TYPE DESIGN INFORMATION PAGE last updated on Fri Sep 13 01:38:18 EDT 2024
FONT RECOGNITION VIA FONT MOOSE |
|
|
|
Corporate typefaces | ||
|
|
|
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] ⦿ | |
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
| 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:
|
4th February
| 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. |
A2 Type
| 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:
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
| |
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
| 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:
|
ABC Typo (was: Bonté Divine)
| 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
| |
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
| |
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 is a type designer in Bratislava, Slovakia. He set up the commercial type foundry Adtypo in 2013. Creator of these typefaces:
|
In 2006, AFP commissioned some custom fonts like AFP Sans Pro and AFP Square Pro. [Google] [More] ⦿ | |
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] ⦿ | |
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). | |
Ainsifont (was: Atelier Telescopique, or: Fonderie Nordik)
| 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:
|
T-shirt artist in Pasig, Philippines. His typefaces:
| |
Akira Kobayashi
| |
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] ⦿ | |
Paris-based designer of the free comic book typeface ACL (2020) and the commissioned typeface Club Med Pictograms (2017). [Google] [More] ⦿ | |
Albert Folch
| |
Alberto Romanos
| |
Aldo de Losa
| |
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] ⦿ | |
Art director in Guadalajara, Mexico, who created the spurred typeface San Andres (2013) for a Mexican brewery. [Google] [More] ⦿ | |
Alessandro Tartaglia
| |
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. | |
Alexander Colby
| |
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] ⦿ | |
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:
| |
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
| |
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
| 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:
At ATypI Montreal 2017 Bruno Bernard spoke on Excoffon Book, the last typeface by Roger Excoffon? [Google] [MyFonts] [More] ⦿ |
AlfaType
| 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:
|
Alfredo Marco Pradil
| |
Alias
| 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). View the Alias typeface library. [Google] [MyFonts] [More] ⦿ |
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
| 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:
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)
| 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. 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
| |
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 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] ⦿ | |
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] ⦿ | |
Vilnius-based designer of Aliboni (2012), a corporate typeface made for the identity of Italian architecture/construction company Aliboni Costruzioni. [Google] [More] ⦿ | |
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] ⦿ | |
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] ⦿ | |
American designer of LIT Skinny (2018) for the Lit Catering Co. [Google] [More] ⦿ | |
Andrea Cerboneschi
| |
Andrea Tinnes
| |
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. | |
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
| |
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
| |
Art director in San Jose, Costa Rica, who created the high-contrast didone custom typeface Radar (2014). [Google] [More] ⦿ | |
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:
| |
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
| |
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] ⦿ | |
Evansville, IL-based designer of Urban Block (2013) and Marquee Lights (2013). [Google] [More] ⦿ | |
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 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] ⦿ | |
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] ⦿ | |
Graphic designer and illustrator in Yerevan, Armenia. Creator of a techno typeface for the branding of MSHAK TV (2012). [Google] [More] ⦿ | |
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
| |
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 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
| |
Anton Moglia
| |
Antonio 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
| |
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 (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:
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] ⦿ | |
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] ⦿ | |
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
| 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:
Behance link. Home page. [Google] [More] ⦿ |
The house font of Aral, designed for them by URW. [Google] [More] ⦿ | |
Ariel Di Lisio
| |
Aring Typeface
| 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 (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:
Behance link. Creative Market link. Home page. View Andrew Footit's typefaces. Home page. [Google] [MyFonts] [More] ⦿ |
Art 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:
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
| |
Arthur is a bespoke font for Guinness, dated 2011. Produced by the Jones Knowles Ritchie studio in London. [Google] [More] ⦿ | |
Artur Schmal
| |
Asenso
| 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)
| 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
| 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] ⦿ |
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] ⦿ | |
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 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)
| 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). 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)
| 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:
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] ⦿ |
Parisian art director who created the bespoke typeface Institut Laser Biotherm in 2016. [Google] [More] ⦿ | |
Babel Font
| 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:
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 (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] ⦿ |
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 (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
| 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)
| 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:
|
For the rebrand of Diversion Dimensions, Beau Thein (Sydney, Australia) created a kitchen tile typeface (2017). Behance link. [Google] [More] ⦿ | |
Bee Creations
| 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] ⦿ |
The typeface Moment was commissioned by the Belfast City Council for its brand. Unknown designer, but free download. [Google] [More] ⦿ | |
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
| |
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] ⦿ | |
Boston-based designer. He occasionally designs custom typefaces, such as, e.g., for Mattel Hot Wheels. Behance link. [Google] [More] ⦿ | |
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
| |
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 (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] ⦿ | |
Bangalore-based creator of the custom illustrated font Kolaveri Di (2011). Home page. [Google] [More] ⦿ | |
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
| |
Creator of EGC New Baskerville Display (2012) for exclusive use of Electrolux Grand Cuisine. [Google] [More] ⦿ | |
Black Foundry
| 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:
|
Blackletra
| 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 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] ⦿ | |
A corporate sans designed in 2007 by URW for BMW. Download. [Google] [More] ⦿ | |
Bo Linnemann
| |
British designer of these typefaces:
Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Bold
| 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
| 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
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 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:
Future Fonts link. Gitlab link. Type Tomorrow link. Fontsquirrel link where one can find some free fonts such as Syne. [Google] [More] ⦿ |
Parisian designer of these fonts:
Behance link. [Google] [More] ⦿ | |
Borutta (or: Duce Type)
| 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
| |
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 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] ⦿ |
Brian Johnson
| |
Brian Kaszonyi
| |
Brian Sooy
| |
Bric Type
| 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 (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. |
Bruno Bernard
| |
Bruno Maag
| |
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
| |
Building Paris
| 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 (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
| Bureau Borsche, a graphic design studio in München, Germany, was founded in 2007 by Mirko Borsche. They made almost exclusively bespoke typefaces. These include:
|
Bureau Bruneau
| 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)
| 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 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] ⦿ | |
Graphic designer in Sydney, Australia. In 2015, he spruced up the old corporate typeface MC Saatchi. [Google] [More] ⦿ | |
Fort Collins, CO-based designer of Roofroots (2015), a typeface custom-made for Roofroots. Behance link. [Google] [More] ⦿ | |
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] ⦿ | |
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 (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:
| |
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
| |
Carolina Laudon
| |
Carrois Type Design
| 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...):
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
| 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). |
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
| |
Graphic designer in Paris who created a custom typeface for GQ France in 2015. [Google] [More] ⦿ | |
Characters (or: Character Type)
| René Verkaart (Maastricht, The Netherlands, b. 1970) established Characters in 2004. He also has an office in Düsseldorf, Germany. His type designs:
He co-founded Stoere Binken Design. Blog. Klingspor link. Behance link. Dafont link. I Love Typography link. Volcano Type link. Fountain Type link. |
Charles Daoud
| |
Chester Jenkins
| |
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] ⦿ | |
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 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:
| |
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] ⦿ | |
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] ⦿ | |
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
| |
Christophe Badani
| |
Graphic designer in McLean, VA. Creator of Blade (2013), a proprietary hexagonal typeface designed for AFTA shaving products. [Google] [More] ⦿ | |
Cinketype
| Tibor Szikora is a Budapest, Hungary-based type designer specializing in custom typefaces and lettering. He runs Cinketype. His typefaces:
Future Fonts link. [Google] [More] ⦿ |
Circus Design
| 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] ⦿ |
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] ⦿ | |
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
| 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.
Bespoke projects:
|
Commercial Type (Was: Schwartzco)
| 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:
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] ⦿ |
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. | |
Constellation
| 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:
|
Contrast Type Foundry (or: CoFo)
| 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
| 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
| 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:
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
| |
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). | |
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] ⦿ | |
The house font of Credit Suisse, based on Basic Commercial. [Google] [More] ⦿ | |
Cristóbal Henestrosa
| |
Cruz Fonts
| 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.
Bio at Garagefonts. P22 link. FontShop link. PDF catalog. View Ray Cruz's typefaces. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Crystian Cruz
| |
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
| 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))
| 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 (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] ⦿ | |
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] ⦿ | |
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
| 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:
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
| |
Art director at Acne in Stockholm. Designer of the corporate playing card text typeface Gnuf (2010). [Google] [More] ⦿ | |
Daniel Sabino
| |
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
| |
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] ⦿ | |
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] ⦿ | |
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
| |
Dépli
| 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:
|
DecoType
| 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] ⦿ |
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
| |
Design Concern
| 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
| 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] ⦿ |
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] ⦿ | |
The house font of Deutsche Bank, based on Univers (obviously). [Google] [More] ⦿ | |
Graphic and lettering designer in Istanbul, who created these typefaces:
| |
Diederik Corvers
| |
Dieter Hofrichter
| |
Kyneton, Australia-based designer of a vintage custom logotype for The Argus Dining Room in Hepburn Springs (2014). [Google] [More] ⦿ | |
Dilworth Typographics Inc
| 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
| |
Dinamo
| 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:
Johannes Breyer. Fabian Harb. [Google] [More] ⦿ |
Dino dos Santos
| |
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
| 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:
|
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] ⦿ | |
Graphic designer in Vienna, Austria. In 2015, he created the Lobo Lumitel typeface for the launch of a camera. Behance link. [Google] [More] ⦿ | |
DooType
| 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:
Klingspor link. Creative Market link. Behance link. MyFonts interview. [Google] [MyFonts] [More] ⦿ |
The house font of Dr. Oetker, based on Tiffany. [Google] [More] ⦿ | |
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:
| |
dstype
| 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:
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
| 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). 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] ⦿ |
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] ⦿ | |
The house font of Deutsche Welle, based on Interstate (1993, Tobias Frere-Jones). That company also uses Bembo. [Google] [More] ⦿ | |
Dyana Weissman
| |
Edd Harrington
| |
Designer in Vancouver who specializes in corporate identities. His typefaces include:
Behance link. [Google] [More] ⦿ | |
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 experiÂmentation, 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:
His corporate typefaces:
| |
Edition Studio
| 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:
Custom typefaces were done via Edition Studio for NY Nike Headquarters and Darcstudio. [Google] [More] ⦿ |
Eduardo Manso
| |
Eduilson Wessler Coán
| |
Eifoni
| 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
| |
EK Type
| 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:
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] ⦿ |
Bilbao, Spain-based of the modular typeface McDonald's Custom Type (2014). [Google] [More] ⦿ | |
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
| |
Ellmer Stefan & Johannes Lang
| 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] ⦿ |
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
| 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] ⦿ |
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] ⦿ | |
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
| |
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] ⦿ | |
Kansas City, MO-based designer of Cuna (2019), a custom titling typeface for the band Making Movies. [Google] [More] ⦿ | |
The house fonts of Ericsson, based on Garamond No.3 and Neue Helvetica. [Google] [More] ⦿ | |
Erik 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
| |
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:
Picture of Eric Spiekermann shot by Chris Lozos at Typo SF in 2012. View Erik Spiekermann's typefaces. [Google] [MyFonts] [More] ⦿ | |
Erkin Karamemet
| |
ErlerSkibbeTönsmann (and: Character Type)
| 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:
MyFonts page. Linotype page. FontHaus page. Behance link. URL for Skibbe. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Dutch designer who created these corporate typeface with Amsterdam-based Edgar Walthert:
| |
Estudio CH
| 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] ⦿ |
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] ⦿ | |
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:
| |
Chisinau, Moldova-based designer of the dusty textured bespoke typeface Ramuri (2018) for the Romanian Ramuri brand of clothing. [Google] [More] ⦿ | |
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)
| 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: Chamberà 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 (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:
|
Eyal Holtzman
| |
F37 (or: Face37)
| Rick Banks (b. 1985, Manchester, UK) established F37 (Face37) in 2010 in London, UK. His typefaces:
He also published Type Trumps, a set of playing cards that feature the main typefaces. Behance link. [Google] [MyFonts] [More] ⦿ |
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:
Johannes Breyer. Fabian Harb. [Google] [More] ⦿ | |
Fabio Biesel
| |
Fabio Haag Type (was: ByType, and: Foco Design)
| 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
| |
Fabrizio Schiavi
| |
Fabrizio Schiavi Design (or: FSD)
| 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
| 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
| 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] ⦿ |
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
| 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:
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] ⦿ |
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] ⦿ | |
Designer in Sao Paulo. He created the bone-themed font DVCO for a skateboarding company in 2015. [Google] [More] ⦿ | |
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
| 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] ⦿ |
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] ⦿ | |
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
| |
Floris
| 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 established Folch Studio in Barcelona in 2004. Folch Studio's typefaces:
Typecache link. [Google] [More] ⦿ |
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:
| |
Fonts With Love (was: Heimat Design)
| 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 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:
|
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] ⦿ | |
Graphic designer who creates custom fonts. Located in Seattle, WA. Behance link. [Google] [More] ⦿ | |
Francesco Mistico Canovaro
| |
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
| |
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] ⦿ | |
Digital type studio in Santiago de Chile run by by Francisco Galvez Pizarro and Rodrigo Ramirez. Their typefaces:
| |
Frncojonastype
| 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:
|
Frostype
| 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] ⦿ |
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
| |
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
| |
French designer of the corporate sans typeface Moroi Bold (2013), created for (R)evolution by Danton Denk Raum. [Google] [More] ⦿ | |
Gareth Hague
| |
Chilean type designer, also named Gasper Muñoz. His typefaces include:
| |
Geoffrey Pellet
| |
Georg Seifert
| |
Graphic design student in Los Angles in 2015. While interning, also in 2015, he created a custom kitchen tile font for Playboy. [Google] [More] ⦿ | |
Tijuana, Mexico-based creator of Gnomo (2014, an outline font), which was created for Gnomo Galeria in Tijuana. [Google] [More] ⦿ | |
German Appeal
| 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
| 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 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:
| |
Taranto, Italy-based designer of custom types such as The Cube Bar (2019: free rounded hexagonal type). [Google] [More] ⦿ | |
Göran Söderström
| |
Graham Bradley
| |
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] ⦿ | |
Paris-based designer of corporate typefaces sich as VM (2017, for Vitrine Media). Behance link. [Google] [More] ⦿ | |
Greg Lindy
| |
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
| 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:
|
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] ⦿ | |
Creators of DrakenFont (2007), a custom typeface done for Radon Labs. Especially the E is remarkable. [Google] [More] ⦿ | |
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
| |
French graphic designer whose graduation thesis in 2010 contains Alphabet Formel [Google] [More] ⦿ | |
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
| |
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
| |
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:
Alternate URL. Behance link. Old URL. [Google] [MyFonts] [More] ⦿ | |
Halo Media
| Halo Media (Hamish McWhirter) has designed a custom typeface for Beauty UK Cosmetics called You Beauty (2010). [Google] [More] ⦿ |
Halo Media (Hamish McWhirter) has designed a custom typeface for Beauty UK Cosmetics called You Beauty (2010). [Google] [More] ⦿ | |
HamburgerFonts Type Foundry
| 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
| |
Hamo Design
| 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
| 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:
OFL link. Hellofont link (for purchasing his fonts). Behance link. Facebook link. He operates as Hanken Studio. [Google] [MyFonts] [More] ⦿ |
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] ⦿ | |
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] ⦿ | |
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] ⦿ | |
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.
| |
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 (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
| |
Manila, the Philippines-based graphic designer. In 2017, she created a brush script font for the rebranding of ROX. Behance link. [Google] [More] ⦿ | |
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
| |
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] ⦿ | |
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
| |
Hello Velocity
| 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
| 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
| Finnish commercial type foundry, est. 2013 by Niklas Ekholm, Juho Hiilivirta, Jungmyung Lee and Jaakko Suomalainen. The typefaces:
|
Henning Hartmut Skibbe
| |
Henrik Kubel
| |
Henrique Beier
| |
Here East Fonts
| 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 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:
View Jörg Hemker's typefaces. Fontwerk link. [Google] [MyFonts] [More] ⦿ |
Tokyo-based designer of the thin decorative didone advertising typeface Ginza Mitsukoshi 2015 (2015, for the department store chain). Behance link. [Google] [More] ⦿ | |
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] ⦿ | |
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 (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:
Interview by Dan Reynolds for MyFonts. View Dieter Hofrichter's typefaces. [Google] [MyFonts] [More] ⦿ |
Hoodzpah
| 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
| 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
| 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] ⦿ |
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:
View Hubert Jocham's typefaces. Another view. Klingspor link. MyFonts interview. Volcano Type link. [Google] [MyFonts] [More] ⦿ | |
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] ⦿ | |
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:
| |
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] ⦿ | |
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, 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:
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 (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
| 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)
| 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
| 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] ⦿ |
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:
Typecache link. [Google] [More] ⦿ | |
Imogen Ayres
| |
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
| 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] ⦿ |
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
| |
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
| |
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] ⦿ | |
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] ⦿ | |
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
| |
Jackson Cavanaugh
| |
Jacques Le Bailly
| |
British designer of the experimental alphabet Deception (2012). He also made the bespoke heavy slab face Unique (2012). Behance link. [Google] [More] ⦿ | |
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] ⦿ | |
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
| |
Senior brand designer in Milan, Italy. His typefaces:
| |
Jan Erasmus
| |
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:
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
| |
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
| |
Jason Smith
| |
Jason Wolfe
| |
Jérémie Hornus
| |
Jérémy Schneider
| |
Jean-Baptiste Levée
| |
Jean-François Porchez
| |
Jekyll&Hyde
| 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 (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:
Klingspor link. Monotype link. [Google] [MyFonts] [More] ⦿ | |
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] ⦿ | |
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
| |
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:
Interview. Behance link. Interview by Lovers Magazine. [Google] [MyFonts] [More] ⦿ | |
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] ⦿ | |
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
| |
Joan Ramon Pastor Rovira
| |
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 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] ⦿ | |
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] ⦿ | |
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
| |
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] ⦿ | |
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
| |
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
| |
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] ⦿ | |
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] ⦿ | |
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
| |
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
| |
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
| |
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
| |
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
| 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:
|
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 (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:
| |
Graphic designer in New York City. He designed these typefaces:
| |
Jürgen Weltin
| |
The house font of Kabel Deutschland, based on FF Unit. [Google] [More] ⦿ | |
Kalapi Gajjar-Bordawekar
| |
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] ⦿ | |
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)
| 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
| 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
| |
Kasper Pyndt Rasmussen
| |
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
| |
Japanese graphic designer in Barcelona, where he studied at Eina. His typefaces:
Behance link. [Google] [More] ⦿ | |
Kerns&Cairns
| 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:
FontShop link. Type Network link. [Google] [MyFonts] [More] ⦿ |
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] ⦿ | |
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
| |
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
| |
Kidon Bae
| |
Kimera Type (was: Diseño Kimera)
| 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:
Klingspor link. Behance link. Old Kimera type link. [Google] [MyFonts] [More] ⦿ |
KLIM (or: Klim Type Foundry)
|
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:
In 2020, he started writing the text The Art of Letters. [Google] [MyFonts] [More] ⦿ |
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
| |
Kontrapunkt
| 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
Another URL. Fontsquirrel link. Old URL. [Google] [More] ⦿ |
Kris Sowersby
| |
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
| 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
| 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:
His free fonts:
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] ⦿ |
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:
Kurt Weidemann's typefaces. [Google] [MyFonts] [More] ⦿ | |
Kyiv Type Foundry
| 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:
Lineto link. [Google] [More] ⦿ |
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
| 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:
|
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
| 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] ⦿ |
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: 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. | |
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
| |
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] ⦿ | |
The house font of the company LBS, based on Lucas De Groot's The Sans. [Google] [More] ⦿ | |
Lebeaux Grobler (Cape Town, South Africa) created the trendy corporate sans typeface Sushi Yama (2013). [Google] [More] ⦿ | |
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]   |