TYPE DESIGN INFORMATION PAGE last updated on Fri Sep 13 01:38:18 EDT 2024

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Corporate typefaces



[The headline is set in Corporate E Bold, which was designed by Kurt Weidemann from 1985-1989 for Daimler Benz (Mercedes)]





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131

131 (Barcelona and Lleida) is a collaborative project between Pau Llop and Esteve Padilla. Their typefaces include Equilibrio (2019: a bespoke typeface for Proyectos Euiamor and Museo del Prado) and La Pionera (2019: for Ajuntament de Barcelona). [Google] [More]  ⦿

17 Dandi

Studio in Ypsilanti, MI. They created custom typefaces such as Jam Space (2014, brush style) and Molly may (2014, modular display face). [Google] [More]  ⦿

29 Letters
[Pascal Naji Zoghbi]

Madrid (and before that, Lebanon)-based Arabic type designer who runs the Arab type news and blog site called Arabic Typography. KHTT link. An ex-student of the KABK in 2006, he currently is a part time instructor of design and typography at Notre Dame University, Louaize, Lebanon, as well as a part time instructor of typography at the American University of Beirut (AUB), both since 2007. His Arabic type foundry is called 29letters.

At ATypI 2008 in St. Petersburg, he ran a workshop on the Arabic Kufi script. Speaker at ATypI 2010 in Dublin on the topic of political resistance and expression through graffiti in Lebanon and Palestine. His contributions to type design:

  • Massira. He has embarked on a project with Martin Majoor to design some Arabic fonts that fit Majoor's designs. He writes: Massira is my graduation typeface at Type&Media postgraduate course at The Royal Academy of Arts [KABK] in The Hague. Huda AbiFares contacted me while I was finalizing Massira and presented the opportunity to collaborate with the Dutch type designer Martin Majoor to design an Arabic typeface, which is part of the Typographic Matchmaking 01 project organized by Khatt Foundation. At first I was a bit worried due to the fact that it would be my first professional type design work and that the due date was too close. However, after taking a closer look at Martins type FFSeria and analyzing its characteristics, I noticed that the treatment of the stroke and the structure of the letters shared similarities with Massira. In both fonts the use of sharp broken curves and crispy feel is present. Consequently, I grew confident in project and decided to use Massira as a starting point for the new Arabic companion of FFSeria. Echo, which is Sada in Arabic, is the repetition of a sound caused by the reflection of sound waves from a surface. Accordingly, Sada is the echo of FFSeria. The modifications on Massira consisted of making Sada perform like FFSeria. It had to have the same point size, line space, color, contrast and feel as FFSeria. Concerning the details of Sada and the inclined angle of the vertical strokes, it was derived from the FFSeria Italic. So Sada has the same feel as the Roman but is inspired from the Italic. More on the Sada project. In 2009, Sada was renamed FF Seria and published by FontFont.
  • Another project of Zoghbi involves a type family being developed for newspaper headlines.
  • In 2007, he created a 3-style Phoenician type family called Fniqiya.
  • Alef Pixel Caps Type for Alef Magazine (2008). Done with Huda AbiFares. This is a Latin ornamental type family.
  • Al Rouiya Arabic Type for the Al Rouiah Newspaper in Kuwait, 2008.
  • Bukra display type for Ibn Battuta Mall in Dubai, 2008. This Futura-like typeface saw a variable part added in 2020. Adrien Midzic and Swiss Typefaces aided with the Latin.
  • A corporate font under the heading, Arabic for Univers (2008). Zoghbi: An Arabic corporate typeface for a global shipping and transport company. The Arabic is intended to work with the Latin type Univers. Unfortunately, I can't mention the name of the company nor the design firm I did this Arabic type work for. I was the Arabic type consultant/specialist and associate type designer alongside Leah Hoffmitz. The font will used in all Arabic publications, ads and packaging for the company.
  • Baseet (2009) is a hybrid Neo-Naskh / Modern Kufi geometric typeface. It is a mixture of straight vertical, horizontal and diagonal pen stokes incorporated in-between curved corners and edges. In 2020, Pascal Zoghbi (29LT) and Ben Wittner released the monospaced Arabic / Latin typefaces 29 LT Baseet Variable and 28 LT Zawi Variable.
  • At FontStruct, he made Arapix (2009).
  • UAE Embassy Corporate Type (2010). This is a commissioned Latin typeface based on the same concept as of an Arabic font. Each of the 26 Latin letters has Caps, Initial, Medial and Final shape enabling the letters to connect as in the Arabic script. The drawing of the letters was all done using the Arabic calligraphic bamboo stick and based on the Naskh Calligraphic Style. Opentype help from Erik van Blokland.
  • The Mathaf Corporate Arabic-Latin Font (2011). Mathaf Arab Museum of Modern Art opened its doors to contemporary Arab art lovers in December 2010 in Doha, Qatar.
  • Nada Debs (2010): a contemporary geometric Kufi type commissionewd by Nada Debs.
  • For Ascender, he did Droid Arabic Naskh (see OFL), Droid Persian Naskh, and Droid Arabic Kufi (2010, OFL).
  • 29LT Azer, done with Ian Party and Wael Morcos: Azer in Arabic means friendly, ready to assist and lend a hand. This multilingual typeface combines simple lines with careful detailing to create a serious but approachable look. The Arabic is a Naskh / Kufi hybrid and retains a balance between calligraphic angular cuts and unadorned construction. The Latin is a humanist sans-serif with crisp cuts based on the broad nip pen calligraphic structure and contemporary outlines. The fonts include Arabic, Farsi, Urdu and Latin variants. Azer won an award at TDC 2014.
  • Pascal Zoghbi revived the 1950s font system by Nasri Khattar called Unified Arabic as UA Neo B and UA Neo B.
  • LT Makina. An old typewriter font.
  • LT Kaff.
  • LT Zarid (+Sans, +Stencil, +Slab, +Serif). Pascal Zoghbi designed all Arabic components. 29LT Zarid Display won an award at 23TDC in 2020. The whole family has variable styles since 2020. Jan Fromm designed the Latin for Slab, Sans and Stencil. Regarding the Latin parts: Zarid Serif Display and Text Upright were designed by Ramiro Espinoza; Serif Upright was designed by Ramiro Espinoza and Khajag Apelian; Serif Slanted and Text Slanted were designed by Jan Fromm. The Cyrillic and Greek extensions were designed by Krista Radoeva and released in July 2020. Finally, 20 LT Zarid Sans features a variable style with a single (weight) axis.
  • LT Zeyn. A great high-contrast fashion mag style typeface.
  • Other custom types include Expo 2020 Dubai, Swatch, Noor, MIA, Noto Naskh, Shawati, Hamsa, Fdx, Emirates Headlines, AlWatan Headlines.
Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. Klingspor link. [Google] [More]  ⦿

4th February
[Sergiy Tkachenko]

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

Abstract Fonts link. Dafont link. Creative Market link. Behance link. Hellofont link. Open Font Library link.

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

A2 Type
[Henrik Kubel]

A2-Type (or simply, A2) is a type foundry set up in the autumn of 2010 by the London based design studio A2/SW/HK. The designers are Henrik Kubel and Scott Williams. A2's bespoke type design is mainly the responsibility of Henrik Kubel, though every typeface is developed and approved by both partners. Kubel is self-taught, making his first typefaces while studying at Denmark's Design School from 1992 until 1997. Their typefaces:

  • 4590
  • 60 Display.
  • Amplify (2013) won an award at TDC 2014.
  • Antwerp (2011). A readable text family designed by Kubel during an Expert Type Design Class in 2011 at Plantin Genootschap in Antwerp.
  • A2 Archi (2005, Henrik Kubel): an octagonal face.
  • A2 Aveny-T (2000, Henrik Kubel): Poster typeface commissioned as aprt of the identity of the Aveny-T theatre in Copenhagen.
  • Agriculture.
  • Archi.
  • Banknote.
  • A2 Battersea (1999, Henrik Kubel): inspired by Meta, DIN and Transport Alphabet. Followed in 2012 by Battersea Slab.
  • Bauhouse.
  • A2 Beckett (2008). A condensed sans family with the masculinity of Impact.
  • Boing.
  • Copenhagen
  • A2 CPH Tram (2009, Henrik Kubel): revival of an odd mini-serifed type found on the exterior of Danish trams, ca. 1920.
  • A2 CWM (2008, Henrik Kubel): constructivist type designed for the headlines and cover of Cold War Modern Design 1945-1970. Octagonal.
  • Dane.
  • A2 Danmark (2008, Henrik Kubel): a display stencil family.
  • A2 Ergonomics (2011).
  • Flavin Medium. A neon tube font.
  • A2 Flowers (2005, Henrik Kubel): arrows, fists, flourishes, ornaments.
  • A2 FM: slab serif family.
  • Foundation (2018) in Sans (Number 44, Condensed, Wide), Serif, and Serif Didot subfamilies. These are all revivals of skeletal typefaces. Foundation Sans Number 44 was inspired by Circular Gothic No. 44 (1879, Charles E. Heyer, for the Great Western Type Foundry). Foundation Sans Condensed and Foundation Sans Wide are derived from two types described as Caractères pour Marques de Linge (typefaces for marking on linen) in the Signes section of the first volume of Spécimen Général des Fonderies Deberny et Peignot (ca. 1934). Foundation Serif is based on Caractère No. 7, another Caractère pour Marques de Linge in that 1934 Deberny & Peignot specimen book. Kubel's inspiration for Foundation Serif Didot was a sheet of lettering (dated 1939) he discovered in the archive of the influential Danish architect and graphic/industrial designer Gunnar Biilmann Petersen, 1897-1968.
  • Grand. A stencil typeface.
  • A2 Grot 10 (2009, Henrik Kubel): a take on the Grot Series by Stephenson Blake. Grot 12 followed in 2015.
  • A2 Impacto (2005-2011, Henrik Kubel): Impact?
  • A2 Klampenborg (1997, Henrik Kubel): industrial style sans.
  • Kunstuff.
  • London (2010).
  • Magna.
  • Maximum.
  • A2 Mazarin (2017). A2 writes: Originally designed as a Garamond-inspired metal typeface by Robert Girard ca. 1921-1923, and published under the name Astrée by Deberny Peignot, the typeface was soon recut and renamed Mazarin by the English foundry Stephenson Blake in 1926. That single style original has now been expertly restored and reimagined as a contemporary typeface in multiple styles.
  • Melissa Script (2010).
  • A2 Monday (2003-2016, Henrik Kubel): based on 19th century English vernacular serif signage type.
  • Moscow Sans (2014-2015). Award winning custom fonts and pictogram system for Moscow Metro. Art directed and designed by A2 (Scott Williams and Henrik Kubel) with Margaret Calvert as type and pictogram consultant. Cyrillic script designed in collaboration with Ilya Ruderman.
  • Naive.
  • New Grotesque Square series (2015). A newspaper typeface modeled after a Stephenson Blake typeface. Followed by New Grotesque Round in 2015-2016.
  • New Rail Alphabet (2009). A refreshed and expanded version of Margaret Calvert's alphabet from the 1960s which saw nationwide use with British Rail, BAA, and the NHS. Developed in cooperation with Margaret Calvert.
  • New Transport (with Margaret Calvert). A digital version of Transport, the Jock Kinnear and Margaret Calvert typeface for the British road signs. New Transport will be commercially released in September 2013.
  • Register (2012-2017). A text typeface family inspired by French renaissance types.
  • Regular (2012-2016). Think Futura in new clothes. Accompanied by Regular Slab.
  • Sans, Slab and Serif typefaces for a redesign of The New York Times Magazine in 2015. The starting point for the Serif font is the Stephenson Blake Garamond-ish metal typeface Mazarin also known as Astrée from French foundry Deberny & Peignot. The slab fonts used for pull quotes and headlines are a continuation of the magazines existing Stymie font but in a condensed format. The sans fonts are linked to the industrial grotesque types, with metal type specimen versions of Futura and Akzidenz fonts as loose models for inspiration.
  • Nosferato.
  • Ole.
  • Outsiders (+Outsiders Light and many other weights). A slab serif family.
  • Parsons Green Medium.
  • A2 Record Gothic (2019, Henrik Kubel), after Robert H. Middleton's American grotesk, Record Gothic (1027, Ludlow). Kubel writes: In celebration of Record Gothic's eclectic history, we designed four related but independent styles: Slab, Mono, Stencil and Outline.
  • Square.
  • Staton.
  • Tagstyle.
  • Test.
  • Triumph.
  • A2 Typewriter (2000, Henrik Kubel): based on Olivetti Typewriter 22.
  • A2 Vogue Floral: a fashion mag modern display face in two styles.
  • Vogue Paris. Granshan 09 Type Design Competition. 1st Prize, Display fonts.
  • A2 Zadie (2005, Henrik Kubel): inspired by Edwardian railings surrounding the Royal Army Military College in London. Used on the cover of the Zadie Smith bestseller On Beauty (2005, Penguin Press, NY). Granshan 10 Type Design Competition. 3rd Prize, Display fontt described as an ornamental blackboard bold type.
  • In 2014, Scott Williams and Henrik Kubel (A2 Type) co-designed A23D, a 3d-printed letterpress font. It was fabricated by model making specialists Chalk Studios. The font is presented by New North Press, which specializes in traditional letterpress printing. Adrian Harrison made a short film about the birth of the font, charting its progress from preliminary sketches to first inking and printing at New North Press. A23D won an award in the TDC 2015 Type Design competition.
  • English 1766 (2017). Kubel's take on Caslon.
  • Regular (2017). A sans family inspired by Memphis, Karnak, Stymie and Futura.
  • Schwiss (2018). Inspired by Akzidenz Grotesk and Helvetica.
Custom type by them include an alphabet for Qantas Airlines (2017), a masthead for Toronto Life (2010), a custom typeface for Banca Sella (2018), Qualcomm (2017), Arne Jacobsen (2018?), Evening Standard Newspaper (2018: 43 fonts), New York Times Magazine's Olympics issue (2018: a monowidth font for stacking), Eurosport Pyeongchang 2018, Weekendavisen (2007-2010), Design Museum London (2010), Faber&Faber (2009-2010), Afterall Publishing (2006-2010), Faulkner Browns Architects (2007), Penguin Press (2005), and Norrebro Bryghus (2005).

At ATypI 2013 in Amsterdam, he spoke about New Transport. Winner of the type design prize at the Tokyo Type Directors Club TDC 2019, with Matt Willey, for the New York Times Magazine Olympic font. [Google] [MyFonts] [More]  ⦿

Aad van Dommelen
[Total Identity]

[More]  ⦿

ABC Design

Design studio founded in Denmark by Torsten Lindsø Andersen and Rasmus Michaelis. Together with Kontrapunkt, ABC Design created the new global brand typeface family for Nissan under direction from and in close collaboration with Bo Linnemann. Still with Kontrapunkt, ABC Design assisted them in developing the new didone style brand typeface for the Hotel d'Anglettere in Copenhagen (2016), working closely with Mads Quistgaard at Kontrapunkt. They also designed the wonderful Juli Sans (2016) and the more vernacular Barbu (2016-2017).

Torsten Lindsø Andersen is based in Copenhagen where he co-runs Kontrapunkt’s type department and type lab together with Rasmus Michaelis. [Google] [More]  ⦿

ABC ETC INC
[Nazareno Crea]

ABC ETC INC. is a font and logo design service (est. 2018) based in New York City, run by Nazareno Crea. Nazareno Crea (b. Cinquefrondi near Reggio Calabria, 1983) is a Brooklyn, NY-based book and type designer, who studied at ECAL/University of Art and Design Lausanne (class of 2006) and the Royal College of Art in London (class of 2010). His typefaces:

  • At Lineto, he released LL Gulliver (2008-2018), which was renamed LL Catalogue in 2019. A new serif family with 3 weights/6 styles based on Miller & Richard's Antique Old Style (1858), LL Gulliver was first used in print in an early version in 2008, and was to be published by Lineto in early 2019.
  • The custom sans typeface Gabellini Sheppard.
  • Zug (Regular and Light). A custom typeface done for the Ski Brand Matek (matek.clothing). Inspired by Walter Haettenschweiler's lettering work for Lettera 2, published by Niggli in 1961.
  • Waldorf Astoria. Waldorf Astoria is a custom display typeface inspired by the façade engravings of the homonymous hotel building in New York City. Expanded into a full set of upper and lower cases. Designed for the relaunch of the residential project of the Waldorf Astoria in New York City. Inspired by the work of the architects Weaver & Schultze who designed the building and the original lettering in 1931.
  • Pan Display and Pan Text. Corporate typefaces designed for the jewellery brand Pandora A/S. Developed in collaboration with Chi-Long Trieu and engineered by Alphabet Type, Pan is loosely inspired by the work of Percy Smith.
  • BBB Neu. Created for the identity of French artist Stephane barbier Bouvet. A brutalist adaptation of Helvetica.
  • Olivetti (2020). Based on a 1934 logo design by Bauhaus artist Xani Schawinsky for the Italian typewriter company Olivetti.
  • Plantin Rounded (2020).
[Google] [More]  ⦿

ABC Typo (was: Bonté Divine)
[Olivier Nineuil]

Olivier Nineuil (b. 1964) created Bonté Divine around 1998, and renamed it ABC typo in 2001. He teaches at the La Sorbonne Nouvelle University in Paris. Olivier does custom work and has published fonts in the Agfa Creative Alliance such as Comedia.

Other typefaces by Nineuil: P'tit François, Bolobolo, Cassecroute, Garatoi, Maboul, Fiston, Jeuve-upa, Faidodo, Badaboum, Bigoudi, Japapeur, Giboulette, Garamome.

Custom work: Club Med (1996), Hachette Multimédia (1998), Polaris (1995, Autoroutes). Bonté Divine fonts: Picasso (1997), Bonté Divine! 007 (1996), Bonté Divine! 015 (1996), Bonté Divine! 022 (1996), Bonté Divine! 031 (1996), Bonté Divine! 036 (1996), Bonté Divine! 044 (1996), Bonté Divine! 061 (1997), Bonté Divine! 066 (1997), Bonté Divine! 077 (1997), Bonté Divine! 092 (1997), Bonté Divine! 097 (1997), Bonté Divine! 105 (1998), Bonté Divine! 112 (1998), Bonté Divine! 117 (1998), Bonté Divine! 121 (1998). [Google] [MyFonts] [More]  ⦿

Adam Katyi
[Hungarumlaut (was: Cila Design)]

[MyFonts] [More]  ⦿

Adicto

Adicto Multichannel Agency is a studio located in Sankt Gallen, Switzerland. For the new restaurant Werk 1 in a renovated industrial building built in 1900 Adicto created the new typeface Werk1 (2014). For this typeface, they used the art nouveau font Quaint as a model. The font was developed by Nicolas Duran, Pierre Lippuner and Christian Woelk. Behance link. [Google] [More]  ⦿

Adrien Menard
[Edition Studio]

[More]  ⦿

Adrien Midzic

Fatnobrain was Adrien Midzic's design studio in Paris. Born in 1982, he co-founded Pizza Typefaces with Luc Borho in 2018. Midzic designed these typefaces or type families: Fine (lineal), Blokus (free pixel font, 2009), Cimen (strong sans, designed for Smacl Entraide), Mesquine (lineal), Blitz, Cucha, Stencil Reverse, Huit (2009, a gorgeous didone headline face), Stenha (stencil).

Fonts made in 2010: The ETH family (art deco sans).

Custom typefaces by Midzic: Aquitaine (2013, for Région Aquitaine), Nilka (2013, for his personal identity), No End (2013, a fat didone), Ethon Serif (2013, a perked up serif typeface for Penguin Books), Kasai Est (2011, for the Congo-based Kasai Est Magazine), Festival De Film Documentaire (2011), Nevenka (2011, condensed sans).

In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days. Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak co-designed the very humanist sans family Saya FY and Saya Semisans FY. Adrien Midzic and Joana Correia co-designed Saya Serif FY (2015).

At the free font cooperative Velvetyne, he published the sans typeface Lack (2014).

In 2015, he made the 3-style sans typeface Suber for an art fair in Paris. The roman transitional typeface Bota Serif (2015), which was inspired by Cochin (designed by Charles Peignot in 1912) is a custom font designed for Hotel des ventes de Poitiers. In 2017, it was finally released for retail.

In 2016, Adrien designed the bold titling typeface Debeo and the modern condensed Latin/Arabic typeface 29LT Adir (with Naji El Mir; at 29 Letters).

In 2017, he published the piano key typeface Mixal, which became a large experiment on variable fonts and is free for everyone.

Typefaces from 2018: Kern, Kern Office (a sans with some Futura features), Forno (sans), VTF Lack (a free single weight monoline geometric sans for Latin, Greek and Cyrillic, published by Velvetyne), Metal (an all caps multi-width variable font originally designed for marché Dauphine), Orelo (a 120-style high-contrast fashion mag font family; +Orelo Hangul, 2020).

Typefaces from 2019: Ultra Solar (experimental), 1871 Mane (a custom sans typeface), Wasa (a tense sans in seven styles), Shrill, Gangster Grotesk (free), Stupid (a hacker / hipster font), Kern (geometric sans).

Typefaces from 2020: Shreck Issue (very tall and ultra-condensed), Metal (brutalist), Version ACT (a two-axis variable font), Debeo (a heavy sans), Dozza (a hybrid family named after ITC Mendoza by Jose Mendoza Almeida), XMX (experimental).

Typefaces from 2021: Campingo (a roundish informal typeface inspired by camping and outdoor life), Bota (with Ines Davodeau: first designed for Boissnot&Tailliez, Bota is a modern interpretation of Georges Peignot's Cochin (2012)), Pleasure (hipsterism pushed to the fringe of addiction), Model Standard (ModelStandard Mono, ModelStandard SemiMono, ModelStandard Sans).

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

Adtypo
[Andrej Dienes]

Andrej Dienes is a type designer in Bratislava, Slovakia. He set up the commercial type foundry Adtypo in 2013. Creator of these typefaces:

  • Akceler (2012). Advertised as a type system for sports. The text that accompanies this large typeface family: Elasticity of glyphs reflected adrenalinous shapes of latest bikeframes, skies or sportcars. Maximum open arches guaranteed good readability in very small sizes and prevented interchanges of glyphs "o, c, e" per poor reading conditions. Softness of minuscules is at capitals balanced in bottom arches, that are subtly kicked-up. Numerals are important component of sport communication, so here have expressive design, different from numerals of book typefaces. Every font have 10 kinds of numerals. Character case contains between 1000 glaphs sport icons and othes signs creating sport feeling.
  • Densit (2012). An ultra-black display family that includes a Sans and a Serif. It was designed for Reco, Senica.
  • Fazeta (2015). An angular traditional Czech typeface family in which each font has an impressive 1140 glyphs, and the family is divided into Display, Text and Caption subfamilies. He calls it a text typeface without sentiment. It was followed a bit later in 2015 by the companion font Fazeta Sans.
  • Resonay (2021, at Typemates), an award winner at 25 TDC in 2022. Resonay is a layerable display typeface family that combines elegant details from stone carving with the flow of calligraphy, a sharp attitude with exuberant Bézier curves.
  • Cosan (2021). A variable sans-serif typeface with a broad range of weights and adjustable contrast.
[Google] [MyFonts] [More]  ⦿

Agence France Presse (or: AFP)

In 2006, AFP commissioned some custom fonts like AFP Sans Pro and AFP Square Pro. [Google] [More]  ⦿

Agyei Archer

Graphic designer in Trinidad, who co-founded Unqueue, a mobile app designed to improve retail experiences in the Caribbean. Past clients include Google, RISD, the Government of Trinidad and Tobago, and the Caribbean Mental Health Foundation. He designed a few, mostly custom, typefaces. These include Crispy (2020: an angular design started in 2017 that has mushroomed into an 8-axis variable font, built based on David Berlow's proposal for parametric variations, combining axes such as X-Transparency, X-Opacity, and Y-Opacity to generate masters for styles such as widths, weights, grades, and optical sizes; it is planned as a Google Font), and Ephemeral (2018: a layered color font based on the lettering style of Bruce Cayonne). [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.
[Google] [More]  ⦿

A.J. Dimarucot

T-shirt artist in Pasig, Philippines. His typefaces:

  • Maroons Type. A free octagonal sports font family developed over the years for the Fighting Maroons at the University of the Philippines by AJ Dimarucot, Joanna Malinis of Plus63 Design Co., and Dan Matutina of Plus63 Design Co. The most recent update was in 2019.
  • In 2021, he published the free blackletter typeface Panata, which was inspired by a local religious movement.
[Google] [More]  ⦿

Akira Kobayashi
[Sony Design]

[More]  ⦿

Alain Rodriguez

In 2012, Parisian graphic designers Thomas Bizzarri and Alain Rodriguez co-designed Feu (a sans face) and Thermidor (a revival based on the work of French type designer Charles Beaudoire (end of the nineteenth century), custom designed for the Feu Sacré books). Feu is an original typeface designed for the visual identity and the books of the publishing house Le Feu Sacré. [Google] [More]  ⦿

Alan Cloiseau

Paris-based designer of the free comic book typeface ACL (2020) and the commissioned typeface Club Med Pictograms (2017). [Google] [More]  ⦿

Albert Folch
[Folch Studio]

[More]  ⦿

Alberto Romanos
[Branding with Type]

[MyFonts] [More]  ⦿

Aldo de Losa
[Tipitos Argentinos]

[MyFonts] [More]  ⦿

Aleksandra Korolkova

Graduate of Moscow University of Printing Arts in 2006 where she studied under Alexander Tarbeev. She teaches type design and typography there. In 2007, her book for Russian students on typography was published (English title: Alive Typography). She received many awards for her work and is a frequent speaker at type design conferences. In particular, she received the prestigious Prix Charles Peignot in 2013. After that she became Type Director at ParaType in Moscow.

Designer of the beautiful Cyrillic serif family Leksa (a winner at Paratype K2009) and the accompanying Leksa Sans family from 2004 until 2007. This was followed by equally gorgeous families such as Fence (2009, an ultra-fat artistic beauty). Skoropix is an experimental pixel typeface done with FontStruct.

She also made Belladonna (2008, a stunning modern typeface for Latin and Cyrillic; a winner at Paratype K2009 and Grand Prize winner at Granshan 2011), Skoropix (with FontStruct), and the experimental typeface Cless (2009). She spoke about Cyrillic at ATypI 2008 in St. Petersburg. She received a TypeArt 05 award for the display family Fourty-nine face. Alternate URL.

At MyFonts, one can buy Gorodets [2009: a Russian decoration typeface based on traditional wood-painting style from the town Gorodets on the Volga river, Russia], Leksa and Leksa Sans], Blonde Fraktur (2010: written with a quill by Alexandra Korolkova and prepared in digital form by Alexandra Pushkova), Airy (2010, a curly script), Airy Pictures (2010, animal and plant dingbats), Bowman (2010: a blackboard children's script), PT Serif (2011, Paratype's superfamily of 38 fonts, co-designed with Vladimir Yefimov and Olga Umpeleva; Open Font Library link), PT Circe (2011, a geometric sans family with a neat Thin weight; Third Prize for Cyrillic text typefaces at Granshan 2011), and Cless (2010: ultra fat and counterless).

Together with Isabella Chaeva, she made PT Mono (2012, Google Web Fonts and Open Font Library).

In 2012, Vasiliy Biryukov and Alexandra Korolkova co-designed the Christmas dingbat font Gingerbread House, together with a plump display face, Gingerbread.

In 2013, Vasily Biryukov and Alexandra Korolkova co-designed the soft roundish sans typeface Kiddy Kitty (link).

In 2014, she cooperated with Maria Selezenava on a revamped Journal Sans typeface at Paratype, called Journal Sans New (Latin and Cyrillic). This geometric sans in the style of Erbar Grotesk and Metro Sans is a major extension of the Journal Sans typeface (1940-1956, SPA, in metal form, and 1990s in digital form). Still in 2014, she co-designed Stem, a geometric large x-height Latin / Cyrillic sans serif with optical sizing, with Isabella Chaeva and Maria Selezeneva at Paratype. This was followed in 2015 by Stem Text.

In 2015, she and Alexander Lubovenko co-designed Circe Rounded, which is an extension of her earlier Circe typeface (2011), both published by Paratype. In 2018, Paratype extended that family with Circe Slab (by Alexandra Korolkova and Olexa Volochay). Still in 2015, Alexandra Korolkova and Alexander Lubovenko published Aphrosine at Paratype, a typeface based on pointed pen script and situated somewhere between handwriting and calligraphy. Many alternatives and smart OpenType features help Aphrosine look like real handwriting.

Codesigner of Kudryashev Display (2015, Isabella Chaeva, Alexandra Korolkova and Olga Umpeleva). Kudryashev Display is a set of light and high-contrast typefaces based on Kudryashev text typeface. In addition to Kudryashev Display and Kudryashev Headline typefaces, the type family includes also two Peignotian sans-serif typefaces of the same weight and contrast, with some alternates. The serif styles were designed by Olga Umpeleva in 2011, the sans styles were created by Isabella Chaeva in 2015 with the participation of Alexandra Korolkova.

In 2016, she designed FF Carina, a delicate and absolutely stunning decorative didone.

In 2018, Alexandra Korolkova and Manvel Shmavonyan designed Fact at Paratype. Fact (2018) is based on Frutiger. The Fact type system contains 48 upright styles with variations in width and weight and eight italics of normal width. At the end of 2018, Alexandra Korolkova, Alexander Lubovenko, and the Paratype team finished Six Hands, which is a collection of six handcrafted typefaces: Black, Brush, Chalk, Marker, Condensed and Rough.

In 2019, Vitaly Kuzmin and Alexandra Korolkova co-designed the free sans serif typeface Golos Text at Paratype. It was originally commissioned by Smena (AIC Group) for state and social service websites.

Typefaces from 2020: Sber (the type system for Russia's Sber Bank; by Korolkova and the Paratype team), Tupo Vyaz (a free modular closed sans serif font with very simple design and some elements from the northern variant of Vyaz slavonic calligraphic hand), Grrr (at Paratype, with Dmiry Goloub; a techno family characterized by an oversized lower case f).

MyFonts interview. Kernest link. Klingspor link.

View Alexandra Korolkova's typefaces. Speaker at ATypI 2019 in Tokyo. [Google] [MyFonts] [More]  ⦿

Aless Alcala

Art director in Guadalajara, Mexico, who created the spurred typeface San Andres (2013) for a Mexican brewery. [Google] [More]  ⦿

Alessandro Tartaglia
[FF3300]

[More]  ⦿

Alessio Pompadura

The Due Studio (or: Due Collective) of Alessio Pompadura and Massimiliano Vitti, both based in Perugia, Italy, co-designed the grid-based stencil typeface Nodo in 2017.

In 2018. they developed PVF Display for the identity of Palazzo Vertemate Franchi.

In 2019, they designed Grotta, and wrote: Grotta is an irreverent contemporary neo-grotesk typeface with strong geometric accent and sharp contrast in its form. Characterized by tight apertures and an overall dynamic feeling it is suited for both display and text sizes. It is our interpretation of the 21st century grotesk, exuberant, irruptive and [...] winks at [...] Venus-Grotesk and Monotype Grotesque. It shows influences of hipstertism in the way strokes are joined in the 1, N, M, V, W, and other letters.

The semi-pixel typeface Analo Grotesk was codesigned in 2019 by Alessio Pompadura and Massimiliano Vitti.

In 2020, he released Decay White: Decay is a modern serif that brings the idiosyncratic philosophy of Decadent Movement into our darkest future, mixing sinuous curves with eccentric pointed serifs and drastic ligatures between multiple and single letters. A typeface on the border between irrational aesthetics and rational function.

Typefaces from 2021: Autaut Grotesk. [Google] [More]  ⦿

Alexander Colby
[xyz.ch]

[More]  ⦿

Alexander Örn

Malmö, Sweden-based designer, who set up Kanon Foundry in 2019 together with Tor Weibull. During his studies in Malmö, Sweden, Alexander Örn (b. 1993) designed the monoline sans typeface Prokrastina (2016). In 2017, he made the angular wedge serif typeface Rakel and the vernacular sans typeface Folke. In 2018, he added a typeface specially designed Amplitud for aircraft cockpits: there are many diagonal lines, which are less influenced by the (horizontal and vertical) vibrations of the airplane.

At Kanon Foundry, he designed the retail typeface Operand (2021, by Alexander Örn; a low contrast, almost monolinear sans serif that draws inspiration from the 1930s Scandinavian functionalist design era) and co-designed these corporate typefaces with Tor Weibull: the angular sans typefaces Bedow Head and Bedow Hand (2020), NLTG Wave Display & NLTG Wave Serif (for the Nordic Leisure Travel Group). [Google] [More]  ⦿

Alexander Slobzheninov

Designer from Siberia who graduated from Ladislav Sutnar Faculty of Design and Art, University of West Bohemia and is now based in Prague, Czechia. Type, graphic and motion graphics designer who created these typefaces:

  • Octarine (2017). A geometric sans typeface family with two free weights).
  • Fivo Sans (2017, free) and Fivo Sans Modern (2017, free).
  • Wacom (2017). This is a simplified techno sans concept font not actually used by Wacom.
  • Objective and Subjective, two mischievous typeface families published in 2018. Objective was slightly altered and merged with Chris Simpson's Metropolis (2015) in 2020 by Cristiano Sobral in Metropolitano.
  • The 42-font sans family Agrandir (2018). Available from Pangram Pangram.
  • The 7-weight Swiss neo-grotesk Gestalte (2018) that is characterized by mathematically precise horizontal and vertical strokes and terminals.
  • The Baskerville grandchild AS Grafier (2018). A corporate typeface for the identity of Other Poets Society. There is a free beta version, and comes with a variable font option. Published by Pangram Pangram in 2019. The variable font Grafier can also be purchased from Type Tomorrow.
  • The Latin / Cyrillic Object Sans (2018), which is in the Swiss sans style. For the Cyrillic, he was helped by Sonya Yasenkova. Available from Pangram Pangram.
  • The cyrillization of Jeremy Landes's Le Murmure in 2019.
  • Relaate (2019-2020). A multi-genre typeface in which the lower case t and e try to reach for the sky.
  • Right Grotesk (2020, Pangram Pangram). Neutral, functional, slightly hipsterish. First in 51 styles, and then extended to 130 styles, and some variable fonts as well.
  • In 2021, he set out to design one typeface per day for 36 consecutive days. The typefaces explore various ideas and cover almost every imaginable type style: Casual Digital Goose, Chill Out, Damn Low Tech, Flying, Gravity Itself, Ligatureless, Ploite Green Finger, Pretty Dumb Idea, Rembrandt, Those Games, Weird, What A Feature.
  • Typefaces from 2022: Right Sans, Right Gothic (a 98-style variable type family), Weird Serif (a didone for vampires).

Future Fonts link. Type Tomorrow link. [Google] [More]  ⦿

Alexandra Mendes

Since 2003, Alexandra Mendes runs Blank, a Porto, Portugal-based brand identity and graphic design agency.

Licht Punt (2010) is the geometrically precise custom typeface used in the Sky High project for the Radisson Blu hotel in Hasselt, Belgium.

In 2011, she published the art deco family Rosetta, and wrote: Rosetta font was designed by Alexandra Mendes for an upcoming branding project. The typeface design is inspired in all things lovely and luscious of the female intimate universe: lingerie, lace, blush powder, négligé, bustier, lip gloss and other lavish niceties. Should feel as a flirt, the subtle wink of the eye, a roseate glow. Rosetta is a coquette who flirts with life, winking her eyes, batting her lashes, flicking her hair, leaving her scent behind as she passes on the street, turning heads, with her whispering lips and waddling feline walk. Teasing and feigned disinterest to test the reliability of her admirers. Tall slenderizing lines and delicate curves shape the form of Rosetta. The typeface look is minimal and contemporary but reminiscent of a certain "je ne sais quoi" of Art Deco. There's a pure linear geometric symmetry to the font, to create a look of elegant modernity, that exudes a flair for glamour. Rosetta is a font family set composed by the styles: Rosetta, Rosetta Blush, Rosetta Bloom, Rosetta Bud. Images of Rosetta: i, ii, iii, iv, v, vi, vii, viii, ix, x. [Google] [More]  ⦿

Alexandre Saumier Demers
[Coppers & Brasses]

[More]  ⦿

Alexey Kuzmenko

Zaporozhchyne, Ukraine-based designer of these custom (logo) typefaces in 2016: Sage (modular), Sport (techno), Space (futuristic)Shark (techno), Get Better, Juno (multiline headline face), Impossible (sans), Vintage, Faster Stronger (techno), Sheriff (Western), Airborn. [Google] [More]  ⦿

Alfab
[Bruno Bernard]

French type and graphic designer (b. 1974) who lives in Asnières-sur-Seine and works in Paris. Educated at Ecole Estienne, Paris, and ANRT, Nancy, he designs custom-made typefaces and has released several commercial fonts including Adso and Mihaly. He co-founded BAT foundry in 2009 and set up Alfab in 2019. His typefaces:

  • Acheminé: for the French railway, the SNCF.
  • Adso: a hookish family done at the ANRT, and published at BAT Foundry in 2010.
  • Anima (2013).
  • Chanson: a serif revival from the 19th century.
  • Departure: a dot matrix face.
  • Dinette: commissioned by the graphic design studio Malte Martin.
  • Mazette (2013). A high-contrast stencil typeface.
  • Mgetine: for the corporate identity of MGET.
  • Mihaly Display (2019) and Mihaly (2013). A fine geometric sans family originally created for the Mihaly exhibition.
  • Montille: a formal calligraphic typeface for the Domaine de Montille.
  • Piccolo (1998): for the Figaro newspaper.
  • Posthume: a set of nice symbols for the Side One Posthume Theatre.
  • LFDJ (2010): a corporate organic all caps sans typeface for La Française des Jeux, art directed by Anja Krohne.
  • Quadrile (2013). A semi-stencil typeface for the visual identity of Quadrant.

At ATypI Montreal 2017 Bruno Bernard spoke on Excoffon Book, the last typeface by Roger Excoffon? [Google] [MyFonts] [More]  ⦿

AlfaType
[Joseph Miceli]

Graduate of the Rietveld Academie in Amsterdam. Born in Syracuse, Sicily, he spent half of his life in New York City, and studied for four years in The Netherlands. He worked in Lithuania with a group called Alfa60, and is now based in Turin.

His typefaces:

  • Equo (2006). A VAG Round style display family which also includes Equo Stencil Caps, Equo Extended and Equo Extra Fat.
  • Shaolin Caps.
  • Stout Caps (revised in 2015).
  • Frank-Latin. A wide wedge-serifed face.
  • Crasto. A serif family.
  • MM Vinny. A multiple master family designed for use by the cosa nostra.
  • Yorker. Based on The NewYorker.
  • MM Charlie or Charlie Grotesque (2013). A sans typeface family in the American style of Morris Fuller Benton.
  • Artissima Condensed. A dada poster font, now called Altissma Condensed.
  • Romano Grotesque. Angular, chiseled: revised in 2015.
  • Futura Passata. A rounded all caps version of Futura that combines two widths of a wood type version of Futura for use in posters.
  • Novalis Condensed.
  • Bianco. A bespoke sans created for Nero magazine). Accompanied by Bianco Serif (used in some sections of The New York Times).
  • Lago Sans. A geometric superfamily.
  • Arial Grotesque.
  • Tratto (2018). A sans.
  • Beaux. An all caps display typeface. /UL> [Google] [More]  ⦿

Alfredo Marco Pradil
[Hanken Studio]

[MyFonts] [More]  ⦿

Alias
[Gareth Hague]

Alias is a type foundry and graphic design agency founded in 1996 by David James and Gareth Hague. It is based in London. Their fonts can be bought through T-26, ITF and/or FontWorks UK. They also did substantial corporate type design work.

Partial font list: AES (1995, David James), August (1996, a fifties font by Gareth Hague), Caustic (2012, calligraphic script family), Elephant (1994-1995, Gareth Hague), Enabler (1995, David James), Factory, Granite (1995, Gareth Hague), Harbour (1998, Gareth Hague), Intimo (2000), Jackdaw (1997, Gareth Hague), Jude, Key, Klute (1997, Gareth Hague), Mantis (1996, Gareth Hague), Metropolitan (1996, Gareth Hague), Metsys, Sister (1995, Gareth Hague), Text (1995, Gareth Hague).

Typefaces from 2015: AnoStencil, Capo (a pinched sans family), Sabre (an incised wedge serif).

Corporate typefaces include Prada Candy (2012).

Old link.

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

Alice Glenane

Together with Remy Chard, Alice Glenane (Gold Coast, Australia) created the experimental typeface Shadow Line (2013) which was inspired by the architecture of The Queensland Museum. [Google] [More]  ⦿

Alice Savoie
[Alice Savoie, Frenchtype]

[MyFonts] [More]  ⦿

Alice Savoie, Frenchtype
[Alice Savoie]

Alice Savoie is an independent typeface designer and researcher, b. 1984, based in Lyon. She studied graphic design and typography in Paris at Ecole Duperré and Ecole Estienne, and in 2006 graduated from the MA in typeface design from the University of Reading (UK). In 2014 she was awarded a PhD from the University of Reading for the research she carried out in collaboration with the Musée de l'imprimerie in Lyon (France). Her research focuses on the design of typeface in France, the UK and the USA in the postwar period, and for phototypesetting technologies in particular: International cross-currents in typeface design: France, Britain, and the US in the phototypesetting era, 1949-1975. She collaborates with international type foundries such as Monotype, Process Type Foundry, and Tiro Typeworks, and specializes in the design and development of typefaces for editorial and identity purposes. She also designs multi-script type families, including Latin, Greek, Cyrillic and Hebrew. She intends to sell her typefaces via 205 Corp.

Between 2008 and 2010 Alice joined Monotype as an in-house type designer, working mainly on custom type designs for international clients (The Times, Turner Broadcasting, Ogilvy, etc.). She has also contributed to the design of new typefaces for the Monotype library, such as the Ysobel type family (in collaboration with Robin Nicholas), and Rotis II Sans. Her type family Capucine is distributed by Process Type Foundry. In 2012 she collaborated with John Hudson/Tiro Typeworks over the development of the Brill typeface family for the Dutch publisher Brill. Since September 2013 she teaches typeface design at the Atelier National de Recherche Typographique in Nancy, and at ESAD Amiens (France). Her type foundry is called French Type.

She holds an MA and a PhD from the University of Reading (UK). She collaborates with design studios and type foundries on the design of multi-script typeface families. In 2018 she released the typeface family Faune, commissioned by the Centre national des arts plastiques (CNAP) in partnership with the Groupe Imprimerie Nationale. Alice teaches and supervises research projects at ANRT Nancy and ENSBA Lyon (FR). She is the principal Post-doctoral Researcher on the Leverhulme-funded project Women in Type under the supervision of Fiona Ross at the University of Reading. Her typefaces:

  • Her graduation typeface at Reading, Capucine Greek (2007) has been awarded as the best text typeface of the Greek alphabet exhibition, taking place during the 3rd international conference on typography and visual communication in Thessaloniki, Greece, 2007. Capucine is a very informal, almost hand-printed family covering both Latin and Greek in many styles. In 2010, finally, she published Capucine at Process Type Foundry (Grand Valley, MN), where she was briefly part of Eric Olson's team.
  • The constructivist typeface Pozor (2005).
  • The connected handwriting typeface Jeanine, done in 2006 at the École Estienne in Paris, where she studied from 2004 until 2006.
  • In 2009, she co-designed Ysobel (Monotype; winner of an award at TDC2 2010) with type designers Robin Nicholas, head of type design at Monotype, and Delve Withrington. The sales pitch: According to Nicholas, the idea for the Ysobel typefaces started when he was asked to create a custom, updated version of the classic Century Schoolbook typeface, which was designed to be an extremely readable typeface - one that made its appearance in school textbooks beginning in the early 1900s. Buy it from Monotype.
  • Brill (2012), co-designed with John Hudson for Koninklijke Brill NV, Leiden, The Netherlands, won an award at TDC 2013.
  • The Royal Docks typeface was developed in 2012 for the London-based design studio APFEL (A practice for everyday life) as part of a wider architectural project by the London Development Agency, which proposed a new vision for the Royal Docks in East London. The strong-willed sans display typeface draws inspiration from the kind of industrial lettering frequently found around the Docklands, such as on cranes and containers. The typeface was used for a number of publications in relation to the redevelopment of the Royal Docks, and remains to this day exclusive to APFEL.
  • The Fred Fredburger family was conceived by Monotype as a custom design for the identity of a children's TV channel. Conceived to be fun, friendly and adventurous, Fred Fredburger is a distinctive family of five styles: The Headline versions are conceived to be visually striking and appealing to children, while the Roman, Bold and Condensed weights are a touch quieter in order to be comfortable to read at text sizes. All five weights are also designed to work harmoniously across five different scripts: Latin, Greek, Cyrillic, Hebrew (designed by Alice Savoie) and Arabic (designed by Patrick Giasson).
  • Egra Tiflex was designed in collaboration with London-based Fraser Muggeridge Studio. The starting point for the design came from an unidentified set of old stamping capital letters produced by Tiflex, a French company specialised in industrial signage. A set of lowercase letters was later designed to accompany the caps, which was inspired from Grotesk wood types from the beginning of the twentieth century.
  • In 2014, she worked on the typeface family Bogartes, which is a contemporary tribute to French typographic history, from Garamond, Fournier, and Didot to the idiosyncratic shapes of the 19th century. As a result of its mixed genetic make-up, the typeface family is rather playful. The project was started with the support of the Centre National des Arts Plastiques.
  • Romain Vingt (2016) is a modern reinterpretation of a foundry face originally released by the Fonderie Alainguillaume at the beginning of the twentieth century. Alice writes: An elegant and voluptuous design with a resolutely French touch, this digital interpretation departs in places from its original model, just enough to withstand modern taste.
  • In 2016, she designed Faune for Centre National Des Arts Plastiques. It is freely available from Fontsquirrel and at the Microsite. Faune won an award at the Type Directors Club's Type Design Competition 2019.
  • Lucette (2021, Future Fonts). Alice writes: Lucette revisits the heavy top idea, a concept dear to French type designers throughout the last century. The typeface toys with the theory that emphasizing the top part of letterforms increases legibility, taking the concept to an extreme in Lucette Black. Lucette is loosely inspired by a variety of designs such as Gill Sans Double Elefans, Antique Olive, and the unreleased Nordica by Ladislas Mandel. Its name was chosen as a tribute to Lucette Girard, a talented letter-drawer who assisted some renowned designers throughout the second part of the twentieth century, including Adrian Frutiger, Roger Excoffon and Raymond Loewy.

Typecache link. Klingspor link. At ATypI 2014 in Barcelona she spoke about phototypesetting. Speaker at ATypI 2016 in Warsaw on Typefaces for telephone directories, a talk in which she and Dorine Sauzet describe Ladislas Mandel's oeuvre. Speaker at ATypI 2018 in Antwerp. Behance link. Estienne link. Reading link. Another link for the University of Reading. Fontsquirel link. [Google] [MyFonts] [More]  ⦿

Altered Ego Fonts (was: Sooy Type Foundry, STF)
[Brian Sooy]

Altered Ego Fonts is the 2003-born sibling of STF, the Sooy Type Foundry. See also Sooy Co. Brian Sooy is the Elyria, OH-based designer of font families such as Chevron (1994, a condensed font), Eclectics (dingbats: Bundle, Medley, Pixelweb, Web), VerveMM (1999, multiple master font at Adobe), Acolyte, Veritas (1995, multiple master text fonts), Benderhead (Garagefonts; Benderhead AEF followed in 2006), ITC Coventry (1998, grunge font), EclecticWeb (dingbats), American Spirit STF (2001, American symbols), ArkeoBT (2003, Bitstream, a readable bitmap font family), Lil Milton (2006), AE Prosperity (2011, a slightly aged old map style script), and Greenbriar AEF (2005, a 12-style hypnotic and gothic family).

Brian, who also runs Brian Sooy&Co, calls his fonts trendy and neo-humanist. Check Alphabets Inc for EclecticOne, EclecticTwo, EclecticPixel (2004, pixel dingbats), Greenbriar (hexagonal), Temerity, Chevron and Veritas, and the Bitstream Type Odyssey CD (2001) for most of his collection.

FontShop link.

Corporate work includes the Lucerna Bible Font for the New Living Translation Bible of Tyndale House Publishers in 1995, which was based on Veritas.

Showcase of Brian Sooy's typefaces at MyFonts. [Google] [MyFonts] [More]  ⦿

Amy Hood
[Hoodzpah]

[More]  ⦿

Ana Laura Ferraz

Brazilian graphic designer at Plau (Rio de Janeiro, Brazil), who lives in Köln, Germany.

In 2019, she co-designed Muda, a corporate typeface for the fashion brand Oficina Muda with Carlos Mignot, Gabriel Menezes and Rodrigo Saiani.

In 2021, Ana Laura Ferraz, Valter Costa, Carlos Mignot and Rodrigo Saiani designed the handcrafted black poster and branding typeface Vinila for the identity of grammar teacher Eduardo Valladares' personal brand EDU VLLD (Edu stands for Eduardo and Education while VLLD represents Valladares and Vulnerability). [Google] [More]  ⦿

Anagrama

Anagrama are a brand and design agency based in Mexico. They developed a sans typeface for Sofia in 2012 [Sofia is a building designed by architect Cesar Pelli for One Development Group l ocated in San Pedro, Mexico]. [Google] [More]  ⦿

Anand Naorem

A graphic designer, typographer and typeface designer, Naorem has worked in brand identity and editorial and typeface design. He has been commissioned by Dorling Kindersley, The British Council Library, Picador, Harper Collins, National Geographic Channel, Microsoft, Alliance Française, Nestle, Pebble Road (Singapore), I Wish World (UK), Creative Black Country (UK), World Policy Journal (USA), Google, and The World Institute of Slowness (Norway). A graduate of the National Institute of Design, India, Naorem attended the Type@Cooper program at the Cooper Union, New York City. Co-founder in 2019 of Brand New Type together with Neelakash Kshetrimayum (creative director) and Sidharth Loyal (managing director). The BNT studio develops typefaces, creates type for corporations, and runs a BNT School (in Goa and other places). [Google] [More]  ⦿

Anastasia Kulazhenko

Vilnius-based designer of Aliboni (2012), a corporate typeface made for the identity of Italian architecture/construction company Aliboni Costruzioni. [Google] [More]  ⦿

And A Half

Branding and deasign studio in Pasig, The Philippines. In 2016, they designed the custom typeface Sofa Display for the branding of The School of Fashion and The Arts (SoFA) in the Philippines. [Google] [More]  ⦿

Anderson Maschio

Batel, Curitiba, Brazil-based foundry of Anderson Maschio (b. 1980, Curitiba).

Creator of the ultra-fat decorative typeface Chumbitos (2007, a winner in the experimental type category at Tipos Latinos 2008), available from MyFonts (this was followed by Chumbit02). He also made the experimental type family consisting of Anark Diet Stencil, Anark Fat Stencil, and Anark Natural Stencil (2007). Creator of Magricela (2009, octagonal). He is working on Austera (2007, a basic sans) and Phyta (2007, an experimental typeface with stretched out connected letters).

In 2016, he made a custom font for Juliano Monteiro Studio.

Check also his gorgeous art work based on Chumbitos. Link to Fictilia. [Google] [MyFonts] [More]  ⦿

Andie Wise

American designer of LIT Skinny (2018) for the Lit Catering Co. [Google] [More]  ⦿

Andrea Cerboneschi
[Monofonts (or: Monocromo Creative Factory)]

[More]  ⦿

Andrea Tinnes
[Typecuts]

[MyFonts] [More]  ⦿

André Mooij

Graphic and type designer in Monterrey, Mexico. In 2012, he created the rounded monoline sans typeface Milla. In 2015, he designed the typewriter typeface Lerslie Horvitz as aprt of the identity of novel and non-fiction writer Leslie Horvitz in New York City, and the display typeface El Cielo as part of the branding for El Cielo, a boutique spa based in Monterrey.

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

Andreas Engelbreckt Kamp Bünger

Copenhagen-based designer of the rounded sans headline typeface Faktur OTF (2013) in four styles. He also made Hundested (2013, octagonal typeface done for the Danish brewery Halsnaes Bryghus), Victor (2013, a clean geometric all caps sans: Victor is a bespoke typeface for One Nutrition, created as part of an identity re-design. The typeface is inspired by mid 20th century sports event posters), and Curator (2013, sans).

In 201, he created Panneau (a high-contrast sans typeface).

Behance link. [Google] [More]  ⦿

Andreas Nymark
[Nymark Type]

[More]  ⦿

Andreas Steinbrecher

Aka Ando Karambo. Illustrator and graphic designer in Düsseldorf, Germany, who designed Samson (2013) and Aquazoo (2014: a rounded sans and paperclip typeface rolled into one; designed together with g31 for the Aquazoo Löbbecke Museum Branding).

Typefaces from 2016: the non-conformist typeface family Caractère Anal (the name was chosen in reference to people with an anal personality. Some may prefer the equivalent name Caractère Trumpiste), Baechlemeid (a handcrafted typeface for the Bächlemeid architects in Konstanz) and Japanische Populärkultur (stretchable gridded letters). [Google] [More]  ⦿

Andrej Dienes
[Adtypo]

[MyFonts] [More]  ⦿

Andres Pulido

Art director in San Jose, Costa Rica, who created the high-contrast didone custom typeface Radar (2014). [Google] [More]  ⦿

Andreu Balius Planelles
[Type Republic]

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Andreu Balius Planelles

Born in Barcelona in 1962, Andreu Balius studied Sociology in the Universidad Autonoma de Barcelona (1980-1984), and graphic design at IDEP in Barcelona (1985-1989). He holds a PhD in Design from the University of Southampton (UK). He founded Garcia Fonts&Co in Barcelona in 1993 to show his experimental designs. He cofounded Typerware in 1996 with Joancarles P. Casasín. Typerware existed until 2001 and was based in Santa Maria de Martorelles, a village near Barcelona. He cofounded Type Republic (see also here), and ran Andreu Balius (tipo)graphic design. He is presently an associate professor at Pompeu Fabra University in Barcelona.

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

At ATypI 2005 in Helsinki, he spoke on Pradell and Super-Veloz. Speaker at ATypI 2006 in Lisbon. At ATypI 2009 in Mexico City, he spoke about the Imprenta Real. Coorganizer of ATypI 2014 in Barcelona.

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

FontFont link. Linotype link. Behance link.

His production:

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

Andrew Byrom was born in Liverpool, England in 1971. After Graduating from the University of East London in 1996 he opened his own design studio and worked for various clients including Penguin Books, The British Academy of Composers and Songwriters, The Industrial Design Centre, Time Out Online and The Guardian Newspaper. Around this time he also began teaching graphic design at The University of Luton and Central Saint. Martins. Byrom moved to the USA in 2000 to teach at Northern Illinois University in DeKalb, IL. He has recently been commissioned to design typefaces and type treatments for Elle Decoration, The New York Times Magazine, McGraw-Hill, and Turner Classic Movies. In 2006 he moved to Long Beach to take up an Associate Professor position at California State University, where he is currently the Area Head of the Graphic Design Department. He created the experimental typeface Interiors (2002), about which AIGA writes: Interiors (3D type) is a collaboration between type designer Andrew Byrom and designer Joel Wolter. It was originally conceived as a digital font (Interiors) and was inspired by an old wooden chair in Byrom's office that, when looked at from a certain angle, resembled the letter h. Using the three-dimensional principles of this simple form, and closely adhering to type design conventions, 26 letters of the alphabet were drawn and generated as a font. The characters were then constructed in three dimensions using tubular steel into full-scale furniture frames. Because the underlying design concept is typographical, the end result becomes almost freestyle furniture design. Letters like m, n, o, b and h can be viewed as simple tables and chairs, but other letters, like e, g, a, s, t, v, x and z, become beautifully abstract pieces of furniture. He also made the distressed font Bloodclot, the stencil family Byro Stencil (free), Byro Sans, 1byrosquare (2000), 2byroround (2000), ByroBlock Stencil (2000, stencil), Concussion (dot matrix with various size dots), Easy Vie, Venetian (2009, like Venetian blinds), Fresh (1995, scratchy type), Ply, Rage, St. Auden, Bandaid (2006), 3D Dot Matrix. He divides his time between teaching, designing for various clients and playing with his sons, Auden and Louis. He has recently been commissioned to design typefaces and type treatments for Elle Decoration, The New York Times Magazine, McGraw-Hill, and Turner Classic Movies. In 2006 he moved to Long Beach to take up an Associate Professor position at California State University, where he is currently the Area Head of the Graphic Design Department. Speaker at ATypI 2009 in Mexico City. [Google] [More]  ⦿

Andrew Footit
[Arkitype (was: Virtue Creative)]

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Andrew Keating

Dublin, Ireland-based creator of a custom sans typeface for the Memento Circus Museum in 2013. In 2015, he designed the DIN-like typeface Persona. Behance link. [Google] [More]  ⦿

Andrew Nendel

Evansville, IL-based designer of Urban Block (2013) and Marquee Lights (2013). [Google] [More]  ⦿

Andrey Kochetov

Russian designer of the rounded Latin / Cyrillic sans typeface family Inglobal (2014), together with Denis Davydov and Evgeny Yurtaev. This typeface was either commissioned for Inglobal, or was based on its logo. In any case, it can be freely downloaded at Dafont. [Google] [More]  ⦿

Andy Chen

Andy Chen created Gravur Conflict (2012), a custom typeface for the identity of the Center for Civilians in Conflict, which is a non-profit organization that cooperates with NATO and heads of warring states. The scarred design visualizes the terror of conflict while upholding the dignity of the civilians represented. Collaborators in this project included Camila Afanador and Wael Morcos. [Google] [More]  ⦿

Anita Lam

Graphic designer. She created the display typeface Penguin (2012) and received a Creative Summit award for the packaging design for Kikkoman, in large part due to the effective use of a fantastic custom typeface. She also created the board game Typopoly in 2012. [Google] [More]  ⦿

Anna Sahakyan

Graphic designer and illustrator in Yerevan, Armenia. Creator of a techno typeface for the branding of MSHAK TV (2012). [Google] [More]  ⦿

Anne Ulku

Anne Ulku is an established designer based in Minneapolis, MN. She graduated from Minneapolis College of Art&Design in 2007. Her typefaces include Kazootie (2011, Chank Foundry), which was inspired by cut-paper shapes and named after the hand puppet character Rootie Kazootie in a 1950s children's television show. Together with Chank Diesel, she created an exclusive custom typeface design for the 2011 Target Halloween campaign---a complement to the cut-paper art designs of Andrea Deszö. She also made Vintage Noveau Italian (2012), the collage typeface Particulate (2012, free at Chank Diesel's place), Indian (2012, a retro motorcycle script font done with Chank Diesel), and the sewing machine font Stitch (2012).

In 2015, she hooked up with Olson for a new typeface for Porsche. Anne writes: Porsche has always had a very clean and structured, well-known visual brand. Their custom headline font, Porsche Franklin Gothic, happens to be the exact same as Franklin Gothic. In order to create a refresh of the Porsche brand, while still maintaining the established look, there was opportunity for a new typeface. The core of the new typeface is based on the Porsche logo, as well as typeface Deutsches Institut für Normung 145---a precise, technical typeface; also the standard for German road signs. With a strong racing history, additional visual cues were also used in creating a truly unique, custom Porsche typeface.

Dribble link. Twitter link. [Google] [MyFonts] [More]  ⦿

Anouk Pennel
[Studio Feed (or: Feedtype)]

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Anthony Balanza

Graphic designer in San Diego, CA. Creator of the display sans Disconnected (2013): Disconnected is a typeface that was designed for Disconnected Salon in North Park, San Diego. The typeface was created to mimic the letters of Disconnected Salon's original logo. This typeface will also be used for a lot of Disconnected's upcoming marketing campaigns including Graphic Ts, billboards, and more. Behance link. [Google] [More]  ⦿

Antoine Brun

Antoine Brun is a French graphic designer based in Paris. After a bachelors in graphic design at LTAA Auguste Renoir Paris (class of 2019), he specialized in identity, editorial graphics and typography.

Designer of the phantasmagoric typeface Kaliste (2020) at Lift Type. During a workshop led by Yoann Minet, he designed Liza, which was inspired by Benguiat Caslon, and under the supervision of Julien Priez, he created the letterpress typeface Emily. Commissioned typefaces by Brun include Hic&Nunc (a brush type), and Opie. Finally, he created the modular typeface Module. [Google] [More]  ⦿

Anton Koovit
[Fatype]

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Anton Moglia
[Maous Studio]

[More]  ⦿

Antonio Lechuga
[Antonio Mejia Lechuga]

Mexico City-based designer, b. Huauchinango. He studied graphic design at Universidad del Valle de Mexico in Queretaro City, and received a diploma in corporate identity from LISAVA in Barcelona in 2005. He opened his own graphic design studio in Mexico City in 2016.

With the Latinotype team, he designed the high-contrast fashion mag headline typeface family Gabriela Stencil (2016), which was inspired by 19th century didones. Gabriela Stencil won an award at Tipos Latinos 2018.

In 2018, Antonio Mejia Lechuja designed the handwriting typeface Handasa (programming by Ivan Moreno, Veracruz, Mexico). Handasa imitates the handwriting of architect Pedro Pablo Velasco Ochoa in his thesis Handasa: La epica en la arquitectura.

In 2019, he added Gabriela (Latinotype) and Trust Sans (Latinotype Mexico: for corporate branding).

Typefaces from 2021: Planetazul (a corporate font for Planeta Azul), Bruna (a 16-style sans family named after Dutch children's book illustrator Dick Bruna (1927-2017)).

In 2021, he designed Gatopardo Display for the Mexican magazine Gatopardo, as well as Mestiza (a 12-style serif with sharp terminals).

Typefaces from 2022: Mestiza Sans (a 12-style flared lapidary sans). [Google] [MyFonts] [More]  ⦿

Antonio Mejia Lechuga
[Antonio Lechuga]

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Ape to Zebra

Studio in Amsterdam. In 2016, they designed an art deco typeface for the new identity of The Wilpsche Dijk. Behance link. [Google] [More]  ⦿

Apfel Type Foundry

Apfel Type Foundry (London, UK) was launched in 2020. The initial team consists of Kirsty Carter (Director), Emma Thomas (Director), Daniel Griffiths (Associate Director), Joanna Rutter (Senior Designer), Olivia Diaz (Senior Designer), Matt Kay (Junior Designer) and Jason Wolfe. Apfel stands for A Practice for Everyday Life. It engages in custom and retail type. Initially, in 2020, it had four retail typefaces:

  • Marquis (2021). A humanist sans by Jason Wolfe. This is a contemporary reinterpretation of the Stephenson Blake typeface Granby (1930), which was itself influenced by the letter forms of Johnston and Futura.
  • Certeau. A sans typeface with a short-legged e. They write: Influenced both by geometric Modernist monoline typefaces and by examples of Dutch and German sans-serif typography from the 1930s, Certeau evolved through research into type styles that strike a balance between rationality and idiosyncrasy.
  • Lining. A sans with large counters designed by Jason Wolfe. Apfel writes: A contemporary reinterpretation of a sans-serif typeface family first advertised by the American Type Founders Company in 1897.
  • Remnants. Remnants is a skyline style typeface that is based on a display type found on an old Serbian book cover, and was expanded to encompass a full Latin character set which captures a sense of the beauty of the Cyrillic alphabet.
  • Periferia. An experimental stencil typeface.

Apfel also released these typefaces made by Jason Wolfe: Asia Art Archive, the various Camper typefaces, and Friedel (2021).

Custom typefaces include Piloti (a light flared sans with large x-height, for Feilden Fowles), Elle Play Display (2017, a headline typeface for Elle UK), House of Voltaire, Apfel AB (a quadrangulated typeface done with Anthony Burrill), Camulodunum (2011; Display and Stencil), Camper (2014; in SS15, SS16 and AW15 styles), V&A Dundee (stencil), Royal Docks, Asia art Archive Display. [Google] [More]  ⦿

AppD Sans

Based in San Francisco, AppDynamics is an enterprise software company specialising in application performance monitoring software that ensures the smooth running of business-critical applications In 2019, a rebranding of AppDynamics led to the corporate typeface AppD Sans, which was jointly developed by Göran Söderstrom (Sweden), Paul Russell (New Zealand), Kallan & Co (Finland), Brett King (Finland) and Hannu Koho (Finland). [Google] [More]  ⦿

Apple Watch Font (or: the San Francisco Font)

In September 2014, Apple announced the imminent arrival of the Apple Watch, which came with a new neo-grotesque sans-serif typeface developed in house. It has a legible, open DIN-like look, but the name of its designer was not released. The 35 fonts are grouped into subfamilies San Francisco Text and San Francisco Display, and are available to designers of Apple Watch applications here.

The reaction of the curmudgeon society, aka The Typophiles, is quite predictably negative, with opinions including Susan Kare's original San Francisco (also done for Apple) was better [note: Kare's was a ransom note font]. I really wonder why the typophiles bother---it's not their magazine or their web page---companies are free to use anything they like, including "not wasting a lot of effort on new typefaces".

Some San Francisco fonts are free from Apple's web site. These come in four groups, SF Pro Text, SF Pro Display, SF Compact Text, and SF Compact Display. Developed between 2015 and 2017, these fonts have become the Apple System fonts for basically all Apple machines. San Francisco has gradually replaced most of Apple's other typefaces on their software and hardware products and for overall branding. It was the original system typeface of watchOS and tvOS and has replaced Helvetica Neue and Lucida Grande as the system typeface of macOS and iOS since OS X El Capitan and iOS 9. Apple uses it on its website and for its product wordmarks, where it replaced Myriad Pro. It is also used on the keyboard of the 2015 MacBook and on the 2016 MacBook Pro, replacing VAG Rounded. It is also used as Apple's corporate typeface. Apple restricts the usage of the typeface by others. It is licensed to registered third-party developers only for the design and development of applications for Apple's platforms.

The San Francisco typeface has four variants: "SF" (or "SF UI") for macOS, iOS, and tvOS; "SF Compact" for watchOS; "SF Mono" (based on SF Compact) for the Xcode application; and "SF Serif" for Apple Books. The main difference is that the sides of letters with round shapes, such as o, e, and s, are round in SF, whereas they are flat in SF Compact. The flat sides allow the letters to have more space between them, thereby making the text more legible at small sizes, which is particularly important for the Apple Watch. Both SF and SF Compact each have two optical sizes: "display" for large and "text" for small text. Compared to display, the letters in text have larger apertures and more generous letter-spacing. The operating system automatically chooses the display optical size for sizes of at least 20 points, and the text optical size otherwise. Additionally, included in macOS Sierra and iOS 10 is a new variant named "SF Compact Rounded". It is used in the new contact placeholder icons introduced in the OSes. The "SF Serif" variant was showcased in June 2018 when the all-new Apple Books app was introduced. This variant is exclusive to Apple Books in iOS 12 and macOS Mojave, is not mentioned in Apple's Typography design guidelines, and is not publicly downloadable like other variants of the San Francisco typeface.

Open Font Library link where one can download the SF UI Text family (2015).

Postscript: The 2014 San Francisco font should not be confused with Susan Kare's ransom note bitmap font San Francisco which was created in 1984 for Apple. An official TrueType version was never made, and Kare's San Francisco was rendered obsolete with the arrival of Apple's System 7.

Wikipedia link. Apple font download site where one can find San Francisco Compact (this sans-serif typeface is the system font for watchOS, and includes a rounded variant), San Francisco Pro (this sans-serif typeface is the system font for iOS, macOS, and tvOS, and includes a rounded variant), and New York (a large transitional typeface family with optical and width sizing; 2017-2018, that won an award at the Type Directors Club's Type Design Competition 2019). Also included is the variable font San Francisco Rounded, which includes a weight axis and a grade axis for adjusting the stroke weight without changing glyph widths. [Google] [More]  ⦿

Approximate Type
[Kasper Pyndt Rasmussen]

Danish graphic and type designer in Copenhagen, who studied at The Royal Danish Academy of Fine Arts, School of Design (2010-2016) and The Royal Academy of Art, The Hague (2014-15). In 2020, he set up Approximate Type. His typefaces:

  • He made various typefaces in 2010, including a monoline sans caps face, a Peignotian high-contrast caps face, a paper fold face, and the geometric typeface Ottoman, which was part of the visual identity made for a nightclub named Ottoman, located at Dunkel in the heart of Copenhagen. Wondair (2011) is a rounded monoline logotype made for a fictituous airline. Gemini (2011) is a bilined geometric art deco typeface.
  • In 2012, Pyndt designed the soft neo-grotesque Husaar, which has subtle, sharp ink-traps.

    Dalat (2013) is a typeface inspired by Vietnamese visual culture. I believe that at some point it was called Kieu. He writes about Dalat: Dalat is a typeface that looks back on Vietnam's visual history and attempts to form a synthesis of style. As French Art Deco and Russian Constructivism have been prominent actors in Vietnam, the letters are constructed in a similarly geometric way. By contrast, the soft serifs are derived from Vietnamese calligraphy whose brush strokes tend to thicken and pool towards the end.

  • Clerk (2015) is a stencil display typeface based on a sign type (most likely) drawn by Samuel de Clerq in the 1920s for the savings bank of The Hague. This uppercase-only font features, among other things, an array of 'O'-ligatures as well as a flat-top '8'.
  • Aguzzo (2016). A roman capitalis typeface loosely based on Aldo Novarese and Alessandro Butti's Augustea (1951).
  • Celebrating the 100-year anniversary of Danish furniture design legend Hans Wegner, Tønder Museum asked Pyndt to visually interpret his work, which led to Pyndt's Wegner Alphabet depicting chairs.
  • Edwin (2016?) is a text typeface drawn from the simple notion of replacing the ball-terminal with a square. A font that retains character despite its functional merits.
  • Reply (2020). A neutral sans family with nearly monolinear strokes and large open counters.
  • The bespoke sans typeface family Shed (2021).

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

Aral

The house font of Aral, designed for them by URW. [Google] [More]  ⦿

Ariel Di Lisio
[Negro]

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Aring Typeface
[Måns Grebäck]

Måns Grebäck (Aring Typeface, Örebro, Sweden) is a prolific Swedish designer (b. Lindesberg, Sweden, 1990), who lives in Borlänge, Sweden. Måns Grebäck has a bachelor's degree in graphic design from the University of Dalarna (2012). In 2010, he went commercial, and started selling fonts through MyFonts. In 2011 he started Mawns Design. In 2013, that was renamed to Aring Typeface. In 2011 he already had over seven million downloads of his fonts, which were featured at websites such as Dafont and Myfonts. He also does custom type work. His typefaces, both free and commercial:

View Mans Grebäck's typefaces.

Abstract Fonts link. Fontspace link. MyFonts link. Another URL. Dafont link. Klingspor link. Buy fonts directly from Måns Grebäck. Old URL. [Google] [MyFonts] [More]  ⦿

Arkitype (was: Virtue Creative)
[Andrew Footit]

Andrew Footit (b. 1984) runs his own type foundry in Johannesburg, South Africa. He is also known as Arkitype. Until 2014, his type studio was called Virtue Creative and before that, Virtue84. In 2017, he set up Arkitype. His typefaces:

  • The very simple monoline rounded geometric typeface Modulus (2011). Updated to Modulus Pro in 2019.
  • The stunning art deco typeface Vindeco (2011).
  • Gigafont (2011): a free bubblegum font.
  • FunFair (2012): hand-printed.
  • Virtus Sans (2012): a clean 4-style sans family.
  • the Western family Westro (2012, +Inline).
  • The free rounded sans drafting font Struct (2013).
  • The four-style vintage poster typeface The Woods (2013).
  • The spurred letterpress typeface family Roper (2014). Roper evolved into the octagonal typeface family Hudson NY (2015) and Hudson NY Pro (2020). Hudson NY Regular, Serif and Slab are athletic lettering / octagonal typeface families.
  • Bosk Hand.
  • Roves (2016). A camping style set of fonts, including several stencil typefaces.
  • Anchor Script (2016). Inspired by classic cursive connected handwriting.
  • Navigator (2016). Inspired by the early explorers.
  • Bowline Script (2016). A vintage monoline cursive script typeface.
  • Saveur Sans (2017) and Saveur Sans Round (2017). A lovely sans typeface family that is inspired by art deco and French cafes.
  • Comply Slab (2017). All caps and octagonal, with possible applications in athletic lettering.
  • 3 Stripe Type (2017) and Adidas Nemeziz (2017). Prismatic typefaces.
  • Technol (2018).
  • Statewide (2018). An all caps squarish techno display sans family.
  • ESPN Next (2018). An octagonal inline custom typeface. ESPN Heroes (2019) is a six-lined prismatic typeface.
  • Poster Compressed (2019). A piano key typeface.
  • Neumatic Compressed (2019), Neumatic Gothic Round (2020) and Neumatic Gothic (2019).
  • Protrakt Variable (2019). Nine variable width all caps fonts, of different thicknesses.
  • Coastal (2020). A twelve-style all caps sans.
  • Compose. An 18-style minimalist sans with elliptical curves and quite open counters.
  • Storica (2021). A 9-style all caps vintage serif.

Behance link. Creative Market link. Home page. View Andrew Footit's typefaces. Home page. [Google] [MyFonts] [More]  ⦿

Art Lebedev
[Artemius Lebedev]

Art Lebedev is Artemis Lebedev's large design studio in Moscow, est. 1995. In 2020, it had 300 employees, and oiffices in New York, Kiev (Ukraine) and Moscow. It has a subsection on Russian typography.

A listing of their retail typefaces:

  • Agrus (2007, Andrij Shevchenko).
  • Alumna (2016, Ksenia Erulevich).
  • Arc (2019, Konstantin Lukyanov).
  • Beast (2019, Alexey Malkov).
  • Bingley (2012, Elena Novoselova).
  • Brevier (2019, Konstantin Lukyanov).
  • Chalk & Honey (2011, Kirill Sirotin).
  • Contract (2018, Ksenia Erulevich).
  • Departure (2018, Ksenia Erulevich).
  • Dereza (2010, Elena Novoselova).
  • Direct (2008, Vera Evstafieva).
  • Dulsinea (2007, Vera Evstafieva).
  • Echelon (2019, Daniil Vidmich).
  • Ekibastuz (2007, Zakhar Yaschin).
  • Finlandia Script (2015, Julia Sysmäläinen).
  • Flai (2015, Taisiya Lushenko and Vera Evstafieva).
  • Fuchsia (2012, Ksenia Erulevich).
  • Gross Kunst (2011, Kirill Sirotin).
  • Hauss (2019, Alexey Malkov).
  • Heino (2008, Elena Novoselova).
  • Horizon (2019, Taisiya Lushenko).
  • Ivolga (2018, Taisiya Lushenko).
  • January (2019, Konstantin Lukyanov).
  • Junior (2019, Konstantin Lukyanov).
  • Kalamos (2019, Michael Gorenshtein).
  • Klementina (2011, Elena Novoselova).
  • Klinkopis (2008, Irina Smirnova).
  • Kraft (2008, Irina Smirnova).
  • Lamon (2017, Dima Lamonov).
  • Lavanda (2018, Ksenia Erulevich).
  • Malina (2013, Ksenia Erulevich).
  • Meringue (2009, Taisiya Lushenko and Olga Balina).
  • Mezzo (2009, Elena Novoselova).
  • Mio (2019, Mio Horii).
  • Mirta (2008, Elena Novoselova).
  • NF64 (2018, Konstantin Lukyanov).
  • Neuch (2009, Igor Mustaev).
  • Pobeda (2015, Julia Sysmäläinen).
  • Rundgang (2005, Dominik Heilig).
  • Schlange Sans and Schlange Slab (2013, Olga Umpeleva).
  • Sector (2017, Ksenia Erulevich).
  • Span (2020, Alexey Malkov).
  • Story (2008, Zakhar Yaschin and Taisiya Lushenko).
  • Syys Script (2012, Julia Sysmäläinen).
  • Tongyin (2007, Zakhar Yaschin).
  • Wagon (2019, Alexey Malkov).
  • Zet (2014, Ksenia Erulevich).
  • Zheldor (2009, Oleg Tischenkov and Elena Novoselova).
  • Zum-zum (2020, Pavel Zyumkin).
  • Zwoelf (2008, Oleg Pashchenko, Irina Smirnova and Zakhar Yaschin).

Additional custom typefaces: 19oclock (2004, Yuri Gordon: for Vernost Kachestvu confectionery factory), BBPlay (2006: a pixelish typeface by Pavel Radyuk for Ergo screens), Copycat (2019, Ksenia Erulevich), CSKA (2016, Erken Kagarov), Hyundai (2016), MVideo (2013, Olga Umpeleva and Ksenia Erulevich), Permian (2011: sans, serif and slab: a free family by Ilya Ruderman done for the city of Perm via Art Lebedev Studio), Russian Premier League (2018, Ksenia Erulevich, Nikolay Nedashkovsky, and Konstantin Lukyanov), Scripticus (2013, Julia Sysmäläinen), SPb (2015, Ksenia Erulevich), Vlas (2018, Konstantin Lukyanov), Yandex (2013, Ksenia Erulevich, Taisiya Lushenko, and Elena Novoselova), Zaryadye (2017, Taisiya Lushenko).

View the typefaces designed by Art Lebedev Studio. [Google] [MyFonts] [More]  ⦿

Artemius Lebedev
[Art Lebedev]

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Arthur

Arthur is a bespoke font for Guinness, dated 2011. Produced by the Jones Knowles Ritchie studio in London. [Google] [More]  ⦿

Artur Schmal
[Original Type]

[More]  ⦿

Asenso
[Romain Diant]

Asenso is the design studio of Romain Diant (art director; he founded Asenso in 2005) and Samuel Roger, located in Béziers, France. In 2018, Romain Diant designer the art deco typeface Braciola for the branding of Le Boucanier, a bistro in Sète, France.

Typefaces from 2021: Baissanoi (a curly all caps typeface by Romain Diant and Samuel Roger). [Google] [MyFonts] [More]  ⦿

Associated Typographics (or: Public Type)
[Michael Cina]

Head of Cina Associates, Michael Cina (Minneapolis, MN), has started many a typographic and graphic design enterprise in his long career. Associated Typographics was founded in 2012.

Typefaces from 2012 include the gas pipe modular typeface family Ramsey, which was followed in 2015 by Ramsey Condensed and in 2021 by an updated version of Ramsey to a 54-style rounded squarish typeface.

In 2013, he published the eight-style bold geometric stencil family Skol, and created the custom sans typeface family Matterhorn with Matthew Desmond for Disney. In total, Cina made nine custom typefaces for Disney in 2013.

In 2014, he published the squarish sans family Ramsey.

In 2015, he published Atelier (octagonal), Reileta and Stadt. Also in 2015, he designed the custom sans typeface Kate Sans for Kate Spade in New York.

Typefaces from 2016: YWFT Roamer.

Typefaces from 2018: Query (2018). A sans family that is insired by civil rights posters from 1968.

Typefaces from 2020: Ghostly Gothic.

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

Atelier Olschinsky
[Peter Olschinsky]

Vienna, Austria-based design studio, est. 2002 by Peter Olschinsky and Verena Weiss. They published the type family Ato (2012), which has Sans, Slab and Display (art deco) subfamilies. Outer Space (2012), Sato (2012, a bilined display typeface), Neopolis (2012, futurismo), Deconstruct (2012), Chaos (2012) and Construct (2012) are experimental. Bato (2012) is an alchemic type family. And Vato (2012) is a wonderful brushy poster headline face.

In 2017, he published the bespoke typeface BirdYard, the free AO Grotesk (with poygonal outlines), free display sans typeface family Matol, the free geometric solid typeface AOX, which comes in Stencil and Regular styles, the free polygonal typeface family AO Mono, and the free monospaced Minimal Mono.

Typefaces from 2020: Kaomo (monlinear, monospaced), AO Mono (polygonal).

Behance link. [Google] [More]  ⦿

Atipo

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Atlantic Condensed

Peter Mendelsund of The Atlantic talks about the bespoke (Scotch) typeface Atlantic Condensed, that was created for the redesign of the Atlantic in 2019. [Google] [More]  ⦿

Audrey Gould

Audrey Gould (Audrey Gould Design, San Francisco, CA) created several customn typefaces in 2013 and 2014. Several of these seem to have been for Nike. [Google] [More]  ⦿

Australian Type Foundry (ATF)
[Wayne Thompson]

The Australian Type Foundry was launched in January 2002 by Wayne Thompson (b. 1967), who is art director at an ad agency in Newcastle, NSW, and is located in Merewether. He holds a Masters of Type Design from the University of Reading, UK.

Commercial fonts at this ex-signpainter's site include Arum Sans (2009, an elegant humanst sans family), Halvorsen (2006), Fuse Box (2005), Architect (handprinting, now at T-26), Axiom, ATF Bosin (2003, casual hand script; see also Bosin Nova, 2021), Barkpipe, ATF Iperion (2003), McNeilBlok (2003), Not Sassure, Spud (handprinting), Wobbly Boot (2007, boozy script), Zoobie (2007, handprinting), Virus, Otis and Otis Condensed (since 2007 at T-26), Ogre, Fresh, ATF Euron (2003).

ITC fonts by Wayne Thompson: ITC Panic (grunge), ITC Dont Panic (2000, grunge font), ITC Django (handprinting).

[T-26] fonts by him include many of the above, plus also DallasPlain (1998, handwriting).

Free font page: pick up a free font (was Spud Italic, currently is the grunge font Virus). Another free font by them is Mallee Wooden (Western typeface).

Interview.

At Phat Phonts, Wayne Thompson created Jungle Bones (2005) and Ratbag (2005). Stuart Brown designed the Neutraliser family, a versatile collection of geometric-based fonts with 24 styles. Artist Paul McNeil has designed the McNeil family of blocky display typefaces. He has previously produced designs for Mambo and currently works in Sydney. Another designer working for them, out of Indonesia, is Mendiola B. Wiryawan.

Custom typefaces by ATF include Django Modified, Honda Prototype (2012), OBrien Glass (2012), Travel Bats (for Sensis) and JWT Vodafone (grunge).

The retail fonts at the start of 2012: ArumSans, Halvorsen Pro, ITC Django, Grimsby Hand, Bosin, Carbon Credit, Carbon Tax, Chowdahead, Decon, Demented Avenger, ITC Don't Panic, Equaliser, Equaliser Stencil, Euron, Fresh, Fuse Box, Guttersnipe, Iperion, Barkpipe, ITC Panic, Not Sassure, Ogre, Otis Condensed, Pontoon, Ratbag, Spud, Stakeout, Tully, Virus, Wobbly Boot, Zoobie.

In 2013, Thompson created the custom sans typeface Tonsley and participated in the Canberra Centennial Typeface Competition.

In 2014, he designed the brush script typeface Quencher, and the custom sans typeface O'Brien Glass.

In 2015, ATF created Maccas (+Inline) for McDonalds Australia, via their agency DDB Sydney, by modifying, with permission, Cindy Kinash's True North typeface family. For a South East Asian nation's law enforcement agency, he custom-designed Personaliyty (2015).

He designed ABC Sans (2016-2018) for Australia's media conglomerate.

Typefaces from 2020: Deka (a logical rounded sans family).

Typefaces from 2021: Lurline (a reverse stress display typeface), Mandy Hand.

Behance link. I Love Typography link. MyFonts site. Linotype link.

View Wayne Thompson's typefaces. View the typefaces made by the Australian Type Foundry. [Google] [MyFonts] [More]  ⦿

Ayako Ito
[Ayako Ito (and: Type for Ukraine)]

[More]  ⦿

Ayako Ito (and: Type for Ukraine)
[Ayako Ito]

Ayako Ito is based in New York City and Tokyo, and graduated from Type@Cooper. She creates brand identities, books & magazines, typefaces, and illustratis in the fields of art, lifestyle and fashion. Ayako Ito set up Type for Ukraine in 2022 to help the people in Ukraine. All proceeds are donated to Doctors without Borders and the Voice of Children Foundation. Her typefaces:

  • Rinko.
  • Flora Roman (a headline serif) and Flora Display (2022). Simply exquisite.
  • Jasmine Display (2022). A calligraphic fashion mag serif.
  • Gabriel.
  • Luna.

Commissioned typefaces include Bubble Tea (a bubblegum typeface designed for Stone And Strand, a NYC based jewelry startup), Kafeteria (a phenomenal geometric sans as part of the brand identity for Kafeteria, a new café at the Statens Museum for Kunst in Copenhagen by renowned Danish restaurateur Frederik Bille Brahe; just like the menu and experience at Kafeteria, the typeface combines Japanese minimalism with Danish culture), Good Girl (a sans designed for Stone And Strand, a NYC based jewelry startup), August KBH (custom typefaces for August Journal Issue 05: Copenhagen), Moet Hennessy, Gemic (a custom stencil typeface for Gemic, a global growth strategy firm with offices in NYC, Helsinki, Toronto, and Berlin). [Google] [More]  ⦿

B. Bleu

Parisian art director who created the bespoke typeface Institut Laser Biotherm in 2016. [Google] [More]  ⦿

Babel Font
[Brahim Boucheikha]

Babelfont is a design studio located in Paris and Casablanca that was co-founded by Gia Tran and Brahim Boucheikha. They were later joined by Salaheddine Bellizi. Their typefaces, mostly bespoke, include:

  • Luset (2012). A font commissioned by Dragon Rouge for an actor.Their typeface family is called PSG.
  • PSG (2013). A font commissioned by Dragon Rouge to create a typeface family for the soccer club Paris Saint-Germain.
  • The Latin/ Arabic sans typeface Gibraltar (2014).
  • The Latin / Arabic sans typeface Ines (2013).
  • The Latin and Maghrebi Arabic typeface Alegia (2015).
  • Mao (2013). A decorative simplified Chinese font.

Gia Tran is a self-taught calligrapher and type designer. He has worked for Dragon Rouge, 4uatre and A&Mcreative in Paris, as well as Saffron Brand Consultants in Madrid. Gia was the Type Director at the French foundry Fontyou. He also teaches calligraphy and type design at various graphic design and visual communication schools such as Strate College Designer, Intuitlab and ESAV Marrakech.

Brahim Boucheikha (b. Morocco) studied graphic design at the ECV in Paris and was an apprentice of Arabic calligraphy expert Abdallah Akar. He joined the branding agencies Landor (Dubai) and Dragon Rouge (Paris). He has worked at the ESAV (School of Visual Arts) in Marrakech since 2009 as head of the Arabic typography laboratory.

Salaheddine Bellizi is a typographer and 3D designer at Babelfont Studio. He studied at the ESAV (School of Visual Arts) in Marrakech, Morocco, and specializes in Arabic calligraphy and typography. He also works intermittently as an assistant at ESAV Marrakech. [Google] [More]  ⦿

Bad Mean Good
[Bjorn Johansson]

Bjorn Johansson (Bad Mean Good) created the monospaced typeface family Camcorder (2008-2015), a typeface inspired by old consumer electronics. Camcorder is being used by Gucci, Pixies and Prada, for example. [Google] [More]  ⦿

Bahman Eslami

Type designer and kinetic graphic designer born in Tehran, Iran (1985). He holds a BA in graphic design with emphasis on typography from the University of Tehran. Since 2005 he has been working with advertising agencies and specializes in graphical animation. Winner at the Letter 2 competition with Harir (2010, Arabic typeface). This typeface was eventually published in 2013 by Typotheque. Peter Bilak blended Harir in with the Latin typeface Lava: Harir is a modern Arabic text typeface featuring three optical sizes, the first typeface of its kind. Harir is based on the Naskh calligraphy style, but is designed to work well with or without diacritics. Its letter proportions and stroke contrasts have been adjusted to create consistent word shapes, and dots have been carefully positioned to help balance the negative space between the letters. After Bahman Eslami completed Harir, Peter Bilak developed a special version of Lava to serve as Harir's Latin character set, perfectly matching its weight, rhythm and contrast. Designers of non-Latin typefaces are often forced to adapt Latin design principles when they want their fonts to work well in multilingual settings. This can result in distorted lettershapes that deviate from the script's tradition and heritage, impairing readability. Harir and Lava provide a unique combination that enables professional-quality multilingual (Arabic, Latin, Greek and Cyrillic) typesetting with no compromises.

In the TypeMedia program at KABK in Den Haag, Bahman designed the graduation typeface Tajrish (2015) for Latin and Arabic.

In 2016, he designed the low-contrast Naskh family Diodrum Arabic (Indian Type Foundry). The Latin letterforms in Diodrum are monolinear and of large x-height.

Still in 2016, he published the Naskh style Kohinoor Arabic (Indian Type Foundry).

Award winner at 25 TDC in 2022 for Amaala Arabic (published at Interval Type). The Arabic part of this custom family is designed to capture the impression of Latin which is an elegant high contrast typeface with round terminals, curly structure, and round counters. The type system comes in three type families, "Sans", "Open Eye" and "Closed Eye".

Speaker at ATypI 2018 in Antwerp (on the topic of the symbiosis of Latin and Arabic). Typotheque link. [Google] [MyFonts] [More]  ⦿

Baron von Fonthausen
[Jacques Le Bailly]

Jacques Le Bailly (b. Thionville, France, 1975) is the "Baron von Fonthausen", located in Den Haag, and the self-proclaimed German-French specialist in the fields of both beer and type design. From 1999 to 2003, Le Bailly lived in Berlin, working at Moniteurs graphic design studio and as an independent graphic designer. Having returned to the Netherlands in 2003, Jacques did type production work for The Enschedé Font Foundry. He is now a typographic designer at Bau Winkel's studio in The Hague. He worked for type foundries like Lineto, Monotype, House Industries, and Bold Monday, as well as on custom projects for several brand design agencies. He has been teaching at the WdKA art academy in Rotterdam and Sint Joost in Den Bosch.

He was working on commercial fonts such as TyPress, Ballpoint and B-Day.

Sardines (2008, Vette Letters) is described by Jan Middendorp as an amusing parade of heavyweight characters crammed into squares. In 2010, that monospaced family was expanded to VLNL Neue Sardines (42 styles).

Designer of the pixel font Mekka.

Macula (2010) is a trompe l'oeuil typeface that is available from Bold Monday. It was inspired by Oscar Reutersvärd's impossible perspectives and M.C. Escher's optical illusions.

In 2016, Jacques Le Bailly extended Vernon Adams's Nunito (2011) to a full set of weights, and an accompanying regular non-rounded terminal version, Nunito Sans, which is free at Google Fonts and Open Font Library.

In 2018, he designed the free family Crimson Pro (a major update of Sebastian Kosch's Crimson from 2011) and VLNL Thueringer (at Vette Letters), and wrote: Jacques got inspired by Albrecht Düer's 15th century Fraktur (blackletter) alphabet, and decided to design a contemporary rounded version of it. It's a modern techno-style blackletter with a (beer)truckload of interesting design details.

In 2019, he released the free font Livvic. Livvic is a 16-style custom corporate sans typeface designed by Jacques Le Bailly for LV (Liverpool Victoria Friendly Society Limited), an insurance company based in the UK. The typeface is part of a brand redesign.

In 2020, Jacques Le Bailly, Cereal and Vernon Adams (posthumously) released the sans typeface family Mulish at Google Fonts. Mulish is a minimalist sans, designed for both display and text typography. It was initially drawn in 2011 by Vernon Adams and then refined until 2014. In 2017 the family was updated by Jacques Le Bailly to complete the work started by Vernon after he passed away, in collaboration with his wife Allison, an artist who holds the trademark on the typeface family name. In August 2019, it was updated with a variable font weight axis.

Behance link. Bold Monday link. %Z Liebe Petra, Die Site ist jetzt erstmal dafür gemacht, um Leuten zu zeigen was ich gerade mache. Leider sind die meisten der gezeigten Fonts noch nicht ganz fertig und werden deshalb noch nicht angeboten. neben Schriftgestaltung, mache ich auch noch Grafik-Design. Im Moment arbeite an der Font TyPress, die bei der 1. Ausgabe folgende Schnitte enthalten wird: Roman, Italic, Bold, Bold-Italic, Caps-Roman and Caps-Bold. Unsicher ist noch wo, oder von wem sie vertrieben werden. Der Font B-Day wird 1 Schnitt haben und wenn alles gut geht, wird sie ab Februar 2002 von Lineto (www.lineto.de) verkauft. Wenn Sie interessiert sind an meinen Entwürfen, oder z.B. an Custom-Type, fragen Sie bitte nach. Oder, wenn Sie gerne sehen möchten, wie meine Schriften im Druck aussehen, kann ich Ihnen ein PDF schicken. Freundlichen Grüsse, Greetings, Baron von Fonthausen, auch Jacques Le Bailly [Google] [MyFonts] [More]  ⦿

BaseLAB
[Joancarles P. Casasín]

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

Bastarda Type (was: No Name Type Foundry)
[Sebastian Castellanos De La Hoz]

Bogota, Colombia-based outfit, est. 2017 by Jason Guzman, Sebastian Castellanos and Federico Parra. Type designers associated with Bastardatype in 2022 included Oscar Guerrero, Julian Moncada and Fer Cozzi. Sebastian Castellanos graduated from the MATD program at the University of Reading in 2015. His graduation project was Orca (2015). It covers Latin, Greek and Thai: Orca was inspired by alcoholic beverage labels. It is constructed of a blend of sharp serifs and brush out-strokes which create a dynamic combination of angular lines and curves.

The list of type designs:

  • Orca and Orca Display (by Sebastian Castellanos and Jason Guzman). The semi-stencil Orca Display won an award at Tipos Latinos 2018. Orca was inspired by alcoholic beverage labels. It is characterized by sharp serifs, a large x-height, moderate ascenders and descenders, and wide proportions. It covers Latin, Greek and Thai.
  • Magma (Federico Parra). A psychedelic all caps typeface.
  • Central. A handcrafted American gothic custom-designed for Central Cevicheria in Bogota.
  • BT Barbara (2018). A flared typeface done with Fernanda Cozzi.
  • BT Brutman (2020). An angular text typeface inspired by brutalist architecture.
  • BT Orca and BT Orca Display.
  • BT Lamina (2019).
  • BT Salsa (2019).
  • Kiffo Sans (2019), later called BT Kiffo.
  • Stewar Variable (2022). Unknown designer.
  • Gregor (2021, Oscar Guerrero). A hybrid sans serif typeface family with two variants, Upright and Slanted. The design is inspired by some advertising graphic designs used in the United States during the 60's and 70's.
  • Super BT (2022). Unknown designer.

Old URL. [Google] [More]  ⦿

Beau Thein

For the rebrand of Diversion Dimensions, Beau Thein (Sydney, Australia) created a kitchen tile typeface (2017). Behance link. [Google] [More]  ⦿

Bee Creations
[Eran Bacharach]

Eran Bacharach (Bee Creations) created Socialism Hebrew Typeface (2012): Inspired by typographic elements in Hebrew Socialist posters from the 1940s, the font was created as part of a branding campaign for a law office specializing in labor laws, social security and workers' rights. [Google] [More]  ⦿

Belfast City Council

The typeface Moment was commissioned by the Belfast City Council for its brand. Unknown designer, but free download. [Google] [More]  ⦿

Ben Buysse

Art director, type designer and illustrator working in Brooklyn, New York, who does mainly custom work for clients such as Entertainment weekly, ESPN, Fortune Magazine, grantland, GQ and NBC. His typefaces include

  • Zeedraak (2012). A free typeface inspired by sea monsters and blackletter typography.
  • World Cup Typeface (2016). For ESPN Magazine World Cup special issue.
  • Fancy Pants (2016). A classy stylish sans.
  • Beach Drink Icons (2016).

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

Ben Kiel

Graduate of the type design program at the University of Reading, who joined House Industries (Wilmington, DE) in 2006 to work as a typeface designer, director, and developer. He also worked with Ken Botnick at emdash. He runs Typefounding, a typeface design and production studio in St. Louis, Missouri. He teaches at Washington University in St. Louis and the Type@Cooper certificate program at Cooper Union, and has taught at the Maryland Institute College of Art and the University of Delaware. He is a partner at XYZ Type with Jesse Ragan.

He designed Katje and Cimarron (2005, University of Reading, a serif family with support for Latin and Greek). Speaker at ATypI 2006 in Lisbon on Python scripts for FontLab and RoboFab. Image.

In 2011, Vincent Pacella, Ben Kiel and Adam Cruz created the fat slab serif face Goliath, based on Film No. 6206 in the PhotoLettering archive. West Barnum Ultra, designed by Dave West and digitized by Ben Kiel&Adam Cruz in 2011, was film no. 5494 in the original Photo-Lettering archive.

At House Industries, he redesigned the iconic Rea Irvin lettering for The New Yorker in September 2013. The typefaces are named New Yorker Irvin and New Yorker Neutraface. In 2012 at House Industries he revived the Photo Lettering Inc font Worthe Numerals, which pushed fat didone to its limits.

Still at House Industries, Christian Schwartz, Mitja Miklavcic and Ben Kiel co-developed Yorklyn Stencil.

Cortado Script (2014) was designed by Jesse Ragan and Ben Kiel. It was inspired by Swedish illustrator's Cecilia Carlstedt's hand-painted lettering. It follows one year after a similar signage script typeface, Carlstedt Script (2013), also co-designed by Jesse Ragan and Ben Kiel---it was a custom signage typeface for Aldo Shoes.

In 2015, Mark van Bronkhorst set up TypoBrand LLC in Berkeley, CA. As part of TypoBrand, he published several typefaces that are modern digital reinterpretations of ATF typefaces. The collection is published by TypoBrand LLC under the names ATF Type or American Type Founders Collection. Ben Kiel co-designed, sometimes with others, classics such as ATF Alternate Gothic (2015), ATF Brush (2015), ATF Egyptian Antique (an expansion of Schraubstadter's Rockwell Antique by Mark van Bronkhorst, Igino Marini, and Ben Kiel), ATF Railroad Gothic (2016), ATF Garamond (2015), ATF Headline Gothic (2015), ATF Livermore Script (by Mark van Bronkhorst, Igino Marini, and Ben Kiel), ATF Poster Gothic (2015) and ATF Wedding Gothic (2015).

At XYZ Type, Ben Kiel co-designed Cortado Script in 2013 with Jesse Ragan and designed the sans typeface Grep (2017).

In 2019, Ben Kiel participated in the development of ATF Franklin Gothic (Mark van Bronkhorst, Igino Marini, and Ben Kiel). A broad and multi-weight interpretation of Morris Fuller Benton's classic from 1905, Franklin Gothic, which only had bolder weights. For the lighter styles, the designers were inspired by Benton's Monotone Gothic.

Girard Sky (2019) is based on Alexander Girard's original typeface for his redesign of Braniff Airways. Working with the original drawings for the photoset typeface found in the Girard archive, the design was revived as part of the Alexander Girard collection. Followed by Girard Slab (2019).

Typefaces from 2020: Ballast (Future Fonts: a condensed slab serif). [Google] [MyFonts] [More]  ⦿

Ben Whitla

Boston-based designer. He occasionally designs custom typefaces, such as, e.g., for Mattel Hot Wheels. Behance link. [Google] [More]  ⦿

Benjamin Campana

During his graphic design design studies in Marseille, France, Benjamin Campana co-designed Helado (2014) together with Sabrina Ekecik and Simon Becker. He created the thin sans titling typeface Kim (2014) with Julia Lambert for the Lana del Rey's video clip Summertime Sadness. Behance link. [Google] [More]  ⦿

Benjamin Gomez
[Dépli]

[More]  ⦿

Bergfest Design

Creative art direction studio in Hamburg, Germany. They created the corporate typeface family Wempe in Antiqua and Grotesque styles. The fonts are called GDW Antiqua and GDW Grotesque (2015).

Together with Kontrastmoment, Bergfest created BMW Display, Mini Display and Rolls Royce Display (2015). Behance link. [Google] [More]  ⦿

Berton Hasebe

Berton Hasebe (b. 1982, Honolulu, HI) moved from Hawaii to study and work in Los Angeles, where he obtained a BA from Otis College of Art and Design in 2005.

In 2007 he moved to the Netherlands to study type design through the Type and Media Masters course at The Royal Academy of Art in the Hague (KABK). Berton has resided in New York since 2008, and was a staff designer with Commercial Type from 2008 to 2013, when he left to start his own studio. Berton's typefaces have been awarded by the New York and Tokyo Type Directors Club, the ATypI, and the Brno Biennial. In 2012 he was awarded Print magazine's 20 Under 30 Award. Berton currently teaches typography at Parsons and has taught type design at The University of the Arts in Philadelphia and the Type@Cooper Extended Program at The Cooper Union in New York.

His typeface Alda was designed to function at very small sizes while remaining expressive. The bold is macho and delicate at the same time. Alda won an award at TDC2 2009. In the same year Alda was also selected by the Tokyo Type Directors Club to be included in its annual publication. It was published by Emigre.

At Commercial Type he co-designed the extensive family Stag with Christian Schwartz and Ross Milne. Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional special effects display variants. Stag Stencil followed in 2009.

In 2010, he published the geometric sans serif family Platform at Commercial Type. It has a gorgeous circle-based hairline.

In 2013, he published a 4-family 20-style French Renaissance typeface family called Portrait (+Text, +Inline, +Text), still at Commercial Type: Portrait started out as an experiment in drawing a display typeface that managed to be both beautiful and brutal, and both classical and minimalist. While its lighter weights are quietly elegant, the heavier weights show the influence of chiseled woodcut forms. Portrait draws its primary inspiration from the Two-line Double Pica Roman (equivalent to 32pt in contemporary sizes) cut by French punchcutter Maître Constantin around 1530 for the printer Robert Estienne. Portrait replaces the delicately modeled serif treatments of Constantin's original with simple, triangular Latin serifs, reimagining the Renaissance forms in a contemporary light. Portrait Text resembles the text types attributed by the printing historian Hendrik Vervliet to Constantin and used by the printer Estienne in the 1530s, which had a lighter and more open texture than the text types that preceded them, and marking the move to more elegant type that culminated in the work of Claude Garamont. The stripped-back simplicity of the Latin serifs gives Portrait a cleaner and sharper tone than a typical Renaissance oldstyle-influenced text face, bringing an active personality to text.

In 2015, he created the sans headline typeface families Druk, Druk Text, Druk Wide, Druk Condensed and Druk Text Wide: Druk is a study in extremes, featuring the narrowest, widest, and heaviest typefaces in the Commercial Type library to date. Starting from Medium and going up to Super, Druk is uncompromisingly bold. It was meant as a companion of Neue Haas Grotesk. Of the families in the Druk collection, Druk Condensed is the most explicit homage to Willy Fleckhaus. Originally designed for the 2011 Year in Review issue of Bloomberg Businessweek, its flat sides make letters and words snap together in a clean and satisfying way.

For MittMedia, he made the corporate sans typeface Duplex (2016).

Still in 2016, Berton Hasebe published Styrene at Commercial Type. Their blurb: Styrene, a new sans serif by Berton Hasebe, is his latest exploration of proportion and simplicity in type design. The initial inspiration for the family was a charmingly awkward sans serif shown in an early 20th century Dutch type specimen. However, Styrene has an entirely ahistorical attitude. Its name was inspired by the purposefully synthetic feeling to its curves and geometry. The family is characterized by its proportions: typically narrow characters like f j r and t are hyperextended and flattened, adding openness in unexpected places. Styrene's two widths offer different textures in text: version A is dogmatically geometric, with a stronger overall personality, while version B is narrower for more reasonable copyfit, though not truly condensed.

Schnyder (Commercial Type) was designed by Berton Hasebe and Christian Schwartz for the 2013 redesign of T, the New York Times Style Magazine by creative director Patrick Li and his team. Schnyder has the high contrast typical of a fashion typeface and has a large number of alternates. The stem thicknesses in each weight are identical across the widths, an unusual feature that allows the widths to be mixed freely in headlines, even within single words. It features three weights, four widths, and four optical sizes. Production assistance by Hrvoje Zivcic and Miguel Reyes. Schnyder Wide, Condensed and X Condensed were published in 2018.

In 2020, he released Review (Condensed, Poster, Regular) at Commercial Type, which writes: Berton Hasebe originally drew Review (née Kippenberger) for T: The New York Times Style Magazine. In 2018, a new editor in chief pushed for a complete reimagining of the magazine. What had primarily been an image-focused publication evolved into a text-driven one, with the squarish, commanding Review doing much of the heavy lifting. To facilitate tight setting both horizontally and vertically, Hasebe sheared off Review's overshoots and blunted its exterior curves, producing a dynamic tension with its round counters.

Produkt (2014, Christian Schwartz and Berton Hasebe) is Graphik with slabs added on.

Christian Schwartz and Berton Hasebe originally designed Feature for T: The New York Times Style Magazine in 2018, and wrote: Diagonal stress, mismatched contrast between main strokes and serifs, and sharply angled head serifs conspire to give the face tension, dynamism, and immediacy. The collection has been expanded in 2021 for release by Hrvoje Zivcic, who expanded the weight range and drew italics for the entire collection. Feature Collection now includes Feature Text, Feature Display and Feature Deck. Feature [Google] [MyFonts] [More]  ⦿

Bharat KV

Bangalore-based creator of the custom illustrated font Kolaveri Di (2011). Home page. [Google] [More]  ⦿

Bianca Berning

Graduate of the MA Typeface Design program at the University of Reading in 2011 who was born in Germany. Her graduation typeface was Clint (2011), a text family for Latin, Greek and Cyrillic. Clint is characterized by multiple personalities, with asymmetric serifs, a daring axis, some timid ball terminals, and other exogenetic details.

Bianca specializes in the technical aspects of type design. As a font engineer with a background in civil engineering, communication and typeface design, she joined the Brixton, UK-based Dalton Maag type foundry in 2011. Until 2018 she headed their Skills & Process team, responsible for training and development, knowledge management, and for the implementation of font development processes. In 2018, she was appointed Creative Director and became responsible for ensuring that Dalton Maag remains at the forefront of type innovation. She directed the design of brand typefaces and complex type systems for international clients such as the Amazon, AT+T, BBC, Bodyform, Goldman Sachs [Goldman Sans], and Jacobs Engineering Group [Jacobs Chronos], and oversaw the design and refinement of wordmarks and font modifications.

Speaker at ATypI 2018 in Antwerp, at ATypI 2017 in Montreal and at ATypI 2016 in Warsaw. [Google] [More]  ⦿

Bjorn Johansson
[Bad Mean Good]

[More]  ⦿

Björn Larsson

Creator of EGC New Baskerville Display (2012) for exclusive use of Electrolux Grand Cuisine. [Google] [More]  ⦿

Black Foundry
[Jérémie Hornus]

Type foundry in Paris, est. 2016 by Jérémie Hornus, who is the design lead. Type designers associated with Black Foundry include Alisa Nowak and Ilya Naumoff. They initially bought the font collection of FontYou. Typefaces not included in the original FontYou collection:

  • Angus (2018). A multiplexed rounded sans typeface family by Elliott Amblard that includes a variable font.
  • In 2018, Elliott Amblard and Jérémie Hornus co-designed the information design humanist sans typeface family Drive. It is accompanied by the more typewriter-styles families Drive Mono and Drive Prop, and published by Black Foundry. The fiorms in Drive Mono and Prop are great, but all fonts in Drive are too widely spaced (as are several other fonts in the Black Foundry collection).
  • Clother (Jeremie Hornus, Julie Soudanne, Ilya Naumoff, 2017). This geometric sans workhorse covers also Cyrillic, Hebrew and Arabic.
  • Vesterbro (Jeremie Hornus, Alisa Nowak, Ilya Naumoff, 2017). High-contrast Latin / Cyrillic typeface with a Viking feel that won an award at Granshan 2017.
  • Jeremie Hornus, Gregori Vincens, Yoann Minet, and Roxane Gataud (and possibly Riccardo Olocco) designed the free Google web font Atma for Latin (in comic book style) and Bengali. Github link.
  • In 2016, Google Fonts published the free Latin / Bengali signage font Galada (2015). It is based on Pablo Impallari's Lobster (for Latin). The Bengali was developed as a studio collaboration by Jeremie Hornus, Yoann Minet, and Juan Bruce at Black Foundry.
  • In 2016, Franck Jalleau designed the monospace sans typeface family Aubusson. Initially designed as a custom typeface by Franck Jalleau for the Cité internationale de la tapisserie d'Aubusson, the monowidth proportions are linked to pattern and tiles arrangements used in tapestry. The retail version of Aubusson offers four weights with matching italics. It was published by Black Foundry.
  • Drive (2016). A corporate sans serif family.
  • Dragon (2016). A clean sans typeface.
  • Galien (2019). By the Black Foundry team, a mix with didone elements in the roman and garalde features in the italic. There is also a variable font with a weight axis.
  • A custom sans font family for DS Automobiles (2019).
  • Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese.
  • Screen Sans (2020). A 14-style sans by Jérémie Hornus and Ilya Naumoff published by Indian Type Foundry.
  • Alpine Script: a variable font with four axes including boldness, humanity, and irregularity, made for the identity of the French (Renault) Alpine sports cars.
  • Maif (2020). A sans family for the corporate identity of the Mutuelle d'Assurance Automobile des Instituteurs de France.
  • In 2017, Jérémie Hornus, Théo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu co-designed Bespoke Sans, Bespoke Serif and Bespoke Slab at Fontstore / Fontshare. In 2020, Bespoke Stencil was added.
  • Egitto (2020). A huge Egyptian (slab serif) family together with a handy variable font. By Jérémie Hornus and Solenn Bordeau.
  • Rowton (2021) is a humanist sans in black, regular and hairline weights, named after Arthur Eric Rowton Gill. It is accompanied by two stencil styles.
  • NouvelR (2021). A corporate geometric sans typeface for Renault covering Latin, Greek, Cyrillic, Hebrew, Arabic and Korean. Characterized by a totally square lower case r. All terminal angles are 28 degrees, to align with the angle in Renault's logo.
  • Enedis (2022). A commissioned sans.
Creative Market link for Black Foundry. [Google] [MyFonts] [More]  ⦿

Blackletra
[Daniel Sabino]

Brazilian type designer Daniel Sabino de Souza studied under Laura Meseguer at the Eina-Escuela Superior de Disseny in Barcelona. His foundry in Sao Paulo is called Blackletra (est. 2012). He has taught type design at IED/Sao Paulo.

He won an award at Tipos Latinos 2012 and at TDC 2013 for Karol. In 2012, he won the Silver Prize in the Latin category of the Morisawa Type Design Competition for Hashar, a beautiful angular connected script face.

In 2013, he published Karol at Type O Tones. Falado (2013) is a delicate display typeface commissioned by Estudio Mucho for the graphic identity of the Spanish orchestra La Filarmónica. It won a Gold Medal at Laus'13.

In 2014, he designed the superb angular script typeface Haltrix (Village). Karol Sans was published at Type-o-Tones in 2014. Haltrix, Gandur (which was inspired by other geometric texturas, specially Max Bittrof's Element (1933)) and Karol Sans all won awards at Tipos Latinos 2014. Expectedly, Haltrix won an award in the TDC 2015 Type Design competition. Gandur New (German expressionist) and Gandur Alte (closer to Textura) followed in the summer of 2014.

In 2015, he released Silva (Text, Display), a typeface co-designed with Chester Jenkins.

Gothiks (2015, Village), Gothiks Compressed (2016) and Gothiks Condensed (2016), a family of condensed typefaces of varying widths and thicknesses that hearken back to the gothic wood types, and Latam Sans (2015, a custom typeface for Latam Airlines) won awards at Tipos Latinos 2016.

Typefaces from 2016 include Ofelia Std, a corporate sans family characterized by a lower case f that looks like a stretched s.

Typefaces from 2017: Noka (a sci-fi geometric sans characterized by its curvy f and hipster g).

Typefaces from 2019: STC Forward (a bespoke sans typeface for Saudi Telecom Company), Gothiks Round Compressed, Gothiks Round Condensed, Gothiks Round.

Typefaces from 2020: Elizeth and Elizeth Condensed (a slab serif by Daniel Sabino, Lucas Gini and Henrique Beier), Skol Display (a forceful poster sans), Ofelia Text and Display, Ekos (an all caps typeface designed for the Natura Ekos brand).

Typefaces from 2021: Silva Display (a 16-style serif).

Winner at Tipos Latinos 2018 of a type design award for Elizeth.

Village link (since 2014). Behance link. [Google] [MyFonts] [More]  ⦿

Blondina Elms Pastel

Blondina lived and worked in Martinique, France for eight years. She graduated in 1999 from Insitut régional d'art visuel de la Martinique (IRAVM). Blondina founded Atelier Elms in Cave Hill, Barbados, in 2002. Her clients can be found in the United States, the British Virgin Islands, Martinique, Dominica and Barbados. She returned to settle in Barbados in November 2003. Graduate of the University of Reading in 2011. Her graduation typeface there was Naej (2011), a typeface family for recreational children's storybooks. Lively and bouncy, it blends script and sans into a refreshing breakfast. She calls the family calligraphic and neohumanist. Blondina finally published Naej in 2012 at a German foundry, URW.

In 2013, she graduated from the Plantin Institute's type design program under Frank E. Blokland. Her graduation typeface there was the children's storybook font Calina. At Plantin, she also attempted a Jacques Francois rosart revival.

She writes that for Google Fonts, she developed Dinah (for Latin and Devanagari), but there is no record of that at Google Fonts.

Custom fonts by Blondina include Barefoot (for bare Greetings greeting cards)

Presently, she is a PhD student at the Aix-Marseille University, and is based in Aix-en-Provence. Since 2015, she organizes Typote, mobile workshops for training in calligraphy, lettering, typeface design and graphic design. [Google] [MyFonts] [More]  ⦿

BMW Motorrad

A corporate sans designed in 2007 by URW for BMW. Download. [Google] [More]  ⦿

Bo Linnemann
[Kontrapunkt]

[More]  ⦿

Bob Anderton

British designer of these typefaces:

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

Bold
[Oskar Lübeck]

Founding creative director of Differ Design in Stockholm. Founder and Creative Director of the Swedish design agency Bold (in 2011). Prior to Bold he was the Design Director at The Brand Union's Stockholm office. He has many years of international experience having worked and studied in Japan, New York, Dubai and London.

His typefaces include Nordea Sans (for Nordea Bank), Labyrinyth (pixel style), Lateral (vertically striped face), Pop-Up, Fine Line, and Basic Shapes (a geometric experiment). [Google] [More]  ⦿

Bold Monday
[Pieter van Rosmalen]

Bold Monday is an independent font foundry established by Paul van der Laan and Pieter van Rosmalen and based in Eindhoven, The Netherlands (and before that, The Hague). Pieter van Rosmalen (Eindhoven, The Netherlands) studied advertising and graphic design at Sint Lucas in Boxtel and graduated from the postgraduate Type & Media program at the Royal Academy of Art (KABK) in The Hague in 2002. He runs Bold Monday's Eindhoven office.

In 2018, Bold Monday joined The Type Network.

Pieter van Rosmalen has designed retail as well as custom typefaces for clients worldwide, such as NBC Universal, Audi AG, General Electric and KPN. One of Pieter's designs is used for street signs in South Korea. Pieter's retail typefaces in the Bold Monday catalog include

  • Aniek (2009: a children's script).
  • Bilo (2018: a grotesque).
  • Capibara (2007).
  • Dico (2004-2020). A varied suite of 45 typefaces by ncompassing eight proportional and monospaced sub-families (Sans, sas Soft, Mono, Code One, Code Two, Typefwriter, Slab, Mono Slab). It circles around a sans-serif van Rosmalen started in 2004 for design studio Teldesign, comprehensively updated and expanded upon in 2020. The monospaced script styles are loosely based on Corinthian Script for the IBM Selectric.
  • Nitti (2008: monospaced), Nitti Grotesk (2012-2014), Nitti Mostro (2015, +Stencil, +Disco, a splendid multiline headline typeface), Nitti Typewriter (2009).
  • Panno (2008, a sans), Panno Sign, Panno Text (2008-2010). By Van Rosmalen and van der Laan).
  • Pinup (fat rounded sans, done in 2008). In 2013, he published Pinup Dotted (a textured typeface).
  • Stanley (headline face, done in 2008; includes a stencil).
  • Puffin, Puffin Display (rounded informal sans families) and Puffin Arcade (a large bitmap font family).

Bold Monday also has typefaces by other designers. In 2012, Bold Monday published the trompe l'oeuil typeface Macula (Jacques Le Bailly) which is based on designs by Oscar Reutersvärd. Oskar (2002-2013). They write: Oskar, designed by Paul van der Laan, is a typeface inspired by Dutch architectural and advertising lettering from the early 20th century. Particularly the style of lettering that was painted on walls and shopfronts, or executed in metal on buildings. This kind of typography did not exist as metal printing types, but was instead painted manually by sign painters, or drawn by architects. Initially the typeface was designed in 2002 for the lettering of a monumental school in The Hague, designed by architect Jan Duiker in 1929. In 2012, they published the trompe l'oeuil typeface Macula (Jacques Le Bailly) which is based on designs by Oscar Reutersvärd.

Further typefaces include Feisar (techno), Flex (sans), Naomi (1999) and Pixel Package.

GE Inspira Sans and Serif (Mike Abbink, Paul van der Laan and Pieter van Rosmalen, Bold Monday) won an award in the TDC 2015 Type Design competition.

In 2018, Pieter published the experimental pixel-inspired typeface family Alterego.

Typefaces from 2021: Stanley: Bold and broad-shouldered, Stanley is a poster typeface collection in three styles rooted in the first sans-serif designs of the 19th century---the grotesques. Stanley is available in Normal, Stencil, and Stencil Rough.

Pieter designed custom typefaces for worldwide clients amongst others Agis, Audi, Teldesign, KPN, The government of South Korea (road signing), The Ministry of Transport, Public Works and Water Management (OV Chipcard), USA Today (Futura Today, 2012, with Paul van der Laan), and NBC Universal. For Holland Festival in 2014, Paul van der Laan designed the stencil typeface HF Stencil (in collaboration with design studio Thonik, Amsterdam, and Diana Ovezea), a design inspired by Glaser Stencil.

Logo.

FontShop link. Adobe link. Type Network link. [Google] [MyFonts] [More]  ⦿

Bonjour Monde
[Lucas Descroix]

Lucas Descroix is graphic and type designer based in France. After researching at the National Institute for Typographic Research in Nancy, France, and graphic design degrees at Ecole Estienne (2012) and at HEAR (Haute Ecole des Arts du Rhin) in Strasbourg (2015, Masters), he started designing typefaces, books, posters and visual identities. His typefaces:

  • The monospaced Nostra (2016, Future Fonts and Type Tomorrow).
  • The angular and blackletter typeface family Forje (2016).
  • Hernani (2015).
  • The ultra-condensed hip-hop sans family Grandmaster (2018, The Designers Foundry).
  • The 16-style sans family Odisea (2018).
  • The wide sans typeface families Syne (2018) and Syne Mono (2018). The free Syne family was originally designed in 2017 for the Art Center Synesthésie, based in Saint-Denis. Syne became a Google font in 2020. Syne was imagined by Bonjour Monde and designed by Lucas Descroix with help from Arman Mohtadji. The Mono style was distorted using Bonjour Monde's DataFace, written by Arman Mohtadji. There is also Syne Tactile. Gitlab link.

    Fragen (2019). A 16-style hybrid that combines a slab serif with ball terminals and spirited italics (The Designers Foundry).

  • Faidherbe (2019). At Future Fonts. Faidherbe was initially based on Ile-de-France by Crous-Vidal for Fonderie Typographique Française (1956-1961).
  • Paraiso (2021). Paraiso is a condensed display typeface with a constructed feel, influenced by 19th and early-20th century wood typefaces.
  • Custom typefaces by Lucas include the unicase font family ACL Ebène (2018) done for the carpentry shop Atelier Champs Libres, and the display typeface Villa (2018: for the visual identity of Villa Gillet).

Future Fonts link. Gitlab link. Type Tomorrow link. Fontsquirrel link where one can find some free fonts such as Syne. [Google] [More]  ⦿

Boris Petrovitch Njegosh

Parisian designer of these fonts:

Behance link. [Google] [More]  ⦿

Borutta (or: Duce Type)
[Mateusz Machalski]

Borutta (or Duce Type) is the creative studio of über-talented Warsaw-based designer Mateusz Machalski (b. 1989), a graduate of Wydziale Grafiki ASP in 2014, and of Warsaw Academy of Fine Arts. His oeuvre is simply irresistible, charming and a worthy representative of the Polish poster style---witness Alergia (2016), Magiel Pro (2017) and Madiso (2017).

He is the creator of the blackletter-inspired typeface Raus (2012), which also could pass for a Cyrillic simulation font. It was possibly made with Pawel Wypych. He also made Kebab (2012, a fat caps face), Duce (2012, art deco: withdrawn from MyFonts after Charles Borges complained that it was a rip-off of his own Gloria), Fikus (2012), Woodie (2012, a condensed rough wood type face), Polon (2012), Aurora (2012, a German expressionist poster face), Musli (monoline connected script), HWDP (2012, poster font), Wieczorek Script (2012, hand-printed), Hamlet (2012, a sword and dagger typeface, renamed to Prince), Caryca (2012, Cyrillic simulation, done with Pawel Wypych), Bezerro (2012, poster face), Bitmach (2012, pixel face), Meat Script (2012, a caps only market signage brush script), Krac (2012, a tall poster font), Hermes (2012: Ten Dollar Fonts), Berg (2012, a roughened blackletter face), Buldog (2012), Dudu (2012, tall condensed face).

In 2012, Polish designer Wojciech Freudenreich and Mateusz Machalski combined forces to design the techno typeface SYN, which is based on an earlier De Stijl-genre alphabet by Freudenreich. In 2020, they released the free typeface family SYN Nova, which includes additional styles and a variable font.

Machalski likes old wood types, which inspired him in 2012 to publish a wood type collection of weathered display typefaces: Condom, Hype, Whore, Banger, Buka. Elo (2012) and Duce (2012) are fat weathered wood types.

Typefaces made in 2013: Wood Type Collection 2 (which includes Brie, Kaszti, Mader, Modi, Rena, Roast, Ursus), Zigfrid (headline face), Salute (letterpress style), Benito (a letterpress or geometric wood typeface), Bojo (heavy wood style poster face), Picadilly (heavily inktrapped open counter sans family), GIT (a manly headline sans), Lito (an eroded poster typeface), Haine (vernacular caps), Aneba (an organic sans family, renewed in 2016 as Aneba Neue), Vitali (sans), Korpo Serif (slab serif), Korpo Sans (elliptical family; +Greek, +Cyrillic).

Typefaces from 2014: Adagio Slab, Adagio Serif, Adagio Sans (a superfamily not to be confused with the 2006 typeface Adagio Pro by Profonts), Adagio Sans Script, Adagio Serif Script, Adagio Slab Script, Tupperware Pro. Tupper Pro (42 styles) was designed by Mateus Machalski and the RR Donnelley team.

Typefaces from 2015: Tupper Serif (again with RR Donnelley: a custom superfamily for pairing Latin, Cyrillic, Hebrew an Greek; for Tupperware), Vitali Neue, Legato Serif, Corpo Serif, Corpo Sans, Zigfrid, Picadilly (a great ink-trapped sans typeface family with an erect g).

Typefaces from 2016: Nocturne (just like Magiel, this free typeface was designed as part of the Warsaw Types project: this wedge serif text typeface is inspired by the lettering on stone tablets commemorating the victims of World War II, and prewar Jewish shop signage), Favela (an experimental, geometric sans, for headline and fashion magazine use), Gangrena (a weathered typeface system co-designed with Ania Wielunska), Migrena Grotesque (earlier named Enigma Grotesque but probably in view of a clash with the name Enigma used by Jeremy Tankard changed to the appropriately named Migrena Grotesque), Alergia Grotesk (a take on the classical geometric grotesque style, in 60 weights, for Latin, Greek and Cyrillic), Alergia Remix (a hipster / hacker / Futura take on Alergia Grotesque).

Typefaces from 2017: Nocturne Serif, Massimo (copperplate semi-serif influenced by New York; originally called Madison, they were frced to change the name to Massimo), Magiel Pro (a geometric display family influenced by Polish banners from the Russian occupatuon era, 1945-1989; it has a charming Black and a hairline, and covers Cyrillic too).

A particularly intriguing project in 2017 was Bona, which set out to revive and extend Andrzej Heidrich's old typeface Bona. Mateusz Machalski contacted him for advice on the revival project. The resulting typeface families were published by and are available from Capitalics. The centerpiece is the warm and wonderful text typeface Bona Nova. It is supplemented by the extreme contrast typeface family Bona Title and the inline typeface family Bona Sforza. Participants in the project also include Leszek Bielski, Ania Wielunska and Michal Jarocinski. Google Fonts link for Bona Nova. Github link for Bona Nova.

Typefaces from 2018: Bilbao (an innovative blend of sans, slab and mono genres in 18 styles), Cukier (a logo font family inspired by the vernacular typography from Zanzibar).

In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms. In 2021, with Anna Wielunska added to the list of authors, it was added as a variable font covering Latin, Greek and Cyrillic to Google Fonts. Github link.

Typefaces from 2019: Gaultier (a sans family that is based on the styles of Claude Garamond, Robert Granjon and Eric Gill---a serifless Garamond and Gill Sans hybrid; includes a fine hairline weight), Aioli (a commissioned type system), Promo (a rounded sans family), Sigmund (the main style is inspired by the Polish road signage typeface designed in 1975 by Marek Sigmund: With the increase of weight, Sigmund turns into a geometric display in the spirit of vernacular typography from the signs of Polish streets; followed in 2022 by Sigmund Pro (15 styles)), Podium Sharp (based on Dudu, this 234-style family is a hybrid between different old Polish modular and geometric woodtypes such as Rex, Blok and Bacarat; note that 234=2x9x13, so fonts are numbered in Univers style from 1,1 (ultra-compressed hairline) to 9,13 (ultra expanded heavy)), Harpagan (an experiment in reverse and unusual stresses).

Typefaces from 2020: Tyskie (a custom sans for Tyskie Magazine), Habibi Display (an ultra-fat display typeface inspired by bold Arabic headline typefaces), Podium Soft, Afronaut (an experimental Africa-themed font). In 2020, the team at Capitalics in Warsaw, namely Mateusz Machalski, Borys Kosmynka and Ania Wielunska, revived Adam Poltawski's Antykwa Poltawskiego (1928-1931) as Poltawski Nowy.

Typefaces from 2021: Alfabet (a 20-style Swiss-inspired sans with narrow connectors, with support for Latin (+Vietnamese), Greek and Cyrillic scripts, including Ukrainian, Bulgarian and Serbian forms), Change Serif (a 10-style Robert Granjon-genre garalde designed as a part of Mateusz Machalski's PhD project, carried out in 2015-2021; the main goal was to create a typeface allowing for the typesetting of complex humanistic texts, containing many historical letterforms; each font contains 4000 glyphs and covers Latin, Cyrillic and Greek), Engram (a soft geometric sans family in 22 styles; close to his own earlier font, Enigma, 2016).

Typefaces from 2022: Yalla (inspired by Arabic headline type).

Home page. Behance link. Personal Behance link. Behance link for Duce Type. Another link. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

Brahim Boucheikha
[Babel Font]

[More]  ⦿

Brand New Type

The co-founders of Brand New Type in 2019 are Anand Naorem (creative director), Neelakash Kshetrimayum (creative director) and Sidharth Loyal (managing director). This studio develops typefaces, creates type for corporations, and runs a BNT School (in Goa and other places). [Google] [More]  ⦿

Branding with Type
[Alberto Romanos]

Alberto Romanos is a Zaragoza, Spain-based type designer who is co-located in London. First he founded the type foundry Alberto Romanos. In 2015, that morphed into Branding with Type.

Alberto designed a font for an imaginary language. For his MA degree, he worked on variations of Frutiger (2009). His first commercial typeface is Bw Quinta Pro (2015, a sans family).

In 2015, he created the variable width condensed grotesque and poster typeface Bw Stretch, and the bespoke retro-futuristic elliptical sans typeface Flat Sans for the Spanish digital agency Flat101. During Typeclinic 11th International Type Design Workshop, he created the typeface Stretch Caps (2015).

In 2016, he designed Bw Darius (a sharp-edged high-contrast 4-style typeface family), Bw Surco (humanist sans for Latin and Cyrillic), Bw Modelica (a minimal, robust, reliable and pragmatic geometric sans in 64 styles), Bw Modelica Ultra Condensed, Bw Modelica Condensed, Bw Modelica Expanded, and Bw Mitga (a sans with strong personality and a 16 degree angle that dominates the design).

Typefaces from 2017: Bw Nista (Grotesk, International and Geometric), the Cyrillic / Greek expansion of Modelica, called Modelica LGC, Bw Helder (an 18-style sans typeface developed with Thom Niessink), Bw Gradual (an eccentric ink-trapped hipster sans), Bw Glenn Sans and its Egyptian companion, Bw Glenn Slab.

Typefaces from 2018: Bw Seido Round (a rounded almost-but-not-quite monoline sans in 12 styles that takes elements from DIN 1451; fiollowed in 2019 by Bw Seido Raw), Bw Vivant (a Peignotian typeface co-designed wih Moritz Kleinsorge).

Typefaces from 2019: Bw Beto (a text family in two optical sizes, the larger one being called Bw Beto Grande), Bw Aleta (geometric sans).

Typefaces from 2021: Bw Pose (Bw Pose No 3 and Bw Pose No 5, two times twelve fonts: didone typefaces with additional features such as uninterrupted slabs in the No3 family, and occasional wedges in the uppercase).

Behance link. Creative Market link. Home page of Alberto Romanos.

Typefaces from 2022: Bw Fusiona (a workhorse sans family). [Google] [MyFonts] [More]  ⦿

Brew Master

The house font of Budweiser. [Google] [More]  ⦿

Brian Johnson
[Design Concern]

[More]  ⦿

Brian Kaszonyi
[Circus Design]

[More]  ⦿

Brian Sooy
[Altered Ego Fonts (was: Sooy Type Foundry, STF)]

[MyFonts] [More]  ⦿

Bric Type
[Yomar Augusto]

Bric Type is a typography consultant company based in Brazil and The Netherlands, run by Yomar Augusto, who holds a BA in graphic design (University of Rio de Janeiro, 2000) and MA in type design (Type & Media at the Royal Academy of Art in The Hague, 2005). Personal URL. As a Brazilian graphic artist, he has been involved in two Rojo ArtStorm projects. Yomar lives in Rotterdam. At ATypI 2008 in St. Petersburg, he ran an experimental calligraphy workshop called Kalligraphos.

His typefaces include Den Dekker (2006), and the roundish liquid creations such as Virgem, Rejane, Liquida (2002) and Dizain. No downloads. More recent typefaces: Duin (2007, octagonal), REMF (2006, stencil), DC (2007, ultra-fat), Fake Human (2005, script), Jana (2006, unicase), War (2007, octagonal), Fuck Shit Up (2007, stencil), Charlie Dee (2002, hairline stencil), Marina Lima (2002), Lasagna (2008, Re-Type: a fat geometric poster family, produced with the help of Miguel Hernandez). In 2009-2010, he created the Adidas Unity typeface [images: i, ii, iii]. In 2011, he designed the multiline headline typeface Andoverpis. The Dog House Nike (2010) is a custom typeface for The Dog House Athlete center for runners in Amsterdam.

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

Brody Fonts (was: Brody Associates, Research Studios, Research Arts UK)
[Neville Brody]

Neville Brody (b. 1957, North London) is a famous graphic designer who has influenced the practice of design in the 1990s. He created record covers, did magazine design and was art director for projects for companies like Christian Dior, Nike, and the BBC. His company was first called Research Studios, and then morphed into Brody Associates. In 2018, Brody joined Type Network with a new foundry, Brody Fonts.

Largely focused on typography, Brody has been at the forefront of many developments in type culture, from his hand-drawn headlines for The Face magazine and experimental typographic platform FUSE to global fonts for Coca-Cola, Samsung, and Channel4. Iconic posters by him include the Tyson vs Tubs Tokyo poster from 1988. Check also Pat Tmhu's Brody-style Weather Forecast poster (2012). Other people working on Brody's original site include Mike Williams and Simon Staines.

His early type was experimental, and was collected under the name FUSE fonts. Direct access. He did the following FUSE fonts: in FUSE 1, he started with the experimental font State; in FUSE 5, he published Virtual; at FUSE 6, he published Code; at FUSE 7, he drew Crash (Regular and Cameo); in FUSE 8, he showed us Religion (Order, Obidience, Loss of Faith); at FUSE 9, he did F-AutoSuggestion (1994); in FUSE 11, he published Peep, a font only showing parts of letters; in FUSE 13, Ritual, in FUSE 14, CyberStatic, in FUSE 15, F-City Avenue (1997), in FUSE 16, GeneticsSecond Generation, in FUSE 17, Echo Downloaded, Page Three, in FUSE 18, Lies.

Born in 1957 in London, his fonts include FF Autotrace (1994, a sans family progressively distorted by Fontographer's autotrace feature), F Cyber Static (1997, letters based on layered sequences of halftone dots), Arcadia (1990), Industria (1990, readapted in 2012 by Yautja into the free font Instrumenta), Insignia (1990), Blur (1991; FF Blur is from 1992; see poster), FF Pop (1991, a rectagular font originally made for a German music TV program), FF Dirty (1994), Gothic (1991), Harlem (1991).

In 1993, Neville Brody published the poster font family FF World (FontFont), which used his lettering from his Tyson versus Tubbs Tokyo match poster (1988). This became a free web font in 2010 over at FontFont under the name FF World Wide Web.

In 2006, Neville Brody published Times Modern, designed for The Times. The press release states: The new typeface, called "Times Modern", encapsulates the paper's heritage while adapting to the demands of the new compact format. Like The Times' previous typeface, Times Classic, Times Modern has been designed as a bespoke type family. The Times is the only newspaper to create and use bespoke fonts, all other UK newspapers purchase ready-to-use fonts. The project has been led by Ben Preston, Deputy Editor of The Times, in partnership with Neville Brody, formerly art director of The Face, and lead designer on Actuel, City Limits and Arena magazines. Brody also worked on the redesign of Times2 in 2005. Collaborating with Neville is lead designer Jon Hill supported by Research Studios' Luke Prowse. Jon has worked on many large editorial projects, including the design of supplements for The Guardian, the redesign of Swiss newspaper Le Temps and UK business-to-business magazine Media Week. Twenty-three year old Prowse has created the new Times Modern headline font for the newspaper. That press release has been blasted by the typophiles for being plainly wrong ("The Times is the only newspaper to create and use bespoke fonts, all other UK newspapers purchase ready-to-use fonts." What, and how about The Guardian, for example?) and disrespectful of its designers (you really have to dig through it to learn that Luke Prowse actually did the type work).

And controversy keeps following Neville Brody: in 2009, New Deal, a constructivist typeface, was made for the Micheal Mann film "Public Enemies", starring Johnny Depp and Christian Bale. The bloggers comment that the type is "rubbish" (sic), and that others such as Chank beat him to this type style.

In 2012, Research Studios published Vetena (HypeForType).

For FIFA's World Cup in 2014, Neville Brody custom-designed Case Brody for England's Nike kit.

In 2015, Neville Brody designed Horseferry and Chadwick for the new visual identity for UK broadcaster Channel 4.

In 2018, Brody Associates announced their custom font, TCCC Unity, for Coca Cola. It was jointly designed by Neville Brody and Luke Prowse.

The first fonts at Brody Fonts in 2018 are BF Bonn (1989-2018) and BF Buffalo. Neville Brody originally designed the geometric sans BF Bonn for The Boon Ausstellungshalle and the Bundeskunsthalles signage and identity systems in 1989-1991. BF Buffalo (2009-2018) is a soft octagonal punk-meets-sci-fi design debuted as an editorial type in 2009 in Arena Homme Plus. It later appeared as the signature face for London's Anti Design Festival. Brody significantly reworked Buffalo with the help of David Jonathan Ross.

Linotype link. Klingspor link. FontShop link. FontFont link.

Short bio. Check out another biography at FontNet. Type Network link.

View Neville Brody's typefaces. [Google] [MyFonts] [More]  ⦿

Bruno Bernard
[Alfab]

[MyFonts] [More]  ⦿

Bruno Maag
[Dalton Maag]

[MyFonts] [More]  ⦿

Bruno Rodrigues

Graphic and type designer from Portugal who studied at the University of Algarve. He created Double Typeface (2012, outlined caps), Memoria (2013, a modular typeface done with Joao Miranda), Big (2013, a headline sans done with Joao Miranda), Silo (2013), Mutant Sans Sense (2014, made at Burocratik), Angles (2015, a shadow typeface), Arquivo Typeface (2015, a set of custom condensed industrial sans typefaces done for Terry Allen), Nomada Typeface (2015, also made at Burocratik).

Home page. Burocratik link. [Google] [More]  ⦿

Bruno Selles
[Vasava Fonts]

[MyFonts] [More]  ⦿

Building Paris
[Guillaume Grall]

Design studio in Paris that has created several typefaces, often as part of a branding project. These include La Vallée and Knife. It is run by Benoît Santiard and Guillaume Grall. [Google] [More]  ⦿

Buildshape
[Mauro Paolozzi]

Mauro Paolozzi (b. 1975) studied at Luzern School of Art and Design and graduated from the Royal Academy of Art in The Hague in 2000. After completing the postgraduate class Type & Media (2000-2001), he maintained a platform for audio and visual art in The Hague (2001-2006). He has also been teaching at Fachklasse Grafik in Luzern since 2001. At the Swiss type foundry Lineto, he was co-designer of both LL Prismaset A and LL Prismaset B, roughly between 2006 and 2019. LL Prismaset is based on Rudolf Koch's Prisma (Klingspor, 1930). Mauro has designed identities for cultural institutions such as Kulturbeiz Wohlen, Schloss Lenzburg, and the Swiss Federal Office of Culture. He ran Buildshape.

In 2015, Raphael Koch and Mauro Paolozzi co-designed GT Cinetype at Grilli Type. This typeface has outlines consisting of many short straight line segments, thus mimicking the now obsolete pre-digital age technique of laser printing subtitles in movies. At small sizes, the font looks very smooth, but at larger sizes, the straight segments become apparent.

His custom typefaces include Blindalley (2001), Backdoor (2001), Spins (200) and Panty Boy (2000), Scsibar (2000). [Google] [More]  ⦿

Bureau Borsche
[Mirko Borsche]

Bureau Borsche, a graphic design studio in München, Germany, was founded in 2007 by Mirko Borsche. They made almost exclusively bespoke typefaces. These include:

  • Isar, Tush Extra (2012: a flared typeface), Archive and Alston (2012, The Entente) for Tush Magazine.
  • A custom typeface for Tunica Magazine.
  • Tweety for Korakrit Arunanondchai.
  • Super Paper Grotesque for Super Paper.
  • Moroi (2013, by Galle Renaudin) for (R)evolution by Danton Denk Raum.
  • Libreville (2012: derived from Libre Baskerville) for SEPP Magazine.
  • Felipe (by Geoffrey Pellet) for I Iz Felipe Fanzine.
  • Muenchen Regular (2012, by Bureau Borsche and Tobias Weber: a Trajan caps typeface). For the Bavarian State Opera.
  • Harial for the Bavarian State Opera.
  • Andri3000 for BR Orchestra.
  • Dalhem for Bjoern Dahlem Theorie des Himmels.
  • Sumatra for Mickey Mao book (ECAL).
  • Dorothy for Horst Magazine.
[Google] [More]  ⦿

Bureau Bruneau
[Ludvig Bruneau Rossow]

Graphic design bureau in Oslo. In 2015, Ludvig Bruneau Rossow created the geometric sans titling typeface BB Perfume exclusively for Formulae Perfume. Behance link. [Google] [More]  ⦿

Bureau Brut (was: Extra Brut)
[Yoann Minet]

Bureau Brut was founded in 2015 by Julia Joffre, Yoann Minet and Camille Prandi. In 2017 Bureau Brut opened up Extrabrutshop to sell their typefaces. Both are located in Montreuil, France. The original collection of typefaces were all done by Yoann Minet. They include Droulers, Matorral (2016-2019, with the help of Baptiste Lecanu: Matorral is based on the fiery single-weight bespoke typeface Bureau Brut designed for the identity of Musée de la Poterie de La Borne. It draws inspiration from Fritz H. Ehmcke's Ehmcke Antiqua (Flinsch, 1908: the lower case t) and William F. Capitain's Caxton Old Style (Marder, Luse & Co., 1889: the R), and features an M with a distinctive Marseille vibe as in the monogram of René Dufaure de Montmirail, founder of the Olympique de Marseille football club in 1899), Ostia Antica, Totentanz and Traulha. In 2016, Minet designed the custom ultra-condensed typeface Scories Mono. Dr (2017) was published by Production Type. In 2018, they added the floarting-in-the-wind typeface Bourrasque. In 2020, Bureau Brut released Brut Grotesque (the original design started in 2015), and designed the compressed arts and crafts custom font MySen for the jewelry brand MySen. In 2021, Bureau Brut published the chamfered typeface family Round and the experimental Roman Grotesque without revealing who designed it. [Google] [More]  ⦿

Camelot Typefaces GbR

Camelot is an independent type collective and self-publisher of typefaces based in Leipzig, Germany, and founded by Maurice Göldner, Katharina Köhler and Wolfgang Schwärzler. Their typefaces include Lelo and Rosart by Katharina Köhler, Gräbenbach by Wolfgang Schwärzler and the text typefaces Rando and Rando Display (by Maurice Göldner), about which we read: Rando Display is the crispy companion of Rando, a contemporary homage to German romanesque typefaces from the late 19th/early 20th century such as Anker Romanisch (Schelter & Giesecke) or Hamburger Römisch (Schriftguss AG).

In 2020, they released Eliza and Eliza Mono by Pawel Wolowitsch and the Camelot crew.

Between 2018 and 2021, they developed a new bespoke typeface, Gus, for MoCa (The Museum of Contemporary Art in Cleveland). [Google] [More]  ⦿

Cameron Johnston

Graphic designer in Sydney, Australia. In 2015, he spruced up the old corporate typeface MC Saatchi. [Google] [More]  ⦿

Cami Naccarato

Fort Collins, CO-based designer of Roofroots (2015), a typeface custom-made for Roofroots. Behance link. [Google] [More]  ⦿

Camilla Høgemark

During her studies in Stavanger, Norway, Camilla Høgemark created the bilined typeface Futuristic Font (2014) and as a student in Brisbane, Australia, she created the trilined custom typeface Tres Kokks Sportifs (2016). Behance link. [Google] [More]  ⦿

Carl Dacko

Designer in Stockholm, Sweden, who specilaizes in corporate branding. In 2012, he designed a cold war sans for the Spionage Museum in Berlin. Behance link. [Google] [More]  ⦿

Carles Rodrigo

Carles Rodrigo (Mucho) won a D&AD 2011 award in the typeface design competition for his Art Out. He set up Carles Rodrigo Studio in London, and specializes in branding and corporate type design. His creations there are visually striking:

  • Splash Rounded. Corporate type design for Barcelona-based LED screen display company. Planned as a rounded version of Avant Garde.
  • Peppurat Outline (2011). Headline typeface especially designed for the book "Pepe Andreu---Thinking Furniture". The typeface was planned as an outline version of Akkurat.
  • Primera Bold. A stencil didone designed for the Primero Primera Hotel.
  • Lexus Inline. Corporate identity type design for Lexus Design Awards, which took place in Tokyo.
  • Art Out (2010). A blackboard bold typeface that was created for Fundación Arte y Mecenazgo in Spain.
  • Monaco Book (2015). An art deco sans based on Geo Ham's racing posters from the 1930s.
  • Zarzuela Poster (2009). Typeface developed for hypothetical rebirth of Zarzuela. an important genre of Spanish folklore. The structure of the typeface is based on the genre's 17th century origin, and is a hybrid between the transitional roman and the didone.
  • Bhldn Display (2015). An extreme contrast custom fashion mag and wedding typeface in five styles based on Hoefler Display. It was created for an American clothing company.
  • Sarda Display. This display typeface was especially developed for the book "Andres Sarda Moda Amor Arte". It is based on ITC Grouch (1970, Ronne Bonder and Tom Carnase).
Behance link. [Google] [More]  ⦿

Carlos Mignot

Graphic designer in Rio de Janeiro associated with Plau Design. At Miami Ad School, as a student, he created Minimal Fraktur (2015). In 2018, he designed the corporate art deco typeface Chez Lalu 70. In 2019, he co-designed Muda, a corporate typeface for the fashion brand Oficina Muda with Ana Laura Ferraz, Gabriel Menezes and Rodrigo Saiani. In 2020, still at Plau, he designed the custom all caps sports company typeface Brio. With Rodrigo Saiani, Carlos Mignot designed the video game font family (+stencil, +Cyrillic) either called Killing Sans or Nine to Five (2020). Still in 2020, Mignot designed the flared Koch Antiqua-style custom typeface Xilo.

In 2021, Ana Laura Ferraz, Valter Costa, Carlos Mignot and Rodrigo Saiani designed the handcrafted black poster and branding typeface Vinila for the identity of grammar teacher Eduardo Valladares' personal brand EDU VLLD (Edu stands for Eduardo and Education while VLLD represents Valladares and Vulnerability). Carlos Mignot and Felipe Casaprima designed the corporate family iN Serif and iN Sans (+Mono) for iN Consultoria de Marcas in 2021. Still in 2021, Carlos Mignot and Rodrigo Saiani designed a few hip typefaces for the Brazilian TV channel Canal Brasil.

At Plau, he published the 10-style humanist ans typeface Redonda. [Google] [More]  ⦿

Carole Gautier
[My Name is Wendy]

[More]  ⦿

Carolina Laudon
[Laudon Type]

[More]  ⦿

Carrois Type Design
[Ralph du Carrois]

Carrois Type Design (Berlin, Germany) started up officially ca. 2010, although Ralph du Carrois has been designing typefaces since ca. 2002. This dynamic company in Germany has three art directors, Jenny du Carrois, Anja Meiners and Botjo Nikoltchev. All three also design typefaces, as well as Adam Twardoch, Andreas Eigendorf and Ralph du Carrois himself. The company specializes in custom type.

Typefaces (a *very* incomplete list, with apologies, but I can't tell from the web site who made what...):

  • Allzweck MvdR (2010-2011), a revival of a sans typeface influenced by Planzkissen by Mies van der Rohe. This was commissioned by Neue Nationalgalerie.
  • The corporate typeface Cisco Sans (2010), which is positioned midway between Helvetica and Akzidenz Grotesk.
  • Fira Sans (2013, for Firefox; with Erik Spiekermann). Google Web Font link. Mozilla download page. Google web Fonts published Fira Sans Condensed and Fira Sans Extra Condensed (2012-2016) in 2017. CTAN link.
  • Krikrikrak and Blumenkohl (2013, children's scripts).
  • PTL Manohara (2010, Primetype: a humanist sans by Botio Nikoltchev), Sadgirl(2006, Primetype), and PTL Maurea (2005, Primetype). Ralph du Carrois made many more fonts at Primetype prior to the establishment of Carrois Type design.
  • Free Google Web Fonts made in 2012: ABeeZee (Anja Meiners: a sans typeface created to help children), Carrois Gothic, Carrois Gothic SC, Finger Paint (brush face).
  • Icon fonts for a number of companies: Bosch (2011), Herzberger Bäckerei (2011), Hybride Iconwelt (2007), Ponce, Russian Rail, Sentres Wettericons, ZDF Nachrichten.
  • Several typefaces were created in cooperation with Erik Spiekermann's group between 2007 and 2012. These include work on Meta Serif Pro (2011), Meta Science (2012: done for De Gruyter, it is based on Meta and Meta serif), FF Meta (2008: some thin italic weights), TERN or Trans European Road Network (2007-2008), ZDF Nachrichten (2009, plus many icons), Lautschrift (2012: a phonetic script done for Erik Spiekermann to add to his Meta and Meta Serif families), and Unit Slab Pro (2009).
  • Inarea Sans (2003) and Inarea (2003-2005).
  • FR Classic (2002). This typeface was used in the redesign of the Frankfurter Rundschau. This didone is based on a reworking of LT Gianotten by Antonio Pace.
  • Two condensed sans typefaces done for the subway system in Rome in 2005. Some icons were also made in that project.
  • Share (2006). A free techno monospaced family made for the TYPO3 Association.
  • An angular grotesk done in 2008 for the Russian Railways. This work was carried out with Dmitri Lavrow, and invloved Andreas Eigendorf and Ralph du Carrois.
  • Suzuki (2006) is a corporate gothic font that replaces Franklin Gothic at Suzuki as house style.

About Ralph du Carrois, b. 1975: He graduated at the Staatliche Hochschule für Gestaltung Karlsruhe in 2004 with his first typeface family PTL Maurea. Since 2000 he has worked for different companies or agencies. In 2003 he founded the studio seite4 in Berlin with its main focus on type design and corporate identity design. [Google] [More]  ⦿

Carter & Cone
[Matthew Carter]

Boston-based company started in 1991 by Matthew Carter and Cherie Cone that published typefaces such as Mantinia, Elephant, Sophia (1993) and the beautiful Galliard CC.

They produced type on commission for Apple (Skia), Microsoft (the screen fonts Verdana, Georgia, Nina and Tahoma), Time, Newsweek (Vincent, 1999), Wired, U.S.News&World Report, Sports Illustrated, The Washington Post, The Boston Globe, The Philadelphia Inquirer, The New York Times, El País and the Walker Art Center.

In particular, these are their typefaces for The New York Times: NYT Cheltenham (2001, 2008-2014), NYT Franklin (2012-2014), NYT Imperial (2007, 2008-2014), NYT Karnak (1993-2014: Font Bureau and later Carter and Cone), NYT Stymie (1990-2014).

MyFonts site. Type Network link. Linotype link.

View Carter&Cone's typefaces. [Google] [MyFonts] [More]  ⦿

Catapult

Catapult is the graphic design studio of Anton De Haan and Philippe Pelsmaekers in Antwerp. Other people involved in Catapult include Karen Van Puymbroeck, Tom Vanwelkenhuyzen, Omar Chafai and Luk Mestdagh. For the house style of Zonienwoud, they designed Son Grotesque and Son Grotesque Stencil in 2010. [Google] [More]  ⦿

César Puertas
[Typograma]

[MyFonts] [More]  ⦿

Celya Bendjenad

Graphic designer in Paris who created a custom typeface for GQ France in 2015. [Google] [More]  ⦿

Characters (or: Character Type)
[René Verkaart]

René Verkaart (Maastricht, The Netherlands, b. 1970) established Characters in 2004. He also has an office in Düsseldorf, Germany. His type designs:

  • Accelerator. A techno / Startrek typeface solds via T-26.
  • Ballet Mechanique (2006). A custom-designed unicase font for musician Jeroen Borrenbergs, aka Ballet Mechanique.
  • Corporaet (2019). A 5-style humanistic sans intended for corporate branding.
  • Cucaracha (2005, Volcano Type). It includes Cucaracha Icons. A typeface commissioned by Boris Kahl for Kahl's Bastard Project.
  • Encrypted Wallpaper (2006) is a playful squarish typeface for creating textual wallpapers and decorations. Free at MyFonts.
  • Insider (2004). A custom sans face done for Insider Consulting in Duesseldorf, German. It became retail in 2011, and is sold as a warm grotesque family.
  • Insignety. a fashion stencil typeface for Amsterdam-based jeweler Insignety.
  • Jekyll, a sans typeface René describes as follows: CFF Jekyll Pro is a schizophrenic grotesk typeface with an edge. Its bright side is a versatile corporate font with an unexpected twist. Its dark side is awakened by creepy OpenType features, ligatures, swashes, and alternate glyphs, making it mutate into the evil Mr. Type.
  • Kris (2014). A vampire script or haunted house typeface co-designed with Corrie Smetsers.
  • Maastricht Sport. A suite of retail & customized fonts for Maastricht Municipality's Sports department. Based on Insider.
  • Maestricht. A highly personal script font, custom made from the handwriting of Maastricht-based film producer Jean-Paul Toonen, dating back to 1992. His handwriting is very dynamic, artistic and a tasteful blend between roman and italic style.
  • Motorman. A hand lettered logo font for the electric Meijs Motorman moped. This typeface was commissioned by design agency Stoere Binken Design.
  • Nantua (2003), Nantua Flava XL (2003, a futuristic display typeface originally sold through Union Fonts). In 2011, the octagonal typeface Nantua was offered for free download at Dafont.
  • Nordic Narrow is a clean, stylistic font with a Scandinavian touch. For an early development of the Nordic series, see Nordic A (2003, sans, sold through Fountain). Nordic Narrow Pro was published in 2014.
  • Plan (2005). A corporate typeface made for Plan A Ontwerp, a graphic design studio based in Eindhoven, The Netherlands, based on sketches by Frank Vogt.
  • Porta. a modular monoline unicase typeface.
  • Reethi Rah (2006). A great text typeface for editorial use, named after a resort on The Maldives.
  • Savant (2012). A free informal face.
  • ShellShock (2005). A military stencil typeface.
  • SidB. An educational typeface commissioned by Noordhoff Publishers. SidB stands for Schrijven in de Basisschool (writing in elementary school) and is an independent method to teach kids elementary school writing. Not for sale. René also designed another eductaional font, Plantijn Schrift.
  • Siventi Logo Wide (2005). A Startrek face. Verkaart writes: This custom font was created from the Siventi Products BV logo, which was part of a Brand Identity concept done by Stoere Binken Design (SBD). The concept behind the handlettered Siventi logo was a playful concept, a colorful corporate identity that would change appearance like a chameleon to fit its purpose. Fresh and friendly on poppy plastic products, serious and distinguished on office desk materials.
  • Vagebond (2003) is a monoline elliptical geometric font that is inspired by 60s television design.
  • Other fonts designed by René Verkaart include BorVer, Bionix, FatBoy One, Freaky Animals, Kryptonite (1998), Porta, SBD Block (a corporate typeface for his own design studio, Stoere Binken Design).

He co-founded Stoere Binken Design. Blog. Klingspor link. Behance link. Dafont link. I Love Typography link. Volcano Type link. Fountain Type link.

View René Verkaart's typefaces. [Google] [MyFonts] [More]  ⦿

Charles Daoud
[North Type (was: Charles Daoud Type, or: CD Type)]

[MyFonts] [More]  ⦿

Chester Jenkins
[Cooper Hewitt]

[More]  ⦿

Chester Jenkins
[Constellation]

[More]  ⦿

Chester Jenkins

With just one name (the other one was lost in an accident!), Chester, the type designer, was born in Montreal in 1971. In 1995 Chester moved to Chicago to work with Rick Valicenti and eventually become a partner in his digital type foundry, Thirstype. In 2004, he started up the type coop Village in New York together with his wife and partner, tracy Jenkins. Chester's published designs have been used for branding programs including AT&T, Starwood Hotels, CBS Television, Nike, the San Francisco Ballet, Columbia University Business School, and the National September 11 Memorial & Museum. He has created bespoke typefaces for Blackberry, Cooper Hewitt Smithsonian Design Museum, and the National Football League.

His fonts include Syzygy, Schmelvetica (at FontShop), Psyche (unreleased), Orbit (2003, with Rob Irrgang), Rheostat (1996, a grunge dot matrix font family), HateNote, Panderella (2000-2001, ultra geometric), Eclogues (1999, an absolutely stunning romantic high-ascender-descender family), LoveHateCollection, JohnHadANightmareLastNight (2001), Alexey (2003, a stencil family, with Rick Valicenti), Apex Serif (2003, with Rick Valicenti), Exchange (dot matrix), Pizzelle Italic, Phatso (2003), Satchel Paige (2003, a wood type typeface made with Tracy Jenkins), Pixella (2003, pixel font), Nillennium (2000, an octagonal family), Freedumb (2004), Galaxie Polaris (2004, a sans) and Virgil, the last twelve fonts at Thirstype. At Village, he published Mavis (2005), Apex Sans (2004, with Rick Valicenti), and then Apex New (2006), which has a hairline weight, Apex Thin, and Apex Rounded (2010). In 2009, he co-designed the large x-height text family Galaxie Copernicus with Kris Sowersby at Village. In 2010, he and Jeremy Mickel made the poster type family Aero, which took inspiration from Roger Excoffon's Antique Olive. It won an award at TDC2 2011.

His custom-made typefaces from 2006-2007 include these: Rewards (with Kris Sowersby), Always Radio (with Markus Rakeng), 2Wice Egyptian, Apex Compact, Apex New Condensed, Baro Heavy, Baro Light, Baro Medium, Baro Super, DPA Gothic, Endzone, Galaxie Ariane, Galaxie Copernicus, LMVDR, Modernismo, Snickers. [Google] [MyFonts] [More]  ⦿

Chiara Di Terlizzi

Visual designer in Milano, who created the (virtual) type and identity for Agfa in 2012 starting from their old logo. Around the same time, Mirko Landi, another designer in Milan, did a similar thing. I wonder if they were not doing a school assignment. In 2014, she created the lapidart sans typeface Xanto. Behance link. [Google] [More]  ⦿

Chiharu Tanaka

Chiharu Tanaka was born and raised in Japan. She completed her Bachelor's degree of Textile Design in Tokyo and worked at design companies for a few years. She subsequently received her MFA in Graphic Design from the Academy of Art University in San Francisco in 2009, and remained in San Francisco area ever since. She worked as a graphic and type designer for John McNeil Studio (2009-2010), Landor Associates (2009-2010), Psy/Ops (2010-present) and Morisawa (2016-present). Her typefaces:

  • The roman and ornamental retail typeface family HaruNami (2010, Psy Ops). She writes: HaruNami (spring wave) is a family of decorative typefaces which fuse together Japanese ornamentation with the Roman alphabet. My purpose with this project is to find a balance between the designs of the West and the East. My hope is to share the Japanese aesthetic with an International audience. HaruNami has a unique stylistic system that ranges from Simple to Ornate.
  • Corporate typefaces for Tokyu Hands (an icon set, dated 2002), Landor (San Diego Zoo), Psy/Ops (Chevrolet; Bollinger Motors). Louis, done for Chevrolet under the creative direction of Rodrigo Cavazos at Psy/Ops, is a six-style DIN-like industrial grotesque for Latin and Cyrillic.
  • The corporate typefaces Reitmans Script.
  • Tegaki. An experimental brush script.
  • Mie. A hand-drawn font that attempts to obfuscate the border between letters and art.
  • Txt 1010 (2014). An experimental typeface to make fancy borders using opentype prowess. Done together with Carolina de Bartolo while working at Psy/Ops.
[Google] [MyFonts] [More]  ⦿

Chris Klee

Chris Klee, a graphic designer from Missouri, now based in Austin, TX, created Renaissance Modern (2012): Renaissance Modern draws inspiration from the magnificent architecture of the pillars, windows, ledges and openings [of the Porta Nigra city gate in Trier, Germany] while also pulling from the modernity surrounding Trier. For Whole Foods, he designed the corporate typefaces Whole Sketch and Whole Sketch Sans in 2014. Behance link. [Google] [More]  ⦿

Chris Maclean

Creative Director for Interbrand Australia. For Melbourne Theatre Company (MTC) he created MTC Neon (2013, with Joao Peres). Many of his other corporate identity projects also involve custom-designed typefaces. [Google] [More]  ⦿

Chris Rogers

Christopher Rogers is a multidisciplinary designer in New York. After working for three years as a sign maker in Virginia, Chris moved to New York, attending SVA for Graphic Design, studying in the area of graphic identity, information design, illustration, packaging, and book design. Chris Rogers made the sans typeface Indicator in 2010 for Best Made. [Google] [More]  ⦿

Christian Schwartz
[Commercial Type (Was: Schwartzco)]

[MyFonts] [More]  ⦿

Christophe Badani
[Typophage]

[MyFonts] [More]  ⦿

Christopher McMachen

Graphic designer in McLean, VA. Creator of Blade (2013), a proprietary hexagonal typeface designed for AFTA shaving products. [Google] [More]  ⦿

Cinketype
[Tibor Szikora]

Tibor Szikora is a Budapest, Hungary-based type designer specializing in custom typefaces and lettering. He runs Cinketype. His typefaces:

  • Kass (2021). An informal typeface that was based on the handwriting and etchings of Hungarian illustrator Janos Kass.
  • Crow Script (2021). A display typeface with calligraphic Dr. Caligari-style roots.
  • Margaret Neue (2021). Inspired by Zoltán Nagy's Margaret from 1963.
  • Szikora Sans (2021). A humanist sans.
  • Luttor Variable (2020): This type family was inspired by the prim, but quirky, familiar, but often surprising letterforms of Ignac Luttor's writing system, the so-called Zsinoriras', from the late 1930's Hungary. The main source of inspiration was the first figure in the booklet "A Luttor-fele uj irasmod" [1936], where he compares the three levels of his writing system, from an unconnected, printed style to a connected, cursive hand.
  • Cinke Sans (2021). A workhorse sans used on his own web site.

Future Fonts link. [Google] [More]  ⦿

Circus Design
[Brian Kaszonyi]

Finnish art director Brian Kaszonyi is the designer of CircusRootbeer, Circus Robot and Circus Mouse (1992). Co-designer with Tomi Haaparanta of the FUSE95 experimental font FutuRoman. Codesigner with Peter Kaszonyi of CircusRex (1993). All these fonts are still available from FontHaus. Codesigner with Tomi Haaparanta and Klaus Haapaniemi of the 15-font War family in 1999-2000.

In 2013, in cooperation with Tomi Haapranta, he created a decomposed monoline layered text face, Tee Franklin. His corporate typefaces include designs done for Finnish pulp and packaging giant Stora Enso.

Cargo Collective link. [Google] [More]  ⦿

City of Melbourne

Enjoy the great use of the letter M for the branding of the city of Melbourne in 2009 by a team of designers at Landor: Jason Little, Ivana Martinovic, Jefton Sungkar, Malin Holmstrom, Sam Pemberton. [Google] [More]  ⦿

Colin Philippe-Jan

Paris-based art director. Creator of the free octagonal typeface Thedus (2020). Thedus is a powerful all caps font that was inspired by the Weyland-Yutani logo, from the saga Alien. For Havas Paris, he designed the corporate hipster typeface Havas Paris (2020). [Google] [More]  ⦿

Colophon Foundry
[Edd Harrington]

Colophon Foundry was a London and Los Angeles-based digital type foundry established in 2009. Its members comprised Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design was complemented by independent and interdependent initiatives in editorial design, publishing, curation, and pedagogy. It grew out of the Brighton-based design studio, The Entente (Anthony Sheret&Edd Harrington) in April 2009. Benjamin Critton (Brooklyn, NY) joined them later. In December 2023, it was acquired by Monotype.

Fonts:

  • Aperçu (2010, +Mono), a sans family by Anthony Sheret / The Entente.
  • Archive (2013). A text family by Anthony Sheret and Edd Harrington.
  • Basis Grotesque (2015). Influenced by Akzidenz Grotesk.
  • Burgess (2014). A Times-Roman-like typeface family by The Entente and Benjamin Critton.
  • Castledown (2014). A sans family for educational purposes. They write: From 2012-2014 we collaborated closely with Castledown Primary School, Hastings, UK. The project began as a custom typeface commission for the school but soon developed into an initiative to develop and unify typography within primary education. Extended in 2020.
  • Central Avenue (2011). By Studio Makgill.
  • Coign (2018-2021). An extensive study of ultra condensed forms based on the DeLittle type foundry's Elongated Sans.
  • DM Mono (2020). A free 3 weight, 3 style family designed for DeepMind. DM Mono was loosely based off of Jonny Pinhorn's DM Sans, with a reduction in contrast and less geometric proportions. The type design and font development was commissioned from Colophon Foundry, with Creative Direction from the DeepMind team. Design by Edd Harrington and Anthony Sheret. They also developed DM Sans, DM Serif Text and DM Serif Display (2019). The Serif families are derived from Source Serif Pro. The Sans family is derived from Jonny Pinhorn's Poppins (2014-2017). Github link. Google Fonts link.
  • Fann Grotesque (2019). A 9-weight sans family inspired by the 19th century British Grotesque types from British type foundries such as Stephenson Blake, Day & Collins and Miller & Richard.
  • Fortescue (2009): a text family with triangular serifs commissioned for the identity of artist and printmaker, Jake Spicer.
  • La Fabrique Pro (2012-2017). A sans by The Entente.
  • Goodall. A 10-style take on the geometric slab serif genre; bringing together a melting pot of 19th century wood type influences and more contemporary reference points such as Memphis (Rudolf Wolf, 1929) and Rockwell (Monotype, 1934).
  • Grenette (2020). Colophon writes: Combining influences from Windsor (from Stephenson Blake & Co's Wood Letter Specimen, 1915) and Richmond Old Style (from DeLittle's Wood Type Specimens, 1966), Grenette's imposing serifs contrast with the serif-less interiors of certain forms such as n, h and v.
  • Leroy (2012). By Stockholm-based Oscar & Ewan.
  • Lisbon (2013, Anthony Burrill). Lisbon is a geometric stencil typeface based on an original metal stencil that Burrill found in a sign makers shop in Lisbon, Portugal. The font was first used in a series of posters commissioned by the British Council for Experimenta cultural biennale in Lisbon (2010).
  • Lydia Bold Condensed (2013, Benjamin Critton) revives an angular typeface by Warren Chappell from 1946.
  • Mabry (2018, Benjamin Critton): Originally commissioned in 2014 for Los Angeles-based apparel company Nasty Gal---named as such after the 1975 album and song of the same name by influential funk singer Betty Davis (b. Betty Mabry, 1945)---Mabry is the commercial iteration of the former NG Grotesque.
  • MAD Sans and MAD Serif (2011-2017) by Dries Wiewauters.
  • Marché (2014). By The Entente, inspired by Eurostile.
  • Midnight sans (2021). Colophon writes: Midnight Sans was initially drawn for Gary Green's "When Midnight Comes Around", published by our friends at Stanley/Barker in 2020. The condensed-only style embodied a warm but idiosyncratic flavour: a reflection of the publication's photographs, which document the burgeoning downtown alternative music scene of 1970s New York City.
  • Monosten (2011). A rounded monospace sans by Anthony Sheret that includes a couple of stencil styles.
  • Montefiore (2009): a grotesque with wood type influences.
  • One Night Sans (2020). A bespoke typeface for condom manufacturer Durex.
  • Pantograph: Pantograph is an authentic redraw of the typeface employed by the British pantograph etching process. Designed by Hamish Makgill in 2009.
  • Peggs (2009): typewriter style for the identity of Peggs&Son, designed by Edd Harrington.
  • PDU (2010). By Dries Wiewauters. PDU stands for Plaque Découpée Universelle, a stencil system patented in 1876 by Joseph A. David.
  • Perçu (2010): a full sans family that is---in their own words---an amalgamation of classic humanist typefaces such as Johnston and Gill Sans with Neuzeit and Franklin Gothic.
  • Perfin (2009, by Alison Haigh).
  • PIN (2015). By Hoon Kim / Why Not Smile LLC.
  • Raisonné (2010). By Benjamin Critton. Raisonné is a 7-weight geometric sans-serif type initially designed in 2010 and subsequently expanded upon, first in 2012 and again in 2018-2019. Colophon writes: The typeface is parodic-serious, intended to be blunt, candid, and affable all at the same time. It outwardly pays homage to noteworthy precedents, among them Rudolf Koch's Kabel (1927) and Victor Caruso's later redrawing for ITC (1976), Joseph Churchward's Crossbred (1970s), Paul Renner's Futura (also 1927), and Herb Lubalin's Avant Garde (1968).
  • Reader (2009): Reader is a neo-grotesque typeface initially created in a medium weight, and now re-cut into a base family of six weights with an additional seventh in the form of Reader Black. The typeface itself has been referenced from an RSPB letter dating 1972. The original typeface, which is unknown, was a monospaced, rounded face. It had geometric proportions which felt like they wanted to break free of the restrictions of a monospaced grid.
  • Relative (2011). By The Entente: Initially drawn in August 2010 for Outside In by Stephen Gill; a book designed for the Brighton Photo Biennale 2010. Includes monospaced styles.
  • System85 (+Mono). A sans family.
  • Transcript Pro (2017).
  • Value Sans and Value Serif (2012): Value Sans borrows in style and behaviour from precedents like Elegant Grotesk and Granby. Value Serif pays homage to forebears like Plantin Infant and Italian Old Style. The Sans was drawn first by The Entente (Edd Harrington & Anthony Sheret, UK). The Serif was drawn shortly after, by Benjamin Critton (US). Each borrows their geometries from the other, and nuances were finalised by all parties as Colophon Foundry.
  • Visuelt (2013-2016, The Entente). Originally created as a bespoke face for the 2013 and 2014 identity for Visuelt, Oslo, Norway, Visuelt spawned from a more considered and constrained version of Aperçu. Visult Pro (2019) covers Cyrillic and Greek as well.

Bespoke projects:

  • Battlebridge for the area of King's Cross, London (2016).
  • Burberry Apercu Bespoke (2010-2017).
  • Chelsea Basis (2015) and Chelsea Basis Chiselled (2018). For FC Chelsea.
  • Corona Headline for Corona (2016).
  • Europa Nuova & Europa Mono (2016). For UEFA's Europa League.
  • Fanta Playful for Fanta (2017).
  • Fulham First XI & Substitute XI for Fulham Football Club (2013). Stencil types.
  • FQ Value for New Covent Garden Market (2016).
  • GF Smith for paper manufacturer and merchant G.F. Smith (2014).
  • Grey Goose for the French Vodka Producer (2014).
  • Helen for Race Against Dementia (2016).
  • Mondial for Rapha's Magazine (2015).
  • NG Grotesque for LA-based fashion label, Nasty Gal, with Benjamin Critton (2014).
  • Poynings, for printer Generation Press (2014).
  • Tesco Modern, Tesco Modern Condensed, Tesco Slab and Tesco Serif for supermarket chain Tesco (2016-2017).
  • Ubisoft Sans for French games publisher, Ubisoft (2016).
  • Unify for the English Rugby Football Union (2013).
  • Wales and Cymru Sans for Visit Wales / Welsh Government (2015).
[Google] [More]  ⦿

Commercial Type (Was: Schwartzco)
[Christian Schwartz]

Foundry, est. 2009 or 2010 by Paul Barnes (London and New York) and Christian Schwartz (New York). Their own blurb: Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Schwartz and Barnes, their staff, and outside collaborators, and also represents the two when they work together on typedesign projects. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Schwartz and Barnes were awarded the Black Pencil from the D&AD. The team were also nominated for the Design Museum's Designer of the Year prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper. Klingspor link.

In house type designers in 2010: Paul Barnes, Christian Schwartz, Berton Haasebe, and Abi Huynh.

Typefaces sold by them:

  • Austin (+Cyrillic): Designed for British style magazine Harper's&Queen, Austin is a loose revival of the typefaces of Richard Austin of the late 18th century for the publisher John Bell. Working as a trade engraver Austin cut the first British modern and later the iconoclastic Scotch Roman. Narrow without being overtly condensed, Austin is a modern with the styling and sheen of New York in the 1970s. Designed by Paul Barnes and Ilya Ruderman from 2007 until 2009. Has a Cyrillic.
  • Giorgio (+Sans): Giorgio and its matching sans were designed for Chris Martinez at T, the New York Times Style Magazine, bringing runway proportions to the page in contrasting ways. Designed by Christian Schwartz, 2008-2009.
  • Graphik: The dominant trend of the mid twentieth century simple sans serifs still reverberates in visual culture. Graphik proves that it is still possible to create something refreshing inspired by this era. Taking cues from the less-known anonymous grotesques and geometric sans serifs, Graphik is perfectly suited for graphic and publication design. Originally designed for the Schwartz's own corporate identity, it was later finished for Condé Nast Portfolio and then expanded for Wallpaper and later T, the New York Times Style Magazine. Designed by Christian Schwartz in 2009.
  • Guardian (Egyptian Headline, Sans Headline, Egyptian Text, Agate Sans): What happens when you try to make a new sans serif by chopping the slabs off of an Egyptian? That was the original inspiration behind this modern classic designed for Mark Porter and the Guardian newspaper. Comprised of several interrelated families: Sans and Egyptian for headlines; a Text Egyptian; and an Agate Sans, every possible typographic need of a daily paper is fulfilled. Serious news headlines, expressive features, readable text, tiny financial listings, info graphics, and everything in between can be capably handled with ease. Designed by Paul Barnes and Christian Schwartz, 2009.
  • Lyon Text: Begun as Kai Bernau's degree project on the Type + Media course at the Royal Academy of Art (KABK) in The Hague, Bernau extensively revised the typeface in time for its debut in the New York Times Magazine in 2009. Like many of the great seriffed typefaces it draws intelligently from the work of Robert Granjon, the master of the Renaissance, while having a contemporary feel. Its elegant looks, are matched with an intelligent, anonymous nature, making it excellent for magazines, book and newspapers. Designed by Kai Bernau, 2009.
  • Neue Haas Grotesk (2011).
  • Stag (+Sans, Dot, Stencil, Sans Round): Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional display variants that are probably best described as special effects. Designed by Christian Schwartz, Berton Hasebe and Ross Milne, 2008, 2009.
  • Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). A revival of Dick Dooijes's Mercator. Extended to Atlas Typewriter in 2012.
  • VF Didot (2013) is a custom Didot by Paul Barnes and Christian Schwartz for Vanity Fair, as requested by its design director, Chris Dixon. Based on work of Molé Le Jeune, a punchcutter used by the Didot family in the early part of the 19th century, VFDidot has 7 optical sizes and up to 5 weights in each size, plus small caps and even a stencil style.
  • 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. Beecause the Ionic genre has ll ong been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts.
  • Kommissar (2014, Schwartzco). A condensed sans family with little contrast that was inspired by 1920s type styles like Vertikal and Paul Renner's Plak.
  • Produkt (2014, Christian Schwartz and Berton Hasebe). This is Graphik with slabs added on.
  • Sanomat (2013-2017). This custom typeface by Paul Barnes was originally commissioned by Sami Valtere in 2013 for his acclaimed redesign of Helsinging Sanomat in Finland. Sanomat is now available for retail via Commercial Type in two subfamilies, Sanomat (serif) and Sanomat Sans.
  • Schnyder (Commercial Type) was designed by Berton Hasebe and Christian Schwartz for the 2013 redesign of T, the New York Times Style Magazine by creative director Patrick Li and his team. Schnyder has the high contrast typical of a fashion typeface and has a large number of alternates. The stem thicknesses in each weight are identical across the widths, an unusual feature that allows the widths to be mixed freely in headlines, even within single words. It features three weights, four widths, and four optical sizes. Production assistance by Hrvoje Zivcic and Miguel Reyes.
  • The Commercial Classics series from 2019:
    • Brunel (Paul Barnes): Elegant and hardworking, Brunel is the Anglo variant of the high contrast Modern style. Based on designs that were cut first for Elizabeth Caslon at the end of the eighteenth century, we have expanded them to encompass a range of weights and sizes: from a roman to an emphatic black and from a text to a hairline for the largest sizes.
    • Caslon Doric (Paul Barnes): The sans was the natural progression of nineteenth-century innovations. From the pioneering faces of Caslon and Figgins in the second and third decades, they quickly became a phenomenon across Europe and the United States, but it was only in the second half of the century that the British foundries would embrace lowercase forms and make faces that could be used in multiple sizes. Caslon Doric is the synthesis of these styles, from narrow to wide and from thin to heavy.
    • Caslon Italian (Paul Barnes, Tim Ripper, Christian Schwartz): Perhaps the strangest and ultimate example of experimentation in letterforms during the early nineteenth century was the Italian. Introduced by Caslon in 1821, it reverses the fat face stress---thins becomes thicks and thicks become thins---turning typographic norms on their heads. This new version extends the forms into new territory: a lowercase, an italic, and another one of the more unusual ideas of the time, the reverse italic or Contra.
    • Isambard (Paul Barnes and Miguel Reyes): The boldest moderns were given the name fat face and they pushed the serif letterform to its extremes. With exaggerated features of high contrast and inflated ball terminals, the fat face was the most radical example of putting as much ink on a page to make the greatest impact at the time. These over-the-top forms make the style not only emphatic, but also joyful with bulbous swash capitals and a wonderfully characterful italic.
    • Caslon Antique (Paul Barnes and Tim Ripper): The slab serif or Egyptian form is one of the best letters for adding a drop shadow to. Its robust nature and heaviness support the additional weight of a prominent shading. First appearing in the 1820s, the style was pioneered and almost exclusively shown by the Caslon foundry, who introduced a wide range of sizes and, eventually, a lowercase.
    • Caslon Sans Serif Shaded (Jesse Vega and Paul Barnes): The addition of graphic effects to typefaces was one of the most popular fashions of the nineteenth century, with the most common being the shaded form. Fashionable throughout this period, they largely disappeared from the typographic landscape, but their simple graphic qualities offer much potential today.
    • Christian Schwartz collaborated with Richard Turley, the art director behind the famous redesign of Bloomberg Businessweek (for which Druk was initially commissioned), in 2019 on a custom typeface for the windows of Barneys, a near-century-old New York department store, which recently filed for bankruptcy. AIGA link.
    • In 2019, Christian Schwartz, Paul Barnes and Mark Porter were asked by the Nature journal to develop a new typeface, Harding.

The crew in 2012 includes Paul Barnes (Principal), Christian Schwartz (Principal), Vincent Chan (type designer), Berton Hasebe (type designer, who worked at Commercial type from 2008 until 2013) and Mark Record (font technician). Miguel Reyes joined in 2013. Greg Gazdowicz joined in 2014. Hrvoje Zivcic helps with font production.

View Christian Schwartz's typefaces. [Google] [MyFonts] [More]  ⦿

Connary Fagen

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

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

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

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

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

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

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

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

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

Typefaces from 2022: Quiverleaf Arabic CF.

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

Constellation
[Chester Jenkins]

Constellation is a creator and publisher of contemporary typefaces and is run by its two partners, Chester Jenkins (based in New York, born in Montreal) and Tracy Jenkins. They also feature typefaces by Magnus Rakeng, Patrick Giasson, Kris Sowersby, Rick Valicenti, and Jeremy Mickel. Constellation contains the main elements of the previous Village and Thirstype foundries. Typefaces including bespoke typefaces by Chester Jenkins:

  • Aero (2011, Chester Jenkins and Jeremy Mickel). Based on Roger Excoffon's Antique Olive.
  • Apex Sans (2003), Apex Serif (2003), Apex New (2005) and Apex Rounded (2010). All by Chester Jenkins. Apex Serif and Apex Sans were co-designed with Rick Valicenti.
  • Apollo. A bespoke multiline typeface for the Apollo Theater.
  • Arbor (2010). Arbor was originally commissioned by the New York Times magazine for use in their 2008 Hollywood special issue. The source was Rob Roy Kelly's book of woodtype samples, and the D and H from Caslon's Italian of the 1820s. An original representative of this Western genre.
  • Barclays Center (2012). A bespoke athletic lettering and stencil family.
  • Brooklyn (2013, a brutalist typeface) and Brooklyn Stencil (2013, an octagonal stencil). The original was commissioned in 2007 by Michael Bierut for a sports complex.
  • The Cooper Hewitt Smithsonian Design Museum in New York City is giving away for free its bespoke house typeface, a sans designed in 2014 by Chester Jenkins. Even the original UFO files are made available.
  • Cosmica (2018).
  • Endzone Slab (+Condensed) and Endzone Sans (2017) are bespoke typeface done for the NFL.
  • Galaxie Cassiopeia (2006). A round connected upright script. By Chester Jenkins.
  • Galaxie Copernicus (2009). An interpretation of Christophe Plantin's Plantin (cut by Robert Granjon) and Frank Hinman Pierpont's Monotype revival of Plantin. By Chester Jenkins and Kris Sowersby.
  • Indestructible Language (2006, with Mary Ellen Carroll): The Precipice Alliance, a non-profit corporation collaborating with artists to direct public attention to global warming, launched with this inaugural artwork by the contemporary artist Mary Ellen Carroll. This lettering was a collaboration with Ms. Carroll to design letterforms that could be rendered 8-feet tall in neon tubing. Each neon letter was to be placed, in a 900-foot-long installation, in the window bays of all five former American Can factory buildings in Jersey City, New Jersey to be exhibited from November 2006 to April 2007. The 8-foot high, carbon neutral neon letters were clearly visible (and legible) to drivers on both the Pulaski Skyway and the New Jersey Turnpike, and by planes heading to and from Newark International Airport.
  • Maharam (ca. 2017). A bespoke Futura revival typeface for Maharam.
  • A bespoke sans titling typeface for the NYC Opera.
  • Galaxie Polaris, Galaxie Polaris Condensed (2004-2013). Two sans families by Chester Jenkins.
  • Oz (1999). A round typeface family by Patrick Giasson. Designed as an homage to Oswald Cooper (whose nickname was Oz), whose Oswald Cooper inspired the fat shapes.
  • Pink Sans, Pink Slab and Pink Outline are bespoke typefaces for Victoria's Secret Pink campaign.
  • Radio (1998). A retro script family by Magnus Rakeng.
  • Robledo Stencil. For Slanted Magazine.
  • Sharpie Script. a bespoke script typeface for the identiy of Michael Kors.
  • A revival of Frederic Goudy's lost Sherman type for Syracuse University with Michael Bierut and his team at Pentagram.
  • For Snickers, Chester designer Chiat Day.
[Google] [More]  ⦿

Contrast Type Foundry (or: CoFo)
[Maria Doreuli]

Contrast Type Foundry (London) was a joint venture of Maria Doreuli, Krista Radoeva and Lisa Rasskazova (Moscow). In 2019, now based in Moscow, the team members are Maria Doreuli, Lisa Rasskazova, Anna Khorash and Nikita Sapozhkov. They do custom and retail type design. Their client list includes Tretyakov Gallery, Strelka Institute, Théâtre de Belleville, The Art Newspaper, Mail.ru, Fader Magazine, Tsaritsino Museum, Weber Grills, Naked Heart Foundation, LaModa, Kaspersky, Rambler&Co, Gosha Rubchinsky, White Russian and Tsentsiper.

Maria Doreuli (Moscow) earned her Masters degree in graphic design from Moscow State University of Printing. During that time she attended Alexander Tarbeev's type design workshop. During 2009-2012 she worked on RIA Novosti's corporate identity projects. Winner at the Letter 2 competition in 2011 with the serif text family William (2011), which was her graduation project. This contemporary interpretation of Caslon also won First Prize in the Cyrillic typeface category at Granshan 2011. William Headline won at New Cyrillic 2012. Finally, in 2016, William was published by Typotheque. It is available in three optical sizes, a Text version with a large x-height for smaller text from 7 to 12pt, a Subhead version for use at 14 to 30 points, and Display version for text larger than 36 points.

In 2011 she was named a designer of the year by the Russian newspaper Akzia. In 2012, Maria started type design studies at the KABK in Den Haag. Her graduation typeface there was the reverse contrast display typeface Chimera (2013). Chimera won an award at TDC 2014. It won the Silver Prize in the Latin category at the Morisawa Type Design Competition 2014.

In 2014, Maria Doreuli, Krista Radoeva, and Elizaveta Rasskazova co-designed Sputnik Display for Sputnik News. This organic sans typeface family covers Latin, and various brands of Cyrillic, including the ones used in Uzbekistan, Tajikistan, Abkhazia and Mongolia. It won a Special Mention at the 2015 Granshan competition.

Speaker at ATypI 2013 in Amsterdam: The contrast between Russian and Bulgarian Cyrillic.

Fit (2017, by David Jonathan Ross and Maria Doreuli) is a tall black display family that runs from ultra-compressed to very wide. It screams Use me for the Oscars! Fit was first developed as a variable font. It won an award at Granshan 2017.

CoFo Sans was designed by Maria Doreuli between 2016 and 2018.

Lisa Rasskazova designed CoFo Robert between 2012 and 2018. Named after Robert Beasley, it is inspired by Clarendon.

In 2019, Maria Doreuli and Anna Khorash released the variable font CoFo Peshka at Future Fonts. Inspired by the industrial and military lettering in the Soviet era, it is named after the Pe-2 aircraft also called the Peshka. CoFo Peshka features weight and width axes. CoFo Plusha (2020) is a creamy super-fat typeface for Latin and Cyrillic.

In 2021, she published CoFo Kak, a Latin / Cyrillic sans family with a name that raises eyebrows in Belgium, South Africa and the Netherlands.

Future Fonts link. [Google] [More]  ⦿

Cooper Hewitt
[Chester Jenkins]

The Cooper Hewitt Smithsonian Design Museum in New York City is giving away for free its bespoke house typeface, a sans designed in 2014 by Chester Jenkins, the founder of the Village type foundry. Even the original UFO files are made available. They write: Cooper Hewitt is a contemporary sans serif, with characters composed of modified-geometric curves and arches. Initially commissioned by Pentagram to evolve his [Galaxy] Polaris Condensed typeface, Chester Jenkins created a new digital form to support the newly transformed museum. The museum's director, Caroline Baumann, says distributing the typeface for free was a way to demonstrate the Cooper Hewitt's commitment to its mission. Quoting her: We're all about giving the public access to great design---to our collection online, to our typeface, to our programs---and this was a natural step for us. Open Font Library link.

Cristiano Sobral's Tanohe Sans (2020) has re-worked style numbers, a shorter J, and a true italic lower case a.

Fontsquirrel link. [Google] [More]  ⦿

Coppers & Brasses
[Alexandre Saumier Demers]

Quebec-based type type foundry Coppers & Brasses was set up in 2011 by Alexandre Saumier Demers and Étienne Aubert Bonn in the plateau area of Montreal. Both graduated from the graphic and type design program at UQAM in Montreal and went on do the Type and Media program at KABK in The Hague, The Netherlands.

Creators of these typefaces in 2012: Martha (monospaced slabby grotesque done by both founders), Sardine (fat signage typeface by Bonn), Freitt (blackletter typeface by Bonn). Nicole (2012) is an elegant basic sans typeface by Olivier Mercier-Chan Kane.

In 2013, Etienne graduated from the Type & Media program at KABK in Den Haag. In 2014, Alexandre in turn graduated from the Type & Media program at KABK. For his graduation, Alexandre developed the didone typeface family Lewis. He writes: Lewis is a typeface designed for mathematical typesetting, specifically for the TeX typesetting system. It consists of 3 text styles (Roman, Bold, Italic) and 3 math styles (Math Italic, Greek, Blackboard) for use as variables. The text Italic relates to the Roman while the Math Italic stand out with its cursive construction. Likewise, the Greek differentiate easily from Latin characters. The Blackboard inlines are adapted for text sizes with their wide and open cut. Lewis features many size variants and extending shapes, ideal in displayed equations.

The list of their retail and custom fonts:

  • Guillon (2016). Manufactured for Studio Feed.
  • GSM Grotesque (2016). A custom typeface by Coppers and Brasses and Studio Feed, for GSM Project.
  • Caserne (2015). A custom stencil typeface designed with Samuel Larocque for the Montreal-based studio Caserne.
  • CCM Grotesk (2015, Latin and Cyrillic). A custom typeface for Canadian sporting goods brand CCM, with a textured version. The Cyrillic was overseen by Russian type designer Maria Doreuli.
  • VLNL Wurst (2015, VetteLetters). This wurst-themed typefaces comes in three styles, Brat, Blut and Bier Wurst. The interesting aspect of this font is that Demers developed a special Wurst Schreiber software for drawing segments as sausages in RoboFont.
  • Double (2015, Alexandre Saumier Demers and Étienne Aubert Bonn). A retail typeface family from condensed to wide with wedge serifs, a copperplate feel, and slight flaring. Ideal for display work.
  • Canal (2015, Étienne Aubert Bonn). A fantastic retail sans typeface family: Canal is a typeface family inspired by the blue collar, hard working people that were the late 19th and early 20th centuries labor force of the new continent. It is a sturdy workhorse with a wink of humanism.
  • Martha (2014, Alexandre Saumier Demers and Étienne Aubert Bonn). A retail typeface family with curvy typewriter influences, some monospaced styles and a grotesque to boot.
  • Klaus (2014, Étienne Aubert Bonn). Developed for personal web and paper work.
  • Théorie (2014, Alexandre Saumier Demers and Étienne Aubert Bonn). A techno stencil typeface commissioned by UQAM's Bureau de Design for the Bâtisseurs of the science faculty award.
  • Lewis (2014, Alexandre Saumier Demers). A font system for typesetting mathematics in TeX, developed at KABK.
  • Alphonse (2014, Alexandre Saumier Demers). An elegant garalde custom text typeface.
  • Nurraq (2013, Étienne Aubert Bonn). Developed as a school project at KABK, Nurraq is a multi-script typeface system that matches a Latin serif text typeface with a Canadian aboriginal syllabics character set for the Inuktitut language.
  • Compass (2013, Étienne Aubert Bonn). A revival based on the early drawings of Monotype Plantin series 110 by Frank Hinman Pierpont and Fritz Stelzer.
  • MLS Soccer (2012). A handcrafted custom typeface by Alexandre Saumier Demers and Étienne Aubert Bonn, commissioned by Sid Lee.
  • Radio Canada (2017). A custom corporate humanist sans typeface for the French TV network in Quebec, co-designed by Charls Daoud and Alexandre Saumier-Demers of Coppers and Brasses. Google Fonts link. Github link.
  • Mortier (2021): A typeface inspired by old hand-painted advertisements on brick walls---many of which still exist as ghost signs in cities across the world. This unique style of lettering was influenced by precomputer techniques wherein sign painters would use the brick wall on which they were painting as a reference for laying out their text.

Alexandre spends most of his time since 2016 working on variable font projects for The Type Network (ex-Font Font Bureau). Home page of Alexandre Saumier Demers. Behance link for Coppers and Brasses. [Google] [More]  ⦿

Cornel Windlin
[Lineto]

[MyFonts] [More]  ⦿

Craig Ward

Craig Ward is a British graphic designer and art director wjho moved to New York City in 2009, where he set up Words and Pictures in 2011. In 2015, he created the experimental typeface Fe203, and wrote: To form the glyphs, a tiny amount of ferrofluid was placed between two glass plates and subjected to a combination of spinning vertical and horizontal magnetic fields. The result is an array of complex hieroglyphics and shapes - each one as unrepeatable as a snowflake - that simultaneously call to mind ancient indigenous markings or symbols from science fiction.

Designer of nice typographic examples, such as his Hairy Futura (2008). He designed the fat didone display typeface Lovechild (2009) and the spurred typeface Killer (2013). Other typefaces: Go Vote (2012, a brush poster and modular typeface for the American elections), Dark White (didone), Epitaph (alchemic), NM Serif (2015, for the branding of Dior's new perfume, Sauvage), England World Cup Kit (2018).

Home page. [Google] [More]  ⦿

Creative Head Design Studio

Studio in Moscow. In 2015, it created the fat rounded display sans typeface Smartfont for Latin and Cyrillic. It has Inline and Outline versions. [Google] [More]  ⦿

Credit Suisse Type

The house font of Credit Suisse, based on Basic Commercial. [Google] [More]  ⦿

Cristóbal Henestrosa
[Estudio CH]

[MyFonts] [More]  ⦿

Cruz Fonts
[Ray Cruz]

Cruz Fonts was established in Oakland, NJ, in 2004 by Ray Cruz, who has been a designer of custom lettering and custom typefaces to major ad agencies, publishers and corporate clients in the New York City area for almost 30 years. He has created many display typefaces for Agfa/Monotype, Bitstream, Phil's Fonts and Garage Fonts. Presently Ray Cruz is working as Type Director at Y&R NY, and is an adjunct professor at FIT and Kean University teaching type design. Bio at Garagefonts.

His oeuvre:

Bio at Garagefonts. P22 link. FontShop link. PDF catalog.

View Ray Cruz's typefaces. Klingspor link. [Google] [MyFonts] [More]  ⦿

Crystian Cruz
[Promodesign]

[More]  ⦿

CTV Sans

The Canadian television station CTV uses Font Bureau's CTV Sans family and Icomoon's Webiconfont v7 for its online presence. Links to their web site:

[Google] [More]  ⦿

CyberGraphics
[Jan Erasmus]

Foundry, est. ca. 2009 in Johannesburg, South Africa, by Jan Erasmus. Jan currently resides in Johannesburg and taught font design for 10 years at University of Johannesburg and Stellenbosch University. His professional activities include typography, websites, brochure design, packaging, branding and type design. He also designed custom fonts for corporations of which Menyaka (for the FIFA world cup soccer 2010) and Nando's fast foods (1999; done together with Cross Colours) are the most noted.

Jan's debut display font family was Thornface (1997, a beautiful medieval font). He then released Transition, Lalibela (2009, didone), Pixeluxe and Azania (Tuscan, Western). Other fonts include Sade (a relative of Garamond), Export Unicase (1999, stencil), Mzansi (2007, an African look font), Shaftciti (2008, military stencil), Pixeluxe (2010), Giramundo (2010), Transition (2006), Ethereum (2015, a Cyrillic emulation typeface). [Google] [MyFonts] [More]  ⦿

Cybertype (was: Western Commercial Arts Company (WCA Co))
[Kevin Simpson]

Cybertype is Kevin Simpson's web presence. He used to run a site called the Western Commercial Arts Company (WCA Co). Kevin is a freelance designer in Wokingham, East Berkshire, U.K. He used to do custom type design. His fonts include Dead Oak, Emphive, Stainless Steel, Faux, Fiftyfour, Jonathan, Optika, MrJones, Remington, Shel, Stewart, diGriz, Shel, Optika (hoowee!), Obscura (great target vision font), Swiss92, Chatham, Eadwy, Jonathan, Hoopy Frood.

Agfa-Monotype, he published Aitos (2000), a beautiful fat lettering display font. Portobello is a connected children's educational font. Kevin offers a host of type services. In 2014, he created the free bespoke typeface Red Kite for Kinetik Design.

Home page. FontShop link. Behance link. Kinetik Design link. [Google] [MyFonts] [More]  ⦿

Daan Spangenberg

Daan Spangenberg (Den Haag, the Netherlands) created the identity, the (hipster) typeface and the web site for Bar Faux Amsterdam, to be opened in 2015. The work was carried out in cooperation with Borre Akkersdijk. As art director, he created many other identities as well. [Google] [More]  ⦿

Dafne Martinez

Letterer and designer in Mexico City. In 2017, she designed the text typeface Tessitura especially for small print sizes. Co-founder of the Tipas Type type foundry in Mexico City together with Monica Munguia (who by 2020 has left the studio), and Sandra Garcia. Dafne Martinez studied graphic design at Facultad de Artes y Diseño, UNAM, and has a Masters in typography from Centro de Estudios Gestalt. She specializes in calligraphy and lettering. In 2019, Dafne Martinez, Monica Munguia, and Sandra Garcia co-designed the roundish informal children's book typeface Xantolo and the wood type / slab serif typeface Xihtli. In 2019, Dafne Martinez and Sandra Garcia designed the copperplate calligraphic typeface Especial for a common Mexican beer brand

Member of the Sic Typus Creatus Est team (Dafne Martinez, Jorge George, Leonardo Delgado, Iordan Evair and Federico Biagioli) that designed Calmadita in 2020 for the Torneo tipografico competition. Calmadita is an angular slab serif meant for Ipads and Kindles.

In 2021, Dafne Martinez and Sandra Garcia published Achtli (Book, Didactic), a rounded sans typeface for early readers. [Google] [More]  ⦿

Daimler Benz

The Daimler Benz font series by Kurt Weidemann, created from 1985-1989 for Stuttgart's Daimler Chrysler company which markets Mercedes, is sold by URW++ in A (antiqua), S (sans serif) and E (Egyptian) styles: Corporate A bold, Corporate A bold italic, Corporate A demi, Corporate A demi italic, Corporate A family, Corporate A light, Corporate A light italic, Corporate A medium, Corporate A medium italic, Corporate A regular, Corporate A regular italic, Corporate ASE family, Corporate E bold, Corporate E bold italic, Corporate E demi, Corporate E demi italic, Corporate E family, Corporate E light, Corporate E light italic, Corporate E medium, Corporate E medium italic, Corporate E regular, Corporate E regular italic, Corporate S bold, Corporate S bold italic, Corporate S demi, Corporate S demi italic, Corporate S extra bold, Corporate S extra bold italic, Corporate S family, Corporate S light, Corporate S light italic, Corporate S medium, Corporate S medium italic, Corporate S regular, Corporate S regular italic, Corporate Small Caps A bold, Corporate Small Caps A demi, Corporate Small Caps A light, Corporate Small Caps A medium, Corporate Small Caps A regular, Corporate Small Caps E bold, Corporate Small Caps E demi, Corporate Small Caps E light, Corporate Small Caps E medium, Corporate Small Caps E regular, Corporate Small Caps S bold, Corporate Small Caps S demi, Corporate Small Caps S light, Corporate Small Caps S medium, Corporate Small Caps S regular.

Picture of Gottlieb Daimler and his son Paul. [Google] [MyFonts] [More]  ⦿

Dalton Maag
[Bruno Maag]

Swiss designer Bruno Maag (b. Zürich) founded Dalton Maag in 1991, and set up shop in Brixton, South London. He serves the corporate market with innovative type designs, but also has a retail font line. Ex-Monotype designer Ron Carpenter designs type for the foundry. In the past, type designers Veronika Burian worked for Dalton Maag. A graduate of the Basel School of Design, who worked at Stempel and was invitedd by Rene Kerfante to Join Monotype to start up a custom type department. After that, he set up Dalton Maag with his wife Liz Dalton. He has built the company into a 40-employee enterprise with offices in London, Boston, Brazil (where the main type designer is Fabio Luiz Haag), Vienna and Hong Kong.

The Dalton Maag team designed these commercial fonts:

  • Airbnb Cereal (2018). A sans typeface commissioned by Airbnb. Dalton Maag describes it as playful, open and simple.
  • Aktiv Grotesk (2010). Published as an alternative to Helvetica, a typeface Bruno hates with a passion. It also covers Chinese, Japanese and Korean. In 2020, it became a 3-axis (weight, width, italic) variable font.
  • Aller Typo.
  • Almaq.
  • Blenny (2014). A fat face didone by Spike Spondike.
  • Bligh (2015). A three-weight sans family.
  • Co (2007): a rounded monoline minimalist sans co-designed by Bruno Maag and Ron Carpenter.
  • Cordale: a text family.
  • Dedica (2007): a didone face.
  • Effra and Effra Italic (2007-2009): sans family by Jonas Schudel and Fabio Luiz Haag. Followed in 2013 by Effra Corp.
  • Elevon (2012). By Bruno Maag and Marconi Lima.
  • Fargo (2004): a humanist sans in 6 weights.
  • Foco. A sans family.
  • Grueber (2008): a slab serif.
  • InterFace (2007): an extensive sans family; one weight is free (2001). See also InterFace Corporate (2007).
  • Kings Caslon (2007). By Marc Weymann and Ron Carpenter.
  • Lexia (1999, Ron Carpenter and Dalton Maag): a slab serif family (Dalton Maag mentions the date as 2007). In 2019, Dalton Maag added Lexia Mono.
  • Magpie (2008). A serifed family by Vincent Connare for Dalton Maag.
  • Objektiv.
  • Oscine (2014, by Bruno Maag, Ron Carpenter, Fernando Caro and Rafael Saraiva). A rounded organic sans typeface.
  • Pan (1996). A text family at 1500 US dollars per style.
  • Plume (2004): a display typeface inspired by calligraphy, co-designed with Ron Carpenter.
  • Prometo. An organic stressed sans.
  • Royalty (1999, +Royalty Obese, 2007): a stunning art deco display family.
  • Scope One (2015). A free Google Font. It has a single light weight, whose slab serifs make it useful for headlines.
  • Setimo (2015). By Fernando Caro. A distinguished sans.
  • Soleto (2014, a simple sans by Bruno Mello, Fabio Haag, Fernando Caro, Rafael Saraiva and Ron Carpenter). Soleto won an award at Tipos Latinos 2014.
  • Southampton.
  • Sparkasse Serif (2003-2005). A custom typeface.
  • Stroudley (2007): a sturdy large counter condensed sans by Bruno Maag, Ron Carpenter and Veronika Burian.
  • Tephra (2008): a collaboration with Hamish Muir. This is an experimental multi-layered LED-inspired family.
  • Tondo (2007, at Dalton Maag): a rounded information design sans family designed by Veronika Burian for Dalton Maag.
  • Tornac (2013). A casual script.
  • Ubuntu (2010): this is a team effort---a set of four styles of a free font called Ubuntu. This font supports the Indian rupee symbol. Some work for the Ubuntu Font Family was done by Rodrigo Rivas Costa in 2010. Download via Fontspace.
  • Verveine (2009). A casual script by Luce Averous.
  • Viato. A simple sans family co-designed by Bruno Maag and Ron Carpenter in 2007. This tapered terminal sans family includes Viato Corp (2007) and Viato Hebrew (2013).

Fonts sold at Fontworks, and through the Bitstream Type Odyssey CD (2001). At the ATypI in 2001 in Copenhagen, he stunned the audience by announcing that he would never again make fonts for the general public. From now on, he would just do custom fonts out of his office in London. And then he delighted us with the world premiere of two custom font families, one for BMW (BMWType, 2000, a softer version of Helvetica, with a more virile "a"; some fonts are called BMWHelvetica), and one for the BMW Mini in 2001 (called MINIType: this family comprises MINITypeRegular-Bold, MINITypeHeadline-Regular, MINITypeHeadline-Bold, MINITypeRegular-Regular).

Other custom typefaces: Tottenham Hotspur (2006), Teletext Signature (by Basten Greenhill Andrews and Dalton Maag), Skoda (Skoda Sans CE by Dalton Maag is based on Skoda Formata by Bernd Möllenstädt and MetaDesign London), UPC Digital, BT (for British Telecommunications), Coop Switzerland (for Coop Schweiz), eircom, Lambeth Council, Tesco (2002), PPP Healthcare, ThyssenKrup (Dalton Maag sold his soul to these notorious arms dealers; TK Type is the name of the house font), Co Headline (2006), Co Text (2006, now a commercial font), Telewest Broadband, Toyota Text and Display (2008), TUIType, HPSans (for Hewlett-Packard, 1997). His custom Vodafone family (sans) (2005) is based on InterFace. In 2011, Dalton Maag created Nokia Pure for Nokia's identity and cellphones, to replace Erik Spiekermann's Nokia Sans (2002). The Nokia Pure typeface has rounder letters, and is simultaneously more legible and more rhythmic.

In 2010, the Dalton Maag team consisted of Bruno Maag and David Marshall as managing and operations directors, and Vincent Connare as production manager. The type designers are Amélie Bonet, Ron Carpenter, Fabio Haag, Lukas Paltram and Malcolm Wooden.

In 2015, Kindle picked the custom serif font Bookerly by Dalton Maag for their typeface. Still in 2015, Dalton Maag custom designed the sans typeface family Amazon Ember for Amazon for use in its Kindle Oasis. Free download of both Amazon Ember and Bookerly.

Dalton Maag created the custom typeface family Facebook Sans in 2017.

Bressay (2016). Stuart Brown led the design and did the engineering for Bressay (design by Tom Foley, Sebastian Losch, and Spike Spondike, at Dalton Maag, London), which won an award at TDC 2016. Later additions include Bressay Arabic [designers not identified by Adobe] and Bressay Devanagari [designers not mentioned by Adobe].

ATT Aleck is a large custom typeface family designed in 2016.

Netflix Sans (2018): Netflix replaced Gotham to combat spiraling licensing costs and commissioned its own bespoke typeface: Netflix Sans under design lead Noah Nathan. Free download. The family include Netflix Sans Icon (2017). Comments by designers at The Daily Orange.

In 2018, Dalton Maag designed the custom typefaces Itau Display and Itau Text for Itau Unibanco, a large Brazilian bank.

In 2019, Dalton Maag produced a corporate typeface for Air Arabia.

Venn (2019, Bruno Maag). A 5 weight 5 width corporate branding sans typeface, with an option to get Venn Variable.

Typefaces from 2020: Dark Mode VF (a humanist sans designed specifically for digital user interfaces, offering subtle grade adjustments to counteract the effects of setting light type on a dark background, as is common with many dark mode digital reading environments; it has two axis in its variable type format---weight and dark mode), Highgate VF (a variable humanist sans inspired by traditional British stone carving), Goldman Sans (a free clean sans family that includes three variable fonts; Goldman Sachs lets you use it except to criticize the company or any other capitalist pigs).

Interview in 2012 in which he stresses that typefaces should above all be functional.

View the Dalton Maag typeface library. Speaker at ATypI 2016 in Warsaw and at ATypi 2015 in Sao Paulo, where he gave an electrifying talk on type design for dyslexics (with Alessia Nicotra). Speaker at ATypI 2016 in Warsaw. Speaker at ATypI 2017 Montreal and at ATypI 2018 in Antwerp.

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

Dan Matutina
[Plus63 Design Co]

[More]  ⦿

Daniel Carsten

Art director at Acne in Stockholm. Designer of the corporate playing card text typeface Gnuf (2010). [Google] [More]  ⦿

Daniel Sabino
[Blackletra]

[MyFonts] [More]  ⦿

Danilo De Marco

Web designer in Milano, Italy (and before that, Lugano, Switzerland, and Catania, Sicily), who created the didone typeface Rachel and the partly tweetware sans typeface family DDM in 2014. With Meedori Studio in Catania, he created the tweetware Futura-inspired caps-only typeface Meedori Sans (2015).

In 2017, he designed the free wayfinding sans typeface Agané, which is based on Adrian Frutiger's Frutiger and Avenir, FF Transit by Erik Spiekermann and Bob Noorda's Noorda. With Giulia Gambino, he co-designed the free icon font Agane Icons.

In 2018, Danilo De Marco and Giulia Gambino codesigned the free blackboard bold typeface K95 for K95, a communication and graphic agency based in Catania, Italy.

In 2019, De Marco designed the didone display typeface family Herbert, which is named after Herbert Lubalin. Herbert Regular is free. Still at K95, he published Points & Lines (2019). Still in 2019, he also designed the free geometric color typeface Huber Alphabet, which is named in honor of Max Huber. [Google] [More]  ⦿

Dave Farey
[HouseStyle Graphics]

[More]  ⦿

Dave Hänggi

Berlin, Germany-based designer of Loqi (2016, an organic circle-based monoline sans custom-designed for a brand of bags), Moe (2015, decorative hipster caps), Satellites (2014, outlined geometric font inspired by the logo of DLR---the Deutsche Gesellschaft für Luft und Raumfahrt), Turna Round (2014, a roundish display alphabet), and Living Rooms (2014, an interlocking square-shaped blocky alphabet inspired by floor tiling). Behance link. [Google] [More]  ⦿

David Galasse

Portuguese-Brazilian multidisciplinary graphic designer in Santos / Sao Paulo, who created the expressionist typeface Dora (2015) and the sticky tape typeface Marker (2015). In 2016, he designed the pen emulation typeface Dora, the octagonal typeface tick tack, which was inspired by alarm clocks from the 1990s. It wa originally created for the visual identity of the video channel Tick Tack. Behance link. Link to Congaa. Behance link for Congaa. Newer Behance link. [Google] [More]  ⦿

David Galasse

Sao Paulo-based Brazilian Portuguese creator from Portugal, of Dora (2012, calligraphic caps). He also made a series of unnamed display typefaces in paperfold, ocragonal and gridded styles.

In 2013, he made Joy, a bespok typeface for Brazilian furniture maker Artesian.

Behance link. [Google] [More]  ⦿

David Williams
[Manchester Type]

[MyFonts] [More]  ⦿

Dépli
[Benjamin Gomez]

Design and type design studio in Paris founded in 2007 by Vadim Bernard, Aurélie Gasche and Benjamin Gomez (who is the main type designer in this group). Their typefaces are mostly commissioned, but include a few retail typefaces as well:

  • Mondara (2011). A Latin / Arabic typeface done for l'Institut du monde arabe designed by Benjamin Gomez, Mathieu Réguer, Aurélie Gasche and c-album. The Arabic has both Naskh and Kufi styles. Both the Latin and Arabic are absolutely gorgeous.
  • Pernod Ricard (2008-2012). A slab serif done for Watson Moustache (2012 version) by Benjamin Gomez and Sonia Da Rocha. The 2008 version, based on ITC Lubalin Book, done for Beevy, was designed by Benjamin Gomez.
  • Kufica (2008). Arabic typeface by Aurélie Gasche, with help of Mathieu Réguer, Antoine Barjini and Amir Dhia.
  • Treza (2010). Distributed by Die Gestalten, this playful display typeface was designed by Benjamin Gomez and Maroussia Jannelle.
  • Veolia Italic (2009). By Benjamin Gomez for Piaton Conseil.
  • Fraktur (2007). By Benjamin Gomez.
  • Insight Team (2008). A dot matrix typeface designed by Aurélie Gasche and Laurent Ungerer.
  • Musée de la danse (2009). An inline typeface by Benjamin Gomez.
  • Ink No (2006). An experimental typeface by Benjamin Gomez.
  • Muséum de La Rochelle (2004).
  • MAC VAL (2005). By Benjamin Gomez for Incident. MAC VAL stands for musée d'art contemporain du Val-de-Marne.
  • Studio Apeloig (2006). Benjamin Gomez did several typefaces for Studio Apeloig, inluding Serpent à Plumes and Octobre.
  • La Ferme du Buisson (2005). A modular counterless typeface by Benjamin Gomez and Maroussia Jannelle.
  • Octobre (2006). By Benjamin Gomez and Philippe Apeloig, who conceived the font.
  • Caractère (2004). Interactive type experiment by Benjamin Gomez.
[Google] [More]  ⦿

DecoType
[Thomas Milo]

Thomas Milo founded DecoType in Amsterdam in 1985, together with Peter Somers and Mirjam Somers. They introduced the notion of dynamic fonts, and developed Ruqaa (1987), licensed by Microsoft. They also developed the DecoTypeSetter, which was included in Adobe PageMaker MiddleEast. Deco Type is perhaps best known for its extensive DTP Naskh family, which has hundreds of variations of all letterforms, and permitted people to typeset calligraphic Arabic, as it is in a style emulating the hand of the Ottoman calligrapher Mustafa Izzet Efendi. Part of that package is the DecoType Authentic Naskh typeface. DecoType donated a custom version of Naskh to the Unicode Consortium for printing the Arabic parts of their manuals. Other fonts include DTP Nastaaliq. Thomas Milo is also a specialist of Turkic and Slavic linguistics. His company's beautiful fonts sell for 125 USD: P.O. Box 55518, 1007 NA Amsterdam, The Netherlands. Thomas Milo's talks about Arabic fonts at the 1998 RIDT in Saint-Malo and at ATypI in Copenhagen in 2001 were masterful performances---entertaining and insightful from start to finish. From Milo's site: DecoType contributes fonts and Arabic Calligraphy applications to Microsoft Office Arabic Edition; to Adobe PageMaker Middle East DecoType provides a special interface for Calligraphic typesetting; to the MacOS 9 it contributes Arabic fonts.

In 2009, Thomas Milo received the second Dr. Peter Karow Award for Font Technology&Digital Typography for the development of the ACE layout engine (the heart of the Tasmeem plugin for InDesign ME) for Arabic text setting. The citation reads: Thomas Milo and his company DecoType developed with ACE, which is an acronym for 'Arabic Calligraphic Engine', new advanced technology for Arabic text setting, which needs a far more sophisticated approach than for instance the Latin script, based on a thorough analysis of the Arabic script. Not only served Milo's typographic research as the fundament for the ACE technology, clearly it also formed a basis for the development of the OpenType format, although this is a less known and acknowledged fact.

In 2017, he developed the new electronic Mus'haf Muscat at the behest of the Ministry of Endowments and Religious Affairs of the Sultanate of Oman.

Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. MyFonts page. Speaker at ATypI 2008 in St. Petersburg.

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

DendaNew

The house font of Canon. [Google] [More]  ⦿

Denis Masharov

Born in Moscow in 1973, he emigrated to Israel in 1990 and has a Bachelor of Arts degree from the Bezalel Jerusalem Academy of Arts, 1996. A professional designer since 1996, he designs type and is involved in typographic projects.

At Google Font Directory, we can download his Latin/Cyrillic poster font Ruslan (or Rusland) Display (2011), the freehand lettering typeface Marck Script (2011, based on the hand of Marck Fogel), and the angular Kelly Slab (2011).

Bolster (2011) is a unicase fat Western face.

Forum (2011) is a free classical roman face. TeX support.

Ruslan Display (2011) was co-designed with Vladimir Rabdu, this decorative typeface is in the poluustav style dating from the 16th century.

In 2011, he set up the Denis Masharov foundry at MyFonts.

Free fonts published at Google Web Fonts in 2012: Ledger (Ledger was likened to Zapf's Melior by Nick Shinn, but Masharov says that it is closer to Swift), Glass Antiqua. This is a revival of the 1913 typeface Glass Antiqua by Genzsch & Heyse (original by Franz Paul Glass, 1912). Poiret (2012, free at Google Web fonts) is a Latin / Cyrillic geometric grotesque that combines art deco with avant garde. TeX support for Poiret One.

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

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

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

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

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

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

Denis Serebryakov
[Serebryakov Type Foundry (or: Serebryakov TF, S TF; was Onetypethree Foundry, or: Dzianis Serabrakou)]

[MyFonts] [More]  ⦿

Design Concern
[Brian Johnson]

Scottsdale, AZ-based creator of the hand-lettered tattoo typeface Xibalba (2014) and the squarish De Stijl-related typeface family Adaptype (2016). In cooperation with Stan Can Design in Reno, NV), Adaptype was extended to Adapt for the visual identity for the annual DICE Design Conference in northern Nevada. [Google] [More]  ⦿

Design Observer
[Michael Bierut]

A design site where one sometimes finds discussions on type. The founding writers are Michael Bierut, William Drenttel (an ex-typographer practicing law), Jessica Helfand and Rick Poynor.

From Bierut's CV: Michael Bierut studied graphic design at the University of Cincinnati's College of Design, Architecture, Art and Planning. Prior to joining Pentagram in 1990 as a partner in the firm's New York office, he worked for ten years at Vignelli Associates, ultimately as vice president of graphic design. His clients at Pentagram have included The Council of Fashion Designers of America, Harley-Davidson, The Minnesota Children's Museum, The Walt Disney Company, Mohawk Paper Mills, Motorola, Princeton University, the Brooklyn Academy of Music, and the New York Jets. Bierut's work is represented in the permanent collections of the Museum of Modern Art and the Metropolitan Museum of Art in New York, and the Musee des Arts Decoratifs, Montreal. He has served as president of the New York Chapter of the American Institute of Graphic Arts (AIGA) from 1988 to 1990 and is president emeritus of AIGA National. Michael was elected to the Alliance Graphique Internationale in 1989, and was elected to the Art Directors Club Hall of Fame in 2003. Michael is a Senior Critic in Graphic Design at the Yale School of Art. He writes frequently about design and is the co-editor of the four-volume series Looking Closer: Critical Writings on Graphic published by Allworth Press. In 1998 he co-edited and designed the monograph Tibor Kalman: Perverse Optimist. His commentaries about graphic design in everyday life can be heard nationally on the Public Radio International program "Studio 360."

He received the AIGA Medal in 2006, and was a winner in the Design Mind category at the 2008 Cooper-Hewitt National Design Awards. He is a cofounder of the website Design Observer. Michael's book 79 Short Essays on Design was published in 2007 by Princeton Architectural Press. His collection of new essays, Now You See It, was published in the fall of 2017.

In 2018, Michael Bierut and Village type director Chester Jenkins talk collaborated on the Sherman typeface designed as the linchpin of the new identity for Syracuse University. The typeface revives a design created by Frederic Goudy in 1912 which ended up in the possession of the University.

Additional material and links on Bierut: The Atlantic Talks Typography: interview with M. Bierut, Pentagram link, Reasons to Choose a Particular Typeface For a Project.

In 2013, Bierut redesigned the New York City parking signs. [Google] [More]  ⦿

Design Studio

Founded in 2009, by designers Ben Wright and Paul Stafford, DesignStudio is a global brand and design agency with offices in London and San Francisco. For AirBNB, they commissioned Lineto to create a typeface family Circular Air Pro (based on Circular LL). [Google] [More]  ⦿

Deutsche Bank Univers

The house font of Deutsche Bank, based on Univers (obviously). [Google] [More]  ⦿

Didem Ogmen

Graphic and lettering designer in Istanbul, who created these typefaces:

  • Bodoni Sans Serif (2013). A beautiful serifless Bodoni.
  • Siamese Webfont (2013). To save space in web pages, a lot of glyph contractions are proposed by Didem.
  • A custom brush script typeface for Tropic Labs (2018).
  • An inline football shirt typeface for a local apparel company (2018).
  • The color font family Terrazzo (2018). See also Terrazzo Mono (2019).
[Google] [More]  ⦿

Diederik Corvers
[Ogentroost]

[MyFonts] [More]  ⦿

Dieter Hofrichter
[Hoftype]

[MyFonts] [More]  ⦿

Digby Banks

Kyneton, Australia-based designer of a vintage custom logotype for The Argus Dining Room in Hepburn Springs (2014). [Google] [More]  ⦿

Dilworth Typographics Inc
[Silas Dilworth]

Type designer (b. New York, 1975) who used to be on the staff at T-26 in Chicago from 2001-2004. His bio at MyFonts: Silas Dilworth focused his typographic vision as font technician and resident type designer at [T-26] from 2001 through 2004, producing various custom typefaces and overseeing the production of hundreds of new releases. In 2005 he started laying the groundwork for TypeTrust LLC, a font distribution partnership co-founded with fellow type designer, Neil Summerour. Silas has produced custom type for such clients as The Food Network, Converse, Cartoon Network, Caterpillar, Aon Corporation, Time Out Chicago, and Columbia College Chicago. In 2007 he joined VSA Partners in Chicago, producing exclusive type for the acclaimed design firm's private use. One such project, an expansive sans-serif text family, was chosen to anchor IBM's refreshed identity system in the iconic corporation's award-winning 2006 Annual Report. He co-designed Adriane Text with Marconi Lima in 2007.

He co-designed Iskola (2002, T-26) with Amondó Szegi. In 2005, he set up Dilworth Typographics Inc, where his own creations include Bridge (his version of Bank Gothic), Cooter, Dilworth (a sans family), Everafter, Lump, Midinote (futuristic), Oberon (heavy Bank Gothic-style typeface with great body), Soren, Trauen, Vandermark and Yesterday. His collaborative typefaces are Diego, Fatty (stencil/headline family, designed together with Chris May), Rickety (outline face, done with Chris May), Alphaben (comic book style), Elidel, Majestos Wide, and Sansarah (commissioned handwriting for Columbia College Chicago, based on the hand of Sarah Faust). At The Type Trust, which he helped set up in 2005 with Neil Summerour, we find Diego, Fatty, Cooter, Cooter Deuce (stylish art deco pair of typefaces, Regular and Plugged), Cooter Slim (like the other Cooters, this makes me think of Pacman), Facebuster (2008, fat slab serif, typeTrust), Vandermark, Everafter, Reservation Wide (2006), Lump, and Rickety. In 2007, he added Breuer Text, Condensed and Breuer Headline (corporate geometric sans families) to The Type Trust. This was followed in 2008 by the 16-weight sans family Heroic Condensed.

MyFonts catalog. [Google] [MyFonts] [More]  ⦿

Dimitri Bruni
[Norm]

[More]  ⦿

Dinamo
[Johannes Breyer]

Dinamo is a Swiss type foundry in Heiden established by Johannes Breyer and Fabian Harb after graduation from schools in Zurich, Basel and Amsterdam. Johannes and Fabian were visiting teachers at the Estonian Academy of the Arts, Tallinn. Johannes is teaching type design at University of the Arts Berlin (UDK) and HfG Offenbach. Fabian is lecturing typography at the School of Design St. Gallen. Their typefaces:

  • ABC Diatype (+Mono) (2020). A Swiss sans by Elias Hanzer, Johannes Breyer and Fabian Harb.
  • Favorit (2014) and Favorit Mono (2017). A basic sans family by Johannes Breyer and Fabian Harb.
  • Grow (2013). An experimental collaborative font family. Many of the members are multilined and even prismatic.
  • The heavy sans typeface Heureka (2009-2013).
  • Laica (2020). By Alessio D'Ellena.
  • ABC Maxi (2020). A hipster typeface by Andree Praat, Johannes Breyer and Fabian Harb. They write: With an underlying skeleton referencing mid-century and post-modern Swiss designs---including Josef Müller-Brockmann's CWS word mark (1958) and Marlyse Schmid and Bernard Müller Swatch logo (1981)---ABC Maxi's forms can by altered and animated by the user, stretching from Hairline to Black to everything in-between.
  • Pareto (2016). Western style typefaces by Erkin Karamemet, Fabian Harb and Johannes Breyer.
  • Prophet (2016). Prophet is designed in 2016 by Johannes Breyer, Fabian Harb & Erkin Karamemet. Technical support and mastering by Chi-Long Trieu. It is inspired by Joseph Churchward's Georgina.
  • In 2019, Johannes Breyer, Fabian Harb and Erkin Karamemet released Whyte and Whyte Inktrap at Dinamo.
  • Custom typefaces for Kunsthalle Zurich (CH), Warp Records (UK), Elton John (US), Yale Architecture (US), Manifesta 11 (CH), Harvard Graduate School of Design (US), Universal Music (GER), IBA Thüringen (GER), Festival B:om (KR), Gagosian Gallery (US), Planet Mu/Knives (GER/UK), LayTheme (GER) or the German, Estonian and Cyprus Pavillions at the 55th and 56th Venice Biennale.

Johannes Breyer. Fabian Harb. [Google] [More]  ⦿

Dino dos Santos
[dstype]

[MyFonts] [More]  ⦿

Dirk Zwaneveld

Maastricht, The Netherlands and now, Antwerp, Belgium-based designer of the commercial typeface L'Oiseau de Feu (2013), a mysterious vintage typeface with a Russian look. Human Made Font (2013) was inspired by gothic architecture.

In 2014, he designed the creamy typeface Goggles.

In 2016, he designed the constructivist typeface Stookplaats for the renovation of an old military hospital in Antwerp.

Behance link. [Google] [More]  ⦿

Displaay
[Martin Vacha]

Displaay is Martin Vacha's type foundry in Prague set up in 2014. Martin Vacha studied at the Academy of Arts, Architecture and Design in Prague. His early fonts were designed during his studies at UMPRUM in Prague. His typefaces:

  • Greed (2020). A narrow sans (+variable font with a weight axis) originally commissioned by Anymade Studio for Polansky Gallery.
  • Ofform (2019). A modular folded paper font by Marek Suchanek, Kristina Jandova and Martin Vacha that started out as a custom typeface for the fashion brand Ofform 3D.
  • Dazzed (2019).
  • Gellix BMM.
  • Matter (2016-2017). A sans inspired by Akzidenz-Grotesk (1896, Berthold Type Foundry), Theinhardt (2009, François Rappo), Classic Grotesque (1926, Frank Hinman Pierpont), Neuzeit Grotesk (1928, Wilhelm Pischner), Helvetica (1957, Max Miedinger and Eduard Hoffmann), Unica (Team '77, Lineto), Plain (2013, François Rappo), Futura (1927, Paul Renner) and Avenir (1988, Adrian Frutiger). Matter Mono was added in 2021. Haffer (2021) is a cold version of Matter with strict horizontal or vertical terminals.
  • Hellix (2011). A geometric sans with hipster elements. By 2020, he completed Fellix, Gellix, Hellix and Yellix.
  • Natron (2012). A sans and its display companion, Natron Alt.
  • Reckless (2012-2017). A text typeface inspired by Plantin and Times New Roman.
  • Wallop (2013). A sans.
  • Documan (2013). A rounded typeface that is part sans, part slab serif.
  • In 2016, Marek Pistora and Martin Vacha published the technical, almost typewriter, sans typeface BC Sklonar at Briefcase Type: The Sklonar typeface was originally designed exclusively for Zdenek Sklenar's S Gallery's corporate identity, conceived by Studio Najbrt in 2011. Two years later however, the gallery, including several works of art, was destroyed in a gas explosion. During the time of its use, the typeface appeared in promotional materials, in exhibitions, and also in artistic publications. But first and foremost, it excellently complemented the clean gallery space created by architect Josef Pleskot.
  • Roobert (2017). A bespoke typeface for Moogfest 2017 designed together with Anymade Studio. Roobert PX is a pixel font.
  • Teodor (2019-2020). Martin writes: In Teodor you can find certain similarities with Romana (1892 Gustav F. Schroeder), Caslon 224 (1725 William Caslon and Edward Benguiat), Grouch (1970 Tom Carnase and Ronne Bonder) and Perpetua (1925 Eric Gill). It has a variable type option.
  • Tobias (2019-2020), a transitional typeface with elements of Times, Times New Roman and Baskerville. Plus a variable font with a weight axis.
  • Github link.
  • Avantt (2021).
[Google] [More]  ⦿

Dmitry Rastvortsev

Ukrainian type designer (b. 1977, Buryn) who graduated from Sumy State University in 1999. Since 2002, he creates digital fonts. He also works at Dancor advertising in Sumy, Ukraine, since 1997. Very prolific, his work includes a substantial number of commissioned typefaces for magazines and companies.

He received a TypeArt 05 award for the display family DR Galushki (and DR Galushki Hole, 2011), which was designed for children's books. Other creations: LQ Wow and LQ Anisett (2010, for women's magazine LQ), LQ Didot (2011, also for LQ), Dekapot (grunge), Gomorrah (2013), Usquaebach (2013), Kinescope (2013), Goshen (2013), Rhode Black (2014), UT Magazine (2014), Madmix (2014, for Esquire), Variety Square (2015, for the nmagazine Variety), DR Agu (comic book face), DR Agu Sans (2013), DR Agu Script (2016), DR Trafaret (army stencil face), DR Vixi, DR UkrGotika Sans, DR UkrGotika Serif, Tsar Peter, Pelican (for Esquire magazine), Fugue.

In 2014, Gayaneh Bagdasaryan and Dmitry Rastvortsev created the Latin / Cyrillic sans typeface family Brutal Type (Brownfox) that is genetically linked to DIN.

His funny DR Krokodila won an award at Paratype K2009.

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 Shnvchenko, a famous Ukrainian poet, artist and philosopher.

In 2016, he designed the op-art typeface family DR Lineart.

In 2017, he published the military stencil font DR Zhek.

In 2018, he designed DR Ukrainka, which is inspired by the lettering works of these Ukrainian artists of the 1920s: Vasyl Yermilov, Vasyl Krychevscky, Heorhiy Narbut. He also designed Sumy for the branding type for the city of Sumy, Ukraine.

Rastvortsev won an award in the kanji category at the 22nd Morisawa Type Design competition in 2019 for DR Kruk Single.

In 2019, on commission for Banda for the National Art Museum of Ukraine, Dmitry Rastvortsev designed the Cyrillic (and Latin) family Namu, which has substyles according to various eras, from 1400 until today. On commission for Vinnytsia, he designed the free typeface family Vinnytsia ((a lapidary) Serif, Sans, City). He finished 2019 with the free sans-serif-display superfamily Kyiv Type, which consists of KyivType Variable, KyivType Sans, KyivType Serif, and KyivType Titling.

Typefaces from 2020: DR Krapka Rhombus, DR Krapka Round, DR Krapka Square (a set of dot matrix typefaces).

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

Dominik Pichler

Graphic designer in Vienna, Austria. In 2015, he created the Lobo Lumitel typeface for the launch of a camera. Behance link. [Google] [More]  ⦿

DooType
[Eduilson Wessler Coán]

Curitiba-based Brazilian digital type foundry, est. in 2008 by the successful and talented type designer Eduilson Wessler Coan (b. 1983, Curutiba). Myfonts link. Coan joined Fabio Haag Type. Their fonts:

  • Estado Serif (2006), co-designed with Ericson Straub (Straub Design) and Fabio Augusto for use in the Jornal O Estado do Paraná.
  • DooSans (2006): custom design for the magazine abcDesign.
  • Ninfa (2006-2008), an organic serif face. He calls it a modern semi-serif. Whatever. Ninfa won an award at Tipos Latinos 2008 in the non-text typeface category. Ninfa Serif followed in 2012. Ninfa Serif won an award in the typeface family category at Tipos Latinos 2012.
  • Encorpada Black (2011) is a fat didone display face. It was extended to Encorpada Pro in 2012. Encorpada Classic was published in 2013. Encorpada Classic and Encorpada Pro won awards at Tipos Latinos 2014. In 2014, he published Encorpada Essential. In 2015, Eduilson added Encorpada Classic Compressed and Encorpada Classic Condensed.
  • Fluence (2012) is a calligraphic typeface family. Fluence won an award at Tipos Latinos 2012.
  • Tres Tres Chic (2012) is a very thin geometric fashion mag headline face.
  • Maestra (2012) is a calligraphic copperplate script. Gorgeous, mouthwatering, heavenly, just about the perfect font. Future brides and grooms need look no further than this for wedding invitations.
  • Niks Sans (2012).
  • dT Delicatta (2012, revised in 2017) is a formal connected calligraphic script face, destined to win many awards.
  • Unimed Sans, Unimed Slab and Unime Serif (2013) is a bespoke typeface family done for a Brazilian health insurance company, Unimed.
  • Typefaces from 2014: Bommer Slab and Bommer Slab Rounded. Bommer Slab won an award at Tipos Latinos 2014. Accura (2014, a sans typeface created together with Thiago Bellotti).
  • In 2015, he designed the techno sans family Sica (+Expanded, +Condensed) with Volnei Antonio Matrté Coan at DooType. Sica won an award at Tipos Latinos 2016.
  • Bommer Sans (2016). A Latinized (i.e., curvy) humanist sans.
  • dT Jakob (2017). This typeface started out in 2007 as a revival by Gustavo Soares in Paul van der Laan's class at KABK of Jakob Erbar's grotesk from 1927. It was refined and completed in 2017 at dooType with the help of Eduilson Wessler Coan. In 2018, Gustavo Soares and Eduilson Coan developed the variable inline and shadow font dT Jakob Variable Concept.
  • dT Ampla (2018). A sans with some warmth.
  • Salva (2021, Fabio Haag Type). A versatile workhorse sans family: Eduilson Coan was the lead designer. He was assisted by the Fabio Haag Type team of Henrique Beier, Ana Laydner and Fabio Haag himself.
  • Seiva (2021, by Henrique Beier, Eduilson Coan and Fabio Haag). A distant relative of Didot, this exotic sans family is partitioned into Text, Display and Poster subfamilies, and welcomes variable font technology.

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

Dr. Oetker Tiffany

The house font of Dr. Oetker, based on Tiffany. [Google] [More]  ⦿

Dries Wiewauters

Belgian designer who has a bachelors in graphic design from St. Lucas, Gent (Belgium) and ArtEZ Arnhem (The Netherlands), and a Masters in the same area from both places. He lives in Gent and loves mussels (or, at least, he loves to make posters of mussels). The list of his typefaces:

  • Nib (2019, Colophon). A wedge serif originally designed for the Museum of Fine Arts in Ghent. It was developed in close collaboration with Ruud Ruttens, the head of their design department.
  • LUCA School of Arts. A custom typeface, ca. 2015.
  • Newkirk (2012). A custom all-caps stencil typeface for Scott Newkirk Art Studio in New York.
  • PDU, or Plaque Découpée Universelle (2010, Colophon). Dries writes: After reading the excellent essay by Eric Kindel: The Plaque Découpée Universelle: a geometric sanserif in 1870s Paris (Typography Papers 7, Reading, 2007), both James Goggin and I got fascinated by the idea of a stencil with which you can draw every letter of the alphabet: uppercase, lowercase, numbers, punctuation. The original stencil was invented in 1876 by Joseph A. David (USA). In order to experience the stencil first hand and because the original is really fragile and very hard to come by, 3 prototypes were laser cut out of 0,5 mm steel. To comply with friends' demand, a small edition of 50 copies was made. To enable smoother drawing these were cut out of 0,2 mm flexible steel.
  • PDP, or Plaque Découpée Personnalisée, is the result of further experimentation with the Plaque Découpée Universelle. These 18 fonts were made as part of Feed the Library, an installation by the Werkplaats Typografie during the 2010 NY Art Book Fair.
  • Norwich (2005, pixel family).
  • Gütz (2006, blackletter).
  • Rietveld Fatface (2007, fat sans titling face).
  • Hafssól (2007, pixel face).
  • Grey Text, Grey Display, Ultra Black (2008-2009). Done for his Masters at St Lucas Academy in Ghent, and The Grey Press. Grey Text is a text face, Grey Display a set of six inline / blackboard bold typefaces, and Ultra Black a fat brush poster face.
  • Interieur2010 (2010): a type family that started out by modeling a chair.
  • MAD (2009). A multiline typeface family started from Machine Aided Design typefaces. It evolved over the years into MAD Sans ans Serif and now includes Fill versions well. It will be published by Colophon in 2017.
  • Scribe. A custom typeface for the identity and house style of Museum voor Schone Kunsten Gent.

Home page. [Google] [More]  ⦿

dstype
[Dino dos Santos]

Established in 1994, dstype used to offer free fonts but has gone commercial now. It is run by Dino dos Santos (b. 1971, Oporto) from Oporto, Portugal. He graduated in Graphic Design at ESAD, Matosinhos. He received a Masters degree in Multimedia Arts at FBAUP, Porto. MyFonts place. In 2006 he won the Creative Review Type Design Competition in the Revival/Extension Family. At ATypI 2006 in Lisbon, he spoke about Portuguese lettering since 1700. Interview in 2007. Klingspor link. Author of A Letra Portuguesa, a book about Portuguese calligraphy. Dino created these typefaces:

  • Access (1997).
  • Acta, Acta Display and Acta Poster (2011, +Poster swashes). A didone fashion mag family. First designed for Chilean newspaper La Tercera in 2010, DSType's Acta family is a clean information design type system. It includes Acta Symbols, an extensive dingbat family. Acta Var (2020) has two axes, weight and optical size.
  • Acto (2012). Acto is a type system designed as the sans serif counterpart of the previous released Acta. Both type families were designed in 2010 for the redesign of the Chilean newspaper La Tercera.
  • Andrade Pro (a modern) and Andrade Script Pro: based on the calligraphy of Andrade de Figueiredo, ca. 1722.
  • Anubis (2003): a unicase face.
  • Aparo (2013). A plumpish elegant high-contrast script face.
  • Apice (2022). A highly structured calligraphic typeface with five optical sizes.
  • Apud and Apud Display (2010): a high-contrast serif family.
  • Aquila (2004).
  • Ardina (2016). Done with Pedro Leal, this text typeface family has three optical sizes.
  • Boldina (2004). A fat informal poster family with 18 weights and styles.
  • Braga (2011, Dino dos Santos and Pedro Leal). This is a layered font design family. Dino writes: Braga is an exuberant baroque typeface, named after a portuguese city, also known as the baroque capital of Portugal. Our latest typographic extravaganza comes with a multitude of fonts designed to work like layers, allowing to insert color, lines, gradients, patterns, baroque, floral swashes, and many other graphic elements. Starting with Braga Base, you can add any of the twenty-three available styles, to create colourful typographic designs.
  • A type system from 2014: Breve News, Breve Display, Breve Slab Title, Breve Sans Title, Breve Title, Breve Slab Text, Breve Sans Text, Breve Text. The Breve system includes modern design elements in the skeleton and ball terminals, transional elements, almost wedge-serifs in the serifed styles. As with most of dos Santos's typefaces, even the sans and slab styles exhibit Latin warmth and exuberance.
  • Capsa (2008): a family that was inspired by, but is not a revival of the Claude Lamesle types Gros Romain Ordinaire and Saint Augustin Gros Oeil.
  • Ception (2001): a futuristic sans family.
  • Cimo (2017). A distinguished condensed sans.
  • Cultura, and its improved version Cultura New (2013), a text book typeface family.
  • Decline (1996).
  • Denso (2019). By Dino dos Santos and Pedro Leal: a great condensed variable font with weight, serif and optical size axes.
  • Digno (2022). A fuzzy text typeface family.
  • Dione (2003): a sans; redone in 2009 as Dobra at TypeTrust. See also Dobra Slab (2009).
  • Enorme (2020). Ultra massive and modular 3000-glyph mastodont of a constructivist font, by Pedro Leal and Dino dos Santos.
  • Esta (2004-2005): extensive (transitional) text and newsprint family.
  • Estilo (2005): a gorgeous and simple art deco-ish geometric headline face. This was accompanied by Estilo Script (2006), Estilo Text (2007, a 6-style rounded sans family), and later, Estilo Pro (2010, +Hairline).
  • Ezzo: a sans family.
  • Factor (1997).
  • Finura (2009): this typeface has hints of University Roman.
  • Firme (2014). A geometric sans for corporate use.
  • Fragma (2003): squarish techno family.
  • Girga (+Italic, +Engraved, +Banner, +Stencil) is a strong black Egyptian family designed in 2012 together with Pedro Leal at DS Type.
  • Glosa (2008): Glosa is a meaty multi-style didone family. Glosa Text and Glosa Headline all followed a bit later in 2008, and Glosa Display in 2009.
  • Hades (2012). A yummy and free blackletter typeface.
  • Hypergrid (2002): octagonal.
  • Ines (2015). A classic 7-style text typeface.
  • Isento and Isento Slab (2017). Both are loosely based on ATF's Times Gothic.
  • Lucius (Sans, Serif) (2022). The Lucius type family began as an attempt to reproduce the Principios Methodicos para as Letras Aldina e Roman---Typo Portuguez, but went went way beyond that in its multi-faceted execution.
  • The Quase family (2017): Quase is a very free interpretation of the types found in the Specimen of Printing Types by William Caslon from 1785. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Subfamilies: Quase Headline (12 styles), Quase Poster, Quase Display, Quase Text.
  • Idem and idem Display (2021).
  • Dino dos Santos and Pedro Leal published Jules in the summer of 2015---a fat fashion mag didone 45-style family inspired by several plates from Portuguese calligrapher Antonio Jacintho de Araujo; it comes in Big, Colossal and Epic. They followed up in 2017 with Jules Text.
  • Kartago (2005): based on Roman inscriptions from Cartago.
  • Keiss (2017) and Keiss Text (2021). A Scotch roman with a lot of contrast. Keiss Text comes in twelve styles and features short descenders and ascenders, along with three very distinct optical sizes. It was designed with contemporary newspapers in mind. In 2021, he added Keiss Title, Keiss Condensed, Keiss Big (14 styles) and Keiss Condensed Big.
  • Large (1999) and Large Pro (2006).
  • In 2020, Dino dos Santos and Pedro Leal designed Larga, which was inspired by the typefaces shown in the specimens of the Fundiçãao Typographica Portuense from 1874. Larga is a wide all caps family and comes with a variable opentype format.
  • Leitura, Leitura Headline, Leitura News, Leitura Sans, Leitura Symbols, Leitura Display (2007): the 31 styles were all made in 2007.
  • Logica (2016). A classical text typeface.
  • Maga (2012). A text family.
  • Methodo (2005): calligraphic penman typefaces.
  • Missiva (2004).
  • Monox and Monox Serif (1998-2000): a monospaced family.
  • Ni Sans, Ni Slab, Ni Serif (2018).
  • Musee (2006): a transitional family with ornaments and borders.
  • Nerva (2004). A subdued Trajan typeface with flaring.
  • Nitida (2017). A 114-font family with five optical sizes.
  • Nyte (2012). A serifed text family.
  • Otite (1995).
  • Outside (1996): grunge.
  • Parco (2021). A compact headline typeface with large x-height.
  • Plexes (2003). See also Plexes Pro (2006).
  • Pluma (2005): a series of three exquisite calligraphic flowing scripts called PlumaPrimeyra, PlumaSegunda and PlumaTerceyra). Inspired by the typographic work of Manuel de Andrade de Figueiredo that was published in 1722: "Nova Escola para Aprender a Ler, Escrever e Contar, offerecida a Augusta Magestade do Senhor Dom Jao V, Rey de Portugal".
  • Poesis (1999).
  • Pratico UI and Pratico Slab UI (2022).
  • Prelo (2008): A sans family for magazines, it has styles that include Hairline, Hairline Italic, Extra Light, Extra Light Italic, Light, Light Italic, Book, Book Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic, Slab and Prelo Condensed.
  • Priva Pro (2006): a sans family that includes Greek and Cyrillic).
  • Prumo (2011-2012). A 92-font family originally created for the redesign of the Argentinian newspaper La Nacion. Released to the public in 2013, it covers low and high contrasts, and has slab serif styles as well as Scotch Roman styles. So, it is more a type system or type collection than one single typeface: Prumo Banner, Prumo Deck, Prumo Display, Prumo Poster, Prumo Slab, Prumo Text.
  • Quadricula (1998).
  • Quaestor and Quaestor Sans (2004). Roman inscriptional typefaces.
  • Recita (2019). A sturdy oldstyle text typeface family.
  • Resea (2004) and Resea Consensed: Bank Gothic style typefaces.
  • Solido (2012) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts. In 2020, a variable font was added to Solido. Codesigned with Pedro Leal.
  • Synuosa (1999): an experimental typeface showing only the top half of the characters.
  • Tecla (2018). After Printype, a typeface developed in the early twentieth century for the Oliver Typewriter.
  • Terminal (1996).
  • Titan and Titan Text (2003).
  • User (2012), User Upright (2012), and User Stencil (2012). Monospace type families.
  • Velino (2010): an extensive family including Velino Text, Velino, Velino Condensed, Velino Compressed, Velino Poster, Velino Sans, Velino Sans Condensed, Velino Display (+Compressed Display, +Condensed Display). This didone superfamily is sure to win a ton of awards.
  • Ventura (2007): based on the calligraphy of Portuguese calligrapher Joaquim José Ventura da Silva, ca. 1802, who wrote Regras methodicas para se aprender a escrever os caracteres das letras Ingleza, Portugueza, Aldina, Romana, Gotica-Italica e Gotica-Germanica in 1820. It had a "Portuguese Script". Do not confuse Ventura with Dieter Steffmann's font by the same name made many years earlier. Ventura won an award at TDC2 2008).
  • Viska (2015, by Dino dos Santos and Pedro Leal) is designed for small print.
  • Volupia (2005): a connected advertising face.

DS Type also has typefaces by other type designers, such as Pedro Leal. They worked with leading companies, world scale events and well-known design agencies including: Appetite, Banco CTT, Banco Economico, BBDO, CondéNast, CTT Correios de Portugal, Electronic Arts, Errea Communicacion, Erste Bank, ESPN, Expo 2020 Dubai, Fifa World Cup 2018 Russia (the Ducha typeface), Garcia Media, Gatorade, Gruner + Jahr, Hearst, Innovation, King Games, McCann-Erickson, Meredith, Palmer Watson, Pentagram, Sagres, Starbucks, The New York Times (the Nyre typeface), Vox Media and Wolff Olins.

View Dino dos Santos's typefaces. DS Type's typeface library. [Google] [MyFonts] [More]  ⦿

DTP Types Limited
[Malcolm Wooden]

DTP Types Ltd was launched in 1989 by Malcolm Wooden (b. London, 1956) from Crawley, West Sussex, England. Wooden worked at Monotype for over 20 years just before that. Malcolm Wooden joined Dalton Maag early 2008 to work on font engineering and production. DTP Types does/did custom font work, and sells hundreds of retail fonts.

In the Headline Font Collection (50 fonts), we find reworked and extended designs (Apollo, New Bodoni (1996-2002), Camile, Engravers, and so forth), as well as fresh typefaces (Hellene handwriting, Finalia Condensed, Birac, Delargo Black, Delargo DT Rounded (comic book family), Dawn Calligraphy).

In the Elite Typeface Library, there are type 1 and truetype typefaces for Western and East-European languages. For example, Elisar DT (1996, see also Elisar DT Infant) is a humanist sans family made by Malcolm and Lisa Wooden. Fuller Sans DT (1996) is a grotesk family by Malcolm Wooden. Greek and Cyrillic included. Other typefaces: Garamond 96, Pen Tip (Tekton-like).

Fonts distributed by ITF and MyFonts.com: Berstrom DT, Beverley Sans DT (2007, comic book style face), Birac DT, Century Schoolbook DT, Convex DT, Delargo DTInformal, Delargo DT Infant, Engravers DT (1990), Finalia DT Condensed, Garamond DT, Garamond Nine Six DT, Goudy Old Style DT, Graphicus DT (1992, a 24-style geometric sans family), Kabel DTCondensed, Leiden DT (1992: after Dick Dooijes's Lectura), Macarena DT, Modus DT (2007), New Bodoni DT (1992), Newhouse DT (1992, a large neo-grotesque family), Office Script DT (1994, copperplate script), Pelham DT (1992), Pen Tip DT, Pen Tip DT Infant, Pretorian DT (a revival of an old Edwardian font by P.M. Shanks done by Ron Carpenter and Malcolm Wooden in 1992; for a free version, see Vivian by Dieter Steffman), Solaire DT, Triest DT, Vigor DT (2000---a slab serif family).

Discussion: Something I don't get is that Vecta DT (2006) is based on Vecta (2005, Wilton Foundry)---same name, same sans family, what gives? Duet DT (2006, a calligraphic script) is by Robbie de Villiers of Wilton, based on his own Duet (2004). MyFonts page. The typophiles reserve harsh judgment: I recognize these designs by their original names. Slightly manipulating Times Roman, Optima, Icone, Franklin Gothic, Sabon, Tekton, does not make them new or original. Many of the designs are identical to the originals they're derived from (Carl Crossgrove), The DTP Types outfit sells the usual rip-off fonts under new and old names (e.g. Century Schoolbook DT, Engravers DT, Goudy Old Style DT, Kabel DT, etc.) (Uli Stiehl).

  • Typefaces from 2007: Rustikalis DT (after a phototype by VGC from the 1960s), Appeal DT (a revival of the Victorian typeface Apollo designed ca. 1900 by Aktiengesellschaft für Schriftgiesserei und Maschinenbau), Fatbrush DT, Kardanal DT, Pamela DT (semi-blackletter).

    In 2008, DTP announced a new newspaper and magazine text family, Arbesco DT (PDF), based on a 1980s photolettering family (see also here), and a simple 24-style architectural sans family called Sentico Sans DT (elliptical). They also published the marker family Pen Tip DT Lefty in 2008.

    In 2009, the calligraphic Trissino DT was published: it was named after Gian Giorgio Trissino (1478-1550) the Italian Renaissance humanist, poet, dramatist, diplomat and grammarian who was the first to explicitly distinguish I and J as seperate letter sounds.

    In 2020, he released Hastrico DT (a 13-style grotesque family), Hastrico DT Condensed.

    View the DTP Types typeface library. [Google] [MyFonts] [More]  ⦿

    • Due Studio

    Graphic and type design studio in Perugia, Italy, founded by Massimiliano Vitti and Alessio Pompadura. They co-designed the grid-based stencil typeface Nodo in 2017.

    In 2018. they developed PVF Display for the identity of Palazzo Vertemate Franchi.

    In 2019, they designed Grotta, and wrote: Grotta is an irreverent contemporary neo-grotesk typeface with strong geometric accent and sharp contrast in its form. Characterized by tight apertures and an overall dynamic feeling it is suited for both display and text sizes. It is our interpretation of the 21st century grotesk, exuberant, irruptive and [...] winks at [...] Venus-Grotesk and Monotype Grotesque. It shows influences of hipstertism in the way strokes are joined in the 1, N, M, V, W, and other letters.

    In 2021, they added the pixel font Analo Grotesk.

    Type Department link. [Google] [More]  ⦿

    DW Interstate

    The house font of Deutsche Welle, based on Interstate (1993, Tobias Frere-Jones). That company also uses Bembo. [Google] [More]  ⦿

    Dyana Weissman
    [Kerns&Cairns]

    [MyFonts] [More]  ⦿

    Edd Harrington
    [Colophon Foundry]

    [More]  ⦿

    Edgar Valenzuela

    Designer in Vancouver who specializes in corporate identities. His typefaces include:

    • Nebula (2013) is a sans serif typeface family.
    • Brisa (2013) is low-contrast ink-trapped angularly designed serif typeface for large bodies of text. Not to be confused with Brisa, a script typeface made in 2004 by Alejandro Paul / Sudtipos.

    Behance link. [Google] [More]  ⦿

    Edgar Walthert

    Type and graphic design pages by Edgar Walthert, b. Sursee, Switzerland. In 2007, he graduated from the TypeMedia program at KABK in Den Haag. Since then he is free-lancing. He completed TazIII in 2008 for Lucas de Groot in Berlin. In 2008, he moved to Amsterdam to work as an independent graphic and type-designer. In Amsterdam, he hosts Letterspace Amsterdam, a monthly series of lectures about experi­mentation, innovation and research in type. In 2021, he set up Font Spectrum together with Daniel Maarleveld.

    His typefaces include Agile (2007, a sans family done at KABK), Grosse Pläne, Instant Schrift (2000: Redesign of Isonorm 3098 matching the radical restrictions of the Instant design-manual), and Sonic Waves (an experimental typeface that was created for dublab, a radio station based in Los Angeles, and was drawn using sound waves that can actually be played as an audio file).

    Agile was further developed in 2011 with weights ranging from hairline to fat, and appeared in 2013 as a retail typeface at Incubator / Village.

    He published the constructed sans typeface family Logical in 2018 at Bold Monday / Type Network.

    His typefaces at FontSpectrum:

    • Purple Haze (2021-2022). Purple Haze is an experimental variable typeface with a readable regular weight and decorative dot matrix-themed extremes. The font works best when being animated or interacted with.

    His corporate typefaces:

    • Toneelmakerij typeface by Edgar Walthert in collaboration with Esther de Boer for the identity of the Dutch theater company De Toneelmakerij. Contains many icons.
    • Alpen Display and Text (2018), custom typefaces for Bühne Burgäschi by Edgar Walthert. Inspired by classic Swiss tourism posters from the 1930s and '40s. Alpen Display and Alpen Text is currently being further developed and will be released as Arosa Display, Arosa Text and Arosa Script.
    • De Patronenmaker typeface. For a website designed by Johannes Verwoerd, Walthert created a variable font based on the open source typeface Publica by Gustavo Ferreira, by pushing its extremes to 0 and 11. The website uses the same 26kb font file for all animations, menu and body text.
    • This Is Africa typeface for Ghetto Radio in Nairobi by Edgar Walthert, with Esther de Boer.
    [Google] [More]  ⦿

    Edition Studio
    [Adrien Menard]

    Adrien Menard is a graphic and type designer first based in Paris and now in Brooklyn, NY, where he set up Edition Studio. Adrien studied at the ECV Paris and at the KABK in Den Haag, The Netherlands. He holds a Master in Art Direction. His typefaces:

    • Haarlem AM (2015). A serif typeface family based on the letters used in Origines Typographicae, Meerman Fleishman, 1765, from the Enschedé font foundry.
    • Paraag AM (2015). A monospaced sans.
    • Keller Stencil (2015). A classy stencil typeface based on a Garamond skeleton. Developed with Xavier Lecuyer and Anton Haesendonck. Perhaps renamed Klod AM in 2016, and republished at Edition Studio in 2018.
    • Continua (2018). A modulated display sans.
    • Sample and Sample Cursive (2018).

    Custom typefaces were done via Edition Studio for NY Nike Headquarters and Darcstudio. [Google] [More]  ⦿

    Eduardo Manso
    [Emtype]

    [MyFonts] [More]  ⦿

    Eduilson Wessler Coán
    [DooType]

    [MyFonts] [More]  ⦿

    Eifoni
    [Eivind Fonnaas Nilsen]

    Eifoni is the studio of Eivind Fonnaas Nilsen in Oslo. Elvind has done several complete typefaces. These include a corporate typeface called Supersexy (2010), for Laid, the only Norwegian producer of high-end sex toys. For his master project at KHiB (Bergen National Academy of the Arts), under the guidance of Andrea Thinnes and Rachel Troye, he used graffiti as a starting point to create the pair of typefaces called the Bomber and the Artist (2007). His typefaces include Supersexy and Oslo Sans.

    At Skin Design Studio, he created the all caps DIN-like typeface Skin Extra Regular for in-house use.

    Behance link. Typecache link. Cargocollective link. [Google] [More]  ⦿

    Eivind Fonnaas Nilsen
    [Eifoni]

    [More]  ⦿

    EK Type
    [Sarang Kulkarni]

    Type design collective in Mumbai, India, est. 2013, managed by Mumbai-based Sarang Kulkarni (b. 1980). Sarang studied at the Sir J J Institute of Applied Art in Mumbai, class of 2002. He worked with R.K. Joshi at the National Centre for Software Technology and Design Temple in 2002. In that same year, he assisted R.K. Joshi with the design of the Jana Gurmukhi typeface. In 2008 and 2009, he created 11 Indic typefaces for Vodafone India. In 2009-2010, he created an additional eight typefaces for Virgin Mobile India. Kulkarni also runs White Crow Designs.

    Typefaces at Ek Type from 2011 by Hanif Kureshi include Painter Umesh, Painter Kafeel, and Painter Suhail.

    In 2013, Girish Dalvi and Yashodeep Gholap co-designed Ek Devanagari at Ek Type for Hindi, Marathi, Sanskrit, Konkani and Nepali. It is a contemporary, humanist, monolinear typeface available in seven weights. Its companion, also designed by them, is the humanist sans typeface family Ek Latin (2013).

    Designer of Modak (2013, Ek Type), a Latin / Devanagari bubblegum typeface that was published in the Google Web Font collection in 2015. Modak Devanagari was designed by Sarang Kulkarni and Maithili Shingre and Modak Latin by Noopur Datye with support from Girish Dalvi and Pradnya Naik. Github link. Another Github link for Modak.

    In 2012, he designed Star Jalsha, a Bengali television screen font for Star India Pvt Ltd.

    In 2016, Ek Type designed the free Latin / Devanagari / Gujarati font Mukta Vaani. More precisely, it was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Google Fonts link. Github link.

    In 2017, EK Type released Jaini and Jaini Purva designed by Girish Dalvi and Maithili Shingre: Jaini is a devaagari typeface based on the calligraphic style of the Jain Kalpasutra manuscripts. The design of this font is based on the 1503 Kalpasutra manuscript.

    In 2020, EK Type published the devanagari typeface Gotu at Google Fonts. Niranjan collected these EK fonts:

    • Mukta (Girish Dalvi, Yashodeep Gholap)
    • Baloo (Sarang Kulkarni)
    • Modak (Sarang Kulkarni, Maithili Shingre)
    • Jaini (Girish Dalvi, Maithili Shingre)

    In 2022, Ek Type released a multi-script (variable) Indic typeface family that includes Anek Telugu, Anek Malayalam, Anek Latin, Anek Kannada, Anek Gurmukhi, Anek Tamil, Anek Odia, Anek Gujarati, Anek Devanagari, and Anek Bangla. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. Ek Type won an award at 25 TDC in 2022 for Anek. The designers mentioned in the TDC press release are Girish Dalvi, Noopur Datye, Sarang Kulkarni, Aadarsh Rajan, Kailash Malviya, Mahesh Sahu, Maithili Shingre, Mrunmayee Ghaisas, Omkar Bhoir, Sulekha Rajkumar, Vaishanvi Murthy, and Yesha Goshar. Github link for Anek.

    Behance link. White Crow Designs link [White Crow was established in 2005 in Mumbai by Sarang Kulkarni]. Typophile link. Behance link. White Crow Designs. Fontsquirrel link. Github link. Fontsquirrel link. [Google] [More]  ⦿

    Elena Perea

    Bilbao, Spain-based of the modular typeface McDonald's Custom Type (2014). [Google] [More]  ⦿

    Elena Ramirez

    Spanish graphic and web designer. In 2016, with Octavio Pardo, she designed Cubit, a custom monospaced typeface for a Chicago-based interior design Studio. [Google] [More]  ⦿

    Ellmer Stefan
    [The Pyte Foundry]

    [More]  ⦿

    Ellmer Stefan & Johannes Lang
    [Stefan Ellmer]

    Stefan Ellmer is a Norwegian type designer based in Oslo. In 2014, he set up the commercial type foundry Ellmer Stefan & Johannes Lang with Johannes Lang.

    Codesigner with Joakim Jansson and Dag Laska of the bespoke typeface Aker Brygge Display (2012). For an architecture magazine, he created Corvus Corax at Skin Designstudio. The Science typeface family was commissioned by Work AS.

    In 2013, Stefan is in the stages of publishing Essay, a wonderful very readable angular text typeface, at Type Together. Ellmer was finally published in 2014 as Essay Text.

    Other typefaces in development include Amalgam and Yorrick Tristram (a baroque typeface). He also designed the grotesque typeface family Georges. Still in 2013, Johannes Lang and Stefan Ellmer co-designed the free display typeface Brevier Viennese (Langustefonts). It is based on a Victorian typeface called Viennese by the Fann Street Foundry from 1874.

    In 2014, he created Ur 1927 and writes: Ur 1927 is a digital reanimation of the original sketches by Paul Renner made for the typeface that later became Futura as part of the social-housing program Das Neue Frankfurt in 1927. Ur 1927 is not an auto-traced imitation neither an interpretation of the original source---like other revivals of pre-digital type---but an attempt to grasp the inherent design principles of the original design and the ideological impetus intended by its maker. Ur 1927 is sticking stubbornly to the sketches made in 1927---not performing any optical compensations or deviations from geometrical construction. In addition it incorporates all (!) alternative---radical even to contemporary eyes---letter shapes drawn by Renner.

    Schouss Plass (2014) is an angular display typeface developed for Schous Plass, a youth café and concert hall in Grünerløkka, Oslo.

    In 2014, Johannes Lang and Stefan Ellmer revived the frilly Victorian typeface Stencil Gothic originally designed by John West in 1885.

    Sentralen Oslo (2016). They write: A set of 3 text and one display typefaces for the branding of a new multidisciplinary cultural site based in the old town of Oslo, Kvadraturen. The text styles are based on the former stationary of the Oslo Sparebank, which later became the foundation responsible for the redefintion of the old bank building. The display typeface is a derivate of the logotype (not shown) and is intended for use in the site's wayfinding system. These typefaces were commissioned by and developed in close collaboration with Metric Design, Oslo.

    Levvel Script (2016) is a brush script based on illustrator Bjørn Rune Li's distinct handwriting style. It was commissioned by Scandinavian Design Group.

    Gustav Display (2018) is an exclusive (lapidary, roam, inscriptional, wedge serif, all caps) typeface for the celebration of Gustav Vigeland's 150th birthday in 2019. Commissioned by the Vigeland Museum in Oslo, it was designed by Ellmer Stefan under the Art Direction of Anders Hofgaard (NODE Berlin Oslo), and is based on an inscription accompanying one of Vigeland's sculptures.

    In 2018, Ellmer Stefan designed a custom sans typeface for Diller Scofidio + Renfro.

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

    Elsa Lorich

    Paris-based designer of the Bodoni revival Hello (2015), the warm rounded text typeface Zebu (2016) and the modular condensed sans typeface ModuloOuLipo (2016). For Citroen, she co-designed the wide sans typeface Cabrio (2016) with Philippe Gauthier. She also did a Bodoni revival called Bodoni 1818 (2016). [Google] [More]  ⦿

    Emtype
    [Eduardo Manso]

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

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

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

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

    He created the custom typeface La Grilla.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Enigma Design

    Design consortium in Puebla, Mexico. Behance link. They created some logotypes and typefaces for branding, such as a type family, UDLAP, for the Universidad de las Americas Puebla. Croqueta (2012) is an informal sans typeface. Tentempié (2012) is custom designed for a Spanish restaurant by that name. [Google] [More]  ⦿

    EPS51

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

    Eran Bacharach
    [Bee Creations]

    [More]  ⦿

    Eric de Berranger

    French designer (b. 1973) whose early fonts could be bought from 2Rebels in Montreal, and at La Fonderie. These are now available via FontHaus. Some creations at 2Rebels: Malcom Light and Malcom Light Expert, Coeval (1998), Coeval Expert (1998), Garaline (1998), Garaline Expert (1998), Hector 1, Hector 2, Helwissa, Jandoni (great didone titling face!), Malcom (1999), Malcom Expert, Troiminut (1998, perhaps created in under three minutes).

    He also made typefaces at ITC. These include ITC Octone (1998, a great flared lapidary typeface family), ITC Octone Expert (1998), ITC Berranger Hand and ITC Oldbook.

    Typefaces at Agfa / Monotype / Linotype include the Mosquito family (Agfa, 2001; Mosquito Formal appeared in 2003), Maxime (garalde family), and Koala. Other typefaces include Yesselair (1998, La Fonderie), Hamely, Klory, Kolinear (2009, angular), Merlin, Collos (hexagonal), Pack Trash (another name for Yesselair?), NLE2B210, EricMainDroite, June (an elegant garalde / antiqua /Venetian crossbreed).

    With Stéphane Gambini, he started La Fonderie. He does visual identity stuff for companies in France, most notably, the logo and logo font for Renault (2004).

    In 2005, he revived a 1972 didone of Hollenstein Studio as Natalie (no sales or downloads).

    In 2006, he created a 6-weight legible sans family for the STIP (Brussels transport society) called Brusseline.

    In 2007, he created the bold gothic headline typeface LFP Bold for the Ligue de Football Professionnel. In 2008, he published the stunning connected script Hermès Scripte used by the fragrance company by that name, and Martini (for the aperitif brand).

    Klingspor link. FontShop link.

    View Eric de Berranger's retail typefaces. [Google] [MyFonts] [More]  ⦿

    Eric Liles

    Kansas City, MO-based designer of Cuna (2019), a custom titling typeface for the band Making Movies. [Google] [More]  ⦿

    Ericsson Roman and Sans

    The house fonts of Ericsson, based on Garamond No.3 and Neue Helvetica. [Google] [More]  ⦿

    Erik Bertell
    [Erik Jarl Bertell]

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

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

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

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

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

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

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

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

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

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

    Erik Jarl Bertell
    [Erik Bertell]

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    Erik Spiekermann

    German type designer and graphic designer par excellence, born in 1947 in Stadthagen. He set up MetaDesign in Berlin in 1979. In 1988 he set up FontShop, home of the FontFont collection. He holds an honorary professorship at the Academy of Arts in Bremen, is board member of ATypI and the German Design Council, and president of the ISTD (International Society of Typographic Designers). In July 2000, Erik left MetaDesign Berlin. He now lives and works in Berlin, London and San Francisco, designing publications, complex design systems and more typefaces. He collaborated on the publication of the comprehensive FontBook. Author of Stop Stealing Sheep & Find Out How Type Works (2nd Edition) (Adobe Press, Second Edition, 2002, First Edition, 1993). He taught typography at the Art Academy in Bremen, and is guest-lecturer at several schools around the world.

    In October 2003, he received the third Gerrit Noordzij Prize, which is given every other year to a designer who has played an important role in the field of type design and typography. It is an initiative of the postgraduate course in Type&Media at the Hague Royal Academy of Art with the Meermanno Museum (The Hague).

    His essay on information design.

    Biography. Bio at Linotype. Laudatio by John Walters of Eye Magazine. Blog.

    Presentation at ATypI 2006 in Lisbon. Presentation at ATypI 2008 in St. Petersburg. Interviewed in 2006 by Rob Forbes. Speaker at ATypI 2010 in Dublin.

    He made the following typefaces and type families:

    • Lo-Type (1913, Louis Oppenheim) was digitally adapted by Spiekermann for Berthold in 1979-1980. BERTLib sells it as Adlon Serif ST.
    • PT 55 (1986), the precursor of FF Meta.
    • Berthold Block
    • Berliner Grotesk (1979-1980, Berthold): based on an old Berthold AG typeface from 1923.
    • FF Govan (2001, by Ole Schaefer and Erik Spiekermann).
    • The huge families FF Meta1, FF Meta2, FF Meta3 (2003), FF Meta Condensed (1998) and FFMetaCorrespondence. The FF Meta families (1985) were originally designed for Bundespost, which did not use it--it stayed with Helvetica for a while and now uses Frutiger. Meta comes with CE, Cyrillic, Greek and Turkish sets as well. Weights like Meta Light (Thin, Hairline) Greek are available too. Spiekermann is a bit upset that Linotype's Textra (2002, a typeface by Jochen Schuss and Jörg Herz) looks like a cloned of Meta. FF Meta Condensed won an award at Modern Cyrillic 2014.
    • Meta Serif (2007) by Christian Schwartz, Kris Sowersby and Erik Spiekermann. Later extensions by Ralph du Carrois and Botio Nikoltchev.
    • ITC Officina in versions Sans Book (1989-1990) and Serif Book (1989-1990).
    • Boehringer Sans and Antiqua (1996): custom types.
    • Grid, which appeared in FUSE 3.
    • Codesigner with Ole Schaefer (FontShop, 2000) of FF InfoDisplay and FF InfoText in 1997 and of FF InfoOffice in 2000.
    • NokiaSans and NokiaSerif (2002, company identity family). This was in cooperation with Jelle Bosma. Before Nokia Sans and Serif, Nokia used Rotis. Nokia Sans and Serif were replaced by Nokia Pure (Bruno Maag) in 2011.
    • Glasgow Type (1999), for the city of Glasgow, taking inspiration from the Rennie Macintosh types.
    • Heidelberg Gothic (1999).
    • Symantec Sans and Serif (2003): custom types.
    • FF Unit (2003-2004; see also here), another sans family, which won an award at TDC2 2004. This was followed by FF Unit Rounded. And FF Unit Rounded started according to Erik as Gravis, the largest Apple dealer in Germany. FF Unit Slab (2009) is the product of a cooperation between Kris Sowersby, Christian Schwartz, and Erik Spiekermann.
    • ITC Officina Display (2001).
    • FF Meta Thin Light and Hairline (2003) and FF Meta Headline (2005). Developed jointly with Christian Schwartz and Josh Darden.
    • Bosch Sans and Bosch Serif (2004).
    • The SeatMeta family (2003) for Seat.
    • DB Type in six styles (Serif, Sans, Head, Condensed, Compressed, News): designed in 2005 in collaboration with Christian Schwartz for the Deutsche Bahn (train system in Germany). Some typohiles say that it reminds them of Bell Gothic and Vesta.
    • A Volkswagen company family based on a correction of Futura.
    • The DWR House Numbers Series (2006): four fonts with numerals for house numbers: Contemporary House Numbers, Tech House Numbers, Classic House Numbers (based on Bodoni), Industrial House Numbers (stencil). DWR stands for Design Within Reach.
    • Tech (2008, FontStruct), a rounded squarish headline face.
    • Axel (2009): developed jointly with Erik van Blokland and Ralph du Carrois, it is a system font with these features:
      • Similar letters and numbers are clearly distinguishable (l, i, I, 1, 7; 0, O; e, c #).
      • Increased contrast between regular and bold.
      • High legibility on the monitor via Clear Type support.
      • Seems to outperform Courier New, Verdana, Lucida Sans, Georgia, Arial and Calibri, according to their tests (although I would rank Calibri at or above Axel for many criteria).
    • In 2012-2013, Ralph du Carrois and Erik Spiekermann co-designed Fira Sans and Fira Mono for Firefox / Mozilla. This typeface is free for everyone. Google Web Font link. Open Font Library link. It is specially designed for small screens, and seems to do a good job at that. I am not a particular fan of a g with an aerodynamic wing and the bipolar l of Fira Mono, though. Mozilla download page. CTAN link. Google Web Fonts download page. Google web Fonts published Fira Sans Condensed (2012-2016) and Fira Sans Extra Condensed in 2017.
    • In 2013-204, Erik created HWT Artz, a wood type published in digital form by P22, which is based on early 20th century European poster lettering. Named after Dave Artz, a Hamilton Manufacturing retiree and master type trimmer, the proceeds of the sales will go to the Hamilton Wood Type and Printing Museum.
    • In 2015, Fontfont published FF Real, in 13 weights each for FF Real Text and FF Real Head. This typeface family by Erik Spiekermann and Ralph Olivier du Carrois is influenced by the German grotesques from ca. 1900 by foundries such as Theinhardt and H. Berthold AG.
    • In 2022, Erik Spiekermann, Anja Meiners, and Ralph du Carrois published the neo-grotesque superfamily Case at Fontwerk. It includes Micro and Text subfamilies.

    Picture of Eric Spiekermann shot by Chris Lozos at Typo SF in 2012.

    FontShop link.

    View Erik Spiekermann's typefaces. [Google] [MyFonts] [More]  ⦿

    Erkin Karamemet
    [Studio Karamemet]

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    ErlerSkibbeTönsmann (and: Character Type)
    [Henning Hartmut Skibbe]

    ErlerSkibbeTönsmann is an agency for corporate, editorial and typeface design in Hamburg, Germany. Its main type designer is Henning Hartmut Skibbe, a German communications designer located in Potsdam and/or or Hamburg, b. 1979. He studied graphic design at the University of Applied Science Potsdam and was a typeface design student of Luc(as) de Groot. Some time around 2019, Henning Skibbe set up Character Type and joined The Type Department. Skibbe's typefaces:

    • Arctic (2006). A headline font family. Arctic Black Basic is free.
    • Haptic (2008): a sans logotype that won an award at TDC2 2009). In 2015, Skibbe followed this up with the connected brush signage family Haptic Script. In 2019, HapticScript and Haptic Pro were rereleased at his own type foundry, Character Type.
    • Nautik (2004-2006). A free calligraphic take on Courier. Image by Francisco Baudizzone.
    • News Sans (2019). Ninety styles of pure newspaper and information design type.
    • Skibfont (2002-2003). A free calligraphic font.
    • Codesigner with Johannes Erler in 2009 of FF Dingbats 2.0, a redesign and update of FF Dingbats (1993). This was followed in 2014 by FF Dingbats 2.0 UI and FF Dingbats 2.0 Inverted UI.
    • The agency did the typeface design for Sueddeutsche Zeiting in 2011-2012. Its new corporate typeface, SZ (Serif, Sans, Sans Condensed, Text, 40 fonts in all), is described as follows by Henning's codesigner, Nils Thomsen: In 2011 and 2012 I participated on the corporate typeface for the German daily, "Süddeutsche Zeitung", at the office "Bureau ErlerSkibbeToensmann". Hand in hand with type designer Henning Skibbe and art director Christian Tönsmann the different styles and weights were carefully designed. The technical part was edited by fontshop.com. SZ Text is based on Excelsior (Chauncey H. Griffith, 1931). The new typeface got narrower and the capitals smaller and lighter. To this we added lots of new details, which worked better and made it overall more efficient in tight columns and line spacing. SZ Serif is based on SZ Text and replaced the "Times" (Stanley Morison, 1931). Higher contrast and slightly narrower letter shapes makes it more useful for headline typography. SZ Sans is designed for strong headlines and replaces "Helvetica" (Max Miedinger, 1957). Simple and silent shapes gives the right touch to the neutral character of "Süddeutsche Zeitung". SZ Sans Condensed is made for tables in the sport or economy segment. It replaces FF Unit (Erik Spiekermann & Christian Schwartz, 2003-2011).
    • In 2019, Skibbe published these four editorial design font families at Character Type: News Sans Compressed, News Sans Condensed, News Sans Extended, News Sans Wide. He writes: The News Sans family was designed to allow for a maximum range of visual shades when creating a typo­graphic look, effortlessly ranging from loud and expressive, to subtle and reserved. The large x-height combined with low as­cenders and descenders allows for tight and efficient designs. All sharp corners were trimmed off to add character and a nuance of extra space. NewsSans' strokes link humanist curves with American Grotesque details and solid square stems. Make no mistake, the w and other glyphs reveal fashionista hipster ideas from the 2010s, thus moving these families a bit away from old school American grotesques. In 2020, at The Type Department, News Sans was released under the new name New Sans (Compressed, Extended). Later in 2020, Skibbe released News Serif (20 styles, three optical sizes).

    MyFonts page. Linotype page. FontHaus page. Behance link. URL for Skibbe. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Esther de Boer

    Dutch designer who created these corporate typeface with Amsterdam-based Edgar Walthert:

    • Toneelmakerij typeface (by Edgar Walthert in collaboration with Esther de Boer for the identity of the Dutch theater company De Toneelmakerij). Contains many icons.
    • This Is Africa typeface for Ghetto Radio in Nairobi.
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    Estudio CH
    [Cristóbal Henestrosa]

    Cristóbal Henestrosa (Estudio CH, Tlalpan, Mexico) is the Mexican designer (b. 1979, Mexico City) who co-founded Círculo de Tipógrafos in Mexico. He is professor at four universities in Mexico and an award-winning type designer [read on for details]. Henestrosa has a bachelor's degree in graphic communications from the National School of Plastic Arts (ENAP) of the National Autonomous University of Mexico (UNAM), where his student project in 2003 was Espinosa, and a Master's degree in typographic design from the Center for Gestalt Studies, Veracruz, August 2009, where his thesis was entitled Fondo. La familia del Fondo de Cultura Económica. He is professor of typography and type design at UNAM. He has also taught at the National Fine Arts Institute's School of Design. In 2012, Cristobal Henestrosa, Laura Meseguer and José Scaglione coauthored Como Crear Tipografias (Brizzolis S.A., Madrid, Spain). He lives in Heroes de Padierna, Mexico.

    Designer of Espinosa, mentioned here.

    Author of Espinosa. Rescate de una tipografía novohispana (México, Designio, 2005), a book about Antonio de Espinosa, a 16th century Mexican typographer, who in all likelihood cut the Espinosa type.

    The commissioned text family Fondo (2007) won an award in the TDC2 2008 competition and at Tipos Latinos 2008 (for extensive type family).

    Creator of the angry hand-printed typeface Prejidenjia (2008, with Luis Novoa).

    Speaker at ATypI 2009 in Mexico City, where he introduced the work of 16th century printer Antonio de Espinosa to the world. Espinosa Nova (2009) won an award at TDC2 2010 and a grand prize at Tipos Latinos 2010.

    Guaca Rock (2009) is a stone chisel typeface based on the logotype of the rock band Botellita de Jerez.

    Gandhi (jointly designed with Raul Plancarte) won an award at Tipos Latinos 2012.

    Soberana Sans (Raúl Plancarte and Cristóbal Henestrosa), made for the Mexican Government in 2012-2013, won an award at Tipos Latinos 2014.

    Ayotzinapa (2015, by Raul Plancarte and Cristobal Henestrosa) won an award at Tipos Latinos 2016.

    His titling typeface Royal Charter won an award at Tipos Latinos 2018. This is a digital revival by Cristobal Henestrosa based on an experimental typeface named Charter, designed yet never fully finished by William Addison Dwiggins. It is an upright italic, unconnected script typeface, whose main features are a pronounced contrast, condensed forms and exaggerated ascenders. While Dwiggins worked on this project from 1937 to 1955, he only completed the lowercase and a few other characters. However, it was used to set a specimen in 1942 and a short novel in 1946. The sources that Cristobal used for Royal Charter (and later, Mon Nicolette) were the original sketches by WAD as well as printing trails kept at the Boston Public Library, and a copy of the 1946 edition of The Song-Story of Aucassin and Nicolette. This gorgeous typeface can be used successfully in headlines, subheads and short passages of text from 12 points onwards. It was published in 2020 as Mon Nicolette at Sudtipos, where the help of Oscar Yanez was acknowledged.

    Fontsy link. Mon Nicolette also comes in a variable format with weight and optical size axes. Dafont link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Estudio Negro

    Santiago, Chile-based studio consisting of Tono Luis Rojas Herrera, Pato Patricio Arellano Lufi, Kote José Soto Buzzetti, and Paulina Reyes Naranjo. Kote Soto is the designer of the upright pencil script (school font) typeface TCL Grafito (2016, with Felipe Cceres, ca. 2005) following instructions of the Chilean Minister of Education. They made a corporate typeface called BCH for use by Banco de Chile (2016). Behance link. [Google] [More]  ⦿

    Etienne Aubert-Bonn

    Étienne is a graduate of the graphic and type design program at UQAM in Montreal. Cofounder in 2011 of Coppers & Brasses in Montreal, together with Alexandre Saumier Demers. He studied at Type@Cooper in New York and at KABK in Den Haag, The Netherlands (class of 2013). He also teaches type design at UQAM in Montreal.

    In 2012, he designed the signage typeface Sardine and the blackletter typeface Freitt. Together with Alexandre, he created Martha (a monospaced slabby grotesque), still in 2012. At The Cooper Union, he created Barapa (2012). His fonts at Coppers Brasses:

    • Double (2015, Alexandre Saumier Demers and Étienne Aubert Bonn). A retail typeface family from condensed to wide with wedge serifs, a copperplate feel, and slight flaring. Ideal for display work.
    • Canal (2015). A fantastic retail sans typeface family: Canal is a typeface family inspired by the blue collar, hard working people that were the late 19th and early 20th centuries labor force of the new continent. It is a sturdy workhorse with a wink of humanism.
    • Energir (2017). A corporate stencil typeface for Gaz Metro, now called Energir.
    • Ilisarniq (2018). Designed for the Kativik School Board---the only school board of Nunavik. The education programs developed by the school board are offered in all schools of the 14 Nunavik communities, in Inuktitut as first language and in French and English as second languages. The school board operates 17 primary and secondary schools as well as 5 adult education centers all over Nunavik. The goal was to create a modern and clean looking typeface that incorporates both the Latin alphabet and the Inuktitut Syllabics characters. The typeface family has been developed with the help of the board and the community to make sure its readability was optimal. The design has also been optimized to make sure that the color of text was similar between the two scripts. The typeface is available for free at Coppers and Brasses.
    • With My-Lan, Etienne co-designed Mammouth (2017). Mammouth is a gala on Tele Quebec where teenagers can vote for the people, events, and causes that influenced them the most during the year. This commissioned typeface family contains a heavy and an ultra-fat style.
    • Codesigner, with My-Lan Thuong of Maple Leafs (2017), a fast and aggressive typeface commissioned for the Toronto Maple Leafs as a display face to use along with their existing typefaces.
    • McGill Sans and McGill Serif (2019), custom designs for McGill University in Montreal.
    • Martha (2014, Alexandre Saumier Demers and Étienne Aubert Bonn). A retail typeface family with curvy typewriter influences, some monospaced styles and a grotesque to boot.
    • Klaus (2014). Developed for personal web and paper work.
    • Théorie (2014, Alexandre Saumier Demers and Étienne Aubert Bonn). A techno stencil typeface commissioned by UQAM's Bureau de Design for the Bâtisseurs of the science faculty award.
    • Nurraq (2013). In 2013, Etienne graduated from the Type & Media program at KABK in Den Haag. His graduation typeface is called Nurraq. He explains this Latin/ Inuktitut typeface: Nurraq is a multi-script typeface system that matches a Latin serif text typeface with a Canadian aboriginal syllabics character set for the Inuktitut language. The very different nature and origin of these two scripts creates an interesting context for both typefaces to share influences coming from each other's tradition, and, by doing so, bridging the gap that usually separates these two forms of writing. Nurraq won an award in the Morisawa 2014 type competition.
    • Compass (2013). A revival based on the early drawings of Monotype Plantin series 110 by Frank Hinman Pierpont and Fritz Stelzer.
    • MLS Soccer (2012). A handcrafted custom typeface by Alexandre Saumier Demers and Étienne Aubert Bonn, commissioned by Sid Lee.
    • Triade (2016). A heavy titling or display typeface with tons of personality.
    • Hochelaga (2012-2017). In cooperation with Feed Type. An all caps sans inspired by old street signs in Montreal.
    • Bookmark (2020). A 2-style geometric sans made for the Canadian mobile company Fizz.
    • In 2020, Etienne Aubert Bonn and My-Lan Thuong co-designed Baryton at Coppers and Brasses, a revival of Frank Bartuska's playful photo era didone typeface Century Bartuska.
    • Agena and Agena Display (2021). A large display sans family with many hipster traits.
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    Eugen Papen

    Chisinau, Moldova-based designer of the dusty textured bespoke typeface Ramuri (2018) for the Romanian Ramuri brand of clothing. [Google] [More]  ⦿

    Everythinks

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

    Behance link. [Google] [More]  ⦿

    Extratype (was: Textaxis)
    [Iñigo Jerez Quintana]

    Textaxis was Spanish/Catalan foundry run by Barcelona-based Iñigo Jerez Quintana since 1995. In 2015 it was renamed Extratype. Iñigo Jerez's beautiful typefaces include Eina (2013, first designed as a corporate typeface fpr the EINA school in Barcelona), ASM (2013, Type O Tones: ASM stands for the Santa Monica Arts cultural center in Barcelona, where the monospaced typeface ASM has been in use as the custom typeface from 2008 onwards), Poster (2013, plus Display and Monster styles: a fat excessive didone family published by Type O Tones), Scozia (2011, didone), Amy, CX Type, School (fat octagonal face), Hidalgo, 112 Type, Point (2011, rounded typewriter family), Papers (2011, a fat fashion mag didone display family), Slim (2011), Batin (2005, neat garalde family), Palo (2000), Dinamo (1999), Oneline (1998), On Serif (2001), On Sans (2001; with On-Serif, a winner at Bukvaraz 2001), Blok (2004, poster face), Blak (heavy version of Blok), Track (2004, octagonal), Plus (2004, octagonal), Bonus (2004, ink trap face), Interfunktionen (2004, old typewriter), SuiteSerif (2003), Xquare (2003), Interpol (2002), Maeda (2002), Luomo (2002), Borneo (2002), Suite (2001), Self (1999, sans family), Valeria (1997, liquid serif), Inercia (1995, a rounded organic sans done at Garcia Fonts), Latina Sans (1998, a winner at Bukvaraz 2001), Latina Serif (1998), Textaxis (2000, sans).

    Typefaces either made or extended in 2015 when the company was renamed Extratype: ASM (an industrial monospaced sans: ASM stands for the Santa Monica Arts cultural center located in Barcelona where ASM was the corporate typeface from 2008-2013), Blak (a chubby typeface originally designed for the now defunct magazine Suite), Poster (a fat face family, i.e., with ultra-black didone excesses and high contrasts).

    In 2020, he released the 56-style text family Chamberi (co-designed with Francisco Torres) and wrote: Chamberí is designed to be Vogue Spain's bespoke typeface. An ambitious typographic branding project made for one of the most iconic magazine headers of the world, it defines the Spanish edition's personality through a blending of the functionality of 19th century modern romans (also known as Scotch typefaces) and the gestural expressiveness of typographic Baroque. Chamberi is a peculiar combination of the rational and the delicate, the sturdy and the feminine. It is offered in Text, Headline, Display and (fashion mag) Super Display sub-families.

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

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

    Eyal & Myrthe
    [Eyal Holtzman]

    Eyal Holtzman (Den Haag, The Netherlands) is a graphic and type designer who was born in Haifa, Israel in 1969. He studied at the Royal Academy of Art in The Hague, and teaches typography and graphical arts in various places. He set up Studio Eyal and Myrthe together with Myrthe Stel.

    Eyal Holtzman has designed many corporate and some retail typefaces. typefaces for clients such as The Enschedé Font Foundry and Nationale Nederlanden. His work has been exhibited in many places, including in Museum of the Book---Meermanno in Den Haag.

    MyFonts writes: In the book Ha, daar gaat er een van mij! (Hey, there goes one of mine!, a chronicle of graphic design in The Hague from 1945 to 2000, 010 Publishers, Rotterdam 2002) he is called "one of the most idiosyncratic letter talents from The Hague" and in Dutch Type (010 Publishers, Rotterdam 2004) expert Jan Middendorp describes his letters as being "among the most original alphabets produced in the Netherlands", (...) "tapping into an idiom that no other type designer working in the Netherlands has ever used".

    His typefaces:

    • Normandia. Done during his studies at KABK.
    • Joel (Book, Display). Done during his studies at KABK.
    • Jerusalem (1996). A Latin / Hebrew font that attempts to harmonize the two scripts. This design was part of Eyal's post-graduate type design project at the KABK in 1996 and was later exhibited in Meermanno.
    • Rain Birds. Done during his studies at KABK.
    • Dille & Kamille. A handwriting font commissioned by a retail chain.
    • Soya. A potato cut font done for a book about artist Allie van Altena.
    • Rosart. A collaboration with The Enschedé Font Foundry. A revival of the Two Line English Body Rosart, designed in the 18th century by the Belgian type cutter Jacques François Rosart (1714-1777). This revival, based on original type specimens from the J. Enschedé collection, aimed to interpret the spirit of the original design as faith­fully as possible. Irregularities in the design had to be kept.
    • Staring. A revival of the unknown font used in the poetry book Gedichten van A. C. W. Staring (published by Nicolaas Beets in Zutphen, undated).
    • OD 1 2 3. A typeface commissioned by design and advertising agency OD in Rotterdam. The three fonts have identical spacing and can thus be superimposed. Text set this way emulates adhesive tape.
    • Sympatico (2016). A special design for the supermarket chain Jumbo, to replace Jumbo The Sans. That work was commissioned by Niels Alkema. The font is in use by the professional bicycle racing team Lotto NL Jumbo.
    • Douche (2006). A rounded monolinear sans done originally for the visual identity of theater festival <>Mooi Weer Spelen in Delft. This font mixes upper and lower case, all basically of the same height.
    • Kristal (2015, at Bold Monday). This 8-style book typeface with calligraphic roots was published in 2021. It is accompanied by kaleidoscopic ornaments and open caps that are ideal for monumental lettering.
    [Google] [MyFonts] [More]  ⦿

    Eyal Holtzman
    [Eyal & Myrthe]

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    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]  ⦿

    Fabian Harb

    Dinamo is a Swiss type foundry established by Johannes Breyer and Fabian Harb after graduation from schools in Zurich, Basel and Amsterdam. Johannes and Fabian are visiting teachers at the Estonian Academy of the Arts, Tallinn and regularly teach at UDK Berlin and University of Applied Sciences, St. Gallen. Their typefaces:

    • Favorit (2014). A basic sans family by Johannes Breyer and Fabian Harb. It was extended to Favorit Hangul by Mingoo Yoon in 2019.
    • Grow (2013). An experimental collaborative font family. Many of the members are multilined and even prismatic.
    • The heavy sans typeface Heureka (2009-2013).
    • Pareto (2016). Western style typefaces.
    • In 2019, Johannes Breyer, Fabian Harb and Erkin Karamemet released Whyte and Whyte Inktrap at Dinamo.
    • ABC Maxi (2020, Dinamo). An experimental hipster-inspired gemetric sans family designed by Dinamo (Johannes Breyer and Fabian Harb) and Andree Paat).
    • In 2020, Fabian Harb and Seb McLauchlan co-designed the extensive grotesque family Marfa at Dinamo. Marfa contains a monospaced subfamily, and comes with two variable fonts.
    • Custom typefaces for Kunsthalle Zurich (CH), Warp Records (UK), Elton John (US), Yale Architecture (US), Manifesta 11 (CH), Harvard Graduate School of Design (US), Universal Music (GER), IBA Thüringen (GER), Festival B:om (KR), Gagosian Gallery (US), Planet Mu/Knives (GER/UK), LayTheme (GER) or the German, Estonian and Cyprus Pavillions at the 55th and 56th Venice Biennale.
    • ABC Social done with the Dinamo team in 2021 as a retail version of a custom typeface designed by Fabian Harb and Tina Gabriel for the Australian periodical The Monthly in 2017. Harb writes: Dinamo's co-founder Fabian Harb himself first penned ABC Social as the custom display font for The Monthly, Australia's left leaning independent periodical covering politics, society, and culture. Over many years and many time zones, our super team has now extended it in all directions and for widespread release: Malte Bentzen worked on the very light styles, Fabiola Mejía on its monospaced family, Wei Huang on the regular and bold styles, Erkin Karamemet on Italics, with Rob Janes completing the mastering and production work.

    Johannes Breyer. Fabian Harb. [Google] [More]  ⦿

    Fabio Biesel
    [SFB Fonts (or: Studio Fabio Biesel)]

    [More]  ⦿

    Fabio Haag Type (was: ByType, and: Foco Design)
    [Fabio Luiz Haag]

    Fabio Haag Type is Fabio Haag's type foundry in Brazil. Earlier, he ran ByType, the type subdivision of Foco Design, and worke for Dalton Maag's Brazilian division. Fabio Luiz Haag (b. 1981, Taquara, Rio Grande do Sul) is located in Sapiranga, Rio Grande do Sul.

    Fabio Haag designed FH After (2006, futuristic display typeface to which After Text and After Headline were added in 2007), FH Foco (2003) (a large x-height sans), this futuristic typeface (2003), and Minas Headline, a custom family made for the government of Minas Gerais. He was working on this display font (2005).

    In 2006, Foco became a Dalton Maag Ltd font family, and Fabio Haag became the new Creative Director of the Brazilian wing of Dalton Maag in 2008. MyFonts sells Foco and Foco Corp (2007).

    Designer (with Jonas Schudel) of a grotesque sans at Dalton Maag, 2007-2009, called Effra, which was inspired by a 1816 design from the Caslon font foundry. Discussion at Typophile. Followed in 2013 by Effra Corp (Dalton Maag) which also supports Greek and Cyrillic.

    In 2007, he created the organic sans typeface IronThree.

    Cordale (2008) is a workhorse serif typeface jointly done with Lukas Paltram at Dalton Maag. Cordale Corp, the corporate edition, includes Latin Extended A, Greek and Cyrillic characters sets. Cordale Arabic was published in 2013.

    In 2009, Foco Italics was published.

    At ATypI 2009 in Mexico City, he spoke about Dalton Maag and about the elements necessary to make it in the type business today.

    In 2012, the Dalton Maag Brazil team designed the font for the Rio 2016 Olympic Games The 5448-character connected script font Rio2016 was developed by Dalton Maag Brazil, and involved a team that includes Fabio Haag, Fernando Caro and Gustavo Soares. Beth Lula is the Branding Director of the Rio 2016 Olympic and Paralympic Games Organising Committee. Passages of the press release: Each letter expresses a characteristic of Rio 2016 Games, its people and city. The letters are written with a single continuous linework, with a fast and fluid movement, suggesting the movements of the athletes in action. The variety of curves in the letters has a unique informality, inspired by the joyfulness of the Brazilian people. Fabio Haag: As a Brazilian typophile, designing the Rio 2016 font was a dream job. This is a milestone for the design scene in Brazil---it's a great example of how type designers can collaborate with graphic designers, sharing their expertise to strengthen an identity.

    In 2013, Fabio designed Almaq, a pair of sans display typefaces in cuts called Refined and Rough.

    Codesigner with Bruno Mello, Fernando Caro, Rafael Saraiva and Ron Carpenter of Soleto (2014, Dalton Maag), a sans typeface that won an award at Tipos Latinos 2014.

    Setimo (2015) was co-designed by Fernando Caro, Ken Gitschier, Fabio Haag and Lukas Paltram at Dalton Maag, and won an award at Tipos Latinos 2016.

    In 2016, Fabio Haag published Lembra (a sans that was created specifically for branding, characterized by tapered terminals) at his new type foundry, Fabio Haag Type, set up after he left Dalton Maag after eight years. Fabio Haag Type grew in 2020 to a team of four, now also including Ana Laydner, Henrique Beier and Eduilson Coan. In 2019, a variable font option was added top Lembra.

    In 2017, he designed the 28-unit legible humanist sans variable font family Margem (Fabio Haag Type), which includes a yummy Rounded subfamily. Still in 2017, he developed the sans typeface Sua, which as a variable option.

    In 2018, he published pictograms for SporTV, a forceful constructivist font for the World Cup 2018 also for SporTV and Furacão (for Atletico Paranaense).

    Typefaces from 2019: Suzano Sans (a commissioned rounded branding typeface done for Suzano).

    Typefaces from 2020: Margem (a fine 7-style rounded sans family by Henrique Beier, Ana Laydner and Eduilson Coan).

    Typefaces from 2021: Seiva (by Henrique Beier, Eduilson Coan and Fabio Haag: a distant relative of Didot, this exotic sans family is partitioned into Text, Display and Poster subfamilies, and welcomes variable font technology), Salva (2021, Fabio Haag Type). A versatile workhorse sans family: Eduilson Coan was the lead designer. He was assisted by the Fabio Haag Type team of Henrique Beier, Ana Laydner and Fabio Haag himself.

    View Fabio Haag's typefaces. Fabio Haag Type. [Google] [MyFonts] [More]  ⦿

    Fabio Luiz Haag
    [Fabio Haag Type (was: ByType, and: Foco Design)]

    [MyFonts] [More]  ⦿

    Fabrizio Schiavi
    [Fabrizio Schiavi Design (or: FSD)]

    [MyFonts] [More]  ⦿

    Fabrizio Schiavi Design (or: FSD)
    [Fabrizio Schiavi]

    Fabrizio Schiavi was born in Ponte dell'Olio in the Piacenza province in 1971. FSD Fabrizio Schiavi Design in Piacenza was opened in 1998. With Alessio Leonardi, he co-founded Fontology. He also co-launched the experimental graphics magazine Climax in 1994.

    Bio at FontFont where he made FF Mode 01, FF 0069, FF GeabOil, FF9600, FF Trade 01, FF Steel Mix, FF Steel Ring, FF Steel Jones.

    [T-26] designer of D44 (1994), Lithium (1994, dingbats), Moore895 (1994), Moore899 (1994), Sidewalker (1994), Exit (1988). Many of his typefaces are grungy such as Washed (1994). Some are minimalist, such as Monica Due (1999), Monica (1999), and Eco (2001, developed from a logo in the 70s for Ageco). The latter three fonts are very geometric in nature.

    Other fonts: Washed (1994), Parakalein, Aurora Nintendo (1995), Aurora CW (1995), Mode01 (1995), GeabOil (1995), 9600/0069 (1995), Fontology (1995), CP Company (2000: a corporate sans), FSDItems (2001), FSDforMantraVibes (2001), Pragmata (2001, monospace, designed for programs), PragmataFlash (2002, a pixel font), Pragmata Pro (2011, still monospaced), Sys (2002), SysFlash (2002, a pixel font), Sys 2.0 (2012, a condensed sans designed for very small print), Virna (2003, a multiline typeface for Italian MTV, discussed here). The Pragmata and Sys series were optimized for screen usage. In addition, Sys has many ink traps, so it prints well at small sizes, and is more legible than Verdana.

    He does some custom typeface design, such as the innovative sans serif family called CP Company (2000). Other clients include Al Hamra Complex Kuwait, Nike, MTV, YU, Beretta, Abitare magazine, Ferrari and Philip Morris.

    In 2007, he produced a stencil and signage font, Siruca (see also here), for the Al Hamra Complex, one of highest skyscrapers in the world, located in Kuwait. Siruca Pictograms (2008) is free. In 2015, he followed that up by a non-stencil rounded sans called Sirucanorm: Designed using golden ratio formulas, it's inspired to DIN and Isonorm typeface.

    In 2013, he published Sys Falso, Abitare Sans (30 weights, originally commissioned by the group Rizzoli Corriere della Sera. Abitare is an Italian magazine).

    Typefaces from 2014: Nove (a German expressionist typeface inspired by B movie typography: Nove freshly reworks exploitation film era movie poster lettering, refitting the genre to a contemporary audience. The expressive typeface was done for a Nike Italy spoof campaign featuring 1970s cult film director Enzo Castellari and a recently found film reel from his archives, featuring several current Italian athletes and American basketball star Kobe Bryant).

    The rounded sans typeface Widiba Bank (2015) was co-designed with Jekyll & Hyde in 2015 for the brand identity of the new bank of Gruppo Monte dei Paschi di Siena.

    In 2016, he designed the custom corporate typeface R&M in art nouveau style.

    In 2020, he released the (variable) retail version of CP Company called oook.

    In 2021, he released Nure (a 54-style sans font family that includes a three-axis (weight, optical, width) variable font).

    At ATypI in Rome in 2002, he spoke about the need for more fonts.

    Hellofont link. FontShop link. Font Squirrel link.

    Showcase of Fabrizio Schiavi's typefaces. [Google] [MyFonts] [More]  ⦿

    Familjen Sthlm
    [Isabelle Rudström-Österlund]

    Advertising and design-bureau located in Stockholm, Sweden, est. 2011. As part of their business, they design principally custom and corporate typefaces. These include Vasakronan Serif (2019: design lead Isabelle Rudström-Österlund), AIK Display (2021, with a vintage feel), Karnov Display (2021, an angular lapidary typeface for Norstedts Juridik), Northvolt Grit (+Italic) (2021, for the Swedish battery maker), Ica Rubrik Black (2021), Vattenfall Bold (2021).

    Designers of the free sans font family Familjen Grotesk (2022, a multi-style inktrapped variable font family by Anders Wikstroem, Jonas Baeckman, Matilda Gysing and Kristian Moeller; Google Fonts). Github link for Familjen Grotesk. [Google] [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]  ⦿

    Federico Salesi

    For a branding project for BIG4 streetball, a 3x3 basketball tournament based in La Spezia/East Coast Liguria, Federico Salesi (Florence, Italy) designed the cool custom font Big 4 Streetball (2018). [Google] [More]  ⦿

    Feliciano Type Foundry
    [Mário Feliciano]

    Feliciano Type was established in 2001 by Mario Feliciano. The foundry's main design studio in Lisbon, Portugal, with two additional offices, in Povoa de Varzim, Portugal, and in The Hague, Netherlands. Mário Feliciano (b. 1969, Caldas da Rainha, Portugal). Feliciano studied graphic design at IADE, Lisbon, and began working as a graphic designer at Surf Portugal magazine in 1993, where he stayed as art director until 2000. In 1994 he founded the design studio Secretonix in Lisbon. He has been heavily involved in type design since. In 2005, he joined the type coop Village. John Berry reviews Mario's oeuvre. His gorgeous creations include the following:

    • Escrita ([T-26], a great calligraphic font), Gazz (1997, in Regular, Paint and Stencil styles), MexSans (1997, [T-26]), Aurea Ultra (1997, [T-26]), Bronz (1997, [T-26]), Cepo, Tpac family (1996, [T-26], under the name Mariachi Fontexperience), Strumpf (1994, comic book font family at Adobe), Caligrafia Debula (1997, PsyOps).
    • Geronimo (2010, Enschedé; not to be confused with an earlier 2005 font at Canada Type called Geronimo) was started in 1997. He says: Geronimo is a historical revival, a digital interpretation of the types cut by Geronimo Gil in Spain in the eighteenth century. In fact it is not only the first digital version, but as far as I can tell it is also the first typeface family ever designed using Gil's types as a model. Working in Madrid, Geronimo Gil produced an enormous collection of very interesting and idiosyncratic types that can be found in Muestras de los Nuevos Punzones y Matrices para la Letra de Imprenta executados por Orden de S.M. y de su Caudal destinado a la Dotacion de su Real Biblioteca, a specimen from 1787. It shows titling and text typefaces both in italic and roman styles. His typefaces are not only very Spanish but they are also very sophisticated when compared to the ones of contemporaries such as Eudald Pradell and Antonio Espinosa. Geronimo's typefaces have a sense of modernism but they are not modern in a Bodoni or Didot kind of way. Yet they are actually very old style---particularly the lowercase letters--but with reduced contrast and a generous x-height. Even in the bigger cuts, ascenders and descenders are not long but appear to be even shorter than in text sizes. This creates a kind of rolling effect while reading.
    • He is working on Espinosa, and Eudaldo (a typeface in the style of and apparently predating the successful Pradell by Andreu Balius Planelles).
    • MyFonts sells BsLandscope, BsMonofaked (octagonal), BsKombat (1998), BsLooper (stencil), BsArchae, BsRetchnov (constructivist), BsMandrax (octagonal).
    • Stella (2001, a humanist sans family with 26 weights). FTF Stella 2 is a 2005 upgrade of this family.
    • The 14-weight Rongel serif family (1998-2004, updated in 2005 as FTF Rongel V2) is his best work. Feliciano states: an interpretation of the types showed in eighteenth century's Spanish catalogue: "Muestras de los Punzones y Matrices de Letra que se funde en el Obrador de la Imprenta Real, Madrid, Ano de 1799", and titled with the name Rongel, whom I suppose, cut them. Another example of these types can be found in "Las Eroticas, y Traduccion de Boecio" by Villegas and printed by António de Sancha in Madrid, 1774.
    • Atanasia. Based on a 1771 example by Antinio Espinosa. That same semi-calligraphic example was also used by Carlos Winkow in his famous Elzeviriano Ibarra at Richard Gans's foundry.
    • Salustiana. Based on a 1772 type by Antonio Espinosa. Ibarra used that typeface to print Salustio in 1772.
    • Monteros (1998-). Based on a 1799 type at Imprenta Real in Madrid.
    • In 2003, he won an award for the extensive FTF Morgan family at the TDC2 2003 competition (subfamilies have suffixes Avec, Sans, Sans Condensed, Big, Poster, Poster Avec and Tower). Morgan Sans was originally developed in 2001 with 44 weights. Each version of Morgan has multiple weights as well---for example, Morgan Big (2001) is a 12-weight titling family. Avec denotes Slab Serif.
    • FTF Grotzec Headline Condensed (1998, created for Surf Portugal magazine), Grotzec More.
    • FTF Merlo (1998-2009): an interpretation of the 18th century Spanish types cut by Ismal Merlo.
    • FTF Flama (2002, a neutral sans in 50 styles). Flama is used, along with Greta Text and Sunday Times Modern, by the Sunday Times.
    • FTF Garda Titling (1998-2005): an exceptional caps only family with both serifed and sans inscriptional (Trajan) letters.
    • Eudald News (1998-2009, Vllg).
    • Sueca (2009): a new typeface for the Swedish newspaper Svenska Dagbladet, which writes: Sueca is a family of serif, slab, sans serif, text typeface and typeface for listing. The idea behind Sueca is to be able to talk with the same clear voice but be able to change the tone of voice in different section. During the work with developing Sueca, SvD had help from the design consultants Palmer Watson from Edinburgh, Scotland as the second opinion.
    • Villeneuve (2010-2017).
    • Marcin Antique and Marcin Typewriter (2017, Vllg). A slightly modulated contrasted, almost Peignotian, pair of typefaces, based on types shown in Gustave Mayeurs's 1894 and 1912 catalogs.
    • Mazagan (2019, Vllg). Mazagan gets its inspiration from Marocaines, a novelty type reproduced in the Fonderie Mayeur Type Specimen (Paris, 1912). The face is also featured in other specimen books of the same period, including the FTF (Fonderie Typographique Française) specimens that show a narrower version.
    • Crisol (2019). An art deco stencil influenced by Futura Black (1929) and Braggadocio (1930).
    • Parnaso (2019), classified as neo-Elzevir.
    • Optional (2020-2021). A contemporary elliptical high contrast sans serif available in five weights.
    • Hiper Sans (2021). A wide sans in four styles.
    • Korrodi (2020). A monolinear version of Otto Weisert's art nouveau typeface Arnold Böcklin (1904), named after Portuguese (Swiss-born) architect Ernesto Korrodi (1870-1944).
    • Miletus Grotesk (2021). A contemporary grotesque inspired by Standard Gothic (Keystone Foundry, circa 1906).
    • Parafina (2021). An art deco sans remotely inspired by a hand-lettered display-sized alphabet dating back to the mid-20th century by Spanish letterer Miguel Pedraza.
    • Penina (2021). A single weight elegant and delicate serifed typeface that is based on some of the work of William Hugh Gordon (1860s-1920). Penina comes in three contrast grades: Small, Medium and High Contrast, plus a variable font.
    • Rotep (2020; in Alvor and Bornes versions). A ten-style collection of all-caps typefaces inspired by the lettering used through the ROTEP (Roteiro Turistico e Economico de Portugal) map collection, a mid-century Portuguese map collection of almost 300 maps published for almost two decades.
    • Grosa and Grosa Mono (2020-2021). A 12-style modernist sans serif designed originally as the main typeface for Feliciano's website.
    • Sebenta (2020-2021). A take on bthe Clarendon genre.

    Feliciano designed custom typefaces for the Portuguese weekly newspaper Expresso [a font called Expresso], for the Swedish newspaper Svenska Dagbladet [a font called Sueca], for the Spanish newspaper El Pais [a font called Majrit] and for Banco Espirito Santo [a font called BesSans].

    Klingspor link. FontShop link. MyFonts interview.

    View Mario Feliciano's typefaces. [Google] [MyFonts] [More]  ⦿

    Felipe Casaprima

    Brazilian graphic and type designer, who co-founded Naipe Foundry with Alvaro Franca in Rio de Janeiro in 2018. A graduate of ESDI Cartapaccio, Felipe has interned at Coppers & Brasses in Montreal. He is also associated with Rodrigo Saiani's type foundry Plau. In 2021, he was located in Perth, Australia.

    In 2020, Naipe released Pacaembu. Advertized as a tropical art deco sans, this seven-style sans serif typeface by Alvaro Franca and Felipe Casaprima finds its roots in Brazilian soccer. In particular, it took inspiration from the stone lettering found in the 1940 art deco style Sao Paulo Municipal Stadium, also known as Estadio Pacaembu. A variable style is included.

    Carlos Mignot and Felipe Casaprima designed the corporate family iN Serif and iN Sans (+Mono) for iN Consultoria de Marcas in 2021.

    Naipe published Discordia in 2021. Discordia is an experimental type family with various styles of contrast; by Felipe Casaprima and Alvaro Franca; and a Hebrew extension thanks to Ben Nathan.

    Future Fonts link. [Google] [MyFonts] [More]  ⦿

    Felipe Feitosa

    Designer in Sao Paulo. He created the bone-themed font DVCO for a skateboarding company in 2015. [Google] [More]  ⦿

    Fernanda Martins

    Brazilian type designer in Belem, Amazonia who studied at Sao Paulo University, the Basel School of Design (with Wolfgang Weingart and André Gürtler), and UFPA (where she obtained a Masters in vusual culture). She has a PhD in History of Design in ESDI/UERJ, where her thesis was Printing in Para from 1820 to 1910. She does corporate type in general and is the CEO of Mapinguari Design in Belem, a small design business curating, for example, the Floating Letter project.

    Fernanda created the beautiful Bananas font (2001, letters shaped with bananas), Brasilia (1995, a sans face), the highwage signage typeface Graal (1998), Transbrasil (1999/2000) and Alphanumer (2000, some letters are replaced by mirrored or rotated numbers). She is working on the sans family FM Ruben (2001), which was started in the sixties by her father, Ruben Martins, who died in 1968. Brief CV. Speaker at ATypI 2018 in Antwerp. [Google] [More]  ⦿

    FF3300
    [Alessandro Tartaglia]

    Italian design studio run by Alessandro Tartaglia, graphic designer, strategist for FF3300, and professor at Politecnico of Bari.

    Mariarosaria Digregorio and Enzo Ruta are the creators in 2007 of the techno typeface FF3300 Type. FF3300 is also an independent and freely downloadable pdf magazine about graphic design, typography, architecture and design, illustration, photography, street art and writing.

    Tartaglia's typefaces include minimalist experimental types such as Valdrada (2007), Ipazia (2007) and Zoe (2007), as well as ISIA (custom-made for ISIA in Urbino; slabbed and slabless simple glyphs) and Handwriting (a commissioned grunge typeface for the Pollofriabile magazine in Rome).

    FF3300 created the Divenire typeface for the Italian Democratic Party. The weights are Divenire Roman, Divenire Italic and Divenire Mono (2012-2013). Subpage. Another subpage.

    Blog. Story of FF3300. Facebook link. [Google] [More]  ⦿

    Filthymedia

    British studio located in Brighton. Creators of the oily display typeface Filthy Black Italic (2011). Filthymedia is mainly into identity and corporate type. They created the sturdy typeface Filthy Seagull Display for the Premier League Football Club Brighton in 2018, and the multiline Filthy Threeway Display for Adidas, also in 2018. In 2019, they designed Filthy Altitude Display for The North Face. Other typefaces include Filthy Blacksmith Display (for Patagonia), Filthy Daylight Display (for Kodak), Filthy Duke Display (a stencil font for Ben Sherman), and the grungy Filthy Desert Display. Hype For Type link. [Google] [More]  ⦿

    Firebelly Design

    In 2016, Firebelly Design, Will Miller and Ross Burwell, all located in Chicago, co-designed the corporate identity font Flor Mono. Behance link. [Google] [More]  ⦿

    Florian Klauer
    [Fonts With Love (was: Heimat Design)]

    [MyFonts] [More]  ⦿

    Floris
    [Lucas de Groot]

    In 1999 Lucas de Groot was commissioned to design a new headline face for the French daily Le Monde. In 2001, this typeface won an award in ATypI's worldwide Bukvah:Raz! type design competition. de Groot explains: The Le Monde typeface was further developed, resulting in Floris LM, a rather narrow display face in six weights with pronounced vertical stress. Its condensed structure and expressive shapes allow for economic yet attention-grabbing headline setting. In 2007, Floris was redrawn as part of a drastic redesign of the German weekly Jungle World. Floris JW is a headline family in weights, from ExtraLight to Black. The Jungle World project also resulted in Floris Text, a new typeface for publications, which is still under development.. The Floris font has been developed along fours axes, with sixteen masters in all. Retail styles include Floris SP and Floris Text. [Google] [More]  ⦿

    Folch Studio
    [Albert Folch]

    Albert Folch established Folch Studio in Barcelona in 2004. Folch Studio's typefaces:

    Typecache link. [Google] [More]  ⦿

    Fonts in iPhone and iPad apps

    A certain "LeFly" (first name Arthur) wrote this about finding fonts that are used by iPhone or iPad applications:

    Many iOS (iPhone, iPad) apps contain ttf or otf fonts, either to add choice over the standard iOS fonts (for instance apps that allow one to set text on photographs or greeting cards), or to apply a corporate identity to the app. Most of the time it's really easy (like, unzip-the app-and-open-a-folder easy) to get to these fonts. Most fonts I found are more or less known freeware stuff, and therefore not too interesting, but some are from commercial foundries and sometimes they are even non-available custom corporate fonts. In about an hour I was able to find and extract several fonts from legitimate and free corporate apps. Actually, most of that time was spent trawling the AppStore to find apps that might have interesting fonts inside.

    He then proceeds with this list:

    [Google] [More]  ⦿

    Fonts With Love (was: Heimat Design)
    [Florian Klauer]

    Heimat Design in Lage (Bielefeld), Germany, is the design studio and foundry of Florian Klauer, who set up Fonts with Love in 2015.

    . In 2010, Florian made the monoline sans typefaces Florin Sans (2010) and Heimat Grotesk that are characterized by their large x-heights.

    Iconized (2013) contains more than 220 icons like arrows, filetype, media, eCommerce, network and devices, contact, service navigation and social network-icons.

    Klartext Mono (2014) is a monospaced monoline sans with a large x-height and superelliptical curves.

    In 2016, he published the text typeface family Ethos.

    In 2017, he designed a corporate typeface for the German sports channel Sport1.

    Klingspor link. Behance link. Fontspring link. Old Heimat Design link at MyFonts. Florian Klauer's personal page. [Google] [MyFonts] [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.
    [Google] [MyFonts] [More]  ⦿

    Ford Fonts

    One of the house fonts of Ford, Ford Extended, which is based on Helvetica, was designed at FontShop.

    Ford Antenna Extra Cond (see here) was designed in 2007 by Cyrus Highsmith for The Font Bureau. [Google] [More]  ⦿

    Fran Berney

    Graphic designer who creates custom fonts. Located in Seattle, WA. Behance link. [Google] [More]  ⦿

    Francesco Mistico Canovaro
    [Zetafonts (or: Studio Kmzero, or: ZeroFont)]

    [MyFonts] [More]  ⦿

    Francesco Zorzi

    Florence, Italy-based illustrator. Designer of Ovo (2014), a font designed to be used for the cultural institutions of the town of Montevarchi, Italy. Its shapes are influenced by the architecture of the medieval town, and is based on arcs and a grid. Behance link. [Google] [More]  ⦿

    Franco Jonas
    [Frncojonastype]

    [MyFonts] [More]  ⦿

    Fraser Tebbutt

    Auckland, New Zealand-based designer of the rounded typefaces Rimu (2017, a geometric sans) and Rata (2017), and the condensed headline sans typeface Duke (2017).

    Black Sans (2017) is a versatile geometric sans-serif designed and produced for TVNZ to use across their brand assets on air, on line and on their new building including TVNZ 1, TVNZ 2, TVNZ Duke, TVNZ On Demand, and TVNZ Corporate. [Google] [More]  ⦿

    Fresco Type

    Digital type studio in Santiago de Chile run by by Francisco Galvez Pizarro and Rodrigo Ramirez. Their typefaces:

    • gobCL (2010). A type system develped in 2010 for the Government of Chile.
    • Nicanor (2008). A custom typeface based on the handwriting of the anti-poet Nicanor Parra, for the documentary Retrato de un Antipoeta. The film was directed by Victor Jimenez and the art direction was by Maria Eugenia Navarro.
    • Elemental (1997-2001). Images: i, ii, iii.
    • Mayorista 10 (2010). A grotesk corporate typeface for the To-Kio brand. Plus food-related pictograms.
    • La Cuarta (2009). A sans typeface for La Cuarta, the most popular Chilean newspaper.
    [Google] [More]  ⦿

    Frncojonastype
    [Franco Jonas]

    During his studies at the Metropolitan Technological University of the State of Chile, Santiago (2013-2017), Chile-based Franco Jonas Hernandez created the lively text typeface Neftali Pro (2015, Tipotype). He also studied at Pontificia Universidad Catolica de Chile, class of 2015, and at UNAM in Mexico City, class of 2017. In 2020, he set up Frncojonastype.

    In 2017, he and Rodrigo Araya Salas (Rodrigo Typo) co-designed the meaty sans display typeface Loyola Pro and the comic book typeface Pintanina. At W Foundry, he published Platz Grotesk (2017).

    Typefaces from 2018: Squick (a comic book / children's font family by Franco Jonas, Andrey Kudryavtsev and Rodrigo Araya), Glatt, Tobi Pro (with Rodrigo Araya Salas and Andrey Kudryavtsev at Rodrigo Typo), Loyola Round Pro (by Rodrigo Araya Salas and Franco Jonas), Nuby (with Rodrigo Araya Salas and Andrey Kudryavtsev at Rodrigo Typo).

    His text typeface Ticerz won an award at Tipos Latinos 2018.

    In 2018, together with Ale Navaro and Raul Israel, he set up The Compania Tipografica de Chile, where he promptly published Passiflora (2018), a unicase rounded brush font inspired by facade inscriptions co-developed with Valentina Pino. Ding (2018) is a great fattish cartoon font that was co-designed by Rodrigo Araya Salas, Andrey Kudryavtsev and Franco Jonas. See also its extension, Ding Extra (2019).

    Typefaces from 2019: Fonty (a creamy script), Clarence Alt (a an almost bubblegum children's book sans by Franco Jonas, Rodrigo Araya Salas and Andrey Kudryavtsev), Nacho (a Mexican party font by Rodrigo Araya and Franco Jonas), Ryman Gothic (2019, by Diego Aravena Silo and Franco Jonas at W Foundry: inspired by Edwin Allen's wood types and Morris Fuller Benton's gothics).

    Typefaces from 2020: Clarence Inline (a plump informal typeface family by Rodrigo Araya Salas and Franco Jonas Hernandez), Ancoa Slanted (an angular display family in 15 styles; by Andrey Kudryavtsev, Rodrigo Araya Salas and Franco Jonas Hernandez), 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), Ancoa (an angular 19-style layerable typeface by Andrey Kudryavtsev, Rodrigo Araya Salas and Franco Jonas Hernandez).

    Typefaces published at Frncojonastype:

    • fj Trance (2020). A reverse contrast Egyptian by Rodrigo Araya Salas, Franco Jonas, Valentina Faundes and Jorge Morales Salas.
    • fj Meduza (2020). A 26-style decorative didone-based typeface family.
    • fj Platz Groteske (2020). A large neo-grotesk family with wide spacing.
    • Willner (2021). A 5-style display sans by Rodrigo Araya and Franco Jonas.
    • Clarence Pro (2021). A vernacular supermarket font by Rodrigo Araya Salas and Franco Jonas Hernandez.
    • Alabaster Antique FJ (2021). A paella of styles mixed together in a smorgasbord of rijsttafels.
    • Proud Grotesk (2020). A custom typeface for a new brand for Pivovar Proud Brewery in Plzen, Czechia.
    • Rinno (2021). A rounded geometric display family by Rodrigo Araya Salas and Franco Jonas Hernandez.
    • Baked FJ (2021). A custom typeface for the Laforme Bakery&Café in Prague, Czech Republic.
    [Google] [MyFonts] [More]  ⦿

    Frostype
    [Harrison Marshall]

    Graduate of UCA Farnham. Leicester, UK-based designer who specializes in producing visual identities through branding, editorial and art direction. Creator of the modular multiline typeface Luminous (2015). During his studies at UCA in 2016, he created the sans typefaces Typic, Deep and Camber.

    In 2017, he designed Wolfgang Sans and Passo (a custom sans for the new Italian restaurant Passo).

    In 2018, Harrison founded Frostype. His typefaces at Frostype: FT Switch (2018), FT Polar (2018: sans), North (2018: sans), Frigid (2018, a variable font).

    In 2019, he released FT Base (a sans family) and FT Made (a transitional typeface). Home page. [Google] [More]  ⦿

    Frutiger

    Wiki entry on Frutiger, the sans serif typeface created by Swiss type designer Adrian Frutiger in 1968 for the newly built Charles De Gaulle International Airport at Roissy, France. This typeface design was initially prepared by Adrian Frutiger for his friend Alfred deVolz at Sofratype. The working drawings were made by Andre Guertler. The typeface was called Concorde (or Concorde Sofratype) and was released in 1968. When Linotype purchased Sofratype, the typeface was withdrawn, and the rights were returned to Frutiger. The design re-appeared in 1970-1971 on the signage for the Charles de Gaulle airport at Roissy outside of Paris. Linotype purchased the design from Frutiger and it was re-released as the typeface Frutiger in 1976. The new typeface, originally called Roissy, was completed in 1975 and installed at the airport the same year. A very legible family, it was released to the public by Stempel in 1976. Corporations worldwide use it for their identity: Raytheon, the National Health Service in Britain, the British Royal Navy, the Canadian Broadcasting Corporation, the Finnish Defence Forces. Road signs in Switzerland are in Frutiger, and the public transport system in Oslo uses it as well. Extensions of it include

    • Frutiger Next (1997) made for signage of the Alte Pinakothek in Munich. Linotype released it in 2000.
    • Frutiger Symbols (1998) and Frutiger Stones (1998).
    • ASTRA Frutiger: a variant of Frutiger used by Swiss authorities as the new font for traffic signs, replacing VSS since 2003. It was based on Frutiger 57 Condensed, but with widening up- and down-strokes, which are intended to give the eye a better hold than was the case with the earlier version. A family of 2 fonts were made, called ASTRA-Frutiger-Standard/standard, and ASTRA-Frutiger-Autobahn/autoroute.
    • Frutiger Capitalis (2005), containing only ornamental glyphs of religions, hand signs, astrological signs.
    • Frutiger Arabic (2007) designed by Lebanese designer Nadine Chahine as a companion to the Latin typeface Frutiger and with the consulting of Adrian Frutiger. It is based on the Kufi style but incorporates aspects of Ruqaa and Naskh in the letter form designs.
    Copies include CG Frontiera Compugraphic, Provencale Autologic, Sigfried AM (Addressograph Multigraph), Freeborn (Boeger), Humanist 777 (Bitstream, now Monotype), Segoe UI (Agfa), Segoe Condensed (Microsoft). [Google] [More]  ⦿

    g31

    Design studio in Düsseldorf, Germany. In 2014, together with Andreas Steinbrecher, they designed a curly monoline typeface for the Aquazoo Löbbecke Museum Branding. [Google] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Galle Renaudin

    French designer of the corporate sans typeface Moroi Bold (2013), created for (R)evolution by Danton Denk Raum. [Google] [More]  ⦿

    Gareth Hague
    [Alias]

    [MyFonts] [More]  ⦿

    Gaspar Muñoz

    Chilean type designer, also named Gasper Muñoz. His typefaces include:

    • The rounded geometric sans typeface Sonny Gothic Vol.2 (2018), co-designer, with Salvador Rodriguez at W Foundry.
    • The yummy fat Cooper Black-inspired typeface Mamba (2020, at W Foundry).
    • Munchies (2021). A reverse stress Western typeface.
    • Herokid (2021, W Foundry). A 96-strong grotesk superfamily with weights ranging from Thin to Heavy and widths from UltraCompressed to UltraExpanded.
    • Throwup and Throwup Color (2018). A free font at W Foundry: Throwup is a display typeface inspired by Graffiti culture specifically from "Flops" or "Bombs". These are generally made with spray paint and valves (known as caps or fatcaps) made especially for this practice.
    • Cordillera (2019). An angular readable text typeface.
    • Asicom (2019-2020). A custom techno font.
    [Google] [MyFonts] [More]  ⦿

    Geoffrey Pellet
    [Large Projects]

    [More]  ⦿

    Georg Seifert
    [Schriftgestaltung]

    [MyFonts] [More]  ⦿

    Geovani Arevalo

    Graphic design student in Los Angles in 2015. While interning, also in 2015, he created a custom kitchen tile font for Playboy. [Google] [More]  ⦿

    Gerardo Nunez

    Tijuana, Mexico-based creator of Gnomo (2014, an outline font), which was created for Gnomo Galeria in Tijuana. [Google] [More]  ⦿

    German Appeal
    [Roberto Mannella]

    German design studio located in Hennef. In 2013, they created the corporate sans typeface RE Type for Rhein Energie.

    One of the designers is Roberto Mannella. Roberto created the schizophrenic Linotype Sicula (1999) and of Bobotta Icons (2003, Linotype), which won an award at the Linotype International Type Design Contest 2003.

    Behance link. Linotype link. FontShop link. Bowfin Printworks link. [Google] [MyFonts] [More]  ⦿

    Gestu
    [Thiago Bellotti]

    Brazilian type foundry, est. 2016 by Thiago Bellotti. The first typeface by Bellotti at Gestu is the calligraphic pointed brush script Acerola (2016).

    In 2020, he released Closeby (ultra-condensed, rounded, italic) and Tocco (which is based on chunks of wood type; it includes a variable style) at Papanapa. Thiago also created the custom typeface Bib Sans (2021) at Papanapa. [Google] [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.
    [Google] [More]  ⦿

    Giuseppe Laterza

    Taranto, Italy-based designer of custom types such as The Cube Bar (2019: free rounded hexagonal type). [Google] [More]  ⦿

    Göran Söderström
    [Letters from Sweden]

    [MyFonts] [More]  ⦿

    Graham Bradley
    [Roxaboxen]

    [More]  ⦿

    Graham Clifford

    Graham Clifford is a type director and graphic designer in New York City. He was trained by his father before working for some of London's creative advertising agencies such as CDP and GGT. He moved to New York ca. 1993. President of TDC in 2013.

    Creator of Clifford AOL, a font made for AOL. In 2014, his typeface Amplify won an award at the Communication Arts 4th Typography Competition. Other (mostly custom) typefaces by Clifford include Tanqueray, Kmart Bold Italic, Digital, Moët&Chandon, Putnam Semi Sans. [Google] [More]  ⦿

    Graphéine

    Paris-based designer of corporate typefaces sich as VM (2017, for Vitrine Media). Behance link. [Google] [More]  ⦿

    Greg Lindy
    [Lux Typographics (was: Intersection Studio)]

    [MyFonts] [More]  ⦿

    Gret Mengelt-Mergenthaler

    Born in Rheinfelden in 1941, Gret Mengelt-Mergenthaler studied at the famous Schule für Gestaltung (Kunstgewerbeschule) Basel. Since 1962, she works as a graphic designer. She taught at her alma mater from 1975 onwards, and set up an atelier in Blauen, Baselland, in 1987.

    In 1963, Gret created Texpo with Walter Ballmer for the Schweizer Expo 1964. While this typeface is not generally available, Mindofone made a free version of it, called Hadley Stencil in 2013. [Google] [More]  ⦿

    Greyletter
    [Neil Patel]

    Greyletter is Neil Patel's type foundry in Portland, Maine, est. 2009. It morphed into Tetradtype in 2016. Neil Patel is a semiconductor process engineer who was introduced to type design by his wife, a graphic designer. His typefaces:

    • Pinion Display (2010). A Victorian display face.
    • Dynatherm (2013). A custom sci-fi stencil font for Cartoon Network's Toonami programming block.
    • Rieux (2013). Neil writes: Named after the steadfast doctor from Albert Camus' The Plague, Rieux is an even-tempered slab-serif that is confident without being cocky and approachable without being casual. The aesthetic of Rieux is inspired by the industrial age. While the design is not directly derived from typefaces of that era, the shapes of letter-forms are informed by images of over-sized steel machines and the monolithic brick buildings that housed them.
    • Grafton Titling (2014). A classical lapidary titling typeface.
    • Custom fonts: Inside Voice (2014, for IDEXX Laboratories), Hugo's (2014: a logotype for Hugo's in Portland).
    • Texttile (2014). A system of heavy sans titing typefaces for chromatic overlays and simulating textile textures.
    [Google] [MyFonts] [More]  ⦿

    Grilli Type

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

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

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

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

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

    grossstadtkinder.design

    Creators of DrakenFont (2007), a custom typeface done for Radon Labs. Especially the E is remarkable. [Google] [More]  ⦿

    Gudrun Mittendrein

    Vienna-based designer of FH Joanneum (2008), a corporate information design sans typeface for the university of music and performing arts in Graz, Austria. This was a school project. Behance link. [Google] [More]  ⦿

    Guido de Boer
    [Vormplatform]

    [More]  ⦿

    Guillaume Allard

    French graphic designer whose graduation thesis in 2010 contains Alphabet Formel [Google] [More]  ⦿

    Guillaume Caute

    Bordeaux, France-based designer of the rounded stencil typeface Libournavelo (2015, +icons). This font is used to promote bicycling in the city of Libourne. He also made a flowing hand-printed typeface for La Table de Josephine, a restaurant in the Hotel Kyriad in Bègles, France. Behance link. [Google] [More]  ⦿

    Guillaume Grall
    [Building Paris]

    [More]  ⦿

    Guillaume Ruiz

    Graduate of ECV d'Aquitaine. Bordeaux, France-based designer of the hipster typeface Vindra (2014), which was designed for the visual identity of Maisons d'Érivains et des Patrimoines Littéaires. Edith Type is a condensed sans created in 2014 for Edith Store. Behance link. [Google] [More]  ⦿

    Guillermo Vizzari
    [Yaniguille]

    [MyFonts] [More]  ⦿

    Gustavo Soares

    Graduate of the KABK in Den Haag in 2008 (Masters in Type and Media), and from the University of Reading in 2007 (Masters in Information Design). He joined dooType in 2016. Originally from Sao Paulo but now based in Rio de Janeiro, he created these typefaces:

    • The text family Pocket (2008). His graduation project at KABK.
    • In 2012, the Dalton Maag Brazil team designed the font for the Rio 2016 Olympic Games. The 5448-character connected script font Rio2016 was developed by Dalton Maag Brazil, and involved a team that includes Fabio Haag, Fernando Caro and Gustavo Soares. Beth Lula is the Branding Director of the Rio 2016 Olympic and Paralympic Games Organising Committee. Passages of the press release: Each letter expresses a characteristic of Rio 2016 Games, its people and city. The letters are written with a single continuous linework, with a fast and fluid movement, suggesting the movements of the athletes in action. The variety of curves in the letters has a unique informality, inspired by the joyfulness of the Brazilian people. Fabio Haag, Creative Director at Dalton Maag: As a Brazilian typophile, designing the Rio 2016 font was a dream job. This is a milestone for the design scene in Brazil---it's a great example of how type designers can collaborate with graphic designers, sharing their expertise to strengthen an identity.
    • Veja Serif (2013). This is the new typeface for Veja, Brazil's leading weekly news magazine. This project originated from a specific demand to improve the publication's reading experience on screen, while keeping the type visually close to Times Roman. The team consisted of Gustavo Soares (creative direction), Eduilson Coan (type design), Fernando Mello (consultant) and Paratype (hinting). Veja Serif replaces VJ Times.
    • dT Jakob (2017). This typeface started out in 2007 as a revival of Jakob Erbar's grotesk from 1927 in Paul van der Laan's class at KABK. It was refined and completed in 2017 at dooType with the help of Eduilson Wessler Coan. In 2018, Gustavo Soares and Eduilson Coan developed the variable inline and shadow font dT Jakob Variable Concept.

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

    Halo Media
    [Hamish McWhirter]

    Halo Media (Hamish McWhirter) has designed a custom typeface for Beauty UK Cosmetics called You Beauty (2010). [Google] [More]  ⦿

    Halo Media

    Halo Media (Hamish McWhirter) has designed a custom typeface for Beauty UK Cosmetics called You Beauty (2010). [Google] [More]  ⦿

    HamburgerFonts Type Foundry
    [Stuart Brown]

    Type foundry in London, est. 2004 by Stuart Brown (b. 1976) from Halifax, Yorkshire, England. He works for Dalton Maag. He also did some work for The Australian Type Foundry. His typefaces include:

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

    Hamish McWhirter
    [Halo Media]

    [More]  ⦿

    Hamo Design
    [Maikel Morais]

    In 2016, Maikel Morais and Hamel Design (Curitiba, Brazil) created the visual identity typeface Sirene for the bar Sirène de Curitiba. Behance link. Home page foir Maikel Morais. [Google] [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]  ⦿

    Hanna Mathilde

    Graphic designer in Brisbane who was born in Norway. Creator of the roundish logo typeface QCA (2012) for an identity concept for QCA galleries at Griffith University Brisbane.

    Behance link. [Google] [More]  ⦿

    Hanno Bennert

    Designer from Düsseldorf, who made Seriph (at fontgrube) and Tram or Tramway (2004, a sans). In 2014, the humanist sans family Tram was published at Village, but quickly renamed Proof. Bennert: The design of Proof has its origins in many tram rides in Düsseldorf, Germany, and is directly influenced by the powerful, industrial charm of these vehicles. Many of the early sketches were drawn on these rides. (For the first several years of its life, the typeface was called Tram; alas, our friend and colleague Henrik Kubel at A2-Type had already published his CPH Tram, and we did not wish to create any confusion in the marketplace between these two vastly different designs.).

    The Subtil logotype was developed for the corporate design of DSW21/public services of Dortmund. The font style is derived from their logo, a stylised uppercase D. The conglomerate DSW21 consists of twelve individual enterprises, such as Dortmund Airport, the harbour and the city's public transport. In 2007 Subtil was awarded the Certificate of Excellence in Type Design by the Type Directors Club, and in 2009 it was awarded the Certificate of Excellence by the International Society Of Typographic Designers. This rounded sans was designed together with Alexander Gialouris and Victor Malsy.

    Other typefaces include BKH (corporate), NKO 1957, and Bruna Grotesk.

    In 2010, he added Rota (a squarish sans: since 2010, Rekord is the corporate typeface of the Rotterdam Philharmonic), and Cafe Rekord (done with Lisa Eppinger, this is a squarish logotype).

    Rheinlogik is a horizontally striped logotype for the software company Rheinlogik. MI Grotesk was custom-designed for Museum Insel Berlin.

    Cargo Collective link. [Google] [More]  ⦿

    Hans Christian Øren

    For Nike Consept Store in Oslo, Hans Christian Øren (Oh Yeah Studio, Oslo) designed the prismatic typeface Oslo (2018), which takes a bit after the logo font for the Mexico City Olympics. Earlier, he designed a hipster font for Nike USA. [Google] [More]  ⦿

    Hans van Maanen

    Dutch science journalist who has published extensively in the Volkskrant. He is also into fine arts and illustration, and has even designed a few fonts. MyFonts page. Klingspor link.

    • His first production was Lexington and Lexington Handtooled (2006, a revival and major expansion of a 1926 Ludwig Wagner Schriftgiesserei typeface called Titanic. A typical art deco signage typeface which can be bought at Canada Type, and is characterized by its rabbit-eared k, l, b, d and h).
    • He also digitized and expanded Aurora Grotesk (1912, Johannes Wagner foundry) and called it Annonce (2006, Canada Type).
    • As explained by Canada Type: The story of Serena is a unique one among revivals. Serena was neither a metal typeface nor a film one. In fact it never went anywhere beyond Stefan Schlesinger's 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn. The only sketches left of Schlesinger's Saranna work are found in the archives of the Drukkerij Trio (the owner of which was Schlesinger's brother-in-law). The sketches were done in pencil and ink over pencil on four sheets of paper. And now Hans van Maanen revives Schlesinger's spirit as closely as the drawings permit. Hans Van Maanen thus digitized Serena (2007, Canada Type).
    • Dutch Mediaeval (2007, 9 styles) is a text family based on Hollandse Mediaeval, the 1912 Sjoerd Hendrik De Roos classic. Followed in 2013 by Dutch Mediaeval Book ST (done together with Patrick Griffin), which was engineered specifically for science writing.
    • Freco (2006, Canada Type): an art deco font.
    • Circulaire (2009, Canada Type) is a set of initial caps designed by Sjoerd Hendrik de Roos in 1926.
    • Adams (2008, Canada Type) is a revival and major expansion of Dolf Overbeek's Studio typeface and Flambard, its bold counterpart, originally published by the Amsterdam Type Foundry in 1946 and 1954, respectively.
    • Lotto: A brush typeface originally designed by expert ad artist Herbert Thannhaeuser for East German foundry Typoart in 1955. Revived by Van Maanen at Canada Type in 2009.
    • Diploma (2009, Canada Type) is a revival of Diplomat, a metal type made by the in-house team of Ludwig&Mayer and first published in 1964.
    • Roos (2009): A 10-style revival and extension of Sjoerd Hendrik de Roos's De Roos Romein (1948), created in cooperation with Patrick Griffin at Canada Type.
    • Archie (2010): a heavy techno sans banner face, done at Canada Type as a revival of work by Martin Meijer.
    • Agent (2010, Canada Type) is another revival of work by Martin Meijer.
    • Aragon (2010, Canada Type): Advertised as a workhorse Dutch Garamond family. Includes an open style called Aragon Initials.
    • Naga (+Naga Outline, 2011, Canada Type) is Hans van Maanen's original creation of art deco shapes intersected with intricate mazes of what could be Celtic or Mesoamerican knotwork art.
    • Zilvertype (2012). A 590-glyph typeface revival published by Canada Type: Right on the heels of the tremendous popularity wave that made Hollandse Mediaeval the most used Dutch typeface during the Great War years, Sjoerd H. de Roos was asked to design a 15 point type for De Zilverdistel, Jean-François van Royen's publishing company. So between 1914 and 1916, de Roos and van Royen collaborated on the typeface eventually known as Zilvertype, and which both parties viewed as an improved version of Hollandse Mediaeveal. Like Hollandse Mediaeval, Zilvertype was based on the Jenson model, but it is simpler, with more traditional metrics, and lighter and more classic in colour. Followed in 2014 by the expanded Zilvertype Pro.
    • Minuet (2007) revives Schlesinger's Rondo.
    • Grippo (2012). A layered font in six styles, with a general art deco look.
    • Gaulois (2012). Based on Scribe (1937, Marcel Jacno), an art deco era signage and advertising script.
    • Wilke Kursiv (2013) is based on Martin Wilke's Wilke Kursiv from 1932.
    • Aragon ST (2013, with Patrick Griffin). Related to Garamond, this family was designed for science writing, thanks to the incorporation of SciType. SciType is a flexible combination of oft-ignored letterforms and innovative OpenType programming that can be incoporated into existing text fonts in order for them to function seamlessly when including common science formulas and equations in regular text.
    • In 2015, Hans cooperated with Patrick Griffin on the sturdy small text typeface Leo.
    • Basilio (2017). a revival and expansion of the italienne typeface Hidalgo (1939, Stefan Schlesinger for Lettergieterij Amsterdam).
    • Der Mond (2018). A stick font.
    • Pala (2018). A condensed semi-bold sans typeface that is based on the tyopes seen on posters by activists.
    • Monostad (2019).
    • Litige (2019). A bold titling sans.
    • Salden (2019, by Hans van Maanen and Patrick Griffin). A grand effort to collect the lettering of Dutch book and book cover designer Helmut Salden in a series of typefaces.
    • Boerenzij (2019). A stencil type commissioned by Wapke Feenstra for an exposition in Rotterdam.
    • Mmomo (2019).
    • Artist in Space (2019). A commissioned typeface.
    • Normandia (2021, by Patrick Griffin and Hans van Maanen). A digital revival of the fatface typeface Normandia by Alessandro Butti at Nebiolo (1946-1949).
    [Google] [MyFonts] [More]  ⦿

    Hans-Jörg Hunziker

    Type designer (b. 1938, Switzerland, based in Paris) who studied typesetting in Zürich from 1954-1958. Later he studied with Emil Ruder and Armin Hofmann in Basel (1965-1967). From 1967 until 1971, he was a type designer with Mergenthaler Linotype in Brooklyn, NY, where he worked with Matthew Carter. From 1971 until 1975, he worked with Frutiger in Paris, and became a freelance designer in 1976. From 1990 until 2006, he led some labs at the Atelier de Recherche Typographique, NRT, in Nancy. From 1998 until 2002, he had his own design bureau together with Ursula Held: Atelier H. He has also taught at the Hochschule für Gestaltung und Kunst in Zürich.

    He codesigned CGP (used in Centre Georges Pompidou; 1974-94, with Jean Widmer, and Adrian Frutiger), Centre Pompidou Pictograms (1974, for the same project in Paris), Cyrillic (in 1970 with Adrian Frutiger for IBM Composer), Frutiger (in 1976 with Adrian Frutiger at Stempel), Gando Ronde (a formal script, with Matthew Carter in 1970; Linotype; called French 111 at Bitstream), Helvetica (with Matthew Carter in 1970; Linotype), Helvetica Compressed (with Matthew Carter, ca. 1974?), Iera Arabic and Iera Roqa Arabic (1983, Institut d'étude et de recherches pour l'arabisation; Honeywell Bull), Metro (in 1970 with Adrian Frutiger; used in the RATP), Univers and Univers Cyrillic (in 1970 with Adrian Frutiger; Linotype), and the Siemens custom type family (in 2001, a cooperation with URW).

    Siemens (2001-2007, URW++), the project he is best known for, won an award at the TDC2 Type Directors Club's Type Design Competition 2002. Siemens Sans, Siemens Slab and Siemens Serif are here. Siemens Sans Global (4000 Euros) covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew.

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

    Harbor Type
    [Henrique Beier]

    Henrique Beier (Harbor Type, Porto Alegre, Brazil) is the designer of the excellent angular semi-calligraphic text typeface Garibaldi Regular, which won an award at Tipos Latinos 2014. In 2015 it was extended to a great 7-style typeface family. He writes: Garibaldi is a text typeface based on humanist calligraphy. It started with a desire to learn more about the origin of the strokes on humanist typefaces. It features a 20 degree axis, medium contrast based on translation and expansion, asymmetric serifs, and terminals related to the broad nib stroke.

    In 2014, he created the free font Densia Sans, which is condensed and has a tall x-height and some contrast. Graviola (2014) is a soft sans family, with possible applications in information design and wayfinding. It won an award at Tipos Latinos 2016.

    In 2016, he published Graviola Soft, an even softer version. He also published the fresh corporate sans typeface family Malva, which can be recognized by the typically Latin American curvy tail on the lower case a and l. Malva was a winner at Tipos Latinos 2018. A variable font option was added in 2019.

    In 2017, Henrique Beier published Rocher, a wonderful layered stone emulation font, Flintstone style. It won an award at Tipos Latinos 2018. He has a free variable color version with bevel and shadow axes, Rocher Color (2018).

    In 2019, Henrique Beier and Ana Leydner, assisted by Luisa Leitenperger, co-designed Kiperman at Harbor Type. This sturdy 4-style text typeface family pays homage to Brazil's publishing icon Henrique Leao Kiperman (d. 2017). Harbor Type also released the branding and packaging sans typeface family Dona in 2019.

    In 2020, Henrique Beier joined Fabio Haag Type, where he promptly published the circular sans family Igual.

    In 2021, he assisted with the engineering and design of Salva (Fabio Haag Type), a versatile workhorse sans family: Eduilson Coan was the lead designer. He was supported by the Fabio Haag Type team of Henrique Beier, Ana Laydner and Fabio Haag himself.

    Seiva (2021). Designed by Henrique Beier, Eduilson Coan and Fabio Haag, this distant relative of Didot is an exotic sans family. Partitioned into Text, Display and Poster subfamilies, it also welcomes variable font technology. [Google] [MyFonts] [More]  ⦿

    Harrison Marshall
    [Frostype]

    [More]  ⦿

    Hazzel Anne P. Lactaoen

    Manila, the Philippines-based graphic designer. In 2017, she created a brush script font for the rebranding of ROX. Behance link. [Google] [More]  ⦿

    Hélène Marian

    Graduate of Ecole Supérieure Estienne, Paris, 2010 who works as a graphic designer, sign painter and lettering artist in Paris. She works for clients from French cultural institutions to American national sport league, and collaborates actively with members of the Parisian experimental music scene. She also teaches lettering at Paris City Hall Graphic Arts School (Epsaa).

    Designer of the Basque style typeface Bilboboum, the sans typeface family Viparis (2015) and the wide Peignotian display sans typeface La Saumuroise (2015).

    At Production Type, assisted by Hugues Gentile, she published PVC (2019): PVC is a rambunctious display sans that plays at the edges of width and weight. As those in the plumbing industry know, PVC stands for polyvinyl chloride, but most of us know about PVC because of the pipes and other objects that are made of the hard, plastic polymer. PVC is kind of a wonder plastic, because it is both extremely durable and incredibly versatile. Which is actually a great way to describe PVC, the typeface: the family includes four super-varied styles (Menu, Promo, Banner, and Banner Ultra), all of which share a hearty backbone while flaunting very different shapes.

    Other typefaces include MahJ (2015: on commission for the musée d'art et d'histoire du Judaisme, and art directed by Malou Verlomme), WNBA (2019: a sports fonts produced with the Production Type team of Hugues Gentile and Marion Sendral, for the WNBA). [Google] [More]  ⦿

    Hector Ramirez
    [Socker One]

    [More]  ⦿

    Heidelberg Gothic and Antiqua

    The house fonts of the Heidelberg Gruppe, based, respectively, on News Gothic and Swift. Type design by John Hudson and art direction by Erik Spiekermann. [Google] [More]  ⦿

    Heimat Berlin

    Studio in Berlin that created the typeface Voice of the Wall in 2019, based on graffiti of the Berlin wall that was torn down 30 years earlier. The project is supported by Die kulturellen Erben in Berlin under the guidance of Victoria Tschirch. [Google] [More]  ⦿

    Helen Rice
    [Pretend Foundry (or: Fuzzco)]

    [More]  ⦿

    Hello Velocity
    [Laurianne Froesel]

    Laurianne Froesel is based in Strasbourg, France. iDuring an internship at Hello Velocity, a digital brand identity studio based in New York and Boston, founded by ex-RISD classmates Kevin Wiesner, Lukas Bentel and JS Tan, Laurianne designed the free color font Brand New Roman (2018), which consists of colored company logos, and pokes fun at capitalism. In 2019, Laurianne released Brand New Roman V2. [Google] [More]  ⦿

    HelloMe
    [Till Wiedeck]

    HelloMe is Till Wiedeck's Berlin-based studio. They created the following typefaces in 2011: HM Extra (the visual identity for HipHop musician Exzem is based around the custom alchemic typeface HM Extra), HM JuneGrotesk, HM Tilm (monoline, created with Timm Häneke). HM Walnut (2008) is a modular geometric experimental typeface. HM Club (2009) is an art deco typeface created as part of Videoclub's visual identity. HM Mary (2008) is almost in the piano key typeface genre. HM Melt (2008) is a very original logotype stencil typeface.

    In 2014, they made the bespoke typeface Blom & Blom. In 2015, they published the children's block typeface Tiny. [Google] [More]  ⦿

    Helsinki Type Studio
    [Niklas Ekholm]

    Finnish commercial type foundry, est. 2013 by Niklas Ekholm, Juho Hiilivirta, Jungmyung Lee and Jaakko Suomalainen. The typefaces:

    • Absolution (2016, by Niklas Ekholm). Experimental: Absolution is a pseudorandom typeface for holy scriptures and an ecclesiastical punishment.
    • Adult Antiqua (2013). A severe wedge serif by Niklas Ekholm.
    • Bastard Semibold (2012, by Jungmyung Lee).
    • Bookish Book (2011, by Niklas Ekholm).
    • Finlandica (2015, by Juho Hiilivirta, Niklas Ekholm and Jaakko Suomalainen). A free custom typeface. Finlandica was commissioned by the Prime Minister's Office as part of a visual identity for Finland. They write: Ink traps like cuts from a blunt ax, makes the typeface reliable in small sizes and gives it character in large headlines. Like the Finnhorse it's a breed suitable both as riding horse and workhorse. Free download. This font is sometimes referred to as the Suomi 100 font, as it was created for the 100th birthday of Finland.
    • HTS One and HTS One Mono (2016, by Niklas Ekholm and Jaakko Suomalainen). Techno.
    • Leighton (2012, by Niklas Ekholm).
    • Mignon (2011, by Niklas Ekholm).
    • Mogul (2012, by Juho Hiilivirta).
    • Nils (2011-2014, by Niklas Ekholm).
    • Railo Thin (2017, by Juho Hiilivirta). A widely monospaced typeface.
    • Relevant Regular (2011, by Niklas Ekholm and Jaakko Suomalainen).
    • Rodham (2016, by Juho Hiilivirta).
    • Scarla (by Jungmyung Lee).
    • Tyrant (2012, by Juho Hiilivirta).
    [Google] [More]  ⦿

    Henning Hartmut Skibbe
    [ErlerSkibbeTönsmann (and: Character Type)]

    [MyFonts] [More]  ⦿

    Henrik Kubel
    [A2 Type]

    [MyFonts] [More]  ⦿

    Henrique Beier
    [Harbor Type]

    [MyFonts] [More]  ⦿

    Here East Fonts
    [Nastia Piven]

    Anastasia Piven is a designer from Minsk, Belarus and founder of Here East Fonts in 2018. Piven is currently based in Amsterdam. Her initial typefaces include the logotype Carpazzi Soft (2014). In 2018, she created Grossweight Stencil, Turnu (2018: a squarish logofont for a new Danish taxi service), One Manchester (squarish), Tech Tape, OCR Camp, Pretty Much Fur, and Fat Porn.

    Typefaces from 2020: Lorcan Mist (a caps only display typeface), Buck (a very wide squarish block font), Beier Third, Fatporn 2.0, Flatten, Galcher, Lorcan Mist, Papa Bear (counterless), Rolling Script, TT Techtape Font, Turn Denmark (squarish), Wallnutt Corps (hipster, dystopian, caps only). [Google] [MyFonts] [More]  ⦿

    Herr Hemker
    [Jörg Hemker]

    Jörg Hemker is a graduate of the Fachhochschule Dortmund, Germany. He worked as type designer and designer at Hesse Designstudios, and was art director at Claus Koch Corporate Communications. He lives and works in Hamburg, where he is mainly involved in corporate identity and corporate type (such as for Bosch Blaupunkt, Harry, dm, Metabo, Jette Joop, Deutsche Telekom, ARD, rbb, Rheinische Post, Fresenius SE, Mainova, Mercedes-Benz, Allianz, Commerzbank, State Government of North Rhine-Westphalia, Würth, Alperi and, REW). In 2005, he set up Herr Hemker. His typefaces:

    • FF Zwo (2002) and FF Zwo Correspondence (2002). Designed with Henning Krause.
    • FF Sero (2011). A humanist sans family.
    • The nearly monolinear sans typeface FF Nort (2017). In 2020, he added FF Nort Headline.
    • Ika and Ika Compact (2020, at Fontwerk).
    • He is working on Grotesk, a sans family proposed by Bauersche Giesserei in 1953, and Ikarus, a sans in the renaissance antiqua style.

    FontShop link.

    View Jörg Hemker's typefaces. Fontwerk link. [Google] [MyFonts] [More]  ⦿

    Hideki Saijo

    Tokyo-based designer of the thin decorative didone advertising typeface Ginza Mitsukoshi 2015 (2015, for the department store chain). Behance link. [Google] [More]  ⦿

    Hilti

    A corporate URW studio sans family published in 2009. The 6-font family sells for over 5000 dollars and covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. [Google] [More]  ⦿

    Hinterland Studio

    New York City-based multidisciplinary design studio. For the dentity and stationery system for Devona, an interactive agency, Hinterland created Devona Stencil Display (2015). Behance link. [Google] [More]  ⦿

    Hoftype
    [Dieter Hofrichter]

    Dieter Hofrichter (b. Mannheim, Germany), established Hoftype in 2010 in München. He attended the Rödel Art School where studied typography and calligraphy under Herbert Post, and applied and decorative arts under Charles Crodel. Later he studied graphic design at the Academy of Fine Arts in Nürnberg under Professor Karl Hans Walter. After his studies, Hofrichter worked for several years as a graphic designer. In 1980, he started designing typefaces for himself in his own studio. He approached G.G. Lange of the Berthold foundry in 1988, and started work in 1989 as a type developer and assistant to Lange at Berthold without realizing that Berthold's owner, Hunt, had studied under Idi Amin Dada. Hofrichter has worked closely with Lange to develop new typeface designs and improve classic designs. In 2010, he set up his own foundry, Hoftype.

    There are certain designers whose style attracts me---almost any type designed by them agrees with my taste. I just know that they are perfectly seasoned and delightfully oiled. Dieter Hofrichter's work falls in that category. I also like classical music, but not all classical music. Beethoven is just about right. Hofrichter's type work is classical, trustworthy and very balanced.

    Klingspor link. Fontsquirrel link. Dieter Hofrichter's typefaces:

    • In 1990, Berthold published Hofrichter's Vergil as a Berthold Exklusiv.
    • In 2000, Berthold released a joint effort of Lange and Hofrichter, a Scotch type named Whittingham.
    • In 2001, he released the newly enhanced Akzidenz-Grotesk (Berthold).
    • Futura Serie BQ (2000, Berthold). This is a new version of the well-known geometric sans serif typeface design by Paul Renner and the Bauer type foundry.
    • Bodoni New Face (Berthold).
    • Gerstner Next (2007, Berthold). This typeface is based on Karl Gerstner's Gerstner Original BQ of 1987.
    • His first commercial typeface at Hoftype is the Impara Sans family in ten styles (2010). Images:i, ii, iii, iv.
    • The medium-contrast slightly flared sans family Epoca (2010, Hoftype), and the 12-style sister family Epoca Classic (2012).
    • The text family Argos (2011, Hoftype).
    • Erato (2011, Hoftype) is a beautiful garalde family.
    • Cala (2011, Hoftype) is a modernized renaissance/garalde family.
    • Corda (2011, Hoftype) is a scriptish serif family.
    • Cassia (2011, Hoftype) is a subdued Egyptian family.
    • Sonus (2011, Hoftype) is a humanist sans family.
    • Sina (2012), which is sure to win awards, is an elegant, pleasant and readable type family characterized by relatively tall ascenders and imperceptible flaring. Sina Nova (2012) is a slimmer version.
    • Foro (2012) is a 16-style slab serif family. A softer rounder version is called Foro Rounded (2013). In 2014, Foro Sans was added---it too comes in 16 monoline styles.
    • Ashbury (2012) is a text family that has elements of Caslon and Baskerville.
    • Sixta (2012) is an eight-style sans family.
    • Hofrichter writes about the roundish serif text family Civita (2012): Civita is a new "Modern Type" with a high stroke contrast, distinct formal features, and a strong personality. It has a fluid ductus but nonetheless a solid structure.
    • Carat (2012). In 2015, the nearly identical typeface Mangan was published---I am befuddled.... Mangan Nova (2015) is the semi-condensed version of Mangan.
    • Capita (2013). A rounded slab serif designed for warmness and easy reading.
    • Quant (2013) is a very elegant contrasted text family, possibly more appropriate for display than for long texts. Quant Text (2013) is the optimized 8-style text version of the Quant family. It comes with a slightly greater width, stronger hairlines and stronger serifs which stabilizes it for small text.
    • Qubo (2013) is a 14-style sans family with contrast in the joins.
    • Equip (2013) is a versatle geometric sans that comes with 16 styles. See also Equip Slab (2013), Equip Condensed (2013) and Equip Extended (2013).
    • Pesaro (2014) was inspired by early prints from Venice like Jensen and Manutius. It is a warm legible text family with Hofrichter-style flaring in strategic places. This beautiful typeface is not be confused with a 2001 typeface by Joachim Müller-Lancé that is also called Pesaro.
    • Campan (2014). A semilinear typeface with hook-serifs and tall x-height.
    • Orgon (2014) jumps right to the head of the pack In the rounded organic sans world. This neutral, uncomplicated and unpretentious sans wows, especially in the heavier weights. It is accompanied by Orgon Slab (2014). In 2020, he added the elliptical square-cut Orgon Plan.
    • Cargan (2014). Advertized as a gentle versatile slab serif typeface family.
    • Carnas (2015) is a rounded elliptical sans family with simple forms and huge counters.
    • Danton (2015). A sturdy typeface family for maazines in Hofrichter's patented Gehry style---no ninety degree angles, avoid monoline, ban symmetry.
    • Halifax. A new interpretation of classic English Sans types such as Gill and Johnston in 16 styles.
    • Calanda (2015). A sturdy slab serif family in 16 styles.
    • Carnac (2015). A sharp version of the minimalist monoline sans typeface family Carnas that features crisper edges.
    • Marbach (2016). An angular serifed text typeface that combines classical and modern elements.
    • Taxon (2016). A 12-style contemporary sans related to Optima and Imago.
    • Carrara (2016). A humanist text typeface family chjaracterized with blunted but poiunty serifs.
    • The Economist (2016). A custom type.
    • Croma Sans (2017). A 16-style workhorse / advertising sans.
    • Urania (2017). In the style of the early sans serif typefaces, in particular Ferdinand Theinhardt's types.
    • Cardillac (2018). A didone.
    • Shandon Slab (2018).
    • Candide (2018). A neoclassical typeface for use in magazines and newspapers, characterized by pointy terminals. Followed in 2019 by Candide Condensed.
    • Tangent (2019).
    • Askan (2019). An 18-style text typeface. Followed by Askan Slim (2019).
    • Trada Sans (2020). A sans family in the neighborhood of Univers and Helvetica. Followed by Trada Serif (2020).
    • Empira (2020). a 20-style transitional typeface family with sharp, almost pointy, edges.
    • Capricho (2021). A transitional text family with slight flaring and tall ascenders and descenders.
    • Galvani (2021). An 18-style geometric sans.
    • Contane (2021) and Contane Text (2021: 20 styles). A sharp-edged headline or display serif. Followed in 2022 by Contane Condensed and Contane Text Cnd.
    • Madigan (2022). An 18-style text typeface with some didone features.

    Interview by Dan Reynolds for MyFonts.

    View Dieter Hofrichter's typefaces. [Google] [MyFonts] [More]  ⦿

    Hoodzpah
    [Amy Hood]

    Hoodzpah is a branding and design studio headquartered in Southern California, and run by Amy and Jennifer Hood. Their fonts in 2020 include Lone Pine (a reverse contrast Western font by Amy Hood inspired by Route 395 in California, Beverly Drive (a left-leaning script by Amy Hood), Beale (a display font by Amy Hood inspired by Memphis, TN), and Palm Canyon Drive (a retro monoline script by Amy Hood inspired by Palm Springs, CA).

    Amy also did some movie title projects for Disney.

    Typefaces from 2021: Chapman Ave (a layered vintage font), Santa Ana Sans, Seat Geek Headliner (a corporate sports typeface). [Google] [More]  ⦿

    HouseStyle Graphics
    [Dave Farey]

    Type home of Dave Farey and Richard Dawson, est.2005, to develop and repair type. Based in London. Commissioned typefaces: CWS Script, DIN Display, McDonalds (a typeface in use by that chain since 1998, based on an idea of Geoff Halpin), The Times (1999). [Google] [More]  ⦿

    Hubert and Fischer
    [Sebastian Fischer]

    Founded by Philipp Hubert (based in New York) and Sebastian Fischer (based in Stuttgart), Hubert & Fischer is a design studio with offices in New York and Stuttgart, Germany with a global client base. The studio specializes in creating editorial design, type design, visual identity, print, application, websites and e-commerce design from concept to production.

    Google Creative Lab approached them to design a typeface for the branding of the Rubik's Cube Exhibition "Beyond Rubik's Cube" the Liberty Science Center, Jersey City. They designed a slightly rounded heavyweight font (Rubik, 2015, Rubik One, 2014, and Rubik One Mono, 2014) in which the letters fit perfectly in a single cubelet of the Rubik's Cube. The font was expanded to include Cyrillic and Hebrew characters for the exhibition. Free downloads at Google Web Fonts (see also here), Github and Open Font Library. Rubik One was created by Elvire Volk Leonovitch under the art direction of Hubert and Fischer. Bickerton (2014) is a rhombic typeface.

    Other commissioned typefaces: Dumpling Grotesk (based on a hand-painted sign of a Chinese restaurant in New York and characterized by a two-legged m), Bickerton (based on the work of artist Ashley Bickerton), Akzidenz Grotesk Mono, Unterwirt Regular, Cold Comfort (2010, a sharp-edged typeface for the exhibition catalogue Cold Comfort of artist Rudolf Reiber), Stripe (by Sebastian Fischer: A signage system typeface developed for the high school Quinta das Flores in Coimbra, Portugal), EDP (by Sebastian Fischer: a thick geometric sans for Latin, Chinese, Hindi and Cyrillic), Oberkofler (a pixel script for the publication Blut im Schuh for artist Gabriela Oberkofler), Tiptop (a sans designed as headline for the publication Jugend Forscht), Morus (a hipster typeface family), Swollen.

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

    Hubert Jocham

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

    • Adonis.
    • The ecccentric serif families Alida Text and Display (2007).
    • Becca (2018). An extensive slab serif family.
    • Bent (sans family).
    • Bravery. A curvy wedge serif. Accompanied by Bravery Sans.
    • The Contra Sans and Contra Serif families.
    • Contura. Inspired by Jakob Erbar's Feder Grotesk, and designed with the fashion industry in mind.
    • The Crema family (2012) has various flowing thick signage script styles.
    • Debra. A modern grotesque.
    • Dolce.
    • Element.
    • Elsner&Flake fonts: EF Havanna (1996), EH Herbert (1996), EF Panther, EF Sahara, EF Keule and EF Tabard.
    • Esquina. An open and attractive sans.
    • The TV-screen-curved Fernseher family.
    • Fire.
    • The signage brush script typeface Flavour (2004).
    • Flow. A sharp-edged sans.
    • Glanz (2018). A high contrast fashion mag typeface family.
    • Glenda (2009). A script face.
    • Granat (2009). A 14-style rounded sans family related to Jocham's own Teleplu and Teleneue.
    • Jocham (2012). A fat connected signage script family that won an award at TDC 2013.
    • June, New June and New June Serif (1999, after the large x-heighted June, used in W-magazine and Harvey Nichols magazine).
    • Keks (2009). A broken angular type.
    • The industrial sans family Konsens (with related Konsens Stencil).
    • Leaf. A playful serif.
    • Legau (2007). A sans with lots of stroke modulation.
    • Libris, Bally Libris.
    • LTA Identity.
    • Madita (2011). An upright connected script family.
    • Magazine.
    • Matrona (2010). An ultra fat rounded family, awarded at TDC2 2011.
    • The display serif typeface Mighty.
    • Mommie (2006) was originally designed as a display typeface for L'Officiel magazine in Paris in 2003. It won a display typeface award at TDC2 2008, and was followed in 2008 by MommieBrush. Boris Bencic, the art-director asked Jocham to design a script with high contrast in the stroke, in the tradition of Spencerian Hand.
    • The wide basic sans family Monday.
    • Motora Sans (2011). A simple sans family which according to Hubert is pure gasoline and sweat.
    • Narziss (a beautiful high-contrast ornamental didone headline typeface, winner at TDC2 2010). Followed in 2012 by Narziss Pro Cyrillic. See also Narziss Grotesk and Narziss Text.
    • Neopop (2009). A circular type experiment.
    • New Libris Sans. This is a multi-weight extension of Libris, the corporate typeface of Bally, Switzerland, designed by Jocham in 1999. New Libris Serif.
    • Oktober.
    • Other Sans, Other Oldstyle.
    • Perfetto (2008). A classic serif family based on a typeface penned by Giovanni Francesco Cresci with an x-height of 8 mm, and published in his book Il perfetto Scrittore in 1570 (also seen in Tschichold's Meisterbuch der Schrift).
    • Polia (2014).
    • Ramon (2014).
    • Riccia (2010). A grotesk family with schizophrenic "a" and "g".
    • The angular serif typeface Rudolph.
    • Safran (2009). A solid 18-style sans family.
    • In 2005, he made the brush script headline typefaces Schoko and Drop.
    • In 2008, he added the brush signage families Schwung and Milk.
    • September.
    • Softedge.
    • Spring Sans (2008).
    • Susa (2009). A connected script face.
    • Tantris Sans (2014). Created for the book about the famous restaurant Tantris in Munich.
    • The comic book family Tasty (2005).
    • Teleneue.
    • Televoice (2018). A sans with elliptocal curves.
    • Venturio (50s diner face).
    • Verve Sans and Serif (2006-2007) are a pair of fun birds, especially the frivolous serif originally planned for a women's psychology magazine called Emotion. A few days after their publication, they were renamed Verse Sans and Verse Serif, probably because the name Verve clashed with Adobe's VerveMM font made in 1998 by Brian Sooy (by the way, there is also a Verve type family by Dieter Steffmann, dated 2000).
    • Vivid (2009).
    • Voice (2004-2005, elliptical sans). Subfamilies include Voice Edge, Voice Sans and Voice Shoulder, all done at URW. In 2007, Voice was removed from URW and is solely available at Hubert Jocham Type&Design. The family was extended and now includes many styles, subdivided in Voice (sans), VoiceEdge, VoiceShoulder, VoiceSerif, Voice Heavy, Voice Medium, Voice Ultra Bold, and TeleVoice.
    • The very interesting asymmetrically rounded Volt (2007), a sans family he claims improves on similar typefaces such as Bernhard Gothic, Barmeno, Dax, Prokyon, Voice Shoulder, and Phoenica.
    • Weekend.
    • Work ahead: this serif face (2005).
    • Xmas Rudolph (2006). A free display serif face.
    • Yuri (2017). A predominantly didone typeface with gently sloped serifs.

    View Hubert Jocham's typefaces. Another view.

    Klingspor link. MyFonts interview. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Hubert Munier

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

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

    Hugo Cavalheiro d'Alte

    Born in Porto, Portugal, in 1975. From 1994 until 1999 he studied graphic design at the Escola Superior de Artes e Design. In 2000 he became a postgraduate student at the KABK where he wrote a Masters thesis entitled "Type&Media". He joined Underware in the same year. At ATypI 2005 in Helsinki, he spoke on On the edge of legibility, which in fact is a talk about blackletter. Affiliated since 2002 with Underware. He lives in Finland. Also doing business at Incubator at Village Type.

    Cargo collective link. Link at Underware. Alternate URL: This is playtime.

    His typefaces:

    • For Thirstype, he made Kaas (2005), a blackletter typeface for the 21st century, with Latin, Cyrillic, and Hebrew alphabets.
    • Still in 2009, he created a transitional type, Rolland (+Rolland Text, Rolland Small, Rolland Text Italic), about which he writes: Rolland is a digital interpretation of some of the printing types used at the "Typografia Rollandiana" in Lisbon at the end of the XVIII century. The printing and publishing house was established by Francisco Rolland after he moved to Lisbon (from France) in the second half of the XVIII century becoming one of the most successful publishers of his time.
    • Kalevala (2009): a custom sans type family for Finnish jewelry brand Kalevala Koru. The starting point for this project was a book printed and published by Francisco Rolland in 1797: "Escolha das Melhores Novellas e Contos Moraes; Escritos em Francez por MM, d'Arnaud, Marmontel, Madama de Gomez, e outros".
    • In 2009-2010, he made a DIN-like corporate font for Centro Portugues de Design, CPD Sans. This was accompanied by the CPDSerif family, which evolved from Rolland.
    • In 2009, he created the squarish unicase typeface Flexibility: Custom typeface commissioned by the portuguese design studio R2 for the identity of an exhibition that took place in Torino (Italy) in 2008 (World Design Capital 2008).
    • Kaas (2005, Incubator) is a modern geometric/constructed blackletter with a historically-accurate set of titling capitals, a large collection of accents, and Cyrillic and Hebrew alphabets.
    • Arabia (2015) is a custom typeface for Arabia Finland (for the identity renewal work by Ilkka Kärkkäinen).
    [Google] [MyFonts] [More]  ⦿

    Hugo Marucco

    Graduate of the Type & Media program at KABK in Den Haag in 2014, where his graduation project included the development of Elisabeth, a transitional serif typeface. Hugo Marucco is a graphic designer and type designer from Annecy, France. He graduated with a BA as a graphic designer from The National School of Fine Arts of Lyon after studying visual communication at Bellecour School of Arts in Lyon. Before Type and Media he did several internships with Jean-Baptiste Lev&ecute;e and Atelier Carvalho Bernau.

    Codesigner of a digital revival of Affolter Grotesque (1945, Charles H. Affolter), aka Ouvrière, together with Alex W. Dujet and Dylan Sauty (2011, League, Genève).

    Other typefaces by him include Algebra Text (2016) and Internazionale Stencil (2016, a comissioned exclusive typeface for Internazionale Italy designed with Atelier Carvalho Bernau).

    Old (dead) URL. Behance link. [Google] [More]  ⦿

    Hugues Gentile

    Graduate of ESAD in Amiens, France. His graduation typeface there is the Latin / Bengali typeface Kumar (2016). He writes: Kumar is a multi-script (Latin & Bengali) typeface family, especially crafted for editorial work. It has a classical feeling without being too historical. Kumar Book is a sober yet generous "bookish" typeface. Its design is inspired by various references: the steady structure is borrowed from late 20th century Dutch type design while the proportions are reminiscent of early William Caslon work. Baroque influences nourished the design with subtle features that give Kumar Book its personality and avoid arid shapes. Its bold version is a useful addition for documents with a more complex hierarchy.

    Kumar Bengali is driven by the same principles as the Latin, seeking for a coherent combination between the two scripts to optimize legibility. Significant early references have been used such as the Figgins Bengali from 1826 for its fluidity, yet updated with contemporary proportions. Kumar Book italic originates from an interpretation of several italics of Robert Granjon, adapted to work with the roman weight.

    Marcel (2016) is based on lettering drawn by Marcel Jacno for Caractère in 1949.

    During his studies in Paris, Hugues Gentile created Ignacius (2014: an angular calligraphic typeface) and drew a blackletter alphabet (2014).

    In 2019, a senior type designer Production Type, he designed the custom typeface Ormaie for a new Parisian perfume brand founded by Marie-Lise Jonak.

    In 2020, Hugues Gentile, under the art direction of Jean-Baptiste Levée, designed the extensive text family Newsreader, which is primarily intended for continuous on-screen reading in content-rich environments. It features various optical sizes and comes with variable typefaces. Github link. Google Fonts link (for free download). [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]  ⦿

    Hurme Design
    [Toni Hurme]

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

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

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

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

    Hype Type Studio
    [Paul Hutchison]

    Los Angeles, CA-based Paul Hutchison runs Hype Type Studio. He created several custom typefaces ca. 2012. In 2013, he published the didone stencil typeface Stencil Two at Ten Dollar Fonts.

    Behance link. [Google] [More]  ⦿

    Ian Brignell
    [IB Type (was: Ian Brignell Lettering Design)]

    [MyFonts] [More]  ⦿

    IB Type (was: Ian Brignell Lettering Design)
    [Ian Brignell]

    Toronto-based logo and type specialist, who founded IB Type in 2014 together with his partner, Catherine O'Toole. Ian has designed custom fonts for Coke's Share-a-Coke campaign (YOU font), Subway (Six-inch, Footlong), Budweiser (Bold and Crafted), Bud Light (Bud Light Bold and Black), Michelob Ultra (Regular, Bold), Bell (Slim in 6 weights) and Naturalizer.

    He designed Bell Slim for Bell Canada's 2008 web site and identity. It seems that he also did some logo lettering for Belgian beer brewers such as Leffe and Hoegaarden. Retail typefaces:

    Discussion of his work by Villatype. Old URL. Bell Slim link. [Google] [MyFonts] [More]  ⦿

    IBM Plex
    [Mike Abbink]

    A large free font family created by Mike Abbink and Bold Monday (Paul van der Laan and Pieter van Rosmalen) for IBM's new corporate identity in 2017. It includes the IBM Plex Sans, IBM Plex Serif, IBM Plex Sans Variable, and IBM Plex Mono subfamilies. Aneliza (2018) is a fork that has a single storey g in the italics.

    A later modification / fork is Perplexed by Peter Hull in 2018.

    Github link. IBM link. Direct download at Github. CTAN link. Local download. IBM Plex Mono at Google Fonts. IBM Plex Sans at Google Fonts. IBM Plex Sans Condensed at Google Fonts. IBM Plex Serif at Google Fonts. CTAN link for TeX support.

    IBM Plex won an award at TDC Typeface Design 2018.

    In 2021, Google Fonts added various multilingual versions of IBM PLex: IBM Plex Sans Devanagari (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Erin McLaughlin), IBM Plex Sans Arabic (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Wael Morcos, Khajak Apelian), IBM Plex Sans Hebrew (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Yanek Iontef), IBM Plex Sans KR (by Mike Abbink; Paul van der Laan; Pieter van Rosmalen; Wujin Sim; Chorong Kim; Dohee Lee), IBM Plex Sans Thai (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Ben Mitchell, Mark Frömberg), IBM Plex Sans Thai Looped (by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Ben Mitchell, Mark Frömberg).

    Google Fonts link. [Google] [More]  ⦿

    Ill Studio

    Founded in 2007, Ill-Studio is a multidisciplinary platform based in Paris. Headed by Léonard Vernhet and Thomas Subreville, it also brings together Nicolas Malinowsky, Thierry Audurand, Pierre Dixsaut and Sebastien Michelini. Their commissioned typefaces:

    • Penguin Type (2009): Type design originally made for a rejected Zadie Smith novel cover published by Penguin Press.
    • NSW Light.
    • Die Welt.

    Typecache link. [Google] [More]  ⦿

    Imogen Ayres
    [Möbel Type]

    [More]  ⦿

    Ini Archibong

    Ini Archibong is the founder of an independent design studio called Design by Ini. He writes that his work is characterised by a deep interest in craftsmanship and integrity to his chosen material. His work draws from architecture, environmental and product design, as well as lifelong passions for mathematics, philosophy and world religions. A son of Nigerian immigrants to the United States, and a resident of the USA, Singapore and Switzerland, Archibong's multi-cultural work has been exhibited globally at design events and in galleries including the Victoria and Albert Museum in London, Alyce de Roulet Williamson Gallery in Pasadena, and Triode in Paris among others. Archibong graduated from the Art Center College of Design and ECAL. Archibong currently lives and works in Switzerland.

    He designed the Galop d' Hermes watch in 2019. The stylized numerals on those watches, shaped like an inverted stirrup, are designed by him. The numerals are slightly smaller and narrower on the top half of the dial where the watch is thinner in diameter, and they fan out to a larger bottom half. [Google] [More]  ⦿

    Integral Ruedi Baur
    [Ruedi baur]

    Studio in Paris, Zürich and Berlin. In 2008, they were commissioned to make a special identity typeface for Les Beaux-Arts de Paris. Clearly a near-copy of Verdana, the French typophiles react with astonishment and surprise.

    In 2029, Ruedi Baur released Archives, a heavy octagonal typeface for the visual identity of Archives Nationales. [Google] [More]  ⦿

    International Herald Tribune

    Custom fonts for the IHT were made by Treacyfaces. They include Dixoni and Tbodoni (based on Berthold fonts), H, Hb, Hbo and Butir (all based on Adobe fonts), Tinr, Hbodit, and Bodb (based on Monotype) and Slime and Crimes, both treacyfaces originals. [Google] [More]  ⦿

    Iñigo Jerez Quintana
    [Extratype (was: Textaxis)]

    [MyFonts] [More]  ⦿

    Ionut Radulescu

    Graduate of the Design Department of the National University of Art in Bucharest, Romania. Illustration designer in Savannah, GA. Creator of the hand-drawn Bella Hand type family (2011): Bella Hand Decorative, Bella Hand Outline and Bella Hand Simple were created for Bella Italia, through McCann Erickson London. [Google] [More]  ⦿

    Isabelle Rudström-Österlund
    [Familjen Sthlm]

    [More]  ⦿

    Ivan Petrov

    Ivan Petrov is based in Saint Petersburg, Russia. Bulgarian codesigner with Julia Zhdanova of the free typeface Artifika at Cyreal and Google Font Directory in 2011. He is currently located in Moscow.

    At Cyreal, he published the free font Volkhov (2011; download at Fontsquirrel), a low-contrast serifed typeface with a robust character, and the didone typeface Prata (2011; for a free version, see here). He also created a number of beautiful experimental typefaces in 2011.

    Bolgariy (2012) is a warm display typeface made for advertising Bulgaria.

    In 2014, he published the 18-style sans serif typeface system Glober at Fontfabric. Inspired by strong German grotesques such as DIN and Dax, it has a great spectrum, from hairline (called Thin) to Heavy. Glober won an award at Modern Cyrillic 2014.

    Typefaces from 2015: Stimul (a monoline unicase san).

    Typefaces from 2016: Tavolga (a curvy sans family), Rossiya (a corporate Peignotian Cyrillic / Latin typeface for the rebranding of Rossiya Air Company).

    Typefaces from 2017: Fungis, Creata (a wide sans family), Kvyat (a speed emulation sans typeface named after Russian racer Daniil Kvyat, developed for branding at ONY), Fungia (display style).

    Typefaces from 2018: Gilam (by Ivan Petrov, Plamen Motev and Svetoslav Simov: based on DIN, but more geometric and with obliquely cut terminals).

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

    Jaakko Suomalainen

    Type designer at Helsinki Type Studio. In 2011, he co-designed the sans typeface Relevant Regular with Niklas Ekholm. Corporate typefaces include Ylioppilaslehti (2014), Raudus sans and HTS Sans (2014, for Art Fair Tokyo), HTS One and HTS Mono (2016, with Niklas Ekholm), Botanic (2014, for Robin Albrecht), Yksi Sans (2015, for Yksi magazine).

    In 2015, Juho Hiilivirta, Niklas Ekholm and Jaakko Suomalainen co-designed the custom typeface Finlandica. Finlandica was commissioned by the Prime Minister's Office as part of a visual identity for Finland. They write: Ink traps like cuts from a blunt ax, makes the typeface reliable in small sizes and gives it character in large headlines. Like the Finnhorse it's a breed suitable both as riding horse and workhorse. Free download.

    In 2016, he finished Shoni Sans.

    Typefaces from 2017: Streamer, Tenerife. Behance link. [Google] [More]  ⦿

    Jack Jennings

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

    Jackson Alves
    [Type Curitiba Foundry]

    [MyFonts] [More]  ⦿

    Jackson Cavanaugh
    [Okay Type]

    [MyFonts] [More]  ⦿

    Jacques Le Bailly
    [Baron von Fonthausen]

    [MyFonts] [More]  ⦿

    Jai Sandhu

    British designer of the experimental alphabet Deception (2012). He also made the bespoke heavy slab face Unique (2012).

    Behance link. [Google] [More]  ⦿

    Jaione Erviti

    Madrid-based art director, who graduated from the School of Arts and Crafts of Navarra in 2004. Designer of the crayon font Lipstick (2014). For Nevada Loft, she made the 3d custom font Loft (2009, silver award winer at Laus 2009). Behance link. [Google] [More]  ⦿

    James Geofrey Nunn

    Graphic designer and typographer from Melbourne, Australia. Behance link. Creator of the geometric sans typeface Positano (2011). Corporate work includes the art deco typeface Butcher Florist done for Melbourne band Butcher Florist. Deer Sue is an experimental typeface with a prehistoric man theme. [Google] [More]  ⦿

    James Montalbano
    [Terminal Design]

    [MyFonts] [More]  ⦿

    Jan Burchiellaro Falinski

    Senior brand designer in Milan, Italy. His typefaces:

    • Ygro Sans (2021). A free grotesque typeface with inktraps.
    • A logotype for the city of Istanbul (2020).
    • An experimental variable font with two axes, geometry and tone of voice (2019).
    • An icon font for the real estate company Dovevivo (2018).
    [Google] [More]  ⦿

    Jan Erasmus
    [CyberGraphics]

    [MyFonts] [More]  ⦿

    Jan Hendrik Weber

    Hendrik Weber or Jan Hendrik Weber. Graduate of the University of Applied Sciences in Potsdam (in graphic design) and Hochschule für Grafik und Buchkunst in Leipzig (in type design).

    He designed commercial typefaces published at Our Type. Later he joined Monotype to advise clients on bespoke type and develop new markets in branding. In 2016, he became type director at Monotype Germany. After that, he joined Fred Smeijers' Type By. His typefaces:

    • The Lirico family at (2008, Ourtype, and later Type By). This text family is slightly organic, flirts with hairline connectors, and is characterized by triangular serifs. Lirico won an award at TDC2 2009.
    • Edward and Edward Plus (2008, Ourtype, and later Type By): Edward is named in honour of Edward Johnston, calligrapher, teacher, and author of Writing & Illuminating, & Lettering (1906). [...] The inspiration behind Edward will be immediately recognizable: the 'blockletter' Johnston designed for the London Underground in 1916, for use in their signs and posters.
    • The free typeface Northstream Wind (2016, Monotype).
    • Weber's custom design for Bentley Motors nailed him the Red Dot Award in 2014.
    • The crisp branding sans typeface family Unitext (2018, Monotype).
    • He was part of a team at Monotype that developed Helvetica Now in 2019 at Monotype, together with Charles Nix and others. Monotype writes: Every single glyph of Helvetica has been redrawn and redesigned for this expansive new edition which preserves the typeface's Swiss mantra of clarity, simplicity and neutrality, while updating it for the demands of contemporary design and branding. Helvetica Now comprises 48 fonts, consisting of three distinct optical sizes: Micro, Text and Display. In 2021, he took part in the development of Helvetica Now Variable (Monotype). Helvetica Now Variable was designed by Max Miedinger, Charles Nix, Monotype Studio, Friedrich Althausen, Malou Verlomme, Jan Hendrik Weber and Emilios Theofanous and published by Monotype. Monotype writes: Helvetica Now Variable gives you over a million new Helvetica styles in one state-of-the-art font file (over two-and-a-half million with italics!). Use it as an extension of the Helvetica Now family or make custom-blends from its weights (Hairline to ExtraBlack), optical sizes (four point to infinity), and new Compressed and Condensed widths. It contains 144 static styles.
    • Corporate typefaces developed as part of the team at brand agency KMS TEAM in Munich: Bentley Motors (this received a Red Dot award in 2014), Canyon Bikes.

    His thesis Kursiv has been published by Niggli Verlag in 2010. In 2020, Niggli published his English language book Italic.

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

    Jan Maack
    [The Ivy Foundry]

    [MyFonts] [More]  ⦿

    Jane Doggett

    Graphic designer and wayfinding system pioneer, b. Nashville, TN, 1929, who lives in Jupiter Beach, FL. At Yale University, she obtained an MFA in architecture and design, studying with two influential professors, architect Louis Kahn and Bauhaus guru Josef Albers. Albers had a profound effect on Doggett and her use of color, which she would apply in her wayfinding solutions for about 40 airports. For some of them, she designed special typefaces. For example, for Tampa's airport, she modified Helvetica in her Alphabet A in the early 1970s. Interview by Lennie Bennett, Tampa Bay Times. [Google] [More]  ⦿

    Jarno Lukkarila
    [Typolar (was: Jarno Lukkarila Type Foundry, or: Format Design)]

    [MyFonts] [More]  ⦿

    Jason Smith
    [Fontsmith]

    [MyFonts] [More]  ⦿

    Jason Wolfe
    [Wolfe Hall]

    [More]  ⦿

    Jérémie Hornus
    [Black Foundry]

    [MyFonts] [More]  ⦿

    Jérémy Schneider
    [VJ Type (was: Violaine & Jérémy)]

    [More]  ⦿

    Jean-Baptiste Levée
    [Production Type]

    [More]  ⦿

    Jean-François Porchez
    [ZeCraft]

    [MyFonts] [More]  ⦿

    Jekyll&Hyde
    [Marco Molteni]

    Jekyll&Hyde is an Italian studio founded in Milan in 1996 by Marco Molteni and Margherita Monguzzi. Mainly involved in corporate logos, this studio also produced some typefaces, notably Contaminato (1997), Pop (2001, geometric letters consisting of very few atomic elements), and Apocalisse (1996, grunge). These are not on their interesting but useless web page. They made the hairline octagonal typeface Otto (2008, octagonal), Peggy (2005, organic), Swimming (2001, organic), Widiba Bank (2015, a 4-style corporate rounded sans typeface by Jekyll & Hyde and Fabrizio Schiavi).

    Behance link. [Google] [More]  ⦿

    Jelle Bosma

    Jelle Bosma (b. Rijswijk, The Netherlands, 1959) studied at the Royal Academy of Art in The Hague and. like many of his contemporaries, was influenced by Gerrit Noordzij. He works from a studio near The Hadue, and designs type, programs font tools, hints, and produces type. His typefaces:

    • He created WTC Cursivium (1986, World Typeface Center).
    • He was one of the main type designers at Scangraphic from 1988-1991, where he designed Forlane in 1991.
    • Bosma joined Monotype in 1992. His role was to oversee TrueType® production and hinting. One of Bosma's first projects for the company's UK office was to manage the production of Greek and Cyrillic core fonts for the Windows® 3.1 operating system. Known for his work with non-Latin typefaces, Bosma has produced fonts for Hebrew, Thai, Arabic and Indic scripts. He relies a lot on his own software, including a truetype font editor called FontDame. He also claims that there are no more than 25 professional hinters world-wide. Alternate URL.
    • Bosma was part of the team that developed corporate identity typefaces for Nokia. Launched in 2002, the Nokia types include sans, serif, and bitmap versions in varying weights. The Nokia fonts are used for everything from architectural signage and printed brochures to screen type for phones and other devices.
    • In 2004, he created the OpenType family Cambria for Microsoft's ClearType project.

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

    Jens Nilsson

    Swedish graphic designer responsible for the blackened octagonal obsese typeface Dance Made (2008), used in its logo. He also designed the custom typeface Donadoni (or: Maldini). Jens lives in Stockholm. [Google] [More]  ⦿

    Jeremie Barry

    Parisian designer. Creator in 2012 of the curly geometric hairline typeface Ipsen for the pharmaceutical lab Ipsen. This is a tour de force, as the user can choose to use between one and seven oparallel lines to compose the glyphs. A beautiful blend from a monoline display typeface to a prismatic wonder. [Google] [More]  ⦿

    Jeremy Mickel
    [MCKL (was: Mickel Design)]

    [More]  ⦿

    Jesse M. Ragan

    Originally from North Carolina (b. 1979), Jesse Ragan studied type design at Rhode Island School of Design. After college, Jesse designed typefaces at Hoefler&Frere-Jones, where he had a hand in Gotham, Archer, and several other families. Since 2005, he has worked independently in Brooklyn, developing typefaces and lettering for a variety of clients. His work can be found at Font Bureau, House Industries, and Darden Studio. He also teaches typeface design at Pratt Institute and Cooper Union. He won an award at Bukvaraz 2001 for Gotham, co-designed with Jonathan Hoefler and Tobias Frere-Jones. In 2017, he set up XYZ Type with Ben Kiel, who is based in Saint Louis, MO. XYZ Type is part of Type Network since 2018.

    His typefaces:

    • Afri Sans (2011). A custom typeface for the Museum for African Art in Manhattan.
    • Athenian Extended (2011). By Matteo Bologna and Jesse Ragan. This "playfully peculiar face" (their words) was custom designed for Typography 32, the annual of the Type Directors Club. A revival of the 19th century classic Athenian.
    • Cedar. An angular typeface designed during his studies at RISD. It was later published at XYZ Type.
    • Epiphany (2001). A hookish face.
    • Export (2012). A vernacular typeface based on signage seen in New York's Chinatown. This all caps typeface features square counters and comes with a stencil version.
    • Hoefler & Frere-Jones, 2001-2005. Assistance with the production of several typefaces at HFJ: As a full-time typeface designer for Hoefler & Frere-Jones from 2001 to 2005, I designed a full type family for Smirnoff Vodka (art directed by J. Walter Thompson and H&FJ). Working closely with Tobias Frere-Jones and Jonathan Hoefler on a number of other typefaces, I designed bits and pieces such as hairline weights, Italics, and news grades. These include Mercury, Chronicle, Hoefler Titling, Sentinel, Surveyor (2014)), Gotham, and Archer (a type family done for Martha Stewart Living and designed with Hoefler and Frere-Jones).
    • Omnes (2006). A monowidth rounded sans designed by Joshua Darden. Ragan assisted in the production and design process.
    • Ruzicka Collection (2012). Digital versions of the alphabets shown in Rudolf Ruzicka's 1968 portfolio Studies in Type Design. This collection led in 2018 to the robust 12-style typeface family Study at XYZ and in 2020 at MyFonts.
    • Showcard Stunt (2008). Lower case of a comic book/signage typeface originally drawn by Ken Barber, House Industries. Inspiration from Dom Casual (1950s, Peter Dombrezian).
    • Smirnoff (2003). A custom typeface commissioned by J. Walter Thompson for Smirnoff.
    • The Bruins (2006). An athletic lettering typeface commissioned by Reebok for The Boston Bruins in 2007-2008.
    • USA Today Condensed (2012). He writes: I designed this headline typeface for the dramatic relaunch of USA TODAY, which was overseen by Wolff Olins. The condensed style complements the paper's proprietary version of Futura, but without resorting to the familiar elliptical shapes of Futura Condensed.
    • V Magazine (2011). A condensed high-contrast fashion mag headline typeface done for V Magazine.
    • Carlstedt Script (2013, with Ben Kiel: a custom signage typeface for Aldo Shoes based on the handwriting of Swedish illustrator Cecilia Carlstedt). Cortado Script (2014) was designed by Jesse Ragan and Ben Kiel. It too was inspired by Cecilia Carlstedt's hand-painted lettering and is quite close to Carlstedt Script.
    • In 2017, Jesse Ragan published Aglet Slab and Export at XYZ Type. In 2019, he added Aglet Sans, and in 2020 Aglet Mono. The three Aglet families explore roundness. Aglet Mono, in particular is quite striking, and could be useful for programmers.
    • Escalator and Elevator (2021). Two multipurpose geometric sans families following in the footsteps of Block and Futura. Ragan writes: Escalator & Elevator grew from a client commission to replicate existing signage for the renovation of a landmark New York City skyscraper. They take inspiration from prefabricated letterforms of the 1950s, which manufacturers offered in so-called Block and Futura styles, by swapping in a few different shapes. Our interpretation increases the distinction between the two styles, pulling from surplus glyphs created for customizations of the design for other clients. No one really needs another geometric sans, but Escalator & Elevator claim their own aesthetic territories in an abundant genre. Both families are delivered as variable fonts, providing full access to a wide weight range. The optical size axis addresses the specific needs of different type sizes with adjustments to the structure, tapering, and spacing. From small text to the appropriately-named Huge, these typefaces evoke architectural lettering and the era of phototypesetting.
    • Polymode Sans (2021, by Jesse Ragan and Ben Kiel). A variable font with a realness axis.

    Interview. Behance link. Interview by Lovers Magazine. [Google] [MyFonts] [More]  ⦿

    Jin Kyung Park

    Type designer at Sandoll Communications in Seoul, Korea. Designer of the Hangul fonts Hitec (2016), Hyundai Marine (2016), Taegeukdang (Latin, hangul and chinese), SBS (2016), MMCA (2016, for the National Museum of Modern and Contemporary Art in Seoul), Samsung (2016), and Daum Kakao (2016). [Google] [More]  ⦿

    Jisun Kim

    South Korean designer of the corporate Hangul font XtvN (2019). In 2018, he art directed the font Happy Myeongjo, which was designed by Jeonghee Shin and Heejin Choi. [Google] [More]  ⦿

    Jo de Baerdemaeker
    [Studio Type (or: Typojo)]

    [More]  ⦿

    Joan Ramon Pastor Rovira
    [Ultra Types]

    [MyFonts] [More]  ⦿

    Joancarles P. Casasín
    [BaseLAB]

    [More]  ⦿

    Joancarles P. Casasín

    Catalan type designer (b. Barcelona, 1969). In 2018, he joined the faculty in the Masters program in typographic design at Elisava. Joancarles has taught in most of Barcelona's design schools and still gives master classes and workshops at Spanish Universities about how to use or design type and on programming for graphic and type designers.

    He made ITC Belter and FF FontSoup.

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

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

    In 2017, he joined Type Together as a font engineer.

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

    Joao Faissal

    Joao Pessoa, Brazil-based designer of the free vector format multi-width sans display typeface Celestina (2017), which was developed for the branding of Cosmica. Behance link. [Google] [More]  ⦿

    Joao Peres

    Senior designer at Interbrand Sydney who was born in Brazil. For Melbourne Theatre Company (MTC) he created MTC Neon (2013, with Chris Maclean).

    Behance link. [Google] [More]  ⦿

    Joern Oelsner

    Jörn Oelsner (b. 1981, Flensburg, Germany) is a German type and graphic designer based first in Antwerp, Belgium, and later in Vegby, Sweden, and Ulricehamn, Sweden. He graduated at the Design Factory International in Hamburg, Germany. While studying he worked for URW++, Hamburg. After graduation he worked in several graphic design studios in Europe. His own design studio is OE Design. He mainly develops corporate typefaces, and now lives in Ulricehamn / Gothenburg, Sweden.

    Some of his projects are the corporate typeface of Sport 2000 (in cooperation with URW++, Hamburg), the corporate typeface of the Andorra Telecom SOM and the corporate typeface of the National Television and Radio Spain RTVE (both in cooperation with Summa, Barcelona).

    His type designs at URW++ include Ruca (2010, blackletter), Neustadt (2010, URW++: a legible elliptical monoline sans family, which was originally designed as a corporate font for Sport 2000), Stina (2012, a stitch font done for profonts), Ribera (2012, a contemporary sans) and Bloket Pro (2013: a piano key typeface).

    In 2014, he created the layered typeface family Graphique Pro Next (Profonts), which is a revival and extension of the famous Graphique Pro designed in 1945 by Hermann Eidenbenz.

    His main contribution in 2015 is the 20-style URW Geometric typeface family, which is modeled after the German geometric typefaces from the 1920s. In 2016, he added URW Geometric Condensed and URW Geometric Extended to that family.

    Typefaces from 2018: URW Dock (a contemporary geometric type family inspired by the square sans typefaces of the 60s, and in particular Eurostile), URW Dock Condensed. In 2020, 20 Extended styles were added to URW Dock.

    Typefaces from 2020: Cerco (a 12-style warm rounded geometric sans).

    Typefaces from 2021: Cromlin (a stylish sans typeface at FontPeople). [Google] [MyFonts] [More]  ⦿

    Johannes Breyer
    [Dinamo]

    [More]  ⦿

    John Galliers

    Head of Design for the Radio arm of NZME, one of New Zealand's biggest media groups, who is based in Auckland. He created the children's hand typeface Hipster (2015, for a merketing campaign for ZM) and Galliers Hand (2015, for the Hauraki brand). [Google] [More]  ⦿

    John Misael Villanueva

    Trece Martires, Philippines-based lettering artist and type designer, known for the official typeface of the American industrial tools maker Stanley Black & Decker. In 2019, he designed these typefaces: the colorful decorative caps typefaces Pinas, Habi and Habi Pinas, Florida, Military Industrial, the free vernacular typeface BBT Martires, the script typeface Cute Bouncy, the modular typeface Arturo, the corporate font Stanley Black&Decker and the variable sans typeface Dinamika.

    Typefaces from 2020: Nilad Pro (a display serif inspired by the flourishing bud of the yamstick mangrove or nilad), Leandro (inspired by the brutalist architecture of Filipino architect Leandro Locsin). [Google] [MyFonts] [More]  ⦿

    John Roshell
    [Swell Type]

    [MyFonts] [More]  ⦿

    John S.C. Simpson

    Art director in New York City. Born in Britain, he is a typographer, illustrator, painter, branding specialist and graphic artist. His largely experimental type design work includes the retro techno typeface Magazine No. 33 (2013), Salt (2013), Echo 08 (2013, a multilined logotype family), Digit 002 (2013), Can Pull Regular (2013), Loser 003 (2013), Wurm Digitail (2013, pixelish), Cant Blok (2013), Fac 003 (2013), Fac (2013), Pramb (2013), 12 Blocks New York (2013), Intro (2013), and Fast Forward (2013).

    Typefaces from 2014: Leonardo (grunge and geometry experiment).

    In 2015, he made the squarish typeface Cronin, the circle-based Can Pull, Flic Flim, the counterless typeface Winston, and the film noir typeface Cinema.

    Typefaces from 2016: Aeon (a custom pixel typeface family for Nike New York), Radford (a squarish modular typeface family), Pig, Loser (squarish).

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

    Jon Forss
    [Non-Format]

    [More]  ⦿

    Jonas Hecksher

    Jonas Hecksher holds a degree from The Royal Danish Academy of Fine Arts and The School of Design and Ecole supérieure d'arts graphiques et d'architecture in Paris, where he specialized in graphic design and typography design. Heckscher is Partner and Creative Director at design agency e-Types which he co-founded in 1997 and co-founder of type foundry and type design brand Playtype. He is a 5-time recipient of the Danish Design Award, a winner of two gold Creative Circle awards, a silver award winner at the Britsh D&AD, a winner in 2014 of the Knud V. Engelhardt Memorial Award, and the recipient of a certificate of excellence in type design from Type Directors Club N.Y. Playtype is currently based in Vesterbro, Denmark.

    He designed fonts such as Movie (2001, a very black condensed movie generics sans), iD:00 (2001, a large sans and serif family), Fletch Text (1998, a sans), DeLuca (Bodoni-like, 2001), NinetySix K (2001, a serif), Underton (1998), Point Sans (1999), Point Serif (1999), Cendia (1997), DenmarkSerif (1998), Mega (1999), Olic (1999), Arch Sans (2003), Arch Serif (2003), Arch Stencil (2003), Arch Pattern (2003).

    In the 2011 Playtype on-line catalog, it seems that several of his early designs have been renamed, and many others have been added. So here is the on-line list of his fonts there as of February 2011: AbidaleBook, AcademySans, AcademySerif, BingoSans, BingoSerif, DeArchie (didone), DeArchieDisplay, FletchText, FruOlsen (1998: a condensed display serif inspired by the old streets signs of Copenhagen, featuring tall x-heights, shaped drops and curved numbers), Geometric, Hall, HomeDisplay, Hazelwood, HermesBaby (old typewriter), Hill (2005: grotesque), HomeText, ID00 Sans (large family), ID00 Serif, ItalianPlate, JPSpecial Sans, JPSpecial Serif, JazzHouse (2007: a neo-grotesque), Mari (2006: a monolinear modern sans serif with a sense of nordic simplicity), MoviePlaytype, New Press, Noir Text, Nord Dingbats (circled letters), Norwegian, Play (2011, a minimalistic sans serif typeface, free at Google Fonts; CTAN TeX support), PrimoSerif (2000), Republic, SymphonyDisplay, TheWave, Trood, VentiQuattro (didone), Vertigo, Willumsen, ZettaSans.

    Later in 2011, he published the modern sans family Metro.

    In 2010, Hecksher created the 21-weight custom typeface family Berlingske for the newspaper by that name. It was extended over the years to a whopping 227 weights / 2100 glyphs-per-font in 2014, the year in which it was released as a regular retail font at Playtype, with Sans, Serif and Slab versions.

    Typefaces from 2013 include the large sans typeface family Nationale (Playtype) done for the National Museum of Denmark. See here.

    In 2014, an earlier typeface by e-types, Italian Plate, was releases in two monoline sans subfamilies, Italian Plate No. 1 and No. 2, and two serif versions, No. 3 and No. 4. In 2015, he published the extensive sans typeface family DuNord at Playtype.

    Typefaces from 2016: Hafnia Sans, La Fontaine.

    Typefaces from 2018: The Wave (sans).

    Typefaces from 2019: Melanzine (sans).

    Typefaces from 2020: Royal Theatre Serif (a didone), Royal Theatre Sans. Klingspor link. Google Plus link. [Google] [More]  ⦿

    Jonathan Pierini

    Type and graphic designer from Italy, who he holds a BA in graphic design and visual communication from the ISIA Urbino and an MA in Type and Media from the Royal Academy of Arts (KABK) in 2008 in Den Haag, The Netherlands. He has worked for private companies, and has been teaching and tutoring in different Universities in Italy. He is currently working at the Free University of Bozen Bolzano, Italy. Since 2011 he has been running the ISIA Urbino Type design Week summer program. More recently, he had a stint with Dalton Maag.

    He created the Vasinto Sans family as a student at KABK.

    In 2013 Bistro Studio designed a new identity and typeface concept for Mediterranea 16. Implementation done by Jonathan Pierini.

    Together with Riccardo Olocco, Jonathan Pierini reinterpreted Bodoni's work in 2014. Their Parmigiano Typographic System, which is named after Parma, the city where Giambattista Bodoni (d. 1813) established his printing house, attempts to revive, interpret and boldly extend Bodoni's work. There is not a single official original Bodoni---Bodoni's Manuale Tipografico contains many slightly different examples---, and so, the first challenge was to create coherent relationships between various optical sizes (Piccolo, Caption, Text, Headline) and weights. Besides the Parmigiano Serif family, Olocco and Pierini also developed the creative extension Parmigiano Sans. There are also Stencil, Typewriter, Egyptian styles, to name a few. The Parmigiano Typographic System was published in 2014 by Typotheque, but was developed a few years before that.

    In 2014, Leonardo Sonnoli and Jonathan Pierini developed the bespoke typeface family Mast for the MAST Foundation in Bologna.

    His Ovo typeface (2014) is a restyling of the custom font originally designed for the multifunctional center Ginestra, Fabbrica della Conoscenza based in Montevarchi (Arezzo).

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

    Jones Knowles Ritchie

    Design studio with offices in London, New York and Shanghai. Designers of the Heinz corporate typeface in 2020, which will be paired with as much as nine fonts from FontFabric's Intro family. In 2022, he designed a custom slab serif typeface for M&M in tandem with the Monotype team. [Google] [More]  ⦿

    Jordi Embodas
    [Tipografies]

    [MyFonts] [More]  ⦿

    Joseph Dennis

    Brand designer in Fremantle and/or Perth, Australia, whose typefaces can be bought from Type Department.

    In 2016, he designed The Skulls (a commissioned stencil font).

    For Pride Sports Festival 2018, he designed the organic sans typeface PSF Bounce.

    In 2020, he released the display typefaces Villanelle, Stoker (a blackletterish typeface for the West Australian Ballet) and Westralia (a free all caps typeface with varying widths). Type Department link. [Google] [More]  ⦿

    Joseph Miceli
    [AlfaType]

    [More]  ⦿

    Joseph Stitzlein

    Portland, OR-based creative director where he works at Nike. Before settling at Nike in Portland, he worked at Landor Associates, Stone Yamashita Partners, Chronicle Books, Pentagram, and CKS Partners and was living some of that time in San Francisco. He graduated from the College of DAAP at the University of Cincinnati.

    His type designs include the Sgiv1Text family in 1999, at first done as an OEM for Silicon Graphics Inc. This SGI corporate typeface evolved a couple of years later into the retail font Monolein (T-26).

    He also designed the Sempra Energy Corporate Typeface and the modern family ITC Tactile (2002). The latter font family won an award at the TDC2 2003 competition.

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

    Josephine Tansara
    [Market Sans]

    [More]  ⦿

    Joshua Brooks

    Manchester and before that Leeds, UK-based designer of Hardbaq (2013), a free font inspired by the shapes of blinds and windows that served as a school project at Leeds Metropolitan University. Blockbaq (2013) is a 3d typeface. Alpha (2013) is an outlined alchemic typeface. Showcase (2013) is a circle-based font inspired by the world of casinos. Watermelon (2014) is a script typeface. Typefaces made in 2016 include the custom font Hayley Nye for the fashion industry. [Google] [More]  ⦿

    Jörg Hemker
    [Herr Hemker]

    [MyFonts] [More]  ⦿

    Juho Hiilivirta

    Rovaniemi, Finland-based type designer at Helsinki Type Studio. His Bachelor Thesis work led to a great sans typeface, Oranssi. Its proportions are based on the golden ratio as suggested in Le Corbusier's work.

    In 2012, he created the sans family Mogul and the monospaced Tutankhamono. In 2014, he published Turi (a slab serif inspired by Sami author Johan Turi's simultaneous perspective illustrations).

    In 2015, he made Tyrant. In 2015, Juho Hiilivirta, Niklas Ekholm and Jaakko Suomalainen co-designed the custom typeface Finlandica. Finlandica was commissioned by the Prime Minister's Office as part of a visual identity for Finland. They write: Ink traps like cuts from a blunt ax, makes the typeface reliable in small sizes and gives it character in large headlines. Like the Finnhorse it's a breed suitable both as riding horse and workhorse. Free download.

    In 2016, he created the sans typeface Rodham, and in 2017 the widely monospaced typeface Railo Thin. [Google] [More]  ⦿

    Julia
    [Valerio Di Lucente]

    Julia is Valerio Di Lucente (Italy), Erwan Lhuissier (France) and Hugo Timm (Brazil). They met at the Royal College of Art in London having come from different professional backgrounds in editorial design, web and art direction. The studio Julia was founded in 2008 upon their graduation. Together, they work on books, typefaces, posters, websites, identities and exhibition design. They teach as visiting lecturers at Kingston University. Typefaces:

    • Premio (2010), A beveled typeface, extended to lowercase in 2012.
    • Riso (2009) is a display typeface designed for The Invisible Dot.
    • Above Magazine (2009, an almost typewriter type).
    • Copan (2010, a multilined typeface commissioned by Wallpaper's Born in Brazil issue that paid tribute to Oscar Niemeyer).
    • Herman (octagonal, done for Wired Magazine in 2010).
    • Modo (2008, an experiment on a superposition of shifted strokes).
    • Gill Sans Rounded (2007).
    • Serious Sans (2008, anti--Comic sans).
    • Volt (2009, a sans done for Volt Magazine).
    [Google] [More]  ⦿

    Julia Cadar

    Art director who studied at San Diego State University and California State University. In 2014, she created the dadaist typeface Fat Julia for the Yogurtland brand . [Google] [More]  ⦿

    Julius Hui

    Julius Hui (Chinese name Hon Man Hui) is a type designer in Hong Kong who studied at Hong Kong Polytechnic University in the late 2000s. He worked for some time at the Hong Kong branch of Dalton Maag and at Monotype Hong Kong as type designer. When COVID broke out, he started his own foundry in Hong Kong. He designed these typefaces:

    • The Chinese font Xin Gothic (2011, VM Type), art directed by Sammy Or.
    • He entered the Sixth Founder Type Awards for Chinese Typeface Design in 2011 with a Chinese Fangsong style typeface.
    • A custom typeface for the the Chinese comapny Tencent, done while he worked for Monotype.
    • Ku Mincho (2021-2022). Ku Mincho indends to return to historical Chinese---Ku Mincho differentiates itself from existing Ming typefaces in design, structure, and proportion by breaking free from the square box that had been imposed on Hanzi for decades (by Japanese foundries that dominated the Chinese type business). Hui's team for Ku Mincho includes his former colleagues at Monotype Hong Kong, Kin Cheung and Sammy Fung. The full set of 15,000 characters will be available in July 2022. Ku Mincho specifically supports traditional Chinese, used in Hong Kong and Taiwan, and for languages like Taiwanese and Hakka. Oryzae Foundry and Klim Type Foundry will be responsible for Japanese and Latin, respectively.

    Typecache link. Buy Xin Gothic here. [Google] [More]  ⦿

    Jumyoung Lee

    Graphic designer in New York City. He designed these typefaces:

    • Reptile (2020). display serif.
    • Ju+ (2019). A sans family that evolved from his earlier typeface, Ju Sans (2018).
    • Morfos (2019). A custom sans done for the South Lorean mattress company Morfos.
    [Google] [More]  ⦿

    Jürgen Weltin
    [Typematters.de]

    [MyFonts] [More]  ⦿

    Kabel Unit

    The house font of Kabel Deutschland, based on FF Unit. [Google] [More]  ⦿

    Kalapi Gajjar-Bordawekar
    [Universal Thirst]

    [MyFonts] [More]  ⦿

    Kamil Kurzajewski

    Kamil Kurzajewski is an independent Art Director. In 2008 he obtained an MA in typography from the Academy of Fine Arts in Poznan. He lives in Poznan (Poland) and specializes in visual communication, typeface and graphic design. He created the slabby typewriter typeface Struqtura (2012) and the rounded typeface family Carbon, and the 12-style corporate sans typeface family Kolo (designed specially for Kolo Sanitec, Polish nationwide company that manufactures and sells bathroom systems).

    Other typefaces: Spectra (2008), Razor (2011), Coctail (sic: 2010), BR#8 (2008: for BR Magazine).

    Behance link. [Google] [More]  ⦿

    Kamil Kurzajewski

    Polish graphic and type designer. His typefaces include Coctail (2010: a display serif), Carbon (2010: a brutalist typeface for the Katowicka Shopping Center), Struqtura (2009: a corporate monospaced typeface), Razor (2011), and Kolo (2010: a 12-style corporate typeface for Kolo Sanitec) [Google] [More]  ⦿

    Kamimura & Co. (was: Studio Antwork, or: Detail Type Foundry)
    [Makoto Kamimura]

    Kamimura & Co (or Detail Type Foundry, and earlier, Studio Antwork) are Makoto Kamimura's studios in Shibuya, Tokyo. Makoto created the compass-and-ruler roman corporate typeface Delilia (2011), as well as Geometric Light Display (2011).

    In 2017, he released the slightly flared typeface Soma.

    In 2019, he designed the 40-style neo-humanist sans family Astro. [Google] [More]  ⦿

    Kanon Foundry
    [Tor Weibull]

    Kanon Foundry is a Swedish type foundry started in 2019 by Alexander Örn (Malmö) and Tor Weibull.

    Retail faces by Kanon include Diagol Grotesk (2020, by Tor Weibull) and Operand (2021, by Alexander Örn; a low contrast, almost monolinear sans serif that draws inspiration from the 1930s Scandinavian functionalist design era).

    Corporate typefaces by Kanon: Bedow Head and Bedow Hand (2020: an angular sans typeface by Bedow and both founders of Kanon Foundry), NLTG Wave Display & NLTG Wave Serif (by Alexander Örn and Tor Weibull: for the Nordic Leisure Travel Group), Crastino (2019; by Tor Weibull: a Scotch roman-inspired typeface for Ocean Plastics at Röhska Museum of Design and Craft). [Google] [More]  ⦿

    Kara Zichittella
    [Zeitype]

    [More]  ⦿

    Kasper Pyndt Rasmussen
    [Approximate Type]

    [More]  ⦿

    Kate von Bitner

    London-based designer of Efsix (2014), a rounded sans typeface Efsix typeface that was created for the rebranding of F6 White Design Agency. Behance link. [Google] [More]  ⦿

    Keith Bates
    [K-Type]

    [MyFonts] [More]  ⦿

    Kentaro Terajima

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

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

    Behance link. [Google] [More]  ⦿

    Kerns&Cairns
    [Dyana Weissman]

    American type designer, b. 1980, who graduated from the RISD, and worked at Font Bureau (as Senior Custom Designer) and Type Network (as Custom Type Director) in Boston. She set up Kerns & Cairns, also in Boston. Interview at Daidala. Interview by Christian Palino. Her typefaces:

    • Materot: calligraphic.
    • She expanded the Benton Sans family into an ultra for Toyota, commissioned by Saatchi&Saatchi.
    • Baskerville was modified by her for Northeastern University (via Korn Design).
    • She made a font for learning handwriting for TouchMath.
    • Apotek (2020): a squared counter typeface family based on lettering on old medicine bottles seen in Oslo.
    • Benton Modern Display (2008), co-designed with Richard Lipton at Font Bureau: Benton Modern Text was first prepared by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton's turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook.
    • A redesign of Matthew Carter's Postoni (1997), called Stilson (2009, with Richard Lipton and Jill Pichotta): Since 1997, The Washington Post's iconic headlines have been distinguished by their own sturdy, concise variation on Bodoni, designed by Matthew Carter. For the 2009 redesign, Richard Lipton, Jill Pichotta, and Dyana Weissman expanded the family with more refined Display & Condensed styles for use in larger sizes. Originally called Postoni, the fonts were renamed in honor of The Post's founder, Stilson Hutchins.
    • Escrow Reading Edge (2016, Font Bureau). An extension of Cyrus Highsmith's Scotch Roman, Escrow (2006).
    • Syfy Hero and Syfy Sidekick.
    • Waldorf Astorai. An art deco typeface inspired by the lettering on the facade of Waldorf Astoria Hotel at 301 Park Avenue in New York City.
    • Comedy Sans. A 12-style typeface commissioned by Comedy Central.
    • Firdevs (2022). A digitization of a Victorian typeface drawn in Silivri Prison by political prisoner and journalist Fevzi Yazici, and named after Fevzi's wife.
    • CTV Sans. For the Canadian TV network.
    • ESPN College Football. A custom varsity font family developed together with Victoria Rushton and loyalkaspar.
    • Peacock Sans (2020, with Victoria Rushton). A custom typeface for Peacock, NBC Universal's video streaming platform.
    • GRab=vity Grotesk (2021, with Victoria Rushton and CSTM Fonts).

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

    Kevin Cantrell

    Talented art director in Salt Lake City, UT. Kevin earned a BFA in Graphic Design from Brigham Young University in 2008. He has worked with clients such as M&RL, Neenah Paper, Fetcham Park (UK), Harvard University, Princeton University, Phillips Exeter Academy and Cottonhouse Hotel (Barcelona). In 2016, he designed the art deco typeface Tom's Town, and wrote: Tom's Town Distilling Co. is downtown Kansas City's first legal distillery since Prohibition. Drawing inspiration from the country's most polarizing and corrupt political boss, Tom Pendergast, Tom's Town brings to life the glamorous magnetism of the Gatsby-era. Rooted in a deco optimism, Kansas City flouted Prohibition under the Pendergast machine. Today as Kansas City experiences its second cultural rebirth, the people are still thirsty. Welcome to Tom's Town, where free spirits reign. KCS created a comprehension branding identity system including a proprietary font, designed exclusively for Tom's Town. His typefaces are available from Typeverything.

    In 2014, he designed the art deco typeface Fitzroy Display for the Fitzroy Condos in New York (with Andrei Robu).

    In 2018, he published Vance Serif (co-designed with Andrei Robu) and wrote: Vance Serif began as a proprietary typeface for Clayton Vance Architecture. Inspired by classical Roman architecture and proportions, Vance burgeoned from geometric angles and slants to decorative swashes and serifs to give life and nuance; architecture vivified by the human persona.

    In 2019, Typeverything released the Victorian typeface Cottonhouse by Andrei Robu, Kevin Cantrell and Arlo Vance. [Google] [More]  ⦿

    Kevin Flatt

    Chicago, IL-based designer of the custom font family Panera Bread Sans (2017) for Panera Bread. He developed this family while at Cramer-Krasselt with the help of T-26. Home page. [Google] [More]  ⦿

    Kevin Simpson
    [Cybertype (was: Western Commercial Arts Company (WCA Co))]

    [MyFonts] [More]  ⦿

    Khaled Al Hashhash

    Khaleed Al Hashhash was born in 1978 in Amman, Jordan. He studied at Al Yarmouk University in Jordan, and works in Dubai, UAE. He designed the Arabic typefaces AP Al Khallej, AP Nart, and AP Seenah, and the corporate typeface Toyota Arabic (2016). [Google] [More]  ⦿

    Kia Tasbihgou
    [Op. Cit. Ibid. (or: OCI)]

    [More]  ⦿

    Kidon Bae
    [Tive Inc]

    [More]  ⦿

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

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

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

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

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

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

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

    • Feijoa (2007, a serif family for text, Village).
    • National (2007, a sans serif family, Village). This type family won an award at TDC2 2008. Duncan Forbes: National is slightly mannered, which becomes more apparent in the heavier weights yet it still remains simple, subtle and serious. [...] It has a human charm that gives such warmth and learned beauty to text.
    • FF Meta Serif (2007, Serif counterpart of FF Meta, with Erik Spiekermann and Christian Schwartz).
    • Galaxie Copernicus (2009) is a large x-height serif family done at Village in cooperation with Chester Jenkins. It was inspired (from very far) by Plantin's types. Another outgrowth of Plantin is Tiempos (2018), in Fine, Headline and Text subfamilies, which has both Times New Roman and Copernicus Galaxie as its parents.
    • Domaine Text and Display, in 48 styles (2013). Wedge serif on a didone skeleton. The Domaine Sans Display and Domaine Sans Fine subfamilies are exquisite fashion mag typefaces.
    • Founders Grotesk (2010). Roughly based on Miller&Richard Grotesque (No. 4, No. 7, No. 3), from a 1912 Miller&Richard specimen book. The proportions are just right---I will place my bets on this one for several best of 2010 award lists. The Condensed and X-Condensed are from 2011, and Founders Grotesk Text was published in 2013. Founders Grotesk Mono followed in 2014.
    • Metric (2011). A sans family with hints of art deco in the heavier weights. It is paired with Calibre (2011). Sowersby writes: Metric&Calibre are a pair of typefaces that share a fundamental geometry yet differ in the finish of key letterforms. Metric is a geometric humanist, sired by West Berlin street signs. Calibre is a geometric neo-grotesque, inspired by the rationality of Aldo Novarese's seldom seen Recta. They were conceived as a pair but function independently of each other. In a clever twist, Metric offers vertical stroke endings and Calibre horizontal ones in a selected number of glyphs.
    • Tiempos Text and Tiempos Headline (2010). Named for Times New Roman, this type has influences from the Egyptian Galaxie Copernicus, which is based on Plantin, as well as from Times New Roman.
    • FF Unit Slab (2007, with Erik Spiekermann and Christian Schwartz).
    • Newzald (2007), an economical text serif based on rough lettering found in New Zealand. Review of Newzald at Typographica.
    Custom
    • Pitch (2011). A typewriter face.
    • Hardys (2008), an elegant serif typeface custom designed for Australia's Constellation Wines. Hardys won an award at TDC2 2009. Hardys reviewed at Typographica.
    • Serrano (2008): a sans family designed for the Bank of New Zealand. It will be available for licensing starting in October 2013. In addition, it won an award at TDC2 2009.
    • Eliza (2003).
    • NZ Rugby Chisel (2006, The All Blacks Typeface).
    • Hokotohu (2007, a typeface for the Moriori).
    • Victoria Sans and Serif (2007, custom typefaces for Victoria University).
    • Methven Flow.
    • Rewards (2006). A serif family designed with Chester Jenkins for American Express.
    • Financier (2014). A corporate typeface done for Financial Times.
    • The blackletter pixel font Pixel Fraktur (2002).
    • The pixel script font Nobody came to class (2003).
    • Pixel uncial (2003).
    • Luca Titling (2003, an ancient roman titling typeface based on inscriptions from 1590).
    • Mono, Mono Pre (2003).
    • Kilbernie Sans (2003), Kilbirnie Serif (2004).
    • Klim Sans (2004).
    • A Slabb (2004, a slab serif), Slabb (nice slab version of Klim Sans).
    • Karv (2005, alternative for Trajan), Karv Sans.
    • National Condensed and National Compressed (2007).
    • Aperture (2007), a sans for small sizes.
    • Valencia (2007), a warm didone.
    • Salamanca (2005).
    • Sevilo (2005).
    • Zinc (2005).
    • Elegantia (2005, based on Polyphilus).
    • Karbon, Karbon Serif (2006: raves from the typophiles!). Karbon is an open, geometric sans serif with a contemporary spartan finish. It is an exploration of Paul Renner's reductionist Futura concept channelled through the proportions of Eric Gill's eponymous sans, with a slight nod towards Jan Tschichold's Uhertype sans-serif. Includes seven weights in roman and italic.
    • The Italian (negative stress) typeface Maelstrom (2018). Review by Bethany Heck.
    • In 2015, the custom octagonal typeface Pure Pakati was developed at Whybin TBWA Auckland for Tourism New Zealand. Its design team comprised Philip Kelly (design director), Karl Wixon (Maori design consultant), Kris Sowersby (type designer) and Rangi Kipa (Maori carver). Pure Pakati blends the traditions of wood type with the traditional indigenous carving style of Aotearoa (New Zealand) in a hand-carved and digital fonts. It won an Nga Aho Award from the Designers Institute of New Zealand and Nga Aho Inc in 2015.
    • Domaine Sans (2014, with Dave Foster) won an award in the TDC 2015 Type Design competition.
    • Stern Metric (2011).
    • The monospaced / typewriter typeface family Pitch Sans (2018).
    • Geograph (2017-2018) was designed by Kris Sowersby and engineered by Noe Blanco. Panos Haratzopoulos designed Greek versions. The Geograph fonts are currently licensed for the exclusive use of National Geographic. It is a comprehensive replacement of several typefaces that National Geographic had been using such as Verlag and Neue Haas Grotesk. Free download.
    • Heldane (Text, Display) (2018), designed by Kris Sowersby and engineered by Noe Blanco: Heldane is a contemporary serif family inspired by the renaissance works of Hendrik van den Keere, Claude Garamont, Robert Granjon and Simon de Colines. Rather than emulating a specific font, Heldane amalgamates the best details from these sources into a cohesive whole. The classical typographic foundations of Heldane are refined with rigorous digital drawing. I consider Heldane a third generation garalde typeface drawn from secondary sources. The first generation are 16th century works from the likes of Van den Keere, Garamont, Granjon and De Colines. The second generation are 20th century conscious metal revivals. By conscious, I mean the concerted effort to revive a specific style, whether the source was accurate---like Stempel Garamond; or not---like American Type Foundry Garamond No.3. The third generation are those made since 1955, after the re-discovery of the Plantin-Moretus archives and subsequent scholarship. These are types like Sabon, Galliard, Adobe Garamond and Renard. The designers of these faces skilfully exploit modern scholarship, disambiguation of punchcutters, and trace accurate lines to their primary sources. Heldane won an award at the Type Directors Club's Type Design Competition 2019.
    • The Future Mono (2018). A superb take on Futura, which Kris describes as follows: Imagine if Paul Renner moved to Japan and Kyota Sugimoto asked him to adapt Futura to a typewriter. A mono version of Futura thanks to a great plastic surgeon. the Future Mono v0.2 was released at Future Fonts in 2020.
    • Soehne or Söhne (2019). Superlatives fail me. This complete sans family in Normal, Mono, Schmal, and Breit subfamilies is described by Sowersby as follows: Söhne is the memory of Akzidenz-Grotesk framed through the reality of Helvetica. It captures the analogue materiality of Standard Medium used in Unimark's legendary wayfinding system for the NYC Subway.. Engineered by Noe Blanco, and with help from Dave Foster and Tim Kelleher.
    • Signifier (2019). A digital remake of the Fell types. Sowersby calls his own attempt brutalist. The outcome is sharp-edged and very much 21st century stuff.
    • Manuka (2019-2021, by Dave Foster and Noe Blanco). Award winner at 25 TDC in 2022. Compressed typefaces for large sizes. Described by Klim Type: With deviant details pilfered from Teutonic timber type, Manuka grafts a contemporary antipodean aesthetic onto 19th century German root-stock. Tight spacing, closed apertures and sharp joins make a compelling texture, like sunlight sparkling through a forest canopy.
    • Untitled Sans and Untitled Serif (2020). Klim writes that they are quotidian typefaces: Untitled Sans is a plain, neogrotesk sans validated by the ideas of Jasper Morrison and Naoto Fukasawa's Super Normal project. Untitled Serif is drawn from the old-style genre of typefaces: the post-Caslon, pre-Times workhorses offered by almost every metal type foundry of the time. Untitled Sans and Untitled Serif are related neither by skeleton nor a traditional aesthetic connection, but by concept only.
    • Epicene Text & Display (2021, by Dave Foster and Noe Blanco). Award winner at 25 TDC in 2022. These are baroque typeface families inspired by the work of 18th century masters J-F. Rosart and J.M. Fleischmann. AIGA describes the result as a baroque typeface celebrating ornamental idiosyncracy.

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

    Kokoro & Moi

    Kokoro & Moi, established in 2001 in Helsinki, is a full-service creative agency specializing in brand strategies and identity design. In 2013, togethe with Underware, they designed the custom typeface family Stockmann Sans: Stockmann department stores were going through a major uplift in their brand and communications in 2012, when they decided to move away from the wide selection of font styles to a unified look-and-feel and smoother processes. The era of Helvetica and Garamond was coming to an end with a unique, handcrafted Stockmann Sans about to step in.

    Behance link. [Google] [More]  ⦿

    Konrad Bednarski
    [No More Faith Fonts]

    [More]  ⦿

    Kontrapunkt
    [Bo Linnemann]

    Danish design bureau that publishes corporate fonts, and fonts for government agencies. The Danish Railway fonts ViaSign (2000), ViaText (2000) and DSBTPL (2000) are due to them. This company in Copenhagen was founded in 1991 by Kim Meyer Andersen and Bo Linnemann. Kontrapunkt's Bo Linnemann is mainly occupied with corporate branding, and this often includes new corporate designs. He professes to be deeply influenced by Knud Engelhardt, who used wide typefaces with the A, N, V, W and M corners stretched by horizontal pieces. His type designs include

    • Billund: a sans family for the new Billund Airport, which won the Trophé d'Or in 2003.
    • CarlsbergSans (2006), for the beer maker.
    • Danske (2000): a corporate sans family for the Danske Bank.
    • BG (2001): a family for the BG Bank.
    • Engelhardt (sans, 1997).
    • AtB (for Movia Public Transport).
    • Kontrapunkt (free), their own corporate identity face, which won the Danish Design Prize for best typeface in 2004. Pick up a free copy of Kontrapunkt Light, Light Italic and Bold. The slabby Kontrapunkt Bob (2011) is also free.
    • Their corporate typefaces include Datsun Sans.
    • Kontrapunkt Miki (2016). A free sans typeface family.

    Another URL. Fontsquirrel link. Old URL. [Google] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Ksenia Erulevich

    Ksenia Yerulevich (or Erulevich) was born in Novotroitsk, Russia, in 1986. She graduated from The British Higher School of Art and Design (Moscow) with a Type and Typography degree. Since 2011, Ksenia has worked as a type designer and calligrapher at Art. Lebedev Studio.

    Designer of the quaint text typeface Alice (2011, Cyreal, Google Font Directory) and the curly typeface Bonbon (2011, Google Web Fonts).

    Creator of the feminine script typeface ALS Fuchsia (2012, Art Lebedev Studio).

    In 2013, Ksenia published ALS Malina, a plump packaging and children's book face.

    In 2016, she published the informal sans typeface ALS Lavanda and the flaring ALS Alumna at Art Lebedev. ALS Sector, a grotesque typeface family, followed in 2017, and the rounded all caps sans Contract and Russian Premier League (a soccer shirt font by Ksenia Erulevich, Nikolay Nedashkovsky, and Konstantin Lukyanov at Art Lebedev) in 2018.

    Her corporate typefaces at Art Lebedev Studio include M.Video (2013, done with Olga Umpeleva) and Yandex (2013: by Ksenia Erulevich, Taisiya Lushenko, and Elena Novoselova). [Google] [MyFonts] [More]  ⦿

    K.T. Kristian Möller
    [KTKM]

    [MyFonts] [More]  ⦿

    KTKM
    [K.T. Kristian Möller]

    Karl Thomas Kristian Möller's foundry in Stockholm, est. ca. 2010, is called KTKM. He did a revival called Baskerville Old Face KTKM (2010), which aims to improve over the old Stephenson Blake version, about which Jan Tschichold wrote: The so-called Baskerville Old Face of the type foundry Stephenson Blake&Co. of Sheffield [...] is probably not immediately linked to Baskerville, but it is very much influenced by it. It is one of the most beautiful types of which the mats still exist; it has an incomparably different spirit than the streamlined re-cuts of today's Baskerville. Even keeping the general restraint extremely expressive. According to Berthold Wolpe (Signatures No. 18), the punches were cut and shown in samples in 1776 by Isaac Moore, who came from Birmingham to Bristol.

    Corporate typefaces by him include Quality Arrows (pictograams for Quality Hotel park in Södertäje, Sweden) and Hemköp Hand (for a grocery store). Unpublished typefaces: KM Caslon Antiqua (based on the Haas version), KM Caslon Kursiv, KM In Pectore (a display version of Bembo), KM Minerva (after a Linotype typeface by Reynolds Stone), KM Philatelie (an original antiqua), KM Ratio Latein Text (after Friedrich Wilhelm Kleukens's famous typeface Ratio Latein, 1925), KM Signwriter (a Trajan typeface after Eric Gill's instructions for the W.H. Smith bookstore), KM Universalitet.

    In 2013, he created Volunta Roman and Italic (a didone typeface). [Google] [MyFonts] [More]  ⦿

    K-Type
    [Keith Bates]

    K-Type is Keith Bates' (b. 1951, Liverpool) foundry in Manchester, UK, est. 2003. Keith works as an Art&Design teacher at a Salford High School. They custom design type, and sell some of their own creations.

    Commercial typefaces:

    • Adequate (2012). A basic geometric monoline sans family.
    • Adventuring (2010, comic book style)
    • Alan Hand (2005, based on some blobby lettering, handwritten by printer and mail artist, Alan Brignall)
    • Alex (2002-2004)
    • Alright (2004, cursive script)
    • Anna (2002-2007).
    • Argot (2019). Characterized by square counters, this typeface family exhales brutalism and industrialism. See also Argot Machine (2019).
    • Artist Hand (2019).
    • Axis
    • Bank of England (2012, blackletter): Bank of England is loosely based on blackletter lettering from the Series F English twenty pound banknote introduced in 2007. The font also takes inspiration from German Kanzlei (Chancery) typefaces and the 17th century London calligrapher, John Ayres.
    • Banks & Miles (2018). Inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, which included Double Line and Single Line alphabets. The new digital typeface is a reworking and extension of both alphabets.
    • Barbica (2015). A glyphic typeface.
    • Bricola (2020).
    • Brush Hand New (2013): Brush Hand New is a full font based on a copy of Flash Bold called Brush Hand marketed by WSI in the 1990s and more recently distributed through free font sites. Brush Hand was an anonymous redrawing of Flash which simplified, slightly lightened, smoothed out ragged edges, and improved the legibility of the original classic created by Edwin W. Shaar in 1939.
    • Building&Loan (2007, engaved face)
    • Bigfoot (2005, a Western font based on the slab capitals used by Victor Moscoso in his 1960s psychedelic rock posters)
    • Bolshy (2009)
    • Bolton750 (2003, a mechanical typeface done with John Washington).
    • Chancery Lane (2021). An italic text typeface that is based on chancery scripts.
    • Charles Wright (2016). A set of fonts based on the UK license plate fonts.
    • Chock (2009)
    • Circa (geometric sans)
    • Cloudbuster (2019). Inspired by Imre Reiner's Corvinus Skyline of 1934.
    • Club.
    • Coinage Caps (2017). Coinage Caps is a trilogy of small caps fonts based on the roman lettering used for the designs of British coinage. Coinage Caps Eric Gill is a regular weight, spur serif style drawn by Eric Gill for silver coin designs in the 1920s which were rejected by the Royal Mint. Coinage Caps Humphrey Paget is a medium weight serif based on the lettering of Thomas Humphrey Paget, designer of the Golden Hind Halfpenny first struck in 1937. This font simulates the soft, slightly rounded corners of the minted letterforms. Coinage Caps Kruger Gray is a glyphic, flare serif font typical of the bold style engraved by George Kruger Gray for numerous British and Commonwealth coins during the 1920s and 30s. This font also simulates the slightly rounded corners of the minted letterforms.
    • Collegiate (2009)
    • Component (2012). A font for lost civilizations and dungeon rituals.
    • Context (experimental)
    • Credit Card (2010, font for simulating bank cards)
    • Curwen Sans (2018). A monoline sans from the early 1900s originally created for in-house use at the Curwen Press in London.
    • Cyberscript (2006, connected squarish face)
    • Deansgate (2015). Deansgate and Deansgate Condensed are based on the clearest and most distinctive of the sans-serif letterforms used on Manchester street nameplates, and easily identified by a pointy Z and pointed middle vertices on M and W.
    • Designer
    • Digitalis
    • English
    • Enamela (2013). Keith writes: Enamela (rhymes with Pamela) is based on condensed sans serif lettering found on vitreous enamel signage dating from the Victorian era and widely used in Britain for road signs, Post Office signs, the plates on James Ludlow wall postboxes, railway signs, direction signs and circular Automobile Association wayfinding plaques throughout the first half of the twentieth century. The original model goes back to Victorian times, ca. 1880.
    • Engravia (2018). Engravia is a didone display typeface supplied in three varieties of engraving---Inline, Shaded and Sawtooth---plus a plain basic font.
    • Example (2017). A workhorse neo-grtesque typeface family.
    • Excite
    • Flip (2011), a western grotesk billboard face.
    • Flyer (2009, techno)
    • Frank Bellamy (2009, an all-capitals family based on the hand lettering of English artist Frank Bellamy, who is most famous for his comic art for Eagle and TV21, and his Dr Who illustrations for Radio Times)
    • Future Imperfect
    • Gill New Antique (2003)
    • Greetings
    • Helvetiquette
    • Hapshash (2010): an all capitals font inspired by the 1960s psychedelic posters of British designers Hapshash and the Coloured Coat (Michael English and Nigel Waymouth), in particular their 1968 poster for the First International Pop Festival in Rome. A dripping paint font.
    • Irish Penny (2016). An uncial typeface based on the lettering from Percy Metcalfe's influential pre-decimal coinage of Ireland, the Barnyard Collection.
    • Ivan Zemtsov (2009)
    • Kato (2007, oriental simulation face)
    • Keep Calm (2015). A geometric sans inspired by a British war poster from 1939.
    • Keith's Hand
    • Klee Print (2010, Klee Print is based on the handwriting of American artist Emma Klee)
    • Latinate (2013). A vintage wedge serif wood style typeface, and a rough version.
    • Lexie (an improved or "adult" version of Comic Sans) and Lexie Readable (2006, modified in 2015). Keith writes: Lexie Readable (formerly Lexia Readable) was designed with accessibility and legibility in mind, an attempt to capture the strength and clarity of Comic Sans without the comic book associations. Features like the non-symmetrical b and d, and the handwritten forms of a and g may help dyslexic readers.
    • Licencia (2016). A blocky typeface inspired by the tall, soft-cornered lettering on vehicle licence and registration plates world-wide.
    • Londinia (2016).
    • Matchbox
    • Max
    • Ming
    • Modernist Stencil (2009).
    • Monterey Pop (2020). A psychedelic / popart typeface based on Tom Wilkes's poster lettering for the Monterey International Pop Festival in June 1967.
    • Mythica (2012). A slightly condensed lapidary roman with copperplate serifs.
    • Modulario (2010): a contemporary sans.
    • New Old English (2010, blackletter)
    • Norton (2006)
    • Nowa (2004, a play on Futura)
    • NYC (octagonal)
    • Openline (2008, an art deco pair)
    • Oriel Chambers Liverpool: A Lombardic small caps font based on the masonry lettering on Peter Ellis's 1864 building, Oriel Chambers, on Water Street in Liverpool.
    • Pentangle (2008, based on album lettering from 1967)
    • Pixel
    • PixL (2002-2004)
    • Plasterboard (2004-2005)
    • Pop Cubism (2010) is a set of four texture fonts, combining elements of cubism and pop art.
    • Poster Sans (2006). A wood type family based on Ludlow 6 EC. See also Poster Sans Outline.
    • Rick Griffin (2006, more psychedelic fonts inspired by a 1960s Californian artist)
    • Rima (2020). A stencil typeface with heavy slabs.
    • Roundel (2009, white on black)
    • Runestone (2010, runic).
    • Sans Culottes (2008, grunge)
    • Serifina
    • Solid State (2008, art deco blocks)
    • Solus (2004, a revival of Eric Gill's 1929 typeface Solus which has never been digitized; read about it here)
    • Stockscript (2008, down-to-earth script based on the pen lettering of the writer, Christopher Stocks)
    • Susanna (2004)
    • Ticketing (2011): pixelish.
    • Total and Total Eclipse (2004, squarish display typefaces based on the four characters of Jaroslav Supek's title lettering for his 1980s mailart magazine, Total)
    • Transport New (2009: a redrawing of the typeface designed for British road signs. In addition to the familiar Heavy and Medium weights, Transport New extrapolates and adds a previously unreleased Light weight font originally planned for back-lit signage but never actually applied. Originally designed by Jock Kinneir and Margaret Calvert beginning in 1957, the original Transport font has subtle eccentricities which add to its distinctiveness, and drawing the New version has involved walking a tightrope between impertinently eliminating awkwardness and maintaining idiosyncrasy.)
    • Union Jack (octagonal)
    • Victor Moscoso (2008, psychedelic)
    • Wanda (2007, art nouveau)
    • Waverly
    • Wes Wilson (2007, psychedelic, inspired by 1960s psychedelic poster artist Wes Wilson).
    • 3x5
    • Zabars (2001): a Western face.

    His free fonts:

    • Blue Plaque (2006: a distressed font based on English heritage plaques)
    • Blundell Sans (2009)
    • Celtica (2007) has Celtic influences
    • Dalek (2005, stone/chisel face: Dalek is a full font based on the lettering used in the Dalek Book of 1964 and in the Dalek's strip in the TV21 comic, spin-offs from the UK science fiction TV show, Doctor Who. The font has overtones of Phoenician, Greek and Runic alphabets). See also Dalek Pinpoint (2018).
    • Designer Block (2006)
    • Flat Pack (2006)
    • Future Imperfect (2006, grunge)
    • Gommogravure (2005)
    • Greetings (2006), Greetings Bold (2006)
    • Insecurity (2005, experimental) won an award at the 2005 FUSE type competition.
    • International Times (2006, inspired by the masthead of the International Times underground newspaper of the 1960s and 1970s)
    • Keep Calm (2011). Related to London Underground.
    • Kindersley Sans (2017). A modernized version of David Kindersley's 1950s type used for many street name plates in Britain, about which Bates writes: Kindersley Sans is a humanist sans-serif that conserves the Gill-inspired character and some of the calligraphic qualities of Kindersley's lettering, it retains the Roman proportions and its Britishness, but traditional prettiness and intricacy are discarded in favour of a clean modernity.
    • Klee Capscript (2005: based on the handwriting and capitals drawn by artist Emma Klee (USA) for her Color Museum Mail Art invitation. The upper case is based on Emma's capitals and the lower case is freely adapted from her script)
    • Lexia and Lexia Bold (2004)
    • MAGraphics (2004)
    • Magical Mystery Tour (2005, outlined shadow face), Magical Mystery Tour Outline Shadow (2005), Magica (2015, a serifed titling typeface family).
    • Mailart (2004), Mailart Rubberstamp (2004), Mailart Rubberstamp Sans (2018).
    • Mandatory (2004, a UK number plate font based on the Charles Wright typeface used in UK vehicle registration plates).
    • McKnight Kauffer (2021). A retro poster font in the style of poster artist Edward McKnight Kauffer.
    • Motorway (2015), a companion typeface to Transport, the British road sign lettering. This is an extension of an original design by Jock Kinneir and Margaret Calvert: The Motorway alphabet was created for the route numbers on motorway signage, and is taller and narrower than the accompanying place names and distances which are printed in Transport. However, for Motorway Jock Kinneir and Margaret Calvert created only the numbers 0 to 9, the capitals A, B, E, M, N, S and W, ampersand, slash, parentheses and a comma. So, although the lettering made its first appearance on the Preston bypass in 1958, K-Type Motorway is the first complete typeface and contains all upper and lower case letters, plus a full complement of punctuation, symbols and Latin Extended-A accented characters. As with the Transport alphabet the starting point was Akzidenz Grotesk, Motorway taking inspiration from condensed versions. Changes were mainly driven by a quest for legibility, resulting in some reduced contrast between horizontal and vertical strokes, and Gill-esque straight diagonal limbs on the 6 and 9, and high vertex for the M.
    • Penny Lane (2014). A a sans serif derived from twentieth-century cast-iron signs displaying Liverpool street names.
    • Possible (2020). A 10-style mini-serif typeface.
    • Provincial (2014). A Victorian set of outline fonts.
    • Ray Johnson (2006-2008)
    • Roadway (2005, based on New York roadside lettering).
    • Romanica (2017). A humanist sans.
    • Sam Suliman (2020). A condensed squarish typeface which was inspired by lowercase lettering on a Sarah Vaughan album cover designed by Sam Suliman in 1962. Suliman was born in Manchester, England in 1927. After working for McCann Erikson in London, he moved to New York where he took on freelance work designing album covers, particularly celebrated are his striking minimalist designs for jazz records. He moved back to England in the early 1960s, designing many book jackets, film titles and fabrics, also working in Spain and India before settling in Oxford in the 1980s.
    • Savor (2011). An art nouveau family.
    • Sgt Peppers Lonely Hearts Club (2014).
    • Sinkin Sans (2014, free) and Sinkin Sans Narrow (2015, commercial). Open Font Library link.
    • Soft Sans (2010)
    • Subway Ticker (2005)
    • Taxicab (2016). A squarish style.
    • This Corrosion (2005).
    • Toppler (2018). A modern and full range top-heavy cartoon font family that includes a Popdots style. Bates was striving to improe on 1990s clasics such as Baby Kruffy (Ben Balvanz), Comix Heavy (WSI) and Startling (Dave Bastian).
    • Wildcat (2016). An athletics typeface family.
    • Zinc (2018). A monoline sans with diagonal nubs.
    • Colnage Caps Kruger Gray (2018). Coinage Caps is a trilogy of lapidary small caps fonts based on the Roman lettering used for the designs of British coinage.
    • Dalek Pinpoint (2018). Based on Dalek comic book lettering from the 1960s.
    • Icky Ticket Mono (2018). IckyTicket Mono is a monospaced font based on the coarsely printed numbering from 1960s bus tickets.
    • Sexbomb (2018). A psychedelic typeface family.
    • Mancunium (2019). A monoline sans family.
    • Straight Line (2020). An outlined font with chamfered corners and straight edges, possibly useful as a blackboard bold type.
    • We The People (a blackletter font based on the peamble of the American constitution).
    • Bowdon (2021). A six-style warm, Bodoni-inspired English Modern, influenced by the 1930s lettering of designer Barnett Freedman.
    • Oxford Street (2021). A condensed grotesque with horizontal and vertical stem terminals; it is a street a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster, which in turn were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger's Univers 69 Bold Ultra Condensed.

    Custom / corporate typefaces: With Liverpool-based art director Liz Harry, Bates created a personalized font, loosely based on Coco Sumner's handwritten capitals, for the band I Blame Coco. Medium and Semibold weights of Gill New Antique were commissioned by LPK Design Agency. Stepping Hill Hospital and Bates created Dials, a pictorial font to help hospital managers input data about improvements. A custom font was designed for Bolton Strategic Economic Partnership.

    Abstract Fonts link. View Keith Bates's typefaces. Dafont link. Yet another URL. Fontspace link. Fontsy link. Behance link. [Google] [MyFonts] [More]  ⦿

    Kurt Weidemann

    Born in Eichmedien, Masuren, East Prussia in 1922, Kurt Weidemann died on arch 31, 2011. He studied at the State Academy for Fine Arts in Stuttgart, 1953-1955. From 1965 until 1985, he was professor at the Staatliche Akademie der Bildenden Künste in Stuttgart. From 1987 onwards, corporate identity consultant to Daimler-Benz. Weidemann also helped with the identities of companies such as Porsche, Zeiss, and Deutsche Bahn. From 1991 onwards, he taught at the Hochschule für Gestaltung at the Zentrum für Kunst- und Medientechnologie in Karlsruhe. Author of Wo der Buchstabe das Wort führt Ansichten über Schrift und Typographie (Stuttgart, 2000). He lived in Stuttgart, and enjoyed a reputation as an outspoken and lively speaker.

    FontShop link. Video by Die Gestalten. Picture. Another image. Smiling. At home during the Die Gestalten interview. Painting of him.

    He had great ideas about type and book design. For example, he always started designing the most frequently used letters, in this order: enirstadu, and claimed that the other letters are much less important. His typefaces:

    • Biblica (1979). Commissioned by the German Bible Society.
    • The extensive Corporate A (serif), E (slab) and S (sans) series (1985-1990), available from URW (since 1998), MyFonts, and Berthold. The Corporate series was exclusively designed for DaimlerChrysler as a corporate font. URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe. Corporate ME for the Middle East was released by URW in 2012.
    • ITC Weidemann (1983, a digital version of Weidemann's Biblica face.

    Klingspor link.

    Kurt Weidemann's typefaces. [Google] [MyFonts] [More]  ⦿

    Kyiv Type Foundry
    [Yevgeniy Anfalov]

    Born in Kyiv, Ukraine, in 1986, Yevgeniy Anfalov moved to Germany in 2003. He studied Visual Communication at Hannover University of Applied Sciences and Arts, and he launched his own design practice in 2010, two years before graduation. From 2015 to 2017, he completed the MA Art Direction at ECAL/University of Art and Design Lausanne, with a major in Type Design. He obtained an award of excellence for his graduation book project on the history of electronic music, ROTARY. Geschichte des Studios für elektronische Musik WDR Köln 1951-1981. Yevgeniy is working primarily in the fields of editorial design, visual identities, bespoke typefaces and online projects.

    Founder of Kyiv Type Foundry, which aims to offer new perspectives on Cyrillic type design.

    His typefaces:

    • LL Heymland (2018-2020, Lineto). An all caps flared typeface for Latin and Cyrillic that was influenced by a pen drawing of Koch's Koch Antiqua found in Solomon Telingater's estate.
    • The cyrillization of Stephan Müller's Chernobyl, a graphic stencil font designed in the late 1990s.
    • The custom typeface Malba Sans (2017) for Museo de Arte Latinoamericano de Buenos Aires (MALBA). He explains: Malba Sans is a corporate font of the museum, whose capital letters were drawn in-house (Aldus De Losa) and served the titling purposes. We were asked by the museum's graphic design team to analyse and update the capital letters, draw the lowercase letters, based upon the improved model and extend the character sets to cover more languages. The new version, named Malba Sans is characterised by a stronger vertical accent and more consistency due the reshape of all the letter forms. A new tighter spacing contributed to the better titling function. Malba Sans was fully kerned and is going to be implemented in the museum's upcoming identity in 2018. The font was exclusively drawn for the internal use and is not available for licensing.

    Lineto link. [Google] [More]  ⦿

    Kyle Wilkinson

    Creative director in Sheffield, UK. He designed the experimental (photographic?) alphabet Spectre (2013) and the experimental typeface Helix (2016).

    And now for something straight out of James Bond, Blavod Vodka (2017), a custom typeface for Blavod Vodka---the original Black Vodka.

    Behance link. [Google] [More]  ⦿

    Large Projects
    [Geoffrey Pellet]

    Large Projects is a multidisciplinary design studio based in Paris and run by Emmanuel Besse and Léo Carbonnet. One of its designers, Geoffrey Pellet, creates custom typefaces such as the unkerned sans typefaces Dorothy Sweet (2011) and Dorothy Rude (2011), and the Felipe (sans) typeface family for I Iz Felipe Fanzine. Typefaces by Large Projects:

    • Principal. A workhorse sans family initially designed for in-house use.
    • Kreuz. They write: Kreuz is a display typeface taking its inspiration in the industrial landscapes of Berlin. It contains angular letterforms and shares the structure of the grotesk faces from the end of the 19th century. With the removal of the curves on the outside of the glyphs, Kreuz almost looks like a set of bolts and nuts
    • Norman. A condensed monospaced typeface with the look of an American gothic.
    [Google] [More]  ⦿

    Lasha Giorgadze

    Designer in Tbilisi, Georgia. Designer of the Georgian typefaces LGV Lilu (2017), LGV Stadium (2017), LGV Vani Archeology (2017, a corporate font that belongs to the Georgian National Museum), LGV Marika (2016), LGV Bebas Neue, LGV Shxvarti (2016) and LGV Baxy Regular (2016, free).

    Georgian typefaces from 2019: LGV Quentin Tarantino, Speedee (Georgian adaptation for McDonald's Georgia). Font engineering for his 2019 fonts by Tbilisi-based Mariam Merabishvili. [Google] [More]  ⦿

    Laudon Type
    [Carolina Laudon]

    Laudon Type Design is a one woman type studio dedicated to typography, type design and type education. Carolina Laudon is a Swedish typographer and type designer living in Gothenburg, Sweden. After art studies in Stockholm and London she finalized her MA in Graphic Design at the University of Goteborg in 2000. Since then she has worked in her own type studio, focusing on type design and typographic work. For seven years she was responsible for all typographic tutoring at the Konstfack University of Arts in Stockholm. She taught typography at the Forsberg School in Stockholm and Goteborg. She currently teaches at Berghs School of Communication in Stockholm. In 2012, Carolina Laudon received The Berling Prize, Sweden's most prestigious typographic design-prize.

    Her work includes some of the most used corporate typefaces in Sweden, like Monopol (for Systembolaget, the booze monopoly in Sweden), and DN Bodoni and DN Grotesk (2000-2002, together with Örjan Nordling, Pangea Design, for the Swedish daily morning paper Dagens Nyheter). Other clients include Volvo AB, Arla, White Architects, Insurance company If and design agency F&B Happy and Identity Works as well as ad agency F&B.

    Her other typefaces include Endure (grungy sans), LTD Vichy (octagonal face), Laudon Stockholm Sans (unfinished), LTD Pamskrift (Victorian), LTD Handskrift (2001, a script font for the Scandinavian insurance company Försäkringsbolaget IF), LTD Shake, LTD Sthlm Sans, LTD Cartoon, White Dark (a shaded typeface for White Architects (2002)), LTD Cut (a 3d face), John Rounded (a fat marker font), Derome Sans, Gamlestadsstencil, and Länsförsäkringar Rubik.

    Graduate of the TDi program at the University of Reading, UK, 2017.

    In 2020, Carolina became president of ATypI. Her term lasts until 2022. [Google] [More]  ⦿

    Laura Meseguer

    Designer (b. Barcelona, 1968) at type-o-tones in Barcelona. She publishes as well as promotes all her type designs through her own type foundry, Type-o-Tones. In 2003-2004, she took a year off and took the postgraduate Type and Media course at KABK (Royal Academy of Art) in The Hague, Holland. She is a professor of typography in Spain. Author of TypoMag. Typography in Magazines (IndexBook). In 2012, Cristobal Henestrosa, Laura Meseguer and José Scaglione coauthored Como Crear Tipografias (Brizzolis S.A., Madrid, Spain). MyFonts link. Fontshop link. Her typefaces:

    • Adelita (1993-2007). A connect-the-dots typeface family co-designed by Laura Meseguer and Adela de Bara.
    • Brushland (2019).
    • Cortada: her first typeface. In 2012, she published the angular signage typeface Cortada Dos at Type O Tones.
    • Dauro (2013), a corporate typeface done for the olive oil brand Dauro. From the original typeface in use, Chronicle Bold Condensed, she designed an outline version, then Lingotillo (Little gold bar: beveled) and finally Grabado (engraved).
    • Frankie (1992, a grunge font done with Juan Dávila). Frankie is the result of a process of erosion, photocopying, scanning and digitisation based on the Franklin Gothic type (1904, Morris Fuller Benton).
    • Gallard.
    • The curly Girard Sansusie (House Industries). Laura writes: In 2005, House Industries invited me to digitize the lettering used to announce the textile designs that Alexander Girard did for Herman Miller. Girard Sansusie is a reinterpretation of this design, based on the few letters that were available to me. Girard Sansusie combines a folk flair with a lettering style evident throughout the Girard oeuvre, most notably on his 1955 Herman Miller fabric catalogue. Alexander Girard was a master at utilizing lettering and type as practical, illustrative and readable elements.
    • Guapa (2011). A thin monoline curlified display typeface with an art deco aroma. Followed in 2012 by Guapa Deco.
    • Lola (2013). A comic book typeface started in 1997 based on an alphabet found in Schriftschreiben Schriftzeichnen (1977) by Eugen Nerdinger and Lisa Beck. Lola won an award at TDC 2013. Its outgrowth, Lalola (1997-2013), won an award at TDC 2014. Lalola Cyrillic was released in 2019.
    • Multi (2011-2016). A magazine type family, with weights from hairline to black.
    • Rumba (2003-2007): this semi-script family won an award at the TDC2 2005 type competition. It was developed during her KABK Type and Media studies.
    • In 2009, the low-to-zero contrast Alexander Girard family was published by House Industries. It consists of Girard Sky, Girard Script, Girard Display, Girard Sansusie and Girard Slab in many weights and styles. Girard Sansusie was created by Laura Meseguer based on the lettering used to announce the textile designs that Alexander Girard did for Herman Miller in 1955. Girard was digitized at House Industries by Ben Kiel, Ken Barber, and Laura Meseguer.
    • Magasin (2013, Type o Tones) is a connected retro-chic upright script typeface. She writes: Some examples that have inspired me are Corvinus (Imre Reiner, 1934) and Quirinus (Alessandro Butti, 1939) and the later Fluidum (1951), a kind of non-connected script version of Quirinus, also designed by Alessandro Butti for Nebiolo foundry.
    • In 2019, she released the Latin / Arabic display typeface Qandus, which was co-designed two years earlier with Kristyan Sarkis.
    • The custom typeface Solis (2019) done for AccuWeather.
    • In 2020, she released the wonderful stencil typeface family Sisters. Sisters was conceived as a custom lettering project for the identity of Trans_Documentar, an exhibition at the La Panera Art Center in Lleida, Catalunya. Sisters is an homage to all the creative women in this world, according to Meseguer. Type Network link.

    Interview by MyFonts. Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Juan Luis Blanco and Krystian Sarkis, the Typographic Matchmaking in the Maghrib project of the Khatt Foundation, which tries to facilitate a cultural trialogue as well as shed a typographic spotlight on the largely ignored region of the Maghreb in terms of writing and design traditions. The specific goal of the collaboration is the research and development of tri-script font families (for Latin, Arabic and Tifinagh) that can communicate harmoniously.

    Behance link.

    Interview by Unostiposduros. [Google] [MyFonts] [More]  ⦿

    Lauren Childs

    Lauren Childs (Atlanta, GA) created the retro baseball script font Leon's (2013) for Leon's Full Service, a restaurant in Decatur, GA. [Google] [More]  ⦿

    Laurianne Froesel
    [Hello Velocity]

    [More]  ⦿

    Lavernia & Cienfuegos

    Lavernia & Cienfuegos is a multidisciplinary design studio based in Valencia, Spain. They designed the bespoke typeface Habana in 1999 for BASA magazine. It was designed to be used mainly as a headline font and display font with sizes of more than 20 points, where its quirky features stand out. Their web site says that it is the typeface of the Canary Islands Official College of Architects. [Google] [More]  ⦿

    LBS The Sans

    The house font of the company LBS, based on Lucas De Groot's The Sans. [Google] [More]  ⦿

    Lebeaux Grobler

    Lebeaux Grobler (Cape Town, South Africa) created the trendy corporate sans typeface Sushi Yama (2013). [Google] [More]  ⦿

    Lee Goater

    Independent brand specialist Lee Goater (Leeds, UK), known for his work across cultural organisations including the Northern School of Contemporary Dance, Leeds West Indian Carnival and Leeds International Film Festival. In 2017, together with Dalton Maag and Hungry Sandwich Club, a creative collective made up of graduates from Leeds College of Art, he designed the geometric solid bespoke typeface Leeds 2023. Leeds has commissioned a new Leeds 2023 Typeface and Brand Identity to support its bid for the European Capital of Culture title in 2023. The typeface will be open source at some point. Report by Typetoken. Creative Review link. [Google] [More]