1919 Type Foundry
[Scott Sullivan]

1919 Type Foundry presents the typographic work of Scott Sullivan, who is currently a graphic design major at Ohio University in Athens, Ohio, scheduled to graduate in 2009. About the name: The year 1919 was the year that the Bauhaus school opened in Weimar, Germany. It was roughly the year 1919 when Modernism and Constructivism were born in Germany and the U.S.S.R., respectively. All fonts are heavily based in geometry, therefore: Dosim OKT, Geovlad (2009, constructivist, based on the posters of Georgii and Vladimir Stenberg), 44X34X (2009, futuristic, free). The Triflig Paradigm is another project of his. There he is developing some fonts such as Moon Man, and one can download Gnashraw-Spaced (2009) and two of his FontStruct (pixel) fonts, pgdm001 and pgdm002 (2009). Designmoo link. [Google] [More]  ⦿

Acer Jack

FontStructor who made the Bauhaus stencil typeface Stencil Boom (2011). [Google] [More]  ⦿

Adam Katyi
[Hungarumlaut (was: Cila Design)]

[MyFonts] [More]  ⦿

Adam Sommerfeld

German creator of a Herbert Bayer-inspired lower case typeface that was developed during a workshop with Lucas De Groot in 2012. [Google] [More]  ⦿

Adobe Originals: Hidden Treasures of the Bauhaus Dessau

Five of the Bauhaus treasures were revived in 2018 by him under the supervision of Erik Spiekermann:

• Joschmi by Flavia Zimbardi. A piano key typeface named after Joost Schmidt.
• Xants by Luca Pellegrini. A stencil typeface adorned with ball terminals. Named after Xanti Schawinsky.
• Carl Marx: a typeface by Hidetaka Yamasaki based on a design by Carl Marx.
• Alfarn: a typeface by Celine Hurka based on poster lettering by Alfred Arndt.
• A typeface, Reross, by Elia Preuss based on designs from 1929 by Reinhold Rossig and posters by Hermann Werner Kubsch.

Adrian Candela

Valencia, Spain-based creator of the Bauhaus-inspired monoline geometric rounded sans typeface Bowhouse (2013, free), the retro futuristic typeface AC Brodie (2013, free), the free art deco typeface AC Mountain (2013), the 3d typeface AC Framed (2013), the film strip typeface AC Filmstrip (2013, free), Comic Runes (2013, rune simulation), Scribbled (2013), and the hexagonal typeface Bee Type (2013, +Filled, +outline).

Newsense (2013) is an art deco typeface that extends Milton Glaser's Film Sense (1968).

Romaji Mincho (2013) is a free Asian simulation font based on the style of the Mincho typeface. Rhyder (2013) is a great (free) geometric 1930s style sans typeface. Martell (2013) is a free general purpose slab serif family.

AC Big Serif (2013) is a free rounded wedge serif typeface. AC Thermes (2013) is a sans display typeface.

Typefaces from 2014: AC Wanita (hand-drawn).

Typefaces from 2019: AC Guanche (a font based on the ancient scripts used by the Guanches, the aboriginal inhabitants of the Canary Islands). [Google] [More]  ⦿

Adrian Talbot
[Talbot Type]

[MyFonts] [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]  ⦿

Afrojet Type Foundry
[John Skelton]

John Skelton is a type designer from St. Paul, MN, b. 1973. He is currently based in Portland, OR. He started out in 2008 as afrojet on FontStruct, making many free fonts there. Late in 2009, he set up Afrojet Type Foundry at MyFonts.

FontStructions in 2008: Playtime (an original stencil family), Playtime Pattern Motifs (dings), Playtime Rounded (+Bold), Playtime Cutouts, Mango Solid (ultra fat, rounded), Mooch (experimental), Mooch Squared, Zombies Are The New Black, Jettison Stencil, Micromoog, hewett, hewett_bold, hewett_extended, Mikey (a Mickey Mouse font). Other creations there include Summer Grillz (about which he writes More gangster than Gill with more gold than Garamond, Summer Grillz is type jewelry for your mouth. All letterforms are diamond-kut using the finest type constructing software on the market today. Customize your grill with different fills., Lovestruc, Konstruct (multiline face), Steeplechase, Sawhorse, Sawhorse Braumarks (dingbats of a brewery), Alfred, Chesterfield, Hydroplane, Jettison-Stencil, Pop-Drops (kitchen tile face), Starstruc, Lovestruc, Chesterfield Prince, Chesterfield King, Chesterfield Queen (piano key font), Brainfreeze (ultra fat).

Fontstructions in 2009: the Sans Serious family (a tribute to Dutch Bauhaus designer Jurriaan Schrofer), Factory (stencil), Hunstrüct (blackletter), Slug, Micromoog Remix, Get To The Falcon, Jetstream and Perforate (octagonal, loosely based on several styles of letter and numeral forms observed on various aircrafts at the Evergreen Aviation&Space Museum in McMinnville, Oregon), Get To The Falcon (multiline face), StacheStruct (moustache font), Factory (stencil), Playtime Bolda, Thunderball, Gaga, Gaga Stencil, Pinpression, Sessions (a take on type by Josef Albers; he writes: Having previously played around in Fontstruct with Anni Albers' textile patterns, I thought it time to turn my attention to her husband Josef's work. Josef Albers' constructivist typographic experiments are a perfect match for Fontstruct. Other Fontstructors have done great work with Alber's ideas. Most notably, Saberrider's fontsract and Stewf's Leaflet family. Using Josef Albers' Kombinationsschrift alphabet (1928-1931) as my foundation, I've been having a lot of fun remixing and experimenting with his letters.).

Fonts made in 2010: Whoopee (piano key face), Prog.

Commercial fonts: Sessions (2009, modular).

The commercial fonts by Afrojet type foundry include Sessions, Playtime, Hydroplane, Lovestruc, Dansa, Pinpressions, Micromoog, Widjiwagen, Mooch, Hunstrüct, Slug, and Brutal Exchange.

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

Agent Demonic Ladybug

FontStructor who made these typefaces in 2010: Tessa (an über fat face), Pomegranate, Archipelago Serif, QQQQQ.

In 2011, these typefaces were created: Barnhaus (+Lite), Not My Font (clone of zalamera eYeFS by Antonio J. Morata), Mission Design Sans, Soundproof, Naturally Blonde, Sector12 (an army stencil face), Industrial Sans Better, Elegantite, Grey Hand (texture face), Ubnshufr II Hellllp, Havoc, Havoc Thin (scratchy face), Pixels Redefined (texture face), Capitas Lite (texture face), Capitals Woodcut, Adl Capitals (hand-printed), Useful Sans, Spirit (tattoo/blackletter face), Wanted 2.0, Detaile, fs Greener Grass (grotesk headline face), Bean (pixelish), Small Sans, Doundproof.

In 2012, Agent Demonic Ladybug made these typefaces: Mechans (upright connected script), Tessa Revived, Minimalist No. 2 (piano key face), Laceys (dot matrix typeface), Roundsclean, Squareup, Barnhaus 2012, Mission Design Sans, Barnhaus (+Lite, +Mono; named after Bauhaus), iFontStruct, Squishypixel, Moredetailes, Who Needs Nonconformity (heavy octagonal), Stuckinneurone Error, Stuckingranite, 220a, Boldish (piano key face), Strategy Bold. [Google] [More]  ⦿

Ainsifont

French digital type foundry, est. 2007, located in Lille. The type coop includes Stéphane Meurice, Xavier Meurice, Sébastien Delobel (the three founders), as well as Jérémie Perrin and Baptiste Servais.

Commercial fonts include these made by Atelier Télescopique: Stone Heure (2007, multiline), Ader, Bepierre (pixel), Beye (pixel), Birinte (experimental), Boureuse (an elegant geometric sans), Byme, Capulco, Ciceron (dot matrix), Delory (clean sans), Dicion (dot matrix), Dixca (pixel), Fisher, Fluo (2012-2014, a stencil font by Xavier Meurice and Sébastien Delobel), Hic, Kune (sans family), Lailuya, Lienne, Mentable (dot matrix), Mento (clean sans), Merik, Miante, Micale, Mulette, Naconda, Nalfabait (dings), Natomi (techno), Nibalsmith (ultra-fat), Norak, Normal, Peindice, Rabik (paperclip face), Raoul, Rijsel (2013, sans), Rondie (kitchen tile), Rubal, Scard, Screenex, Stone Heure (prismatic), Singolo, Sphiquesy, Steroid, Stuce, Tino, Tomica, Treen, Varo, Velinge (dings), Veu, Vrette, Vure, Yoli (dings), Xatif, Zofage.

Corporate typefaces by them include the Quechua family (for the sports company Quechua in Domancy, France), which consists of four typefaces, Bionnassay (for cross-country skiing), Forclaz (mountain hiking), Arpenaz (for recreational hiking) and Capcir (for Nordic skiing).

News. [Google] [More]  ⦿

Ainsifont (was: Atelier Telescopique, or: Fonderie Nordik)
[Xavier Meurice]

Fonderie Nordik was a French type foundry in Wasquehal near Lille, which published some fonts such as Tomica (2009, a geometric sans done for Wéo Télé Nord Pas de Calais), Le Dixca, Le Cicerond, LaNormal, La Lienne. Founded in 1998 by Xavier Meurice and Sébastien Delobel, it changed its name in 2007 to Atelier Telescopique and then to Ainsifont. Stéphane Meurice and Guillaume Berry are also involved.

Font list: Font list: Scard (2000, Xavier Meurice), Stonehenge, Dixca (free pixel font), Fish, Delory, Lienne (2001, with Delobel), Bizeau, Raoul, La Cidulée, Ader (Xavier Meurice, 2002), Tex (2002, pixel font by Xavier Meurice), Normale (free), PSUS (Xavier Meurisse, 2000), Bépierre, Péro, SV01 (dings), Cicerond (free dot matrix font), Réka (2001, Meurice and Delobel), Nuk, Stéroide, Rosoir (2002, Xavier Meurice, dingbats), Equinox, Acropik, Wazemmes, Kune, Stoneheure (2001, Xavier Meurice), Sphiquesie (Xavier Meurice, 2002, an octagonal font), Nyctalope (2002).

Xavier Meurice participates in the type cooperative Ainsifont in Lille. His typefaces there include:

• The rounded sans typeface Fluo (2012, with Stéphane Delobel).
• AF Singolo (2012, with Stéphane Delobel). A stencil typeface created for Lille Design.
• Mento (2015, with Stéphane Delobel). Original from 2007.
• Playtime (2012-2018). A stackable sans typeface by Xavier Meurice and Sébastien Delobel.
• Raoul (2007, with Stéphane Delobel). Original created for the Kursaal in Dunkirk, and named in honor of Lille-based singer Raoul de Godewarsvelde.
• Rubal (2011).
• Screenex.
• Stone Heure (2011). A prismatic typeface.

Akos Polgárdi

Pest, Hungary-based designer of Hexa (2012, free hexagonal typeface).

In 2013, he published the beautiful free poster font Mopster.

Trefort Grotesk (2014) is a custom unicase monoline condensed sans typeface that was created for a World War II monument at Eötvös Loránd University to commemorate the university's students and professors who died during the war.

In 2016, he designed the octagonal typeface Matematica: Matematica is a rounded, unicase, mono-spaced, pseudo-bitmap typeface constructed on a 5-by-5 grid. Relying on the most basic geometric shapes, the typeface draws heavily on the work of Dutch Bauhaus typographer Jurriaan Schrofer (1926-1990).

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

Alejandro Barco Muñoz

Graphic director in Zaragoza, Spain, who created an animated geometric Bauhaus typeface in 2016. [Google] [More]  ⦿

Alex Hy
[Adult Human Male]

[MyFonts] [More]  ⦿

Alex Trochut

Brooklyn, NY-based grandson of Joan Trochut of Super-Veloz fame, b. 1981, Barcelona. After completing his studies at Elisava Escola Superior de Disseny in Barcelona, Alex established his own design studio in Barcelona before relocating to New York City.

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

Alex has created design, illustration and typography for a diverse range of clients: Nike, Adidas, The Rolling Stones, Katy Perry, BBC, Coca-Cola, Pepsi, The Guardian, The New York Times and Time Magazine. Alex Trochut's lettering must be seen to be believed---it has to be genetic transmission. Recurring themes include adorned initials and modular types. His numerical all-caps alphabet for British Airways is phenomenal and pushes the bling-bling to the fashionable extreme. Stunning dollar sign drawn by him in 2007 for Acido Surtido.

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

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

Typographic picture by TDC55.

In 2013, Barcelona-based creative agency, Herraiz Soto commissioned Alex Trochut to create an original typeface collection titled Raw for Notegraphy.

In 2017, he made the color font Megazero at Fontself in Opentype SVG format.

In 2018, Alex Trochut and Sudtipos cooperated on Utopian and Dystopian. Utopian is a color font family based on primary colors and pure geometric shapes, influenced by Bauhaus and De Stijl. Dystopian, its black and white companion with square features of Renner's original Futura drawings, emits a darker look and evokes Trumpian gloom and doom.

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

Alexander Sperl

German designer (aka laynecom) at FontStruct in 2008 of band, blokk_2, maiden, substance, Fette Serif (fat, octagonal), Runde Pixelig, Velvet, Thin Sans, Constr, Clear Serif, Blokk.

Added in 2009: Russisch Brot, Block Out (3d face, +Filled1, + Filled2), Bold Stencil Sans, Script Pixelig, Dorky Corners Sans, Haus der Kunst (inspired by the building in München by that name), Fraktur Test, Fette Sans (nice), Emilia, Runde Pixelig (pixel script).

Creations in 2010: Fraktur Test, The Plot (octagonal, architectural), 80s Metal Band, Fieldwork Font (pixel), Black Metal, I slabbed the Seriff, Play (curly face).

Creations in 2011: Obvious Stencil (Bauhaus, or piano key), Supercali (a psychedelic font inspired by the cover for A.R. Kane's "I"), Manuale (with straight slabs; +Manuale Giocoso, 2012), Graphite (fat and rounded), Graphite 2, Hinterland Italic (quaint Victorian face).

From 2012: Linea Fraktur (extended in 2013 to Linea Runde), Black Organic (spiky blackletter), Green Organic (a spurred blackletter), Standard Sans, Modular Blackout Bold Condensed, Viva Las Vegas, Helios, Faux Pas Serif (Egyptian typeface), Nova Thin Extended (this hairline sans is a tour de force---it is the first successful hairline sans typeface ever made by anyone using FontStruct), Bencraft.

Fonts from 2013: Meadow Bold, Lush Capitals, SwiftStroke, Its Slab To Be Square, Mellow Doubt, Ligure Black, Beige Organic, Trafo, Trafo Evolution, Codester Mono (a programming font), Swash Buckle, Nova Thin Extended (a hairline sans), Meson Sans, Burgwald Exquisite Bold Condensed, Editoriale, Coalescimen, A La Carte, Hampton Italic, Baby Elephant (fat grotesque).

Fonts from 2014: Terminal One (a basic sans), Fanomino, Fontris (like Tetris), Schlaraffenland (+Variant: great rounded sans family), Crystalline, Tick Brush, Manuale Neue Bold, Terminal One, Sanspura, Italics Study, Mundane Black Extended, Heavy Grain, Wineshop Stencil, Folds and Rhizones, Viva Las Inline.

Fonts from 2015: Augustine, Coleridge, Framtid, Licht-Sans, Quire-Bold, Quire, Static-Grotesk, Tattoo-Parlour, The-Gift-Serif, Tuileries-Black, Usual-Type, Ziseleur, Zungenschlag, Blackesteverblack.

Klingspor link. [Google] [More]  ⦿

Alexandru Mihis
[Headfonts Store (was: Mcraft, and Mihis Design)]

[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]  ⦿

Alexey Popovtsev
[Aronetiv]

[MyFonts] [More]  ⦿

Alexis Cole

During her studies, Alexis Cole (Northfield, IL) designed the textured typeface Bauhaus Bold (2013). [Google] [More]  ⦿

Alexis Navarro Miranda
[Sudaca Type Design Studio]

[MyFonts] [More]  ⦿

Alfonso Armenteros Parras

During his studies in Madrid, Spain, Alfonso Armenteros designed the free De Stijl / Bauhaus / Kandinsky typeface Stijla (2016). Dafont link. [Google] [More]  ⦿

Alfredo Ascari

Graphic designer in Berlin. In 2016, he designed the modular multiline typeface Bauhaus (2016) following the principles of architectural modernism. [Google] [More]  ⦿

Alfredo Marco Pradil
[Hanken Studio]

[MyFonts] [More]  ⦿

Alp Eren Tekin

Designer of The Experimental Boredom Mono Type (2018), which was designed on some basic rectangular and circular grids following Josef Albers' methods in the Bauhaus. It was a school project in Istanbul. [Google] [More]  ⦿

ALT Foundry
[Andreas Leonidou]

ALT is the type foundry of prolific type designer Andreas Leonidou from Limassol, Cyprus, b. 1986. His main work is commercial, but there is also a substantial collection of free fonts.

He created Foldgami, Apollo 13 (techno, futuristic), Fatgami, Origamia, Paper Roll, Alt Retro (2010, multilined family), Alt Tiwo (2010, fat counterless), Alt Matey (2010, a family that includes a multiline style; the piano key typeface Alt Matey V2 followed in 2012), ALT Lautus (2010, a minimalistic monoline sans family), Japanese Cities Type Experiment (2010), ALT Alternatice (2010), ALT Vxt11 (2010, a high-contrast art deco octagonal face), ALT Aeon (2010, a unicase but multiline family), Alt Re 32 (2010, techno), ALT Mun (2010, a curlified family), ALT Breo (2011, octagonal family), ALT Exline (2011), Jun Script (2011, connected contemporary upright script), ALT Ayame (2011, condensed squarish family ain the piano key style, +Long), Alt UAV31 (2011, an octagonal experiment), Alt Moav (2011, a striking geometric caps face. Images: i, ii, iii), Alt Geko (2011, an art deco caps face), and Archetype (unicase, Bauhaus).

Free fonts at Devian Tart: Alt Retro (2010, multilined family), ALT Hiroshi (2011, ornamental), ALT Deville (2011, spurred).

Typefaces made in 2012: DNR001 (hipster style), ALT Kora (for the identity of Drone), ALT Fat (monospaced squarish caps face), ALT Exodus (sci fi face), Alt Wet (a paint splatter face), Alt Sku (ornamental didone face), Alt Robotechnica (pixel face), Exodus (a blackletter style straight-edged typeface), Juk01 (an ornamental mechanical, or steampunk, typeface), Alt Sake (a thin condensed poster typeface).

Typefaces from 2013: Modu (alchemic, hipster style), Modu Deco, Bely (a severe-looking almost constructivist Latin/Cyrillic typeface).

Typefaces from 2014: Ren (a free vintage display typeface family).

Typefaces from 2015: ALT Hazer (a great free shadow sans), ALT Smaq (a family of eight free beveled styles for Latin and Greek).

The free fonts as of 2015: ALTBELY, AltJoli, AltPixelsGoneBad, AltRe32-Duo, AltRe32-Normal, AltRenDuo, AltRenRegular, AltRenRetro, AltRenShadow, AltRetroBlack, AltRetroBold, AltRetroLight, AltRetroRegular, AltRetroThin, Alt-Twitchy, AltVxt11, Altapollo13, AltAeon-Black, AltAeon-Bold, AltAeon-Light, AltAeon-Medium, AltAeon-Thin, AltAeonRegular, AltAxlDeco, AltAxlRegular, AltDEVILE, AltGeko-AltGeko, AltMateyv2-Black, AltRobotechnica, AltSku, AltSkuItalic, AltUAV31, AltWet, Altapollo13-Black, Altapollo13, althazer, altsmaq2.8, altsmaq4.8, altsmaq6.8, altsmaq8.8, altexodus, altfatgami, altfatitalic, altfatregular, altfoldgami.

Typefaces from 2016: Sadistic (a free scratchy font), System Code (free programming font).

Typefaces from 2017: Rekt, Rogue (free).

Typefaces from 2018: Alt Catwalk (a fashion mag typeface family), Frantic, Looper (a compass-and-ruler font), Silent Scream (a free dry brush font). free).

Flickr link. Behance link. Hellofont link. Devian Tart link. Klingspor link. Creative Market link.

View Andreas Leonidou's typefaces. Home page. [Google] [MyFonts] [More]  ⦿

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

[MyFonts] [More]  ⦿

Alvin Lustig

Modern American design pioneer (b. 1915, Denver, CO, d. 1955), known for his books, graphic design, interior and architectural design, and typefaces. Lustig studied design at Los Angeles City College, Art Center, and independently with American architect Frank Lloyd Wright at his Taliesin studio and French painter Jean Charlot. He began his career designing book jackets in 1937 in Los Angeles. In 1944 he became Director of Visual Research for Look Magazine. He also designed for Fortune, and Girl Scouts of the United States. The Rochester Institute of Technology maintains an Alvin Lustig Collection. Wikipedia link.

Digital typefaces based on Lustig's work:

• Greta Bassanese's Alvin Lustig Typeface (2014).
• Lustig Elements (2016, P22). Craig Welsh (Lancaster, PA) and AIGA Medalist Elaine Lustig Cohen (NY), Alvin's widow, extended Alvin Lustig's 1939 geometric typeface Euclid, and named it Lustig Elements. It was cut in wood by Hamilton Wood Type & Printing Museum in 2015, and produced as a digital typeface in 2016 by P22.

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]  ⦿

Anastasia Yakovleva

Saint Petersburg-based creator of Milan (2012) and Kidot (2013). She writes: Kidot font was created as a corporate font for KIDSTUDIO. It was born from professional passion to design & typography. A child of bauhaus and modernism. Honest & pure. Created by Anastasia Yakovleva & Marco Innocenti. [Google] [More]  ⦿

André Felipe

During his studies at Campus Agreste da UFPE, Caruaru, Brazil-based André Felipe (b. 1997) designed the modular typeface Eferena (2016), the pixel typeface Sneak Attack (2016), the squarish typefaces Soccer Jersey (2016), Porque (2016) and Quatro (2016, inspired by Bauhaus), the pixel font Peepo (2016), Beheaded (2016), and the slatted typeface Retrosynthwave (2016).

Typefaces from 2017: Greetings (experimental).

Typefaces from 2018: Revolta (pixacao style). [Google] [More]  ⦿

Andreas Leonidou
[ALT Foundry]

[MyFonts] [More]  ⦿

Aneta Babisova

Graduate of Tomas Bata University. Ostrava, Czechia-based designer of the organic sans typeface Jarmila (2016) which was inspired by Jan Tschichold and the Bauhaus movement. [Google] [More]  ⦿

Angeles Moreno

Mexican designer of the hand-printed Bolita, the kids typefaces Nino and Bíblica, the unicase Bauhaus, the round typeface Aqua, the grunge typefaces Gap and Heart, the handwriting typefaces Pessoa and Pincelazo, Geometrics, Matisse, the minimalist typeface Moogdula, Offset, the sans typeface Quatro, the windowed typeface Ventana, Voluble, Starline, Santa Clara, the trekkie typeface Wet Alien, and the experimental typeface Chida, mentioned here. [Google] [More]  ⦿

Angus R. Shamal
[ARS Type (was ARS Design)]

[MyFonts] [More]  ⦿

AnhHee Strain

Graphic designer in Baltimore. In 2010, he made Deconstruct, a Bauhaus style font family. Behance link. Logo. [Google] [More]  ⦿

Anthony Neil Dart

Graphic and motion graphics designer in Johannesburg, South Africa, where he worked as Ontwerp.tv (Idea currency) Pty Ltd. He is now located in Seattle, WA.

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

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

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

Typefaces from 2013: Canada (alchemic).

In 2015, he created a series of posters called Vignelliisms illustrating one-liners by Massimo Vignelli.

Typefaces from 2017: Canada (I can't believe that he has trademarked the name Canada). Home page. Behance link. Ontwerp link. [Google] [More]  ⦿

Antje Driemeyer
[Driemeyer Design]

[MyFonts] [More]  ⦿

Anton Koovit
[Fatype]

[MyFonts] [More]  ⦿

Anton Scholtz
[Scholtz Fonts]

[MyFonts] [More]  ⦿

April DiMartile

BFA Graphic Design student at California State University, Long Beach. She writes in 2012: Chromosthesia is an experimental typeface designed in a Typography 2 class. The concepts as well as ideals of Vassily Kandinsky were used to construct each letter by using common shapes found in his paintings. [Google] [More]  ⦿

Ariane Sauvaget

Parisian creator of a poster for a Kurt Schwitters exhibition in Paris in 2012. [Google] [More]  ⦿

Arno Drescher

Type designer (b. Auerbach, Germany, 1882, d. Braunschweig, 1971) who studied at the Akademie für Kunstgewerbe in Dresden, and became professor there in 1920. During World War II, Arno Drescher was director of the Akademie für graphische Künste und Buchgewerbe in Leipzig. After a period as freelance designer, he finally moved to Braunschweig in 1960.

Drescher is best known for his large geometric Super Grotesk family (Schriftguss, 1930). The list of his typefaces:

• Appell (1933, Schriftguss).
• Arabella (1936, Ludwig Wagner) and Arabella Favorit (1939, Ludwig Wagner). A cursive pair of typefaces. Digital revivals include Arabella (ca. 1999) by Dieter Steffmann and Arabella Pro (2006) by Ralph M. Unger.
• Drescher Eilschrift (1934, Wilhelm Woelmer).
• Drescher Versalien (1927, Schriftguss). Aka Drescher Initials. An open lineale titling typeface.
• Duplex (1930, Typoart and 1937, Schriftguss). An all caps inline typefaces.
• Energos (1932, Schriftguss). An early brush script. Revived by Ralph M. Unger in 2008 as Energia Pro (2008).
• Fundamental Grotesk (1938-1939, Ludwig Wagner) and Fundamental Kursiv. In several weights.
• Helion (Schriftguss, 1935, and Fonderie Française, 1935, a 3-d shaded outline font). Digitally revived by Ralph M. Unger in 2020 as RMU Helion.
• Manutius Antiqua (1935, Ludwig Wagner), Manutius Kursiv (1935, Ludwig Wagner). This typeface is idenitical to Johannes Wagner's Antiqua 505 (1955).
• Milo (1940, Schriftguss). A shadow typeface.
• Onyx (1936, Schelter & Giesecke). A multiline art deco titling typeface.
• Schreibmeister Kursiv (1958, at Ludwig Wagner). A formal cursive font. Schreibmeister (2021) is Ralph Unger's interpretation.
• Super Grotesk (1930, Schriftguss). This geometric typeface family was revived at FontShop in 1999 by Svend Smital as FF Super Grotesk, and at Bitstream in 2001 by Nicolai Gogoll as Drescher Grotesk BT. Super Grotesk Schmalfett (1933) was revived in 2020 by Ralph M. Unger as RMU Gong.
• Super Blickfang (1932, Schriftguss), Super Elektrik (1931, Schriftguss), Super Reflex (1931, Schriftguss). For a digital revival, see FF Super.

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

Arno Katholnigg

Villach, Austria-based typographer, who made a few great Bauhaus style posters in 2010, such as Bauhaus Hajo Rose, dedicated to the forgotten Bauhaus artist Hans Joachim Rose. [Google] [More]  ⦿

Aronetiv
[Alexey Popovtsev]

Or Aleksey Popovtsev. Graphic designer in Kiev, Ukraine, who made the Latin / Cyrillic sans typefaces Nachalnaya (2016) and Rothko (2018: a sans).

Typefaces from 2019: Jheronimus (a neo-humanistic grotesque variable font), Jheronimus Contrast, Ezlo Sans.

Typefaces from 2020: Genau (a 9-style geometric sans influenced by the constructivist schools of Vkhutemas and Bauhaus; contains a variable font), Nomenclatur (2020: a sans family for information design and engineering, inspired by DIN).

Typefaces from 2021: Wolfgang (a six-style bare-bones text typeface influenced by renaissance types such as Garamond, Bembo and Jenson).

Typefaces from 2022: Rottko (a ten-style static grotesque). [Google] [MyFonts] [More]  ⦿

ARS Type (was ARS Design)
[Angus R. Shamal]

ARS Type is an Amsterdam-based foundry with some commercial fonts by Angus R. Shamal. Shamal had earlier published fonts with T-26 and Plazm. Fonts can be bought via Fontshop.

The fonts: AudioVisual1, Code, Kamp, Kamp Serif, Retro City, OCRU, Toycube, Mortal, Maquette (1999-2000), Angelring, ARS Bembo, Contrast, Dandy, EcologyModern, Hartu (handwriting), Temper, ARS Novelty (2011, a free hybrid style face), ARS Polythene (pixel font family), Misanthry, Syntax (OsF format sans serif), CensorSans (1994), CensorSerif (1994), Credit (1995), Epilogue.pfa (1995), Exert (T-26), Humain-Graphica (1995), Humain-Synthetica (1995), Platrica (1994), Roscent (1995), ARSFortune (2000, futuristic), ARS Region (2002, Bauhaus sans), District (experimental), Descendiaan (1998), Zero Rate (futuristic), Tegel (1998, stencil, kitchen tile), Twenty (octagonal, techno), Trio (dot matrix fonts), Maquette (1999), Region, Product (2007, sans typefaces), Mr Archi, Prime (display), Deviata (unicase face), Forum I-AR (after Forum I, a 1948 font by Georg Trump), Freie Initialen-AR (2007, after a 1928 set of caps for Stempel Garamond), Fry's Ornamented (2007; a revival of Ornamented No. 2 which was cut by Richard Austin for Dr. Edmund Fry in 1796), Graphique-AR (2007; a shaded typeface based on a 1946 design by Eidenbenz for Haas), Gravur-AR (2007; a digital version of a type designed by Georg Trump and issued as Trump-Gravur by Weber in 1960), Initiales Grecques (after a Firmin Didot design, ca. 1800), Lutetia Open (2007; based on Jan Van Krimpen's Lutetia), Old Face Open (2007; a digitization of Fry's Shaded, an open all caps Baskerville cut by Isaac Moore for Fry, ca. 1788), Open Capitals (2007, after Jan Van Krimpen's 1928 typeface for Enschedé called Open Kapitalen), Romulus Capitals (2007; after the caps series by Jan Van Krimpen, 1931), Romulus Open (2007; after the Open series by Jan Van Krimpen, 1936), Rosart 811 (2007; open caps after Enschedé no. 811 by Rosart), Zentenar Initialen (2007; based on blackletter initials of F.H.E. Schneidler, ca. 1937).

Fontshop link. Designer link at FontShop. [Google] [MyFonts] [More]  ⦿

Art deco typefaces by Nick Curtis: I
[Nick Curtis]

Free art deco typefaces by Nick Curtis, made between 1997 and 2003. Nick Curtis also made commercial art deco typefaces, but these will be listed elsewhere.

• AmstelHeavyNF (2002): based on this poster from 1926 by C. De Haas.
• AmsterdamTangram (2002): based on this poster by Joost Swarte from 1987 entitled "De wereldtentoonstelling van Joost Swarte".
• AnchorSteamNF (2002): based on a poster from 1923 by Wilhelm Poetter.
• Rainbow Bass (1982, Saul Bass) a vertically striped disco style design, was remade by Nick Curtis as Backstage Pass (1999, 2008).
• BeckerBlackNF (2002, 2007): Based on Alf R. Becker's lettering.
• BigAppleNF (2000, 2007).
• BoogieNightsNF, BoogieNightsShadowNF (2002, 2007): based on this poster from 1916 by Paul Hosch and Hans Melching. In 2009, CheapProFonts made a "pro" version.
• BoomerIngueNF (2002, 2007).
• Bric-aBraqueNF (1999, 2007). Bric-a-Braque was based on Cubist Bold (John W. Zimmerman, 1929).
• ChainsawGeometric (1999). Based on this alphabet by Draim (1928).
• ChippewaFallsNF (2002, 2007). Originally called Hiawatha. See this roadside photograph that inspired Nick.
• Coaster Poster (1999).
• DayPosterBlackNF, DayPosterShadowNF (2002, 2007).
• DebonairInlineNF (2000, 2007). The commercial Debonair Inline (2008) is an extension (uppercase, etc.) of Herbert Bayer's 1931 monocase typeface Architype Bayer, also known as the universal moderrn face.
• DecoBordersNF (1999) and DecoDingbatsNF (2000).
• Drumag Studio NF (2003, 2007).
• DustyRoseNF (2000), DustyRoseRevised (2007): Dusty Rose is an art deco typeface based on the logotype for the Dutch magazine Geillustreerd Schildersblad in 1940, by Anton Kurvers. The commercial Dusty Rose NF was published in 2008.
• EastMarket (1999), EastMarketTwoNF (2007).
• GradoGradooNF (2002, 2007): a Bauhaus-style font, based on this 1932 poster by Urbano Corva.
• Great Lakes (2003, 2007), GreatLakesShadowNF (2007): based on this poster by Peter Ewart (1935).
• Heavy Tripp NF, Heavy Tripp Ultra Bold (2001, 2007). Both Day Tripper NF and Heavy Tripp are based on Dignity Roman, a typeface from 1929 by art deco alphabet designer Alphonso E. Tripp.
• HeraldSquareNF, HeraldSquareTwoNF (2002, 2007): a font family based on a design by Welo shown in Studio Handbook for Artists and Advertisers (1927).
• High Five Jive NF, High Five NF (2001, 2007).
• Indochine NF (2003, 2007). Based on this poster by Joseph-Henri Ponchin (1931).
• Ironick-Normal (1999, 2007): an exaggerated Bernhard Modern.
• KerfuffleNF (2000, 2007). Based on this poster by Chris Van Der Hoef (1920).
• KismetNF. A free font. Based on this lettering.
• LabyrinthCapital, Labyrinth (1999, 2007). Based on this poster.
• MetroRetroNF (1999, 2007). MetroRetroRedux (2001, 2010) is a commercial version of that.
• Milton Burlesque NF (2000, 2007).
• Monkey Fingers NF (1999, 2007). Based on an alphabet by Otto Heim published in Farbige Alphabete (1925).
• MunchausenNF (2003, 2007). Based on a poster for an exhibition by Ludwig Heinrich Jungnickel (1911). This is inbetween art deco and art nouveau.
• NickerbockerNF (1999, 2007).
• NightcapCapital, Nightcap NF (1999, 2007). Based on Disque (A. Bardi, 1931).
• OdalisqueNF, OdalisqueRevised (2000, 2007). The commercial versions are Odalisque NF (2008) and Odalisque Stencil (2010). These art deco typefaces are based on Morris Fuller Benton's Chic (1927).
• ParkLaneNF, ParkLaneRevised (2000, 2007).
• PhattPhreddyNF (2001, 2007).
• PinballWhizNF (2002, 2007). Based on this logotype by Joost Swarte for the comic-strip series "Katoen + Pinbal" (1975).
• PlatonickNF (1999, 2007).
• PlugNickelNF (+Black) (1999, 2007): a reworking of Bremen Black, with small caps and a rather skeptical uppercase R added.
• RadioRanchNF (1999, 2007). Adolf Behrmann designed the classical display typeface Rundfunk at Berthold in 1928. This typeface was digitized by Nick Curtis as Radio Ranch NF.
• RaskalnikovNF (2003, 2007). A Cyrillic simulation typeface based on this poster.
• RialtoEngraved, Rialto NF (2000, 2007): a Broadway style art deco face.
• RiotSquadNF (2000, 2007). after a design by Otto Heim from Heim's 1925 book, Farbige Alphabete.
• RitzyRemixNF (2000, 2007). RitzyNormal is based on Tom Carnase's Busorama.
• Seaside Resort NF (2003, 2007). A bilined titling typeface based on a 1933 poster by Italy's Bertarelli Studios.
• SelznickNormal, SelznickRemixNF (1999, 2007). An art deco typeface inspired by movie theaters of the 1930s. Based on ITC Anna (1991, Daniel Pelavin).
• Sesquipedalian, SesquipedalianAlternates (2000, 2007). Inspired by a handlettered logo for Torre's Buckdruckerei in Vienna, circa 1919.
• Sid The Kid NF (1999, 2007).
• Skittles N Beer NF (2007) is based on handlettering on a 1929 brochure for the P&O British-India Steamship Line.
• Standing Room Only NF (1999, 2007). Modeled after Broadway, designed by Morris Fuller Benton for ATF in 1928, originally named Broadway Poster.
• Stony Island NF (2002, 2007). An adaptation of an art deco font called Chicago Modern, designed by lettering artist Alf Becker, whose designs graced the pages of Signs of the Times magazine from the late 30s into the 50s.
• StudebakerNF-Bold, Studebaker (1999, 2007). Based on the lettering on a package for True-Mark Brand Typewriter Ribbons, circa 1938, designer unknown.
• TaraBulbousCapital, TaraBulbousNF (1999, 2007). TaraBulbous NF (the commercial version is from 2008) is a fat-lettered font based on Carlyle-Oring lettering. See also here.
• TitanickDisplayNF (1999, 2007): a remake of the bold pin-striped trilined Dextor by L. Meuffels.

Art deco typefaces by Nick Curtis: II
[Nick Curtis]

Commercial art deco typefaces by Nick Curtis.

• Bessie Mae Moocho NF (2002). An art deco font based on handlettering found on a travel brochure for IMM Steamship Lines, circa 1927.
• Blitzkrieg NF (2011). A Lufthansa Airlines baggage label from 1936 provided the inspiration for this genuinely German typeface, with strong art deco influences.
• Blue Jay Way NF (2011). An art deco typeface inspired by Ross F. George. This typeface was used on the Beatles' original Magical Mystery Tour album.
• Boeuf au Joost (2003). Art deco based on work by comic book artist Joost Swarte.
• Boho à Gogo NF (2007): a multiline (op art?) typeface inspired by Bauhaus.
• Chalk and Cheese NF (2004). This art deco uppercase is based on 1930s lettering by French poster artist Charles Loupot (based on this art deco poster), and the non-art deco lowercase is based on 1910s lettering by German plakatmeister Ludwig Hohlwein.
• Chemin de Fer NF (2005). An art deco shadowed outline face.
• Chi Town NF (2008) is a heavy art deco creation that is based on a 1931 poster for the film The Man from Chicago.
• Coochie Nando NF (2011). An art deco shadow caps face, after a typeface called Kitchen by Milton Glaser.
• Dooijes Deco NF (2010). A 3-style art deco family in the style of Broadway, based on the Dick Dooijes tryptich, Carlton, Bristol (1929) and Savoy (1936).
• Duck Soup (2003, after a 1928 poster by Italian designer Neri Nanetti for Snob Cognac).
• Elektromoto NF (2011). This family takes its inspiration from two early Art Deco typefaces from Germany. The Normal version is based on Dynamo, designed by K. Sommer for Ludwig&Mayer in 1930, while the Narrow version is based on Stadion, designed by Erhard Grundeis for Die Schriftguß AG in 1929. Their common design motifs epitomize the Age of Streamline.
• Humpty Dumpling NF (2010). A fat art deco typeface based on an offering from the irrepressible M. Draim, seen in La Lettre dans le Décor&la Publicité Modernes, published by Monrocq Frères of Paris in 1932).
• Dusty Rose (2008) is an art deco typeface based on the logotype for the Dutch magazine Geillustreerd Schildersblad in 1940.
• Edgewise (2007), a quirky well-rounded post-art deco and pre-psychedelic face, uses ideas from Ryter Night (VGC).
• Ege Schrift NF (2011). a faithful revival of Ege-Schrift (1921, Eduard Ege), a mix between Mexican party lettering and art deco.
• Engel Stabenschrift NF (2008). In 1927, Ernst Engel created an art deco typeface which was revived by Nick Curtis as Engel Stabenschrift NF.
• Faerie Queen NF (2006). Based on an art deco typeface named Titania made in 1933 by Fundición Richard Gans.
• The Reed and Fox typefaces Viennese and Corinthian were combined in 2014 in Nick Curtis's digital typeface Genever NF.
• Gotham Rail Company NF (2002). Art deco based on an Italian travel poster from 1931.
• Great Lakes Shadow (2008) is an art deco typeface based on a 1930s travel poster for the Canadian pacific Railway.
• Hunky Dory NF (2014). A circus font after William H. Page's wood type Doric, ca. 1850.
• Jazzfest NF and Tinseltown NF (2009). Based on the 1932 art deco typefaces Newport and Hollywood, respectively, both designed by Willard T. Sniffin for ATF.
• Kharon Ultra (2009). An art deco typeface based on Ludlow Stygian.
• Kinkajou Stew (2003). Image of Kinkajou NF.
• Kirschwasser NF (2005). A bubbly art deco face.
• Korner Deli NF (2006, art deco).
• Kymmera Deco NF (2011). Revival and redesign of Rainbow Bass (1982, saul Bass).
• La Reyna Catalina NF (2006). An art deco face based on Aragón, designed by Enric Crous-Vidal.
• Legnano Cuneo NF and Legnano Sassari NF (2014). Italian art deco wood type.
• Linea Nera NF (2011). Based on Wolf Magin's Black Line (1976, Berthold).
• Lodewijk Gothic NF. After Elzevir Gothic (ATF, 1897).
• Luben Tunen (2008) is another art deco face.
• Madison Squared NF (2012).
• Mighty Ditey (2007): a mix between art deco and Peignot, this elegant typeface is based on a 1970s Photolettering typeface by Richard Nebiolo called Aphrodite, and competes with Riesling (1994, Bright Ideas) and Gillespie (2015, Darren Odden) as revivals of Aphrodite.
• Mogzilla NF (2007) is an ultra fat art deco face.
• Monte Carlo Script NF (2002). An art deco font based on a font called Médicis from a Deberny and Peignot catalog, circa 1920.
• Nip&Tuck (2006).
• Odalisque NF (2008, +Stencil, 2010) are art deco fonts based on Morris Fuller Benton's Chic (1927).
• OK Chorale (2003). An art deco typeface based on Carl Holmes' ABC of Lettering book.
• Orchard Street NF (2011, +Inline). A pair of art deco caps typefaces inspired by one of many posters produced by the WPA by anonymous artists during the 1930s.
• Pentaprism NF (2011). Part Futura, part Bauhaus, this 5-style family has multiline, inline, and other variants.
• Picture Postcard NF (2004: based on an alphabet by Alf Becker).
• Raconteur NF (2006-2008) is a wonderful art deco typeface that shouts gin fizz and high heels: it takes its inspiration from a 1923 ad for Piera Nova, designed by Hernando G. Villa.
• Quoi Chou NF (2006). An elegant and quite original beefed-up version of Bernhard Fashion by Lucian Bernhard.
• Radio Days (2008). An art deco typeface based on 1930s logotype lettering for Crosley Radios.
• Rassetta NF and Rassetta Swash Caps NF (2005). An art deco pair of typefaces originally designed by Willard T. Sniffin for American Type Founders in 1931 under the name Rosetti.
• Renard Moderne NF (2010). An art deco typeface inspired by Sol Hess's 1940s typeface Twentieth Century Poster.
• Resolute NF or USA Resolute NF (2009). An all caps fat headline typeface based on Morris Fuller Benton's Eagle, ATF, 1934.
• Retrorocket NF (2015). An art deco alphabet based on a French lettering chapbook entitled Art du Tracé Rationnel de la Lettre (1934, D. Duvillé).
• Salzmann Deco NF (2011) and Salzmann Deco Deco NF (2011), art deco and Mexican-themed typefaces, modeled after Max Salzmann's Dolmen (1921-1922) and Zierdolmen (1922), respectively.
• Secret Agent (2003). A pure art deco beauty based on this Loupot poster from 1919.
• Ski Alpin NF (2014). An art deco typeface based on a Swiss travel poster from 1927.
• Smart Frocks NF (2008). A Peignotian face, after a shop sign in London, ca. 1930. Designer unknown.
• Stony Island NF (2011). Based on an Alf R. Becker typeface from 1935 called Chicago Modern Thick and Thin.
• Suave Sam NF (2010). An art deco typeface after a 1930 alphabet by Samuel Welo.
• Tasneem (2007) is the ultimate art deco face, originally drawn by Gustav Jensen in 1931.
• Tiny Bubbles NF (2008). An art deco typeface inspired by an alphabet in Pen&Brush Lettering and Practical Alphabets (Blandford Press, Ltd., London, 1929).
• Top Kick NF (2011). Based on Concentra, a geometric marvel with several parallel and concentric lines making up the letters. Concentra was originally published in Schriftatlas: Alphabete von A bis Z .
• Turista Gorda NF (2009). Based on Baltimore Type Foundry's Airport Tourist, which in turn was influenced by Futura Display.

Artyway
[Yehor Lisnyi]

Ukrainian designer in 2020 of the squarish typeface Researcher (a futuristic or sci-fi typeface) and Delivery.

In 2021, he released Contourism (a minimalist futuristic font in regular and color versions), Geommaze (a labyrynthine font), Angled (a sports shirt font), Steel Race (a techno typeface), Alro (a simple monoplinear Bauhaus-inspired sans typeface), the futuristic typefaces Futurism and Xspace, and the speed or sports fonts Designer and Speed.

Catalog in 2022: Alro Headline, Argo Bauhaus, Audio Logo, Bamboo Headline, Bestseller, Bold Geometric, Car, Childish Kids, Childrens Headline, Contour Architecture, Cropped Logo, Cyrillic Modern Sport, Digitally Headline, Futurism Headline, Futuristic Mars, GYM, Geometric Cut Angles, Geometric High, Geometric Maze, Headline Blade, Headline Design, Headline Speed, Headline Steel, Kids, Kids Headline, Lorean, Negative Space, Researcher, Robot Love, Rocket Movement, Rounded Modern, Scandia Headline, Simple Maze, Space, Sphinx (techno, stencil), Sport, Sport Style, Stencil Headline, Terminator Headline, Turbo Sport, X-Space. [Google] [MyFonts] [More]  ⦿

Asher Gat

Israeli type designer at Masterfont. Creations include Alonim MF, Axioma MF, Azili MF, Bauhaus MF, Bazelet MF, Bdeal MF, Cabanos, Casda MF, Cobra MF, Frick MF, Gali MF, Gesharim MF, Hadran MF, Ivritica MF, Kashtit MF, Kayak MF, Klilit, Kneset MF, Koloseum MF, Koryntos, Lakritz MF, Leeron MF, Mag MF, Magal MF, Mesila MF, Naheer MF, Neer MF, Nesharim MF, Netafim MF, Radial MF, Redis Square MF, Shaava MF, Shablul MF, Shanhai MF, Shira MF, Shofarot MF, Simple MF, Strip MF, Strip Saduk MF, Sufle MF, Taar MF, Tapuah MF, Tzach MF, Tzazit MF, Viola MF, Yali MF, Yeelim MF, Yeelot MF, Yuval MF. Klingspor link. [Google] [MyFonts] [More]  ⦿

Astronaut Design
[Slava Kirilenko]

Astronaut Design is located in Almaty, Kazakhstan. It is run by Slava (Vyacheslav) Kirilenko. A graduate of Kazakh National Pedagogical University Abai, Vyacheslav has worked as a graphic designer for Forty Studio, Why Smart Branding Agency, and USP Advertising Agency. In 2013, he won an award in the Granshan competition. He also designs typefaces at the Brownfox type foundry run by Gayaneh Bagdasaryan.

His typefaces from 2012 include the free rounded sans family Static (Fontfabric), 1204 Grotesque, Neue Standart Grotesk, the free font Archive (a rounded sans headline typeface that is also also at Fontfabric: both Latin and Cyrillic), Svalbard Chrome, Cosmographia (sans headline face), Geometria (done with Gayaneh Bagdasaryan, followed by Geometria Narrow in 2016), Terminal Regular (like Courier), and Weimar.

Institut (2013, Brownfox) is an industrial-strength sans typeface designed by Vyacheslav Kirilenko and Gayaneh Bagdasaryan.

Typefaces from 2014: Formular (with Gayaneh Bagdasaryan at Brownfox: a Swiss sans family for Latin and Cyrillic; includes a Mono style), Gerbera (with Gayaneh Bagdasaryan at Brownfox).

Typefaces from 2015: Nolde (a Latin / Cyrillic titling typeface named after german-Danish printer Emil Nolde; by Vyacheslav Kirilenko and Gayaneh Bagdasaryan).

Typefaces from 2016: Wermut (a transitional dagger-serifed Latin / Cyrillic text typeface family by Gayaneh Bagdasaryan and Vyacheslav Kirilenko, published at Brownfox).

Typefaces from 2022: Jet (the authors, Gayaneh Bagdasaryan and Vyacheslav Kirilenko, write: Jet is an assertive italic sans that anticipates the return of the simpler, optimistic times when progress was considered positive and forward seemed to be the only way to go).

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

Auguste Théophile Ballmer

Or just Theo Ballmer. Swiss designer (b. Lausanne, 1902, d. 1955), who worked for Hoffmann-LaRoche before he went to work at the Bauhaus in Dessau in 1928. The URW font family Theo Ballmer (2000) is based on his ideas, and was digitized by Theo's grandson Thierry Ballmer. The family has many typical Bauhaus ingredients. Another digital revival of this is Architype Ballmer by The Foundry. [Google] [MyFonts] [More]  ⦿

Autograph
[Peter Korsman]

Autograph is Peter Korsman (b. 1982), the 's Hertogenbosch, The Netherlands-based co-founder and former member of Attak Powergestaltung, a creative partnership with Casper Herselman. In May 2016, after almost twelve years, he left Attak and started Autograph. He also teaches at AKV St. Joost. The fonts (which cost the last two digits of the year, so 17 dollars in 2017) at Autograph have the prefix APK and include:

• APK Rigimono (2017). A wonderful monospaced Wim Crouwel / Bauhaus / De Stijl-inspired typeface family.
• APK Reformas (2017). A fifties Swiss style sans.
• APK Katalogue (2017). Aka Korsman's Grotesk.
• APH Galeria (2017).

Behance link. A newer Behance link. [Google] [More]  ⦿

Ayelen Arpini

Ayelen (b. 1989) lives in Buenos Aires. She created Bauserif (2009), a serifed version of ITC Bauhaus Medium, Geometric 752. [Google] [More]  ⦿

Babushke Studio
[Marija Juza]

Babushke is a design cooperative in Zagreb that includes Marija Juza [a gradutae of School of Applied Arts and Design, Zagreb, the Faculty of Architecture, Zagreb and the School of Design, Zagreb], who is the codesigner with Nikola Djurek of Balkan (2012, Typonine), a sans / stencil type system for Latin and Cyrillic that was awarded by TDC in 2012.

Babushke created Herbert (2012), which is based on Herbert Bayer's early Bauhaus sketches. It is a low contrast 3-style typeface whose function is to properly align text in blocks.

TDC mentions that Marija lives in Zabok, Croatia.

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

Baltimore Type Foundry (or: Baltotype)
[Herbert F. Czarnowsky]

Also known as Fielding Lucas, Jr., Lucas Bros., H.L. Pelouze&Son, and Chas. J. Cary&Co. Specimen may be found in Convenient Specimen Book of Type, Rules, Borders, and Electrotype Cuts from the Baltimore Type Foundry (Baltimore: Chas. J. Cary&Co., 1888. Banta Book of Types&Typographical Tips. Menasha: George Banta, 1961). The company existed until well into the 20th century, and published a catalog as late as 1957 called Type and Rule Catalogue 13, Baltotype.

A selected list of typefaces:

• Airport Gothic: Turista Gorda NF (2009, Nick Curtis) is based on Baltimore Type Foundry's Airport Tourist which in turn used ideas from Renner's 1932 typeface Futura Display. Mc McGrew on Airport Gothic: Most of this series is the first American copy of Futura, which originated in Germany in 1927, designed by Paul Renner for Bauer. One source says it was cut from original Futura drawings, smuggled out of that country, but it seems more likely that matrices were made by electrotyping the imported type. An extrabold weight, Airport Black, was cut by Baltimore about 1943; information on this cutting is scarce and contradictory- one account says it was designed by Bill Stremic or Bill Blakefield, another that it was designed by Carl Hupie (or Hooper), and cut by Herman Schnoor. There is also Airport Black Condensed Title and Airport Broad. The latter is a modification of Airport Black, cut 50 percent wider on the pantagraph by Herman Schnoor. Baltimore later cast some of its Airport series from Monotype Twentieth Century matrices, and in a few cases listed both series. Airport Relief, Baltimore 299, is English Monotype Gill Sans Cameo Ruled, while Airport Tourist, Baltimore 602, is Futura Display, cast from electrotype mats of the German foundry type.
• Baltimore Script (1955). Mac McGrew: Baltimore Script is a fancy style designed by Tommy Thompson and cut by George Battee for Baltimore Type in 1955. The lowercase follows the general style of a script letter hand-written with a broad pen, although the inclination is slight and the letters don't quite connect. Capitals are flourished. It is suitable for stationery, announcements, and greeting cards, but its range of small sizes is hardly enough for advertising use.
• Mac McGrew: Czarin and Czarin Title were produced by Baltimore Type&Composition Corporation about 1948, the name being derived from the Czarnowsky family which owned the foundry. Czarin Title, issued first, is a copy of Offenbach Medium, a set of pen-drawn capitals designed by Rudolf Koch about 1935 for the Klingspor foundry in Germany. Czarin has minor changes in a few characters, but adds a lowercase, designed by Edwin W. Shaar, that is substantially different from that of Steel, the cap-and-lowercase version of Offenbach. The new lowercase harmonizes well with the capitals, and makes a handsome appearance. Compare Lydian. Footnote: McGrew spelled the name of the owner as Czarnowski. Irene Traeger, the granddaughter of Herbert F. Czarnowsky, pointed out the incorrect spelling to me.
• Mac McGrew: Elegante is a decorative, nearly monotone typeface cut by George Battee for Baltimore Type, after the German typeface Sensation of 1913, from Foundry Heinrich Hoffmeister. It is upright, with flourished caps and loops on some of the ascenders and descenders, and is suitable particularly for announcements and personal stationery. Compare Greeting Monotone.
• Mac McGrew: Emperor is a 1957 adaptation by Baltimore Type of Wide Latin which was cut by Stephenson Blake in England and related to nineteenth-century typefaces under other names. However, this Baltimore Type version has been modified and resized, and is less successful due to excess space between letters (although not as much as in the specimen shown here, which is letterspaced). Emperor was originally shown as Imperial.
• Their geometric series from 1884 became famous, and was often imitated. HiH created two font families based on it: Teutonia (2007) and Baltimore Geometric (2008, a revival of Antique Geometric by Baltimore Type Foundry, 1883). HiH writes: Roos&Junge of Offenbach am Main in Germany produced Teutonia in a "back-to-basics" effort that has seen many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923 Joost Schmidt at Bauhaus in Weimar took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. Even though none of these designs took the world by storm, they all made a contribution to our understanding of letterforms and how we use them.
• Mac McGrew: Greco Bold and Italic are Spanish typefaces of the mid-1920s. They are very heavy, with long ascenders and small x-height, and have a hand-lettered appearance. Linotype Vulcan (q.v.) is equivalent. National Matrix&Type Co. in Baltimore, one of several independent companies which made matrices for the popular casting machines, offered Greco Bold in 1929 as its series 100; this was the source of Baltimore Type's mats, but Baltimore and some other sources cast Greco Bold and Italic as series 326-3261. These numbers have not been found in Monotype literature; perhaps another independent source also made mats. Notice the figures, which are termed hanging or old style, although they do not follow the usual form. However, taller 1, 2, and 0 are also available to convert the set to lining figurees. Compare Hess Monoblack. Greco Adornado, an ornamented version, has also been imported.
• Mac McGrew: Homewood is a recutting by Baltimore Type of Metropolis Lined, a German typeface of the 1930s. It was made from a large size of Metropolis Bold, with the fine white lines cut in, and differs from the original in minor details of the curves. Other sizes were cut by pantagraph and do not necessarily match original sizes.
• IBM Executive Modern, a typewriter type.
• Mac McGrew: Mademoiselle was designed by Tommy Thompson in 1953 as a display typeface for Mademoiselle magazine. It was cut by Herman Schnoor at Baltimore Type, which also offered fonts for general sale. It is a delicate, narrow modern roman, with long ascenders and short descenders, rather loosely fitted, and works well for display with transitional text typefaces such as Bulmer and Scotch Roman. Both lining and oldstyle figures are provided, along with several pointing hands as shown.
• Tourist Extra Condensed. Turista Flaca NF (2009, Nick Curtis) is based on Tourist Extra Condensed. McGrew: Tourist Extra Condensed of Baltimore Type is a copy of Phenix (q.v.) in 24- to 48-point sizes, and is Jefferson Gothic (q.v.) in larger sizes. Phenix is a 1935 ATF typeface by Morris Fuller Benton.
• Mac McGrew: Trend is a brush-lettered typeface cut by Baltimore in 1953. It is very similar to Dom Casual (q.v.), but has a slight back slant.
• Mac McGrew: Trylon as made by Baltimore Type was a 1949 copy of Stephenson Blake's Playbill (see Imports in Appendix), but Trylon Shaded and Trylon Shaded Oblique were designed and cut by George Battee of the Baltimore foundry. The solid version has lowercase in some sizes; it is somewhat similar to P. T. Barnum, with greatly exaggerated horizontal strokes and serifs at top and bottom, but is heavier and narrower. The Shaded versions are more properly outlines of the same design, with a small shadow effect at the top (which is unusual) and right of each letter, but without lowercase.
• Mac McGrew: Vernen is essentially a copy of Huxley Vertical (q.v.), but omitting the round characters AKMNWY and using the alternate pointed characters instead. In addition, the slight extensions of cross strokes to the left of stems have been omitted, and a few other characters have been redrawn. It was offered by Baltimore in 1953.
• Mc McGrew: Vista is a very wide square-serif face, cut by Baltimore Type in 1956. It is said to be a pantagraphic modification of Hellenic Wide from Bauer in Germany; actually it does not match that typeface in details, though it has the same general effect.
• Mac McGrew: Wide Line Gothic is a creation of Herman Schnoor for Baltimore Type, modified by pantagraph from Philadelphia Lining Gothic, increasing the width by about 50 percent. The flat sides of round letters. acceptable in the moderately condensed original, make awkward shapes in this extended version. Compare Franklin Gothic Wide, Tempo Black Extended.
• Among the wood types, we have Oak Leaf (1832, ornamental caps).

Rich Hopkins, a printing historian, acquired Baltotype ca. 1993. Based on drawings from the 1950s in the Baltotype material, Miranda Roth at P22 designed LTC Athena, a narrow art deco typeface, in 2013. [Google] [More]  ⦿

Bastien Muttoni

Lyon, France-based designer of several typefaces in 2015, such as a textured typeface, a copperplate typeface and a Bauhaus-inspired typeface. [Google] [More]  ⦿

Bauhaus

Local download of some Bauhaus books, as well as some issues of Bauhaus: Zeitschrift für Gestaltung published between 1926 and 1931, which were edited by Walter Gropius, Laszlo Moholy-Nagy, Ernst Kallai, Ludwig Hilberseimer, Josef Albers, and W. Kandinsky. PDFs via IADDB.org and Monoskop. [Google] [More]  ⦿

Bauhaus

Greg Flores (University of California at Santa Cruz) explains about the Bauhaus movement. He tells about Herbert Bayer's dislike for serifs (which he though useless) and about the introduction of the single case alphabets. [Google] [More]  ⦿

Bauhaus clones

Baha, Bahamas (Corel), Baron (BaronBlackDB Normal), Bimini, Bordeaux, Mumbo (Mumbo SSK), Dyname (SSI), Dessau (megafont.de), R790 Sans (Softmaker), BH (Itek), Geometric 752 (Bitstream). [Google] [More]  ⦿

Bauhaus: Flickr

Bauhaus set of pictures by Ralf Herrmann. [Google] [More]  ⦿

Bauhaus: Monoskop's page

Monoskop's page on musea, material, documents and references related to Bauhaus. They list these books:

• Walter Gropius (ed.), Internationale Architektur, Munich: Albert Langen, 1925, 111 pp.
• Paul Klee, Pädagogisches Skizzenbuch, Munich: Albert Langen, 1925, 50 pp.
• Sketchbook, intro. & trans. Sibyl Moholy-Nagy, New York: Frederick A. Praeger, 1953, 65 pp; 1960. (English)
• Adolf Meyer (ed.), Ein Versuchshaus des Bauhauses in Weimar, Munich: Albert Langen, 1924, 78 pp.
• Die Buuml;hne am Bauhaus, Munich: Albert Langen, 1925, 84 pp. The Theater of the Bauhaus, trans. Arthur S. Wensinger, Middletown, Conn.: Wesleyan University Press, 1961. (English)
• Piet Mondrian, Neue Gestaltung, Neoplastizimus, Nieuwe Beelding, Munich: Albert Langen, 1925, 66 pp.
• Theo van Doesburg, Grundbegriffe der neuen gestaltenden Kunst, Munich: Albert Langen, 1925, 40+[26] pp. (German) Principles of Neo-Plastic Art, intro. Hans M. Wingler, afterw. H.L.C. Jaffé, trans. Janet Seligman, London: Lund Humphries, 1968, x+73 pp; Greenwich, CT: New York Graphic Society, 1968, x+73 pp, PDF. (English)
• Walter Gropius (ed.), Neue Arbeiten der Bauhauswerkstäffen, Munich: Albert Langen, 1925, 115 pp.
• L. Moholy-Nagy, Malerei, Fotografie, Film, Munich: Albert Langen, 1925, 115 pp; 2nd ed., 1927, 140 pp. Incl. "Dynamik der Gross-Stadt", pp 116-129.
• Photography Film, trans. Janet Seligman, London: Lund Humphries, 1969. (English)
• Kandinsky, Punkt und Linie zu Fläche: Beitrag zur Analyse der malerischen Elemente, Munich: Albert Langen, 1926, 190 pp. Point and Line to Plane: Contribution to the Analysis of the Pictorial Elements, trans. Howard Dearstyne and Hilla Rebay, New York: Solomon R. Guggenheim Foundation, 1947, 200 pp. (English)
• J.J.P. Oud, Holländische Architektur, Munich: Albert Langen, 1929, 107 pp.
• Kasimir Malewitsch, Die gegenstandslose Welt, Munich: Albert Langen, 1927, 104 pp; new ed., exp., Mainz: Florian Kupferberg, 1980. Russian original written in 1923.
• Walter Gropius, Bauhausbauten Dessau, Munich: Albert Langen, 1930, 221 pp.
• Albert Gleizes, Kubismus, Munich: Albert Langen, 1928, 101 pp; repr. in Gleizes, Puissances du cubisme, 1969; repr., Mainz and Berlin: Florian Kupferberg, 1980. Written 1925-28.
• Epic: From Immobile Form to Mobile Form, trans. Peter Brooke, Association des Amis d'Albert Gleizes, 1995. (English)
• Laszlo Moholy-Nagy, Von Material zur Architektur, Munich: Albert Langen, 1929, 241 pp; facsimile repr., Mainz and Berlin: Florian Kupferberg, 1968, 251 pp.
• New Vision: From Material to Architecture, trans. Daphne M. Hoffman, New York: Breuer Warren and Putnam, 1930; exp.rev.ed. as The New Vision and Abstract of an Artist, New York: George Wittenborn, 1947, 92 pp. (English)

Local download of some Bauhaus books, as well as some issues of Bauhaus: Zeitschrift für Gestaltung published between 1926 and 1931, which were edited by Walter Gropius, Laszlo Moholy-Nagy, Ernst Kallai, Ludwig Hilberseimer, Josef Albers, and W. Kandinsky. PDFs via IADDB.org and Monoskop. [Google] [More]  ⦿

Bauhaus School
[Walter Gropius]

The Bauhaus school was founded in 1919 by Walter Gropius. It was based in Weimar (1919 to 1925), and then in Dessau (1925 to 1932), and finally in Berlin (1932 to 1933), before it was closed by the Nazi regime. Its directors were Walter Gropius (1919-1928), H. Meyer (1928-1930) and Mies Van der Rohe (1930-1933).

The Bauhaus movement, which cut almost everything to its bare minimum and naked essentials, influenced art, architecture, graphic design, interior design, industrial design, and typography. Its typographical masters included Josef Albers (who made Kombinationsschrift in the 1920s), Herbert Bayer (famous for his Universal), Joost Schmidt and Kurt Schwitters. Bauhaus-style typefaces emerged everywhere---Futura (Paul Renner), Super Grotesk (Arno Drescher), and the types of Moholy-Nagy.

Among the digital representatives, we note ITC Bauhaus (1975, Ed Benguiat and Victor Caruso), BH Geometric 572 (Bitstream), P22 Bayer, R790 (Softmaker), and Dessau (by Gábor Kóthay).

Penela's pages on Bauhaus. Jürgen Siebert on Bauhaus.

Brief bio of Walter Gropius, the founder: Born to a family of architects, he himself studied architecture in Munich from 1903-1904 and in Berlin from 1905-1907, and worked for Peter Behrens until 1910. In 1919, he founded the Bauhaus School. In Programm des Staatlichen Bauhauses Weimar (1919), he describes a utopian craft guild combining architecture, sculpture, and painting into a single creative expression [Gesamtkunstwerk].

Wikipedia page. Bauhaus Museum Dessau. Bauhaus Museum Weimar. [Google] [More]  ⦿

Bauhaus Style Fonts Exhibition

Mike Yanega showcases several Bauhaus-style fonts. [Google] [More]  ⦿

Bauhaus type: FontShop

FontShop's page on Bauhaus. [Google] [More]  ⦿

Bauhaus type: Stephen Coles
[Stephen Coles]

Stephen Coles discusses Bauhaus type in 2011. He says the real Bauhaus look typefaces are FF Bau, Venus, Vonness (large family based on Venus), Monotype Grotesque, Basic Commercial, Gothic 726, and ARS Region (Angus R. Shamal). Geometric, contructivist typefaces based on the design ideas of the Bauhaus, according to Coles: Albers, Bayer Universal, Joost, Erbar, Futura, Dessau, Neuzeit, Nobel, Super Grotesk, Avenir, Superla, Twentieth Century. [Google] [More]  ⦿

Bauhaus93

URW++ designed Bauhaus 93, which was modeled after Herbert Bayer's universal alphabet. [Google] [More]  ⦿

BeJota
[Bruno Jara Ahumada]

Santiago, Chile-born type designer who graduated from Universidad de Santiago de Chile in 2015 and 2016. After work at the Museo de Arte Contemporaneo and Museo Nacional de Bellas Artes, he joined the Latinotype foundry in Santiago. He moved to Konstanz, Germany and set up his own type foundry, BeJota in 2021.

In 2016, Bruno Jara Ahumada, Alfonso Garcia, Luciano Vergara, Daniel Hernandez and the Latinotype Team designed the roman square capital headline typeface family Assemblage.

With Luciano Vergara, he designed the angular Jurassic park style typeface Los Lana Niu (2016).

In 2018, inspired by Herb Lubalin's ITC Serif Gothic, Jorge Cisterna and Bruno Jara co-designed the layerable font family Lumiere at Latinotype.

Typefaces from 2019: Galeria (Latinotype: a monoline slab serif typeface inspired by modern art gallery buildings, museums and cultural centers where organic forms and straight lines predominate).

In 2019, Jorge Cisterna and Bruno Jara developed the vintage layerable typeface Blackberry (Los Andes). Blackberry is inspired by vintage packaging and old fashion ads. It has woodtype characteristics such as angular serifs, and light and diagonal curves.

Typefaces from 2020: Diablito One (a two-font and four dingbat-font package by Rodrigo Araya Salas and Bruno Jara Ahumada), Galpon Pro (a great vernacular signage and/or comic book typeface for Latin, Greek and Cyrillic; with Rodrigo Araya Salas), Skippie (a comic book family by Andrey Kudryavtsev, Rodrigo Araya Salas, Bruno Jara Ahumada and Franco Jonas, and four sets of dingbats including Skippie Monster Lucha Libre and Skippie Monster Halloween).

Typefaces from 2021: Rhein (an 18-strong rounded monoline sans family with a gorgeous inline style), Loyola Next (a 14-style sans by Rodrigo Araya Salas and Bruno Jara Ahumada), Showcase Sans (as part of a custom job for Vino Licensioso; this project includes sexy icons), Konstanz (an 8-style Bauhaus-inspired sans family), Picaflor (a titling or children's book typeface by Rodrigo Araya Salas and Bruno Jara Ahumada), Picaflor Soft (a fine national park or children's book family of organic sans fonts by Rodrigo Araya Salas and Bruno Jara Ahumada).

Typefaces from 2022: Garvo and Garvo Poster (6 styles each; based on old Hollywood movie posters, vintage film credit designs; Garvo pays homage to Herb Lubalin's Serif Gothic font and is named after Greta Garbo). Linkedin link. [Google] [MyFonts] [More]  ⦿

Ben Weiner
[Reading Type]

[More]  ⦿

BenBenWorld (or: BB Bureau)
[Benoît Bodhuin]

Benoît Bodhuin (aka Ben Ben) lived in Tournai, Belgium, and after a brief spell in "chti" country, i.e., in Villeneuve d'Ascq, France, he relocated to Nantes in France. He studied mathematics and graphic design. Freelance graphic designer since 2004. In 2011, he set up Benben World at MyFonts.

Designer of the pixel fonts Logotix (2004), Latham and 5x7 Negatie Moyenne. In 2010, he made the paperclip typeface Pipo (first published in 2011 by Die Gestalten, and in 2017 by bb-bureau). He created the commercial angular sans typeface S-L (2006) which was originally made for the University of Arts Saint-Luc in Tournai. It was published by Volcano.

Commercial typefaces include S-L Bold (2012, a hexagonal typeface based on his design at St. Luc in 2006), Zigzag (2012, Volcano Type; a font originally made for the Vivat theater), and Marianne (2012, BenBenWorld: an inline and modular typeface family).

In 2013, he published the stencil / fractured typeface Mineral.

In 2014, he designed the experimental triangle-based Bauhaus-inspired Side A typeface.

In 2016, Bodhuin designed the expressive Italian typeface family BB Book A and bb-book Contrasted. He added the wedge serif BB Book B, BB Book Mono and BB Book Text to that series in 2018.

Typefaces from 2017: Brutal, Elastik.

Typefaces from 2019: Grotesk Remix (extended to Grotesk Remix Monospace and Grotesk Remix Variable in 2020), Tme (experimental: an update of Sl drawn in 2006 for the University of Arts Saint-Luc de Tournai), Standard-bb, Pickle Standard (extravagant and thought-provoking).

Typefaces from 2020: Gikit (in Text and Title version, for a perfect gridnik feel), Ballpill (designed for printing at very small sizes).

Typefaces from 2021: Bilibot (an experiment with overlapping strokes), Pimpit (rounded, condensed and with reverse stress), Volcano Type link. View Bodhuin's commercial typefaces. [Google] [MyFonts] [More]  ⦿

Benoît Bodhuin
[BenBenWorld (or: BB Bureau)]

[MyFonts] [More]  ⦿

Bitburger

Designer who used FontStruct in 2009 to make Ubaus, a pixel/square face. Maybe Ubaus refers to Über Bauhaus? [Google] [More]  ⦿

Breauhare Fonts
[Harry Warren]

Foundry created in 2006 by Virginia Beach, VA-based Harry Warren (b. 1961, Cape Charles). Digitization of the typefaces was initially done by Bob Alonso (of BA Graphics).

MyFonts sells Cooper Goodtime (2007, inspired by the lettering used on the CBS-TV variety series The Glen Campbell Goodtime Hour (1969-1972)), Happy Trails (2007, based on the lettering (all upper case) that was used on most Trailways buses from 1936 through the very early 1960s), Jesus Saves (2008), Jesus Heals (2010), Neon Bugler (2008, a neon-light or paperclip font; digital help by John Bomparte; +Neon Bugler Squared), Future Bugler (2008), Future Bugler Upright (2010), Future Bugler Soft (2015, digitized by John Bomparte), Handmade Bugler (2009, digitized by John Bomparte), Southern Nights (2009, disconnected script), Scan (2010, a barcode-themed font), My Left Hand (2011), Minnesota Plaid (2011, a gaspipe family digitized by John Bomparte), Bauhaus Bugler (2013, digitized by John Bomparte: monoline Bauhaus style sans; compare with Qero Nite), Bauhaus Bugler Soft (2015), Fast Food (2014), Daddys Hand (based on Harry Warren's father's hand; digitized by John Bomparte), Chili Beans (2021: a Bauhaus-inspired wide grotesque with oval shoulders), and Dime Store (2007).

Klingspor link.

Showcase of Harry Warren's typefaces at MyFonts. [Google] [MyFonts] [More]  ⦿

Brian LaRossa

Raised in Atlanta, Brian earned his Bachelor's and Master's degrees from MICA in Baltimore, MD. He currently lives in Brooklyn, NY. He is an alumnus of Milton Glaser's Summer Program and a founding member of The Children's Publishing Design Forum. A designer, artist and illustrator recognized by many awards, Brian designed these art-historical typefaces in 2014:

• Dada Tank: A condensed, rounded display typeface with a curious combination of thick and thin strokes designed. The alphabet was extrapolated from the title lettering on Dragan Aleksic's International Dada review (1922).
• Irradiador: The heavy rectangle almost constructivist alphabets were extrapolated from the title lettering of Fermín Revueltas's 1923 journal which was a major early voice for the Mexican avant-garde movement called Estridentismo. It features two full alphabets of uppercase characters and common accents with eighteen ligatures between them.
• Say So: Created in response to Robert Rauschenberg's This is a portrait of Iris Clert if I say so. It features full sets of uppercase and lowercase characters, numbers, punctuation, and symbols. All of the characters are a portrait of Iris Clert.

In 2018, Brian LaRossa and Erica Carras co-designed the Bauhaus typeface Staatliches. The alphabet revives and extends Herbert Bayer's title lettering on the cover of the first Bauhaus exhibition catalogue from 1923. It features full sets of capitals, numbers, punctuation, and symbols, in addition to alternate widths, discretionary ligatures, and common Latin accents. Staatliches is free at Google Fonts. [Google] [More]  ⦿

Bruno Jara Ahumada
[BeJota]

[MyFonts] [More]  ⦿

Burg & Oeden
[Laszlo Mihaly Naske]

Laszlo Mihaly Naske (Burg & Oeden, Budapest, Hungary) designed the Bauhaus-inspired geometric sans typeface Moholy Sans (2015), which was inspired by Paul Renner. Behance link. [Google] [More]  ⦿

burodestruct (or: Typedifferent.com)
[Lorenz Lopetz Gianfreda]

Lorenz Lopetz Gianfreda's foundry in Bern, Switzerland, est. 1994, called Burodestruct and Typedifferent.com.

Free fonts include(d) the gorgeous GalaQuadra (by Angela Pestalozzi, 1999), Eject Katakana (1998), Dippex (1995, grunge font), Ticket (1995), Rocket 70 (1996), Ratterbit (1995, pixel font), Plakatbau (1995), Lodel Fizler (1996), Flossy (1995), Faxer (1995), Console Remix (1998), Cravt (1998, by "Katrin"), Stereotype (1998, by M. Brunner), Brockelmann (1995, free), Kristallo (1997, very original display face) and Billiet (1996).

Other fonts: Acidboyz (1998), Alustar (1999), BD Asciimax (1999, ascii art font), BD Billding, Bdr_mono (1999), Brick (1996, like Kalendar), Cluster (1996), Console (1997), Doomed (1998), Eject (1998), Electrobazar (1995), Elside (1995), Globus (1996), Fazer (1996), Lofi (1997), Medled (1995), Paccer (1995), Solaris (1998), Spicyfruits_brush_rmx (1998, a nice high-contrast face), Spicyfruits_rmx, Wurst (free, by Heiwid, 2000), Relaunch (2000), Relaunch Katakana (2000, free), Rainbow (2000), DeLaFrance (2000, free, by Heiwid), Electronic Plastic (2000), Colonius (2001), Cash (2001), Cashbox (2001), Bilding (2001), Meter (2001), Mustang (2001), Bankwell (2001), BD Alm (2001), Balduin (2001), Tatami (2001, oriental look font), Hexades (2001, free), Nippori (2002, techno), Jura (2002), Bonbon (2002, free), Band (2002, free), Navyseals (2002, kitchen tile font), Ritmic (2002), BDR Mono (1999, OCR-like font), Mann (2003, ultra fat stencil), Aroma (2003), Zenith (2003), Nebraska (2003), BD Equipment (2004), BD El Autobus (2004), BD Unexpected (2004), BD Wakarimasu (2004, free kana face), BD Bernebeats (2004, futuristic), BD Deckard (2004), BD Spinner (2004), BD Victoria (2004), BD Designer (2004), BD Kalinka (2005, a curly ultra-fat display face), BD Equipment (2004), BD El Autobus (2004), BD Unexpected (2004), BD Varicolor (2005, stencil), BD Chantilly (2005), BD Memory (2005), BD Emerald (2005, beveled), BD Kalinka (2005, Cyrillic simulation), BD Extrwurst (2005), BD Aquatico (2005), BD Mandarin (2005), BD Polo (2005), BD Beans (2005), BD Tiny (2005, pixel face), BD Times New Digital (2006), BD Panzer (2006), BD Jupiter, BD Jupiter Stencil (2006), BD Pipe (2006), BDR Mono 2006 (2006), BD Fimo Outline (2007, free, by Nathalie Birkle), BD Bermuda (2007, experimental and geometric), BD Smoker (2007, psychedelic), BD Radiogram (2007), BD Mother (2007, exaggerated black Egyptian), BD Fimo Regular (2007, free), BD Demon (2007), BD Reithalle (2007, free), BD Halfpipe (2007, free), BD Broadband (2008, free; not to be confused with the much older fonts BroadbandICG or FLOP Design's Broadband), BD Viewmaster and BD Viewmaster Neon (2008), BD Electrobazaar (2008), BD Motra (2008, stencil), BD Virtual (2008), BD Spacy 125 (2008), BD AsciiMax, BD ElAutobus (2004), BD Equipment (2004), BD Ramen (2003), BD Retrocentric (2009), BDR A3MIK (2009, virile Latin and Cyrillic slab), BD HitBit (2009), BD Unicorse (2010, unicase and techno), BD Telegraph (2011), BD Schablone (2012, stencil face), BD Pankow (2013, stencil), BD Algebra (2014), BD Hiragana Kuro (2014), BD Qualle (2014, a fat poster typeface), BD Tribler (2015, a tribal font).

Alphabetical listing of their pre-2015 free typefaces: Algebra, Alm, Apotheke, AsciiMax, Baldrian, Band, Bankwell, Bardust, Beans, Billding, Billiet, Bonbon, Brockelmann, Burner, Cash, Cashbox, Chantilly, Circo, Console, Console Remix, Cravt, Delafrance, Designer, Destination, Dippex, Eject Katakana, ElAutobus, Elmax, Elside, Equipment, Faxer, Fazer, Fimo, Flossy, Fluke, Galaquadra, Geminis, Halfpipe, Hexades, Hiragana Kuro, Jayn Fonta, Kristallo, Lodelfizler, Lofi, Medled, Meter, Mustang, Outline, Paccer, Pipe, Plakatbau, Plankton, Polo, Ragout, Ramen, Ratterbit, Reithalle, Relaunch, Relaunch Ktna, Rocket70, Sirca, Sirca Rmx, Solaris, Spacy125, Spicyfruits, Spinner, Stella, Stencler, Stereotype, Ticket, Times New Digital, TinyFont, Tribler, Unfold, Wakarimasu.

Alphabetical listing of their pre-2015 commercial typefaces: A3mik, Acidboyz, Alustar, Aquatico, Aroma, Balduin, BDR Mono 2006, Bermuda, Bernebeats, Breakbeat, Brick, Broadband, Calamares, Central, Cluster (Corporate), Colonius, Deckard, Demon, Discount, Doomed, Edding850, Eject, Electrobazar 2008, Electronicplastic, Elk, Emerald, Endless, Extrawurst, Fontabello, Globus, Good Wood, Hell, Hitbit, Jupiter, Jura, Kalinka, Kameron, Kinski, Las Palmas, Mandarin, Mann, Memory, Mother, Motra, Naranino (2012: a children;s script), Navyseals, Nebraska, Nippori, Nokio, Orlando, Pankow, Panzer, Qualle, Radiogram, Rainbow, Retrocentric, Ritmic, Robotron, Schablone, Showlong, Smoker, St.Moritz, Stalker, Stonehenge, Sweethome, Tatami, Telegraph, Unexpected, Unicorse, Varicolor, Victoria, Viewmaster, Virtual, Wotka, Wurst, Wurst Directors Cut, Zenith.

In 2015, Gianfreda designed BD Barbeaux (a condensed typeface with the fashionable chic of the French art nouveau or film noir).

Typefaces from 2016: BD Kickrom Mono (LED emulation type).

Typefaces from 2018: BD Westwork.

Typefaces from 2020: BD Aubergin (an experimental poster font with Bauhaus elements), BD Microna (a pixelish variable font), BD Micron Robots (dingbats).

Typefaces from 2021: BD Supper (a food packaging sans), BD Roylac (a stylish poster font that evokes modern furniture), BDRmono 2021 (hipster style techno).

Alternate URL. Dafont link. Behance link.

View the Typedifferent typeface library. [Google] [MyFonts] [More]  ⦿

Callum Rowney

Margate and/or Westgate-on-Sea, UK-based designer of Bauen (2015), which is influenced by Bauhaus, the avant garde and Akzidenz Grotesk. Later in 2015, he designed the octagonal typeface Azimuth and the pixelish typeface Alpha Display.

His Atom Display (2016) is influenced by Wim Crouwel's Stedelijk. [Google] [More]  ⦿

Cameron Mac Wylie

During his studies at Boston University, Cameron Mac Wylie designed the Bauhaus-style poiano key typeface Broadway Black (2019). [Google] [More]  ⦿

CanDy Tran

Ho Chi Minh City, Vietnam-based designer of the curly Latin typeface Bahatha (2017), which takes inspiration from both Thai and Bauhaus. [Google] [More]  ⦿

Carl Marx

Marx enrolled as a student at Bauhaus Dessau after completing an apprenticeship as a decoration painter. He took courses with Joost Schmidt, Josef Albers, Wassily Kandinsky, and Ludwig Mies van der Rohe, and continued his studies at the Bauhaus when the school moved to Berlin. He was part of a group that tried to revive the Bauhaus in Dessau after World War II.

On of his organic rounded sans typefaces is revived by Hidetaka Yamasaki as Carl Marx (2018) as part of the Adobe Originals collection. [Google] [More]  ⦿

Carlos Asencio

Palma de Mallorca, Spain-based designer of the text typeface Thoreau (2015) and the piano key Bauhaus stencil typeface Gehape (2015). In 2016, he designed the sans typeface Palo. Behance link. Home page. [Google] [More]  ⦿

Carole Charette

Keith Tam writes this: "A fellow of the Society of Graphic Designers of Canada and partner/founder of the design firm Trio, Carole Charette recently exhibited her MA thesis project titled Sixx Styles at the Emily Carr Institute of Art&Design in Vancouver. The exhibit consisted of 12 posters created as reinterpretations of six chosen typographic styles in the twentieth century including Constructivism, De Stijl, Bauhaus, New Typography, International Style and New Functionalism. She gave a fascinating lecture at the institute last Monday titled Zeitgeist and Typography, which was a culmination of her academic research on the cultural study of typographic styles in the twentieth century at Université Laval, Québec City. The lecture included two very engaging multimedia presentations." [Google] [More]  ⦿

Céline Hurka

Céline Hurka (b. 1995) grew up in Karlsruhe, Germany, and moved to the Netherlands to study graphic design at the Royal Academy of Art (KABK) in The Hague. Besides her studies she works on freelance projects in the cultural field, where she combines an interest in editorial design with emphasis on type design and photography. She is based in 's Gravenhage.

Graduate of the TypeMedia program at the Royal Academy of Art (KABK) in Den Haag, The Netherlands, class of 2020. During her studies at the KABK in Den Haag, Céline Hurka designed the poster sans typeface Alfarn (2018) as part of the Adobe Originals collection. This typeface is based on poster lettering in 1923 by Bauhaus student Alfred Arndt (1898-1976). Her KABK graduation typeface was the intestinal / stone age / graffiti family Version.

In 2019, Nora Bekes and Celine Hurka published Reviving Type. The book as described by them: One study tells the story of the Renaissance letters of Garamont and Granjon. The other is about the Baroque types of Nicholas Kis. Reviving Type guides the reader from finding original sources in archives, through historical investigation and the design process, to a finished typeface. The first, theoretically grounded part of the book provides insight into historical changes in type design through visual examples of printed matter. The second part offers a thorough explanation of the production process of the revival typefaces. Here, two different approaches are placed side by side, creating a dialogue about different working methods in type design. Technical details, design decisions, and difficulties arising during the design process are thoroughly discussed. Rich imagery of original archival material and technical illustrations visually buttress the texts. Taken as a whole, the publication becomes a cookbook for anyone wanting to dive into revival type design.

Speaker at ATypI 2019 in Tokyo. [Google] [MyFonts] [More]  ⦿

Central Type (was: Lamesville)
[Mark Butchko]

Mark Butchko (Chicago, IL) is Central Type (and before that, Lamesville). He created a layering typefamily that includes possibilities for inline and bevel designs called Idler (2011), which was extended to Idler Pro in 2017. In 2016, he set up Central Type, and designed a 5-style plump rounded sans typeface family called Rodger, which was published by Type Department in 2020.

Typefaces from 2017 other than Idler Pro: Halsted (a layered blackboard bold typeface family inspired by art deco and the 1970s), Cadet (a Bauhaus-inspired sans typeface family).

Typefaces from 2018: Dirk (Clarendon slab serif).

Klingspor link. Behance link. You Work For Them link. Personal home page. Type Department link. [Google] [MyFonts] [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]  ⦿

Charlotte Beaufils
[Ettolrak]

[More]  ⦿

Chatnarong Jingsuphatada
[Typesketchbook]

[MyFonts] [More]  ⦿

Chris E. Lozos
[Dezcom Typefaces]

[MyFonts] [More]  ⦿

Chris Lord

Richmond, UK-based designer of the Kandinsky Bauhaus alphabet in 2014. [Google] [More]  ⦿

Christian Schwartz

Christian Schwartz was born in 1977 in East Washington, NH, and grew up in a small town in New Hampshire. He attended Carnegie Mellon University in Pittsburgh, Pennsylvania, where he graduated in 1999 with a degree in Communication Design. After graduation, he spent three months as the in-house type designer at MetaDesign Berlin, under the supervision of Erik Spiekermann. In January 2000, he joined Font Bureau. Near the end of 2000, he founded Orange Italic with Chicago-based designer Dino Sanchez, and left Font Bureau in August 2001 to concentrate full-time on developing this company. Orange Italic published the first issue of their online magazine at the end of 2001 and released their first set of typefaces in the beginning of 2002. Presently, he is an independent type designer in New York City, and has operated foundries like Christian Schwartz Design and Commercial Type (the latter since 2009). He has designed commercial fonts for Emigre, FontShop, House Industries and Font Bureau as well as proprietary designs for corporations and publications. In 2005, Orange Italic joined the type coop Village.

His presentations. At ATypI 2004 in Prague, he spoke about "The accidental text face". At ATypI 2006 in Lisbon, he and Paul Barnes explained the development of a 200-style font family for the Guardian which includes Guardian Egyptian and Guardian Sans. FontShop's page on his work. Bio at Emigre. At ATypI 2007 in Brighton, he was awarded the Prix Charles Peignot. Jan Middendorp's interview in October 2007. Speaker at ATypI 2009 in Mexico City, where he announced his new type foundry, simply called Commercial.

FontShop link. Font selection at MyFonts.

A partial list of his creations:

• FF Bau (2001-2004): Art direction by Erik Spiekermann. Released by FontShop International. He says: Bau is based on Grotesk, a typeface released by the Schelter&Giesecke type foundry in Leipzig, Germany at the end of the 19th century and used prominently by the designers at the Bauhaus. Each weight was drawn separately, to give the family the irregularity of the original, and the Super is new.
• Neutraface (2002, House Industries) and Neutraface Condensed (2004). Art directed by Ken Barber and Andy Cruz. MyFonts offers Neutraface Slab Text, Neutraface Slab Display, Neutraface Display and Neutraface Text. Schwartz states: Neutraface was an ambitious project to design the most typographically complete geometric sans serif family ever. We didn't have many actual samples of the lettering that the Neutras used on their buildings, so it ended up taking a lot of interpretation. There was no reference for the lowercase, so it's drawn from scratch, looking at Futura, Nobel, and Tempo for reference. Stephen Coles reports: Reminiscent of the recent FB Relay and HTF Gotham, Neutraface is an exaggerated Nobel with nods to Bauhaus and architectural lettering. Yes, and maybe Futura? Maggie Winters, Ioana Dumitrescu, Nico Köckritz, Nico Kockritz and Michelle Regna made great Neutraface posters.
• Neutraface No. 2 (2007), discussed by Stephen Coles: By simply raising Neutrafaces low waist, most of that quaintness is removed in No. 2, moving the whole family (which is completely mixable) toward more versatile, workhorse territory. This release is surely Houses response to seeing so many examples of Neutraface standardized by its users. Also new is an inline version. Who doesn't love inline type? It so vividly recalls WPA posters and other pre-war hand lettering. There are other heavy, inlined sans serifs like Phosphate, but one with a full family of weights and text cuts to back it up is very appealing. A typophile states: Designed by Christian Schwartz for House Industries, Neutraface captures the 1950s stylings of architect Richard Neutra in a beautiful typeface meant for application on the screen, in print, and in metalwork. If you are ever in need of a classy retro face, they don't get any more polished than this.
• At House Industries, Christian Schwartz, Mitja Miklavcic and Ben Kiel co-developed Yorklyn Stencil.
• Farnham (2004, Font Bureau) and Farnham Headline (2006, Schwartzco). Commissioned by Esterson Associates and de Luxe Associates. Winner of an award at TDC2 2004. Based on work by Johannes Fleischman, a German punchcutter who worked for the Enschedé Foundry in Haarlem in the mid-to-late 1700s. Schwartz: Truly part of the transistion from oldstyle (i.e. Garamond) to modern (i.e. Bodoni) Fleischman's romans are remarkable for their energy and "sparkle" on the page, as he took advantage of better tools and harder steel to push the limits of how thin strokes could get. In the 1800s, Fleischman's work fell into obscurity as tastes changed, but interest was renewed in the 1990s as digital revivals were designed by Matthew Carter, the Hoefler Type Foundry, and the Dutch Type Library, each focusing on a different aspect of the source material. I think the DTL version is the most faithful to the source, leaving the bumps and quirks inherent to metal type untouched. I've taken the opposite approach, using the source material as a starting point and trying to design a very contemporary text typeface that uses the basic structure and character of Fleischman without duplicating features that I found outdated, distracting, or unttatractive (i.e., the extra "spikes" on the capital E and F, or the form of the y).
• FF Unit (2003-2004, Fontshop, designed with Erik Spiekermann). A clean and blocky evolution of FF Meta intended as a corporate typeface for the Deutsche Bahn (but subsequently not used).
• Amplitude (2001-2003, Font Bureau), Amplitude Classified and Amplitude Headline. A newspaper-style ink-trapped sans family, unfortunately given the same name as a 2001 font by Aenigma. Winner of an award at TDC2 2004. The typeface selected by the St Louis Post Dispatch in 2005. One of many agates (type for small text) successfully developed by him. This page explains that they've dumped Dutch 811 and Bodoni and Helvetica and Franklin Gothic and News Gothic (whew!) for various weights of Amplitude, Poynter Old Style Display and Poynter Old Style Text. AmplitudeAubi was designed in 2002-2003 by Schwartz and Font Bureau for the German mag AutoBild.
• Simian (2001, House Industries): SimianDisplay-Chimpanzee, SimianDisplay-Gorilla, SimianDisplay-Orangutan, SimianText-Chimpanzee, SimianText-Gorilla, SimianText-Orangutan. Designed at Font Bureau. Art Direction by Ken Barber and Andy Cruz. Schwartz: "Although Simian's roots are in Ed Benguiat's logos for the Planet of the Apes movies, Simian wound up veering off in its own direction. The display styles look very techno, and we really went nuts with the ligatures, since this was one of House's first Opentype releases."
• Publico (2007): A predecessor of Guradian Egyptian. Schwartz writes: During the two year process of designing the typeface that would eventually become Guardian Egyptian, Paul Barnes and I ended up discarding many ideas along the way. Some of them were decent, just not right for the Guardian, including a serif family first called Stockholm, then renamed Hacienda after the legendary club in the Guardian's original home city of Manchester. Everyone involved liked the family well enough, but it didn't fit the paper as the design evolved, and several rounds of reworking left us more and more unsure of what it was supposed to look like. In the summer of 2006, Mark Porter and Esterson Associates were hired to redesign Publico, a major Portuguese daily newspaper, for an early 2007 launch. He asked us to take another look at Hacienda, to see if we might be able to untangle our many rounds of changes, figure out what it was supposed to look like in the first place, and finish it in a very short amount of time. Spending some time away from the typeface did our eyes a world of good. When we looked at it again, it was obvious that it really needed its "sparkle" played up, so we increased the sharpness of the serifs, to play against softer ball terminals, and kept the contrast high as the weight increased, ending up with an elegant and serious family with some humor at its extreme weights. As a Spanish name is not suitable for a typeface for a Portuguese newspaper, Hacienda was renamed once more, finally ending up as Publico. Production and design assistance by Kai Bernau. Commissioned by Mark Porter and Esterson Associates for Publico
• Austin (2003): Designed by Paul Barnes at Schwartzco. Commissioned by Sheila Jack at Harper's&Queen.
• Giorgio (2007): Commissioned by Chris Martinez at T, the New York Times Sunday style magazine. Small size versions produced with Kris Sowersby. Not available for relicensing. A high contrast condensed "modern" display typeface related to Imre Reiner's Corvinus. Ben Kiel raves: Giorgio, like the fashion models that it shares space with in T, the New York Times fashion magazine, is brutal in its demands. It is a shockingly beautiful typeface, one so arresting that I stopped turning the page when I first saw it a Sunday morning about a year ago. [...] Giorgio exudes pure sex and competes with the photographs beside it. The designers at T were clearly unafraid of what it demands from the typographer and, over the past year, kept on finding ways to push Giorgio to its limit. Extremely well drawn in its details, full of tension between contrast and grace, it is a typeface that demands to be given space, to be used with wit and courage, and for the typographer to be unafraid in making it the page.
• Empire State Building (2007): An art deco titling typeface designed with Paul Barnes for Laura Varacchi at Two Twelve Associates. Icons designed by Kevin Dresser at Dresser Johnson. Exclusive to the Empire State Building.
• Guardian (2004-2005): Commissioned by Mark Porter at The Guardian. Designed with Paul Barnes. Not available for relicensing until 2008. Based on an Egyptian, this 200-style family consists of Guardian Egyptian (the main text face), Guardian Sans, Guardian Text Egyptian, Guardian Text Sans and Guardian Agate.
• Houston (2003): Commissioned by Roger Black at Danilo Black, Inc., for the Houston Chronicle. Schwartz: As far as I know, this typeface is the first Venetian Oldstyle ever drawn for newspaper text, and only Roger Black could come up with such a brilliant and bizarre idea. The basic structures are based on British Monotype's Italian Old Style, which was based on William Morris's Golden Type. The italic (particularly the alternate italic used in feature sections) also borrows from Nebiolo Jenson Oldstyle, and there is a hint of ATF Jenson Oldstyle in places as well.
• Popular (2004): Commissioned by Robb Rice at Danilo Black, Inc., for Popular Mechanics. An Egyptian on testosterone.
• Stag (2005): Commissioned by David Curcurito and Darhil Crooks at Esquire. Yet another very masculine slab serif family. Schwartz writes I showed them a range of slab serifs produced by French and German foundries around 1900-1940, and synthesized elements from several of them (notably Beton, Peignot's Egyptienne Noir, Georg Trump's Schadow, and Scarab) into a new typeface with a very large x-height, extremely short ascenders and descenders, and tight spacing. Also, we find Stag Sans (2007, Village) and Stag Dot (2008, Village).
• Plinc Hanover (2009, House Industries). A digitization of a blackletter font by Photo Lettering Inc.
• Fritz (1997, Font Bureau). Schwartz: "Fritz is based on various pieces of handlettering done in the early 20th century by Ozwald Cooper, a type designer and lettering artist best known for the ubiquitous Cooper Black. Galapagos Type foundry's Maiandra and Robusto are based on the same pieces of lettering."
• Latino-Rumba, Latino-Samba (2000, House Industries). Art Direction by Andy Cruz. Designed with Ken Barber. Jazzy letters based on an earlier design of Schwartz, called Atlas (1993).
• Pennsylvania (2000, FontBureau). A monospaed family inspired by Pennsylvanian license plates. Schwartz: "Thai type designer Anuthin Wongsunkakon's Keystone State (1999, T26) is based on the exact same source."
• Plinc Swiss Interlock (by Christian Schwartz and Adam Cruz for House Industries). Based on originals by PhotoLetteringInc.
• Luxury (2002, Orange Italic, co-designed with Dino Sanchez). Gold, Platinum and Diamond are the names of the 1930s headline typefaces made (jokingly) for use with luxury items. The six-weight Luxury family at House Industries in 2006, contains three serif text weights called Luxury Text, as well as three display typefaces, called Platinum (art deco), Gold, and Diamond (all caps with triangular serifs).
• Los Feliz (2002, Emigre). Based on handlettered signs found in LA.
• Unfinished typefaces: Masthead, Reform, Bitmaps, Bilbao, Boyband, Addison, Elektro, Sandbox, Vendôme, Bailey.
• Fonts drawn in high school: Flywheel (1992, FontHaus), Atlas (1993, FontHaus, a "a fairly faithful revival of Potomac Latin, designed in the late 1950s for PhotoLettering, Inc"), Elroy (1993, FontHaus), ElroyExtrasOrnaments, Hairspray (1993, "a revival of Steinweiss Scrawl, designed in the mid-1950s by Alex Steinweiss, best known for his handlettered record covers": HairsprayBlonde, HairsprayBrunette, HairsprayPix, HairsprayRedhead), Twist (1994, Precision Type and Agfa), Zombie (1995, Precision Type and Agfa), Morticia (1995, Agfa/Monotype), Gladys (1996, an unreleased revival of ATF's turn-of-the-century Master Script).
• Ant&Bee&Art Fonts (1994-1995): three dingbat fonts, Baby Boom, C'est la vie, and Raining Cats&Dogs, based on drawings by Christian's aunt, Jill Weber. Released by FontHaus.
• Digitizations done between 1993-1995: Dolmen (Letraset), Latino Elongated (Letraset), Regatta Condensed (Letraset), Fashion Compressed (Letraset), Jack Regular (Jack Tom), Tempto Openface (Tintin Timen).
• Hand-tuned bitmap fonts: Syssy, Zimmer's Egyptian, Elizzzabeth, Newt Gothic, Trags X, Tibia, Fibula, Tino, Digest Cyrillic (based on Tal Leming's Digest). Free downloads of the pixel typefaces Newt Gothic, Tibula and Fibia here.
• At Village and Orange Italic, one can get Local Gothic (2005), now in OpenType, a crazy mix of Helvetica Bold, Futura Extra Bold, Franklin Gothic Condensed and Alternate Gothic No. 2. It is a collection of alternates one can cycle through---thus a for of randomization.
• FF Oxide (2005), a Bank Gothic style stencil family. FF Oxide Light is free!
• Graphik (2008), a sans between geometric and grotesk made for thew Wallpaper mag. Kris sSwersby writes: In a sweltering typographic climate that favours organic look-at-me typefaces bursting with a thousand OpenType tricks, Graphik is a refreshing splash of cool rationality. Its serious, pared-back forms reference classic sans serifs but remain thoroughly modern and never get frigid. Any designer worth their salt needs to turn away from the screen&pick up the latest copy of Wallpaper magazine. There you will find one of the most beautiful, restrained sans serifs designed in a very long time. See also Graphik Wide (2018).
• In 2011, he created a 22-style revival of Helvetica called Neue Haas Grotesk (Linotype), which offers alternates such as a straigt-legged R and a differently-seriffed a. It is based on the original drawings of Miedinger in 1957.

• Houston (2003). Winner of an award at TDC2 2004, a type family done with Roger Black for the Houston Chronicle. Schwartz: This typeface is the first Venetian Oldstyle ever drawn for newspaper text, and only Roger Black could come up with such a brilliant and bizarre idea. The basic structures are based on British Monotype's Italian Old Style, which was based on William Morris's Golden Type.).
• Popular (2004). A thick-slabbed typeface drawn for Popular Mechanics, commissioned by Robb Rice at Danilo Black, Inc.
• FF Meta 3 (2003, hairline versions of type drawn by Richard Lipton and Erik Spiekermann).
• Eero (2003). Based on an unnamed typeface drawn by Eero Saarinen for the Dulles International Airport. Art Directed by Ken Barber and Andy Cruz. Commissioned by House Industries for the Dulles International Airport.
• ITC Officina Display (2003). The Regular, Bold and Black weights of this typeface were originally developed by Ole Schäfer for Erik Spiekermann's redesign of The Economist in 2000 or 2001. The ITC conglomerate decided to release it in 2003. I revised parts of Ole's fonts, and worked with Richard Lipton to adapt the Light from a version of Officina Light that Cyrus Highsmith had drawn several years earlier for a custom client. I also added more arrows and bullets than anyone could possibly need, but they were fun to draw. Released by Agfa.
• Symantec (2003). Designed with Conor Mangat based on News Gothic by Morris Fuller Benton (Sans) and Boehringer Serif by Ole Schäfer, based on Concorde Nova by Günter Gerhard Lange (Serif). Advised by Erik Spiekermann. Commissioned by MetaDesign for Symantec Corporation.
• Harrison (2002). Based on the hand of George Harrison, was commissioned in 2002 by radical.media.
• Chalet Cyrillic (2002, House Industries).
• Benton Modern (2001). Based on Globe Century by Tobias Frere-Jones and Richard Lipton. Commissioned by Font Bureau for the Readability Series. Designed at Font Bureau. Microsite.
• Caslon's Egyptian (2001). Commissioned by Red Herring. Designed at Font Bureau. Around 1816, William Caslon IV printed the first know specimen of a sans serif typeface: W CASLON JUNR LETTERFOUNDER. A complete set of matrices for captials exists in the archives of Stephenson Blake, and Miko McGinty revived these as a project in Tobias Frere-Jones's type design class at Yale. In 1998, Cyrus Highsmith refined Miko's version, giving it a more complete character set for Red Herring magazine. In 2001, they came back for a lowercase and 3 additional weights. I looked at Clarendon and British vernacular lettering (mainly from signs) for inspiration, and came up with a lowercase that does not even pretend to be an accurate or failthful revival.
• David Yurman (2001). Based on a custom typeface by Fabien Baron. Commissioned by Lipman Advertising for David Yurman. Designed at Font Bureau.
• Coop Black lowercase (2001). Based on Coop Black by Ken Barber and Coop. Commissioned by House Industries for Toys R Us. Designed at Font Bureau.
• Interstate Monospaced (2000-2001). Based on Interstate by Tobias Frere-Jones. Commissioned by Citigroup. Designed at Font Bureau.
• Vectora Thin (2000). Based on Vectora by Adrian Frutiger. Commissioned by O Magazine. Not available for licensing. Designed at Font Bureau.
• LaDeeDa (2000). Informal lettering, art directed by Mia Hurley. Commissioned by gURL.com. Designed at Font Bureau.
• Poynter Agate Display (2000). Based on Poynter Agate by David Berlow. Commissioned by the San Jose Mercury News classified section. Designed at Font Bureau.
• FF DIN Condensed (2000). Based on FF DIN by Albert-Jan Pool. Commissioned by Michael Grossman for Harper's Bazaar. Designed at Font Bureau.
• VW Headline Light&VW Heckschrift (1999). Based on Futura by Paul Renner and VW Headline by Lucas de Groot. Art directed by Erik Spiekermann and Stephanie Kurz. Commissioned by MetaDesign Berlin for Volkswagen AG.
• 5608 (1999). Stencil typeface for Double A Clothing.
• Bureau Grotesque (1996-2002). Designed with FB Staff including David Berlow, Tobias Frere-Jones, Jill Pichotta, Richard Lipton, and others. Mostly unreleased. Some styles commissioned by Entertainment Weekly. Designed at Font Bureau.
• Guardian Egyptian (2005). A 200-font family by Schwartz and Paul Barnes for The Guardian.
• In 2007, Schwartz and Spiekermann received a gold medal from the German Design Council for a type system developed for the Deutsche Bahn (German Railway).
• Zizou or Clouseau (2011). A reworking (from memory) of Antique Olive (1960, Roger Excoffon). This was published at the end of 2013 as Duplicate (2013, with Miguel Reyes). In three styles, Slab, Sans and Ionic. Commercial Type writes: Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive and a handful of details, like the shape of the lowercase a, Duplicate Sans is not a revival, but rather a thoroughly contemporary homage to Excoffon. Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of Fast Company. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes's creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. Mark Porter and Simon Esterson were the first to use the family, in their 2013 redesign of the Neue Züricher Zeitung am Sonntag. Because the Ionic genre has ll ong been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts. Duplicate Ionic won an award at TDC 2014.
• In 2014, Christian Schwartz and Dino Sanchez co-designed the roman inscriptional typeface Gravitas. The name was already in use by Riccardo de Franceschi (since 2011), Laura Eames (since 2013) and Keith Tricker (since earlier in 2014), so there may be some emails flowing between these type designers. They write: The primary inspiration for Gravitas was Augustea Nova, Aldo Novarese's quirky and spiky Latin interpretation of the Roman inscriptional caps for the Nebiolo Type Foundry, released in a single weight in the 1950s. It's fairly common to see Augustea Open these days, but his lowercase apparently didn't survive the transition to phototype. Many designers have tackled the problem of matching a lowercase to the classical Roman capitals, with decidedly mixed results. The Bold Italic was drawn by Jesse Vega.
• Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies.

  Also in 2014, Christian designed the custom typeface Poets Electra for the American Academy of Poets. It extends and modifies W.A. Dwiggins's Electra (1940).

• Tanja (2016). A dot matrix typeface designed by Christian Schwartz and Paul Barnes and based on the monolinear Marian 1554, Tanja began life as the proposed logo for a German publisher.
• Le Jeune (2016, Greg Gazdowicz, Christian Schwartz and Paul Barnes): a crisp high-contrast fashion mag didone typeface family in Poster, Deck, Text and Hairline sub-styles, with stencils drawn by Gazdowicz. This large typeface family comes in four optical sizes, and was originally developed for Chris Dixon's refresh of Vanity Fair.
• MoMA Sans (2017). For the Museum of Modern Arts.
• Zombie (2022, at FontHaus).

Christopher Branson

Illustrator and designer at the Kern&Letter Company in Missouri. Behance link. Home page

Creator of various display typefaces including the kitchen tile typeface Voltrona (2011, a kitchen tile typeface), Hate (2012), the kitchen tile typeface Metgeo (2012), the monoline sans typeface Duplica (2012), the piano key typeface Lucreow (2012: Lucreow is a permutation of Crouwel), Caladan (2012, fat blackletter), Hague (2012, angular), the Bauhaus-style typeface Joi (2012), the blackletter typeface Caladan (2012), Rid-G (2012, experimental), Sugar (2012), Cumo (2012, a happy children's book typeface), Domm (2012, stencil face), Zukunft, Iron (2012, an old film typeface), Freight (2012, stencil face), Noir, Shamrock (2012, octagonal athletic shirt typeface), Unison (2012, sans), Basic (2012), Sexy (2012, hairline), Gitter (2012, rounded), Modo (2012, monoline techno face), and SF Mono (2012). [Google] [More]  ⦿

Churchward Type
[Joseph Churchward]

Joseph Churchward (b. Apia, Samoa, 1933) grew up in Samoa, and moved to New Zealand, where he founded a design studio in Wellington. He lived in Hataitai. He died in 2013 [Obituary by Jack Yan].

His early type designs were released as photolettering through Berthold. In 2000, in partnership with Chank, his fonts are finally being converted to the standard electronic formats. In 1984, he won a Silver Prize at the Morisawa Awards competition. In 2009, he was made a life member of The New Zealand Designers Institute DINZ.

MyFonts writes: Churchward Type started in 1962 as Joseph Churchward's freelance lettering service. Within six months he had generated enough work to move from his job as Senior Artist into setting up Churchward International Typefaces, which became one of the largest typesetting companies in New Zealand. In 1969 Joseph was asked to submit alphabet designs to Berthold Fototypes and saw immediate success. He later went on to sign distribution agreements with D.Stempel AG, Dr Böger Photosatz GmbH/Linotype, Mecanorma-Polyvroom B.V and Zipatone. He self-published a handful of original fonts in 1978 becoming the first and only company in New Zealand to publish original photo-lettering. Churchward International Typefaces was forced to close in June 1988 but Churchward Type lives on with a fresh set of independent releases. David Buck has taken on the role of digitisation. Joseph continues to draw alphabets and now has a stockpile of over 300 unique alphabets to his name.

Catalog of Joseph Churchward's typefaces:

• Chank sells ChurchwardHeading, ChurchwardSamoa, Churchward Maori, ChurchwardDesign5Line, ChurchwardBrush. See also Churchward Roundsquare (2002), which reminds me of Apostrophe's Toolego.
• At Berthold, he published Churchward 69 (1969, a fat face), Blackbeauty (1972; this psychedelic type inspired Nick Curtis's 2009 font, Strollin NF), and Churchward 70 (1970, a Bauhaus-style sans family).
• MyFonts sells Churchward Alien (2012), Churchward Maori (2004, frilly), Churchward Marianna (1969, an obese bubblegum typeface; Nick Curtis's Proud Mary NF (2010) is derived from it), Churchward Ta Tiki (2003), Churchward Asia (2003), Churchward Samoa (2003, 6-weight sans family), Churchward Maricia (a Western-style face), Churchward Brush (2006; copied by SoftMaker as Josephs Brush Pro), Conserif CW (2006, BluHead Studio), Churchward Heading (2007), Churchward Supascript (2007), Design CW (2006, BluHead Studio), Freedom CW (2006, BluHead Studio), Ta Tiki CW (2006, BluHead Studio), Churchward Newstype (2008, 8 styles, BluHead Studio), Churchward Chinatype (2008, 5 styles of oriental simulation glyphs), Churchward Heading (2011), Churchward Brush (2009, BluHead Studio), and Churchward Design Lines (1970, a prismatic multiline face), Churchward Montezuma (2012, an Aztec-inspired design digitized by BluHeadStudio), Churchward Legible.
• Churchward Tua (2014). A Western typeface published posthumously. Similarly, BluHeade published Churchward's 1996 geometric sans typeface Churchward Lorina in 2014.
• Churchward Isabella (2015). A geometric sans.
• Churchward 69 (2015, BluHead Studio). Churchward 69 is a ten-weight typeface family originally designed during the late 1960's, but published in 2015 by BluHead Studio.
• Churchward Typestyle (2022). By Bluhead Studio.

Klingspor link.

View Joseph Churchward's typefaces. [Google] [MyFonts] [More]  ⦿

Clint Grierson

Australian creator of Syncron (2011, a techno font) and Bauhaus (2011, geometric). [Google] [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.

FontShop link. Klingspor link.

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

CORE.NU Fonts
[Martin Fredrikson Core]

Free fonts by Swedish designer Martin Fredrikson Core (b. Gothenburg, 1970), whose real name is Martin Lexelius:

• Chank fonts: Industri No. 35 (2002), Oh La La (2002 screen font), Sauerkrauto (2000), Som Ett Hus (2001).
• T4 fonts: Corpse Grinder (gothic font), Kantor (2002, since 2007 commercial at T4), Motor Mouth (2006).
• Fountain fonts: Borgstrand (styles called Regular, Web, Stencil, Hellas; originally a Fountain Type font, it migrated in 2015 to Martin Lexelius Core's foundry), Filt (2001, a fat display face), Jalapeño (Mexican-style diner display, see here), Malmö Sans (2000, Fountain Type, and 2015 at his own type foundry).
• CORE.NU fonts (mostly free): Backstabber Grotesk, Backstabber Roman (1999), Banditos, Bilprovning Gothic, Blocky Smocky (2002), Bodoni Natural, Bodoni Slapp (2000), Bongonaut (1999), Boy-O (2002), Bunth Serif (1999), Daniel Hando, Darlito, Das Kavel Gotisch, Dot City (1999), DrunkPunk (2002), Executive Producer, Fizzo (1998), Flake Anfang (1999), Funky Mushroom (2000), Gentleman Caller (2002 (pixel font), Grill Sans (2000 (a funny hotdog and hamburger dingbat font, together with Finn Hallin and Simon Grdenfors), Felvetica (2001), Il Tempo Gigante (2001 (extra wide screen font), Isterburk (2001), Komputter (2002), Lager Neon, Lindhagen Script, Marfhaus (1998 (his take on the Bauhaus "Universal" unicase font), Messages, MuskelBengt (2000), No Reklamo, Nuderflaken (2002), Oblata Kurrenta (1999), Pixelette (1998), Plugger, Practicamente, RunStop, Sarcastic Girl Scout Bitch (2000), Sensory Input (2001), Serge Hand, Small Talk (1999 (nice screen font family with styles called Tight, Tight Mono, Wide, Wide Mono), Stiffy99, The Perfect Font.

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]  ⦿

Cyril Barrier

French codesigner with Jean-Charles Abrial of the geometric Bauhaus-inspired typeface Ortaki (2012). [Google] [More]  ⦿

Dan Pike
[The Letter D (was: Entica Typograffiti)]

[More]  ⦿

Daniel Bär
[Pyroglyphix]

[More]  ⦿

Daniel Ha

Melbourne, Australia-based designer of Planometric (2015), a perspective font influenced by Bauhaus. [Google] [More]  ⦿

Daniel Nielsen

Daniel K. Nielsen (Sheffield, UK) designed his first font in 2013. Called Hydra Grotesque, it was inspired by Bauhaus and art deco styles. Its low x-height makes it stylish---its rounded corners cry out "made after 2010".

Daniel was born in Copenhagen and graduated from DMJX Danish School of Media and Journalism in 2013.

Behance link. [Google] [More]  ⦿

Dath Hugo

During his graphic design studies, Valenciennes, France-based Dath Hugo created the round display typeface Slot (2014), the austere typeface family Bauhaus (2014), aand the experimental organic sans font Mobius (2014). [Google] [More]  ⦿

David Fleming Nalle
[Scriptorium (Ragnarok Press, Fontcraft)]

[MyFonts] [More]  ⦿

David Kerkhoff
[Hanoded]

[MyFonts] [More]  ⦿

David Kuchukhidze

Georgian graphic designer. Behance link. Creator of the Kandinsky or Mondiaan-inspired typeface Perittography (2011). [Google] [More]  ⦿

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)

• 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.

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]  ⦿

Denis Kegler

American designer of the fonts P22 Bauhaus Extras, P22 Bauhaus Extras, P22 Bayer Shadow, P22 Bayer Universal, P22 Cage Extras, P22 Da Vinci, P22 Da Vinci Extras, P22 Escher, P22 Escher Extras, P22 Folk Art Extras, P22 Hopper Josephine, Koch Signs (astrological, Christian, medieval and runic iconography from Rudolf Koch's The Book of Signs), P22 Michelangelo, P22 Michelangelo Extras, P22 Hieroglyphic, P22 Petroglyphs, P22 Rodin, P22 Rodin Extras, P22 Vienna Extras, P22 Vienna (1997: art nouveau and expressionist style based on the Vienna Workshop), P22 Way Out West, P22 WayOutWest Critters. [Google] [MyFonts] [More]  ⦿

Design Krefeld

A set of 23 free fonts designed in 2019 by students of the Department of Design at Niederrhein University of Applied Sciences in Krefeld, Germany, on the occasion of the 100th anniversary of Bauhaus. The list of typefaces grouped by Bauhaus personality:

• Anni Albers: Typefaces dkr Anni1 through dkr Anni6 by these groups: (1) Arabella Kuhn, Malina Hülsmann, Jessica Willner, (2) Lara Deißmann, Ellen Müller, Vanessa Pietzka, (3) Laura von Rebenstock, Silivio Jedynak, Alex Zemelka, (4) Mostafa Ashraf Mahmoud Mostafa, Saif Zainalabdeen, Linus Bock, (5) Helin Erceylan, Lisa Kaysers, Nele Konstanty, (6) Kai Banasch, Jan Kersten, Christopher Linnemann.
• Gunta Stölzl: Typefaces dkr Gunta1 through dkr Gunta3 by these groups: (1) Melina Haase, Atussah Lutze, Mamoon Alramadan, (2) Katrin Pastwa, Jana Tillmanns, Annika Klumpen, (3) Jessica Bayerlein, Tra Mi Nguyen, Hanna Marie Kaddik.
• Laszlo Moholy-Nagy: Typefaces dkr Laszlo 1 through dkr Laszlo 3 by these groups: (1) Laura Wilmsen, Jerome Kamp, Joshua Ebel, (2) Annika Strehlau, Karoline Delger, Nils Knell, (3) Cherin Mohr, Lena Ulrich, Viktor Gertkens.
• Lyonel Feininger: Typefaces dkr Lyonel 1 through dkr Lyonel 3 by these groups: (1) Nicole Bosquet, Elizabeth Kanyukova, Uljana Butusow, (2) Nadia Natale, Jil Zander, Yllka Hulaj, (3) Linh Hoang, Katrin Wenger, Ann-Christine Gierkes.
• Marcel Breuer: Typefaces dkr Marcel 1 through dkr Marcel 4 by these groups: (1) Lisa Eppers, Angelika Schittek, Elia Schlütter, (2) Antonia Diehlmann, Rabea Marquardt, Michaela Hommen, (3) Luisa Jansen, Birk Hoffmann, Nikolaos Theodoropolis, (4) Mitsuru Toki, Johanna Köstlin, Stina Bick Fuertes.
• Marianne Brandt: Typefaces dkr Marianne1 through dkr Marianne4 by these groups: (1) Helena von der Forst, Anita Krenn, Jacqueline Schneider, (2) Sofie Kienzle, Tanja Paulsen, Alexander Fröhlich, (3) Anne Clemens, Samuel Heinbach, Stephan Fabry, (4) Maxim Schleicher, André Johanns, Hans Seeger.
  [Google] [More]  ⦿

Deutscher Werkbund

The Deutscher Werkbund (the German Association of Craftsmen) is a German association of artists, architects, designers, and industrialists, established in 1907 by Joseph Maria Olbrich, Peter Behrens, Richard Riemerschmid, Bruno Paul and others in Munich at the instigation of Hermann Muthesius. It existed through 1934, and was re-established after World War II in 1950. The Werkbund became an important element in the development of modern architecture and industrial design, particularly in the later creation of the Bauhaus school of design. Its initial purpose was to establish a partnership of product manufacturers with design professionals to improve the competitiveness of German companies in global markets. The Werkbund was less an artistic movement than a state-sponsored effort to integrate traditional crafts and industrial mass-production techniques, to put Germany on a competitive footing with England and the United States. Among the Werkbund's more noted members was the architect Ludwig Mies Van der Rohe, who served as Architectural Director. Wikipedia link. [Google] [More]  ⦿

Dezcom Typefaces
[Chris E. Lozos]

Chris Lozos (aka Dezcom and Dezcom Typefaces) is a Washington, DC-based (well, now Falls Church, VA-based) graphic designer and Vietnam veteran, b. 1944, Pittsburgh, PA. He studied Design at Carnegie Mellon University where he earned a BFA in Graphic Design (1966). While at CMU, he studied with calligraphers Arnold Bank and Howard Glasser, who both brought out the love of historic letter-forms and learned to set hot metal type in the Laboratory Press established there by Jack Stauffacher. Chris also was influenced by guest professors Hermann Zapf, Rudy DeHarek, Martin Krampen and Gui Bonnsieppe (of the HfG Ulm). He attended Graduate School in Visual Communication Design at the Ohio State University from 1972 through 1974.

His typefaces:

• Dez Petranian (2013). A warm text typeface designed for story-telling, and related to Souvenir.
• Des Squeeze Pro (2013). A great condensed display family with large x-height. The Pro version of Des Squeeze (2009).
• Dez Weimar Plakat (2013). Inspired by a 1923 Weimar Bauhaus / constructivist exhibition poster. This is a finished version of Weimar Plakat 1923 Pro (2006-2007). See also here.
• Dez Yinznat Stencil (2012). A military stencil dedicated to the industrial past of Pittsburgh.
• Dez Quo Vadis Titling (2010).
• Dez Boulder (2010).
• The bold headline typeface family Dez Squeeze (2009, +Fat). Discussions: Squeeze, Fat Squeeze.
• Leporello (2004).
• The semi-techno typeface Align Sans (2005).
• Now (2005). A geometric sans family with several novel ideas, which was followed by Now Bold (2006), Now Regular, Now Light, Now Gaunt Display (hairline) and Dez Now Sans (2018), about which he writes: A humanistic typeface family that was begun in 2005 by Chris Lozos of Dezcom. Since then, it has been nurtured, revised, and expanded to include 12 weights in both upright roman and true italics totaling 24 variations.
• The sans families Boulder Ego and Boulder Alter Ego (2006).
• Tovarich.
• Froggy (2006).

Flickr page. . [Google] [MyFonts] [More]  ⦿

Dick Pape
[Dick Pape: February 2013]

[More]  ⦿

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.

Dimitry Ochakov

Dimitry (or Dmitry) Ochakov is the Makhachkala / Rostov-on-Don, Russia-based designer of the circle-based Latin font Done (2014). In 2022, he released the circle-themed organic sans typeface Ring (16 styles) and its companions Ring Soft (a rounded circle-based sans with baby soft curves, just right for fluffy toilet paper commercials; 8 styles) and Ring Slab (16 styles). The ring family was inspired by the Bauhaus movement and cover Latin and Cyrillic. [Google] [MyFonts] [More]  ⦿

Dirk Uhlenbrock
[Eyesaw (was: Fontomas.com, or Signalgrau)]

[MyFonts] [More]  ⦿

Doni Sukma
[Letter Omega]

[MyFonts] [More]  ⦿

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]  ⦿

Eben Sorkin
[Sorkin Type (was: Eyebytes)]

[More]  ⦿

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.

FontShop link. Klingspor link.

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

Elementar

Elementar (2012) is a student project at the Escola de Belas Artes da Universidade Federal da Bahia, carried out by these students: Henrique Sales (Salvador), Howfens Cavalcante (Salvador), Marcelo Vanzillota, Roberto Souza (Salvador), Victor Fonseca. It is concerned with the compass and ruler design of a bauhaus style geometric sans typeface. [Google] [More]  ⦿

Elia Preuss

Student at HGB Leipzig in 2018. Designer of Reross (2018), a poster sans typeface published as part of the Adobe Originals collection. This typeface revives an alphabet by Bauhaus designer Reinhold Rossig (from 1929) and was influenced by the poster art of Hermann Werner Kubsch. Adobe expalins: Of all student work produced in Joost Schmidt's Bauhaus classes, Reinhold Rossig's (1903-1979) alphabet designs are perhaps closest to his master's teachings: monolinear, geometric lettering, constructed on grids using compass and ruler. Drafts by Rossig, dated 1929, also demonstrate explorations of letterform width and x-height. Almost ninety years later, Elia Preuss carefully preserves Rossig's letters and considerations in a proper typeface, by overcoming most of the optical mistakes captured in true geometric letterforms. To carry Rossig's design further away from Schmidt's influence, Preuss also lent more characteristic letters found on poster designs by fellow Bauhaus student Hermann Werner Kubsch. Reross is a true Bauhaus-influenced geometric sans, equipped with different historic influences and contemporary features. [Google] [MyFonts] [More]  ⦿

Elias Hanzer
[Hanzer Liccini]

[More]  ⦿

Elizabeth O'Neal

Shreveport, LA-based designer of the typeface Gropius Bauhaus (2015). [Google] [More]  ⦿

Embossdesign.com
[Stephen Boss]

Emboss was founded in 1995 by Stephen Boss (b. 1969, Michigan), and is located in Beacon, NY, and Camillus, NY. Stephen Boss lived in Gloucester, MA, then in Brooklyn, NY, and finally near Syracuse, NY. His fonts are sold by Monotype Imaging / ITC and Myfonts.

Typefaces include Babalon, Oo La La, Chubbét (2010: sans family, +Distended), Tobago, Phervasans (pixel face), DNA, Elefont, Eurydome (2010, like Eurostile?), Thai One One (a Thai simulation font), Jerusalem Syndrome, Dramaminex, Crossell (2010, a sans family), FaxFont97, Embossanova (2012), Chubbét Extended (2012), EmBauhaus (2012), and Zyncho. [Google] [MyFonts] [More]  ⦿

Emil Ruder

Swiss typographer (b. Zürich 1914, d. Basel, 1970), and type guru in the 50s and 60s. Ruder taught at the Basel School of Design (Kunstgewerbeschule), and founded the International Center for the Typographic Arts in New York, 1962.

Author of Typographie: Ein Gestaltungslehrbuch - A Manual of Design - Un Manuel de Creation (Teufen: Niggli, 1967), and Typographie. Ein Gestaltungslehrbuch. Mit über 500 Beispielen (7th edition in 2001, Niggli). The Road to Basel (Helmut Schmid) is an homage to Emil Ruder by Helmut Schmid, one of Ruder's students, who headed a group of other ex-students and organized their contributions. The former students who participated are Harry Boller, Roy Cole, Heini Fleischhacker, Fritz Gottschalk, André Gürtler, Hans-Jürg Hunziker, Hans-Rudolf Lutz, Fridolin Müller, Marcel Nebel, Åke Nilsson, Bruno Pfäffli, Will van Sambeek, Helmut Schmid, Peter Teubner, Wolfgang Weingart, and Yves Zimmermann. Karl Gerstner and Kurt Hauert also contributed. Paul Shaw reviews this book and Ruder's contributions.

Quotes from Shaw's piece:

• It is clear that those lucky enough to study under Ruder found him as exciting and demanding as they had expected. With a few exceptions these former students quickly and permanently fell under the sway of the charismatic and ambitious Ruder.
• Ruder promised a new functionalism derived from the Bauhaus. His was a new approach to typography that went beyond the technical fundamentals of metal type composition to embrace modern art (especially that of Paul Klee and Piet Mondrian). Ruder focused on the point, the line, the plane, and the way in which typography activated space. His article Die Flache (the plane or the space), following lessons he had learned from The Book of Tea by Kakuzo Okakura and from modern art, stressed the activation and destruction of space as the goal of typography as well as of art and architecture.
• Ruders typography is defined by asymmetry and an emphasis on counter, shape, and negative space.
• Harry Boller writes that Ruder and his students were Puritans on a mission, serious, humorless. We had been led to a morality, and strong convictions remain. Banality, lack of imagination, and swiping of ideas were all ridiculed, while sincerity of expression was encouraged. Gottschalk says that Ruder taught courtesy, ethics, and modesty as much as he taught typography.

IDEA Mag's special issue #332 entitled Ruder Typography Ruder Philosophy (2009), with articles by Leon Maillet (Tessin), Armin Hofmann (Lucerne), Karl Gerstner (Basel), Kurt Hauert (Basel), Lenz Klotz (Basel), Wim Crouwel (Amsterdam), Adrian Frutiger (Paris), Hans Rudolf Bosshard (Zurich), Andre Gutler (Basel), Juan Arrausi (Barcelona), Ake Nilsson (Uppsala), Fridolin Muller (Stein am Rhein), Harry Boller (Chicago), Maxim Zhukov (New York), Taro Yamamoto (Tokyo), Fjodor Gejko (Düsseldorf), Helmut Schmid (Osaka), and Susanne Ruder-Schwarz (Basel).

Article on Ruder by Shane Bzdok, 2008. [Google] [MyFonts] [More]  ⦿

Emily Johnston

Detroit-based designer, b. 1990. Behance link. Her typeface Zeitgeist (2010) was inspired by Bauhaus artwork by German artist Marianne Brandt: simple geometric monoline glyphs, with a few curves thrown in for a minimal amount of warmth. [Google] [More]  ⦿

Eric Kindel
[Futura Black circa 1860]

[More]  ⦿

Erica Carras

In 2018, Brian LaRossa and Erica Carras (Brooklyn, New York) co-designed the Bauhaus typeface Staatliches. The alphabet revives and extends Herbert Bayer's title lettering on the cover of the first Bauhaus exhibition catalogue from 1923. It features full sets of capitals, numbers, punctuation, and symbols, in addition to alternate widths, discretionary ligatures, and common Latin accents. Staatliches is free at Google Fonts.

During her studies at Type@Cooper in 2018, Erica Carras developed the calligraphic foliated text typeface Pyk and wrote: Inspired by Helmut Salden's brush lettering, the process of uniting a running hand (italic) system of calligraphy into an upright text face gave Pyk its unconventional letter shapes. Looking at the o, e, c and s, these traditionally round letters instead follow a triangular model, echoing the n's counter shape and the bouncing upstrokes that connect the stems. This upward motion directs the eye forward and also creates an even diagonal rhythm across the line of text. To increase legibility as a text face, Pyk has low contrast, uniform letter widths, and generous spacing. Pyk stands at the crossroads between calligraphy and type design, with a bounce in its step. Pyk won an award at the Type Directors Club's Type Design Competition 2019.

Future Fonts link. [Google] [More]  ⦿

Erik Pal

During his studies in Eger, Hungary, Erik Pal (Hajduböszörmeny, Hungary) redesigned Mikko Nuuttila's Jaapokki (2014) to make the fart-themed font Jaapukki (2018).

He also created the modernist furniture-themed font Mies van der Rohe (2018), which is named after the famous German-American architect---his real name was v---who lived from 1886 until 1969. [Google] [More]  ⦿

Erik Schmitt

Erik Schmitt grew up in Seattle and the San Juan Islands but moved to the Bay Area to study design and photography at the California College of the Arts where he received a B.F.A. in 1993. Author of American Bauhaus (2022), which is about Black Mountain College in San Francisco. The school is credited with shaping some of the greatest artists in American history such as Willem de Kooning, John Cage, Merce Cunningham, Buckminster Fuller, Franz Kline, and Robert Rauschenberg. [Google] [More]  ⦿

Erin Chen

In 2016, she created the colorful geometric alphabet Nagy to pay tribute to the work of Bauhaus artist Laszlo Moholy-Nagy. She also designed the geometric all caps typeface Newton's Cradle (2017). Behance link. [Google] [More]  ⦿

Ettolrak
[Charlotte Beaufils]

France-based designer of the Bauhaus-inspired stencil typeface Baufils (2020) and the frilly hand-drawn typeface Henna (2020). [Google] [More]  ⦿

Evan Lelliott
[Increments]

[MyFonts] [More]  ⦿

Extraset

Extraset is a Swiss digital type foundry based in Les Acacias and managed by David Mamie (TM), Alex Dujet (Futur Neue), Sébastien Fasel, Fabienne Kilchör (Emphase), Roger Gaillard (Cécile + Roger) and Xavier Erni (Neo Neo). Their typefaces:

• Peak and Peak Rounded (2019). By Xavier Erni.
• Rebond Grotesque (2019). By Roger Gaillard.
• Floppi's Grotesk.
• Klarheit Grotesk and Klarheit Kurrent (2020). By Alex Dujet.
• The ultra-condensed typeface Nein (2020) by Alex Dujet: Nein is a project that reinterprets certain characteristics drawn from the heritage of wood types. The first components of this extra-bold, highly condensed beta version were developed a few years ago by Alex Dujet.
• Quarz Upright (2020, Alex Dujet). A mischievous didone-based typeface in which Alex tries to evoke swans and Lamborghinis on the shores of Geneva's Lac Leman.
• ES Build (2021). A Bauhaus sans by Xavier Erni (Neo Neo) with the assistance of Arthur Schwarz. ES Build draws its inspiration from the universal typeface by Herbert Bayer.
• ES Allianz (2021). A Swiss sans by David Mamie.
• ES Face (2021). A modernized transitional typeface family by Alex Dujet.

Eyesaw (was: Fontomas.com, or Signalgrau)
[Dirk Uhlenbrock]

Dirk Uhlenbrock's (b. Essen, 1964) studied communication design at BUGH Wuppertal. His typographic contributions were presented under various labels such as Signalgrau, Fontomas.com, Eyesaw, or TypeType.

His fonts: Buddies (funny dingbat font), Scrabble (1999), Pizzo (pixel font, 2000), Accient (2000), EURASIAOblique, Freak (1998), SpaceAge, Fivejive (2000), Missu (2001), T-Series (a family by Stephen Payne (UK, 2000) for Territory), XXX (1998, sexy silhouettes), Y2k (2000), Basm (family by Miguel Basm Visser, 2000), Corner-bi and Corner-mono (both by Ole Fischer for Fischer Jr Design), Persona, Creatures (dingbats by Dirk Uhlenbrock, 1998), Thaipe, Thaiga, (squaregrid (Jay Marley, 2001), Bath (Heiko Hoos, 2001), Honey (Dirk Uhlenbrock, 2001), Pinx (Dirk Uhlenbrock, 2001), Tuna Salad (Dirk Uhlenbrock, 2001), Evo (2002), EvoThin (2002), Gen3000 (2002), Gen3000Thin (2002), HanneloreOutline (2001), Hannelore (2001), MassBlack (2002), MassOutline (2002), Mass (2002), MassStriped (2002), MassThin (2002), Microbe (2002), PellegriniItalic (2002), Pellegrini (2002), PileOutline (2002), Pile (2002), Rickshaw (2002, Indic letter simulation), Swisz (2002), SwiszThin (2002), TurbonItalic (2002), Turbon (2002), Apollo9, Apollo9Italic, Bite, Blob, BlobThin, Bubble, BubbleWild, Crack, Creatures, Dennis, Dioptrin, Dna, Electrance, Frakt, Launchpad, ORAV, Paul5, Paul6, PlakatOne, PlakatTwo, Push, Rubbermaid, RubbermaidSingle, Ticker, Tubeone, Tubetwo, Tvdinner, TvdinnerFull, Ufo, UfoItalic, Yodle.

At Fountain, he designed Robotron and Super and Girl (2003, a Bauhaus experiment).

Kombi was created in 2003.

The Fontomas CD published in 2005 (40 dollars for 75 fonts) is reviewed by Yves Peters. On it, we find older fonts as well as newer ones by Dirk himself: Ove, Gen1000 (DNA style), Hannelore, Mass, Micro B, Pellegrini (script), Pile, Swisz, Turbon, Rickshow (Indic simulation).

At 14. tage der typographie in 2013, he spoke on Grafik gegen Rechts.

Dafont link. Old URL. Another old URL. Alternate URL. FontShop link. Klingspor link. Fontspace link. Fountain Type link. [Google] [MyFonts] [More]  ⦿

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]  ⦿

Fael
[Rafael Serra]

Fael is Rafael Serra (b. Santarém, Portugal, 1983). Since 1989, he lives in Barcelos / Porto. Rafael graduated in Graphic Design and Advertising from the Oporto Polytechnic Institute, and works as a graphic designer and lettering artist in a design studio in Braga. He created some typefaces, both free and private.

Rafael designed Caravela (2011, organic) and Kravo (2010), an angular titling typeface which he claims was inspired by the Portuguese Revolution. In 2012, he made the squarish typeface Godo, Naperom (inspired by embroidery and lace), and Jangada (a display typeface based on hand-made wooden rafts).

In 2013, he designed the condensed sans typeface Kravo and Ancora (an angular all caps sans).

Typefaces from 2018: Antiga (an interlocking all caps Peignotian typeface). [Google] [MyFonts] [More]  ⦿

Farnianti Putri

During her studies, Farnianti Putri (Bekasi, Indonesia) created Squauhaus (2015), patterned after Bauhaus 93. [Google] [More]  ⦿

Fatih Hardal
[Typografische (was: Hardal Studio)]

[More]  ⦿

Fatype
[Anton Koovit]

Foundry, est. in 2012 by Anton Koovit and Yassin Baggar in Berlin, and in Neuchatel, Switzerland. Fatype has designed typefaces for GQ France (such as GQ Baton), Derzeit (2012, Fashion Week Berlin Daily: a typeface by Yassin Baggar and Manuel Schibli), Google and Journal B. Their typefaces include U8 (2010, Anton Koovit: named after the ghost stations underground that were closed in the good old days of the GDR), Aleksei (Anton Koovit) and Adam BP (2008, Anton Koovit).

U8 started out as a Berlin subway system signage project based on found lettering. Some glyphs had to designed from scratch. The result is an early modernist typeface with elements of DIN and Bauhaus. Anton Koovit and Yassin Baggar offer a new take on U8 in their UCity typeface family (2019).

Typefaces from 2012 include Adam Serif (a book and magazine typeface family).

In 2013, Anton Koovit and Yassin Baggar co-designed the low x-height typeface family Baton.

In 2014, he created Aleksei.

In 2017, he designed the free sans font family Aino (+Bold, +Headline) for use by the Estonian government.

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

FDI Type Foundry
[Ralf Herrmann]

FDI stands for fonts dot info, est. 2004 by Ralf Herrmann and partner. This foundry is located in Jena, Germany. The legal entity behind it was the Rossbach & Herrmann GbR in the city of Jena which operated as Seite7 Designagentur. Rossbach & Herrmann GbR ceased in 2015. MyFonts link. The fonts dot info label will be retired in 2017 and replaced by FDI Type Foundry.

Ralf Herrmann (b. 1976, Pößneck, Germany) studied visual communication at Weimar's Bauhaus University and works as a web, graphic, and type designer. He has made a name for himself in the typography community with his internet typography subcommunity typografie.info. He researched the implications of cognitive map research applied to the design of maps and wayfinding systems. In 1999 he founded a design studio with a partner in the city of Jena. His typography projects included the German online community Typografie.info (2001), the type foundry FDI Type (2004) and the typography magazine TypoJournal (2009). He is the chairman of the Pavillon-Presse, a museum for the printing arts & typography in the city of Weimar. In 2015, he launched Typography guru. In his Letter Library, he archives historic and current type specimens of type foundries from around the world. He also wrote typography books and continues to write and provide content for various online and print magazines (like PAGE, Smashing Magazine, TYPO magazine, étapes, I Love Typography).

Typefaces published by FDI:

• Krimhilde (2018). A digital revival, and a separate modern modification, of Albert Auspurg's semi-blackletter typeface Krimhilde first published by Ludwig & Wagner in 1933.
• Graublau Sans (2008) and Graublau Slab Pro (2012) by Georg Seifert.
• Wayfinding Sans Pro and Wayfinding Sans Symbols (2012). This useful wayfinding typeface family was co-designed by Ralf Herrmann and Sebastian Nagel.
• Canape
• Elfen Fraktur (2015). A revival by Ralf Herrmann of Elfen Fraktur (1919, M. Beck). It contains Elfen Schmuck.
• Hooptie Script (2011). A retro signage script inspired by Detroit in the 1950s.
• FDI Tierra Nueva (2010). A medieval map typeface by Sebastian Nagel.
• Uberschrift (2014). A sharp thin headline typeface by Friedrich Althausen.
• Logotypia Pro (2004).
• Iwan Reschniev (2008). By Sebastian Nagel. A Bauhaus style family of severe sans styles.
• FDI Wiking (2021). A free blackletter font that revives Heinz K7ouml;nig's Wiking (1925, J.D. Trennert & Sohn, Hamburg).

Ralf Hermann designed several other typefaces outside FDI. These include Agendia (2002), a free experimental Antiqua-Schrift (see also here). Author of

• Index Schrift (2003).

Speaker at ATypI 2011 in Reykjavik on the topic of the eszet (ß) letter.

Klingspor link. See also here for more news by Ralf Herrmann in English and German. Here he blogs about web fonts and web type matters. His Flickr stream. Home page of Schriftkontor Ralf Herrmann. Typedia link. Behance link. Showcase of the retail FDI fonts. [Google] [MyFonts] [More]  ⦿

Fedor Sorokin

During his studies at the British Higher School of Art and Design in Moscow, Fedor Sorokin designed the modular Bauhaus stencil typeface Ründstük (2012) and Russian Dolls Font (2012).

In 2013, he published the free typeface Bodonika, a fun dada font, the result of what if Helvetica f u c k s Bodoni? [Google] [More]  ⦿

Felix Braden
[Floodfonts]

[MyFonts] [More]  ⦿

Fernanda Scipiao

Fortaleza, Brazil-based designer of the Bauhaus style stencil typeface Deutz (2017), which is named after a suburb of Köln. [Google] [More]  ⦿

Flavia Zimbardi

Flavia Zimbardi is a type designer and visual artist from Rio de Janeiro, based in Berlin. From 2005 to 2013 she worked for some of the leading magazines in Brazil. Flavia is a graduate of the Type@Cooper Extended Program at the Cooper Union, class of 2017. In 2018, she started Zimbardi Calomino together with Caetano Calomino, and in 2020 she co-founded Undercase Type with Phaedra Charles in Brooklyn, NY. Her typefaces:

• Her graduation project, Lygia. It was awarded by the Type Directors Club and at Tipos Latinos 2018. Released in 2019 by Future Fonts, she writes: Lygia explores the duality of sharp and round forms with stylish cues and historical references from 16th-century masterpieces by Robert Granjon to the geometric approach of W.A. Dwiggins. An homage to Brazilian neo-concrete artist Lygia Clark, originally designed in 2017 as Flavia Zimbardi's degree project for the Type@Cooper extended program in New York. Lygia is a variable font with a weight axis. After Type@Cooper, Flavia settled in Berlin, Germany. In 2021, she released the companion typeface family Lygia Sans.
• The piano key typeface Joschmi (2018). An Adobe Originals font designed as part of an effort to revive Bauhaus treasures, and named after Joost Schmidt.
• In 2018, using a speed stroke technique, Caetano Calomino developed the signpainter font ZC Casual together with Flavia. It was re-released at Undercase in 2020.
• In 2020, Phaedra Charles and Flavia Zimbardi co-designed the free decorative text typeface Fraunces at Undercase Type. Google Fonts link for Fraunces.
• At Lost Type and Undercase Type, Phaedra Charles, Kelly Thorn, and Flavia Zimbardi published the chunky art nouveau typeface Regina Black (2020).

Future Fonts link. Older Future Fonts link. Note: MyFonts incorrectly calls her Flavia Zambardi. [Google] [MyFonts] [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]  ⦿

Fontan2.com
[Ivan Hristov]

Interesting geometric and experimental typefaces by Ivan Hristov in Bulgaria:

• Baudoni (2009): extreme thin and thick Bodoni meets art deco.
• Jersey Serif (2008): blackened out fat slab serif.
• Magistrala (2008): rounded black face.
• New Deco (2008): thin stencil lines that break up a fat rounded face.
• Hard Deco (2008): art deco in its purest form.
• Decor (2008): art deco.
• Denta (2007)
• Board (2007)
• Old News (2007)
• Rolka (2008), New Deco (2008), Jersey (2008), three ultra black decorative typefaces.
• Joanna (2007) (stencil)
• Rolka (2007)
• F2 Limited (2007)
• Loop (2007)
• Shose (2007)
• DVDR (2007) (LED simulation)
• Mrak (2007)
• Fasada (2007) (kitchen tile)
• Eps (2007)
• Syndrome (2007)
• Longplay (2007)
• Sreda (2007)
• Sudoku Master (2007)
• Yoga (2006)
• Bulhaus (2006) (Bauhaus style minimalism)
• Svetoslav Simov and Fontan2 made Sudoku (2010), a geometric display family with several biline and triline styles.

Fontmenu.com
[Michel Bujardet]

Michel Bujardet (a Frenchman living in West Hollywood, CA) runs Matchfonts, and started Fontmenu.com in August 2001. Commercial fonts, and free demos in all formats.

A partial list of fonts:

• Square Text (old English).
• Block Letters (orthography for kids), Skryptaag (2001, educational).
• Boulons (letters made from nuts and bolts).
• Kindergarten (funny typefaces), Learning Handwriting (K2), Learning Cursive Handwriting (Grade 2-4), Japanese Hiragana-Katakana (Year 1).
• Morse code.
• Dictionary phonetic notation for pronunciation.
• The calligraphic fonts Chancellerie Moderne (1998, chancery hand), Oncial, Rodolphe, Willegha.
• The dingbat fonts Dinosotype, Matched Potato, Nahkt hieroglyphs, SilBooettes, Angelots, Sceaux, Seraphiques, Talismans.
• The monospaced fonts Bordofixed, Dactylographe (1997), Normafixed, Oloron fixed width screen font).
• The mathy fonts Oloron program, Hexalist and Numberslist.
• The handwriting fonts Charlotte, Louise, Mariette, Milko, Pierre, Quinze, Raoul, and Thibault.
• The pixel font 8-PinMatrix.
• The Bauhaus font BabyFace.
• The Chinese simulation font Chinoiseries.
• The LED fonts Diode, Cristolikid and Display.
• The Greek simulation font Grecques.
• The display fonts Zébrures (striped letters), Venitiennes, Ruban Dis-Moi, Parador, Osselets, Octogone, Metropolitain (art nouveau), Malabars, Halloween Match, Coulures, Chapou Relief, Candy Kane, Calebasse, Bujardet Freres and Big Bacon.
• The MICR font MICR E13B.
• The serif typefaces Baguad, Chap Clerk, Parlante, Presse, TSF&Co (art deco; +Heavy).
• The sans serif typefaces Bordini, Boum-Boum, Halotique (a sans family), Junien, and Normographe.

Alternate URL for his shareware typefaces. MyFonts link for his commercial typefaces. Alternate MyFonts link. Fontspace link. Dafont link. [Google] [MyFonts] [More]  ⦿

Fontmunkások
[Gábor Kóthay]

Gábor Kóthay (Fontmunkások) is a Hungarian type designer (b. 1962) who lives in Szeged. Gábor Kóthay's fonts include:

• At T-26: Alphabet2, Alphabet4, Archetype, Axis No 1, Bacchus, and Tyrnavia in 2000, and the Roman inscription inspired family Minerva Modern, Minerva Display (a Roman family) in 2002. Also, Betabet sans, Betabet web, Gnosis (hairline italic), Oceanus (2004, hairline sans), Pelso (2004, hairline), Laureate (2004, hairline art deco), Picaresque (2004, irregular handwriting).
• At FONTana: LaDanse, Y2K, Domino, QwertyRegular and Luxury, all in 1999-2000.
• At P22: Driade (2005, Regular, Linea and Aged: calligraphic futuristic experiments), Zephyr (2001, curly; +Open Face), Schwarzkopf (2003, a Schwabacher face), La Danse (2001), Ambient (2001), the Schwabacher Fraktur font SchwarzKopf (2002), Caffe (2009: originally designed for the Artz Gallery Cafe in Budapest Hungary. The design is a contemporary handwriting style adapted from examples in lettering exercise books. It has been redrawn and expanded into six styles. The four weights were created by drawing the style using different mediums: Cappuccino in pen, Pastry in felt-tip, Lemonade in brush and Tobacco, the original, in pencil, and Poster and Poster Inline are additional styles).
• At PsyOps: the formal script Anglia (2001), Berill (2001), SchwarzKopf (2002, Fraktur) and Plexo (2001).
• At Job Art Studio (his own studio in Szeged, which he founded): Cats (free dingbats), Disasters (dingbats), Bubble (comic book font), 103 kék.
• At Fountain: Zanzibar (2003, nice script face), Incognito (2007, a typical old map typeface), Dessau (2007-2008, a collection of eleven Bauhaus and Bauhaus stencil styles).
• At Fontana: Zodiac, Tisza (2001-2007), a sans family. And Kinesis (2003), a sans typeface based on geometrically precise instructions.
• At Cinqueterre Type Foundry: Eva (wedge serif; sample, another sample).
• At Fontmunkások: Birdland (1999-2002), a minimalist face; Asphalt and Asphalt Signs (1996-2000), a slightly grungy set of fonts; Arcade (1999); Adagietto (2000); Flyer and Flyer Fossil (2002), a curly family.
• Custom typefaces: Aqua Futurist (2008): a hairline unicase sans family with uncial influences. It is unclear if he had a hand in the typography of stockings, which I found on his site.

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

Fontsmith
[Jason Smith]

Jason Smith is the British corporate typeface designer who founded Fontsmith in 1997, where he retailed his own designs from his office in London. He has created a typographic identity for the Post Office in the UK. Phil Garnham was one of the in-house type designers. In January 2020, Fontsmith was acquired by Monotype.

Smith's custom typefaces include Casey, Seat, Tractebel, PPP Healthcare, Powergen, Allied Irish Bank, UUnet, Channel 4, and Saudi Aramco, Champions (2009: for the UEAFA Champions League), Colgate Ready (2014: for Colgate, covering Latin, Cyrillic, Eastern European, Devanagari and Thai), More4 (2005, for the Channel 4 Adult Entertainment channel), ITV (2006, for the ITV network), BBC ONE (2006, for the BBC), Post Office Sans (2003), Severstal (2009), and Moto GP (2020: a custom techno / sports font).

Vernon Adams and Fontsmith got into a quarrel about Vernon's Mako, which was submitted and rejected by Fontsmith, which published its own similar typeface Lurpak a few weeks later.

Most of Jason Smith's typefaces are now at MyFonts, after Monotype's take-over in 2020:

• FS Albert (2002). A soft-edged sans family by Jason Smith, Mitja Miklavcic and Phil Garnham. Followed by Emanuela Conidi's FS Albert Arabic. In 2007, Jason Smith designed the custom typeface Xerox Sans (+Condensed) as a modification of his FS Albert, to which Greek and Cyrillic alphabets were added as well.
• FS Aldrin (2016). A rounded sans by Phil Garnham.
• FS Alvar (2007, Jason Smith and Phil Garnham). A modernist utilitarian headline font family inspired by the work of Alvar Aalto.
• FS Benjamin (2018). A flared sans serif by Stuart De Rozario.
• FS Blake (Emanuela Conidi). A sans with some inherent tension.
• FS Brabo (2015, Fernando Mello). Named after Brabo in Antwerp, FS Brabo was inspired by the Plantin Moretus museum and the garalde styles (Bembo, Garamond, Plantin). FS Brabo won an award at Tipos Latinos 2016.
• FS Clerkenwell (2004, Jason Smith and Phil Garnham). A slab serif.
• FS Conrad (2009). A multiline display face by Phil Garnham.
• FS Dillon. Influenced by the Bauhaus quest for simplicity.
• FS Elliot (2012). By Nick Job.
• FS Emeric (2013, Phil Garnham). A large humanist slightly angular sans family. Dedicated web site.
• FS Hackney. An assertive sans typeface family by Nick Job.
• FS Industrie (2018). A 70-style techno / mechanical sans family by Fernando Mello and Phil Garnham.
• FS Ingrid. A humanist sans family by Jason Smith.
• FS Irwin (2017). An incised typeface inspired by New York, FS Irwin is a sans serif with calligraphic roots.
• FS Jack (2009, Jason Smith and Fernando Mello). A confident sans family that was awarded at Tipos Latinos 2010.
• FS Joey (2009, Jason Smith and Fernando Mello). An organic sans typeface family.
• FS Kim (2018). A joyful display typeface family by Krista Radoeva.
• FS Kitty (2007, Jason Smith and Phil Garnham). In the Japanese kawaii style.
• FS Koopman (2018). A sans family designed by Andy Lethbridge and Stuart De Rozario. A hybrid sans workhorse that takes inspiration from Swiss grotesks, American gothics and early British grotesques
• FS Lola (2006). Originally designed for Wechsler Ross&Portet by Phil Garnham, it is advertised by Fontsmith as a transgender type.
• Lost + Foundry (2018, Pedro Arilla and Stuart de Rozario). The Lost & Foundry family of seven fonts includes FS Berwick, FS Cattle, FS Century, FS Charity, FS Marlborough, FS Portland and FS St James. The campaign was developed by Fontsmith, M&C Saatchi London and Line Form Colour. The crumbling typefaces of Soho were recovered to be sold online as a collection of display fonts, to fund the House of St Barnabas's work with London's homeless. Fontsmith's designers Stuart de Rozario and Pedro Arilla worked with M&C Saatchi London to develop the fonts.
• FS Lucas (2016). A geometric sans by Stuart de Rozario.
• FS Maja. A curvy display typeface.
• FS Matthew. A sans family.
• FS Me. Mencap, a British company that works with people with a learning disability, asked Smith to design a font, FS Mencap (also known as FS Me), for the learning disabled---easy to read, yet elegant. Codesigned by Jason Smith, Mitja Miklavcic and Phil Garnham.
• FS Meridian (by Kristina Jandova). A rhythmic geometric sans family with circular forms.
• FS Millbank (2015). A wayfinding typeface family by Stuart de Rozario.
• FS Neruda (2018, by Pedro Arilla). A transitional storytelling text family named after Chilean poet Pablo Neruda.
• FS Olivia (2012). An angular poetic text typeface family by Eleni Beveratou.
• FS Ostro (2018, Alessia Mazzarella). A modern typeface family in text and display versions. It brings warmth and fresh air to the cold Italian didones. Its more subdued and less contrasted text version was influenced by Scotch romans. There are also genetic elements of Spanish display types.
• FS Pele (2007). An ultra fat typeface by Jason Smith and Phil Garnham.
• FS Pimlico (2011, Fernando Mello). A humanist display sans.
• FS Rigsby (2005). A sans.
• FS Rome (Mitja Miklavcic and Emanuela Conidi). An all caps Trajan typeface.
• FS Rufus (2009). A slab serif by Mitja Miklavcic, Jason Smith and Emanuela Conidi. Described by them as benevolent, quirky, peculiar, offbeat, jelly beans and ice cream, a retro eco warrior.
• FS Sally (Jason Smith and Phil Garnham). FS Sally Pro won an award at Granshan 2016.
• FS Sammy (Satwinder Sehmi, Jason Smith). A script typeface.
• FS Shepton (2015). A calligraphic brush script by Andy Lethbridge.
• FS Siena (2016). A luxurious fashion mag typeface given a new life in 2016 by Krista Radoeva. Jason Smith had started drawing Siena 25 years earlier. It is delicate, oozes style, and shows touches of Peignot in its contrast.
• FS Silas Sans (2008, Jason Smith, Bela Frank, Fernando Mello and Phil Garnham).
• FS Silas Slab (2015, Bela Frank).
• FS Sinclair (2007-2008). A rounded octagonal typeface by Jason Smith and Phil Garnham.
• FS Sophie (2004). A feminine sans typeface.
• FS Split Sans and FS Split Serif (2019, Jason Smith and Fernando Mello). Has a variable type option.
• FS Truman (2012, Jason Smith and Fernando Mello). A sans family.
• FS Untitled (2016, Jason Smith and Fernando Mello). Developed for screens.

Fonts.org.ua
[Genadij Zarechnjuk]

Ukrainian font foundry run by Genadij (also spelled Henadij) Zarechnjuk (b. 1961) who lives in Lviv. Nice historically accurate free fonts made by him in the period 2000-2003: Abetka Kirnarskoho, Ancient Kyiv, Luchtein-Bold, Luchtein, LuchteinLight, NarbutClassic, NarbutNarrowContrast, NarbutWhirlSans-Serif, Narbut Abetka, Skoropys-XVII, SnarskyUstav, SnarskyjOldStyleNarrow, SnarskyjUstavNew, Traditional-Heavy, Yakutovych-Black. Chomenkivska (2007) is a semi-slab serif Cyrillic beauty.

In 2010, he created the art deco typeface New Hotinok 2D (2D Typo), together with Viktor Kharyk, as well as the nice calligraphic typeface Ukrainian Barokko 2D. Khomenkivska (done with Viktor Kharyk) is based on a 1965 design by Basil Khomenko (1912-1984). Baumans (2011, Google Web Fonts) is a geometric typeface for headlines. Its letterforms are inspired by Bauhaus typefaces and preconstructivist forms.

In 2014, Dmitry Rastvortsev, Lukyan Turetsky, and Henadij Zarechnjuk cooperated on the design of the free Latin / Cyrillic handwriting typeface Kobzar KS, which is based on the handwriting of Taras Shevchenko, a famous Ukrainian poet, artist and philosopher.

In 2016, Henadij Zarechnjuk and Viktor Kharyk designed Dnipro for Apostrof. The Cyrillic version of this font follows Ukrainian decorative traditions, initiaited by Georgy Narbut and Mark Kirnarsky in the 1920s and continued until the 1980s. The Latin part has an uncial character.

Homenko (2020) by Viktor Kharyk, Henadij Zarechnjuk and Konstantin Golovchenko is an update and extension of Vasyl Homenko's metal Ukrainian typeface from 1963-1967.

Open Font Library link. Old URL. [Google] [MyFonts] [More]  ⦿

Fontyoufonts.com
[Henrik Kubel]

Nearly all (Mac only) fonts at Fontyoufonts.com are made by Henrik Kubel, who works at the London-based design studio A2-GRAPHICS/SW/HK in London, which was founded in 2000 by Royal College of Art graduates Scott Williams and Henrik Kubel. Henrik Kubel is visiting lecturer at Royal College of Art since 2009. In 2010, Kubel and Williams set up A2 Typwe. Kubel's text fonts include FY-Battersea, FY-Klampenborg, FY-Neon, FY-ParsonsGreen, FY-M.Carpenter, FY-Gt.Eastern, FY-Stencil, FY-Typewriter, FY-Centera, FY-Cubitt Fax, FY-S.Staton. The display fonts include FY-Grot-7, FY-Boing, FY-Army, FY-Woodblock, FY-Rodeo, FY-Ornamenta, FY-Italic One, FY-Signsystem, FY-Black, FY-Stencil. There are grid-based/pixel fonts such as FY-Lego-Logo, FY-Bauhaus (a kitchen tile font), FY-Link, FY-Optic, FY-Graduate, FY-MeSoHungry, FY-Buckminster, FY-3D (2001), FY-Dictate, FY-Angel, FY-DotZero, FY-Square. Finally, there are the dingbat fonts FY-Pictogrammes, FY-Early Learning Dingbats. Kubel is also the designer at ACME of 4590, AF-Battersea (1999, a grotesque family), AF-CENTERA, AF-Copenhagen, AF-Klampenborg (1997-1999, grotesque sans, done with Scott Williams), CPH-ArabicNumbers, CPH-Medium, Grot-25. With Margaret Calvert, he updated the British Rail fonts in 2009, adding East European characters, for example. At ATypI 2010 in Dublin, he spoke about New Rail Alphabet, a revival of that typeface, still with Margaret Calvert. During the Expert Type Design Class (2011, Plantin Genootschap, Antwerp), he created the text family called Antwerp. [Google] [More]  ⦿

Fragtype
[Grey Albornoz]

Chilean artist and type designer. In 2021, she released Sabana, a 14-style Comic Sans genre typeface for Latin and Cyrillic.

Typefaces from 2022: Budare (a geometric display sans in 16 styles that marries Bauhaus with hipsterism; Albornoz: its design is based on the shape of the wrought iron plate used in Venezuela and other countries to make arepas and other food). [Google] [MyFonts] [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]  ⦿

Futura Black circa 1860
[Eric Kindel]

This provocative title is used by type historian Eric Kindel for his presentation at ATypI 2013 in Amsterdam. His research is captured in the abstract, which is reproduced verbatim below.

Futura Black, Braggadocio, Transito, Schablone. These typefaces, variously constructed of squares, triangles and circle segments, are blunt and counterpunctual. They are a consolidation of letters (and numbers) that emerged in the work of early European modernists, among them De Souza Cardoso, Léger, Hoerle, Arntz, Berlewi, Lissitsky, Schmidt, Albers and Moholy-Nagy. The Dutch, too, found such letters to their liking: Van der Leck at first, then Sandberg, Elffers, Schrofer, Bons and many others. The letters are emblematic of the first machine age and it impulse to build from or reduce to simple geometric elements. They seem mechanistic but are not obviously made by any specific tool or machine. This presentation will trace this most modernist of letters to its mechanical origins. The trail will lead to the northeastern United States where, in the middle decades of the 19th century, a group of inventor-makers devised letters of this kind for very practical reasons. Their aim was quick and easy stencil cutting. To achieve this, stencil letter punches seemed like a good idea---and so they invented them. When it came to their manufacture, the punches acquired striking features: forms stripped of all vulnerable detail, cut with grinding wheels, hack saws and files, built to withstand relentless hammer blows, driving them through brass into hard wood. Letterform conventions were followed but only so far as manufacture and use would allow. The results were odd, perhaps ugly, but certainly purposeful. In addition to reviewing the idiosyncratic form and manufacture of these letters, the presentation will offer brief profiles of their almost unknown inventor-makers. A range of artefacts associated with stencil letter punches will be illustrated, including stencil-making outfits advertised and sold in the US after 1860, which were bought by enterprising individuals in search of a trade. Requiring only a modest outlay, some initiative and perhaps a decent pair of boots, many purchasers became canvassing stencil cutters, armed with a license, an account book and a small catalogue of designs to tempt the public. The presentation will follow the evolution of stencil letter punches through the later 19th century and into the 20th, when their letters were reborn into a bright modernist world. [Google] [More]  ⦿

Futura PT

Futura was designed for Bauer company in 1927 by Paul Renner. A geometric sans serif, it is representative of the German Bauhaus school of the 1920s and 1930s. Issued by the Bauer Foundry in a wide range of weights and widths, Futura became a very popular choice for text and display. The original Cyrillic version had eight styles and was developed at ParaType (ParaGraph) in 1995 by Vladimir Yefimov. Additional Cyrillic styles were developed in 2007-2009 by Isabella Chaeva. Simultaneously the old eight styles were partly revised to match the whole family. Now the new Futura is a uniform type system consisting of seven weights with corresponding obliques plus eight condensed styles.

Four free styles are here. [Google] [More]  ⦿

Futura: Wikipedia

From the Wikipedia entry:

Futura is a geometric sans serif typeface designed in 1927 by Paul Renner. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. Renner's initial design included several geometrically constructed alternative characters and ranging (old style) figures which can be found in the typeface Architype Renner. Futura was commissioned by the Bauer type foundry. The success of Futura coincided with the creation of many competing geometric sans serif typefaces including Kabel, Metro, Vogue, Erbar and Spartan, Twentieth Century, and Century Gothic among others.

Futura has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. (This is most visible in the almost perfectly round stroke of the o, but the shape is actually slightly ovoid.) In designing Futura, Renner avoided the decorative, eliminating non-essential elements. The lowercase has tall ascenders, which rise above the cap line. The uppercase characters present proportions similar to those of classical roman capitals.

Uses of Futura by businesses: Graphic identity of Volkswagen and Union Pacific, Swissair (1950s to the 1990s), Boeing's flightdeck labeling, films by Wes Anderson and Stanley Kubrick, the commemorative plaque left on Earth's moon by Apollo 11 astronauts in July 1969, Ikea Sans and Opel Sans (Futura-based house fonts designed by Robin Nicholas), Doctor Who (BBC series), RAI Radiotelevisione Italiana, and Ferrovie dello Stato. [Google] [More]  ⦿

Gábor Kóthay
[Fontmunkások]

[More]  ⦿

Gaël Goy
[Radis Noir]

[More]  ⦿

Genadij Zarechnjuk
[Fonts.org.ua]

[MyFonts] [More]  ⦿

Gene Buban

Gene Buban (aka geneus1) is the creative and prolific designer at FontStruct in 2008-2009 of these typefaces:

• Aerologica (2009): 3-d headline face.
• Alphadings: DeTracks.
• Altitudinus (2010).
• Amplifica (+Carved, 2010).
• Arkham Bloodletters (2008).
• bay6
• Bauhaus style: Slink (2009) is a tribute to Josef Albers---one could also call it a piano key font. Codename Bauhaus (2010).
• Arc Brick 1:1 and 2:2 (2010).
• Bevelicious (2009): 3d shadow face.
• Bezziaiare (2010): an imitation of Futura.
• Brikd is a fantastic headline face.
• Bubble Lab EF (2008) and Bubble Lab Bang (2008): dingbat fonts.
• Calligraphique (2010).
• Candella (2013).
• ChequereBoard (2008): a 3d face.
• Christmas fonts: Kallosia Decorative (2009, blackletter), Snowflakes (2009).
• Clone War (2008).
• code2
• Codename Bauhaus (2010).
• Country Fried (Western style)
• Crossfyre (2010).
• Crystles (2014). He writes: In 1983, Atari released the Crystal Castles video game. You play Bentley Bear walking around castles and collecting gems. Trimetric instead of isometric. Interestingly enough, the initials of the highest scorer in the leaderboard is used to build the first castle. This font version is created using the same thin plated tiles that the player traverses through the castles.
• Decorata (stylized art deco)
• Didone fonts: Legality (2009, sharply serifed), Petrissage (2009).
• Digibubble (2014: pixelish face).
• Dingbats: DeTrayne (graffiti-clad trains), Happy Halloween (2009).
• Egalite (2010): a blackletter face.
• Direktype (2014: striped).
• Elektronika (2009) and Circularities (2015). Pixelish.
• ElSeeDee (2008, white on a black grid, inspired by the baggage claim LED scrolling message system at the Oakland Airport)
• Effleurage (2009).
• Eurostijl (2008)
• Exersia, Excursia
• Ferno (hell?)
• Filmstryp (2008)
• Flameon (2008) is a vertically striped athletic lettering font.
• Fluoralei (2008) and Fluoralyte (2008) are all caps floral-themed typefaces.
• Futuro (2008) and Futuro Extra Bold (2008).
• Futurity Watch (2009).
• Fragg (2014: a rounded stencil face).
• Framestore (2008).
• G1 Construx (2012). An arched textured typeface for "under construction" signage.
• G1 Stenzilla (2012). A piano key stencil face. G1 Twyne (2014: Celtic knots), G12 Brayed (2014: Celtic knots), G1 Explo (2014), G1 Fasttrax (2013).
• Gappy and Gappy LC (2010).
• Geolateral
• Glossierre (2009).
• Graffikki (2010): graffiti face.
• Hammerslab (2008) is a very thick heavy slab serif face.
• Happy Halloween (2008): Halloween dingbats.
• HellStruct (2008): flamed letters.
• hollo, holloback, holloblack
• HulkSmash has the look of cracked concrete blocks---has to be seen to be believed!
• HyperLynk (2010).
• Indiglo (2010).
• Interblok Cylindrome (2011) and Interblok Stroke (2009): labyrinthine / Celtic knot / texture typefaces.
• IronManic (2008, letters resemble armor steel plates with bolts)
• IsoMatrix 3D (2009, an Escher deception in 3D), Bevelluzian (2010, 3d beveled checkerboard illusion).
• Jaggs (2010): angular.
• Karuso 68 (2009).
• Leefer is a kitchen tile font.
• Legere (2010, a roman face).
• LegoManiax (2008).
• G1 Lovelines (2016). A multiline typeface with embedded hearts that won an award in the 2016 FontStruct competition on the theme of love.
• Lucid (2009).
• Lush Alienne Caps (2014).
• Microboto (2014).
• Modulus and Modulus Black, ultra fat fonts.
• Motternal (2011), a version of Othmar Motter's Motter Tektura.
• Mucro Bold, a heavy metal band font
• Multiverse Diagonality (2009).
• Nontroppo (2010).
• Outlier (2010).
• Paradoxx (2011). Peignotian.
• Periculum (2010): monoline sans.
• pixsle
• Pixsle (2010).
• Predatoric ad Predatoric2 (2010).
• Prikkle (2010): angular.
• Ray Type Alpha (2014). A game font based on Konami's 1981 game Scramble.
• Renovare S1 (2010) and Renovare S2 (2015). a slab serif.
• Requiemme Decorum (Sept. 14th, 2009): blackletter. He writes: Exactly one year ago two of my cousins, Chris and Cleofe, got into a dealer-loaned Lexus for a trip after their main car was being repaired. Cleofe's husband, a CHP officer, was driving and their teen daughter was along for the ride. While on the freeway, the accelerator became stuck and they lost control of the car. As the runaway vehicle sped up to over 100 mph, all four passengers were killed in a fiery crash in the San Diego River. The loss was unquantifiably devastating. This immensely tragic event led my aunt to testify before congress with damning evidence that would initiate the recall of millions of Toyota vehicles. Requiemme Decorum was created on the way down to southern California for the funeral services. For Chris, Cleofe, Mark, and Mahala, may you all rest in peace and love.
• Renovare (2010, +Renovare S1, S2): a slab serif.
• Roboscript (2008): an upright connected school script.
• Rubrix (2008): a Rubik cube dingbat font.
• Sanserity (2013).
• Scipio (2010).
• Scribble Not (2010) is a texture face.
• Sequencia (2010).
• sedagive
• Seriface and Seriface 2.0 (2010, a roman all-caps set).
• Sharp-serifed almost modern typefaces: Legality, Petrissage, Effleurage, Karuso68.
• Sinaloco (2014: in the style of Sinaloa).
• Sirkles (2015). a dot-matrix typeface.
• Sonorous (2010). Broadway-style art deco typeface.
• Spartan Tech (2010): inspired by the multiplayer game Halo3.
• Stanley Twobrick (pointy minimalist face)
• Startrek typefaces: Transformicon (2009).
• Stencilline (2014).
• Streamlyne (2010, squarish, outlined).
• Structurocca and Structurozza (2009): Horizontally stencilled black typefaces.
• Swizelle (2015). A lava lamp typeface.
• Tangience and Tangience Solid (2008) are fonts in which the glyphs are built up from circles glued together.
• Tetrisyde
• The Pax Man (2009): metallic whatever.
• Trelief and Trelief Rounded (2010): multilined 3d beveled typefaces.
• Tubric (2010): counterless.
• Upriteous and Upriteous Black, condensed protestant fonts.
• Victoriana (Victorian caps)
• Vindicta Dualine (2011: Blackboard bold).
• Wall-F: white squarish letters in black circles
• Waverly, with scary pointed barbs like on German WWI helmets.
• Weaver (Celtic knot-themed letters)
• Xerro (2010): like Helvetica.
• Yeomamuh, a fat look face.
• Wypeout (2010)
• Zorea (2014, inline font).

Genilson Lima Santos

Genilson Lima Santos is the Salvador, Brazil-based designer (b. 1985, Bahia) of Stilu (2015, sans), Jenelson (2006), the stroked font Styllo (2007), the brushy Carybe (2011), the all caps sans typeface Linna (2016), the display typeface Victorine (2016), the rounded sans family Baldini (2016), the high-contrast all caps Cellophane (2016), the text typeface Petralina (2016), the rounded Bauhaus-inspired sans typeface family Rosa Maria (2016), the multicolor layerable rounded poster typeface Buba (2016), the free wide unicase sans typeface family Urucungo (2016), and the semi-didone display typeface Salinas (2016).

Typefaces from 2017: Hibiscus, Blackye (a delicious black rounded sans for Latin, Greek and Cyrillic), Somma (geometric sans), Tryal (formal calligraphic), Love Moon, Urbanpolis (sans).

Typefaces from 2019: Dynamo (a retro-futuristic typeface), Hellen (a revival of the flared classic Koch Antiqua from 1922).

Typefaces from 2020: Auster (a serif family), Giovanna and Giovanna Sans (a luxurious roman caps typeface).

Typefaces from 2021: Yacht (a ligature-themed display serif), Milagre (by Edileno Capistrano Filho and Genilson Santos; a free party font based on text seen on azulejos [tiles] at Fundação Casa de Jorge Amado in Largo do Pelourinho, Salvador, Brazil, with text by writer James Amado, lettering by artist Floriano Teixeira and engraving on the tiles by ceramist Udo Knoff in 1987), Arienne (a frivolous all caps font), Mirabela (a fashion mag serif), Serafina (a decorative serif).

Typefaces from 2022: Kolbo (a pure wedge serif display typeface), Amabella (a sharp-edged serif). [Google] [More]  ⦿

Georg Seifert
[Schriftgestaltung]

[MyFonts] [More]  ⦿

Geri Osgyan

Aka Gergo Osgyan. During his studies, Geri Osgyan (Szolnok, Hungary) created Mosaic Type (2014) and the monospaced unicase Bauhaus-inspired Student 26 (2016). Behance link. [Google] [More]  ⦿

Gert Wiescher
[Wiescher Design]

[MyFonts] [More]  ⦿

Gianluca Sandrone

Gianluca Sandrone is a graphic designer in Perugia and Bolzano. He started working at LaMatilde Studio in Turin, and obtained an MA in communication and graphic design from ISIA in Urbino, Italy, in 2014. In 2015 he started working as a collaborator at Bcpt and CoModo coop. in Perugia. In 2018 he began teaching editorial and graphic design at IID in Perugia.

His typefaces:

• In 2021, CAST released the wonderful monospaced Bauhaus-inspired typewriter family Xanti Typewriter by Gianluca Sandrone.
• BCPT Norcia (2019) is a custom didone stencil typeface designed for the brand identity of Renzini, one of the market leaders in the cold meat industry, a company with deep roots in Umbria.
• BCPT LG Corporate (2017). Sandrone writes: LG Corporate font was created more than 20 years ago, when Listone Giordano decided to move from traditional Bodoni used in its communications to a variation with much visual impact for redesign of its logo. [...] Therefore the studio decided to evolve the trademark into a complete titling font to be used systematically for the entire product collections.
• Issra (2021). A titling typeface.
• CocaCola (2017). A multiline display typeface custom designed for Mauro Bubbico, which now is officially part of the graphic identity of the Cola Cola Museum in Gravina di Puglia. It is inspired by lettering seen in Federico Fellini's d film credits.

Goda Petruskeviciute

During her studies at Vilnius Art Academy in Vilnius, Lithuania, Goda Petruskeviciute designed the Bauhaus-inspired sans typeface Obsurdo (2019) and a set of animal icons (2018). [Google] [More]  ⦿

Gradient (was: Mindburger Studio)
[Milos Mitrovic]

Milos Mitrovic's foundry in Bergen, Norway, is called Gradient. Before that, he set up Mindburger Studio in 2015 in Nis, Serbia, before relocating to Norway.

His early typefaces included the 1920s style sans family Bambino (2014), which was influenced by Futura. In 2015, he published Bambino New.

Typefaces from 2016: Bergen Sans (a modern geometric sans advertized in this manner: [...]clean and stylized Scandinavian geometry, partnered with explosive post Bauhaus type aesthetics[...]), Noir (based on early 20th century geometric sans models; in 12 styles, for Latin, Greek and Cyrillic).

Typefaces from 2017: Bergen Mono, Bergen Text (a great geometric sans family).

Typefaces from 2019: Radial (a variable sans), Linear Sans.

Typefaces from 2020: Poly Sans (+Mono).

Village link.

Typefaces from 2021: Okay Serif (a decorative didone for Latin, Greek and Cyrillic). [Google] [MyFonts] [More]  ⦿

Grafica Studio (or: Grafica Type)
[Neil Wengerd]

Neil Wengerd studied at Kent State University. In 2009, he started work on a Bauhaus-style typeface called Neuehaus. He established Grafica Studio in Columbus, OH. Designer of Autostrada (2017), a utilitarian typeface based on vintage Italian highway lettering. Cargo Collective link. [Google] [More]  ⦿

Grafica Studio (or: Grafica Type)
[Neil Wengerd]

Neil Wengerd studied at Kent State University. In 2009, he started work on a Bauhaus-style typeface called Neuehaus. He established Grafica Studio in Columbus, OH. Designer of Autostrada (2017), a utilitarian typeface based on vintage Italian highway lettering. Cargo Collective link. [Google] [More]  ⦿

Grafici Senza Frontiere

Grafici senza frontiere (graphic designers without borders) is based in Milan. They created a piano key Bauhaus-inspired typeface called Archiquadro (2012). [Google] [More]  ⦿

Grafici Senza Frontiere (was: Tomaso Typo Baj Fonts)
[Tomaso Baj]

Gironico, Como, Italy-based designer of the retro sans all caps typeface Aero Club Como (2013-2014). In 2012, he created Archiquadro, a Bauhaus style piano key stencil face.

Another URL. [Google] [More]  ⦿

Grey Albornoz
[Fragtype]

[MyFonts] [More]  ⦿

Grosse Pointe Group LLC
[Mark Solsburg]

The Grosse Pointe Group LLC is located in Westport, CT, and is run by Mark Solsburg, who also owns Group Type, ansd who was involved in or ran FontHaus and TypoBrand. Under the Grosse Pointe label, we find a digital font called Stradivarius (1992), named after Imre Reiner's 1938 formal script font Symphonie (Bauer; renamed Stradivarius in 1945). At Group Type or the other outfits of Solsburg, we find these fonts: Carpenter (a 1995 revival of an old connected ATF script by James West), Aquiline (an absolutely wonderful 16th century script), Bank Gothic (1994, a revival of Morris Fuller Benton's original---see also Bank Gothic BT), Aries (a 1995 revival of a lapidary by Eric Gill), Schneidler Initials (a 1995 revival of Friedrich Hermann Ernst Schneidler's Trajan-style typeface), Raleigh Gothic (a 1995 typeface based on Morris Fuller Benton's design. See also Raleigh Gothic RR for a different revival), Ovidius Script (a medieval simulation script, dated 2006, designed by Thaddeus Szumilas; in Light, Demi and Bold weights), Metro Sans (2006, a great Bauhaus style sans family based on William Addison Dwiggins' Metro #2), Corvinus Skyline (1991; a revival of a condensed modern family by Imre Reiner by the same name, 1934), Cloister Initials (2006, a revival of an illuminated caps typeface by Goudy), Regular Joe (2006, an out-of-place childish handwriting font), and Caslon Antique (1993; based on an original by Bernd Nadall). [Google] [More]  ⦿

Group Type
[Mark Solsburg]

Mark Solsburg's outfit located in Westport, CT. Before GroupType, Solsburg worked at ITC, which he left in 1989 to start FontHaus. Later he started TypoBrand and Grosse Pointe Group LLC. Solsburg headed the Type Directors Club for a few years. He is presently located in Ann Arbor, MI. He is President / CEO of DsgnHaus (1989-present), and partner in TypoBrand LLC (2004-present), a specialized typographic consulting firm founded by type designer, Mark van Bronkhorst; former type designer for Adobe, Linnea Lundquist, and Mark Solsburg. It seems that the FontHaus collection is now being marketed under the Group Type label at MyFonts. Group Type does technology consultation in the field of providing software and type typeface fonts for designers, publishers and typographers, related to the selection, purchase and use of design software and type typeface fonts for use in graphic, industrial, interactive and communications design. They specialize in revivals. Their fonts include

• Aquiline. An absolutely wonderful 16th century script.
• Arbor Brush (2012). A brush font that seems almost painted.
• Aries. A 1995 revival of a lapidary typeface by Eric Gill.
• Bank Gothic (1994). A revival of Morris Fuller Benton's original---see also Bank Gothic BT. Now also Bank Gothic Distressed.
• Bristol (1994). In Adornado and Solid substyles. Based on a design by Stevens Shanks.
• Broadway Poster.
• Carpenter Script (1995). Revival of an old connected ATF script by James West.
• Caslon Antique (1993). Based on an original by Bernd Nadall.
• Cloister Initials (2006). A revival of an illuminated caps typeface by Goudy.
• Cooper Poster.
• Corvinus Skyline (1991). By Ann Pomeroy. A revival of a condensed modern family by Imre Reiner by the same name.
• Craw Modern (2012). A revival of Craw Modern by Freeman Craw (1958, ATF).
• Diane Script.
• Fortis (2012), formerly Atlas. In the wood style of Latin Wide, with heavy sharp triangular serifs.
• Girder Poster.
• Gotico Black. A blackletter.
• Grosse Pointe Metro (2006-2009). A great Bauhaus style sans family based on William Addison Dwiggins' Metro #2). See also Detroit Metro.
• Grotesca (1995).
• Laughin. Andrew Smith contributed his Laughin, which was earlier at FontHaus.
• Maxim.
• Ovidius Script. A medieval simulation script, dated 2006, designed by Thaddeus Szumilas. Comis in Light, Medium and Bold.
• Poster Gothic.
• Raleigh Gothic (1995). A typeface based on Morris Fuller Benton's design. See also Raleigh Gothic RR for a different revival.
• Regular Joe (2006). An out-of-place childish handwriting font.
• Ronde Script (2012). This ronde comes from the French side. Group ype says that it was modeled after Parisian Ronde by the Chappelle foundry in Paris, but its roots go back to Nicolas Gando.
• Schneidler Initials (1995). Revival of Friedrich Hermann Ernst Schneidler's Trajan-style typeface.
• Sitcom. Ann Pomeroy contributed Sitcom.
• Spire. By Ann Pomeroy. A condensed didone family heavily based on Sol Hess's Spire (Lanston).
• Stradivarius.

View the Group Type typeface libary. [Google] [MyFonts] [More]  ⦿

Hanken Studio
[Alfredo Marco Pradil]

Graduate of the College of Architecture and Fine Arts, Batangas State University, The Philippines, who has been working as a graphic designer since 2005. He is currently located in Dubai, UAE and is a prolific type designer. His typefaces:

• Neue Einstellung (2021). A nine style geometric sans that exudes rigidity and mechanical precision.
• Ouido (2021). A condensed old style serif family with twelve cuts.
• Pianono (2021). A curly typeface named after a Filipino dessert.
• Nuova Volte (2021). A carefully designed sans family.
• Compound Sans (2021). In 45 styles, plus a variable font.
• Trinkle Sans (2020).
• HK Requisite (a 9-style low contrast sans) (2020).
• Terminal Guise (2020). An 8-style monolinear geometric sans with open counters (except on the lower case o).
• Luckybones (2020).
• Action Sans (2020). A free almost monolinear sans.
• Open Sauce Sans, Open Sauce One and Open Sauce Two (2020). He writes about these three large free sans families: Open Sauce is a font superfamily that I developed for Creative Sauce's internal type system. It is a compact typeface that is optimised for better viewing small text on screen and print. Open Sauce (Sans, One and Two) is under the SIL Open Font License and is going to be actively developed, improved and tested. One small modification is Cristiano Sobral's Criativa Sans (2020).
• Yelena (2020). A brush script.
• Keiner (2020). A rigid monolinear sans typeface family.
• Cosmic Octo (2020). A blocky display/poster typeface for an experimental ice cream recipe venture.
• Snah (2020). A playful free all caps typeface.
• Belina Script (2020).
• Itzkarl (2020). An all caps typeface with flared terminals.
• Anahaw (2020). A foliate typeface modeled after palm leaves.
• Batangas (2020). Free.
• Lumi Sans (2019).
• Device (2019). A sans that supports orange-dyed fascists, oil industry buffoons and climate change deniers.
• Stenzel (2019). a stencil typeface.
• Nourd (2019).
• Suprapower SE (a display sans) (2019). Heavy and wide, for posters, packaging, headline and titles.
• Sauce Grotesk (2019). Sauce Grotesk is a sans serif typeface that James Birch and Alfredo Marco Pradil developed for Creative Sauce's internal type system.
• TEG (2019).
• Enreal (2019).
• Arca Sentora (2019). A geometric sans.
• Serif 420 (2019).
• Guise (2019). A Swiss style sans family.
• Grantipo (2019), A sans family inspired by Cerebri Sans, Helvetica and Akzidenz Grotesk. .
• HK Sentiments (2018). A neutral / geometric sans.
• Natrix Sans (2018). A free grotesque family without italics.
• Reminisce (2018). A Peignotian sans typeface family.
• Aeon Hexa (2018). Alfredo explains that he tried to amalgamate the features of Helvetica and Cerebri Sans.
• Acari Sans (2018). A free typeface by Alfredo Marco Pradil (Latin part) and Stefan Peev (Cyrillic portion). Based on HK Grotesk (2015).
• HK Kontrast (2018). An angular wedge serif typeface.
• HK Yavimayan (2018). A text typeface with flaring.
• HK Focus (2017).
• HK Gothic (2017). Twelve styles.
• HK Compression (2017). A bold compressed all caps sans.
• HK Carta (2017). A text typeface with didone elements.
• HK Spec (2017).
• HK Zercon (2017). A free sans.
• HK Concentrate (2017). A sans typeface family.
• Arlene (2017). A didone typeface family.
• Barter Exchange (2017).
• HK Blocker (2017), a heavy rounded sans.
• Zwizz (2017). A Swiss typeface family.
• Cerebri Sans (2017). Free download.
• HK Nova (2017). A geometric sans family inspired by Century Gothic and Futura. The Medium weight is tweetware. See also HK Nova Narrow and HK Nova Rounded.
• Illuma (2017). A free headline sans typeface.
• Number 23 (2017). A text typeface family.
• HK Caslon (2017).
• Polarity (2017).
• Placid Amor (2016). Copperplate style.
• Ludema (2016). An informal sans typeface, made by Joao Symington..
• Alienware (2016). A custom typeface for Dell's Alienware computers.
• Extremis Compakt (2016). A custom typeface for Extremis.
• Number 23 (2016). A Caslon-style text family.
• El Enra Rounded (2016). A condensed headline sans.
• Faldore (2015-2016). A simple sans typeface family.
• Hans Grotesque (2016). A sans designed for long texts.
• Decalotype (2016). A free sans typeface.
• HK Compakt (2016). Inspired by Akzindenz Grotesk.
• HK Serif (2016).
• Jellee (2016). A very soft heavy rounded sans typeface. Download.
• El Enra (2016). A free bold condensed sans.
• Type 36 (2016). A clean geometric sans.
• Arco Perpetuo (2016). A free subtly rounded sans family.
• Industri (2016). A tweetware sans.
• Okomito (2016). A sans with large open counters. Okomito Medium is free. Okomito Next was released in 2020.
• Comprehension Semibold (2016).
• Radnika (2016). Announced as a workhorse sans. Followed in 2017 by Neue Radnika Schriftart, or Radnika Next.
• Hanken Sans (2016).
• ADA Hybrid Display (2016).
• The free geometric sans typeface Orkney (2016, with Samuel Oakes).
• Caslon OS (2015, Open Font Library).
• The basic sans typefaces Now (2015, Open Font Library: geometric), Now Alt (2015), Einstellung Schrift (2015, geometric sans), Neue Einstellung (2015), Elenar (2015; and the free Elenar Love), Amicale (2015), HK Explorer (2015), HK Explorer Soft (2015), HK Explorer Sharp (2015), HK Grotesk (2015: free; extended to HK Grotesk Pro in 2016, and HK Grotesk Light in 2017, HK Grotesk Wide in 2020, and Uacari Legacy by Cristobal Sobral in 2020), Industri (2015, caps only headline face), Monoist (2015, monospaced), Glacial Indifference (2015, Bauhaus-inspired), Malakas (2015), Genome (2015) and Gen Light (2014, OFL).
• Arca Majora (2014) and Arca Majora 2 (2016). A free heavy geometric sans face.
• SAG Block (2014).
• Ahamono and Ahamono Monospaced (2012-2015). Originally, this was a free rounded monospace typeface with typewriter features.
• Neue Hans (2014), Hanken Round (2014, a free rounded sans), Neutrage (2014, a neutral signage sans).
• Hard Edge (2014). An octagonal typeface.
• Teknik (2014). A technical sans typeface.
• Bullet (2014).
• The grotesk typefaces Primary Hans (2014) and Hans Kendrick (2014) and Neue Hans Kendrick (2016). Both have elements of Avenir and Futura, and are characterized by a relatively small x-height. Followed by the art deco sans-inspired Neo Hans in 2019.

OFL link. Hellofont link (for purchasing his fonts). Behance link. Facebook link. He operates as Hanken Studio. [Google] [MyFonts] [More]  ⦿

Hanoded
[David Kerkhoff]

Hanoded is the foundry (est. 2010) of Dutch designer and photographer David Kerkhoff, b. Epe / Vaassen, 1969. In its first year, Hanoded was a free font outfit specializing in handwriting and hand-printed typefaces. Its creations could be seen at Dafont, Abstract Fonts and Fontspace. Fontspring link. Klingspor link.

In 2011, he went partially commercial via MyFonts. His typefaces became more diversified and are quite stunning at times:

• A: Aardvark Dreams (2016), Abeille (2016), Abelia (2015), Abysmal Gaze (2011. scratchy face), Aceituna (2018), Adagietto (2018), Aderyn (2012: a poster family), Adieu Mon Ami (2021: a crayon font), Aeronic (2015, based on a 1937 Japanese poster for Nikke Coat by Japanese print artist Gihachiro Okuyama (1907-1981)), Aficionado (2019), After Nightfall (2018: spooky), Aiguille (2018), Aint Nothing Fancy (2010). All Over Again (2010), All Over Again All Caps (2010), Allez Hop (2011), Ambleside (2018: a fun scratchy curly script), Ambrosine (2017), Americain (2012, constructivist), American Grunge (2015), Amoebica (2014), Andorra Script (2014), Another Monday (2020), Antisocial Behavior (2010), Antidote (2016, 3d and handcrafted), Apex Brush (2019), Appelstroop (2016), Arancello (2018, a connected didone), Artful Dodger (2012, a grungy Clarendon), AshesToAshes (2010), Ashtanga (2013, curly caps), Astromonkey (2016), Atonement (2018: a great irregular inky script), Attaboy (2016, dry brush), Attention Seeker (2017), Au Revoir (2012), Autumn Voyage (2017), Avontuur (2017), Awesome Sauce (2019).
• B: Background Echo (2021), Backyard Hero (2018), Badehaus (2015, an art npuveau typeface modeled after the lettering on the Thermal Badehaus in Bad Neuenahr, Germany), Bad Medicine (2017), BadPaintjob (2010), Bakeapple (2019), Balagan (2010), Bandolina (2014), Band Wagon (2018: Western), Baznat (2010), Beanstalker (2018), Bearskin (2019), BehindDirtyBlinds (2010), DK Bergelmir (2014), Bergie Seltzer (2019), Betula (2018), Bintang (2016), Bitterbrush (2018), Bitumen (2017: a sticky typeface), Blabbermouth (2018), Black Bamboo (2014), Black Cluster (2018), Black Mark (2012, a heavy brush face), Blackminster (2017: blackletter), Bladesmith (2018), Blauhaus (2015, a rounded organic monoline Bauhaus), Bloemgracht (2014, Dutch deco), Bloomer (2019), Blueberry Jam (2016), Boarding House (2017), Bocadillo (2016, brush script), Bodiam (2016, beatnik style), Bombay Blue (2014, handcrafted poster font), Blue Sheep (2016, comic book style), Bogeyman (2019), Boris Brush (2016), Borrowdale (2016, a crayon font), Bottle Brush (2017, dry brush), Bottle Shop Faded (2010), Bratislava (2015), Breadcrumbs (2019), Breakfast Noodles (2020), Brochette (2019), Bronwen (2018: a vampire or bewitched font), Brouwerij (2021), Brushcrazy (2019), Brush Crush (2016), Buckthorn (2017, grungy), Bugbear (2019: a cartoon font), Bunny Daydream (2020), Bupkis (2017), Breakfast Burrito (2015), Brooklyner (2013: an art deco caps typeface based on the typeface used for The Brooklynite, a magazine from the 1920's), Brouillard (2017), Brushzilla (2017), Bullet in your Head (2010), Bumper Sticker (2020), Bungehuis (2015, Dutch deco after the lettering on a building in Amsterdam, 1931), Buntaro, Burobu (a blobby typeface), Business As Usual (2011, scratchy), Buttered Toast (2015), Butterfly Ball (2014), Bygone (2017, brush font).
• C: Cadora Woods (2020), Caerphilly (2018), Caffe Lungo (2019), Camping Holiday (2018: comic book style), Canned Whale (2012, outlined and hand-printed), Canoodle (2016), Capricious (2020: a dry brush font), Carambola (art deco sans), Carbonara (2011, grungy typewriter), Carpe Noctem (2017, a haunted font), Carrot Juice (2017), Carte Blanche (2012, a gorgeous arched / sketched caps face), Castanea (2012, a painter's font), Castle On The Hill (2017), Castlerigg (2020), Catskin, Mon Petit Cahier (a children's handwriting emulation) (2021), Celluloid Bliss (2010), Cerulean Blue (2018), Chalkaholic (2018), Charons Obol (2011, scary brush face), Cheat Sheet (2013, handwritten), Checkout (2015, a basic supermarket script), Cherubina (2016, beatnik style), Chewy Caramel (2020), Chillerz (2020), Chilly Cherry (2018), China Syndrome (2019: a brush-lettered typeface), Chocolatte (2016), Chunky Chicken (2013), Cinnamon Swirl (2016, curly lettering), Cinnabar Brush (2016), DK Clair de Lune (2012, an exquisite curly poster font), Clochard (funky quirky lettering), Closet Skeleton (a scary font based on the cover of the 1946 book De Sprookjeshoorn by Anton Eijkens (1920-2012)), Clootie (2020), Coal Brush (2016), Coconut Punch (2018, dry brush), Codswallop (2011, fat hand-printed), DK Coliseu (2014, art deco), Colporteur (2017), Combustible (2017), Compagnon (2017), Concertina (2018), Cookie Crumble (2019: beatnik style), Cookie Supply (2019), DK Cool Crayon, Cool Daddy (2017, bubblegum font), Coquillage (2017), Corner Shop Chique (2010), Cortese (2016: an interlocking letter poster font based on a 1971 Italian movie poster for La Morte Cammina Con I Tacchi Alti directed by Luciano Ercoli), Cosmo Stitch (2015), Cosmic Turtle (2021: hand-crafted, in beatnik style), Couldnt be bothered (2010), Courant (2011, grungy blackletter), Cover Up (2017), Crayon Crumble (2011, chalk face), Crayon En Folie (2016, a crayon or chalk typeface), DK Crayonista (2012), Crayon Works (2021), Crimson Skyline (2019), Criss Cross (2011), Crocodile Feet (2018: beatnik style), Crowbar (2017), Crowd Pleaser (2021), Crowfeather (2018), Crowd Funded (2018), Crypt (2016), Cry Wolf (2017), Cubissimo (2013, a cubist geometric font inspired by a 1929 poster advertising a museum exhibition), Cul de Sac (2010, 3d outline face, hand-printed and sketched), Cut Along (2017: a paper cutout typeface), Cykelsmed (2018).
• D: Daft Script (2021), Daily Challenge (2021), Daitengu (2020), Dapplegrim (2018), Darker Marker (2016), Darkness Rising (2018), Deco Pimp (2011), Delivery Note (2019), Demagogue (2020), Die Bruecke (2013, a woodblock printing emulation typeface named after the Die Brücke movement), Dinosaur Cake (2018), Dirrrty (2016, a grungy brush font), DK Allez Hop (2011), Discolicious (2017), Display Patrol (2017), Dominant Type (2021), Donkeyman (2021), Don Quixote (2011. nice grunge calligraphic hand), DK Dortmunder Ecke (2015, inspired by cubism), Doubledecker (2019), Double Quick (2014), Douceur (2014, a blackboard bold / tattoo script), Downhill Dive (2019), Down The Wall (2017), Downward Fall (2014, a rough brush), Dragonblood (2015), Dragon Spell (2017, drawn with Chinese ink), Drawing Blood (2010), Dreadnought (2014, brush face), Dreamworld (2022: a comic book brush font), Drop Dead Gorgeous (an all caps brush typeface), Dubbel Zout.
• E: Early Morning Coffee (2012), Earworm (2018), Elbow Grease (2017), Element 120 (2018, a hand-drawn Ultra Bodoni), Endgame (2019), Entourage (2017), Ersatz Quality (2010), Erstwhile (2019), Evil Laughter (2019: a typewriter font with blood drips), Exit Strategy (2020: all caps, dry brush).
• F: Face Your Fears (2011), Face Your Fears II (2015), FairNSquare (2010), Fairy Godmother (2018), Fallout Font (2010), Fantastique (2012, a 3d hand-printed caps face), Fat Little Piggy (2010), Father Frost (2012), Fearsome (2018), Fictional Friend (2019), Fiebiger Eins (2013, an art nouveau / arts & crafts typeface after a 1908 poster by Franz Fiebiger), Fiebiger Zwei (2013), Fingerfood (2018), Flagellum Dei (2016, a rough brush script), Fleabitten (2019), Fledermaus (2012: Fledermaus ("bat") was a cabaret theater from Vienna. The original Jugendstil decor was designed by Josef Hoffman and several posters, advertising performances, were designed by other members of the Vienna Workshop. The Fledermaus font was based on a 1907 poster by Bertold Löffler.; the missing glyphs were created by Kerkhoff), Flying Saucer (2019), Follow The Light (2018), Food Truck (2016, vernacular style), Forgotten Dream (2020: a heavy brush typeface), DK Formosa (2012), Framboisier (2017), Frozen Memory (2017), Fruity Snack (2022), Full Blast (2017: dry brush), Full English (a handcrafted stencil) (2021), Fully Automatic (2022), Funky Flamingo (2018).
• G: Galangal (a phenomenal poster typeface that plays on thick and thin, in the style of Horst Caps), Gallows Hill (2019), Gamboge (2017), Garden Bed (2016, a fat brush font), Garden Gnome (2016), Genki Desu (2019: comic book style), Gerards Gold (2010, script face), Getaway Car (2019). Ghost Reverie (2010, a scratchy family), Gingerline (2018), Glitter Candy (2018), Gobsmacked (2019: dry brush style), Goodie Bag (2019), Grafiker (2013, a brush typeface loosely based on the work of designers Oskar Kokoschka (1886-1980) and Jean Carlu (1900-1997)), Gravitational Pull (2021: a fat finger font), Gravity Well (2021: a rough brush), Greyfriars (2017, a hand-drawn Baskerville), Griezelig (2019: eerie), Grigory (2017), Grindylow (2020), Gritstomper (2020), Grumpy Tiger (2017), Guerilla Handshake (2017), Guilty Pleasure (2019: a fat brush font), Gulag Decay (2010), Gumbo (2019), Gumboots (2020).
• H: Halewyn (2017), Halfway There (a fat finger font) (2021), Hangmans Delight (2016), Hanoded Hand (2010), Hanoded-Heavy (2010), Harajuku Script (2017), Harimau (2012, a rounded children's book font), Harimau Dua (2015), Harrumph (2011, a fat poster lettering family), Hasta Luego (2020), Hasty Tasty (2011), HaraldRunicDEMO (2010), Headlock (2017), Heartsome (2020), Heckel (2013, a German expressionist hand-drawn typeface based on the handwriting of Erich Heckel (1883-1970), a founding member of Die Brücke, a group of German expressionist), Hedgehog Hans (2012, comic book typeface), Henceforth (2017), Hex (2012), Hexenhammer (2017, a font for witches and vampires), Hey Comrade (2016: a messy script font made with a bamboo satay skewer), Hibagon (a rough dry brush font) (2021), Hieratic Numerals (2010), High Tea (2012), Himawari Script (2019), DK Himmelblau (2012, art nouveau font based on a poster from 1902 made by the Künstlerbund Hagen), Hjem (2019), Hobgoblin (2014), Hofstad (2014, after an art deco typeface used by poster designer John Lavies), Hokitika (2014, art deco), Home Education (2021), Homeward Bound (2017, a grungy slab serif), Honey Dew (2016), Honeyguide (2017), Huggin and Muninn (2012, script face), Hungry Zombie (2020), Hummus Chips Salat (2010), Hyggelig (2015), Hyldemoer (2018).
• I: Ice Cream Man (2018), Identity Check (2022: handprinted), Impending Distaster (2022), Inky Fingers (2013, a fat finger font), Innuendo (2015), Interstellar Erosion (2010), DK Insomniac (2015), Instant Harmony (2019), Irena (2016, a cubist/expressionist font inspired by Czech type designer Vojtech Preissig), Ishtar (2012: spooky brush font).
• J: Jalebi (2015), Jambo (2014, bouncy and funky), Joe Schmoe (2011, hand-printed), John Brown (2016), Jubileum (2013), Juicer (2021), Just Before Liposuction (2010).
• K: Kabouter (2019), Kaikoura (2014, art deco), Kandij (2020), Kapsalon (2019, +Pencil, +Brush), Katsudon (2020), Katzenjammer (2015), Kempoka (2014, brush script), Kerberos Fang (2011), Keswick (2013, a lipstick font created using a 6B pencil), Ketimun (2019), Kingsmead Script (2020), Fat Kitty Kat (2013), DK Koerier (2014, a 3d outlined typeface), Knockdown (2016, brush style), Knucklebones (2017), Kodama Forest (2017, Treefrog style), Kokomo (2012, 3d and outlined), Kolkata Hotelroom (2010), Komsomol (2014: was modeled on several Soviet propaganda posters and anmed after the youth division of the Communist Party of the Soviet Union, the Komsomol, or Kommunisticheskii Soyuz Molodyozhi), Konditorei (2018), Koshatnik (2011, all caps brush face), Kubikajiri (2011, an India ink brush face), DK Kundalini (2013, curly), Kunstschau (2012: a beautiful poster font that was modeled on a stamp, designed by Austrian artist Bertold Löffler, for the Kunstschau 1908 exhibition in Vienna), Kurkuma (2013, a wonderful poster caps face), Kuroneko (2019), Kusukusu (2011, hand-printed), Kwark (2013: a 3d poster font).
• L: Lachrymose (2021: a brush font), Lampion (2012, a condensed unicase hand-drawn face), Leakage (2010, ink splash face), Languedoc (2016), Larks Tongues (2017), Laser Vision (2022: a marker font), Lazy Morning (2020), Leftover Crayon (2017), Lemon Yellow Sun (2014), Lenox Avenue (2017, after Studio Handbook Letter And Design For Artists And Advertisers by Samuel Welo), Lille Snemand (2015), DK Limoen (2012, shadow outline face), Liquid Amber (2018), Liquid Embrace (2015, a brush font), Little Boy Blue (2016), Lokomotiv (2012, an art deco caps typeface based on poster for the 1930 Geneva Motor Show), Longreach (2018), DK Louise (2012, art deco, cubist: based on the art of Louise Marie (lou) Loeber, a Dutch painter), Lucky Goldfish, Lunisolar (2017).
• M: Maduki (2013), Majolica (2014, art deco), Magical Brush (2017), DK Mama Bear (2012), Mandarin Whispers (2017, a brush font actually made by a marker pen), Mandolin (2014), Mango Smoothie (2015), Mariken (2017), Market Square (2017, vernacular style; +Market Square Marker), Mary Ate a Little Lamb (2010), Matrijs (grungy, stencil) (2021), Mayblossom (2021: a fat finger font), Mayonaise (2011), Meshuggeneh (2013---crazy fool on Yiddish; a twisted 3d typeface), Midnight Chalker (2016, a chalk or crayon font), Midnight Hour (2011), Midnight Sun (2019), Mikan (a bold rounded handcrafted sans) (2020), Millefeuille (2017), Mind Boggle (2020), Minehead (2020), Modern Fantasy (2020), Moi Non Plus (2011), Minou (2018), Mission Accomplished (a fat finger font) (2021), Momotaro (2015, a fun rough brush script), DK Monsieur Le Chat (2012, curly face---can't wait for Madame La Chatte...), Montello (2018), Moonlight Serenade (2016), Moonlight Shadow (2010, a nice scribbly pair of fonts), More Or Less (2016), Morgenfrisk (2017), Mortal Coil (2020: a dry brush font), Mosca (2013), Mothman (2011, a spooky scratchy face), Motley Crew (2016), Mr Stickman (2015, funny dingbats), Mulhouse (2019), Mundbind NL (2021), Mysterious (2017).
• N: Nakata (2012, a great notebook style script), Nanuk (2013, an outlined 3d typeface), Nefarious (2019: a great Halloween font), Neuer Weltschmerz (2019: a rounded sans), Neues Bauen (2011), New Beginnings (2016), Nightbird (2011, blood drip face), Northumbria (2012: modeled on original 7th and 8th century monastic gospel books from Northern England), Notaris (2015, a bouncy typeface), Nouveau Crayon (2016), Numpty (2019), DK Nutnik (2012, a mural paint font), Nuuk (2018), Nyctophobia (2010, brush face).
• O: Obrigado (2012, rounded art deco face), Odaiba Script (2019), Oei (2010), Office Squeeze (2017, a sketched font made with a Japanese brush pen), Ogenblik (2020), Oomph (2010), Okiku (2014, a scratchy poster typeface), Oranjerie (2013, poster typeface), Orenji (2016), Original Quality (2019), Oslo Stitch (2020), Otago (2014: a classic all caps art deco typeface), Output Volume (2021), Overseas (2020: a dry brush font), DK Oyuki's Ghost (2013, scratchy scary typeface made with a steel pen and Chinese Ink---the name comes from a painting by Maruyama Okyo (1733-1795), which depicts his mistress who died young. Maruyama Okyo claimed she haunted him in his sleep).
• P: Palembang (2015, a Dutch art deco typeface), Pandanus (2014), Panettone (2018: upright script), Paradise Lost (2016, created using a broken bamboo satay skewer and Chinese ink), Pardesi (2013, a fat marker pen font), Party Pocket (2019), DK Pastis (2016, a lovely handcrafted typeface), Paviljoen (2014: Dutch art deco), Pawn Shop Pretty (2010), Peanut Crunch (2019), Peking Duck (2021), Perfect Day (2019), Petit Four (2015), Petit Oiseau (2013), Phantom Peach, Pigeon Post (2020), Pimpernel (2012), Pinda (2011), P.I. (2011), Pineapple Daydream (2018), Pingo (2012, display face), Pinkus (2013, a caps-only poster font), Pisang (2013, an all caps poster font), Plague Master (2016), Plakkaat (2011), Plastic Fantastic (2019: a comic book face designed to fight the overuse of plastic), Poison Ivy (2014, scratchy hand), Pondicherry (2014, a hand-sketched 3d typeface), Popty Ping (2018, beatnik style), Popular Vote (2021), Porcupine Pickle (2011), Power Breakfast (2021), Primordial (2017), Prince Frog (2015, a cartoon / children's book font), Printout (2018: a sketched font), ProjectX (2010), ProjectY (2010), ProjectZ (2010), Promedanenmischung (2010), Psycho Killer (2013), Public Secret (textured, handcrafted) (2021), Pumpkins Brush (2021), Pumpkin Soup (2013: a poster typeface), Pundak (2014, all caps 3d outlined typeface), DK Pusekatt (2013).
• Q: DK Qilin (2014: a great inky font), Quatrain (a hand-drawn didone), Quid Pro Quo (2011, scratchy calligraphic), Quilted Butterfly (2010), Quite Something (2018), QuoVadisQuasimodo (2010).
• R: Rabbit Escape (2016), Rabbit on the Moon (2011, children's typeface), Radical Brush (2019), Rainclouds (2020), Rainforest (2010), Ramkoers (2018), Raspberry Sherbet (2020), Rat Infested Mailbox (2010), Ravenheart (2017, Treefrog or Ralph Steadman style: scary and inky), Ravenstonedale (2018: based on a number of handwritten letters by English author D.H. Lawrence), Reality Check (2019), Rearview Mirror (2018), Redcurrant (2020), Reluctant Aviator (2020), Republica Banana (2019), Retch (2013, frightening scratchy script), Retrouvailles (2018), Return Policy (2018), Roskilde (2018), Rosy Lee (2016), Rotorua (2014, art deco), Roughcast (2020: an all caps brush typeface), Rough Patch (2017), Rough Therapy (2019), Route Du Soleil (2018), Ruby Red (2015, brush style), Rum Doodle (2013), Rumpelstiltskin (2011, comic book family), Runaround Kid (2018), Runic Series [Gunfjaun Runic (2010), Modraniht Runic (2010), Leakage (2010), Hyrrokkin Runic (2010), Harald Runic (2010). Gunnar Runic (2010), Nidhogg Runic (2010), Nippon Note (2016), Skraeling Runic (2010), Sleipnir Runic (2010), Tjelvar Runic (2010), Yggdrasil Runic (2010), Graip Runic (2010), Fenrir Runic (2010), Beowulf Runic (2010)], Running Hipster (2016), Rusty Cage (2011).
• S: Saffron Walden (great fattish inky brush script), Same Same but Different (2010), DK Samhain (2012, dry brush face), Sammy Boy (2011, fat poster face), Sanseki (2016, Chinese ink brush script named after Sanseki, a Japanese term used to describe three famous Heian period calligraphers: Yaseki, Gonseki and Saseki), Satsuma (2013, a poster face), Saturday Sunday Monday (2010), Scapegoat (2018), Scissor Madness (2021: cutout font), Scrawlerz (brush script), Scratch Up (2018), Scrawny Cat (2016, a brush and China ink typeface), Scribble Note (2020), Scribbler (2015), Scurvy Dog (2011, scratchy hand), Secret Diary (2013: hand-printed), Semarang (2015, an art deco sans), Senko Hanabi (2020), Sensory Overload (brushed typeface), Seven Seas (2018: a curly script), Shadowfield (2018), Shaken Not Stirred (2015), Sheepman (2012), Shesek (2011, a fat finger face), Shibby (2019), Shinano (2017, made using a Japanese brush), Shoganai (2019), Sibylle (2018: dry brush), Silent Echo (2018), Sing Along (2021; hand-printed), Single Malta (2010), Sirius B (2013, poster font), Skeletal Wish (2019: an inky brush script), Sketchy Smiley (2010, smilies), Sketchy Smiley II (2012), Skratch (2010, broken glass face), Skulduggery (2019), Sleepy Time (2013, hand-printed), Sleight of Hand (2010), Slipstream Sweetheart (2010), Slivowitz (2017), Smiling Cat (2017), Smooth Brushings (2016), Smurrie (2016), Snemand (2013, a poster titling typeface), Snippity Snap (2015, paper cut typeface), Sobriquet (2012: a wonderful antique poster face), Soerabaja (2017, all caps Dutch art deco), Sound Bubble (2020), Souplesse (2013), Southside Fizz (2017, handcrafted art deco), Southwark (2017: sketched), Spaghetti And Cheese (2017), Spandau (art deco), Spiced Pumpkin (2016), Spiderlegs (2011, Spinnenkop (2018: a curly vampire script), Spinwash (2019), Spiraling Down (2019), Splinterhand (2017), Spoonbread (2020), Spring Chicken (2019), Springwood (2019), Springwood Display (2019), Square Beat (2021), SquareOne (2010), SquareOneGrunge (2010), Squint (2013, squarish), Starboard (2021: a dry brush font), Starlight Lovers (2016), Statendam (2014, caps only Dutch art deco influenced by interbellum ads for the Holland America Line), Steamed (2021), Sticky Toffee (2017), Struffoli (2017), Studio Brush (2019), Subway Circle (2021: an informal typeface, perhaps for comic books), Suco de Laranja (2012), Sugarloaf (2018), Sumida Script (2019), Sunbird (2019), Summer Romance, SundayMonday (2010), Sugary Pancake (2016), Superbrush (2017, a Great Chinese ink brush font), Sushi Bar (2016, dry brush), Sweet Lemon (2018: paper cutout type), Sweet Steeffie (2010), Sibylle (2018: Japanese brush), Sunny Weather (2021), Symbolic Prophecy (2020: a dry brush typeface), Symptomatic (2018: brush script), Syphon Spritz (2010, a great curly script; a Pro version appeared in 2010 at CheapProFonts), System Overload (2020).
• T: Takeshi (2019), Tartufo (sketched font), Teacup (2017), Tequileria (2016), That Little Piggy (2010), Technojunk (2014, 3d squarish hand-drawn typeface), Tenterhooks (2019), The Cats Whiskers (2016), Terpentijn (2017, grungy), Thievery (2012, curly script), Third Time Lucky (2019), This Little Piggy (2010), Toadstool (2017), Tobu (2014), Tombouctou (2019), Tompouce (2017), Tokeh (2019), Tough Cookie (2018), Tournedos (2019), Toverheks (2016, a bewitched typeface), Traiectum (2017, a messy roman caps typeface based on Goudy Old Style), Treacle (2021), Treppenwitz (2018), Trashtype (2011, grungy), Trained Monkey (2017, a cartoon font), Tripping on Acid (2010), Trollslayer (2011, brush face), Troutbeck (2020), Twelve Weeks Pregnant (2010), Twirrewyn (2018), Twisted System (2018), Tzeva Tari (2010, grunge Hebrew).
• U: Udon Soup (2018), Ugh (2010), Utroligt (2021), Umbilical Noose (2014, a rough brush), Umbrella Man (2019: dry brush), Uncle Edward, Uncle Oscar (2016, a crayon font), Under My Umbrella (2018), Understory (2019), Utroligt (2021).
• V: Vegetability (2020), Ventana (2013, created using Chinese ink and a bamboo pen), Vermilion (2013, hand-printed poster face), DK Viareggio (2012, an art deco font Viareggio is based on the handlettering found on a 1931 poster, advertising the carnival of Viareggio), Vienna Workshop (2012, an art nouveau typeface based on some of the artwork produced by Vienna Workshop artists, in particular that of Koloman Moser), Visum (2014), Vlinder (2017), Vox Populi (2012, an ancient parchment look font).
• W: Waiting For My Girl (2019), Wandering Pencil (2020), Warpspeed (2010), Wayang (2013, influenced by Indonesian puppets), Wayland (2018), Weekend Warrior (2010), Weeping Willow (2018), Welt Schmerz (2012, a post-art nouveau typeface based on a 1910 poster from Austria), WetDream (2010), Whalebone (2020), Whale Song (2017), Whatnot (2013), Whynot (2014), Widdershins (2018), Wild Bunch (2015: Western font), WindshieldMassacre, Wintanceastre (2018: an uncial based on a 10th century Latin manuscript), Winterberry (2017: a messy script), With A Twist (2011), Woebegone (2018).
• X: Xanthine (2017, a messy brush type).
• Y: Yasuragi (2021), Yellow Balloon (2013, a fat poster face), Yuge (2020), Yuli (2014).
• Z: Zealand (2017, sketched), Zeebonk (2013, a tattoo font), Zesty Lime (2016, brush font), Zombie Starfish (2017), Zonnig (2011).

Hans Bohn

German type designer, b. Oberlahnstein, 1891, d. Frankfurt am Main, 1980. He worked mostly for Ludwig&Mayer. Creator of these typefaces:

• Orplid (Klingspor, 1929). An all caps shadow face influenced by the Bauhaus movement, this was digitized as Fernburner NF (2011, Nick Curtis) and even extended to layerable font by Ralph M. Unger as Orplid Pro (2019).
• Mondial (1936, D. Stempel). This is a didone family, of which Mondial Bold is the most successful member. It was digitally revived by Lukas Schneider in 2017 as Mondial Text and Mondial Display.
• The fat semi-stencil typeface Allegro (1936-1937, Ludwig&Mayer). Revived by Bitstream as Allegro. See also Alligator by Softmaker.
• Kuenstler Script (1957 or 1959, Linotype). It is based on Künstlerschreibschrift (Stempel, 1902-1903), which in turn is based on the English copperplate script styles from the late 1800s. See Kuenstler Script (Adobe) or Kuenstler Script (Linotype).

Klingspor link. FontShop link. View Hans Bohn's typefaces. [Google] [MyFonts] [More]  ⦿

Hanzer Liccini
[Elias Hanzer]

Elias Hanzer is the Berlin, Germany-based designer of the sans typefaces EH Eins A (2018?), EH Normal (2017) and Eh Gut (2015). He also created typefaces Phase Phase. Together with book designer Lucas Liccini he founded Hanzer Liccini in 2018 in Berlin, which released these typefaces:

• Arizona Oldstyle. In 2020, Elias Hanzer released the Arizona superfamily at Dinamo in 2020 and 2021. This includes sans, text, mix, flare and serif subfamilies and contains variable forms as well.
• Colant (2020). Based on Columbia Antiqua, a Scotch/Modern-style serif typeface, featuring distinct angular details and produced by the Bauersche Giesserei (Frankfurt am Main) on the occasion of the 1893 World Exposition in Chicago.
• Fake.
• Matex (2019). A 7-style geometric sans inspired by both schoolbook/textbook grotesques and Bauhaus, including Herbert Bayer's mid-1920's lowercase Universal.
• Moment.
• Orbital.
• Primago.
• Timezone (2021). A transitional typeface close to Times Roman. The G has a protruding chin.
• Vincent (2019). An experimental script by Elias Hanzer and Lucas Liccini. The letter forms are inspired by a script font designed by naval scientist Dr. Allen Vincent Hershey. The Hershey fonts were a collection of early vector fonts released in Hershey's report Calligraphy for Computers (1967).

Liccini is also involved in Studio Manuel Raeder. [Google] [More]  ⦿

Haris Merzihic

Graphic designer based in Pittsburgh, PA. In 2019, he created the free (unkerned) geometric sans typeface Sauber to celebrate 100 years of German modernism and the Bauhaus movement. [Google] [More]  ⦿

Harry Warren
[Breauhare Fonts]

[MyFonts] [More]  ⦿

Headfonts Store (was: Mcraft, and Mihis Design)
[Alexandru Mihis]

Timisoara, Romania-based designer of the fat blackletter typeface Black Baron (2015).

In 2016, he made the modular typeface family Epicon, the vintage typeface Knucklehead (sans and spurred version), the spurred Velasco, the octagonal typeface family Knox, Scripthead, Monogram World (+Vintage), the monoline script typeface Catarg, and the octagonal typeface family Epicoff (2016).

Typefaces from 2017: Bauhead (piano key or Bauhaus style), Hammerhead (free at YWFT), Typehead (industrial; +Stencil, +Deco), Flathead Round, Merak, Millennium.

Typefaces from 2018: Spearhead, Mudhead, Mudhead Serif, Blackhead, Numhead (industrial, octagonal), Modernhead (Serif, Sans).

Typefaces from 2019: Rustyhead, Uphead, Penhead, Decohead (+Display), Hothead, Inkhead, Techead, Retrohead, Blockhead (+Nova), Overhead (a sports font).

Typefaces from 2020: Techead (a minimalist sans for start-ups), Nordhead.

Typefaces from 2021: Arthead, Zighead.

Typefaces from 2022: Blishead, RutheadArt Deco Monogram, Wildhead, Fathead.

Mcraft link. [Google] [More]  ⦿

Henning Humml

Photographer and typographer in Berlin. Clearly taken with anything that reeks of Bauhaus, he created the Bauhaus style typeface BaucoHH in 2009. [Google] [More]  ⦿

Henrik Kubel
[Fontyoufonts.com]

[More]  ⦿

Henry Gummett

British graphic designer and ale connoisseur. Creator of Flatland (2012, a Futura Stencil-like typeface influenced by the novel Flatland: A Romance of Many Dimensions by Edwin A. Abbot) and Staub (2012, a rounded logotype for the Staub company).

Behance link. [Google] [More]  ⦿

Henry La Voo

FontStructor who made New Universal Tall (2011), which is based on Herbert Bayer's Universal font from 1926. [Google] [More]  ⦿

Herbert Bayer

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

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

Revivals of his work:

• At P22: P22 Bayer Fonetik (1997, Michael Want), P22 Bayer Shadow, P22 Bayer Universal.
• By Jonathan Hill: WerkHaus (2008) is a 5-style revival.
• Victory Type published Bayer Modern in 2009, and Bayer Sans a decade earlier.
• Nick Curtis: Debonair Inline NF (2008) expands Herbert Bayer's 1931 experimental, all-lowercase "universal modern face," Architype Bayer-Type, by adding an uppercase and adding an architectural inline treatment.
• Architype Bayer by The Foundry.
• Arthaus (2015, Johgn Moore).
• Paulo Heitlinger did Sturmblund (2008) and Bayer Condensed (2008).
• Bauhouse Universal (2017, Stephen Bau.
• Universal Regular (2016, Luca Taddeo).
• Bayer Next (2014, Sascha Lobe).
• Struktur (2012, Shiva Nallaperumal).
• New Universal Tall (2011, Henry La Voo).
• Bauhaus 93 (URW++).
• K-haus 105, K-haus 205 (2019). Two typeface families by Adrian Talbot of Talbot Type to celebrate 100 years of Bauhaus. The style is influenced by Herbert Bayer's universal alphabet.

A list of commercial typefaces based on Herbert Bayer's work. [Google] [MyFonts] [More]  ⦿

Herbert F. Czarnowsky
[Baltimore Type Foundry (or: Baltotype)]

[More]  ⦿

Herbert O. Modelhart

Austrian designer of Linotype Reducta (1997), a condensed Bauhaus-style font with gothic cathedral design elements.

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

Hidetaka Yamasaki

Graduate of Kyoto University and the the University of Reading's MATD program. Hidetaka Yamasaki (Japan) designed several typefaces:

• Clare. A clean and clear typeface ideal for journals, such as newspapers and magazines. It covers Latin and Thai.
• Carl Marx. A geometric but warm rounded typeface based on a sketch drawn by a German painter who studied at Bauhaus, Carl Marx (1911-1991). It was published in 2018 in the Adobe Originals collection. Adobe writes: This typeface is based on lettering by Carl Marx (1911-1991), designed during his first semester at the Bauhaus in Joost Schmidt?s class, in 1932. Although the letter proportions are based on Schmidt's teachings, the forms are not constructed from compass and ruler, but drawn with brush and marker, lending the words a warm and lively touch. Hidetaka Yamasaki redrew the letters from scratch and added all missing characters for today's needs. A set of hanging figures, alternates for some critical letterforms (such as f, r, and t) as well as several ligatures make CarlMarx especially suitable for use in body text. As suggested by Marx, Yamasaki captured two weights from the original drawing and perfectly adjusted light and bold to highlight words and create hierarchy in headlines without losing or adding space. True to the original, Yamasaki captured the wobbly contour in CarlMarx, preserving warmth in the condensed geometric style of the early 1930s.
• Sandberg Grotesque. A quirky typeface based on a black face used in Willem Sandberg's catalogues in 1950s; outstanding feature of tapering serves for display use, but will disappear in small size to turn out a useful text typeface.
• Stylus. A simple, slightly lively text typeface for matching Latin with Arabic in small size.
• Rudolph. A typeface for greeting cards and picture books, a three-day project as the first assignment of the MATD.
• Luke (2019, The Northern Block). In the style of Caslon's English Blackletter (a textura), and named after the Caslon family tomb in the churchyard of St Luke Old Street in London.

HiH (Hand in Hand)
[Tom Wallace]

Tom Wallace's foundry, HiH (est. 2005), was first located in Woodbridge, CT. Subsequently, Tom Wallace (b. 1944) moved from Woodbridge to Naugatuck to Waterbury and finally in 2009 to New Britain, CT. His type designs are based on historical letterforms:

• Augsburger Initialen and Augsburger Schrift (2001), an art nouveau pair found in Ludwig Petzendorfer's Treasury of authentic art nouveau alphabets, decorative initials, monograms, frames and ornaments (1984, Dover). Augsburger Schrift is originally due to Peter Schnorr (1901, Berthold). In 2007, Wallace added Augsburger Ornamente.
• Figgins Tuscan (2005) is based on the first metal Tuscan typeface by Figgins in 1817.
• Freak, based on Bamboo (1889, The Great Western Type Foundry). HiH explains: Great Western became Barnhart Brothers & Spindler in 1868. At some point, prior to 1925, Freak was renamed Bamboo by BB&S. It was delisted when BB&S was absorbed by ATF in 1929. Compare with Dan Solo's Bamboo (2004).
• Gradl Initialen (2005): based on caps designed by Max Joseph Gradl ca. 1900 for engraving on his art nouveau jewelry in Germany. Samples are in Petzendorfer.
• Huxley Alt (2005), an alternative to the ultra-condensed Lutherian church font Huxley Vertical (or Aldous Vertical) by Walter Huxley (ATF). Huxley Amore (2006) is a major extension of this, and Huxley Cyrillic (2008) adds Russian characters.
• Künstler Grotesk (2005): a simple blackletter caps typeface based on a design seen in Petzendorfer's book.
• Page No. 508 (2006): Page No. 508 was designed by William H. Page in 1887 as one of a series of designs for die-cut wood types for the firm of Page & Setchell of Norwich, CT. Page & Setchell was the successor to The William H. Page Wood Type Company and was sold to the Hamilton Manufacturing Company of Two Rivers, Wisconsin in 1891.
• Pekin (2005): first designed by Ernst Lauschke in 1888 at the Great Western Foundry under the name Dormer.
• Schnorr Dekorativ, Demi Bold and Initialen (2007), all due to Peter Schnorr (ca. 1900), as well as Schnorr Gestreckt (2006), an art nouveau typeface from 1898.
• Rundgotisch (2005): based on a design by Schelter and Giesecke, ca. 1900.
• Edison (2005) is based on Edison Swirl SG, a Spiece Graphics digitization of a late 18-th century design of the Bauersche Giesserei.
• Bethlehem Star (2005) is based on the typeface Accent with the permission of URW++: HiH only added stars to the glyphs.
• Antique Tuscan No. 9 (2006). One of the earlier wood-type designs by William Hamilton Page. It was first shown among the specimens produced in 1859, shortly after Page entered into a new partnership with Samuel Mowry, owner of the Mowry Axle Company. Antique Tuscan No.9 is an extra-condensed version of the tuscan style that had been released in moveable type by Vincent Figgins of London in 1817.
• Secession (2006): a sans family with art nouveau twists.
• French Plug (2007): A sign painters font based upon work of Frank H. Atkinson, a popular Art Nouveau sign painter in Chicago, who worked for Cadillac, and published Sign Painting in 1908.
• T-Hand Monoline (2007): a printed script family.
• Figgins Antique (2007): an all-caps black slab serif headline typeface based on Figgins, ca. 1815.
• Mulier Moderne (2007): Based on a font designed ca. 1894 by E. Mulier, a French art nouveau era artist.
• Regina Cursiv (2007): an art nouveau design that revives a typeface published by H. Berthold Messinglinienfabrik und Schriftgiesserei around 1895.
• Edelgotisch (2007): a bold Jugendstil design (with caps), based on a design released by Schelter & Giesecke of Leipzig, Germany about 1898 and is very similar to Eckmann-Schrift released by Rudhard'schen Giesserei (later Klingspor) during the same period.
• Teutonia (2007), a revival of Teutonia by Roos & Junge, a squarish art nouveau face. HiH writes: There are many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923, Joost Schmidt at Bauhaus in Weimar took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. And in 2008, HiH itself published Baltimore Geometric.
• Austin Antique, based on Richard Austin's 1827 antique typeface.
• Morris Gothic, Morris Ornaments and Morris Initials One and Two (2007): The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called Troy Type and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called Chaucer Type for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions.
• Larisch (2007): a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift Examples of Artistic Writing).
• Patent Reclame (2007): an art nouveau typeface first cast around 1895 by Schriftgeisserei Flinsch, and then by Stephenson Blake, ca. 1896.
• Jugendstil Initials (2007): an all caps decorative blackletter typeface designed by Heinrich Vogeler around 1905.
• Wedding (2007): a multi-style English blackletter family, based on a Morris Fuller Benton original called Wedding Text.
• Brass (2007): two blackletter typefaces from the early 1500s described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY, 1959) as initials and stop ornaments from brasses in Westminster Abbey.
• Auchentaller (2007), a monoline art nouveau typeface inspired by a travel poster by Josef Maria Auchentaller (b. Vienna, 1865, d. Grado, 1949; studied at the Vienna Academy, professor in Munich, member of the secession from 1898, artist) in 1906.
• Phinney Jenson (2007): a Venetian by Nicolas Jenson from the 15th century, about which Wallace writes: In 1890 a leader of the Arts & Crafts movement in England named William Morris founded Kelmscott Press. He was an admirer of Jensons Roman and drew his own somewhat darker version called Golden, which he used for the hand-printing of limited editions on homemade paper, initiating the revival of fine printing in England. Morris' efforts came to the attention of Joseph Warren Phinney, manager of the Dickinson Type Foundry of Boston. Phinney requested permission to issue a commercial version, but Morris was philosophically opposed and flatly refused. So Phinney designed a commercial variation of Golden type and released it in 1893 as Jenson Oldstyle. Phinney Jenson is our version of Phinneys version of Morris' version of Nicolas Jensons Roman.
• Advertisers Gothic (2008): based on Robert Wiebking's tasteless 1917 design for Western Type foundry. HiH writes: Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline.
• Publicity Headline (2006): an allcaps version of Sidney Gaunt's advertising typeface, Publicity Gothic (1916, Barnhart Brothers & Spindler). Its heavy weight and robust strength allows it to be used against complex backgrounds or reversed out on dark backgrounds without getting lost.
• Herold (2008): a revival of Berthold Herold Reklameschrift BQ (Hermann Hoffmann, 1901), an art nouveau advertising typeface.
• Yes Dear (2008) is a funny hyper-curly blackletter face.
• Besley Clarendon (2008) is the HiH version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. This condensed typeface was very popular in the 19th century, and was copied by most foundries of that era. It was followed by Gutta Percha (2008), a Clarendon in which the upper case letters are dropcaps.
• Waltari (2008): a revival of Walthari (1899, Heinz König for the Rudhardsche Giesserei), a Jugendstil type.
• Hispania Script (2008): revival of a pirate map script typeface called Sylphide by Schelter & Giesecke (1896) (and not Schelter & Giesecke's Hispania).
• Cloudy Day (2008), an alphading.
• HiH stumbled on a 1902 publication by Bruno Seuchter called Die Fäche, in which he found the art nouveau typeface that HiH revived in 2008 as Seuchter Experimental.
• Petrarka ML (2006). HiH writes: Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer's Bernard Roman Extra Bold and ATF's Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (1906, Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the H particularly. See also Nick Curtis's Petrushka NF (2012). Footnote: Fonts in Use refer to the metal typeface Petrarka by Schelter & Giesecke (1900) and Milton (by Societa Augusta). The Solotype catalog has a related typeface, Ophelia.
• Haunted House (2008), Halloween-themed fonts.
• Gothic Tuscan One (2008) is an all-caps condensed gothic with round terminals and decorative Tuscan center spurs. It was first shown by William H. Page of Norwich, CT, among his wood type specimen pages of 1859.
• HiH Firmin Didot (2008) is a one-style didone based on an 1801 version of Didot. It led to a combined alphabet/stick people alphading called Gens de Baton (2008) after a lower case alphabet that appeared in the Almanach des Enfants pour 1886 (Paris, 1886) under the title Amusing Grammar Lessons.
• Shout (2008), a Compacta-like fat headline sans about which HiH writes: Its lineage includes the Haas Type Foundrys 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as extended sans serif and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a shout, as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black.
• The heavy art deco typefaces Guthschmidt and Guthschmidt Condensed (2008) are based on a 1924 KLM Royal Dutch Airline poster designed by Anthonius Guthschmidt. The poster draws on the imagery of the legend The Flying Dutchman.
• Cherub and Cherub Caps (2008) are based on Phinney Jenson. Not to be confused with the many fonts that already existed with that name, such as Cherub from House of Lime, Twopeas, Graph Edge Fonts, and Fuelfonts.
• HiH Large (2009) is a poster sans.
• Mira (2009) is an art nouveau / Victorian typeface patterned after a font by the Roos & Junge Foundry in Offenbach, ca. 1902.
• Thorowgood Sans (2009): A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street's own Grotesque Shaded of 1834 (with light and shadow reversed).
• Fantastic ML (2009): an art nouveau typeface originally released as "Modern Style" by Fonderie G. Peignot & Fils, Paris, France some time before 1903.
• Gundrada ML (2010): a medieval style typeface inspired by the lettering on the tomb of Gundrada de Warenne, who was buried at Southover Church at Lewes, Sussex, in the south of England in 1085.
• Wedge Gothic (2010). HiH writes: Wedge Gothic ML is the original name of this font released by Barnhart Bros. and Spindler of Chicago in 1893. [...] The typeface was dropped for awhile -- it does not appear in the 1907 catalog for example -- but reappeared in 1925 as Japanette. McGrew says that the new name was Japanet. It was recast by ATF in 1954.
• Norwich Aldine ML (2010) is an all caps typeface with enlarged serifs, designed and produced in wood by William H. Page of Norwich, CT in 1872.
• Rodchenko Constructed ML (2010) is constructivist (Latin and Cyrillic).
• Cruickshank ML (2012): a decorative typeface from the late Victorian period. The typeface was designed by William W. Jackson and released by MacKellar, Smiths and Jordan Type Foundry of Samson Street, Philadelphia, Pennsylvania in 1886.
• Habana Deco ML (2013).
• Chicago Ornaments (2015). a collection of decorative cuts cast by the Chicago Type Foundry of Marder, Luse & Co. of Monroe Street in Chicago, Illinois. This collection was shown in their 1890 catalog. Some of them were designed by William F. Capitain. Included in the font are a set of Victorian caps inspired by Ernst Lauschke's Dormer (or Pekin, 1888).

View Tom Wallace's fonts. View the typefaces designed by Tom Wallace. MyFonts link. [Google] [MyFonts] [More]  ⦿

Hobbes Oakley

Designer of a Bauhaus style font, Scientific Simplicity. [Google] [More]  ⦿

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

Born in 1970 in New York, Jonathan Hoefler ran the Hoefler Type Foundry (or: HTF) in New York. It employed Tobias Frere-Jones, Josh Darden, and Jesse Ragan. In 2004, it was renamed Hoefler&Frere-Jones, or HFJ for the cognoscenti. However, a legal problem between Jonathan and Tobias led to a corporate divorce in 2014---the company is renamed again The Hoefler Type Foundry. In September 2021, Monotype acquired Hoefler, and that is the end of that chapter. Their typefaces:

• Acropolis.
• Archer (2001, by Jonathan Hoefler and Tobias Frere Jones). A humanist slab serif originally designed for Martha Stewart Living. It has a great range of features, including a classy hairline style. However, I see trouble down the road with the name Archer which has been used previously by several other foundries such as SignDNA, Arts&Letters and Silver Graphics. Some say that Archer is just Stymie with some ball terminals. Nevertheless, it became a grand hit, and has been used by Wes Anderson in The Budapest Hotel, and in Wells Fargo's branding. David Earls on Archer: with its judicious yet brave use of ball terminals, and blending geometry with sexy cursive forms, all brought together with the kind of historical and intellectual rigour you fully expect from this particular foundry, Archer succeeds where others falter.
• Champion Gothic.
• Chronicle Text. In 2007, HFJ published the "blended Scotch" newspaper serif text family Chronicle, which led to Chronicle ScreenSmart in 2015. See also Chronicle Display. In 2016, Hoefler published Chronicle Hairline. In Wired Magazine, Margaret Rhodes writes that it is for men who wear dress shoes without socks. Chronicle Hairline is a didone that breaks the didone rules. It is rounder, asymmetric (as in the mouth of the C), and as Hoefler puts it, more musical. As of 2016, the Chronicle typeface family consists of the display styles Chronicle Hairline, Chronicle Display (+Condensed, +Compressed), and Chronicle Deck (+Condensed), and the 60-style Chronicle Text family, which comes in G1, G2, G3 and G4 subfamilies.
• Many custom and branding typefaces, including, e.g., General GG (2005-2007) and typefaces for The New York Times Magazine, Times Mirror, Esquire and McGraw-Hill (1995, free download). Time.com provides previews of fonts made for Esquire, Lever House, eCompany Now, The Guggenheim Museum, The New York Times, and the Whitney Museum.
• Cyclone.
• Decimal (2019). A sans based on early wristwatch typefaces, i.e., the microscopic letters used by Swiss watchmakers in La Chaux-de-Fonds.
• Didot. HTF carefully designed and complete families include HTF-Didot (1991) in 42 weights/variations, originally designed for Harper's Bazaar; based on the grosse sans pareille no. 206 of Molé le jeune.
• Eyes Only (2019). A stencil typeface.
• Forza (2010). A sans typeface. Not to be confused with the 2007 font Forza by Michel Luther at Die Gestalten.
• Geometer Screen Fonts. Free Mac fonts.
• Giant.
• Gotham (2003). The stylish sans typeface made famous by Obama. See also Gotham Rounded.
• Historical Allsorts. This includes Historical-EnglishTextura, Historical-FellType, Historical-GreatPrimerUncials and Historical-StAugustin.
• Hoefler Text (+Ornaments). This antiqua text typeface consists of 27 fonts made in 1991-1992, and is distributed with many Apple products.
• Hoefler Titling.
• Ideal Sans. A slightly flared humanist sans. In the 1996 Morisawa Awards competition, Hoefler received a bronze prize for Ideal Sans. In 2011, HFJ writes it up beautifully: Typefaces are born from the struggle between rules and results. Squeezing a square about 1% helps it look more like a square; to appear the same height as a square, a circle must be measurably taller. The two strokes in an X aren't the same thickness, nor are their parallel edges actually parallel; the vertical stems of a lowercase alphabet are thinner than those of its capitals; the ascender on a d isn't the same length as the descender on a p, and so on. For the rational mind, type design can be a maddening game of drawing things differently in order to make them appear the same. Twenty-one years ago, we began tinkering with a sans serif alphabet to see just how far these optical illusions could be pushed. How asymmetrical could a letter O become, before the imbalance was noticeable? Could a serious sans serif, designed with high-minded intentions, be drawn without including a single straight line? This alphabet slowly marinated for a decade and a half, benefitting from periodic additions and improvements, until in 2006, Pentagram's Abbott Miller proposed a project for the Art Institute of Chicago that resonated with these very ideas. As a part of Miller's new identity for the museum, we revisited the design, and renovated it to help it better serve as the cornerstone of a larger family of fonts. Since then we've developed the project continuously, finding new opportunities to further refine its ideas, and extend its usefulness through new weights, new styles, and new features. Today, H&FJ is delighted to introduce Ideal Sans, this new font family in 48 styles. Ideal Sans is a meditation on the handmade, combining different characteristics of many different writing tools and techniques, in order to achieve a warm, organic, and handcrafted feeling.
• Idlewild (2012). A wide sans typeface family.
• Isotope (2018). A squarish typeface family. Not to be confused with Isotope by Fábio Duarte Martins, designed six years earlier.
• Inkwell (2017). Hoefler writes: Inkwell is provided in a range of styles with which readers already have clear associations: a bookish Serif and a cleanly printed Sans, a conversational Script, a ceremonial Blackletter, a fancy Tuscan for decoration, and a stately Open for titles. Each style is offered in six weights, from a technical pen Thin to a graffiti marker Black. Inkwell is a name used as far back as 1992 by Sam Wang, and additional older fonts called Inkwell exist by Dan Solo, Philip Cronerud and MXB Foundry.
• Knockout. The Knockout collection was designed to celebrate the beauty and diversity of nineteenth century sans serif wood types.
• Knox.
• Landmark (2013). In Regular, Inline, Shadow and Dimensional styles. A collection of architectural caps which started out as a custom typeface for Lever House in New York.
• Leviathan.
• Mercury Text and Mercury Display.
• Nitro & Turbo (2016). Hoefler writes: We designed Nitro for Pentagram's Michael Bierut, as part of a new identity for the New York Jets football team. Originally named Jets Bold, Nitro is rooted in the styles of lettering used by the team throughout its fifty-year history: even as its logotype evolved, it consistently used heavy, slanting forms to imply force and movement. and ends with corporate babble: Nitro embodies this indomitable spirit in the context of a fresh, contemporary design. About the naming: AF Nitro was made by Sylvia Janssen at the very popular Die Gestalten Studio in Germany, in 2001. It will be fun to watch that battle between giants. Not to mention that lesser known players also made commercial fonts called Nitro more than a decade earlier---these include Jack Wills at Sign DNA and Markus Schroeppel (in 2004).
• Numbers. In 2006, HFJ published the Numbers family, 15 fonts with nothing but numbers from various sources: Bayside (based on a set of house numbers produced around 1928 by H. W. Knight & Son of Seneca Falls, New York), Claimcheck (inspired by ticket stubs), Delancey (from tenement doorways), Depot (modeled on vintage railcars), Deuce (based on playing cards), Dividend (from an antique check writer), Greenback (based on U. S. currency), Indicia (inspired by rubber stamps), Premium (after vintage gas pumps), Prospekt (based on Soviet house numbers), Redbird (inspired by New York subways), Revenue (from cash register receipts), Strasse (after European enamel signs), Trafalgar (inspired by British monuments), Valuta (after Hungarian banknotes).
• Obsidian. In 2015, Jonathan Hoefler and Andy Clymer cooperated on the decorative copperplate engraved emulation typeface Obsidian. Various kinds of 3d illumination in Obsidian were obtained by an algorithmic process. Not to be confused with about ten other fonts called Obsidian--for example, we have Obsidian (pre 2003, Silver Graphics), Obsidian (2014, Steffi Strick), Obsidian (2012, Krzysztof Stryjewski), Obsidian Deco (2013, Yautja), Obsidian (2005, Sparklefonts), and Obsidian Chunks (pre 2002, Jeni Pleskow).
• Operator, Operator Mono, Operator Screensmart and Operator Screensmart Mono. The non-typewriter typewriter type..
• Peristyle (2017). A stylish condensed typeface family with piano key elements, and described by Hoefler as dramatic.
• Quarto.
• Requiem (1991-1994).
• In 2003, they published Retina (which was originally designed for the stock listings in the Wall Street Journal), but that font disappeared from their listing.
• Ringside.
• St. Augustin Civilité: St. Augustin Civilité is a digitization of Robert Granjon's extraordinary type of 1562, now in the collection of the Enschedé type foundry, Haarlem. This typeface is reproduced in Civilité Types by Harry Carter and H. D. L. Vervliet (Oxford Bibliographical Society, by the Oxford University Press, 1966.) As figures and punctuation were lacking in the original, these have been borrowed from two other Granjon types, the Courante and Bastarde of 1567. (The remainder of the character set has been invented.)
• Sagittarius (2021). A soft-edged compact semi-futuristic headline sans. In keeping with tradition, Hoefler dismisses or ignores the fact that the name Sagittarius was taken by a handful of other fonts since about 22 years ago.
• Saracen.
• Sentinel. Sentinel (1999) is HFJ's take on a Clarendon. I can't understand why they picked a name already taken by many foundries such as Graphx Edge Fonts, Comicraft, Dieter Steffmann and Sentinel Type. Anyway, in 2020, Sentinel got un upgrade (with smallcaps and ornaments) in 2020 in Sentinel Pro.
• Shades (2003). In Cyclone, Topaz, Giant and Knox weights.
• Surveyor (2014). An exquisite mapmaker and newsprint didone font family with Fine, Display and Text subfamilies.
• The Proteus Project.
• Topaz.
• Tungsten (2009) and Tungsten Rounded. Their sales pitch: That rarest of species, Tungsten is a compact and sporty sans serif that's disarming instead of pushy - not just loud, but persuasive. Douglas Wilson compares Tungsten with Alternate Gothic No. 3 (Morris Fuller Benton). Not to be confused with Tungsten (2005, Sparklefonts).
• Uncategorized early typefaces: Gestalt-HTF, Fetish-HTF (blackletter modernized, 1995), Ehmcke-HTF.
• Verlag (2006). A 30-style art deco-inspired semi-Bauhaus geometric sans family based on six typefaces originally designed for the Guggenheim. HFJ writes: From the rationalist geometric designs of the Bauhaus school, such as Futura (1927) and Erbar (1929), Verlag gets its crispness and its meticulous planning. Verlag's fairminded quality is rooted in the newsier sans serifs designed for linecasting machines, such as Ludlow Tempo and Intertype Vogue (both 1930), both staples of the Midwestern newsroom for much of the century. But unlike any of its forbears, Verlag includes a comprehensive and complete range of styles: five weights, each in three different widths, each including the often-neglected companion italic.
• Vitesse (2010). The typophiles react to the slab family with praise: I think they're chasing Cyrus Highsmith, Dispatch and Christian Schwartz, Popular on this one. Doing a pretty good job of it too! [...] Looks to me like the love-child of Eurostile and City. In 2020, Jonathan Hoefler added the inline Cesium, which forced him to modify the glyphs somewhat.
• Whitney. In 2004, they produced an amazing 58-weight sans serif family, Whitney (by Tobias Frere-Jones), designed for use in infographics. Whitney's sales blurb: While American gothics such as News Gothic (1908) have long been a mainstay of editorial settings, and European humanists such as Frutiger (1975) have excelled in signage applications, Whitney bridges this divide in a single design. Its compact forms and broad x-height use space efficiently, and its ample counters and open shapes make it clear under any circumstances. See also Whitney Condensed and Whitney Narrow.
• Ziggurat.

Hoefler received Bukvaraz 2001 awards for HTF Guggenheim, HTF Knockout, HTF Mercury (1997, no relationship with Goudy's Mercury of 1936) and HTF Requiem. At ATypI in 2002, he received the Charles Peignot award.

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

Holger Jacobs
[Mind Design]

[More]  ⦿

Hugo Dath

Graphic designer in Lille, France. Codesigner with Adrien Coquet of the rounded monoline display sans semicircle-patterned typeface Slot (2015: free). Earlier, he created Bauhaus (2015), a typeface family that was inspired by Marcel Breuer's slatted chair. Lowly (2015) is a modular typeface based on arcs of circles. Behance link. [Google] [More]  ⦿

Hungarumlaut (was: Cila Design)
[Adam Katyi]

Adam Katyi, who hails from Sopron, Hungary, has three degrees. He has a BA from the University of West Hungary at Institute of Applied Arts, Sopron in 2010, and an MA from Moholy-Nagy Art and Design University, Budapest in 2012. In 2013, he graduated from the Type & Media program at KABK in Den Haag. In 2014 Adam founded his own type foundry, Hungarumlaut. Between 2015 and 2016 he worked for Miles Newlyn at Newlyn Ltd, as a part time font engineer and type designer. Since 2014, he teaches at the Moholy-Nagy Art and Design University. He is currently located in Graz, Austria. His typefaces:

• In 2009, he created 9Pixel.
• In 2010, he designed a typeface called Ringua, and the great Totfalusi Sans Serif, his BA final project at Sopron's Institute of Applied Art.
• In 2012: Ursin (techno, octagonal), Ursin Rounded.
• His KABK graduation typeface is a large sans typeface family, Westeinde, which has caption, text and display subfamilies, and weights going from hairline to black. The geometric family shows influences from Bauhaus and constructivism. In addition to being drop-dead gorgeous, this family has optical sizes as well.
• In 2013, Adam Katyi created Gewaard, an interpretation of Halfvette Aldine, shown in the Lettergieterij Amsterdam specimen of ca. 1906. This didone with bracketed serifs was a revival project at KABK under the guidance of Paul van der Laan.
• Also in 2013, he published Infinity Space Icons.
• Nubu (2014). A thin fashion mag sans custom made for the fashion design group NUBU.
• Telkmo: A Custom font by Adam Katy and Miles Newlyn for Telkom South-Africa.
• In 2015, he designed the monospaced typeface Menoe Grotesque for Latin, Greek and Cyrillic, which was inspired by an old Continental typewriter. Menoe can be used as a programming font.
• Ost (2016). A custom typeface for Ost Konzept, is a clothing brand established in 2016 in Hungary by Aron Sasvari and Oliver Lantos, and named after the German word for East, as a symbol of the formerly isolated Eastern-European reality, the results a disorted viewpoint of fashion.
• Magen. Magen is a one-style, headline typeface with translation contrast, based on sketches with a broad-edged pen. A custom design for The Revere, a bi-weekly, student-run, foreign affairs periodical.
• For the Laszlo Moholy-Nagy Design Grant (named after Bauhaus artist Laszlo Moholy-Nagy), he created the ink-trapped custom typeface Mohol in 2017.
• Kleine Titel is a custom typeface for the Styrian Kleine Zeitung daily newspaper.
• Laslo (2018) is a sans typeface with variable widths. It was inspired by the letter a of a Bauhaus Tapetenmusterbuch from 1934.
• Amen Display (2018). This didone grew out of Gewaard: I made the first sketches and digital files at my Type and Media studies as a revival project under the name Gewaard. Project leader: Paul van der Laan. The Medium weight is an interpretation of Halfvette Aldine, shown in the Lettergieterij Amsterdam specimen of c.1906. I have found the original typeface in an old prayer-book, from Butzon and Bercker, Kevelaer, 1904. The type was set in large size, in 24 pt. Since 2013 I have redrawn the letters several times, but I've found its clear voice only five years after the first sketches. In 2018 I redesigned all the characters with more geometric details and a comletely new italic style.
• Supergravity (2018-2020).

Behance link for Cila Design. Cila Design. Behance link for Hungarumlaut. Type Today link. Yet another Behance link. [Google] [MyFonts] [More]  ⦿

Hurufatfont Type Foundry
[Oguzhan Cengiz]

Istanbul-based art director. Designer of Elen Sans (2002-2020: started in 2002 as a student, and finally finished in 2020, this 18-style display sans was influenced by Friz Quadrata and Eras) and the Latin / Cyrillic text typeface Milas (2018). In 2019, he published Kontras (a fashionable typeface), Apron (a 42-font sans family with the vertical roundness of airplane windows), ApronSoft, and Grosen (a 14-style grotesk).

Typefaces from 2020: Masifa (a neutral condensed grotesque in 90 styles), Masifa Rounded (another 90 styles), Masif (dead link; a neutral sans with little contrast; 90 styles; renamed Masifa most likely after a complaint from Monotype which markets a Steve Matteson font called Massif), Kanyon (a 54-style low contrast geometric sans), Salda (a 40-style sans family), Gevher (a 48-style grotesque family with deep ink traps), Tonus (an 84-style superfamily with Sans, Slab, Text, Display and Contrast subfamilies), Salin (a 20-style semi-geometric sans), Nema (sans), Kaunos (by Mustafa Eren).

Typefaces from 2021: Rapor (a 20-style grotesk), Mazot (a 19-style sans with almost no contrast, and vertical or horizontal terminal endings; includes a variable font), Berina (a 6-style display family), Mersin (a 20 style sans and a two-axis variable font), Bahar (an 18-style sans inspired by Souvenir and Cooper Black), Stadiona (a heavy condensed organic sans that was inspired by Bauhaus), Ancyra (a 48-style sharp-edged and thorny-serifed serif family), Salda Soft (a 20-style rounded sans family).

Typefaces from 2022: Multipa (a 22-style condensed rather formal sans). [Google] [MyFonts] [More]  ⦿

HypoTypo

HypoTypo (real name: Walter J. P.) is the designer in 2002-2004 of several ornamental fonts, which he showcased via alt.binaries.fonts.

His typefaces: Amber'Shadowed', AnnabelleJF'LessItalic', AntiqueThings-01, AridiRenaissanceCaps, Asphalt'Wicker', Bauhaus'StainedGlass'-Heavy, BigRigs, Centurnalus'Deluxe', ChurchText'Replicant', ChurchText'Shaded' (blackletter), Coventree'Deluxe', CupieDoll, CupieDoll Buckshot (2004), Dantium'Tracing', FearFactor'3D', FearFactor'SmallCaps', FearFactor, FearFactorBlack, FearFactorText, Florence'Striped', Florence'Stripped', FuturexRoughlySliced, GillSans'MonkeyBars'-UltraBold, Gramius Blizzard (snow-cover alphabet), Gramius'ChromeDeco', Gramius'StainedGlass', GreatPrimerUncials'SnowBound', Guppulla'RoughlySliced', HopScotch'Denim', HopScotch'ElectricEddie', Kreepshow'Frigid', Lancastershire (2004), Licinia'Aged' (2003: weathered), Licktenstein'Chromed', Malaki'Continuum', Malaki'Deluxe', Metilius'BongoWood', Metilius'LeadedGlass', Metilius'PopCulture', Modius'Frigid', NewYorkTimes, Oleander'RoyalTablets', Oleander'StainedGlass', Ornam-oodles-01, PhoenixScriptUpr'Shadowed', PhoenixScriptUpright, Plautius'Branded', Plautius'LeadedGlass', Plautius'Rugged', Point-Dexter, Puffy'SandStone', Quintus'StainedCameo', QuintusLeadedGlass, Rocillius'QuickSilver', RocilliusBlack'Arson', Sintex'3D'UltraBlack, SkuareNot'BongoWood', Snoilies-01, Snoilies-02, Tekton'WhiteOnBlack', Timrombo'Erroded-DoubleVision'-Tall, VehicleDecals'Flames&Art', WoodsWorld'Deluxe', WoodsWorld'LeadedGlass', WoodsWorld'Melting', WoodsWorld'Quilted', WoodsWorld'StainedGlass', Auriol 'Shaded' Black (posted 09-02-2002), Bauhaus 'Shaded' Heavy (posted 09-19-2002), Bauhaus 'StainedGlass' Heavy (posted 10-23-2002), Bauhaus 'Textile' Heavy (posted 09-14-2002), Broadway 'Corroded' (posted 09-19-2002), Cooper 'Chromed' Heavy (posted 10-22-2002), Kid Type 'Flintstones' (posted 10-17-2002), Zapf 'SnowBound' Heavy (posted 10-19-2002), Zapf Int'l 'BubbleWrap' Heavy (posted 10-06-2002), LocusDelecti'Sibylline', SkuareNot'PlankYou', SkuareNot'Waveform', TexasWilly'Tracing', Half SunBurst-w4-01 (2003), Half SunBurst-w4-02 (2003), Half SunBurst-w4-03 (2003), NurfStar 'Shaded' (2003), StarBurst-w4-01 (2003), HavingWrit, IceCrystals-01'Continuum', IceCrystals-01'Impressions', IceCrystals-01 (snowflakes), PictoGlyphs, PlymouthRock'SnowDusted', Santa'sSleighFull-Bold, Santa'sSleighFull (a silent movie / art nouveau font), Zoophel (2003), Monika'Engraved'-Italic, Monika'Upright', Monika-Italic (2003), DotsType (Regular and 'OnFilm'), Hearts-O-Plenty, PinWheel, SchoolsOut, ButterCream'Tracing' (2004), Bartholomeow, ChitownScript (Regular, Bold, Light, Italic, Bold Italic and Light Italic), Guppula 'Ripples', Gramius Blizzard (2004), Letter People Things, Point-Dexter, TownSquare ('Grate' and 'Lattice'), StarryType. [Google] [More]  ⦿

Ian Lynam
[Wordshape]

[MyFonts] [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]  ⦿

ifont
[Taber Buhl]

Advertised as the internet's one stop resource for free fonts, typography, commercial fonts, and links. For now, we find Taber Buhl's commercial fonts BDFQ (dot matrix font, 2001), Biochem Yearbook, Boxxon, Capsized Gamut, Internal Calibrator, Jean Template (Bauhaus style, 2001), Kolkom, Licon, Mechno, Plasmatronix, Shark Scrote, Smelly Gazebo, Steel Crate, TB2 (pixel font), Thirty 9 (screen font), Zeichen LCD (LCD font), Bootyscratch (free) and Dirty Clutch (free). Taber Buhl was at Syracuse University and ran at that time The tabertype font foundry (useless link), which does not seem to exist any longer. At that place, he had one commercial font, Sarey, and many free fonts: Smelly Gazebo, Steel Crate, Sephus, the handwritten Taberhand, a grungy CrapSerif, BootyScratch, Dirty Clutch, PinkBlah, and a square Shitfont. In production: Sargon, Busport. [Google] [More]  ⦿

Ike's Lab
[Michael Leithner]

Student at New Design University in Vienna. Creator of the display typeface Franco Modul (2012) and of Chisel and Chisel Script (2013, a connected retro script).

In 2013, Michael designed Luminat Sans and Luminat Slab Serif, both available from Ten Dollar Fonts.

At Ultratypes, he published the Bauhaus sans typeface Arnicae.

Old Behance link. [Google] [More]  ⦿

Ill Type
[Nabeel Khalid]

Ill Type is a type foundry set up by two friends, Emraan (an architect) and Nabeel (a product designer). Santora and Cypher are fronts created out of a decade long collaboration between them.

During his studies in Birmingham, UK, Nabeel Khalid designed the free alchemic typeface Yuknoh (2014-2016), Apollo (2013, a display sans inspired by Bauhaus), Blast Font (2012) and Cypher Font (2013, in the Bauhaus style). Nabeel is now based in London. [Google] [More]  ⦿

Ilya Naumoff

Also Ilya Naumov, b. Russia. Paris-based graphic and type designer, whose typefaces are fabulous. His typefaces:

• During a summer course called Type@Paris (2015), Ilya Naumov designed a contemporary redesign of Caslon called Belka (+Stencil,+Italic).
• Kawai is a modern serif typeface started by Ilya at the University of Reading in 2014 under the supervision of Gerry Leonidas and Gerard Unger.
• 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.
• Troy (2017), Troy Sans (2017). A pair of inscriptional all caps roman typefaces published in 2019 by Indian Type Foundry.
• Clother (Jeremie Hornus, Julie Soudanne, Ilya Naumoff, 2017, at Black Foundry). This geometric sans workhorse covers also Cyrillic, Hebrew and Arabic.
• Ekster (2018). A geometric sans typeface family.
• Ulm Grotesk (2018, Indian Type Foundry). A simplified almost futuristic geometric sans typeface family. Ilya explains the name Ulm: In the 1950s and 1960s, The Ulm School of Design was hailed as a successor to the Bauhaus, and it set important impulses for international graphic and product design. These Ulm aftershocks were felt for the next several decades.
• In 2019, Ilya Naumoff and Benjamin Blaess co-designed the variable font Grtsk at Black Foundry. Its three axes, weight, width and slant, combine for 126 styles, that are all captured in one variable font. Mini-site.
• Screen Sans (2020). A 14-style sans by Jérémie Hornus and Ilya Naumoff published by Indian Type Foundry.
• Stravinsky (2020). This is an experiment in fashionable contrast. Ilya writes: The typeface fuses the 18th century Didot vertical contrast and squarish counters with the contemporary sans-serif Grotesk form.
• Factor A (2020). A variable geometric sans typeface at Type Tomorrow.
• Supreme (2016-2021, by Jérémie Hornus and Ilya Naumoff at Fontshare). A 14-style engineering sans with straight-sided almost monolinear letters.

Type Tomorrow link. [Google] [MyFonts] [More]  ⦿

Increments
[Evan Lelliott]

UK-based designer of II Vorkurs (2020: a 6-style geometric sans inspired by Bauhaus and Futura), II Balfron (2020), an all caps typeface about which he writes: Inspired by the Ernö Goldfinger's east London tower block of the same name, II Balfron is an imposing, all caps, one-weight typeface. Brutalist in form, the characters embody the principles of the distinctive 27-storey concrete profile with unexpected angles set within a rigid, structural grid. Much like Goldfinger's humanist, utopian housing ideals, the font is best viewed at large scale. [Google] [MyFonts] [More]  ⦿

Indra Kupferschmid

German type personality (b. 1973, Fulda) who studied visual communication at the Bauhaus University in Weimar. She is involved in type at the Museum für Druckkunst Leipzig and in the DIN committee for type classification. Founder of Kupferschrift, a type expertise firm based in Weimar and Düsseldorf. Alternate URL. She is a professor of Kommunikationsdesign und Typografie and head of the department FB Design at the HBK (Hochschule der Bildenden Künste) Saar. She researches the classification of typefaces, the history of grotesks and legibility.

She is co-author of Helvetica Forever (Lars Müller Publishers) and Buchstaben kommen selten allein, a typographic reference book.

Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. At the latter meeting she introduces Type Record, a data base on typefaces run by her and Nick Sherman. Speaker at ATypI 2016 in Warsaw. Speaker at ATypI 2017 Montreal. [Google] [More]  ⦿

Ingo Krepinsky
[Typonauten]

[MyFonts] [More]  ⦿

Ingo Zimmermann
[Ingofonts]

[MyFonts] [More]  ⦿

Ingofonts
[Ingo Zimmermann]

Ingofonts is a foundry in Augsburg started by Ingo Zimmermann (b. 1967) in 1994. It offers Fraktur fonts, handwriting fonts, sans serif fonts, Antiqua fonts and some pixel fonts. Full fonts go for 50 USD a piece and up. Some fonts are free. Many fonts are adaptations or revivals of historically important fonts. Ingo also practices calligraphy, and in particular, calligraphy for wine labels. The list:

• Absolut Pro (2008) is a classy sans family that comes in Regular, Licht, Thin and Schmuck.
• Amhara (2009): An experimental font inspired by the Ethiopic writing system.
• Analogue (2010).
• Anatole France (1997-2021). An art deco font in the style of Plakat Schrift by the munich-based printer Georg D. W. Callwey.
• August Sans (2013).
• Auxerre. A wedge-serifed text typeface. Ingo writes: Auxerre is a precursor of Etienne, which later became popular as an advertising script of the 19th century.
• Banknote 1948 (2010).
• Behrens Schrift (2008) is based on Behrens' famous 1902 Jugendstil typeface for Rudhard'sche Giesserei. Behrensschrift iF Plus (+Schmuck) followed in 2021.
• Biró Script is a handwriting font (2007-2012, +Biro Script Plus, 2020) named after the inventor of the ballpoint pen, Laszlo Joszef Biro, 1899-1985.
• Boule Plus (2020). A fat round circle-based bubblegum font family in Gras, Contour and Brilliant styles.
• CharpentierBaroqueIF, CharpentierClassicItaliqueIF, CharpentierClassicistiqueIF, Charpentier Renaissance Pro (1996 and Pro version from 2020; modeled on Roman Capitalis). Charpentier Classicistique Pro (2020; earlier called Classicist) is an absolutely charming didone display typeface family with an award quality Black. In 2014, he added Charpentier Sans Pro for Latin, Greek and Cyrillic with the Pro version following in 2020.
• Chiq Pro. After Apple's Chicago.
• Conté Script (2014). A phenomenal effort towards the creation of a typeface that emulates real handwriting. It even has three-letter ligatures to achieve the desired reality. Based on Ingo's own hand, it also achieves a crayon effect. See also Conte Script Plus (2020).
• Countries of Europe (2008). Outlines of countries. Free download.
• DeBorstel Brush Pro (2009): brush face.
• De Display (2010). A gridded type system.
• De Fonte (1995): a grungy blurred overexposed Helvetica. See also De Fonte Plus (2020).
• Déformé: a grungy Clarendon.
• Deko-Blakk, Deko-Yello (art deco typefaces from 2007).
• DeKunst (1995, deconstructivist). DeKunst Initialen (2007) is Bauhaus-inspired.
• DePixel (1999: based on Apple's Geneva and Chicago; and Illegible DePixel).
• Deutsche Schrift Callwey (1998). A free Sütterlin script that is based on a script sample from around 1920/30 by Karl Schäffer. DeutscheSchriftCallwey (1998): a free handwriting typeface in the style of the 1800s that was later taught in German schools under the generic name of "Sütterlin type".
• Rudolf Diesel Rudolf (2008-2009): Based on the handwriting of the inventor of the Diesel motor, Rudolf Kristian Karl Diesel (1858-1913).
• Die Überschrift (1998): headline sans.
• EconoSans Pro (2020). A 28-style sans that is meant to save space by squishing the letters together.
• Faber Eins, Faber Zwei (1996, legible sans family), Faber Drei, Faber Gotic (2002, +Text, +Gothic, +Gotic Capitals; a Textura based on Gutenberg's blackletter from 1450), Faber Fraktur (1994), Faber Sans Pro (2011). This comes with a great all caps Deko style.
• Façacde Pro (2007). An art nouveau brush typeface found in a 1900 booklet by Karl Otto Maier (a publisher in Ravensburg) entitled Schriften-Sammlung für Techniker Verkleinerte Schriften der wichtigsten Alphabete. Cyrillic version.
• Fixogum (1998, scratchy handwriting).
• Fundstueck (2021). A simplified squarish typeface.
• Graz2006 (1994, a sans family for the 2006 OlumTypographerpic Games in Graz; later renamed by Linotype to Olympia).
• Guhly (2011). An organic family.
• Gutenberg (1995, a textura).
• Handschrift (2007). Expressionist and rough.
• Hedwig Pro (2021). A tall condensed sans; 12 styles.
• Hero (angular handwriting).
• Josef (2000), Josefov (2003, slab serif for Josef), JosefPro (2006, a free sans family), Josefa Rounded Pro (2020: a rounded sans family).
• Klex Plus (1997): a calligraphic or watercolor brush font.
• Koch Schrift (1998-2021). A Schwabacher used by the Deutsche Reichsbahn and first developed by Rudolf Koch in 1909, first known as Neudeutsch and later as Koch Schrift. An earlier version of Zimmermann's Koch Schrift was called Schwabacher Deutsche Reichsbahn.
• Lech Sans (2020). A humanist sans family.
• LeDrôle Lettering Pro (2020).
• LettreCivilitdeGranjon (1997, a reworking of S. Moye's font by that name).
• Maier's No. 8 (2002) and Maier's Neue No. 8 based on forms found in work of Karl O. Maier from before 1914, which already has the geometrical simplicity characteristic of the Weimar period. Maiers No. 21 (2006) and Maiers Nr 21 Pro (2021) are based on a script found in the magazine Schriften-Sammlung für Techniker: Verkleinerte Schriften der wichtigsten Alphabete (Karl O. Maier, Otto Maier Publishing House, Ravensburg, ca. 1910)---a hand-crafted font for technicians. Finally, Maiers Nr. 42 Pro (2020) is a brush-painted art nouveau typeface based a pamphlet of script samples from around 1900 that was issued by Otto Maier's publishing house in Ravensburg, Germany.
• Marleen Script (2011, with over 400 ligatures).
• Menschenalphabet (1997), based on Peter Flötner's alphabet from 1534.
• Novello Pro (2009): The serifed counterpart of his Absolut Pro family.
• OlympiaBuchIF, OlympiaFettIF, OlympiaHalbfettIF, OlympiaLeichtIF, OlympiaSemiSansBuchIF
• Palmona Plus (2008). A German expressionist blackletter after Karl Schaeffer (1939). Palmona Plus was published in 2020.
• Saeculum (1996, cursive connected handwriting).
• Rudolf Diesel (2008-2009): Based on the handwriting of the inventor of the Diesel motor.
• Toby Font (2006(. A 3d doodle font for children.
• Wendelin Pro (1996). A grotesque family. The Pro was released in 2020.
• Whole Europe (2008, outlines of countries), now called Countries Of Europe. Pick it up, togeter with many suppoirt files for TeX by Herbert Voss, at CTAN.

Intecsas
[Klaus Herrmann]

Foundry run by Klaus Herrmann from Düsseldorf, whose fonts are distributed by Precision Type and FontHaus. Fonts include basically all of David Rakowski's old shareware fonts. Through Intecsas, David Rakowski has finally gone commercial. The fonts are often redrawn, and have complete international character sets. The library contains 500 fonts, of which about 90 are based on David's old shareware fonts. Among the newer fonts, DwigginsFortyEight (1999).

Mark Johansson explains the history of Rakowski's fonts.

Atomic Type distributes their fonts as well.

Partial font list: Aaaaaaaargh Caps, Aarcover, Adineski, Adine Kernberg Script, Adriana Davidovsky, Air Supply, Alvin Caps, Aminal Initials, Anderson Script, Anne Stone, Avery Jean, Beffle, Bela Drips, Belgian Casual, Bellagio, Benjamin, Bizarro, Blasius, Braille Font, Brandenburger, Brookfield, Brooks Initials, Buffalo Bill, Cardboard Cutout, Carrick, Chalice, Charlotte Tile, Chinese Menu, Christensen Caps, Command Ment, Constructivist, Corsage, Crackling Fire, Crane Initials, Davys Blocks, Davys Dingbats, Davys Key Caps, Davys Big Key Caps, Davys Other Dingbats, Davys Ribbons, DeBellis, Deco Twenty Two, Dewhurst, Dieter Caps, Dilara Caps, Dinderman, Dorothy Initials, Dragonwick, Drawing Pad, Dubiel, Dupuy, Eileen Caps, Elizabeth Ann, Elzevier, Eraser Dust, Even More Face Cuts, Face Cuts, Fetch Scotty, Flicker, Forest, Frisch Script, Garton, Gessele Script, Gouda Old Style, Grab Bag, Gravestone Rubbing, Green Caps, Griffin Dingbats, Ground Hog, Harting (an old typewriter font), Headhunter, Holtzschue, Horror Show, Horst Caps, Hunan Garden, Ian Bent, Jacobs, Jeff Nichols, Joanna Lee, Judy Finckel, Kastner Casual, KidStuff, Kinigstein Caps, Kioko, Konanur Caps, Korf Caps, Koshgarian Light, Kramer, Lee Caps, Legal Vandal, Lemiesz, Lilith, Logger, Lower East Side, Lucy Script, MalakaLaka-LakaLakaLaka, Man About Town, Mary Monroe, McGarey Fractured, More Face Cuts, Multiform, Munchner Initials, Nauert, Nitemare Caps, No More Face Cuts, Octagon, Paris Metro, Party Down, Pavelle, Phonetic, Pixie Font, Pointage, Polo Semiscript, Randolph, Rechtman Script, Relief, Reynolds Caps, Rhodes Roman, Rounded Relief, Rudelsberg Regular, Rumble, Saint Albans, Scratchy Pen, Showboat, Sjlausmann, Sprecher Initials, Starburst, Still More Face Cuts, Sturbridge Twisted, Taiga, Tejaratchi Caps, Thompson Pond, Toletto, Travis Brush, Trench, Trevor Light, Tucker, Tundra, Upper West Side, Varah Caps, Victoria Casual, Wedgie, Wein Initials, Wharmby, What A Relief, Will Harris, Yasmine, Zaleski, Zallman Caps.

At Will-Harris House, we find these fonts by David Rakowski: Cardboard Cutout, Dwiggins 48 (ornamental caps first designed by Dwiggins), Fetch Scotty, Gibbons (a great geometric Bauhaus-style font), Gravestone Rubbing, Greene&Greene (architectral lettering), Davy's Art Nouveau Initials, Gravestone Rubbing, Harting, Handscrifte, Lillith, Lillith Initials, Pointage, Rabbit ears, Rasta Rattin Frattin, Tenderleaf Caps, Tendril, Toletto (toilet paper alphadings), Will-Harris, and Zaleski. [Google] [More]  ⦿

Isa Lloret

During her studies at Escola d'Art i Superior de Diseny de Valencia, EASD, Isa Lloret (Trieste, Italy) created a geometric solid alphabet that was inspired by the Bauhaus work of Josef Albers, and colored it according to Kandinsky's paradigm of relating color to shape. Behance link. [Google] [More]  ⦿

Isaias Barreto Silveira

Palhoça, Brazil-based designer of the decorative caps typeface Bauhaus Flow (2019). [Google] [More]  ⦿

Ivan Hristov
[Fontan2.com]

[MyFonts] [More]  ⦿

J. Randall Harris
[Just My Type]

[MyFonts] [More]  ⦿

Jackkrit Anantakul

Bangkok-based graphic designer (b. 1979) who founded Design Reform Council in 2005, and is senior designer at YWFT. He made Fetti (2009), a type experiment in 3d based on polyhedra. Spikes (2009) is a modern, wild and abstract handset. Buffer (2010) is a highly contrasted slab display face. YWFT Soaka (2010) is more grungy, but remains slabby. YWFT Gavin (2010) began as a hand-drawn exploration of George Bruce's Seven-Line Pica. YWFT Wonderland (2011) is a smorgasbord of various hand-drawn styles. Pello (2011) is an arts and crafts typeface with Mexican influences.

Typefaces from 2013: YWFT Swell (a rounded vector EPS font), YWFT Riet (Bauhaus or architectural style letters in vector format, You Work For Them).

Home page. You Work For Them link. Behance link. Klingspor link. [Google] [More]  ⦿

Jackson Watkins

Birmingham, AL-based designer of Bauhalphabet (2015), Standard Gothic (2015) and New Condensed Sans Serif (2015). In 2018, he designed the free typeface Bauhaus Display Mono. [Google] [More]  ⦿

James Mattison

British designer based in Dubai, b. 1978. Behance link. He created Schrofer (2009-2010), a lower-case only piano key stencil face, based upon an alphabet drawn by Bauhaus artist Jurriaan Schrofer, 1926-1990. Dafont link. [Google] [More]  ⦿

Jan Tschichold

Born in Leipzig (1902), died in Locarno, Switzerland (1974). Influential German type designer whose typefaces include these:

• Sabon (1964-1967, for Stempel). The most famous digital version of Sabon is Linotype's Sabon Next. See also Sabon eText Pro (2013, Linotype) and Salieri (2020, a free font by Daniel Benjamin Miller).
• Transit and Transito (1931). Transito has been remade by Nick Curtis in 2009 as Waddem Choo NF, and by Paulo Heitlinger in 2008 as Transito.
• Zeus (1931). Pleks Zeus (2008) is a revival of Zeus by Hans Munk.
• Saskia (1931, Schelter&Giesecke). Revived by Ralph M. Unger in 2016 as Saskia Pro.
• Uher Standard Grotesque.
• Between 1926 and 1929, he designed a "universal alphabet" to help with non-phonetic spellings in the German language. For example, he devised new characters to replace "ch" and "sch". Long vowels were indicated by a macron below them. The alphabet was presented in one typeface, which was sans-serif and without capital letters. Leicht und schnell konstruierbare Schrift (1930) is a Bauhaus-style geometric revived in 2008 by Sebastian Nagel as Iwan Reschniev. See also Architype Tschichold by The Foundry.

• Die neue Typographie (Berlin, 1928). Quote from this book: Type production has gone mad, with its senseless outpouring of new types. Only in degenerate times can personality (opposed to the nameless masses) become the aim of human development,
• Typographische Gestaltung (Basel 1935).
• Geschichte der Schrift in Bildern (Basel 1941).
• Schriftkunde, Schreibübungen und Skizzieren (Basel 1942, Berlin 1952).
• Schatzkammern der Schreibkunst (Basel 1946).
• Meisterbuch der Schrift (Ravensburg 1953).
• Erfreuliche Drucksachen durch gute Typographie (Ravensburg 1960).
• Willkürfreie Maßverhältnisse der Buchseite und des Satzspiegels (Basel 1962).
• Ausgewählte Aufsätze über Fragen der Gestalt des Buches und der Typography (Basel 1975).
• Jan Tschichold, Leben und Werk (Dresden 1977).
• Jan Tschichold. Schriften 1925-1974 (Berlin 1991).
• Recommended is this short essay entitled Consistent Correlation Between Book Page and Type Area.
• The book jan Tschichold. Vormveranderingen van het &-teken. In een hedendaagse context (Amsterdam, De Buitenkant, 1993) has contributions by Petr van Blokland, Peter Borgman, Bram de Does, Dick Dooijes, Paul Groenendaal, Martin Majoor, Karina Meister, Gerrit Noordzij, Helmut Salden and Gerard Unger.

Jason Smith
[Fontsmith]

[MyFonts] [More]  ⦿

Javier Fuentes

Boston-based designer who was born in Cuba and raised in Venezuela. Behance link. He created the geometric outline typeface Jeroglifico (2011), and the Bauhaus-inspired outline typeface Dessau (2012).

Behance link. Cave Graphic Design link. [Google] [More]  ⦿

Jay Rutherford
[Typoart GmbH (or: VEB Typoart)]

[MyFonts] [More]  ⦿

Jérôme Bruley

In 2014, Jérôme Bruley was studying design in Lille, France. In that same year, he created a Bauhaus-style typeface called LMVDR, which is named after Mies Van Der Rohe, architect and director of the Bauhaus school, on who's work the font is based. In particular, the piano key glyphs are inspired by the German Pavillion in Barcelona (1929). He also created Sail Font (2014) and the free AI format watercolor brush typeface Bud Powell (2015).

Behance link. [Google] [More]  ⦿

Jean Larcher

French type designer and calligrapher (b. 1947, Rennes, d. 2015) who worked mostly in Cergy-Pontoise. From 1962-1965, he studied typographic art in a school under the Paris Chamber of Commerce. From 1973 until 1985, Jean Larcher, who had studied calligraphy as well, worked as a freelance calligrapher in and around Paris. From 1985, he taught calligraphy both inside and outside France. He wrote several books, including Character Traits (2014). While calligraphy was his passion, Jean was also fascinated by op-art and geometric patterns. His fonts are all phototypes except for the metal font Latina.

His typefaces: Abécédaire à Renayures (1991, for Collector magazine), Beauté (1966, for Magazine Votre Beauté), Castillejo-Bauhaus (1980, Rapitype Madrid), Catich (1998), Digitale (1974, Hollenstein Phototypo), Gautier (1992, Agence J.-P. Gautier&Associés), Guapo (1973-75, Hollenstein Phototypo), Hollywood Script (1989), Honolulu (1974, Hollenstein Phototypo), Incise Volume (1981, for Cergy Magazine), Jamaica Experience (1978, for Rock Hebdo Magazine), Lancöme (1981, Rapitype, for Lancöme), Larcher (1974, Hollenstein Phototypo), Latina (1987, Mécanorma), Liberté Égalité Fraternité (1985, for the Ministère de l'Éducation Nationale), Logement (1980, Rapitype, for Cergy Magazine), Menhir (1973-75, Hollenstein Phototypo), New Crayon (1980, Rapitype, for Cergy Magazine), Optical (1974, Hollenstein Phototypo), Plouf (1970-74, Hollenstein Phototypo), Rasgueo (1979, for U&lc Magazine), Revival (1979, for 20 ans Magazine), Soleil (1973-75, Hollenstein Phototypo), Super Crayon (1976, Titrage CCT), Tornade (1974, Hollenstein Phototypo), Veloz (1987, Mécanorma), Vibrator (1976, Titrage CCT).

3D Alphabet (by Character) is inspired by an alphabet coloring book designed by Jean Larcher, 1978.

Web site. MyFonts link. [Google] [MyFonts] [More]  ⦿

Jean-Charles Abrial

Parisian designer of the Bauhaus-inspired Ortaki (2012, with Cyril Barrier). In 2014, he designed the display typeface Norris and the calligraphic typeface Yonne.

Behance link. [Google] [More]  ⦿

Jeremias Ribeiro

Pompeia, Brazil-based designer of BausQ (2015), a Bauhaus-inspired display sans typeface. [Google] [More]  ⦿

Jessica Lay

Designer in Sydney who made the fun display typeface Kandinsky (2010). [Google] [More]  ⦿

Jewelson Fernandes

As a student at Boston University, Jewelson Fernandes designed the typographic Bauhaus Manifesto poster (2016). [Google] [More]  ⦿

Jim Ford
[VersaType]

[MyFonts] [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]  ⦿

John Jones

Artist and graphic designer affiliated with the Linotype Library. Runs John Jones Art&Design in St. Albans, UK. He designed Taut at Linotype in 2001. Jones writes: The original typeface idea was outline with diagonal stripes at 45o through the characters and was to be called "Candy". This was in 1971. The font "Taut" which is based on "Candy" was started in summer 1995 and four versions of the font were submitted to Linotype in February 1996 and included a striped version. As with "Albertus" the font has only caps and is essentially minimalist. Taut was originally named "Mies" after the great architect Mies van der Rohe, whose designs inspired the geometric simplicity of the font. "Mies" has an unfortunate meaning in the German language and so "Taut" was chosen as the final name for the font, after the Bauhaus architect Bruno Taut. In Taut, I have attempted to marry this geometry and a 30s personality with the stylish graphic adventures of the 90s. [Google] [MyFonts] [More]  ⦿

John Moore

Born in 1951, John Moore is a Venezuelan type designer. He studied graphic design in the Institute of graphic design Neumann from 1972 until 1976. In 1980 he took a workshop with Milton Glaser and since 1983 he has worked as an art director and creative director in many advertising agencies. He designs type since 1976.

His typefaces Gordis (a fattish comic book family) and Tepuy won awards at Tipos Latinos 2008 in the non-text and experimental typeface categories, respectively. At Tipos Latinos 2010, he won twice in the display category, for Victorina and Radio Time.

His typefaces: (New) Maracay (2013, a large layered Victorian signage family), Fine Art OT (2013, brushy typeface), Roadline Italic (2013, a retro script), JMTF Robin (2013, a layered post-modernist display family), Virgin Script (2013), Radio Time (2013, fat retro signage script), Radio Time Icons (2013), Palaima (2013, an aboriginal style face), Factor (2012, a layered geometric font), Onda (2012, a wavy psychedelic face), Blockee (2012), Aliykit Open (2012, a multiline typeface), VE Inconexa (2006, outline architectural face), VE Makiritare (2006, a double labyrinthine script that is based on symbolisms used by the Makiritare or Yecuana, river people who live in the village of Santa Maria de Erebato in the Venezuelan jungle on the border with Brazil), VE Moho (2006; or simply Moho in 2014), VE Palaima (2006, futuristic, Amazonian), Radio Time (fifties style script, with Alejandro Paul at Sudtipos), Fruta (stencil, influenced by Glaser?), Glaser Stencil Round, Gothike (sharp-edges), Aqua (ultra round), Club, Caracas (sans; +Caracas Pro, 2015; see also Caracas Stencil Pro, 2015), Factor (hookish), Space Lab (futuristic family), Robin (headline), Victorina (multiline Victorian poster typeface which won an award at Tipos Latinos 2010), Victorina Black Shadow (2011), Waterman (2010, a flowing undulating script family), Spacelab (2010, futuristic) and RobinBienalII (2005).

Sudtipos sells these fonts of his via MyFonts: Makiritare (bilined, based on woven baskets), Palaima (experimental, runic), Precolombino (petroglyphs), Tepuy (rounded version of Makiritare), Roadline (2009, fifties diner font), Sacred Geo (2011, a geometric dingbat font that won an award at Tipos Latinos 2012), DeCoro (2011, art deco family), Sacred Geo Tiling (2011), Primate (2012, an African look typeface family), Morenita (2012, a connected fifties or school script), Takox (2012), Petroglifos (2012), Xtencil (2012, a rounded stencil influenced by Milton Glaser; followed by Xtencil LC and UC in 2013 and Xtencil Pro in 2015).

Typefaces from 2014: Moho Sport Pro (layered athletic lettering typeface family), Scripta Pro and Gothic (40s-style lettering typeface inspired by the style of L.H. Copeland), InkArt Labels, Moho (named after Laszlo Moholy-Nagy), MohoBis Pro (a multilined version of Moho), Moho Condensed, Moho Script, Duvall (named after Edward J. Duvall, who published Modern Sign Painting in the late 1940s; Duvall won an award at Tipos Latinos 2014).

In 2015, the Moho series continued with Moho Style. He also made Arthaus (2015, a fantastic Bauhaus font family inspired by Herbert Bayer's universal alphabet), MyCard (a techno type), NeoScript Pro and Hierra (after a font by Dan Solo) in 2015.

In 2016, he designed Artime (a sci-fi font), Virtual.

Typefaces from 2017: FunFont (cartoon style).

Klingspor link. MyFonts link. Behance link. Poster.

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

John Skelton
[Afrojet Type Foundry]

[MyFonts] [More]  ⦿

Jonathan Hill
[The Northern Block (TNB)]

[MyFonts] [More]  ⦿

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

[MyFonts] [More]  ⦿