (Zelda).

Montalbano designed custom corporate fonts for Condé Nast Publications, Warner Music, The American Medical Association, the U.S. National Park Service, Vanity Fair, Brides, Gourmet, Mademoiselle, Sassy, Details, Glamour, Jane, Self and Book. The list of font names, with links:

Collins Geometric.
DM Marquee. A dot matrix all caps design created for Mother NY for their client, Daily Motion.
Early Learning Sans. A family of 12 fonts designed for MeadWestvaco's Early Learning Products division for use in educational products teaching young students the basics of letter construction.
Fordham Chapel. Based on wood carved lettering from a Fordham University chapel honoring fallen alumni.
Fortune Titling. Based on the Fortune logo.
Glamour Display, Glamour Script. The latter is a roundhand script. Both were done for Glamour magazine.
JCP News Gothics. Created for DDB Chicago, for use in the It's all in there campaign for JC Penney. Should work with existing Monotype News Gothic fonts.
Johan Gothic. A condensed sans serif designed for Conde Nast Sports for Women, which changed its name to Women's Sports, which then changed its name to Women's Sports and Fitness. The type was named for the art director who commissioned it.
Lucky Gothic.
Mens Vogue-Mayeur. Mayeur Display, an original design created in 2005 for Men's Vogue. Based on 19th Century French text types from the Parisian foundry of Gustave Mayeur.
Now Playing. As part of the renovation of The Apollo Theatre, Now Playing was designed to reflect the plastic marquee lettering of the 1940s.
NPS Roadway. Montalbano writes: Designed to replace the Clarendon road guide sign typeface that the U.S National Park Service used as part of their identity. NPS Roadway was tested by Pennsylvania Transportation Institute and was found to decrease legend length by 10-15% while increasing readability by 11%. Part of a total redesign of the Park Service identity (that included the Rawlinson series of fonts) the font has been approved by FHWA (Federal Highway Administration) for use on all Federal roads.
Skinny Eric. A painfully thin version of Gill Sans, designed for Self Magazine.
Social. Two weights of a rounded sans serif design to compliment the Living Social logo design.
VF Didot, VF Sans, VF Sans Condensed, VF Script. All done for Vanity Fair. VF Didot is a slightly condensed design based on the many New York didot alphabets drawn during the 1940s and 50s. VF Sans is Vanity Fair's workhorse. VF Script is an original script created for Vanity Fair Magazine in 1999, loosely based on lettering found on a French Automobile Poster from the mid-1920s.
Vogue AG, Vogue Didot Extended. Vogue AG is a nine-weight sans serif design mixing elements of Futura and Avant Garde Gothic. The Extra Light weight was designed for Vogue magazine in 2004 while the remaining weights were added in 2007 and updated in 2011.

Klingspor link. FontShop link. Linotype link. Behance link. View James Montalbano's typefaces done at ITC. [Google] [MyFonts] [More] ⦿

Terzakis

HellasArial (1992, Pouliadis Associates Corporation), HellasTimes (1992, Pouliadis Associates Corporation), Avant Greek (1992, Magenta Ltd). [Google] [More] ⦿

TeX Gyre Project

The TeX Gyre Project was started in 2006 as the brainchild of Hans Hagen (NTG). It is described in The New Font Project (Hans Hagen (NTG), Jerzy Ludwichowski (GUST) and Volker RW Schaa (DANTE e.V.), presented at BachoTeX2, 2006). From the project, which is being implemented by GUST's e-foundry guys, Boguslaw Jacko Jackowski and Janusz M. Nowacki aka Ulan: All of the Ghostscript font families will eventually become gyrefied as the result of the project. Gyrefication, also called LM-ization, was first applied to the Computer Modern Fonts and their various generalizations with the result known as the Latin Modern (LM) Fonts. The Gyre fonts each have 1200 glyphs that cover basically all European scripts (including Latin, Cyrillic and Greek), and have Vietnamese characters added by Han The Thanh, and Cyrillic glyphs by Valek Filippov. Available in Type 1 and OpenType, they come under a very liberal license (free, modifiable, unlimited use, and a request to rename altered fonts). The TeX Gyre fonts are

Adventor: family of four sansserif fonts, based on the URW Gothic L family, which in turn is based on ITC Avant Garde Gothic, designed by Herb Lubalin and Tom Carnase in 1970. Open Font Library link.
Bonum (2006), based on the URW Bookman L family: TeXGyreBonum-Bold, TeXGyreBonum-BoldItalic, TeXGyreBonum-Italic, TeXGyreBonum-Regular.
Cursor: based on URW Nimbus Mono L, which itself mimics Bud Kettler's Courier.
Heros (2007): based on the URW Nimbus Sans L family, but heavily extended---eight typefaces of 1200 glyphs each. With the release of Heros, their QuasiSwiss fonts becomes obsolete. This is, in fact, the Gyre version of Miedinger's Helvetica. .
Pagella (2006), based on the URW Palladio L family (and thus, indirectly, Zapf's Palatino): TeXGyrePagella-Bold, TeXGyrePagella-BoldItalic, TeXGyrePagella-Italic, TeXGyrePagella-Regular. In 2013, we find Tex Gyre Pagella Math in opentype format, by Boguslaw Jackowski, Piotr Strzelczyk and Piotr Pianowski. Greek symbols were taken from the Math Pazo font by Diego Puga. The calligraphic alphabet was taken from the Odstemplik font. The Fraktur is based on Euler. The sans part is DejaVu Sans, and the monospaced alphabet is taken from Latin Modern Mono Light Condensed.
Termes (2006), based on the Nimbus Roman No9 L family (and thus, by transitivity, Stanley Morison's Times-Roman): TeXGyreTermes-Bold, TeXGyreTermes-BoldItalic, TeXGyreTermes-Italic, TeXGyreTermes-Regular. In 2013, we find Tex Gyre Termes Math in opentype format, by Boguslaw Jackowski, Piotr Strzelczyk and Piotr Pianowski. The Fraktur part is based on Peter Wiegel's Leipziger Fraktur. The sans serif part uses TeX Gyre Heros. The monospaced part is based on TeX Gyre Cursor. In 2017, the Open Font Library published a slightly updated and darker TG Roman.
Schola (2006, based on the URW Century Schoolbook L family, designed by Morris Fuller Benton in 1919: TeXGyreSchola-Bold, TeXGyreSchola-BoldItalic, TeXGyreSchola-Italic, TeXGyreSchola-Regular.
Chorus (2007): derived from handwritten letterforms of the Italian Renaissance as used by Hermann Zapf in ITC Zapf Chancery (1979). TeX Gyre Chorus is based on the URW Chancery L Medium Italic font, but heavily extended. The Vietnamese and Cyrillic characters were added by Han The Thanh and Valek Filippov, respectively.

Articles: The New Font Project (BachoTeX 2006 article by Hans Hagen (NTG), Jerzy Ludwichowski (GUST) and Volker RW Schaa (DANTE e.V.), TeX Gyre Project (2006) by Bogusaw Jackowski, Janusz M. Nowacki and Jerzy Ludwichowski, and TeX Gyre Project II (2007) by the same three authors.

Fontspace link. [Google] [More] ⦿

Thaddeus Ted Szumilas
[Thaddeus Typographic Center]

The Herb Lubalin Study Center of Design and Typography

Thaddeus Typographic Center
[Thaddeus Ted Szumilas]

Thaddeus "Ted" Szumilas was born in Poland in 1951. In 1966 he emigrated to the United States where he attended Haaren H.S. and Parsons School of Design, majoring in Graphic Design. Practical experiences at Lubalin, Smith&Carnase Design Studio and with John Pistilli at Sudler&Hennessey ad agency prepared him for the real world of typographic design. He did book jackets, packaging, corporate identity, entertainment and TV. Here is one of his early typefaces. Thaddeus has been teaching the curriculum of basic and advanced typography at Pratt Institute in Brooklyn, New York, from 1998-2008. Designer of the swashbuckler / medieval script family Ovidius Script (2001, FontHaus; in Light, Demi and Bold weights; also known as TS Ovidius), Sans Original, On The Line (2008, great calligraphic grunge), Singles Bar (2008, display sans), Wind Factor (more calligraphic grunge), Agitas Gallery (2008, blackletter), Big New Sign (2008), Breslau City (2008), Daily Fix (2008), Deltona (2008), Nigerian King (2008, avant garde face), Stigmal (2008, African theme), Amerigraf (2009), Election (2009, medieval with a rough outline), Gillateg (2009, grungy outline), Wackoface (grungy like Treefrog), Taliography (2009, another script with a rough outline).

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

The Foundry Types

London-based foundry set up by David Quay and Freda Sack in 1989, and after Freda's death, continued by David Quay and Stuart de Rozario. Their typefaces were first made using the Architype label:

Architype Albers (1997).
Architype Aubette. Based on Theo van Doesburg's 1928 signage lettering for the Café Aubette in Strasbourg.
Architype Ballmer. A De Stijl typeface inspired by the experimental, universal letterforms drawn by Bauhaus trained Swiss designer Theo Ballmer for a series of 1928 posters, most notably for an exhibition on industrial standards.
Architype Bayer. Drawn from Bauhaus Archiv sketches for a minimal sans typeface that was created in 1925 by Herbert Bayer.
Architype Bayer-Type. Based upon Herbert Bayer's 1931 universal, modern serifed alphabet. Although the modern style appears to be a radical departure from his first sans single alphabet of 1925, the structure of this later serifed style is still grid based and geometrically constructed.
Architype Bill. The Foundry writes: Architype Bill was developed from the few letterforms created by Max Bill for a 1949 exhibition poster. All the forms, with the exception of the letter o, were constructed using only straight lines and triangles on a purely mathematical basis, that showed the continued influence of his earlier Bauhaus training, and the universal alphabet principle.
Architype Catalogue Outline, Architype Catalogue Solid (2016). Architype Catalogue originates from Wim Crouwel's Stedelijk Museum exhibition catalogue for sculptor Claes Oldenburg, 1970. The cover's soft padded letterforms evoke the artist's work. Oldenburg was so taken with the design, that he asked Wim Crouwel to complete the alphabet.
Architype Fodor. Based on Wim Crouwel's work, the Fodor letterforms were created for the magazine published by Museum Fodor, Amsterdam. To save cost it was designed to be typeset on their own electric typewriter.
Architype Ingenieur. Architype Ingenieur was inspired by Wim Crouwel's late 1950s exhibition catalogues and posters, for which he had created a few geometrically constructed, simplified letterforms. In the 1960 Venice Biennale Dutch entry poster, he drew grid-based letters with 45-degree angles for olanda, the style influenced by his boyhood fascination with naval lettering. A subtle variation appeared in the Stedelijk Museum catalogue for painter Jean Brusselmans. Several dot matrix versions followed. The themes and systems in these early letterforms are encapsulated in this new (2016) four-weight family Architype Ingenieur.
New Alphabet 1 through 3. Based on Crouwel's New Alphabet and developed in consultation with him)---a free version of this is New Alphabet (2008, Matt McInerney).
Architype Renner. Related to the early experimental versions of Paul Renner's Futura.
Architype Stedelijk (1997). LED-like, based on Crouwel's ideas. The Foundry writes: Stedelijk first appeared in the seminal Vormgevers poster, commissioned by the Stedelijk Museum, Amsterdam in 1968. Crouwel created a rigid grid system across the poster of 57 vertical by 41 horizontal lines, also forming the basis for the construction of the letterforms. Although all hand drawn, the resulting typeface had a machine-made appearance. This striking black and white poster with its visible grid became one of Crouwel's most iconic designs. Architype Stedelijk now re-creates these letterforms as a single alphabet typeface in a digital font.
Architype Schwitters. Developed from the phonetic experiments made by Kurt Schwitters with his 1927 universal alphabet.
Architype Tschichold. A very thin avant-garde sans: Architype Tschichold is a faithful rendering of Jan Tschichold's 1929 experimental alphabet which was influenced by Bayer's single-alphabet. His design was never put into production. This re-creates his original geometrically constructed design, including some phonetic characters.
Architype Van der Leck (1993-1994). Based on a 1941 De Stijl alphabet designed by Bart van der Leck for the avant-garde magazine Flax.
Architype Van Doesburg (1996). Based on a 1919 alphabet by Van Doesburg obtained by dividing a square into 25 equal smaller squares.
Architype Vierkant. This typeface was developed from the few letterforms that Crouwel created for an opening spread in a 1972 Drupa catalogue, on the theme "typo vision international".

Their other fonts have the label Foundry and include Foundry Sans (1990, a humanist sans inspired by Stempel Garamond), Foundry Old Style (1990-1994, inspired by Nicholas Jenson's types), Foundry Wilson (a Baskerville that revives a 1760 font from Scottish type founder Alexander Wilson), Foundry Journal, Foundry Gridnik, Foundry Form Sans, Foundry Form Serif, Foundry Monoline (2000), Foundry Origin, Foundry Sterling (2002, sans serif, in the style of Bliss and Gill Sans), Foundry Context (a sans family), Foundry Dat, Foundry Dit, Foundry Fabriek (an industrial orthogonal almost military stencil developed in consultation with Wim Crouwel), Foundry Flek (a dot matrix font), Foundry Plek, Foundry New Johnston, and Foundry Wilson Expert.

Michael Barbosa started work on Metroplis (1995) for Metroplisboa, the Lisbon subway, while he was working at Wolff Olins. That custom font project was finished by David Quay and Freda Sack. [Google] [MyFonts] [More] ⦿

Opened in 1985, the Study Center was created in order to preserve an unprecedented resource: Herb Lubalin's vast collection of work. Its goal was to provide the design community with a means to honor Lubalin and to study his innovative work. Herb Lubalin (1918-1981) is best known for his wildly illustrative typography and his avant-garde work for the magazines Avant Garde, Eros, and Fact. The Study Center's core collection includes an extensive archive of his work, including drawings, promotional, editorial and advertising design, typeface design, posters, logos, and other materials dating from 1950 to 1981. The collection also includes work by other designers including Otl Aicher, Anthon Beeke, Lester Beall, Will Burtin, Lou Dorfsman, Karl Gerstner, Tibor Kalman, Alvin Lustig, Elaine Lustig Cohen, The Push Pin Studios, Paul Rand, Bradbury Thompson and Massimo Vignelli. There is also a library of books and magazines about design and typography and an extensive collection of posters and type specimen books.

The Study Center is located at The Cooper Union 41 Cooper Square, Room LL119, New York. The Lubalin Center is free and open to the public by appointment. Up to two people at a time, and up to two hours per appointment. [Google] [More] ⦿

The Infamous Foundry
[Morten Iveland]

Morten Iveland (The Infamous Foundry) is a Bodo, Oslo-based graphic designer. Creator of the bold rounded typefaces Bolda Display (2008) and Hugo (2008-2009, counterless and obese).

In 2010, he started work on an avant-garde extravaganza to honor Herb Lubalin, simply called Her bie. It was published in 2012.

Creator of Fancy Antique Display (2012), an uppercase art deco partially multilined display font inspired by French decorative alphabets from the 1940s. RPM45 (2012) is a free condensed sans display face.

In 2014, he published the geometric sans typeface Illumini.

Cargocollective link. Another Cargocollective link. Behance link. Infamous Foundry link. [Google] [MyFonts] [More] ⦿

The Typehead Chronicles of Thomas Christensen
[Thomas Christensen]

Information and specimen of all historically important typefaces: Akzidenz Grotesk, Aldus, Antique Olive, Avant Garde, Avenir, Baskerville, Bell, Bembo, Bodoni, Bulmer, Caslon, Centaur, Century Old Style, Cheltenham, Dante, Frutiger, Galliard, Garamond, Gill Sans, Goudy Old Style, Granjon, Helvetica, Janson (Kis), Minion, Mrs. Eaves, Optima, Palatino, Perpetua, Sabon, Syntax, Times New Roman, Today, Trump Medieval, Univers, Walbaum. [Google] [More] ⦿

Thiago Rosa
[Azor Design]

Thinkdust
[Alex Haigh]

Graphic and identity design company founded by Alex Haigh in 2005 who was located in Sheffield, UK, but moved to Nottingham. Its web page is drowning in Flash---avoid the main page but go the blog or MyFonts instead. They are selling Taku (2009, bold squarish, with a stencil style added), Aiko (2008, a gorgeous fat techno family), Sukato (2008, another ultrafat beauty) and BAQ Rounded (2008, ultra-fat closed counter face; also at T-26). BAQ Roundded led to the ultra-round fat family Yuki (2010; +YukiLined, a stencil version). Hiruko (2008, eight styles) is a rounded sans family in the style of VAG Round. See also Hiruko Pro (2013). A robust geometric outgrowth of this is Ebisu (2010). Hiruko Stencil (2012) is a further extension.

In 2009, some of their fonts, such as Miyagi (paperclip type) seem to survive at HypeForType. YouWorkForThem carries BAQ, Hiruko, Miyagi, Amaya (2009, grunge), Gen (2009, ink spill grunge), Taku and Yume (2009, ultra fat retro).

Additions in 2010: Rika (a strong condensed sans), Saki Medium (a headline sans that builds on Ebisu), Sho Medium (an elegant expanded sans, also for headlines), Toshiko (techno face), Vow (extra thin, avant garde), Lippy (a lipstick brush face; see also Lippy Sans, 2012).

Typefaces from 2012: York Handwriting (a poster face), Headlined (a grungy bold grotesk in the style of Veneer), Electro (a paperclip typeface), Soto, Mr Chalk (done with Dawn Lewandowski), Letro (a modern slab done with Dawn Lewandowski), Vow Neue, Sobek (alchemic), Patisserie.

Typefaces from 2013: Gongo (rounded monoline all caps sans), Headlined Solid, Nanami (2013, avant-garde sans in 18 styles), Nanami Rounded, Crop (a rounded stencil family).

Typefaces from 2014 include Primiterus (a hipster style typeface by Maciej Swierczek), Toggle, Rustick (hand-drawn poster family), Nanami Handmade.

In 2015, Alex Haigh published the avant-garde typeface family Nanami Pro, an extension of Nanami, the free shadow typeface Nanami 3D, and Nanami Rounded (which in turn was followed by Nanami Rounded Pro in 2016).

Portfolio.

I finally understood the name Thinkdust. Upon blowing up the characters, one notices that all the glyphs are sprinkled with dust---see, e.g., Kono, Yumo, Yuko, Yoko, Soto, Roka, Mikagi (paperclip face), Hiroko, and BAQ Metal.

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

Third Entertainment
[Tsuyoshi Nagae]

Third Entertainment (Tsuyoshi Nagae) designed Picolon (2003, a futuristic face), HoneyAlphabet (handwriting typeface done with Masayuki Sato at Maniackers Design), Afternoon (avant-garde, not free), Water Fresh (liquid letters: Latin and kana), Pony (handprinting), Dacks, Third Extended (2004), Pony Katakana (2005), Pony Hiragana, Pony Bold, Mitsubato (2005), Funny katakana and regular (2005), Home Party (2004, clean handprinting), Dachs (2004), Third Extended Bold&Light (2004). Most fonts are free. With Masayuki Sato at Maniackers Design, he created the MinnanoUta family (AL, HR, KT) in 2008. [Google] [More] ⦿

Thomas Christensen
[The Typehead Chronicles of Thomas Christensen]

Thomas E. Harvey

Thomas Harvey designed many fonts in the 1990s and explained: These 47 fonts were created for personal and business use in the early 1990s. I did not expect that they would still be usable in modern operating systems 25 years later. There is a chance they may even outlive me! The fonts fall into three categories of creation: totally original; digitized versions of 19th and early 20th century hot type (metal) fonts; plus some alternative digitizations of more modern fonts.

His fonts are free for personal use (not including a personal business) or charitable and non-profit usage. Any other usage in a for-profit situation (whether net profits have actually occurred or not) requires a commercial license for a modest one-time fee: please contact Thomas. License information. Local download directory. Download all fonts in one zip file.

He designed the following typefaces:

Akenaten (1993: a slab serif)
Athenian. After Titania (1906, Haas).
Ballers
Balloons
BeesWax (1992-1993: a play on Dave Farey's ITC Beesknees from 1991).
BlackNib (1993)
BoldPact (1993: a condensed version of Geoffrey Lee's Impact)
Bosworth (1992-1993: a medium weight geometric sans)
BoxOnBox
BroadBay (1993: a take on Morris Fuller Benton's Broadway)
Bulge
CairoFont
Calendar
Cindybob
Coliseum (1992-1993)
Comaro (1992-1993: after Aldo Novarese's Stop, 1970-1971)
Daughty
Deborah (1992-1993: a far niece of Geoffrey Lee's Impact)
DingMaps (1994: silhouettes of the American states)
EZBorder
Fettash
FontSale
Gael (uncial, Celtic: a version of Victor Hammer's American Uncial, 1943)
Grammara (1993: techno, squarish, very close to Also Novarese's Eurostile)
HigherUp
HolyMoly
Inscruta
JBarrett
JoeLouis
Marbold (1992-1993: a revival of Michael Chave's avant garde typeface Marvin, 1969)
Mirisch (an informal Western style slab serif, related to Expo)
Mottek (1992-1993)
NewForum (various weights)
Nite Club (1992: a stylish art deco caps face)
Panelite (1993)
Pisan (1992-1993: a brush script)
Rhinofon
RikyTiky
Romanche (1992-1993; after Central Type Foundry's Quaint Roman)
RufCrate (a rough stencil font)
Swashett (1993: after Werner Rebhuhn's brush script Fox from 1953)
Tall Deco (1993: loosely based on Daniel Pelavin's art deco typeface ITC Anna, 1991).
TomsHand
Vascon

Fontsquirrel link. Abstract Fonts link. [Google] [More] ⦿

Thomas John Hayes

Thomas John Hayes is a designer, illustrator and photographer living and working in Brroklyn, NY. He holds a Bachelor of Fine Arts degree in communication design from Parsons the New School for Design.

Marcy (2013).

Thomas Vree

Dutch type designer, b. 1967, Amsterdam, who now works in Dundas Valley, Ontario, Canada, in pre-press and the print trade. He has had wonderous encounters with other type designers. He made 47 digital typefaces. As far as I can tell, no sales, and no downloads. Behance link. A partial list:

Amazon (1996). Most letters are didone, but some serifs are Bodoniesque.
Amsterdam: A compendium of experimental typefaces done starting in 1988. He writes: My initial forays into type consisted of hacking Letraset, distorting it on photocopiers, playing around with it on stat cameras, then adding to that with tech pens, etc. Then in early 88 I started drawing type on the computer. I was doing fanzines, gig posters, logos, tape covers, etc. and I knew instinctively that I wanted to use typefaces other than the ones I had at my disposal. My choices at the time were very limited, and nothing I had access to accurately conveyed the look I thought would be appropriate for say an experimental electronic combo. So I started drawing my own typefaces.
Bass Bin (1997). A first hint of grunge.
Boloni (1996). A Bodoni face.
Cosmodrome (1992).
Cryptonym (1995). A mishmash of fonts reconstructed to give something magical.
Dirigible (1993). A slightly convex display face.
Dread (1991). In the style of Kisman's Fudoni and Makela's Dead History.
Engravers Initials 2 and 3 (2011). These are Victorian über-ornamental semi-blackletter typefaces based on designs found in Dan X. Solo's Gothic and Old English Alphabets from Dover Publications.
Faith. Thomas writes: Back in 94, 95 Paul Sych of Faith asked me to do the production work on a typeface package he was going to release through Thirstype. I created the analphabetic, accented characters, set up the kerning tables, and in some cases, created variants (italic, bold, outline, etc.) One of the typefaces was Wit, which was inspired by the experimental typography of Kurt Schwitters. The set of typefaces Thomas did included Wit, Fix Plain Mix, Fix Sin Mix, Fix Ram Hog Mix, and USeh.
Freddy. A digital version of an art nouveau typeface that Morgan Press had been using in the 1960s [those psych typefaces were mostly inspited by art nouveau].
Gyrosol (1997).
Jarkko. Based on old sign painter lettering.
Lucas: a sans family.
Lucifah: comic book lettering.
Mau Gothic: a bold weight of W.A. Dwiggins's Gothic, on commission for Bruce Mau Design.
Nephilim (1996).
Penetralia (1990). An ultra-condensed face.
Percolator. An organic face.
Poser (1995): A comic book face.
Puffage (2010): a typeface made up of pot leaf elements.
Ray Gun: a type done for a Ray Gun flyer.
Reklame. With hints of Avant Garde.
Snug Industries Font (a logotype done with Tony Elston).
SubRosa (1992). A squarish condensed face.
Thornaments. A set of symmetric ornamental symbols.

Behance link. [Google] [More] ⦿

Tiago Pereira

Graphic designer and typographer in Curitiba, Brazil. Creator of the beautiful unicase avant garde typeface Repo Type (2010), the Barnbrookish typeface Vicctoria (2010), and the Peignotian typeface RBSC (2010). Behance link. Another Behance link. He is credited with the free chisel font Nosewritten (2009, a Greekish typeface created without using any hands; see Unique Types).

Tiago Silva

Graphic designer in Curitiba, Brazil. He created the compass and ruler face Curitiba (2011). Before that, he designed Repo (2011), an avant garde monoline sans face. That typeface will soon be available for free download.

In 2012, he created a free icon set called 24 Things.

In 2013, he added the sans typeface Franzina Condensed Hairline.

Cargo Collective link. [Google] [More] ⦿

Tim Sluiters

Tim Sluiters (Studio Tim Sluiters, Solingen, Germany) created an avant garde logotype for Hotel Trafohaus in 2015. Behance link. [Google] [More] ⦿

Time Peace

FontStructor who made the horizontally-striped typeface Strobes (2012), Simplicity (2012), Smashel (2012), Extora (2012, textured face), Dead Stirrup (2012), Checker (2012), Slice (2012), and Tesla (2012, based on the logo of the electrical company Tesla).

In 2013, we find Hearty (Valenttine's Day font), Anubis (retro futurism), Tockice (connect-the-dots), Swirl, Teeny Dots (dot matrix face), Specs (arrowed letters), Atlas Regul (art deco marquee face), Smash (dot matrix face), Steam (steam punk, mechanical), Apricot (dot matrix), Peach, Koverkav (tall connected script), Zastava (art deco), Syncopation (avant garde), Centrivid, Time Script, Grey Sans (a textured sans), Seriphagy, Mona, Lightheart (a Broadway style art deco face), Lower (tall ascenders), 2Time, DotoMagy (dot matrix face), Finolin, Remaster (horizontal stripes), Whimsy, Procol (vertical striping), Ceremonio (vertical striping), Island, and Quindle. In March 2013, he published Circles and wrote I finally nailed a perfect circle, which many consider the holy grail over at FontStruct. That is to say, the imperfections in the circle are only visible at large point sizes---quite an achievement.

Typefaces from 2014: Cybertron, Puzzler, Just Peachy (blackboard bold), Bubble Pop, Pointy (arrowed face), Gypsy Train (bilined, frilly), Mad Hatter (card font), Origami, Pointers (hexagonal), Angled (deco), Owlarium, Blossum (floral), Jarvis (wooden plank font), Cocktail Bar, Circuit Breaker, Every Good Boy, Circus Comes to Towne (sic) (circus font), Fruit Stripes (art deco, striped).

Typefaces from 2015: Cogsworth (connect-the-dots), Neomorph (techno). [Google] [More] ⦿

Tobias Benjamin Köhler
[www.uncia.de (was: uncifonts)]

Tobias Holzmann

German-born designer who studied in Strasbourg, France. Creator of the thin avant-garde typeface Early Sans Serif (2011) and of the paperclip typeface Trombone (2011). [Google] [More] ⦿

Todd Dever
[Cool Fonts Online]

Tom Carnase

Type designer Thomas Paul Carnase was born in The Bronx, New York City in 1939. He graduated from New York City Community College in 1959. Carnase started making fonts in the photolettering era, and lived through the transition to digital. In the 1960s, he opens the studio Bonder & Carnase Inc. From 1969 until 1979, he is vice-president and partner of the agency Lubalin, Smith, Carnase Inc. In 1979, he founds the Carnase Computer Typography studio. In 1980, Carnase becomes co-founder and president of the World Typeface Center Inc., an independent type design agency. He manages the in-house magazine Ligature published by the World Typeface Center from 1982 to 1987. Besides type design, Carnase has designed graphics for packaging, exhibitions, corporate identities and logos for numerous clients, including ABC, CBS, Coca-Cola, CondéNast Publications, Doubleday Publishing and NBC. He has held teaching positions at the University of Cincinnati in Ohio, the Pratt Institute in New York, the Herron School of Art in Indiana, the Parson's School of Design in New York, the Cleveland Institute of Art in Ohio, the University of Monterrey in Mexico, and the Rochester Institute of Technology in New York, among others. His fonts include:

Fonts at WTC: WTC Carnase Text, WTC Favrile (1985), WTC Goudy (sold by URW++), WTC Our Bodoni (with Massimo Vignelli), WTC Our Futura, WTC 145. Clones of Favrile abound: OPTI Favrile (Castcraft), Fascinate (NovelFonts), Francois (Serials).
At LSC (LSC stands for Lubalin Smith Carnase Inc, an agency he co-ran in the 70s), he created a number of typefaces such as LSC Book, LSC Condensed and LSC Caslon No. 223.
ITC Busorama, a geometric titling typeface that started with an ad for a bus company. Busorama, despite its innate ugliness, has been copied tens of times. Nick Curtis managed to turn it into an art deco typeface in 1999 with his Ritzy Normal.
With Herb Lubalin, he designed L&C Hairline (ca. 1966, VGC) and L&C Stymie Hairline (1973, VGC).
At ITC: ITC Manhattan (1970), ITC Avant Garde Gothic (with Herb Lubalin and Ed Benguiat, 1970), ITC Bolt Bold (with Ronne Bonder, 1970), ITC Gorilla (with Ronne Bonder, 1970), ITC Grizzly (with Ronne Bonder, 1970), ITC Grouch (with Ronne Bonder, 1970: this Caslon headline typeface was mimicked and extended in 2011 by Tomi Haaparanta as Grumpy Black; see also Softmaker's Zepp and Bitstream's Dutch 791), ITC Machine (with Ronne Bonder, 1970), ITC Pioneer (with Ronne Bonder, 1970), ITC Ronda (with Ronne Bonder, 1970), ITC Tom's Roman (with Ronne Bonder, 1970), ITC Fat Face Western, ITC Pioneer No. 2, ITC Honda, ITC Didi (a high contrast didone revived in 2013 by Jason Anthony Walcott as Domani CP), ITC Bernase Roman, ITC Neon (1970; jointly by Ronné Bonder and Tom Carnase; based on Prisma, and initially shown by Photo-Lettering as Neon; Prisma in turn was based on Rudolph Koch's Kabel; digitizations include Neptune (FontBank, 1990-1993) and the free shadowed Multistrokes (Manfred Klein, 2003)), and Milano (with Ronne Bonder).
L'Eggs, ca. 1969. A custom font for a line of hosiery to be called L'eggs by designer Roger Ferriter and Tom Carnase.

Author of Type: the best in digital classic text fonts (1995, Graphis, with Baruch Gorkin), about which Hrant Papazian writes: I just went through the Carnase/Gorkin book - I'd forgotten how lousy it is---please don't buy it.

View Tom Carnase's typefaces. [Google] [MyFonts] [More] ⦿

Tom Tor

Tom Tor Studios has offices in Los Angeles and Tokyo. Designer in Tokyo (was: Los Angeles) (b. 1985) of the themed display typefaces Tom Tor (2008, geometric sans), Pavadee (2008, free upright script), Khmer (2008, Khmer simulation face), Fugue (2008), Kampuchea (2008). He also made the pixel typeface Silom (2008). He writes: Formally trained in Communication Design and type designer, Tom Tor is visual rather the verbal. This is especially evident in Tor's Landmine Awareness poster design. Stark but symbolic images are used as the sole means of conveying the malicious cruelty brought on by leftover landmines. His work is strongly inspired by the Avant Garde art movements of Europe.

He was commissioned in 2009 to design S-21, a modernist face (in his own words). Sisamouth was designed in 2009 in honor by Cambodian singer Sinn Sisamouth.

Typefaces from 2010: Black Bees (a fat stencil pair).

In 2013, he designed the Latin typeface Chams and the geometric sans typeface Enso. [Google] [More] ⦿

Toni Hurme
[Hurme Design]

Tony Geddes

Tony Geddes was the co-chair with Dave Farey of Panache in London. He designed Flamenco Inline (Letraset and ITC, 1979; a digital revival by SoftMaker in 2015 is called Fuego) and Spotlight (Letraset and ITC, 1989). In 1968, he created the avant-garde typeface Capone and Musketeer (AG; for equivalent digital fonts, see Milton (Mecanorma), Melbourne (TypeShop), and Melbourne Serial (Softmaker)). He also made an athletic lettering typeface which was at the basis of Sis Boom Bah NF (2007, Nick Curtis). [Google] [MyFonts] [More] ⦿

Trevor Bowman

Clovis, NM-based designer of a few typefaces in 2017, including an avant garde and a stencil style. [Google] [More] ⦿

Tsuyoshi Nagae
[Third Entertainment]

Type Design International (or: TDI)

Type Associates
[Russell Bean]

Russell Bean (Type Associates of Pyrmont, Australia, est. 1993) is an Australian type designer (b. Parkes, NSW, 1947). He worked in many ad agencies and later in the studios of the local photolettering houses, redrawing typefaces for filmfont setting as well as hand-composing headlines using photo-mechanical devices.

In the early seventies, he designed a five-weight Avant-gardish family named Virginia (now also digitized).

He then worked for the Los Angeles studio of Lettergraphics International in charge of lettering, logo design and converting type designs to film fonts. It was at this time (1973) that the Washington Family was completed. Upon his return to Australia that year, he teamed up with a long time colleague to form a design and art group in Sydney.

Russell has been responsible for the creation of many Australian icons, including the Qantas logo. Russell Bean has served on the executive committees of The Australian Type Directors' Club and Australian Graphic Design Association.

Typefaces available from MyFonts include Bougainville (1994-2005, a condensed sans family), Bougainville Neo (2021: 16 styles), Fremantle (1994), Beanwood Script (1997, a calligraphic script co-designed with David Wood), Craigie Halpen, Eumundi Sans [also available in the Agfa Creative Alliance], Eumundi Serif, Linear, Melissa, Rhodamine Blue, Sanguine (2004, handwriting), Semaphone (brush writing), Washington (1973, art deco family--really nice geometric letterforms with at least one hairline weight), and Xaltier.

He designed ITC Christoph's Quill (2004), Billabong (2006, 1950s handlettering), Charleston Caps (2007, art deco) and the comic book lettering typeface Rhapsodie (2006).

In 2007, he added the Threepoints East, North and West sans typefaces.

About the Avant-Garde-style geometric sans family Virginia (2008), Bean writes: she was the most popular headline typeface around, at least in my home town in the year of her release circa 1970. That was the year my five-weight design won the inaugural (and only) Lettergraphics International Alphabet design competition and shut out 5000 competitors. Alas, Lettergraphics ceased to trade from its LA studios after the mid-80s and Virginia's two-inch film fonts were left to collect dust on the cutting room floor.

The Koomerang family and Karmel (flare-legged retro display) were added in 2008.

In 2009, Bean created Comp Sans 226, Argyle Rough, Empirical (12-style DIN-like sans family), Dotmap (pixel family) and Macquarie Heavy.

In 2010, he made the poster signage typeface Hangtime.

In 2013, he published the hand-printed typeface famiy Progeny.

He is associated with Keith Morris in the type foundry Bean & Morris.

In 2015, Russell created Macaroni Sans. In 2017, he added the calligraphic script typeface My Pimp.

Typefaces from 2019: Aodaliya (an ultra-condensed typeface family).

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

MyFonts lists this company as the owner of one typeface, Washington. That avant garde typeface is sold by URW++ as Washington D. [Google] [MyFonts] [More] ⦿

Types and Boats
[Jonatan Xavier]

Jonatan Xavier is a Brazilian graphic designer based in Curitiba. In 2014, he set up Types and Boats. Jonatan created the art deco typeface Neo Deco (2012: free download in vector (AI) format), Deco Neue Light (2014, avant garde sans caps), Armazem Pineapple (2014: a handcrafted poster font), Pineapple Monoline (2014: free), Nova Deco (2015), and Split Doodle (2016).

In 2017, he designed the partially free super-fat typeface families Split and Pink Doodle, and the free Mafalda Normal.

Typefaces from 2018: Painterman (brush paint style). [Google] [More] ⦿

Typodermic
[Ray Larabie]

Ray Larabie (b. 1970, Ottawa, Canada) ran Typodermic in Mississauga, ON, which opened in the Fall of 2001. In 2006, it moved to Vancouver, BC, and in 2009 it moved on to Nagoya, Japan. Dafont page. Ray Larabie has been making fonts since 1996, but those early fonts were freeware. His pre 2001 fonts are grouped under the label Larabie Fonts. In 2001, he set up Typodermic. Latest additions.

The Typodermic fonts:

2022: Biphoton (a monospaced sans with the same proporions as Letter Gothic 12), Valve (an industrial muffler shop font), Deception (a sub-pixel typeface with ten captivating effects---Deception Array (wide blocks), Deception Bars (text viewed through lenticular glass), Deception Blocks (as in heavy JPEG degradation), Deception Diamonds, Deception Lines (for a grayscale effect), Deception Particles, Deception Plusses, Deception Process (simulates grayscale LCD text or a thermal printer on the fritz), Deception Scanline (television picture tube text rendering), Deception System (1-bit dithering gone haywire)), Monofonto (a monospaced sans), Encercle Draft (permitting users to create numbers in borders), Encercle Sans, Heavy Heap (a groovy psychedelic typeface with a scorching look, reminiscent of 1960s hot-rod culture and die-cast toy vehicles), Ggx89 (a 48-style tightly spaced Swiss style sans family).
2021: Quadrillion (a 12-style rounded monoline sci-fi family), Mochon (a wall writing or chalk font based on the lettering of Donald Mochon, dean of the RPI School of Architecture until 1966; the Mochon samples were provided by an ex-student of Mochon, Karl A. Petersen), Steelfish Hammer (a subtly rustic version of Larabie's most popular typeface, Steelfish), Wavetable (sci-fi), Xyzai (an LED emulation font, described by Ray Larabie as a hardcore, Y2K-style techno typeface), Geoparody (a 12-style squarish typeface inspired by a late 1960s font called Anonymous), Typewriter Spool (122 fonts, modeled after the Underwood No. 5 typewriter font).
2020: Gravtrac (a 56-style condensed to crushed slab serif family inspired by mid-twentieth century classics like Univers 59 Ultra-Condensed, Helvetica Inserat and Compacta; +Greek, +Cyrillic), Vinque Antique (a rustic handcrafted blackletter in eight styles).
2019: Dealerplate (17 license plate styles for various states and provinces in the USA and Canada, current as of 2019; included are California, New York, New Jersey, Ohio, Illinois, Pennsylvania, Florida, Maryland, Michigan, Wisconsin, Massachusetts, Missouri, Washington, North Carolina, Virginia, Quebec, and Ontario), Kenyan Coffee Stencil, Good Timing, Steelfish Rounded, Bitcrusher (a consumer electronics / techno font), Galderglynn 1884 (a nineteenth-century style sans-serif typeface that exp[ands his Galderglynn Esquire).
2018: Cybermontage, Crack Man (a pac man font), Propaniac (a 1980s-style postmodern typeface inspired by a Pointer Sisters record sleeve which was designed by Shoot That Tiger Creative Services), Zelega Zenega, Spectrashell.
2017: Minicomputer (MICR style), Squirty, PCTL9600, PCTL4800 (retro techno), Ultraproxi (semi-monospaced and influenced by the high speed computer printers from the 1950s to 1970s), Toxigenesis (techno sans), Venus Rising, Vanchrome (a compact sans-serif headliner with chromatic layers), Krait (a layered geometric typeface designed for architectural display), Xylito (a layered font for chromatic or 3d effects).
2016: Refuel (octagonal, based on military aircraft markings), Expressway Soft (a sans-serif font family inspired by the U.S. Department of Transportation's FHWA Series of Standard Alphabets, also known as Highway Gothic), Conthrax (squarish, techno), Cornpile (cartoonish), Electric, Evensong (art deco), Fledgling (a very tall typeface), Gymkhana (sans), Remissis (sans), Sunday Evening (a reverse contrast typeface), Meloche (Meloche is a unique grotesque sans-serif typeface influenced by hand-painted French signs of the late nineteenth century. It's available in 7 weights and obliques).
2015: Canada 150 (a custom font for the Canadian government; see here, here, this coverage regarding the Inuktitut part of the font, and this reaction by the curmudgeons in Toronto who complain that Ray did this work for free), Autoradiographic (sans family), Built Titling (for compact headlines), Chickweed Titling (cartoon titling font), Cardigan Titling (flared headline face), Bench Grinder Titling, Kleptocracy Titling, Palamecia Titling (rounded black comic book typeface), Quasix Titling, Galderglynn Titling (all caps sans family from hairline to black), Mixolydian Titling, Stormfaze (a sci-fi font started in 1996 and finished in 2015), NK57 Monospace (a 60-style programmer typeface), Gargle, Athabasca (a sans family designed for the rugged Canadian oil patch).
2014: Mesmerize (a large free sans family), Kingsbridge (a large slab serif family with sharp points on the A, M, N, V and W), Manbow (a layered geometric art deco display font which includes solid, clear, stripe, polka-dot and screen patterns), Breamcatcher (an all caps art deco font inspired by the piano sheet music for With Every Breath I Take which was featured in the Bing Crosby/Kitty Carlisle musical comedy film, Here is my Heart), Kilsonburg (Dutch deco based on an old Vogue magazine cover), Uchiyama (poster typeface), Goldsaber (art deco design), Vexler Slip (unicase), Rakesly, Dacquoise, Pretender, Rimouski (a rounded geometric font family), Nulshock (techno), Recharge (techno/industrial font), Interrogator Stencil, Strange Alphabets (arts and cratfs font), Angerpoise Lampshade (free).
2013: Numbers With Rings, Shookup (funky cartoon font), Pastrami on Rye (cutout comic book style), Chickweed, Built (a condensed headline sans), Fluctuation (a softly rounded elliptical sans family), Astrochemistry (sci-fi, techno with rounded edges), Snasm (sci-fi).
2012: Engebrechtre (2000-2012), Die Nasty (1999-2012: free), Strasua (1999-2012), Planet Benson (1997-2012), Husky Stash (1998-2012), Barbatrick (1999-2012: a speed emulation font), Zero Hour (1997-2012), Urkelian (1998-2012: very condensed), Zolasixx (inspired by the video game Zaxxon), Ampacity (neon font), Chromakey (a space deco headline font inspired by box art classic video games including Matrix Marauders and Magical Chase), Disassembler (1980s style bitmap font), Zerbydoo (a dot matrix family), Superego (a geometric-techno font inspired by the cabinet graphics for the 1981 Stargate arcade game), Rukyltronic (a set of dot matrix typefaces), Nerdropol (pixel family), Gulkave (rounded pixel font), Cyclopentane, Palamecia (a fat finger poster face), Gameness (a 1990 retro industrial deco font), Camulogen (headline face), Color Basic (a pixel typeface inspired the by TRS-80 Color Computer), Triac Seventy One (a funky face), Acroyear (retro all-caps headline font), Troll Bait, Strenuous (unicase), Permanence (a retro=futuristic font based on Alvin Toffler's cover of Future Shok, 1970), Clockpunk (octagonal and quaint), Battlemaze (trekkie face), Mixolydian (industrial sans).
2011: Ugocranis (a brutalist typeface), Clipwave, Wheaton (MICR-inspired), Mango Scribble, TRS Million (dot matrix face), Ugogranis (constructivist), Gomoku (paper cut face), From The Internet.
2010: Cranberry Gin (2010, octagonal), Restore (all caps, geometric sans), From The Stars (an elliptical techno family done with Chikako Larabie), Thrusters (space age face), Dream Orphanage, Dream Orphans (2000-2012), Kengwin (rounded slab serif), Gleaming The Cube (Greek simulation face), Vectipede (a slab serif family), Great Escape (an elliptical sans family), Subrocs (connected script), Hackensack (with Chikako Larabie), Polarband (bilined stackable headline face), Naked Power, Special Forces (a great macho slab serif headline face---watch for awards to roll in), Warugaki (handpainted), Warmer, Honfleur (art deco; with Chikako Larabi), Voivode (a headline typeface done with Chikako Larabie), Hachimitsu (Asian look face, done with Chikako Larabie), Kadeworth (rounded retro look sans, done with Chikako Larabie), Gnuolane Jump (2010, with Chikako Larabie), Markerfield (brush), Board of Directors (Bank Gothic style family, done with Chikako Larabie), GGX88 (a Swiss sans family), Body Goat, Reversal, Gord (techno), Computechnodigitronic (LED, LCD geek-look font), Bench Grinder, Inklea (a bubbly face), Skygirls (retro brush script), Gloss (a paint brush typeface based on Champion, 1957, G.G. Lange), Galderglynn Esquire.
2009: Maqui (an industrial headline sans family), Zingende (art deco family: caps only), Misadventures, Gaz (large retro sans family), Acrylic Brush, Enamel Brush (a digitization of Catalina, 1955, Emil J. Klumpp), DDT (neutral sans), Thump (fat, casual), Desperate Glamour, Pricedown (an update of his free 1990s font, patterned after the lettering on The Price Is Right show), Mitigate (monoline and slabbed; has some typewriter styles), Catwing, Walken (slab serif stencil), Silicone (soft rounded sans family), Movatif (sans), Gunplay (a stencil family inspired by the poster for the 1972 Steve McQueen/Ali MacGraw film The Getaway), Fragile Bombers (octagonal), Forgotten Futurist (techno sans, 19 styles), Bullpen (slab serif), Coolvetica (35 styles), Duality, Good Times, Strenuous, Shlop (paint-drip style), Dirty Baker's Dozen (stencil), Junequil (VAG Rounded style), Owned (graffiti), Domyouji, Threefourtysixbvarrel (stencil), Enacti, Uniwars (futuristic, 16 styles).
2008: Madawaska (a rugged slab serif), Ebenezer (grunge), Gnuolane Stencil, Raincoat, Report School (avant garde sans), Jesaya, Carouselambra (art nouveau), Debusen (rounded), Barge (military font), Renju (2008, potato or rubber stamp print face), Otoboke (handlettered), Hit (informal hand), R6 D8 (futuristic sans family), Rexlia (an octagonal machinistic family), Hybrea (a display sans with TV screen rounding), Sweater School, Tussilago (2008, a neutral sans family), Presicav (extended sans), Hover Unit, Addlethorpe (grunge), Scheme (rounded sans), Usurp (bouncy poster lettering), Negotiate (technical sans family), Divulge, Sewn, Gnoulane (condensed sans), Moja, Teeshirt (old typewriter face), Pound (art deco marries grunge), Graveblade (heavy metal font), Synthemesc (psychedelic anti-Starbucks font), Chysotile (white on black grunge), Cardigan (sans), Gurkner (balloon style), Reagan (grunge).
2007: Tight (a copy of Dean Morris's 1976 Letraset chrome font Quicksilver), Headlight, Meloche (a 3-style grotesk), Octin Spraypaint (grunge stencil), Octin Vintage (grunge), Bouffant (script), Octin Prison (stencil), Octin Sports (octagonal), Octin College (octagonal, for sports jerseys), Octin Stencil (free octagonal font family), Burnaby Stencil (stencil), Superclarendon, Conceal, Ohitashi, Stud (grunge), Bristles (grunge), Skirt, Cotton (grunge), Kelvingrove (a bit of copperplate gothic, rounded and shaved), Augustine, Containment, Snowa, Veriox, Scrubby, Transmute, Sheaff, Injekuta (techno), Rinse (grunge), Polyflec, Domyouji (square sans), Winthorpe (old style), Cutiful (script), Flyswim (grunge), Dirtstorm (spray-painted stencil), Shnixgun (grunge), Neuzon (grunge), Oxeran (old typewriter), PRINTF (grunge all caps monospaced), Akazan (sans), Nyxali (a metal tag face), Nesobrite (25 styles of Bank Gothic lookalikes), Meloriac (a heavy headline sans inspired by Futura), Walnut (graffiti face), Gnuolane (a narrow superelliptical sans), Edifact (a damaged computer font), Darkheart, Stampoo (squarish), Raymond (rough script), Hayate (oriental look), Telephoto. The entire Octin series is free at DaFont.
2006: Octynaz (grunge), Paltime (ornamented), Jolie Ecriture Desard (children's hand), Mango (comic book face), Desard (child's hand), Bulltoad, Lerku (eroded serif), Charbroiled (also eroded), Ceroxa (eroded stencil), Nagomi (a chiseled-look Asian font based on calligraphy of Chikako Suzuki from Nagoya), Whiterock, Yellande, Chilopod (a futuristic typeface inspired by the logo from the 1980s videogame, Atari Centipede), Order, Goldburg (based on a typeface by George Bowditch, 1957), Laserjerks (2006, brutalist), Milibus (futuristic), Bonobo (serifed), Ohitashi, Sarasori (TV-tube shaped typeface in the style of Oban), Structia (an octagonal family), Betaphid (octagonal), Gendouki (futuristic stencil), Slugger (athletic lettering), Marianas (a gorgeous art deco face), Lineavec (octagonal), Corzinair (serif family), Buxotic (a great caps face), Cinecav X (for closed caption TV and DVD), Salsbury (comic book face), Lonsdale (loosely based on a font called Parkway Script, which was designed by Emil Hirt in 1964), Alepholon (futuristic), Kwokwi, Mikadan (a tribute to Stephenson Blake's Verona from 1948, which was in turn based on William Dana Orcutt's Humanistic from 1904), Marion (2012: a beautiful transitional family adopted as a standard Mac OS X font), Quasix (hookish), Skraype (grunge stencil), Bleeker (casual lettering), Linefeed (monospaced line printer font), Draculon (a casual typeface inspired by the letterforms of William Orcutt's humanist font from 1904 which was in turn based on an Italian manuscript from 1485), Mahavishnu (a mix between 1970s psychedelics and art nouveau), Doradani (a corporate identity sans family), Korotaki (futuristic).
2005: Beat My Guest, Kadonk (a Halloween face), Report (a VAG-Rounded style face), Croteau (a poster face), Heroid (ook face), Barrista (informal script), Wyvern (sans serif), Wubble (like puddles of water), Caryn (casual script), Folder (a rigid sans family), Venacti (a futuristic family), Xenara (a keyboard lettering family), Emory (a destructionist sans family), Ligurino (neat sans&serif family), Biondi (update of Copperplate Gothic; followed in 2010 by Biondi Sans; these copperplate style typefaces are in the style of AT Sackers), Byington (Trajan column lettering), Sayso Chic, Expressway (28 weights, a highway signage family), Algol (pixel type), Meposa (fat display face), Tandelle (condensed), Vigo, Maychurch, Mecheria, Vactic (dot matrix), Zosma, Topstitch, Windpower, Llandru, Soap (a creative extension of Cooper Black, with dingbats), Kleptocracy (1999-2005), Owned, Rimouski (sans), Burnstown Dam (2005, a wooden plank font), Sinzano (sans with opentype ligatures galore; compare, e.g., House Ed Interlock), Zamora.
2004: Affluent, Threefortysixbarrel (stencil face), Tank, Telidon (dot matrix face), Funboy, Neuropol X, Neuropol Nova, Mufferaw (comic book face), Larabiefont, Zekton (techno), Strenuous 3D, Silentina (advertised as "a silent movie font"), Amienne (brush script), Fenwick Outline (free), Betsy Flanagan (1998, a keyboard face), Boopee (children's handwriting), Pirulen (in the general Bank Gothic style), Zalderdash.
2003: Zupiter, Blue Highway.
Before 2002: the dot matrix family Telidon, Telidon Ink, Butter Belly, Almonte (1999), the architectural font Jillican (octagonal), Snowgoose, Bomr, Pakenham, Neuropol, Nasalization, Fenwick, Kleptocracy DLX, Sui Generis, Dirty Bakers Dozen (faded stencil), Minya Nouvelle, Asterisp, Chinese Rocks, Jillsville (great artsy Courier), Ulian, Wevli (including Wevli Dingbats), Sappy Mugs (funny mugshots), Sofachrome (1999, inspired by Pontiac car emblems), Eden Mills (1999).

MyFonts interview. Fontspace link. Fontspring link. Catalog of the typefaces in the Larabie Fonts collection. Klingspor link.

Catalog of the Typodermic library in decreasing order of popularity. Extensive (large page warning) Typodermic catalog. Font Squirrel link. Creative Fabrica link. Fontsquirrel link. Fontdaily link. [Google] [MyFonts] [More] ⦿

Typollery (was: Dri Zy)
[Faqih Sandri]

Dri Zy, or Drizy, is Faqih Sandri, aka Faqih Fawaji. Bandung, Indonesia-based designer (b. 1991) of the layered techno typeface Trixie (2016), the brush typefaces Syelma Script (2016) and Syemox (2016), the gothic typeface Dark Widow (2016), the vintage lettering typefaces Overjoyed (2016, Western style) and Beatrixe (2016), the paperclip typeface Kuxu (2016), Dark Widow (2016), Brain Melt (2016: the ultimate Halloween / horror font), Mama Lian (2016), Copper (2016), Dust (2016), the brush script fonts Aeros (2016) and Rostoh (2016, brushy), the children's script typeface Roast (2016), the handcrafted Eastpine (2016), Nyam (2016, layered) and Monstahh (2016), the slimy Halloween typeface Brain Melt (2016), and the poster typeface family Ayuenda (2016).

Typefaces from 2017: Heimdal (futuristic), Alectro (sci-fi style, with elements of Sinaloa), Wakiki (layered typeface), Kauai, Maui Script, Mokoto (a layered TV glitch typeface), Anxiety (multiline font), Nemphis (neo deco), Andimia (a layered Victorian font family), Mr. Trumb (comic book style, what else?), Mr. Trumb Chalk.

Typefaces from 2018: Orbit, Solo (a thin all caps avant-garde font), Midnight (horror font), Buick (ethnic, futuristic and bold), Astro, Amoux, Galatee, Love & Life.

Typefaces from 2019: Naras, Buick (a tribal pattern font), Aloen, Galatee Script, Zesant (font duo), Syemox (brush), Ayuenda Shadow, Adine, Galatee Script, Aeros (brush script), Tulisan, Bomtur, Forever (a signature script), The Brawn (monoline script), Loka, Brack (rough brush), Orbit, Midnight.

Typefaces from 2020: Latone. [Google] [More] ⦿

Ugur Genc

Graphic (1975, Istanbul) who studied at Mimar Sinan University. Behance link. He created the avant-garde typeface Just Letters (2011). [Google] [More] ⦿

Uusimaa Type Foundry Incorporated
[Stephen Bird]

Experimental fonts developed by Steve (Stephen) Bird (aka Stehvelo), a Brit who has lived over 30 years near Helsinki. Direct download. The fonts:

Spyroclassic (2007): geometric text font. Its partner is Spyrogeometric (2007, avant-garde style).
Pixel typefaces: S64.
Display typefaces: Newsiren (2007), Spike (2007), Sfilth (2007), Santiako (2007, ultra-geometric sans), siren4 (2000), Splekta (2012, grotesk).
Scanbats: Stampere
Unicase: Bayer (2002, aka Sbayer), Chic (2002, aka Sheek).
Paperclip typefaces: Kaapeli (2002), Scable (2008-2017).
Stencil typefaces: Sblock
Disturbing the *** fonts: Stratford (2007, an angular typeface designed on the basis the 2012 Olympics logo typeface by Gareth Hague), Snevil (2007, a sans based on Neville Brody's work for FACE: upper case and lower case letters of the same size).
Nice text typefaces: Snidane (2007).
Rubber stamp fonts: Stamp
Experimental: Shardikka (2018), Strzeminski (2007, a decorative futuristic font with two baselines, after a 1932 original by Jan Strzeminski).
Other: Smerkan (2007-2018), Slimbits (2014), Schalk (2012, chalky), Splekta (2012, grotesk sans), Pyoro (2002, a geometrical sans), Pyoroblur-Bold (2007), SBHandRegular (2007), Shrbitov (2012, based on letters seen on a memorial in Prague).

[Google] [More] ⦿

Val Kalinic
[VP Type (or: VP Pixel Fonts)]

Valdeir Souza

Aka Valdeir Junior and Junior Souza. Brazilian creator of the hexagonal typefaces Cubic (2011) and CubicRefit (2013) and the squarish typeface Tower (2013). In 2014, he created the avant garde sans typeface Poets. [Google] [More] ⦿

Victoria Salsas Dejuan

Vicky Salsas was born in Barcxelona in 1989, and obtained a Masters in fashion design from the London College of fashion, as wiell as a degree from EINA in Barcelona. In 2011, she designed the avant garde typeface Borwicks. [Google] [More] ⦿

Viktor Hammarberg

Karlskrona, Sweden-based designer of the rune simulation typeface Fort Wendy (2014), The Medic (2014), Coco Puff (2014), Maniac (2014: avant garde), Agony (2014: hairline circle-based experimental typeface), Acne (2014), and the hairline sans typeface Galacticastle (2014).

Dafont link. Aka Viktor Hamburger. Behance link. [Google] [More] ⦿

Viktor Kharyk

Ukrainian designer, b. Kiev, 1957. Graduate of the Senior College for Print and Design in Kiev in 1982. Viktor became art director at Sphera in Kiev. Main type designer at Düsseldorf-based company Unique GmbH since 1998. In 2012, he cofounded Apostrof with Konstantin Golovchenko. He designs Armenian, Greek, Georgian, Devanagari, Hebrew, Cyrillic and Arabic fonts, and is particularly interested in revivals of ancient, forgotten, or historically important typefaces and writing systems. His work:

At Elsner and Flake, he published EF Bilibin (2004, uncial), EF Abetka (2004), EF Gandalf (2004, uncial), Bilbo (2004-2008, an uncial family), Kiev EF (2002), Lanzug EF (2002, letters as zippers), Rose Deco EF (2001), EF Elf (2002, imitating Tolkien's writing), EF Deco Uni (2001-2004), EF Deco Akt Light (2001-2004), EF Fairy Tale (2003-2008, caps face), EF Varbure (2004, an experimental family), Rose Garden EF (2001, initial caps ornamented with roses; the text is uncial), and Viktors Raven EF (a spectacular caps font with letters made out of a raven).
At MasterFont: Abetka MF (1999, with Alexeev), Kiev MF (1976-2003), and Netta MF (1999, text family). These fonts have Latin and Hebrew components.
At Paratype, he published Uni Opt (2007, Op Art letters based on free brush technique similar to experimental lettering of the early decades of the 20th century; for instance to Graficheskaya Azbuka (Graphic ABC) by Peter Miturich and works by Victor Vasareli), Joker (1978, a subtractive font---since 2000, also in Cyrillic, Latin, Hebrew, Greek, Georgian, Armenian and Arabic), Blooming Meadow (2007, flowery ornaments), Bogdan Rejestrowy and Bogdan Siczowy (2006, based on Ukrainian Skoropis (fast handwriting) of the 16th and 17th centuries, and named after Ukrainian Getman Bogdan Khmelnitsky. The character set contains Cyrillic, Old Slavonic, Glagolitic, Latin and Greek alphabets), Lidia (2006, a lined engraving typeface based on a 1967 font by Iraida Chepil for Polygraphmash).
At 2D Typo: Florentin 2D (2011, angular family), New Hotinok 2D (2010, with Henadij Zarechnijuk).
Other work: Simeon 2D (2011, 2D Typo), some fonts at Face Typesetting (1970s), Getto (1970s), White Raven (2002), Handwritten Poluustav Ioan Cyrillic (1999-2001), Letopis (1983), New Zelek (1980s), UniAkt (2001, based on Unifont, an erotic caps face, done with Natalia Makievska).
Free fonts at Google Web Fonts, published via Cyreal: Iceberg (2012, octagonal).
Cyrillizations by Viktor Kharyk: Data 70 (1976; original from 1970 by R. Newman), ITC American Typewriter, Bullion Shadow (1984; of the shadow font Bullion Shadow (1978; original from 1970 by Face Photosetting), Calypso (1984; of Excoffon's 1958 original), Lazybones (1980s; of a 1972 Letraset font with the same name), Glagolitic (1983, Elvira Slysh, digitized in 2003), Augustea (1947, Allessandro Butti), Stencil (after a 1938 typeface by R.H. Middleton called Stencil), Columna (1980s; after Max Caflisch's original from 1955), Sistina (1951, Hermann Zapf), Weiss Kapitale (1935, Emil Rudolf Weiss), Vivaldi (1965, Friedrich Peter), ITC Tiffany (1974, Ed Benguiat, digitized in 1995), ITC Bookman Herb Lubalin (1974, digitized in 1980s), Berthold Cyrillic Helvetica Cyrillic (1980), Churchward Galaxy (1970s, J. Churchward, digitized in 1980s), Olive Bold Condensed (1980s, original of Roger Excoffon in 1962-1966), Motter Ombra (1980, original by O. Motter in 1975), Sinaloa (1981, original by Odermatt and Tissi in 1972), Serif Gothic (1990, original by Herb Lubalin and Tony DiSpigna in 1974), Dynamo (1980s, original of K. Sommer in 1930), EF Gimli and EF Gloin (2004-2010, mediaeval typefaces done at Elsner&Flake together with Marina Belotserkovskaja).
Other typefaces: Lili (multilined), Rutenia (by Henadij Zarechjuk and Viktor Kharyk).

At TypeArt 01, he won first prize with Varbur Grotesque (1999-2001, with Natalia Makeyeva), third prize with Joker (1970-2000), and honorable mention with Abetka. At TypeArt 05, he received awards for UniOpt (2002, Kafkaeqsue Op Art display style) and Blooming Meadow (dingbats). In 2009, his 2006 digitization of Anatoly Shchukin's 1968 typeface Ladoga (+Text, +Dis play, +Ladoga Armenian) won an award at Paratype K2009.

In 2016, Henadij Zarechnjuk and Viktor Kharyk designed Dnipro for Apostrof. The Cyrillic version of this font follows Ukrainian decorative traditions, initiated by Georgy Narbut and Mark Kirnarsky in the 1920s and continued until the 1980s. The Latin part has an uncial character.

Typefaces made in 2018: Algor, Zluka (with Henadij Zarechnjuk; named after The Act Zluka, or Ukraine's Unification Act of 1919), XX Sans, Yurch (developed by Henadij Zarechnjuk and Viktor Kharyk by samples of calligraphic lettering by Ukrainian book designer Volodymyr Yurchyshyn), heb? [Google] [MyFonts] [More] ⦿

Viruta

Venezuelan designer of these retail typefaces in 2014: Itzal, Itzal Simple (avant-garde sans family), Travel Icon Font, Silver, Gallium, Viruta, Auvin (art deco), Couloir. [Google] [More] ⦿

Vit Brunner
[Tasuki's blog]

Vladimir Vendiktorich Yefimov

Vivian Hunag

Vivian Hunag (Rosemead, CA) created the avant-garde sans typeface Eureka in 2014 during her studies at LACHSA. Behance link. [Google] [More] ⦿

Vladimir Yefimov (b. Moscow, 1949, d. Moscow, 2012) was the art director and a co-founder of ParaType, Ltd., Moscow (since 1992; before that, starting in 1988, it was called ParaGraph, and he had been staff designer there since its inception). He lectured on type design at the Stroganov Higher School of Arts and Crafts, Moscow (1995-96) and the Higher Academical School of Graphic Design, Moscow (1997-98). He worked at the type department of NPO Polygraphmas (1973-1991). He is the designer of many Cyrillic typefaces, and several Indian, Greek, and Hebrew typefaces, and author on typography and type design.

His typefaces include Bitstream Kis Cyrillic, AdverGothic (1989, after Advertisers Gothic by Robert Wiebking from 1917), Futuris, Futura PT (1991, 22 styles in all, after Renner's famous 1927 design), Compact (1991, ParaGraph, based on Anons by Gennady Baryshnikov), Decor (1989, after a typeface by Gennady Baryshnikov), Zhikharev (1989, after a 1953 original by Igor Zhikharev), Arthur (1994, TypeMarket, based on Agfa Marigold by Arthur Baker, 1989), Fraktura (1987, a Latin Fraktur typeface based on Justus E. Walbaum's Walbaum Fraktur), PT Didona (1992), PT ITC True Grit (1997, a Cyrillic version of Michael Stacey's ITC True Grit from 1995), PT Octava (2000, earlier (1996) called Scriptura Russica, a family commissioned by the Russian Bible Society and based on Lectura, 1969, by Dick Dooijes and Stone Print, 1991, by Sumner Stone. Octava won the Grand Prix of the Golden Biennale in 1996), Standard Poster (1992, based on a design from 1986 at Polygraphmash, inspired in turn by the fat didone style of the Ossip Lehmann type foundry (St.Petersburg)), Mason Sans Cyrillic (2002, Paratype, extending the Mason Sans family of Barnbrook at Emigre (1992)), Petersburg (1992), PT Compact (1991), PT ITC Fat Face (1993, with the help of Gennady Baryshnikov), PT ITC Zapf Chancery (1993, with the help of Gennady Baryshnikov), PT ITC Flora (1993, with help from Emma Zakharova, an extension of Unger's 1989 font ITC Flora), PT Pragmatica (1989, with Alexander Tarbeev and later Isabella Chaeva), the Cyrillic version of ITC Avant Garde Gothic (Paratype, 1993), the Cyrillic version of ITC Charter (1999, called PT ITC Charter) and the Cyrillic version of Barnbrook's Mason. He oversaw the development of the PT Sans (Open Font Library link) and PT Serif superfamilies in 2010-2011. PT Serif was co-designed with Olga Umpeleva and Alexandra Korolkova.

In 2012, Isabella Chaeva and Vladimir Yefimov created a Cyrillic version of Roundhand BT (1966, Matthew Carter) for ParaType. The typeface was posthumously released.

Yefimov Serif (2014) is a contemporary serif face, with low contrast, squarish shapes of round glyphs and emphasized business-like nature. It is one of the last original typefaces by Vladimir Yefimov. The typeface was completed by Maria Selezeneva and released by ParaType in 2014. The companion typeface is Yefimov Sans (2015, by Alexandra Korolkova and Maria Selezeneva).

Adam Twardoch's announcement of his death: Today, the co-founder of ParaType, prolific type designer and teacher Vladimir Yefimov has died in Moscow. Both his original typefaces and his masterful Cyrillic extensions of existing Latin typefaces were truly impressive. He even attempted multi-script extensions such as that of ITC Avant Garde. Among my favorite text typefaces (or actually, serif screen typefaces) is Vladimir's Octava. Matthew Carter praised Vladimir's Cyrillic version of ITC Charter, which I think is one of the finest Cyrillic alphabets ever designed. I was also very fond of Vladimir's Cyrillic extension of Kis, which John Hudson described as "one of his favourite Cyrillic text types as well as a remarkable exercise in historic imagination." Vladimir often collaborated with other designers, many of them were his former students. One of the last projects that he participated in was the monumental PT Sans (Open Font Library link, Github link) and PT Serif project. But he was not only dedicated, skillful and artistically refined---but also kind, generous, modest, warm and funny. I first met him in 1998 at the ATypI Lyon conference, and greatly enjoyed all the subsequent occasions that I could spend some time with him. It's been a great pleasure and a true privilege knowing him (a bit).

Brief CV. At ATypI 2004 in Prague, he spoke about the origin and history of Cyrillic letters. At ATypI 2008 in St. Petersburg, he spoke about designing Latin/Cyrillic fonts.

Obituary by Maxim Zhukov.

FontShop link. Klingspor link. Paratype link. Google Plus link. [Google] [MyFonts] [More] ⦿

Voked

German designer (b. 1987) in 2007 of Avant Garde Black (kitchen tile style, no downloads) and Cow.Cow (2007, ultra-black wood style Egyptian). The guts of the font have the font name Cowboys and the designer name of Dennis Ludlow, so this may be derived in some way, I guess. [Google] [More] ⦿

VP Type (or: VP Pixel Fonts)
[Val Kalinic]

Type designer in Zagreb, Croatia, b. 1996, Zagreb, who is studying architecture and urban planning. Creator of the avant garde caps typeface Mauve (2012) and the pixel-based typeface family VP Pixel (2017; for Latin, Greek and Cyrillic). See also VP Pixel Pro (2019).

In 2020, Val released Medieval Pixel VP, Technical Rounded VP, the 10-style squarish techno font family Technical Standard VP and Technical Stencil VP. Twitter link. Fontshop link. [Google] [MyFonts] [More] ⦿

Wagner Alves

Graphic designer in Criciuma and Florianopolis, Brazil, b. 1989. Creator of the monoline avant garde sans typeface Caos Light (2010), the handrprinted Mierda (2011), and the minimalist organic typeface Nawger Sans (2011). Home page. [Google] [More] ⦿

Walter Cyliax

Avant garde era type designer, who created the poster stencil typeface Europa (1928). [Google] [More] ⦿

Wenii Z

Tijuana, Mexico-based designer of the avant-garde typeface Weniis (2014). [Google] [More] ⦿

Werner Affolter
[Affolter und Gschwind AG]

Wesley M. Pastrana
[Weslo Fonts]

Wesley Sharp

During his studies in Savannah, GA, Wesley Sharp created the thin avant-garde Aphrodite Sans typeface (2015). Behance link. [Google] [More] ⦿

Weslo Fonts
[Wesley M. Pastrana]

Weslo Fonts is the foundry of Wesley M. Pastrana, a San Juan, Puerto Rico-based graphic designer (b. 1989).

He designed the didone family Malibu (2010), the sans family Dark Moon, the avant garde typeface Demon Breeze (2010, renamed Devil Breeze), the unicase sans family Wet Dreamz (2010), and the display typeface Illegal Curves nd Orgasmo (octagonal), Galactik (sci-fi) and Rewind in 2010. In 2014, he published Avant Retro (art deco) and Olim Futura.

Several fonts can be downloaded here. Fontspace link. Dafont link (under the name Illegal Curves). Home page. Klingspor link. Creative Market link. Behance link. [Google] [MyFonts] [More] ⦿

Wiescher Design
[Gert Wiescher]

Gert Wiescher was born in Braunsbach am Kocher, Germany, in 1944. Based in München, Gerd Wiescher designed many classy and classic Bodoni families, as well as New Yorker Type (1985). All of his typefaces are carefully fine-tuned and balanced. Wiescher founded first Munich Type and then Wiescher Design and Autographis. He is known as a hard, fast and prolific worker. His exquisite typefaces can be bought at MyFonts. Catalog of his bestselling typefaces. Interview in 2008. Wikipedia page. Creative Market link. List of typefaces:

Scripts: Prima Script (2017: for menus and cookbooks), Marmelade (2015, +Fruits, a set of dingbats), Triana (2014, a thin monoline penmanship script named after a Spanish sailor on the Pinta who in 1492 was the first to see America---in this case the Bahamas), Floral Script (2014, copperplate style script), Sherlock Script (2014: this comes with Sherlock Stuff (fingerprints) and Sherlock Stuff Dots (ink stains)), Felicita (2013, a swashy copperplate script), Vividangelo (2013, after the handwriting of a real person), Dreamline (2013, connected monoline cursive wedding scripts in A, B and C styles), Fiorentina (2012, a renaissance style script with 650 characters), Excelsia Pro (2012), Delicia Pro (2012, a fat brushy signage script), Nono (2011, formal swashy calligraphic family), Dyane (2011), Penn (2011), Lettera (2011, hand-drawn formal face), Tosca (2010, a high-contrast calligraphic typeface with 730 glyphs), Grandcafe (2010), Loulou (2010, curly and of extreme contrast), Schoolblock (2010, hand-printed school font), Grandezza (2010, calligraphic family; +Xtra), Sixtra (2010, a curly didone script), English Script (2010, classic Spencerian calligraphic script), Savage Initials (2009), Morning News (2009), Revolte (2009, a brush script for demonstration signs), Estelle (2009), Scriptofino (2008, 4 calligraphic styles to give Zapfino a run for its money), Exprima (2008), Daiquiri (2008), Lisa Bella, Lisa Fiore and Lisa Piu (2008, connected and calligraphic), Tati (2008), Movie Script (2007), Cake Script (2007), Eddy (2007, grungy calligraphy), Pointino (2007), Bohemio (2007, a great oriental-brush script), Artegio (2007, two calligraphic scripts), Xylo (2006, in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer), Tamara (2005, art-deco script based on some initials for Semplicita made in the 1930s by the Nebiolo foundry), Tecon, Ellida (2005, inspired by the elaborate scripts of 18th-century English calligrapher George Bickham, with additional influences from 19th-century American calligrapher Platt Rogers Spencer), Eloise (2009, a high-contrast version of Ellida), Nadine Script (2005, an elegant script inspired by a set of initials the French designer and artist Bernard Naudin drew for Deberny&Peignot in the 1920s), Royal Classic (2005, unbelievable script based on a design that has initially been comissioned by King Ludwig I of Bavaria for in-house-use), DesignerScript, Filzer Script (1995, handwriting), Futuramano-Condensed-Bold, Futuramano-Condensed, Futuramano-Plain, Futuramano-Thin, Giambattista, Scriptissimo-Plain, Scriptissimo-Forte, Scriptissimo-Swirls, Squickt (1989), Konstantin A, B and C (2005), Konstantin Forte (2005), MyScript, GrocersScript, Swanson (2006). Scriptissimo (2004) has versions named Start, Middle and End, tweaked for their position in the word, and there are plenty of ligatures. Check also Bodoni Classic Chancery (2007) and Bodonian Script (2012).
Sans: Brute Sans (2018), Xpress (2018), Xpress Rounded (2019), Classic Sans (2017, a revival of Theinhardt Grotesk), Classic Sans Rounded (2017), Maxi (2017), Nic (2017), Azur (a large almost geometric sans famly with 1950s Roger Excoffon-style French flavours, called a Medterranean grotesk by Wiescher himself), Royal Sans (2017, after Theinhardt's Royal Grotesk---the forerunner of Akzidenz Grotesk--- from 1880), Docu (2016, a workhorse elliptical sans family), Viata (inspired by Bauhaus), Noticia (2016, in the Bauhaus tradition, with very pointy v and w, and a bipartite k; not to be confused with the 2011 Google Web Font Noticia Text by José Solé; followed in 2019 by Noticia Rounded), Avea (2015), Aramis, Nota Bene (2015: squarish, narrow, technical), Nota (2015, technical and cold: the rounded version, Nota Rounded, followed in 2019), Dylan Condensed (2014), Dylan Copperplate (2014), Supra (2013, grotesk: Supra Thin is free. See also Supra Condensed (2013), Supra Mezzo (2013, between regular and condensed), Supra Extended (2013), Supra Rounded (2015), Supra Classic (2014), and Supra Demiserif (2013, slab serif derived from Supra)), Dylan (geometric sans), Franklin Gothic Raw (2013, like Franklin Gothic but with raw, not rough, outlines, only visible at very large sizes), Blitz (2012, a flared family), Blitz Condensed (2012), Contra Sans (2011, which led to Contra Slab, Contra Condensed and Contra Flare), Vedo (2011, a Bauhaus style family that include a hairline weight), Germania (2011, a useful and beautiful monoline sans family), Geometa (2011, +Rounded, +Rounded Deco, +Deco: all based initially on Renner's Futura), Geometra Rounded (2011, a rounded family based on Futura and "much less boring than DIN"), Bombelli (2010, ultra-wide architect's hand), Bluenote Demi (2010, a grungy Franklin Gothic Condensed), Perfect Sketch (2010, sketched grotesque), Unita (2009), Antea (2009), Eterna (2009, sans with a swing), Pura (2008, an uncomplicated grotesk family), Purissima (2010, a decorated extension of Pura; +Bold), Copperplate Gothic Hand (2009, after a 1901 design by Goudy), Copperplate Alt (2011), Copperplate Wide (2011), FranklinGothicHandDemi (+Shadow), Franklin GothicHandCond (2009), Franklin Gothic Condensed Shadow Hand (2010), and Franklin Gothic Hand Light (2009, a hand-drawn version of Franklin Gothic), Papas (2005, sturdy, slightly curly), Julienne (2005, a condensed sans family; see the new versions Moanin and Julienne Piu, 2017), Cassandra (1996, an art deco style after Adolphe Mouron Cassandre), Futura Classic (2006), Cassandra Plus (2012), Ela Sans (2005, a large family), Mondial-Bold (2004), Mondial-Demi, Mondial-Light, Mondial-Medium, Mondial-Normal, Mondial-XBold, Monem-Bold, Monem-Medium, Monem-Normal, Monem-Roman.
Serif: Imperia (2011, a Trajan column caps face), Monogramma (2012, a Trajan family for monograms), Imperium (2005, a precursor of Imperia with a Relief shadow style included), Hard Times (2011), Fat Times (2011, retraced Times), Elegia (2011, slightly Victorian family), Breathless (2010, a spiky family, inspired by nouvelle vague movie posters), Bodoni Classic 1, Bodoni Classic 2, Bodoni Classic 3, BodoniClassic-Condensed, BodoniClassic-Handdrawn, BodoniClassic-Swashes, BodoniClassic-Text, Bodoni Classic Deco, Bodoni Classic Swirls (2009), Bodoni Classic Pro (2011), Bodoni Classic Inline (2012), Bodoni Classic Fleurs (2014, ornamental caps), Bodoni Comedia (2010, one of my favorites: a funny "live one day at a time" curly Bodoni cocktail), Bodoni Classic Swing (2010), Bodoni Classic Free Style (2010, curly), Bodoni Classic Ultra (2010), La Bodoni Plain (+Italic, 2008), Take Five (2005, a jazzy take on Bodoni Classic), DonnaBodoniAa, DonnaBodoniBe, and DonnaBodoniCe (three scripts named after Bodoni's wife, Margharita dell'Aglio, who published his complete works, the Manuale Tipografico, in 1818, five years after his death), Edito, Robusta. A great series, some of which were originally published at Fontshop, see, e.g., FFBodoniClassic (1994). MyFonts: When the first of Wiescher’s Bodoni Classic fonts came out in the 1993, there was nothing like it. Up to then, virtually all Bodoni revivals had been given clear-cut forms and square serifs. But Bodoni’s originals from the late 1800s were never as straight and simplistic as is often assumed: they had rounded serifs and slightly concave feet. Wiescher digitized a wide range of Bodoni letterforms, including a wonderful script-like family called Chancery and a nice series of Initials. Having accomplished his mission twelve years later, he began making personal additions to the family, such as the more decorative Bodoni Classic Swashes. Recently a useful little family was added to the clan: LaBodoni is sturdier and less optically delicate than most Bodonis, and therefore more usable as a text face. Wiescher made Metra Serif (2009), Principe (2008) and Paillas (2009). Prince (2009) is a curlified didone.
Romain du roi: In 2008, Wiescher designed the two-style Royal Romain, which is based on the Romain du Roi of Philippe Grandjean, which was completed in 1745 after Grandjean's death by Grandjean's successor Jean Alexandre and Louis Luce. Wiescher: The Romain du Roi was for the exclusive use of the Louis XIV. It was never sold or given to any other king or government. The king of Sweden tried to scrounge a set, but the king refused. This font is the basic design for such famous fonts as the Fournier and Bodoni. Just so the Romain du Roi doesn't get lost in the digital turmoil I set out to redesign it in 2004 and finished now in early 2008. I did a lot of research in France's National Library. A good excuse to visit Paris is always welcome!!!
Engravers: Dylan Copperplate (2014), Cavaliere (2010), Guilloche A (2009), Guilloche B (2013, op-art borders), CopperplateClassic-Plain, CopperplateClassic-Round, CopperplateClassic-Sans, Copperplate Classic Light Floral (2009), Cimiez-Bold, Cimiez-Roman (2004), Ela-Demiserif, Ela-Sans (2004), Eleganza (2008).
Blackletter/Fraktur: Renais (2011, renaissance initials), Flipflop (2011), Fraktura and Fraktura Plus (2008), Royal Bavarian (2004, based on a typeface commissioned by King Ludwig 1st of Bavaria about 1834), Royal Blossom (2009), Royal Bavarian Fancy (2004), Bold Bavarian (2010, a heavy version of Royal Bavarian), Monkeytails (2008), Fat Fritz (2006, rounded endings), Ayres Royal (2005, blackletter typeface based on drawings of London's calligrapher John Ayres, ca. 1700; to be used with RoyalBavarian; followed in 2010 by BoldAyres).
Slab serif: Slam Normal (2017), Slam Rounded (2017), Suez (2017: with extra tall ascenders and descenders), Egyptia (2010), Egyptia Rounded (2010).
Typewriter: Lettera (2014), Lectra (2011), QuickType-Bold, QuickType-Plain, QuickType-Sans.
Decorative: Tric (2017, art deco), Franklin Gothic Raw Semi Serif (2015), Frank Woods (2013, letterpress simulation based on Franklin Gothic Heavy), Ohio Bold (2012, a rough headline type in the tradition of Louis Oppenheim's Lo-Type from 1913), Viking Initials (2012), Cannonball (2012, a psychedelic typeface derived from a jazz record-sleeve for Cannonball Adderley), Byblos (2011, derived from the logo of St. Tropez's famous Hotel Byblos), Blockprint (2013, early 1900 German expressionist grunge face, renamed Bannertype after 24 hours), Ferrus (2010, inspired by Cassandre's Acier Noir, 1936), Petite Fleur (2009, flowery embellishments and the capitals of his redesigned Royal Romain, which in turn is based on the famous romain du roi), Glass Light (2012, a decoirative art nouveau type family based on Glass Light by Franz Paul Glass, 1912), Penstroxx (2009, 5 fonts that are based on the powerful, expressive Traits de plume (penstrokes) designed in Paris around 1930 by Alfred Latour), Liquoia A, B and C (2008, decorative scripts), Modernista (2008, an art nouveau headline face, based on an 1898 sample by Peter Schnorr), Ornata A, B, C, D, E, F and G (2008-2009: ornaments), Fleuraloha (2008), Floralissimo (2008: flowery ornaments), Frank Flowers (2011), Scrolls A (2010, penman's dingbats), Bacterio (2007), Alpha Bravo, Alpha Charlie, Alpha Echo (2006), Barracuda, Cacao (2005, fifties style), Cassandre Initials (2004, Elsner&Flake, after the 1927 original by Adolphe Mouron Cassandre), Contype, Fleurie (2005), Fleurons Two (2006), Fleurons Three (2006), Fleurons Four (2006), Fleurons Initials (2007), Fleurons Six (2008), Fleuron Labels (2008), HebrewLatino, Julius, Lunix (2006), MyHands, NewYorkerType (1985; extended in 2011 to NewYorker Plus, and in 2020 to New Yorker Type Classic and New Yorker Type Pro; after Rea Irvin's well-known typeface for The NewYorker), Venice Initials (2006, after a 15th century find, but Wiescher added about half of the caps), Ventoux, Vivian (2005), Woody.
Pixel and/or futuristic: Nexstar (2013: this octagonal typeface is also useful or athletic lettering), Alpha Fox (2007), Alpha Juliet (2010), Alpha Papa (2010), Alpha Square (2010), Alpha Jazz (2010), Alpha Papa (2010, LED meets stencil).
Stencil typefaces: Dripps (2010, handpainted, perhaps brutalist), Red Tape Plus (2014).
Comic book fonts or brush fonts: Breezy (2015), Caboom (2014).
Dingbats: Wayside Ornaments (2012), XX Century Ornaments (2012), Thistle Borders (2012), Greenaway Mignonettes (2012, after Kate Greenaway (1846-1901), author and illustrator of childrens books), Collins Florets (2012), Flourishes A (2010), Jingle Doodles (2010).
Art deco: Trix (2017), Zelda (2017, named after F. Scott Fitzgerald's wife).
Commissioned and special typefaces include a version of the logotype for the Munich's newspaper Abendzeitung, Maxi (variable width sans), NIC Grotesk, Tric (art deco), a Cyrillic version of Bodoni Classic for Vogue Moscow, a special Bodoni Classic for Ringier Publishers in Zurich, and Red Tape, a typeface that is on permanent exhibition at the German National Library in Leipzig.
Typefaces from 2019: Elita (a condensed sqaurish typeface), Artis Sans, Sigma Condensed and Sigma (simplified readable sans families), Cosma (an elegant high-contrast text family with tapered upstrokes and crossbars, but otherwise didone roots), Quincy (a bebop typeface that started from some letterutouts), Phoebe (an elliptical techno family), Phoebe Rounded, Polygon A, Polygon I, Polygon X.
Typefaces from 2020: Bullets Bannertype, Alpha One (a counterless experiment), Exec (a 14-style sans family), Exec Corners, Exec Demiserif, Penta (a grotesque family with large counters that make the ExtraLight style quite striking), Penta Rounded.

Author of many books, including Zeitschriften & Broschüren (Systhema-Verlag, München, 1990), Schriftdesign (Systhema-Verlag, München, 1991), and Blitzkurs Typografie (Systhema-Verlag, München, 1992).

The following text was excerpted from his wikipedia page: At 14 years of age, Wiescher went to Paris to study fine art. He financed his stay by doing portraits on the Place du Tertre on Montmartre. In the sixties Wiescher studied graphic design at the Berlin Academy of Fine Arts. (Since November 2001, Berlin University of the Arts.) He financed his studies by sidewalk painting and drawing portraits. While doing sidewalk paintings, he met the typeface designer Erik Spiekermann, who inspired his love of this branch of design. After two years he quit his studies, and went to Barcelona where he worked at the offices of Harnden & Bombelli, for whom he designed the OECD-Pavilion of the 1970 Osaka World Expo. In 1972 he moved on to Johannesburg working as an art director at Grey and Young advertising . In 1975, he returned to Germany, working first for DFS+R-Dorland, and then for the "Herrwerth & Partner" ad agency. At Herrworth, he was involved in introducing IKEA into the German market. In 1977 he became a creative partner in the Lauenstein & Partner ad agency, creating mainly campaigns for large German retail chains. In 1982 he started his own design office, creating work for editors (Markt & Technik, Systhema and Langen-Müller-Herbig), computer companies (House of Computers, FileNet) and he worked for Apple Computers designing their publications (Apple-Age and Apple-LIVE).

View Gert Wiescher's typefaces. Wikipedia link. [Google] [MyFonts] [More] ⦿

William Christie

During his studies at Adam Smith College, Leven, UK-based William Christie designed the thin avant-garde sans typeface Linear (2013), Shock (2013, experimental), and the heavy titling typeface Ten Commandments (2013). [Google] [More] ⦿

Windsplite

Japanese designer of the free hairline avant garde typeface Ginkgo Cut (2012), and of the monospaced pixel typeface Quadrats (2012, 8px bitmap format only).

Dafont link. [Google] [More] ⦿

Wood Studio
[Ivi Topp]

Designer in Toulouse, France. In 2016, he/she designed the free squarish blackboard bold typeface family WD La Tour and the free avant garde sans font Solaris Eclipse which is inspired by Andrei Trakovsky. Behance link. [Google] [More] ⦿

WoodardWorks Type Design (was: Robby Woodard Design and Illustration)
[Robby Woodard]

Robby Woodard is the Fresno, CA-based designer of fonts at Garagefonts such as Clarice (2004, a lapidary semi-sans with 16 weights), Arbuckle (2001-2003, fat comic book style; see Black, Bright: bubblegum typefaces), Clairmont (2002, a huge sans serif family), Dixon (2001, a monoline sans family with a hairline weight, garagefonts), Elkhorn, Fargon (2002, avant-garde family), P22 Hedonic (2003, a delicate slab serif family; +a chiseled version), Montclaire (2003, an interesting way of adding serifs to a sans serif font) and Bancroft (2000). At the L'ab [dead link], he designed the avant garde family Ashby (2001). He is working on Wiggins (2004) and Laconic (2007, a severe-looking futuristic sans). Alternate URL. Other fonts: Inyo (a high contrast slab serif), Joachim (Basque style), Kritter (mythological dings), Veggieburger (cartoon caption font with hints of Tekton), Nudgewink (2010-2018, P22, a bouncy comic book face), Clarice (2001-2009, a lapidary (flared serif) family, Garagefonts). FontShop link. Myfonts link. Laconic and Veggieburger are free at Fontsquirrel.

In 2019, he added extreme weights (from hairline weights to extra black weights) to Joshua Darden's popular Freight series: Freight Big Compressed Pro (2019, a sturdy rational newspaper masthead and book cover typeface by Robby Woodard and Phil's Fonts), Freight Display Compressed Pro (2019), Freight Text Compressed Pro (2019), Freight Sans HPro Hairlines, Freight Sans HCnd Pro Hairlines, Freight Sans HCmp Pro, Freight Sans UPro Ultra Black.

Typefaces from 2020: P22 Posies (a six-font system for creating multi-colored floriated initial caps in the spirit of illuminated manuscripts), P22 Bangersfield (P22: a casual monoline comic book font designed to replace or compete with Comic Sans).

Typefaces from 2021: Quirkwood (Canada Type: a reverse stress Western font; Canada Type describes it as a spaghetti western with Shazam and Wile E. Coyote cast in prominent starring roles, a bluegrass album of Edith Piaf covers).

Typefaces from 2022: ,a href="https://canadatype.com/product/robbins/">Robbins (a soft flared slightly undulating sans).

Fontspace link. Klingspor link. Kernest link.

View Robby Woodard's commercial typefaces. [Google] [MyFonts] [More] ⦿

WSI: Weatherly Systems Inc
[Mike Charness]

Mike Charness's Huntsville, AL-based foundry used to offer a huge number of handwriting fonts, and thousands of other fonts at rock bottom prices, in all font formats. It stopped selling fonts to end users or licensing fonts for redistribution in 2003, but continues OEM work.

Lists of font names:

Robert Long discussed the fonts, and mentioned in some cases the original fonts they were modeled after (read: copied, tweaked and renamed).
A partial list found in internet archives and corrected by Herbert Van Brink is here. A list annotated by Robert Long and kindly sent to me by Richard George, is here.
Michael Yanega published a list of the WSI Hand names and their equivalences on the ClickArt Handwritten Fonts CD.
Ulrich Stiehl provides a further list and explanations: Anastasia is Anna, Avian is Avant Garde, Basset is Baskerville, Bastian is Buster, Boston is Bodoni, Bulletin is Flyer, Aladdin is Legende, Palisade is Palatino, and so forth.

WSI had barcode fonts, MICR fonts (such as CheckNums-MICR), some foreign language fonts, and many dingbats. The full collection could at one point be downloaded here. The handwriting font collection (known as WSI Hand) was downloadable from here, here and here. Apparently, these handwriting fonts were obtained by first selling a handwriting font service, and then selling a CD with the created fonts.

WSI is no longer selling fonts and has this ironic line: WSI's fonts are not freeware, but are commercial software protected by copyright. Now, how did WSI start up its business? I quote from this archived page: We don't sell directly to end users, but rather provide fonts to software publishers who sell our fonts under their own labels. Current and past licensees include PowerUp, Spinnaker, SoftKey, Wayzata, Canon, Fuji, Epson, Serif, Borland, Novell, Maxis, Cosmi, Xoom, Dynamix/Sierra Online, Synergistic Software, Expert Software, IMSI, Parsons Technology, MySoftware, Abstract Software, Dunlop Corp., Case Inc., GraphicCorp, CAI, Creative Wonders, The Learning Company, Current Inc., Pierian Springs Software, Lookout World, Palladium Interactive, Philips Publishing, AIG, Asymetrix, Media Graphics, Knowledge Adventure, WIZ Technology, Paper Direct, Sanctuary Woods Multimedia, GST/GSP, Baudville, Zedcor, and many others. [Google] [More] ⦿

www.uncia.de (was: uncifonts)
[Tobias Benjamin Köhler]

Tobias Benjamin Köhler at the Technical University of Dresden created these typefaces:

The (free) Eurofurence family, which combines Kabel and Malvern (a metafont by P. Damian Cugley, 1991-1994, for which Koehler made a truetype version in 2000). The page offered Malvern as well, but all the fonts seem to have gone now.
The monospace screen-lookalike font Monofur (2000) (with Greek and Cyrillic thrown in as well). Julio Biason offers Monofur Powerline at Github.
The avant-garde sans serif Unifur.
The Pagebox symbols font (2000).
BahnhofsFutura (2002). A modification of Paul Renner's Futura as used in West-German railway stations from 1950-1980: Deutsche Bundesbahn.

[Google] [More] ⦿

Xerographer Fonts
[Max Infeld]

Max Infeld (b. 1981, aka Xerographer Fonts) from Chico, CA, makes free fonts and offers a free font-making service. He surged onto the font scene in 2012, and is currently located in Ojai, CA.

Creations in 2012: Perspect (3d face), Nuevo Stencil, Dingus, Dirty Serif, Skinny Serif, Batt Marber, Hollavetica (2012, grunge), Stick Tickle, Carve Your Table (2012), Stripe Fest (2012, 3d, hand-printed), Craycray For You, Feed The Bears, Yummy Nubs, Yum Nub Extended, Sleeping in Lecture (2012, informal 3d face), Zombie Checklist (2012, hand-printed), Lisas First Class (2012, hand-printed), Stick Four, Two Stick, Spacetime, Drunk Tattoo, Bantum Caps (2012, hand-printed stencil face), Funny Zebra, Sick Future (2012, grungy), Fuzzy Handcuffs, Black Spiral, Happy Caps, Come Party, Hellawood, Chronic Gothic, Ice Cream Party, Grassevent (2012, texture face), Electrical (2012, letters cracked by lightning), Rockster, Strungout, Bubbletea (2012, bubblegum font), Yumernub, Nighthour, Pointy, Simplehand, Linerstencil, Stickchop, Tapetype, Rolling Deep (2012, based on arcs of circles), Pony Rides, Bambu, Stolen Script, Secret Sauce, Eighties, Negative, Turds, Identify (2012, a fingerprint font), Another Party, Mighty Roping, Copy Stand, Cloudstorm, Teardrops, Friends Forever, Delicious Applepie (texture face), Crackvetica, Stormtime (grungified face), Therp (2012: 3d face), Spookies, Freeline (3d engraved face), Super Serious, Robot Shadow (2012: 3d face), Great Arrows, Great Shadow (2012: textured face), Alien Fur, Graffical, Bent Out, Splatish, Seamonster, Thirds Hand (2012: 3d outline face), Particle Physics, Poster Script (2012: rough script), Badazzle (2012, texture face), Serifvetica, Make Impact (2012, a 3d headline typeface), Stenciltration, Naughty Pipe, Qrurl, FunHaus, Flame Time, Steller Script, Summer Festival (2012, grungy caps), Major Earthquake (2012, grungy outline text face), Hot Sweat (2012, texture face), Metal Crime (2012, a cracked marble typeface), Summer Blacktop, Great Farmer, an angular typeface, Lucky Scratcher, Future Moon (textured face), Shatter Web (2012, a glaz krak face), Power Play (2012, another glaz krak face), Magic Crystal (2012, yet another glaz krak typeface), Rough Cut, Rock Harder (2012, texture face), Shred Hard, Clock Work, Major Veins, Paint Scratch, Break Away, Quick Comic, Summer Scriptastic, Absolute Money, Brush Sand, Playhouse, Pleasure Wash, Meat Market (dripping blood font), Paper Folder, Scratchingly, Fresh Sticks, FunTrucks, Quick Rodeo, Poster Bold, Open Bars (horizontal stripes), Outline Twelve, Spot Event (grungy outline face), Final Slash (textured typeface), Munchies, Meltasstic, Some Bubbles, French Sugar (very curly script), Cream Cone, Zap Deal, Crack Snacks, High Method, Crack Bars, Wall Fresh, Star Wonder, CurlyQue, Summer Script, Happy Lines, Just Marker, Solid Marker, Straight Hand, Wurm Fun, Rave Time (sketched face), Graff Caps, Erect Angle (outlined and hand-printed), Circle Caps, Story Time, Upper Side, Lower Side, Tech Haus (sketched), Boneyard, Status Update, Eigth Grade (sic), Table Shank, Serial Lover, Freaky Night (blood drip font), Future Girlfriend, Summer Scare, Faster Stronger, Smoking Cracks (texture face), After School, Cutting Edge, Animal Cracker, Sticky Mad, Comic Chub, Right Way, RockLess, CleanFade, Exploded Capital, Size Matters, EightBite, Extra Dimension, Cap Scratched, FanCom, Optic Nerd, Spooky Stencil, Five Dozen, Great Mix, LowCase, Swirl Insertion, Lube Splash, Organic Vines, Fall Greetings, Plant Type, Fast Brush, Hair Bows, Limo Caps, Bold Shake, Path Check, PopCap, Angle Stroke, Scratch Point, China Town (oriental simulation), Gunky Ick, Super Fade (textured), Practical Script, Delicious Outline, Fourth Dimension, College Scribble (sketch font), Dirty Western, Freeky Typewriter, Creature Builder, Bang Time (a rough brush), Fall Harvest (sketch face), EuroParty, Fire Proof, Eye Scare, Empire Caps, Pleasure Castle (a great barbed face), Scribble Time (sketched font), Star Rising (poster font), Dottline, Euro Horror, Metal Show (metal band font), Fantastic Sunset, Toxic Waste, Alien Waffle (textured face), Rewind Forward, Stitchy Times, Snug Bum, Star Fishy, Ghost Clouds, Epic Slash, Childs Persprective, Thin Fine, Metal Event (chiseled face), Tight Box, Saber Husk, Major Scare, Terminal Event, Pirates Bay, Wicked Cockney, Great Splunk, Diamond Cut, Treehause Horror, Indie hand, Sweet Revenge, Chronical Script, Peaceful Violence, Basic Header, Hand Work, Ninja Turtle, AquaColor, Furry Sack, Mad Style, Alien Dot, Dirty Feature, Wine Basement (connected script), Pen War (scratchy script), Angelina, Skate Around, Wide Thin (brush face), Frisky Vampire, SuperBling, Chronic Harvest, Fur Handcuffs, Darth Fader (textured face), House Rave, Snow Frosting, Post News, Straight Baller (white on black poster face), Heavy Weight, Angry Nerds (brush face), Future Style (hand-printed 3d face), Liner34, Tweak Diner, Frosty Holiday, Zap Control, Kids Outline, Shock Treatment, Flesh Digster, Shredding Harder (grungy scratchy typeface), Metal Chakra (barbed wire face), Childs Funtime, Super Cut, Holy Scriptacular, Tangent Print, Chung Flew, Lucky Money, Oven Bread, Soda crack, Quick Dirty, Victory Cut, College Dropout (athletic lettering), Comic Shadow, Mystery Forest (sketched), Code Danger, Slash King, Phat Rave (sketched), Tiger Tails, Major Rules, Cloud Home, Flower Header (floriated caps), Tiny Friends, Tasty Sundae, Leaking Type, Saturday Evening, Agenda Clash, Tripple Dots, Plain Handline, Cutefold, Gift Exchange, Reaganald Script, Broadway Event (marquee face), Gotfaded (textured face), Disco Rush, Some Lines, Inside Flower, Scratch This, Alien Sweater (stitch font), Fantom Bantum, Stripe Fun, Thrift Store, Legit Outline, Country Gold, Chrome Fancy, Barnyard Massacre (Treefrog style), Holiday Event, Art Times, Flesh Shop, Heart Baller, Free Kittenz, CreamPuff, Outline Around, Quivering Noodle, Rocking Lines, Tugboat, Comic Bubble, Hand Shadow, Sans College, Winter Ice, Cutout Poster, Woodblock Cutter, Handy Stencil, Dirty Cursive.

The following typefaces were designed by Matt Barber: Gateway Drug (2013), Crankdeal (2012, a hand-printed poster face), Mad Caps, Third Leg (multiline typeface), Late Nights, Sewn Tight (2012, stitch font), Black Widow (2012).

The following typefaces were co-designed with Dylan Tellesen in 2012: Dingleberry (+Solid), Threed, Brushingtons, Excellent Stencil, Handrelief, Partyline, Basic Chrome, Spot Lights, Big Spit, Code Bars, Color Blind, Skullvetica, Diamond Plate, Blambu, Hounds, Knity (texture face), Eightballer, Another Line (a basic straight-edged monoline sans), Rocking Poster, Robotic Revolution, Organic Nature, Underground Event, Surf Shack, Greater Shadow, Razor Slice, Big Print (textured face), Scripty Caps.

Typefaces made in 2013: Fresh Maker, Lucky Dogs, Quickly Write, Gourmet King (glaz krak font), Austin Lights, Pony Maker, Crystal House (grunge), Secret Event (textured face), Indian Tiger, Great Camp, Cowboy Would, Western Racing, Stripe Attack (textured font), Art Bang (grunge), Quick Scratch, Cold Brew, Fresh Twist, Nine Eight, Going Fast, Mega Riches, Taste Bomb (textured face), Brighten Days, Supergraf (a brushy graffiti face), Last Hand, Spring Ninja (brush face), Circuit City, Global Village, Yard Gnome, Lite Hand, Metal Block (Zero, Two, Three: scanbats), Indie Rock, Ancient Story, Super Drag, Slight Rocking, Over Scribble, Quickly Caps, Crack Deco, Victory Time (faded formal script), Futuristic Outline, Another Student, More Party, Brush Grunge, Zipper Fries, Diamond Lux, Splatter Funtime, Durh Shapes, Frosty Winter, Whole Space, BlockWood, Soda Water, Magic Scribble, Seaming Stitchy, Thrash Party, Line Fever, Great Bush, Right Price, Tight Carve, American Freedom, Jimbos Print, Quick Cut (faded face), Super Cracks (glaz krak face), More Party, Half Faded (textured face), Charcoal Script, Future Lines, Dot Outline, Half Tones, Shady Walk, Quick Slash, School Notes (sketched face), Block Party, Wonderful Party, Heart Stripe, Heart Beat, Heart Hole, Paint Balls, Golden Lights, Spring Party (texture face), Shockvetica (glaz krak face), Safe Paper, Sword Fighting, Camo Wear (textured face), Disco Night (art deco), Reverse Frick, Scratchy Fun (sketched), Fun Origami, Special Exit, Kid Print, an old typewriter collection (Dirty Olympia, Sterling Keys, SuperKeys, Quiet Type, Hermes Rocket, Double Studio, Light Fingers), Designer Pixels, Beauty Salon (Treefrog script), Headshot, Mega Bone, Fantastic Habits, Fridge Letters (textured), Kids Blocks (scanbats), Theater Event (grunge), Circle Pixels, Taste Bomb, Kite High, Run Away (3d) Dirty Coal (brushy), Dot Sticks, Twerk Fifty, Dance Lights (textured), Steam Rose (textured), Donkey Punch, Fold Line (origami), Tiger Nuts (textured), Fun Bear, Standard Header (letterpress, 3d), Marble Wasteland, Bender Lines, Magical Springtime, Open Hatch (hand-printed), Retro Tastic, Space Zombie (hand-printed), Mad Triangle (textured typeface), Sweaty Party (a fun sketched typeface), Freaky Manor (gothic typeface), Special Brand (texture face), Western Clown, Company Problem, Derp Icons, Pixel Hour (textured face), Basic Scratch, Indie Sellout, Next Level (textured face), Third Rail (grunge), Real Trap (athletic lettering), Bang Party, Title Solution (textured face), Special Third (textured face), Deal Maker (textured typeface), Liquor Bank (3d), Electrical Neue, Eighties Locker (grunge), Visual magnets (textured typeface), Final Relief (textured), Comic Tans, Bright Headline (hand-printed), Tiger Bawl, Cut Away (cutout letters), Kings Castle (textured face), Southern Riots (grunge), Slick Wave (textured face), Smash Break (texture face), Thin Simple, Super Rocket, Kids Game, Eighties Shades, Melt Factory, Pirate Zombie (grunge), Doktor Scratch, Mix Tape (textured face), City Tags, Gotcha (3d face), Wild Scratch (textured), Inter Fade (textured), Urban Labels (textured), Hot Tropics, Quantum Pixel (grungy), Minus Plus, Lower Scratch, Flying High, Broken Mustangs (script), Byte Shades (textured), Bolt Light (textured), Just Quick, Hotrocks, Total Event, Racing Flow, Energy Drink (textured), Inside Box (a wonderful metal-look textured typeface), Heat Wave (a wide poster face), Great Miami (arched typeface), Disco Midnight, Clean Scratch, Vegas Nights (textured and smudgy), Pirate Disco, Swift Chops, Zero Hype, Dot Tricks (grungy), Shaken (glaz krak font), Great Points (textured), High Level (textured), Break Time (textured), Circus Party, Crash Site (glaz krak face), Lower Resolution, Fifty Hours (script), For Sale (script), Broken Fixed (script), Hieroglyph Licks, Think Plan, Fancy Shadow, Forwards Backwards, High Sales, Slash Thirty (blood drip face), Universal Freaky, Event Shark, Bone King, Sharking, Magnetic, Paper Shreads, Summer Watermelon, Bubble Yums, Crazy Eyes, Danger Waffles (textured face), Early Scare, Farm Barns, Freckle Jackson, Greater Sales, Indian Summer, Mixed Thirty, Positive Warp, Reasonable Speculation, School Party, Scratching Matters, Lemonade Summer, High Style (textured face), Biology, Aweseome Style, Box Lines, Cloud Ahead, Going Around, Hot Flash, Major Stripe (sketched face), Pixel Draw, Summer Fire, SuperTack, Sure Real (Treefrog style), Totally Straight, Mega Gothic, Basic Hand, Chief Scare, Plain Slice, Sail Away, Gone Away, Chubby Muffin, Crack King, Dirty Jobs, Paris Label, Phone Home, Kids Party, Zombie Stitch, Moden Post, Rock Bait (Treefrog style script), Tent Sale (brush face), Event Maker, Quantum Ants, Cheap Horror, Extra String, Scratch Times, Snorkel Whisp, Dirty Looks, Bould, Window Crash (glaz krak face), California Harvest, Twerking Nasty, College Movie, Easy Horror, Brush Some, Autumn Two, Season Fourteen, Always Never, Fresh Bone, Scare Camp, Twinkle Fingers, Dirty Bandit, Metal Clash, Simple Folks, Sunrise Disco, Danger Zone, Swift Break, Dusty Salmon (textured face), Urban Poster, Tasty Drips (dripping paint font), HardLine (3d font), Technophilia, Zombie State, Come Inside, Popular Invite, Tough Horror, Wonderful Phonograph, Zombie Scratch, Thunder Crack, Fresh Riot, Metal Atlas, Grunge Shack, Gif Wrap, Punk Inside, Disco Break, Quantum Future, Major Black (textured), Stone Bird, Fantastic Party, Quick Money, Fast Time, Hecka Grunge, Electric Night, Tasty Swirl, Helping Stranger, Radical Llamas, Real Gold, Double Shadow, Space Cats, Space Fight, Furious Racing (textured typeface), Snow Flakes, Solid Event, First Place, Total Shock, Hairy Fun, Cats String, Dragons Breath, Stripe Disco, College Bytes, Late Club, Road Skin (textured), City Heights (textured), Easy Bricks, Insert Fun, Grunge Kids (textured), Solid Brand, Winter Decor (snow crystal font), Doctor Meow, Real Fast, Major Sketchy, Easy Romance, Globtastic, Noses, Strike King, Salty Would, First Contact, Extra Zero, Space Bang, First Avenue, Dirty Shocker, Delicious Candy, Drop Inside.

Typefaces from 2014: Divide Conquer, Mad Pic Nic (textured), American Lights (dry brush), Chromest, Absolute Invite, Fancy Sauce (simulates an oriental typeface), Fair House, Gansta Walk (graffiti typeface), Spring Away (script), Heavy Load (fat brush), Amazing Sunshine, Club House, Magic Status, Big Party, Ocean Twelve, Lost Type, Spring Harder (textured), Escape Great, Fine Things, Cut Five, House Boat (textured), Splat Matrix, We Spring (gunge), Great Band (textured), Sky Limit, Four Six, Quick Sales (textured), Vegas Neon, Xero Typique, Ink Special, Bad Luck (glaz krak face), Handing Over, Megaphilia, Late Drank, Atlas Grunge, Right Track (textured), Square Deal, Great Party, Next Wave, Doges Walk, Dirty Locals, Boulder Scare, Clean Easy, Come Around, Fresh Holiday, Half Light (a condensed brush face), Light Curls, Lower Case, Magic Beauty, Much Funky, Plain Lines, Ten Fresh, Simply Fresh, Windy Metro, Play Along, East City (textured), Bernal Heights (grunge), Metalblock Delta (textured), French Disco (textured), City Magic (textured), Thunder Head, Lucky Diamonds, Great Storm, Neon Taste (textured), Night Hawk, Trap Music (a sketched typeface), Close Race, Major Label, Fresh Track (an all-caps brush typeface), Jack Trades, Cut Blox, Metal Block Theta (textured), Fired Bread, Angry Beavers (script face), Get Real, Lost Ray, Slot Machine, Animal Planet, Very Rich, Hawt Would, Above Ground, Grave Pain, Heaven Gate, Countrry Diamonds, Master Strike, Great Ending, Dreaming Pandas, Olden Times, String Tyme, Wrecking Ball, Great Nineties (sketch face), Lightning Blaze, Club Night, Certain Times, Clean Bubbles, Disco Party, Stoned Heights (glaz krak font), Can Opener, Metal Block Tango, Disco Fresca, Static Heights, Chronic Deal, Fire Block, Capital State, Burger Hut, Chicken Waffles, Bro Hugs, Indie Hype, Smoking Pistols, Mega Play, Light Break, Fadevetica, Metal Block Serif, Dream Stencil, String Piano (grunge), Binaty Waters (textured), Soth West, Magic Pens (fat finger font), Mega Bits (dot matrix), Zebra Disco, Luxury Import, Rapid Sloths (Treefrog-style handwriting), Spring Rage, Delicious Mocha (textured), Tropic Disco, Sprung Breakers, Urban Trails, Many Times (textured), Spring Headliner (textured), Party Lights (rounded stencil), Slick Ride (grungy), Burn Side (textured), City Stencil (grungy), Love Joy (textured), Neon Disco, Witches Brew (halftone texture), North Beach (textured), Metal Black Naked, Metal Block Ultra, Wet Razors, Cat Meow (sketchy face), Dance Away, Salty Beach (textured typeface), Great Horizons, American Western, Start Menu (halftone texture typeface), Zip Down, World Peace, Super Round, Spring Fruit, Open Lounge, Magic Kids, Fresh Candy, Four Stars, Gold Ring, Fun Time, Dark Box, Major Clue, Alert Notice, Love Riot, High Boat, Real Hard, Canada Mist (textured), Flavor Maker (textured), Spring Daisy, Great Springtime, Danish Crack (glaz krak), High Rating, Awesome Play, Flash Dance, Super Awesome, Paint Night, Pixel Drip, Ready Start, High Flight, House Music, Alternative Nineties, Technologic, Beaver Scratches, Spring Bump, Fancy Animal, Graph Master, Many Lines, Quality Control, Hot Discovery, Disco Trap, Ripe Dusk, Spring Dance, Electrical Storm, Electro House, North Cowboy, BiteTyme, BubLight, ChronicSales, ColdSpring, DeliciousFrosting, FloweringBuds, FrenchDance (white on black), Frequency, GetAround, GiftCards, LargeCrayon, MadSkilz, MetalShred, PeaceFight, ProximaFour, RightPlace, RockingTimes, ShwedyBawls, ThinkLight, WildThang, Make Out (crayon font), Clean Dirty (another crayon font), Digital River, Jaged Edge (sic), Loathing Fear (a great Treefrog style typeface), Metal Spectacular, Quit Work (crayon font), Special Delivery, Big Crump, High Fence (glaz krak face), Delicious would, Neon Tech, Right Brew, After Work, Pit Stop (textured), Strong Void, Love Scratch, Maiden Voyage, News Worthy, Mint Coin, Hipster Bike, Ready Made, Ten Dimensional, New Highs, Banlieue Disco (textured face), Punk Event, Soup Kitchen, Such Money, The Pulse, Thirdly (3d face), Train Station (a great ultra-fat rounded sans), Goldfinger (script), Neurotick, Hawt Comix, Talking Louder, Mind Storm, Astral Projections, AncientSprawl, BeautifulThangs, BoulderRough, ChronicMethodMB, CleanSimpleDT, DropKickMB, EasyDoughDT, FairBanks, FaultLineDT, FiftyShadowsDT, FrenchPirates, FuelControl, FunMeatsDT, GrandCircleDT, GreatFriendsDT, GreatSails, HawtFriend, JuicyCultureDT, JustWriteDT, LearningMachine, LearningMachineItalic, Marijuana, MegaLife, RedPanda, SecretTickleMB, SlickRoadsDT, SmokingParadise, StarDancing, StringTheory, StrongEventDT, ThinkingAcademicDT, ThugLoveDT, California Delights (connected script), Super Freak (textured), Extra Highs, Slime Bawls, Metal Witch, Grape Soda, Little Spooky, Such Frosting, Monster Slash, Burn Time (textured), Quick Fade (textured), Urban Animal, Prison Escape, Super Fear (dripping blood font), Final Days, Racing Numbers, Pirate Spider, Walking Dead, Hatch (textured), Strawberry Longcake (curly), Mad Zombies, More Dimension (3d), Popular Culture, Princess Cake, Wine Tasting (vampire script), Toxic Powers, Zombie Treats (rough brush), Total Eclipse (brush), Whisky Lickers, Brain Washers, CityVetica, Turn Up, Basic Sharpie, Electronic Voyage, Swingers, Heavy Loading, Solid Waste (textured typeface), Swingers, HighLines (sketched typeface), IceCold (textured), ManyGifts, OpenStore, PlaidEvent (textured), RustyNail, SickDream, WantedPirates, BreakingNews, FantasticSeasons, FantasyMachine, FluShots (rough brush), GreatWinter, HeavenlyWings (sketched), KentuckyBourbon, LoveBombs (rough brush), MicroBrew, Slashtacular, XmasLite, Golden Dabs (grunge), Urban Paints, Making Ideas, Just Brains.

Typefaces from 2015: Extra Reaper (horror font), DigitalStream, EightyOne (sketched), GrandStencil, GrandZeroes, LightFuze, LiquidMagic, MetalReason, MiamiShades (shadow font), TakenBlack, TakenBlackItalic, TeaParty, WinterCrops, WonderInk (tattoo font), YoungRanger (connected script), Late Noise, Dark Papers (textured), College Thrash (sic), CrispyBones, DrawingMachine, JusticeWanted, KrampsHandso, PolarBears, SolutionFive, Shock Colours, Washer (textured), Dynamatics (textured font), Flowery Death, Pushing Sticks (dry brush font), Righty Marks (marker pen font), Baked Trains (graffiti font), Chronic Delivery (signage script), Intaglio Plains, Modern Reality (dry brush script), Nuevo Trenta, Rastaerize, World Shocker, Grape Blaster, Slate, Stencil Disco, Technocracy, Yarden Tawns, Flaunts (textured), Ringlead (textured), Freshly Thinking (script font), Plutonium (textured), Space (textured), Boulevard, Nuevo Disco, Stamp Ink, Educated, Krusty Signs, Quagent, Dusty Hotels, Cracked (glaz krak face), Amplitudes (techno sans), Frozen Rita, Beast Mode Suite (an avant garde family; +Disco), Epicenter (athletic lettering), Kitchen Cowboy (modular and spurred), Forest Lakes, Northern Montgomery, Biometric (techno family), Modernism, Higher Pixels, Grandious Vengeance (scratchy script), Second Avenue, Just Perforate, Grave Danger, California Designs, Natural Products, Boxing Chocolates, Beyond Space (textured), Asterisk, Katchy Markers (rough dry brush), Black Ties (sketched), Twenty Singles, Great Shake, Monster Energy (textured), Precious Moments (vampire script), Nuevo York (a vampire script), Faux Antique (another vampire script), Zero College, Fun Sized (drop shadow face), Blueberry Waffle, Stale Marker, 12 ounces, Raw Diet, Megadeal, Blklite (textured), Prison Break, More Candy, Fuel Tanks, Hot Bone, Break Point, Fresh Waters, Lower Haight, Carnal Devices, Juicy Boxes (sketched font), Special Case, Urban Life (dingbats), World Beings (dingbats), Twenty Something (textured), Many Fun, Expensive Solutions (brush), Dopeframes, Fun Lines, This Way (handcrafted arrows), Rinse Wash, Trap House (crayon font), Love Marks (dingbats), Viral Fun (scanbats), Grape Dragon (brush script), Juicy Rags, Pleasure Riot.

Typefaces from 2016: Reinebow (a color SVG font), DecoRated (art deco), Recreational (3d, outlined), Tiny Shack (3d, outlined), Sugar Cakes, Regime Change, Treasure Hunt, Taco Fiesta (Mexican simulation font), Crystal Breath, Purple Drank, Denominator, Perceptual (art deco), Realismo (futuristic), Banquetier (a monoline deco typeface), Continents, Asperian, Fonderian, DeadTasty, Distinguished, DraftHouse, FreakyTwenties (white on black poster typeface), LuckyTricks, (outlined) MajorChronic, (outlined) Moulden (outlined), OldeBarnsby, (outlined) Marquez (crayon script), Hand Typist, Fauquier, Blockchain (3d style), Zombie Story, Private Fort, Spiral, Spherism, Swaingarm Yori, Solarium (outlined techno typeface), Tracksion, Hail Stormz (grunge), Paper Scraps, BombingStencil (textured), ExtraSprinkles (textured), MagneticFriends, PerfectChisle, PrizedStudy (sketched), RealPrizesItalic (tattoo script), RealPrizesVeryItalic, SketchyBuilder, Tragic Prequel, Twisty Pixel, Movie Nite, Gaslighter, BeautyScript, BlackSmith, Education (grungy athletic lettering), Kickstop (white on black), LemonadeHustler, PrinceCharming, SurfPoint, Wickers, BigTangle (triangulated), FlavoredCrayons, FreshCandies, RedlightDistrict, SingleOrigin, SnakeBite, SpringRaces (children's script), Valencia (dry brush script), BoldDrink (textured), BrandStruck (sketched), CarteBlanche, DarkStars (sketched), FreightCarts, HipsterFactory (sketched), HugeCrunch (textured), LateVaping, Masquerade, Neturality (white on black), Playgrounds, Prescriptivism, RockSolid, SewModern, SimpleLucky, TotalFreak, Transylvania, WasteFactory, WickedSeventies, WindowMarkers, Boards (sketched), BigSmoke, BrightSigns, ClubSport, DatBox (3d, white-on-black), EasyPeople (signage script), GouldenTreatise, Invertage (white-on-black), SpaceTransit, Above Stars, Band Stand, Market Crash (glaz krak typeface), Opiated Values, Stamped Envelopes, Higher Bounties, Gothic Friends (blackletter tattoo font).

Typefaces from 2017: Abraxeous, Schwifty (outlined shadow font), Freaks (scary font), Musky Dawn, Tigerian (tiger-striped letters), Banqued (sketched), Basket of Candy, Bouquet (handcrafted blackboard bold), Percolation, Scrapbuckets, Guangzhou (oriental simulation), Budtender (outlined), Cryptographic, Moleculan (connect-the-dots style), Robustly Brewing, Wonder Age, Graphemic, Simulacre (bilined), Squanch (squarish), Wysterium (a hatched display typeface), Value Stamp, Discover Earth, Dreaming Castle, Metal Shard, Warm Showers, Ripe Apricots, Plenty of Metal, Spackler (dry brush), Falconers, Ephemerian, Brackish Pond, Lemon Shower, Delinquence, Couper Blaque, Pelanquier, Karpow, Graphisme, Martienso, Bacon Request, Corpsey, Cloudier (cloud-themed font), Draft Quick (draftsman font), Forgivable Sin, Manufactured Consent, Comedy Show (shaded), AvailableReservation, CandyDelish, ForgeMelt (textured), FreshSteaks, FunSpace (textured), Gouldage, StuckBrayers, Substrate, SunsetBreak (textured).

Typefaces from 2018: Infinity Lights, Prescribe, Huge Party, Fun Play (a 3d shadow font), Clown Shoes, Astronmica (hipster style), Bronium, Mastum, Brisquet (bilined), Mega Dose, Space Melons, Retaillistic (stencil), Algorithma (bilined), Basket Fries (crayon font), Elusive, Splasher, Midcentury, Miswak, Parabolic, Xelita.

Typefaces from 2019: Brewski, Trash Fort, Rough Path, Uncertainty, Scrizbels, Psychographia, Caustic, Zipties, Light Roast, Liquor Market, Boublies, Monolithic, Brick Roads, Blokqued, Chonkies, Brushings, Fugly Stick, Fresh Bagel, Scratchers, Fentanyl, Crypto Prices, Chonky, Mucho Fiesta, Leather Jackets (grungy), Peroxide (shattered letters), Postructure (sketched), Lubricants (brushed), Train Yard, Shipment (rough stencil), Action (halftone font), Bathing in Acid.

Aka Xerographer.

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

Yada Lopez

During her studies in Ciudad Obregon, Mexico, Yada Lopez designed the thin avant garde sans typeface nahilly (2017). [Google] [More] ⦿

Yannick Heimendinger

During his studies, Yannick Heimendinger (Colomiers and/or Toulouse, France) created two typefaces that are derived from Avant Garde Gothic (2014). In 2016, he designed Tornado. [Google] [More] ⦿

Yasmin Osman

Cairo-based designer of the avant-garde Latin / Arabic sans typeface Arual (2013) and of the Arabic typeface Kutting Edge (2013). She also made a series of icons called Slurp (2013). [Google] [More] ⦿

Yavuz Selim Can

Istanbul-based graphic designer. Behance link. Another Behance link. Creator of a number of typefaces, including this one (2010) and the avant-garde sans typeface Gnostic (2011). Flickr link. [Google] [More] ⦿

Yi Min
[Neo Font]

Yorlmar Campos
[RNS Fonts (was: Impacto Laser, or: SuperFlexia)]

Yun Gonzalez
[G3 Typefaces (or: TechFonts LatAm)]

Yuri Ferrari

Graphic designer in Lecco, Italy. In 2010, he designed Nervo Ottico 1, a (free) sans typeface that was inspired by Herb Lubalin's Avant Garde. It was part of Yuri's type design course project at Politecnico di Milano, done under the guidance of Andrea Braccaloni. Nervo Ottico 2 was made by co-sdtudent Roberta Donatini. [Google] [More] ⦿

Zeppelin Graphics
[Alex Traian Munteanu]

Bucharest, Romania-based designer of these typefaces in 2018: Forests (a layered decorative all caps typeface), Habanos Retro, Quentin (serif), Hydra (futuristic), Lapland (a script and Christmas icons), Galla (font duo), Berthe Script, Bella Script (monoline), Storyland, Two Adventures, Andy One.

Typefaces from 2019: Arrogant, Hermannstadt, Hotel Royal (vintage, art deco), Celestar.

Typefaces from 2020: Hotel Imperial (Victorian), Fantasya, Coodles (a 20-style hand-drawn collection), Avantgarde Sans, Berry (slab serif and tattoo font), Woodman (a rugged slab serif). [Google] [More] ⦿

Zhalgas Kassymkulov
[Architaraz Type (or: Kassymkulov Design)]