Books on type

Interview by Unostiposduros.

Akke Ragnar Kumlien

Swedish painter, poet, scholar, publisher, typographer and type designer (b. Stockholm, 1884, d. Stockholm, 1949) who designed fonts at Klingspor such as Kumlien (1943), Kumlien Bold and Kumlien Antiqua. Tjörbjörn Olsson created interpretations such as KumlienMM (1993) and Kumlien-Initialer (1994). The fist major digital revival and extension came in 2011 at Canada Type, where Patrick Griffin and Kevin King designed the Kumlien Pro family.

Bror Zachrisson penned Akke Kumlien: 1884-1949 in PAGA, volume 1, number 3, pp. 45-56, 1953. Kumlien studied the history of arts and literature at Uppsala University, which later bestowed on him an honorary doctorate. He was also the founder of the Institute for Research of Materials at the Royal Academy of Arts in Stockholm, the head of the Thiel Gallery's well-known art collection, and the main artistic consultant at P. A. Norstedt&Sons, the royal printing house. His Kumlien transitional typeface was the first major Swedish-designed typeface in over a hundred years. Specimen.

Author of Bokstav och ande (The Letter and the Spirit: 1948), and Kunstneren og bokkunsten (Artist and Book Art).

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

Al Imelli

Author of The Book of Alphabets and Layouts, Designs, Scrolls, Panel Ends, Descriptive Matter: The Art of Metal Etching for Ornamental and Sign Purposes, Written and Illustrated by Al. Imelli (1922, Signs of the Times Publishing Co, Cincinnati, OH) and Imelli's Alphabets and Layouts (1922). Alternate link. Hathi Trust link. For a list of the alphabets in the book, scroll down and check the current page.

Some of Imelli's alpabets inspired others to create digital typefaces. Examples:

LHF Advertisers Square (2014, Letterhead Fonts).
The Bat (2004, John Studden).
LHF Fancy Full Round (2003, Chuck Davis). A Western typeface family.

[Google] [More] ⦿

Alan Marshall

Alan Marshall worked at the Musée de l'imprimerie in Lyon, France, from 1995 until his retirement in 2015. He was director of the Museum from 2002 until 2015. A type and book expert, Alan Marshall published Tout le monde connaît Roger Excoffon (2011). Musee de l'imprimerie link. [Google] [More] ⦿

Alan Peckolick

Connecticut-based graphic expressionist painter and typographer, b. 1940, Bronx, d. 2017, Connecticut. He developed typefaces for brands like New York University and Revlon. After graduating from Pratt in 1964, Peckolick briefly worked in advertising before becoming an assistant to Herb Lubalin, who would become his mentor and lifelong friend. Coauthor with Gertrude Snyder of Herb Lubalin Art Director, Graphic Designer and Typographer (New York, 1985). He began painting professionally in 1998, a few years before he learned he had Parkinson's disease. Huffington Post obituary. New York Times obituary. [Google] [More] ⦿

Alastair Johnston

Noted type historian in Berkeley, CA. Alastair Johnston is a partner in Poltroon Press, Berkeley. He taught college level courses in typography for over 30 years. He has published scores of books and won the Award of Excellence in the AIGA Just Type Show. His published works include bibliographies and discographies, as well as Alphabets to Order: The Literature of Nineteenth-Century Typefounders' Specimens (New Castle, 2000), Nineteenth-century American designers & engravers of type by William E. Loy (co-editor/designer; Oak Knoll Press, 2009), Hanging Quotes (Cuneiform Press/University of Houston, Texas, 2011), Typographical Tourists: Tales of tramping printers (Poltroon Press, 2012) and Transitional Faces: The Lives and Work of Richard Austin, type-cutter, & Richard Turner Austin, wood-engraver (Poltroon Press, 2013). [Google] [More] ⦿

Albert Corbeto

Type historian at Reial Academia de Bones Lletres in Barcelona, who has a PhD in art history from Universitat Autonoma de Barcelona (UAB). Born in Barcelona in 1971, Corbeto is responsible for all the publishing activities of the Real Academia de Buenas Letras de Barcelona and the Asociación de Bibliófilos de Barcelona. His field of investigation is the history of printing types and, in particular, the work of Spanish punchcutters throughout the second half of the eighteenth century. At ATypI 2006 in Lisbon, he spoke about the efforts around 1750-1770 to set up the Royal Library type foundry by Juan de Santander and Gerónimo A. Gil. Speaker at ATypI 2009 in Mexico City, where he talked about the punches from the Spanish Royal Printing House. Soon he will publish a specimen and text book on all this.

His books: Muses de la impremta. La dona i les arts del llibre (segles XVI-XIX) (ed., with M. Garone) (Associació de Bibliòfils de Barcelona, 2009); Especímenes tipográficos españoles. Catalogación y estudio de las muestras de letras impresas hasta el año 1833 (Calambur, Madrid, 2010); Daniel B. Updike, impresor e historiador de la tipografía (Campgrafic, Valencia, 2011); Tipos de imprenta en España (Campgrafic, Valencia, 2011), Las letras de la Ilustración. Edición, imprenta y fundición de tipos en la Real Biblioteca (Catálogo de la exposición en la Biblioteca Nacional, Madrid, 2012) e Història de la tipografia. L'evolució de la lletra des de Gutenberg fins a les foneries digitals (coauthor with M. Garone, Pagès Editors, Lérida, 2012). [Google] [More] ⦿

Albert Kapr

German type designer, typographer, calligrapher, author and educator, b. Stuttgart (1918), d. 1995. He was art director at the Dresden type foundry VEB Typoart from 1964 until 1977. He founded and led the Institut für Buchgestaltung at the Hochschule für Grafik und Buchkunst at Leipzig from 1956 until 1978. Obituary by Harald Suess. Page at Klingspor. MyFonts page. Catalog of Albert Kapr's typefaces

He designed these typefaces:

Faust-Antiqua (1958-1959), or just Faust. This right-footed serif typeface suffers from the ugly duck syndrom. Nevertheless, it inspired Nick Curtis to design Kaprice NF (2010). In 1993, Steve Jackaman revived it as Faust RR.
Leipzig (with Otto Erler in 1963). A font with large x-height.
Leipziger-Antiqua (1959). Revived by Tim Ahrens in 2004 as JAF Lapture. It was also digitized--close to the original and under the original name--by Ralph Unger at URW in 2005. And it was shamelessly digitized by Linotype and sold as Hawkhurst without mentioning the Leipziger Antiqua source, in fact claiming that Hawkhurst is an original.
Calendon-Antiqua (1965).
Prillwitz-Antiqua (1971, Typoart, with Werner Schulze).
Magna Kyrillisch (1975).
Circa 1975, he created Garamond Cyrillic at Typoart.

A specialist of blackletter, he was passionate about Gotische Bastarda.

Author of these books:

Fraktur: Form und Geschichte der gebrochenen Schriften (1993, H. Schmidt, Mainz).
F.H.Ernst Schneidler Schriftentwerfer, Lehrer, Kalligraph (SchumacherGebler a.o., München, 2002). Co-authors: Max Caflisch, Albert Kapr, Antonia Weiss and Hans Peter Willberg.
The Art of Lettering; The history, anatomy, and aesthetics of the roman letterforms (München, K.G. Saur, 1983, original edition in German by VEB Verlag: Dresden, 1971).
Schriftkunst. Geschichte, Anatomie und Schönheit der lateinischenn Buchstaben (Dresden, 1971).
Schrift- und Buchkunst (VEB Fachbuchverlag, Leipzig, 1982).

[Google] [MyFonts] [More] ⦿

Albert-Jan Pool

Dutch writer and designer, b. 1960, Amsterdam, who currently lives in Hamburg. He studied at the Royal Academy of Arts in The Hague. From 1987 until 1991 he was the type director at Scangraphic, and from 1991-1994, he was the type manager at URW in Hamburg, at which time he completed URW Imperial, URW Linear, and URW Mauritius.

In 1994 he started his own studio Dutch Design in Hamburg, and finally he co-founded FarbTon Konzept+Design with Jörn Iken, Birgit Hartmann and Klaus-Peter Staudinger, a professor at the University of Weimar, but Pool, Iken and Hartmann left FarbTon in 2005. Their corporate partners were DTL (Frank Blokland), URW++ (mainly for hinting), and Fontshop International. They also got freelance help from Nicolay Gogol and Gisela Will. Up until today, FarbTon has made about ten corporate types. He has worked at URW++ as a freelancer, contributing text and classification expertise to the book URW++ FontCollection.

He has been teaching typeface design at the Muthesius Kunsthochschule in Kiel between 1995 and 1998 and has taken up that job again in 2005.

Fonts done by Pool include FF DIN (DIN-Mittelschrift is used on German highway signs, 1995; image, another image: for more images, see FF DIN Round at issuu.com), FF DIN Round (2010; +Cyrillic; in use; sample), FF DIN Web (2010), Jet Set Sans (for JET/Conoco gas stations), DTL Hein Gas (for Hamburger Gaswerke GmbH), Regenbogen Bold (for a radical left party in Hamburg, a roughened version of Letter Gothic), and Syndicate Sans (2012, for Syndicate Design). He also made FF OCR-F.

In 2022, FontFont released a major set of updates and extensions of the FF DIN family, all co-designed by Albert-Jan Pool and Antonia Cornelius. These include:

FF DIN Slab and>FF DIN Slab Variable.
FF DIN Stencil (with Achaz Reuss) and FF DIN Stencil Variable.
FF DIN Paneuropean (with Achaz Reuss, Aleksei Chekulaev and Panos Haratzopoulos) and FF DIN Paneuropean Variable (with Achaz Reuss, Aleksei Chekulaev, Antonio Cornelius and Panos Haratzopoulos).

Together with type-consultant Stefan Rugener of AdFinder GmbH and copywriter Ursula Packhauser he wrote and designed a book on the effects of type on brand image entitled Branding with Type (Adobe Press). An expert on DIN typefaces, he spoke about DIN 16 and DIN 1451 at ATypI 2007 in Brighton, and wrote an article entitled FF DIN, the history of a contemporary typeface in the book Made with FontFont. Speaker at ATypI 2013 in Amsterdam: Legibility according to DIN 1450.

Pic.

Interview. [Google] [MyFonts] [More] ⦿

Albrecht Seemann

Author of Handbuch der Schriftarten (Leipzig, 1926), a nearly comprehensive listing of all types at all German type foundries at that time. Just the name index of the types takes 38 pages. Download at Klingspor of the original volume from 1926, and the addenda published in 1927. 1929, 1930, 1933/1935, 1936/1937, und 1938/1939 under the name Nachträge. Emil Wetzig (Leipzig) helped with the production.

Local download. [Google] [More] ⦿

Aldo Novarese

Italian designer, 1920-1995, who designed most of his typefaces at Nebiolo in Turin. Until 1975, he made about 30 families at Nebiolo, and after 1975, he produced about 70 further families of fonts. With weights included, he created about 300 fonts. Biography by Sergio Polano. He was very influential, and wrote two important books, Alfa Beta: Lo Studio e il Disegno del Carattere, a study on font design and history (1964), and Il Segno Alfabetico (1971). Essay by Sergio Polano on Novarese. The list of fonts done at Nebiolo:

Landi Linear (1942). This was revived in digital form in 2011 by Toto as K22 Landi Linear.
Etruria (1940-42)
Express (1940-43)
Normandia (1946-49, with Butti, and 1952)
Athenaeum Initials (with A. Butti, 1945-1947)
Fluidum (+Bold) (1951, script). Revived by Ralph Unger as Butti (2011).
Fontanesi (1951-54, an all caps rococo font). Digital revivals include Fontanesi RMU (2018, Ralph M. Unger) and Fontanesi (2003, a free font by Frogii).
Microgramma (1952, with A. Butti; available at URW++). This was done as an alternative to Bank Gothic, and is identical to Eurostile Bold Extended.
Nova Augustea (1951, ITC Augustea Open)
Egizio (1953-57), a slab serif [see E710 Roman on the SoftMaker MegaFont XXL CD, 2002, or Egizio URW (2009, quite complete family with 5 styles) or Egizio EF (2001), or Thierry Gouttenègre's Aldogizio (2013)]. For a specimen, see here.
Cigno (1954). This script typeface was revived an extended as P22 Cigno (2008, Colin Kahn, P22).
Swan (1954), aka Cigogna (with A. Butti).
Juliet (1954-55). For a superb revival and extension of this copperplate script, see Canada Type's Ambassador Script (2007).
Ritmo (1955)
Rhythm (1955)
Garaldus (1956-ff). A garalde digitally revived in 2012 as Garaldus by Flanker.
Slogan (1957). Digital revival by Terry Wudenbachs in 2010 called P22 Slogan.
Recta (1958-1961). This is a large sans family. Canada Type published an 18-font revival in 2011, also called Recta.
Estro (1961). A western font now found in the Mecanorma collection.
Fancy (1961)
Exempla (1961). Published by VGC in 1966. Third Prize in the 1966 VGC National Type Face Design Competition.
The Eurostile family (1952: caps, with Alessandro Butti; 1962: lower case). This is carried by many foundries such as Adobe, Linotype, and URW++. Eurostile lookalikes include Aldostile (Autologic), ES (Itek), Eurasia (SoftMaker), Eurogothic, Eurostar (MGI Software), Eurostile, Eurostile Next (Akira Kobayashi), Gamma, Jura (Daniel Johnson), Microgramma, MicroSquare (SoftMaker), Microstyle (Compugraphic), NuevoSolStile (Cayo Navarro), SD Eurostile Elite (Justin Rotkowitz), Square 721 (Bitstream), Waltham. Noteworthy is Eurostile Round (2014), a rounded version of Eurostile by URW++.
Patrizia
Magister (1966)
Forma (1966). Alessandro Colizzi explains: From 1965, following a marketing-oriented approach focused on the user, the management set a research group of graphic designers to work on a new typeface design. Headed by Novarese, who provided the basic alphabet, the team included Franco Grignani, Giancarlo Iliprandi, Till Neuburg, Ilio Negri, Pino Tovaglia, Luigi Oriani, and Bruno Munari. The collective design process was based on an analysis of contemporary sanserif typefaces and legibility tests, to develop a more mature, humane interpretation of the Swiss sanserif trend. The process was quite laborious with monthly meetings spanning across over two years. In 1968, Forma was eventually released as lead type. As its name implies, Forma aimed at representing the ideal letterform of its time, equally appealing to designers, printers and the general public. The typeface was favourably received by the design community (it won a special mention at Compasso d'oro in 1970), but although initial sales were encouraging, it could not really compete in a market already saturated by Univers, Helvetica and the like. . A grand revival of Forma, described by Indra Kupferschmdt, was organized by Roger Black for Hong Kong Tatler (as fashion mag). The revival was executed by Font Bureau's David Jonathan Ross in 2013. See David Jonathan Ross's site.
Oscar (1966)
Lambert (Compacta lookalike)
Metropol (1967). This gaspipe typeface was digitized by Patrick Griffin at Canada Type in 2007 as Press Gothic. Originally, it was meant as an alternative to Geoffrey Lee's Impact at Stephenson Blake.
Elite (1968, a boring linear script, digitized in 2005 by Canada Type as Fontella)
Fenice
Stop (1971; available at Mecanorma, Linotype, URW++, Elsner&Flake)
Dattilo (1974, an Egyptian face) (1974): his last creature for Nebiolo, a typewriter type. It was considered as a slab serif companion of Forma. This typeface was revived as a variable font in 2020 by David Jonathan Ross.

His post-Nebiolo fonts:

Primate (1972), for AG Berthold. For a digital revival of this wedge serif, see Luca Terzo's Noctis (2020).
Sintex 1 (VGC, 1973). A revival and expansion of this funky nightclub typeface was done in 2008 by Patrick Griffin at Canada Type as Stretto (2008).
Sprint (1974). A script typeface. Digital versons: Sprint (Linotype), Sprint (2019, SoftMaker).
Bloc (1974, VGC)
Mixage (1977 Haas, a lineal font, now ITC Mixage) 1985?
Novarese Book (1978, now ITC Novarese Book)
Lapidar (1977)
Andromeda (1978, VGC)
Global (1978, VGC)
Fenice (1977-80; now ITC Fenice)
Expert or Expert Haas (1982-1983). At Haas'sche Typefoundry.
Floreal Haas (1983). A decorative and slightly wavy serif published by Haas'sche Schriftgiesserei.
Colossal (1984); see Colossalis at Berthold, a slab serif sports lettering family)
Stadio (1974). A reverse contrast sans that was published only as a rub-on transfer typeface. Revived in 2020 by the Zetafonts team as Stadio Now.
Symbol (1982-1984, now ITC Symbol)
Arbiter (1989, Berthold)

View Aldo Novarese's typefaces. [Google] [MyFonts] [More] ⦿

Aldo Novarese: Alfa Beta (1964)

Alfa Beta is a text book written by Aldo Novarese in 1964. It is especially useful to learn for the first time about the differences between typefaces and about type classification. [Google] [More] ⦿

Alejandro Fauré

Chilean illustrator and designer from the art nouveau era, 1865-1912. Check Alejandro Fauré Obre Gráfica (Mariana Muñoz and Fernanda Villalobos, 2009). [Google] [More] ⦿

Aleksandra Korolkova

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MyFonts interview. Kernest link. Klingspor link.

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

Alessio Leonardi
[BuyMyFonts (or: BMF)]

Alphabeta Linguarum Orientalium: typia congregationia de propag. fide

Alexander Koch

Author of 600 Monogramme Und Zeichen (Darmstadt, 1920). Local download. [Google] [More] ⦿

Alexander W. White

New York-based designer of the revival fonts Preissig Antikva, Preissig Italika, Menhart Italika and Menhart Manuscript, which won awards at the TDC2 2001 competition (Type Directors Club). He is a professor of graphic design at the Hartford Art School of the University of Hartford, and specializes in publication design. Author of the bestseller How to Spec Type, Type In Use", The Elements of Graphic Design (2002, Allworth Press), and Thinking in Type (2005). [Google] [More] ⦿

Alfa-Beta
[Davide Tomatis]

Davide Tomatis of Archivio Tipografico in Turin, Italy, is curating the reissue of Alfa-Beta, a book by the Italian type designer Aldo Novarese, originally from 1964 and out of print since a long time. The Alfa Beta team is collaborating with Novarese's family, namely his second daughter Federica, and his granddaughter Francesca Faro (daughter of Gabriella Novarese), to republish it, after having found all the original films. The book will be translated by Alta Price. The first edition of Alfa-Beta (published in 1964 by Progresso Grafico and distributed by G.B. Paravia) reviewed the evolution of writing systems and typography from their advent up to the present day. Kickstarter link (June 2020).

In addition, the project aims to revive Also Novarese's Nova Augustea (1964), which in turn was based on Alessandro Butti's Augustea. That revival will be done by Studio 23.56. [Google] [More] ⦿

Alfred John Fairbank

English calligrapher, b. 1895, Grimsby, d. 1982, Hove, Sussex. Student at the Central School of Arts and Crafts, disciple (in his own words) of Edward Johnston. In 1921, he co-founded the Society of Scribes and Illuminators, and was honorary secretary from 1931 to 1933.

He wrote several books on handwriting, including A Handwriting Manual (1932), many times reissued, e.g., in 1954 by Faber and faber in London. In 1960, Alfred Fairbank and Berthold Wolpe co-authored Renaissance handwriting: An anthology of italic scripts (Cleveland: World Publishing Co). His last book was A Book of Scripts (1968, London: Pelican Books).

In 1932, Alfred Fairbank proposed Dryad Writing for schools. It is a connected regular and legible style of writing that was influenced by Francisco Lucas (16th century, Spain), and could be called chancery script. After the Second World War he founded the Society for Italic Handwriting.

His only typeface was the first italic for Monotype, Bembo. This was not the italic that was put out for general use, and was eventually released (in 1928) as Bembo Narrow Italic. It is sometimes referred to as Fairbank Italic. The Bembo family is of course due to Stanley Morison at Monotype, after models of Francesco Griffo and Giovanni Tagliente. It has digital reinterpretations such as Bamberg Special (Softmaker) and Bergamo (Softmaker).

It is possible that Fairbank MT (2003, Robin Nicholas) is named after him. [Google] [MyFonts] [More] ⦿

Allan Haley

Allan Haley was the principal of Resolution, a consulting firm with expertise in type; his clients included Apple, Adobe, Linotype, Xerox, IBM, and Agfa Monotype. He was also the Chairman of the Advisory Board of the Goudy International Center at RIT. He was the Typographic Consultant to Compugraphic Corporation. Haley was principal of Resolution, a consulting firm with expertise in fonts, font technology, type and typographic communication. Allan joined ITC in 1981, and became its executive vice president of ITC. He wrote for publications such as U&lc, How, Dynamic Graphics, and Step-by-Step Graphics. He is highly regarded as an educator, and he is a frequently requested speaker. He has written five books on type and graphic communication. Presently, Allan Haley is Director of Words & Letters at Monotype Imaging.

At ATypI in Rome in 2002, he spoke about the development of ITC Bodoni. His books:

ABCs of Type : A Guide to Contemporary Typefaces, A Step-by-Step Publishing Book (1990).
Alphabet : The History, Evolution,&Design of the Letters We Use Today (1995).
Type : Hot Designers Make Cool Fonts (1998).
Typographic Milestones (Van Nostrand Reinhold, New York, 1992).
Phototypography: A Guide to In-House Typesetting and Design (Charles Scribner's Sons, 1980).

He also writes many essays---one particularly noteworthy is about Bodoni. [Google] [MyFonts] [More] ⦿

Alpha Beta

A 320-page book about the origins of the Latin alphabet, by John Man. [Google] [More] ⦿

Collection of texts published between 1629 and 1789 in Rome. Digital versions: here, here. Local downloads: Part I, part II. [Google] [More] ⦿

Alphabets and Others

Walter B. Clement and Ian L. Robertson wrote Alphabets and Others (1988, The Armstrong Press and The Slow Loris Press, Alabama) This 74-page book contains wood type specimens, all clearly identified. [Google] [More] ⦿

Alphabets de Style

A late 19th century book by an unknown author containing many exquisite ornamental caps alphabets. [Google] [More] ⦿

Alphabetum
[Juan-José Marcos García]

Juan-José Marcos García (b. Salamanca, Spain, 1963) is a professor of classics at the University of Plasencia in Spain. He has developed one of the most complete Unicode fonts named ALPHABETUM Unicode for linguistics and classical languages (classical&medieval Latin, ancient Greek, Etruscan, Oscan, Umbrian, Faliscan, Messapic, Picene, Iberic, Celtiberic, Gothic, Runic, Modern Greek, Cyrillic, Devanagari-based languages, Old&Middle English, Hebrew, Sanskrit, IPA, Ogham, Ugaritic, Old Persian, Old Church Slavonic, Brahmi, Glagolitic, Ogham, ancient Greek Avestan, Kharoshti, Old Norse, Old Icelandic, Old Danish and Old Nordic in general, Bengali, Hindi, Marathi, Phoenician, Cypriot, Linear B with plans for Glagolitic). This font has over 5000 glyphs, and contains most characters that concern classicists (rare symbols, signs for metrics, epigraphical symbols, "Saxon" typeface for Old English, etcetera). A demo font can be downloaded [see also Lucius Hartmann's place]. His Greek font Grammata (2002) is now called Ellenike.

He also created a package of fonts for Latin paleography (medieval handwriting on parchments): Capitalis Elegans, Capitalis Rustica, Capitalis Monumentalis, Antiqua Cursiva Romana, Nova Cursiva Romana (2014), Uncialis, Semiuncialis, Beneventana Minuscula, Visigothica Minuscula, Luxoviensis Minuscula, Insularis Minuscula, Insularis Majuscula, Carolingia Minuscula, Gothica Textura Quadrata, Gothica Textura Prescissa, Gothica Rotunda, Gothica Bastarda, Gothica Cursiva, Bastarda Anglicana (2014) and Humanistica Antiqua. PDF entitled Fonts For Latin Palaeography (2008-2014), in which Marcos gives an enjoyable historic overview.

Alphabetum is not Marcos's only excursion into type design. In 2011, he created two simulation fonts called Sefa rad and Al Andalus which imitate Hebrew and Arabic calligraphy, respectively.

Cyrillic OCS (2012) is a pair of Latin fonts that emulate Old Church Slavonic (old Cyrillic).

In 2013, he created Cuneus, a cuneiform simulation typeface.

Paleographic fonts for Greek (2014) has ten fonts designed by Marcos: Angular Uncial, Biblical Uncial, Coptic Uncial, Papyrus Uncial, Round Uncial, Slavonic Uncial, Sloping Uncial, Minuscule IX, Minuscule XI and Minuscule XV. These fonts are representative of the main styles of Greek handwriting used during the Classical World and Middle Ages on papyrus and parchments. There is also a short manual of Greek Paleography (71 pages) which explains the development of Greek handwriting from the fourth century B.C. to the invention of printing with movable type in the middle of the fifteenth A.D. He wrote a text book entitled History of Greek Typography: From the Invention of Printing to the Digital Age (in Spanish; second edition, 2018). See also here and here. [Google] [More] ⦿

Alphonso Edwin Tripp

Unconventional artist of the 1930s (b. 1889), who is credited with the art deco typeface Dignity Roman, which was digitized by Nick Curtis in 2002, and called Day Tripper NF, and also in 2000, when it was called Odalisque NF. He also has it as Heavy Tripp.

Author of Modern lettering&design (1929, Chicago: Frederick J. Drake&Co. n.).

The alphabets shown in his 1929 book: Poster Headline, Poster Strong, Roman Heavy Poster, Speedball Classic, Dignity Roman, Classic Roman, Roman Bold, Forty-five Degree. [Google] [MyFonts] [More] ⦿

Alston W. Purvis

Author of various books on design and/or typefaces, including History of Graphic Design (Philip B. Meggs, Alston W. Purvis), Creative Type: A Sourcebook of Classic and Contemporary Letterforms (2005, Thames&Hudson, NY; by Cees De Jong, Alston Purvis and Friedrich Friedl), Type: A Visual History of Typefaces and Graphic Styles, Vol. 1 (2009, Taschen; authors Jan Tholenaar and Alston W. Purvis, edited by Cees De Jong), and Type: A Visual History of Typefaces&Graphic Styles, 1901-1938 (v. 2) (2010, Taschen; edited by Cees De Jong). The latter book features works by type designers including William Caslon, Fritz Helmuth Ehmcke, Peter Behrens, Rudolf Koch, Eric Gill, Jan van Krimpen, Paul Renner, Jan Tschichold, A. M. Cassandre, Aldo Novarese, and Adrian Frutiger. [Google] [More] ⦿

Amazon.com

Typography books at Amazon. [Google] [More] ⦿

Ambroise Firmin Didot

Member of the famous French printers family, 1790-1876. Author of Essai sur la Typographie. Paris, typographie de Firmin Didot frère (1851). Bigmore & Wyman mention that This work, an excerpt from the "Encylopédie Moderne," contains the result of the author's lengthened experience, and of his vast theoretical and practical knowledge of the subject. The early history of printing is treated with great clearness and a thorough acquaintance with the best authorities. [Google] [More] ⦿

American Sign Museum

Founded by Tod Swormstedt, former editor and publisher of Signs of the Times magazine, the American Sign Museum (est. 2005) is based in Cincinnati, OH. Mike Jackson at the American Sign Museum lists the top 25 early sign making books, roughly in order of his personal preference. Many of these contain great alphabets that can provide inspiration. His list with Mike Jackson's comments in italic:

Frank Atkinson: Art of Sign Painting (1909, 1915, 1929, 1937, 1983, 1985, 1991). Probably the single most influential sign making book of its time.
C.J. Strong: Strong's Book of Designs (1910, 1917, 1982). C.J. Strong was very influential in the sign world following the turn of the century. This book has been reprinted several times, however all the early editions were spattered with wonderful color plates. Strong was also responsible for the Detroit School of Lettering at this time.
R. Henderson: Henderson Sign Painter (1906, 1991). Another of the sought after period books; originals are fairly scarce. R. Henderson seemed to be the person responsible for compiling the book of plates by various noteworthy sign designers of the time. The Denver artist, John G. Ohnimus, stands out among the group with striking images, lettering, and layouts.
Al. Imelli: Alphabets and Layouts (1922). Loaded with alphabets.
Fred Knopf: Coast Manual of Lettering and Designs (1907). Fred Knopf and J. M. Mahaffey compiled a wonderful book of layouts, designs, and alphabets using some of their own material and a who's who list of outstanding sign designers of the period.
J.N. Halsted: Modern Ornament & Design (1927, 1985). An original of this little jewel is very hard to find. With no alphabets, J.N. Halsted concentrated on illustrations, ornaments and graphic design.
E.C. Matthews: Sign Painting Course (1954, 1958). This book is heavily illustrated with his layouts, letterstyles, and ornaments but the text which covers about half of each page is equally informative.
Thaddeus David: David's Practical Letterer (1903). This book was published by Thaddeus Davids Company but was compiled by Sidney Hackes and was illustrated by Arnold Binger. The first half of the book is fairly generic with basic instructions on brush and pen lettering.
Charles Wagner: Blueprint Textbook of Sign & Showcard Lettering (1926). Charles Wagner operated the Wagner School of Sign Arts in Boston and this book was used as the textbook.
E.L. Koller: Artistic Showcards-How to Design and Make Them (1924). E.L. Koller was the Director of Art Schools for the International Correspondence Schools and it appears it was mostly his artwork used in those textbooks. This book includes layouts, letterstyles, color schemes and ornamentation.
H.C. Martin: 1000 Showcard Layouts (1928, 1930, 1984). An amazing book if only from the realization of the effort it took to produce it! H.C. Martin, a frequent contributor to Signs of the Times Magazine, was commissioned to produce a book of 1000 showcard layouts specifically to be used in a book.
Samuel Welo: Studio Handbook (1927, 1935). This book features numerous hand-lettered alphabets and several pages of ornaments, dingbats, and panel layouts.
W.A. Herberling: Basic Lettering (1922). W.A. Heberling was the Instructor of Sign, Scene, and Pictorial Painting at the Mooseheart Vocational Institute in Mooseheart, IL. This book was also used as a textbook, taking beginners through the basics right up to painted pictorial billboards.
Ashmun Kelly: The Expert Sign Painter (1910 (1922)). Ashmun Kelly wrote this book for the technical side of the sign trade audience. He explains some of the most complex elements and techniques of the trade including gilding, mirroring, frosting, and embossing.
Raymond J. LeBlanc: Gold Leaf Techniques (1961 (plus numerous reprints)). Raymond J. LeBlanc wrote the quintessential book on working with goldleaf of the time. With a few revisions to allow for updated materials, most of the techniques described in his first book are still being used today.
Don Sturdivant: Modern Showcard and Theatrical Lettering (1948). Don Sturdivant produced this book at a time when showcards were still commonplace from department stores to theaters. By that time, showcard writing was a fairly specialized part of the sign industry even though the same theories of layout and design applied across the board.
Bill Boley: Basiks of Lettering (1952). Bill Boley's general script look was quickly adopted by many of the handlettering artists of the day. Only six different alphabets are shown.
Alf R. Becker: One Hundred Alphabets (1941). Alf Becker produced this book for Signs of the Times Publishing Company and who advertised it in their magazines for quite a few years. There were numerous other titles touting a collection of alphabets, but this one seems to have been the most popular even though finding an original is still tough.
Duke Wellington: Theory and Practice of Poster Art (1934, 1986). Duke Wellington worked in some of the finest poster and card shops of the time and many of the projects in the book have a strong movie theme. While there are several color plates, the majority of the book consists of black and white photos of his cards and numerous pages of Deco style images and layouts.
J.M. Bergling: Art Alphabets and Lettering (1918). J.M. Bergling produced four books of merit which were considered technical art books. They were produced for architects, craftsmen, engrossers, engravers, lettering specialists and commercial artists and were reprinted numerous times throughout the century. The latest known editions were printed in 1980.
George: Speedball Lettering Books (1923-1952). A constant source of inspiration.
E.L. Koller: ITC & ICS- Correspondence School Textbooks (1924-1935). During this period, the International Textbook Company and International Correspondence School produced dozens of sign-related books. Actually these were textbooks usually sharing some of the same chapters. E.L. Koller is credited with much of the text and illustrations used in the textbooks and he did produce a similar set of stand alone books with much of the same information.
H.C. Martin: Martin's Idea Books 1-4 (1935-1937). This group of four Speedball-sized booklets showcased Martin's later work with even more zest and eye appeal than the original book. #4 was produced in 1937.
C.J. Strong: Detroit School of Lettering 1-10 (1905). C.J. Strong owned and operated the Detroit School of Lettering along with a mail order supply department. This group of ten booklets are about the same size as a normal Speedballlettering book, but slightly thinner.
D.M. Campana: The Artist and Decorator (1925). An art nouveau text influenced by Alphonse Mucha.

[Google] [More] ⦿

American Technical Society

The American Technical Society published Cyclopedia of Architecture, Carpentry and Building in 1908 in Chicago. This text contains a chapter dedicated to architectural lettering. [Google] [More] ⦿

American Type Founders Company: Handy Specimen Book, 1897

A free PDF version of ATF's Handy Specimen Book: Specimens of Type Borders and Ornaments, Brass Rules, Wood Type, etc. (Buffalo, NY, 1897). Alternate download URL. [Google] [More] ⦿

American Type Founders Company: Specimen Book And Catalogue 1923

The famous ATF catalog from 1923 is available, free to download. [Google] [More] ⦿

American Type Founders (or: ATF)

In 1892, twenty-three type foundries joined together to compete with the new typesetting machine, the Linotype [and later, the Monotype], to form ATF, which consolidated its type manufacturing facilities in a new plant in Jersey City in 1903. They were the dominant foundry in America until 1933, when ATF went bankrupt. Its collection remains intact at the American Type Founders Company Library&Museum at Columbia University in New York. The Smithsonian possesses most of the original type drawings and many of the matrices, and a number of other institutions and private individuals own matrices. Interestingly, despite the bankruptcy, it continued in operation until 1993, when the Elizabeth, NJ plant was finally liquidated. It was Kingsley's bankruptcy in 1993 that forced the final closure of ATF. In the early part of the 20th century, ATF was the dominant American foundry.

Their specimen books are classics:

Pacific Coast Blue Book (1896).
Specimens of Printing Types (1897, New York).
Handy specimen book; specimens of type, borders and ornaments, brass rule, woodtype etc. Catalogue of printing machinery and materials, wood goods, etc (1897).
American Type Founders. American Line Type Book. Borders, Ornaments. Price List, Printing Material and Machinery (ATF, 1906).
American Specimen Book of Type Styles (1912, 1352 pages---see also here and here).
Supplementary catalogue : new type typefaces, borders, ornaments, brass rule (ca. 1917).
Specimen Book and Catalog (1923, 1148 pages). See also here. In 2013, David Marshall of Sevanti Letterpress in Toronto scanned in and put up for free download high resolution scans of the entire book. The links:
- High resolution scan of the ATF 1923 specimen book (1 gigabyte, torrent download).
- Pages 1-300 of the ATF 1923 specimen book (PDF file).
- Pages 301-622 of the ATF 1923 specimen book (PDF file).
- Pages 623-1148 of the ATF 1923 specimen book (PDF file).
Book of American Types (1934). Local download.

MyFonts link.

A brief history of ATF by Carol Van Houten. Reference books.

View the digital typefaces that are based (fully, or in part) on ATF's typefaces. See also here, here, and here. [Google] [MyFonts] [More] ⦿

American Wood Type Manufacturing Company

Wood type company that was located in Manhattan. Their catalogs include Wood Type Printers Equipment and Supplies (1938) and Printers Supplies Wood Type Metal Type (1960s). [Google] [More] ⦿

An exploration of the Latin Modern fonts
[Will Robertson]

Article in The PracTeX Journal, 2006, no. 1, by Will Robertson, a PhD student in Mechanical/Mechatronic Engineering in the University of Adelaide, South Australia. The Latin Modern family was originally designed by Jackowski and Nowacki to cover as many languages as possible: it has over 69,000 glyphs. [Google] [More] ⦿

Andrea Brogiotti

Or Andreas Brogiottus. Author of Indice de'caratteri con l'inventori et nomi di essi esistenti nella stampa Vaticana et Camerale (1628, Stampa Vaticana). Local download. [Google] [More] ⦿

Andrea Brugiotti

Publisher of "Spécimen des caractères de l'imprimerie du Vatican" (Stampa Vaticana e camerale, 1628). Republished as The type specimen of Vatican Press with an introduction and notes by H.D.L. Vervliet at Menho Hertzberger, Amsterdam, in 1967. See also here for this 49-page book. [Google] [More] ⦿

Andrea Schweiger

Coauthor with André Gürtler of Die Handschrift, Comedia, edition 02-4, 2002. [Google] [More] ⦿

André Jammes

French type and photography historian, b. 1927, who is the son of Paul Jammes, who founded Librairie Paul Jammes in Paris in 1925. Author of many books. Those relevant to typography include:

La naissance d'un caractère: le Grandjean---la réforme de la typographie royale sous Louis XIV, Librairie Paul Jammes (1961) and Promodis (1985).
Didotiana, recueil d'articles consacrés à Ambroise-Firmin Didot, in Bulletin du bibliophile, 1990-1993, Paris, 1994.
Spécimens de caractères de Firmin et Jules Didot, Paris, Librairie P. Jammes Éditions des Cendres, 2002.
(with Isabelle Jammes) Collection de spécimens de caractères: 1517-2004, catalog, Paris, P. Jammes Éditions des Cendres, 2006.
Alde, Renouard & Didot: bibliophilie & bibliographie, Paris, Éditions des Cendres, 2008.

[Google] [More] ⦿

André Vigneau

Author of [Etude publicitaire pour la fonderie] Deberny et Peignot. [Caractères d'imprimerie] (1932, Paris). [Google] [More] ⦿

Andreas Stötzner
[SIAS (or: Signographical Institute Andreas Stötzner)]

Antiquariaat Adr. van den Bemt

Andreu Balius Planelles

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

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

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

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

FontFont link. Linotype link. Behance link.

His production:

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

[Google] [MyFonts] [More] ⦿

Andrew Haslam

Phil Baines and Andrew Haslam wrote Type&Typography (2002) [German version: Lust auf Schrift! Basiswissen Typografie, Verlag Hermann Schmidt Mainz], a crash course in typography that is generally well received. Speaker at ATypI 2007 in Brighton and at ATypI 2014 in Barcelona (talk: 6x6: Collaborative Letterpress Dialogues, with Alexander Cooper and Rose Gridneff). [Google] [More] ⦿

Angus Duggan's home page

Contains a bibliography on type. [Google] [More] ⦿

Ann Camp

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

Anne Cuneo

Author of "Le maître de Garamond" (Editions Stock, 2002), a beautiful book on the life and death of Antoine Augereau, who was Claude Garamond's teacher and mentor. Anne Cuneo was born in 1936 in Italy and lives in Zürich. Comment by Guy Schockaert: Le 24 décembre 1534, place Maubert, accusé d'hérésie, Antoine Augereau est pendu, son corps et ses mains brûlées. Homme de lettres, érudit, théologien, Antoine Augereau était un grand imprimeur, éditeur et graveur de caractères typographiques. Il modela ceux dont nous nous servons encore aujourd'hui, et avec Clément Marot, inventa l'usage des accents et de la cédille. La publication du Miroir de l'âme de Marguerite de Navarre lui coûtera la vie. La Sorbonne, gardienne jalouse d'une orthodoxie figée, désapprouve la pensée de la soeur de François Ier, mais ne peut la condamner. Antoine Augereau paiera pour elle. Racontée par le plus célèbre de ses disciples, l'histoire passionnante et émouvante d'un humaniste prêt à mourir pour défendre ses idées. UN livre à lire absolument et à offrir. [Google] [More] ⦿

Annette Ludwig

Director of the Gutenberg Museum. In 2016, Petra Eisele, Annette Ludwig and Isabel Naegele published Futura: Die Schrift (in German). The English version Futura: The Typeface (Laurence King) followed in 2017. [Google] [More] ⦿

Annie Thomson

Author of Tipografia En Los 70 (2010: Ediciones Cifuentes, Barcelona). [Google] [More] ⦿

Anonima Impressori

Graphic design studio in Bologna, Italy, run jointly by Veronica Bassini, Massimo Pastore, Luca lattuga and Roberto Malpensa. Their interest in wood and old lead types in relatively unknown Italian print shops led to a wonderful (wood) type catalog started in 2011, Catalogo Caratteri in Piombo e Legno. That book covers these companies: Tipografia Girasole (Inzago), Tipografia Nazionale (Piacenza), Tipografia Co.Ba (Massa Finalese), Tipografia Artigiana (Vignola), Tipografia Artestampa (Corinaldo), Tipografia Tade (Empoli), Tipografia Riva (Solara di Bomporto Tipografia Sociale (Arezzo), Tipografia Minetti (Rossiglione), Tipografia Aldo Sacco (Vercelli), Tipografia STEM Mucchi (ex Soliani) (Modena Tipografia Nuovagraf (ex Perfecta) (Roma Tipografia Il Dado (ex Pivetti) (Mirandola Tipografia Golinelli (Mirandola), Tipografia Lugli (Rolo), Tipografia Bagnoli (Pieve di Cento), Tipografia La Commerciale (Fidenza), Tipografia Galeati (Imola), Tipografia Perini (Rovigo), Tipografia La Fiorentina (Grosseto), Tipografia Tiferno (Citta di Castello), Tipografia Bottega della Stampa (Sansepolcro Tipografia Montagna (Voghera), Tipografia Artigiani Tipografi (Voghera), Tipografia Emiliana (ex Amici) (Castel San Giovanni Tipografia Valvassori (Vigevano), Tipografia FG (Vicchio), Tipografia Greco Remo (Sorbara), Tipografia Adriatica (Cervia), Tipografia Valpadana (Brescello), Centro Stampa (Poviglio), Tipografia Zanichelli (Sassuolo), Tipografia ArteGrafica 91 (Castellarano), Tipografia Caiti (Reggio Emilia), Tipolitografia Moderna (Reggio Emilia), Grafiche La Comasina (Senna Comasco), Tipografia RD (Medicina), Tipografia Conti (Bologna), Unione Tipografica Operaia (Macerata), Tipografia La Tipografica (Poggibonsi), Tipografia Pesatori (Milano), Tipografia 2000 (Pesaro), Tipografia Antonio La Grotteria (Roma), Tipolito Lugli (Novellara), Tipografia Rossi (San Pietro in Casale), Litotipografia M.P.P. (Modena), Tipografia Lecchese (ex Adda) (Lecco), Tipografia Ghibaudo (Cuneo), Tipografia Botalla (Biella), Tipografia BC (Bologna), Tipografia Olmo (Clusone), Tipografia Fanti (Formigine), Tipolito Ennio Cappetta (Foggia), Tipografia Valgiusti (Bagni di Romagna), Tipografia Guidi (San Piero in Bagno), Tipografia Croppi (Forli), Tipografia Zoli (Forli), Tipografia Pontone (Cassino), Artigrafiche Franco Antoni (Mesagne), Tipolito Valprint (Grezzana), Grafica Sestrere (Sestri Levante), Tipografia Scaletta (Ravenna), Tipografia Uggeri (Cremona), Tipografia Brigati & Molinari (Castel San Giovanni), Tipografia Aldo Sacco (Vercelli), Tipografia Grassigli (San Giovanni in Persiceto), Tipografia Banina (San Colombano al Lambro), Tipografia Reggiana (Reggio Emilia), Tipografia Segreti (Porto San Giorgio), Poligrafico Silva (Parma), Tipografia La Rapida (Mantova), Tipografia E Comelli (Garessio), Tipografia Artegrafica Sociale (Cittadella), Tipografia Boni (Sassuolo), Tipolitografia Savino (Gambolo), Tipografia Bramante (Loreto), Tipografia Martini (Ostiglia), SCIA (Bologna), Grafiche Malvezzi (ex Pennaroli) (Fiorenzuola), Tipografia SMA (Cogoleto), Tipografia Sciocchetti (San Benedetto del Tronto), Tipografia Demetri e Crepaldi (Polesella), Tipografia G. Palermo (Adrano), Tipografia BEMA (Belletti Alberto E C.) (Bellaria), Tipografia SIACA (Cento), Tipografia FD (Bologna), Tipografia F.lli Tine (Floridia), Tipografia Anigoni (Reggio Emilia), Grafiche Vianello (Treviso). [Google] [More] ⦿

Anthon Beeke

Author of Body Type (1969), reedited in 2011 by Spinhex, Amsterdam, with the help of René Knip. Nijhof and Lee write: Body Type is a re-edition of the legendary naked-women alphabet by Anthon Beeke originally published in 1969. This alphabet, which was published in the famous Kwadraadblad serie by Pieter Brattinga, is a carefully composed representation of the letters of the alphabet using naked women. Beeke made the alphabet as a tongue in cheek response to Wim Crouwel's New Alphabet published in the same serie a year earlier. This new edition which is in colour, is complimented and enlarged with the numbers modelled by naked men all on individual sheets. It also contains a cahier with the history of the alphabet and a block containing the letters which can be used to make a streamer. His alphabet is also referred to as the "Nude Alphabet" in Kwadraat (Steendrukkerij De Jong&Co, Hilversum, The Netherlands, 1970). Using twelve nude women, it is also known as Naked Ladies.

Anthon Beeke died in 2018. [Google] [More] ⦿

Anthony DiVivo

Anthony hails from Northern New Jersey and studied design at the School of Visual Arts in New York, where he earned an MFA in 2001. He has worked as a designer in New York (where he currently lives), San Francisco and Miami. Author of Devil Type, a headline type specimen book. He designed many custom typefaces, which are showcased at his Behance site. [Google] [More] ⦿

Antikvariat Morris

Swedish bookstore offering many valuable historical books on typography. [Google] [More] ⦿

Antiquariaat A. Kok&Zn.

Great old type book store in Amsterdam. [Google] [More] ⦿

Dutch antique book seller specializing in typography. [Google] [More] ⦿

Aon Celtic Art
[Cari Buziak]

Cari Buziak (Calgary, Canada) is the author of Calligraphy Magic---How to Create Lettering, Knotwork, Coloring and More (North Light, 2011).

She also created the beautiful freeware Celtic font family Aon Cari (1998, a modern pseudo-Gaelic uncial).

Dafont link. [Google] [More] ⦿

A.P. Boyce

Author of The Art of Lettering and Sign Painting Manual (1878). [Google] [More] ⦿

Archer Zuo
[Zuo Zuotype (or: Zuo Zuo Studio)]

Archive.org: Type and Typefounding

Copyright-free type and typefounding books. Several type specimen books from the University of California Library Collection have been scanned in by Microsoft. Other libraries are participating as well. [Google] [More] ⦿

Ari Davidow

Hebrew type designer. He now runs a nice Hebrew type blog and news page. This has a great Hebrew Typography Annotated Bibliography. [Google] [More] ⦿

Arktype (was: Atelier René Knip)
[René Knip]

Dutch type designer located in Bloemendaal. Jan Middendorp wrote about him in A.R.K. Ten Years of Type Related Projects 1994-2004 (2004), summarizing Knip's work at Atelier René Knip, mostly experiments in type design. Knip (b. 1963) is a graduate from the St. Joost Academy in Breda, class of 1990. Since 1992, Knip has operated a design studio in Amsterdam, Atelier René Knip.

Recently, Knip and his brother Edgar formed a new company, Gebroeders Knip, which produces furniture and accessories in which letterforms are integral parts of the objects design.

One of his experiments, a unicase typeface with an Arabic feel, was digitized by Nick Curtis as Turban Hey NF (2008).

In October 2012, Knip and another Dutch designer cofounded Arktype, but by 2020, the other Dutch designer left that company.

Typefaces at Knip's site as of 2020:

Retail faces in the Arktype collection jointly made by René Knip and that other Dutch designer, described as an architectural set of fonts, including many dot matrix, modular, monospaced and stencil typefaces: Square, Double Dot, Radius, Lineup, Brick Caps, Monoline, Street Stencil, Tangram, Tripple Dot, Laundry, Modular, Connect, Triplet, Body Stencil, Mono Roman, Line Dot, Oblong, Random Stencil, Angular, Curtain, Stretch, Concrete, Brick Roman, Unicase, Wood Stick.
Custom typefaces: Africa Museum, Alphabets, Ark Stencil, BNO Books, Fryslan, Hema tile, Ijburg, Kunsthal, Lindenberg (squarish), Logotype, Marriage (stencil type), Milk (a squarish stencil), Municipal Office (wayfinding, for Den Haag), Nieuwspoort, Nuqat (a pixel script), Old Church 2, RCO Caps, Stitch, Textiellab, WFO.

[Google] [MyFonts] [More] ⦿

Armin Hofmann

Legendary Swiss type teacher, b. 1920. Hofmann succeeded Emil Ruder as head of the graphic design department at the Schule für Gestaltung Basel (Basel School of Design) and was instrumental in developing the Swiss style of graphic design. His teaching methods were unorthodox and broad-based. He designed, and influenced the design of, books, exhibitions, stage sets, logotypes, symbols, typographical pieces, posters and sign systems. His work is recognized for its reliance on the fundamental elements of graphic form---the point, line, and shape. He retired in 1987. His output includes many fantastic typographic posters. Example.

Author of Graphic Design Manual (1965). [Google] [More] ⦿

Arne Freytag
[Fontador (was: Arne Freytag)]

Art Deco Display Alphabets

Arnold Binger

Author of David's Practical Letterer (1903). [Google] [More] ⦿

A book by Dan X. Solo that shows 100 alphabets. [Google] [More] ⦿

Art of the Printed Book, 1455-1955: Masterpieces of Typography Through Five Centuries

This book is based on the collections of the Pierpont Morgan Library, New York, and comes with an essay by Joseph Blumenthal. It was published in 1973 by Pierpont Morgan Library, New York, and David R. Godine, Boston. Second printing, 1974. [Google] [More] ⦿

Arthur S. Osley

Author of Luminario: an introduction to the Italian writing books of the 16th and 17th centuries (Nieuwkoop, 1972). This book surveys the Italian writing-manuals, 1514-1660. He also wrote Mercator. A Monograph on the Lettering of Maps, etc. in the 16th century Netherlands. With a facsimile and translation of Ghim's Vita Mercatoris (London, 1969). [Google] [More] ⦿

Arthur Schulze

Author of Moderne Firmen Schilder (1913). [Google] [More] ⦿

A.S. Barnes

Author of the penmanship book Barnes's National Vertical Penmanship (New York: American Book Co., 1899). [Google] [More] ⦿

Atelier Perrousseaux

Interesting font links. In French, by Yves Perrousseaux. Jef Tombeur describes this as follows: "The Atelier Perrousseaux is a small publishing house having on its catalogue the founder's books but also books, essays, studies by the late Gérard Blanchard, Adrian Frutiger, Ladislas Mandel, François Richaudeau (a linguist) and, soon, René Ponot." [Google] [More] ⦿

Atelier Plumereau

Author of Publicité-Vignettes-Lettres-Chiffres-Monogrammes et Rehauts Modernes (1930s). That book shows these art deco alhpabets: La Romane, Les Filets (multilined). [Google] [More] ⦿

ATF: Online books

The American Type Founders specimen books are virtually all on-line now. Here are the main links:

From Google Books:
From Internet Archive
- ATF 1892 catalog (Boston and Central Type Foundries)
- ATF 1893 catalog (Cleveland Type Foundry)
- ATF 1896 catalog (Pacific Coast Blue Book)
- ATF 1897 catalog
- ATF 1898 catalog
- ATF 1900 catalog entitled textsDesk book of type specimens, borders, ornaments, brass rules and cuts: catalogue of printing machinery and printers' supplies.
- ATF 1903 catalog
- ATF 1906 catalog
- ATF 1909 catalog supplement
- ATF 1911 catalog supplement
- ATF 1912 catalog
- ATF 1923 catalog
- ATF 1934 catalog
- ATF 1941 catalog supplement
- ATF 1950 descriptive price list
- ATF 1953 type index
- ATF 1960 Handy type index
- ATF 1969 Handy type index
- ATF 1976 Handy type index
- BB&S 1907 catalog

[Google] [More] ⦿

Auguste Bernard

Author (1811-1868) of Geoffroy Tory, peintre et graveur, premier imprimeur royal, réformateur de l'orthographe et de la typographie sous François Ier (2e édition, entièrement refondue) (1865, E. Tross, Paris). Local download in PDF [13.8MB].

In 1856, Auguste Bernard published Les Estienne --- Les types grecs de François premier, in which he presents 16th century Greek typefaces known as les grecs du roi. [Google] [More] ⦿

Auguste Vitu

Author of Petite histoire de la typographie (1886, Librairie Ch. Delagrave, Paris). This delightful book contains great historic accounts from the fifteenth century, including a section in which he "deals with" the myth of Coster. [Google] [More] ⦿

Austin Norman Palmer
[Portfolio of Ornate Penmanship]

Barbara Getty and Inga Dubay

Autograff
[Daniel Berio]

AutoGraff is a research project aimed at computationally modelling the perceptual and dynamic processes involved in the production of graffiti art and calligraphy. The purpose of the study is to develop computer graphics and robotic systems that are capable of generating traces, letters, and patterns that are similar to the ones made by an expert human artist. The project is driven by Daniel Berio and Frederic Fol Leymarie at the University of London.

Daniel Berio is a researcher and artist from Florence, Italy. Since a young age Daniel was actively involved in the international graffiti art scene. In parallel he developed a professional career initially as a graphic designer and later as a graphics programmer in video games, multimedia and audio-visual software. In 2013 he obtained a Masters degree from the Royal Academy of Art in the Hague, where he developed drawing machines and installations materializing graffiti-inspired procedural forms. In 2021, Daniel obtained a PhD at Department of Computing Goldsmiths, University of London under the supervision of Frederic Fol Leymarie. Daniel Berio's PhD thesis is entitled AutoGraff: Towards a computational understanding of graffiti writing and related art forms.

The abstract of this spectacular work that mixes art and mathematical modeling: The aim of this thesis is to develop a system that generates letters and pictures with a style that is immediately recognizable as graffiti art or calligraphy. The proposed system can be used similarly to, and in tight integration with, conventional computer-aided geometric design tools and can be used to generate synthetic graffiti content for urban environments in games and in movies, and to guide robotic or fabrication systems that can materialise the output of the system with physical drawing media. The thesis is divided into two main parts. The first part describes a set of stroke primitives, building blocks that can be combined to generate different designs that resemble graffiti or calligraphy. These primitives mimic the process typically used to design graffiti letters and exploit well known principles of motor control to model the way in which an artist moves when incrementally tracing stylised letterforms. The second part demonstrates how these stroke primitives can be automatically recovered from input geometry defined in vector form, such as the digitised traces of writing made by a user, or the glyph outlines in a font. This procedure converts the input geometry into a seed that can be transformed into a variety of calligraphic and graffiti stylisations, which depend on parametric variations of the strokes.

Co-author of StrokeStyles: Stroke-based Segmentation and Stylization of Fonts (ACM Transactions on Graphics, vol. 41 (3), pp. 1-21, 2022). In this paper by Daniel Berio (Goldsmiths, University of London), Frederic Fol Leymarie (Goldsmiths, University of London), Paul Asente (Adobe Research, San Jose, CA), and Jose Echevarria (Adobe Research, San Jose, CA), the authors develop a method to automatically segment a font’s glyphs into a set of overlapping and intersecting strokes with the aim of generating artistic stylizations. The segmentation method relies on a geometric analysis of the glyph’s outline, its interior, and the surrounding areas. It uses the medial axis, curvilinear shape features that specify convex and concave outline parts, links that connect concavities, and seven junction types. We show that the resulting decomposition in strokes can be used to create variations, stylizations, and animations in different artistic or design-oriented styles while remaining recognizably similar to the input font. [Google] [More] ⦿

Azerty requiem

Book on typewriter type (edited by Philippe Ernotte&Claude Stassart) with contributions by Fernand Baudin, Hubert Nyssen, Patrick Rogiers, Marcel Moreau, Jean-Pierre Verhegen, Pierre Bergounioux, Nicolas Ancion, Daniel De Bruycker, Veronika Mabardi, François Bon, François Clarinval, and Serge Kribus. [Google] [More] ⦿

Bapurao S. Naik

Author of Typography of Devanagari in three volumes, Bombay, Directorate of Languages (1971). This is a very useful set of books for Indic typeface design. [Google] [More] ⦿

Barbara Brownie

Author of Type Image (2011). [Google] [More] ⦿

Portland, OR-based handwriting consultants and authors of Earlier, they also published Italic letters: calligraphy and handwriting (1984, New York: Van Nostrand Reinhold Co). WRITE NOW: the Getty-Dubay Program for Handwriting Success (1991), Italic letters: Calligraphy & Handwriting, The Getty-Dubay Italic Handwriting Series for K-6 (Continuing Education Press, 1986, seven workbooks and Instruction Manual), and Getty-Dubay Itali Calligraphy: for School & Home, all published by Handwriting Success. Earlier, they published >Italic letters: calligraphy and handwriting (1984, New York: Van Nostrand Reinhold Co) for the self-teaching of four italic scripts. Three (basic italic, formal italic, and chancery italic) are fairly standard. The fourth style, cursive italic, is designed for use as everyday handwriting.

The 72-style Getty Dubay handwrining family of fonts contains many lined ones. [Google] [MyFonts] [More] ⦿

Barnhart Bros. Spindler Type Founders: Book of Type Specimens, 1907

Trying to fit this 1000-page book into one web page, with discussion of many types. It's impossible, but I tried it. Download link for Book of type specimens: Comprising a large variety of superior copper-mixed types, rules, borders, galleys, printing presses, electric-welded chases, paper and card cutters, wood goods, book binding machinery etc., together with valuable information to the craft. Specimen book no.9. Another download link. [Google] [More] ⦿

Bauersche Giesserei: Hauptprobe in gedrängter Form der Bauerschen Giesserei

Type specimen book by Bauersche Giesserei published ca. 1915. Open Library link. Archive.org link. Local download. Local download, colored version [27MB].

An earlier and more volumunous book of specimens is Hauptprobe der Bauerschen Giesserei in Frankfurt am main und Barcelona (Frankfurt am Main, 1907). [Google] [More] ⦿

Bauhaus

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

Bauhaus: Monoskop's page

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

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

Bauhaus School
[Walter Gropius]

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

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

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

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

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

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

Beat Stamm

Swiss typography expert at Microsoft who wrote Visual TrueType, a truetype font hinting program, and who helped out with Cleartype. He is also the author of The Raster Tragedy (1997, updated in 2011). Beat Stamm has a Ph.D. in Computer Science. [Google] [MyFonts] [More] ⦿

Beatrice L. Warde

Born in New York in 1900, she died in London in 1969. A typographer, writer, and art historian, she worked for the British Monotype Corporation for most of her life, and was famous for her energy, enthusiasm and speeches. Collaborator of Stanley Morison. She created a typeface called Arrighi. She is famous for The Crystal Goblet or Printing Should be Invisible (The Crystal Goblet, Sixteen Essays on Typography, Cleveland, 1956, and Sylvan Press, London, 1955), which is also reproduced here and here. The text was originally printed in London in 1932, under the pseudonym Paul Beaujon. Here are two passages:

Imagine that you have before you a flagon of wine. You may choose your own favorite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than to hide the beautiful thing which it was meant to contain.
Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type which may work well enough, and yet keep the reader subconsciously worried by the fear of 'doubling' lines, reading three words as one, and so forth.

Drawing of her by Eric Gill. Life story.

Beatrice Warde was educated at Barnard College, Columbia, where she studied calligraphy and letterforms. From 1921 until 1925, she was the assistant librarian at American Type Founders. In 1925, she married the book and type designer Frederic Warde, who was Director of Printing at the Princeton University Press. Together, they moved to Europe, where Beatrice worked on The Fleuron: A Journal of Typography (Cambridge, England: At the University Press, and New York: Doubleday Doran, 1923-1930), which was at that time edited by Stanley Morison. As explained above, she is best known for an article she published in the 1926 issue of The Fleuron, written under the pseudonym Paul Beaujon, which traced types mistakenly attributed to Garamond back to Jean Jannon. In 1927, she became editor of The Monotype Recorder in London. Rebecca Davidson of the Princeton University Library wrote in 2004: Beatrice Warde was a believer in the power of the printed word to defend freedom, and she designed and printed her famous manifesto, This Is A Printing Office, in 1932, using Eric Gill's Perpetua typeface. She rejected the avant-garde in typography, believing that classical forms provided a "clearly polished window" through which ideas could be communicated. The Crystal Goblet: Sixteen Essays on Typography (1955) is an anthology of her writings. Wood engraved portrait of Warde by Bernard Brussel-Smith (1950). [Google] [MyFonts] [More] ⦿

Bell & Stephenson

British typefoundry. Specimen books by them include

A Specimen of Printing Types: Cast at Bell & Stephenson's Original British Letter Foundry, from Punches and Matrices Executed Under Their Direction. By William Colman, Regulator, and Richard Austin, Punch-cutter (London, 1789). Local download.

[Google] [More] ⦿

Ben Alexander

Author of The Ornamental Penman's Pocket Book of Alphabets (1900). [Google] [More] ⦿

Ben Shahn

American lettering artist, painter and social realist, b. Kovno, Lithuania, 1898, d. New York City, 1969. He is best known for his works of social realism, his left-wing political views, and his series of lectures published as The Shape of Content. Author of Love and Joy about Letters (1963) and of The Alphabet of Creation: An Ancient Legend From the Zohar (1954, reprinted in 1972, Shocken Books, NY).

In 1995, Maurizio Osti reconstructed and redesigned Ben Shahn's Folk Alphabet, which was originally created as lettering in 1940, with the consent and approval of Bernarda Shahn, Shahn's second wife, and the Estate of Ben Shahn, under license from VAGA (New York). FF Folk (2003, Marizio Osti and Jane Patterson) is the only authorized and officially endorsed digital version of Shahn's well-known protest poster lettering. In the same style, we also have the fonts Bensfolk (2000) and Bensfolk Condensed (2000) by Harold Lohner.

Jean Evans's Hatmaker (1996, Agfa Creative Alliance and later ITC) consists of two all caps typefaces, one of which was inspired by Ben Shahn's hand-constructed alphabet.

Nick Curtis's Outgribe NF (2011) is a rough, raw typeface that is based on the lettering in Ben Shahn's iconic poster protesting the execution of Nicolo Sacco and Bartolomeo Vanzetti in 1927. That same poster also inspired Daniel Pelavin in his Book Country (2010).

Charles Leroux created the Tuscan typeface Rendezvous GRP (2008) based on Ben Shahn's cover of Rendezvous with Destiny.

At Esos tipos de la UTEM, one can download Nahueltoro (2007), an exceptionally beautiful comic book style headline face by Santiago Toro, based on the credits of the movie El Chacal de Nahueltoro by Vicente and Antonio Larrea, and on Ben Shahn's lettering. [Google] [More] ⦿

Ben Wittner

In 2018, Ben Wittner, Sascha Thoma and Timm Hartmann edited Bi-Scriptual: Typography and Graphic Design with Multiple Script Systems (Niggli). Each chapter covers a different language and is written by a graphic designer who is a native speaker of that language. The languages covered are Arabic by Lara Captan & Kristian Sarkis, Cyrillic by Eugene Yukechev, Devanagari by Vaibhav Singh, Greek by Gerry Leonaidas, Hangul (Korean) by Jeongmin Kwon, Hanzi by Keith Tam, Hebrew by Lirion Levi Turkenich & Adi Stern and Kanji/Hiragana/Katakana (Chinese and Japanese) by Mariko Takagi.

Talib (2004) is a type project of eps51, a Berlin-based graphic design studio founded in 2004 by Sascha Thoma and Ben Wittner. They developed these faux Arabic fonts: Talib Old Style (calligraphic), Talib Kulkufi, and Talib Mohandes.

In 2020, Pascal Zoghbi (29LT) and Ben Wittner released the monospaced Arabic / Latin typefaces 29 LT Baseet Variable and 28 LT Zawi Variable. [Google] [More] ⦿

Benedikt Gröndal
[Handwriting Models]

Bertrand Galimard Flavigny.

Bengt Bengtsson

Swedish art historian whose 1956 PhD dissertation was entitled Svenskt stilgjuteri före âr 1700 (Typefounding in Sweden before 1700). In 1950 he published an 18-page booklet entitled Det äldsta Svenska Stilprovet Tryckt at Skolan for Bokhant verk. [Google] [More] ⦿

Benjamin Franklin

Benjamin Franklin, Typefounder (1925, Douglas C. McMurtie, New York) describes Benjamin Franklin as typefounder. McGrew writes about Franklin: Prior to 1722 English typefounding was at a low ebb, and most printers in that country used Dutch types. But in that year William Caslon completed the first sizes of his new style, which quickly gained dominance over the Dutch types. This new English style was also extensively exported to other countries, including the American Colonies, where it was popular before the Revolution. In fact, the Declaration of Independence of the new United States was first printed in Caslon's types. Benjamin Franklin met Caslon in London, admired and recommended his types, and used them extensively in his printshop. F. Kerdijk penned the Dutch book Benjamin Franklin. Drukker - Postmeester - Uitvinder en Gezant, 1706-1790 (1956, Drukkerij Trio, 's-Gravenhage), a 16-page booklet that further explains Franklin's multidimensional persona. Further books on Franklin's sideline include Typophiles Chapbook: B. Franklin, 1706-1790. Franklin's interests in typography and as a printer have caused a number of typefaces to be named after him, such as the famous Franklin Gothic, but also Ben Franklin, Ben Franklin Condensed and Ben Franklin Open (metal types at Keystone Type Foundry. 1919), Franklin's Caslon (2006, P22), Poor Richard RR (named after Benjamin Franklin's "Poor Richard Almanack"), Poor Richard (1994, Projective Solutions: a free font), and Benjamin Franklin Antique (free font by Dieter Steffmann). [Google] [More] ⦿

Bernard Stein

In 1998, Frederich Friedl, Nicholas Ott and Bernard Stein wrote the voluminous book, Typography: An Encyclopedic Survey of Type Design and Techniques Through History (Black Dog & Leventhal). [Google] [More] ⦿

Bernd Holthusen

Type director and manager at Scangraphic in the 1980s and 1990s. Author of a number of thick specimaen volumes including Scangraphic Digital Type Collection A-F (1985), Scangraphic Digital Type Collection G-Z (1985), Scangraphic Digital Type Collection Index (1988), Scangraphic Digital Type Collection Supplement 1 (1988), and Scangraphic Digital Type Collection Supplement 2 A-Z Body types (1988). [Google] [More] ⦿

Bert Bos

Bert Bos studied Mathematics in Groningen (1982-1987), and wrote a thesis about Graphic User Interfaces (1987-1993). He worked on an Internet browser and the surrounding infrastructure for the Faculty of Arts in Groningen and is now working for The World Wide Web Consortium on style sheets and math. He lives in Sophia Antipolis near Nice in France.

Author of Cascading Style Sheets---designing for the Web (3rd ed.) (2005, Hakon Wium Lie & Bert Bos).

He also created a free transitional family in metafont and opentype for use with TeX, Gladiator and Gladiator Sans (1991).

Klingspor link. [Google] [More] ⦿

Berthold Wolpe

German type designer (b. Offenbach, 1905, d. London 1989), who studied under Rudolf Koch from 1924-27 at the Kunstgewerbeschule in Offenbach. With the help of Stanley Morison, he emigrated to England in 1935 because of his Jewish background. Wolpe taught at the Camberwell College of Art (1948-53), at the Royal College of Art in London (1956-75) and at the City&Guilds of London School of Art (from 1975 onwards). From 1941 until 1978, he worked as a book designer for Faber&Faber in London, designing over 1500 book jackets. He published Schriftvorlagen (Kassel 1934), Marken und Schmuckstücke (Frankfurt am Main, 1937), A Book of Fanfare Ornaments (London, 1939), Renaissance Handwriting (with A. Fairbanks, London 1959), and Architectural Alphabet. J. D. Steingruber (London, 1972). Designer of

Albertus (Monotype, 1932-1940) is a famous lapidary roman with thickened terminals. The Bitstream version is called Flareserif 821. The Ghostscript/URW free version is called A028 (2000). The Softmaker and Infinitype versions are both called Adelon. The original Monotype version is Albertus MT. The letters are flared and chiseled, and the upper case U looks like a lower case u. The northeast part of the e is too anorexic to make this typeface suitable for most work. Some say that it is great for headlines. It is reminiscent of World War II. See also Albertus Nova (2017) by Toshi Omagari for Monotype.
Cyclone (Fanfare Press). A travel poster typeface family.
Fanfare. Revived by Toshi Omagari at Monotype in 2017 as Wolpe Fanfare.
Hyperion (1931, Bauersche Giesserei). Berry, Johnson and Jaspert write: An angular pen-lettered design, with several unusual letters. The right hand serifs of upper- and lower-case V and W run inwards, the Y descends below the line and has a pronounced serif running to the right. Also done by Berthold in 1952.
Pegasus (1938, Monotype). Monotype's digital revival, Wolpe Pegasus, was done in 2017 by Toshi Omagari for Monotype.
Tempest (1936). Digital revival in 2017 by Toshi Omagari at Monotype as Wolpe Tempest.
The blackletter typeface Sachsenwald-Gotisch (1936-1937, Monotype). In 2017, Monotype published the digital revival Sachsenwald by Toshi Omagari. Sachsenwald was originally called Bismarck Schrift, when it was first designed by Wolpe in the early 1930s.
The blackletter typeface Deutschmeister (1934, Wagner&Schmidt, Ludwig Wagner). Revival by Gerhard Helzel in 2009. Warning: The German type community believes that this typeface was not designed by Wolpe, so further research is needed. See also the revival called Deutschmeister by Ralph M. Unger in 20017.
Decorata (1950).
Johnston's Sans Serif Italic (1973).
LTB Italic (1973). Done for the London Transport, and unpublished.

In 2017, Toshi Omagari designed the Wolpe Collection for Monotype, all based on Berthold Wolpe's distinctive typefaces: Wolpe Pegasus, Wolpe Tempest, Wolpe Fanfare, Sachsenwald, Albertus Nova.

Bio at Klingspor. FontShop link. Wiki page. Linotype page.

View Berthold Wolpe's typefaces. Klingspor link. [Google] [MyFonts] [More] ⦿

Author of La Chronique du bibliophile: La typographie des Didot. [Google] [More] ⦿

B.G. Teubner

Benedictus Gotthelf Teubner was a publisher in Leipzig, Germany. One of their typographic oeuvres was Schrift- und Polytypen-Proben (1846), a model book aimed at printers that contains some fonts, decorative borders, printer's ornaments, emblems, and clip-art motifs. Additional link with some images. [Google] [More] ⦿

Biblio@BoyBeaver

List of well-known typographers, with biographies of people such as Nicolas Jenson, Aldus Manutius, William Caslon, John Day, Johann Froben, William Caxton, and Christophe Plantin. Plus a list of typography books. [Google] [More] ⦿

BibliOdyssey

Great pages with exquisite images taken from old books and manuscripts. On occasion, one finds interesting alphabets and wonderful typographic examples. [Google] [More] ⦿

Bibliograhy on type, fonts and postscript

Rather sloppily compiled by Luc Devroye. [Google] [More] ⦿

Bibliographie typo

List of type books. [Google] [More] ⦿

Bibliographies on typesetting

Computer science bibliographies on the topic of (mathematical and other) typesetting [Google] [More] ⦿

Bibliographies on typesetting

Bibliography on typographic fonts

Nelson Beebe's computer science bibliography. [Google] [More] ⦿

Bibliothèque de l'école Estienne

As part of the Ecole Supérieure Estienne (18, boulevard Auguste-Blanqui, 75013 Paris, Tél : 01 55 43 47 47: subway Place d'Italie), this library has many books on typography. Free, 9-12 and 1-5, Monday to Friday, except Wednesdays and during the school holidays. [Google] [More] ⦿

Bibliothèque virtuelle de livres de typographie
[Jacques André]

Jacques André (IRISA-INRIA, Rennes, France) has compiled a great bibliography of type. [Google] [More] ⦿

Bill Boley

Author of Basiks of Lettering (1952). Mike Jackson writes: Bill Boley's general script look was quickly adopted by many of the handlettering artists of the day. Only six different alphabets are shown. [Google] [More] ⦿

Binny&Ronaldson
[James Ronaldson]

In 1796, Archibald Binny (ca. 1762-1838) and James Ronaldson (1769-1841 or 1842) (some say 1768-1842) started the first permanent American type foundry in Philadelphia in 1796, called Binny&Ronaldson. James, a business man from Edinburgh was the financial fhalf of the pair. In 1809 and 1812, they published America's first specimen book. The only complete copy of this book is at the Rare Book and Manuscript Library of Columbia University, and is entitled A specimen of metal ornaments cast at the letter foundery of Binny and Ronaldson (20 pages, printed by Fry and Kammerer, Philadelphia, USA, 1809) and Specimen of printing types from the foundry of Binny & Ronaldson (1812, Philadelphia, Fry and Kammerer, printers). Local download of the 1812 book.

James Ronaldson published Specimen of Printing Type, from the Letter Foundry of James Ronaldson, Successor to Binny&Ronaldson; Cedar, Between Ninth and Tenth Streets, Philadelphia (Philadelphia: J. Ronaldson, 1822). Acquired by Johnson&Smith in 1833, it became L. Johnson&Co. in 1843, and finally MacKellar, Smiths&Jordan in 1867. The latter company was the largest typefounder in America when in 1892 it was amalgamated with many others into ATF.

About digital typefaces that are derived: MyFonts sells Isabella, a font by ATF/Kingsley that can be traced back to Binny&Ronaldson. It also offers Really Big Shoe NF (Nick Curtis, 2009), which is based on Ronaldson's Oxford. Dick Pape published the free fonts Binny & Ronaldson English Two Line Orn (2010), Binny & Ronaldson Great Primer Two Pica (2010), and Binny & Ronaldson Primer Two Line Orn (2010). [Google] [MyFonts] [More] ⦿

BiViTy: Bibliothèque virtuelle de typographie
[Jacques André]

Jacques André's site that lists all digitally available type specimen books. [Google] [More] ⦿

Bjoern Karnebogen

Author of the (German) thesis Type and Image (2003). [Google] [More] ⦿

Bob Gordon

Author of "Making Digital Type Look Good" (London, 2001), tauted as a comprehensive analysis of the current state of font technology, preceeded by a history of type development and an exploration of the changes that the digital revolution has brought about. [Google] [More] ⦿

Bodoni's books

Adam Koster from Oak Knoll in Delaware describes three of Bodoni's publications:

"FREGI E MAJUSCOLE INCISE E FUSE DA GIAMBATTISTA BODONI, DIRETTORE DELLA STAMPOERIA REALE". Parma, Italy: 1771. First edition of Bodoni's first type specimen book. It contains a preface by Bodoni describing the types and ornaments used in the earlier part of his career showing his admiration for the rococo style of Fournier, whom he copied in a flattering manner. "Granted that the most agreeable features of the book are copied, this "specimen" of 1771 is one of the most tasteful and charming volumes of its kind in existence. Each page is surrounded with borders, of which scarcely one is bad, or scarcely two alilke. The types are old style, but their delicacy shows current tendencies, being especially true of the italic. The book is enormously instructive to compare with Bodoni's great, chilly masterpieces, the "Oratio Dominica" and the "Manuale Tipografico" of 1818" (Updike, Printing Types, Vol. I, p.184). Illustrated with more than 400 type ornaments and several pages of capitals...Majuscole ornate e CARATTERI Moderni. Giambattista Bodoni (1740-1813) had recently (1768) been appointed director of the Duke of Parma's private press, the Stamperia Reale, on his way to becoming the most celebrated printer in Europe, and a leader in the development of the modern letter form. " If (Bodoni) was careful in his choice of paper, he relied still more on his type and from 1771 onwards issued a series of typographic manuals, which show the love and labour that he was continuously lavishing on the fashioning and perfecting of this weapon...there is something peculiarly satisfying in the thought of this man through all the vicissitudes of one of the most stormy periods of European history, heedless of changes of regime, cheerfully, unswervingly and successfully pursuing his artistic ideals (Brooks, preface, xi)." With the Borghese family coat of arms gilt-stamped on front boards. The Borghese family, originally from Siena and later from Rome, produced one pope, Paul V, several cardinals, many prominent citizens, and were noted patrons of the arts and letters.
"Epithalamia exoticis linguis reddita. Parmae Ex Regio Typographeo", 1775. With engraved title page vignette, head- and tail-pieces and historiated initals after Ferrari. Considered one of Bodoni's finest type specimen books, it contains the alphabets of twenty-five exotic languages, including Tibetan, Phoenician and Coptic. Has a poem by Conte Della Torre di Rezzonico.
"MANUALE TIPOGRAFICO." Two volumes. Parma, Italy: 1818. Bodoni's most substantial and famous type specimen. (Brooks 1216, Updike, Printing Types, II, pp. 169-171). This last specimen to be issued by Bodoni, "with a Discorso by his widow and Prefazione by Bodoni, appeared in 1818, five years after his death. It was completed under the care of his widow and Luigi Orsi, who was for twenty years foreman to Bodoni. Signora Bodoni, writing to M. Durand, of Metz, from Parma (November 14, 1817), says: 'The Manuale Tipografico in two volumes on papier-velin-the only kind of paper used for it-is not yet completed, but it will be, without fail, at the beginning of the coming year. I dare to believe that book-lovers will thank me for having published a volume which is so very important to Typography. The reception which it will have, will make up for the trouble it has cost me (although Bodoni has left the blocks or models for it) and the considerable expense which I shall have had to incur before it is finished. Also, in view of the fact that but 290 copies are struck off, I cannot dispose of them at less than 120 francs, without any reduction. M. Rosaspina has engraved au burin the portrait after one which the celebrated Appiani... painted in oils, which is a striking likeness.'" (Updike II, p.169) The first volume contains a discourse by Vendova Bodoni and a preface by G.B. Bodoni and is followed by the Latin type specimens. Twenty-six separate typefaces are described, each displayed in several different point sizes and most with specimens in Roman and italic. The display of the individual specimens in so many variations is particularly dramatic, the specimens for majuscole alone comprise 108 variations. The second volume displays thirty-four non-Latin type specimens including: Greek, Hebrew, Arabic, Armenian, Cyrillic, Tibetan, and many others. Many of these span multiple pages and present type in varying sizes. The Greek and Russian typefaces are the most comprehensive, with many pages devoted to large and impressive variations. This section is followed by specimens of 1036 decorative borders (Fregi), each designed to work with specific Bodoni typefaces, specimens of ornaments and rules, and specimens symbols for algebra, chemistry, astronomy, and music notation. Several of these are contained on large folding plates.

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BookLook

USA service for searching out-of-print books. This page has a list with books on printing. [Google] [More] ⦿

Books by Dan X. Solo

Dan Solo's list of books. [Google] [More] ⦿

Books Jumpstation: Typography

Book list compiled by Fred Showker. [Google] [More] ⦿

Books on letterforms for sale

Gunnlaugur Briem is selling his own lettering book collection. [Google] [More] ⦿

Books on Wood Type

Books on Wood Type, as listed by the Design Division of the Department of Art and Art History at The University of Texas at Austin:

1963 / American Wood Type. Design Quarterly, No 56. Minneapolis: Walker Arts Center.
1964 / American Wood Types, 1828-1900, Volume One. Limited edition folio.
1965 / Wood Letters in the 20th Century. Matrix 7. Rochester, NY: Office of Educational Research, Rochester Institute of Technology.
1969 / American Wood Type, 1828-1900: Notes on the Evolution of Decorated and Large Types and Comments on Related Trades of the Period. 1st ed. New York: Van Nostrand.
1977 / American Wood Type, 1828-1900: Notes on the Evolution of Decorated and Large Types and Comments on Related Trades of the Period. 1st Paperback Printing New York: Da Capo Press.
1977 / Wood Type Alphabets: 100 Fonts. New York: Dover Publications. Edited by Rob Roy Kelly.
1990 / Adobe Wood Type, Vol 1. Moutain View, California: Adobe Systems. Introduction by Rob Roy Kelly.
1999 / Specimen Book of Wood Type. Madison: Silver Buckle Press.

A sublist of specimen books held by Columbia University (CU), the Newberry Library in Chicago (NL), the New York Public Library (NYPL) and the Hamilton Wood Type&Printing Museum (HAM) is quite impressive. Here we go:

1828 / CU Darius Wells: Darius Wells, Letter Cutter.
1838 / CU George Nesbitt (Edwin Allen): First Premium Wood Types Cut by Machinery.
1838 / NYPL J.M. Debow (William Leavenworth): Leavenworth's Patent Wood Type.
1840 / CU Wells&Webb Specimens of Plain and Ornamental Wood Type.
1841 / CU George Nesbitt (Edwin Allen): Nesbitt's Fourth Specimen of Machinery Cut Wood Type.
1846 / CU L. Johnson (Wells&Webb): Specimens of Wood-Letter.
1849 / CU Wells&Webb: Specimens of Wood Type.
1853 / CU Bill, Stark&Co.: Specimens of Machinery Cut Wood Type.
1854 / CU W.&H. Hagar (Wells&Webb): Specimens of Printing Types.
1854 / CU / NL Wells&Webb: Specimens of Wood Type. (NL copy is gift from Hamilton Mfg. Co.)
1858 / NL D. Knox&Co.: Specimens of Wood Type.
1859 / CU / NL William H. Page&Co.: Specimens of Wood Type.
1859 / NL J.G. Cooley&Co.: Specimens of Wood Type. (NL copy also contains parts of two smaller undated specimens: J.G. Cooley&Co. Cooley's Wood Type and Vanderburgh, Wells&Co.)
1860 / NL William H. Page&Co.: Supplementary Specimens of Wood Type Rules&Borders, Etc..
1865 / CU William H. Page&Co.: Price List for Wood Type, Borders, Reglet, Etc.. (Affixed to 1859 Page specimen)
1870 / NYPL William H. Page&Co.: Specimens of Wood Type.
1870 / CU William H. Page&Co.: German Specimens of Wood Type.
1872 / CU / NL / NYPL William H. Page&Co.: Specimens of Wood Type.
1872 / NL Marder, Luce (Page): Specimens of Wood Type.
1872 / CU Dauchy&Co. (Page): Specimens of Wood Type.
1873 / CU William H. Page&Co.: Specimens of Wood Type.
1874 / CU / NL William H. Page&Co. Specimens of Chromatic Wood Type, Borders, Etc.. (CU copy is gift from Rob Roy Kelly)
1876 / CU William H. Page Wood Type Co.: Specimens of Wood Type. (CU copy is gift from Rob Roy Kelly)
1876 / CU / NL William H. Page Wood Type Co.: Poster Specimens. (NL copy is gift from Hamilton Mfg. Co.)
1877 / CU Vanderburgh Wells&Co. Specimens of Wood Type, Borders, Rules, Etc..
1878 / CU / NYPL William H. Page Wood Type Co.: Specimens of Wood Type. (CU copy is gift from Rob Roy Kelly, NYPL copy contains one additional page showing Aetna Extra Condensed and Egyptian)
1879 / NL Vanderburgh Wells&Co. Specimens of Wood Type, Borders, Rules, Etc..
1879 / CU William H. Page Wood Type Co.: Page's Wood Type Album, Vol 1, No 1. (CU copy is gift from Hamilton Mfg. Co.)
1879 / CU William H. Page Wood Type Co.: Page's Wood Type Album, Vol 1, No 2. (CU copy is gift from Hamilton Mfg. Co.)
1879 / NL William H. Page Wood Type Co.: Page's Wood Type Album, Vol 1, No 3.
1880 / NYPL William H. Page Wood Type Co.: Specimens of Wood Type.
1881 / CU Hamilton&Katz: Specimens of Holly Wood Type.
1881 / CU Morgans&Wilcox Mfg. Co.: Specimens of Wood Type, Printing Materials, Presses, Paper Cutters, Etc..
1882 / CU William H. Page Wood Type Co.: Specimens of Wood Type&Borders. (CU copy is gift from Hamilton Mfg. Co.)
1883 / NL American Wood Type Co.: Specimens of Wood Type.
1883 / CU Shniedewend&Lee: Specimens of Page's Wood Type&Borders. (CU copy is gift from Hamilton Mfg. Co.)
1884 / NL [microfilm] Hamilton&Katz: Specimens of Holly Wood Type.
1884 / CU / NL Morgans&Wilcox Mfg. Co.: Condensed Specimen Book of Wood Type. (NL copy is gift from Hamilton Mfg. Co.)
1886 / NL [microfilm] Hamilton&Baker: Specimens of Holly Wood Type .
1887 / NL National Printers' Materials Co.: Specimens of Enameled Wood Type.
1887 / NL William H. Page Wood Type Co.: Specimens of Page's Wood Type.
1887 / CU Hamilton&Baker: Specimens of Holly Wood Type. (CU copy is gift from Rob Roy Kelly)
1888 / CU William H. Page Wood Type Co.: Specimens of Machine Cut Wood Type. (A facsimile was produced by David W. Peat in 2002)
1888 / CU Hamilton&Baker: Specimens of Wood Type&Borders. (CU copy is gift from Hamilton Mfg. Co.)
1889 / CU The Hamilton Manufacturing Co.: Specimens of Wood Type&Borders. (CU copy is gift from Hamilton Mfg. Co.)
1889 / CU The Hamilton Manufacturing Co.: Specimens of Wood Type&Borders. (CU copy is gift from Hamilton Mfg. Co.)
1889 / CU The Hamilton Manufacturing Co.: Calendar Sets.
1889 / NL Vanderburgh Wells&Co.: Specimens of Wood Type, Borders, Rules, Etc..
1890 / CU Morgans&Wilcox Mfg. Co.: Condensed Specimen Book of Wood Type.
1890 / CU / NL William H. Page Wood Type Co.: Page's New Process Wood Type. (Reprinted by American Life Foundation in 1983)
1890 / CU Vanderburgh Wells&Co.: New Styles Wood Letter. (3-color Broadside)
1890 / CU Heber Wells: Specimens of Wood Type.
1891 / NL Heber Wells: Specimens of Wood Type.
1892 / CU Heber Wells: Specimen Book of Wood Letter.
1892 / CU The Hamilton Mfg. Co.: New Process Wood Type Manufactured by Page.
1892 / CU / NYPL The Hamilton Mfg. Co.: Wood Type&Borders (Oversized). (Front matter indicates that there was an 1891 catalog)
1893 / NL Nelson&Chessman&Co. (Hamilton): New Process Wood Type. (NL copy is gift from Hamilton Mfg. Co.)
1893 / CU The Hamilton Mfg. Co.: Specimens of Wood Pointers (Broadside).
1894 / CU The Hamilton Mfg. Co.: Perpetual Calendar Sets (Broadside).
1895 / CU Heber Wells Specimens of Wood Type. (Front matter indicates there was an 1893 catalog)
1895 / CU The Hamilton Mfg. Co.: DeVinne Series Specimens.
1899 / CU The Hamilton Mfg. Co.: Specimens of Wood Type (No 14).
1900 / CU The Hamilton Mfg. Co. Specimens of Wood Type (No 15).
1904 / NL Tubbs&Co.: Tubbs Wood Type.
1906 / CU The Hamilton Mfg. Co.: Specimens of Wood Type, With Ornaments, Fewer Issues, Dashes, Silhouettes, Catchwords, Corners, Fractions, Calendars&Borders (No 16).
1908 / CU / NL The Hamilton Mfg. Co.: Specimens of Wood Type (No 17).
1918 / CU / NL The Hamilton Mfg. Co.: Wood Type&Borders. (Hamilton re-used existing Tubbs Mfg. Co. specimen book)
1927 / CU The Hamilton Mfg. Co.: Unit Gothic&Hamilton's Series of Roman Borders (2 Broadsides).
1927 / CU The Hamilton Mfg. Co.: Cheltenham Faces.
1927 / CU The Hamilton Mfg. Co.: Specimens of Wood Type.
1928 / CU The Hamilton Mfg. Co.: New Gothic Faces&Wood Type.
1929 / CU The Hamilton Mfg. Co.: Poster Cheltenham.
1930 / CU The Hamilton Mfg. Co.: Large Wood Type.
1932 / CU The Hamilton Mfg. Co.: Display Gothics.
1938 / CU / NL The Hamilton Mfg. Co.: Wood Type Catalog No 38.
1957 / NL American Wood Type Mfg. Co.: Interim Catalog 1957.
1958 / NL American Wood Type Mfg. Co.: Catalog 1958-1959.
1961 / NL American Wood Type Mfg. Co.: Catalog 1961-1962.

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Bowfin Printworks
[Mike Yanega]

Links to commercial foundries. Site done by Michael Yanega, who now lives in Washington State. Has an interesting script font identification guide. It also has a bibliography on type. [Google] [More] ⦿

Bram de Does

Bram de Does was a type designer born in Amsterdam in 1934. He died on December 28, 2015. At Enschedé in Haarlem, which he joined in 1958, and for which he worked most of his life, he designed Trinité (1978-1981) and Lexicon (1990-1991). Enschedé write-up. Author of Kaba Ornament Deel I - Vorm (De Spectatorpers, 2002), De Kaba Ornament in Vignettes Borders and Patterns (2006, De Buitenkant) and Kaba Structuren (De Buitenkant), which present the Kaba ornaments that de Does designed at enschedé in 1987 just before its closure in 1990.

Trinité won him the prestigious H.N. Werkman Prize in 1991. Mathieu Lommen and John A. Lane published Bram de Does Boektypograaf & Letterontwerper Book Typographer & Type Designer (Amsterdam, 2003). Mathieu Lommen published Bram de Does: letterontwerper & typograaf / typographer & type designer in 2003 at De Buitenkant.

In 2003, a 53 minute Dutch documentary was made: Systematisch Slordig: Bram de Does - Letterontwerper&Typograaf (Coraline Korevaar/Otto de Fijter, Woudrichem). That video is also at Vimeo and here. A collection of many of his drawings is at the University of Amsterdam. Part of this collection (e.g., the development of Lexicon) has been scanned in and placed on the web. Details on his fonts:

Lexicon is discussed in the book by Bram de Does and Mathieu Lommen, Letterproef Lexicon. The Enschedé Font Foundry (1997, Amsterdam). Lexicon was produced by Peter Matthias Noordzij. It was first used for the new edition of the Groot Woordenboek der Nederlandse Taal (the Standard Dutch Dictionary, or the Dikke Van Dale as we say in Belgium). For a digital descendant of Lexicon, see Lucas Sharp and Connor Davenport's Eros (2017).
Trinité according to Wikipedia: Trinité was originally designed for phototypesetting machines. In 1978, the printing office Joh. Enschedé replaced their phototypesetting machines (with Autologic machines), for which they wanted to adapt Jan van Krimpen's typeface Romanée. The company consulted with De Does, who was against it. He feared that Romanée would lose its character in the translation from metal movable type to phototype, specifically because Romanée was not a single font but several versions for each pointsize, which would not be possible to preserve in phototype. He considered commissioning a new typeface, specifically designed for the new technology, a much better idea. Although it was not his intention, Enschedé invited him to design this new typeface. [...] Trinité was originally published as an Autologic typeface in 1982. However, at the end of that decade, when De Does had already left the firm, Enschedé once again switched typesetting machines (this time the digital Linotronic system) and only kept the old one because of Trinité. Being an important business asset for the firm, they commissioned De Does and Peter Matthias Noordzij (the designer of PMN Caecilia) to produce digital PostScript fonts of Trinité, using Ikarus M. To distribute the typeface, Noordzij proposed starting a small-scale digital type foundry, The Enschedé Font Foundry (TEFF), on which they released Trinité in 1992.

[Google] [MyFonts] [More] ⦿

Bram Stein

Copenhagen, Denmark-based author of Webfont Handbook. He tweets on web typography and front-end development. [Google] [More] ⦿

Bret Victor

Author of a book on data visualization, Magic Ink Information Software and the Graphical Interface (2006). [Google] [More] ⦿

Brigitte Schuster

Brigitte Schuster is a graphic designer, calligrapher and lettering artist who graduated in 2008 from Concordia University in Montreal (only one block away from Luc's house...). She wrote about herself: I am an independent Art Director (Graphic Design), Print Artist and Photographer practicing in Montreal, Canada. I am currently teaching typography and photography courses in the Graphic Design department of a college in Montreal. After attending a three-year graphic design program in Munich, Germany, I spent a few years working there both as an employee for print and web agencies, and as a freelancer. In 2005, I completed a Bachelor in Fine Arts, with a specialization in painting from the Italian Academy of Fine Arts of Carrara, Italy. [...] I moved to Canada in 2005 where I continued working in and for the graphic design industry. In 2008 I completed the Graduate Certificate in Digital Technologies in Design Art Practice at Montreal's Concordia University. In my graphic design practice I ideally work in editorial design, also corporate branding, with a focus on typography. Over the last year or two, I developed a great interest in type, which I express in my calligraphy and lettering work and type design research. Graduate of the Masters program in type design at KABK, 2010. Author of Brush calligraphy with a tree branch (2009) and Book Designers from the Netherlands (2014). In 2013, she founded the imprint Brigitte Schuster Editeur. Presently, she lives and works in Bern, Switzerland.

Her typefaces:

Canella (2010): a book ad magazine family with the angular necessities required for small print. Part of her Masters project at KABK.
Life Sans (2008).
A revival of Monotype Plantin (2010).
Cardamon (2015 Linotype). Cardamon is an old style serif design with large x-height and a sturdy look. Its proportions are inspired by 16th century punch-cutters Hendrik van den Keere and Robert Granjon.

[Google] [MyFonts] [More] ⦿

Bruce Kennett

Bruce Kennett is a designer of books and exhibits, photographer, writer, and teacher. He studied calligraphy and book design with Austrian artist Friedrich Neugebauer, and later translated Neugebauer's book The Mystic Art of Written Forms. Kennett also served as manager and book designer at Maine's Anthoensen Press. His client list ranges from the Folger Shakespeare Library and the Grolier Club to L.L.Bean and the Mount Washington Observatory.

Author of W. A. Dwiggins: A Life in Design (2017, Letterform Archive, San Francisco). Bruce Kennett discovered the work of W. A. Dwiggins in 1972 and has drawn inspiration from it ever since, writing articles, essays, and lecturing widely about the man and his many talents. Bruce has been working steadily on this book since 2003. The publisher's blurb: W. A. Dwiggins: A Life in Design offers an engaging and inspiring overview of the designer's wide-ranging creative output and lasting impact on the graphic arts. Bruce Kennett's careful research, warm prose, and inclusion of numerous personal accounts from Dwiggins's friends and contemporaries portray not only a brilliant designer, but a truly likable character. The texts---five essays and two works of fiction, plus a title page and colophon---are set on the Linotype in Dwiggins's Caledonia, Electra, Eldorado, Metro, and the very rare Falcon, accompanied by an assortment of Caravan ornaments. Twenty-two illustrations, hand-lettered titles, and decorated initials (all made from original Dwiggins pen-and-ink artwork in the files of Boston Public Library) accompany the text, reproduced via high-quality copper photoengravings.

His other books include a foreword in Dorothy Abbe's William Addison Dwiggins: Stencilled Ornament and Illustration (2015). [Google] [More] ⦿

Bruce Willen

2002 graduate from the Maryland Institute College of Art, Baltimore. Rumored to be working on a typeface called Composite. Author of Lettering&Type: Creating Letters and Designing Typefaces (2009, with Nolen Strals). See also here. [Google] [More] ⦿

Brush Lettering

Brush Lettering is a tutorial book written by Eliza Holliday and Marilyn Reaves. [Google] [More] ⦿

BuyMyFonts (or: BMF)
[Alessio Leonardi]

Alessio Leonardi (b. Florence, 1965) is an Italian designer and type designer who lives in Berlin since 1990. He worked in Berlin at MetaDesign of Erik Spiekermann and in Frankfurt at xplicit. In 1997, with Priska Wollein, he opened the office Leonardi Wollein Visuelle Konzepte in Berlin. His humor shows through his letters and his many dingbats.

In 2002 he founded Buy My Fonts that produces typefaces for corporate applications and also for standard use.

Speaker at ATypI in Rome in 2002. In 2004 he published his book From the Cow to the Typewriter: the (true) History of Writing. The Alberobanana project tries to suggest an alphabet that could have been. In 2007, he started the pixel font project BMF Elettriche. Available from MyFonts, it includes 648 styles. Speaker at ATypI 2007 in Brighton.

Linotype link. Typefaces.de site.

His fonts include

F2F Ale Ornaments (1994, +Rotato, +Spirato), Ale Signs, Ale Transport: all done at Linotype.
F2F Allineato (1995): grunge, part of the Face2Face project.
Alternativo Franklin Gothic
Aposto
F2F Al Retto (1995): grunge, part of the Face2Face project.
BMF Ale Pi Fonts
BMF Atypico (1994): organic.
FF Baukasten (1995): grungy pixel face.
BMF Bolbody, or Bolbodico.
Bodetica
BMF Brohan Black (2000)
BMF Bread Type.
BMF Brera.
FF Cavolfiore
FF Coltello (+Figure)
BMF Cratilo Poster (1996, +Signs): angular face.
Cool Wool
Cotton Club
Debaq Face
BMF Elleonora Dun Tondo, BMF Elleonora Dun Cane (1994): script typefaces.
Etica Temporale
Font Card (2000)
FF Forchetta (+figure)
BMF Fontcard (2000): Monospaced, modular.
FF Graffio (+Visivo) (1995): scratchy graffiti face.
Graffiti One, Two, Three and Four (1993): at AA International.
Ha Manga Irregular (+Pictures)
FF Handwriter (+Symbols)
Happy Days
BMF However
Kaos
BMF Imme Gothic (2001): made for the official communication of the wedding of Imme and Alessio.
BMF Just Do It Again (1999).
FF Letterine (+Archetipetti, +Esagerate, +Teatro): kid font family.
BMF Love and Hate Pie (2010)
F2F Madame Butterfly (1995)
FF Matto, FF Matto Porco, FF Matto Sans, matto Sans Porco: blotchy.
Metadoni
F2F Metamorfosi (1995): experimental, part of the Face2Face project.
FF Mulinex
BMF Mekanikamente
F2F Mekkaso Tomanik
BMF Objects Pi (2010)
Omegalo
BMF Planets Pi (2010)
F2F Poison Flowers (1994).
FF Priska Serif (+Little Creatures)
F2F Prototipa Multipla
F2F Provinciali
BMF Quaderno
Samuele
Schering type family (2000): done for a pharmaceutical company headquartered in Berlin. Includes Sans, Serif, Letter.
BMF Serbatoio (1991): Pixel face, originally called This Is Not (My Beautiful Wife). Includes Pieno, Vuoto, Prospettico.
F2F Simbolico
BMF Sicily (1991): grungy ransom note face.
Stone Washed
F2F Tagliatelle Sugo
Tagliatelle Poster, Tagliatelle Grazie, Tagliatelle Tagliate
Tempore
BMF Testuale, BMF Testuale Sans, BMF Testuale Cornici (1994): angular family.
BMF Zazi.
BMF Zodiac Pi (2010)

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

C. van der Post Jr

Book shop owner in Utrecht, The Netherlands, in the 19th century. In 1855, he published the popular lettering model book Alphabeths voor steenhouwers, schoonschrijvers, schilders, graveurs, lithegraphen. In his book Nederlandse Belettering, Mathieu Lommen deduces that the alphabets in this book were developed in the atelier of lithographer P.W. van de Weijer in Utrecht in cooperation with van der Post.

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿

C. Webb

Author of Guerrilla Typography. [Google] [More] ⦿

Cabarga type (was: Flashfonts)
[Leslie Cabarga]

Flashfonts was Zavier Leslie Cabarga's Los Angeles-based foundry. Leslie Cabarga is a baby boomer from New Jersey and author of The Lettering and Graphic Design of F.G. Cooper, the Illustrator/Fontographer/Fontlab resource book, Logo Font&Lettering Bible (2004), and Learn Fontlab Fast (2004, with Adam Twardoch). He ran Leslie Cabarga Design and Cabarga Type in Los Angeles. In 2021, Cabarga Type joined The Type Founders. His lettering prowess is apparent in this drive-in sign for "Betty Boop's Drive-In" (which inspired Nick Curtis to make Drive-Thru NF), FontShop link. MyFonts link.

Leslie Cabarga's typefaces:

Raceway (1995), a famous retro script.
Casey (2007), a fat-bottomed script at Font Bureau.
Streamline. Another fifties diner or Chevrolet grille font.
Kobalt and Kobalt Kartoon (at Font Bureau), great for displays.
Ojaio, a beautiful art deco font.
Central Station, an original display face.
The retro script Magneto.
Neon Stream (1995, Font Bureau). Connected retro nightclub letters.
Peace: an original psychedelic 60s font based on an alphabet copyright 1997 by Wes Wilson, creator of the classic 1960s Fillmore Poster Lettering style; see here.
Saber (2002), a mix of uncial, Fraktur, gothic and Exocet.
Love, a psychedelic 60s font also based on Wes Wilson's lettering. In Solid, Open and Stoned styles. At Font Bureau, 1997.
Esselte's Cabarga Cursiva. Cabarga Cursive was jointly designed in 1982 by Leslie Cabarga and his father Demetrio.
Cocoanut, Grassy Knoll, Straight Light, Straight Medium, Rocket (1995), Progressiv, Cymbal Regular, Dotcom Medium, Generik Regular, Graffiti Regular, Angle, Badtyp, Haarlem (2000), Margarete, Primitiv, Progressiv, Rocket, Rocket Gothic, Straight, Bellbottom, Hihat, Baseball. Jo the Webmistress on Cabarga.

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

Cade Type Foundry
[Philip Cade]

Cade Type Foundry is the private foundry of Philip Cade. He cut his first (metal) typeface in 1972. The foundry is an outgrowth of the Juniper Press. Cade published a Specimen book Type Borders Ornaments and Bras Rule in 1976 (Juniper Press, 24 GinnRoad, Winchester, MA). Local download.

Typefaces include Jenson Old Style No. 58, Goudy Lanston No. 279, and Caslon Old Style Italic 3371. [Google] [More] ⦿

Calligraphy and Penmanship in History 42 Books

Alternate URL. Alternate URL. These files have 42 e-books on penmanship, for a total of 300MB. The list:

1.Ames, Daniel T., 1884, Ames' Guide to Self-Instruction in Practical and Artistic Penmanship
2.Ames, Daniel T., The Daniel T. Ames Notebook, A wonderful collection of penmanship from the early 1860s from one of America's preeminent penmen and teachers
3.Behrensmeyer, H.P, Lessons in Practical Penmanship
4.Barnett, C.A., J.T. Henderson and J.N. Yocom, 1901, Oberlin Business College - Compendium of Penmanship.
5.Bloser, P.Z. (Copies by E.A. Lupfer), 1948, Lessons in Ornamental Penmanship.
6.Canan/Zanerian College, 1921, C.C. Canan Collection of Penmanship - The Canan Book, Copyright by Zaner-Bloser, Inc. Used with permission. All rights reserved.
7.Champion, Mary L., Champion Method of Practical Business Writing
8.Charles, A.A.S., 1983, Steel Pen Trade 1930-1980 Used with permission. All rights reserved.
9.Clark, Clinton H., The Clinton Clark Scrapbook Part One, Part Two, Part Three.
10.Comer, George and Oliver Linton, 1864, Penmanship Made Easy
11.Courtney, F.B., The Francis B. Courtney Scrapbook, courtesy of Bob Hurford
12.D'Avignon, L'ecriture Americaine, "Writing American" by D'Avignon, circa 1840
13.Dennis, W.E., 1914, Studies in Pen Art
14.Gaskell, G.A., 1883, Gaskell's Compendium of Forms (the section on writing)
15.Huntington, Eleazer, 1821, Art of Penmanship
16.IAMPETH Scrapbooks - A remarkable collection of Golden Age penmanship, PDF Number 1, PDF Number 2.
17.Jenkins, John, 1813, The Art of Writing
18.Jones, C.W., editor, 1914, Lessons in Engraver's Script
19.Jones, C.W., editor, 1914, Ninety-five Lessons in Ornamental Penmanship
20.Kelchner, Lloyd M., 1901, Complete Compendium of Plain Practical Penmanship
21.Knowles and Maxim, publisher, 1881, Real Pen Work - Self Instructor in Penmanship
22.Madarasz, Louis, Lessons in Advanced Engraver's Script, published by C.W. Jones
23.Madarasz/Zanerian College, 1911, The Madarasz Book - The Secret of the Skill of Madarasz, Copyright by Zaner-Bloser, Inc. Used with permission.All rights reserved.
24.McDonald Business Academy, 1894, Penman's Leisure Hour
25.Meyrat, P., circa 1920's, Recueil Methodique de Principes d' Ecriture ("A Methodical Collection of Principles of Writing"
26.Mills, Edward C., 1903, Modern Business Penmanship
27.Noyes, Enoch, 1839, Noyes's Penmanship
28.Palmer, A.N., 1935, The Palmer Method of Business Writing
29.Palmer, A.N., 1919, Palmer's Penmanship Budget
30.Palmer Company, The A.N., Portfolio of Ornate Penmanship
31.Real Pen-Work Publishing, 1867, Bible Pearls of Promise
32.Spencer Authors, 1874, Theory of Spencerian Penmanship
33.Spencer Brothers, 1881, New Standard Practical Penmanship
34.Spencer, Platt Rogers, Sr., 1866, Compendium of Spencerian or Semi-Angular Penmanship
35.Spencerian Authors, 1879, New Spencerian Compendium
36.Stacy, L.E., 1907 (compiled by), The Blue Book
37.Sull, Michael R., 1989, Spencerian Script and Ornamental Penmanship, Volume I, Chapters 1,2 and 8.
38.Sykes, circa 1885, Sykes's Manual of Penmanship
39.Williams, J.D. and S.S. Packard, 1867, Gems of Penmanship
40.Zaner, C.P., 1888, Gems of Flourishing
41.Zaner, C.P., 1920, Lessons in Ornamental Penmanship
42.Zaner, C.P., 1900, The New Zanerian Alphabets

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Campgràfic

Spanish publisher carrying Spanish translations of many popular typography books. [Google] [More] ⦿

Caratteri Nebiolo

John Berry discusses this wonderful Nebiolo specimen book from the 1950s. [Google] [More] ⦿

Cari Buziak
[Aon Celtic Art]

Carl Hermann Albert Anklam

Carl Dair

Renowned Canadian type and graphic designer (b. Welland, Ontario, 1912, d. 1967 from a heart attack on a flight between New York and Toronto). He ran the Eveleigh-Dair Studio from 1947-1951 in Montreal with partner Henry Eveleigh. He worked mainly as a freelance designer, was department store art director and even typographic director for the National Film Board of Canada (1945). Dair lectured on typography at the Ontario College of Art between 1959 and 1962, and taught for a couple of years at the Jamaica School of Arts and Crafts. In 1956 and 1957 he received an RSC fellowship to study type design and manufacture in the Netherlands. During this period he had the opportunity to study metal type and hand-punching at Enschedé Foundry in Haarlem, where he created a silent film called Gravers and Files documenting one of the last great punchcutters, P. H. Rädisch. There is a beautiful modern version of the movie with voiceover by Matthew Carter.

He created Canada's first roman typeface, Cartier (1967, MonoLino Typesetting Company Limited) for Canada's centennial. Cartier was unfinished when he died. Rod McDonald finished it, to become a working and much larger typeface family called Cartier Book in 2000. Cartier has a sequel: Raleigh (Ingrama, 1977), co-designed by Robert Norton, David Anderson and Adrian Williams is sold by Bitstream, Adobe, Linotype, Paratype, and URW++. It is characterized by a bloated belly N. Raleigh was produced in 1977 by Robert Norton, and was based on Carl Dair's Cartier typeface. It was renamed Raleigh after Dair's death. Adrian Williams added three weights for a display series, and Robert Norton designed the text version. Several typefaces were influenced by Cartier. These include Ludwig Ubele's award-winning FF Tundra (2011). For a full revival, including both a facsimile and an interpretation, see Nick Shinn's Dair (2017).

Author of Design with Type (1952, revised and expanded in 1967 and republished by the University of Toronto Press (First Edition) in 2000). He also wrote several wonderful short treatises on various topics in type design. John Berry discusses Dair's seven different kinds of contrast, size, weight, form, structure, texture, color and direction.

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

Carl Faulmann

Johann Christoph Carl Faulmann or Karl Faulmann, b. Halle an der Saale, Germany, 1835, d. Vienna, Austria, 1894. In his Geschichte der Schrift: Von den Hieroglyphen bis heute (2002), Harald Haarmann describes Faulmann as a pioneer in the study of writing in the 19th century. He writes that when Carl Faulmann published his Illustrierte Geschichte der Schrift in 1880, his work was the first universal history on the subject and stood alone on the academic landscape of the day.

Carl Faulmann initially trained to be a typesetter. His travels led him to Munich, where in 1854 he saw shorthand types from the Royal Court and State Printers in Vienna. Faulmann was inspired by the experience to develop similar versions for Franz Xaver Gabelsberger's stenography system which was popular in the southern part of Germany. In 1855 he became typesetter for foreign languages at the court in Vienna. After four years he resigned from state service and worked as a stenography teacher and typesetter. On the side he continued to augment his language skills auto-didactically, learning Hebrew, Persian and Sanskrit, among others. He wrote various works on linguistic fundamentals that were re-issued for decades. In 1884, Carl Faulmann was named professor of stenography at the University of Vienna. A complete compendium of his work can be found in this German wikipedia page. His books include

Das Buch der Schrift (1878: The Book of Script). In this text, he attempts to systematically collect and representat all known writing systems from around the world. Local download.
Illustrierte Geschichte der Schrift (1880, The Illustrated History of Script), published by Hartleben in Vienna. DNB writes that though pioneering at the time, this book is today considered outdated: steeped in the Eurocentric zeitgeist of his age, Faulmann attributed to Germanic runes the status of an ancient script on a par with the much older Egyptian hieroglyphs. Download site. Local download.
Das Buch der Schrift enthaltend die Schriftzeichen und Alphabete aller Zeiten und Völker des Erdkreises (1878, Vienna). This text contains a goldmine of symbols. Local download. Discussion (in Russian).
Illustrierte Geschichte der Buchdruckerkunst (The Illustrated History of the Art of Printing, 1882). Local download.
Etymologische Wörterbuch der deutschen Sprache (The Etymological Dictionary of the German Language, 1881-1883).

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Carl G. Liungman

Swedish author (b. Stockholm, 1938) in 1974 of a book about Western ideograms. Its title was the Swedish equivalent of "Symbols - Western ideograms". This book is an encyclopedia and has for each new edition been revised and substantially enlarged. Its first English language edition was published in 1991 in the US under the title Dictionary of Symbols (ABC-CLIO, 1991, 596 pages). The latest published revised and much enlarged English language edition appeared in 1995 under the new title Thought Signs The semiotics of symbols - Western non-pictorial ideograms. Review. [Google] [More] ⦿

Carl Gustav Naumann

C.G. Naumann is Carl Gustav Naumann, who ran a family printing business in Leipzig. In 1901, he published Schriftproben der Firma C.G. Naumann. Sample pages of that book are shown in the link. Poster by Naumann. [Google] [More] ⦿

German type designer, b. 1842, Berlin, d. 1931, Berlin. In 1870, he started working at Genzsch and Heyse in Hamburg as punchcutter and engraver. His Neue Schwabacher of 1876 became a very popular typeface.

Anklam created Mönchs-Gotisch (or: Mediaeval-Gotisch) in 1877 (Schnelle says 1881) at Genzsch & Heyse. In 1876, he made Neue Schwabacher (normal and halbfett) at Genzsch & Heyse (and Klinkhardt). That same type can also be found at many other typefoundries, including J. John&Söhne, Shelter&Giesecke, Ludwig & Mayer, Gebr. Klingspor, AG Schriftguss, Barnhart Brothers Spindler, H. Berthold AG, etcetera.

Author/editor of Kunstwerke der Schrift Bund für deutsche Sprache und Schrift (Großenkneten 1994).

Digital revivals include Schwabacher Mager Gross and Möncgs-Gotisch, both by Gerhard Helzel, and Neue Schwabacher (2021) by Ralph Unger. [Google] [More] ⦿

Carl Hrachowina

In the late 19th century, Dr. Carl Hrachowina (1845-1896) taught at the Arts and Crafts School in Vienna. Among his students were Franz von Matsch and Gustav Klimt. He selected and published a series of study aids. Author of Initialen, Alphabete und Randleisten verschiedener Kunstepochen (1897, Carl Graeser, Vienna), and of Vorlagen für das Kunstgewerbe 1. Band. Künstliches Alphabet von J. Th. de Bry (1886, Carl Graeser, Vienna). Downloads of his 1897 books: Archive.org, local. [Google] [More] ⦿

Carl Volmer Nordlunde
[Nordlundes Bogtrykkeri]

Carol Belanger Grafton

In 1981, Carol Belanger Grafton published Bizarre & Ornamental Alphabets (Dover).

Dick Pape digitized these ornamental caps typefaces, naming them by page number: BizarreAlphabets-Page108, BizarreAlphabets-Page112, BizarreAlphabets-Page114, BizarreAlphabets-Page116a, BizarreAlphabets-Page116b, BizarreAlphabets-Page117a, BizarreAlphabets-Page117b, BizarreAlphabets-Page121, BizarreAlphabets-Page14, BizarreAlphabets-Page22, BizarreAlphabets-Page24, BizarreAlphabets-Page62, BizarreAlphabets-Page66, BizarreAlphabets-Page74, BizarreAlphabets-Page76, BizarreAlphabets-Page78, BizarreAlphabets-Page92, BizarreAlphabets-Page93Bold, BizarreAlphabets-Page94, BizarreAlphabets-Page95, BizarreAlphabets-Page96-Dusty, BizarreAlphabets-Page98, BizarreAlphabets-Page99.

Download here. [Google] [More] ⦿

Carolina de Bartolo
[101 Editions]

Charles Nix: Books on typography

Carolyn Porter

Carolyn Porter is a St. Paul, Minnesota-based graphic designer, type designer, and author.

At P22, Carolyn Porter published P22 Marcel Script in 2014. This stylish fountain pen script comes with a story: The font Marcel is named in honor of Marcel Heuzé, a Frenchman who was conscripted into labor during World War II. During the months Marcel was in Germany, he wrote letters to his beloved wife and daughters back home in rural France. Marcel's letters contain rare first-person testimony of day-to-day survival within a labor camp, along with the most beautiful expressions of love imaginable. The letters---stained and scarred with censor marks---were the original source documents used by designer Carolyn Porter to create a script font that retains the expressive character of Marcel Heuzé's original handwriting. The letters were found in an antique shop in Stillwater, Minnesota, and the 1300-glyph font was developed from 2011 until 2014. It comes with a set of filets and calligraphic ornaments, P22 Marcel Ornaments, and a set of capitals, P22 Marcel Caps. Marcel Script won an award at TDC 2014. Speaker at ATypI 2017 Montreal. The story of Marcel Heuzé is captured in her award-winning book Marcel's Letters: A Font and the Search for One Man's fate. [Google] [MyFonts] [More] ⦿

Caslon & Catherwood

British type foundry active in the 19th century. Caslon and Catherwood published a now famous Italian in 1821.

They also had a collection of fat faces that were popular in the first three decades of the 19th century.

Books by the foundry include Specimen of Printing Types (T. Bensley, printer, 1815). [Google] [More] ⦿

Catherine Dixon

Catherine Dixon is a freelance designer, writer, and Senior Lecturer in Typography at Central Saint Martins College of Art&Design, London. She completed her PhD, A description framework for typeforms: an applied study at Central Saint Martins in 2001. She has worked together with Phil Baines on book designs for Phaidon Press; Laurence King; and for the award-winning Penguin Books Great Ideas series. She is a frequent contributor to Eye. Other writing includes a web site and the book Signs: lettering in the environment (Laurence King 2003). Speaker at ATypI 2006 in Lisbon on the topic of Nicolete Gray's Lisbon (with Phil Baines). At ATypI 2009 in Mexico City, she spoke on Lambe-lambe letters: Grafica Fidalga, São Paulo a project she undertook with Henrique Nardi (Tipocracia). Speaker at ATypI 2010 in Dublin, where she dealt with a lettering project for the Pozza Palace in Dubrovnik, and took people on a lettering walk of Dublin. Speaker at ATypI 2013 in Amsterdam. Keynote speaker at ATypI 2015 in Sao Paulo. [Google] [More] ⦿

Céline Hurka

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

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

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

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

Cecil A. Wade

British lettering (b. 1896) artist who wrote Manual of Lettering (1952, Blandford Press, London) and Modern Lettering from A to Z (1932), a book which shows many alphabets. We also find a 1934 edition: Ed. Pitman Isaac & Sons LTD - London. Example. There are several art deco alphabets. Another example (scanned by Sam Judge). His books provided inspiration for several digital typefaces:

Nick Curtis: Slapdash Deco NF (2005, based on a showcard alphabet presented by Cecil Wade in his Manual of Lettering), Block Party NF (2008).
Jim Parkinson: Wigwag (2003, a display family inspired by Ross George as well as the work of Samuel Welo and Cecil Wade).
Richard Dawson: Letraset Comedy (with Dave Farey).

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Cees W. De Jong

Editor of the two-volume book A Visual History of Typefaces and Graphic Styles 1901-1939, and A Visual History of Typefaces and Graphic Styles 1628-1900. Both volumes were published by Taschen. Cees is located in Hilversum, The Netherlands. [Google] [More] ⦿

C.G. Wrentmore

Instructor in descriptive geometry and drawing at the University of Michigan. Author of Plain Alphabets for Office and Schools (1898, George Wahr Publ., Ann Arbor, MI). [Google] [More] ⦿

Charles Ayers Faust

Author of Faust's 75 Alphabets (1920). [Google] [More] ⦿

Charles Enschedé

Dutch author (1855-1919) who wrote the following books or book chapters:

Die Hochdeutschen Schriften aus dem 15ten bis zum 19ten Jahrhundert der Schriftgiesserei und Druckerei (1919, Enschedé en Zonen, Haarlem), a publication which has four articles:
- Gustav Mori: Christian Egenolff, der erste ständige Buchdrucker in Frankfurt a/M
- Christian Münden: Von den ersten Franckfurter Bruchdruckern
- Gustav Mori: Geschichte und Entwicklung des Schriftgiesserei-Gewerbes in Frankfurt a/M
- Charles Enschedé: Die Druckerei der Elsevier und ihre Bezichung zu der Lutherschen Schriftgiesserei
This book is mainly about the development and history of blackletter types. Open Library link.
Fonderies de caractères et leur matériel dans les Pays-Bas du XVe au XIXe siècle (1908: Haarlem, De erven F. Bohn).
Technisch onderzoek naar de uitvinding van de boekdrukkunst, door Mr. Ch. Enschedé (1901).

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Charles Hasler

British author of A Show of Hands (Typographica, 1953, pp. 4-11). The journal Typographica was edited by Herbert Spencer and published sporadically between 1949 and 1967. This article has many images of printer's fists and pointing hands.

Plinc Hasler Circus (2011, House Industries) is a digitizztion of a photo era font, Circus, done by Hasler for Photo-Lettering, Inc. in the 1950s. This circus font was digitized by Erik van Blokland in 2011 at House Industries, with a helping hand from Ken Barber.

Other typefaces designed by him at Photo Lettering include Regency Inline (caps only), French Antique Inline and Pearl Shaded (decorative caps). [Google] [MyFonts] [More] ⦿

Charles J. Strong

Charles J. Strong (b. 1866, Hunstville, IL) was very influential in the sign and lettering world following the turn of the century. His text Strong's Book of Design (1910, 1917, 1982) has been reprinted several times. The early editions had wonderful color plates. Strong founded the Detroit School of Lettering along with a mail order supply department. He also wrote Strong's Art of Show Card Writing (1919) and Detroit School of Lettering 1-10 (1905). The latter text consists of ten thin booklets. [Google] [More] ⦿

Charles L. Adams

Author of Lettering Plates (1902). [Google] [More] ⦿

Charles L.H. Wagner

Charles L.H. Wagner was the founder and director of the Wagner School of Sign and Commercial Art, Boston, Massachusetts. Formerly instructor in Show Card Writing at Northeastern University and Young Men's Catholic Association, Boston, and University Extension, Department of Education, Commonwealth of Massachusetts, and Principal, Wagner-Sprague Correspondence School. Wagner wrote six volumes of poetry and was a frequent contributor to technical magazines and metropolitan newspapers. He was a landscape and oil portrait artist as well. In 1926 he published Blue Print Text Book of Sign and Show Card Lettering (at Fellowcrafters Inc, Boston, MA). [Google] [More] ⦿

Charles Mazé

Charles Mazé is a graduate of the Type and Media program at KABK, 2009. There, he designed a didone typeface (Bat Font) that has more warmth than classical didones in the hope of making scientific texts set in modern typefaces less boring. He did this by fattening up the italics. After graduation he moved to Brussels but now he is back in Paris.

In 2009, he started a revival of Mercator, a sanserif typeface by Dick Dooijes and G. W. Ovink designed in 1959 at the Amsterdam Type Foundry.

He set up Cataloged in Brussels with Coline Sunier. In 2012, Stéphanie Vilayphiou, Alexandre Leray, Coline Sunier and Charles Mazé co-designed the readable typeface Dauphine Regular, which can be downloaded from Github and Open Font Library. See it in action on the web site of ESAD (Ecole Supérieure d'Art et de Design). Dauphine is a sans-serif font inspired by lettering in late 19th and early 20th century maps. Github link for Dauphine.

He works with Coline Sunier since 2009. They were fellows at the French Academy in Rome's Villa Medici in 2014 and 2015, and are now graphic designers in residency at Contemporary Art Center CAC Brétigny. Charles is part of the teaching staff of Atelier National de Recherche Typographique (ANRT) in Nancy, France.

At Abyme, he published two typefaces:

Mercure (2010-2021). He writes in 2021: Mercure, designed by Charles Mazé, is the result of an inquiry into Latin epigraphy and the typographic forms associated with that discipline. Epigraphy is the study of écritures exposées (exposed writings), typically ancient or classical inscriptions engraved in stone or metal. The developments in mid-nineteenth century Latin epigraphy required new methods to transcribe classical inscriptions into print, which in turn required and inspired new typefaces. The Caractères Augustaux of 1846, produced by the printer Louis Perrin and the punchcutter Francisque Rey in Lyon, was the first typeface specifically designed for the transcription of the Roman capitalis monumentalis, used for the first time in 1854 in Alphonse de Boissieu's Inscriptions antiques de Lyon. It was soon followed by the Latins épigraphiques of the Imprimerie Nationale (Paris, 1854) and Ferdinand Theinhardt's Monumental (Berlin, 1863). At the same time, in reaction against the use of the prevalent Didot style, some French printers and publishers turned their attention to other typographic sources. While they found suitable models for the lowercase in typefaces produced during the French and Dutch Renaissance, the regain of interest for Roman inscriptions would provide a template for the uppercase. Around 1858, Théophile Beaudoire, sous-directeur of the Fonderie Générale in Paris, published his Elzévir (after the Dutch Renaissance printers Elsevier), one of the first typefaces to define this pattern. Mercure, which is based in part on Beaudoire's Elzevir, also goes back to the epigraphic origins of Perrin's Augustaux. Its Regular and Italic styles are completed by an additional fixed-width style, Transcript, a set of signs and symbols for the transcriptions of Latin inscriptions into print with fragmented, false, broken or missing letters. Mercure Transcript is included with any license of Mercure Regular or Italic. A study of the first three typefaces for Latin epigraphy in France and Germany, written by Charles, will soon be published in the Abyme Revue.
Berthe (2011-2018). Berthe is designed after another typeface called Série no. 16, whose first cuts were produced at the end of the nineteenth century by the Parisian type foundry Deberny & Peignot. It was engraved by Constant and Auguste Aubert under the direction of Charles Tuleu, the adoptive son of Alexandre Deberny whose mother, Laure de Berny, had bought from her lover Honoré de Balzac the printing house he didn't manage to transform in a profitable company. Série no. 16 quickly became a popular choice among printers and found its way into many editions of classic and popular texts. Review by Hrant Papazian, who wrote that it presents a congenial evolution of the theatrical Didone style of type. Lower contrast, fluid structures, humane proportions. It is like a Didot or Bodoni taking leave of the catwalk and relaxing among friends.. Author of the related article Abîmées (2021).

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Type Directors Club President in 2009, Charles Nix, has compiled a long list of books on typography. [Google] [More] ⦿

Charles Paxton Zaner

Famous American teacher of penmanship, b. 1864. Author of Lessons in Ornamental Penmanship (1920), Gems of Flourishing (1888), and The New Zanerian Alphabets (1900, Zaner & Bloser, Columbus, OH). This site describes his story: In 1888, Charles Paxton Zaner founded the Zanerian, College of Penmanship, in Columbus, Ohio. The schools curriculum included courses that prepared students for careers as penmen who, at that time, wrote by hand most of the documents used by business and industry. The school also trained students to become teachers of penmanship, illustrators, engravers, and engrossersspecialists in the kind of ornamental writing used for diplomas and certificates. In 1891, Zaner sold a share of the Zanerian to Elmer Ward Bloser, whom he met in 1883 while the two men were students at Michaels Pen Art Hall. Bloser, who had been working as an instructor at the Spencerian Business College in Cleveland, was a superb penman, and he had accumulated the capital necessary to sustain the college in its early days (when its three instructors had only three pupils). By 1895, the Zanerian College of Penmanship had become the Zaner-Bloser Company, an institution that offered courses in penmanship, published professional materials about handwriting and illustration, and sold handwriting supplies. In 1904, Zaner-Bloser published The Zaner Method of Arm Movement, a landmark text that taught the simplified style of writing learned by students at the Zanerian to children in elementary schools all over the United States. This book also applied the findings of psychologists who had discovered that young children completed manual tasks more easily if allowed to use the large arm movements that were natural to them at their early stage of motor skills development.

In 2006, Paul Hunt designed a set of connected calligraphic scripts, called P22 Zaner.

Link to some of his books. [Google] [More] ⦿

Charles Pearce

Calligrapher and painter, b. 1943, Birmingham, UK. He made several calligraphic fonts: Cantabria (first developed at Camberwell School of Art and loosely based on the work of poet and artist, David Jones), Daniel, Fiorentina, Helena, Penkridge, Ullswater (brush script), Umbria (classic calligraphy). Corporate/custom typefaces: RKO Century Warner, Guinness (Cranks Health Foods font redesign). Author of these books:

Calligraphy, The Art Of Fine Writing (1975). Published by Cumberland Graphics division of British Pens as part of the Penstyle Calligraphy Set.
Lettering, The Art Of Calligraphy (1978). Published by Platignum as part of their Lettering Set.
Italic Writing (1979). Published by Platignum as part of their Italic Handwriting Set.
A Young Person's Guide to Calligraphy (1980). Published by Pentalic as part of A Young Person's Calligraphy Starter Set.
A Little Manual of Calligraphy (1981). Published by Wm. Collins (worldwide) and Taplinger (USA).
A Calligraphy Manual for the Beginner (1981). Published by Pentalic as part of the Pentalic Introductory Calligraphy Course.
The Calligraphy Sampler (1985). Published by Wm. Collins.
The Anatomy of Letters (1987). Published by Taplinger.

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Charles Percival Bluemlein

Charles Percival (or just Percy) Bluemlein (b. 1891) served in the 346th Infantry in World War I. In 1920, he married Mildred Vanderbilt and settled in Brooklyn, NY. He died in 1944 and is buried in the Long Island National Cemetery in Farmingdale, NY. Famous for his scripts and penmanship, his best known book is Script and Manuscript Lettering (1947, Higgins Ink Co, Brooklyn). Earlier editions are from 1943 and 1944 and have Bertram Cholet and Dorothy Sara (1943 edition only) as co-authors.

Modern revivals of his scripts include

KolinskySable SG (Jim Spiece, 2004), based on a 1944 brush design called Mr. Ronald G. Sheppards.
Bender Script (2008) by Alison Argento. She writes: Would you hire one of the top hand lettering artists that worked for companies like Max Factor for your designs? Of course you would! Chas Bluemlien passed away many years back, and you couldn't have afforded his services anyway, but his lettering prowess which graced many advertisements, primarily cosmetic ads, has been pulled together from numerous samples to make this font.
Alejandro Paul's Bluemlein Scripts (2004-2005, Umbrella and Veer) are based on Bluemlein's alphabets from the book cited above: Miss Le Gatees, Mr Rafkin, Mr Keningbeck, Mr Lackboughs, Lady Dawn, Mrs Von Eckley, Mr Sheppards, Mr Dafoe, Mr Canfields, Mr Stalwart, Mr Sandsfort, Mr Leopolde (and later, Mr. Leopolde Pro), Mr DeHaviland, Mr Blaketon, Miss Stanfort, Miss Packgope, Miss Fajardose, Mrs Saint-Delafield, Mrs Blackfort, Mr Sopkin, Mr Sheffield, Miss Lankfort, Herr Von Muellerhoff, Dr Sugiyama, Dr Carbfred. In 2011, that series was made available at Google Web Fonts. Al;ejandro writes: From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct.
Soft Horizon's Lainie Day (1993) is an earlier free font in the style of Paul's Lady Dawn and Mr Lackboughs.
In 2012, Intellecta Design got into the act and promised to digitize the entire series under the name Bluelmin instead of Bluemlein. They created Bluelmin Kisaburo, Bluelmin Ralph (2012), Bluelmin Ronald (2012), Bluelmin Sandsfort (2012) and Bluelmin Benedict (2012).

Credits: Several of the images below, as well as some biographical information, are courtesy of Charles's grandson, David Musgrave. [Google] [MyFonts] [More] ⦿

Charles Rollinson

Author of Alphabets and Other Materials Useful to Letters (1912, publ. D. Van Nostrand Co, New York). [Google] [More] ⦿

Charlotte Rivers

Author of Type Specific: Designing Custom Fonts for Function and Identity (2005, RotoVision). [Google] [More] ⦿

Chas W. Reinhardt

Author of Lettering for Draftsmen, Engineers & Students (1917). [Google] [More] ⦿

Christer Hellmark

Swedish author (b. 1946) of Typografisk håndbok (1998, Ordfront & Ytterlids; see also Ordfront/Ordfront Galago, Sweden, 2004), and of Bokstaven, ordet, texten, andra utgåvan, första tryckningen (Ordfront förlag, 1998). Old URL. [Google] [More] ⦿

Christian Axel-Nilsson

Author of Type Studies The Norstedt Collection of Matrices in the Type foundry of the Royal Printing Office (Norstedt Tryckeri, Stockholm, 1983), in which we find reproductions of all metal typefaces in the collection of the Norstedt foundry. [Google] [More] ⦿

Christian Laucou-Soulignac

Or just Christian Laucou, b. 1951, ex-graduate of and professor at Ecole Estienne in Paris. Typographer who worked with lead. He started Les Editions du Fourneau, later renamed Fornax. In 2000, he founded l'Ouvroir de typographie potentielle.

Designer of Zarbres (2004), a typeface used in the book Nouvelles des arbres, by Gérard Bialestowski. This is a private face, as he explained to Jef Tombeur: Quelques mots sur le Zarbres. Je ne trouvais pas ce qui me plaisait ni en plomb, ni en fonte informatique. Alors je l'ai créé, mais avec un cahier des charges bien précis. Il devait s'approcher du résultat qu'on obtient en gravant dans du bois ou du lino pour s'harmoniser avec les illustrations. Pour cela, il devait être gras, d'un dessin un peu maladroit (taillé à la serpe), quelques lettres hors norme (avec une e bdc à la barre trop oblique, la u bdc un peu onciale, etc.), comme dessiné par un amateur qui ne connaît pas la typo et qui cherche à imiter, à obtenir une hauteur d' assez importante pour réaliser, sans interlignage, des compositions d'un gris très foncé. J'ai fait ainsi un romain, un italique et les deux polices expertes correspondantes (petites capitales et ligatures). Pour l'instant le Zarbres est reste une police exclusive qui ne sort pas de mon ordinateur.

Author of Histoire de l'écriture typographique: Le XIXe siècle français (2013, with Jacques André). From the blurb: Pour montrer toute la richesse de cette période, les auteurs ont choisi d'en raconter les aventures successives: les Anglais avec l'invention des caractères gras, des égyptiennes et des sans-sérifs; la fonderie Gill?é qui devient celle de Balzac puis de De Berny et qui rejoindra, à l'aube du XXe siècle, celle des Peignot; la saga des Didot, de la rigueur de Firmin à l'extravagance de Jules; l'Imprimerie royale, puis impériale ou nationale, ses caractères orientaux et ceux de labeur, qui perdureront tant qu'il y aura du plomb; Louis Perrin, qui réinvente les elzévirs; les grandes fonderies françaises, qui rivalisent d'invention et de copies, et, enfin, les évolutions techniques de tout le siècle. [Google] [More] ⦿

Christian Paput

From MyFonts: Punchcutter for the Imprimerie Nationale, Paris, where he works with Nelly Gable. Author of La Lettre - La Gravure du Poinçon typographique / The Punchcutting (Wissous, 1998). He works at the Cabinet des poinçons. [Google] [MyFonts] [More] ⦿

Christine Hartmann

Author (b. 1938) of Kalligraphie. Die Kunst des schönen Schreibens (1986-1989, with Christian Scheffler). In that book, she drew several alphabets, including an Antiqua Versalien, a Fraktur, a Humanistische Kursiv, a Schwabacher, and a Schwung Kursiv. She studied with Karlgeorg Hoefer at the Offenbacher Kunsthochschule. [Google] [More] ⦿

Christine Thompson

Coauthor with Steven Heller in 2000 of "Letterforms: Bawdy, Bad and Beautiful: The Evolution of Hand-Drawn, Humorous, Vernacular, and Experimental Type", Watson-Guptill, New York. Christine Thompson, designer at the New York Times on the Web since the site's inception in 1995, has won multiple awards for her work in interactive media. She lives in New York. [Google] [More] ⦿

Christoph Schwedhelm

Author of Rekonstruiert (2013, Dortmund, Germany), which served as a Diploma Arbeit at the Fachhochschule Dortmund. This book has contributions by Friedrich Forssmann, Albert Rahmer and Bernhard Schnelle. It describes the process of reconstruction of some blackletter fonts, and discussions blackletter typography in general. The four revived blackletter typefaces showcased in the book are

Extrafette Bernhard-Fraktur (Lucian Bernhard, 1921, Bauersche).
Schmalfette Amts-Fraktur (Heinrich Wilhelm Hoffmeister, 1911, Stempel).
Fette National (Walter Höhnisch, 1934, Ludwig&Mayer).
Enge halbfette Bauersche Fraktur (Friedrich Wilhelm Bauer, 1912, Bauersche). Klingspor gives the date as 1905.

[Google] [More] ⦿

Christopher Burke
[Hibernia Type]

Christopher Dean

Graduate of the Master of Design program (MDes) at NSCAD University, 2010, in Halifax, Nova Scotia, where he was born and still lives. Typographer and enthusiastic supporter of open source projects. He says: I conduct experimental research designed to support or refute typographic conventions in accordance with objective measures of human performance and empirical data. Useful subpage on type literature. [Google] [More] ⦿

Chromatic type

Fancy metal or wood type from the second half of the 19th century. According to Ringwalt in his American Encyclopedia of Printing and Bookbinding (1871): type made of metal or wood for color printing and so arranged that there are duplicate or triplicate copies of each letter, which, after being printed, respectively, in different colors, on a given space, blend together in a harmonious whole. Chromatic types were shown regularly in foundry type specimen books of the 1840s and 1850s.

Rob Roy Kelly describes the early history: Chromatic types were first produced as wood type by Edwin Allen, and shown by George Nesbitt in his 1841 Fourth Specimen of Machinery Cut Wood Type. Both William H. Page in 1859, and J.G. Cooley in c.1859, showed several pages of Chromatic type in each of their wood type specimen books. Page showed these types in most of his specimen books in the 1870s. The high point of Chromatic wood type production came in 1874 when the William H. Page Wood Type Co. issued their 100-page Specimens of Chromatic Type & Borders. Though Hamilton, Morgans & Wilcox, and Heber Wells all showed samples of Chromatic types through the rest of the century, none of these ever reached the level of intricate precision attained in Page's 1874 masterpiece.

Free copy of William H. Page's Specimen of Chromatic Wood Type Borders Etc (1874). Local download of this PDF file. [Google] [More] ⦿

Círculo de Tipógrafos

A select dynamic group of type design specialists in Mexico, est. 2007. Their goals are to educate, research and publish. For example, in 2009, they published Jan van Krimpen Modernidad y Tradición, with text provided by Jan Middendorp. Their grandest project to date is the research on book cover designer Boudewijn Ietswaart, which led them to develop the Balduino type family, which was unveiled at ATypI 2009 in Mexico City. The group consists of Rebeca Durán, Raul García Plancarte, Cristóbal Henestrosa, Noemí Hernández, Feike de Jong, David Kimura, Alejandro Lo Celso, Isaías Loaiza, Nadia Méndez, David Ortíz, Mauricio Rivera, and Óscar Yáñez. Logo. [Google] [More] ⦿

Cláudio Rocha

Cofounder of Now Type, Cláudio Rocha is an Italian Brazilian illustrator and designer (b. 1957) who was first based in sao Paulo, then in Treviso, Italy, and currently in The Netherlands. Now Type is jointly run with his son Lucas Franco (b. 2001). He edited Tupigrafia, a magazine dedicated to typography and calligraphy in Brazil. Partner of Oficina Tipografica Sao Paulo. His typefaces include:

ITC Gema (1998: a felt tip pen font) and ITC Underscript (1997, a grungy fat script).
Cashew (2000-2020). Cashew is a rounded squarish sans serif font, originally created as a logotype for Tupigrafia magazine (2000). In its 2020 iteration, done together with Lucas Franco, it is a variable font with one axis, from Regular to Extended.
Tenia.
Viela Regular (Claudio Rocha & Lucas Franco, 2008-2019). A great thick-and-thin typeface.
Unidin (sans display face).
Rock Regular (slab face). Rock Titling (1998-2019).
Old Future (a brush version of Futura).
Chacal Pixel.
Persplextiva (2001-2002, a bouncy hand-drawn 3d face done in the lettering style of Brazilian cartoonist Millor Fernandes).
Liquid Stencil (1998-2000). A brush stencil.
Feijoada Light.
Akrylicz Grotesk (2002, brush/paint face).
Sampa (1999-2019). An informal brush script.
Genova (2008-2020). A reinterpretation of Paganini typeface, lauched by Nebiolo type foundry in 1928 for hand composition and developed by Alessandro Butti under the supervision of Raffaello Bertieri.
Stampface (2006-2018, by Claudio Rocha and Lucas Franco). Based on a Headline Gothic metal type sample found in a reference book, which was designed by Morris Fuller Benton in 1936 for American Type Founders.
Pieces Stencil (2016). Think piano key or Futura Stencil.
Antonio Maria (2017): Antonio Maria, a font by Claudio Rocha and Lucas Franco, takes its shapes from the lettering found in the cover of Afixação Proibida (Display Prohibited), a book by the Portuguese poet Antonio Maria de Lisboa (1928-1953). In fact, Antonio Maria was the leader-writer of Afixação Proibida, a collective manifesto from 1949, that initiated the surrealist movement in Portugal. It is an inverted-contrast typeface with 150 ligatures and a large character set.
Rudolf Antiqua and Rudolf Initials (2018). A faithful revival of Rudolf Koch's Koch Antiqua (1922). Followed by Rudolf Text (2017-2020, Lucas Franco and Claudio Rocha).
Mefistofele. A revival in 2018 by Claudio Rocha and Lucas Franco of the modular stencil typeface Mefistofele (1930, Reggiani foundry).
Rudolf Titling (Lucas Franco and Claudio Rocha), a typeface that won an award at Tipos Latinos 2018.
Agora Titling Extra Light (2018).
Pieces Stencil (2016-2019). Pieces is a piano key typeface built on a modular system with emphasis on diagonal endings.
Moreira Serif (2019). A slab serif version of Morris Fuller Benton's art deco typeface Broadway (1927). In the 1930s, the Portuguese graphic artist Antonio Moreira Junior added serifs to Broadway's letterforms and marketed it under a new name. Moreira Serif revives that typeface.
Scarpa Titling (2019, Claudio Rocha and Lucas Franco). An all caps typeface based on a nameplate found on the front door of a shoemaker in Treviso, Northern Italy.
Anton (2020, by Claudio Rocha and Lucas Franco). An art deco typeface modeled after a Dutch deco type seen on the Anton Antonius Kurvers's cover of Wendingen in 1927.
Esperanca Sans (2019). A Peignotian sans by Claudio Rocha & Lucas Franco.
Jaguaribe (2020). In Unicase and Serif versions, by Claudio Rocha. A squarish sans and serif pair based on the of letterforms drawn by Brazilian artist Gil Duarte.
Spinface (2020). An experimental turned letter font by Claudio Rocha and Lucas Franco.
Werner (2020-2021). A revival of A.D. Werner's famous deco inline typeface Dubbeldik (1972).
Densa (2020). Emulating 19th century wood types. Densa typeface was based on the Fantastic Voyage movie title in the 1966 poster
Tegel (2020-2021). Tegel is a layer font that emulates the ceramic tile letters found on a school façade in Delft.
Etna Futurist (2020, Claudio Rocha & Lucas Franco). Digital interpretation of Etna, a wood type produced by the Italian type foundry Xilografia Meneghello & Belluzzo, in the 1920s.
Cassiano (2020). A super-fat octagonal typeface based on letters found on a book cover by the Brazilian artist Belmonte (1896-1947).
Fortunato (2020). A digital interpretation of the lettering work done by the Italian Futurist genius Fortunato Depero (1892-1960) for advertising and editorial design. A pure Italian art deco typeface. The lowercases were developed from scratch.
Jurriaan (2021). A square block typeface.
Hendrik (2021, by Claudio Rocha & Lucas Franco). A revival of Simplex (Sjoerd Hendrik de Roos, 1937).
Martin (Swing, Straight) (2020). A beatnik typeface based on the letters found in the jazz record albuns designed by David Stone Martin (1913-1992).
Tesoura (2020). A paper-cut typeface.

He published the books "Projet Tipográfico" (Ed. Rosari), "Trajan e Franklin Gothic" (Ed. Rosari), and "Tipografia Comparada" (Ed. Rosari). Claudio now lives in Treviso, Italy, from where he launched the type magazine Tipoitalia in 2009.

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

Clarence Pearson Hornung
[Dick Pape]

Prolific author, b. 1899. His books include the typographically magnificent Handbook of Early Advertising Art, Mainly from American Sources (Dover, 2 volumes). The typeface Lexington is attributed to him, as Mac McGrew writes: Lexington is a font of shaded and decorated letters and figures, drawn for ATF by Wadsworth A. Parker in 1926, from a design by Clarence P. Hornung. It is an ornamental form of roman letter, with curly serifs, and tendrils at the ends of light strokes. It was recast in 1954, and copied in one size by Los Angeles Type.

The book Early Advertising Alphabets, Initials and Typographic Ornaments (1956), edited by Clarence P. Hornung, led Dick Pape to creates these digital fonts in 2008: AltDeutsch, Amorette1889, ArabesqueDesign, BreiteEgyptienne (2008), BreiteverzierteClarendon, ChiswickPressGothicInitials, EarlyScrollAlphabet, EarlySignboards, EnglandInitials1880, ErhardDatdolt, FlorentineInitials, FlorentineInitialsReverse (2008), GothicChancery1880s, GothicClosedLetter (2009-2010, Lombardic), Hollandisch-Gothic (2010), JudendstilAlphabet (2009), LilyoftheValley, Papillon 1760 [First shown in Paris in 1760, and reprinted by Clarence P Hornung in Dover Pictorial Archive Series: Early Advertising Alphabets, Initials and Typographic Ornaments (1956, Dover Publications). Hornung's images inspired Pape's typeface], Phantasie (2009-2010), Romaine Midolline (2010), RomanPrintShaded (2010, ornamental roman caps), RusticAlphabet, SilhouetteInitials1880, TheTerrorsofNightLife, VerzierteAltGothic, VerzierteGothic, VictoriaGingerbread1890 (2007).

Download here. More direct link to Pape's digitizations. [Google] [More] ⦿

Claude Lamesle

Parisian printer, whose 1742 book Épreuves générales des caractères qui se trouvent chez Lamesle is at the Rochester Institute of Technology. A facsimile was published by A.F. Johnston in 1965 at Menno Hertzberger&Co, Holland: The Type specimens of Claude Lamesle, a facsimile of the 1st edition printed at Paris in 1742. Free Google Books download.

Among many other types, Lamesle's 1742 text book shows a Civilité. Revivals:

[Google] [More] ⦿

Claude Médiavilla

French type designer (b. 1948) who was born in the South of France. He studied typography, calligraphy and painting at the School of Fine Arts in Toulouse. He received the Prix Charles Peignot in 1982. In 1992, the President of France invited him to design the inscriptions for the royal tombs in the Basilique Saint Denis in Paris. He published Calligraphie (Imprimerie Nationale, 1993). Author of Calligraphy (Wommelgem, Belgium, 1996) and Histoire de la calligraphie française (Albin Michel, 2006; examples here). In 2009, with the help of Atelier des Signes, he created a typeface for the signage at Chateau de Fontainebleau. Additional URL. In 2010, Mediavilla cofounded Media type Foundry with Sonia Da Rocha and Joel Vilas Boas in Paris.

His typefaces:

Galba: an elegant roman titling face, done at Mecanorma in 1987.
Media Script (Mecanorma, 1985).
Mediavilla (CCT, 1976).
Mediavilla Script (Graphitel, 1986).
Palazzo (Mecanorma, 1984).
Tory (1991).

Examples of calligraphic alphabets drawn by him and shown in his Histoire de la calligraphie française (2006): Bastarda, Cancellaresca, Carolingian, Cursive gothic 1410, Luxeuil, Roman Capitals, Roman cursive 1st century, Roman cursive 4th century, Rustica 1st century, Textura 14th century, Textura 15th century, , Tourneure 15th century, Uncial 4th century.

Cornelis Dirckszoon Boissens

Claudia Walde

Author of Street Fonts: Graffiti Alphabet From Around The World (Thomas & Hudson). [Google] [More] ⦿

Clemens De Wolf

Coauthor with John Lane in 1993 of "Proef van Letteren, welke gegooten worden in de Nieuwe Haerlemsche Lettergietery van J.Enschedé 1768". An Enschedé specimen book with a companion volume with notes by John Lane. [Google] [More] ⦿

Colgate Collection

The Colgate Collection at McGill University is Canada's finest type book and specimen collection. It probably rivals any collection in North America as well. The link leads you to just the first half of the type specimen collection (Text format for most of that list). Part of the collection on typography. Part of the collection on typefounding and type-cutting. I know that there are fine books at Harvard and other Ivy League libraries, but none (!!!) allows the use of scanners or digital cameras in the rare books divisions. Duplication is possible at a cost well above the purchase price of the (rare) book if you need a reasonable number of copies. But McGill is open for business. Free, democratic, accessible to "the people", even the poor, the way it should be. Cameras and scanners are allowed. [Google] [More] ⦿

Colin Banks

Born in Ruislip, Middlesex, in 1932, Colin Banks has been involved in graphic design, corporate identity and typography since 1958 through the London-based partnership Banks&Miles (1958-1998), with John Miles.

Author of London's handwriting (London Transport Museum, 1994) about the development of Edward Johnston's Underground Railway Block-Letter. CV. He died in March 2002 in Blackheath. Obituary by James Alexander.

Banks&Miles had offices in London, Amsterdam, Hamburg and Bruxelles. Their clients included the British Council (it is unclear if he helped design British Council Sans at Agfa Monotype in 2002: a major controversy erupted in the UK when it was learned that the British Council had paid 50k pounds for British Council Sans), English National Opera, the European Parliament Election campaigns, producing corporate identities for the Post Office, Royal Mail, British Telecom, the Institute of Mechanical Engineers, Fondation Roi Baudouin, City and Guilds, Commission for Racial Equality, United Nations University, and major publications etc for UNHCR Geneva. He was consultant to London Transport for over thirty years, then Mott Macdonald engineers and Oxford University Press.

The Royal Mail font is called Post Office Double Line, and was designed by Colin Banks in the 1970s.

The British Council Sans family (2002, Agfa Monotype) is now available for free download here. Included is support for Arabic (Boutros British Council Arabic), Khazak, Greek, Cyrillic, and Azerbaijani.

Other typefaces with Colin Banks's name on it include New Johnston (1979, after Edward Johnston's typeface for the London subway) and the sharp-serifed Gill Facia (1996, Monotype: based on letters drawn by Eric Gill in 1903-1907 for use by the stationers, W. H. Smith) [Google] [MyFonts] [More] ⦿

Colin Clair

Author of Christopher Plantin (1960, Cassell and Co, London). [Google] [More] ⦿

Conrad William Schmidt

Author of An Album of Monograms, Crests & Scrolls (1895). Conrad William Schmidt was a manufacturer of coach and railway varnishes and colours located on Carpenters Road in Stratford, London. He writes F.A. Glaeser in brackets, so perhaps one of the two names is an alias or nom de plume. [Google] [More] ⦿

Convention typographique

Jef Tombeur's site on orthotypography (in French). One can buy at this site the comprehensive book by Jean Meron entitled Orthotypographie : recherches bibliographiques (2002), which has a preface by Fernand Baudin. [Google] [More] ⦿

Dutch letterer and calligrapher, 1568-1634 (or 1635). He published the calligraphic masterpiece Gramato graphices in Amsterdam in 1605. This book has several blackletter and chancery alphabets proposed by Boissens. Teaser web site by yours truly. [Google] [More] ⦿

CRA list of books

List of books compiled by Jay Vegso at the Computing Research Association regarding the advantages and disadvantages of copyright. [Google] [More] ⦿

Cristóbal Henestrosa
[Estudio CH]

CSA Creative Studio
[Curtis Canham]

Curtis Canham (CSA Creative Studio, est. 2010, upstate New York) designed the vector-format typeface Chloe in 2015. In 2015, he started work on the book A-Holes: A Type Book. Home page. [Google] [More] ⦿

Curtis Canham
[CSA Creative Studio]

Curwen Press

The Curwen Press founded in 1863 by the Reverend John Curwen concentrated on printing music for the tonic sol-fa method, but when his grandson Harold (d. 1955) joined in 1908, he broadened their output to include limited edition books of high quality. It published a nice specimen book A Specimen Book of Types & Ornaments in Use at the Curwen Press, Plaistow, London (1928) and A Working Handbook of Types in Use at the Curwen Press (1931). The latter book shows an original art deco era ssan, Curwen Sanserif (+Titling). In the 1980s, it went under. Typefaces related to Curwen Press:

Colin Kahn designed P22 Curwen in 2005 and says: P22 Curwen Poster is a digitized version of a rare wood type used by the Curwen Press in England in the early 20th Century for poster work. P22 Curwen Maxima is a new hyper-stylized re-interpretation of Curwen Poster.
Ari Rafaeli designed the delicate caps typeface Curwen Initials based on drawing by Jan van Krimpen in 1925 for the Curwen Press.
Curwen Sans (2018, Keith Bates). A monoline sans based on an in-house sans of Curwen Press.

[Google] [More] ⦿

C.W. Jones

Jones lived in Brockton, MA. Author of Alphabets for Practical and Ornamental Engrossing (1914), Lessons in Engraver's Script (1914), American Method of Business Writing, and Ninety-five Lessons in Ornamental Penmanship (1914). The second book contains one full formal calligraphic alphabet by Jones himself. [Google] [More] ⦿

Cyrus Highsmith
[Occupant Fonts]

D. Bolle

Dutch printer located in Rotterdam, who published the lettering model book Calligrafische voorbeelden ten dienste van schlders, steenhouwers, lithographen, bouwkundigen enz in 32 genres (1888).

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿

D. Duvillé

D. Duvillé was a professor at Ecolesdes arts de Paris. Author of Art du tracé rationnel de la lettre (1934, Société Française d'Éditions Littéraires et Techniques, Paris). The text shows how to trace letters in different styles.

There are some digital typefaces that are based on Duvillé's alphabets:

Retrorocket NF (2015, Nick Curtisart deco).
Wolf (2015, Julie Patat).
Fancy Deco JNL (2018, Jeff Levine).
Railway Depot JNL (2018, Jeff Levine).
French Bistro JNL (2018, Jeff Levine).
Monthly Statement JNL (2018, Jeff Levine).
French Slab Serif JNL (2018, Jeff Levine).

[Google] [More] ⦿

Dagmar Welle

Graduate of the University of Leipzig. Author of Deutsche Schriftgiessereien und die künstlerichen Schriften zwischen 1900 und 1930 (1997, S. Roderer Verlag, Regensburg). Graduate from the University of Leipzig. [Google] [More] ⦿

Dan Cederholm
[SimpleBits (or: Icon Shoppe)]

Dan X. Solo
[Dan X. Solo: Art Deco Display Alphabets]

Dan X. Solo
[Dan X. Solo: His books]

Dan X. Solo
[Solotype]

Dan X. Solo: Art Deco Display Alphabets
[Dan X. Solo]

Dan Solo wrote Art Deco Display Alphabets (1982, Dover Pictorial Archives). The images of the book were scanned in by Google. View them here [large web page warning]. [Google] [MyFonts] [More] ⦿

Dan X. Solo: His books
[Dan X. Solo]

Dan Solo's books contain a series called "Ready-to-use...". These are not included in the chronological list given here.

1974 An argument in opposition to copyright protection of printing types: Prepared and submitted to the Copyright Office by by Dan X Solo
1976 Art Nouveau Display Alphabets: 100 Complete Fonts (Dover Pictorial Archives)
1976 Victorian Display Alphabets (Dover Pictorial Archive Series)
1977 Brushstroke and Free-Style Alphabets: One Hundred Complete Fonts from the Solotype Typographers Catalog (Dover Pictorial Archives)
1978 Special-Effects and Topical Alphabets (Dover Pictorial Archives)
1979 Sans-Serif Display Alphabets: 100 Complete Fonts (Picture Archives)
1982 3-D and Shaded Alphabets (Dover Pictorial Archives)
1982 Art Deco Display Alphabets (Dover Pictorial Archives)
1982 Art Nouveau Typographic Ornaments From the Solotype Archive
1983 Classic Roman Alphabets: 100 Complete Fonts (Dover Pictorial Archive Series)
1984 Gothic and Old English Alphabets: 100 Complete Fonts (Dover Pictorial Archives)
1986 Condensed Alphabets (Dover Pictorial Archive Series)
1987 Floral and Decorative Allover Patterns (Dover Pictorial Archive Series)
1987 Script and Cursive Alphabets: 100 Complete Fonts (Dover Pictorial Archives)
1988 Outline Alphabets: 100 Complete Fonts (Dover Pictorial Archive Series)
1988 Stencil Alphabets: 100 Complete Fonts (Dover Pictorial Archives)
1989 Bold Script Alphabets (Dover Pictorial Archive Series)
1990 Decorative Display Alphabets (Dover Pictorial Archives)
1991 Rustic and Rough-Hewn Alphabets: 100 Complete Fonts (Dover Pictorial Archives)
1992 Elegant Display Alphabets (Dover Pictorial Archives)
1992 Extended Alphabets: 100 Complete Fonts (Dover Pictorial Archive)
1992 The Solotype Catalog of 4,147 Display Typefaces (Dover Pictorial Archives)
1993 100 Decorative Condensed Alphabets (Dover Pictorial Archive)
1993 Extra-Bold Alphabets (Dover Pictorial Archive Series)
1994 Ornamental Initials
1995 100 Ornamental Alphabets (Dover Pictorial Archives)
1995 Bold Typographic Borders
1995 Ornate Letters and Initials
1995 Pattern Alphabets: 100 Complete Fonts (Dover Pictorial Archive Series)
1996 Showcard Alphabets: 100 Complete Fonts (Dover Pictorial Archive Series)
1996 Swash Letter Alphabets: 100 Complete Fonts (Dover Pictorial Archives)
1997 100 Calligraphic Alphabets (Dover Pictorial Archives)
1998 24 Victorian Display Fonts CD-ROM and Book (Dover Electronic Display Fonts Series)
1998 Celtic and Medieval Alphabets: 53 Complete Fonts (Dover Pictorial Archives)
1998 Grunge Alphabets: 100 Complete Fonts (Dover Pictorial Archives)
1999 Foreign-Language Alphabets (Dover Pictorial Archives)
1999 Moderne Alphabets: 100 Complete Fonts (Dover Pictorial Archives)
Circus Alphabets (Lettering, Calligraphy, Typography)

[Google] [More] ⦿

Daniel Berio
[Autograff]

Britannica entry. Abebooks link.

Daniel Berkeley Updike

Born in Providence, 1860, he died in Boston in 1941. Typographer, printer, historian and author, best known for his classic book Printing Types: their History, Forms and Use" (1922, Harvard University Press; second edition at Harvard University Press in 1951) which is based on a lecture series he gave at Harvard University from 1910 to 1916. The second edition is from 1937.

In 1893 (some say 1894), he founded the Merrymount Press in Providence, Rhode Island. He designed the Montallegro typeface. In 1896, Daniel Berkeley Updike and Bertram G. Goodhue co-designed a bold text typeface.

Volume 1 and Volume 2 of his book have been scanned in. Patent office link. [Google] [More] ⦿

Daniel Mellis

Daniel Mellis (Chicago) printed a small book in 2010 based on 19th century ornamented metal typefaces from the collection at Wells College. These include Tinted, Tasso, Banquet, Antique Extra Condensed, Aquatint, Dandy, Modoc, Columbus, Art Gothic, Rubens, Yukon Pointed, Tuscan Stellar, Halftone, Obelisk, Alpine, Gothic Shade, Ruskin, Condensed Roman, Ray Shade, Tuscan Floral, Souvenir and Aurora Uncial (Victor Hammer, ATF---never produced, but rediscovered by Theo Rehak). [Google] [More] ⦿

Daniel Sauthoff

Author with Gilmar Wendt and Hans Peter Willberg of Schriften erkennen: eine Typologie der Satzschriften für Studenten, Grafiker, Setzer, Kunsterzieher und alle PC-User (1997, Verlag Hermann Schmidt, Mainz). [Google] [More] ⦿

Daniel T. Ames

American penman. Author of Compendium of Practical and Ornamental Penmanship (New York, ca. 1883) and Ames' Guide to Self-Instruction in Practical and Artistic Penmanship (1884). The latter book contains some explicit alphabets: Roman, Italic Roman, Gothic, German text, Old English, Church Text, Medieval, Egyptian, German Round Hand, Marking and Rustic (elaborate caps). One of the initial caps in that text led Robert Fauver to create the free font Dirty Ames (2006).

In 1890, Ames wrote Ames' Book of Flourishes.

Handdrawn portrait of Ames found in "Real Pen Work" (1881, Knowles and Maxim). [Google] [More] ⦿

David Bergsland
[Hackberry Font Foundry (Was: NuevoDeco Typography, or: Bergsland Design)]

Image: Stone cut alphabet from 1979 displayed in the University of Amsterdam' Special collections.

David Carson

David Carson (b. 1955, Corpus Christi, TX) graduated from San Diego State University. Arguably one of the world's most famous graphic designers, he created a few fonts and is credited with launching the typographic grunge style in the 1990s. When people talk of "David Carson" fonts, they usually mean fonts he used in publications he helped realize, like Ray Gun and Eye magazines, and the End of Print book. A number of these fonts that have appeared in Ray Gun (for which he worked from 1992 until 1995) while Carson was art director are available for sale from Garage Fonts. A font designed by Carson (emulating hand/finger gestures) is included in one of Neville's FUSE series. At FUSE 7, he published Fingers. In 1995, Carson left Ray Gun to found his own studio, David Carson Design, in New York City. In 2000, Carson closed his New York City studio and followed his children to Charleston, South Carolina, where their mother had relocated them. Since then he has lived in San Diego, Seattle, Zurich, and Tortola. Currently he lives and works in NYC.

Joe Clark ends an interview like this: I sent David Carson a copy of my published story via poste escargot, only to have it returned unopened with a handwritten note declaring: "Joe-- I'm not interested in your type of 'journalism.'" The design prima donna's antics are increasingly irrelevant now that he has been dismissed from Ray Gun (ding-dong!) and is now a meta-personality famous for being famous, rather like Zsa Zsa Gabor on The Hollywood Squares. No quantity of hagiographic Apple and other advertisements, David, can substitute for a genuine career. And your new magazine Speak comes dangerously close to monomania. Letting you lay it out and edit it and write it is the Peter principle brought to life. Though you're not interested in my type of "journalism," more and more readers are losing interest in yours.

First, a font list of fonts attributed to David Carson (but read on about that after the list): Australis, BigEd, BigLazyBoy, ChicaShica, ChickenPlain, Coniption, Contrary, Copper, Cystfun, Darwin, Dead, Evangelic, FragileReg, Freeway, Fux, Gangly, Gunnnn, Hawkwindps, Heroin, JapanNetta, Johndvl, Manifesto, Macanuda Pro, Magical, Mexican, Newcent, Note, O, OCROver, One, Ooombabold, PhaseGothic, Pizzaface, Public, PublicEnemy, Serifedsans, Seven, Shurpa, SignSystem, Spicadog, Temblorosa, Thaitrade, Times, Timstypo, Wingnut, Wrongfont, Yoyoyo, Zwigaforma.

This text was found on the web, by an anonymous poster: By Carson's own admission, he has designed "only a few typefaces." In fact, only one face from his own digital foundry (he is the founder of Garage Fonts) is credited to him---and even then it is in conjunction with Betsy Kopshina (Chicken Scratch). He has however, modified some existing faces from various designers for his own design work. Yet the majority of what you see labled Carson is "in the manner of," as he is generally recognized as the father of deconstructive (grunge) type and style, having lead the design of RayGun magazine and most notably being the author of "The End of Print." His style is literally taught at many design schools such as American Applied Arts, CalArts, and Cranbrook; where he is often a featured speaker. A substantial amount of work from schools such as these are incorrectly credited to Carson, when they're actually student assignments following his style. Still another portion are thought to be rejected submissions to Garage Fonts. And yet others are just misfilings (where no one took the time to get info). I have identified the source of many of the [fonts] credited to Carson. They are as follows:

Big Eds Used Type - should be - American Applied Arts (student: Edwin Utermohlen at CalArts)
Boutime - should be - CalArts (student: Smith)
Canadian Photographer - should be - Font Police/RSF (Rodney Sheldon Fehsenfeld) - note: this is a pre-Garage version
Caustic Biomorph - should be - Fuse by FontShop (Barry Deck)
Coppertop - should be - CalArts (student: unkn)
EveFace - should be - CalArts (student: unkn)
Freeway - should be - American Applied Arts (student: unkn)
Ghettout - should be - Font Police/RSF (Rodney Sheldon Fehsenfeld)
One Ioda - should be - Laport, Sue (probably a student at one of the schools)
Sacred Cow - should be - Cranbrook (student: D. Shields)
Spiker - should be - CalArts (student: unkn)
STA Portable - should be - American Applied Arts (student: Christa Skinner)
Swimblur - should be - Tozzi, Craig (probably a student at one of the schools)

Author of the successful text The End of Print: The Graphic Design of David Carson (Chronicle, 1995).

Wikipedia link. Interview with Joe Clark (Toronto). Very readable bio. %d Apr 19 2000 [Google] [MyFonts] [More] ⦿

David Consuegra

Author of American Type Design&Designers (Allworth Communications, Inc., 2004). Google has a free preview of the entire book. [Google] [More] ⦿

David Covington

Author of Legibility: Techniques of Investigation (1998) and Type on the Screen. [Google] [More] ⦿

David Earls

Author of "Designing Typefaces" (2002), a book that profiles some current typographers (Jonathan Hoefler, Jonathan Barnbrook, Akira Kobayashi, Zuzana Licko, Jean-François Porchez, Rian Hughes, Carlos Segura, Erik Spiekermann, Jeremy Tankard, Matthew Carter, Erik van Blokland), and has a 12-page type tutorial and a glossary. [Google] [More] ⦿

David Harris

British lettering artist based in Exeter who specializes in the medieval versal cadel (or cadeau) letter. He created these typefaces:

Alexei Copperplate (1982, Letraset). A copperplate calligraphic script.
Chromium One (1983, Letraset, and later ITC). A decorative neon-light all caps typeface.
Becka Script (1985, ITC).
Julia Script (1983, psychedelic).

Author of The Art of Calligraphy (Dorling Kindersley), Calligraphy: Inspiration, Innovation, Communication (Anaya), and The Calligrapher's Bible (A&C Black).

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

David Kindersley

English stonecutter (b. Codicote, 1915; d. Cambridge, 1995). An ex-apprentice of Eric Gill, he set up his own shop in Cambridge in 1939. His carved plaques and inscriptions in stone and slate can be seen on many churches and public buildings in the United Kingdom. He and his third wife Lida Lopes Cardozo, also a stonecutter, designed the main gates of the British Library.

In 1952 Kindersley submitted MoT Serif to the British Ministry of Transport, which required new lettering to use on United Kingdom road signs. The Road Research Laboratory found Kindersley's design more legible than Transport, a design by Jock Kinneir and Margaret Calvert, but nevertheless chose Transport. Many of the street signs in England, especially in Cambridge use Kindersley's fonts.

The book typeface Octavian was designed by Will Carter and David Kindersley for the Monotype Corporation in 1961. He also created Itek Bookface.

Kindersley was known for his letterspacing system. Author of Optical Letter Spacing for New Printing Systems (Wynkyn de Worde Society/Lund Humphries Publishers Ltd, 1976) and Computer-Aided Letter Design (with Neil E. Wiseman).

The Cardozo Kindersley workshop, which Kindersley founded and was later continued by Cardozo, publishes a number of typefaces based on Kindersley's work. They include Kindersley Street (2005, aka Kindersley Grand Arcade) which is based on Kindersley Mot Serif (1952). It was designed for the Grand Arcade, Cambridge.

London street signs that were designed by David Kindersley served as the basis of a complete lapidary typeface by Boris Kochan and Robert Strauch of Lazydogs Type Foundry, called Streets of London (2013).

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

David Lance Goines

San Francisco-based poster artist and writer, b. 1945, d. 2023. Author of A Constructed Roman Alphabet, a Geometric Analysis of the Greek and Roman Capitals and of the Arabic Numerals (David R. Godine, Boston, 1982). Each character of his roman alphabet is described using compass and ruler in the style of the romain du roi. Wonderful! He also wrote An Introduction to the Elements of Calligraphy (3rd ed. 1968; reprint, Berkeley, California: Saint Heironymous Press, 1975).

In 2017, he designed an art nouveau poster based on a 1921 poster by Jugendstil artist Leopold Forstner. Wikipedia page. [Google] [More] ⦿

David Pankow

Editor of American Proprietary Typefaces (New York: American Printing History Association, 1998). This book has contributions by the following people:

Susan Otis Thompson: American Arts & Crafts Typefaces
Martin Hutner: Type of the Merrymount Press
Herbert Johnson: Montaigne and Centaur Types of Bruce Rogers
Cathleen Baker: Typefaces of Dard Hunter, Senior & Junior
Mark Argetsinger: Frederic Warde, Stanley Morison, and the Arrighi Type
Jerry Kelly: Joseph Blumenthal's Spiral/Emerson Type
Dwight Anger: Frederic Goudy's Kaatskill Type
W. Gay Reading: Victor Hammer's Uncial Types
John Kristensen: The Experimental Types of W.A. Dwiggins
Paul Hayden Duensing: Contemporary Private Types.

[Google] [More] ⦿

David Rault

French graphic designer, journalist and photographer. In 2004, he started work in Istanbul for a branding company. Director of the collection Atelier Perrousseaux, and frequent speaker at design and type meetings.

Author of

Guide pratique de choix typographique (2009, Ateliers Perrousseaux).
Roger Excoffon, Le Gentleman de la typographie (2011, Atelier Perrousseaux, Paris).
In 2013, David Rault wrote the monograph Jean Alessandrini Le poète de la lettre.

Creator of a nice poster for a Turkish debate held in November 2011 on the theme of freedom of expression, entitled Ghetto. [Google] [More] ⦿

David Ryan

Author of Letter Perfect The Art of Modernist Typography 1896-1953 (San Francisco, 2001). [Google] [More] ⦿

David S. Rose

New York-born founder of the wireless publishing company AirMedia, who designed a character in the September 11 charity font done for FontAid II.

CV at MyFonts. Author of An Annotated Bibliography of Typography, Letterpress Printing & Other Arts of the Book (2003, Five Roses Press, New York), of Overviews of Printing Types, and of Introduction to Letterpress Printing. [Google] [MyFonts] [More] ⦿

Davide Tomatis
[Alfa-Beta]

D'Avignon

Author of the penmanship and calligraphic script manual L'Écriture Américaine, published in Paris in the nineteenth century. [Google] [More] ⦿

Davis Printing Company

Located in Toronto, this outfit published Alphabetical index to type faces, ca. 1935. [Google] [More] ⦿

De Amsterdamse Krulletter
[Ramiro Espinoza]

In English, Amsterdam's curly letter. While doing a revival / interpretation of this style in his Krul typeface (2012), Ramiro Espinoza tells the story of this style, so I will reproduce excerpts:

Krul is a typographic interpretation of the lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorated the traditional brown bars of Amsterdam. In the beginning, these letters were strongly associated with the pubs connected to the Amstel brewery, given that Visser was the company's official painter. As the years passed, the style became increasingly popular, and various business owners in Amsterdam and other Dutch and Belgian cities also commissioned its use. In the 1970s and 1980s, Leo Beukeboom, another talented letter painter, continued and expanded this lettering tradition while employed under the Heineken brand. Much of his work can still be found in the Jordaan and De Pijp neighborhoods in Amsterdam.

The Amsterdamse Krulletter, or Amsterdam's curly letter, is strongly inspired by the calligraphic works of the 17th century Dutch writing masters, of which Jan van den Velde was a central figure. However, distinct characteristics of this style, for example, its unusual and beautiful "g" originate from a model that was published by Johannes Heuvelman in 1659, which J. W. J. Visser referenced.

Typographic circles have somehow overlooked the Amsterdamse Krulletter and its heritage. The Dutch calligraphic hands preceded and influenced the formal English penmanship which has inspired numerous typefaces in the Copperplate style. In contrast, the models from van den Velde, Heuvelman, and Jean de la Chambre, among others, are a missing chapter in Dutch typographic history, and had never been turned into typefaces until now.

He continues about his own typeface Krul: Conscious of the cultural and identity issues that arise in reviving a unique style, and concerned about the speed with which the lettering style was disappearing, Ramiro Espinoza focused the project of designing Krul on digitally recreating the calligraphic complexity of these beautiful letters. Created through several years of research, Krul is not a direct digitization of the Amsterdamse Krulletter, but instead, an interpretation that incorporates numerous alternative characters absent in the original model, and improves upon details where necessary, resulting in an optimal performance on the printed page. The typeface is presented in Open Type format, with an abundance of intricate ligatures, fleurons, and swashes, which permit the creation of numerous calligraphic effects. The very high contrast and rhythm of the strokes in this typeface make it especially suited for media applications conveying a sense of elegance and sophistication. Designers of feminine magazines, advertisements, and corporate identities within the fragrance and fashion industries will find in this typeface to be an extremely useful and appropriate resource. The great Amsterdamse Krulletter is finally back, and we are proud to make it available to you. Krul can be purchased at ReType.

At ATypI 2013 in Amsterdam, Ramiro explained his work on the Krulletter. Still in 2013, Rob Becker and Ramiro Espinoza coauthored Amsterdamse Krulletter. In 2015, they published The Curly Letter of Amsterdam (Uitgeverij Lecturis, Eindhoven and Amsterdam). [Google] [More] ⦿

Dean Norman

He is about to publish a book on the letterers at Hallmark. [Google] [More] ⦿

Deborah Littlejohn

Editor of "Metro Letters," (2003, a 144-page book, University of Minnesota Design Institute), which shows work by Peter Bilak (Peter Bilak, graphic design&typography/Typotheque), Erik van Blokland and Just van Rossum (LettError), Gilles Gavillet and David Rust (Optimo), Sybille Hagmann (Kontour), Conor Mangat (Inflection), and Eric Olson (Process Type Foundry), done in a design competition for the twin cities of Minneapolis and Saint Paul, Minnesota, as part of the Twin Cities Design Celebration 2003. The LettError contribution is a type family called Twin. [Google] [More] ⦿

Delve Fonts (was: Delve Media Arts)
[Delve Withrington]

Delve Withrington (Alameda, CA; b. 1970, Asheville, NC) studied at Savannah College of Art and Design, designed signage, print projects and web pages in addition to designing custom typefaces, worked for Fontshop, and in 2004, joined the type team at Agfa Monotype, which morphed into Monotype Imaging, Redwood City, CA. From Asheville, NC, he moved around and ended up in San Francisco. In 1996, he founded Delve Fonts in Berkeley, CA (in fact, Delve Media Arts, and later renamed Delve Fonts). He has collected a virtually complete list of books on typography. Author index. MyFonts link. Designer of these typefaces:

Beleren (2015). A custom typeface for the trading card game Magic: The Gathering (Hasbro).
Blasphemy Initials: a free (and also commercial...) spooky font.
Blot Test (1999): a dingbat font inspired by the work of noted German psychologist Hermann Rorschach [1885-1922].
Cody (1999): an informal comic book face.
Continuo (1996): an all caps bilined outline face.
Cortina (2011). A futuristic family by Joachim Müller-Lancé.
Delve Hand (1996-2003).
Eucalyptus Regular.
Eulipia (1997-2003): organic.
Helfa (2011). Delve writes: Readability is baked in with a generous x-height, fine proportions that have a medium height to width ratio, and reasonable contrast in stroke weight variation.
Filmotype Washington (for Font Diner). Designer unidentified.
Muskeg. A combination of German expressionism and brush styles.
Oktal Mono (2012, a rounded octagonal modular typeface by Joachim Müller-Lancé and Erik Adigard of MAD studio in Sausalito).
Peso (1999): an octagonal family inspired by a parking sign discovered in Guanajuato, Mexico.
Quara (2009): a techno sans.
Smith & Nephew (2003) and Smith & Nephew Cyrillic (2015), rounded sans typefaces in the style of VAG Rounded.
Tilden Sans (2004-2009): low contrast, large x-height.
Tome Sans (2020). A 10-weight sans superfamily, with a variable font option.
Uppercut Angle (2011). A signage typeface by Joachim Müller-Lancé. It was originally developed for the Krav Maga training center of San Francisco.
Ysobel (2009; winner of an award at TDC2 2010). Delve co-designed the newspaper type family Ysobel (Monotype) with type designers Robin Nicholas, head of type design at Monotype, and Alice Savoie (Frenchtype, Monotype). The sales pitch: According to Nicholas, the idea for the Ysobel typefaces started when he was asked to create a custom, updated version of the classic Century Schoolbook typeface, which was designed to be an extremely readable typeface - one that made its appearance in school textbooks beginning in the early 1900s. See also Ysobel eText Pro (2013).

His Art work often involves type. Bitstream's Type Odyssey 2 (2002) has Continuo, Blot Test, Peso, Peso Negative. In 2009, Steven Skaggs designed Rieven Uncial and Rieven Italic at Delve Fonts. Pic.

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

Delve Withrington
[Delve Fonts (was: Delve Media Arts)]

Denis Diderot et Jean le Rond d'Alembert

Authors in 1751 of Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers (1751-1772), a wonderful 17-volume encyclopedia (in French), in which one can find lots of historical tidbits about early typography in France. The book is entirely on the web. Cover page. [Google] [More] ⦿

Derek Yaniger
[Mister Retro]

Design:Technology:Society

Dermot McGuinne

Researcher at the National Print Museum in Dublin, and one of the world's top experts on Irish type design. Author of Irish Type Design: a history of printing types in the Irish character (Blackrock: Irish Academic Press, 1992). He obtained a doctorate from Trinity College Dublin for work completed on the subject of the Irish Character in Print. He was Art Director of the University of Iowa Press for a number of years before returning to Ireland. He was a lecturer in design at the Dublin Institute of Technology, where he held the position of Head of the Departments of Visual Communication and Fine Art. At ATypI in 2003, he spoke about Irish type design: the Canadian connection. Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik. [Google] [More] ⦿

Design with FontForge

Design with FontForge (2012-2017) is a great introduction to type design. Free download at Github. People or organizations that have contributed include Nathan Willis, Vernon Adams, Eben Sorkin, Jason Pagura, Ben Martin, Matthew Skala, Martin B. Brilliant, and Google, Inc. [Google] [More] ⦿

Designing with Type
[James Craig]

Craig was the Design Director for Watson-Guptill Publications and is a member of the New York Art Directors Club, Association Typographique Internationale (ATypI), Type Directors Club (TDC), Typophiles, and a past member of the American Institute of Graphic Arts (AIGA). He teaches typography and design at The Cooper Union and lectures widely. Designing with Type is a growing resource for typography students and educators maintained by James Craig, author of Designing with Type: A Basic Course in Typography (1999, Watson Guptill). That book was updated to Designing with Type, 5th Edition: The Essential Guide to Typography (2006, by James Craig and Irene Korol Scala, published by Watson Guptill). Links to commercial foundries. Also check the student design subpage. [Google] [More] ⦿

The UIUC School of Art's annotated graphic design bibliography. Dead link. [Google] [More] ⦿

designwithfontforge.com

Book about how to design new typefaces with FontForge. [Google] [More] ⦿

Detroit Type Foundry

Extinct type foundry, which published a Specimen Book in 1951. [Google] [More] ⦿

Devanagari Linotype

Devanagari Linotype (1933, Mergenthaler Linotype Company, Brooklyn, NY) explains keyboard operations for composing Sanskrit, Hindi, Marathi, Gujarati and other Indic scripts on the Devanagari Linotype machine. The PDF of this book was posted by John Hudson in 2013. [Google] [More] ⦿

Dick and Fitzgerald

Publisher of Dick's Alphabets (1900). [Google] [More] ⦿

Dick Dooijes

Dutch typeface designer, b. Amsterdam, 1909, d. Baarn, 1998. Trained and worked at the Lettergieterij in Amsterdam under S.H. de Roos, starting in 1926. He worked with de Roos on the design of the typefaces Nobel and Egmont. Dooijes studied at the Amsterdam College of Arts and Crafts and at the Academy of Art. In 1940, Dooijes succeeded de Roos as artistic director of Lettergieterij Amsterdam. He was director of the Gerrit Rietveld Acedemie from 1968 until 1975. Author of Mijn leven met letters, and Wegbereiders van de moderne boektypografie in Nederland (Amsterdam, De Buitenkant, 1988). His typefaces:

The art deco triplet, Bristol, Carlton (1929, an engraved version) and Savoy (1936, a deluxe version). These beauties were published by Plantin. Images: 1932 1932. A | B | C | D | E | F | G | H | I | J | K | L | M. In 2010, Nick Curtis turned the three typefaces into digital fonts: Dooijes Deco NF, Dooijes Deco Engraved NF, Dooijes Deco Deluxe NF. Curtis muses that Dooijes made these fonts as a reaction to the huge success of Broadway (Morris Fuller Benton) in the United States a few years earlier.
Rondo (with Stephan Schlesinger, 1948). Well, "with" Schlesinger is a bit of an overstatement. Hans van Maanen made a digital face, Minuet (2007, Canada Type), that revives Rondo. He writes: Minuet, an informal script with crossover deco elements giving it an unmistakable 1940s flavor, is a revival and expansion of the Rondo family, the last typeface drawn by Stefan Schlesinger before his death. This family was initially supposed to be a typeface based on the strong, flowing script Schlesinger liked to use in the ads he designed, particularly the ones he did for Van Houten's cocoa products. But for technical reasons the Lettergieterij Amsterdam mandated the typeface to be made from unattached letters, rather than the original connected script. Schlesinger and Dooijes finished the lowercase and the first drawings of the uppercase just before Schlesinger was sent to a prison camp in 1942. Dooijes completed the design on his own, and drew the bold according to Schlesigner's instructions. The typeface family was finished in February of 1944, and Schlesinger was killed in October of that same year. Though he did see and approve the final proofs, he never actually saw his letters in use. It took almost four more years for the Lettergieterij Amsterdam to produce the fonts. The typeface was officially announced in November of 1948, and immediately became a bestseller. By 1966, according to a memo from the foundry, the typeface had become almost too popular. This digital version of Schlesigner's and Dooijes's work greatly expands on the metal fonts.
Mercator (1958): a sans family at Lettergieterij Amsterdam. It was considered at the time as a Dutch version of Helvetica, and referred to as the Dutch Helvetica. See here. Laurenz Brunner did an interpretation of Mercator for the wayfinding at the Gerrit Rietveld Academie. Ken Meier's interpretation is Mercator Vet (2006). Daniella Spinat's is Mercator Roman (2007). Charles Mazé's is just Mercator (2009). Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type) is a revival of Mercator, which Henk Gianotten chacterizes as being too American, influenced by the American gothics. In 2018, Philip Cronerud released his digitization and expansion, Dooijes Sans at Truly Type. In 2015, Bauke van der Laan and Theo van Beurden set out to make another revival of Mercator in their Mercator project [it will possibly be published by Monotype].
Contura (1965-1966): an outline font in garalde style.
Flambard (1954, Lettergieterij). A bold version of Adolf Overbeek's Studio from 1946. The 1963 Tetterode specimen book points to Overbeek as Flambard's designer, and mentions in addition the date 1953. Flambard is called Studio Bold. Canada Type's revival in 2008 by Hans van Maanen is Adams. Mecanorma also has a version. Finally, there is a pirated version from 1998, called Studio Bold. See also OPTI Bold (by Castcraft).
Lectura (1962-1966, Lettergieterij; 1969, Intertype; acquired by Stephenson Blake): Lectura is a very legible garalde family, ideal for books. It was Dooijes's final typeface. Digitized by DTP Types Limited as Leiden DT (1992).

[Google] [MyFonts] [More] ⦿

Dick Pape
[Clarence Pearson Hornung]

Die Hochdeutschen Schriften aus dem 15ten bis zum 19ten Jahrhundert der Schriftgiesserei und Druckerei

Didot

Bios of the main members of the Didot family: François Didot (1689-1757), François-Ambroise Didot (1730-1804), his son, Pierre-François Didot (1731-1795), the second son, Pierre Didot (1761-1853), the oldest son of François-Ambroise, and Firmin Didot (1764-1836), the second oldest son of François-Ambroise. Belgians may be interested in Pierre, who used the fonts of his brother Firmin and had them improved by Vibert. Pierre Didot published Specimen des caractères and Specimen des nouveaux caractères in 1819. His son Jules (1794-1871), who succeeded him in 1822 in the Didot foundry, moves the foundry to Brussels in 1830 and sells it to the Belgian government to start its "imprimerie nationale". Jules returns to Paris, sets up a new printing shop, loses his mind in 1838, and sells all his material. The Didot family: extracted from the forthcoming "Bibliography of printing" (Bigmore, E. C. (Edward Clements), 1838?-1899; Wyman, C. W. H. (Charles William Henry), 1832-1909; book published by Wyman&Sons in 1878). Scan of the original Didot typeface. [Google] [More] ⦿

Book in German published by Enschedé en Zonen in Haarlem in 1919. Now available on the web, it deals with blackletter type. Local download. [Google] [More] ⦿

Digital Scriptorium

Housed at Columbia University, The Digital Scriptorium is a growing image database of medieval and renaissance manuscripts that unites scattered resources from many institutions into an international tool for teaching and scholarly research. [Google] [More] ⦿

Digital Type Design Guide
[Sean Cavanaugh]

Book by Sean Cavanaugh and accompanying 220 font CD with most well-known families (TTF and T1). [Google] [MyFonts] [More] ⦿

Digital Typography (Don Knuth)

Don Knuth's 700-page book (1999) on typography. [Google] [More] ⦿

DigitalThread Fonthaus

Font links and discussions. Book discussions. [Google] [More] ⦿

DIN specifications

DIN is a set of typeface norms set by the Deutsches Institut für Normung (The German Institute for Industrial Standards). In 1919, Germany had its first (Grotesk) typeface for technical drawings that followed strict norms, the DIN 16. This was followed in 1927 by DIN 1451. The latter set of raster-based specifications was developed under the guidance of Siemens engineer Ludwig Goller in 1926-1927. The DIN 1451 would be further developed and broadened over the years, leading to DIN Engschrift and DIN Mittelschrift (1931). Various modifications led to DIN 1451 (1936), DIN 17 (1938) and the "new" DIN 16 (1934). The DIN was heavily used in Germany from 1936 until the 1980s in stencils, sold by companies such as Faber-Castell, Rotring, Staedtler, and Standardgraph. Articles on DIN:

Technik, Design und Erotik der FF-DIN-Rundschrift (2010, Jürgen Siebert).
FF DIN Round (2010, Albert-Jan Pool). See also here.
The pamphlet DIN 16 518 Klassifikation der Schriften Berlin: Deutschen Normenausschuß, 1964.

Poster by Federico Arguissein (2013). [Google] [More] ⦿

Dino dos Santos
[dstype]

Dmitriy Horoshkin's Library

Display Material Company

Company located in New York City, and St. Paul, MN, which sold stencils as standard equipment with the Style A-029 Stencillor. In 1930, they published the lettering book Display material catalogue.

In 2013, Jeff Levine designed the typeface Floorwalker JNL, which is based on stencils made in 1926 by Display Material Company. [Google] [More] ⦿

Ditta Nebiolo&Comp.

This company published an unbelievable 900-page catalog in 1920 entitled "Campionario Caratteri e Fregi Tipografici". Gerald Lange on Typo-L wrote this: "Makes you weep. The decorative devices and ornamental initials are unbelievable, many of which I have never seen anywhere before. Almost 900 pages worth of salivating." [Google] [More] ⦿

D.J.R. Bruckner

Author of Frederic Goudy (Masters of American Design) (1990, Harry N. Abrams Publishers, New York). Synopsis copied from an anonymous source: First edition. A great new biography of this famous type designer. Well illustrated, including many examples of his designs and a complete showing of all types he designed. Goudy (1865-1947) was an American innovator in typeface design and manufacture, creator of more than 100 faces, many still popular today. In this first major critical study--the second volume in a projected biographical series on major figures of 20th-century American design---New York Times Book Review editor Bruckner presents a lively and informative survey of Goudy's varied careers as author, type designer, and businessman (founder of the Village Press, an influential private printing press). The author analyzes in detail many of Goudy's typefaces and airs conflicting opinions regarding his contributions as a designer. Numerous, well-chosen illustrations attest to Goudy's design skills. Recommended for large graphic design collections. [Google] [More] ⦿

D.M. Campana

Author of many art books, based in Chicago, IL, where he ran D.M. Campana Art Co. His books include Book of Monograms and Fancy Letters (1900) and The Artist and Decorator (1924, 1925). The latter is an art nouveau text influenced by Alphonse Mucha. [Google] [More] ⦿

Dmitriy Horoshkin's library of Rusian books on type and typography include these downloadable texts:

Album of written and printed fonts, M.A. Netyksa, 1906
Font album of Zemsky typography, Simferopol, 1904-1910
Bibliography of Russian typographic fonts, V.Ya. Adaryukov, 1924
Bibliography of Russian typographic fonts, V.Ya. Adaryukov, 1924 (electronic book) Rab-book
The Art of the Book, A.A. Sidorov, 1922
The history of Russian ornament. Museum of the Stroganov School, 1868
Font file according to GOST-1947, VNITO Polygraphy and Publishing.
Book Proof, N.N. Filippov, 1929
Book font, M.V. Bolshakov, 1964
Brief information on printing business, P. Kolomnin, 1899
Typeface, T.I. Kutsyn, 1950
New Russian font V.Mashin, 1906
Model fonts of the Military Printing House, 1821
Samples of the writings of the Imperial Academy of Sciences, 1862
Samples of Slavic-Russian printing from 1491, 1891
Samples of the foundry of I. Shcherbakov in St. Petersburg, 1881
Samples of text machine fonts of the linotype, Leningrad, 1938
Samples of artistic fonts and frames, A.A. Kotlyarov, 1929
Piusa Bauer in Warsaw, 1888
Font samples (Printing and Bookbinding) Yu.A. Mansfeld, 1904
Font samples of the 4th printing house named after E. Sokolova, 1956
Font samples, General Staff of the Red Army, 1937
Font Samples, Graphic Workshops at Academic Publishing House, 1923
Samples of fonts and frames for drawings and plans, A.D. Demkin, 1924
Types of fonts and decorations of the printing house of I. Wilborg, B.G.
Samples of IAN fonts - "Our Father" and other texts in 325 languages and dialects, 1870
Font samples of the St. Petersburg Synodal Printing House, 1902
Types of typographic lithography fonts of the Siberian T-v Printing, bg
Samples of fonts of A.Transhel's printing house, 1876
Samples of fonts of the printing house of the Astrakhan provincial government, 1886
Samples of fonts of the printing house of the Moscow Union of Mozhaisk PEC, 1926
Samples of fonts of the Printing house of the Central Union, bg
Book Design - A Guide to the Preparation of a Manuscript for Printing, L.I. Hessen, 1935
Design of the Soviet book, G.G. Guillo, D.V. Konstantinov, 1939
Printing ornament B.1, Glagol, 1991
Printing ornament B.2, Verb, 1991
Font construction, Ya.G. Chernikhov N.A. Sobolev, 2005
Guide to the study of ribbon (Rondo) font, A.I. Pechinsky, 1917
Russian typographic font. Issues of history and application practice, A.G. Shitsgal, 1974
Tutorial of calligraphy and cursive writing, S. Volchenka, 1902
Collection of old Russian and Slavic letters, K.D. Dalmatov, 1895
Slovolitni O. I. Leman in St. Petersburg and Moscow, Font Catalog, 1915 (?) G. Moscow.
Slovolitnya O.O. Gerbek. Fonts and ornaments, 19 ?? g.
Collection of fonts. Compiled and published by Mikhail Maimistov, 1912
Modern Font, W. Toots, 1966
Art fonts, A.M. Jerusalem, 1930
Font, B.V. Voronetsky E.D. Kuznetsov, 1967
Font in visual agitation, S. I. Smirnov, Third Edition, 1990
Fonts and Alphabets, O.V. Snarsky, 1979
Fonts for inscriptions on drawings, M.D. Mikeladze, 1961
Fonts for projects, plans and maps, A.S. Shuleykin, 1987
Fonts and their construction, D.A. Pisarevsky, 1927
Fonts and type works, V.V. Grachev, B.G.
Typographic fonts, ONSH, ed. A.N. Strelkova, 1974
Fonts Development and use, G.M.Baryshnikov, 1997
Fonts The educational-methodical manual for cadets of LVTKU, N.A. Shashurin, 1981
Aesthetics of the art of font, A. Kapr, 1979

Local download (with Horoshkin's permission). [Google] [More] ⦿

Dolphus Mieg (or Dollfus Mieg)

The Dollfus Mieg Company was founded in 1800 by Daniel Dollfus (1769-1818) and Anne-Marie Mieg (1770-1852). In the 1890s and again in 1901 it published Monograms and Alphabets for Combination, a book with alphabets and monograms for cross-stitching. This book served as example for several digital fonts. Paulo W (Intellecta Design) made Dolphus Mieg Monograms (2011) and Dolphus Mieg Alphabet (2011). There is also the interesting Victorian outline family MFC Sappho Monogram (2010) by Brian J. Bonislawsky. MFC Baelon Monogram (2013, Brian J. Bonislawsky and Jim Lyles) is an 800-character monster font with outlined spurred letters from Dollfus Mieg's book. MFC also published MFC Capulet Monogram (2014), MFC Imperator Monogram (2016), MFC Laroux Initials (2016), MFC Diresworth Monogram (2016), MFC Endeavor Monogram (2018), MFC Keating Monogram (2017) and MFC Elmstead Monogram (2018), which are all based on Dolfus's work. [Google] [More] ⦿

Don Hosek's Essential Books on Type

Donald E. Knuth

Professor of computer science at Stanford University, who by himself changed the world of mathematical and scientific typesetting when he developed TeX in the 1980s. That system needed fonts, so he developed a program called Metafont that permits a simple software description of a glyph. And with Metafont, and the help of Hermann Zapf, he created the Computer Modern type family. This is a tour de force, because each letter in the 72 original fonts has only one descriptive program that contains several parameters. Different parameter settings yield the typefaces, from italic to roman and bold, from 5pt to 10pt and 17pt optical settings, and from sans to serif and typewriter. Since a few years ago, he is Professor Emeritus of The Art of Computer Programming at Stanford University.

In 1983, Hermann Zapf and Donald Knuth headed a project to develop a font set called Euler. One implementation of that is AMS Euler Text.

Author in 1998 of Digital Typography (CSLI Publications). His METAFONT Book is free.

In 2013, he received the Peter Karow Award in typography. [Google] [MyFonts] [More] ⦿

Donny Truong
[Vietnamese Typography]

Doug Clouse

Author of Mackellar, Smiths&Jordan: Typographic Tastemakers of the Late Nineteenth Century (Oak Knoll Press, New Castle, DE, 2008). Description by Oak Knoll Press: This is the first full-length study of the leading American type foundry of the nineteenth century. It is an interesting history of the foundry from both a business and a design point of view. The emphasis is on the design of the hundreds of typefaces that were produced by the foundry, from its inception in the 1860s until its merger with most other American foundries at the end of the century. The author describes (with many detailed photographic illustrations) how changing business conditions and technical improvements in typefounding interacted with changes in public taste to modify, over the decades, the appearance of the typefaces that Americans found in their publications. While this is a study of only one of many American foundries, in many ways MacKellar, Smiths&Jordan can stand as an exemplar of all the rest. It was the descendant of the first successful American type foundry, Binny and Ronaldson, started in Philadelphia in 1796. Extensive business records of the firm exist, as do scores of type specimen books and promotional publications of the foundry. All of these have been used extensively by the author. The scores of typefaces illustrated and described are considered as the ever-changing output of a corporation, with lesser emphasis on the individual creators of each typeface. At the turn of the twentieth century, taste turned away from the florid, ornamented style of the earlier decades. Mr. Clouse has shown in this well-written study that the earlier styles were very successful in their own time and should be judged on that basis. A completely illustrated appendix showing MS&J's patented typefaces is extremely helpful. [Google] [More] ⦿

Douglas C. McMurtrie
[McMurtrie: A Memorandum on Early Printing on the Island of Malta]

Douglas C. McMurtrie
[McMurtrie: The Didot Family of Typefounders]

Douglas Crawford McMurtrie

Author (1888-1944) of over 400 books on printing and typography. His life story is told by Scott Bruntjen and Melissa L. Young in Douglas C. McMurtrie, bibliographer and historian of printing (Metuchen, N.J. : Scarecrow Press, 1979). A partial list of his books, limited to the history of typography:

In 1923 (and reprinted in 1935, Chicago), Douglas C. McMurtrie published A mysterious type specimen; a note on the typeface showing of the typefounder Marquet, issued at Lyons, France, apparently during the last half of the eighteenth century: page 3, page 4 (where he notices that Marquet's type is difficult to categorize, and is different from anything he had seen in the types of Lammesle, Mozet. Gillé, or Fournier le jeune), a scan of the type, some vignettes.
The invention of printing: a bibliography (Chicago, Chicago club of printing house craftsmen, 1942, 413 pages).
Specimen of types at the Condé Nast Press (1923, Condé Nast Press, Greenwich, CT), a book athat showcases type from ATF and Monotype. At that time, the press liked Monotype's Caslon.
Erhard Ratdolt, the father of typographic decoration (Chicago, Priv. print., 1936).
Typography of magazines and house organs (Chicago, Priv. print., 1935).
The Didot family, typefounders; the work in typographical design of a celebrated line of French typefounders, printers, and publishers (Chicago, Priv. print., 1935).
The first printing on the island of Jamaica (Metuchen, N. J., 1934).
Ludlow ornament. With an introduction on typographic ornament (Chicago, Ludlow Typograph Co., 1929).
Balzac, printer&typefounder (New York, Priv. print., 1926).
Fraktur type design : the attempt of J. F. Unger to make German types more readable (New York : Press of Ars typographica, 1926).
American type design in the twentieth century, with specimens of the outstanding types produced during this period (Chicago, R. O. Ballou, 1924, introduction by F. Goudy).
The First Swedish Type Specimen (Chicago, 1933).
Pierre Cot Type Specimen of 1707 (1924, Robert O. Ballou, Chicago.
The First Printers of Chicago. With a bibliography of the issues of the Chicago Press 1836-1850 (Chicago, The Cuneo Press Inc., 1927).
Benjamin Franklin, Typefounder (1925, Douglas C. McMurtie, New York).

His typefaces include McMurtrie Title, Ultra-Modern&Italic (1928, an art deco typeface published at Ludlow), and Vanity Fair Capitals. Jim Spiece's UltraModernClassicSG is based on Ultra-Modern. And so is Steve Jackaman's Ultra Modern RR (Red Rooster).

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

Douglas Thomas

Douglas Thomas is a graphic designer, writer, and historian. He holds an MA in history from the University of Chicago and an MFA in graphic design from the Maryland Institute College of Art, where he also taught. He currently teaches at Brigham Young University. Author of Never Use Futura (2017). The blurb: It's everywhere, including the moon (on the commemorative plaque left by Apollo 11 astronauts), Nike sneakers, the artworks of Barbara Kruger, Ed Ruscha, and Jenny Holzer, 2001: A Space Odyssey credits, Domino's Pizza boxes, Absolut Vodka bottles, and Red Bull cans. Futura and its typographic offspring have been the face of presidential campaigns from Richard Nixon to Hillary Clinton. Indeed, Futura is one of the most used fonts in the world today---the typeface of modern design---more so even than Helvetica. This fascinating book explores the cultural history and uses of a face that's so common you might not notice, until you start looking, and then you can't escape it. Douglas Thomas traces Futura from its Bauhaus-inspired origin in Paul Renner's 1924 design, to its current role as the go-to choice for corporate work, logos, motion pictures, and advertisements. [Google] [More] ⦿

Dover Pictorial archive series

An inexpensive collection of books by Dover Press with mostly copyright-free drawings, bookplates, ornaments and illustrations. [Google] [More] ⦿

Doyald Young
[Doyald Young: Logotypes and Letterforms]

Eduardo Herrera Fernandez

Doyald Young: Logotypes and Letterforms
[Doyald Young]

Graphic designer, typographer, type designer, author, teacher and lecturer, born in 1926 in Holliday, TX. He died on February 28, 2011 due to complications following a heart operation. He attended Los Angeles City College, Los Angeles Trade Technical Jr. College, and Art Center College of Design where he has taught for 27 years and holds the honorary title Inaugural Master of the School. Doyald drew characters, often of a calligraphic or handlettered nature. He was deeply influenced by his mentor, Hermann Zapf.

Steve Heller writes: When digital programs like Fontographer made it easy for anyone with a computer to create typefaces, many of them purposefully inelegant, he advocated a high level of craftsmanship that he believed had been lost. In so doing, Mr. Young challenged a new generation to reject so-called grunge design in favor of precision. When the American Institute of Graphic Arts awarded Young its 2009 Medal for Lifetime Achievement, Marian Bantjes wrote Taste. Practicality. Formality. Understated prestige. The combination of those qualities forms as perfect a descriptor of Young's work as any you are likely to find, both in the process and the result. Although he is widely known for his elegant curves and scripts, he has never been a showy designer---there is not a trace of ego in his work. The range of letterforms able to flow at any time from his hand is great, and there is no way to particularly define Young's mark unless you have seen the hand-drawn comp. That is where his work is unmistakable: perfect letterforms drawn in pencil at a surprisingly small size without so much as a mark of hesitation or awkwardness. The style varies but the fluidity and perfection do not.

Links and media: Scott Erickson's movie on Doyald Young. FontShop link. Klingspor link. Short obituary and video. Longer video about his life. Steven Heller's obituary in the New York Times. Obituary by Marian Bantjes for AIGA.

He was adored and respected for his craft and gentleness. Portrait. Another portrait (credit: Louise Sandhaus). Author of several influential texts:

Logotypes and Letterforms (1993, Delphi Press). Review. It includes the corporate typefaces and original and revised logotypes he created for General Electric, Sony, Hilton International, John Deere and other businesses. Steve Heller: It was well received by designers for its defiance of fashionable trends.
Fonts&Logos (1999, Delphi Press, and 2000, Sherman Oaks). A book of examples, it includes many logos designed by him for the cosmetic, fashion and entertainment industries. Review. Bette Midler logo (2002). Grammy Awards logo (1988). Prince, The Hits Collecton, cover (2000). Sinatra, The Man and his Music TV Special (1981). Logo for Apex Engraving (1974).
The Art of the Letter (2003, Smart Papers, Hamilton, Ontario).
Dangerous Curves Mastering Logotype Design (2008, Delphi Press). Delphi Press was his own company.

His typefaces include the extra bold condensed sports scripts fonts Home Run Sanscript (1999) and Home Run Script (1999, a connected bold retro signage script), Young Gallant (2010, a formal calligraphic script based on the alphabets his teacher, Leach, trained him on), ITC Eclat (1985, 1992, fat script face, which was used for titles by Comedy Central and the Queen Latifah movie Beauty Shop), Young Finesse (2003, an Optima-inspired thin headline typeface used in his book, Fonts&Logos), Young Finesse Italic (2006), Guts (1976, VGC), and Young Baroque (1984, 1992, Letraset; calligraphic Spencerian copperplate script; this is copied by Castcraft as OPTI Yen Script). [Google] [MyFonts] [More] ⦿

Dr. Maurits Sabbe

Curator of the Plantin-Moretus Museum in the early part of the 20th century, and author of Antwerpsche Druckerye (Brussel, N. V. Standaard-Boekhandel, and Amsterdam, P. N. Van Kampen en Zoon, and Antwerpen, J. E. Buschmann, s. a.), a 153-page book on foundries and printers in Antwerp. Coauthor with Marius Audin of Die Civilité-Schriften des Robert Granjon in Lyon und die flämischen Drucker des 16 / Jahrhunderts (Wien, Bibliotheca Typographica, Herbert Reichner, 1929). That last book is a German version of Les caractères de civilité de Robert Granjon et les imprimeurs flamands (1921). Some of the findings in that beautiful book are reported here. [Google] [More] ⦿

DRAIM
[Victor Miard]

Author of La Lettre dans le Décor et la Publicié Modernes (1930s). That book shows some unnamed art deco alphabets. [Google] [More] ⦿

dstype
[Dino dos Santos]

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

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

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

Duncan Glen

Author of Printing Type Designs - A New History from Gutenberg to 2000 (Akros Publications, Fife, Scotland, 2000). [Google] [More] ⦿

Dunwich Type Founders
[James Walker Puckett]

Dunwich Type Founders (or: DTF) in Boulder, CO (was: New York City) is run by James Walker Puckett (b. 1978, Virginia), who graduated from the Corcoran College of Art and Design in Washington, DC. Blog. Behance link. Fontspring link. Type Library. Typefaces:

Armi tage (2010). A grotesque sans family.
The squarish signpainting family Downturn (2009).
He is working on a (nice!) revival of Fry's Baskerville, which is based on a scan of types cut in 1768 by Isaac Moore.
Lorimer (2011) is a gothic sans serif that was inspired by 19th century inscriptions in the yard of New York's St. Mark's Church. Some weights are free. In 2011, this was followed by Lorimer No. 2 and Lorimer No. 2 Condensed. In 2012, there was an announcement that Lorimer was no longer being distributed. But that was contradicted in 2015, when James placed Lorimer No. 2 Stencil (2011) at the Dafont site for free download.
New Constructivist Beta (2007).
Recovery (2008, TypeTrust). The grunge version of Recovery is Black Monday (2009, with Silas Dilworth): it has several glyphs for randomization.
The 1829 specimen book of Alonzo W. Kinsley's Franklin Letter Foundry led James Puckett to develop the splendid ornamental didone fat face Sybarite (2011), which comes in many optical weights.
The friendly superelliptical black poster typeface Gigalypse (2012).
Becker Gothics (2013). A revival of five typefaces from Ornamental Penmanship (1854, George Becker): Egyptian, Egyptian Rounded, Stencil, Tuscan and Concave. All have Western and wood type influences.
Ironstrike and Ironstrike Stencil (2014). Ironstrike pays homage to industrial and constructivist lettering.
Uniblok (2015). A free blocky font.
Rhodium Libre (2015, free at Google Fonts), designed for use on screens at small sizes and the Latin and Devanagari scripts. Historical models for Rhodium's design are Fortune (aka Volta; by Konrad Bauer and Walter Baum) and Rex (by Intertype).
Padyakke (2015) is a libre Kannada font.
Antarctican (2017, Dunwich Type Founders): Antarctican hybridizes ruler and compass geometry and American wood type. Some styles are monospaced.
Barteldes (2018). A fashion mag typeface family.
Margherita (2021). A free sturdy typeface family based on urban lettering in Italy.

Creative Market link. https://fonts.ilovetypography.com/fonts/dunwich-type-founders">I Love Typography link. Github link. Fontsquirrel link. [Google] [MyFonts] [More] ⦿

Dutch Alphabets
[Mathieu Lommen]

Dutch Alphabets (2016, Uitgeverij De Buitenkant) was written by Mathieu Lommen and designed by Peter Verheul. It is a portfolio containing 47 broadsides featuring new samples of lettering and writing by today's most significant Dutch lettering artists, type designers, calligraphers and sign painters. All contributors are working and/or educated in the Netherlands. This collection of lettering has been compiled by Mathieu Lommen (University of Amsterdam) & Peter Verheul (Royal Academy of Art, The Hague), and will be published in a limited edition. It showcases a wide variety of lettering and calligraphy, made especially for this project by Amsterdam Signpainters, Yomar Augusto, Jacques le Bailly, Donald Beekman, Françoise Berserik, Barbara Bigosińska, Frank E. Blokland, Erik van Blokland, Maria Doreuli, James Edmondson, Ramiro Espinoza, Martina Flor, Dave Foster, Fritz Grögel, Janno Hahn, Hansje van Halem, Berton Hasebe, Henry van der Horst, Ondrej Jób, Max Kisman, René Knip, Holger Königsdörfer, Paul van der Laan, Lida Lopes Cardozo, Niels Shoe Meulman, Ross Milne, Gerrit Noordzij, Diana Ovezea, Krista Radoeva, Trine Rask, Arthur Reinders Folmer, Donald Roos, Pieter van Rosmalen, Just van Rossum, Kristyan Sarkis, Florian Schick, Elmo van Slingerland, Heidi Sørensen, Nina Stössinger, Joost Swarte, Teo Tuominen, Underware, Gerard Unger, Peter Verheul, Bernd Volmer, Job Wouters and designed by Peter Verheul. It is a portfolio containing 47 broadsides featuring new samples of lettering and writing by today's most significant Dutch lettering artists, type designers, calligraphers and sign painters. All the contributors are working and/or educated in the Netherlands. [Google] [More] ⦿

E. Ventris

Author of The Writer's Guide (1830, publ. G. Berger, London). [Google] [More] ⦿

E. Wetzig

Editor of Ausgewählte Druckschriften in Alphabeten, which was published in Leipzig by the Verein Leipziger Buchdruckereibesitzer as an educational aid. The Bund für deutsche Schrift has scanned in a third of the pages and put it on one of their CDs. [Google] [More] ⦿

E.A. Ducompex

Author of Modèles de Lettres D'Art Nouveau (Imp. Firmin Didot & Cie, Paris). This book of art nouveau alphabets inspired several digital recreations, such as Dick Pape's Lettres Majuscules Fantasie and Lettres Minuscules Fantasie in 2013. Download Pape's fonts here. [Google] [More] ⦿

Eagle Reading Company

Publishers of a paperback of type specimen in 1931 called Specime Book Type Rules and Borders. Pictures here. Images: Cover, fists, typefaces, more typefaces, and more. [Google] [More] ⦿

Eberhard Dilba

German author of Typographie-Lexikon (2005, in German). [Google] [More] ⦿

E.C. Matthews

Author of Sign Painting Course (1954, 1958). Mike Jackson writes: This book is heavily illustrated with his layouts, letterstyles, and ornaments but the text which covers about half of each page is equally informative. Earlier, in 1928, he wrote How to Paint Signs and Sho' Cards. [Google] [More] ⦿

Ed Cleary

Coauthor with Jürgen Siebert and Erik Spiekermann of The FontBook, published by FontShop International in 1998, with additions and updates in the following years. Robert Stacey situates Cleary in the history of Canadian design [because Cleary lived and died in Toronto], when he talks about the 1980s: Typographic design integrity continues to be defended, meanwhile, against trendiness and clutter by such private-press and fine-printing luminaries as Coach House Printing's Stan Bevington, Hemlock Press's David Clausen, Giampa Textware Corp.'s Gerald Giampa, Imprimerie Dromadaire's Glenn Goluska, Dreadnaught Design's Robert MacDonald, Canadian Art's John Ormsby, Aliquando Press's Will Rueter, and the late Ed Cleary, of the venerable Cooper&Beatty Typographers and the more recent Font Shop. As their work serves to remind us, the "democratization" of type and print through desktop publishing software and hardware, and the attendant access of thousands of typefaces, increases rather than decreases the need for taste, discernment and restraint to be brought to bear on the management of textual and visual materials. [Google] [More] ⦿

Edgar Bond

Author of Showcard Layout & Design (1937, Third Edition, Blandford Press Ltd, London). [Google] [More] ⦿

Editions 205
[Quentin Margat]

French foundry and publishing house, est. 2011 by Damien Gautier and Quentin Margat, and located in Villeurbanne. Their fonts:

Amiral. A stencil face by Damien Gautier.
Bloo. A geometric family by Damien Gautier.
Caporal. A semi-stencil by Damien Gautier and Quentin Margat.
Colonel. A stencil by Damien Gautier and Quentin Margat.
LeBeaune. A lapidary engraved roman caps font by Damien Gautier and Quentin Margat, originally intended for the wine city of Beaune. Le Beaune New was published in 2013.
LeChaufferie. A large multiline opentype typeface by Damien Gautier.
LeFrançois. A Peignotian titling face by Damien Gautier.
Beretta (2011-2012). A dot matrix typeface by Damien Gautier.
Alcala (2011). A roman typeface family by Damien Gautier and Quentin Margat.
Maax (2011). An information design sans typeface family. In 2013, Damien Gautier added Maax Mono and Maax Rounded, and in 2019 Maax raw.
Norr. A versatile family originally intended for the visual identity of the region of Valenciennes. It includes a round style, a slab style, a sans, and a didone style.
Robin (2010). An arrows dingbat typeface by Damien Gautier and Delphine Sigonney.

There is also a publishing component to Editions 205. Works published by them include Tout le monde connaît Roger Excoffon (2011), which was written by Alan Marshall (director of the Musée de l'imprimerie, Lyon), Tony Simoes Relvas, and Thierry Chancogne.

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

Editions Alternatives

French publisher which has a nice series of books on writing. These include "Le Verbe géomètre Numérographies et écritures mathématiques" (Valère-Marie Marchand, 2004), "Lettres Latines Rencontre avec des formes remarquables" (Laurent Pflughaupt), "Les alphabets de l'oubli Signes et savoirs perdus" (Valère-Marie Marchand), "Le Bruissement du calame Histoire de l'écriture arabe" (Sophia Tazi-Sadeq), and "Entre Ciel et Terre Sur les traces de l'écriture chinoise" (Shi Bo). [Google] [More] ⦿

Edmund Fry

British typefounder, d. 1835. Son of Joseph Fry, the founder of the Fry Letter Foundry in Bristol. Quoted from MyFonts: In 1784 he introduced a raised roman letter for the blind, and was awarded a prize by the Edinburgh Society of Arts. Louis Braille's system of lines and dots ultimately proved better. In 1787, he and his brother Henry took over the Fry Letter Foundry from their father. Credited with many great typefaces, including Fry's Baskerville (1768) and Fry Moxon (or Graisberry), a Gaelic typeface, Fry A Gothic Capitals (ca. 1819), an angular transitional Gaelic face, and Fry B Gaelic Capitals, a transitional Gaelic typeface (Everson mentions the date 1836, but that would be one year after his death...) and Priory Text.

Mac McGrew writes: Priory Text was the blackletter of the Fry Foundry in England, with some sizes dating back to about 1600, and most sizes shown in 1785. It was revived by Talbot Baines Reed for his History of the Old English Letterfoundries in 1887, and DeVinne used it for his edition of Philobiblon in 1889. The Dickinson foundry, a forerunner of ATF, issued it as Priory Text about that time. It is very similar to Caslon Text (q.v.). BB&S made a near-duplicate type, originally called Reed Text, but later shown as Priory Black Text. Although the latter was shown as late as 1925, these typefaces had generally been replaced earlier by Cloister Black (q. v.) and other Old English typefaces with more refined draftsmanship.

About the Gaelic types, Brendan Leen writes: In 1819, Edmund Fry cut a type once again commissioned by the British and Foreign Bible Society. The design of the Fry type signifies a departure from the angular minuscule toward the more rounded form of the half-uncial, a characteristic of Irish typography in the nineteenth century. Sample of Fry Irish type from The Two First Books of the Pentateuch.

Author of Pantographia (1799, Cooper&Wilson, London), a work that shows the scripts of many languages [a careful digitization of some can be found in the font family Pantographia (2010) by Intellecta Design]. The full title is Pantographia; Containing Accurate Copies of All the Known Alphabets in the World; Together with an English Explanation of the Peculiar Force or Power of Each Letter: To Which Are Added, Specimens of All Well-Authenticated Oral Languages; Forming a Comprehensive Digest of Phonology. Examples from that book: Bastard, Bengallee and Berryan, Bulgarian and Bullantic, Chaldean. Local download.

Author of Specimen of Printing Types by Edmund Fry, letter founder to the King, and Prince Regent, Type street, London (1816). Local download.

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

Edo Smitshuijzen

Author of the rather complete Arabic Font Specimen Book (De Buitenkant, Amsterdam, 2009). In 2013, he published Sculpting Type (Khatt Books), which deals with 3d type design. [Google] [More] ⦿

Edoardo Cotti

Italian art nouveau painter, lettering artist and type designer, 1871-1940. Around 1898, a photomechanical engraving studio for zinc, copper, and wood engravings was established under the supervision of Edoardo Cotti at nebiolo.

Designer at Monotype in 1927 with Francesco Pastonchi of Pastonchi, a beautiful humanist text typeface with small bracketed serifs. Pastonchi MT is available from Monotype. The Monotype version of Pastonchi is due to Robin Nicholas.

Author of Origine della Scrittura e Derivazione Morfologica dell'Alfabeto (Turin, Regio Scuola Tipgrafica, 1917). [Google] [More] ⦿

Professor of typography at the Faculdad de Bellas Artes (FBA) of the Universidad del Pais Vasco (UPV) in Bilbao. Eduardo Herrera and Leire Fernández (a colleague at FBA UPV) developed a Bastarda based on work of Juan de Yciar. They wrote about it in Recuperación y digitalización de la letra bastarda de Juan de Yciar (GFM Grafema, No. 1, April 2009). [Google] [More] ⦿

Edward C. Mills

Master of business writing and business penmanship, b. 1872, Illinois, d. 1962. He worked mostly in Rochester, NY first for The Williams & Rogers Company and later as an independent penman. Author of Modern Business Penmanship (1903, American book Company). [Google] [More] ⦿

Edward Johnston
[Johnston's Underground Type]

Encyclopedia Typographica

Edward Johnston

Born in Uruguay in 1872, he died in the UK in 1944. A medical doctor, he taught all his life at the Central School of Arts and Crafts in London and at the Royal College of Art in London. From 1910 until 1930, he designed fonts for the Cranach-Presse in Weimar, which was owned by Count Harry Kessler.

In 1916, he made a typeface for the London Underground (helped by Eric Gill). Johnston's London Transport type was reworked by Colin Banks in his New Johnston (1979), and again in 2016 by Malou Verlomme at Monotype, on commission for Transport For London (TfL), as Johnston100. Edward Johnston's fonts show a strong influence by Eric Gill.

Hamlet-Type (1912-27, designed for a Shakespeare edition, Cranach Press, 1929) was also called Kessler-Blackletter. It was designed by Edward Johnston and cut in three sizes (10, 12 and 18 pt) by Edward Prince for William Shakespeare's Hamlet (published by Harry Kessler's Cranach Press in Weimar in 1929). The type is based on the Durandus for the lowercases, and Sweynheim & Pannartz's Subiaco type for the capitals. For a digital revival, see Hamlet Tertia 18 and Hamlet Cicero 12 by Alexis Faudot and Rafael Ribas which was developed at a workshop in Weimar in 2018. Hamlet was revived by Manfred Klein and Petra Heidorn as HamletOrNot.

Johnston designed Imprint-Antiqua with Gerard Meynell and J. H. Mason in 1913. It includes Imprint Shadow. Digital descendants exist at Monotype [Imprint MT], URW [Imprint URW, preferred over the MT version by some of my correspondents], SoftMaker [I771], and Bitstream [Dutch 766<].

Johnston Sans Serif was done in 1916.

A version of the London Underground typeface (1997, by Richard Kegler) was digitized by P22. In 2007, Paul D. Hunt extended that typeface to a 21-style multilingual collection called P22 Underground Pro. At ITC, Dave Farey and Richard Dawson recreated a Johnston sans serif family with 3 weights, aptly called ITC Johnston. Nick Curtis created Underground NF in 1999. Jordan Davies called his revivals London Medium (2017) and London Heavy (2017). Many other designers aped Johnston's Underground as well. In 2012, Greg Fleming published Railway Sans as a free open source font at OFL. It is based upon Johnston's original drawings and work started by Justin Howes just before his death. In 2021, P22 added italics to P22 Underground Pro and now covers Latin, Cyrillic and Greek---help with this newest version came from Housestyle Graphics (Dave Farey; for the italics), James Todd, and Patrick Griffin (final mastering).

Edward Johnston is a book published by Priscilla Johnston (London, 1959). Author of Writing&illuminating,&lettering (1917, J. Hogg, London; original done in 1906). Writing Illuminating Lettering at Amazon.

Scans of some lettering by him: illuminations (1917), modernized half uncial (1906), Calligraphy by Johnston. Digital fonts based on alphabets from the 1906 book include Edward's Uncial 1904 (2011, David Kettlewell).

Links: Linotype, FontShop. [Google] [MyFonts] [More] ⦿

Edward Rondthaler

New Yorker, b. Bethlehem, PA, 1905. In 1928, Rondthaler and Harold Horman cofounded Photo-Lettering Inc in New York City---it started for real in 1936. An excellent typographer, he cofounded ITC in 1970 with with Herb Lubalin and Aaron Burns.

Editor/author of Life with Letters--As They Turned Photogenic, and Alphabet thesaurus; a treasury of letter designs (1960, Reinhold, NY). Volume 3 was published in 1971.

In 1975 he was awarded the TDC Medal, the main prize of the Type Directors Club. In 2007, House Industries made this funny clip. Sadly, Ed died in August 2009. [Google] [MyFonts] [More] ⦿

Edward Rowe Mores

Author of "A dissertation upon typographical founders and foundries" (1778) and "A catalogue and specimen of the type foundry of John James" (1782). These were published in 1961 at Oxford University Press, edited with an introduction and notes by Harry Carter&Christopher Ricks. [Google] [More] ⦿

Edward Tufte

Edward Tufte has written seven successful books, including Visual Explanations (1997), Envisioning Information, The Visual Display of Quantitative Information, and Data Analysis for Politics and Policy. He writes, designs, and self-publishes his books on information design. He is Professor Emeritus at Yale University, where he taught courses in statistical evidence, information design, and interface design. His current work includes digital video, sculpture, printmaking, and a new book, Beautiful Evidence.

Designer in 2002 of ETBembo, about which he writes: ET Bembo is a Bembo-like font for the computer designed by Dmitry Krasny, Bonnie Scranton, and myself. It will be used in my next book, Beautiful Evidence. My earlier books on analytical design were set in lead (!) in Monotype Bembo, an excellent book font. When converted to an electronic font, Monotype Bembo became thin and spindly (the computer people ignored "squeeze," the slight spreading of ink when the lead type hits the paper). So we made our own computer version and also made a few design changes (ligatures, several problems with the pi font, some letterforms, creation of a semibold). ETBembo is used in "The Cognitive Style of PowerPoint." It is just our house font and I'm not in the type business so it will not be commercially available. Tufte goes on to say that he thinks that Yale should make Matthew Carter's Yale font available for free to the whole world.

Funny poster by Mark Goetz related to Tufte's stance on the typographic and infographic "qualities" of Powerpoint.

Tufte's CSS. Github link for Tufte CSS, where one can download the free font family ET Book, which is ET Bembo, renamed. However, inside the font files, we still find the original name ET Bembo. [Google] [More] ⦿

Edward W. Lynam

Author of The Irish character in print, 1571-1923 (with an introduction by Alf MacLochlainn), New York: Barnes&Noble, 1924 (1969). The book was originally written in 1924. [Google] [More] ⦿

Eldesign

A discussion of Russian typography books. In Russian. [Google] [More] ⦿

Electronic Publishing

Nelson Beebe's bibliography of articles that appeared EPODD, the Electronic Publishing Journal. [Google] [More] ⦿

Elisabeth Friedländer

German type designer (b. 1903, Berlin, d. 1984) who studied under Weiss. Sometimes her name is spelled Friedlander, without an umlaut. Pauline Paucker's book, New Borders The Working Life of Elizabeth Friedlander (Incline Press, 11A Printer Street, Oldham OLI IPN England), describes her life, including the story of her flight from Nazi Germany in 1936 (she was Jewish), to Italy. She had studied in Berlin with E.R. Weiss at the Berlin Academy. She joined the German fashion magazine Die Dame. In 1933 George Hartmann asked her to design a typeface for Bauersche Giesserei.

She designed Elizabeth at Bauersche Giesserei in 1934---a Roman and Kursiv and a Bold that was never completed or produced---but she was unable to name the typeface Friedlander, as she had wished, because it was a recognizably Jewish name. She was associated for some time with the Bauer foundry. Her typeface was finally cut in 1939 but she had already left Germany because of the war. She went on to Italy and then later to London where she eventually worked with Jan Tschichold at Penguin Books doing covers for Penguin books, and became a celebrated graphic designer.

Jim Rimmer's RTF Isabelle (roman and italic), made in 2006, is based on two delicate serif typefaces by Friedlander.

Elisabeth-Antiqua, Elisabeth-Kursiv (and swash letters) and Linotype Friedlaender borders were revived in 2006 by Ari Rafaeli, and at an unknown date by Reymund Schroeder as Friedlaender.

In 2005, Andreu Balius was commissioned to digitize the typeface now sold by Neufville Digital: Elizabeth ND (2007, 3 styles). Klingspor link. [Google] [MyFonts] [More] ⦿

Ellen Lupton

Ellen Lupton is a writer, curator, and graphic designer. She is director of the MFA program in graphic design at Maryland Institute College of Art (MICA) in Baltimore. She also is curator of contemporary design at Cooper-Hewitt National Design Museum in New York City.

Author of Thinking with Type (Princeton Architectural Press, 2004). Visit also the interesting Thinking with type web page, which features a fun section on "crimes against typography", notes on type classification, a course outline, and tons of other educational material. See also here and here. Author of Laws of the Letter (with J. Abbott Miller).

Ellen Lupton was the keynote speaker at AypI2006 in Lisbon. In that talk, summarized here, Ellen Lupton discusses the benefits of truly free fonts (Perhaps the free font movement will continue to grow slowly, along the lines in which it is already taking shape: in the service of creating typefaces that sustain and encourage both the diversity and connectedness of humankind.) and provides key examples: Gaultney's Gentium, Poll's Linux Libertine, Peterlin's Freefont, Bitstream's Titus Cyberbit, and Jim Lyles' Vera family. She is the editor of D.I.Y.: Design It Yourself (2006).

In 2007, she received the AIGA Gold Medal. Her introduction to the major typefaces. Speaker at ATypI 2010 in Dublin. [Google] [More] ⦿

Elmar Schmitt

Author of Die Drucker der Wagnerschen Buchdruckerei in Ulm 1677-1804 Band II Vignetten Signete Initialen (Universitätsverlag Konstanz, Konstanz, 1984). A typical vignette. Vignette 142. Vignette depicting Silvanus. The Wagnerschen Buchdruckerei issued this Schreibschrift in 1765. [Google] [More] ⦿

Elsie Svennas

Swedish author of A Handbook of Lettering for Stitchers (1966). The English traslation was published by Van Nostrand Reinhold (NY) in 1973. Amazon link. PDF file [34MB]. [Google] [More] ⦿

E&M Cohen

Dutch book shop active in the 19th century in Arnhem and Nijmegen, which was run by two brothers. In 1887, they published a lettering model book, Modelboek.

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿

Emil F. Hornikel

Author of Design of Monograms, Inscriptions, and Alphabets (1904). [Google] [More] ⦿

Emil Franke

Author of Das Neue Monogramm (1903) and Ecritures Modernes (1885, published by Orell-Füssli & Co in Zürich). [Google] [More] ⦿

Emil Ruder

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

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

Quotes from Shaw's piece:

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

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

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

Emotional Digital

Great typography and design book by Alexander Branczyk, Jutta Nachtwey, Heike Nehl, Sibylle Schlaich, and Jürgen Siebert, Thames&Hudson, 1999. Now also on-line. [Google] [More] ⦿

Book containing specimen of 6300 commercial digital typefaces, compiled by Paul Morency and josé Perez (2004). It comes with a handy on-line font database. Paul Morency has been in the advertising and printing field for more than 20 years. José Perez is a self-employed pre-press technician, providing services to printers, digital photography, page layout and printing services. Both are based in Montreal. [Google] [More] ⦿

Enric Jardi

Born in Barcelona in 1964. Graphic design teacher at Elisava in Barcelona since 1988. Director of the Master on Advanced Typography at the Eina school of art and design, in collaboration with the Autonomous University of Barcelona. He also teaches a Master's course on art direction and advertising at Ramon Llull University. Author of Twenty-two tips on typography (that some designers will never reveal) and twenty-two things you should never do with typefaces (that some typographers will never tell you) (Actar).

At type-o-tones in Barcelona, Enric Jardi created Neeskens (1991-2007), Retorica Buida (1995, blackboard bold), Retorica-Plena (1995), Deseada (1995, a blurred roman), Escher, Magothic, Mayayo (1991, great children's book display font in Inline, Holes and Black styles), Peter Sellers (2007), Poca (1995, pixelish), Radiorama (1995), Verdaguera (1995, a classical weathered typeface)), Wilma (1995-2007: a chromatic type system), Xiquets Forever (1995, dingbats).

Interview by MyFonts.

Klingspor link. Type-o-tones link. FontShop link. Type-o-tones link. [Google] [MyFonts] [More] ⦿

Epreuves de caractères et lettres de deux points...

The text Epreuves de caractères et lettres de deux points sur différens corps: dont les poinçons en acier ou matrices en cuivre seront vendus, le mardi 17 août 1824, Grande salle de l'Hôtel Bullion, rue J.J. Rousseau (1824) shows matrices and punches for typefaces that were originally part of the imprimerie royale in Paris. Local download. [Google] [More] ⦿

Eric Gill

British stone carver, wood engraver, essayist and type designer Arthur Eric Rowton Gill was born in Brighton, England in 1882. He died in 1940. He was a student of Johnston and worked for some time for the Golden Cockerell Press in London. He became one of the most influential English type designers of the 20th century.

The text book Eric Gill (Fiona McCarthy, Faber and Faber Ltd) describes his life. Publishers Weekly writes: An English artist-craftsman in the tradition of William Morris, Eric Gill (1882-1940) exemplifies the search for a lifestyle to heal the split between work and leisure, art and industry. He is remembered today for his fine engravings and stone carvings, his legendary typefaces and book designs for the Golden Cockerel Press. Yet there was another side to the man, downplayed by previous biographers: a fervent convert to Catholicism and leader of three Catholic arts-and-crafts communes, Gill had a hyperactive libido which extended to incest with his sisters and daughters, as well as numerous extramarital affairs, according to British writer MacCarthy. He rationalized his penile acrobatics by inventing a bizarre pseudoreligious theory. In MacCarthy's candid portrait, Gill, who preserved the outward image of a devout father-figure, was neither saint nor humbug, but a highly sexed creative artist trapped by his Victorian concept of masculinity. This charismatic firebrand was a renegade Fabian socialist, a bohemian friend of Augustus John and Bertrand Russell. His adventurous life, as re-created in this beautifully written, absorbing biography, is disturbingly relevant to our time. A follow-up article by McCarthy in The Guardian, 2006.

Canicopulus Script (1989, Barry Deck) is a font named to remember one of Eric Gill's favorite extracurricular activities.

Author of An Essay on Typography (1931, revised in 1936). For a French edition, see Eric Gill Un Essai sur la Typographie (Boris Donné and Patricia Menay, Ypsilon Editeur, 2011). Gill once said: There are now about as many different varieties of letters as there are different kinds of fools.

His typefaces include

Gill Sans (1927). Revivals include Bitstream's Humanist 521 and its Cyrillic extension Paratype's Humanist 521. An obscure style called Gill Sans Shadow 338 (1929, Monotype) was digitized by Toto in 2011 as K22 EricGillShadow. Image of Gill Sans by Katharina Felski. Image of Gill Sans's g by John Bakhan (Seoul). Image of Gill Sans by Tori Estes. Over at Infinitype and SoftMaker, the typeface sells under the name Chantilly or Chantilly Serial. Niteesh Yadav, a graphic designer in New Delhi, created a great PDF file on the topic of Gill Sans. For a major digital update and revival, see Gill Sans Nova (George Ryan, 2015, Monotype). It extends Gill Sans MT from 18 to 43 fonts. Several new display fonts are available, including a suite of six inline weights, shadowed outline fonts that were never digitized and Gill Sans Nova Deco that was previously withdrawn from the Monotype library. And it covers Greek and Cyrillic.
Golden Cockerell Roman (1929), forv the Golden Cockerel Press. Berry, Johnson and Jaspert write: Designed by Eric Gill, a rounder form of his Perpetua. It has the modest capitals, horizontal serifs and slight differentiation of colour of Gill's other romans. The M is somewhat splayed. The g has a rather large bowl. The t is very short. The italic, cut only for the 14 pt. size, is a sloped roman except for the a and with it are used the roman capitals, as in the case of Joanna.
Perpetua (Monotype, 1928-1929). This is the prototypical lapidary typeface. The Bitstream version is called Lapidary 333. The SoftMaker versions are called P700 and persistent. See also here. Images of Perpetua: i, ii, iii, iv, v, vi, vii, viii, ix, x, xi.
Solus (1929)
Cunard (1934; sold to L. E. Deval, Elkin Matthews Limited, and listed as Jubilee (1952) by Stephenson Blake)
Joanna (1930): a slab serif based on work by Granjon. Monotype's metal typeface Joanna dates from 1958. Berry, Johnson and Jaspert write: Designed by Eric Gill for Hague & Gill in 1930. A light roman with small horizontal serifs and little differentiation of colour. The type is remarkable for the smallness of the capitals, which do not reach the height of the ascenders, themselves not tall. The bowl of the g is rather large. The italic is the roman inclined except for a and g. The inclination is very slight. There are no specially cut capitals, but the modest roman capitals are used. This was the practice of Aldus, the first printer to use italic. Eric Gill's Essay on Typography, 1931 is printed in Joanna. In 2015, Monotype set out to remaster, expand and revitalize Eric Gill's body of work, with more weights, more characters and more languages to meet a wide range of design requirements. As part of that, it published a revival / extension in 2015 by Ben Jones, Joanna Nova. This 18-font series covers Greek and Cyrillic. There is an excursion into the sans world based on Joanna by Terrance Weinzierl, also in 2015, Joanna Sans Nova (2015, Monotype: 16 fonts).
Aries (1932): see the 1995 revival at FontHaus by Dave Farey.
Floriated Capitals (1932).
Bunyan (1934). See also Bunyan Pro (2016, Patrick Griffin and Bill Troop).
Pilgrim (1934), originally designed for a book published by the Limited Edition Club of New York. This serene typeface with incised features was re-cut by Walter Tracy for Linotype in 1950. For digital versions, see Pilgrim (Linotype, based on a cut by Walter Tracy), Palermo Serial (1999, Softmaker), Bunyan Pro (2016, Patrick Griffin and Bill Troop), and perhaps OPTI Porque (Castcraft).
Kayo (1936). In 1980, it was redone by Esselte (and Monotype?). In digital form, we have Gill Kayo Condensed by ITC.
Corporate typefaces such as this one for W.H. Smith&Sons (1903-1907). Revivals or derived typefaces include Gill Facia (1996, Monotype) and Dear Sir Madam (2011, Radim Pesko).
Gill (ca. 1932): While Gill was living in Israel, he designed a Hebrew alphabet which he cut into walls. After Gill's death in 1940, the carvings were used by Moshe Spizer to design the Gill typeface, which was then cut by Alphonso Ioso. The typeface Gill, however, never caught on.

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

Eric Gill: An Essay on Typography

Eric Gill wrote An Essay on Typography in 1931 (Second Edition, 1936). It was published by Sheed and Ward, London. Reprinted in 1993 by David R. Godine. [Google] [More] ⦿

Eric Kindel

Eric Kindel is a designer, writer and Lecturer in the Department of Typography&Graphic Communication at The University of Reading. He lives in London. Eric Kindel's project at Central Saint Martins College of Art&Design (London) includes an on-line survey of typeforms.

At ATypI in Rome in 2002, he spoke about stencil letters ca. 1700. This talk was followed by a talk on the same topic at ATypI 2006 in Lisbon (with Fred Smeijers). His research (jointly with Fred Smeijers, James Mosley and Andrew Gillmore) involves stencil making, ca. 1700 according to an apparatus escribed in a late seventeenth-century text compiled by Gilles Filleau des Billettes for the French Royal Academy of Sciences. He also researches the Parisian stencil maker Gabriel Bery, from whom Benjamin Franklin purchased a large set of letter stencils and decorative borders in 1781. The stencil set survives in the collections of the American Philosophical Society (APS) in Philadelphia, and was first examined in 2001 as part of the project described above. Editor of Typeform dialogues: a comparative survey of typeform history and description, compiled at Central Saint Martins College of Art&Design (Hyphen Press, 2004), which has articles by himself and Catherine Dixon (who writes on type classification). He describes his research on stencil letters at Reading as follows: The period under consideration begins in the sixteenth century and ends in the present day. The intention is to recover, if possible, a relatively continuous history of stencil letters and stencilling (in the Americas and Europe) by drawing together artefacts and practices that are in many cases now largely forgotten. In addition to forming a broad view of how stencil letters have been designed, made and used over the past five centuries, specific practices will also be examined through an on-going series of articles and papers. The first, Marked by time, was published in issue 40 of Eye magazine: it offered two contrasting instances of stencil letter-making in Germany and the United States in the mid-twentieth century. Another, Stencil work in America, 1850-1900, was published in Baseline 38 and unearths innovations in the manufacture and use of stencils in America in the second half of the nineteenth century, and the stories of some of their makers. The article also draws on the writings of Mark Twain for whom stencils served as a literary device on several occasions. And a third, longer, article Recollecting stencil letters has been published in Typography papers 5. It discusses the many forms stencil letters take, and how their form is influenced by a number of factors. The article is based on the study of period writings and MSS., patent specifications, collected artefacts and other primary documents and materials. See also Patents progress: the Adjustable Stencil (Journal of the Printing Historical Society, no. 9, 2006). In Typography papers 7, he wrote about another stencil method in a paper entitled The Plaque Découpée Universelle: a geometric sanserif in 1870s Paris (2010).

Speaker at ATypI 2011 in Reykjavik on the topic of stencils. Speaker at ATypI 2013 in Amsterdam: Futura Black, circa 1860. Speaker at ATypI 2016 in Warsaw on The stencilled poster in Paris in the 19th century. Speaker at ATypI 2018 in Antwerp on the geness of the French stencil style.

In 2013, Christopher Burke, Eric Kindel and Sue Walker co-edited the wonderfully informative book Isotype Design and Contexts 1925-1971 (Hyphen Press), which includes a full discussion of Otto Neurath's work. [Google] [More] ⦿

Eric Olivares

Author of Caligrafia inglesa. [Google] [More] ⦿

Erich Alb

Erich Andreas Alb was born in Zürich in 1945. He trained as compositor (lead) and as Monotype keyboard operator, and studied typography and type from 1969 until 1971 at the Basel Gewerbeschule under Robert Büchler (the director was Emil Ruder) and André Gürtler. He has been an instructor for type apprentices in Basel, and a free-lance book designer in Zürich and Cham/Zug since the 80s. He also is owner, publisher and editor at Syntax Press (which he founded in 1964) and later at Syndor Press Cham/Switzerland (from 1996 until 2002). He sold Syndor Press in 2002 to Niggli Verlag Sulgen.

Editor of several books by Adrian Frutiger, Hans Ed. Meier and René Groebli (a photographer). Author of "Adrian Frutiger Formen und Gegenformen/Forms and counterforms" (Cham, 1998), "Adrian Frutiger Lebenszyklus/Life cycle" (Cham, 2000), and An Introduction to the History of Printing Types (London, 1998; the original publication was in 1961). He spent much of his time assisting Frutiger, André Gürtler, H.E. Meier, Alfred Hoffmann and other important figures in Swiss typography who are/were also his close friends. [Google] [MyFonts] [More] ⦿

Eric-Jean Müller

Author of 50 Alphabete fuer Techniker und Fachschulen. Flickr link. Digital typefaces that are based on some of these alphabets include Eleckatrical Banana JNL (2021, Jeff Levine), Strike (ca. 2019, by Nick Sherman) and Simula Sans (2018, by Jillian Kaimo). [Google] [More] ⦿

Erik Brandt

Erik Brandt teaches typography and visual communication at Virginia Commonwealth University in Doha, Qatar, and has been active in university teaching since 1998. Educated internationally, his research interests focus on issues of globalization that affect and drive the complexities of inter-cultural visual communication systems. His career began as a cartoonist in Japan, and has since found focus largely in print media. He maintains a small graphic design studio, Typografika, and has also received recognition for his short films. He is currently Chair of the Design Department and Professor of Graphic Design at MCAD (Minneapolis College of Art and Design) in Minneapolis, Minnesota.

Author of Ficciones Typografika (2019).

Speaker at ATypI 2006 in Lisbon. Designer of these experimental typefaces at FontStruct in 2008: Pixel System 26 (an update of Zirkel System (1999), a circle font also by Brandt). [Google] [More] ⦿

Erik Lindegren

Erik Lindegren (Swedish calligrapher and typographer, 1918-1996) ran the Erik Lindegren Grafisk studio in Askim, Sweden, and is the author of "ABC of Lettering and Printing Types". [Google] [More] ⦿

Erik Schmitt

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

Erik Spiekermann

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

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

His essay on information design.

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

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

He made the following typefaces and type families:

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

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

FontShop link.

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

Ernst Bentele

German author of Schrift geschrieben, gezeichnet und angewandt. Ein Lehrbuch für Schriftenmaler, Graphiker und sonstige schriftgestaltende Berufe (1952, Karl Gröner Verlag, Ulm-Söflingen), a guided tour of writing styles from constructed and calligraphed blackletter to written and drawn oldstyle, ornamented letters, and geometric grotesques. Some of his alphabets are shown in Hoffmann's Schriftatlas (1952). Alphabets by Bentele include Frankengold and Wechselstrich Handschrift. His alphabets provided inspiration to many digital era type designers:

AR Types designed Bentele Unziale.
Minjoo Ham revived Freely Drawn Italic and then went on to develop that typeface further into a layerable multi-color typeface, Teddy (2017, Fust & Friends).
Alejandro Paul (Sudtipos) revived Freely Drawn Italic as Bowling Script in 2014.
Alejandro Paul has another revival, Semilla (2011).
Perigord (David Nalle, 1993) is inspired by a Carolingian alphabet drawn by Bentele.

[Google] [MyFonts] [More] ⦿

Essential Books on Type

Don Hosek reviews the major books on typography. [Google] [More] ⦿

Esterbrook Pen Company

Publisher of Alphabets and Lettering with Esterbrook Drawlet Pens (1918; local download) and Drawlet Portfolio (1930s). Drawlet pens were Esterbrook's answer to the popular Speedball lettering pens, and the booklet was an instructional manual on hand lettering with the pen nibs.

Digital typefaces influenced by Drawlet Portfolio include Jeff Levine's Art Class JNL (2014) and Technopen JNL (2013). [Google] [More] ⦿

Estudio CH
[Cristóbal Henestrosa]

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

Designer of Espi nosa, 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 Fon do (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] ⦿

Eugen Nerdinger

German type and graphic designer (b. 1910, Augsburg, d. 1991, Augsburg) who created this text family in 1945. Coauthor with Lisa Beck of Schriftschreiben Schriftzeichnen (1977, München) and Kalligraphie (1988, München). Older texts by him include Alphabete (1974, München), Zeichen, Schrift und Ornament (1960, Callwey, München), and Buchstabenbuch (1954, Callwey, München). Nerdinger was active in the German resistance against the Nazis and was arrested in 1942 by the Gestapo and convicted to three and a half years of prison and forced labor. After the war, he worked chiefly at the Augsburger Kunstschule.

One of his alphabets led to Lola (2013, Laura Meseguer). The workhorse Newbery Sans Pro (2018, Alejandro Paul) and the skyline didone Rigatoni (2017, Alejandro Paul) are also based on Nerdinger's examples. [Google] [More] ⦿

Excellence in Lettering&Typography

Lettering book edited by Kevin Horvath&Jerry Lobato (1988). [Google] [More] ⦿

Excelsior Publishing

New York-based publisher of Scroll Book (1876), which showcases some ornaments and borders. [Google] [More] ⦿

F. Arthur Pearson

Author of Ticket and Show Card Designing (1924, publ. Sir Isaac Pitman and Sons, London). [Google] [More] ⦿

F. Schweimanns

Independent type designer who created typefaces for D. Stempel when he lived in Hannover, Germany. His typefaces, all published by D. Stempel AG, include

Biedermeier Reklame (1906).
Diana (1909) and Diana halbfett (1910).
Frankfurt Serie I and Frankfurt Serie II (1905). Blackletter types.
Graziella, Graziella fett and Graziella schmalfett (1905).
Korso (1913). Cursive style.
Künstlerschrift (1902) and Künstlerschrift halbfett (1901). Art nouveau.
Maria Antoinette (1905).
Moderne Reklame (1901). Art nouveau style.
Propaganda (1901). Art nouveau style.
Wodan schmalfett (1902) and Wodan licht (ca. 1905). Revived by Oliver Weiss in 2020 as WF Dahlia.

Fr. Ad. Becker and F. Schweimanns coauthored Die moderne Schrift.

Camera (1936, Intertype) is described by McGrew as a novel cursive letter with light, monotone strokes suitable for use on personal stationery and announcements. The design is based on Korso (1913). Korso was revived in digital form by Coen Hofmann at URW++ in 2016 as Marli. It is a vintage script that feels a bit forced. [Google] [More] ⦿

F. Weber & Co

Publisher of Neues Vollständiges Monogramm Alphabet (1886). [Google] [More] ⦿

F.A. Duprat

French author of Histoire De L'imprimerie Impériale De France, Suivi Des Spécimens Des Types Étrangers et Français De CetÉtablissement (Paris, l'Imprimerie Impériale, 1861).

This 578 page tome is descrbed by Bigmore and Wyman as follows: An account of the different state printers of France from the time of Francis I, who instituted the distinction of Printer to the King. Robert Estienne was one of the first royal printers before he went to Geneva. The history of the printing establishment originally known as L'Imprimerie Royale is then detailed, and an account of its successive directors follows. To this succeeds an elaborate description of the present establishment, its system of business, its productions, machinery, materials etc, even to the associations for charitable or educational purposes which have been formed by the workpeople. In an appendix there is a statement of the French laws relating to printing and statistics as to the position of the art. [Google] [More] ⦿

Fabrizio Serra

Author of Regole editoriali, tipografiche & redazionali (Publishing, Typographical & Editorial Rules) (Istituti Editoriali e Poligrafici Internazionali, Pisa - Roma, 2004), with a Preface by Martino Mardersteig and a Postscript by Alessandro Olschki. Professor at the Istituti Editoriali e Poligrafici Internazionali, Pisa - Roma. [Google] [More] ⦿

Face Photosetting

Photo era foundry set up in the 1960s by John McConnell and Chris Dubber in London. I could only find Pluto Outline, the art nouveau typeface Desdemona (a digital version was created in 1992 by David Berlow at Font Bureau and in 1994 by Richard Beatty; Letraset showed Desdemona in its 1981 and 1986 catalogs; the original is from the late 19th century by Karl Brendler&Soehne, Vienna), Stack, and Oxford (a multiline face) on-line. Steve Jackaman worked in the studio in Newman Street and Hanway Place, and recalled El Paso (a Western/Mexican simulation face) when he created El Paso Pro (2011, Red Rooster). In 2017, Steve Jacakaman (Red Rooster) designed Lodestone Pro, which is based on Marvin (1969, by Michael Chave).

According to Wes Wilson's web site, Face Photosetting led the way by launching a number of Art Nouveau revivals which were taken from Ludwig Petzendorfer's "A Treasury of Authentic Art Nouveau Alphabets". A selection of these, which included Arnold Böcklin, Edel Gotisch and Eckmann Schrift, were made more widely available when Letraset produced them for their dry transfer product. They published a number of books and catalogs, ca. 1976-1977: Face headline catalogue [1981/82] (1977), Specimens of Delittle's wood type, Face book of typefaces, Type catalogue (1976). Some of the typefaces were Cyrillicized, such as Bullion Shadow (1970; Cyrillic version by Victor Kharyk, 1978). Bully Pulpit Plain NF (2014, Nick Curtis) is a revival of Bullion Shadow. [Google] [More] ⦿

Fachliteratur

Fraktur.de gives information on books on Fraktur writing. [Google] [More] ⦿

Fat Faces: origins
[Sebastien Morlighem]

On February 22, 2021, Sebastien Morlighem gave a great Zoom talk in a seminar series hosted by The Cooper Union in New York. In it, he described the beginnings of fat types from around 1780 until their zenith of fatness and development around 1825, all in London. Here is a summary of the exposition for those who have no access to the video at The Cooper Union.

Sebastien started with quotes from famous type experts and type historians:

Paul Barnes, upon publishing Isambard in 2019: The fat face is the joyful expression of an idea---to make something as bold as can be---executed with real vigour and the utmost conviction. (Not really a definition)
Talbot Baines Reed, in "Old and new fashions in typography", Journal of the Society of Arts, 1890, p. 534: The new Roman was barely established as the prevailing fashion, when a vulgar taste for fatter faces asserted itself. The demand was promptly responded to by the founders of the day, Robert Thorne leading the way. Others outstripped him in the race; and about 1820, or rather before, a face like that before you was both fashionable and popular for certain works. (A condescending view)
Joseph Moxon, in "Mechanick Exercises Volume 2", 1683: A fat face is a broad stemmed letter.

Without a good definition, but eager to tell us the story, Sebastien showed examples of gradual thickening of the stems and increase of contrast from bold to fat, starting in Thomas Cottrell's foundry, where Robert Thorne (1754-1820) was employed. After Cottrell's death, Robert Thorne bought his foundry in 1794 and replaced the types by his own. Already in 1774, Thomas Cottrell had shown big fat letters in his A Specimen of Printing Types, very much related in shape to the Caslon types, as Cottrell had previously worked for the Caslon foundry. Similar large letters were also shown in broadsides by William Caslon in 1785. This was the time that a need arose for advertizing via posting bills and large lettering on buildings and coaches. Not to be outdone, Edmund Fry showed a very bold Ten Lines Pica in 1787 and S&C Stephenson had a sixteen lines pica in 1796. Thorne in his 1794 book, A Specimen of Printing Types, shows for the first time lower case versions of the letters. Still, serious mechanical challenges remained, as the early types of posting bills were often sand cast. Sometimes printers would use wood types, and in rare instances, even fill in the fat letters by hand.

The period from 1805 until 1810 saw the rise of the fat face; Sebastien showed us examples, in particular, of great use by the Liverpool-based printer G.F. Harris. Type historian Daniel Berkeley Updike (Printing Types: Their History, Forms and Use, Harvard University Press, 1922, vol. 2, p. 196) wrote: Thorne [...] is responsible for the vilest form of type invented up to that time. Thorne's specimen book of "Improved (!) Types" of 1803 should be looked at as a warning of what fashion can make men do. Stanley Morison, for whom Sebastien showed little respect, even wrote Thorne's "fat grotesque" [sic] was the first original English design to make an impression abroad. [...] With Thorne was produced a letter during 1800-1803 which was a novelty, distinct and dreadful. [Memorandum on Revision of the Typography of "The Times" [1930], Selected Essays on the History of Letter-forms in Manuscript and Print. Edited by David McKitterick, Cambridge: Cambridge University Press, 1980, vol. 2, p. 305]

Great progress was made in the genre by Caslon & Catherwood ca. 1810, who slowly evolved fatter types from bold typefaces. In 1812, William Caslon Juior (William Caslon IV) introduced a new production method, which he called the sanspareil matrices. They would allow for more accurate and crisper letters, and more efficient production of very large lettertypes. And so, the race was on, to make bigger and fatter typefaces. Other, newer foundries also started showing the popular fat types, including Vincent Figgins in 1815, caslon & catherwood in 1820, and Thorowgood in 1821, a year after he bought Thorne's foundry after Thorne's death in 1820. Nicolete Grey in XIXth Century Ornamented types and Title Pages [1938, London: Faber and Faber Limited] had this to add to a fat face by Fry and Steele from 1808: In this letter of Fry [...] the process seems to have reached a norm. It is a superb, wide, generous letter, magnificently roman, but with a good deal less of order and more of pomp than Trajan's classic. [...] It is a letter which falls into no category. In the process of fattening, Cottrell's ordinary eighteenth-century capital has changed, the modelling has been exaggerated and the shading become uniformly vertical and the forms of the letters have grown softer and rounder, yet it is not a modern face, for the shading is quite gradual and the bracketing very full, nor are the thick strokes thick enough, nor are the thin strokes thin enough, for it to be a fat face.

Sebastien wrote tthis all up in a booklet, Robert Thorne and the origin of the fat face (2021). The video of his talk is at Type@Cooper in the Lubalin series. [Google] [More] ⦿

Faythe Levine & Sam Macon

Flickriver: Nike's photosets

Fernand Baudin

Belgian typographic expert and writer (b. Bachte-Maria-Leerne, 1918, d. Grez-Doiceau, July 16, 2005), and author of "How Typography Works (and why it is important)" (New York: Design Press). This is a translation of La Typographie au Tableau Noir (Retz, Paris, 1984), a book entirely written by hand! Uitgeverij de Buitenkant published "Fernand Baudin, typograaf, typographiste, book designer". Baudin wrote "L'Effet Gutenberg" (1974, Editions du Cercle de la Librairie). He was active in the Rencontres de Lure, the ATypI, and was instrumental in the creation of the curriculum of the Plantin Genootschap in Antwerp. Another reference. Exposition Fernand Baudin from April 14 until May 27, 2000 at the Royal Library of Belgium. In 2004, he received the Laureate Honoris Causa award from the Plantin Society's Institute of Printing and Graphic Arts. CV (doc file in French). CV (txt file in French). Elly Cockx-Indestege et Georges Colin wrote Fernand Baudin ou La typographie au service du lecteur (2000, Bibliothèque royale de Belgique, Brussels). [Google] [MyFonts] [More] ⦿

Fine Art in Print

Books on graphic design and typography. This store is located in New York (159 Prince Street, Soho), and takes electronic orders (free shipping in the USA). [Google] [More] ⦿

Fiona G.E. Ross

Dr. Fiona Ross, is a typographic consultant, typeface designer, lecturer and author, specializing in non-Latin scripts. Fiona holds a BA in German; a Postgraduate Diploma in Sanskrit and Pali; and a PhD in Indian Palaeography from SOAS (London University). From 1978 to 1989, Fiona Ross worked for the British arm of Linotype, Linotype Limited, where she was responsible for the design of their non-Latin fonts and typesetting schemes, notably those using Arabic and Indic scripts such as Devanagari. Since 1989 she has worked as a consultant, author, lecturer, and type designer. In 2003 Fiona joined the Department of Typography and Graphic Communication at the University of Reading, England as a part-time sessional lecturer on non-Latin type. Fiona Ross is the recipient of the 2014 SOTA Typography Award. In 2018, Fiona Ross received the TDC Medal.

The Adobe Thai typefaces were commissioned from Tiro Typeworks and collaboratively designed by Fiona Ross, John Hudson and Tim Holloway in 2004-2005 for use with Adobe Acrobat (production by Tiro Typeworks). Vodafone Hindi (2007, with Tim Holloway and John Hudson) won an award at TDC2 2008.

Co-designer with Robert Slimbach and Tim Holloway of Adobe Devanagari.

Between 1978 and 1982, Tim Holloway and Fiona Ross designed Linotype Bengali based on Ross's research for her doctoral studies in Indian palaeography. In 2020, Fiona Ross and Neelakash Kshetrimayum were commissioned by Monotype to update that popular typeface, still called Linotype Bengali.

In 2018, Borna Izadpanah, Fiona Ross and Florian Runge co-designed the free Google Font Markazi Text. They write: This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. Four weights are advertized at Google, but only the Regular is available.

Bio at ATypI. Her books and/or essays:

The printed Bengali character and its evolution (1999, Curzon Press, Richmond, UK), reviewed by John Hudson.
Fiona's essay on Non-Latin Type Design at Linotype (2002).
Coauthor with Robert Banham of Non-Latin Typefaces at St Bride Library, London and Department of Typography&Graphic Communication, University of Reading (2008, London: St Bride Library).

Speaker at ATypI 2010 in Dublin and at ATypI 2018 in Antwerp. [Google] [MyFonts] [More] ⦿

Scans and photographs of old type specimen books. [Google] [More] ⦿

Fonderie Normale
[Jules Didot]

Foundry in Brussels, which published a specimen book entitled Specimen des caractères de la Fonderie Normale à Bruxelles, provenant de la fonderie de Jules Didot et de son père Pierre Didot (1819). Like so many printers in Belgium at the time, its foundry was heavily influenced by and dependent upon Didot.

In 1914, Enschedé republished it with a foreword that tells the story of the Fonderie Normale: i, ii, iii. Some sample pages from that book: Ecriture, Ecriture, Fantaisies, Gothique, Gothique Ornée No. 1489, Grec, Romain, Didot. Link to the 1914 text. [Google] [More] ⦿

Font Book

A fantastic (and huge) book by Erik Spiekermann, J&uul;rgen Siebert&Mai-Linh Thi Truong, showing over 24,000 fonts. A must for every serious font person. Publisher: FontShop International [June 1998] ISBN: 3-930023-02-4. [Google] [More] ⦿

Fontador (was: Arne Freytag)
[Arne Freytag]

German type designer in Hamburg (b. 1967) who studied at Kunstschule Alsterdamm Hamburg (1992-1996). Arne designed Arne Freytag (1998), Linotype Freytag Regular (2002) and Linotype Freytag Pro (2012).

His Manometer (2014) is a pneumatic ultra-black slab serif typeface with soft corners and fine counters. Manometer Sans (2014) is the sans version.

His Quitador (2014) will make even the most zealous bureaucrat boringly happy. Quitador Sans followed in 2016.

In 2015, Arne published Curve, a fashion didone.

Author of Toward a new typeface A type design project (Comedia, 2005, vol. 2).

Typefaces from 2016: Punto (dot matrix font), Signage (dot matrix style).

Typefaces from 2017: Quador (squarish serif), Ador (humanist sans).

Typefaces from 2018: Ador Hairline, Punto Poly (a stackable dotted stroke font), Quador Display.

In 2019, Arne published the soft serif family Bionik and the minimalist geometric sans typeface family Object.

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

Fontarte
[Magdalena Frankowska]

Magdalena Frankowska is the cofounder, with Artur Frankowski, of Fontarte in Warsaw, Poland, in 2004. Fontarte developed several typefaces including contemporary new designs as well as Polish avant-garde revivals. Graphic designer and type designer. Her M.A. from Warsaw University dealt with women artists in the surrealist movement (1997). Creator of these typefaces:

FA Cindy (2002): shoe dingbats.
FA Desiconz (2005): dingbats.
FA Domestic Godess (2005): domestic dingbats.
Saturator FA (2007): hand-made lettering and signs from the Polish communist republic period. See also Saturator Serif FA (2016).
Mobie FA (2008). A decorative fat face.

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

Fontbook
[Samvado Gunnar Kossatz]

Samvado Gunnar Kossatz collects over 2000 font families in a book. [Google] [More] ⦿

FontBook online

Searching for a designer or a font? Look no further than the FontBook. It has over 25,000 fonts listed. [Google] [More] ⦿

Fontographer: Type by Design

MIS Press book by Stephen Moye: a complete guide on typeface design using Fontographer. ISBN 2-55828-447-8. July 1995. 30USD. Out of press, but since the entire book is on the web, who cares? [Google] [More] ⦿

FontShop's new font book

Nice specimen book with hundreds of fonts. [Google] [More] ⦿

Fontsite bookstore

Sean Cavanaugh's huge selection of books on fonts and typography, offered in cooperation with Amazon. [Google] [More] ⦿

Formatting Font Formats

A research article published in 1993 by Luc Devroye at EuroTeX. [Google] [More] ⦿

Fotosetter Type Faces

A book by Intertype Corporation with one-line specimens, dated 1954. It is a catalog of their typefaces for the Intertype Fotosetter composing machine. [Google] [More] ⦿

Fr. G. Knudtzons Bogtrykkeri

Fr. G. Knudtzons Bogtrykkeri operated in Copenhagen, Denmark. The type specimens from their printing house were published in a 330-page book, Prøvebog fra Fr. G. Knudtzons Bogtrykkeri (ca. 1900). [Google] [More] ⦿

François Chastanet

François Chastanet (b. 1975, Bordeaux) is an architect and a graphic designer in Toulouse, France. He specializes in signage systems for transportation networks. Graduate of the École d'Architecture et de Paysage de Bordeaux, he pursued research in 2001 at the Atelier National de Recherche Typographique in Nancy, and completed a DEA in architectural&urban history at the École d'Architecture de Paris-Belleville in 2002. He currently teaches graphic design and typography at the École Supérieure des Beaux-arts de Toulouse. At ATypI 2006 in Lisbon, he spoke on Pixaçao letterforms, the shantytown graffiti letterforms found in the 1990s in Sao Paulo. In 2009, he and Alejandro Lo Celso cooperated with two students, Laure Afchain and Géraud Soulhiol, on an identity type for the city of Toulouse called Garonne. At ATypI 2009 in Mexico City, he and Catherine Dixon spoke on Cholo writing: The term cholo derives from an Aztec word xolotl meaning dog that was later turned on its head and used as a symbol of pride by the Mexican-American community in the context of the ethnic power movements of the 1960s from wich emerged the idea of La Raza or Chicano nationalism. Cholo writing originally constitues the vernacular handstyle created by the Latino gangs in Los Angeles as far back as the 1940s: it is probably the oldest form of the graffiti of names in the 20th century, with its own aesthetic, evident long before the explosion in the early 1970s in New York. Cholo writing can be seen as a cousin of the baroque gothic calligraphies typical of Mexico, as a genuine expression of a border culture between Mexico and the United States. This survey explores the genesis of these specific letterforms that paradoxically gave a visual identity to the LA infinite suburbia. For the first time ever a historical series of photographs from the early 1970s in LA is presented together with a contemporary collection, which gives a unique insight in the history of Cholo writing from an aesthetic point of view. See Placas in Los Angeles, the first suburban blackletters?, Baseline, vol. 55, 2008. In 2003-2004, he created Pontam Black: Pontam Black is a typographic project based on some letterforms observed on sewer plates destined for wordwide sidewalks, from Paris to Los Angeles, produced in Pont-a-Mousson, France. This idea was copied by Jack Usine in 2007 in his Trottoir typeface. Interview by Le Typographe.

Author of Pixaçao: Sãp Paulo Signature (2007, XGPress), and Cholo Writing: Latino Gang Graffiti in Los Angeles (2009, Dokument Press). [Google] [More] ⦿

François Thibaudeau
[Thibaudeau's classification]

François Thibaudeau: La Fonderie Typographique Française Album d'alphabets (1920)

Specimen of typefaces from La Fonderie Typographique Française showcased by François Thibaudeau in his 1920 book, Album d'alphabets pour la pratique du croquis-calque, édité spécialement pour le Manuel français de typographie moderne (imp. G. de Malherbe, Paris). The alphabets in this book:

Algériennes
Ascot
Canadiennes
Cheltenham Romain, Cheltenham Romain Large, Cheltenham Italique , Cheltenham Gras Italique, Cheltenham Gras, Cheltenham Gras Etroit, Cheltenham Gras Large
Chicago, Chicago Large
Cleveland
Elzevir Plantin, Elzevir Plantin Italique
Estienne
Excelsior
Garamond
Gravure Taille-Douce
Gravure Timbrage
Latines Françaises
Latines Modernes
Lyonnaises
Marocaines, Marocaines étrroites
Moscovites
Pittoresques droites, Pittoresques penchées
Provençales
Washington
Zenith
Antiques Litho (No. 1 through No. 4)
Blanches Saint-Germain
Engravers
Taille douce azurée droite, Taille douce azurée penchée

[Google] [More] ⦿

Frances Wakeman Books

Vendor of old type books, based in Nottingham, UK. Type specimen books. Books on typography. [Google] [More] ⦿

Francis Meynell

British book designer (b. London, 1891, d. Lavenham, Suffolk, 1975). He ran Nonesuch Press (founded in 1923) using Monotype machines. Coauthor with Herbet Simon of Fleuron Anthology (1973, London: Ernest Ben Limited), which contains many of the journal The Fleuron's best articles. [Note: Stanley Morison edited The Fleuron, which appeared as a series in the 1920s.] [Google] [MyFonts] [More] ⦿

Francisco Galvez Pizarro

Graphic designer from IPEVE, Universidad Diego Portales, Chile. He teaches typography at Universidad Católica de Chile and Diego Portales University. He was a design consultant for Santiago de Chile public transport's information system (2003-2006) and author of the book Educación tipográfica, una introducción a la tipografía (published in Chile in 2004 and Argentina in 2005). He made his mark in the type design world in 2002 when his lively modern typeface Australis (see also here) won the gold medal at the Morisawa 2002 competition. Speaker at ATypI 2009 in Mexico City. His typefaces:

At tipografia.cl in Santiago de Chile: TCL Elemental Serif, TCL Elemental Sans (1997, launched in 2001), TCL Uniprint, TCL Llanquihue (gorgeous), TCL Deluxe.
Galvez Sans.
Kinetika Grotesk.
Metrotipo.
Australis (2002) is now available from Latinotype. Australis Pro was published in 2012. Australis Swash (2013) adds a cursive touch to this splendid typeface family.
Amster (2008) and Queltehue Regular won awards in the extensive text and text family categories at Tipos Latinos 2008. Amster was published as Amster Pro by Pampa type in 2014.
He made font families for newspapers such as La Discusión (Chillán, 2008), and La Tercera in collaboration with Rodrigo Ramírez (Santiago, 2007-2008).
At Latinotype: Elemental Sans Pro (2010). This is a redesign of his earlier typeface by the same name. The letters in the words men and him have been smacked on the right cheek by their partners.
Chercan (2016, Pampa Type). A sans typeface family with a swinging g, a lapidary mood, Latin passion, and copperplate feet.
Otta, which won a grand prize at Tipos Latinos 2018.

[Google] [MyFonts] [More] ⦿

Frank Adebiaye
[Velvetyne Type Foundry (or: VTF)]

Frank Chouteau Brown

Author (b. 1876) of Letters&Lettering: A Treatise With 200 Examples (1921, Bates&Guild Co, Boston). This book shows many decorative alphabets. Alternate URL. Yet another URL.

Examples from that book: Alphabet after Serlio, An outline caps face, A Roman caps face. The best page on Chouteau Brown, complete with all images from his 1921 book. Some of Chouteau Brown's own lettering from that 1921 book: Incised English Script, 15th Century English Gothic Blackletter, 16thCentury German Blackletter, Capitals adapted from Renaissance era medals, Classic Roman Capitals, English Gothic Letter 15th Century, English Incised Script from a tombstone in Westminster Abbey, 18th Century French Script Capitals, German Blackletter (from brass), Italian Renaissance Capitals from a Marsuppini tomb, Italian Renaissance Capitals from Santa Croce, Florence, Italian Uncial Gothic Capitals from the 14th century, Modern American Letters, Modern American Letters for rapid use, Modern American Lowercase, Modern German blackletter, Modern German capitals, Spanish Script from the latter part of the 17th century, Spanish Script capitals, early 18th century, Uncial Gothic Capitals 13th century, Uncial Gothic Capitals 14th century, Uncial Gothic Initials 12th century, Venetian Gothic Capitals 15th century.

The Siamese style in Brown's 1912 book inspired Nick Curtis's digital font Owah Tagu Siam (2007). [Google] [More] ⦿

Frank Denman

Author of The Shaping of our Alphabet (1955, Alfred A. Knopf, New York), a 228-page type history book. His oeuvre. [Google] [More] ⦿

Frank Heine
[UORG]

Frank J. Romano

Author of Typencyclopedia: A User’s Guide to Better Typography. A type guru, he is Professor emeritus of Rochester Institute of Technology and founder of Electronic Publishing Magazine in 1976. He occasionally writes on early printing technology, such as here. [Google] [More] ⦿

Frank Romano

Rochester Institute of Technology Professor Emeritus Frank Romano had a long career in the printing and publishing industries. He was the editor and publisher of TypeWorld between 1977 and 1990, and later Electronic Publishing, Computer Artist, and Color Publishing magazines.

He is the author of sixty books, including the 10,000-term Encyclopedia of Graphic Communications (with Richard Romano). His books were among the first on digital printing, computer-to-plate, workflow, PDF, QuarkXPress, InDesign, and new media. His latest books include History of the Linotype Company (RIT Press, 2013) and History of the Phototypesetting Era (California PolyTechnic Institute GRcL Press, 2014).

He is president of the Museum of Printing in Haverhill, MA which houses the only collection of cold type systems. [Google] [More] ⦿

Frank Steeley

Author of Lettering for School and Colleges (1902, G.W. Bacon, London). [Google] [More] ⦿

Franklin Gage Delamotte

Author of The Signists Modern Book of Alphabets (1906). [Google] [More] ⦿

Franklin Photolettering

Photolettering foundry in the 1970s, located at 211 43rd Street, New York City 10017. One of my correspondents explains: Franklin Photolettering was the smaller film type joints catering to the major publishing and advertising industries in New York City in the 60s and 70s. They started out with a few originals to get into the game, but within a year or so they started putting out copies or slight modifications of existing stuff from Photolettering and VGC (you can see how that happens---someone comes in for some ad copy in Barker Flare, for example, and he asks if they have something like Eightball, so they say "sure, we can do that"). Even though they did have a bit of original stuff, they didn't have not enough to stand out like PL, Mecanorma, VGC or Letraset---also the sheer number of film fonts available on the market by the mid-70s meant that unless you dumped a lot of money on marketing, big-time design would ignore you----so not much room was left for smaller film type houses.

Their catalog is published in binder form in Film Alphabet Compendium Franklin Photolettering. In 1974, Paul E. Kennedy published Modern Display Alphabets: 100 Complete Fonts Selected and Arranged from the Franklin Photolettering Catalogue (Dover).

Typefaces by them included

Barker Flare, one of their early 1970s retro typefaces. Digitally revived as Plywood (2007, Patrick Griffin, Canada Type).
Pinto Flare. Digitized as Jazz Gothic (2005) by Patrick Griffin at Canada Type.
Urban (early 1970s), a Curvy Blocked Lettering typeface in the Alfred Roller / Wes Wilson style popular in the hippie era. Digital revivals include Rebecca Alaccari's Jonah (2005) at Canada Type.
Viola Flare. Digitized as Omaha Bazoo NF in 2007 by Nick Curtis and in 2005 by Canada Type as Tomato.

[Google] [More] ⦿

Fred Afrikyan

Aka Fred Africkian. Yerevan, Armenia-based architect, letterer and type designer who wrote The Art of Letter-Type by Fred Africkian. 120 Tables of Armenian decorative types (1984). See also here. Taboo (Canada Type) is a Latin typeface inspired by lettering from Africkian's book. Patrick Griffin of Canada Type writes: Virtually unknown in the West, Africkian was one of the most talented eastern block artists. Though mainly a calligrapher working with traditional tools, he embraced geometry on multiple occasions for the sake of drawing simple modern Armenian and Cyrillic alphabets. Though he normally tried to maintain in his work a certain homage to Mesrop Mashtots (5th century Armenian monk who invented the Armenian alphabet), his late 1970s experiments made use of so many modern elements that the results were hailed as "real art mingled with science." [Google] [More] ⦿

Fred Smeijers
[OurType]

Frederic Goudy
[Typologia]

Frederick William Hamilton

Frederic Warde

Born in Wells, Minnesota as Arthur Frederick Ward, 1894, d. New York, 1939. He enlisted in the United States Army in 1915 and attended the Army School of Military Aeronautics at the University of California, Berkeley during 1917-1918. On demobilisation he worked as a book editor for Macmillan&Co before undergoing training on the Monotype machine, after which he worked for the printers Edwin Rudge. He had met Beatrice Becker in 1919 and they married in December 1922. Warde was Printer for Princeton University (1922-1924). The couple moved to England in late 1924 for Warde had been offered work by the typographer Stanley Morison, designing for The Fleuron and the Monotype Recorder. The marriage did not last; they separated in 1926, and quickly divorced, though the break-up was an amicable one. Afterward Warde lived in France and Italy, where he became involved in Giovanni Mardersteig's Officina Bodoni. In 1926 Mardersteig printed The Calligraphic Manual of Ludovico Arrighi - complete Facsimile, with an introduction by Stanley Morison, which Warde issued in Paris while working for the Pleiad Press. He had his name changed several times, first his last name to Warde, and then his first name first to Frederique and then to Frederic. Warde returned to America permanently and he worked again for Edwin Rudge from 1927 to 1932, and also designed for private presses such as Crosby Gaige, the Watch Hill Press, Bowling Green Press, the Limited Editions Club and Heritage Press. Warde worked as production manager for the American office of the Oxford University Press from 1937 until his death in 1939.

His typographic work:

Based on the fifteenth century letters of Nicolas Jenson, Centaur (originally called Arrighi) was first designed by Bruce Rogers in 1914 for the Metropolitan Museum, and parts of the typeface (like the italic) were done by Warde in 1925. This was called Arrighi Italic (a smooth version of Blado) but became Centaur Italic (Monotype, 1929). Warde was inspired by the italic forms on the Italica of Ludovico Vicentino, a 16th century typeface. However, his capitals are more freely formed (not vertical, for example). Warde designed a revival of the chancery cursive letter forms of Renaissance calligrapher Ludovico degli Arrighi. This italic, titled Arrighi, was designed as a companion to Bruce Roger's roman typeface Centaur.

Author of Monotype Ornaments (1928, Lanston Monotype Corp) [this book is freely available on the web thanks to Jacques André]. Many ornaments in this book have been digitized; see, e.g., Arabesque Ornaments (for the 16th century material) and Rococo Ornaments (for the 18th century ornaments). Warde also published the following privately in 1926 with Stanley Morison: The calligraphic models of Ludovico degli Arrighi, surnamed Vicentino---a complete facsimile and introduction by Ludovico degli Arrighi.

Digital fonts based on his work include LTC Metropolitan (Lanston), Centaur (Monotype and Linotype versions) and Arrighi BQ (Berthold; this font has romans by Bruce Rogers and an italic by Frederic Warde).

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

Frederich Friedl

Author of many books on grammar and writing. These include Word Study and English Grammar, Abbreviations and Signs, Division of Words, Punctuation, Books Before Typography, Compound Words, Capitals (1918, United Typothetae of America Chicago, IL), and The Uses of Italic (1918, United Typothetae of America Chicago, IL). [Google] [More] ⦿

Fredrick S. Copley

Author of Copley's Plain & Ornamental Alphabets (1870). [Google] [More] ⦿

Freeman Gage Delamotte

Author, artist, photographer and wood engraver, b. Sandhurst, 1814, d. London, 1862. He published The Book of Ornamental Alphabets, Ancient and Mediaeval (1879, Crosby Lockwood and Co., London), which has plenty of 8th to 11th century alphabets and initials. See also here, here, and here. Another book is Examples of Modern Alphabets, Ornamental and Plain (1864, C. Lockwood and Co, London), which was scanned in and can now be downloaded here, here (locally), and here (the latter link has the 1891 version printed by Crosby Lockwood and Son, London). Further texts: The Book Of Ornamental Alphabets Ancient & Modern (1858, publ. E.F.N. Spon, London), The book of ornamental alphabets, ancient and modern, from the eighth to the nineteenth century, with numerals (1859, E. and F.N. Spon), Medieval alphabets and initials for illuminators (1861, E. and F.N. Spon; see here or here (locally) for a PDF), and A primer of the art of illumination for the use of beginners (1860, E. and F.N. Spon). Most of his lettering is typical of the Victorian tradition of adding ornaments to simple silhouettes. Example: 16th century wood engaving. An Italian alphabet (1864).

Digital typefaces based on his work include New Saxon Initials (David Nalle, 2016), Delamotte Initials One (2016, David Nalle), Delamotte Initials Two (2016, David Nalle), Museum Initials (2007, John B. Wundes) and Bad Situation (Intellecta Design, 2007: based on an 1864 design called Example Alphabet). [Google] [MyFonts] [More] ⦿

Friedrich Bauer

German type designer (b. Dorste, 1863, d. Schönberg, 1943). In 1882, he becomes the type director at the foundry of Schelter&Giesecke in Leipzig, until 1890, and again from 1896-1898. From 1898 until 1911, he is the head of printing at Genzsch&Heyse, first in München and then in Hamburg. From 1911 until 1924, he taught at the Staatlichen Gewerbeschule Hamburg. At Genzsch&Heyse, he designed Albingia (1906), Bürgerschafts Fraktur (1907; Schnelle claims 1913), Genzsch Antiqua (1906), Genzsch Kursiv (1906), Genzsch Antiqua halbfett (1908), Genzsch Kursiv halbfett (1908), Genzsch Antiqua fett (1910), Genzsch Antiqua schmallfett (1910), Genzsch Fraktur (1931), Genzsch Fraktur halbfett (1932), Heyse Antiqua (1921), Heyse Antiqua halbfett (1924), Heyse Kursiv (1921), Senats Fraktur (1907), Senats Fraktur halbfett (1908), Germanische Antiqua (1911), Germanische Antiqua halbfett (1912), Germanische Kursiv (1911), Hamburger Druckschrift (1904; halbfett and fett in 1908).

The first appearance of Nordisk Antiqua (or Genzsch-Antiqua) was in 1906 with a single weight under the name of "Nordisk Antiqua". In 1912 a family of seven weights was announced under the name "Genzsch-Antiqua" honoring the foundry in Hamburg where Bauer had been the manager of composing and printing since 1900. As the foundry Genzsch&Heyse had a lot of customers in Scandinavia, their Nordisk Antiqua became widely spread over the north of Europe.

All his other typefaces appeared at J.D. Trennert&Sohn: Fortuna (1930), Friedrich-Bauer-Grotesk (1933), Friedrich-Bauer-Grot. kräftig (1934), Friedrich-Bauer-Grot. halbfett (1934), Friedrich-Bauer-Grotesk fett (1934), F.-Bauer-Grot. schmalhalbfett (1934), Friedrich-Bauer-Grotesk licht (1934), Trennert Antiqua (1926), Trennert Kursiv (1927), Trennert Antiqua halbfett (1927), Trennert Antiqua fett (1929), Trennert Kursiv fett (1930), Trennert Antiqua schmalhalbfett (1929), Trennert Latein (1932).

For a digital revival of Friedrich Bauer Grotesk, see FF Bauer Grotesk (2014, Thomas Ackermann and Felix Bonge for Fontfont).

Digital revival of Senats Fraktur: Senatsfraktur (2020, Raph M. Unger).

Digital revivals of Genzsch Antiqua:

Genzsch Antiqua by Gerhard Helzel. In mager, halbfett and kursiv.
Nordische Antiqua (2000) by Gisela Will.
Nordik (1992) by Bo Berndal, released by Monotype.
LD Genzsch Antiqua (2017-2020) by Michael Wörgötter at Lazydogs Type Foundry.

Author of Chronik der Schriftgiessereien in Deutschland und den deutschsprachigen Nachbarländen (1928, Offenbach am Main). A PDF file exists that was made and expanded by Hans Reichardt in 2011. [Google] [MyFonts] [More] ⦿

Friedrich Forsmann

In 2002, Friedrich Forssman and Ralf de Jong published Detailtypografie: Nachschlagewerk für alle Fragen zu Schrift und Satz (Verlag Hermann Schmidt). [Google] [More] ⦿

Friedrich Groegel
[Fritz Grögel]

Frits Knuf Antiquarian Books

Friedrich Neugebauer

Austrian scribe and calligrapher, born in 1911. Harald Suess wrote about him in die Deutsche Schrift in 1996: I, II, III. The story goes that as a prisoner of war in Egypt, he wrote with toothpaste when all else failed.

Author of The Mystic Art of Written Forms: An Illustrated Handbook for Lettering (Salzburg: Neugebauer Press, 1980), and Bibliophile, Buchgraphik, Schriftgraphik (Salzburg, Austria: Verlag Neugebauer Press, 1983).

Typefaces influenced by his style:

Avalon (1995), a calligraphic typeface family by Richard Lipton.
Frauen [Roman, Script] (2015, Lucas Sharp, Incubator). A calligraphic pair. The Roman is partially based on the calligraphy of Friedrich Neugebauer [on the cover of an almanac of Berlin debutantes published in 1945 titled, Die schönsten Frauen der Welt], and partly Lucas's own creation. Production assistance from Wei Huang.

[Google] [MyFonts] [More] ⦿

Friedrich Soennecken

Friedrich Soennecken (b. 1848, Iserlohn-Dröschede, Sauerland; d. 1919, Bonn) was an entrepreneur and inventor. He was the founder of Soennecken, a German office supplier. In 1875 he founded F. Soennecken Verlag, a commercial enterprise in Remscheid, Westphalia. His main invention is the round writing style of calligraphy and the pen nib associated with it.

In 1878, Soennecken developed a method for creating glyphs, based on metal elements that are arcs or straight lines. The center lines of the glyphs are aligned with a grid. This was introduced in the German educational system in 1913. He wrote didactic texts on his construction method and on penmanship for the classroom. For example, he authored Methodical Text Book to Round Writing, A. Eltzbacher & Co., 1879. [Google] [More] ⦿

Dutch/French book seller with hundreds of old type books for sale. Their outlet is at 26, Rue des Béguines, 41100 Vendôme, France. [Google] [More] ⦿

Fritz Funke

Author of Schrift mit Zirkel und Richtscheit (Leipzig, 1955). [Google] [More] ⦿

Fritz Genzmer

Author of Das Buch des Setzers (1948), an overview of the hand composition typefaces available by German type foundries at the end of World War II:

From Frankfurt: Bauersche Giesserei, Ludwig&Mayer, D. Stempel.
From Berlin: H. Berthold, Norddeutsche Schriftgiesserei.
From Hamburg: Genzsch&Heyse.
From Offenbach: Gebr. Klingspor.
From Leipzig: J.G. Schelter&Giesecke, Ludwig Wagner.
From Dresden: Brüder Butter.
From Altona: J.D. Trennert und Sohn.
From Stuttgart: C.E. Weber.

[Google] [More] ⦿

Fritz Grögel
[Friedrich Groegel]

Fritz Grögel (b. Wassertrüdingen, Germany, 1974) studied graphic design and typography at the University of Applied Sciences in Potsdam, Germany. In his graduation work French Délice, he explored the history of French letterpainting. After several years of work as a corporate designer, he attended the TypeMedia master course of KABK The Hague where he researched the German letterpainting tradition. Together with Elena Albertoni, he founded the studio LetterinBerlin in 2011. The following year he conducted extensive research at Berlin's Kunstbibliothek on the history of German lettering which is the subject of his talk at ATypI 2013 in Amsterdam. That talk is based on the content of the book Karbid From lettering to type design (2013) by Verena Gerlach and Fritz Grögel published by Ypsilon Éditeurs and released on the occasion of the Amsterdam conference.

His project for the Masters in type design program at KABK in 2010 led to the signage family Hinterland (2010), and to Builderdyke (2010), a revival project with Paul van der Laan: a digital reinterpretation of Johann Michael Fleischmann's Mediaan Romein.

Other typefaces by him include Glupsisch (2010, is a round piano key typeface created with the help of Typecooker), Fritzskript (a flowing connected script that was done at the Ecole supérieure Estienne, Paris), and Estelita (a calligraphic hand that was inspired by the titles of a French art deco silent movie by Marcel L'Herbier called L'Inhumaine).

Flickr page. Old URL for Fritz Grögel. [Google] [More] ⦿

From Old Books

Great service in which many old books woith alphabets have been fully scanned. [Google] [More] ⦿

Fundición Tipográfica Bauer (or: Bauertypes)

Distributor in Barcelona of Neufville fonts, est. 1995. The fonts can also be bought at MyFonts. Ownership: the successors of Georg and Carlos Hartmann: Wolfgang and Vivian Hartmann. Digital type production director is Antoni Amate. Bauertypes also has a nice set of books and type catalogs for sale. [Google] [MyFonts] [More] ⦿

Futura: The Typeface

In 2016, Petra Eisele, Annette Ludwig and Isabel Naegele published Futura: Die Schrift (in German). The English version Futura: The Typeface (Laurence King) followed in 2017. This book includes essays by Steven Heller, Erik Spiekermann, Christopher Burke and others, and was edited by Petra Eisele (Professor of Design History and Design Theory at the University of Mainz), Annette Ludwig (Director of the Gutenberg Museum) and Isabel Naegele (Professor of Typography at the University of Mainz).

The publisher's blurb: Celebrating its 90th anniversary this year, the story of Futura is a fascinating one. Charting its Bauhaus origins to its use as the first font on the moon in 1969, this book tells the story of how the typeface went from representing radicalism in design to dependability. It is durable and timeless, and is worthy of being rediscovered and celebrated. [Google] [More] ⦿

G. Scott Clemons

Coauthor with H. George Fletcher of Aldus Manutius A Legacy More Lasting Than Bronze (2015, The Grolier Club). [Google] [More] ⦿

Gail Anderson

Gail Anderson is well-known for her typography at Rolling Stone magazine. Coauthor with Steve Heller of New Ornamental Type and Type Speaks: A Lexicon of Expressive, Emotional, and Symbolic Typefaces (2021). [Google] [More] ⦿

Gavin Ambrose

Coauthor with Paul Harris of The Fundamentals of Typography (AVA Publishing SA, 2006). [Google] [More] ⦿

Gérard Blanchard

Influential French type activist, b. Le Florez, 1927, d. Paris, 1998. Author of Aide au choix de la typo-graphie (Atelier Perousseaux, Reillanne, 1998) and Pour une sémiologie de la typographie (1979). Well-known for leading the Rencontres internationales de Lure for many many years.

In 2014, Sabrina Ekecik developed a typeface, Blanchard, that is based on Blanchard's handwriting. [Google] [MyFonts] [More] ⦿

Gebr. Klingspor: Schriftkartei

In 1950, Gebr. Klingspor published a nice small booklet simply called Schriftkartei. The images below are from that book. [Google] [More] ⦿

Geen Bitter
[Thom Janssen]

Geen Bitter (Den Haag, The Netherlands) consists of Thom Janssen (b. 1984, Maastricht), Jorn Henkes and Rogier van der Sluis. All three are graduates of the Graphic Design course at the Royal Academy of Art in The Hague, The Netherlands. Thom Janssen is a graduate of the TypeMedia program at the KABK in The Hague in 2017. The work of Geen Bitter has a strong typographical influence and covers designing typefaces, books, websites and identities, all with a typographic approach. Late in 2014, Geen Bitter disbanded. Thom currently works as a freelance type designer and as a researcher at PXL, Hasselt University, Belgium.

In 2013, they published Gewone letters Gerrit's early models. The blurb: A couple of years back, while cleaning the letterpress workshop at the KABK in The Hague, we had an amazing find. A package that hasn't been opened for some time. We opened it and found eighteen printing plates in mint condition. The printing plates, we soon found out, were made by Gerrit Noordzij and date back to the late 1960s. They contain a brief lesson about writing with the broad nib and, once familiar with this basis, writing and drawing some different techniques. Since it seemed the plates are never published before, we decided to do so and made a book containing prints from the plates. Next to the plates we asked former students if they still had old work and sketches with comments by Gerrit Noordzij. The result is a collection of sketches and material, together with five writings about the plates, Gerrit Noordzij and his contribution to the field of type and typography. The text has contributions by Albert-Jan Pool, Frank E. Blokland, Aad van Dommelen, Huug Schipper, and Petr van Blokland. It was published in 2013 by Uitgeverij De Buitenkant, Amsterdam.

Thom's graduation typeface in 2017 at KABK was Rikhard. He wrote: A variable font project with letter shapes inspired by English letter forms from around the 1780s, mainly Richard Austin, hence the name. With a weight axis for hierarchy in texts and an optical size axis in order to make small and larger text sizes look good. This project is an exploration in variable fonts. The goal was to learn about it, build workflow solutions, and have fun. This project is meant for typography on the screen. Browsers can take advantage of variable fonts, optical size can be automated and with CSS and JavaScript all the styles of the variable font can be accessed. One font, many styles: the future.

Their commercial typefaces:

Bex (2013). This sans typeface family is based on Thom Janssen's graduation project.
Cramp (2012). A casual hand-printed typeface by Rogier van der Sluis.
Herman (2013, Rogier van der Sluis). An elliptical monospaced signage typeface family with possibilities of layering and shadow effects. It is quite attractive and one of the finest typefaces in its genre.

[Google] [More] ⦿

Gems of Penmanship by Williams&Packard

Penmanship book written in New York in 1867 by D. Williams and S.S. Packard. It has a few blackletter and other alphabets, and many freehand drawings of birds and animals. Selected alphabets: Grand Capitals, Italian Capitals, Ladies Hand, Roman Capitals, Italian, Half Block, Williams Style German Text, Williams and Packard's Steel Pen German Text, Old English, Williams and Packard's Church Text [this inspired C. Lee's Ornate Alphabet], Beveled Alphabet, Ribbon Alphabet, (continued), Soft and Twisted Alphabet, (continued), Rustic Alphabet, (continued). Selected drawings: a hand, a bird, a deer, a swan.

Digital revivals include Vintage Ornamental (2016) and Gothic Ornamental (2016) by Ludmila Riumina. [Google] [More] ⦿

Gene Gable
[The Best Type Book with No Typesetting]

Scan of a 1974 postage stamp by Noordzij. Klingspor link. Letterror link. Flickr group with Noordzij photographs. Interview by Robin Kinross, 2001. The Enschedé Font Foundry link. Video from 2014 by TYPO Berlin. [Google] [MyFonts] [More] ⦿

Geoffrey Dowding

Author of An Introduction to the History of Printing Types (London, 1998). The original publication was in 1961.

He also wrote Finer Points in the Spacing & Arrangement of Type (Classic Typography Series) (Hartley & Marks; Revised edition, 1998). [Google] [More] ⦿

George Bickham

UK engraver and penman, 1684-1769, who wrote the manual The Universal Penman (published in parts from 1733 to 1741, reprinted in its entirety in 1743). The full title is The Universal Penman Or the Art of Writing Made Useful To the Gentleman and Scholar, as well As the Man of Business . . . Written With the friendly Assistance of several of the most Eminent Masters And Engraved by Geo. Bickham. That book also contains work by Bickham's collaborators, such as Joseph Champion, Wellington Clark, Nathaniel Dove, Gabriel Brooks, and William Leckey. Book cover. Other books by Bickham include Penmanship in its utmost Beauty and Extent (Overton & Hoole, London, 1731).

A free interpretation of the copperplate script styles of The Universal Penman can be seen in the monumental font Penabico (2010, Intellecta Design). Images: From The Universal Penman, Roundhand Script (ca. 1740), Greek Writing (1743).

Digital typefaces based on Bickham's scripts include 1739 Bickham (2010) and 1741 Bickham (2013) by Klaus-Peter Schäffel, Bickham Script (1997, Richard Lipton), Bickham Script 3 (2014, Richard Lipton), Penabico (Intellecta Design), and loose interpretations such as Poem Script (Sudtipos). [Google] [MyFonts] [More] ⦿

George J. Becker

Philadelphia, PA-based author of The American system of penmanship ... In ... ten numbers (1842, Uriah Hunt and Son, Philadelphia), Becker's System of Penmanship, Comprising Manual and Elementary Excercises, Business and Epistolary Writing, and Ornamental Penmanship. In Twelve Numbers. No. 10 (1856, Uriah Hunt and Son, Philadelphia), Becker's Ornamental Penmanship (1854), and Ornamental Penmanship Analytical and Finished Alphabets (1854, Uriah Hunt and Son), a lettering manual.

In 2013, James Puckett (Dunwich Type Founders) revived five typefaces from this manual as digital typefaces in his Becker Gothics collection. They include Egyptian, Egyptian Rounded, Stencil, Tuscan and Concave. All have Western and wood type influences. In 2009, Becker's 1854 book was used by Monogram Fonts Co in the creation of Noir Monogram (2009), which was based on Becker's Pearl type.

Downloads of his 1854 book: University of Michigan scan. For a Facsimile, see Becker's ornamental penmanship. A series of analytical and finished alphabets [FACSIMILE]. Free PDF file of the latter book.

In 1993, Dover reprinted 23 complete alphabets in Ornamental Calligraphy [With 50 Plates] (Dover Books on Lettering, Graphic Arts & Printing). Local download of his 1854 book. [Google] [MyFonts] [More] ⦿

Georgia Mansbridge

Author of Bruce Rogers: American Typographer (New York, The Typophiles, 1997). Afterword by Ronald, Jane, and Bruce Mansbridge. Distributed for the Typophiles by Oak Knoll Press. Oak Knoll writes: Short biography of Bruce Rogers (1870-1957), a reprint of the 1965 Masters Thesis by Mansbridge, who was acquainted with Mr. Rogers during the last decade or so of his life. (Facing the title page is a photo of the author and Mr. Rogers.) There is no discussion of books designed by Mr. Rogers, but a concluding chapter quotes various comments, positive and negative, by others on the work of Rogers. Concludes with notes, primary and secondary bibliographies (not updated since the original publication). Printed at the Stinehour Press. Bruce Rogers' colophon device is gilt-stamped on the front cover. [Google] [More] ⦿

Georgina Llados

Designer in Barcelona, who published a small booklet enttled Sixties and Type. [Google] [More] ⦿

Gerald Cinamon

Gerald Cinamon was born in Boston, received his MFA Degree in Design at the School of Art and Architecture, Yale University, and has lived in London since 1961. He freelanced for numerous publishers and eventually became Chief Designer at Penguin Books for almost 20 years. His books regularly were chosen for the Best Books of the Year shows. He has written studies of designers and is now especially interested in lettering and design history.

He wrote Rudolf Koch: Letterer, Type Designer, Teacher (2000, Oak Knoll Press and The British Library), E.R. Weiss: The Typography of an Artist (Oldham: Incline Press, 2011) and German Graphic Designers in the Hitler Period. He spoke about Koch at ATypI 2003 in Vancouver. [Google] [More] ⦿

Gerard Unger

Dutch type designer, born in Arnhem, The Netherlands, in 1942, d. 2018. He studied at the Gerrit Rietveld Academy in Amsterdam, and taught at the Rhode Island School of Design, the University of Reading, and at the Gerrit Rietveld Academy in Amsterdam. From 1974 on, he designed type, starting his career at Hell in Kiel in 1986. Until the end of his career, he taught at Reading and Rietveld. Unger designed stamps, coins, magazines, newspapers, books, logo's, corporate identities, annual reports and many other objects. But he was best known for his typefaces:

Markeur (1972), not available as digital type. Unger's first typeface, designed for Enschedé's Pantotype system.
M.O.L. (1974), not available as digital type. M.O.L. is the type used in the Amsterdam subway.
Demos (1975-1976, Linotype). Unger said once that this was his first face, and that he made it at Hell in Kiel in 1974 (but I am confused then as to the date of Markeur then).
Demos (new version 2001), available from Visualogik. In 2015, Gerard published Demos Next (done together with Monotype's Linda Hintz and dan Reynolds) at Linotype.
Praxis (1976, Linotype). Revived in 2017 as Praxis Next, also at Linotype. Linotype writes that the design is by Gerard Unger, Linda Hintz and the Monotype Design Studio.
Hollander (1983, Linotype).
Flora (1984). There is also ITC Flora (1980-1984). Named after Unger's daughter, this is an upright sans italic.
Swift (1985). This sturdy transitional typeface is his most popular design. It is used by many Dutch and Scandinavian newspapers, and got Unger the Gravisie-prijs in 1988. In 2009, Linotype published Neue Swift (a 1995 design by Unger), i.e., Swift with old style figures thrown in. See also Swift 2.0 (1995).
Amerigo (1986), available from Bitstream. This was originally designed for 300dpi laserprinters. It is a tapered almost lapidary typeface family. In the Bitstream collection, Amerigo is called Flareserif 831.
Oranda (1987), available from Bitstream. This is a slab serif originally drawn for the European hardware manufacturer Océ in 1968.
Cyrano (1989).
Argo (1991), available from Dutch Type Library.
Delftse Poort (1991), a stencil typeface not available as digital type.
Decoder (1992), available from Font Shop. This was a font from the FUSE 2 collection.
Gulliver (1993). This typeface was used by USA Today and the Stuttgarter Zeitung. Can be bought from URW++ from 2009 onwards.
OCW Swift (1995-1997, for Ministerie van OC en W, Zoetermeer - NL, by Visualogik Technology&Design).
ANWB fonts (1997), available from Visualogik.
Capitolium (1998). Capitolium was designed in 1998 at the request of the Agenzia romana per la preparatione del Giubileo for the Jubilee of the Roman Catholic Church in 2000. It was not used though for the millennium celebrations. In 2002, Capitolium was picked as the serif font for the material of ATypI in Rome. It was accompanied in that advertising by Unger's sans serif font Vesta (2001), loosely based on the lettering at the Vesta temple in Tivoli. He developed Capitolium futher to make Capitolium News and Capitolium News 2 (2011, Type Together), so that the adapted glyphs would be more legible (large x-height) and fit better on a page (more glyphs per line). The modern typeface Capitolium News 2 was published by Type Together in 2011.
Paradox (1999), available from Dutch Type Library. This is a Didone font done in 1999, for which he won a Bukvaraz award in 2002.
Coranto (2000). In 2011, Coranto2 was published at TypeTogether: Coranto 2 is originally based on Unger's typeface Paradox, and arose from a desire to transfer the elegance and refinement of that type to newsprint.
Vesta (2001). The sans serif Vesta (designed as a possible candidate sans serif for the Rome 2000 project) won an award at Bukvaraz 2001. It is available now as Big Vesta (2003).
Linotype Library is the licenser of the German government's new corporate design typefaces Neue Demos (Antiqua, 2004) and Neue Praxis (sans-serif, 2004) by Unger. The typefaces are to be used for all official correspondence, brochures and advertisements.
Allianz (2005) is a corporate type system with sans and serif typefaces developed with the firm of Claus Koch of Düsseldorf. The typefaces were designed in collaboration with Veronika Burian, London, and were produced as fonts by Visualogik, 's-Hertogenbosch.
Alverata (2013). A lapidary flared typeface with a huge x-height influenced by roman ("romanesque") lettering from the XIth and XIIth centuries. Alverata consists of three different fonts: Alverata, Alverata Irregular and Alverata Informal. For the development of the Greek letterforms, Unger collaborated with Gerry Leonidas (University of Reading) and Irene Vlachou (Athens). He cooperated with Tom Grace for the Cyrillic letterforms. Alverata was published by Type Together in 2014 and 2015. It appears to have Vesta's skeleton and dimensions. Alverata won the type design prize at Tokyo Type Directors Club 2016. PDF file.
Sanserata (2016, Type Together). The blurb: Sanserata is an articulated sans that mirrors Alverata's creativity and concept. Its bright and unflappable nature make it perfect for positive and casual brands, and its accentuated terminals improve legibility in text, especially on screens where light emission tends to round off the endings of glyphs.

Gerard Unger lived in Chicago and Bussum, The Netherlands. Besides the awards mentioned in the list above, he received global prizes for his typography, such as the H.N. Werkman Prize (1984), the Maurits Enschedé-Prize (1991), the 2009 SOTA Typography Award and the TDC Medal (2017).

Author of Terwijl Je Leest (Amsterdam, 1997) and Theory of Type Design (2018).

Books about Gerard Unger include Gerard Unger Life in Letters (2021, by Christopher Burke, De Buitenkant).

Interview by John L. Walters. At ATypI 2004 in Prague, he spoke about type for dailies, and also on Neue Demos and Neue Praxis. At ATypI 2008 in St. Petersburg, he spoke about letterforms in inscriptions from the 10th, 11th and 12th centuries. FontShop link. Klingspor link.

View Gerard Unger's typefaces. [Google] [MyFonts] [More] ⦿

Gerlach & Schenk
[Martin Gerlach]

Martin Gerlach is the author of Allegorien und Embleme (1882, Leipzig) and Das Gwerbe Monogramm (1881). At Gerlach & Schenk, he published Gerlach & Schenk Brochure (1888). [Google] [More] ⦿

Gerrit Noordzij

Gerrit Noordzij (b. 1931, Rotterdam; d. 2022) was a Dutch graphic designer, typeface designer, author, teacher, calligrapher, and design artist who made drawings, wood and copper engravings, and postage stamps. From 1960 until 1990 he taught writing and type design at the Royal Academy of Art in The Hague. One of his many students there was Lucas de Groot. Noordzij has worked as graphic designer for various Dutch publishers. Since 1978 he has been the house designer for the publishing company Van Oorschot. His intellectual influence is matched by his physical heritage, in the form of two talented sons in the field of type design, Christoph and Peter Matthias. The Gerrit Noordzij Prize, a prize given to typographers and type designers for extraordinary contributions to the field, is named after him. He was also the first person to receive this prize in 1996. In 2013, Gerrit Noordzij reveived the TDC Medal at the ATypI in Amsterdam.

The influence he had on Dutch type design is based on a theoretical system he called The stroke of the pen, and his position as the main teacher of type design in the country for three decades. Books on his system include The stroke of the pen: fundamental aspects of western writing (1982), and De Streek: Theorie van het schrift (1985) (translated by Peter Enneson in 2005 at Hyphen Press in London: The Stroke: Theory of Writing). His point in his oeuvre is that letterforms are rooted in handwriting.

Other publications: Letterletter (Vancouver, Hartley&Marks Publishers, 2000), De Staart van de Kat (1988,GHM, Leersum), De Handen van de Zeven Zusters (with Willem Dijkhuis: Van Oorschot, Amsterdam, 2001), Das Kind und die Schrift (Typographische Gesellschaft, München, 1985).

His typefaces:

Gerrit designed what some consider the perfect font, Ruit, but it is nowhere to be had.
Dutch Roman (1980).
Batavian (1980).
Remer.
Ruse: a huge text family that started out based on Gerrit's own handwriting, published at TEFF, or The Enschedé Font Foundry. He writes: From 000 to 100 the family is divided into 11 variants of increasing contrast. Each variant contains four different kinds of figures (supplied in four font layouts - HgTb, HgTx, LnTb and LnTx) and a special version for ligatures (Lig). HgTb is a version that has old style figures with identical widths, HgTx has old style figures with individual widths, LnTb has lining figures with identical widths and LnTx has lining figures with individual widths. Any typesetting job for figures, whether it be in tables or plain text, can be carried out easily with Ruse. Each variant is available in roman, italic and small capitals. The complete family consists of 154 fonts.
The bastarda typeface Burgundica (1983, TEFF). He writes: The design of Burgundica emerged from analyzing the elongated version of the Burgundian Bastarda appearing firstly in manuscripts from the calligraphic workshop of Jacquemart Pilavaine in Bergen (Hainaut) in 1450. The Burgundian bookproduction of the time owed much of its splendor to this elegant script. In Burgundica I followed the shapes of the Burgundian bastarda rather closely. Of course, there was no use for the shapes of the bastarda in the roman and italic fonts of Tret; instead I adapted the spatial proportions of the calligraphic pattern to the shapes of that typeface. (Note: Tret is to be released by TEFF, currently in production). In the last quarter of the 15th century the first bastarda typefaces were cut in Bruges. Many similar typefaces followed that were founded on the typefaces by such predecessors as Caxton, Mansion and Brito. Contrarily Burgundica has its origin in the script itself.

In 2013, Geen Bitter (Thom Janssen, Jorn Henkes and Rogier van der Sluis) copublished Gewone letters Gerrit's early models at Uitgeverij De Buitenkant, Amsterdam. The text has contributions by Albert-Jan Pool, Frank E. Blokland, Aad van Dommelen, Huug Schipper, and Petr van Blokland. The blurb: A couple of years back, while cleaning the letterpress workshop at the KABK in The Hague, we had an amazing find. A package that hasn't been opened for some time. We opened it and found eighteen printing plates in mint condition. The printing plates, we soon found out, were made by Gerrit Noordzij and date back to the late 1960s. They contain a brief lesson about writing with the broad nib and, once familiar with this basis, writing and drawing some different techniques. Since it seemed the plates are never published before, we decided to do so and made a book containing prints from the plates. Next to the plates we asked former students if they still had old work and sketches with comments by Gerrit Noordzij. The result is a collection of sketches and material, together with five writings about the plates, Gerrit Noordzij and his contribution to the field of type and typography.

Gerrit Noordzij Prize: Books

Books published about the Gerrit Noordzij Prize:

Mathieu Lommen, Anno Fekkes, Jan Willem Stas (et al.): Het primaat van de pen: een workshop letterontwerpen met Gerrit Noordzij, The Hague (2001).
Fred Smeijers (ed. by Robin Kinross): Type now: a manifesto, plus work so far, London (2003).
FontShop Benelux (ed.): Erik Spiekermann, The Hague/De Pinte (2006).
Dawn Barrett, David Berlow, Matthew Carter (et al.): Tobias Frere-Jones Gerrit Noordzij Prize Exhibition, Amsterdam (2009).
Ben Bos, Tony Brook, Tobias Frere-Jones, Karel Martens, David Quay: Wim Crouwel - Gerrit Noordzij Prize, The Hague (2012).

[Google] [More] ⦿

Gerry Leonidas' reading lists

Type reading lists compiled by Gerry Leonidas, who teaches at the University of Reading. [Google] [More] ⦿

Gert Wiescher
[Wiescher Design]

Giambattista Bodoni
[Manuale Tipografico: 1818 (full)]

Giambattista Bodoni
[Manuale Tipografico: 1818 (partial)]

Gilbert Powderly Farrar
[Intertype]

Giovambattista Palatino
[Libro di M. Giovambattista Palatino cittadino romano]

Glossary of Typesetting Terms

Giovanbattista Palatino

Or Giovanni Battista Palatino. Giovanbattista Palatino, b. Rossano, Italy, d. ca. 1575, Naples. The calligrapher's calligrapher, was the most prolific designer in the first half of the sixteen century. Palatino designed 29 different scripts, and also designed, not only Latin but, German, Hebrew, Chaldee, Arabic, Greek, Egyptian, Syrian, Indian, Cyrillic and several other alphabets. In 1540 he published a writing instruction and lettering book entitled Libro nuovo d'imparare a scrivere. In 1566, he wrote Compendio dl Gran Volume.

Palatino is also the name of a famous typeface designed in 1948 by Hermann Zapf at Linotype. Akira Kobayashi, the Palatino typeface family was expanded. Linotype released the Palatino Nova in 2005 and Palatino Sans and Palatino Sans Informal in 2006 as a joint effort of Hermann Zapf and Akira Kobayashi. Copies or near-copies of Zapf's Palatino include Book Antiqua (by Monotype, distributed by Microsoft---this typeface did not have Zapf's blessing and may well have led Zapf to resign from ATypI), URW Palladio L (on which Zapf collaborated), TeX Gyre Pagella (free), Zapf Calligraphic 801 (by Bitstream, approved by Zapf), Zapf Renaissance Antiqua (by Scangraphic), Paltus (URW), Palladium (Compugraphic), Palm Strings (Corel), Parlament (Scangraphic), Patina (Alphatype), pal (GoScript), Palladio (by SoftMaker), palazzo (by SoftMaker), and FPL Neu (based on URW Palladio L).

View various digital implementions of Zapf's Palatino. [Google] [MyFonts] [More] ⦿

Giovanni Tonso

Author of Modelli Di Calligraphia (1898). [Google] [More] ⦿

Giuseppe de Lama

Italian author of Vita del cavaliere Giambattista Bodoni: tipografo italiano, e catalogo cronologico delle sue edizioni, Volume 1 (1816), a biography of Giambattista Bodoni, and a catalog of his work. Local download. [Google] [More] ⦿

Glossary of Typesetting Terms (1994, University of Chicago Press) was written by Richard Eckersley, Charles M. Ellertson, Richard A.ngstadt and Richard Hendel. Downloads: i, ii, iii. [Google] [More] ⦿

Google Books

Google's book scanning project. Books available starting in August 2006 include Jan Middendorp's Dutch Type and hundreds of others. The pages come in low quality JPG format, about 90k per page. Furthermore, the right-click download function is disabled. The only way to get an entire book is to click on every page in the browser, and then check the cache on your computer, which should have each page in its JPG format---a painful process that will take a good hacker to automate. Text pages are sometimes in PNG format. Grabbing text for quotations, as one can do in PDF files for example, is impossible. So, in summary, Google Books is useful for advertising purposes, to make one buy the book. It is useless for those wishing to do some serious reading or those interested in the fine details of type specimen or other images. [Google] [More] ⦿

Graham Moss and Kathy Whalen

Authors of A Collation of Specimens Displaying the Types&Typography of Broadsheets and some other Ephemeral Printing all now hung out to dry (2007, Incline Press, Oldham). [Google] [More] ⦿

Greg Ruffa

New Jersey-based author of The Art of Wood Type (2008), which is easily the most valuable---and beautiful---text on wood type ever written. Born in Raritan, NJ, in 1925, he served in the US Air Corps in 1943 and strudied at Michigan State College and the Aret Career School (New York City), class of 1949. He settled in Scotch Plains, NJ in 1964 and set up Gergory Ruffa Advertising. [Google] [More] ⦿

Gregor Stawinski

Author of Retrofonts (2010, Mark Batty Publ.), a 560-page book that comes with a CD that contains 222 fonts. These are basically old freeware and shareware fonts by Dieter Steffmann, Nick Curtis, and others---all easily found on web archives. [Google] [More] ⦿

Gruso

Gruso Schriftenmappe: Eine Auswahl schöner Gebrauchsschriften für Maler, Graphiker, Schaufensterdekorateure und verwandte Berufe. Heft 3 and Heft 4 (1952) are booklets with tens of alphabets. They were scanned in by Michael Stoll. I cleaned up a subset of the scans, reorganized the set, and commented on them. [Google] [More] ⦿

Gunnar Klack

Author of Neubau Akademie Study of a Grotesque Typeface in its Historical and Sociocultural Context (2020). This is a translation of Neubau Akademie, Historische und soziokulturelle Kontextualisierung einer Groteskschrift (2016). [Google] [More] ⦿

Gunnlaugur Briem

Briem is a fantastic Icelandic calligrapher and type designer. His typefaces:

Briem Akademi (1997-2002, Adobe).
Briem Gauntlet (1997).
Briem Mono (2001). A typewriter typeface.
Briem Operina.
Briem Script (Adobe). a multiple master font.
Briem Times (1990). This was the basis for Times Millenium, used by The Times. Read about the controversy at that page.
HS Headline (2015). He teamed up with Hasan Abu Afash for this fat calligraphic didone display typeface. Briem contributed the Latin part, while Afash took care of the Arabic, which is based on the simple lines of Naskh calligraphy.

Author of these [free] books:

Tenniel's Alice. The complete set of 92 illustrations for Alice in Wonderland (1866) and Through the Looking Glass (1870). by Sir John Tenniel (1820-1914), the most famous Victorian book artist. His drawings for the Alice books were engraved by the Brothers Dalziel, and are reproduced here in a 300-dpi resolution.
Briem at the Type Archive. Fifty pieces, reproduced in one-fourth of original size.
Briem in Tipoteca Italiana. Fifty pieces, reproduced in one-fourth of original size.
The Briem Report 2012 (2013). The book ranges from from pyrography to stonecarving. It deals with low-resolution hinting and handwriting therapy for Attention Deficit Hyperactivity Disorder. It contains over a hundred entries of work samples and notes by leading letterforms practitioners.
Cursive Italic News. The Barchowsky Report on Handwriting, Vol. 2 No. 3.
Handwriting Models. Handwriting Models is a facsimile of the first Icelandic copperplate copybook by Benedikt Gröndal. This is a brief instruction in a new style that was introduced in Icelandic schools in 1875. Blackletter cursive had been replaced by the documentary hand of the British Empire. Italic handwriting succeeded it in 1984.
Handwriting Repair.
Italic Persuasion.
Model Sheets for Arts and Crafts 1. Model sheets for Arts and Crafts: Johann Theodor de Bry's Neiw Kunstliches Alphabet, 1595 is a reprint of Vorlagen für das Kunstgewerbe, Herausgegeban von Carl Hrachowina. 1. Band. Künstliches Alphabet von J. Th. de Bry, Wien, Verlag von Carl Graeser, 1886.
Modern Alphabets. Facsimile copy of F. Delamotte's Examples of Modern Alphabets Plain and Ornamental, Crosby Lockwood and Son, London 1913. The book was first published in 1859.
Arrighi's Operina. Operina (1522) is a slim volume of 32 pages. Each page was printed from a separate woodcut by Ugo da Carpi, who is best known as a master of chiaroscuro engraving. The author, Ludovico Arrighi, was a copyist, papal scribe, publisher and type designer.
Russian Calligraphy. A lighthearted look at calligraphy and decades of teaching by Leonid Pronenko the author of Calligraphy for Everybody (in Russian). Many of his students at the Kuban State University in Krasnodar have gone on to successful careers in design and calligraphy.
We're doomed; what else is new? Briem's keynote address at ATypI 2011 in Reykjaví.

Keynote speaker at ATypI 2011 in Reykjavik. FontShop link. [Google] [MyFonts] [More] ⦿

Gunnlaugur S.E. Briem
[The Icelandic Method]

Gustav Behre

Author of Farbe und Form in der Reklamegestaltung, München, 1936. [Google] [More] ⦿

Gustav Mori

Type designer (1872-1950) who reconstructed Gutenberg-Textura (1928, Stempel).

In 1916, he published a book on the Frankfurt-based foundry of Benjamin Krebs, Nachfolger, Die Schriftgiesserei Benjamin Krebs Nachf., Frankfurt a.M. Ein Beitrag zur Geschichte des Frankfurter Schriftgiesser-Gewerbes.

Die Hochdeutschen Schriften aus dem 15ten bis zum 19ten Jahrhundert der Schriftgiesserei und Druckerei was published in 1919 at Elsevier. [Google] [More] ⦿

Gustave Mayeur
[Mayeur Type Foundry]

Gustavo Machado
[Type for Change]

Gutenberg Bible

The Gutenberg Bible on-line, free! This is a book with an unreadable layout and annoying typography, an example of what not to do when you set a book. Its only interest is that it was a historical milestone. At the British Library. [Google] [More] ⦿

Günter Schuler

Günter Schuler is a German author interested in good typography. Among the things he seels are the Cleverprinting DTP-Typomter (a handy sheet for measuring type sizes, both absolute and relative), TypeSelect Schriftenfächer (a wall paint-style foldout with typefaces), and Grundkurs Typografie und Layout (an introductory book on typography). [Google] [More] ⦿

Guy Oring

Coauthor with Paul Carlyle of Letters and Lettering (1938), Layouts and Letterheads (1938) and Learning to Letter (1939).

The former book was a big source of inspiration for Nick Curtis. For example, he created the typeface Shishka Bob NF (2005) based on the experimental calligraphy in that book. Type designers who were inspired by, revived or extended alphabets shown in Letters and Lettering include:

Nick Curtis: Shishka Bob NF (2005), TaraBulbous NF (2008: is a fat-lettered font), Guinness Extra Stout NF (1999), Kynges X NF (2004: a blackletter semi-Lombardic face), Astoria Titling.
Dathan Boardman: Afternoon Tea (2010: art deco).
Anton Scholtz: Nocturne (2012: art deco).
Monogram Fonts (Jim Lyles, Brian Bonislawsky): MFC Patisserie Monogram (2020), MFC Redding Monogram (2016), MFC Buttergin Monogram (2018: Tuscan).
Grype (Jim Lyles, Brian Bonislawsky): Decade (2019).
PhotoLettering / House Industries: Quaint or Carlyle Quaint.

[Google] [MyFonts] [More] ⦿

Gwyn Headley

London-based larger than life Welsh bon vivant, and author of Encyclopaedia of Fonts (December 2005, Cassell Illustrated, London), a book that can be considered as a digital successor of Jaspert, Berry & Johnson. The coverage is up to the present. The fonts are classified in one of about 40 styles, and are shown in chronological order within each style. Gwyn has worked on it for four years. [Google] [More] ⦿

Gyöngyi Bujdosó

Hungarian professor at the Department of Computer Graphics and Library and Information Science, Institute of Mathematics and Informatics, University of Debrecen, Debrecen, Hungary. She is a frequent speaker on Hungarian typography at EuroTEX and TUG metings. Author of Contemporary Hungarian Types and Designers (TUGboat, vol. 24, 2003, pp. 527-529). [Google] [More] ⦿

György Haiman

Author of Nicholas Kis. A Hungarian Punch-Cutter and Printer, 1650-1702. The creator of the Janson Type, San Francisco / Budapest, 1983. [Google] [More] ⦿

H. George Fletcher

Coauthor with G. Scott Clemons of Aldus Manutius A Legacy More Lasting Than Bronze (2015, The Grolier Club). [Google] [More] ⦿

Hackberry Font Foundry (Was: NuevoDeco Typography, or: Bergsland Design)
[David Bergsland]

In 2009, Hackberry Font Foundry grew out of NuevoDeco Typography, which in turn was a commercial foundry that formed part of Bergsland Design located in Mankato, MN, and before that, Las Lunas, NM, and run by David Bergsland (b. 1944, Buffalo, NY), a 1971 graduate of the University of Minnesota. Author of Practical Font Design: 2nd Edition: Rewritten for FontLab 5. Klingspor link. Creative Market link, as Radiqx Press. His fonts:

Aargh!- Light and Heavy.
Abiquiu Black.
Ablati (2009)
Out of Nuevo Litho (1993) appeared Abrect (2009).
Abwyn.
Academi (2010).
Adieu (1998). Adieu Two (2006, an almost blackletter script).
The high-ascendered and bouncy sans typeface Aerle (2009).
Aero Script (2001, and its extension, JargonPro, 2004)
Aggressian (2012). An angular and angry typeface.
Akme Pro (2002). Akme (2002, an industrial sans family).
Albe Sans (2000).
Allektra (2002).
AllSpeed.
Altra (2006).
AmeriDistort (old typewriter, Seamus Mills).
Amico (2008, a sans family).
Amitale (2008). Amitale (2008) has eight styles in each of AmitaleBook and AmitaleWide.
Araldo (2021). A comic book sans.
Aramus (2008). Aramus is an old style text face.
Archaic Penpoint Pro (2004, stylish blackletter).
Ardone Book (2007, garalde, a close relative of his own Diaconia Old Style, which in turn was influenced by the 19th century Dutch bible font, Minister (Linotype)). Ardone Book (+ Italic) is accompanyied by a sans called Arinar, and a slab serif called Alexandrya.
Artichoke (2007). A calligraphic printed script typeface with rough outlines, which according to the typophiles is a shameful clone of Chris Costello's Papyrus.
Out of Aramus grew Artimas (2009), a "book" family with tall ascenders.
Arturo (2008). A flared sans serif based on an alphabet found in Dan Solo book.
Artz (2002).
Astaire Pro (2004). He writes: This is a deco-style text OpenType Pro font loosely based on Koch's Locarno as seen in KochAltschrift a recent free German tribute to Koch's work. I was familiar with Meeks' Letraset presstype version called Locarno, but I never liked the proportions used by either Meeks or Koch. So I radically revised ascender, descender, and x-height to make them more usable.
Attend.
Auntie Pat (2008). A decorative script face.
Avenue (2002)
Beatz (by or with Seamus Mills).
Biblia, Biblia Serif (2017-2021) and Biblia Display (2022). Biblia is a lapidary outgrowth of Carl Albert Fahrenwaldt's typeface Minister from 1929.
Bergsland Engravers Pro (2005).
Bergsland Display (2005).
In 2005, he created Bergsland Fashion and Bergsland Round
Bergsland Pro.
Bilbo Black.
Bilbo Pro Fiesta.
Bjorgi Pro (2004).
Bling (2009).
Boxy (2018).
Brinar (2006). A Koch-inspired slightly playful humanist sans text family.
Briskly (2016).Handwriting style.
Buddy (2010). Buddy Slender (2011) is an informal display sans family.
Bulkr (2017). Bergsland's replacement of heavy titling faces like Impact.
Bushing (2010). An interpretation of Cushing No. 2 by ATF.
Caesar.
Chivalry.
Chunkie (2010).
Contenu (2010). A text book family. Followed by Contenu EBook (2012).
Cushing Two (2011).
Cutlass (2010). Uncial, created in a swashbuckling style.
Diaconia Old Style (1994-2001).
Draetha (2017). A monoline sans.
In 2006, he added Fiscal, a squarish sans typeface
For his book Practical Font Design With FontLab 5, David Bergsland designed a set of text typefaces in 2016, Librum, Librum Sans, Librum E, Bookish, and Bream (the display version of Librum).
Nordstrom.
NuevoLitho (1993).
Poniard (2011). A medieval script.
Sturdy (2006, heavy sans).

View David Bergsland's typefaces. Behance link. Creative Market link. [Google] [MyFonts] [More] ⦿

Handwriting Models
[Benedikt Gröndal]

Handwriting Models An Icelandic Manual, 1883 [fre download] was written by Benedikt Gröndal (1826-1907), an Icelandic poet, painter, draftsman, calligrapher and library historian. After a master's degree in Scandinavian Studies from the University of Copenhagen in 1863, he taught, wrote, and published a periodical, Gefn. In 2007, a foreword and useful introduction to handwriting models was added by Gunnlaugur Briem, and he placed all on his web site for free download. I quote: In 1875, Denmark changed handwriting models, replacing blackletter cursive by copperplate. This extended to its Icelandic dominion, where copybooks and model sheets in the new style were in short supply. Eight years later, a much needed handwriting manual by Benedikt Gröndal was published. The old style and the new are similar in appearance but have different letterforms. This picture shows the old blackletter cursive (top) and the new copperplate (bottom)---it was taken from Almanak Hins íslenzka þjóðvinafélags, Copenhagen (1877). Gröndal's copperplate and Gröndal's ronde. The foreword by Briem also shows a Danish ronde that appeared in Rundskrifts-Bogen; til Skolebrug og Hjemmeøvelse, ca. 1880. He also grabs the opportunity to showcase the most handsome of all Icelandic copperplate models done by Jón Þórarinsson in Skrifbók með forskriftum, 1. hefti (Reykjavík, ca. 1896). The American Palmer method, more open but less gracious, is illustrated in this alphabet from 1922 by Steingrímur Arason (from Litla skrifbókin, Reykjavík. Variants of this are shown in the alphabets of Guðmundur I. Guðjónsson, published between 1939 and 1953. Briem concludes: Handwriting based on copperplate was largely abandoned in Icelandic schools in 1984. It was replaced by italic, a modern monoline version of renaissance handwriting that owes much to Ludovico Arrighi's approach. A large selection of model sheets in this style is available for free download from the internet. He also shows Italiuskrift05, his own suggestion for schools. [Google] [More] ⦿

Hans Adolf Halbey

Author of Karl Klingspor Leben und Werk, Offenbach, 1991. [Google] [More] ⦿

Hans Lijklema

Graphic design graduate of the Academy of Fine Arts Minerva, Groningen, The Netherlands. With Karolina Lijklema, he runs the studio Lijklema Design in Warsaw, Poland. Author of Free Font Index (2008, The Pepin Press, Amsterdam). It contains comprehensive letterproofs of more than 500 fonts from 35 type foundries in 17 countries and interviews with 6 font designers. All fonts contained in the book are included on the accompanying CD and are licensed for personal and commercial use. The following have contributed fonts to this CD: Astigmatic One Eye Typographic Institute, Brain Eaters Font Co, Brode Vosloo, Bumbayo Font Fabrik, Dieter Steffmann, Fenotype, Flat-it type foundry, Fonthead Design Inc., GUST e-foundry, Grixel, Igino Marini, Janusz Marian Nowacki, La Tipomatika, Larabie Fonts, Manfred Klein Fonteria, MartinPlus, Misprinted Type, Nick's Fonts, Objets Dart, Reading Type, Rob Meek, SMeltery, Shamfonts, Sonntag Fonts, Typedifferent, Typodermic Fonts, VTKS DESIGN, Vic Fieger, WC Fonts, Yanone, boodas.de, defaulterror, eightface, exljbris, pizzadude.dk. As far as I can tell, all these fonts can be downloaded for free from the usual web archives. [Google] [More] ⦿

Hans Peter Willberg

Co-author with Friedrich Forssman of "Erste Hilfe in Typographie. - Ratgeber für den Umgang mit Schrift," Mainz: Hermann Schmidt, 1999. He wrote 15 books in all, including, e.g., Wegweiser Schrift, "Schriften erkennen" (with Monika Müller, Ravensburg, 1981), "Buchkunst im Wandel" (Frankfurt, 1984), "Lesetypografie" (with Friedrich Forssman, Mainz, 1997), and was an influential figure in the German printing scene. Willberg died on 30 May 2003 in Eppstein near Frankfurt. Obituary by Erich Alb. [Google] [More] ⦿

Hans Reichardt

Type historian in the Frankfurt area who is associated with the Klingspor Museum in Offenbach, Germany. He has diligently compiled information on most German typefaces ever made. In 2008, Spatium Magazin has just released a DVD containing a collection of 3,000 images scanned from the pages of many 20th century German type foundry catalogs. The news announcements and forum discussions are positive. Four DVDs in all are planned. Included are scans of type specimen cards, brochures, and catalogs from various foundries, such as Bauer, Klingspor, Ludwig & Mayer, Stempel, C. E. Weber, Berthold, Genzsch & Heyse, Joh. Wagner, Flinsch and Schelter & Gieseke. In addition, books like Seemann's Handbuch der Schriftarten, Abraham Horodisch's Die Schrift im schönen Buch unserer Zeit, and Emil Wetzig's Ausgewählte Druckschriften in Alphabeten are scanned as well. Table of contents. All images on the DVD are at 150 dpi resolution.

Author of Bleisatzschriften des 20. Jahrhunderts aus Deutschland (2008, Offenbach) and Bleisatzschriften des 20. Jahrhunderts International (2009, Offenbach), both in DVD format. [Google] [More] ⦿

Hans Rudolf Bosshard

Born in 1929 in Balm/Lotstetten, Germany. He studied typefounding in Schaffhausen from 1944-1948, and worked as typesetter in printing shops in Zürich and Stockholm from 1951-1959. From 1959 until 1994, he taught typographic design in various schools, and from 1993-1998, he was a free-lance book designer associated with Niggli. Author of "Der typografische Raster The Typographic Grid" (Zürich, 2000), and "Typografie Schrift Lesbarkeit" (Verlag Niggli AG, Switzerland, 1996). The latter (highly recommended) book surveys legibility issues in type choices, and closes with a classification of post-1945 typefaces. [Google] [More] ⦿

Hans-Jürgen Wolf

Born in Berlin in 1938, Hans-Jürgen Wolf studied graphic arts and painting with Richard Blank at the Design Institute of Berlin. As a graphic artist, he joined the studio of Schering AG in Berlin. Author of Geschichte der Typographie (Historia, 1999) and Geschichte der graphischen Verfahren (Historia, 1990), a detailed work on the history of typesetting and printing machine companies.

Designer of Wolf Antiqua (1966, VGC). This typeface is available as Justine (NovelFonts) and OPTI Julie (Castcraft). [Google] [More] ⦿

Harald Haarmann

Author of Universalgeschichte der Schrift (Campus-Verlag, Frankfurt, 1991), a book that deals with the history of type and many typeface systems. [Google] [More] ⦿

Harald Süß

Author of Deutsche Schreibschrift, Lehrbuch (2002). [Google] [More] ⦿

Harold Holland Day

In Modern Brush Lettering (1931), we find these art deco alphabets by Harold Holland Day: Novelty Gothic, Strength Characteristics (a modified Futura), Broadway, Modern Bulletin. [Google] [More] ⦿

Harry B. Wright

Author of the instruction book Lettering 60 Plates in a Variety of Alphabets (1950, Pitman Publishing Corporation. New York, NY). Reprinted in 1962.

Digital revivals were undertaken by Jeff Levine. These include

Maybrook JNL (2020: a decorative serif based on Plate No. 15)
Obscure Stencil JNL (2020: a decorative serif based on Plate No. 26)
Pen Moderne JNL (2020: an art deco typeface based on Plate No. 7)
Vintage Poster JNL (2021: based on plate No. 48).

[Google] [More] ⦿

Harry C. Pears
[Typeface Research Pty Ltd]

Hazeltine Typesetting Inc

Harry Carter

Father of Matthew Carter, typographic historian, and archivist of the Oxford University Press, who lived in the UK from 1901-1982. Author in 1969 of "A view of early typography: up to about 1600". This will be reissued by Hyphen Press in 2002 and is reviewed by Andy Crewdson. [Google] [MyFonts] [More] ⦿

Harry Lawrence Gage

Harry Gage lived in the village of Annisquam on Cape Ann, Massachusetts after he left corporate and academic life in the printing business. He produced a great deal of fine art in his later years---watercolors, designs for commemorative medals, and designs for the Christmas cards that were sent out by the village committee.

Author of Vel Vet Show Cards (1924). Some of his alphabets can be seen in Thomas Woods Stevens's book Lettering (1916). All of the alphabets in the latter book were digitized by Dick Pape in 2012 and 2013, and are free and downloadable from this site: TWS Heavy Capitals 49, TWS Italian Gothic Caps 80 (Lombardic), TWS Renaissance Alphabet 39, TWS Robinson Caps 23, TWS Roman Caps 13, TWS Slab Capitals 22, TWS The Japanese 32. Futher digitizations of the 1916 alphabets include Jeff Levine's Tenement JNL (2020: of the Cooper Black style alphabet TWS Heavy Capitals 49), Da ABF Mafia's Yoshi Toshi (2003) and David Nalle's Yoshitoshi (2003), both of TWS The Japanese 32. [Google] [More] ⦿

Harry W. Jacobs

Director of art education in Buffalo, NY. In 1924, he published several lettering alphabets in his book, Alphabets and Letters for Lettering (Milton Bradley Co, Springfield, MA). [Google] [More] ⦿

Hartley E. Jackson

Author of the technical textbook Newspaper typography, Stanford University Press, Stanford, CA, 1942. [Google] [More] ⦿

Haruta Design Studio
[Yukari Haruta]

Haruta Yukari is a graphic designer. Author of Kawaka Ikehara, A Hundred Vistas of Letters #98 (Robundo, 2000), Kawaka Ikehara: A Man between Calligraphy and Type, Japanese Modern Type: Shozo Motoki And His Surroundings (the Committee of the Japanese Modern Type: Shozo Motoki and His Surroundings and NPO Modern Printing Preservation Society, 2003), and a thesis titled Early Modern Hiragana Type and Its Designer: Kawaka Ikehara and His Surroundings (Japan Society of Typography Journal #09, 2016). She is the principal of Haruta Design Studio and a lecturer at Robundo Shinjuku Private Typography School from 2006 to 2018.

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

Publishers of Library of Type (1959). This book showcases ornate fonts, dating from the 8th to the 16th century, include German Arabesque and Old English Riband. For some samples, see Jaime Henderson's scans at this page (some are reproduced below). [Google] [More] ⦿

H.C. Martin

Author of

Martin's Complete Ideas (1930s).
Martin's Idea Books 1-4 (1935-1937). Mike Jackson writes: This group of four Speedball-sized booklets showcased Martin's later work with even more zest and eye appeal than the original book. #4 was produced in 1937. Book One (1935). Book Two (1936). Book Three (1937). Book Four (1935).
1000 Showcard Layouts (1928, 1930, 1984). Mike Jackson writes: An amazing book if only from the realization of the effort it took to produce it! H.C. Martin, a frequent contributor to Signs of the Times Magazine, was commissioned to produce a book of 1000 showcard layouts specifically to be used in a book.

Creator of the art deco alphabet Modern Thick and Thin. For a digital revival (with more rounded terminals) and extension of this font, see Rodney Vicik's Fats Deco (2020). [Google] [More] ⦿

H.D. Smith

Author of Plain & Ornamental Alphabets (1898). [Google] [More] ⦿

Hebrew Calligraphy

Book by Jay Seth Greenspan. [Google] [More] ⦿

Heidrun Osterer

Heidrun Osterer (b. 1966, Switzerland) is a graphic designer and CEO of Feinherb Visuelle Gestaltung. She is also the co-founder of the Swiss Foundation Type and Typography. In addition, she is a part-time lecturer of screen typography at the Vocational School of Design in Zürich. Consultant of the Swiss Typographic Magazine STM. Since 2001, she carried out research on the professional career of Adrian Frutiger. Her book, coauthored with Philipp Stamm, on Frutiger's life is Adrian Frutiger - Typefaces The Complete Works (2009, Birkhäuser). She spoke about this work at ATypI 2008 in Petersburg. [Google] [More] ⦿

Heinz Hantschke

Author of Meisterliche Typographie (Saarbrücken, 1952). [Google] [More] ⦿

Helmut Schmid

German type designer, b. 1942, Austria, d. 2018, Japan. He started out apprenticing as a typesetter. In the 1960s, he studied in the Basel School of Design in Switzerland under the direction of Emil Ruder, Kurt Hauert and Robert Buchler. Schmid went on to West Berlin and then Stockholm (where he created covers for journal Grafisk Revy). Schmid traveled extensively and worked in Canada, Germany, Sweden, and Japan, before relocating to his permanent home in Osaka in 1977. This was where he developed his iconic design aesthetic that blends European and Japanese elements. One of his most notable works was the brand identity for Japanese sports drink Pocari Sweat, which is still in use in East Asia, Southeast Asia, and the Middle East today.

Schmid wrote several essays about typography for global design magazines including Baseline, Idea, and Typografische Monatsblätter. His books include Typography Today, Helmut Schmid: Design is Attitude and Japanische Typographie und Schweizer Typographie, published in Comedia, edition 03-1, 2003. [Google] [More] ⦿

Hendricus Theodorus Wijdeveld

Hendrik Wijdeveld was a Dutch architect and art deco paper artist (1885-1987). He founded the trendsetting art deco magazine Wendingen in 1918 and remained its chief editor until 1931.

Wijdeveld designed many letter types for special projects, such as book covers, buildings, and letterheads. Examples include a poster entitled Architectuur Tentoonstelling (1931), a poster entitled Internationaal Theater Tentoonstelling (1922), and an illustration for De Bijenkorf (1922).

In 2003, Hans Oldewarris published Wijdeveld---Art Deco Design on Paper at 2010 Publishers. That book shows stencil-like art deco typefaces such as Wendingen and Amsterdam Deventer, both designed in the 1920s.

Wijdeveld's lettering and alphabets inspired these digital typefaces:

AF Wendingen (1998, Christian Küsters for ACME Fonts). An LED simulation typeface named after Wijdeveld's art deco magazine.
Architectuur NF (2006, Nick Curtis).
Hendrikus Wijdeveld (2010). By swiftw5 at FontStruct. Based on the poster entitled Architectuur Tentoonstelling Frank Lloyd Wright (1931).
Wijdeveld by Matthew Bardram of Atomic Media.

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Hendrik D.L. Vervliet

Prolific Belgian type expert (b. 1923, Antwerp; d. 2020) who graduated in philology from the University of Leuven. He became adjunct director of the Museum Plantin-Moretus in Antwerp and was on the board of governors of the Plantin Instituut voor Typografie, which he helped renovate after the second worrld war together with Albert J.M. Pelckmans. Vervliet became librarian and lecturer at the University of Antwerp, and professor at the University of Amsterdam. Obituary that uses a text by Ludo Simons at the Plantin Instituut voor Typografie. Considered as the world's top expert on 15th and 16th century typography, Vervliet leaves a wealth of books on type from the renaissance era, and book history in general. Author of

Sixteenth-Century Printing Types of the Low Countries. With a Foreword by Harry Carter, Amsterdam: M. Hertzberger, 1968. This book has 267 facsimile-illustrations depicting 147 typespecimens. It was translated from the Dutch manuscript by Harry Carter.
Civilité Types (with Harry Carter, 1966, Oxford, University Press), for The Oxford Bibliographical Society).
Cyrillic & oriental typography in Rome at the end of the sixteenth century: an inquiry into the later work of Robert Granjon (1578-90) (1981, Berkeley Poltroon Press, 55+3 pages).
The Palaeotypography of the French Renaissance Selected Papers on Sixteenth-Century Typefaces (Library of the Written Word, 2008, and Leiden: Koninklijke Brill NV, 2008). This is a 565-page 2-volume oeuvre about which the publisher writes: This collection of thirteen essays examines sixteenth-century type design in France. Typefaces developed during this period were to influence decisively the typography of the centuries which followed, and they continue to influence a great many contemporary typefaces. The papers' common goal is to establish the paternity of the typefaces described and critically to appraise their attributions, many of which have previously been inadequately ascribed. Such an approach will be of interest to type historians and type designers seeking better-documented attributions, and to historians, philologists, and bibliographers, whose study of historical imprints will benefit from more accurate type descriptions. The papers and illustrations focus on the most important letter-cutters of the French Renaissance, including Simon de Colines, Robert Estienne, Claude Garamont, Robert Granjon, Pierre Haultin, and also include a number of minor masters of the period.
French Renaissance Printing Types: A Conspectus (New Castle, Delaware, and London: Oak Knoll Press, The Bibliographical Society, and The Printing Historical Society 2010). This conspectus aims at surveying exhaustively and regardless of aesthetics, all Roman, Italic, Greek, Hebrew, and Arabic typefaces made in France during the sixteenth century. Such a survey will be of interest to historians, bibliographers, and philologists wishing to identify the types used in the imprints they are investigating, as well as to type historians or type designers wishing to base their attributions on documentary evidence. The conspectus consists of introductory chapters on the sources available, the evolution of sixteenth-century type-casting and letter-engraving, biographical notices of 17 punchcutters (both famous ones, such as Colines, Garamont, Granjon, and lesser known ones, such as Vatel, Gryphius, or Du Boys) and the methodology used. The main part of the book consists of the facsimiles of 409 typefaces (216 Romans, 88 Italics, 61 Greeks, 41 Hebrews, 2 Arabics, and one phonetic) each with a short identifying notice, describing their letter family, size, punchcutter (or eponym), their first appearance in books or type-specimens, the surviving materials such as punches or matrices, and finally (for about two-thirds of them), the recent literature. Every typeface has been illustrated, several with multiple examples of their use.
Vine Leaf Ornaments in Renaissance Typography: a survey (2012, New Castle, Delaware: Oak Knoll Press and HES & DE GRAAF Publishers). Oak Knoll writes about this 416-page book: This new survey deals with the birth and early history of the typographical ornament commonly known as a vine leaf or Aldine leaf. Starting in 1505, the introduction sketches the fleurons beginnings in handwritten form onwards to printed epigraphical handbooks. These small ornaments originated as type-cast sorts in the first decade of the sixteenth century in Augsburg and Basle at presses that attended to the interests of a humanist reading public. From the 1520s onwards, the design evolved into an all-purpose decorative motif fitting for any publication. Venice and Paris designers, such as Garamont and Granjon, cut new designs that can still be found in most digital fonts today. The main part of this book is a comprehensive catalogue of all sixteenth-century type-cast vine leaf designs. It provides a descriptive notice of each fleuron, irrespective of its aesthetic merit or country of origin.
Robert Granjon, letter-cutter, 1513-1590: An oeuvre-catalogue (New Castle, Delaware: Oak Knoll Press, 2018, 200 pages).
Granjon's Flowers Am Enquiry into Granjon's, Giolito's, and De Tournes' Ornaments, 1542-1586 (New Castle, Delaware: Oak Knoll Press, 2016, 248 pages). The contents include a chronology of Granjon's ornaments (1544-1586), ornaments used by Gabriele Giolito in Venice (1542-1550), and flowers and ornaments used by de Tournes in Lyons (1544-1577). Appendices include illustrated lists of ornaments by size, width, and date.
Post-incunabula en hun uitgevers in de Lage Landen: een bloemlezing gebaseerd op Wouter Nijhoff's L'art typographique. Post-incunabula and their publishers in the Low Countries: a selection based on Wouter Nijhoff's L'art typographique (Den Haag-Boston-London: Martinus Nijhoff, 1978, 205 pages).
Gutenberg of Diderot? De typografie als factor in de wereldgeschiedenis (Deventer: Van Loghum Slaterus, 1977, 33 pages). This is the speech he gave when he became professor of book history at the University of Amsterdam on May 16, 1977.
Liber librorum : 5000 jaar boekkunst (by Hendrik D. L. Vervliet, Fernand Baudin and Herman Liebaers, Brussel: Uitgeverij Arcade, 1972). The French translation: Liber librorum: cinq mille ans d'art du livre., Bruxelles: Arcade, 1972. Engelse vertaling: The book through five thousand years London-New York: Phaidon, 1972. Duitse vertaling: Liber librorum: 5000 Jahre Buchkunst, Genève: Weber, 1973.
Reproductions of Christopher Plantin's Index sive specimen characterum 1567 & Folio specimen of c. 1567, together with the Le Bé-Moretus Specimen, c. 1599 (by Hendrik D. L. Vervliet ans Harry Carter, London: Bodley Head, 1972).
The type specimen of the Vatican Press 1628. A facsimile with an introduction and notes by H.D.L. Vervliet (by Andrea Brogiotti and Hendrik D. L. Vervliet, Amsterdam: Menno Hertzberger, 1967).
Orientaliste [1882-1967] Specimen (by Hendrik D. L. Vervliet and René Draguet, Leuven: Drukkerij Orientaliste, 1967, 64 pages).
Danfrie Reconsidered. Philippe Danfrié's (d. 1606) Civilité Types, in: The Library, vol 21:1, pp. 3-45, 2020.

Wikipedia link. [Google] [More] ⦿

Henri Fournier

Author (1800-1888) of Traité de la typographie (1825, imp. de H. Fournier, Paris). Local download. [Google] [More] ⦿

Henry Caslon

British typefounder from the famous Caslon family. Author of Specimen of Printing types (1841), which showcases the typefaces of Caslon, Son and Livermore. PDF file of that book. Excerpts: Albion No. 1, Double Pica No. 3, Five Line Pica Open, Four Line Pica Shaded, Italian [this is a famous Western face, dating from 1821, and entitled the Italian Monstrosity by James Clough (who considers it not a monstrosity at all---the title refers to bad reputation of Caslon's Italian in the eyes of type critics such as T.C. Hansard and Nicolete Grey)], Nine Line Pica, Ornament No. 113, Ornament No. 159, Seven Line Pica Italian, Sixteen Line Pica Compressed, Ten Line Pica Compressed, Two Line Letters No. 4, Two Line Pica Chessmen.

Images of some type specimen from Henry Taylor Wyse's book of 1911: AngloSaxon, Antique Old Style, Baskerville, Black No. 4, Cheltenham, Cheltenham Bold Outline, Cheltenham Heavy Italic, Cheltenham Old Style, Cheltenham Old Style, Lining Carlton, Morland, Morland Italic, Old Face, Old Face Heavy, Old Face Italic, Original Black, Ornaments. [Google] [More] ⦿

Henry Shaw

Author (1800-1873) of The Handbook of Mediaeval Alphabets and Devices (Bernard Quaritch, London, 1853; and Henry George Bohn, London, 1856), Alphabets, Numerals and Devices of the Middle Ages (1845, William Pickering, London) and Alphabets&Numbers of the Middle Ages (London, 1845). cover page. [Google] [More] ⦿

Henry Sylvester Jacoby

Author of A text-book on plain lettering (1901, The Engineering News Publishing Company). [Google] [More] ⦿

Henry Taylor Wyse

Scottish author of Modern type display and the use of type ornament (1911, Edinburgh), a book which can be found in full on the web. See also here. PDF of that book, and the text file. Most of the specimens discussed in the text are from H.W. Caslon Typefounders, Stephenson Blake, Charles Reed and Miller & Richard. [Google] [More] ⦿

Herbert Spencer

Herbert Spencer (1924, London-2002, Falmouth) was a designer, editor, writer and photographer. Working in London, Spencer launched Typographica in 1949 and wrote for it for 18 years. He is the author of The Visible Word: Towards a new alphabet. Visual Communication Books (Hastings House Publishers, 1968-1969) and Pioneers Of Modern Typography (1969).

Creator of the De Stijl like alphabet NPL, Epps+Evans in the former book, which was digitized in 1997 by Michael Hernan.

New York Times obituary. [Google] [MyFonts] [More] ⦿

Hermann Delitsch

Typography professor in Leipzig, b. Leipzig, 1869, d. Leipzig, 1937. He taught at Leipzig's Akademie für Graphische Künste und Buchgewerbe. One of his students was Jan Tschichold (in 1919). His typefaces:

Delitsch Antiqua (1911, J. Klinkhardt). This is Antiguo Manuscrito at the Richard Gans Foundry. The latter was digitized by Paulo W (Intellecta Design) as Gans Antigua Manuscrito (2006). Other typefaces based on Delitsch Antiqua were created by Manfred Klein (Delitsch Initialen, 2004) and Petra Heidorn (Delitsch Antiqua, 2004). Both could be found here (dead link).
Kanzlei Fraktur, or Delitsch Kanzlei (1913, J. Klinkhardt).
Ramses Antiqua (1912, J. Klinkhardt). This Antiqua typeface was revived in 2012 by Chiron as TbC Ramses-Antiqua.

Author of Schribschriftnormen (1928, K.W. Hiersemann), Delitzsch-Antiqua: eine künstlerische Schriftgarnitur mit Initialen und Schmuck für zeitgemässe Buchausstattung (1915). Klingspor link. [Google] [MyFonts] [More] ⦿

Hermann Hoffmann

German type designer, b. 1856, Hildesheim, d. 1926, Berlin. He settled in the 1890s in Berlin and founded Maschinenfabrik Heidenheim & Hoffmann. In 1895 he became head of H Berthold AG in Berlin. His designs:

Bloc (Berthold, 1908). Digitization and Cyrillization by Tafir Safayev, 1997 as Bloc (Paratype). See also Bloc Berthold at BertholdTypes, and FB Hermes (1995, Matthew Butterick at Font Bureau). FB Hermes was extended by Butterick in 2010. Bloc was similar to Hermes at Schriftguss and Woellmer. Bitstream's Gothic 821 (1990) is based on Bloc. The Softmaker version is called Boulder. Grauna (2018, Gabriel Figueiredo at Typeoca) revives Bloc Heavy, but has smoother outlines.
Herold Reklameschrift (1901, Berthold (Berlin)). An art nouveau advertising typeface developed until 1907 with schmal, fett and Kontur substyles. Digitizations of this:
- Vladimir Yefimov at Paratype digitized it in 1993 as Herold and added Cyrillic characters.
- Berthold's own Herold Reklameschrift BQ.
- Heraut AS (2003, Andreas Seidel) is based on Herold Reklameschrift.
- Herold (2008) by Tom Wallace (HiH).
- Herman (SoftMaker).
- In 2020, Ricardo Santos (Vanarchiv) released Nouveau LX Expanded, Nouveau LX Stencil and Nouveau LX. This family is based on Hermann Hoffmann's Herold (1913, Berthold), but has a different capital R.
Kaufhaus-Fraktur (1906, Berthold).

Books: Das Haus Berthold 1858-1921 (1921, Berlin) and Der Schriftgiesser (1927, Leipzig).

FontShop page. Klingspor link. FontShop link.

Oddity: The names Heinz Hoffmann and Hermann Hoffmann are used by two subcommunities. MyFonts, Font Bureau, etc. use Heinz, while Erik Spiekermann, Klingspor, and the German media use Hermann. [Google] [MyFonts] [More] ⦿

Hermann Zapf

Prolific master calligrapher and type designer, born in Nuremberg in 1918. Most of his life, he lived in Darmstadt, where he died in 2015. He is best known for Palatino, Optima, Melior, Zapf Dingbats, Zapfino, and ITC Zapf Chancery. He created alphabets for metal types, photocomposition and digital systems.

He studied typography from 1938 until 1941 in Paul Koch's workshop in Frankfurt. From 1946 until 1956, he was type director at D. Stempel AG type foundry, Frankfurt. In 1951 he married Gudrun von Hesse. From 1956 until 1973, he was consultant for Mergenthaler Linotype Company, Brooklyn and Frankfurt. From 1977 until 1987, he was vice president of Design Processing, Inc., New York (which he founded with his friends Aaron Burns and Herb Lubalin), and professor of Typographic Computer Programs, Rochester Institute of Technology, Rochester, New York. Students at RIT included Kris Holmes and Charles Bigelow, who together created the Lucida type family. Other prominent students include calligrapher/font designer Julian Waters and book designer Jerry Kelly. From 1987 until 1991, he was chairman of Zapf, Burns&Company, New York. He retired in Darmstadt, Germany, but consulted on many font projects until a few years before his death. In the 1990s, Zapf developed the hz program for kerning and typesetting. It was acquired by Adobe who used ideas from it in InDesign.

Awards:

1969 Frederic W. Goudy Award, Rochester Institute of Technology, Rochester, New York.
1973 Gutenberg Prize, City of Mainz.
1975 Gold Medal, Museo Bodoniano, Parma.
1985 Honorary Royal Designer for Industry, Royal Society of Arts, London.
1987 Robert Hunter Middleton Award, Chicago.
1994 Euro Design Award, Oostende.
1996 Wadim Lazursky Award, Academy of Graphic Arts, Moscow.
1999 Type Directors Club award for Zapfino (1998), New York.
2010 Bundesverdienstkreuz 1. Klasse.

Some publications by Hermann Zapf:

Feder und Stichel (1949, Trajanus Presse, Frankfurt)

About Alphabets (1960)

Manuale Typographicum (1954 and 1968). Only 1000 copies were printed of the original.

Typographic Variations (1964), or Typografische Variationen (1963, Stempel), of which only 500 copies were printed.

Orbis Typographicus (1980)

Hermann Zapf and His Design Philosophy (Chicago, 1987)

ABC-XYZapf (London, 1989)

Poetry through Typography (New York, 1993)

August Rosenberger (Rochester, NY, 1996).

Alphabet Stories (RIT Cary Graphic Arts Press, Rochester, 2008). Review by Hans Hagen and Taco Hoekwater.

My collaboration with Don Knuth and my font design work [just an article], TUGboat 22:1/2 (2001), 26-30. Local download.

List of his typefaces:

Alahram Arabisch.
Arno (Hallmark).
Aldus Buchschrift (Linotype, 1954): Italic, Roman. Digital version by Adobe.
Alkor Notebook.
Attika Greek.
Artemis Greek.
Aurelia (1985, Hell).
AT&T Garamond.
Book (ITC New York). Samples: Book Demi, Book Demi Italic, Book Heavy, Book Heavy Italic, Book Medium Italic. The Zapf Book, Chancery and International fonts are under the name Zabriskie on the SoftMaker MegaFont XXL CD, 2002.
Brush Borders.
Comenius Antiqua (1976, Berthold; see C792 Roman on the SoftMaker MegaFont XXL CD, 2002).
Crown Roman and Crown Italic (Hallmark).
Chancery (officially called ITC Zapf Chancery): Bold, Demi, Italic, Light, Liht Italic, Mediu Italic, Roman.
Civilité (Duensing). Mac McGrew on the Zapf Civilité: Zapf Civilite is perhaps the latest typeface to be cut as metal type, having been announced in January 1985, although the designer, Hermann Zapf, had made sketches for such a typeface as early as 1940, with further sketches in 1971. But matrices were not cut until 1983 and 1984. The cutting was done by Paul Hayden Duensing in Kalamazoo, Michigan. The first Civilité typeface was cut by Robert Granjon in 1557, based on a popular French handwriting style of the time. Other interpretations have been made from time to time, notably the Civilité (q.v.) designed by Morris Benton in 1922 for ATF. The new Zapf design has the same general character but with a more informal and contemporary feeling. A smooth flow between weights of strokes replaces the stark contrast of thick-and-thin in older interpretations. There are several ligatures, and alternate versions of a number of characters, including several terminals. Only the 24-point Didot size is cut or planned.
Charlemagne (Hallmark).
Digiset Vario (1982, Hell): a signage face.
Edison (Hell), Edison Cyrillic. Scans: Bold Condensed, Book, Semibold Italic, Semibold, Book Italic.
Euler (American Mathematical Society). Zapf was also consultant for Don Knuth on his Computer Modern fonts. In 1983, Zapf, Knuth and graduate students in Knuth's and Charles Bigelow's Digital Typography program at Stanford University including students Dan Mills, Carol Twombly, David Siegel, and Knuth's computer science Ph.D. students Scott Kim and John Hobby, completed the calligraphic typeface family AMS Euler for the American Mathematical Society (+Fraktur, Math Symbols, +script). Taco Hoekwater, Hans Hagen, and Khaled Hosny set out to create an OpenType MATH-enabled font Neo-Euler (2009-2010), by combining the existing Euler math fonts with new glyphs from Hermann Zapf (designed in the period 2005-2008). The result is here. The Euler digital font production was eventually finished by Siegel as his M.S. thesis project in 1985.
Firenze (Hallmark).
Festliche Ziffern (transl: party numbers).
Frederika Greek.
Gilgengart Fraktur (1938, D. Stempel). Some put the dates as 1940-1949. It was released by Stempel in 1952. Revivals include RMU Gilgengart (2020, Ralph M. Unger), and Gilgengart by Gerhard Henzel.
Heraklit Greek (1954). A digital revival was first done by George Matthiopoulos, GFS Heraklit. Later improvements followed by Antonis Tsolomitis and finally in 2020 by Daniel Benjamin Miller.
Hunt Roman (1961-1962, Pittsburgh). A display typeface exclusively designed for the Hunt Botanical Library (Hunt Institute for Botanical Documentation since 1971), situated on campus of Carnegie Mellon University in Pittsburgh, to accompany their text typeface Spectrum. Review by Ferdinand Ulrich.
International (ITC, 1977). Samples: Demi, Demi Italic, Heavy, Heavy Italic, Light, Light Italic, Medium, Medium Italic.
Janson (Linotype).
Jeannette Script (Hallmark).
Kompakt (1954, D. Stempel).
Kalenderzeichen (transl: calendar symbols).
Kuenstler Linien (transl: artistic lines).
Linotype Mergenthaler.
Melior (1952, D. Stempel; see Melmac on the SoftMaker MegaFont XXL CD, 2002). Samples: Bold, Bold Italic, Italic, Roman.
Michelangelo (1950, D. Stempel, a roman caps face; a digital version exists at Berthold and at The Font Company).
Marconi (1975-1976, Hell; now also available at Elsner&Flake and Linotype; according to Gerard Unger, this was the first digital type ever designed---the original 1973 design was intended for Hell's Digiset system; Marconi is a highly readable text face).
Medici Script (1971).
Musica (Musiknoten, transl: music symbols; C.E. Roder, Leipzig).
Magnus Sans-serif (Linotype, 1960).
Missouri (Hallmark).
Novalis.
Noris Script (1976; a digital version exists at Linotype).
Optima (1955-1958, D. Stempel--Optima was originally called Neu Antiqua), Optima Greek, Optima Nova (2002, with Akira Kobayashi at Linotype, a new version of Optima that includes 40 weights, half of them italic). Samples: Poster by Latice Washington, Optima, Demibold Italic, Black, Bold, Bold Italic, Demibold, Extra Black, Italic, Medium, Medium Italic, Regular, Italic. Digital clones: Zapf Humanist 601 by Bitstream, O801 Flare on the SoftMaker MegaFont XXL CD (2002), Opus by Softmaker, Columbia Serial by Softmaker, Mg Open Cosmetica, Ottawa by Corel, October by Scangraphic, CG Omega by Agfa compugraphic, Chelmsford by URW, Classico by URW and Optus by URW.
Orion (1974).
Palatino (1948, D. Stempel; the original font can still be found as Palazzo on Softmaker's XXL CD, 2002), Palatino Nova (2005, Linotype), Palatino Sans (2006, Linotype, with Akira Kobayashi), Palatino Greek, Palatino Cyrillic. Palatino was designed in conjunction with August Rosenberger, In 2013, Linotype released Palatino eText which has a larger x-height and wider spacing. Palatino samples: black, black italic, bold, bold italic, italic, medium, roman, light, light italic. Poster by M. Tuna Kahya (2012). Poster by Elena Shkarupa. Poster by Wayne YMH (2012). Zapf was particularly upset about the Palatino clone, Monotype Book Antiqua. Consequently, in 1993, Zapf resigned from ATypI over what he viewed as its hypocritical attitude toward unauthorized copying by prominent ATypI members.
Phidias Greek.
Primavera Schmuck.
Pan Nigerian.
Quartz (Zerox Corporation Rochester, NY).
Renaissance Antiqua (1985, Scangraphic). Samples: Regular, Bold, Book, Light Italic, Swashed Book Italic, Swash Italic.
Saphir (1953, D. Stempel, see now at Linotype).
Sistina (1951, D. Stempel).
Scriptura, Stratford (Hallmark).
Sequoya (for the Cherokee Indians), ca. 1970. This was cut by Walter Hamady and is a Walbaum derivative.
Linotype Trajanus Cyrillic (1957).
Textura (Hallmark).
URW Grotesk (1985, 59 styles), URW Antiqua, URW Palladio (1990).
Hallmark Uncial (Hallmark).
Virtuosa Script (1952, D. Stempel). Zapf's first script face. Revived in 2009 as Virtuosa Classic in cooperation with Akira Kobayashi.
Venture Script (Linotype, 1966; FontShop says 1969).
Winchester (Hallmark).
World Book Modern.
ITC Zapf Dingbats [see this poster by Jessica Rauch], Zapf Essentials (2002, 372 characters in six fonts: Communication, Arrows (One and Two), Markers, Ornaments, Office, based on drawings of Zapf in 1977 for Zapf Dingbats).
Zapfino (Linotype, 1998, winner of the 1999 Type Directors Club award), released on the occasion of his 80th birthday. This is a set of digital calligraphic fonts. Zapfino Four, Zapfino Three, Zapfino Two, Zapfino One, ligatures, Zapfino Ornaments (with plenty of fists). Poster by Nayla Masood (2013).

Books and references about him include:

Hermann Zapf: A Life in Letters (2016, Julian Waters).
What Our Lettering Needs: The Contribution of Hermann Zapf to Calligraphy & Type Design at Hallmark Cards (2011, Rick Cusick, RIT Cary Graphic Arts Press, Rochester).
Hermann Zapf and the World He Designed: A Biography (2019, Jerry Kelly, The Grolier Club, New York).
Laudatio for Professor Hermann Zapf (Frank Mittelbach). TUGboat 22:1/2 (2001), 24-26. Local download.
Book review: Hermann Zapf and the World He Designed: A Biography, by Jerry Kelly (Barbara Beeton). TUGboat, Volume 40 (2019), No. 3.

Pictures of Hermann Zapf: with Lefty, with Rick Cusick, in 2003, with Frank Jonen, with Jill Bell, with Linnea Lundquist and Marsha Brady, with Rick Cusick, with Rick Cusick, with Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, at his 60th birthday party. Pictures of his 80th birthday party at Linotype [dead link].
Linotype link. Klingspor link. [Google] [MyFonts] [More] ⦿

Hibernia Type
[Christopher Burke]

Christopher Burke (b. 1967) is a British type designer, typeface designer and type historian. He worked at Monotype Typography in the UK, before studying for a PhD in Typography&Graphic Communication at the University of Reading, England, where he planned and directed the MA in typeface design from 1996 until 2001.

Hibernia Type is run by Christopher Burke. The oeuvre of Burke contains typefaces that blend in the background---legible, book types, magazine types that want to go unnoticed:

The text typeface FF Celeste (FontFont, 1994-1995) and FF Celeste Sans (1994-2004).
His humanist sans serif text typeface Pragma ND (1992-1995) is available from Neufville.
In 2002, he finished the angular text typeface FF Parable.

Author of Gerard Unger Life in Letters (2021, De Buitenkant) and Paul Renner: The Art of Typography, Hyphen Press, 1999 (U&LC review). His essay Jan Tschichold&Sabon, written in the specimen book Linotype Sabon Next (Linotype, 2002), is is a must for anyone wishing to understand Tschichold. In 2013, Christopher Burke, Eric Kindel and Sue Walker co-edited the wonderfully informative book Isotype Design and Contexts 1925-1971 (Hyphen Press), which includes a full discussion of Otto Neurath's work.

FontFont bio. FontShop link. MyFonts listing. Chris lived (still lives?) in Barcelona.

Histoire de la typographie

View Christopher Burke's typefaces. [Google] [MyFonts] [More] ⦿

Hildegard Korger

Calligrapher (b. 1935, Reichenberg, d. 2018) and professor of calligraphy and writing at HGB Leipzig (Hochschule für Grafik und Buchkunst Leipzig) since 1968. Her typefaces:

Her calligraphic typeface Daphne, aka Typo-Skript, was published by Typoart in 1965. See also here. Ingo Preuss revived Daphne as Daphne (2004). ARTypes revived it as Typoskript AR in 2010. And Ralph M. Unger created his own revival, Typoskript Pro (2010). Ingo Preuss's version is Floridana.
Kis Antiqua and Kis Kursiv (1984, Typoart). For a digital revival, see Ralph Unger's Kis Antiqua Pro (2018). In 2009, Elsner & Flake published the Kis Antiqua Now TB Pro and families (design by Erhard Kaiser for Elsner & Flake). The Elsner Flake types are based on Hildegard Korger's Kis Antiqua at Typoart. Kis Antiqua is the Typoart name of the original Jansonian Garamond by Miklos Totfalusi Kis from 1686.
Korger designed some other calligraphic alphabets. A digital version of one of them, originally drawn in 1965, was created by Ingo Preuss, who called it Korger Hand (2004).

Author of Handbook of Type and Lettering (1992, Design Press, or Lund Humphries), a translation of The Sixth Edition of Schrift und Schreiben (Fachbuchverlag GmbH Leipzig, 1971), which has been lauded as the best books ever on type and typography. [Google] [MyFonts] [More] ⦿

Hiroshi Komiyama

Hiroshi Komiyama is a representative of Japan's Sato Typography Design Institute, type design adviser to DynaComware Corp. in Taiwan and Samsung Electronics and a special reviewer of Tokyo TDC's Type Design Department. He studied type design under Sato Kenosuke, Komiyama is a recognized authority in Japanese type design and Japanese typographical history. He has designed several fonts including the Heisei Mincho font, and Ryobi's phototypesetting font. His publications include The Basics of Type Design (2010), The History of Movable-Type Printing (2009), The Open Type Version of Japanese Movable Type Collection (2007), and Chronicles of Book and Movable-Type Printing (2000). [Google] [More] ⦿

French books on the history of typography. [Google] [More] ⦿

H.M. Lambert

Author of Introduction to the Devanagari script (London: Oxford University Press, 1953). [Google] [More] ⦿

Honoré de Balzac
[Imprimerie H. Balzac]

Huda Smitshuijzen AbiFarès

Horacio Gorodischer

Argentinian typography expert. In 2020, he co-authored Legibilidad y tipografia: la composicion de los textos (Campgrafic, Spain) with José Scaglione. [Google] [More] ⦿

Howard B. Jeremy

Author of A Guide to Lettering (1947). [Google] [More] ⦿

H.R. Plomer

Author of English Printers' Ornaments, 1924, Burt Franklin, New York. [Google] [More] ⦿

Huda Smitshuijzen AbiFarès, was born in Beirut in 1965. Author of Arabic Typography A Comprehensive Sourcebook (Saqi Books, London, 2001), Experimental Arabic Type (Saatchi&Saatchi, Dubai, 2002), Typographic Matchmaking (BIS Publishers, Amsterdam 2007), Arabic Type Specimen Book (2008), Typographic Matchmaking in the City (2010) and Arabic Type Design for Beginners (2013), and a number of articles on multilingual communication in the Middle East such as Arabic Type: a challenge for the 2nd millennium (1998). She holds degrees in graphic design from Yale University School of Art and Rhode Island School of Design, and specializes in bilingual typographic research and design. She has worked as a designer for a number of years, in the USA, Amsterdam, France and Beirut. She has taught typography and graphic design at the American University of Beirut. She was the Chair of the Visual Communication Department for three years at the American University in Dubai and founded the Khatt Foundation, Center for Arabic Typography in Amsterdam. She curates exhibitions, organizes collaborative design research projects between Europe and the Middle East, and is editor of the Khatt Foundation online network of Arab/Middle Eastern designers (www.khtt.net). She is currently pursuing a PhD at Leiden University while working between Europe and the Middle East as a typography and design consultant on projects of cultural relevance. She has art directed and collaborated on the design of several contemporary Arabic fonts for magazines like Aleph (London) and companies in the Gulf. Typefaces include Alef Caps (2008), done with Pascal Zoghbi. KHTT link. [Google] [More] ⦿

Huda Smitshuijzen AbiFarès
[Typographic Matchmaking]

H.W. Caslon&Co Ltd
[Justin Howes]

H.W. Caslon&Co Ltd was Justin Howes' foundry based in Rushden, UK, with one product, Founders Caslon, in several optical ranges: 1776, Text and Display are the main subfamilies (PC and Mac, truetype, type 1 and opentype). Justin Howes' Lino page.

Justin (b. Solihull, 1963; d. London, 2005) was director of the Type Museum until 2005, when he moved to the Plantin-Moretus Museum, and then to Reading for postgraduate work. He published "Johnston's Underground Type" for the London Transport Museum in 2000. Justin was a typographer as well as a printing historian. He was responsible for designing many books. He was chair of the Friends of St. Bride from 1998-2003. He died in February 2005 at age 42. Obituary. Quote by Nick Shinn: "Founders Caslon is a trompe l'oeil masterpiece, a carefully crafted amalgam of subtle judgements as to what will best mimic the desired patina of 18th century typography." Obituary at St. Bride. Old URL (now occupied by squatters). [Google] [MyFonts] [More] ⦿

H.W. Kibbe

Author of Kibbe's Alphabets (1900), which shows all caps decorative alphabets he drew between 1885 and 1890. [Google] [More] ⦿

Hyphen Press

Books on type. See also here. [Google] [More] ⦿

I Love Typography
[John D. Boardley]

Type information site and blog run since 2007 by graphic designer and web developer John D. Boardley from Kagawa, Japan. Now based in the UK, I Love Typography became a font vendor in 2020 under a junta that comprises John Boardley, Nadine Chahine and Julia Hines. Glossary. Examples of inspiring use of display/poster type.

John Boardley is the author of Typographic Firsts (2019, Bodleian Library, University of Oxford). [Google] [More] ⦿

Iampeth

Free copies in PDF format of many rare books on calligraphy and penmanship, typically from the 19th century:

Ames' Guide to Self-Instruction in Practical and Artistic Penmanship, Daniel T. Ames, Author and Publisher, 1884

Ames - The Daniel T. Ames Notebook, A wonderful collection of penmanship from the early 1860s from one of America's preeminent penmen and teachers

Arm Movement Method of Rapid Writing, The, Charles Paxton Zaner, 1904

Art of Penmanship, Eleazer Huntington, 1821

Art of Writing, The, John Jenkins, 1813

Bible Pearls of Promise, Real Pen-Work Publishing, 1867

The Blue Book, Compiled by L.E. Stacy, 1907 Text-converted PDF

C.C. Canan Collection of Penmanship - The Canan Book, Canan/Zanerian College, 1921, Copyright by Zaner-Bloser, Inc.

Champion Method of Practical Business Writing, Mary L. Champion

Clinton Clark Scrapbook, Clinton H. Clark: Part One, Part Two, Part Three.

Compendium of Spencerian or Semi-Angular Penmanship, Platt Rogers Spencer, Sr., 1866

Complete Compendium of Plain Practical Penmanship, Lloyd M. Kelchner, 1901

Francis B. Courtney Scrapbook, F.B. Courtney, courtesy of Bob Hurford

Gaskell's Compendium of Forms (the section on writing), G.A. Gaskell, 1883

Gems of Flourishing, Charles Paxton Zaner, 1888

Gems of Penmanship, John S. Duncun, 1858

Gems of Penmanship, J.D. Williams and S.S. Packard, 1867

How To Become A Good Penman, An advertising packet by F.W. Tamblyn

IAMPETH Scrapbooks, A remarkable collection of Golden Age penmanship: Scrapbook 1, Scrapbook 2.

L'écriture Américaine par D'Avignon - "American Writing" by D'Avignon, circa 1840

Lessons in Advanced Engraver's Script, penned by Louis Madarasz, published by C.W. Jones

Lessons in Engraver's Script, C.W. Jones, editor, 1914

Lessons in Ornamental Penmanship, C.P. Zaner, 1920

Lessons in Ornamental Penmanship, P.Z. Bloser (Copies by E.A. Lupfer), 1948

Lessons in Practical Penmanship , H.P. Behrensmeyer

Madarasz Book, - The Secret of the Skill of Madarasz, Madarasz/Zanerian College, 1911, Copyright � by Zaner-Bloser, Inc.

Metodo Palmer de Caligrafia Comercial, A.N. Palmer Company, 1949. Donated by Mauricio Aguilar. Please visit his website www.VintagePen.net

Modern Business Penmanship, Edward C. Mills, 1903

Muster Alphabete, circa 1885

New Spencerian Compendium, Spencerian Authors, 1879

New Standard Practical Penmanship, Spencer Brothers, 1881

New Zanerian Alphabets, C.P. Zaner, 1900

Ninety-five Lessons in Ornamental Penmanship, C.W. Jones, editor, 1914

Noyes's Penmanship, Enoch Noyes, 1839

Oberlin Business College - Compendium of Penmanship, C.A. Barnett, J.T. Henderson and J.N. Yocom, 1901

Palmer Method of Business Writing, A.N. Palmer Company, 1935

Palmer's Penmanship Budget, A.N. Palmer, 1919

Penmanship Made Easy, George Comer & Oliver Linton, 1864. See also here.

Penman's Leisure Hour, McDonald Business Academy, penwork by F.F. Wildish, 1894

Portfolio of Ornate Penmanship, The A.N. Palmer Company

Practical Penmanship Being A Development of the Carstairian System, Benjamin Franklin Foster, 1830

Real Pen Work - Self Instructor in Penmanship, Knowles and Maxim, publisher, 1881

Real Pen Work Compendium of Penmanship, Ivison, Blakeman, Taylor and Co., publisher, 1880

Recueil Méthodique de Principes d' Ecriture "A Methodical Collection of Principles of Writing", P. Meyrat, circa 1920's

Spencerian Script and Ornamental Penmanship, Volume I, Chapters 1,2 and 8, Michael R. Sull, 1989. .

Steel Pen Trade 1930-1980, A.A.S. Charles, 1983. .

Studies in Pen Art, W.E. Dennis, 1914

Sykes's Manual of Penmanship, Sykes, circa 1885

Theory of Spencerian Penmanship, Spencer Authors, 1874

19th Century Swedish Copybook, dated December 9, 1858 and penned by Carl Damm, a tutor, this copybook contains 12 pages of handwritten forms of Copperplate/Engraver's Script. Contributed by Evan Lindquist.

[Google] [More] ⦿

Idea mag

Great Japanese design magazine, possibly the best design mag out there today, often featuring articles on typography. It published Typography Today, a book edited by Helmut Schmid that introduces selections from 88 designers. It traces the course of modern typography from Lissitzky, Tschichold, Zwart, Emil Ruder, Karl Gerstner, Herb Lubalin, to Wolfgang Weingart, Wim Crouwel and Kohei Sugiura. The new edition includes art by Neville Brody, April Greiman and Ahn Sang-Soo. See also IDEA NO. 305: Type Design Today (2004), which has articles by

Robin Kinross: "Some features of the font explosion"
Jean-François Porchez: "Type design that changed the outlook of Paris"
Fred Smeijers: "From punchcutting to digital type design"
Akira Kobayashi: "Originality and Redesign of Typeface"
André Baldinger: "Succeeding experimental typefaces"
LettError: "Twin Cities - Typeface represent a city"
François Rappo: "Didot Elder - Radical revival of Historical Typefaces"
Matthew Carter: "Yale University Typeface Project"

[Google] [More] ⦿

ILAB--LILA

Searchable sire of 2000 antique book sellers over the world. [Google] [More] ⦿

Ilene Strivzer
[The Type Studio]

Institut de l'Histoire du Livre

Ilene Strizver

From Westport, CT, Ilene Strizver is the founder of The Type Studio. She consults on type, designs type and writes about typography and visual communication. She co-designer ITC Vintage (1996) with Holly Goldsmith. She was the Director of Typeface Development for International Typeface Corporation (ITC) where she developed more than 300 text and display typefaces with type designers such as Sumner Stone, Erik Spiekermann, Jill Bell, Jim Parkinson, Tim Donaldson, and Phill Grimshaw. Her essay on spacing and kerning. Essay on rags (ragged lines), orphans (short last lines) and widows. She published "Type Rules! The designer's guide to professional typography". [Google] [MyFonts] [More] ⦿

Imprimerie H. Balzac
[Honoré de Balzac]

Honoré de Balzac (1799-1850), a famous author, got involved in printing in 1826 when he André Barbier (b. 1793), a typesetter, set up a printing and publishing business on the Rue de Marais-Saint-Germain in Paris. At one time, thirty workers were employed at Imprimerie H. Balzac which was funded with 70,000 Francs in borrowed money from Balzac's mother, as well as from his mistress, Laure De Berny. Link. The printing business thrived. In 1827, he bought Laurent's typesetting firm in order to extend his immediate control over all aspects of the printing business. In 1827, he published a specimen book with many Egyptian letter types. Another publication was Specimen des divers caracteres vignettes et ornemens typographiques de la Fonderie de Laurent et De Berny (now republished with a foreword by J. Dreyfus). Earlier that year, he had also bought the famous foundry of Joseph-Gaspard Gillé. See also here. Balzac spent most of his income to access the social circles of his mistress, Duchess d'Abrantès. Barbier left the business in 1828. The Imprimerie went bankrupt that same year. Luckily, Balzac's first mistress, Louise-Antoinette-Laure De Berny (1777-1836), forgave her loan and took over the print shop. As the wife of a high-ranking official in the French royal court and god-child of Queen Marie-Antoinette, Laure De Berny had sufficient financial resources. She entrusted the business to her 19 year-old son, Alexandre De Berny (1809-1881). Balzac left the type and printing business. Laurent&Deberny was born. References include Balzac: A Life (Graham Robb, 1994: New York: W. W. Norton& Company), and an article in Caractère in 1975 entitled Deberny et Peignot: La Belle Époque de la Typographie. [Google] [More] ⦿

Ina Saltz

Ina Saltz is an art director, author and professor (of Electronic Design and Multimedia at The City College of New York) whose areas of expertise are typography and magazine design. She is currently serving as the Chair of the Art Department at CCNY. For over 22 years, Ina was an editorial Design Director at Time Magazine's International Editions, Worth, Golf Magazine and others. Ina has authored several books: BODY TYPE: Intimate Messages Etched in Flesh, (Abrams, 2006), BODY TYPE 2: More Typographic Tattoos, (Abrams, 2010), TYPOGRAPHY ESSENTIALS: 100 Design Principles for Working With Type, (Rockport, 2009), and she is co-author of TYPOGRAPHY REFERENCED: A Comprehensive Visual Guide to the Language, History and Practice of Typography, (Rockport, 2012). [Google] [More] ⦿

Index Book

Book publisher in Barcelona, which has an active section on typography. [Google] [More] ⦿

Indie Fonts

Indie Fonts is a series of two books covering the work of many independent foundries. In 2003, it was followed by Indie2, which includes a number of free fonts. [Google] [More] ⦿

Indra Kupferschmid

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

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

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

At this French institute in Lyon which forms part of the Musée de l'imprimerie de Lyon, there are occasionally courses on typography. For example, in the Book History Workshop from 5-8 April 2004, James Mosley gave a course on Type, lettering and calligraphy 1450-1830. From 25-28 April 2005, he gave a course there on Typographie et calligraphie 1830-1980. We also find a list of books on typography and calligraphy, covering 1450-1830. [Google] [More] ⦿

Institute of typography engineering research

Institute in Cologne where this book was published: Typecosmic digital type collection serif (1994, 798 pages). [Google] [More] ⦿

Internet Archive

Free downloads of oldbooks. [Google] [More] ⦿

Intertype
[Gilbert Powderly Farrar]

Defunct foundry. One of its typographic directors was Gilbert Powderly Farrar (1886-1957), who designed Bert Black. Intertype's typefaces include Monterey (1958, Rand Holub, its "version" of Murray Hill; available from Bitstream now), Imperial (designed by Ed Schaar; now a Bitstream font), Intertype Vogue (ca. 1930, see Am Sans by Volker Busse for a free digital version), Stuyvesant (1940, now available from Bitstreeam), and Nuptial Script (now an Adobe font).

MyFonts writes: Harris inherited the Harris-Intertype library, made up of the typefaces cut by Intertype to compete with Mergenthaler from the First World War. A small group of original typefaces centers on newspaper typefaces and scripts. In the thirties C.H. Griffith at Mergenthaler believed the linecaster to be unsuitable for the development of scripts, which led Ed Schaar at Intertype to claim this market as their own. Intertype became Harris-Intertype ca. 1960, and Harris ca. 1975.

Cyrillic typefaces in their library, ca. 1930. The firm still exists as Harris Corporations in Melbourne, FL, but is no longer producing fonts.

Leonard Spencer, in his article Linotype / Intertype Linecasting Machines How They Differ writes: Intertype started as International Typesetting Machine Company in 1911. Many of first machines were rebuilt Linotype bases with improvements patented by the new company. When World War I broke out, International Typesetting Machine Company was reorganized as the Intertype Corporation, and by 1917 had three machines for sale: Model A one magazine, Model B two magazine, Model C three magazine. Intertype was first in cold type with its Fotosetter in 1950. This machine continued the circulating matrix principle but had film image instead of the punched character. Stuart Sandler adds this piece of information: The Harris-Intertype Fotosetter was the first photo typesetting machine invented. It marks the beginning of the Cold Type era and is the machine responsible for it . . . Incidentally this is the machine that inspired the creation of the Filmotype by its inventor Allan Friedman when he saw it unveiled to US audiences in 1948. Instead of lead slugs, the Intertype which was a Linotype machine had replaced them with small film negatives and proceeded to set type as you would imagine the bastardization of a lead type and photo type machine only could. There are many reasons Cold Type caught on and it became the standard some time after that period till digital typesetting machines like the Alphatype came into their own. It wasn't until the release of the first MacIntosh in 1984 when Cold Type was eclipsed by desktop publishing.

Mac McGrew: Ideal (originally called Ideal News) was designed by Herman R. Freund for Intertype in 1926, for the New York Times. It has much the appearance of Century Schoolbook, but with shorter ascenders and squattier capitals. The italic is a little closer to Century Expanded Italic, providing more contrast with the roman. Sturdy serifs, substantial hairlines, and open loops make it a practical typeface for the demanding production requirements of high-speed newspaper use. Ideal Bold is heavier than the Century bold typefaces.

View a few digital typefaces with roots in the Intertype collection.

Another famous type is Cairo. Mac McGrew: Cairo is Intertype's adaptation of Memphis, originally designed by Rudolf Weiss for Stempel in Germany about 1929, and first imported into the United States as Girder. Except for Litho Antique, this was the first of the modern square-serif typefaces, which are revivals of older typefaces known as Egyptians. The Intertype typefaces appeared in 1933 to 1940. Lining Cairo features several sizes of caps on 6- and 12-point bodies in the manner of Copperplate Gothic. Compare Memphis, Stymie, Karnak.

Farrar is also the author of The Typography of Advertisements That Pay (1917, D. Appleton and Co., New York). Local download. [Google] [MyFonts] [More] ⦿

Irene Korol Scala

Irene Scala is a fellow typophile and graduate of The Cooper Union for the Advancement of Science and Art, where she had the opportunity to study with educators such as Paul Rand, Lou Dorfsman, and Milton Glaser. After earning a B.F.A. from the Cooper Union, she went on to postgraduate study at The Bezalel Academy of Art and Design in Jerusalem. She now lives in New York City, where she is associated with Designing with Type: Designingwithtype.com is a web site devoted to the art and appreciation of typography. It offers a unique typographic resource for students, educators, and professionals, showcasing talent from around the world. Originally created by James Craig as a supplement to his popular textbook Designing with Type specifically for his Cooper Union students, it has grown to include contributions presented by fellow educators and designers to embrace a wider audience.

In 2006, James Craig and Irene Korol Scala published the blockbuster book Designing with Type, 5th Edition: The Essential Guide to Typography (published by Watson-Guptill).

Designer of a wonderful logotype entitled Cognac One (2012). [Google] [More] ⦿

Irma Puskarevic

Irma Puskarevic is a graphic designer and teaching assistant. She took her Master's and Doctoral degrees from the University of Novi Sad, Faculty of Technical Sciences, Department of Graphic Engineering and Design. She is currently a teaching assistant at the Department of Graphic Engineering and Design. Her academic research covers the effectiveness of typography and visual rhetoric in advertising images. She is a coauthor of Typeface and Typography Practicum. [Google] [More] ⦿

Isabel Naegele

Professor of Typography at the University of Mainz, Germany. Coauthor of Neue Schriften / New typefaces (2014, Niggli), which contains a type exhibition held in 2013 at the Gutenberg Museum in Mainz, Germany. It also has interviews with 25 type designers. In 2016, Petra Eisele, Annette Ludwig and Isabel Naegele published Futura: Die Schrift (in German). The English version Futura: The Typeface (Laurence King) followed in 2017. [Google] [More] ⦿

Issuu

A place where one can share publications. There is a subgroup on typography---no direct limk though. First click on design, then graphic arts, and then typography. The design and navigation is painful, as is the way books are shown. Downloads are nearly impossible. In short, the design of this design site gets an F. But there are some interesting publications there. Subgroups: Fonts (which has the FontFont 2009 catalog), Muestras tipograficas (which has about 60 specimen booklets), MICA (Comps of Form/Counterform and Type Specimen books for Tony Rutka's Typography 1 class at MICA, Spring 2010). [Google] [More] ⦿

italic 1.0
[Silvia Sfligiotti]

"Italic 1.0 Il disegno di caratteri contemporaneo in Italia Contemporary Type Design in Italy" is an English-Italian book edited by Paola Lenarduzzi, Mario Piazza and Silvia Sfligiotti and published by AIAP in 2002. It summarizes the state of typography in Italy in 2002. [Google] [More] ⦿

Italic 2.0

Italic 2.0 is an Italian blog and type project, very central to all that is happening on the type scene in Italy. There is also a book by the same title, dated 2008, edited by Marta Bernstein, Luciano Perondi, and Silvia Sfligiotti, with articles by Giovanni Lussu, James Clough, Antonio Cavedoni, Marta Bernstein, Luciano Perondi, Giangiorgio Fuga, and Silvia Sfligiotti. [Google] [More] ⦿

Ivan Vartarian

Author of Typo-Graphics: The Art and Science of Type Design in Context (2003, RotoVision). In this collective work, we find these typefaces: Surface, Bionic Systems, Lorem Ipsum, Offica Ludi, Fidel Castro/LOMO, Buro Destruct, Norm, Electrosmog, Emigre/Rudy VanderLans, Zuzana Licko, Test Pilot Collective, Kyle Cooper, Tycoon Graphics, Power Graphixx, Graph, Dainippon Type Organization, Cyclone Graphics, and Superlow/Function. [Google] [More] ⦿

J. Ben Lieberman

Author of Type and Typefaces: A Treasury of Typography Book (New Rochelle: The Myriade Press, 1978), Types of Typefaces (New York Sterling Publishing Co, 1967) and Type and Typefaces and how to recognize them (New York Sterling Publishing Co, 1968). [Google] [More] ⦿

J. de Haan

Dutch architect in Amsterdam who edited the lettering model book Alphabet: letters van allerlei vorm (1895-1898), which, according to Mathieu Lommen, is the prettiest and most ambitious model book ever published in The Netherlands. The text has lettering examples from many contributors, such as Jan Boerma, C.L. Stal, and J.B. Heukelom (1875-1965). Heukelom's contributions include Sierletters (Dutch art nouveau style) and Perspectiefletters.

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿

J. Eric S. Thompson

Author of A Catalog of Maya Hieroglyphs (1962, University of Oklahoma Press). It is a catalogue of most of the glyphs known up to the time of its publication. [Google] [More] ⦿

Jacek Mrowczyk

Polish designer of Danova (2011). He wrote Niewielkiego slownika typograficznego, and edits the 2plus3d magazine. [Google] [More] ⦿

Jack Curry

New York City-based type and brand designer, who has a BFA (2008-2011) from California State University at Long Beach, and used to work in Los Angeles. He studied typeface design at The Cooper Union for the Advancement of Science and Art in 2011.

Author of articles Typodarium 2012 (Verlag Hermann Schmidt Mainz, August 2011), The 3D Type Book (Laurence King Publishing, June 2011), and Typography 31 / TDC 2010 Annual (Collins Design, Dec. 2010). He published Foundation: Process and Reflection (2011, The Cooper Union).

His typefaces:

Foundation Grotesque (2011-2012). Developed at The Cooper Union, it is vaguely based on an early 20th century typeface by Linotype called Philadelphia Gothic.
Dash (2010). A free octagonal typeface.

His blog. [Google] [More] ⦿

Jack W. Stauffacher

Jack Stauffacher (b. 1920 or 1921, d. 2017, Tiburon) was a master printer who worked with metal and wood type and printed everything from business cards and tickets to fine art books and museum monographs. Jack was at Carnegie Tech (now Carnegie Mellon) during the early 1960's. He started the Laboratory Press and taught the creative possibilities of letterpress. He left there about 1964. Later he ran the Greenwood Press in San Francisco, and lived in Tiburon.

Robert Harlan describes Jack Stauffacher's involvement in Sumner Stone's "Cycles" font.

John Berry on Jack Stauffacher and his use of large wooden letters in illustrations. Jack wrote a lot about typography, e.g., Janson, a Definitive Collection (The Greenwood Press, 1954), Hunt Roman: the birth of a type, (1965), and Inscriptions at the Old Public Library of San Francisco (2003, edited by Jack).

Hunt Roman is a type designed by Hermann Zapf in the early sixties in collaboration with Jack Stauffacher. [Google] [More] ⦿

Jacob I. Biegeleisen

Instructor at the New York School of Industrial Art. Coauthor with Dan X. Solo of Classic Type Faces And How To Use Them: Including 91 Complete Fonts (reprinted in 1995 by Dover Press), a book which includes 91 typefaces. He also wrote The ABC of Lettering (5th edition in 1940; reprint, New York: Harper & Row, 1976). The book of 100 type typeface alphabets A guide to better lettering (1965, The Signs of the Times Publ. Co., Cincinnati, OH), Art Directors' Book of Type Faces (1973), and Poster Design (1945 or 1946, Greenberg Publisher, New York). [Google] [More] ⦿

Jacqueline Svaren

Author of Written Letters 22 Alphabets for Calligraphers (1975, The Bond Wheelwright Company, Freeport, ME). Scans of some poages by Gordo. [Google] [More] ⦿

Jacques André
[Bibliothèque virtuelle de livres de typographie]

Jacques André

French type professor (b. 1938) who designed some experimental fonts such as Delorme (1989). Jacques André has been working in the field of structured documents and digital typography since 1980. He was the leader of the European Didot Project concerned with the digitization of types. He is Research Director at INRIA (the French National Institute on Computer Science) in Rennes, and his work covers the digitization of ancient books and the encoding of their fonts and glyphes.

Author of Histoire de l'écriture typographique: Le XIXe siècle français (2013, with Christian Laucou). From the blurb: Pour montrer toute la richesse de cette période, les auteurs ont choisi d'en raconter les aventures successives: les Anglais avec l'invention des caractères gras, des égyptiennes et des sans-sérifs; la fonderie Gill�é qui devient celle de Balzac puis de De Berny et qui rejoindra, à l'aube du XXe siècle, celle des Peignot; la saga des Didot, de la rigueur de Firmin à l'extravagance de Jules; l'Imprimerie royale, puis impériale ou nationale, ses caractères orientaux et ceux de labeur, qui perdureront tant qu'il y aura du plomb; Louis Perrin, qui réinvente les elzévirs; les grandes fonderies françaises, qui rivalisent d'invention et de copies, et, enfin, les évolutions techniques de tout le siècle. The book also contains chapters by Alan Marshall, Alice Savoie and Matthieu Cortat.

Author of Caractères numériques: introduction, in: Cahiers GUTenberg, 1997, pp. 5-44. Author of Histoire de l'écriture typographique---Le XXe siècle, (Atelier Perrousseaux, Gap, France, 2016). [Google] [More] ⦿

Jacques André
[BiViTy: Bibliothèque virtuelle de typographie]

James Clough

James Clough (b. 1947, London) studied typographic design at the London College of Printing. In 1971 he moved to Milan to work as a designer, typographer and calligrapher. Since 1990, he has been teaching the theory and history of typography and visual communication at various institutions including the Milan Polytechnic University (since 2002) and the ISIA of Urbino. He lectures on many aspects of calligraphy, type design and the history of typography in Italy, Britain and Switzerland. Recent essays of his research for English and Italian publications include a study of the various editions of the Hypnerotomachia Poliphili (first printed by Aldus Manutius in 1499), types used by the earliest printers in Milan and Venice, the 20th century revivals of Bodoni's types and a study of historical and contemporary script types. In 2005 he curated the Mondovì Museum of Printing. He is on the scientific board of Bibliologia, and wrote the introduction to volume 2 in 2007.

James Clough co-founded the ACI (Associazione Calligrafica Italiana). He is a member of the Nebiolo History Project, and has been CAST's editor and adviser since its inception in 2013.

In 2015, James Clough and Chiara Scattolin coauthored Alphabets of Wood: Luigi Melchiori & the history of Italian wood type (Tipoteca Italiana, Cornuda, Italy). David Wolske writes: Alphabets of Wood is the most recent and arguably the most beautiful addition to the new wave of wood type scholarship. It is also important because it is the first publication to seriously examine the historical and cultural significance of Italian wood type manufacturers. In the first part of the book, James Clough calligrapher, writer provides a broad historical overview of wood block printing, from fourteenth- and fifteenth-century hand carved imagery and text through the nineteenth-century American origins of moveable wooden type. In Chapter 6 Clough introduces us to Luigi Melchiori, a skilled designer and manufacturer of wood type, active during the late nineteenth and early twentieth centuries in the Veneto Region of Italy. Through beautifully paced layouts, sumptuous photography, and a richly textured typographic palette, Melchiori's life, work, and legacy are situated in the context of other Italian wood type manufacturers. In the second part of Alphabets of Wood, Chiara Scattolin digs deep into the archive of wood type fonts, specimen books, tools, and documents held by Tipoteca Italiana. Detailed testimonies from peers help to humanize "the Bodoni of wood type," making it easy for contemporary typographers, graphic designers, letterpress printers, and artists to recognize themselves in the pride and craftsmanship Melchiori brought to his work. Every chapter of the book is illustrated with stunningly handsome antique wood type specimens. Two eight-page letterpress inserts on a toothy, soft-white paper stock provide an arrestingly modern counterpoint. The Stamperia of Tipoteca Italiana printed all sixteen frame-worthy pages using original wood type from Tipoteca's Wood Type Archive. Typographically the book echoes the best of Italian design, finding a harmonious balance between industrial sharpness and sensuous fluidity.

He also wrote Signs of Italy (2015, Lazy Dog Press). [Google] [More] ⦿

James Craig
[Designing with Type]

James Eckmann

Type historian who wrote in Printing and Graphic Arts between 1957 and 1961 on "The Keystone Type Foundry, 1888-1917", "The Chicago Type Foundry of Marder, Luse&Company 1863-1892", "Chicago Type Foundry Specimen Books", "The Inland Type Foundry, 1894-1911" and "The Great Western Type Foundry of Barnhart Brothers&Spindler, 1869-1933". [Google] [More] ⦿

James Moran

Author of Stanley Morison's biography: Stanley Morison. His typographic achievement (London, 1971). [Google] [More] ⦿

James Mosley

James Mosley (born 1935, died 2025) was a retired librarian and historian who specialized in the history of printing and type design. From 1958 until 1999, Mosley was librarian of St Bride Printing Library, London. He was lecturer and professor in the Department of Typography and Graphic Communication at the University of Reading, UK, 1964-present. He was a founding member of the Printing Historical Society and the first editor of its Journal. He also was a faculty member in the Rare Book School, University of Virginia, Charlottesville, and in the Ecole de l'Institut d'histoire du livre, Lyon. In addition, he was a Senior Research Fellow in the Institute of English Studies, University of London. A specialist of type history from 1400 until today, he wrote many articles, including "Les caractères de l'Imprimerie Royale" in "Le romain du roi: la typographie au service de l'état, 1702-2002" (2002, Lyon: Musée de l'Imprimerie). Among his recent writings are studies of the Italian 16th-century calligrapher Giovan Francesco Cresci, the origins in England of the modern sans serif letter, and notes to a facsimile edition of the Manuel typographique (1746) of Fournier le jeune. Speaker at ATypI 2007 in Brighton. He had a blog. At ATypI 2010 in Dublin, he spoke about the types of the Proclamation of the Irish Republic. [Google] [MyFonts] [More] ⦿

James Moyes

London-based printer. Author of Specimens of the types commonly used in the Temple printing office, Bouverie Street; with Their Names and the Names of the Founders: Also, Specimens of Wood Engravings (1826, the Temple Printing Office, London, Bouverie Street). Local download. [Google] [More] ⦿

James Ronaldson
[Binny&Ronaldson]

James Shimada
[The Font Wars]

James T. Edmondson
[Oh No Type]

James Walker Puckett
[Dunwich Type Founders]

Jan Hendrik Scholte

Dutch author, b. 1874, who edited Die Hochdeutschen Schriften aus dem 15ten bis zum 19ten Jahrhundert der Schriftgiesserei und Druckerei (1919, Enschedé en Zonen, Haarlem), a publication which has four articles:

Gustav Mori: Christian Egenolff, der erste ständige Buchdrucker in Frankfurt a/M
Christian Münden: Von den ersten Franckfurter Bruchdruckern
Gustav Mori: Geschichte und Entwicklung des Schriftgiesserei-Gewerbes in Frankfurt a/M
Charles Enschedé: Die Druckerei der Elsevier und ihre Bezichung zu der Lutherschen Schriftgiesserei

This book is mainly about the development and history of blackletter types. Open Library link. [Google] [More] ⦿

Jan Hendrik Weber

Hendrik Weber or Jan Hendrik Weber. Graduate of the University of Applied Sciences in Potsdam (in graphic design) and Hochschule für Grafik und Buchkunst in Leipzig (in type design).

He designed commercial typefaces published at Our Type. Later he joined Monotype to advise clients on bespoke type and develop new markets in branding. In 2016, he became type director at Monotype Germany. After that, he joined Fred Smeijers' Type By. His typefaces:

The Lirico family at (2008, Ourtype, and later Type By). This text family is slightly organic, flirts with hairline connectors, and is characterized by triangular serifs. Lirico won an award at TDC2 2009.
Edward and Edward Plus (2008, Ourtype, and later Type By): Edward is named in honour of Edward Johnston, calligrapher, teacher, and author of Writing & Illuminating, & Lettering (1906). [...] The inspiration behind Edward will be immediately recognizable: the 'blockletter' Johnston designed for the London Underground in 1916, for use in their signs and posters.
The free typeface Northstream Wind (2016, Monotype).
Weber's custom design for Bentley Motors nailed him the Red Dot Award in 2014.
The crisp branding sans typeface family Unitext (2018, Monotype).
He was part of a team at Monotype that developed Helvetica Now in 2019 at Monotype, together with Charles Nix and others. Monotype writes: Every single glyph of Helvetica has been redrawn and redesigned for this expansive new edition which preserves the typeface's Swiss mantra of clarity, simplicity and neutrality, while updating it for the demands of contemporary design and branding. Helvetica Now comprises 48 fonts, consisting of three distinct optical sizes: Micro, Text and Display. In 2021, he took part in the development of Helvetica Now Variable (Monotype). Helvetica Now Variable was designed by Max Miedinger, Charles Nix, Monotype Studio, Friedrich Althausen, Malou Verlomme, Jan Hendrik Weber and Emilios Theofanous and published by Monotype. Monotype writes: Helvetica Now Variable gives you over a million new Helvetica styles in one state-of-the-art font file (over two-and-a-half million with italics!). Use it as an extension of the Helvetica Now family or make custom-blends from its weights (Hairline to ExtraBlack), optical sizes (four point to infinity), and new Compressed and Condensed widths. It contains 144 static styles.
Corporate typefaces developed as part of the team at brand agency KMS TEAM in Munich: Bentley Motors (this received a Red Dot award in 2014), Canyon Bikes.

His thesis Kursiv has been published by Niggli Verlag in 2010. In 2020, Niggli published his English language book Italic.
Klingspor link. Linotype link. [Google] [MyFonts] [More] ⦿

Jan Middendorp

Jan Middendorp, born in the Den Haag, Netherlands, lived in Leiden, Amsterdam and Gent (Belgium) before moving to Berlin in 2005. He died in December 2023. An independent writer, translator and consultant, he taught (taught) at Weissensee Art College in Berlin and the Plantin Institute of Typography in Antwerp. During the past twenty years Jan has edited, written and co-written a number of well-known books on graphic design and typography, including Hey, there goes one of mine! (2002), Dutch Type (2004), Shaping Text (2012), Hand to Type (2012), Type Navigator (2011, with TwoPoints. Net), Creative Characters (2010) and Made with FontFont (2006, with Erik Spiekermann). He had an ongoing collaboration with the Bibliothèque typographique of Ypsilon Editeur in Paris and with MyFonts, where he edited the popular interview newsletter Creative Characters.

In 2017, he founded Fust & Friends.

In 2023, received the TDC Medal.

Dorp Dal link. Fust & Friends bio. [Google] [More] ⦿

Jan Pas

Author of Mathematische of wiskundige behandeling der schryfkonst. Behelzende een manier om alle de gemeene letteren van het regt- en schuin romeins; curcyf; italiaansch; nederduitsch; en fractuur ... Opgesteld en geteekend (Amsterdam, 1737). This Dutch text contains some pages in French under the section title Demonstration mathematique de l'art d'écrire. The text shows many letter styles drawn entirely with compass and ruler, and is clearly influenced by the romain du roi. Local download. [Google] [More] ⦿

Jan Tschichold

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

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

Links about him: Textism site. Nicolas Fabian's page on him. Links to his work. Bio at Linotype. Wikipedia site. Publications include:

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

[Google] [MyFonts] [More] ⦿

Jan van Krimpen

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

Cancellaresca Bastarda (1934-1935, Enschedé). 100 Types writes: Cancellaresca Bastarda is a graceful narrow italic with long descenders and ascenders, and a large array of character variations and swashes. The uppercase and lowercase alone ran to 167 characters including ligatures, anticipating large-family calligraphic fonts such as Poetica Chancery by at least 50 years. Jan van Krimpen's types have been called 'austerely beautiful' but are little known outside of his native Holland. The Enschedé Foundry for whom he worked in the mid 20th century still rigidly controls his types, and none of these have been cross licensed, redistributed or pirated. As a result, Cancellaresca Bastarda is one of the rarest typefaces.
Haarlemmer (1938). Berry, Johnson and Jaspert write: Designed by Jan van Krimpen, and commissioned in 1938 by the Vereeniging voor Druk- en Boekkunst. This originally private type was intended for an edition of the Staten Bijbel to be printed in small folio format. The type has the qualities of an old face. The serifs on the capitals are thin; on the lower case they are stronger and not quite horizontal. The capitals are wide, especially the M. The g has a large bowl. The italic is slightly inclined and has angular beginning strokes; the g has a calligraphic tail; v and w have cursive forms. Two styles of figures are provided. Now digitized as DTL Haarlemmer and DTL Haarlemmer Sans (1994). Frank E. Blokland published it at Monotype in 1998, and later at his own type foundry, Dutch Type Library. This is a prototype example of a design that is totally destroyed by one glyph, the lower case g in the italics.
Lutetia (Enschedé, 1924). Berry, Johnson and Jaspert write: The type shares some of the qualities which we have found in a number of contemporary types, small serifs and unobtrusive capitals. The capitals are wide, note especially E and F. U has the lower-case design. In the lower case the e has an oblique stroke to the eye, the g a large bowl, and the t is very short. The figures are old style. In the italic there is a swash series of capitals with prolonged strokes in A, K, M, N and R. The lower case, very slightly inclined, resembles Blado in the angularity of the begininng strokes, but the serifs on ascenders are flat. The g has a calligraphic form. It is an italic which, again like Blado, will stand on its own. The roman alphabet shown here is the first Lutetia of 1925 designed 1923-1924. With the co-operation of Jan van Krimpen an American printer, Porter Garnett, had it revised in 1928. The present Enschedé Lutetia is of the first form with the exception of the horizontal bar to the e. Monotype Lutetia was adapted by the designer to the Mono-unit system. Lutetia Open was cut about 1930 on the model of handtooled capitals which the designer had been using occasionally. Lutetia was digitally revived as Lutetia Nova Book in 2014 by Ralph M. Unger, and as Lutetia Open by ARTypes in 2007. For her type revival project at KABK, Barbara Bigosinska picked Lutetia (2013) and writes: Lutetia was designed as a commission from Enschedé by Jan van Krimpen. The drawings of the typeface were ready in the middle of 1924 and first cut and cast in 16 point size in the Enschedé Type Foundry. For the first time the typeface was used in the book dedicated to the exhibition that took place in Paris in 1925. Therefore the name Lutetia refers to the Roman name of Paris. Essay by Doyald Young on Van Krimpen and his Lutetia.
Open Roman Capitals (or: Open Kapitalen, revived in 2006 by Ari Rafaeli; see also Open Capitals by ARTypes, 2007).
Romanée (Enschedé, 1928). For a digital revival, interpretation and extension, we refer to Holger Koenigsdoerfer's Renommée (2017-2018, published at Lazydogs).
Romulus (Enschedé, 1931 for the Capitals and 1936 for the Open version). Romulus Kapitalen and Romulus Open were revived in 2006 by Ari Rafaeli. See also Romulus Capitals and Romulus Open in 2007 by ARTypes. Now digitized as DTL Romulus (2002).
Curwen Initials, done in 1925 for The Curwen Press at Plaistow, London. Digitized by ARTypes as Curwen Initials (2008, Ari Rafaeli).
Spectrum (Monotype, 1952--a very beautiful modern type family, legible, and flexible in all situations; part of the Linotype library). MyFonts writes: Spectrum is based on a design by Jan van Krimpen, who worked on his typeface from 1941 to 1943 for use in a Bible of the Spectrum publishing house in Utrecht. The bible project was later cancelled but the typeface was so beautifully formed and universal that the Monotype Corporation in London completed it.
Van Dijck.

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

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

Spectrum MT (Adobe)
Spectrum (Monotype)
Curwen Initials (ARTypes)
Haarlemmer (Monotype)
Lutetia Nova (RMU)
Combi (AVP)
Bague (Eurotypo)
Apolline Std (Typofonderie)
DTL Haarlemmer (1994). By Frank E. Blokland at Dutch Type Library.
Renommée (2017-2018, Lazydogs). By Holger Koenigsdoerfer.

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

Jan Visser

Lithographer in Groningen, The Netherlands, who studied at Academie Minerva in Amsterdam. Born in 1856, he taught at two schools, the Quellinusschool and the Teekenschool, and died in 1938. He published the lettering model book Lettervormen voor school en werkplaats, ca. 1885, published the lettering model book Lettervormen voor school en werkplaats, ca. 1885.

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿

Janon Co

Authors of Fine Hand Embroidery (1914, New York). This book contains many embroidered alphabets and monograms. Janon Co had offices in Paris and New York.

Digital typefaces based on their work include Antoinette Monogrammes (2013, Ryoichi Tsunekawa). [Google] [More] ⦿

Jaro Springer

Jaro Springer (1856-1915) of the International Chalcographical Society authored the specimen book Gothic Alphabets (1897, printed by the Reichsdruckerei, Berlin), which was also published the same year in German as Gothische Alphabete. This book showcases three ancient anthropomorphic alphabets: a pen-drawn figurine alphabet from ca. 1400 consisting of cowled figures and fabulous beasts and dragons; a figurine alphabet from 1464 engraved on wood in the Netherlands by Master of the Banderoles; and an architectonic alphabet engraved on copper. [Google] [More] ⦿

Jaroslav Andel

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

Jason Dewinetz

Author of Alphabetum Romanum (Greenboathouse Press, Vernon, BC, 2010). This book has an alphabet of Felice feliciano, ca. 1460, asc redrawn by Dewinetz. There is a forword by Paul F. Gehl of Chicago's Newberry Library. [Google] [More] ⦿

Jason Pamental

Jason Pamental (Rumford, RI) is Senior Director of Design and Technical Strategy at Isovera, where he heads the design and development team, leads workshops, and works with clients establishing their digital strategy. Jason specializes in typography for the web.

Author of Responsive Typography (O'Reilly). [Google] [More] ⦿

J.C. van Lunteren

Dutch penman and teacher in Den Haag, d. 1848. According to Mathieu Lommen, he was probably the first one to publish a lettering model book in The Netherlands, Alphabet-album: collection de différentes feuilles d'alphabets historiés et fleuronnés (ca. 1846).

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿

Jérôme Knebusch
[Poem Editions (or: Atelier Jerome Knebusch)]

Jean-Antoine Alessandrini

Jean de Beauchesne

Influential French master penman, 1538-1620. Jean de Beauchesne and John Baildon published the first writing manual in England: A Booke containing divers sortes of hands, as well the English as French secrataries with the italic, roman, chancelry&court hands (1570-1571, London: Thomas Vautrollier). In 1580, he published Le Tresor d'escriture, auquel est contenu tout ce qui est requis&necessaire à tous amateurs dudict art. His third book was La Clef de l'escriture laquelle ouvre le chemin à la jeunesse, pour bien apprendre à excrire la vraye lettre françoyse&italique (1595, London: G. Boulengier). He also published Specimens manuscrits anglais dédiés à Mme Elizabeth fille unique du roi de Grande Bretaigne (1610, England).

Sample of his batarde angloise (1570). Digital typefaces based on his examples include Piacevole (2008, Marc H. Smith). [Google] [More] ⦿

Jean Joseph Marcel

At one point director of the imprimerie de la république. Author of Alphabet irlandais, précédé d'une notice historique, littéraire, et typographique (Paris, Imprimerie de la République, nivôse an XII [1804]). This book explains the Irish alphabet, but has little in terms of typographic information. [Google] [More] ⦿

Jean Joveneaux

Author of La lettre dans la peinture et la publicité (1957, Editions Charles Massin, Paris: see also here and here). His Futura Stencil-like Le Pochoir (plate 40) was digitally remade by Toto as Le Pochoir (2011), and also by Jan Gerner as Pochoir (2006). Author also of La lettre dans le décor. An art deco typeface from that book was digitally revived by Toto and Dick Pape in 2011 under the name La lettre dans le décor. Free download here.

The alphabets of La lettre dans la peinture et la publicité (1957) include many styles, from art deco to blackletter, Victorian and retro. Joveneaux gave them names, so I will list them in alphabetical order: 1erEmpire, AnDeGrace1320, Antiquites, Aquarium, ArtsGraphiques, BalDeNuit, Bar, BeauxArts, Cafe, CompositionDecorative, Constellation, CoursDeStenotypie, DerniereHeure, EclairageFluorescent, Editorial, ElectroStatique, EnExclusivite, Exposition, Illustration, InitiationSportive, JeuDeDominos, LaGrandeParade, LePochoir, LettresOrnees, Massif, Meubles, ModeDEte1950, Motos, Nouvelle, Ordonnance, OrpheeAuxEnfers, PrestigeDeLaSoie, Promotion52, RealisationsGraphiques, RobesDEte, SalonMai1953, Samedi23Mai1953, TissusTousColoris, TouteUneGammeDeLaines, ZoneInterdite. [Google] [More] ⦿

Jean Larcher

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

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

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

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

Jean Méron

Author of "Orthotypographie : recherches bibliographiques", Convention typographique, 2002. A 416 page opus on the history of the book, printing, writing, and typography. A great handwritten preface by Fernand Baudin. See also here. [Google] [More] ⦿

Jean Paillard

French type historian. Author of Claude Garamont: graveur et fondeur de lettres: étude historique (1914, imp. Maurice Ollière et Cie, Paris). [Google] [More] ⦿

Type designer, graphic designer and illustrator, born in Marseille in 1942. Allessandrini (sometimes spelled Alessandrini in various publications) used to work at Paris Match, Lui and Elle. His typefaces: Akénaton 1969 (Hollenstein Phototypo) (1975, VGC??), Alias 1977 (Hollenstein Phototypo), Allessandrini 7 1972 (Hollenstein Phototypo), Anarchiste (Mécanorma), Andronique 1984 (Mécanorma), Astronef 1976 (Hollenstein Phototypo), Circus World, (Mécanorma), Cléopatre 1984 (Mécanorma), Combinat 1976 (Hollenstein Phototypo), Éclipso 1982 (Mécanorma), Electric-Type 1977 (Hollenstein Phototypo), Futuriste 1977 (Hollenstein Phototypo), Germain 1969 (Hollenstein Phototypo), Grand Dadais 1977 (Hollenstein Phototypo), Grand Large 1977 (Hollenstein Phototypo), Graphic Man 1973 (Hollenstein Phototypo), Grossium 1977 (Hollenstein Phototypo), Gyptis 1977 (Hollenstein Phototypo), Hypnos 1969 (Hollenstein Phototypo: a psychedelic face), Legitur, Mikado 1977 (Mécanorma: oriental simulation), Mirago 1970 (Hollenstein Phototypo), Priam 1976 (Hollenstein Phototypo), Showbiz 1969 (Hollenstein Phototypo), Sigle (Mécanorma), Technos 1984 (Mécanorma), Trombinoscope 1964, Vampire 1969 (Hollenstein Phototypo), Wotan, (Mécanorma).

Inventor of the classification system Codex 1980 that provoked heated responses from luminaries such as Vox, baudin, Blanchard and Mendoza.

Author of Typomanie / Jean Alessandrini; préface de Massin (Paris: La Noria, DL, 1977).

In 2013, David Rault wrote the monograph Jean Alessandrini Le poète de la lettre.

Jean-François Porchez
[Typofonderie (was: Porchez Typofonderie)]

Jerry Kelly and Alice Koeth

Jean-Luc Dusong

Coauthor with Fabienne Siegwart of "Typographie, du plomb au numérique" (Dessain et Tolra, 2003). [Google] [More] ⦿

Jean-Luc Froissart

Grandson of Georges Peignot, b. 1926. Author of L'or, l'âme et les cendres du plomb: L'épopée des Peignot, 1815-1983 (2004). It paints the history of the Peignot family of typefounders from 1815 until 1983. [Google] [More] ⦿

Jean-Michel Papillon

French wood engaver, b. 1698, Paris, d. 1776, Paris. Son of Jean Papillon, the famous manufacturer of fine wallpapers. He was for a long time employed by the Imprimerie Royale as wood engraver. There, he created numerous ornaments. Author of Traité historique et pratique de la gravure en bois (1766, Paris). Chapters cover cutting of the block, inking and printing, monograms, xylography and block books, cutter's tools, and chiaroscuro prints.

Digital typefaces that are based on his work include

Papillon 1760 (2007, Dick Pape). A free font. First shown in Paris in 1760, and reprinted by Clarence P. Hornung in Dover Pictorial Archive Series: Early Advertising Alphabets, Initials and Typographic Ornaments (1956, Dover Publications). Hornung's images inspired Pape's typeface.
Papillon Woodcuts (2013, Jose Jimenez). A commercial font based on the same sample from 1760.

[Google] [More] ⦿

Jean-Pierre Fournier

French author of Inventaire de la fonderie Le Bé, 1738, Archives nationales, Minutier Central des Notaires, étude LXV L. 324. In 1957, Stanley Morison re-edited this text as Inventaire de la fonderie Le Bé selon la transcription de Jean-Pierre Fournier (André Jammes). [Google] [More] ⦿

Jean-Pierre Lacroux

Jean-Pierre Lacroux (1947-2002) had a wonderfully informative site with tons of useful links, many to French sources, and many concerned weith orthotypography. Subpages: Bibliography on pens, paper and writing. Bibliography on ancient and modern typography. Sadly, on November 12, 2002, Lacroux passed away. His pages remain on the web, a testimony to the many hearts he touched with his kindness. A tribute entitled Typographique tombeau de Jean-Pierre Lacroux (148 pages, 2003, PDF file) was published under the editorship of Thierry Bouche and Éric Angelini. Look for Lacroux's principle: the minimal typographic quality of a text is inversely proportional to its literary value. [Google] [More] ⦿

Jef Tombeur

Typographic aficionado who contributes links to the St. Bride Printing Library in London. This page has links to the main type sites on the web.

I can't resist this wonderful short autobiography of Jef, and I do not want to translate it, because it would lose its punch: Jef Tombeur, ex-vagabond professionnel&auto-stoppeur en Europe, au Moyen-Orient et en Amérique du Nord depuis l'âge de 15 ans, s'est rapidement tourné vers le journalisme par désoeuvrement. Vendre à la criée The International Times et The Black Dwarf à Londres, puis Le Monde à Strasbourg, l'y incita. Laissant tomber facs et école de journalisme, il contribua à rédiger, composer, gérer l'hebdomadaire franco-alsacien Uss'm Follik (Issu du Peuple), ce que facilitèrent ses origines bretonnes. Repéré ensuite à Belfort, Niort, Reims, devenant progressivement grand reporter et de moins en moins pigiste pour Libération et d'autres. Chef de desk à l'Agence Centrale de Presse, il en diffusa la dernière dépêche puis retourna à la rue et aux facultés. Ayant traduit divers auteurs anglophones au passage, tel Tom Coraghessan Boyle (cf. www.tcboyle.net), il s'est de nouveau passionné pour la typographie, en devenant le seul journaliste spécialisé français (notamment pour Création Numérique ou Pixelcreation.fr). Envisage de devenir chômeur en fins de droits et propagandiste plénipotentiaire pour Phil Martin en Afrique avant d'avoir atteint, prochainement, si possible, 55 ans. Localisé fréquemment chez Ali (bar La Gitane, près de Strasbourg-Saint-Denis, Paris) ces temps derniers.

Author in 2004 of Femmes&métiers du Livre, Women in the Printing Trades, which appeared with Talus in Belgium. It describes women typographers and printers throughout history. [Google] [More] ⦿

Jeff Level

Worked at Autologic under Sumner Stone. Then moved to Monotype where he art director many fonts. Author, with Bruce Newman and Brenda Newman, of The Precision Type Font Reference (1995, Precision Type Inc). Rumoured to be working on version 6 of that book. [Google] [More] ⦿

Jennifer Bass

Daughter of Saul Bass. Author with Pat Kirkham of Saul Bass: A Life in Film&Design (2011). The book's blurb: This is the first book to be published on one of the greatest American designers of the 20th Century, who was as famous for his work in film as for his corporate identity and graphic work. With more than 1,400 illustrations, many of them never published before and written by the leading design historian Pat Kirkham, this is the definitive study that design and film enthusiasts have been eagerly anticipating. Saul Bass (1920-1996) created some of the most compelling images of American post-war visual culture. Having extended the remit of graphic design to include film titles, he went on to transform the genre. His best known works include a series of unforgettable posters and title sequences for films such as Alfred Hitchcock's Vertigo and Otto Preminger's The Man With The Golden Arm and Anatomy of a Murder. He also created some of the most famous logos and corporate identity campaigns of the century, including those for major companies such as AT&T, Quaker Oats, United Airlines and Minolta. His wife and collaborator, Elaine, joined the Bass office in the late 1950s. Together they created an impressive series of award-winning short films, including the Oscar-winning Why Man Creates, as well as an equally impressive series of film titles, ranging from Stanley Kubrick s Spartacus in the early 1960s to Martin Scorsese s Cape Fear and Casino in the 1990s. Designed by Jennifer Bass, Saul Bass's daughter and written by distinguished design historian Pat Kirkham who knew Saul Bass personally, this book is full of images from the Bass archive, providing an in depth account of one of the leading graphic artists of the 20th century. [Google] [More] ⦿

Jerry Kelly

Jerry Kelly is a book designer, calligrapher, type designer, and typographer. Since the late 1970s he has designed hundreds of books for numerous clients, including the Metropolitan Museum of Art, The Pierpont Morgan Library, The American Federation of the Arts, The American Academy of Arts and Letters, The Grolier Club, Cambridge University Press, David R. Godine Publisher, International Typeface Corporation (ITC), and others. Hs book design career started first with the Press of A. Colish in Mount Vernon, New York (1981-1991), and then with the Stinehour of Press of Lunenberg Vermont, where he rose to the position of Vice President (1991-1999). After The Stinehour Press was sold he went out on his own, designing and producing books as proprietor of Jerry Kelly LLC. His work has received numerous awards, including more than thirty selections in the American Institute of Graphic Arts's prestigious Fifty Books of the Year awards for excellence in book design. Since 1978 he has been a partner at the Kelly-Winterton Press and at the Nonpareil Type foundry, an independent type design firm.

Author of various books on typography and type design. In 2011, he wrote About More Alphabets: The Types of Hermann Zapf (New York, The Typophiles). In 2007, he published Spend your alphabets lavishly! The work of Hermann & Gudrun Zapf (The Typophiles and RIT Cary Graphic Arts Press). The latter book is a catalogue of an exhibition at the Melbert B. Cary, Jr. Graphic Arts Collection of the Rochester Institute of Technology, and presents a survey of work by Hermann and Gudrun Zapf. On the same topic, he wrote Manuale Zapficum (Rochester: Cary Graphic Arts Press, 2009, 24 pages, limited edition). Manuale Zapficum commemorates the ninetieth birthdays of typographers Hermann Zapf and Gudrun Zapf von Hesse through typeface specimens set in homage to the classic design of Hermann Zapf's 1968 Manuale Typographicum. The twenty specimen designs in the book are based upon quotes about the couple's oeuvre, each typeset in Zapf faces and letterpress printed by several of the Zapfs' colleagues. The contributors include Jill Bell (of Brandlettering Design), Rick Cusik (of Hallmark Cards), Jerry Kelly (of the Kelly-Winterton Press and Nonpareil Type), Nancy Leo Kelly (a designer at The Dial Press), David Pankow (curator of the Cary Graphic Arts Collection) and Doyald Young.

In 2014, Jerry Kelly and Misha Beletsky coauthored The Noblest Roman: A History of the Centaur Types of Bruce Rogers (RIT Cary Graphic Ars Press). The blurb: The history of the Centaur type, likely the most important American typefeace ever designed, has been recounted untold times in very general terms, following the official version of events, purported by its designer in several publications. Yet, as the new research by Jerry Kelly and Misha Beletsky shows, there is a number of gray areas to the story. The new data, culled from archival documents, some unpublished, as well as from a variety of published sources presents this important design and its history in a new light. That book was issued in a 300-sample limited edition by the The Book Club of California in 2016.

Hermann Zapf and the World He Designed: A Biography (2019, The Grolier Club, New York).

Jerry Kelly designed these typefaces:

Rilke (Nonpareil Type). A transitional typeface family.
A digital version of Bruce Rogers's original Centaur, used in his 2016 book.

[Google] [More] ⦿

Editors of "Artist&Alphabet : 20th Century Calligraphy&Letter Art in America", a nice book on calligraphy. [Google] [More] ⦿

Jesse Noel

Freelance designer in Culpeper, VA. Author of Just Your Type (2014, Jackson Publishing, Syracuse, NY). [Google] [More] ⦿

J.F. Coakley

J. F. Coakley is Senior Lecturer in the Department of Near Eastern Languages and Civilizations, and on the staff of Houghton Library, at Harvard University. His private press, the Jericho Press, occasionally makes use of Syriac and other exotic types. In 2006, he wrote The Typography of Syriac: a Historical Catalogue of Printing Types, 1537-1958 (Oak Knoll Press, New Castle, DE). Oak Knoll writes: Syriac, a dialect of the ancient Aramaic language, has a remarkable Christian literature spanning a thousand years from the fourth to the thirteenth century, including important versions of the Bible. It remains the liturgical language of several churches in the Middle East, India, and the West, and 'Modern Syriac' is a vernacular still in use today. It is no wonder that this language has a long and rich printing history. The challenge of conveying the beautiful cursive Syriac script, in one or another of its three varieties, was taken up by many well-known type-designers in the letterpress era, from Robert Granjon in the sixteenth century to the Monotype and Linotype corporations in the twentieth, as well as by many lesser-known ones. This study records and abundantly illustrates no fewer than 129 different Syriac types, using archival documents, type-specimens, and the often scattered evidence of the print itself. The Typography of Syriac will be of interest not only to scholars of Middle Eastern languages and scripts but also to all historians of type and printing. [Google] [More] ⦿

J.G. Bissell

Author of Instructions on Modern Show Writing (1921). [Google] [More] ⦿

J.H. Furst Company

Publisher of A Specimen Book of Type Styles (Baltimore, MD). [Google] [More] ⦿

Jim Byrne

Author of Accessible Web Typography. The web page corresponds to the book. [Google] [More] ⦿

Jim Felici

Jim Felici discusses extreme letter spacing. He is the author of The Complete Manual of Typography (Peachpit Press, 2003). This book is reviewed by John Berry. [Google] [More] ⦿

J.J. Augustin

Author of Schriftproben: Orientalischer Typen wie auch Phonetische Akzente (1933, Glückstadt and Hamburg). [Google] [More] ⦿

J.N. Halsted

Author of Modern Ornament & Design (1927, 1985). J.N. Halsted shows illustrations, ornaments and graphic design elements. [Google] [More] ⦿

Jo de Baerdemaeker
[Studio Type (or: Typojo)]

Joaquim Carneiro da Silva

Joannes Weenink

Dutch penman and lettering artist (1797-1879), who published the lettering model book Alphabeth in onderscheiden soorten van oude, nieuwe en ornament letteren, ca. 1843. Some of his work is close to earlier model book work of Jean Midolle in Switzerland.

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿

Joao Henrique Lopes

Ananindeua, Brazil-based creator (b. 1986, Brazil) of FontForum Giureska (2012), a blackletter / uncial family published by URW, and of Styla Pro (2013), a flared typeface also published by URW, and advertized as a romantic sans influened by Bodoni.

Lucca (2013) is a flared humanist sans typeface that was inspired by Italian Renaissance fonts like Poliphilus, Blado, Centaur and Arrighi.

Typefaces from 2015: Pleiad (seven interchangeable scripts published by URW++: Pleiad Alcyone, Pleiad Celeno, Pleiad Electra, Pleiad Maia, Pleiad Merope, Pleiad Sterope, Pleiad Taygete).

Typefaces from 2017 at URW++: Meyling (emulating painted letters, or perhaps an oriental brush).

Typefaces from 2020: Slazer (futuristic, sci-fi).

Author of Elements of Manga Style. [Google] [MyFonts] [More] ⦿

Portuguese author of Breve tratado theorico das letras typograficas (1803, Lisboa: Regia officina typografica), which can be downloaded here. [Google] [More] ⦿

Jodocus Hondius

Penman. Author of Theatrvm Artis scribendi, Varia Svmmorvm Nostri Seculi, Artificum exemplaria complectens (1594), a book with many European script specimens. [Google] [More] ⦿

Joep Pohlen
[Letterfountain: Bibliography]

Joep Pohlen
[Polka Design / Letterfontein]

Johann Heinrich Gottfried Ernesti

Joh. A. Moesman

Lithographer and calligrapher in Utrecht, The Netherlands, 1859-1937. He published an untitled lettering model book in 1877. [Google] [More] ⦿

Johan Kroeger

German type expert who wrote a short survey paper in 1985 entitled Deutsche Schrägschriften. In it, he deals with cursive typefaces made between 1900 and 1935 in Germany. [Google] [More] ⦿

Johann Friedrich Unger

German type designer, b. 1750, Berlin, d. 1804, Berlin. He had a press in Berlin, which he founded in 1780. His foundry started in 1791. His typefaces:

Unger-Fraktur (1793-1794). Revived by the following foundries: D. Stempel (1919), Julius Klinkhardt (Berthold) (1907), Otto Weisert (1927), Norddeutsche Schriftgiesserei, Schiftguss (1928), Delbanco (as DS-Unger-Fraktur), SoftMaker (2002: see J790 Blackletter on the SoftMaker MegaFont XXL CD), Berthold (as Unger Fraktur BQ), and Ralph M. Unger (Unger Fraktur (2010); includes fett and mager).
The metal font Kabinett-Fraktur (1938-1939, Johannes Wagner) is identical to Unger Fraktur. Peter Wiegel did a digital revival in 2015 called Kabinett Fraktur. Dieter Steffmann also revived Kabinett Fraktur.

He became a professor of woodcutting at the Akademie der Künste in 1800. Brief bio by Harald rösler, 1999.

Unger's publications: Etwas über den Buchhandel, Buchdruckerey und den Druck außerhalb Landes (1787), Etwas über die Holz- und Formschneidekunst, und ihren Nutzen für den Buchdrucker (1788), Einige Gedanken über das Censur-Edikt vom 29. December 1788 (1789), Vorschlag, wie Landkarten auf eine sehr wohlfeile Art können gemeinnütziger gemacht werden (1791), Probe einer neuen Art deutscher Lettern (1793), Die neue Cecilia. Letzte Blätter von Karl Philipp Moritz. Zweite Probe neu veränderter deutscher Druckschrift (1794).

Heinrich Heeger wrote in 1973 about the story of Unger Fraktur and Kabinett Fraktur. Konrad F. Bauer penned Zur Geschichte der Unger-Fraktur (1929, Bauersche Giesserei).

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

Author of Die Wol-eingerichtete Buchdruckerey, mit hundert und achtzehen Teutsch- Lateinisch- Griechisch- und Hebrä'ischen Schrifften, vieler fremden Sprachen Alphabeten, musicalischen Roten, Calender-Zeichen, und Medicinischen Characteren, Ingleichen allen üblichen Formaten bestellet, und mit accurater Abbildung der Erfinder derlöblichen Kunst, nebst einer summarischen Nachricht von den Buchdruckern in Nürnberg, ausgeziere, publ. Nürnberg: Johann Andred Endters seel. Sohn und Erben, 1721. [Google] [More] ⦿

Johann Jacob Losenawer

Author of Vorschrift Deutsch-Lateinisch und Franczösischer Schriften Geschrieben (Stuttgart, 1719, later edition in 1739). It has several calligraphic alphabets, and many elaborate initial caps: Sample, another sample, ample, and one more, and still more, and a final one for the road. [Google] [More] ⦿

Johann Neudörffer

German writing master, 1497-1563, aka Johann Neudörffer The Elder, who founded his writing school in Nürnberg, and printed his first plates ca. 1519. His first publication was Fundament in 1519. These prints eventually became the foundation for a new kind of writing education throughout Europe. His writing manual and teachings helped further the development of blackletter. Author of Anweijsung einer gemeiner hanndschrift. Durch Johann Neudoerffer, Burger vnd Rechenmeister zu Nurmberg geordnet und gemacht (Nürnberg, 1538). Some of his methods are still alive in contemporary type design.

Oliver Linke, an expert on Neudörffer, and Christine Sauer published Zierlich schreiben Der Schreibmeister Johann Neudörffer der Ältere und seine Nachfolger in Nürnberg (2007, Beiträge zur Geschichte und Kultur der Stadt Nürnberg 25, Typographische Gesellschaft München / Stadtbibliothek Nürnberg).

Several blackletter type families are named after him, such as Helmutt G. Bomm's Neudoerffer Fraktur (2009, Linotype), Manfred Klein's Neudoerffer (2003; the note in the font says that these codex-style initials are the unaltered original Neudoerffer Initialen from 1660, but this information could be in error) and Neudoerffer Scribble Quality (2003), and Klaus-Peter Schäffel's 1519 Neudoerffer Fraktur (2012). [Google] [More] ⦿

Johanna Balusikova

Johanna Balusikova (b. 1974, Slovakia), now Johanna Bilak, studied typography at Atelier National de Création Typographique in Paris and at the Bratislava Art Academy in her native Slovakia, as well as at the Jan van Eyck Akademie in the Netherlands. She now works as a freelance graphic designer in The Hague, where she has lived since 1999. She designed Jigsaw (1999-2000) at Typotheque: this was originally intended as a Multiple Master font that varies from roman to stencil.

At ATypI 2004 in Prague, she spoke about "Experiment and typography". Co-editor with Alan Zaruba of We Want You To Love Type (2004, e-a-t). Since 2003 she is a partner in Peter Bilak's Typotheque. [Google] [MyFonts] [More] ⦿

Johanna Drucker

Author of "The Alphabetic Labyrinth : The Letters in History and Imagination". See also here. [Google] [More] ⦿

Johannes Bergerhausen

Johannes Bergerhausen (b. 1965, Bonn, Germany), studied Visual Communication at the University of Applied Sciences in Düsseldorf. From 1993 to 2000, he lived and worked in Paris. First he collaborated with the Founders of Grapus, Gérard Paris-Clavel and Pierre Bernard, then he founded his own office. He returned to Germany in 2000, where he is Professor of Typography at the University of Applied Sciences in Mainz (since 2002). In 2003, together with Paris-Clavel, he published the font "LeBuro" at ACME Fonts, London. At ATypI 2004 in Prague, he spoke about Decoding Unicode. He describes his Unicode character collection project at Typotechnica 2005.

In 2012, he was awarded with the Designpreis in Gold of the Federal Republic of Germany. He is currently working on a digital cuneiform font.

Author, with Siri Poarangan, of decodeunicode: Die Schriftzeichen der Welt (2011, Verlag Hermann Schmidt Mainz). This text shows all 109.242 typographic symbols in the Unicode standard at the time of its publication. Speaker at ATypI 2018 in Antwerp, during which (jointly with Morgane Pierson) he published a silkscreen poster with 292 glyphs, representing all 292 known writing systems of the world, together with their names, regions, and timeframes. [Google] [More] ⦿

Johannes Missillie

Painter in Sluis, The Netherlands (1830-1857) [at least, this is the educated guess of type historian Mathieu Lommen], who published the lettering model book Verzameling van letteren ten gebruike voor schilders en teekenaars (ca. 1855).

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿

John A. Lane

John A. Lane (b. 1955) is a type and printing historian. He was born and raised in the United States and has lived in Leiden (Holland) since 1990. He who often writes on typography:

One of his crowning achievements is the book Letterproeven van Nederlandse gieterijen (1998), which shows Dutch typefounders' specimens from the Library of the KVB and other collections in the Amsterdam University Library with histories of the firms represented. It is coauthored with Mathieu Lommen, a noted type librarian and historian. Discussion of the text.
Coauthor with Mathieu Lommen in 2003 of "Bram de Does Boektypograaf&Letterontwerper" (Amsterdam, 2003).
Author of Early Type Specimens in the Plantin-Moretus Museum (New Castle and London: Oak Knoll Press and the British Library, 2004).
Author of The Diaspora of Armenian Printing 1512-2012 (2012, Amsterdam: Special Collections of the University of Amsterdam). From the book's blurb: In 1512, in the city of Venice, Hakob Meghapart printed the first book in Armenian type. [...] For technical and political reasons, all Armenian books were printed outside Armenia until 1771. The art of Armenian printing developed in major centres like Venice, Constantinople and Amsterdam, but also in many others around the world. Its history moves along highways and byways reflecting the ups and downs of the Armenian people. The book describes the diaspora of Armenian printing, highlighting the role of Amsterdam.

[Google] [More] ⦿

John Albert Cavanagh

Author of Lettering (1946). Designer of fonts such as Cavanagh No. 17 (1939, Ludlow). At Photo Lettering Inc, he designed Appalacia, Beacon Shaded, Billboard, Bingo, Bruce (+Italic), Calliope (Western), Chandelier, Dahlia, Dock Stencil, Eighteen Ninety (Western), Fournier, Hamilton, Hansa (blackletter), Initials 1 and 2, Jason, Kaleidoscope, Lenox Gothic Italic, Ogden, Parliament (blackletter), Pony Express (Western), Royal (roundhand), Shaded, Tiffany, Versailles, Yonalassi (script), and Zinnia. [Google] [MyFonts] [More] ⦿

John B. Wiggins

Author of Designs for Letters and Monograms (1893). [Google] [More] ⦿

John D. Berry

Ex-developer of U&lc, the well-known type magazine at ITC in New York. After ITC's demise, he moved to San Francisco, and is best known nowadays for his excellent articles on typography at CreativePro.com. He is the author and designer of Dot-font: Talking About Fonts and Dot-font: Talking About Design (Mark Batty Publisher, 2006), and the editor of Language Culture Type (ATypI/Graphis, 2002), Contemporary Newspaper Design, and U&lc: influencing design&typography. He also wrote Now Read This (Microsoft, 2004), a book about Microsoft's ClearType project.

He writes and consults extensively on typography, and he has won numerous awards for his book designs. He lives in Seattle with the writer Eileen Gunn.

John Berry was on the board of the Type Directors Club from 1999 to 2003, and was President of ATypI from 2007 until 2013. In 2008, he joined Microsoft as a Program Manager in the typography team. He is the founder and director of Scripta Typography Institute.

At ATypI in Rome in 2002, he spoke about the Bukvaraz type competition. At ATypI 2004 in Prague, he spoke about newspaper type. John was the closing plenary speaker at ATypI 2007 in Brighton. Speaker at ATypI 2013 in Amsterdam and at ATypI 2019 in Tokyo. [Google] [MyFonts] [More] ⦿

John D. Boardley
[I Love Typography]

John G. Cooley

American wood type designer/manufacturer from the 19th century, whose company started out in 1852 by taking over Edwin Allen in South Windham, CT. In 1864, he partners with Robert Lindsay, sells the South Windham factory, and moves to New York City as John B. Cooley and Co. In 1866, he enters into a partnership with Samuel T. Dauchy to become Cooley&Dauchy. In 1869, however, that company was bought by William Page, who ironically, had been Cooley's employee in 1855-1856. He published Specimens of Wood Type.

Examples of their wood types: Antique Tuscan No. 1 (1859).

Digital revivals: Jeff Levine's Winnetka JNL (2009) was inspired by Cooley Antique Tuscan Condensed from 1859. Compressed Wood JNL (2020, Jeff Levine) is extrapolated from J.G. Cooley's Roman Triple Extra Condensed Fifty Line. Finally, AWT Cooley Ant Tuscan XX Cond (2013) and AWT Cooley Grecian XX Condensed were released by Dick Pape. [Google] [More] ⦿

John G. Ohnimus

Denver-based artist. Author of Henderson's Sign Painter (1906, R.H. Henderson, Newark, NJ). R. Henderson published the related text Henderson's Sign Designs and Alphabets (1905).

His own alphabets in this text include Church Text (Lombardic), Modern Egyptian, Architectural, Initial Letters, and Heavy Sign Script. Local download of the former text [692MB].

Digital revivals:

By Steve Harrison: Snicket Initials (2020), a revival of Initial Letters.
By Brian Knicely: LHF Ohnimus Florid (2000) and LHF Ohnimus Spiked (2000) based on alphabets seen in Henderson's Sign Painter (1906), pages 91 and 31, respectively.

[Google] [More] ⦿

John Gustave Dreyfus

Born in London in 1918, died in London in December 2002. Assistant University Printer, Cambridge University Press 1949-56 Cofounder of ATypI with Charles Peignot in 1957. He was the typographic advisor to The Monotype Corporation (now Agfa Monotype) from 1955-1982, having taken over from Stanley Morison. President, Association Typographique Internationale 1968-1973. Sandars Reader in Bibliography, Cambridge University 1979-1980. He was a great writer about typographic matters. Author of Aspects of French Eighteenth Century Typography (The Roxburghe Club, Cambdridge, 1982). Obituary and biography by Nicolas Barker. Winner of the Gutenberg Prize in 1996. Reflections on his life by various typographers. [Google] [MyFonts] [More] ⦿

John H. Bowman

Programme Director for Library and Information Studies at University College, London. At the meeting in Thessaloniki in June 2002, he spoke about The fine printing of Greek in Britain and its types. Author of Greek printing types in Britain, from the late eighteenth to the early twentieth century (Thessaloniki : Typophilia, 1998). That book is based on the author's thesis completed in 1988 for the Department of Typography and Graphic Communication at the University of Reading, England. [Google] [More] ⦿

John Haddon & Co (or: Haddon-Caxton Type Foundry)
[Phil May]

London-based foundry with a sense of humour, because all their type names start with the letter H. Examples of art nouveau typefaces: Harlech, Harquil, Harrington, Hawarden Italic, Huntsman (late Victorian, pre-art-nouveau style).

Most of their typefaces were designed by Phil May [information unverified].

For digital revivals, see Huntsman (2005, Dan X. Solo).

John Haddon published Haddon-Caxton List of Poster Wood-Letters Ornaments and Rules at the Fleet Street location of the Haddon-Caxton Type Foundry in London in 1923. Free local PDF. That book shows these exclusive wood types: Haddon, Hawarden, Highland, Herald, and Hamlin. [Google] [More] ⦿

John J. Palmer
[Palmer and Rey]

Author of Typographia, Or the Printers' Instructor: Including an Account of the Origin of Printing, with Biographical Notices of the Printers of England, from Caxton to the Close of the Sixteenth Century: a Series of Ancient and Modern Alphabets, and Domesday Characters: Together with an Elucidation of Every Subject Connected with the Art, Volume 2 (1824, London). Local download. [Google] [More] ⦿

John Jackson

Author of The theory and practice of handwriting (1894, New York: William Beverley Harison). Google] [More] ⦿

John Johnson

John Lewis

Author of the 203-page book A Handbook of Type and Illustration. With notes on certain graphic processes and the production of illustrated books (London, 1956). [Google] [More] ⦿

John M. Bergling

Great American calligrapher and engraver. He wrote several books, including Engraving Designing Etching (1914), Heraldic Designs & Engravings (1913), Heraldic Designs for Artists and Craftspeople, Ornamental Designs and Illustrations">, Art Monograms and Lettering (1912, 1916) and Art Alphabets and Lettering (1914, 1918, 1923). He was Master Engraver with the renowned C.D. Peacock jewelers in Chicago around 1900. Creator of many art alphabets, Bergling is also noted for state seals of the United States and many seal crests of foreign countries. His great-grandchildren set up Bergling Publishing and are selling directly or through Amazon most of his oeuvre.

Digital fonts based on Bergling's work:

One Good Urn NF (2005, Nick Curtis) is based on his art nouveau lettering from 1914.
Morocco (1914) provided the caps of Funky Tut NF (2005, Nick Curtis), and Keramic Text (1914) provided the lower cases characters of the latter font.
Chantilly Lace NF (2005, Nick Curtis) uses uppercase letters by Bergling and lowercase letters by Roland W. Paul.
His Nibs NF is a digital font by Nick Curtis (2007) based on the calligraphy of Bergling, ca. 1914.
Carson Monogram (2009, Brian J. Bonislawsky) is based on Bergling's New Antique 53 from the book Art Monogram and Lettering.
Bergling (2010, Scriptorium) is a floriate script based on Bergling's work. Other (art nouveau style) Scriptorium fonts based on Bergling include Boetia, Belgravia, Bosphoros and Beaumains (2011).
LHF Bergling Panels (2012, John Davis) is based on Bergling's work.
Initials Bergling (2012, Alter Littera) is a comprehensive set of initials (usually referred to as Uncials, Lombardic Initials, or Lombards) of the French variety, adapted from Bergling's book Art Alphabets and Lettering (Second Edition) (1918, Chicago: Blakely-Oswald Printing Company).
In 2011, J.M. Bergling's work inspired John Studden's monogram fonts LHF Monogram Circle, LHF Monogram Diamond, and LHF Monogram Oval.
MFC Ambeau Monogram (2019, Monogram Fonts Co). Based on the decorative art nouveau alphabet called American Beauty in Art Alphabets and Lettering).
MFC Decatur Monogram (2020, Monogram Fonts Co). Based on an alphabet seen in J.M. Bergling's book Monograms and Engraving Alphabets (1914).
Bergling Nouveau Display (2020, Steve Harrison).
Skaliwag Display (2020, Steve Harrison).
Allotropic (2022, The Flying Type). An art nouveau font that loosely draws inspiration from an untitled alphabet drawn in 1914 by J.M. Bergling.

[Google] [MyFonts] [More] ⦿

John M. Clark

Author of Alphabets in two volumes, published in 1906 and 1907, respectively. PDF of the 1906 book. PDF of the 1907 book. [Google] [More] ⦿

John M. Clark

Author of two alphabet books in 1906 and 1907, simply called John M. Clark's Alphabets Book 1 and Book 2, respectively. [Google] [More] ⦿

John Neal Booksellers

This bookseller from Greensboro, NC, specializes in calligraphy. "We supply calligraphers, lettering artists, illuminators, bookbinders and papercraft enthusiasts with books, tools and supplies including fine papers. Our selection of calligraphy books and supplies is unequaled in the world." [Google] [More] ⦿

John R. Biggs

Author of An Approach to Type (1949, Blandford Press). [Google] [More] ⦿

John Ryder

Prolific British author (b. 1917), who published, e.g., A suite of fleurons : or a preliminary enquiry into the history&combinable natures of certain printers' flowers (London : Phoenix House, 1956). Pictures, including cover page. The typeface Fleurons A (developed by S. G. Moye, 1991-1993) is based on A Suite of Fleurons by John Ryder. [Google] [More] ⦿

John S. Fass

American typographer. In 1954, he wrote Hammer Creek. The Hammer Creek Press Type Specimen Book (NY). [Google] [MyFonts] [More] ⦿

Johnny Bekaert

Freelance graphic artist in Gent, Belgium, who won many awards for his design of posters and poster typefaces. He specializes in book cover, poster and cartoon types, and excels in all. Many of his fonts have a Kafkaesque slightly threatening look, while others are satirical and delightfully funny. His magnificent posters showcase the Belgian humor that is undoubtedly inherited from growing up during the golden era of Belgian cartoon and comic strip design that included Tintin / Kuifje, Lucky Luke and Robbedoes / Spirou.

Author of Font Design (2018, Huis van het Beeld, Brussels).

Johnny Bekaert designed these fonts: Oneline (1971), Urbas (1976), Scrittostyle (1985), Fridabrush (1986), Plowboys (1988), Hibblesibble (1990, deco style), Xorkaz (1991), Thingydingy (1992), Bruxell (1996, a redesign of a font by Jacques Richez, 1957), Zuzulma (1997, angular and expressionist), Razor Dina (1998, dada style), Cakewalk (1999), Theo & Phil (2000), Gasbangers (2002), Blind Liddy (2003), Archie Teck (2003), Fridadida (2005), Bettsie-X (2008), Tweedledum (2010), Roswellian (2013, a UFO font), Struktura (2013-2014), Blacknoir (2014), Blackblanc (2014), Enozeno (2015, a compass-and-ruler typeface), Kublar (2015), Zapristie (2014-2015), Delphis (1993), Quodic (2015), Oscura (2016). [Google] [More] ⦿

Johnson Ball

Author of "Wiliam Caslon 1693-1766" (Kineton: The Roundwood Press, 1973), a 494-page magnum opus on Caslon's life. [Google] [More] ⦿

Johnston's Underground Type
[Edward Johnston]

Greg Fleming, upon the publication of his open source version Railway Sans (2012) of Edward Johnston's Railway Type of 1916, recalls the history of the typeface, and adds valuable references. The text below is his.

The typeface was commissioned between 1913 and 1915 by Frank Pick (1878-1941), Commercial Manager of the Underground Electric Railways Company of London, UERL, also known as The Underground Group, as part of his plan to strengthen the company's corporate identity. Frustrated at the diversity and seemingly endless variations of poor or unsuitable type- typefaces that were, at that time, in use across the system, one of his first key actions was to introduce a standardised approach to advertising and lettering. Pick's brief to Johnston was essentially that a typeface was needed that would ensure that the Underground Group's posters would not be mistaken for advertisements; it should have the bold simplicity of the authentic lettering of the finest periods and yet belong unmistakably to the twentieth century. Johnston's New Sans typeface first appeared in a poster of July 1916. Inspired by the proportions of classical Roman lettering, based on square and circular forms, it is a vehicle of bold clarity and a perfect example of typography as a powerful, authoritative information tool. It has been used, almost unchanged in essence, continuously and timelessly in signage, posters and publicity for nearly a century.

In 1933, The Underground Group was absorbed by the London Passenger Transport Board and the typeface was adopted as part of the London Transport brand. The typeface was originally called Underground. It became known as Johnston's Railway Type, and later, simply, Johnston or New Johnston Sans. Today, Transport for London uses updated versions in many weights of the original face, known as New Johnston Sans. This is not commercially available, except under strict TfL license. Railway is not based on or derived from the official New Johnston Sans in current use by Transport for London. Instead, it predates New Johnston by sixty-three years.

The references:

Justin Howes: Johnston's Underground Type. Harrow Weald: Capital Transport. 2000.
Oliver Green and Jeremny Rewse-Davies: Designed for London: 150 years of transport design. London: Laurence King. Pages 81-82. 1995.
Christian Barman: The Man Who Built London Transport: A Biography of Frank Pick. David & Charles. Page 43. 1979.
Colin Banks: London's Handwriting: The development of Edward Johnston's Underground railway block-letter. London Transport Museum. 1994.
Eiichi Kono: Pen to Printer --- New Johnston Sans. University of Brighton, Arts Faculty Staff member page.

[Google] [More] ⦿

Jordan Davies Books

New antiquarian type book seller. They offer, for example, a nearly complete collection of works by Eric Gill. [Google] [More] ⦿

Jorge de Buen Unna

Jorge de Buen (b. 1956, Mexico City) studied Graphic Design in Mexico City. In 1994 he moved to Tijuana to work in marketing and communication projects for the Agua Caliente race and sports books. He has conducted several workshops and conferences at many important Latin American institutions. The second edition of his book Manual de diseno editorial (Santillana, 2000) is published in 2003, and the third edition in 2009. He spoke at ATypI 2003 in Vancouver on a new approach to typometry, and at ATypI 2009 in Mexico City on quotation marks (las comillas), where he pointed out that the <<...>> used in Spanish were just a natural evolution of the standard quotation marks (66...99).

He designed Unna Romana (2003), Unna (2004, serif family, done at Imprimatur) and Bardahlkia (1994). He often shows up in LA for type activities.

He moved to Querétaro in 2009 and is graphic designer there---his studio is called Imprimatvr. The first typeface published at Imprimatvr is Caliente (2012).

In 2011, he placed Unna up for free download at the Google Font Directory, and started cooperating with Hector Gatti and Pablo Cosgaya at Omnibus Type.

At Tipos Latinos 2012, Jorge won an award in the text category for Unna regular.

José Luis Martín Montesinos

José Cruzado

Spanish author of Muestraio de los caracteres de la imprenta / José Cruzado (Madrid, 1990, 147 pages). [Google] [More] ⦿

José Gestoso Pérez

Author of Documentos para la historia de la primitiva tipografia mexicana, La Andalucía Moderna, 1908. [Google] [More] ⦿

Author of Ricard Girald Miracle. El diálogo entre la tipografía y el diseño gráfico. [Google] [More] ⦿

José Scaglione

José Scaglione (b. Rosario, Argentina, 1974) is a graduate of the MA program of the University of Reading, 2005. He was co-founder and art director of Vision Media Design Studio in Argentina and Multiplicity Advertising in USA; and he was a part-time lecturer for four years at the Visual Comunications Institute of Rosario, teaching design for the internet. He lectured on typography at post-graduate level at the National University of Rosario and presently teaches at the at the University of Buenos Aires. He runs his own design studio, specializing in editorial design and branding. In 2006, he started Type Together with Veronika Burian. In 2013, he became President of ATypI.

His books include Cómo crear tipografías. Del boceto a la pantalla, and Introducción al estudio de la tipografía (in collaboration with Jorge de Buen Unna). His fonts:

Abril (2010) is a didone font family engineered mainly for newspapers and magazines that features friendly and elegant styles for headlines and robust and economic styles for text. It won an award at Tipos Latinos 2012. Abril Fatface is free at Google Font Directory. Abril Titling was published in 2013.
Fabula (2005), about which he writes: Based on a series of drawings by Sue Walker and originally digitized by Vinnie Connaire, Fabula is the new display typeface for the cover of Collins Children Dictionaries. Its basic monolinear structure and stroke economy are the foundation for this typeface.
OUP Math&Pi: This Math and Pi font was designed to match the typefaces used by Paul Luna and Nadja Guggi in the new design of the Oxford University Press Dictionaries: Argo and Swift, designed by Gerard Unger.
With Veronika Burian, he designed the text typeface TT Carmina (2006). This morphed into Karmina Serif (2007), a complete text family, and later Karmina Sans (released in 2009, 12 styles). Karmina was selected in the text typography category at the Letras Latinas exhibition 2006 and won a merit in the European-wide ED-Awards competition 2007, and at Tipos Latinos 2010. Karmina, Bree and Ronnia were selected as part of the travelling exhibition Tipos Latinos 2008.
Athelas (2006), an outgrowth of his studies at Reading. It now ships with Apple's Mavericks OS.
Ronnia (2007), designed with Veronika Burian at Type Together: a humanist sans family.
Bree (2008, with Veronika Burian): a 5-style display sans with a cursive a and e.
Adelle (2009, with Veronika Burian): a 12-style slab serif engineered for intensive editorial use. Adelle Mono was added in 2020.
The Google web font Jockey One (2011, with Veronika Burian).
Tablet Gothic (2012). A joint design of Veronika Burian and José Scaglione, it is a grotesque meant for titling.
In 2015, Veronika Burian and José Scaglione finally published the 18-style editorial sans typeface family Ebony.
In 2016, Veronika Burian and José Scaglione co-designed Portada, a sturdy serif typeface family for use on screen and small devices. It comes with an extensive free set of icons. Winner at Tipos Latinos 2018 of a type design award for Portdada.
Protipo (2018) is a large information design sans family designed by Veronika Burian and José Scaglione.
In 2019, Type Together released Catalpa (Veronkia Burian, Jose Scaglione, Azza Alameddine) and wrote: Primed for headlines, Catalpa is designed to give words bulk and width and gravity itself. The Catalpa font family is José Scaglione and Veronika Burian's wood type inspired design for an overwhelming headline presence.
In 2021, Veronika Burian and José Scaglione designed Belarius, a three-axis variable family that shifts from sans to slab serif, from condensed to expanded widths, and includes every possibility in between. Published by Type Together in 2021, it was developed under the guidance of Veronika Burian and José Scaglione, with type design by Azza Alameddine and Pooja Saxena, and additional kerning and engineering help from Radek Sidun, Joancarles Casasin and Irene Vlachou.

Karmina, Bree and Ronnia, all co-designed with Veronika Burian, won awards for extensive text families at Tipos Latinos 2008. Karmina won an ED Award in 2007 and Athelas won a first prize in the Gransham competition 2008. Bree won a bronze award in the 2009 edition of the ED Awards competition. Bree Serif (2009) won an award at Tipos Latinos 2014. Abril wan gold at the ED Awards.

Coauthor of these books:

Como Crear Tipografias (2012, by Cristobal Henestrosa, Laura Meseguer and José Scaglione, at Brizzolis S.A., Madrid, Spain).
Legibilidad y tipografia: la composicion de los textos (2020, by Horacio Gorodischer and José Scaglione, at Campgrafic, Spain).

Speaker at ATypi 2006 in Lisbon, the Third International Conference on Typography and Graphic Communication in Thessaloniki 2007, 3CIT in Valencia, and ATypI 2008 in St. Petersburg, where his talk was entitled From laser printer to offset press. Speaker at ATypI 2009 in Mexico City, where his talk (with Andreu Balius) is entitled A sign to convey sound. Speaker at ATypI 2017 Montreal.

Joseph Balthazard Silvestre

Josef Heim

Author of the art nouveau era book Moderne Schriften / herausgegeben und verlegt von Josef Heim (Vienna and Leipzig, 1900). Local download. One of the alphabets in this book was digitally revived by Paulo W as Josef Wein Moderne Blackletter (2021). [Google] [More] ⦿

Author of Alphabet Album Collection de soixante feuilles d'alphabets historiques et fleurons (Paris, 1843). Creator of an alphabet in 1834 in which each letter consists of human figures. See also here. The alphabet is referred to as the Silvestre-Girault alphabet, because it was etched by Girault. A digitization by Character (2006) is called SilvestreBodies. [Google] [More] ⦿

Joseph Bertram Jowitt

Author of Modern Show Card Writing (1922, National Drug Clerk). One Victorian alphabet served as a model for Nick Curtis's Shangri-La NF (2000, 2008). [Google] [MyFonts] [More] ⦿

Joseph de Casanova

Also, José de Casanova. Noted Spanish calligrapher from the mid 17th century, who had the title examinador de los Maestros de Arte de la Caligrafía en la villa de Madrid. He was a highly regarded penman. Author of Arte de escribir todas formas de letras, impressa (Madrid, 1650). Local download of that book.

Samples of his work. Curlicues from 1650. Signature ornament. [Google] [More] ⦿

Joseph Kiermeier-Debre

Joseph Kiermeier-Debre and Fritz Franz Vogel wrote Menschenalphabete. Nackte Models, Wilde Typen, Modische Charaktere (2001, Jonas Verlag, Marburg), about alphabets made up of people. See also here. [Google] [More] ⦿

Joseph Thorp

British author who died in 1962. [Google] [MyFonts] [More] ⦿

Joshua Langman
[Orbis Typographicus]

Jost Hochuli

Swiss typographer and book designer, b. 1933, Sankt Gallen. After study at the Kunstgewerbeschule St.Gallen, he trained as a compositor with the printer Zollikofer and at the Kunstgewerbeschule Zürich; his education as completed in 1959 in Adrian Frutiger's class at the École Estienne. Since then he has practised as a freelance graphic designer, eventually specializing in book design. In 1979 he co-founded the co-operatively run publishing company VGS Verlagsgemeinschaft St.Gallen, for which much of his book design work has been done. He has taught at the schools at Zurich and then St.Gallen since 1967.

His publications include Book Design in Switzerland, "Book Design: Theory and Practice", Detail in typography (Agfa Compugraphic, Wilmington, 1987), Designing Books: Practice and Theory (with Robin Kinross, 1996), "Book typography" (Agfa Compugraphic, Wilmington, 1990), "Jost Hochuli's Alphabugs" (Agfa Compugraphic, Wilmington, 1990), "Jost Hochuli: Printed matter, mainly books", Buchgestaltung in der Schweiz, "Kleine Geschichte der geschriebenen Schrift" (Verlag Typophil, St. Gallen, 1991, Agfa Compugraphic-Reihe), Das Detail in der Typographie. Buchstaben, Buchstabenabstand, Wort, Wortabstand, Zeile, Zeilenabstand, Kolumne (Compugraphic Corp., Wilmington, 1987), "Bücher machen. Eine Einführung in die Buchgestaltung, im besonderen in die Buchtypographie" (Compugraphic Corp, Wilmington, 1989). Winner of the Gutenberg Prize in 1999.

He is part of the type foundry ABC Litera together with Roland Stieger and Jonas Niedermann. At ABC Litera, he designed the sans family abc Allegra (2011). Allegra was released in 2019 at Nouvelle Noire. He writes: The counter shapes of the capital letters follow the model of the Roman Capitalis Monumentalis of the first and first half of the second century AD, whereas the lower case letters derive from the skeleton proportions of early Roman types from the first half of the 16th century.

Earlier in his career, he designed quite a few typefaces, including a Trajan woodcut that served Roland Stieger as model for his typeface Alena (2012).

An 8-minute documentary by Nouvelle Noire about the making of Allegra (by Jost Hochuli) and Alena (by Roland Stieger), produced in 2020 by Nouvelle Noire. [Google] [More] ⦿

Juan-José Marcos García
[Alphabetum]

Judith Schalansky

Ex-student from the Fachhochschule Potsdam and the Freie Universität Berlin, b. 1980. Author of Fraktur Mon Amour (Hermann Schmidt Verlag, 2006, and Princeton Architectural Press, 2008), in which blackletter is discussed and shown at length. Interview. List of Fraktur fonts on the CD. Fraktur Mon Amour won several awards, such as the 2007 Award for Typographic Excellence of the Type Directors Club of New York, and a silver medal from the Art Directors Club Deutschland, also in 2007. [Google] [More] ⦿

Juhuj

This site has over 500 million PDF files on all topics. [Google] [More] ⦿

Jukka Korpela
[Tutorial on character codes]

Jules Blondeau

Author of Recueil d'alphabets (1870, L. Turgis, Paris). Local download. [Google] [More] ⦿

Jules Didot

Fourth generation Didot dynasty member in Paris, 1794-1871. Son of Pierre Didot. Jules Didot is famous for his invention of round-edged initials, to take the place of the sharp-edged ones. In 1817, he took over his father's foundry and ran it until 1825. In 1824, he published two identical books, Livre pour un petit garçon bien sage and Livre pour une petite fille bien sage (both printed by Nepveu, Paris), to help children read. In 1825 he took his printing plant to Brussels and founded the Royal Printing House there. Relevant here is the publication Specimen des caractères de la fonderie normale à Bruxelles, provenant de la fonderie de Jules Didot et de son père Pierre Didot (Haarlem: Joh. Enschedé en Zonen, 1914).

After a few years in Brussels, he returned to Paris and published many books and engraved several typefaces, which were shown in Spécimen de la nouvelle fonderie de Jules Didot l'ainé (1842, imp. Bethune et Plon, Paris).

Jules Didot had a neurological disease that forced him tto spend the latter part of his life in a psychiatric hospital. [Google] [More] ⦿

Jules Didot
[Fonderie Normale]

Julian Rothenstein and Mel Gooding

Authors of ABZ: More Alphabets and Other Signs (Chronicle Books), a 221-page book full of strange alphabets. Scan of a Tamilianized Latin alphabet. [Google] [More] ⦿

Julian Waters

Son of the famous calligrapher Shelley Waters who lives in Gaithersburg, MD. He taught at the Rochester Institute of Technology and the Corcoran School of Art. Adobe wrote: In 1997, renowned lettering artist Julian Waters embodied his classical calligraphic roman capitals in a breathtakingly graceful 2-axis multiple master typeface, aptly named Waters Titling, which was modeled after Roman monumental inscription forms. Images: Waters Titling, Waters Titling Pro Lt.

Author of Hermann Zapf: A Life in Letters (2016). Chapters include: First Steps in Calligraphy, The Wartime Sketchbooks, Pen and Graver, Das Blumen ABC, Early Calligraphic Typefaces, Palatino, Optima, Gudrun Zapf von Hesse, Manual Typographicum (1955 & 1968).Typographic Variations, Book Design, Graphic and Calligraphic Art, Hallmark Film: The Art of Hermann Zapf, Hallmark Lettering Manual, Rotring Calligraphy Manual, Hallmark Typefaces, Hunt Roman, Zapf Civilité, Non-Latin Scripts, Orbis Typographicus, Designs for ITC, Early Digital Types, Zapf Renaissance, Zapfino, Scraffitto.

Bio. Alternate URL. Klingspor link. [Google] [MyFonts] [More] ⦿

Julien Gineste

Graduate of Ecole Estienne in Paris, b. 1973. Teacher at Ecole Estienne since 2009 and at University of Paris-Est Marne-la-Vallée. In 2010, Sandra Chamaret, Julien Gineste and Sébastien Morlighem wrote Roger Excoffon et la fonderie Olive.

Designer, with David Poullard, in 2001, of Métropolitaines, a revival of the (Paris) Metro art nouveau typeface originally designed by Hector Guimard in 1901. See also here. Linkedin link.

Author of these books at Zeug: Alphabet, Xavier Dupré, itinéraire typographique / typographical itinerary. [Google] [More] ⦿

Julius Rodenberg

Author of In der Schmiede der Schrift Karl Klingspor und sein Werk (1940, Buchmeister Verlag, Berlin), a German book set in blackletter. It tells a bit of Karl Klingspor's story through his involvement at the Rudhardsche Giesserei in Offenbach a.M. (1892-1905) (with sections on Heinz König, Otto Eckmann and Peter Behrens), his startup of Gebr. Klingspor in 1906 (with sections on Otto Hupp, Rudolf Koch and Walter Tiemann). He also penned Die Deutsche Schriftgiesserei (Verlag der Gutenberg-Gesellschaft, Mainz, 1927), which describes the foundries in Germany at the time. [Google] [More] ⦿

Just Another Foundry (or: JAF34)
[Tim Ahrens]

Just Another Foundry (or: JAF34) was established in 2005 by Tim Ahrens (b. 1976, Heidelberg, Germany). He studied architecture at the University of Kasrlsruhe and type design at the University of Reading (2007). He now lives in Oxford, where he works as a type designer and architect. His typefaces:

JAF Bernini Sans (2012). A winner at TDC 2013. A corporate humanist sans family consisting of tens of styles, from compressed to narrow and regular, and partitioned into a serious JAF Bernino Sans and a more playful JAF Bernina Sans. The ample choices, especially in degrees of compression, makes this a prime candidate for the 2012 Oscars.
JAF Mashine (Just Another Foundry (2005). An octagonal / mechanical family.
JAF Lapture (2004, Just Another Foundry), A redesign of Albert Kapr's (angular, calligraphic) Leipziger Antiqua of 1971.
His MA project in Reading saw the development of Herb (2007), a hookish display face. Herb was extended in 2010 into a full family, which is still genetically linked to blackletters.
Facit (2005, a sans family).
Zalamander (2006). An angular comic book family.
With Brian Jaramillo, he designed JAF Peacock from 2007-2010. It was inspired by the Flair typefaces of the 1970s and contains 1200 glyphs and alternates.
JAF Domus Titling (2011). Designed with Shoko Mugikura, this is a rounded typeface with classical Roman proportions.
In 2015, Shoko Mugikura and Tim Ahrens revived the squarish blackletter Johannes Type (Johannes Schulz at Genzsch & Heyse, 1933) as JAF Johannes.
The sans serif family Linotype Aroma (1999), followed by Linotype Aroma No. 2 (2007).

At ATypI 2008 in St. Petersburg, he spoke about Font Remix Tools and on Optical Sizes. In 2010, he started a web font service. In 2011, I found his name listed as an employee of the web font service Typekit.

Author of Size-specific Adjustments to Type Designs: An Investigation of the Principles Guiding the Design of Optical Sizes (2008, Mark Batty Publisher). Technical image from that book.

Abstract Fonts link. MyFonts page. FontShop link. Linotype page. Home page. Creative Market link. Klingspor link. View Tim Ahrens's typefaces. [Google] [MyFonts] [More] ⦿

Justin Howes
[H.W. Caslon&Co Ltd]

Jürgen F. Schopp

From the University of Tampere, Finland, Jürgen F. Schopp's list of books on typography. He also has a nice page on type classification. For "broken" typefaces (gebrochene Schriften), Schopp proposes this:

Gotisch: e.g., Cloister Black, Engravers Old English, Manuskript-Gotisch, Weiß-Gotisch, Wilhelm-Klingspor-Schrift.
Rundgotisch: e.g., Rhapsody, Weiß-Rundgotisch, Wallau.
Schwabacher: e.g., Alte Schwabacher.
Fraktur: e.g., Kanzlei fett, Neue Luther-Fraktur, Zentenar-Fraktur, Unger-Fraktur, Walbaum-Fraktur.
Frakturvarianten: e.g., American Text.

[Google] [More] ⦿

Jürgen Siebert

In 1995, Siebert (b. 1956) designed Ampelmaennchen for FontShop International. Jürgen Siebert is co-editor of the FontBook typeface encyclopaedia, a member of the FontFont Typeboard and, since November 2001, the Chief Marketing Officer of FontShop AG. Bio. [Google] [More] ⦿

J.V. Éon

Extinct type foundry in Paris. Ca. 1880, they published Fonderie en Caractères de J.-V. Éon Spécimen. [Google] [More] ⦿

Kai F. Oetzbach
[Typo Knowledge Base (tkb)]

Karel Dyrynk

Czech designer and book artist (1876-1949). Director of the state press Statni Tiskarna. Author of these books: Typograf o Knihach (1925, Druhé Vydani, Bydal Spolek Typografia, Prague: the 1925 version is the second edition; the first edition was privately published in a very limited edition in 1911 by Dyrynk himself), Rules of Typesetting (Pravidla Sazby), The Book Beautiful (Krasna Kniha).

Typefaces made by him include Dyrynk Lateinschrift (1928, A. Gregr type foundry---Dyrynkova Latinka in Czech; Burian mentions that it is from 1930), Malostranska Antiqua (1927), Malostranska Italic (1928), Gregr Roman (1930), Gregr Italic (1931), Otakar Brezina (1946, Statni Tiskarna), Biblicke pismo (1933, unpublished), Konupek Italic (1946, unpublished), and a set of pictograms (1933, Statni Tiskarna).

Digitizations: Dyrynk Lateinschrift was the basis of P22 Dyrynkova-Latinka (2003), and P22 Dyrynk Roman and Italic (Richard Kegler, P22, 2004).

Alternate URL. Typecache link.

Karel Martens

Karel Martens (b. 1939) is a Dutch graphic designer and teacher. He designed postage stamps, and authored many books. In 1996 he received the Dr. H.A. Heineken Award, and in 2012, he was honored with the Gerrit Noordzij Prize. He taught at the Art Academy in Arnhem, the Jan van Eyck Academy in Maastricht (1994-1999), and at the School of Art of Yale University (as a visiting lecturer, since 1997). In 1997 he founded Werkplaats Typografie, a post-graduate graphic design school in Arnhem, where he still teaches.

He set up the Jung-Lee Type Foundry together with Jungmyung Lee in Amsterdam. Jungka (2013-2016) is a sans typeface family by Jungmyung Lee and Karel Martens, who write: We wanted to make a grotesk font positioned somewhere between Akzidenz grotesk, Helvetica and Univers---not as dry and distant as Univers, but devoid of the quirky uniformity of Helvetica. Jungka is more reminiscent of Akzidenz Grotesk than the other two typefaces..

In 2018, Karel Martens and Jungmyung Lee released Pirelli. They write: Pirelli is a revival of an anonymous grotesk typeface that Karel Martens once came across. Its mostly horizontal and vertical features with a mono-line structure and an absence of flourishes give it a concise expression. Yet, it has the distinctive motif of unusually high-waisted capitals, visible in all letters with bars, such as E, F, and P. This feature gives Pirelli the atmosphere of earlier Art Nouveau and Secessionist lettering.

Author of Patterns (2021, Roma Publications). [Google] [More] ⦿

Karen Cheng

Graphic designer and professor in the visual communications program at the University of Washington, Seattle. Author of Designing Type (2005, Yale University Press). Karen Cheng is Associate Professor in the Visual Communication Design program at the University of Washington in Seattle, where she teaches type design and typography. She was previously an instructor at the School of Design at the University of Cincinnati, where she received her Masters degree in Graphic Design. Speaker at ATypI 2007 in Brighton on Teaching type in the city. Speaker at ATypI 2018 in Antwerp. [Google] [More] ⦿

Karl Gerstner

Born in Basel in 1930, died in Basel, January 1, 2017. Karl Gerstner designed these typefaces:

Gerstner Programm (1963-1967). See also Opti Gurney Med Expanded by Softmaker. Fontsinuse writes that it is an attempt to work Akzidenz-Grotesk into a Univers-like system of harmonized weights and widths, initiated by Karl Gerstner at GGK (Gerstner, Gredinger und Kutter) Basel, drawn by Christian Mengelt, and produced by Berthold for the Diatype. Released from 1964 on. [Gerstner on Swiss Type Design] G.G. Lange claims that it was not available commercially. [Homola quoting from an interview in Typographische Monatsblätter 2/2003] In his monography though, Gerstner mentions that the typeface was launched by Berthold, and it is shown in the E1 Fototypes catalog. After the demise of the Diatype, it was still carried by VGC. In Programme entwerfen Gerstner says it was successfully issued by Aaron Burns in the US. In 2017, Lineto published a revival by Stephan Müller also called Gerstner Programm. It also published a translation of a 1963 article on Gerstner Programm by Karl Gerstner that appeared in Der Druckspiegel.
KG Privata. Renamed KG Vera.
Gerstner Original (1987, Berthold). Sold as Gerstner BQ. See Gerling on the SoftMaker MegaFont XXL CD, 2002. Berthold markets his extensive sans family Gerstner Next (2007, with Dieter Hofrichter), which is based on and almost identical to Gerstner Original BQ (1987).
The Akzidenz-Grotesk family (1962, Berthold) and Akzidenz-Grotesk Buch. See Atkins on the SoftMaker MegaFont XXL CD, 2002.
In the 1980s, he designed a didone for IBM's identity. That typeface is now available from URW++ under the name IBM Bodoni.

Gerstner is best known for his eccentricity in design, and his use of equally eccentric type (often Grotesk) to accompany his designs. The designer as programmer Karl Gerstner Review of 5x10 Years of Graphic Design is a book on Gerstner's influence as a designer, edited by Manfred Kröplien Hatje Cantz. He was trained under Armin Hofmann and Emil Ruder at the School of Design in Basel. He co-founded GGK (Gerstner Gredinger und Kutter), a leading Swiss advertising agency in 1963. GGK has been responsible for a number of promotional campaigns and corporate identities.

His books include Integral Typography (1959), The New Graphic Art (1959), Designing Programs (1963), and Compendium for Literates (1970). In 1972, an entire issue of Typografische Monatsblatter was devoted to Gerstner. Also in 1972, he wrote Kompendium für Alphabeten (last edition: 2000, Verlag Niggli AG).

Klingspor link. Short video on Gerstner by Melanie Hofmann. Obituary at Swissinfo. Gerstner's work is now available in the Helvetica Archives thanks to his own donation (in 2006) and that of his daughter (after his death). [Google] [MyFonts] [More] ⦿

Karl Klimsch

Type designer, born in 1867 according to some sources [this must be wrong!]. He created Flinsch-Germanisch (1876, Flinsch), a blackletter face. In 1877, he created some decorative typefaces at Klinkhardt, called Zierschriften. One of his ornamental typefaces from 1869 was revived by Paul Lloyd as the free fonts Saraband Lettering and Saraband Initials (2002). In 1878, he published Zierschriften von Karl Klimsch Band I. Dover republished two books by this author: 2,100 Victorian Monograms (1994), and Florid Victorian Ornament (1977). [Google] [More] ⦿

Karl Vöhringer

Author of Druckschriften kennenlernen, unterscheiden, anwenden (Verlag Form und Technik, Stuttgart). [Google] [More] ⦿

Karl-Erik Forsberg

Calligrapher and type designer, born in Munsö, Sweden, in 1914. He died in 1995 in Nyhamslaege [note: MyFonts states 1998]. Studied at the Gewerbeschule in Basel from 1946-1947. He became Sweden's grand master of the book arts. His best-known typeface is Berling (Berlingska Stilgjuteri). His typefaces:

Berling. This consists of Berling Anitkva (1951) and Berling Bold (1951-1958). Digital revivals: Berling (URW: the recommended one), Bestseller, Belfast Serial (on the SoftMaker MegaFont XXL CD, 2002 and at Infinitype), C653 Deco (Softmaker), Bitstream's Revival565, Berling SB (2004, Scangraphic), Berling Nova (Text and Display) (2003-2004, Linotype, by Örjan Nordling and Fredrik Andersson, with advice from Akira Kobayashi).
Parad (1936-1941).
Lunda (1938-1942). An inclined roman typeface done as a tribute to Berlingska Stilgjuteriet in Lund, a Swedish type foundry (1837-1980) which supported Forsberg from the start. Lunda Modern (1998, Stefan Hattenbach) is an extension of Lunda.
Ericus.
Aros Antiqua (for "Tryckcentra i Västerås").
Carolus (1953-1954). Pen-drawn capitals for Letraset/Mecanorma systems. See C653-Deco on the SoftMaker Megafont CD, or Carleton by Corel.
An early unnamed and unfinished typeface of Forsberg formed the basis of the Remontoire family (1998, Stefan Hattenbach).

His books in Swedish include

Antiqua, Vandring bland bokstavsformer, Norstedts 1957.
Exlibris, monogram och andra märken, Norstedts 1981.
Bokstaven i mitt liv, Norstedts 1982.
Mina bokstäver, Wikens förlag, 1983.
Skrift, Handledning i kalligrafi, Norstedts 1986.
Schrift, Wittig Verlag, Hamburg, 1987.
Bokstaven och ordet, Wikens förlag, 1990.
Vandring bland bokstavsformer, Norstedts, 1992.
Alpha Magica, Calligrafia förlag, 1994.

FontShop link. Klingspor link. CV. Linotype page. Bio in Swedish by Curt Ahnström. [Google] [MyFonts] [More] ⦿

Kataoka Design Works
[Akira Kataoka]

Japanese foundry whose designers include Akira Kataoka (b. 1947), Ayumi Kiryu and Yuji Kataoka. Kataoka is also director of Kinuta Font Factory.

Commercial fonts include the extensive Iroha Gothic family (2005: Popura, Momi, Kaede, Matu, Icho, Tubaki, Keyaki, Kiri, Ume, Momiji, Nire, Sakura), the MaruMaru Gothic family (2008), Donguri (2011), Yuji3, the Marumin family (2000: Tikuma, Kiso, Shinano, Fuji, Yoshino, Katura), Yamamoto-An (2013), Shin (2014), Kinuta Minchotai L (2017) , and Kana Reiwa (2019).

Author of Mojihon.

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

Kate Clair

Coauthor with Cynthia Busic-Snyder of A Typographic Workbook A Primer To History Techniques and Artistry (Second Edition: 2005, John Wiley, NY). [Google] [More] ⦿

Kate Gladstone
[Kate Gladstone: Handwriting Repairwoman]

Kate Gladstone: Handwriting Repairwoman
[Kate Gladstone]

Handwriting repairwoman living in Albany, NY, born in Brooklyn in 1963. "Yours for better letters." Another page on her. Author of Read Cursive Fast. [Google] [MyFonts] [More] ⦿

Kees Broos

Kees Broos and David Quay wrote Wim Crouwel Alphabets (Amsterdam, BIS, 2003). [Google] [More] ⦿

Ken Lunde

Dr. Ken Lunde is Manager of CJKV Type Development at Adobe Systems Incorporated, San Jose, CA. He holds a Ph.D. (1994) in Linguistics from The University of Wisconsin-Madison. He wrote Understanding Japanese Information Processing (O'Reilly&Associates, 1993), and CJKV Information Processing (O'Reilly&Associates, 1999). He also wrote CJKV Information Processing: Chinese, Japanese, Korean&Vietnamese Computing (O'Reilly). In 2010, Adobe will release the first genuinely proportional Japanese font, Kazuraki (by Japanese type designer Ryoko Nishizuka), which was developed at Adobe in 2009 under his management.

Ken managed the Source Han Sans project---these are open source fonts released in 2014 by Adobe and Google for Japanese, Chinese and Korean. He also headed the development of Source Han Serif.

In 2018, Ken Lunde and Masataka Hattori co-designed Soukou Mincho (free at Fontsquirrel).

In 2019, he created the experimental variable font Width at Adobe. Github link.

Speaker at ATypI 2019 in Tokyo on the topic of The History of Japan's Era Name Square Ligatures, and in particular, the two-kanji square ligatures for the five most recent eras, Reiwa (2019), Heisei (1989), Shouwa, Taishou and Meiji. [Google] [More] ⦿

Kenneth B. Butler

Coauthor in 1959 with George C. Likeness of Practical Handbook on Display Typefaces. [Google] [More] ⦿

Khatt Books

Book publisher in the Middle East that specializes in typography and type design, both for Latin and Arabic. [Google] [More] ⦿

Klaas van Leeuwen

Dutch artist and furniture designer, b. Harlingen, 1867, d. Bennebroek, 1935. Author of the compass-and-ruler lettering book Letterboek voor den teekenaar en ambachtsman (1907, G. Schreuders, Amsterdam). One of the alphabets in that book was digitally revived by Marlon Ilg in 2021 as Grid Fraktur. [Google] [More] ⦿

Klara Kvizova

Czech designer (b. 1970) who created Hovado (1995) and the poster lettering typeface Excholer (1995, for Zivel magazine). With Petr Krejzek, she founded ReDesign in 1999. She is involved in identity design and as such, creates logotypes. In 1992, Klara Kvizova and Jan Solpera copublished the booklet Teimer's antiqua - a design of modern type roman and italics. [Google] [More] ⦿

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

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

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

Custom

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

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

Klimis Mastoridis

Director of the University of Macedonia Press and Chairman of AlterVision, Typography and Visual Communication Ltd. Professor at the University of Nicosia, Cyprus. Author of various books, including "Casting the Greek newspaper" (Hellenic Literary and Historical Archive, Thessaloniki, 1999), and editor of "Hyphen, a typographic forum". The Proceedings of the 1st International Conference on Typography&Visual Communication were published in 2004 by University of Macedonia Press. Articles in English by John Bowman, Justin Howes, Yannis Haralambous, Ole Lund, Petra Cerne Oven, Milena Dobreva, Manolis Savidis, James Mosley, Barry Roseman, Peter Karow, Maria Nicholas, Stephan Fuessel, Mary Dyson, Victor Koen, Michael Twyman, Phil Baines, Andrew Boag, Paul Stiff, Karel van der Waarde, Jannis Androutsopoulos, Petr van Blokland, Garrett Boge, Evripides Zantides, Alan Marshall, Christopher Burke, Jean-François Porchez, Simon Daniels, David Lemon, Hrant Papazian, Sadik Karamustafa and others, and edited by Klimis Mastoridis. The loneliness of Greek typography: Myth or reality? is the title of his talk at ATypI 2008 in St. Petersburg. Founder of the International Conference on Typography and Visual Communication (ICTVC) that is often held in Thessaloniki, Greece. [Google] [More] ⦿

Knowles and Maxim

Authors in Pittsfield, MA, of Real Pen Work---Self Instructor in Penmanship (1881). Selected alphabets: Slanted Letters, Business Letters, Capitals, Ornamental Alphabet, Rustic Alphabet, German Text, Old English, Marking Alphabet, Steel Pen Capitals. Additional drawings: Fists, afish, a lion, a deer, a horse, two horses, flourished heads.

They also wrote Golden Gems of Penmanship (1884).

Digital typefaces influenced by Knowles & maxim include Holly Initials (2010, David Nalle). [Google] [More] ⦿

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

FontShop link. Video by Die Gestalten. Picture. Another image. Smiling. At home during the Die Gestalten interview. Painting of him.

Kurt H. Volk

Author of Type Specimens and Decorative Materials of America France Germany Holland and Great Britain (New York, NY). This book contains 275 specimens of borders and ornaments. [Google] [More] ⦿

Kurt Weidemann

Born in Eichmedien, Masuren, East Prussia in 1922, Kurt Weidemann died on arch 31, 2011. He studied at the State Academy for Fine Arts in Stuttgart, 1953-1955. From 1965 until 1985, he was professor at the Staatliche Akademie der Bildenden Künste in Stuttgart. From 1987 onwards, corporate identity consultant to Daimler-Benz. Weidemann also helped with the identities of companies such as Porsche, Zeiss, and Deutsche Bahn. From 1991 onwards, he taught at the Hochschule für Gestaltung at the Zentrum für Kunst- und Medientechnologie in Karlsruhe. Author of Wo der Buchstabe das Wort führt Ansichten über Schrift und Typographie (Stuttgart, 2000). He lived in Stuttgart, and enjoyed a reputation as an outspoken and lively speaker.

He had great ideas about type and book design. For example, he always started designing the most frequently used letters, in this order: enirstadu, and claimed that the other letters are much less important. His typefaces:

Biblica (1979). Commissioned by the German Bible Society.
The extensive Corporate A (serif), E (slab) and S (sans) series (1985-1990), available from URW (since 1998), MyFonts, and Berthold. The Corporate series was exclusively designed for DaimlerChrysler as a corporate font. URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe. Corporate ME for the Middle East was released by URW in 2012.
ITC Weidemann (1983, a digital version of Weidemann's Biblica face.

Les Chiffres et Festons de Modes&Travaux

Kurt Weidemann's typefaces. [Google] [MyFonts] [More] ⦿

Kvartira Belogo

A goldmine with full scans of many old Russian books. [Google] [More] ⦿

La Operina
[Ludovico Vicentino degli Arrighi]

Full e-text of the first book on writing, La Operina (Ludovico Vicentino degli Arrighi, 1522), a 32-page book about Arrighi's calligraphic lettering. Comments by G. Briem. Briem writes: The author was a copyist, papal scribe, publisher and type designer. He called himself Ludovico Vicentino, and wrote the name eight times into his short text. Yet we know him as Arrighi, a name that appears nowhere in the book. Operina shows great handwriting on every page. It is more than a set of model sheets, however. It describes Arrighi's underlying forms and two basic entry movements. It covers the spacing of lines, words and letters. It deals with slant and joins. Operina is a slim volume of 32 pages. It teaches italic handwriting and is still essential reading. Each page was printed from a separate woodcut by Ugo da Carpi, who is best known as a master of chiaroscuro engraving. Title page. Page 20. Page 26. Page 27. Page 28. Page 29. Page 30. Last page. [Google] [More] ⦿

Ladislas Mandel

Born in 1921 in Transylvania, he trained at the Fine Arts Academy of Budapest (Hungary) and then at the Beaux-Arts in Rouen (Normandy, France). Ladislas Mandel was a stonecutter, painter and sculptor. However, he spent his life in France, mostly as a type designer at Deberny&Peignot, where he worked since 1954. In 1955, he headed the type atelier. He was taught by and cooperated with Adrian Frutiger during nine years at Deberny, finally succeeding Frutiger in 1963 as type director. In 1955, he was in charge of the transformation of the Deberny type repertoire from lead to phototype. He created original designs under the label International Photon Corporation, and turned independent designer in 1977. After that, he specialized in typefaces for telephone directories, and made, e.g., Colorado in 1998 with Richard Southall for US West. He cofounded the ANCT in Paris in 1985 and taught there and at Paris VIII. In 1998, he published the book Ecritures, miroir des hommes et des sociétés (éditions Perrousseaux), which was followed in 2004 by Du pouvoir de l'écriture at the same publisher. He died on October 20, 2006.

His typefaces for the Lumitype-IPC (International Photon Corporation) catalogue include originals as well as many interpretations of famous typefaces: Arabica Arabic (1975), Aster (1960-1970), Aurélia (1967), Baskerville (1960-1970), Bodoni (1960-1970), Bodoni Cyrillic (1960-1970), Cadmos Greek (1974), Cancellaresca, (1965) Candida (1960-1970), Caslon (1960-1970), Century (1960-1970), Clarendon (1960-1970), Edgware (1974), Formal Gothic (1960-1970), Frank Ruehl Hebreu (1960-1970: this is one of the most popular Hebrew typefaces ever), Gill Sans (1960-1970), Gras Vibert (1960-1970), Hadassah (1960-1970), Haverhill (1960-1970), Imprint (1960-1970), Janson (1960-1970), Mir Cyrillic (1968), Modern (1960-1970), Nasra Arabic (1972), Néo Vibert (1960-1970), Néo-Peignot (1960-1970), Newton (1960-1970), Olympic (1960-1970), Plantin (1960-1970), Rashi Hebreu, Sofia (1967), Sophia Cyrillic (1969), Sphinx (1960-1970), Textype (1960-1970), Thai (1960-1970), Thomson (1960-1970), Times Cyrillic (1960-1970), Univad (1974), Weiss (1960-1970).
Types done or revived at Deberny&Peignot: Antique Presse (1964, Deberny&Peignot), Times (1964). A note here: many type experts believe that Antique Presse is not by Mandel. According to Production Type, it was established that Adrian Frutiger, then art director of Deberny&Peignot, was more likely the mind behind Antique Presse. As further proof, Antique Presse quite blatantly follows Frutiger's Univers pattern on many levels.
Types for phone directories: Clottes (1986, Sneat - France Telecom), Colorado (1998, U.S. West, created with the help of Richard Southall), Galfra (1975, Seat, Promodia, Us Seat, English Seat: there are versions called Galfra Italia (1975-1981), Galfra Belgium (1981), Galfra UK (1990), and Galfra US (1979-1990)), Lettar (1975, CCETT- Rennes), Letar Minitel (1982-1983), Linéale (1987, ITT-World Directories), Lusitania (1987, ITT-World Directories), Nordica 1985 (ITT-World Directories: Nineuil says that this is done in 1987-1988), Seatypo Italie (1980).
Other typefaces: Portugal, Messidor (1983-1985, old style numerals font for the Imprimerie Nationale), Solinus (great!!, 1999), Laura (1999).

Ladislas Mandel, l'homme derrière la lettre is Raphael de Courville's thesis in 2008 at Estienne. In 1999, Olivier Nineuil wrote Ladislas Mandel: Explorateur de la typo français (Etapes graphiques, vol. 10, pp. 44-64). Olivier Nineuil's description of his achievements. [Google] [MyFonts] [More] ⦿

Lars Müller

Lars Müller edited the book HELVETICA---Homage to a typeface (Lars Müller Publishers, Baden, Swtzerland, 2002). Alternate URL. [Google] [More] ⦿

Lars Olof Laurentii

Born in Stockholm in 1941, he is a Swedish lithographer, left-handed calligrapher, type and graphic designer, artist and teacher or ex-teacher at the following schools: Beckman Design School, Bergs Design School, and his own Schola Laurentii. One of Sweden's main graphic designers, he has created 1300 logos in Sweden, some of which have won awards, most notably from TDC in 1975. From 1974 until 1984 he developed the ten weight classic text family called Jonsson Roman. In 1983, he changed his name to Lars Olof Laurentii.

Author of Textning, grundbok i kalligrafi (Forma Publishing Group f.d.ICA-förlaget, 2001-03). He currently runs Flora&Lettera AB and Schola Laurentii. [Google] [More] ⦿

Laura Antonucci

Type historian. Author of these articles (in Italian):

La scrittura giudicata: perizie grafiche in processi romani del primo seicento, Scrittura e civiltà, vol. 13 (1989), pp. 489-534.
Techniche dello scrivere e cultura grafica di un perito romano nel '600', Scrittura e civiltà, vol. 16 (1992), pp. 265-303.
Teoria e pratica di scrittura fra cinque e seicento: un esemplare interfogliato de Il primo libro di scrivere di Giacomo Romano (1589), Scrittura e civiltà, vol. 20 (1996), pp. 281-347.

[Google] [More] ⦿

Laura Meseguer

Designer (b. Barcelona, 1968) at type-o-tones in Barcelona. She publishes as well as promotes all her type designs through her own type foundry, Type-o-Tones. In 2003-2004, she took a year off and took the postgraduate Type and Media course at KABK (Royal Academy of Art) in The Hague, Holland. She is a professor of typography in Spain. Author of TypoMag. Typography in Magazines (IndexBook). In 2012, Cristobal Henestrosa, Laura Meseguer and José Scaglione coauthored Como Crear Tipografias (Brizzolis S.A., Madrid, Spain). MyFonts link. Fontshop link. Her typefaces:

Adelita (1993-2007). A connect-the-dots typeface family co-designed by Laura Meseguer and Adela de Bara.
Brushland (2019).
Cortada: her first typeface. In 2012, she published the angular signage typeface Cortada Dos at Type O Tones.
Dauro (2013), a corporate typeface done for the olive oil brand Dauro. From the original typeface in use, Chronicle Bold Condensed, she designed an outline version, then Lingotillo (Little gold bar: beveled) and finally Grabado (engraved).
Frankie (1992, a grunge font done with Juan Dávila). Frankie is the result of a process of erosion, photocopying, scanning and digitisation based on the Franklin Gothic type (1904, Morris Fuller Benton).
Gallard.
The curly Girard Sansusie (House Industries). Laura writes: In 2005, House Industries invited me to digitize the lettering used to announce the textile designs that Alexander Girard did for Herman Miller. Girard Sansusie is a reinterpretation of this design, based on the few letters that were available to me. Girard Sansusie combines a folk flair with a lettering style evident throughout the Girard oeuvre, most notably on his 1955 Herman Miller fabric catalogue. Alexander Girard was a master at utilizing lettering and type as practical, illustrative and readable elements.
Guapa (2011). A thin monoline curlified display typeface with an art deco aroma. Followed in 2012 by Guapa Deco.
Lola (2013). A comic book typeface started in 1997 based on an alphabet found in Schriftschreiben Schriftzeichnen (1977) by Eugen Nerdinger and Lisa Beck. Lola won an award at TDC 2013. Its outgrowth, Lalola (1997-2013), won an award at TDC 2014. Lalola Cyrillic was released in 2019.
Multi (2011-2016). A magazine type family, with weights from hairline to black.
Rumba (2003-2007): this semi-script family won an award at the TDC2 2005 type competition. It was developed during her KABK Type and Media studies.
In 2009, the low-to-zero contrast Alexander Girard family was published by House Industries. It consists of Girard Sky, Girard Script, Girard Display, Girard Sansusie and Girard Slab in many weights and styles. Girard Sansusie was created by Laura Meseguer based on the lettering used to announce the textile designs that Alexander Girard did for Herman Miller in 1955. Girard was digitized at House Industries by Ben Kiel, Ken Barber, and Laura Meseguer.
Magasin (2013, Type o Tones) is a connected retro-chic upright script typeface. She writes: Some examples that have inspired me are Corvinus (Imre Reiner, 1934) and Quirinus (Alessandro Butti, 1939) and the later Fluidum (1951), a kind of non-connected script version of Quirinus, also designed by Alessandro Butti for Nebiolo foundry.
In 2019, she released the Latin / Arabic display typeface Qandus, which was co-designed two years earlier with Kristyan Sarkis.
The custom typeface Solis (2019) done for AccuWeather.
In 2020, she released the wonderful stencil typeface family Sisters. Sisters was conceived as a custom lettering project for the identity of Trans_Documentar, an exhibition at the La Panera Art Center in Lleida, Catalunya. Sisters is an homage to all the creative women in this world, according to Meseguer. Type Network link.

Interview by MyFonts. Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Juan Luis Blanco and Krystian Sarkis, the Typographic Matchmaking in the Maghrib project of the Khatt Foundation, which tries to facilitate a cultural trialogue as well as shed a typographic spotlight on the largely ignored region of the Maghreb in terms of writing and design traditions. The specific goal of the collaboration is the research and development of tri-script font families (for Latin, Arabic and Tifinagh) that can communicate harmoniously.
Behance link.
Interview by Unostiposduros. [Google] [MyFonts] [More] ⦿

Laure Bernard

Author of Lettres de pierre (2004, ed. Alain Paccoud). This book describes the stone engraving art of Jean-Claude Lamborot (b. 1921), who works in Beaujeu in the Beaujolais region. [Google] [More] ⦿

Laurence Scarfe

Painter and graphic designer. Author (1914-1993) of Alphabets An introductory Treatise on written and printed Letter Forms for the Use of Students (W.S. Cowell Ltd, London: Batsford, 1954), which is mainly concerned with type classification. Type groups in his classification: Black Letter, Roman, Italic, Transitional, Modern, Fat Face, Egyptian, Sans Serif, Shaded, Ornamented and Script. See also here. [Google] [More] ⦿

Laurent Pflughaupt

French author (b. Algrange, 1964) of Lettres Latines (Éditions Alternatives, 2003) and Letter by Letter: An Alphabetical Miscellany (2007, Princeton Architectural Press, New York). The latter is a translation of his 2003 book. Calligrapher and activist for calligraphy in the streets of Paris. [Google] [More] ⦿

L'aventure des écritures

Pages (in French) on the history of writing and printing. [Google] [More] ⦿

Lawrence Wallis

British freelance writer, lecturer, consultant and columnist for Print Week, d. 2008. For 20 years he was Director of International Marketing for the Pre-press Division of AM International, and was Typesetting Systems Advisor to Crosfield Electronics and Monotype.

Author of Electronic Typesetting: a quarter century of technological upheaval (1984), Leonard Jay: Master Printer-Craftsman (1963), Type Design Developments 1970-1985 (1985), Dictionary of Graphic Arts Abbreviations (1986), A Concise Chronology of Typesetting Developments 1886-1986 (1988), A Modern Encyclopedia of Typefaces 1960-1990 (1990), and Typomania (1999).

He also wrote The Monotype Chronicles.

Phil Baines: He was one of the good guys, always generous with his time and advice. [Google] [MyFonts] [More] ⦿

Lazydogs: Bitte Setzen

Author of Bitte setzen! The Typefaces Of The Letterpress Printshop Fliegenkopf (2013). The blurb: The Fliegenprobe---probably one of the last letterpress specimens---was released in a limited edition, consisting of two volumes and an accompanying box with large format prints. The project was started under the motto "bitte setzen!" in summer 2008 at Munich Designschool in collaboration with the letterpress printshop Fliegenkopf. The ambitious goal was to create a specimen of the approximately 170 different typefaces of the workshop. [Google] [More] ⦿

Lazydogs Type foundry
[Oliver Linke]

Lazydogs Type foundry is a German foundry located in München (and before that, Augsburg), est. 2005, by Oliver Linke, Robert Strauch and Kai Büschl. Strauch left in 2014. They do custom and retail type work. Oliver Linke (b. 1971, Odenwald, Germany) studied graphic design at the University of Applied Sciences Augsburg, Germany and the University of Missouri, Kansas City (19931-1998). He continued his studies in art history, art education and philosophy (2000-2005) at the University of Augsburg. He teaches type design and typography at the Designschule München (and before that, at the Blocherer Schule) and Augsburg. By 2017, Lazydogs was run by just two of its founders, Oliver Linke and Kai Büschl.

Lazydogs published some commercial typefaces, such as Fabiol (2005, a garalde by Robert Strauch), a winner at the TDC 2005 type competition. Oliver Linke created the Lazydogs Finn family (2006, a gorgeous delicate sans).

At ATypI 2007 in Brighton, he spoke about Masterpieces of Johann Neudörffer the Elder (1497-1563). In 2007, Oliver Linke and Christine Sauer published Zierlich schreiben Der Schreibmeister Johann Neudörffer der Ältere und seine Nachfolger in Nürnberg (Beiträge zur Geschichte und Kultur der Stadt Nürnberg 25, Typographische Gesellschaft München / Stadtbibliothek Nürnberg).

Other typefaces: Pandera (2008, Robert Strauch), Vela (2010, a text typeface), North (2008, Trine Rask), Alena (2012-2017, Roland Stieger).

Typefaces from 2013: Streets of London (a complete lapidary font family out of a capital alphabet designed by the British stone cutter and type designer David Kindersley (1915-1995), a former apprentice of Eric Gill).

Typefaces from 2018: the didone families LD Moderne Antiqua (+Fat) and LD Moderne Slab by Kai Büschl.

Typefaces from 2019: LD Grotesk (Regular, Condensed, Wide), LD Fabiol Pro.

Typefaces from 2020: LD Elsnac (a roman typeface family), LD Genzsch Antiqua (by Michael Wörgötter: a revival of Genzsch Antiqua (or Nordische Antiqua)).

Typefaces from 2021: LinkeHand Pro. [Google] [MyFonts] [More] ⦿

L.C. Evetts

Author of Roman Lettering (1938). [Google] [More] ⦿

Le Peintre de Lettres

Le Peintre de Lettres--- Receul d'Alphabrets is a sign painting book from 1850. PDF. [Google] [More] ⦿

Lee Hendrix

Lee Hendrix and Thea Vignau-Wilberg wrote The Art of the Pen Calligraphy from the Court of the Emperor Rudolf II (2002, Getty Publications, Getty Museum, Los Angeles). The promotional blurb about this beautiful booklet: The court of Holy Roman Emperor Rudolf II produced nothing more amazing than the Mira colligrophioe monumenta, a flamboyant demonstration of two arts-calligraphy and miniature painting. The project began when Rudolf's predecessor commissioned the master calligrapher Georg Bocskay to create a model book of calligraphy. A preeminent scribe, Bocskay assembled a vast selection of contemporary and historic scripts. Many were intended not for practical use but for virtuosic display. Years later, at Rudolf's behest, court artist Joris Hoefnagel filled the spaces on each manuscript page with images of fruit, flowers, insects, and other natural minutiae. The combination of word and images is rare and, on its tiny scale, constitutes one of the marvels of the Central European Renaissance. The manuscript is now in the collections of the Getty Museum. Forty-eight of its pages are reproduced in this book, containing samples of classic italic hands; historical, invented, and exhibition hands; Rotunda, a classicizing humanist script based on Carolingian minuscule; classically based scripts; and Gothic blackletter and chancery. Other publications include An Abecedarium: Illuminated Alphabets From The Court Of Emperor Rudolf Ii An Abecedarium: Illuminated Alphabets From The Court Of Emperor Rudolf II (1997). [Google] [More] ⦿

Volume I in the collection "Recke" (Editions Edouard Boucherit) has 45 alphabets. Scans of the pages are now publically available. [Google] [More] ⦿

Leslie Cabarga
[Cabarga type (was: Flashfonts)]

Lettering Library Mega Bundle

Letterfountain: Bibliography
[Joep Pohlen]

The type design and typography bibliography of Letterfontein, Joep Pohlen's successful book. [Google] [More] ⦿

Letterhead Studio YG
[Yuri Gordon]

Letterhead is Yuri Gordon's (b. Moscow, 1958) Moscow-based foundry which publishes mainly Cyrillic fonts. Its coowners are Valery Golyzhenkov and Olga Vassilkova and it was established in 1998. It evolved from Garbage Type Foundry. Not to be confused with Chuck Davis' Letterhead. The main designer is Yuri (or: Jury) Gordon, the Moscow-based designer of the Type Directors Club 1999 award-winning designs Dve Kruglyh and FaRer Cyrillic, available from Paratype. URL at Yakovlev's Foundry. Picture. Article in the Moscow Times (2006), in which he proclaims: Better to make five fun and tasty new display fonts than one old, boring (and you thought it would look fresh!) text font. He is a graphic designer, illustrator, type designer, engraver and copyrighter. He is Art Director of several magazines.

Yuri Gordon created AntiQuasi (2008, a nice lightly slabbed serif family), Babaev [1996; inspired by the Russian Art Nouveau typefaces, initially created as a part of a corporate identity programme for Babayevskoye AO of Moscow], Arte mius (custom designed family for Art Lebedev Studio), Barrizmo (2004), Bistro (1997, hand-printed), Chantage (2000, handwriting), Conqueror Text, Conqueror Slab and Conqueror Display (large families), Conqueror Sans (2005-2010), Conqueror Text (2005-2010), Costa Brava (2003, fun script described as beach type), Costa Dorada (2003), Dva Probela (1997-1998), Dve Kruglyh (1997, unicase), Excession (1999), FaRer [1994; art deco typeface inspired by the work of Russian graphic artists Vladimir Favorsky (1886-1964) and Ivan Rerberg (1892-1957), especially by Favorsky's lettering of 1924 and by Rerberg's of 1935. Dedicated to the Moscow Underground (Metro). Obtained an award at the 1997 TDC competition], Forward No. 10 (1995-1996), Forward Grotesque No. 9 (1998-2000), Gordoni (his take on Bodoni), GiardyOla (2008-2019), Handy, HotSause (1997, irregular handwriting), Karkas (2004, a manly sans), Little Shift (1999), Method (2002, a sans family), Minusmanscript (1998, calligraphic), Mr. Mixter (2011), Non System (2000), OptiMyst (1997), ResPublicana (1999), Sivtzev Vrazhek (1999, + mono), Michelle (2004, medieval), Naylorville (2004), Probel (1997-1998).
Illarion Gordon made the fun fonts Strelochnik (1996, irregular hand), Probbarius (1996), Monte Summa (1997), as well as Rahit (1998, kid's handwriting), Rough (2000, blotchy hand), Simpel (kid's hand), St. Valentin (2001), Accept (1998), Kartofel (2000, irregular handwriting), LangobardR (1999), Ospa (1997, funky handwriting), pLatinum (1999, informal script).
Valery Golyzhenkov's fonts from before 2000 are typically destructionist. He made 04.07 (1998), Bort#1 (2000), CardHolder (1997), Chellebrity (2004, screen), Cracker (1997), Cubes (2000), Dead Metro (1997, a constructivist family renamed Dead Mementro in 2017), Do Not Touch (1997), Dream Team (2000), Formalist (2001), Gamering (+Sans, 2009: a game font), Garbage (12997), GarbEdge (1997), Garmony (1997), Grammatika (1997), HandsOn (1997), Hole Down (1997), Hot Sauce (2009, Yuri Gordon), Ice Cola (2000), Kabotage (1998, octagonal), Kassa (2002, octagonal), Kren (1998), Laborant (2000), Lavert Noise (1997), Matrrolla (2001, octagonal), Mono (2000), Musor (1997), OneCode (1998), Primitiv (1998), Principal (1998-1999), Recruit (2004, octagonal), Remont (2000), Rounds (basic dingbats), Silver Winer (2000), Sklad (2000), Stampit (2000), Upadok (1997, futuristic), YE Stencil (2009), Zaplyv (1997), Zanoza (2005).
Custom typefaces for companies or special projects: 19oclock (2004, Yuri Gordon: for Vernost Kachestvu confectionery factory), AlfaBank, Always, Anteus, Artemius, Alexey, Atlas-1904, Bat Sans, Bat Roman, Calendarus, Carlis, Cifirki, CTC Screen, Digrol, Digimag, Esquire, Gulliver UTS, Gurmania_MA (2004, handwriting), Hi Afisha, In CaST, Ka, Kater, Komet, Kostro, Lumene Script, N.B.T., Nochnoi Dozor, Odessa, Progress Custom, Redd's, Robb Report New, Rolling Stone 2003, Rolling Stone 2005, Romb (2010), Rosbank Sans, RMA 2006, Salon Script (2007, calligraphic), Salon Antiqua (2007), Seventeen, N.Side, W.Side, Sivtzev Vrazhek, Snickers, Sovereign, STS Vizion, Svyaznoy RF (2008, sans), ToShi, Trust, Whiskas lettering, Zabava.
Typefaces and/or lettering from 2007-2009: Barocco Mortale (2005-2007curly script), Barocco Mortale Borders, Alfavita (ornamental caps by Goluzhenkov), Fleurs du Mal (2008, a Baudelarian antiqua, mischievous and decadent), DBL Cheque (by Goluzhenkov), Medved (by Goluzhenkov), YE Stencil (by Goluzhenkov), 21Cent (2009, related to Century; +Cyrillic; +Thin; +Black; advertised as not Century, not Clarendon, this fresh family is sure to win awards), Antiquasi (2008), Around the world, Bazaarban (2009, for Harper's Bazaar), Blacksteel, Citizen M (art deco), EsqGuardi (for Esquire), the curly Naska, with accompanying dingbats Naska Kozliki, the bird dingbats Udo Birdo, and more at Flickr.
Production in 2012: Digital October, Red Square (constructivist), Red Ring (art deco sans), Baker Street 221B (anglomane grotesque).
In 2013: Clarendorf (a hand-printed spoof on Clarendon), Bonvalet (large x-height sans), Bazaart (an art deco typeface for Harper's Bazaar), The drop-dead gorgeous condensed American slab and sans serif typefaces Mr Palker and Mr Palkerson.
Typefaces from 2014: 20 Kopeek (sans family with steampunk influences).
Typefaces from 2015: Buffon (a spaghetti Western italian typeface), Mr Palker Dad, Mr Palker Dadson.
Typefaces from 2018: Atomic Alice (a simple stocky sans family).

Author of the acclaimed 384-page book Book of Letters From to ” (2007, Art. Lebedev Studio).

Behance link. Art by Yuri. Issuu link. Klingspor link. Behance link for Yuri Gordon. Art Lebedev link.

View Letterhead YG's typefaces. [Google] [MyFonts] [More] ⦿

Lettering books

List of lettering books at Amazon. [Google] [More] ⦿

These vintage lettering and penmanship books are available for download on Jada Guselnikov's site:

101 Alphabets - Ben and Ed C. Hunt - 1954
60 Alphabets - Ben & Ed Hunt - 1935
600 Monogramme Und Zeichen - Alexander Koch - 1920
Allegorien und Embleme - Martin Gerlach - 1882
Alphabets & Letters - Milton Bradley - 1924
Alphabets and Lettering - Esterbrook Pen Company - 1930
Alphabets and Other Materials Useful to Letters - Charles Rollinson - 1912
Alphabets de Style - Unknown Author - Unknown Date
Alphabets for Practical and Ornamental Engrossing - C.W. Jones - 1914
American Text Book For Letters - N.S. Dearborn - 1873
Ames' Book of Flourishes - Daniel T. Ames - 1890
Art Alphabets & Lettering - J.M. Bergling - 1923
Art Monograms and Lettering - J.M. Bergling - 1916
AtkinsonsSignPainting - Frank Atkinson - 1915
Basiks of Lettering - Bill Boley - 1952
Becker's Ornamental Penmanship - George J. Becker - 1854
Beginner's Course in Show Card Writing - Ray J. Matasek - 1924
Book of Alphabets - Powner - 1946
Book of Monograms and Fancy Lettering - D.M. Campana - 1900
Brodie & Middletons Plain, Ornamental, and Mediaeval Alphabets - Edward Cover - 1871
Constructive Lettering - William Day Streetor - 1929
Copley's Plain & Ornamental Alphabets - Fredrick S. Copley - 1870
Das Gwerbe Monogramm - Martin Gerlach - 1881
Das Neue Monogramm - Emil Franke - Unkown Date
David's Practical Letterer - Arnold Binger - 1903
Design of Monograms, Inscriptions, and Alphabets - Emil F. Hornikel - 1904
Designs for Letters and Monograms - John B. Wiggins - 1893
Dick's Alphabets - Dick and Fitzgerald - 1900
Display Material Catalogue - 1930
Distinctive Lettering and Designs - A.J. Hewett - 1919
Draughtsman's Alphabets - Hermann Esser - 1877
Exercises in Lettering - Architectural and Other Alphabets - George G. Greene - 1925
Faust's 75 Alphabets - Charles Ayers Faust - 1920
Gems of Penmanship - Williams & Packard - 1866
Gerlach & Schenk Brochure - Gerlach & Schenk - 1888
Golden Gems of Penmanship - Knowles & Maxim - 1884
Heberling's Basic Lettering - W.A. Heberling - 1922
Henderson's Sign Designs and Alphabets - R. Henderson - 1905
Henderson's Sign Painter - John G. Ohnimus - 1906
Heraldic Designs & Engravings - J.M. Bergling - 1913
How to Paint Signs and Sho' Cards - E.C. Matthews - 1928
How to Render Roman Letter Forms - Tommy Thompson - 1946
Illuminated Ancient and Modern Alphabets - Unknown Author - Unknown Date
Imelli's Alphabets & Layouts - Al Imelli - 1922
Instruction Course in Show Card Writing - Lessons Nine & Ten - The Menhennitt Company - 1927
Instruction Course in Show Card Writing - Lessons Seven & Eight - The Menhennitt Company - 1927
Instruction Course in Show Card Writing 1-6 - The Menhenitt Company - 1927
Instructions on Modern Show Writing - J.G. Bissell - 1921
John M. Clark's Alphabets - Book 1 - 1906
John M. Clark's Alphabets - Book 2 - 1907
Kibbe's Alphabets - H.W. Kibbe - 1900
L'Artiste - Peintre de Lettres - Monroco Freres
Landa's Alphabets - Excelsior - 1870
Layouts and Letterheads - Paul Carlyle & Guy Oring - 1938
Learning to Letter - Paul Carlyle and Guy Oring - 1939
Le Peintre de Lettres - Recueil D'Alphabets - 1850
Lessons in the Art of Illuminating - W.J. Loftie-1880
Lettering - J. Albert Cavanagh - 1946
Lettering - Modern & Foreign - Samuel Welo - 1946
Lettering Plates - Charles L. Adams - 1902
Lettering for Commercial Purposes - William Hugh Gordon - 1918
Lettering for Draftsmen, Engineers & Students - Chas W. Reinhardt - 1917
Lettering for School and Colleges - Frank Steeley - 1902
Luminous Advertising Sketches - Phillip DiLemme - 1953
Martin's Ideas - Book One - H.C. Martin - 1935
Martin's Ideas - Book Three - H.C. Martin - 1937
Martin's Ideas - Book Two - H.C. Martin - 1936
Martin's Modern Ideas - Book Four - H.C. Martin - 1935
Modelli Di Calligraphia - Giovanni Tonso - 1898
Modern Brush Lettering - Harold Holland Day - 1931
Modern Lettering - Foulsham & Co. - 1940
Modern Ornament & Design - J.N. Halsted - 1927
Moderne Firmen Schilder - Arthur Schulze - 1913
Monogrammbuch - P. Buttgen - 1885
Monogrammes en Relief - M. Rawski - 1911
Monograms & Heraldic Designs - Wilkonson, Heywood, & Clarke - 1912
Monograms, Crests & Scrolls - Conrad W. Schmidt - 1895
Morgan Press Wood Type Catalog
Muster Alphabete - Stuttgart - 1883
Neues Vollständiges Monogramm Alphabet - F. Weber & Co. - 1886
Patterson & Heward - Art Brass & Bronze Tablets & Signs - 1917
Plain & Ornamental Alphabets - H.D. Smith - 1840
Plain Alphabets for Office and Schools - C.G. Wrentmore - 1898
Poster Design - J.I. Biegeleisen - 1946
Prangs Standard Alphabets - Louis Prang - 1878
Prangs Standard Alphabets - 1901
Real Pen Work - Self Instructor in Penmanship - 1884
Rightmeyer's Penman's Paradise - Knapp & Rightmeyer - 1852
Schriften Atlas - Petzendorfer Hoffman - 1909
Scroll Book - Excelsior Publishing - 1876
Showcard Layout & Design - Edgar Bond - 1937
Spajner Bros. Catalog E - 1909
Spajner Bros. Catalog S - 1927
Spanjer Brother Catalog 41 - 1941
Speedball Textbook 8th Edition - Ross F. George - 1925
Speedball Textbook 10th Edition - Ross F.George - 1927
Speedball Textbook 11th Edition - Ross F. George - 1929
Speedball Textbook 12th Edition - Ross F. George - 1935
Speedball Textbook 13th Edition - Ross F. George - 1938
Standard Amercian Lettering Book - P.Idarius - 1911
Strong's Art of Show Card Writing - C.J. Strong - 1919
Strong's Book of Design - C.J. Strong - 1917
Studies in Pen Art - W.E.Dennis - 1914
The Art of Lettering and Sign Painting Manual - A.P. Boyce - 1878
The Artist and Decorator - Campana - 1924
The Book Of Ornamental Alphabets Ancient & Modern - F. Delamotte - 1858
The Essentials of Lettering - Thomas E. French - 1912
The Menhenitt Company - Instruction Course in Show Card Writing - Lessons 11 & 12 - 1927
The Menhenitt Company Demonstration Folio - 1927
The Ornamental Penman's Pocket Book of Alphabets - Benjamin Alexander - 1900
The Palmer Method of Business Writing - A.N. Palmer - 1915
The Signists Modern Book of Alphabets Franklin Gage Delamotte - 1906
The Writer's Guide - E. Ventris - 1830
Thompson's Roman Alphabet - W.M. Thompson - 1878
Ticket and Show Card Writing - F. A. Pearson - 1924
Vel Vet Show Cards - Harry Lawrence Gage - 1924
Wagner - BluePrint TextBook - 1946

[Google] [More] ⦿

Letterjuice
[Pilar Cano]

Letterjuice is the British type foundry of Pilar Cano, who graduated from the University of Reading, 2006, but started out life in Barcelona. After graduation, still in 2006, she co-founded Mídori, a graphic design studio specialised in editorial design. Letterjuice is based in Brighton, UK.

Coauthor, with Marta Serrats, of Typosphere (2007, Harper Collins). Creator of these typefaces:

Edita (2006), an informal sans family that also covers kana for Japanese. This typeface was finally published in 2009 at Type Together. It was followed in 2011 by additional weights in Edita Book.
Techarí (2006, +Extra) comes from a commission in which the brief consisted of the creation of a typeface family to be used for the design of the third disc of the band called Ojos de Brujo based in Barcelona. This disc was called Techarí, which means free in Caló, the language of the Spanish gypsies---it also has a stencil version.
In 2010, she is working on an elliptical sans that covers Latin, Cyrillic and Greek.
Techarí (2010) is an extremely elegant custom family.
Xuppis (2012) is a commissioned logotype for a candy shop in El Masnou, Barcelona.
Together with Lluis Sinol, she designed the custom sans typeface SEAT (2013) for Latin, Greek and Cyrillic.
Quars (2013). This angular typeface family, co-designed with Ferran Milan, grabs elements from Scotch Roman and old Dutch typefaces.
Sapmi (2013). A custom typeface for the Sami children.
Baldufa (2014, Ferran Milan Olivares): an award-winning flared, calligraphic and subtly rounded serif typeface family for Latin and Arabic. In 2021, Ferran Milan and Pilar Cano released Baldufa Greek Ltn (Greek and Latin), Baldufa Greek, Baldufa Cyrillic Ltn, Baldufa Cyrillic and Baldufa Paneuropean.
Aanaar (2014) was originally designed for children's textbooks.
Seat Sans is a corporate typeface co-designed with Minsk Disseny in 2014.
Catalana Serif won an award at Granshan 2014 in the Greek typeface category.
Pilar Cano, Spike Spondike and the Dalton Maag team won an award at Granshan 2014 in the Thai typeface category for HP Simplified.
In 2017, Jordi Embodas's Trola family was updated, improved and expanded to Cyrillic. The Cyrillic version was designed by Letterjuice (Pilar Cano & Ferran Millan) under the supervision of Ilya Ruderman and Yury Ostromentsky.
Bespoke typefaces include Saffron Display (2017), Screwfix (2017) and Catalana (2016).
Pilar Cano and Ferran Milan bundled their efforts once again in 2018 for the Latin / Thai typeface family Arlette (TypeTogether).
In 2020, she published Portada Thai at TypeTogether to complete the text typeface Portada (2016) by José Scaglione and Veronika Burian.
Nawin Arabic (2022). An informal Arabic typeface inspired by handwriting by Pilar Cano and Ferran Milan.

Interview by Unostiposduros. Cargo Collective link. MyFonts link. Behance link. Wiki page. Klingspor link. Behance link for Letterjuice. [Google] [MyFonts] [More] ⦿

Levrault

French type foundry in Strassbourg, est. 1675. In 1795 the Beaumarchais foundry was partly sold to Franz Laurent Xavier Levrault (1762-1821). Levrault in turn was sold in 1854 and became Berger-Levrault. The latter company resettled in Nancy, France, in 1873.

Specimen books include Epreuves des caractères de la fonderie de Frères Levrault, à Strasbourg (by François Georges Levrault, 1800). Local download of that book. [Google] [More] ⦿

Lewis Blackwell

British author of 20th Century Type (Rizzoli, 1992), The End of Print: The Graphic Design of David Carson (with David Carson, Chronicle Books, 1996), G1: New Dimensions in Graphic Design (with Neville Brody, Rizzoli, 1997), 20th Century Type: Remix (Laurence King, 1999), and Edward Fella: Letters on America (Princeton Architectural Press, 2000). Creative director at Getty Images. [Google] [MyFonts] [More] ⦿

Lewis Foreman Day

Lettering artist and author, 1845-1910. His books include Alphabets Old and New: Containing Over One Hundred and Fifty Complete (1902, B.T. Batsford), which has a large number of historic alphabets, initials, blackletter examples, and new alphabets by the author himself. Other books: Alphabets Old And New For The Use Of Craftsmen (1910, B.T. Batsford, London), Lettering in ornament (B.T. Batsford, 1902), The anatomy of pattern (B.T. Batsford, 1895), Penmanship of the XVI, XVII&XVIIIth centuries (1911, B.T. Batsford, London: Local download), and Nature and Ornament (B.T. Batsford, Charles Scribner's Sons, 1892).

He created numerous pen-drawn alphabets. I am using the descriptive names he used in his own book, Alphabets Old and New: Modern Brush Letters, Blunt Brushwork, Blunt Twisted Brushwork, Japanese Brushwork, Modern Capitals for engraving on metal, Modern Capitals, more Modern Capitals, and yet more Modern Capitals, Modern early Gothic Capitals for engraving on metal, Modern Early Spanish Letters, Modern Foliated Capitals, Modern Gothic Capitals, Modern Minuscule Gothic, Modern Roman Capitals, Modern Roman Italics, Modern Twisted Letters, Numerals (set 1), Numerals (set 2), and Numerals (set 3).

In 2012, Dick Pape created a number of typefaces based on alphabets found in Alphabets Old And New For The Use Of Craftsmen (1910). These include LFD14thCItalian75 (drawn by J. Vinycomb), LFD15thCFrenchRelief91, LFDAlphabetUndOrnamente216 (after roman capitals by Otto Hupp), LFDAsianStencilling205 (an art nouveau stencil based on an original by E. Grasset and M. Verneil), LFDBlockCapitals213 (based an alphabet by Walter John Pearce), LFDEngravingonSilver196 (a Foreman Day original designed for engraving on silver), LFDFreehand170 (based on an alphabet by Bailey Scott Murphy, architect), LFDFrenchPrintedType189 (based on a type by E. Grasset), LFDFrenchType209 (a caps typeface by Lewis Foreman Day), LFDIncisedinWood114 (a Foreman Day original Elizabethan lettering aklphabet based on an inscription incised in wood at North Walsham, Norfolk), LFDMetalEngraving187 (another original by Foreman Day, for engraving on metal), LFDModernCaps210 (an original), LFDPainted148 (a sketched typeface that was painted in 1727 on the wooden drug-drawers of an old apothecary's shop and kept in the Germanisches Museum, Nuremberg), LFDPenAlphabet222 (an art nouveau alphabet by Foreman Day), LFDPenwork160 (after an original monstrosity by Walter Crane), LFDPenwork181 (based on an alphabet of Roland W. Paul), LFDPenwork206 (based on lettering by Franz Stuck), LFDQuasiJapanese203 (an oriental art nouveau design by Foreman Day), LFDRomanCapitals224 (based on lettering by Franz Stuck), LFDScriptStencil219 (an oriental art nouveau design by Foreman Day), LFDSquareCut202 (an original pixelish typeface by Foreman Day), LFDThinFrench208 (based on an alphabet by John Vinycomb). [Google] [More] ⦿

Liam Quin
[Liam's Pictures from Old Books]

Library Digitization Projects and Copyright

Liam's Pictures from Old Books
[Liam Quin]

Liam Quin's pictures from old (now copyright-free) books. [Google] [More] ⦿

Mary Minow explains the law about which old books are in the public domain. Rule of thumb: public works from before 1922 are in the public domain and can be freely digitized. [Google] [More] ⦿

Libreria AIAP

Italian publishing house specializing in type. Edited by Stampa Alternativa / Graffiti and led by Giovanni Lussu. Titles include:

Caterina Marrone: "I geroglifici fantastici di Athanasius Kircher" (2002). About hieroglyphs.
M. Rattin&M. Ricci: "Questioni di carattere. La tipografia in Italia dal 1861 agli anni Settanta".
M. Zennaro: "Calligrafia Fondamenti e procedure".
R.O. Blechman: "Tutto esaurito".
Roy Harris: "L'origine della scrittura".
James Mosley: "Radici della scrittura moderna" (2001).
Adrian Frutiger: "Il mondo dei simboli Passeggiate tra i segni".
Adrian Frutiger: "Segni&simboli Disegno, progetto e significato".
Marco Delogu: "Nature Scritti nel tempo".
F. Ascoli and G. De Faccio: "Scrivere meglio". How to improve your handwriting.

[Google] [More] ⦿

Libro di M. Giovambattista Palatino cittadino romano
[Giovambattista Palatino]

This jewel of a book was published in 1550 by Antonio Blado asolano in Rome. It is now available on the web and contains of complete alphabets, from chancery scripts, to blackletter and roman. There are also Greek, Hebrew, Cyrillic, Syrian, Arabic and other alphabets. Selected pics to make you drool. [Google] [More] ⦿

Lida Lopes Cardozo
[The Cardozo Kindersley Workshop]

Linguarum orientalium alphabeta: hebraicae, rabinicae, samaritanae, syriacae, graecae, arabicae, turcicae, armenicae

A book published in Paris in 1636 by Antonium Vitray. Digital version. Local download. [Google] [More] ⦿

Linn Boyd Benton, Morris Fuller Benton, and Typemaking at ATF

Article by Patricia A. Cost in APHA vol. 16, No. 2, 1994. [Google] [More] ⦿

Lippmann & Döhme

Authors in 1884-1997 of Druckschriften des 15. bis 18. Jahrh., in getreuen Nachbildungen (Berlin, Reichsdruckerei). This book contains 100 full-page facsimiles in loose sheets. [Google] [More] ⦿

Literat

List of German type books. [Google] [More] ⦿

Literaturliste Typographie

German page on type books. [Google] [More] ⦿

Livres Anciens&Belgicana

Rare type books at this Belgian bookstore. [Google] [More] ⦿

Livres Typographie

Lists of type books in French and English. [Google] [More] ⦿

Lorenz Reinhard Spitzenpfeil

Blackletter type designer at Ludwig&Mayer, b. 1874 Michelau, d. 1945 (by suicide), who lived most of his life in Kulmbach, and is often called the forgotten designer. His typefaces:

Welt-Fraktur (Magere and Halbfette) (1908-1910). Also called Spitzenpfeil Fraktur.
Werk-Fraktur (1918; the mager is from 1913). Revived by Gerhard Helzel.
Kulmbacher Fraktur. Unpublished.
Kulmbacher Schwabacher (1935).
Fränkisch Spitze Buchkursive (or just Fränkisch) (1906, Genzsch & Heyse; Seemann and Wetzig both mention 1910). Revived by Dieter Steffmann in 2002.
Spitzenpfeil Splendid (Ludwig&Mayer).

His life story was told in 1983 by Hermann Stettner and others in the magazine of the Bund für die deutsche Schrift, volume 69: Page 1, Page 2, Page 3, Page 4, Page 5, Page 6, Page 7, Page 8, Page 9. See alo Kurt Muhlhausser's article Lorenz Reinhard Spitzenpfeil. Ein Lebensbild des oberfränkischen Künstlers und Forschers (in: Geschichte am Obermain, Bd. 17, 1989-1990).

Author of Die Behandlung der Schrift in Kunst und Gewerbe. Eine Einführung in die Schriftbildung, Schrifttechnik und Schriftanwendung (Nürnberg, 1911), Die Grundformen neuzeitlicher Druckschriften (Leipzig, 1912) and Der Schriftkünstler. Anleitung zur Kunstschrift (Hannover/Wien, 1912). [Google] [More] ⦿

Los Logos

A 444 page book of logos edited by Robert Klanten, Mika Mischler and Nicholas Bourquin in 2002. See also here or here. A special site didicated to this book. The sequel is Dos Logos (2004) by Robert Klanten, Nicolas Bourquin and Roland Muller. Followed by Robert Klanten's Tres Logos. [Google] [More] ⦿

Louis Perrin

French punchcutter (1795-1865) who lived in Lyon. He designed Lyons Titling (1846, a roman titling font published by Chiswick Press) and Augustaux, about which René Ponot published a book, Louis Perrin: L'Enigme des Augustaux (Editions des Cendres, Paris, 1998). The book contains a history of Perrin as a printer and typographer, with special attention to Perrin's Augustaux type. It contains two fold-out Augustaux type specimens and several examples of Perrin's printing in black-and-white. The preface is by Fernand Baudin, and it is printed in Perrin type redesigned by L'Atelier National de Création Typographique in 1986. See also Etude sur Louis Perrin, Imprimeur Lyonnais (Editions des Cendres, Paris, 1994) by Jean-Baptiste Monfalcon.

The Elzevir style of typeface originated with Louis Perrin.

Hrant Papazian writes: While I was looking for something else I ran into the single most important publication about Perrin that I know of: Audin's book on the 1923 Perrin exhibition in Lyon. It's quite rare - it seems only 61 copies were printed. There's a very extensive text (120 pages), a complete catalog of works, and some great facsimiles (as well as actual prints -like pressmarks- from Perrin's own engravings). The paper is very yellowed though. There are two things in there that will probably interesting you most: A facsimile of Perrin's famous specimen sheet, showing two sizes that are basically Marquet's designs: the 11 and the second 14. Some scans shown below were published by Hrant Papazian.

Digital typefaces directly linked to Louis Perrin include the all caps typeface Grand Central by Tobias Frere-Jones (1998, Font Bureau), and the great contemporay revival of Augustaux by Mathieu Cortat simply called Louize (2013, +Display). Aventine (2018, Stephen French) is an oldstyle typeface based on Perrin's Lyons Capitals.

FontShop link.

Bibliography: Laurent Guillo: Louis-Benoit Perrin et Alfred-Louis Perrin, imprimeure à Lyon 1823-1865-1883 (1986, Mémoire, Ecole Normale Supérieure des Bibliothèques, Villeurbanne). [Google] [MyFonts] [More] ⦿

Louis Prang

Prussian-American printer and lithographer, 1824-1909. Boston-based author of Prang's Standard Alphabets (1878) and Prang's Standard Alphabets (1901, publ. Taber-Prang Art Co, Springfield, MA).

Typefaces based on Prang's examples include Prangs (2016, Alejandro Paul, Sudtipos), a thinly connected italic didone. [Google] [More] ⦿

Louise Fili

Founded in 1989, Louise Fili Ltd is a graphic design studio specializing in brand development for food packaging and restaurants. Formerly senior designer for Herb Lubalin, Louise Fili was art director of Pantheon Books from 1978 to 1989, where she designed close to 2,000 book jackets. She has received Gold and Silver Medals from the Society of Illustrators and the New York Art Director's Club, the Premio Grafico from the Bologna Book Fair, and three James Beard award nominations. Fili has taught and lectured extensively, and her work is in the permanent collections of the Library of Congress, the Cooper Hewitt Museum, and the Bibliothèque Nationale.

She is co-author, with Steven Heller, of Italian Art Deco, British Modern, Dutch Moderne, Streamline, French Modern, Deco Type, Deco España, German Modern, Design Connoisseur, "Typology Type Design from the Victorian Era to the Digital Age" (Chronicle Books, San Francisco, 1999), Typology, Stylepedia, Euro Deco, Scripts, Shadow Type, Belles Lettres, Cover Story, and Stencil Type. Fili has also written Elegantissima, Grafica della Strada, Graphique de la Rue, The Cognoscenti's Guide to Florence, and Italianissimo. A member of the Art Directors Hall of Fame, she has received the medal for Lifetime Achievement from the AIGA and the Type Directors Club.

Her book cover (done with Jessica Hische) won a design award at TDC 55. Fili was also honored with the 2018 SOTA Typography Award.

In 2015, she made a futuristic counterless typeface, Mardell, which is named after retired Hamilton type cutter Mardell Doubek. It was published in 2016 as HWT Mardell in the HWT (Hamilton Wood Type) collection over at P22.

In 2017, Louise Fili, Nicholas Misani and Rachel Michaud co-designed the art nouveau typeface Montecatini, which is inspired by Italian travel posters from that era. In 2019, Louise Fili, Nicholas Misani and Andy Anzollitto expanded this typeface to the 24-style Montecatini Pro.

Marseille (2017) is co-designed with Nicholas Masani and Andy Anzollitto. It is an art deco-inspired letterform that is based on Louise Fili's cover design for the Marguerite Duras novel The Lover.

Keynote speaker at TypeCon 2018 in Portland, OR. [Google] [MyFonts] [More] ⦿

Lubomir Longauer

Slovak professor, who is curating an exhibition called "20th century Slovak typography, part 1: 1918-1970" from October 8th 2004 until January 2nd 2005, in Bratislava's Mirbachov Palace. He has done a pioneering job on historical research of typographical work done by Slovak artists since the beginning of the Czechoslovak state in 1918.

Author of Modernost Tradicie (or: Modernity of Tradition) (2012, Slovart), about which Typotheque writes: This book uncovers the largely forgotten history of Slovak graphic design since 1918. After a slow start, cultural life in Central Europe underwent an unprecedented development, as is documented in the works of Martin Benka, Andrej Kovacik, Jaroslav Vodrazka, Karol Ondreicka, Jozef Cincik, Stefan Bednar and Rudolf Fabry. The works are placed in their historical context and are accompanied by historical facts and descriptions of the cultural and political situation in the country.

Designer of hundreds of book covers.

Author of Martin Benka, the first designer of the Slovak National Myth. [Google] [More] ⦿

Luciano Perondi
[Molotro]

Ludovico Vicentino degli Arrighi da Vicenza

Luc's Library

My own type library, open to all McGill University students. [Google] [More] ⦿

Ludlow Typefaces

A type specimen book of the Ludlow Typograph Company (2032 Clybourn Avenue, Chicago), published between 1940 and 1958. The list of typefaces shown: Artcraft, Bodoni (Bold, Black), Bodoni Campanile, Bodoni Modern, Bookman, Cameo, Caslon, Caslon Old Face Heavy, Caslon Heavy Italic, Century, Chamfer Gothic, Cheltenham Oldstyle, Cheltenham Cursive, Cheltenham Wide, Commerce Gothic, Condensed Gothic, Coronet, Clearface Bold, Cushing Antique, Delphian Open Title, Eden, Eleven, Engravers Bold, Eusebius, Extra Condensed, Franklin Gothic, Fraktur No. 16, Garamond, Gothic Bold Condensed Title, Gothic Extra Condensed, Greenwich, Hauser Script, Headline Gothic, Hebrew Modern, Karnak, Lafayette Extra Condensed, Laureate, Lining Litho, Lining Plate Gothic, Ludlow Black, Mandate, Mayfair Cursive, Medium Condensed Gothic, Number 11, Old English, Plantin, Powell, Radiant, Record Gothic, Samson, Square Gothic, Stellar, Stencil, Stygian Black, Tempo, True-Cut Caslon, Ultra-Modern, Umbra, Underwood Bold, Victoria Italic. [Google] [More] ⦿

Influential Italian printer, writing master and calligrapher, b. ca. 1475-1480, d. 1527, aka Ludovico Vicentino (degli Arrighi), or Ludovico il Vicentino. Around 1510 he was a bookseller in Rome. He was employed as a scribe at the Apostolic Chancery in 1515. Author in 1522 of the writing manual La Operina, da imparare di scrivere littera cancellarescha, which was the first one for popular use. La Operina contains the first printed example of Chancery Cursive. In 1523, he wrote a sequel, Il modo de temperare le penne, a beautiful and influential typographic manual.

Roderick Cave writes in his The Private Press: The first part of this was printed entirely from wood blocks, but the second part, Il Modo di Temperare le Penne, contains several pages printed in a very fine italic typeface modeled on the cancellaresca formata hand. The type was fairly obviously derived from the hand used by Arrighi himself; it seems likely that the punches were cut by his partner, who can with reasonable certainty be identified as Lautizio de Bartolomeo dei Rotelli, of whose skill as an engraver of seals Benvenuto Cellini speaks with respect in his Autobiography. He started printing in 1524 and designed his own italic typefaces for his work, which were widely emulated.

His letterforms were revived in the 20th century by designers such as Plumet (1925), Stanley Morison (Monotype Blado (1923, Stanley Morrison) is based on Arrighi's lettering---it was unfortunately named after the printer Antonio Blado who used the type in the 1530s; the name Monotype Arrighi would have been more appropriate), Frederic Warde (in his Arrighi Italic, 1925), Robert Slimbach (one could say that his memory lives on through fonts like Adobe Jenson Multiple Master), Ladislav Mandel (Cancellaresca), Willibald Kraml (Vicentino, 1992), Paulo W (as Volitiva), Gunnlaugur S.E. Briem (Briem Operina), James Grieshaber (P22 Operina), Michelle Dixon (Arrighi Copybook), Gilles Le Corre (1522 Vicentino, 2011) and Jonathan Hoefler (Requiem Text).

Arrighi's last printing was dated shortly before the sack of Rome (1527), during which he was probably killed.

Sample pics: Fantastic ornamental capitals (1522), roman capitals (1522), Italian capitals, Italian minuscule. [Google] [MyFonts] [More] ⦿

Ludovico Vicentino degli Arrighi
[La Operina]

Macclesfield Alphabet Book

Ludwig Petzendorfer

Born in 1851, Ludwig Petzendorfer published these books at the Stuttgart house of Julius Hoffmann.

Schriften Atlas: eine Sammlung der wichtigsten Schreib- und Druckschriften aus alter und neuer Zeit, nebst initialen, Monogrammen, Wappen, Landesfarben und heraldischen Motiven für die praktischen Zwecke des Kunstgewerbes (1889). Local download of his 1889 book.
Schriften Atlas: eine Sammlung der wichtigsten Schreib- und Druckschriften aus alter und neuer Zeit, nebst initialen, Monogrammen, Wappen, Landesfarben und heraldischen Motiven (1894). Local download.
He edited a follow-up in 1903, called Neue Folge, perhaps the greatest collection of art nouveau type styles collected in one book.
Jugendstil Schriftenatlas (1905).
Schriften Atlas (1909). In 1984, Dover Publications published a a facsimile of Schriften Atlas (1909) under the title Treasury of Authentic Art Nouveau Alphabets, Decorative Initials, Monograms, Frames and Ornaments. That affordable book was bought by many with the result that most of the alphabets in the book have now been digitized by people like Claude Pelletier (as free fonts) and Tom Wallace (commercially).

[Google] [More] ⦿

M. Moullet

Author of 100 Alphabets Publicitaires Dessinés par M. Moullet (1946, Editions Caboni, Bruxelles). Alphabets from that book include Letters in relief, Fancy Character, Ornamental Antique (art deco), Fancy Antique (multiline art deco), Fancy Antique 2 (a different style altogether), Pochoir (stenciled).

Some of Moullet's fonts were digitized by Dick Pape in 2011 and 2012 and can be downloaded here. Pape's fonts: FAA3DLettresEnRelief, FAAAllongees, FAAAllongeesBold, FAAAntiqueAllongee, FAAAntiqueGrasse, FAAAntiques, FAAAntiquesGrasses, FAABaroque3DInitiales, FAABlockLettresEnRelief, FAACameoHollow, FAACaracteresdeFantaisie, FAAChevauchantes, FAACubiques, FAAEcossaises, FAAEcritureGrasseEmoussee, FAAEgyptienneGrasse, FAAEgyptiennesEmoussees, FAAFantaisie, FAAFantaisieBlaireau, FAAFantaisieHardi, FAAFantaisieHaut, FAAFantasio, FAAFloralGothiqueInitiales, FAAFrenchMecane, FAAItalianHeavySlab, FAALettresAuCrayonItalic, FAALiberty, FAANormandes, FAANormandesAllongees, FAAOmbreeEnRelief, FAAOnciale, FAAOrientales, FAAPochoir, FAARomainClassique, FAARomainTypographique, FAScenesPaysannes, FAASerifEgyptienne, FAAVetteFantasieAntieke. Download page.

Jeff Levine revived some of Moullet's typefaces: Silly Behavior (2019), Old Sport JNL (2018), Relaxation JNL (2017), Peppermill JNL (2017), Script Spot Initials JNL (2017), French Lettering JNL (2017), Martial Arts JNL (2017, an oriental simulation font), Relaxation JNL (2017). [Google] [More] ⦿

M. Rawski

Author of Monogrammes en Relief (1911). [Google] [More] ⦿

Mac Font Vault Bookstore

Books and book reviews at the Mac Font Vault. Maintained by Erik Carlson. [Google] [More] ⦿

Mac McGrew

Author of American Metal Typefaces of the Twentieth Century (New Castle, Delaware, Oak Knoll Books, 1996), which describes every known American typeface designed and cast in metal during the 20th century. See also here and here. M.F. McGrew (1912-2007) was also the author of over 300 articles on typography, which ran in trade journals. He was born in Chattanooga, TN, grew up in Pennsylvania, and died in Pittsburgh. His 500-strong book collection was donated to The Museum of Printing in North Andover, Massachusetts, near Boston, where the public can consult them. [Google] [More] ⦿

This is decribed as an advertising book for a XVIth century design studio. It has some elaborate sets of initials. The British Library paid 600,000 pounds for a copy in 2009---hard to believe for something did the Italians did more often and more elegantly. [Google] [More] ⦿

Magdalena Frankowska
[Fontarte]

Manoel Andrade de Figueiredo

Magma Books

London-based booksellers with a small typography selection, but many books on design. [Google] [More] ⦿

Mai-Linh Thi Truong

Mai-Linh Thi Truong worked at FontShop in Berlin. Best known for the book coauthored with Jürgen Siebert and Erik Spiekermann: FontBook. Digital Typeface Compendium (= FontBook 4). The Fourth Edition was released in 2006. The original by Siebert and Spiekermann goes back to 1998.

At one point Mai-Linh was in charge of policing the net, which on occasion led to false accusations while trying to protect FontFont fonts. Mai-Linh contacted the owner of typOasis complaining about the use of FF Mambo dingbats on the page. The web page owner was asked to remove these pictures. Turns out that the pictures were from Maraca Extras (WSI) and Listemageren's Mexican Ornaments. The Maraca font has this line: "Maraca From the WSI-Font Collection. Copyright [c]1994 Weatherly Systems, Inc. All Rights Reserved." The FF Mambo (MediumInitials) font has a copyright notice 1992 Val Fullard. Both fonts are clearly extremely similar, and from the dates it appears that the Mambo font came first. If you bought the WSI collection, and read their notices, how could you know about this? And why does FontShop not take its complaints to WSI? Why this harassment of simple font users and font enthusiasts? I think that in this case, the user is right, and should keep using a font he/she paid for. If WSI copied the font and made money off it, are they not the real culprits? WSI's boss, by the way, drives a Ferrari. I am sure the typOasis owner does not. So, FontShop erred. But I am not sure even WSI is at fault: A bit of digging allowed us to discover that the Mambo glyphs were first drawn by R.H. Middleton in 1934 (see here). So, BOTH WSI and FontShop based their glyphs on Middleton's work. Now, why should typOasis not have the right to use WSI's version? By the way, over half the symbols in the WSI font are very different from those in the FontFont version! Some find the WSI version superior, both technically and aesthetically. [Google] [More] ⦿

Portuguese penman of the 17th century, 1670-1722. Some say 1670--1735. Andrade de Figueiredo was born in Espirito Santo, where his father was Governor of the Capitania. His work follows the style of the great Italian masters in its use of clubbed ascenders and descenders, and of Diaz Morante, the famous Spanish writing master, in its very elaborate show of command of hand. He was known as the Morante portugues.

Author of Writing Book (1721, in Portuguese), in which we can find exceptional flourish work. This horseman was drawn in one stroke in 1722. See also these Versalien (1722).

Author of Nova Escola para aprender a ler, escrever, e contar. Offerecida a Augusta Magestade do Senhor Dom Joao V. Rey de Portugal (Lisboa Occidental: na Officina de Bernardo da Costa de Carvalho, Impressor do Serenissimo Senhor Infante, 1722).

His work inspired Ventura da Silva, a Portuguese typographer who published Regras Methodicas in 1803, who redesigned some of Figueiredo's type specimens.

Digital descendants include Dino dos Santos's Pluma (2005), Andrade Pro (2006, a modern) and Andrade Pro Script (2006) typefaces. Intellecta Design's Invitation Script (2013) is based on Andrade's 1722 book. Miguel Bernardino's Manoel Display (2016) is named after Andrade. [Google] [More] ⦿

Manuale Tipografico: 1818 (full)
[Giambattista Bodoni]

In 1788, Giambattista Bodoni published his masterpiece, the Manuale Tipografico (look at it here), which contained 291 alphabets, and teemed with ornaments and borders. In 1818, 5 years after his death, his wife Margherita Dall'Aglio published a second edition, which contained 373 alphabets. He was influenced by Fournier and Firmin Didot. All images of the 1818 book are here. [Google] [More] ⦿

Manuale Tipografico: 1818 (partial)
[Giambattista Bodoni]

In 1788, Giambattista Bodoni published his masterpiece, the Manuale Tipografico (look at it here), which contained 291 alphabets, and was full of ornaments and borders. In 1818, 5 years after his death, his wife Margherita Dall'Aglio published a second edition, which contained 373 alphabets. He was influenced by Fournier and Firmin Didot. Some images of the 1818 book are in this page. [Google] [More] ⦿

Manuela Rattin and Matteo Ricci

Authors of a thesis entitled Questioni di Carattere: La tipografia in Italia dal 1861 agli anni Settanta (1997, Stampa Alternativa&Graffiti). It surveys the history of Italian typography and type design. [Google] [More] ⦿

Marc H. Smith
[Ménestrel]

Marcos Rafael Blanco-Belmonte

Author of "El maestro Ibarra: Homenaje que la casa Gans al celebrar sus bodas de oro, dedica al gran impresor Joaquin Ibarra" (Madrid: Richard Gans, 1931). [Google] [More] ⦿

Margaret Richardson

Author of Type Graphics (2000). [Google] [More] ⦿

Margaret Shepherd

American calligrapher whose blog contains almost 200 calligraphic alphabets drawn by her in 2013. lives in Boston, where she created the Boston Calligraphy Trail.

Author of Learn calligraphy, Learn World Calligraphy, Calligraphy Alphabets Made Easy, Using Calligraphy, Calligraphy Made Easy. She also wrote Capitals for Calligraphy: A Sourcebook of Decorative Letters (1981).

The alphabets from the first half of 2013: 4penheavyBookhand, 7-11Segmentdisplay, 7segmentdisplay, 8712Roman, A+C, AngularItalic, Antiquarr, AssortedGothicfromLC, Aura_caps, Backhand, Bamboo, Beady1, Benedictus, BigKid, Blister, BoldBookhand, Bookshelf, BrightIdeaupperleft, BrightIdeaupperright, Brightideaoverhead, Caroling, Celticcaps, Celticcommoncase, Celticlc, Coiltic, Continuo, Coopywithpens, Copperlight.png, Cuts, DNA, Database, DeadCenter, DecoMono, Deflated,inflatedshortGothic, DeflatedGothic, DisjoinedNeuland1, Double-cross, Dryland, Durercaps, Dx6Italic1, Dx7Italic, Easterncapitals, Echo, Endless, EnglishTwo-ply, FastForward, FatUnc, Fatshadow, FlatGothic, Fleurdelis, Fraktur, FriendlyRoman, Frills, Glisten, Gothichighlightblack+gold, HalfGothic, HappyKid, Hearty, HeavyCopper, Heavycoppercaps, Heavyland, Heavyland1, Heftybutnimble, Heraldrybasic, Houseplant, Icelandictwoply, Interruptus, Italicambigramat180, Italicextralean, Italicswashcapitals6PW, Jan2Waity, Jan7Mesh, Jan8Roadside, KingArthur, Legendelc, Letterbox, LightweightItalic, LowerKingdom, Magdalene, MargaretShepherd-Pic, Masquerades, Minimalist, Miscellaneous, Moneon, MonoItalic, Morse, Mx26initials, NewYorker, Optimal, Papyruscaps, Pencildraft, Pencilrough, PlainGothic, Radiantidea, RectangularGothic, RetouchedRomans, Robot, Roman6PW, Romanalphabet, Romanshadow, Rondecaps, Rondelc, RoundedGothic, Runes, ShadyGothic, Shamrock, Shamrockcap, Shatteredalphabet, Shortcuts, Simplesplitcaps, Simplestitalic, SkinnyGothic, SlantedBookhand, Softsquare, SplitItalic, SplitSwash, Spray, Sprung, StainedGlassGothic, StarsandStripes, Staves, Studs, Superceltic, Swashcaps, Swashitalic, Talluplight, Thistle, ThuPhapred, TouchedupGothic, TowelDry, Truncatecaps, Truncatelc, Twinings, Uprightitalic1.1, Versalcircles, Versals, VerylightRoman, Vivaldi, Vivaldicaps, Yeoman, Zap, abItalicfromlc, blot, bookhand, coopylc, donut, fatcaps, legendecaps, stringy, typewriter. [Google] [More] ⦿

Maria Hemmleb

Coauthor, with Artur Dieckhoff, of The Adventure We call Type---Lécriture est une aventure---Schrift ist ein Abenteuer (2008, Hamburg). [Google] [More] ⦿

Maria Luisa Ghianda

Frequent contributor to the Italian design magazine Doppiozero. Author of a research paper on Aldo Novarese entitled Aldo Novarese: il più grande creatore di font (Doppiozero, 2020). [Google] [More] ⦿

María Esther Pérez Salas

Author of "La primera tipografía mexicana" (2003, Editorial Designio) and "El establecimiento tipográfico de ignacio cumplido: 1832 - 1896" (2003, Editorial Designio). [Google] [More] ⦿

Marian Misiak
[Three Dots Type]

Mariko Takagi

From her CV: Having lived and worked as a half-Japanese and half-German in Germany for a long time, the focus of my artworks was to create books about Japanese culture. The intention of writing and designing books about Japanese topics was to make German readers curious about the strange and foreign culture and to give them insights into it. In the last eleven years I have published six books talking about Japanese culture. Since 1998, I ran my own design office with a focus on corporate design, corporate publishing and catalogue design. Since 2002 I was teaching at several Universities in Germany. Moving to Hong Kong and teaching as an assistant professor at the Academy of Visual Arts of Hong Kong Baptist University (HKBU) since 2010 gives me new influences and inspiration for starting research projects focused on Chinese typography. My background of teaching typography as well as graphic design in Germany over eight years gives me the necessary background for starting a research project not only to learn more about my new cultural environment, but also to make the Hong Kong design culture more visible to international audiences.

At Typography Day 2012 she spoke on Typographic Culture of Hong Kong.

Speaker at ATypI 2012 in Hong Kong: Typography between Chinese complex characters and Latin letters. Speaker at ATypI 2013 in Amsterdam: Hanzigraphy. In the latter talk, she deals with the problem of the joint use of Latin and Chinese on pages. The research project Hanzi-Graphy: Typographic translation between Latin letters and Chinese characters will be published late in 2013 by a publisher in Hong Kong.

In 2014, she graduated from the MATF program at the University of Reading. Her graduation typeface was Gion, a serif typeface for multi-lingual typesetting in Latin, Japanese and Chinese. She writes: As a contemporary interpretation of Modern typefaces, Gion synthesises historical stylistic features of Modern typefaces with characteristics and qualities that enhance comfortable and continuous reading in longer text.

Speaker at ATypI 2016 in Warsaw on Tanaka Ikko and the Japanese Modern Typography. A convergence of Western inspiration and Japanese aesthetics. In that presentation, she spoke about Tanaka Ikko (1930-2000), the Japanese grand master of graphic design, and emphasized his encounter with typography. [Google] [More] ⦿

Mario Piazza

Italian graphic designer (b. 1954) and architect who published La Grafica su Marte 2000 (Milan,1996), Universo Balan (Milan, 2001) and Progettare il marchio (Turin, 2001). In 1996, he founded the 46xy studio in Milan. He also teaches graphic design at the Politecnico in Milan. Since 1992, he is the president of AIAP, the Italian Visual Communications Design Association. At ATypI in Rome in 2002, he spoke about contemporary type design in Italy. [Google] [More] ⦿

Marion Bataille

Author of Popup (2008), a book (and video) with popups of the letters of the alphabet. [Google] [More] ⦿

Marius Audin

Type historian from Lyon, 1872-1951. He had a major influence on the French typographical world before World War II. His son Maurice founded the Musée de l'imprimerie et de la banque in Lyon in 1964, starting from the family's archives. Author (1872-1951) of many books on typography and printing, including

Les livrets typographiques des fonderies françaises créées avant 1800 Étude historique et bibliographique (Paris: A l'Enseigne de Pégase, 1933), republished in 1964 by Gérard Th. van Heusden, Amsterdam. This book is a historian's dream, offering a complete genealogical picture of French foundries. Font page.
Le Livre (two volumes, 1924 and 1926).
Les caractères de civilité de Robert Granjon et les imprimeurs flamands (1921, with Dr. Maurits Sabbe, conservateur du Musée Plantin, à Anvers'; Lyon : impr. M. Audin&Co; Anvers : A la Grande Librairie, 1921).
Histoire de l'imprimerie par l'image (4 volumes, Henri Jonquières éditeur, Paris, 1928-1929).
In 1948, Audin edited the book Somme typographique. The second volume of that work appeared in 1949.

[Google] [More] ⦿

Mark Batty

Ex-president of International Typeface Corporation (ITC) and of ATypI from 1995-2004. In 2004, he became Honorary President of ATypI. In 2002, he set up Mark Batty publisher LLC. He published a book on the life and work of Gudrun Zapf von Hesse: Gudrun Zapf von Hesse Bindings - Handwritten Books - Typefaces Examples of Lettering and Drawings (West, New York, 2002). He also published Warning (2005) on the warning signs and the multitude of funny/sad ways in which people can end their lives. [Google] [MyFonts] [More] ⦿

Markus Rathgeb

Markus Rathgeb wrote Otl Aicher (2006, Phaidon Press Limited, London), which is about Aicher's life as a graphic designer, and has little about his type design. [Google] [More] ⦿

Marta Erica Bernstein

Originally from Milan, she is currently Associate Creative Director at Studio Matthews (Seattle, WA), developing EGD and wayfinding systems.

Graduate of the Type and Media program at KABK, 2009. There, she designed the serif family Alice, specifically for magazines. She is working on Bolano in 2010 about which she writes: It is based on my brush calligraphy, tamed down to a book typeface.

Marta Bernstein is a partner at TM (Tiemme Studio), an architecture and design studio based in Seattle. She has a decade long experience in developing identities across various media, and designing wayfinding and signage systems. Marta is an adjunct professor in Typography at Milan's Polytechnic, visiting professor in Architecture and Design at University of Navarra and regular lecturer for the Interior Design master at Tongji University, Shanghai.

In 2014, Marta Bernstein was a founding partner in the new CAST type foundry. She was associated with LS Design in Milan.

She wrote A Hundred Years of Type 1813-1908 Typefounders and Printers in Italy from Bodoni's death to the foundation of Augusta company in Turin (Master degree dissertation developed with Emanuela Conidi. Supervisor: Prof. James Clough at Politecnico di Milano, July 2006; in Italian: Cento Anni di Caratteri 1813-1908).

Cargo Collective link. Speaker at ATypI 2018 in Antwerp. [Google] [More] ⦿

Martin Gerlach
[Gerlach & Schenk]

Martin Kaye

Born in 1932 in London, Martin Kaye was well-known for his sturdy posters which he made from 1972 until 1983 for Paradiso in Amsterdam. A set of 1100 of these posters owned by Stichting Martin Kaye Alphabet Index&Library is being managed by Affichemuseum in Hoorn, The Netherlands. He was also a type expert, and had started a catalog of typefaces, having made a listing of 60,000 typefaces when he was murdered in 1989 during a robbery. His work included also many unique complete alphabets. The book Facade AlphaBets et Cetera is the only published book document. At Amazon, we read about his book: Although out of print Martin Kaye's work deserves some recognition for his part in the world of typographic design. This book of some 90 pages reflects his work throughout 20 years. With typographic studies to reproductions of some of Kaye's Paradiso posters, this is perhaps the best example of of a lifetime's work by this artist. It is unfortunate this item remains out of print since it remains a definitive example of typographic inovation and inspiration. It is with great sadness that the book, published in 1985, four years prior to his death, remains as his only epitaph. Since only 1000 copies were ever printed it may never be seen by as many as might apreciate such a work. Examples of Kaye's work do hang in the Rock Museum in Amsterdam. But for me this book is a must for anyone interested in typography. This was done in the days before computers. Martin would hand cut the designs in 'red film' a method by which screenprint templates would be made. The intricacy of his designs and skill would astound anyone seeing him at work, the results of which would shine out from poster stands all over Amsterdam. [Google] [More] ⦿

Martin Kuckenburg

Author of Die Entstehung von Sprache und Schrift (1996, Dumont Taschenbücher), which deals with the origins of various scripts. [Google] [More] ⦿

Martin Lorenz
[TwoPoints.net]

Interview at Typotheque. MyFonts interview.

Martin Lowry

Author of Nicholas Jenson and the rise of Venetian publishing in Renaissance Europe [Oxford, UK; Cambridge, Mass., USA : B. Blackwell, 1991].

From Book News Inc: Chronicles the story of how printing came to Venice in the 15th century and transformed the Italian city into the most commercially advanced power in Europe, publishing a fifth of the continent's books only 40 years after Gutenberg developed moveable type. Examines the values and careers of printing's financial backers, and the printers themselves. Focuses on the immigrant French printer, Jenson, his design concerns and business activities, the transition from manuscript to printed page, William Morris' championing of his typefaces in the 19th century, and the significance of those typefaces today. Annotation copyright Book News, Inc. Portland, OR. [Google] [More] ⦿

Martin Majoor

Dutch type designer born in Baarn in 1960, who works in Arnhem and Warsaw. Showcase of his most popular typefaces. Type designs:

His 1993 Scala text family (which includes both sans and serif sub-families, as well as goodies such as the fist font FF Scala Hands, 1998) is great and well-balanced---one of the best fist fonts ever made. Scala is in the style of W.A. Dwiggins's Electra.
He designed Telefont List and Telefont Text for the Dutch phone company PTT Telekom in 1994. He writes: The 1994 design of the Dutch telephone book can partly be seen as a reaction to the iconic 1977 phonebook designed by the modernist Wim Crouwel with Jolijn van der Wouw. Crouwel's late-modernist design, featuring the typeface Univers in lowercase-only text, had been christened The New Ugly by Dutch writers. In the following years, the original Crouwel design had been watered down considerably, and by the early 1990s, its usability had reached an all-time low. When Jan Kees Schelvis and Martin Majoor began their drastically renewed design of the phonebook, they set themselves a list of strict requirements: a new typeface, a better hierarchy, improved usability, and paper-saving typography. Majoor was responsible for both the new typeface (later named Telefont) as well as the book's microtypography. In 2018, it was announced that the last telephone book had been published.
He created Scala Jewels in 1997.
FF Seria and FF Seria Sans (2000). These families received awards at the Bukvaraz 2001 competition.
In 2004, he published FF Nexus Mix, FF Nexus Sans, FF Nexus Serif, and FF Nexus Typewriter.
He started a project with Pascal Zoghbi on the development of Sada (2007), an Arabic companion of FF Seria. In 2009, Sada was renamed FF Seria Arabic and published by FontFont.
In 2010, he started work on Questa Sans (a typeface with a special y). The Questa project is a type project of Jos Buivenga and Martin Majoor---Questa is a squarish Didot-like font that Jos originally had planned in one display style only. It turned out to be a perfect basis to apply upon Martin's type design philosophy about the form principle of serif and sans. Questa was finished in 2014 and now includes Questa Sans, Questa Serif, Questa Slab and Questa Grande. Finally, the Questa project became the Questa Foundry.
His corporate typefaces include Deutsche Telekom.

To understand Majoor, read his article My type design philosophy. At ATypI 2004 in Prague, he spoke about his experiences as a designer and type designer in Poland.

The text José Mendoza y Almeida (Martin Majoor and Sébastien Morlighem, introduction by Jan Middendorp, 2010, Bibliothèque typographique) describes Mendoza's contributions to type design.

Majoor's Flickr page. Speaker at ATypI 2010 in Dublin. At ATypI 2018 in Antwerp, he spoke on the history of Telefont. His type design blog. Klingspor link. FontShop link.

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

Martin Meijer

Dutch alphabetician who was active in the 1930s. In 1949, he published Album de Lettres Arti (Arti, Alkmaar, the Netherlands), which features 32 decorative alphabets. In 1940, he released the 20-page booklet De Perpetua van Eric Gill (Boek- en Handeldrukkerij Wormerveer).

Hans van Maanen at Canada Type revived his lettering as digital fonts: Archie (2010) is a square face, and Agent (2010) is pure comic book or signage style. Chikita (2008) by Patrick Griffin and Rebecca Alaccari at Canada Type is an upright ronde script that is also based on Meijer's work. The angular calligraphic type family Libertine (2011, by Patrick Griffin and Kevin Allan King at Canada Type) was also inspired by Meijer.

Jeff Levine was also inspired by Meijer's alphabets in his JNL Ornate Deco (2019), Sign Studio JNL (2019) and Maitre d Stencil JNL (2019). [Google] [MyFonts] [More] ⦿

Massimo Vignelli

Famous Italian typographer and graphic designer, b. 1931, Milan, d. 2014. Designer, with Tom Carnase, of WTC Our Bodoni (1989). In 1966, he set up Unimark International in New York City, which became the largest disign firm of its day. He left Unimark in 1971, to set up Vignelli Associates in New York City with his wife Lelli.

He dismissed Emigre as a garbage pail of design. Famous for his designs and opinions, he once said that a designer should only use these five typefaces: Bodoni, Helvetica, Times Roman, Century and Futura. Another quote along the samne lines: In the new computer age, the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest.

In his Vignelli Canon (free PDF book on design), he mentions these six: Garamond (1532), Bodoni (1788), Century Expanded (1900), Futura (1930), Times Roman (1931) and Helvetica (1957) [However, in that booklet he uses 8 different type families: the above six, and Gill Sans and Univers]. Yves Peters' reaction: Massimo Vignelli clearly hasn't got a clue. It's not the first time a quote of his makes me cringe. I hope you appreciate I'm trying real hard to stay polite. Frankly, if I ever heard anyone say: "a music lover should only listen to 5 artists: Elton John, Celine Dion, Billy Joel, Whitney Houston and Luciano Pavarotti" I'd go to great lengths to ridicule the billy sastard. Nevertheless, in the eyes of many designers, he is a role model and an icon. Vignelli published New York City Transit Authority Graphics Standards Manual (1970, New York, as Unimark International).

Famous quotes:

I like the instant gratification that design gives---a continuous orgasm.
At the end of the day there is time for everybody. The one thing that unifies the good guys is their sense of responsibility.
The life of a designer is a life of fight: fight against the ugliness.
I don't think that type should be expressive at all. I can write the word 'dog' with any typeface and it doesn't have to look like a dog. But there are people that [think that] when they write 'dog' it should bark.
Unfortunately, there are designers and marketing people who intentionally look down on the consumer with the notion that vulgarity has a definite appeal to the masses, and therefore they supply the market with a continuos flow of crude and vulgar design. I consider this action criminal since it is producing visual pollution that is degrading our environment just like all other types of pollution.
If you do it right, it will last forever.
A grid is like underwear. You wear it but it's not to be exposed.
If you design one thing, you can design everything.
I like it to be visually powerful, intellectually elegant, and above all, timeless.
A designer without a sense of history is worth nothing.
In the new computer age, the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest.
The life of a designer is a life of fight: fight against the ugliness.

Discussion of his work by the typophiles. Report of his presentation at ATypI 2006 in Lisbon.

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

Mathieu Lommen
[University of Amsterdam: Special Collections]

Mathieu Lommen
[Dutch Alphabets]

Matthew Butterick
[MB Type]

McMurtrie: Le Moreau-le-Jeune A Typographical Specimen with an Introduction by Douglas C. Murtrie

Maurice Annenberg

Noted Baltimore printer and type historian. Author (1907-1979) of Type Foundries of America and their Catalogs (1955; see also New Castle, 1994), with historical accounts of each foundry. Later editions have an introduction by Stephen O. Saxe and an index by Elizabeth K. Lieberman. Other books: Advertising, 3000 B.C.-1900 A.D. (1969), A Typographic Journey Through the Inland Printer, 1883-1900 (1977). His extensive type collection is now at the University of Maryland. [Google] [More] ⦿

Mauro Zennaro

Rome-based graphic designer (b. 1953, Rome), who spoke at ATypI in Rome in 2002. A paleographer and calligrapher, he is the author of Calligrafia. Fondamenti e procedure (Stampa Alternativa). He adores old Roman lettering, and has become one of the world's specialists on the topic. He teaches graphic design at the Università per Stranieri (University for Foreigners) of Perugia and at the Carlo Urbany Professional High School in Rome.

His typefaces include

The Angelica typeface for Biblioteca Angelica.
The Farfa typeface (2008, with Paolo Campanelli) for the city of Fara in Sabina. This typeface, with historical and Carolingian roots, was published at Eurotypo.
The Equa typeface for the Città dell'altra economia (Town of Alternative Economy) for the city of Rome.

[Google] [MyFonts] [More] ⦿

Max Bruinsma

Dutch typographer and graphic designer. In 2000-2001, he published a piece on the erotics of type, and reviewed the book Sex Appeal: The art of allure in graphic and advertising design (Steve Heller, Allworth Press, New York, 2000). He spoke at ATypI 1998 in Lyon on Words on screens. Ed Annink and Max Bruinsma edited the book Gerd Arntz Graphic Designer (2010, Rotterdam). [Google] [More] ⦿

Max Caflisch

Swiss type designer and calligrapher, born in Winterthur in 1916. He died in 2004. Designer of Columna (Bauersche Giesserei, 1952-1955, originally a private typeface of the Benteli publishing house in Switzerland; revived in 2006 by Ari Rafaeli, and in 2011 by URW), a slightly-serifed roman capitals face. His teachers included Jan Tschichold and Imre Reiner. Trained as a compositor (1932-1936), het set some jobs from 1936-1943. In 1941-1942, he taught typography at the Allgemeine Gewerbeschule in Basle, and was art director of the Benteli printing works in Bern from 1943-1962. From 1962 until 1981, he was head of the graphics department and typography teacher at the Kunstgewerbeschule in Zürich He consulted on type design for IBM in New York from 1962-1966, for the Bauersche Gießerei in Frankfurt am Main from 1965-1966, and for the Dr. Rudolf Hell company in Kiel from 1972-1989. He worked as type consultant at Adobe since from 1990. Adobe published Caflisch Script (designed by Robert Slimbach). Columna is available from Elsner&Flake (as ColumnaEF), Linotype and URW. Linotype bio.

Max Caflisch, Albert Kapr, Antonia Weiss and Hans Peter Willberg published F.H.Ernst Schneidler Schriftentwerfer, Lehrer, Kalligraph (SchumacherGebler a.o., München, 2002). This publication was thoroughly mangled by SchumacherGebler, to the dismay of Caflisch. This story was written up in "Die Chronologie der Schneidler-Monographie 1985-2002: Die 16 Jahredauernde, mühselige Entstehungsgeschichte" (Max Caflisch, 2002, Theo Leuthold Press). Other publications include: "William Morris, der Erneuerer der Buchkunst", Bern 1959; "Kleines Spiel mit Ornamenten", Angelus-Druck, Bern, 1965; "Fakten zur Schriftgeschichte", Zürich, 1973; "Schrift und Papier", Grellingen 1973; "Typography braucht Schrift", Kiel 1978; "Die Schriften von Renner, Tschichold und Trump. Aus Rede und Diskussion", Typographische Gesellschaft, 1990; Schriftanalysen, Band 1 + 2, St. Gallen 2003. Also see the book by A. Berlincourt et al: "Max Caflisch. Typographia practica", Hamburg 1988.

MyFonts page. Rudolf Bosshard's article about Caflisch's life (Comedia, 2004, vol. 2). Linotype link. [Google] [MyFonts] [More] ⦿

Max Rooses

Author (1839-1914) of Le musée Plantin-Moretus (1919, G. Lazzarini, Anvers). The images below are all from this wonderfully laid out and researched book. [Google] [More] ⦿

Mayeur Type Foundry
[Gustave Mayeur]

The Mayeur Type Foundry was based at 21 Rue de Montparnasse in Paris and operated from 1882 until 1919 under the direction of Gustave Mayeur (1837-1891).

Somehow, Fonderie Mayeur evolved (in an unclear manner, to me at least) from l' ancienne Maison Battenberg, created in 1843 by Battenberg, graveur and fondeur, located in rue du Dragon, 20, Paris. Battenberg's gorgeous engravings include vignettes du moyen age, vignettes raisins, vignettes grimpantes, vignettes rubans, vignettes treillage, tetes de chapitre, culs de lampe, fleurons, titling ornaments and initials. Their specimen books have many jewels, such as this Mauresques Noires (1898). Gustave Mayeur is credited with the Wedding Plate Script typeface.

Mayeur died in 1891. Allainguillaume succeeds the widow Mayeur in 1892. The company was bought by Saling in 1904 and later sold to the Fonderie Typographique Française in 1921.

Mayeur's work can be found in these publications:

Fonderie typographique Gustave Mayeur, ancienne maison Battenberg (1880). Local directory.
Nouvelle collection des anciens types du XVIIe siècle imités par la Fonderie Gustave Mayeur (Paris, Fonderie typographique Gustave Mayeur, 21--rue du Mont-Parnasse, 1883) (1888 edition).
Spécimen-album de la fonderie Gve Mayeur, Allainguillaume&cie, succrs. Labeurs&journaux, initiales&caractères variés de fantaisie, vignettes, ornements, etc (Paris, 1895). Later revisions: Spécimen-album de la fonderie Gve Mayeur, Allainguillame&cie, succrs. Labeurs&journaux, initiales&caractères variés de fantaisie, vignettes, ornaments, etc (Paris, rue du Montparnasse, no 21-VIe arrondissement [1897], 343 pages, a comprehensive specimen book), 1900 edition, 288 pages, 1903 edition, 329 pages.

Most of these books are simply magnificent, if only for the splendid use of frilly ornaments and borders, initial caps, Normandes (heavy didone titling typefaces), Italiennes (Western or Egyptian style), and emblems (such as the Armoiries des villes de France).

One of the publications by Allainguillaume, ca. 1904-1910, is Clichés typographiques: caractères d'imprimerie Mayeur: gravure, clichés, sujets, attributs divers, médailles (Paris). [Google] [More] ⦿

MB Type
[Matthew Butterick]

Matthew Butterick (b. 1970, Michigan) grew up in New Hampshire. He got his B.A. degree from Harvard University in visual&environmental studies, also studying mathematics and letterpress printing. His work is in the permanent collection of the Houghton Library at Harvard. Butterick started his design career at the Font Bureau as a typeface designer and engineer. At the beginning of the Internet era, he moved to San Francisco and founded website design and engineering company Atomic Vision. Atomic Vision was later acquired by open-source software developer Red Hat. More recently, Butterick got a law degree from UCLA and has been practicing civil litigation in Los Angeles, Butterick Law Corporation. He operates a web site called Typography for Lawyers and another one called Butterick's Practical Typography.

In 2010, he published Typography for Lawyers. MyFonts link. FontShop link. Klingspor link. Font Bureau link. He has some great one-liners, such as The only good Copperplate is a dead Copperplate. Matthew Butterick's creations:

Agitprop: in the FUSE 12 collection.
Wessex (1993): A family published at Font Bureau in 1993. Font Bureau writes: Initially conceived by Matthew Butterick as a Bulmer revival, Wessex took on characteristics of Baskerville&Caledonia as design proceeded. In 1938, W.A. Dwiggins had taken the hard necessities of the non-kerning line-caster italic duplexed onto the same widths as roman, and turned them into design virtues. Inspired by the surprising beauty of his wide-bodied Caledonia italic, Butterick used it as a model for Wessex.
Hermes (1995, 2010, Font Bureau). Blurb at Font Bureau: Schriftguss and Wollmer called it Hermes; Berthold called it Block. Hermann Hoffmann's 1908 design inspired FB Hermes, which evokes the German grotesks that were workhorses of factory printing 100 years ago. Blunt corners suggest the wear and tear of rough presswork. Matthew Butterick created the original styles in 1995. In 2010, he added more weights, italics, and alternate glyphs to expand the family's versatility. Currently, the family contains Hermes Classic and Hermes Maia.
Triplicate. A large family of typewriter fonts that feature both monospacing and proportional spacing.
HeraldGothic (1993, Font Bureau). A condensed typeface with bevelled, or octagonal, corners.
Chunk.
Alix FB (2011, Font Bureau). A monospaced family based on two IBM selectric typewriter face, Prestige Elite and Light Italic.
Equity (2011) is a readable text family, based on Ehrhardt.
Berlin Sans (1994). Font Bureau: Berlin Sans is based on a brilliant alphabet from the late twenties, originally released by Bauer with the name Negro, the very first sans that Lucian Bernhard ever designed. Assisted by Matthew Butterick, David Berlow expanded this single font into a series of four weights.
Advocate and Advocate Slab (2015-2017). A large sans and slab family. Caps only.
Concourse (2013-2017). A large sans family.
Valkyrie (2018).
Century Supra (2018). A modern typeface.

[Google] [MyFonts] [More] ⦿

McMurtrie: A Memorandum on Early Printing on the Island of Malta
[Douglas C. McMurtrie]

Scans of a 13-page booklet by Douglas C. McMurtrie published in Chicago in 1936: A Memorandum on Early Printing on the Island of Malta. [Google] [More] ⦿

Scans of an 8-page booklet by Douglas C. McMurtrie published in Chicago in 1936: Le Moreau-le-Jeune A Typographical Specimen with an Introduction by Douglas C. Murtrie. McGrew writes about Caslon Openface: Caslon Openface was originated by BB&S in 1915, where it was first called College Oldstyle. It started out as a reproduction of a delicate 18th century French typeface known as Le Moreau le Jeune, by the foundry of G. Peignot&Son, but in the American version some strokes are heavier. In a later ad, BB&S said, "Placing it in the Caslon group of types is taking a liberty, but it assuredly 'belongs.' " Actually it has somewhat more affinity for the Cochin types. Caslon Shaded was adapted by ATF from Heavy Caslon in 1917, by W. F. Capitain. Caslon Shadow Title was adapted from Caslon Bold by Monotype about 1928. Compare Cameo, Cochin Open, Gravure, Narciss. [Google] [More] ⦿

McMurtrie: The Didot Family of Typefounders
[Douglas C. McMurtrie]

Scans of an 8-page booklet by Douglas McMurtrie published in Chicago in 1935: The Didot Family of Typefounders. [Google] [More] ⦿

Ménestrel
[Marc H. Smith]

French medieval and paleotypographic jump page, mostly edited by Marc Smith, École nationale des chartes, Sorbonne, Paris. Marc Smith wrote Du manuscrit à la typographie numérique (Gazette du livre médiéval, no. 52-53, 2008, pp. 51-78), in which he describes the history of digital type and makes interesting comments on their roots and classification. The site is quite extensive---medievalists can spend weeks visiting links and sub-pages. PDF file.

Marc Smith also designed some typefaces, notably Piacevole (2008, a 16th century cursive map script typeface after J. de Beauchesne), and the "ronde" La Petite Ronde (2008, after L. Barbedor). [Google] [More] ⦿

Mercier

Author of the small calligraphy booklet Cahier d'écriture par Mercier, dédié à mes bien-aimés parents (St. Etienne, 1858). [Google] [More] ⦿

Merijn Dietvorst

Dutch graphic designer, who graduated in 2008 from the AKV St Joost in Breda, The Netherlands, and is now at the Plantin Genootschap in Antwerp. At St. Joost he wrote an interesting thesis (in Dutch) on type revivals. Alternate URL. An excerpt from his thesis on Garamond revivals: i, ii, iii, iv, v, vi, vii, viii. [Google] [More] ⦿

mfutils

Bernard Desgraupes' free metafont utilities for the Mac. These include metapostMode and metafontMode for use with the Alpha text editor on the Mac. Compatible with Tom Kiffe's CMacTex, and Andrew Trevorrow's OzMetafont. He is also the author of "Metafont - guide pratique", Editions: Vuibert, Paris, 1999. [Google] [More] ⦿

M&H Type (or: Mackenzie&Harris Typographers and Typefounders)

Mackenzie&Harris Typographers and Typefounders since 1915. Located in the Presidio in San Francisco, they offer metal type. Their 119-page catalogue was published in 1994. [Google] [More] ⦿

Michael Brandt
[The Evolution of Type]

Michael Leary

Designer at and cofounder of the Galapagos Design Group. Coauthor of Leary, M., Hale, D.&Devigal A., Web Designer's Guide to Typography (Indianapolis: Hayden Books, 1997).

Hinting specialist. Designed the Startrek font Galaxy at Bitstream. He began his career more than 20 years ago at Compugraphic Corp. where he was part of the team that developed the Intellifont scalable font format. Leary also developed typefaces while working at Bitstream. His wide range of expertise includes typographic hinting and international font development. In 2004, he joined Agfa Monotype. [Google] [MyFonts] [More] ⦿

Michael Perry

Author of Hand Job A Catalog of Type (Princeton Architectural Press, New York, 2007). This lovely book, entirely done by hand, has many hand-drawn alphabets by a number of lettering artists. Some of these were sketches for fonts, and others, no doubt, will be imitated by font designers in the future. [Google] [More] ⦿

Michael S. Macrakis

Editor of the book Greek Letters: From Tablets to Pixels (Oak Knoll Press). This book contains essays by notable scholars and type designer such as Hermann Zapf, Matthew Carter, Nicolas Barker and Nicolaos Panayotakis. Macrakis was born in 1924 and died in 2001. [Google] [More] ⦿

Michael Twyman

Born in London, 1934, Michael Twyman died in 2025. British typographic historian and founder, in 1968, of the renowned Reading University course, Typography&Graphic Communication. Michael Twyman was Professor and later Emeritus Professor of Typography&Graphic Communication at the University of Reading. Since the early 1960s he took groups of students to Rome and Florence on a regular basis to study inscriptional lettering. At ATypI in Rome in 2002, he spoke about the inscriptional lettering in Rome&Florence. His research focused on 19th century printing, and specifically on the early history of lithography.

His books include "Lithography 1800-1850", "Printing 1770-1970", "Early lithographed books", "Early lithographed music" and "The British Library guide to printing". Interview by Garrett Boge. LetterPerfect interview. Speaker at ATypI 2014 in Barcelona. Obituary by Sue Walker. [Google] [MyFonts] [More] ⦿

Michael Wörgötter

Michael Wörgötter has been professor of type, typography and design at the School of Design, Munich, Germany, since 2001. He also teaches at the University of Applied Sciences in Augsburg. Designer of LD Genzsch Antiqua (2017-2020) at Lazydogs Typefoundry, a revival of Genzsch Antiqua (or Nordische Antiqua), Genzsch & Heyse's workhorse text family originally developed between 1906 and 1910. The overall family consists of seven fonts based on original styles: Normal, Halbfett, Fett, Schmalhalbfett, Schmalfett, Kursiv and Halbfett Kursiv.

Author of Type Selector (2006), a font swatch. [Google] [More] ⦿

Michiel Drost

Dutch author (b. 1950, Amsterdam) of Typage (2007, Herr Druck, Switzerland), a 256-page book on typography. [Google] [More] ⦿

Miguel Pedraza

Author, ca. 1945, of Rotulacion Decorativa no. 1 (Ediciones ARS, Barcelona) and Rotulacion Decorativa no. 5 (Ediciones ARS, Barcelona). [Google] [More] ⦿

Mika Mischler

Or Michael Mischler. Designer at Die Gestalten of Brother (stencil) and T-Star Mono Round (monowidth). In 2002, he coedited Los Logos, a 444 page book of logos (with Robert Klanten and Nicholas Bourquin). In 2007, the typewriter typeface Generell TW was added.

At Binnenland, he has Relevant (Michael Mischler and Nik Thoenen, 2007; loosely influenced by 'Record Gothic', created by R. Hunter Middleton for the Ludlow Typograph Company in 1927), T-Star Pro, T-Star TW Pro (typewriter face, 2002), Korpus (2012, with Nik Thoenen), Korpus Grotesk (2014), and Catalog (Michael Mischler and Nik Thoenen, 2005).

In 2021, Nik Thoenen and michael Mischler released the text typeface family Lexik at Binenland. [Google] [More] ⦿

Mike "Pomax" Kamermans
[A Primer on Bezier Curves]

Mike R. Stevens

Designer and old-timer in the signpainting business in San Jose, CA, who influenced sign layout in a big way. Mike Stevens died of a heart attack in 1989 at the age of 46. At the SignDNA foundry, we find reincarantions of many of his alphabets, such as Magic, Stix (art deco), Happy Script, Master, ArRoyo, Tahoe, Staton, BigSur, DuVall, BigRed, BigMedicine, Tenor, Phoenix, Vasona. His bio at SignDNA states: I hope sign people are inspired once again by these great lettering styles of Mike's -- now available as typefaces. MyFonts link.

Author of Mastering Layout: The Art of Eye Appeal and Ninety-Nine Showcards: A Photo Album, and frequent contributor of articles on layout to SignCraft magazine. MyFonts: Few sign artists in recent times have had as much influence on sign layout as Mike Stevens. He not only mastered lettering and layout, but is also credited with starting a renaissance in sign lettering on the West Coast.

Nick Curtis also created some typefaces that were inspired by him, such as Mikeys Roman NF (2011), Marky Marker NF (2008, comic book font) and Mikey Likes It Corpulent NF (2008, signage face). . [Google] [MyFonts] [More] ⦿

Mike Rohde
[Roh Design]

Mike Yanega
[Bowfin Printworks]

Milton Bradley

Author of Alphabets and Letters (1924). [Google] [More] ⦿

Misha Beletsky

Misha Beletsky is the President of The Typophiles and Art Director at Abbeville Press, a publisher of fine illustrated books in New York. He has earned a number of awards from design competitions, including AIGA Fifty Books of the Year, New York Book Show, I.D. Magazine Design Review, and Carl Hertzog Award for Excellence in Fine Printing. Misha is an Editorial Board Member of Type Journal and a member of the Non-Latin Advisory Board of the Type Directors Club.

In 2016, Jerry Kelly and Misha Beletsky coauthored The Noblest Roman: A History of the Centaur Types of Bruce Rogers (The Book Club of California). The press release: is an immersive dive into the history of the Centaur typeface, complete with rarely seen drawings and proofs from the Monotype archives and the Library of Congress. Our fine press edition (limited to 300) comes complete with slipcase, an exclusive broadside printed from foundry capitals newly recast for the first time in 100 years, and an essay by author Jerry Kelly on the use of Centaur by the Grabhorn Press.

The synopsis of the book: Bruce Rogers was a towering figure in the history of graphic arts, and remains one of the most important American book designers of the twentieth century. The unrivaled subtlety of his style also sets apart Rogers's most widespread accomplishment, the Centaur type. This type was born of the late-nineteenth-century quest to create a modern revival of Nicolas Jenson's humanist roman of 1470, long held by scholars to be both the origin and the apogee of the Venetian roman, and which has inspired designers from William Morris to Robert Slimbach to attempt types based on Jenson's graceful proportions, elegant spacing, and evenness of color. None of these succeeded as well as Bruce Rogers's Centaur, which stands as a perennial classic, as sublime as it is impossible to replicate. According to Daniel Berkeley Updike, Centaur proved "one of the best roman fonts designed in America, and of its kind, the best anywhere." Stanley Morison praised Centaur for the design's departures from the Jenson original, calling attention to its "unique grace [and] modest individuality." It was Robert Grabhorn who called Centaur "the noblest roman of them all," and the high opinion of this type still holds today. In her introduction to this book, Amelia Hugill-Fontanel, Associate Curator of RIT's Cary Graphic Arts Collection, writes, "Rogers's enlightened hand created an extraordinary masterpiece of type design, melding the best characteristics of the fifteenth and twentieth centuries." The story of Bruce Rogers's work on his Centaur type parallels key developments in the history of modern design and aesthetics, and involves many of the major figures in twentieth-century typography---designers, punchcutters, printers, publishers, and historians---who appear in the numerous and informative sidebar biographies that augment the primary text. Set in Jerry Kelly's recent digital rendering of Rogers's original foundry Centaur, this engaging narrative is the result of significant new research, and is lushly illustrated with original drawings and proofs from the Monotype archives and the Library of Congress: photographs, type specimens, sample text pages, broadsides, promotional brochures, letters, and other ephemera, including a tipped-in type specimen letterpress printed from the newly recast foundry capitals---a type that has not been cast for over a century. Every iteration of Centaur is chronicled, from the original foundry type that was cast and acquired for the exclusive use by the Metropolitan Museum of Art, to the type's conversion to the Monotype machine involving stanley Morison, and its ultimate adaptation as a digital face. [Google] [More] ⦿

Mister Retro
[Derek Yaniger]

Derek Yaniger (b. Arkansas, lives in Atlanta, GA) is an illustrator who calls himself a toothless hillbilly. He made some fonts: Chowderhead, Creaky Tiki, Singlesville Script, Kiddie Cocktails. All are in an American diner style of lettering.

At Sideshow, together with Stuart sandler in 2008, he published Creaky Tiki, Creaky Frank, Creaky Solid, and Derekbats. Derek Yaniger and Stuart Sandler published Wildsville: The Art of Derek Yaniger.

Mitja Miklavčič
[Three chapters in the development of Clarendon---Ionic typefaces]

View Christian Schwartz's typefaces.

Mittelpunkt Zhongdian
[Susanne Zippel]

Berlin-based author, lecturer, art director, communication designer and type designer with special expertise in Chinese, Japanese, Korean, and Hanzi, Kanji, Hanja and CJK fonts.

Susanne Zippel (b. 1967) grew up in the former German Democratic Republic. She studied design in Berlin, and lived for five years in Japan. Later she founded the design office Mittelpunkt-Zhongdian in China. For more than two decades she has been researching the history of writing and media in China, Japan, and Korea, with a special focus on sociology and linguistics. She published the first extensive foundational book on Chinese typography, Fachchinesisch Typografie, which provides a comprehensive insight into the CJK writing system and its cultural context. She is currently studying for her doctorate in Vienna, Austria. Linkedin link. [Google] [More] ⦿

Modern Typography
[Paul Barnes]

Modern Typography is a dot com web presence organized by the London-based type designer and graphic designer, Paul Barnes (b. 1970), typophile extraordinaire. It is promised to have plenty of material for the typophile. In the 1990s, Paul Barnes worked for Roger Black in New York where he was involved in redesigns of Newsweek, US and British Esquire and Foreign Affairs. During this time he art-directed Esquire Gentleman and U&lc. He later returned to America to be art director of the music magazine Spin. Since 1995 he has lived and worked in London. He has formed a long term collaboration with Peter Saville, which has resulted in such diverse work as identities for Givenchy and numerous music based projects, such as Gay Dad, New Order, Joy Division and Electronic. Barnes has also been an advisor and consultant on numerous publications, notably The Sunday Times Magazine, The Guardian and The Observer Newspapers, GQ, Wallpaper, Harper's Bazaar and Frieze. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Barnes was awarded the Black Pencil from the D&AD. They were also nominated for the Design Museum Designer of the Year. In September 2006, with Schwartz he was named one of the 40 most influential designers under 40 in Wallpaper. He cofounded Commercial Type with Christian Schwartz. Author of Swiss Typography: The typography of Karl Gerstner and Rudolf Hostettler (Modern Typography, 2000).

His typefaces:

The (free) font Pagan Poetry (2001), done for one of the sleeves on Björk's albums. The font was made for Show Studio (see also here and here).
Codesigner with Christian Schwartz in 2005 of the 200-font family Guardian Egyptian for The Guardian, about which he spoke at ATypI 2006 in Lisbon.
In 2007, he worked with Peter Saville on the Kate Moss brand. As a font, he suggested a variation on Brodovitch Albro, a typeface by Alexey Brodovitch, the famous art director of Harper's Bazaar from 1934-58. The Creative Review reactions to this typeface are a bit negative though.
In 2003, he created Austin, a high-contrast modern typeface. Now available at Schwartzco and at Commercial Type, Christian Schwartz writes: When hired to design a new headline typeface for Harper's&Queen, Britain's version of Harper's Bazaar, Paul thought to flick back through the pages of its 60's precursor, the über cool Queen. The high contrast serif headlines were lovely, but a little too expected in a contemporary fashion magazine. Some time poring through specimens in St Bride's Printing Library inspired the perfect twist: rather than taking our cues from Didot or Bodoni, we would start with [Richard] Austin's first creation, turn up the contrast, tighten the spacing and make a fresh new look that would look bold and beautiful in the constantly changing world of fashion. The end result is Richard Austin meets Tony Stan, British Modern as seen through the lens of late 1970s New York. iThe Cyrillic version was designed in 2009 and 2016 by Ilya Ruderman (CTSM Fonts).
Dala Floda (1997-now) is based on gravestone inscriptions, and was turned in 2010 into a logotype stencil family at Commercial Type. As a stencil family, it is praised by the typophile community. Realted is the semi-stencil typeface family Dala Moa.
Publico was designed from 2003-2006 with Christian Schwartz, Ross Milne and Kai Bernau. Originally called Stockholm and then Hacienda, and finally Publico for a Portuguese newspaper by that name. Publico Text Mono (Christian schwartz and Paul Barnes) was commissioned in 2012 for Bloomberg Businessweek. Greg Gadzowicz added the italics, which are optically corrected obliques, in keeping with the un-designed aesthetic, in 2014.
Brunel (1995-now): an English modern, this is an anthology of the late eighteenth and nineteenth century English foundries. It was drawn from original source material, most notably the Caslon foundry and the work of John Isaac Drury).
Marian (2012) is a type experiment based on Garamond, consisting of 19 hairline styles with names referring to dates between 1554 and 1812. Commercial Type writes: Marian is a series of faithful revivals of some of the classics from the typographic canon: Austin, Baskerville, Bodoni, Fournier, Fleischman, Garamont, Granjon, Kis and van den Keere. The twist is that they have all been rendered as a hairline of near uniform weight, revealing the basic structure at the heart of the letterforms. Together they represent a concept: to recreate the past both for and in the present. [...] Faithful to the originals, Marian comes with small capitals in all nine roman styles, with lining and non-lining figures, with swash capitals (1554, 1740, 1800&1820), alternate and terminal characters (1554&1571). And like the hidden track so beloved of the concept album, Marian is completed by a Blackletter based on the work of Henrik van den Keere.
His classics series, mostly influenced by old Britsh type foundries, includes Figgins Sans (original 1832), Besley Grotesque, Caslon Antique, Fann Street Clarendon, Caslon Italian, Blanchard, Thorowgood Sans, Antique No. 6, Antique No. 3, and Ornamented (original c. 1850 at Caslon, Barnes use a Steven Shanks interpretation).
VF Didot (2013) is a custom Didot by Paul Barnes and Christian Schwartz for Vanity Fair, as requested by its design director, Chris Dixon. Based on work of Molé Le Jeune, a punchcutter used by the Didot family in the early part of the 19th century, VFDidot has 7 optical sizes and up to 5 weights in each size, plus small caps and even a stencil style.
Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies.
In 2014, Dave Foster and Paul Barnes (Commercial Type) designed Marr Sans. They write: The influence of Scotland in typefounding belies the nation's small size. Marr Sans, a characterful grotesque design, was inspired by a typeface from the 1870s found in the work of James Marr & Co. in Edinburgh, successors to Alexander Wilson & Sons. From a few lines in three sizes, and only one weight, Paul Barnes and Dave Foster have expanded the family from Thin to Bold, plus an Ultra Black weight, a wider companion to the six lighter weights. While Graphik and Atlas represent the greater homogenity of twentieth century sans serifs, Marr, like Druk, revels in the individuality of the nineteenth century, and is like an eccentric British uncle to Morris Fuller Benton's Franklin and News Gothics.
Le Jeune (2016, Greg Gazdowicz, Christian Schwartz and Paul Barnes): a crisp high-contrast fashion mag didone typeface family in Poster, Deck, Text and Hairline sub-styles, with stencils drawn by Gazdowicz. This large typeface family comes in four optical sizes, and was originally developed for Chris Dixon's refresh of Vanity Fair.
Marian Text (2014-2016) is a grand collection of ultra thin typefaces designed at Commercial Type by Miguel Reyes, Sandra Carrera, and Paul Barnes. Marian Text 1554 depicts the old style of Garamond & Granjon; John Baskerville's transitional form becomes Marian Text 1757; the modern of Bodoni, with swash capitals and all, becomes Marian Text 1800, and the early Moderns of the Scottish foundries of Alexander Wilson & Son of Glasgow, and William Miller of Edinburgh, become Marian Text 1812. And like the original, a black letter: Marian Text Black, referencing the forms of Hendrik van den Keere.
Gabriello (2015) is a soccer shirt font designed by Paul Barnes and Miguel Reyes: Inspired by brush lettering, Gabriello was commissioned by Puma. First used by their sponsored teams at the 2010 Africa Cup of Nations, it was later used at that year's World Cup, held in South Africa. It was used on the kits worn by Algeria, Cameroon, Cote d'Ivoire, and Ghana.
Sanomat (2013-2017). This custom typeface by Paul Barnes was originally commissioned by Sami Valtere in 2013 for his acclaimed redesign of Helsinging Sanomat in Finland. Sanomat is now available for retail via Commercial Type in two subfamilies, Sanomat (serif) and Sanomat Sans.
Chiswick (2017), a series of three typefaces families based on vernacular forms found in the British Isles from the eighteenth century.
Darby Sans, Darby Sans Poster, Darby Serif, done together with Dan Milne, and published in 2014 and 2019 at Commercial Type, respectively.
The Commercial Classics series from 2019:
- Brunel (Paul Barnes): Elegant and hardworking, Brunel is the Anglo variant of the high contrast Modern style. Based on designs that were cut first for Elizabeth Caslon at the end of the eighteenth century, we have expanded them to encompass a range of weights and sizes: from a roman to an emphatic black and from a text to a hairline for the largest sizes.
- Caslon Doric (Paul Barnes): The sans was the natural progression of nineteenth-century innovations. From the pioneering faces of Caslon and Figgins in the second and third decades, they quickly became a phenomenon across Europe and the United States, but it was only in the second half of the century that the British foundries would embrace lowercase forms and make faces that could be used in multiple sizes. Caslon Doric is the synthesis of these styles, from narrow to wide and from thin to heavy.
- Caslon Italian (Paul Barnes, Tim Ripper, Christian Schwartz): Perhaps the strangest and ultimate example of experimentation in letterforms during the early nineteenth century was the Italian. Introduced by Caslon in 1821, it reverses the fat face stress---thins becomes thicks and thicks become thins---turning typographic norms on their heads. This new version extends the forms into new territory: a lowercase, an italic, and another one of the more unusual ideas of the time, the reverse italic or Contra.
- Isambard (Paul Barnes and Miguel Reyes): The boldest moderns were given the name fat face and they pushed the serif letterform to its extremes. With exaggerated features of high contrast and inflated ball terminals, the fat face was the most radical example of putting as much ink on a page to make the greatest impact at the time. These over-the-top forms make the style not only emphatic, but also joyful with bulbous swash capitals and a wonderfully characterful italic.
- Caslon Antique (Paul Barnes and Tim Ripper): The slab serif or Egyptian form is one of the best letters for adding a drop shadow to. Its robust nature and heaviness support the additional weight of a prominent shading. First appearing in the 1820s, the style was pioneered and almost exclusively shown by the Caslon foundry, who introduced a wide range of sizes and, eventually, a lowercase.
- Caslon Sans Serif Shaded (Jesse Vega and Paul Barnes): The addition of graphic effects to typefaces was one of the most popular fashions of the nineteenth century, with the most common being the shaded form. Fashionable throughout this period, they largely disappeared from the typographic landscape, but their simple graphic qualities offer much potential today.
- Rapha (2018, Serif, Sans). A bespoke typeface at Commercial Type for the cycling clothing company.
- In 2019, Commercial Type released Caslon Ionic by Paul Barnes and Greg Gazdowicz. They write: Bolder and more robust than the modern, yet lighter and more refined than the Egyptian, the Ionic with its bracketed serif was another innovation of the nineteenth century. Lesser known than Thorowgood's Clarendon, Caslon's Ionic No. 2 is a superb example of the form and greatly influenced the newspaper fonts of the next century. With additional weights and a matching Egyptian companion, Antique No. 6, it is a masterpiece of type designed to be robust and legible. Antique No. 6 was designed by Paul Barnes in 2019.
- In 2019, Commercial Type released the Thorowgood Grotesque collection by Paul Barnes and Greg Gazdowicz. It is accompanied by the subfamilies Thorowgood Grotesque Dimensional (beveled) and Thorowgood Grotesque Open (based on Thorowgood's Seven-Line Grotesque Open), and the related condensed headline typeface Thorowgood Egyptian.

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. Hrvoje Zivcic helps with font production.

His St Bride Type Foundry. Dafont link. Klingspor link. [Google] [MyFonts] [More] ⦿

Molé le Jeune

A French punchcutter used by the Didot family in the early part of the 19th century. Author of Epreuves de caractères arabes, gravés et fondus par Molé jeune, sous la direction de M. Langlès (1823, Imprimerie Evrat, Paris). Local download. [Google] [More] ⦿

Molotro
[Luciano Perondi]

Molotro is Luciano Perondi's type foundry, which he runs with Stefano Minelli and Valentina Montagna. This Italian type designer (b. Busto Arsizio, 1976) lives in Busto Arsizio (Varese). At ATypI in Rome in 2002, he spoke about the logo-grammatic approach to type design: "Carattere senza un nome importante". His ATypI 2002 report is here. In this enlightening piece, you can read about his opinions on type. In 2000 and the following few years, he lectured at the Basic Design Lab of the Politecnico di Milano. In 2003 he founded the Research Team EXP. The research team, formed by type designers and psychologists, studies the reading process, the influences of the irregularity of typefaces on reading and the non linear script. EXP is now starting to work on the effects of presbiopia on reading and on how an adequate design of types could help presbiopian readers.

He was appointed associate professor of Design at the IUAV Venice in 2018 and he is also a member of the Alpaca cooperative of designers. From 2003 until 2007 he ran the Molotro studio. From 2005 until 2013 he was on the editorial board of the Italian design magazine Progetto Grafico. He has lectured in many Italian universities. From 2013 until 2016, he was the Director of the ISIA Urbino. In 2012 Stampa Alternativa published his book on non-linear writing, Sinsemie: scritture nello spazio.

In 2013, he became a member of the cooperative foundry CAST, and is now its chief designer.

At ATypI 2005 in Helsinki, he spoke about How does the irregularity of letters affect reading? His type designs include

Solferino Text (2007), a great transitional understated text typeface for the Corriere della Sera newspaper. Done with Leftloft (Andrea Braccaloni).
Minotype (2006, aka Ninzioletto, a stencil face).
Zotico/Zotica (2004, a sans family for the Milano Film Festival).
Ninzioletto (2004, a stencil typeface designed for the Venice sign system).
Tecnotipo (2005, designed for Tecno).
Quinta (2006).
DeA (2003, for DeAgostini).
Ccunami.
Csuni (which stands for Carattere Senza Un Nome Importante).
Csuni1885 (2003, for Mattioli1885; see also Experience1885).
Mattioli1885.
DeA, for DeAgostini (2003).
Sessantacinque (2003).
Eye of Goat: designed in 2005 by Perondi, Valentina Montagna and Federico Zerbinati. It is a medieval ornaments typeface (free for a limited time).
Nanoline (hairline sans).
Decima (2005), a sans.
Lontano (2003). A Caslon-style typeface commissioned for the Matteoli 1885 edition.
Brera (2007, a sans family by Leftloft and Molotro).
Voland (2010). A commissioned Baskerville typeface for the Italian publishing house Voland.
Under the identity design and art direction of FF3300, Molotro created the sans typeface family Divenire, in Regular, Italic and Mono subfamilies, for the Italian Democratic Party in 2012-2013. Since 2014, Divenire can be bought as a reatil font at CAST.
Dic Sans (2014). This elliptical sans was inspired by Aldo Novarese's Eurostile. It has its own idiosyncracies, and comes with a gorgeous Dic Sans Extra Bold weight (2014). On the nomenclature---French are allowed to operate Sans Dic, and Americans are permitted to typeset with Extra Bold Dic.
Tribasei 16-000 (2006). An experimental typeface.
Macho Modular (2015, CAST). Macho was originally designed in 2010 for MAN (Museo d'Arte Provincia di Nuoro) and is based on the idea of modular widths of the 20th-century typesetting systems, as required by the Olivetti Margherita and the hot-metal Linotype machine. It was followed by Macho Moustache (2018, CAST).

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

Monika Thomas

Author of Schriften erkennen (Verlag Hermann Schmidt, Mainz, 1988), coauthored with Hans Peter Willberg. [Google] [More] ⦿

Monotypia

Typesetting company in Paris, In 1930, Jean-Baptiste Abrate published Spécimen Caractères Monotypia at Etablissement Monotypia in Paris. [Google] [More] ⦿

Monroco Freres

Publisher of L'Artiste---Peintre de Lettres. [Google] [More] ⦿

Monsen Typographers Inc

Japanese publishers in 1980 of a phototype book called Display typefaces. Scans by Maniackers. [Google] [More] ⦿

Morgan Press

Morgan Press is located in High Point Road, Scarsdale, New York. They published wood type specimen books such as Morgan Press Wood Type Catalog, Morgan Press Presents A First Showing of Wood Type Specimens (1955) and Wood Type Specimens for Reproduction from the Morgan Press (1964). [Google] [More] ⦿

Mortimer Leach

Mortimer Leach was a lettering specialist. He worked on national accounts both in New York and in Los Angeles, and for twenty years maintained his own freelance studio. He was best known for his work in advertizing, and won many awards for lettering. During the 1950s, Mortimer Leach became Director of the Lettering Department at Art Center School, Los Angeles. He wrote Lettering for Advertising (1956) and Letter Design in the Graphic Arts (1960). The former book deals with American display lettering techniques in the Mid-Twentieth Century. Leach uses Caslon, Bodoni and Futura to demonstrate how, and how not, to create beautiful headline lettering for advertisements.

His influence cannot be underestimated. His students include type designers like Rick Cusick. Inspired by Mortimer's lettering, Riley Cran named a 56-style didone typeface family after him, Mort Modern (2017). [Google] [More] ⦿

Motter Fonts (and Motter & Klapka OeG)
[Siegmund Motter]

Motter Fonts is a family business. In 1952 Othmar Motter, together with Hans Kaiser and Sylvester Licka, founded the graphic art studio Vorarlberger Graphik (VG). In 1999 Peter and Siegmund Motter, together with Rudolf Klapka founded Motter & Klapka OeG in Vienna, then in 2005 they relocated to Dornbirn. Their focus is on corporate design and corporate communication. Siegmund Motter designed Motter Air (at Motter Fonts).

Publications at Motter Fonts include Othmar Motter. Leidenschaft und Brot. Ein Streifzug durch das Archiv der Vorarlberger Grafik (2019, Elias Riedmann, Triest Verlag), Subtext: Type Design (2017, Typographical Society Austria), and Othmar Motter. Eine Leidenschaft für Schrift (2011, Andreas Koop). [Google] [More] ⦿

Muriel Paris

Muriel Paris (b. 1965) and Alex Singer (b. 1971) are involved in type in Paris. They co-designed the wonderful Zinzolin in 1996, a free adaptation of Polyphème, 1926. Author of Des caractères (IPA Patoux, 2003) and "Petit Manuel de Composition Typographique". [Google] [More] ⦿

Nadine Monem

Author of Font The Sourcebook (2008, Black Dog Publishing). The publisher's blurb: The second part of Font: The Sourcebook profiles 50 of the most innovative and inspiring fonts in use today, with a short history of their origin, their inspiration and the designer who brought them to life. Each typeface entry is illustrated with an extensive library and examples of the font in use. In 2011, she published The 3D Type Book. [Google] [More] ⦿

Naghi Naghachian
[Naghi Naghashian]

Naghi Naghashian's foundry (called Naghi Naghachian, with a c) is located in Frankfurt. Quoting MyFonts, where we can buy his fonts: Naghi Naghashian was born in Teheran. After completing his school education in Iran, he studied illustration and book design at the Hochschule für Gestaltung (HfG), an academy of design, in Offenbach, Germany. Thereafter he was engaged as art director in various advertising agencies in Germany, Switzerland and England. He also worked as a freelance graphic designer with focus on illustration and brand designing for leading producers of brand articles in Europe, and also for broadcasting stations in Germany and other European countries. He was occupied with theoretical work in the field of color and research in the passive perception of color and "after image" phenomena. He carried out an analysis of the letters of the Arabic alphabet and a definition of their structure, enabling him to design a number of modern types of Arabic script. He designed the monoline typeface Aban (2010), which covers Latin, Arabic, Persian and Urdu. Jasna (2010) is a monoline rounded family with the same support. Avesta Extra Bold (2010) and Anahita Extra Bold (2010) are headline typefaces. Bi Bi (2010) is a squarish (Bank Gothic style) typeface that also covers Arabic, Persian, and Urdu.

Ahoura (2011) is an Arabic font family. Decora One (2011) is a curly ornamental all caps face. Decora Two (2011) is another ornamental caps face. Bamdad Extra Bold Condensed (2011) is an Impact-like typeface Bamdad that supports Latin, Arabic, Persian, and Urdu. Parsi (2011) is an elliptical sans family that supports Latin, Arabic, Persian, and Urdu. Novin (2011, +Shadow) is an elliptical typeface that supports Latin, Arabic, Persian, and Urdu.

Typefaces from 2012: Parto (elliptical).

Typefaces made in 2013: Iranica, Avid Pro, Nima (a Latin/ Arabic techno family named after Persian poet Nima Yooshij, 1896-1960), Decora Arabic, Decora Pro (and its Arabic / Farsi / Urdu companion, Parvin), Ekbatana (for Latin, Arabic, Farsi and Urdu), Apadana (for Latin, Arabic, Persian and Urdu), Roumi Pro (an elegant inline typeface), Surprise Pro (headline rounded sans), Mocca Pro, Nana Pro, Nana Rounded Pro, Nana Arabic, Petrol Stencil (an Arabic / Urdu / Latin stencil typeface), Kashi (2015: inspired by 16th century building decorations in Iran).

Typefaces from 2013: Ostad Arabic.

Typefaces from 2016: Naghashian, Golestan (supports Arabic, Persian and Urdu), Babak (a techno family for Latin, Arabic, Persian and Urdu), Ostad Pro, Elogium Pro.

Typefaces from 2017: Afsoon, Afsane, Jekta, Pasargad, Kamane (Naskh style for Arabic, Persian and Urdu), Damavand.

Typefaces from 2018: Bieta, Afshid, Pegah, Homayoon, Hafez, Dara, Homa (for Arabic, Farsi and Urdu), BaBa Rounded, BaBa.

Typefaces from 2019: Nahid, Nameh (a single-weight sans), Gilan, Jaleh, Bauhaus Arabic.

Typefaces from 2020: Golnama (a prismatic typeface for Arabic, Persian, Urdu and Latin), Esfand, Bonyad (modern kufi / geometric sans), Art Deco Arabic, Behtab.

Author of Illustrated Quatrains of Omar Khayyam, Geometrie als Mysterium, and Design and Structure of Arabic Script.

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

Naghi Naghashian
[Naghi Naghachian]

Nathaniel C. Knapp & Levi Rightmeyer

Nancy and Don Wansick

Authors of Identa Font (1997, PrePress innovations in Karlsruhe), a font catalog in four volumes, Sans Serif, Serif, Script and Display. Review by Delve Withrington. [Google] [More] ⦿

Nancy Stock-Allen

Author of Carol Twombly Her Brief but Brilliant Career in Type Design (2016, Oak Knoll Press). [Google] [More] ⦿

Nathan Gale

U.K.-based designer of Crater (2002) and CR Gothic (2000, Agfa, with designs by Robin Nicholas). Author of Type 1 Digitale Schriftengestaltung (2002, Stiebner Verlag), a book that comes with a CD-ROM with nine fonts on it: Crater (2002, Nathan Gale), Aminta (2002, Gareth Hague), Diet (2002, Shin Sasaki, Extra Design), Metropolis (2002, Christian Küsters, Acme, a 3d modeling font developed with the help of Paul Beavis), JohnHadANightmare(LastNight) (2002, Chester, Thirstype), Circuit (2002, David Rust, Optimo, Switzerland), Studio (2002, Tom Hingston Studio, UK), Basic-21 (2002, Julian Morey, Club Twenty-One, UK), Asphalt (2002, Masahiko Nakamura, Lineto). English version: Type 1: Digital Typeface Design. [Google] [More] ⦿

Publishers of Rapid Writing: Rightmeyer's Penman's Paradise (1852, New York). [Google] [More] ⦿

Neil Macmillan

Author of An A-Z of type designers (Yale University Press, 2006), a biography of 260 type designers from Gutenberg until today. [Google] [More] ⦿

Nekropolis

A reprint of a book of monograms. [Google] [More] ⦿

Nelson Beebe's bibliography on typographic fonts

New York Pulbic Library (NYPL)

Some specimen books at the NYPL listed by Thomas G. Lannon. [Google] [More] ⦿

Nicholas Ott

Nick Gadd

Author of Death of a Typographer (2019, Australian Scholarly Publishing), a crime story about a fictitious Dutch type genius, Pieter van Floogstraten, and a type sleuth called Martin Kern. [Google] [More] ⦿

Nick Shinn
[Shinn Type]

Oak Knoll Bookstore: Typography

Nicolete Gray

British type historian (b. 1911, Stevenage, d. 1997). Author of Nineteenth Century Ornamented Typefaces (University of California Press, Berkeley, CA, 1938, revised in 1976), Lettering as Drawing, Lettering on Buildings (1960) and A History of lettering (Phaidon, 1986). For examples from the first mentioned book, see here. She taught at the Central School of Art and Design (London) from 1964 to 1981.

Articles in journals include Un handicap pour les enfants (Communication et langages, no 40, 1978), Towards a new handwriting adapted to the ballpoint pen (Visible Language xiii, 44), Slab-serif type design in England 1815-1845 (Journal of the Printing Historical Society, no. 15, 1980/81). [Google] [MyFonts] [More] ⦿

Nijhof&Lee

Lots of type books for sale at Nijhof&Lee in the Netherlands. In 2008, 20 years after Nijhof&Lee opened for business, Frank Nijhof died. Warren Lee continues the business alone after that. [Google] [More] ⦿

Nora Bekes

Born in Hungary, Nora Bekes obtained a BA and MA in psychology from Szeged University in 2007 and 2010 respectively. In 2014, she started graphic design studies at the KABK in Den Haag, The Netherlands, and graduated in 2018. She works as an independent designer based in Rotterdam. Her practice focuses on the intersection of type design, typography and visual story telling. Her main interest lies at the research of archives and their contemporary interpretations.

Her first typeface is the plump Havanna Display (2016). Other typefaces from 2016 include the angular Dutch Winter.

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

Nordlundes Bogtrykkeri
[Carl Volmer Nordlunde]

Danish type foundry run by Carl Volmer Nordlunde (b. 1888). Nordlunde published Letter from a Danish typographer (1967, New York, The Typophiles). Other publications include type specimen books for specialty types such as Janson and Bembo. [Google] [More] ⦿

Norman S. Weinberger

Author of Encyclopedia of Comparative Letterforms for Artists & Designers (1971, Art Direction Book Co, New York, NY). [Google] [More] ⦿

N.S. Dearborn

Boston, MA-based author of American Text Book For Letters (1873). [Google] [More] ⦿

Oak Knoll Books, 414 Delaware Street, New Castle, DE 19720. This store has a lot of rare old type books. [Google] [More] ⦿

Oberlin Business College

This college in Oberlin, Ohio, was well-known in the 19th century for its penmanship studies. C.A. Barnett, J.T. Henderson and J.N. Yocom published the Oberlin Business College Compendium of Penmanship (1901). [Google] [More] ⦿

Occupant Fonts
[Cyrus Highsmith]

Senior designer at Font Bureau since 1997, after graduating that year from the Rhode Island School of Design. Born in Milwaukee, WI, he now is a faculty member at RISD, where he teaches typography in the department of Graphic Design. He regularly offers a summer course on Digital Type Design, Summer Institute of Graphic Design, Rhode Island School of Design. His sketchbooks are now on line. In 2016, he set up Occupant Fonts as part of the Type Network.

In September 2017, Morisawa announced the establishment of "Morisawa Providence Drawing Office" in Providence, RI, as its new base for developing Latin fonts. Cyrus Highsmith, who had served as a designer for Font Bureau for many years, and who started Occupant Fonts in 2015, has been appointed as its creative director. By this move, Morisawa acquired Occupant Fonts.

Author of Inside Paragraphs, written for a foundational typography course. Matthew Carter writes: Cyrus Highsmith takes the lid off a paragraph of type and shows its inner workings. There is nothing you need to understand about using type that's not in this book. Cyrus explains the correct terms for the typographic components of form and space that make a letter, a word, a line, a paragraph, and he does it with clear drawings, simple language, and a legible typeface for the text.

Interview at MyFonts.

Cyrus created wonderful typefaces such as Loupot (1997, with Laurie Rosenwald, based on the lettering on Charles Loupot's St. Raphael poster from 1948), Eggwhite (2000-2018, for comics), Relay (2002, a somewhat art deco sans serif family that will be in vogue for years to come!), Benton Sans (1995-2003, with Tobias Frere-Jones, a revival of Benton's 1903 family, News Gothic; see also Benton Sans Wide, 2013), Occupant Gothic (2000-2018, angular), Prensa (2003, a simple 24-style serif family), Prensa Display (2012), Dispatch (1999-2000), Halo (2003), the 12-weight Stainless family (2001), and Daleys Gothic (1998). The Wall Street Journal uses his D4ScotchD4Scotch family (2001). He made a modified Palatino for the newspaper El Mercurio, and designed Zocalo or El Universal for the newspaper El Universal. He won Bukvaraz 2001 awards for Prensa and Relay.

His Amira (Font Bureau) and (Spanish-feeling) Zocalo (Font Bureau) won awards at TDC2 2004.

At ATypI 2004 in Prague, he spoke about the wealth of typefaces. In 2006, Escrow (Font Bureau) was published, an out-of-this-world 44-style subdued Scotch family that is used by The Wall Street Journal. In 2007, still at Font Bureau, he created Antenna, a 56-style sans family, as well as Biscotti, a delicate connected (wedding) script commissioned in 2004 by Gretchen Smelter and Donna Agajanian for Brides magazine.

His calligraphic copperplate script Novia (2007, Font Bureau) was commissioned to grace the pages of Martha Stewart Weddings.

Still in 2007, he won an award for his newspaper type family Quiosco (Font Bureau). Font Bureau writes: With Quiosco, Cyrus Highsmith continues an examination of themes and possibilities which he first explored in Prensa, inspired by the work of W. A. Dwiggins---specifically a dynamic tension between inner and outer contours. However, the crackling, electrical energy of Prensa here gives way to a more fluid, mercurial muscularity in Quiosco. See also Quiosco Display.

In 2006, he designed Scout for Geraldine Hessler's redesign of Entertainment Weekly, under the influence of DIN, Venus and Cairoli. Scout is a utilitarian sans serif series that was followed in 2013 with Scout RE---four styles optimized for screen text and small sizes in print. In 2016, he added Scout Text.

In 2010, at Font Bureau, he published the extensive families Ibis Text and Ibis Display, which he says were influenced by Walbaum (1919) and Melior (1952). The Webtype version IbisRE is poorly kerned / displayed in my browser though. From 2007 until 2010, he developed Salvo Sans and Salvo Serif (Font Bureau), which were originally called Boomer Sans and Serif. They were released in 2011.

In 2012, he published Serge (an angular script family in three styles: a frisky, acrobatic typeface that dashes off decorative blurbs, signs, and headlines with a lively, angular zest), Heron Sans and Heron Serif at Font Bureau, which writes: Heron Serif and Sans are born of hard iron and steel, but galvanized with Cyrus Highsmith's warmth and energy.

In 2013, he published Icebox at Font Bureau---a font that is based on a set of magnetic letters found at a variety store.

Typefaces from 2014: Tick and Tock, two stencil styles.

Typefaces from 2015: Antenna Serif.

Typefaces from 2016: Gasket, Gasket Unicase, Gasket Uncial.

Typefaces from 2017: Allium.

Typefaces from 2018: Allium Text.

Speaker at ATypI 2013 in Amsterdam: Don't design web fonts Its theme is: The successful type series of the future will be the ones that can move between media. He says that new typefaces should be smarter than the devices that use them.

In 2015, he received the coveted Gerrit Noordzij Prijs. His illustrations were the subject of an exhibition and a book, both called Products Of A Thinking Hand (Typotheque / KABK, 2018).

View Cyrus Highsmith's typefaces.

Klingspor link. FontShop link. MyFonts interview. Old Font Bureau link. [Google] [MyFonts] [More] ⦿

Oh No Type
[James T. Edmondson]

Oakland, CA-based designer, whose company is called Oh No Type. In 2011, he was a student at California College of the Arts in San Francisco. Graduate of the Type & Media program at KABK in Den Haag in 2014. Before that, he was based in Leeds, UK. James teaches Type at Cooper West. In 2018, James co-founded Future Fonts, a platform for distributing fonts in-progress. Typefaces:

2008: at FontStruct of the blackletter typeface Eclyptico and of Mopper.
2010: Edmondson, Dode (script).
2011: Edmond Serif (in progress) is being designed in Rod Cavasos Type Design class at CCA. Edmond Sans (2011) is a headline all caps sans face. Duke (Lost Type) is a beveled typeface based on the signage for the Cup and Saucer Luncheonette in New York. Wisdom Script (Lost Type) was originally designed for Woods of Wisdom, a 50 part poster series on bad advice. Working on a roman caps version in Ed Interlock style. Lavanderia (2011, free at Lost Type) is a signage script family inspired by fancy laundromat lettering in San Francisco's Mission District.
2012: Edmond Sans (Lost Type).
Mission Script (2012) is a connected signage script, also inspired by lettering in San Francisco's Mission District.
2013: Mission Gothic. Influenced by wood types, this sans was co-designed with Trevor Baum.
2014: Covik, his graduation typeface at KABK. He writes: Covik was designed with the goal of creating a small text family with complimentary display typefaces which work together to create a rich typographic palette. How divergent could a style be while remaining kindred? In what ways could weight, width, proportion, and construction be played with in order to create a varied family? See also Covik Sans Mono.
2015: Hobeaux (a take on Morris Fuller Benton's art nouveau typeface Hobo), Viktor Script (a retro script done with Erik Marinovich). Accompanied by Hobeaux Rococeaux (2016).
2016: Vulf Mono (Vulf Mono is the official typeface of Vulfpeck, a funky four-piece rhythm section from Ann Arbor, Michigan. The typeface draws main inspiration from 12 point Light Italic, a font for the IBM Selectric typewriter.)
Year unknown: Bordeaux Script.
2018: Obviously, Eckmann Psych (a psychedelic take on Otto Eckmann's art nouveau type), Ohno Blazeface, Cheee (a variable font).
2019: Nonplus (counterless script), Primarily Script (a children's book font), Coniferous (based on signage at American National Forests).
2020: Degular (sans, variable with three axes), Compadre (an all caps sans typeface), Ohno Fatface (in the true didone fat face tradition, with delicious conniving outlines; and a 2-axis variable font along width and optical size), Swear (an experimental serif with rotated pen angle; +a variable style).
2021: Irregardless (experimental; with plenty of effects and container shapes).

Author of Some Tips on Drawing Type (2021). Klingspor link. Behance link. Dribble link. Old home page. Future Fonts link. Adobe link. [Google] [More] ⦿

Old German handwritten scripts

Samples of old German handwriting fonts, links to Fraktur fonts, lists of related books. [Google] [More] ⦿

Oldrich Hlavsa

Czech type designer. Author of "A book of Type and Design" (English Language version of "TYPOGRAFICKÁ PÍSMA LATINKOVA", published by the State Office of Technical Literature, Prague, 1957), Tudor Publishing, New York, 1960. [Google] [More] ⦿

Oldrich Menhart

Czech type designer (b. Prague 1897, d. Prague 1962) who was mainly active at Grafotechna, a state foundry in Prague. Menhart was also an author who wrote about type and its history. After the World War II, he helped the communist party to promote itself. He was the author of fonts celebrating the victory of communism in hand-written manifests. Menhart considered himself foremost as a craftsman, and derived typefaces from calligraphic origins. Author of Nauka o pismu (1954) and Tvorba typografickeho pisma (1957). PDF file of Nauka o Pismu.

Veronika Burian on Menhart. FontShop link. Klingspor PDF. Oldrich Menhart's typefaces include

Manuskript Antikva (1944-1950, Grafotechna), Manuskript Kursiva (1951, Grafotechna). An angular and slightly irregular typeface with a handwritten feel. Burian places Manuscript Antikva in 1943 and Kursiva in 1946. Digitizations of Manuskript: the five-weight family by Franko Luin (1991) at Omnibus, Menhart Manuscript by Alex V. White, Manuskript Antiqua (URW++, by Ralph M. Unger), and ITC Oldrichium by George Thompson from No Bodoni Typography.
Menhart Antiqua and Menhart Kursiva, 1930. Menhart Antiqua was first published by the Bauersche Giesserei in 1932. We also find versions of this garalde set in 1936-1938 at Monotype. See also Grafotechna. Paul Hunt's Junius (2006) is a revival/adaptation of Menhart Antiqua. See also the beautiful revival Menhart Antiqua (2008, Albert Creus).
Menhart Roman (1933) and Menhart Italic (1933), published by Lanston Monotype in 1934-1935, and by Bauersche Giesserei in 1939. Bill Horton recreated Menhart-Italic and Menhart-Regular. Alexander W. White revived Menhart Italika [his revivals of Preissig Antikva, Preissig Italika, Menhart Italika and Menhart Manuscript won him awards at the TDC2 2001 competition].
Menhart Latein.
Parlament (1950, Czech Government Printing Office). Calligraphic type with lots of individuality and irregularity, first planned to be used for printing the Czech Constitution.
Standard Antikva and Kursiva (1959). See also at Grafotechna in 1966.
Victory Roman, Medium and Italic, 1942-1943. Published in 1947 at Intertype. An angular text face.
Triga Antikva, Kursiva and Medium (1951, published in 1954 at Sluzba Tos, Prague). Calligraphic text type.
Ceska Unciala (1944), published in 1949 at Grafotechna. An angular pseudo-Gaelic uncial. Ralph Unger's FontForum Unciala (2005, URW++) is a revival.
Figural Romana or Antikva (1940, published in 1949 at Grafotechna), Figural Kursiva or Italika (1948; published in 1949-1950, Grafotechna), Figural Romana (1940). Rather angular lower case letters with several slopes. Michael Gills, under the art direction of Colin Brignall, did Figural (1992) and Prague for Letraset without Grafotechna's permission, and ITC is still selling those fonts now as ITC Figural and ITC Prague. Monotype and Linotype also offer Figural. Figural and Figural Italic were also revived in 2006 by Ari Rafaeli.
Grazdanka (1953, Grafotechna), Grazdanka Kursiva (1954, Grafotechna). Manuscript Grazhdanka (cyrillic) was revived in 2006 by Ari Rafaeli.
Hollar (1939, at Jaroslav Picku, Prague).
Monument (1950-1952, Grafotechna). An almost pen-drawn all-caps outline face. The digital version by Ralph M. Unger is also called Monument (2010, Profonts). Dieter Steffmann has a free revival of Monument in 2002.
Vajgar (1961, Tiskarna Straz)

View the typefaces related to Oldrich Menhart. See also here. [Google] [MyFonts] [More] ⦿

Oliver Linke
[Lazydogs Type foundry]

Oliver Weiss
[Walden Font]

Ornamental Typography at BibliOdyssey

Open Library

The Open Libray publishes scans of old royalty-free texts. Useful searches include the keywords specimen, typeface, type designer, and font. If you have a dead moment, and you are a typophile, browse this collection to give you a boost. [Google] [More] ⦿

Orbis Typographicus
[Joshua Langman]

Orbis Typographicus is a set of twenty-nine 9x12 letterpress broadsides, designed by Hermann Zapf and printed by Philip Metzger of Crabgrass Press between 1970 and 1980. The broadsides feature quotations on art, science, nature, faith, and the human condition, from authors ancient and contemporary. The text includes poetry, prose, anagrams, and palindromes, in English, German, Spanish, French and Japanese. Hand set by Philip Metzger, the set showcases many of the typefaces of Zapf and his wife, Gudrun Zapf von Hesse.

In 2013, the web site Orbis Typographicus was set up by Joshua Langman. It features high-resolution scans, available for download, and a complete computer-searchable transcript. The web site also features an essay by Philip A. Metzger, the son of the printer, in which he shares his recollections of his father working on the project.

Joshua Langman is a freelance graphic designer and typographer based in New York. [Google] [More] ⦿

Oriol Moret-Vinals

Oriol Moret-Viñals (b. 1968, Barcelona) has a Phd in Letterpress Typography and teaches at the Faculty of Fine Arts of the University of Barcelona since 1997. At ATypI 2014 in Barcelona, he spoke about the geminated el (l-l) in the Catalan language.

In 2017, he published Romain du Roi: el enredo. [Google] [More] ⦿

Subpage at Bibliodyssey. [Google] [More] ⦿

Oscar Jennings

Author of "Early Woodcut Initials" (Methuen and Co., London, 1908), which contains over thirteen hundred reproductions of ornamental letters of the fifteenth and sixteenth centuries. [Google] [More] ⦿

Oscar Ogg

Twentieth century book designer and calligrapher, b. Richmond, 1909, d. 1971. Ogg was an architecture graduate of the University of Illinois in 1931. The New York Times writes: He won recognition as one of the outstanding graphic artists of his time. His first book, Alphabet Source Book, published in 1940 by Harper, was a copy book of lettering styles. The 26 Letters, published by Crowell in 1948, a history of the alphabet from cave drawings to contemporary type fonts, was illustrated by 275 of his drawings.

For Photolettering in New York, he designed these typefaces: Ogg Folio, Ogg Irish Uncial, Ogg Roman 3 and 4, Ogg Italic 3 and 4, and Ogg Semi Uncial. Digital revivals include Ogg (2013) by Lucas Sharp. Sharp's Ogg is a fashion mag typeface loosely inspired by the hand lettering of Oscar Ogg.

Lucas Sharp's Salter Roman (2021) is based on two designs penned by Oscar Ogg in 1942. The first is his title page design for Design & Paper No.11 (Marquardt & Company, New York); the second is his design for Gates of Aulis (Gladys Schmitt, The Dial Press, New York) that same year. The former became the basis for the lowercase, while the latter informed the uppercase. [Google] [More] ⦿

Otl Aicher

Ulm-born designer (1922-1991) who, in 1953, along with Inge Scholl and Max Bill, founded the influential Ulm School of Design. He became famous as the lead designer for the 1972 Olympics in Munich. His main contribution to type design was Rotis (1988, Agfa-Monotype). He also created the typeface Traffic for the München public transport. He adapted Univers for Bulthaupt.

Aicher was a world expert on pictograms, having designed, e.g., the pic to gr ams for the 1972 Munich Olympics, and his visual language system of over 900 pictograms. Robin Kinross and Erik Spiekermann discuss the pros and cons of Rotis.

Hrant Papazian sums up Rotis, a family disliked by many type designers, but that has some oomph: Rotis -the typeface- is admirable not for its typographic merit, but for its lion-hearted spirit, its golden intentions - things so totally lacking in almost every other font ever made. Norbert Florendo, who worked with him on and off, muses: If anything, Aicher was a formalist in turmoil. A philosopher in spirit who was shackled by his sense of order. He called for revolution in design and typography, but adhered to the grid (anti-nature) in distrust of chaos. He admired Adrian Frutiger immensely and one can undoubtably see how Univers influenced the Rotis matrix. If one reads deeper into Aichers Typographie, one will see Aichers concepts as being less typographic (relating to type design and type layout) and more involved with humans within a rapidly changing environment in need of new symbology and notation systems. [...] I am far more an admirer of Herr Aicher than Rotis the type family. Rotis was named after the village (Rotis über Leutkirch) in Allgäu where Aicher lived from 1972 and died in 1991. Typophile discussion. URW shows the Monotype WMF Rotis family (2007) which was exclusively used by WMF AG. The Rotis family consists of Rotis Serif (1988), Rotis Semi Serif (1988), Rotis Sans Serif (1989) and Rotis SemiSans (1989).

Author of these books:

Typographie (1989, reprinted in 2005; Verlag Hermann Schmidt, Mainz).
World as Design (1994, Ernst und Sohn, Berlin).
Analogous Digital (1994, Ernst und Sohn, Berlin).

This biography reveals that Aicher was a German soldier in the second world war, both on the Russian and French fronts. In 1953, he founded the HfG (Hochschule für Gestaltung) in Ulm, and he helped with the graphic design for the Olympic Games in München in 1972. Discussion of his contributions by the typophiles. Markus Rathgeb wrote Otl Aicher (2006, Phaidon Press Limited, London), which is about Aicher's life as a graphic designer, and has little about his type design.

Vendors of Rotis and typefaces like Rotis: Rotis Sans Serif (Linotype), Rotis Semi Serif (Monotype), Rotis SemiSans (Monotype), Rotis Serif (Monotype), Rotis SansSerif (Adobe), Cutoff Pro (URW++), Rotis Sans Serif (Monotype), Rotis SemiSans (Adobe), Rotis Semi Serif (Adobe), Rotis Serif (Adobe), Diphthong (Diphthong Type Foundry), Cutoff Pro Regular (URW++).

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

OurType
[Fred Smeijers]

OurType was Fred Smeijers' web site and foundry established in 2002 (formally launched in 2004). OurType was set up by four partners: Fred Smeijers, Corina Cotorobai with Rudy Geerarts and Martine Leloup (both of FontShop Benelux). Fred and Corina were the creative lead of OurType foundry, Rudy and Martine were in charge with sales. In 2017 Fred and Corina stopped their collaboration with OurType concentrating on several other projects, including a new type label. Fred and Corina are also co-partners in Type Tailors (established in 2008), offering type design development, publishing, custom type and typographic consultancy. Smeijers's fonts can now be found at Type By.

Smeijers is research fellow at Plantin Museum in Antwerp, and professor of type design at the Hochschule für Grafik und Buchkunst in Leipzig, and visiting professor at the Royal Academy of Arts in The Hague. In April 2018, Fred Smeijers and Corina Cotorobai announced that they would be starting a new foundry. Fred Smeijers (b. 1961) studied at the School of Art at Arnhem, and he worked as a typographic advisor to the reprographic company Océ, then became a founding member of the graphic design practice Quadraat, which provided the name for his first published typeface (FontFont, 1992).

He created the following typefaces:

The huge (and growing) text family Quadraat (1998-2001). It has as subfamilies FF Quadraat, FF Quadraat Sans and FF Quadraat Sans Mono, and was developed from 1997-1998 as part of the FontFont library.
Renard (at Enschedé, after letters by Hendrik van den Keere, 1998; see discussion here).
DTL Nobel (with Andrea Fuchs, 1993, at the Dutch Type Library). Not to be confused with the geometric sans family Nobel, also created in 1993, by Tobias Frere-Jones (Font Bureau).
Arnhem (1998-2002) and Arnhem Fine, which are historically related to the Romain du roi. These were developed in collaboration with Werkplaats Typografie (Karel Martens and Wigger Bierma)---Andy Crewdson provides an insightful discussion of it. Smeijers: Arnhem was designed in 1999 for the Nederlandse Staatscourant, the daily newspaper of the Dutch state. It can be classified as a very functional design---Arnhem has been conceived for, and does work best in large quantities of running text.
Fresco (1998), Fresco Sans, Fresco Condensed, Fresco Informal, Fresco Informal Sans, Fresco Script (+Sans), Fresco Plus, a work horse of a family at OurType.
Ludwig (2010), modeled after the 19-th century grotesks.
Monitor (2000-2004, a sans family at OurType). Not to be confused with earlier commercial typefaces with the same name, like Henryk Sawanda's Monitor (1975-1980) or BB&S's Monitor No. 5 (1890s).
Eva (2010: an informal sans, done with Merel Matzinger at OurType).
The sans family Sansa (2005, OurType) was followed by Sansa Slab and Sansa Soft in 2006. Sansa and Arnhem are available from FontShop since 2005.
In 2002, OurType created the gorgeous Custodia family for use in publications of the Custodia Foundation. The typeface is called Custodia 17 because it was inspired by 17th century Dutch styles. Peter Gabor and Jonathan Munn claim that Custodia is too close to Monotype Van Dijck. However, OurType explains that this was the intention: Its pleasantly uneven rhythm captures the not-quite-perfect lettershapes of master punchcutters working in Delft, Rotterdam, Amsterdam or Haarlem in the later seventeenth century: Christoffel van Dijck, Dirck Voskens, Johan Michael Smit, Jean Baptiste van Wolschaten.
Denda New (2000), a family made specially for Canon. In his book, Type Now, Fred Smeijers says: A contemporary sanserif initiated in 2000 by TBWA\Designers Company for their redesign of Canon Europe packaging. This typeface comes in four weights, in roman and matching italics: for use by Canon Europe in general publicity, manuals, and packaging. It is a custom-made design, not publicly available.
Puncho (2012) by Fred Smeijers is based on stencil letter punches made by S.M. Spencer of Boston.
Bery Roman (2012): Bery Roman is based on the stencil letters of Jean Gabriel Bery. Bery Roman is part of OurType's Stencil Fonts Series of 2012. Jean Gabriel Bery was a Paris stencil maker whose atelier was located on the Pont Notre-Dame. His work is mainly known from the stencil set he supplied to Benjamin Franklin in 1781, now at the American Philosophical Society in Philadelphia. Bery's confident sense of design and the excellent production of his stencils rank him among the best stencil makers of any period. Accompanied by the calligraphic Bery Script (2012).
Haultin (2011) is a private, unreleased typeface that is based on renaissance types cut by Pierre Haultin. The second edition of Fred's book Counterpunch is set in it.
His custom type designs include bespoke typefaces and lettering for Philips Electronics, Tom-Tom, Samsung, Porsche, and Canon-Europe.

FontShop link.

Author of Counterpunch: Making type in the sixteenth century, designing typefaces now, London, Hyphen Press, 1996 [PDF file] [a second edition followed in 2011], and Type Now: A Manifesto (2003, London, Hyphen Press; reviewed by John Berry).

In February 2001, Smeijers received the (second) Gerrit Noordzij Award 2000 (an initiative of the post-graduate department Type&Media at the Royal Academy in The Hague in cooperation with the Museum Meermanno). In 2016, the Society of Typographic Aficionados awarded Smeijers the SOTA Typography Award.

OurType's offices were in DePinte, Belgium.

Speaker on historical stencil forms at ATypI 2006 in Lisbon. Currently he also is professor of digital media and Dean at the Hochschule für Grafik und Buchkunst in Leipzig. Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam (on Spatial relationships among 16th-century matrices (and what they tell us), a close look at surviving matrices at the Plantin-Moretus Museum) and keynote speaker at ATypI 2018 in Antwerp (on zooming in and zooming out; and old beer, new type). [Google] [MyFonts] [More] ⦿

P. Buttgen

Author of Monogrammbuch (1885). [Google] [More] ⦿

P. Idarius

Author of Standard Amercian Lettering Book (1911). [Google] [More] ⦿

P. Meyrat

French author of Recueil Méthodique de Principes d' Ecriture (ca. 1920, Limoges). Samples: Fine Cursive, Fine Cursive Droite, Majuscules, Teaching tracing. [Google] [More] ⦿

P. Moreau / Veuve Hérissant
[Pierre Moreau]

The print shop and foundry of Pierre Moreau was operational in Paris from 1640 until 1792. It had various directors, listed here in chronological order:

Pierre Moreau ran the business from 1640 until his death in Paris in 1649. In 1643 he became imprimeur ordinaire du roi. In 1640, he created (Marius Audin even says invented) a set of ronde and bastarda typefaces called Financières. There is a publication from 1643 until 1644 entitled Les saintes métamorphoses ov les changemens iraculeux de quelques grands saints tirez de leurs vies. Paris, en 'Imprimerie des nouueaux caracthères de P. Moreau...1643-1644. This book was selling for 15,000 Euros in 2013. In 1645, he published a book to help children write: Alphabeth, pour apprendre les enfants à promptement lire et escrire---Composé de six sortes de caracteres, representans le naturel de la plume (Imprimerie de Pierre Moreau, rue S. Germain de l'Auxerrois, proche la Vallée de Misere). Local download of Alphabeth.
Denis Thierry (d. 1657) and Denis Thierry II (d. 1712, Paris) were in charge from 1648 until 1712. Only Lottin mentions that the business of Moreau went to Thierery, and that Thierry in 1712 passed it to Collombat.
Jacques Collombat (b. 1668, Grenoble, d. 1744, Paris) ran the business from 1712 until 1744. In 1714 he was imprimeur du roi.
Jacques François Collombat (b. 1701, Paris, d. 1751, Paris) was the son of Jacques. He continued the operation from 1744 until 1751. He too was imprimeur du roi. His early death and the early death of his wife Jacqueline Tarlé in 1752 [Veuve Collombat thus ran the foundry from 1751 until 1752] meant that his son Jean Jacques Etienne Collombat was not old enough to continue the foundry. In 1763, Jean Jacques Etienne passed the foundry to Jean Thomas Hérissant.
Jean Thomas Hérissant continued the foundry from 1763 until 1772. Born in Paris in 1704, he died there in 1772. He too was imprimeur du roi.
Veuve Hérissant, ran the business from 1772 until 1788. Her maiden name was Marie Nicole Estienne. She published, e.g., Epreuves des Caractères Samartains provenant de l'Imprimerie de la Veuve Hérissant (1772), and Epreuves des Caractères de la Fonderie de la Veuve Hérissant (1772). She was an imprimeur ordinaire du roi. In 1788, she passed the foundry on to Anisson.
Etienne Alexandre Jacques Anisson-Dupéron (b. 1749, Paris, d. 1794, Paris) was the son of Louis Laurent II Anisson. In 1788, when he took over the foundry, he was the director of the Imprimerie Royale.

[Google] [More] ⦿

Palmer and Rey
[John J. Palmer]

Typefounders and printing press in San Francisco. The Miller&Richard Type Foundry of Scotland opened a branch in San Francisco in 1878, headed by John J. Palmer. This branch was sold to Palmer and Valentine J. A. Rey in 1882. In 1884, Palmer&Rey acquired the assets of the Pacific Type Foundry. The company then merged into American Type Founders in 1892. They published New specimen book (1884, San Francisco), in which we find several original typefaces, such as the Octic series (athletic lettering, octagonal) and the very Victorian typeface Oxford.

Digitizations: In 2010, Nick Curtis created a digital version of their Courier, and called it Pony Xpress NF. Rightly So NF (2011, Nick Curtis) is a squarish typeface based on Geometric Gothic from the 1884 specimen book of Palmer and Rey---it is hard to imagine that this almost pixelish style was around at that epoch. Oxford was revived by Nick Curtis as Palmer Oxonian NF (2011). Octic was revived in 2012 by Nick Curtis as Easy Eights NF. Alto Rey NF (2014, Nick Curtis) revives an 1884 wedge serif design. [Google] [MyFonts] [More] ⦿

Paolo Cadeddu
[Paulfalco]

Paolo Daniele Corda

Paolo Daniele Corda was born in Milan in 1975. He is currently operations room coordinator of the Central Briefing Office for the national air traffic services of northern Italy. Stefania Cantù and Paolo Daniele Corda coauthored La Scrittura Araba e il Progetto DecoType (2013, Sedizioni). [Google] [More] ⦿

Paper and Ink Arts

Calligraphy books and supplies, Woodsboro, MD. [Google] [More] ⦿

Patricia A. Cost

Author of The Bentons: How an American Father and Son Changed the Printing Industry, published in 2011 by RIT Cary Graphic Arts Press. Book review by James Puckett. [Google] [More] ⦿

Patricia Córdoba

Author of La modernidad tipográfica truncada. [Google] [More] ⦿

Patterson & Heward

Publisher of Art Brass & Bronze Tablets & Signs (1917). [Google] [More] ⦿

Paul Baker

Paul Baker's type-related book, right here on the web. He created Alphabet26 in 2001, an implementation of a unicase font proposal by Bradbury Thompson. Writings on "Evaluating typography and typesetting". He digitized Andromaque Uncial (1958, Victor Hammer) in 1995. [Google] [More] ⦿

Paul Barnes
[Modern Typography]

Drawing of her by Eric Gill. Life story.

Paul Beaujon

Paul Beaujon was the pen name of Beatrice L. Warde. Born in New York in 1900, she died in London in 1969. A typographer, writer, and art historian, she worked for the British Monotype Corporation for most of her life, and was known for her energy, enthusiasm and speeches. Collaborator of Stanley Morison. She created a typeface called Arrighi. She is famous for The Crystal Goblet or Printing Should be Invisible (The Crystal Goblet, Sixteen Essays on Typography, Cleveland, 1956, and Sylvan Press, London, 1955), which is also reproduced here and here. The text was originally printed in London in 1932, under the pseudonym Paul Beaujon. Here are two passages:

Imagine that you have before you a flagon of wine. You may choose your own favorite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than to hide the beautiful thing which it was meant to contain.
Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type which may work well enough, and yet keep the reader subconsciously worried by the fear of 'doubling' lines, reading three words as one, and so forth.

Rebecca Davidson of the Princeton University Library wrote in 2004: Beatrice Warde was a believer in the power of the printed word to defend freedom, and she designed and printed her famous manifesto, This Is A Printing Office, in 1932, using Eric Gill's Perpetua typeface. She rejected the avant-garde in typography, believing that classical forms provided a "clearly polished window" through which ideas could be communicated. The Crystal Goblet: Sixteen Essays on Typography (1955) is an anthology of her writings. Wood engraved portrait of Warde by Bernard Brussel-Smith (1950). [Google] [MyFonts] [More] ⦿

Paul Carlyle

Coauthor with Guy Oring of Letters and Lettering (1938), Layouts and Letterheads (1938) and Learning to Letter (1939). The former book was a big source of inspiration for Nick Curtis and many other type designers. Typefaces based on designs by Carlyle and Oring:

Nick Curtis: Shishka Bob NF (2005), TaraBulbous NF (2008: is a fat-lettered font), Guinness Extra Stout NF (1999), Kynges X NF (2004: a blackletter semi-Lombardic face), Astoria Titling.
Dathan Boardman: Afternoon Tea (2010: art deco).
Anton Scholtz: Nocturne (2012: art deco).
Monogram Fonts (Jim Lyles, Brian Bonislawsky): MFC Redding Monogram (2016), MFC Buttergin Monogram (2018: Tuscan).
Grype (Jim Lyles, Brian Bonislawsky): Decade (2019).
PhotoLettering / House Industries: Quaint or Carlyle Quaint.

Pen&Brush Lettering and Practical Alphabets

Paul E. Kennedy

Author of Modern Display Alphabets: 100 Complete Fonts Selected and Arranged from the Franklin Photolettering Catalogue (1974, Dover). [Google] [More] ⦿

Paul Felton

Graphic designer who published The Ten Commandments of Typography/Type Heresy: Breaking the Ten Commandments of Typography (Merrell Publishers Ltd, 2006). Ill-received by the typophiles: Chris Lozos states: The cover is just boringly bad and needs to be excommunicated or excorcised. [Google] [More] ⦿

Paul Frigyes

Coauthor with Bo Berndal of Typiskt typografiskt, Bokförlaget (TT Fisher & Co, 1990). [Google] [More] ⦿

Paul Jammes

Co-uthor with Isabelle Jammes of Collection de Spécimens de Caractères, 1517-2004 (2006, Paris, edition des Cendres). [Google] [More] ⦿

Paul McPharlin

Author (1903-1948) of Roman Numerals Typographic Leaves and Pointing Hands (1942, The Typophiles, New York), in which he traces the history of the roman numeral, the ornamental leaf and the pointing hand. He says that his main sources for the former were "History of mathematics" (D.E. Smith, 1925) and "Introduction to the study of Latin inscriptions" (James C. Egbert, New York, 1896). [Google] [More] ⦿

Paul N. Hasluck

Author of How to Write Signs, Tickets, and Posters with numerous engravings and diagrams (Philadelphia, David McKay, 1907). PDF for that book. [Google] [More] ⦿

Paul Rand

New York-born graphic designer and art director (1914-1996). He is the author of Thoughts on Design, Design and the Play Instinct, The Trademarks of Paul Rand, and Paul Rand Miscellany, as well as numerous papers on design, art, typography. Paul Rand is best known for his corporate logo designs, including the logos for IBM, UPS, Enron, Morningstar, Inc., Westinghouse, ABC, and NeXT. He was one of the first American commercial artists to embrace and practice the Swiss Style of graphic design. Rand was a professor emeritus of graphic design at Yale University in New Haven, Connecticut where he taught from 1956 to 1969, and from 1974 to 1985. He was inducted into the New York Art Directors Club Hall of Fame in 1972, and was an inspiring speaker. In 1984 he was awarded the TDC Medal by the Type Directors Club in New York.

Interview. Art Chantry called him a corporate whore and explained it this way: He sort of invented the term in graphic design circles. He even designed logos that went on nuclear warheads. His final project was the Enron logo. Despicable, really.

His typefaces include Westinghouse Gothic and Westinghouse Gothic Light. Mac McGrew writes: Westinghouse Gothic is a contemporary condensed gothic of uniform line weight, developed in 1960 by graphics design consultant Paul Rand for Westinghouse Electric Corporation. It was derived from lettering Rand had done earlier for the company logotype and originally used on signs; that was condensed to save space with the long name. It is distinguished by the unusual st ligature, for use in the company name. In 1964 that company had matrices made by Monotype, with exclusive rights to the typeface for two years. A lighter version was cut a few years later.

MyFonts writes: A giant of American graphic design, with the logos of IBM, Westinghouse, American Broadcasting Co., United Parcel Service, and NeXT Computer to his credit. Author of several books on the graphic design process. From 1935 he ran his own studio in New York. From 1956 he was a professor of graphic design at Yale. He continued designing until well into the 1990s. In his 1999 biography of Rand, Stephen Heller writes: He was the channel through which European modern art and design Russian Constructivism, Dutch De Stijl and the German Bauhaus was introduced to American commercial art.

Author of these texts:

1947: Thoughts on Design. New York: Wittenborn.
1985: Paul Rand: A Designer's Art. New Haven: Yale University Press. Republished in 2016 in New York by Princeton Architectural Press.
1994: Design, Form, and Chaos. New Haven: Yale University Press.
1996: From Lascaux to Brooklyn. New Haven: Yale University Press.

Wikipedia page. Obituary. [Google] [MyFonts] [More] ⦿

Paul Shaw

Paul Shaw (b. Ann Arbor, MI, 1954) is a calligrapher, type historian, writer and typographer working in New York City, where he runs Paul Shaw/Letter Design, and teaches calligraphy and typography at Parsons School of Design; and history of graphic design and history of type at the School of Visual Arts. He has created custom lettering and logos for many companies, including Avon, Lord&Taylor, Rolex, Clairol and Estée Lauder. In 2012 Shaw was appointed editor in chief of Codex magazine.

On Ocober 15, 2018, he was attacked in New York City and severly injured. There is a GoFundMe site to help him pay his extensive medical bills.

Designer of the Kolo LP art nouveau family (with Garrett Boge) in 1996 at Letterperfect Design. He was inspired by the lettering of Koloman Moser, Gustav Klimt, Alfred Roller, and other members of the Secession, Vienna's turn-of-the-century Art Nouveau movement, in the design of Kolo. Garrett Boge and Paul Shaw made the fun handwriting font Bermuda LP in 1996. At LetterPerfect (which he started with Garrett Boge in 1996), he co-designed Kolo (1996), Tomboy, Beata, Donatello, Ghiberti, Pietra, Pontif (roman capitals), Cresci (roman capitals), Old Claude LP and Uppsala LP (1998) with Garrett Boge. At Agfa/Monotype, you can buy his calligraphic fonts Göteborg LP (1998), Stockholm LP (1998, with Garrett Boge), and Uppsala.

His books:

Coauthor with Peter Bain of Blackletter: Type and National Identity (1998).
Editor of The Eternal Letter Two Millennia of the Classical Roman Capital (2015, MIT Press, Cambridge, MA).
A Black Letter Primer (1981).
Letterforms (1986).
The Calligraphic Tradition in Blackletter Type (2001).
Helvetica and the New York City Subway System (2009).

At ATypI in Rome in 2002, he spoke about the revival of the roman capital in the 15th century, and lettering in fascist Italy. At ATypI 2017 in Montreal, he spoke on the evolution of Dwiggins's Electra. Paul Shaw has been honored with the 2019 SOTA Typography Award.

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

Paulfalco
[Paolo Cadeddu]

Italian designer who researches classical Italian typefaces, designs related digital fonts, and writes books about his findings.

His typefaces include

Revivals of Alessandro Butti's Titano (1929) published between 2019 and 2021: Titano Inline, Titano Shadow, Titano Black, all captured in his Digital Titano family.
Digitizations of stencil fonts by Fausto Bassini originally designed between 1913 and 1940: Architettura, Cubitale 900, Imperiale, Duo, all done in 2021.
Neolt No 7 (2021). Based on a 1941 stencil font for architects and surveyors for floor plan titling.
Highalto (2013).
He also designed the Italian art deco fonts Decoita, Rovdeco, Decorabile, and Decolilla, the display typeface Hopifa, and the experimental typefaces Balor, Fusion Liqid and Penguin.

Author of L'Italia nascosta---Oggetti, grafica e caratteri usi e costumi (2022) (translated: Hidden Italy---Graphic objects and typefaces, uses and customs). This book tells the story of Alessandro Butti's Titano font and other types derived from the shapes of the 1930 italian stencils. [Google] [More] ⦿

Paulo Heitlinger

Portuguese author of Tipografia: origens, formas e uso das letras (2006, Paulo Heitlinger, Lisbon) and Alfabetos, Caligrafia e Tipografia (2010, Lisbon). Born in Lisbon, he studied nuclear physics in Germany. He lectured on communication design at the Universidade do Algarve. His pages (in Portuguese) are quite complete, with a great glossary, a beautiful section on the history of type, a mag called Cadernos de Tipografia, links to type design in the world in general, and in Brazil, Spain and Portugal in particular, and more general information on type. Font-making how to. Useful timeline of 16th century writing manuals. An absolute must. He has also created or revived a number of typefaces, which can be bought on-line.

An incomplete list of his typefaces:

Sinalética: A sober serif typeface for excellent legibility.
CantoneirosRegular (2008), Cantoneiros-Thin (2008): art deco / avant-garde.
Transito (2008): the famous 1930s stencil face of Jan Tschichold at Lettergieterij Amsterdam, with reinvented forms for f, g and y. [Note: the pic on the right-hand-side is Transito, as grabbed from Heitlinger's page---the grammatical error is not mine.]
Sturmblond-Medium (2008): Revival of simple lettering of Herbert Bayer.
Bayer Condensed: Revival of simple lettering of Herbert Bayer.
Imperatorum (2008)
Ratdoldt (2008): a blackletter typeface made from scans, and attributed to Erhard Ratdolt.
Valentim (2008): a blackletter typeface made from scans of the book Vita Christi. Named after Valentim Fernandes, a printer active in Lisbon, ca. 1480-1519.
Incunabulo Normalizado (2008): a blackletter typeface made from scans of the book Vita Christi.
Uhertype-Medium (2007): Revival of another Bauhaus era typeface, by Joost Schmidt.
Arkitekto: A Bauhaus style piano key font based on an image found in a book of Kurt Weidemann.
His Spanish collection includes Bastarda de Francisco Lucas, a versão espanhola da Cancelleresca italiana do século XVI. Um ponto alto da Caligrafia del Siglo de Oro.
Redondilla de Francisco Lucas, a penmanship font based on Arte de Escribir (1577).
Gótica Rotunda Gans.
Juan Bravo, based on azulejos (tiles).
Segovia, a titling font.
Centauro, a decorative font.
Kurrsiva, inspired by scripts from the 1960s.
Deco de Avila, an avant-garde face.Bertrand (2008): an art deco typeface patterened after the shop sign of Livraria Bertrand in Chiado, Lisbon.
Rotunda:
Visigotica: based on the calligraphic writings of the 10th and 11th centuries. This font has many alternates. Based on scans of a text of the 10th century called Actas de Concilio de Caledonia de 451. Styles: Imperatorum, Isidoro.
Typefaces based on the calligraphic work of Francisco Lucas, 1570: Bastarda de Lucas Italic (2009), Bastarda de Lucas (2009), Redondilla de Lucas (2009).
Uncialis (2009): a Lombardian type based on a 16th century model of Giralde de Prado.
Escolar Portugal (Fino, Forte) and Escolar Brasil are school fonts of the "upright connected script" style that were made in 2008. For more on didactic fonts, read the booklet Caderno de Tipografia e Design Nr. 14 (March 2009).

[Google] [More] ⦿

Paulus Franck

Designer of a set of curly baroque initials in Nürnberg in 1601, published in Schatzkammer. Allerhand Versalien. The original book was scanned in at the BSB (Bayerische Staats Bibliothek and can be downloaded.

Joseph Kiermeier-Debre and Fritz Franz Vogel published a facsimile that can be seen at Google Books and at Amazon (Ravensburger Buchverlag, 1998).

A penmanship book due to Paulus (or Paul) Franck from 1655 under the title Kunstrichtige Schreibart: allerhand Versalien oder AnfangsBuchstaben der teütschen, lateinischen und italianischen Schrifften aus unterschiedlichen Meistern der edlen Schreibkunst zusammen getragen was published in 1655 in Nürnberg by Paul Fürst (ca. 1605-1666) and printed by Christoph Gerhard (1624-1681). This text, of which some pictures can be viewed here, consists largely of hyper-ornamental blackletter initials.

Franck's über-ornamental decorative caps were revived digitally in several typefaces:

PaulusFranckInitialen (2002) was created by Dieter Steffmann based on those initials, but they are apparently incomplete.
Paulo W (Intellecta Design) created the font Paulus Franck 1602 (2006).

Open Library link. [Google] [More] ⦿

Pedro Guitton

Author of A homage to typography (2009, Index Book, Barcelona). [Google] [More] ⦿

Book with many samples of alphabets, published by Blandford Press, Ltd., London, 1929. Several typefaces served as models for digital designs by Nick Curtis. [Google] [More] ⦿

Pepe Gimeno

Spanish designer (b. Valencia, 1951) of the handwriting font Warhol, with slight calligraphic influences (possibly based on the handwriting of Andy Warhol's mother, Julia Warhol). It won an award at the TDC2 2001 competition (Type Directors Club). He also designed the curly FF Pepe family (2002). Since 1987 he has worked on a free-lance basis specialising in graphic communication, corporate identity, signposting and publication design. He has taught graphic design at the C. E. U. San Pablo University, Valencia.

Author of Cali Typography (2002, La Imprenta-Comunicación Gráfica).

Behance link. Bio at FontFont. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿

Pepin Van Roojen

Author of Ornamental Type (Ramboro Books, 1996). Some pictures from this book are here. [Google] [More] ⦿

Percy J. Delf Smith

Or Percy Smith. British lettering artist. Percy John Delf Smith (1882-1948) trained at Camberwell School of Art under Edward Johnston and Graily Hewitt. He subsequently taught at the LCC from 1934-1938 and was Assistant Examiner in Lettering and Illumination to the Board of Education from 1939. At his Dorian (later Dorno) Workshop, he did the lettering for the Canadian National Vimy Memorial. His other work included lettering for County Hall, Broadcasting House and the Royal Institute of British Architects in London. Some of his work was digitally revived:

GC16 (2015-2016, Bold Decisions): a monospaced serif typeface that goes back to an undated plate by Percy Smith.
Look here for initials designed by Percy Smith for the Curwen Press.
Ornaments 6 AR (2010, Ari Rafaeli) is based on designs for the Curwen Press by Edward Bawden and Percy Smith.
Lettering done at 55 Broadway, S.W.1, London, led Matthieu Cortat (Nonpareille to develop a digital all-caps typeface called Petit Serif (2013). It has all the features of an engraved alphabet.

Books by Percy Smith include

Lettering: A Plea (London: Dorian Workshop & Studio, 1932).
Lettering: a Handbook of Modern Alphabets (London: A & C Black, 1936).
Civic and Memorial Lettering (1946).

In addition, he Percy Smith contributed to several books including Penmanship of the XVI, XVII & XVIIIth centuries, edited by Lewis F. Day (1911), and Lettering and its uses to-day (Cantor lectures: Royal Society of Arts; 1936). [Google] [MyFonts] [More] ⦿

Peter Alma

Dutch artist, b. Medan, Indonesia, 1868, d. 1969. Graduate of the Royal Academy of Art, The Hague in 1904. On the recommendation of Franz Seiwert he was employed by the Gesellschafts-und Wirtschaftsmuseum working with Gerd Arntz and Augustin Tschinkel on the development of Isotypes. He travelled to Moscow with Arntz and Otto Neurath to work at IZOSTAT to help them draw up pictorial images for statistics of the Five Year Plans. Many of his pictographs can be seen in Wim Jansen's book, Beeldstatistiek Peter Alma (De Buitenkant, 2015). [Google] [More] ⦿

Peter Bain
[Peter Bain Design (was: Incipit)]

Peter Bain Design (was: Incipit)
[Peter Bain]

Incipit, or Peter Bain Design, was Peter Bain's type and graphic design studio in Brooklyn, New York. It closed down gradually between 2007 and 2010.

Peter Bain received his M.F.A. in Design: Visual Communications from Virginia Commonwealth University. He was type director at Saatchi&Saatchi Advertising in New York, and taught at Parsons/The New School for Design and Pratt Institute in New York. After Saatchi, and before Incipit, he was freelancing. After Incipit, he relacted briefly to Virginia to attend VCU and then went on to Mississippi, where he was Assistant Professor of Art, Graphic Design at Mississippi State University. He lived then in nearby Starkville, MS. He is currently located in Birmingham, AL.

He is best known for his wonderful book Blackletter: Type and National Identity (1998, with Paul Shaw).

His photocomposition display typefaces were reedited and available in reproduction proofs (for a short time). The photocomposition display typefaces are in two-inch film format, as formerly used on machines such as the Typositor and Filmotype. They are being held in storage, and are no longer listed for that reason. PDF format list. Text format of Bain's file. Bain says he built this from the Typositor type libraries formerly offered by Techni-Process Lettering and Pastore DePamphilis Rampone, which he bought at an auction. Report on his talk in London on blackletter type (2003). MyFonts sells the 4-weight Josef Albers-inspired stencil family Gridiot (2003-2011). His thoughts about the art of Albers: Remember, any idiot can design a typeface on a grid: Gridiot.

Speaker at ATypI 2006 in Lisbon. Speaker at ATypI 2013 in Amsterdam. MyFonts link. Behance link. Peter Bain Design. [Google] [MyFonts] [More] ⦿

Peter Bezdek
[Rudolf Koch]

Peter Bilak
[Typotheque]

Peter Dawson

Author of Type Directory (2019, Thames & Hudson). This 672-page book reviews 1800 typefaces and has a foreword by Tobias Frere-Jones. [Google] [More] ⦿

Peter Enneson

Peter Enneson is an Art Dirctor and Graphic Designer living and working in Toronto. His work has been awarded in design competitons sponsored by the National Magazine Awards Foundation, the Art Directors Club of Toronto, and others. Recently, his Typographical exploration of Genesis was selected for inclusion in Type Culture, a Canadian competition. Peter Enneson is preparing a translation of Gerrit Noordzij's De streek: theorie van het schrift, and a book based on his ATypI 2003 presentation on Henk Krijger's work. He holds a Masters of Philosophy degree in Aesthetics. His writings include a piece on Henk Krijger's 1972 painting The survivors, and a reply to Peter Burnhill's Type spaces in Typography Papers 4, 2000.

In 2014, in collaboration with Patrick Griffin of Canada Type, he published a meticulous revival of Henk Krijger's Raffia Initials (1952, Lettergieterij Amsterdam, where it is known as Raffia Initialen) that is based on photcopies and digtal images of the master drawings. Raffia Initialen was distributed in North America by Amsterdam Continental Types and Graphic Equipment Inc. in electrotype format, and later through VGC on strips of typositor film. Currently licensing rights are owned by the Linotype Corporation. The master drawings were located in 2001 by longtime Lettergieterij Amsterdam employee Henk Gianotten, and are now part of the Special Collections division of the Univeriteitsbibliotheek of the University of Amsterdam. [Google] [More] ⦿

Peter Gericke

A true artist, designing wonderful Caps and initials in München. I really like the erotic initials. None of these seem to have been made into fonts though. Author of Typografische Magazin (1995), a book showing full character sets for 94 Fraktur typefaces. [Google] [More] ⦿

Peter Holliday

Art and design historian. Author of Edward Johnston: Master Calligrapher (2007, Oak Knoll Press and the British Library). Oak Knoll's blurb: This book looks afresh at Johnston's work and legacy. It considers his friendships and his philosophy, the people he worked with and the influence he had on them and others. Importantly it gives details of the setting up of the craft community at Ditchling in Sussex and the craftspeople who were all drawn to the village as a result. [Google] [More] ⦿

Peter Karow

Born in Stargard, Pomerania, in 1940, Peter Karow studied physics at the University of Hamburg. After receiving his PhD in 1971, he co-founded the company URW Software & Type GmbH in Hamburg (URW stands for Unternehmensberatung Rubow Weber, after the first two of the founders, Rubow and Weber [Karow being the third one], and was succeeded by URW++). Peter Karow was the technical director at URW. In 1975, his Ikarus (typography software) was introduced to members of Association Typographique Internationale in Warsaw. Afterwards, Ikarus was used all over the world for the digitization of fonts. Between 1975 and 1995, URW digitized a large number of fonts for companies such as IBM, Siemens, Microsoft, Apple Inc., Adobe, Linotype, Monotype, Rudolf Hell and numerous Japanese companies.

Starting in 1988, Karow and Zapf cooperated on the hz program for micro-typography of texts.

Karow published Digitale Schriften. Darstellung und Formate (1992, Springer, Berlin), Digital Typefaces (Springer, 1994), Typeface Statistics (URW Verlag, Hamburg, 1993), and Font Technology (Springer, 1994), and is an expert in font technology.

In 2013, DTL published Karow's booklet Digital Typography & Artificial Intelligence. In 2003, he was the first recipient of the Dr. Peter Karow Award established by DTL to honor people with extraordinary and innovative achievements in the field of font-related technology. [Google] [MyFonts] [More] ⦿

Peter Wegner

Author of American Types, 1997. [Google] [More] ⦿

Petra Docekalova
[Petra-D Type Foundry]

Petra Eisele

Professor of Design History and Design Theory at the University of Mainz. In 2016, Petra Eisele, Annette Ludwig and Isabel Naegele published Futura: Die Schrift (in German). The English version Futura: The Typeface (Laurence King) followed in 2017. [Google] [More] ⦿

Petra-D Type Foundry
[Petra Docekalova]

Type foundry in Prague, Czechia, est. by Petra Docekalova, b. 1991, Ostrava, Czechia. Petra studied at the UMPRUM Academy of Arts, Architecture and Design in Prague and is a member of editorial team of TYPO9010, a book about Czech digital typefaces created between 1990 and 2010. Her graduation project consisted of a book about Jaroslav Benda and his typefaces. In 2014, she was working as a type design intern at Suitcase and Briefcase Type Foundry, and started her own typefoundry later that year. In 2025, she contnued under the name Petra-D Type Foundry.

Petra studies at the Type Design and Typography studio of the Academy of Arts, Architecture & Design in Prague and intends to write a PhD thesis about New Script Forms.

Her first commercial typeface, Monolina (2014), is a contemporary monolinear script that is based on the contrast between classical (beautiful) calligraphy and quickly jotted manuscript (sketches). As all styles are based on the single stroke of a round nib pen, the letter is rounded.

At Petra-D Type Foundry in 2025, she started with seven script / signage fonts---PD Americano, PD Donut, PD Everyday, PD Kakabus, PD Monolina (updated), PD Monolina Brush, and PD Writer---as well as six custom fonts.

Petra received the TDC Award of excellence 2017 for her diploma project dealing with Czechoslovak calligraphy and new hand lettering forms. Speaker at ATypI 2019 in Tokyo. [Google] [MyFonts] [More] ⦿

Pettingill & Co

Publishers of Pettingill Type Book (1901). [Google] [More] ⦿

Phil Baines

British graphic designer who was born in 1958 in Kendal, Westmorland, and died in 2024. Baines graduated from St Martin's School of Art in 1985 and the Royal College of Art in 1987. He worked as a freelance graphic designer, was Professor of Typography at Central Saint Martins College of Art&Design (now a university) in London (from 1991 until retiement), ran Phil Baines Studio, maintained Public Lettering (about type found in cities), and was Typographic Advisor to the Central Lettering Record CD-Rom project.

He designed FUSE Classic 1, Can You (1989), Ushaw (FUSE 8, FontShop, 1993), Toulon (1994), Horncastle (1994), VereDignum LT Std in Alternate, Decorative and Regular weights (2003, Linotype Taketype 5 collection) and Can You Read Me (FUSE 1, 1991).

His pages on public lettering in London.

His books include Signs, lettering in the environment (with Catherine Dixon, 2003) and Type&Typography (2002, with Andrew Haslam).

Author of Rookledge’s Classic International Typefinder (Christopher Perfect, Gordon Rookledge, Phil Baines).

At ATypI 2007 in Brighton, he spoke on From the Motor Car Act to motorways. He has also a good reputation for taking people on typographic city tours, as he did in 2006 at ATypI in Lisbon, and at ATypI 2010 in Dublin. Linotype link. FontShop link. Speaker at ATypI 2010 in Dublin in which he explained how he and Catherine Dixon produced the lettering for the Pozza Palace in Dubrovnik on commission for the Serbian Orthodox Church.

Obituary in The Guardian. Local download of that obituary. [Google] [MyFonts] [More] ⦿

Phil May
[John Haddon & Co (or: Haddon-Caxton Type Foundry)]

Philip Bertheau

Author of "Buchdruckschriften im 20.Jahrhundert" (1995). [Google] [More] ⦿

Philip Cade
[Cade Type Foundry]

Philip Luckombe

Author of The history and art of printing (1771, W. Adlard and J. Browne for J. Johnson). Local download. [Google] [More] ⦿

Philip Meggs

Coauthor with Roy McKelvey of Revival of the Fittest Digital versions of classic typefaces (New York, 2000). Modern day revivals are compared with their metal-type originals.

Coauthor with Rob Carter of Typographic Specimens: The Great Typefaces (John Wiley, 1993).

Author of Typographic Design: Form and Communication (John Wiley, 2003, with Rob Carter and Ben Day) and Typographic Specimens: The Great Typefaces (Wiley, 1993).

Meggs died from leukemia on November 24, 2002. [Google] [More] ⦿

Philipp Luidl

Author of Die Schwabacher (2004), and Ornaments. Philipp Luidl and Günter Gerhard Lange coauthored Paul Renner (1978, Typografische Gesellschaft München). Philipp Luidl and Helmut Huber wrote Typographical ornaments (Poole, Dorset: Blandford Press; New York, N.Y.: Distributed in the U.S. by Sterling Pub. Co., 1985), a 368-page in-depth treatise on the subject. Cover page and selected images such as this end piece with tendril decorations, 17th century, this cast unit piece assembled from various elements, these great ornamented caps, and this vignette from the Academicism period. They divide type ornaments up by historical periods:

Gothic period (1150-1500): Abstract leaves, trefoil, quatrefoil, sixlobe tracery, paisley, interlace and plant motifs.
Renaissance (1500-1600): Fabulous creatures instead of animals, weapons, music instruments, hop, fig leaf and symmetry everywhere. In the early renaissance (1520-1570), we find grotesque (symmetry, leaves and creatures), mauresque (lines and forms only--no humans or animals!), and basketwork (geometrical designs made up from lines and bands). The late renaissance sees scrollwork (border ornament) and strapwork (wrought-iron).
Baroque period (1600-1730): Ornate, exaggerated, swepping curves, no corners. In the high baroque (1680-1715), straight curves are not tolerated, and curlicues appear in lettering.
Rococo period (1720-1780): From "rocaille" (shellwork), form is secondary to decoration. Shell shapes, flame shapes, some Asian patterns.
Neoclassicism (1770-1830): Sobriety, a nostalgic return to antiquity. Urns and garlands, running dogs, oval cartouches. The Empire style refers to Napoleon times, with laurels, lotuses, sphinxes, and pyramids dominating. Another substyle is Romanticism or Biedermeier, with domestic tranquility.
Academicism (1850-1900): Revival of Gothic, Baroque and Renaissance elements during this industrial growth period.
Art Nouveau (1895-1914): Based on Asiatic or folkloric plant and animal motifs, asymmetrical, planar, and reactionary. A truly new style.
Modernism: The geometrical patterns of the Art Deco movement (1920-1940), and other ornamental styles, often austere, reactionary, or experimental.

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Philipp Luidl

Prolific German author, who has written these books: "Hommage für Georg Trump" (1981, with G.G. Lange), Typographie, Herkunft, Aufbau, Anwendung (Schlütersche Verlagsanstalt, Hannover, 1989), Typographie (1998, Könemann Verlag, with Friedrich Friedl, Nicolaus Ott and Bernard Stein), Typographical Ornaments (Blandford Press, 1985, with Helmut Huber), Ornaments (1995, Bruckmann Verlag, with Helmut Huber and Lenore Lengefeld). He is docent in typography at the Akademie für das Grafische Gewerbe in Munich. [Google] [More] ⦿

Philipp Stamm

Swiss typographer and author, b. 1966, Schaffhausen. Coeditor with Heidrun Osterer of Adrian Frutiger - Typefaces The Complete Works (2009, Birkhäuser).

Creator in 1995 of PhonogrammeF (Feinherb, Visuelle Gestaltung). [Google] [More] ⦿

Phillip DiLemme

Author of Luminous Advertising Sketches (1953). [Google] [More] ⦿

Philobiblon

Type book listing, with links to Amazon. Web links for each book! Fantastic resource. [Google] [More] ⦿

Pierre Didot

Born in Paris in 1761, he died there in 1853. He was in the third generation of the Didot dynasty of printers, son of François-Ambroise Didot. Wikipedia: Pierre Didot was awarded a gold medal at the exhibition of 1798, for his edition of Virgil. By order of the Government, his presses were established in the Louvre, where they remained during the Consulate. The celebrated Louvre editions are Virgil, Racine, Horace, and La Fontaine. The board of examiners of the 1806 exhibition pronounced the Racine edition "the most perfect typographical production of all ages". Pierre Didot was also a poet and translated in verse the fourth book of Georgies, the first books of Horace's Odes, and wrote a number of original poems. Didot published this book in 1819: Specimen des nouveaux caractères de la fonderie et de l'imprimerie de P. Didot, l'ainé, chevalier de l'ordre royal de Saint-Michel, imprimeur du roi et de la chambre des pairs (Paris). [Google] [MyFonts] [More] ⦿

Pierre Le Bé

Author of Belle Prérie où chacun peut voir les lettres, tant romaine que de forme,..., (Paris, 1601). Jan Tschichold printed a facsimile at Dr. Cantz'sche Druckerei in Stuttgart Bad Cannstatt in 1974: Ein Buchstabenbuch von Pierre le Bé, Paris 1601---Modèles de lettres de Pierre le Bé, Paris 1601---A Book of Letter Forms by Pierre le Bé, Paris 1601. [Google] [More] ⦿

Pierre Moreau
[P. Moreau / Veuve Hérissant]

Klingspor link. FontShop link.

Pierre-Simon Fournier

French typefounder (b. Paris, 1712, d. Paris, 1768) also called Fournier le jeune.

His books. Author of Manuel Typographique, two volumes published in 1764 and 1766. Nijhof&Lee write: The first volume is one of the major source books on the processes of making printing types in the era of the hand press. Volume two includes a comprehensive specimen of the types and ornaments of Fournier's own foundry, most of which he cut himself, and as such provides a record of one of the most remarkable personal achievements in the history of typefounding. The books are available as a Darmstadt Facsimile reprint (1995). He published other theoretical works, such as a 1737 manuscript on the spacing between letters for readability.
His life. Son of typefounder Jean-Claude Fournier, he became famous as a type theoretician. He created his own point system in 1737, 14 years after the Frenchh government decreed that types should have standards. In 1739, he created his own foundry. The king of France, Louis XIV, commissioned new types for use during his reign, and turned to Fournier. Reproduction of these types by others was not tolerated. And so, Fournier modèles des caractères were in use throughout Louis XIV's reign. They had huge contrasts (after all, they just predated the outbreak of didones) and were crammed with rococo ornaments. Other contemporaries elsewhere, such as J.M. Fleischman and J. Enschedé, started imitating Fournier's style. In the 1750s, his career was at its peak. He advised royalty in Sweden and Sradinia on types, and set up a printing shop for Madame de Pompadour. He developed musical types in cooperation with J.G.I. Breitkopf in 1756. But other printers thoroughly disliked Fournier. There were several literary battles between rival typefounders, such as between Gando and Fournier, and between Ballard (a music symbol typfounder who held a monopoly before Fournier in that area) and Fournier. Fournier's type foundry existed until the 19th century.
His typefaces. The Fournier MT family by Monotype (1924-1925) was based on the types cut by Pierre-Simon Fournier (ca. 1742) and was called St Augustin Ordinaire in Fournier's Manuel Typographique. These were the firtst transitional typefaces after the privately owned romains du roi. Mac McGrew: Fournier is an aristocratic roman typeface which had its inception in letters engraved and cast by Pierre Simon Fournier, a famous mid-eighteenth-century French typefounder. It is transitional, almost modern, in character, with a distinct French flavor, but with more grace and style than traditional French oldstyle designs. This modern character influenced the later work of Bodoni. This adaptation was made by English Monotype in 1925, and copied by Lanston Monotype in 1940. The specimen of the roman shown here is from English Monotype, in the absence of a good American specimen, but the italic is from Lanston. Narcissus-Roman (1995, Font Bureau) is based on a 1745 design of Simon Pierre Fournier, and a 1921 version of it called Narcissus by Walter Tiemann for Klingspor, and was digitized by Brian Lucid in 1995. Jim Spiece's version is called Narcissus SG. In 1768, he designed an ornamental all caps face, which Peignot produced as Fournier le Jeune. More elaborate caps were added by ATF in the 1920s, and the current digital version by P22/Lanston, also called Fournier le Jeune, is based on that [see LTC Fournier Le Jeune]. Alan Jay Prescott created APT New June (1996) based on Fournier le Jeune. In 2007, Tjorbjörn Olsson (T4) created Museum Fournier, inspired by a set of Rococo capitals designed by Pierre Simon Fournier le Jeune, ca. 1760. The matrices are part of a set imported to Sweden by J.P. Lindh in 1818 from Breitkopf&Härtel in Leipzig, Germany. They are now in the Nordiska Museum in Stockholm. Jas Rewkiewicz's Fournier RD (2007) is an interpretation of the famous Fournier typeface. The Castcraft version of Fournier is called OPTI Fourquet. Joshua Darden's Corundum Text (2006) and typeface Griesshammer;s free font Source Serif (2014, Adobe) are also based on Fournier. The ambitious PS Fournier (2016, Stéphane Elbaz) is perhaps one of the best digital revivals. At B&P Swiss Typefaces, François Rappo published New Fournier (2011) based on the typography of Pierre-Simon Fournier. It comes in 24 styles.

Pauline Nuñez graduated in 2007 from Ecole Estienne with a thesis entitled Pierre-Simon Fournier, typographe absolu, typographe accompli?.

Publications by Pierre-Simon Fournier dit le jeune:

Epreuve, de deux petits caractères. Nouvellement gravés Et exécutés dans toutes les parties Typographiques, par Fournier le jeune, Graveur & Fondeur de Caractères d'imprimerie (1757, Paris). Local download.
Dissertation sur l'origine et les progrès de l'art de graver en bois pour éclaircir quelques traits de l'histoire de l'imprimerie et prouver que Guttemberg [sic] n'en est pas l'inventeur (1758). Local download.
De l'origine et des productions de l'imprimerie primitive en taille de bois, avec une réfutation des préjugés plus ou moins accrédités sur cet art, pour servir de suite à la dissertation sur l'origine de l'art de graver en bois (1759, Imprimerie Barbou, Paris). Local download.
Observations sur un ouvrage intitul&eacutye; Vindiciae Typographicae,pour servir de suite au traité De l'origine et des productions de l'industrie primitive en taille de bois (1760, Imprimerie Barbou, Paris). Local download.
Remarques sur un ouvrage intitulé: Lettre sur l'origine de l'imprimerie, etc. pour servir de suite au Traité De l'Origine et des productions de l'Imprimerie primitive en taille de bois (1761, Imprimerie Barbou, Paris). Local download.
Traités historiques et critiques sur l'origine et les progrès de l'imprimerie (1763, Imprimerie Barbou, Paris). Local download.
Les Caractères de l'imprimerie (1764, Paris). Local download.
Manuel typographique utile aux gens de lettres (1764-1766, Paris). Volume I. Volume 2. Facsimile by Jacques André. Local download of the facsimile. Local download of volume I. Local download of volume II.

View some digital typefaces based on designs by Fournier. [Google] [MyFonts] [More] ⦿

Pierre-Simon Fournier: Bibliography

This bibliography is on the basis of the study of Jacques André (Rennes, France), who placed a facsimile of Pierre-Simon Fournier's Manuel typographique (1764 and 1766) on his web page.

P. Beaujon, Pierre Simon Fournier 1712-1768, and XVIIIth Century French Typography. London 1926
Allen Hutt, Fournier the Compleat Typographer, London 1972 (published in the USA by Rowman and Littlefield, Totowa, NJ).
Bertram Schmidt-Friderichs, Pierre-Simon FOURNIER (Jacques Damase éiteur, Paris, 1991).
Fernand Baudin, Pierre-Simon Fournier: la typographie absolue, in L'effet Gutenberg, éditions du cercle de la librairie, 1994, pp. 213-240.
Jeanne Veyrin-Forrer, Simon-Pierre Fournier, successeur de Fournier-le-jeune, in La Lettre & le Texte – Trente annés de recherches sur l'histoire du livre, Collection de l'Éole Normale Supéieure de Jeunes Filles, No34, Paris, 1987.
The Manuel Typographique of Pierre-Simon Fournier le jeune, together with Fournier on Typefounding, an English Translation of the Text by Harry Carter, in facsimile, with an Introduction and Notes by James Mosley. Three volumes. Volume 1 is Manuel typographique (1764). Volume 2 is Manuel Typographique (1766). Volume 3 is Fournier on Typefounding (1930). Printed in Germany by the Lehrdruckerei Technishe Hochschule Darmstadt
Fred Smeijers, Counterpunch---making type in the sixteenth century, designing typefaces now, Hyphen Press, London, 1996.

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Pieter L. Folmer

Book seller in Groningen, The Netherlands, who published the anonymous lettering model book Letter-album: verzameling van de nieuwste lettersoorten ten dienste van architecten, huisschilders & steenhouwers (1885-1886). According to Mathieu Lommen, Folmer borrowed / copied heavily from Ecritures modernes (1885, Emil Frankes, published by Orell-Füssli & Co in Zürich)

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿

Pieter van Looy

Drawing and lettering high school teacher in Haarlem (1853-1930) who studied at the Rijksakademie van beeldende kunsten in Amsterdam. He published the lettering model book Letters en hare grondvormen (1885, Scheltema & Holkema, Amsterdam). Remarkable in this book is an example of the Dutch krulletter found on the windows of cafes in Amsterdam in the 20th centurys---the Oud Hollandsche Schrijfletter that has its roots in the 17th century Dutch neorenaissance.

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿

Pilar Cano
[Letterjuice]

P.K. Thomajan

Author of American Type Designers (1952). [Google] [More] ⦿

Plakatschriften

A poster typeface book by Schelter & Giesecke (Leipzig, 1927). Scans by Jens Jørgen Hansen. Typefaces include Nymphe, Nathan, Naxos and Naufikaa. [Google] [More] ⦿

Poem Editions (or: Atelier Jerome Knebusch)
[Jérôme Knebusch]

Poem is an independent publishing initiative related to text, type and typography directed by Jérôme Knebusch and located in Frankfurt am Main. Knebusch, who also runs Atelier Jerome Knebusch, is a French type designer who graduated from l'École nationale supérieure d'art de Nancy and from l'Atelier national de recherche typographique. In 2008, he started teaching graphic and type design at ESAL (Ecole Supérieure d'Art de Lorraine) in Metz. He also taught at National Institute for Typographic Research, Nancy, France.

In 2012, he designed the sans family Instant, which could be bought from BAT Foundry, and, since 2014, directly from his own foundry, Knebusch. In Instant, each style corresponds to a speed or style of writing.

After setting up Poem Editions, he designed Almost Roman and Almost Gothic (2012-2019). Almost sails between gothic and roman. All fonts take their inspiration from the period of 1459-1482 with Gotico-Antiqua typefaces like the Durandus (of Fust & Schöffer), the first type to present a humanistic tendency, probably based on the hand of Petrarch. A few years later Sweynheim & Pannartz used a type in Subiaco which some consider to be the first roman although gothic influences remain clearly visible. Roman type was finally defined in 1469-1470 in Venice by the de Spira brothers and Nicolas Jenson. Almost was awarded with the Certificate of Typographic Excellence in 2020 by the Type Directors Club.

If (2017-2020) was developed by Jerome Knebusch and Constantin Pfeiffer. They write: Based on Futura Fett, released by the Bauer Foundry in Frankfurt in 1928, the type was pushed to extreme blackness without loosing its historical reference nor becoming a caricature. Decisions Paul Renner took to achieve maximum boldness like opening the counters of some letters were taken even further. The typeface, designed by Constantin Pfeiffer & Jérôme Knebush, was initially created during a workshop at the Gutenberg Museum Mainz on the occasion of the "Futura. Die Schrift" exhibition in 2017.

Editor of Gotico-Antiqua, proto-roman, hybrid, 15th-century types between gothic and roman (2021, Atelier National de Recherche Typographique). This text has papers by Olivier Deloignon, Riccardo Olocco, Martina Meier, Nikolaus Weichselbaumer & Mathias Seuret, Dan Reynolds, Christopher Burke, Ferdinand Ulrich, Rafael Ribas & Alexis Faudot, and Jérôme Knebusch, and a foreword by Christelle Kirchstetter and Thomas Huot-Marchand. Knebusch writes about it: The book brings together researchers from the fields of typography, palaeography and incunabula studies, with a particular focus on type and letterforms. The relatively understudied period---after Gutenberg and before the consolidation of Jenson's model---extends from the earliest traces of humanistic tendencies to pure roman type, including many cases of uncertain or experimental design, voluntary hybridisation and proto- or archaic roman. In 1459 in Mainz, Johann Fust and Peter Schöffer printed the Rationale Divinorum Officiorum by Guillaume Durand, using a typeface (now known as Durandus) that looked like no other before. From that point, we can follow a wide variety of developments, partly related to the travels of early printers from the Rhine area to Italy and France. By extension, the private press movement initiated by William Morris and Emery Walker at the end of the nineteenth century in England, revived some of those typefaces before they were once more largely forgotten.

Speaker at ATypI 2017 Montreal: Halbgotische, Gotico-Antiqua, Fere-Humanistica.

Link for Atelier Jerome Knebusch. [Google] [MyFonts] [More] ⦿

Polka Design / Letterfontein
[Joep Pohlen]

Polka Design is a Dutch book design, graphic design and publishing house, run by Joep Pohlen, Dennis Schmitz and "Egor". Joep Pohlen (Roermond) and Geert Setola published Letterfontein (1994). Joep writes: We printed about 15,000 copies. In 2002 I began rewriting and expanding the book. Geert Setola did not take part anymore in this huge job where the content went from appr. 15,000 words to 150,000 words. The first Dutch print in november 2009 was sold out in a couple of weeks and in march 2010 the reprint appeared. In 2010 Letterfontein got also a red dot award and a certificate for high design quality form the Type Directors Club New York (TDC). It took about a year to get it well translated in the different languages for Taschen Publishers. For the English version we asked John A. Lane to proofread it. For the Spanish version Albert Corbeto did the proofreading. So, the other language versions: Letter Fountain (2011), Fuente de Letras (Sp), La Fontaine aux Lettres (Fr) and Letterfontäne. A new edition appeared in 2011.

In 2013, Pohlen designed Calypso PF, a free version of Roger Excoffon's Calypso, ad quite different from all existing digital versions. He explains: Most of the typefaces ever made have been digitized. Calypso was no exception. I found and downloaded Calypso Boy from Scootergraphics (digitized by Marty Pfeiffer, 1997) and Calypso by Profonts (digitized by Ralph Michael Unger, 2005). Ralph Michael Unger has added numerals, a question mark, an exclamation mark, ligatures and a lot of other useful characters, making it a complete digital font. By comparing the capitals I saw that they where quite different and it seemed to me that they were based on the Calypso silkscreen-printed rub down Letraset version because the dots were not round like on the original drawings I had seen in several publications and advertising for this typeface. Of course the original drawings were also not exactly the same as the metal type. As earlier written the punches that were cut by the Benton pantograph were retouched and because of that there were differences compared with the original drawings. So the final design had to be found in the actual cast type. I went looking for this type and found the site of D. Stempel GmbH that got the original matrices of D. Stempel AG and all the takeovers Stempel made during their existence. One of them was Fonderie Olive. I ordered a set of newly cast type from the original Olive matrices and found out that it was indeed quite different from the digital fonts that I bought. At that time Marjolein Koper was working as an intern at our design studio Polka Design and I asked her to digitize Calypso. The result was better than the fonts I bought but still I was not satisfied. After she came back to work at our studio on a steady base we photographed the metal type with a Micro Nikkor on a D800 to get the sharpest enlargement we could get. With this pictures Marjolein established the exact angle of the grid and we decided to begin again from scratch. Although it still is not an exact reproduction of the original metal type it has more detail and it can match almost the big reproductions seen in the first advertising in the French printers yearbook Caractère Noël 1957 and recent publications with original drawings.

Letterfontein link. [Google] [More] ⦿

Pomax
[A Primer on Bezier Curves]

Precision Type Font Reference Guide

Portfolio of Ornate Penmanship
[Austin Norman Palmer]

Penmanship book by the Austin N. Palmer Company in Cedar Rapids, IA, probably published in 1896, and edited by Austin N. Palmer. It contains numerous hand-drawn alphabets. Contributors include F.A. Curtis of Hartford, CT (blackletter faces and a marking alphabet), F.B. Courtney (swashy capi tals), F.W. Martin of Boston (several blackletter alphabets, one of which is called Rapid German Text, and another is is for diploma filling), W.E. Dennis of Brooklyn, NY (a bird, his signature, Austin N. Palmer's name hand-printed), E.L. Brown of Rockland, ME (a bird, several calligraphic alphabets, a woody caps face, and several blackletter alphabets), G.N. Bretscher of New York (several blackletters, one of which is called Western Penman), G.W. Wallace (Normandie Script), W.C. Henning of Cedar Rapids, IA (swashy caps and a blackletter face). [Google] [More] ⦿

Powner

Publisher of Book of Alphabets (1946). [Google] [More] ⦿

Pracha Suveeranont

Author of 10 Faces of Thai Type and the Nation (2002), a book on Thai typefaces that focuses on its social history, and From Thai to Vernacular Thai (2011). From 2012 to 2014, he was an advisor for the National Discovery Museum. Recipient of the 2010 Silpatorn, a national award in Graphic Design from the Department of Arts and Culture.

As a designer he worked at SC Matchbox for 20 years, and is a professor at the Graduate School, Fine and Applied Arts Department, Chulalongkorn University. [Google] [More] ⦿

Three CDs with 5000 fonts from Adobe/Linotype, Agfa Type, Agfa Logos, Alphabets Inc., Andersen, Bear Rock, Bitstream, Carter&Cone, Diehl Volk, EmDash, FontBureau, TheFontCompany, FranklinTypeFound, Galapagos, HandcraftedFonts, Harris Design, Headliners Int., Intecsas, Int.Typeface Cor., Isis Imaging, Jack Yan&Ass., Key Borders, Lanston Type, Letraset, Letter Perfect, Monotype, NewYorkDesign, NIMX Graphics Page Studio, PolyType, Red Rooster, Russian Type, Christian Schwartz, Stone Type, Torah, Treacyfaces, [T-26], URW, Vanguard Media, ABC Design, Adagio, Addict Inc., Aerotype, Arthur Baker, Castle Systems, Coniglio, Design Lab, DS Design, Justified Type, Lunchbox Design, Maverick Design, mindCANDY, P22, Plazm Media, Psy/Ops Type, Richard Beatty, Synstelien Design. The book "Precision Type Font Reference Guide" by Jeff Level, Bruce Newman and Brenda Newman shows more than 13,000 typefaces. [Google] [More] ⦿

Priscila Lena Farias

Priscial Farias (b. 1964, Sao Paulo, Brazil) has a doctorate in communication from the Pontifícia Universidade Católica de Sao Paulo and was affiliated with the foundry Tipos do acaso. She is head of the design program at SENAC Sao Paulo, and professor at FAU, USP (University of Sao Paulo's School of Architecture and Urbanism), president of the Brazilian Information Design Society (SBDI), and editor of the book Fontes digitais brasileiras: de 1989 a 2001 (Sao Paulo: ADGBrasil/Rosari).

Author of Tipografia digital: o impacto das novas tecnologias (2AB Editora, 1998). At ATypI 2009 in Mexico City, she spoke on Brazilian vernacular type design and digital technologies. Biography. Speaker at ATypI 2010 in Dublin and at ATypI 2015 in Sao Paulo, where she reported on the defunct Brazilian type foundry, Funtimod. Klingspor link.

At [T-26] she designed Cryptocomix10, LowTech, Quadrada (1998), Seu Juca (2009, 3-d, hand-printed) and Nova (a text family started in 2002). She also designed Disneybats, Ruraldings and Juca. [Google] [MyFonts] [More] ⦿

Prix Fernand Baudin prijs

Annual prize for the best typography in a Belgian book. Named after Fernand Baudin. [Google] [More] ⦿

Progothics

Fraktur site run by Petra Heidorn and Dieter Steffmann (in German). Books on Fraktur. Tons of history. The fonts:

Fontsmith et.al.: Crusades Alternate
Petra Heidorn: Semper Idem (2001)
James Fordyce: Deutsch Gothic
Richard Gast: LeeBee Schwarz, Swedie Cruel
Iconian Fonts: Uberhölme
Manfred Klein: Broken Brains, Frax Initials, MKaslon Textura, Civilité Edges, Very Broken Frax, Fraxx Sketch Quill (2001, inspired by the work of Imre Reiner), Cowboy Caxton (2001), TShirts for Frax.
Graham Meade: Heidorn Hill, Labrit
Darren Rigby: Bayern
Mickey Rossi: Bongo Fraktur
Dieter Steffmann: Lautenbach
Tepid Monkey: Benegraphic
Derek Vogelpohl: Gothican, Iron Gothic, Ironsides
Matthew Welch: Fraktur Modern
Sara: Hilda Sonnenschein (2001)

[Google] [More] ⦿

Project BibOpera

Technical reports available from Project BibOpera, which is concerned with typesetting, document production, and typography. [Google] [More] ⦿

Psychedelitypes

A phototype book published in 1968 by Photo-Lettering. Images by Stephen Coles. [Google] [More] ⦿

PTF Gazette

Jean-François Porchez's great on-line newspaper about type. Great web page. Full of information. A must! Lots of links to books. [Google] [More] ⦿

Qiu Yin

Qiu Yin (b. 1962) is the Development Director of Founder Type in China, where he designed the Chinese typefaces FZ-YouHei and FZ-DaWei. He designed the identity (and font) for the 2010 GuangZhou Asian Games. His books on typography and calligraphy include ChouYin Pen Writing, ChouYin write foreign poem, Pen writing ancient calligraphy, Pen writing Lei Feng's diary, Pen writing famous foreign poem, and Copybook of famous words of advice. Speaker at ATypI 2016 in Warsaw on Fusion. Speaker at ATypI 2018 in Antwerp. [Google] [More] ⦿

QUALCOMM

A PDF file of Typography for Mobile Phone Devices: The Design of the QUALCOMM Sans Font Family (2005, Jared Benson, Ken Olewiler, and Nancy Broden). It describes the cooperation between Punchcut and QUALCOMM to design a new sans font. [Google] [More] ⦿

Quentin Margat
[Editions 205]

Qwerty Arts: Book Links

Book links at Qwerty Arts. Site under reconstruction. [Google] [More] ⦿

R. H. Munsch

Author of Recueil d' Alphabets à Dessiner (1951, Eyrolles, Paris). [Google] [More] ⦿

R. Panzani (Successeur)

At Editions Guérinet (Paris) in 1931, R. Panzani published Vignettes et Lettres Modernes, which showcases alphabets drawn by A. Bardi, L. Labbé, P. Picaud, J. Girault, M. Delahaye, Maison Plantin, and Ateliers Plumereau. [Google] [More] ⦿

Raban Ruddigkeit
[Typodarium 2009]

Ralf de Jong

In 2002, Friedrich Forssman and Ralf de Jong published Detailtypografie: Nachschlagewerk für alle Fragen zu Schrift und Satz (Verlag Hermann Schmidt). [Google] [More] ⦿

Ralf Turtschi
[Agenturtschi]

Ramiro Espinoza
[De Amsterdamse Krulletter]

Ramiro Espinoza
[Re-Type]

Redfield-Kendrick-Odell Co

Ramon Stirling

Spanish author of the calligraphy and penmanship book Bellezas de Caligrafia (1844, Joaquin Verdaguer, Barcelona). Stirling was active in Barcelona.

This book led to the development of various modern script typefaces, such as Alejandro Paul's Bellissima Script (2013). Ramon's influence can also be seen in Ramiro Espinoza's Medusa (2013). [Google] [More] ⦿

Raul Rosarivo

Author of Divina Proporcion Tipografica. [Google] [More] ⦿

Ray J. Matasek

Author of Beginner's Course in Show Card Writing (1924). [Google] [More] ⦿

Ray Nash

graphic art historian in Hanover, NH. Many say that Ray Nash's book American Penmanship, 1800-1850. A History of Writing and a Bibliography of Copybooks from Jenkins to Spencer (1969, Worcester: American Antiquarian Society) is the best bibliography on the subject. The book is 303 pages long. [Google] [More] ⦿

Rayan Abdullah

Type designer (b. 1957, Mosul, Iraq) who participated in the Linotype International Type design Contest in 2000 and lives in Germany, where he set up Markenbau in 2000. Author (with Roger Hübner) of Pictograms and Icons (2005, Herman Schmitz, Mainz) and Arabische Schriftkunst (1993, Hochschule der Künste Berlin). [Google] [More] ⦿

Rémi Jimenes

Author of Les Caractères de civilité: Typographie et calligraphie sous l'Ancien Régime (2011). [Google] [More] ⦿

Real Pen-Work

A penmmanship instruction manual with the subtitle Self-Instructor In Penmanship, published by Knowles & Maxim, Pittsfield, Mass., and St. Catharines, Ontario, Canada. PDF file. [Google] [More] ⦿

Reardon & Krebs

Publishers of Type Book (1955, San Francisco), a 300+ page book with specimens of the most important typefaces of that time. [Google] [More] ⦿

New York City-based publishers of these books:

A Printed Specimen of the Caslon Old Style Type. Being the first of a series of books showing the many beautiful types in the composing rooms of Redfield-Kendrick-Odell Co., Printers and Map Makers. NY: 1921.
A Printed Exhibit of Bodoni Type with Appropriate Ornaments. Being the second of a series of books showing the many beautiful types in the composing rooms of Redfield-Kendrick-Odell Co., Printers and Map Makers. NY: 1923.
An Exhibit of Garamond Type with Appropriate Ornaments. Being the third of a series of books showing the many beautiful types in the composing rooms of Redfield-Kendrick-Odell Co., Printers&Map Makers. NY: 1927.

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Reginald Orcutt

Author of Merchant of Alphabets (1945), d. 1965. Doug Wilson explains: It is a fascinating book published in 1945 about Orcutt's work and travels selling Linotypes around the world. As you can read in the attached image, he visited at least 77 countries in the first half of the 20th century and tells great stories of travel, adventure, and includes a bit of typographic history. I am personally fascinated by his description of travel in the days of steamships, clippers, and telegrams. The book is an auto-biography written in the charming, old-timey style of a travelogue. Orcutt comes across as an ambassador of Mergenthaler Linotype in the classiest of sense of the term. [Google] [More] ⦿

Reginald Salis Hutchings

Author (b. 1915) of A Manual of Script Typefaces (New York, Hastings House, 1965: see cover page). For pictures from this book, and a listing of script typefaces, go here. Text with the full list of script typefaces mentioned by Hutchings. He also wrote A Manual of Decorated Typefaces (New York, Hastings House, 1965). [Google] [More] ⦿

Renaissance Editions: Printing History

Discussions of books on the history of type. By David Wilson-Okamura. [Google] [More] ⦿

Renate Tost

Born in 1937 in Breslau, Germany, Renate Tost is now based in Dresden. She studied at the Hochschule für Grafik und Buchkunst in Leipzig. From 1961 until 1968, she worked towards a new school script in the DDR, culminating in her design, Schulausgangsschrift (SAS) in 1968, a typeface that was later digitized in 1990 by Typoart. She taught at the Paedagogischen Hochschule in Dresden.

Author of many books and articles, all in German and on the topics of school scripts or calligraphy. These include

Schreibunterricht (Berlin, 1977. Ninth edition, 1986). With Elizabeth Kaestner.
Die Schrift in der Schule (Leipzig, 1968).
Schrift und Schreiben in der Schule. In: Papier und Druck 11 (1970, Berlin), pp. 257-264.
Die Schulschrift-Kursiv. In: Schriftgestaltung, Schriften zur Kunsterziehung, ed. R. Kuhn, Bd. 22, Berlin 1971, pp. 46-60.
Vom Reiz der Norm. Stilmerkmale der Schulausgangsschrift, In: Die Grundschulzeitschrift 57 (1992, S. Seelze, pp. 8-10).
Kalligrafisches und andere Arbeiten auf Papier (CD-ROM) (Dresden, 2004).
Zeichen/Arabesken/Gesten. Arbeiten auf Papier (Dresden, 2007).

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René Knip
[Arktype (was: Atelier René Knip)]

Rob Dewey's list of books on graphic design

René Ponot

French type designer (b. La Houssaye, 1917, d. 2003) whose typefaces include Blason (1978), Continent (1959, Optype - Letterphot), Mopon (1965, Moreau - Lettrage Relief), Nil (1978), Psitt (1954, Fonderie Typographique Française), Castellane&Valensole (Fonderie typographique Française), Roncevalles (1955, Fundicíon Tipográfica Nacional), Solide (1958, Optype - Letterphot), Suresnes, Ulysse (1958, Optype - Letterphot), Uncialis (1950, Optype - Letterphot).

A quote from him: La typographie est un art précieux parce qu'elle forme le dernier revêtement de la pensée. Author of Louis Perrin et l'Énigme des Augustaux (Editions des Cendres, Paris, 1998). This book has a history of Perrin as a printer and typographer, with special attention to Perrin's Augustaux type. It contains two fold-out Augustaux type specimens and several examples of Perrin's printing in black-and-white, has a preface by Fernand Baudin, and is printed in Perrin type redesigned by L'Atelier National de Création Typographique in 1986. [Google] [More] ⦿

Re-Type
[Ramiro Espinoza]

Argentinian designer Ramiro Espinoza (b. Santa Fe, 1969) studied at the Universidad Nacional del Litoral in Santa Fe. He dabbled in fonts at his gorgeous (but now defunct) Jazz Futurezone site. In 2007, he founded Re-type, where he heads a group of designers including Yomar Augusto, Leo Beukeboom and Ricardo Rousselot. Ramiro graduated from the Type and Media's KABK (Den Haag) in 2004. He taught typography at the Universidad Nacional del Litoral, Universidad de Buenos Aires and the Escola d'Art i Superior de Disseny in Valencia, Spain. At FontShop International, he was in a team that converted more than 50 font families to OpenType. He freelances occasionally for David Quay's studio. He joined Type Network in 2017. He is currently located in Amsterdam. His typefaces:

Mabella (2001), a free font dedicated to the Argentinian feminist activist Mabel Bellucci. It was for some time available at Sudtipos but discontinued there. It is still at Dafont.
Bellucci (2008), a commercial redesign of Mabella.
The display font Mariabrug (2002). This too is no longer available--it was redesigned and marketed as Kurversbrug, one of the ReType's fonts. Kurversbrug (2007) is a revival of the famous letters appearing on Amsterdam's bridges: the letters were probably designed by Anton Kurvers (b. Den Haag, 23 July 1889; d. Amsterdam, 29 January 1940).
At Union Fonts: Lula (2002-2003).
Maitena (2003), a free font based on the hand of an Argentinian comic artist, Maitena Burundarena.
Lavigne (2004-2010): Lavigne Display is the first release of a type-family aimed at publications such as interior design and women magazines-anywhere a touch of distinction is to be desired. Lavigne Display won an award at TDC2 2010. Lavigne Display and Lavigne Text (a modern serif family) were both winners at Tipos Latinos 2010.
Tomate (2008) is a brush lettering / signage script font influenced by Goudy Heavyface Italic. It won an award at Tipos Latinos 2010.
Barbieri (2009) is a signage face.
Work on Severino (2004) has been abandoned.
Smidswater Italics (2009): Smidswater is a Dutch graphic design studio with offices in The Hague and Breda. They had a corporate font (designed by Paulus Nabbe and Onno Bevoort) but wanted to expand the package adding italics and light weights. Ramiro Espinoza was commissioned for this and now Smidswater Font is a complete set extensively used in the studio's indentity.
Bath (2010-2011) is a Dutch typeface developed with David Quay for the signage and orientation in the city of Bath.
Winco (2012) is a glyphic (flared, incise) type family created from scratch. Espinoza mentions Arpke Antiqua and Globus Cursive as indirect influences on his new type family. It won an award at Tipos Latinos 2012.
Krul (2012) is an interpretation of the Amsterdamse Krulletter style of calligraphic signage. This was presented at ATypI 2013 in Amsterdam. A book entitled Amsterdamse Krulletter by Rob Becker and Ramiro Espinoza was published by Lecturis.nl in 2014. The English edition, The Curly Letter of Amsterdam followed in 2015.
Dulcinea (2012), a chancery / penmanship typeface. He writes: Dulcinea looks at Spanish Baroque calligraphy's most extreme tendencies, and especially at some of those produced by the writing masters Pedro Diaz Morante and Juan Claudio Aznar de Polanco. These 17th and 18th century alphabets with their plentiful calligraphic flourishes represented a marked break with the harmonic and angular Renaissance Cancellaresca style. It was Morante who first introduced and popularized the use of the pointed quill in Spain, and although his famous text entitled Arte Nueva de escribir(first volume published in 1616) contains alphabets that have much in common with traditional broad nib Cancellaresca calligraphy, most of the examples therein are outgrowths of the new models put forward by the Italian master Gianfrancesco Cresci. The swashes are complex and intricate, but at the same time they feature a profusion of defects. Many of them sometimes come close to ugliness. However, these pages contain an artistic essence that bears a relationship to the ironic and sometimes somber character of Spanish Baroque.
Medusa (2013) is a delicate copperplate penmanship script based upon renowned master Ramón Stirling. Helped in the type production by Paula Mastrangelo, Ramiro looked very carefully at the original manner in which glyphs connected. This typeface will win awards. Well, I wrote the previous sentence on the day I first saw Medusa. Medusa won an award at TDC 2014. In March 2014, it won an award at Tipos Latinos 2014.
Laski Slab, co-designed with Paula Mastrangelo, won an award at Tipos Latinos 2014. It is based on Paula's thesis work in 2012. Ramiro Espinoza kept on developing that typeface and published Laski Sans in 2016.
In 2017, he published Guyot Headline (a revival of Françcois Guyot's types). Guyot Text followed later in 2017---it is very legible even at small print sizes and is a sturdy workhorse overall. Winner at Tipos Latinos 2018 of a type design award for Guyot. Guyot also won an award won an award at TDC Typeface Design 2018. In 2020, Guyot was selected as a typeface for Garcia Media's redesign of the major German finacial newspaper, Handelsblatt.
Reiher Headline (2018). A typeface family inspired by two fonts displayed in the famous Ploos van Amstel specimen, first printed in Amsterdam in 1767. The Reiher Headline romans were based on the handsome N° 1 Groote Paragon Romein, a rather condensed typeface whose punchcutter has not yet been identified. Reiher Headline's italics were based on the Aszendonica types attributed to Nicholas Kis. Several of the ornaments included in the Reiher types have been ascribed to J.F. Rosart. Espinoza further expanded the possibilities of his new family with Reiher Headline Open, a decorative inline version of Reiher Headline Bold. Reiher Headline was designed for magazine and newspapers.
Dejanire and Dejanire Headline (2019), a typeface family loosely inspired by an anonymous display typeface found in the type specimen of Claude Lamesle, published in Paris in 1742. It takes its name from Deianira, a Calydonian princess in Greek mythology and the wife of Heracles. Lamesle introduced it under the blah name of Gros canon deux points de gros romain. Ramiro Espinoza set out to improve Lamesle's typeface by fixing its flaws while preserving its freshness. It was followed in 2020 by Dejanire Sans and in 2022 by Dejanire Text and Dejanire Jewel (a baroque, profusely ornate set of capitals inspired by a set of titling capitals found in a religious decree printed in 1800 by Pedro Battle in Barcelona).
Kranto (2021). A 144-style sans serif typeface inspired by British and German grotesque typefaces from the first half of the twentieth century. It features weights from thin to black, widths from regular to condensed, and x-heights from small to large (called text, normal and display).

MyFonts interview in 2012. Speaker at ATypI 2018 in Antwerp. Fontspace link. Dafont link. Behance link. Type Network link. [Google] [MyFonts] [More] ⦿

Richard Southall

British font software specialist and type designer, 1937-2015, who was universally liked for his modesty even though he knew more than most about the theoretical and technical aspects of type design in the twentieth century. A graduate in natural sciences from Cambridge (1960), he joined Crosfield Electronics Ltd in London, where he was responsible for producing photomatrices for the Photon-Lumitype direct-photography photocomposing machines sold by Crosfield in Europe. From 1974 to 1983 he was a lecturer in the Department of Typography and Graphic Communication at the University of Reading. Between then and the end of the decade he worked in California and France, at Stanford University (where he worked with Don Knuth from 1983-1986 on the Metafont project), Xerox Palo Alto Research Center and the Université Louis-Pasteur in Strasbourg. Since then he has been a consultant type designer with the American Mathematical Society, BT, the Civil Aviation Authority, National Air Traffic Services and US West Dex (now Qwest Dex).

Author of Printer's Type in the Twentieth Century Manufacturing and Design Methods (British Library Publishing, 2005; Sumner Stone's review of this book).

He wrote many type-technical articles such as Designing a new typeface with METAFONT (Springer Lecture Notes in Computer Science, vol. 236, pp. 161-179, 1986), Shape and appearance in typeface design (in J H Miller (ed) Protext III: Proceedings of the Third International Conference on Text Processing Systems, 1986), Interfaces between the designer and the document (in J. André, R. Furuta and V. Quint (eds) Structured Documents, 1989), Problems of font quality assessment (with Debra Adams: in Jacques André and Roger D. Hersch (eds) Raster Imaging and Digital Typography, 1989), Presentation rules and rules of composition in the formatting of complex text (in Rosemary Sassoon's Computers and Typography, 1993), Character description techniques in type manufacture (in Rosemary Sassoon's Computers and Typography, 1993), Character generator systems for broadcast television (in Information Design Journal 2:1 (1981), Metafont in the Rockies: the Colorado typemaking project (in Roger D Hersch et al (eds) in Electronic Publishing, Artistic Imaging, and Digital typography, 1998), and Prototyping Telephone-directory Pages with TEX (in: Cahiers GUTenberg 28-29, pp. 283-294).

With Ladislas Mandel, he designed the telephone directory typeface Colorado in 1998 for US West. It is one of the few examples of a practical application of a typeface coded in Metafont.

Obituary by Gerry Leonidas. [Google] [MyFonts] [More] ⦿

Rick Cusick

Calligrapher, b. Stockton, CA. Art director of Letter Arts Review magazine since 1992. Designer of Nyx (1997-2002, Linotype, Adobe). Presently, Rick was Manager of Font Development at Hallmark Cards near Kansas City, MO, until some time between 2012 and 2016. Nyx won an award at Bukvaraz 2001.

Author of What Our Lettering Needs The Contribution of Hermann Zapf to Calligraphy & Type Design at Hallmark Cards (2012, RIT Cary Graphic Arts Press). This books deals with Hermann Zapf's years (1966-1973) as a consultant to Hallmark Cards. Zapf's typefaces there include Crown Roman, Jeannette, Hallmark Uncial, Crown Italic.

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

Rick Poynor

London-based founding editor of Eye in 1990. Author of Typographica (2001, Princeton Architectural Press), described by the editor as follows: The magazine Typographica--brainchild of founder, editor, designer, and renowned typographer Herbert Spencer--had a brief life, a total of 32 issues published over nineteen years. But its influence stretched--and stretches--far beyond its modest distribution and print runs of the time. Indeed, for many graphic designers, Typographica is something of an obsession, to be collected if and when found, savored, and poured over for designs and techniques not seen since. Remarkably, Spencer never intended to turn a profit, so no expenses were spared in the making of the magazine. Different papers, letterpress, tip-ins, and more were all employed in the presentation of an eclectic range of subject matter: Braille, locomotive lettering, sex and typography, typewriter typefaces, street lettering, matches, and avant-garde poetry all found their way into the magazine. Rick Poynor, founding editor of Eye, recreates the excitement of Typographica in this carefully researched, accessibly written, and beautifully illustrated book that pays tribute to the man and the magazine that changed the course of graphic design.

Author of Typography Now: the Next Wave (1991), and frequent invited speaker at meetings. His other books include The Graphic Edge, Design Without Boundaries, and Obey the Giant. At ATypI 2004 in Prague, he spoke about the crossroads of civilizations. [Google] [More] ⦿

Rob Becker

Born, in 1965, bert is a photographer and graphic designer. Coauthor with type designer Ramiro Espinosa of Amsterdamse Krulletter (2013). Speaker at ATypI 2013 in Amsterdam where he explains: This book by Rob Becker and Ramiro Espinoza will explore and illustrates the origins of the exuberant lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorates many traditional 'brown bars' of Amsterdam. Although there are still numerous examples of this style scattered through some of the most beautiful Amsterdam's districts, many have been destroyed and with the almost complete extinction of the sign-painting profession, the survival of the "Krulletters" is certainly under threat. The aim of the book is to document the "Krulletters" in its present state and to highlight the cultural relevance of lettering in the construction of Amsterdam's identity, in the hope that this will lead to a renewed interest in it and a continuation of the tradition. [Google] [More] ⦿

Rob Carter

Author with Philip B. Meggs and Ben Day of Typographic Design: Form and Communication (John Wiley, 2003). [Google] [More] ⦿

A list, with prices and ordering information. [Google] [More] ⦿

Rob Roy Kelly

Rob Roy Kelly (b. Nebraska, 1925, d. Tempe, AZ, 2004) collected wood type from local printers for use by his students at the Minneapolis College of Art&Design. He began gathering the types in the late 1950s and continued adding to the collection over the next decade. He started researching the history, manufacture, and use of the growing collection partly in response to questions that arose from working with his students. His research was first published in the 1963 issue of Design Quarterly (No. 56), and was followed in 1964 by a limited-edition folio of specimen sheets from the collection, entitled American Wood Types 1828-1900, Volume One. Kelly's research would culminate with the publishing in 1969 of American Wood Type, 1828-1900: Notes on the Evolution of Decorated and Large Types and Comments on Related Trades of the Period. Since 1993, his substantive wood type collection resides at the University of Texas. At Dover, he published 100 Wood Type Alphabets. Kelly's final work with the Collection came in the early 1990s when he was asked by Adobe Systems to participate in a project to develop digital revivals of historic wood types as part of the Adobe Originals program. As consultant to the project, Kelly helped select, from his own collected materials, the type styles that would be made into digital fonts. Kelly died in January 2004.

Obituary, which states: He studied design at the University of Nebraska and the Minneapolis School of Art and served in the Army during the Korean War. Later he did graduate work at the School of Art and Architecture at Yale, where he studied with Josef Albers, Alvin Eisenman, Alvin Lustig, Herbert Matter, Leo Lionni, Lester Beall and Alexey Brodovitch. He both taught and administered graphic design programs at the Minneapolis College of Art, Kansas City Art Institute, Carnegie Mellon University, Western Michigan University and, most recently, at Arizona State University. [Google] [More] ⦿

Robert A. Mullen

Author of Recasting a Craft: St. Louis Typefounders Respond to Industrialization (Carbondale, IL, 2005). [Google] [More] ⦿

Robert Banham

Senior Lecturer in the Department of Typography & Graphic Communication at the University of Reading where he teaches history of graphic communication and design practice. He obtained his PhD from that same institute. His main research interests are the design of printed ephemera, the influence of technology on design, and the history of colour printing. He edits and designs The Ephemerist, the journal of the Ephemera Society (UK) and from 2002 to 2009 was Chairman of the Friends St Bride Library.

At ATypI 2003 he spoke about Experiments in wood: early 19th Century wood-engraved lettering and wood types: A brief introduction to the work of jobbing printers Frederick Gye and Giles Balne, innovative London based jobbing printers in the first half of the nineteenth century. Gye and Balne were printers for the State Lottery and Vauxhall Gardens, the former in particular being a driving force behind developments in advertising including new display types. The focus of the talk will be on the contribution made by Gye and Balne (and some of their rivals) to developments in type design in the form of wood-engraved letterforms and wood types which influenced the metal types produced by the type founders.

Coauthor with Fiona Ross of Non-Latin Typefaces at St Bride Library, London and Department of Typography&Graphic Communication, University of Reading (2008, London: St Bride Library).

Speaker at ATypI 2013 in Amsterdam on wood type and lettering in the UK between 1800 and 1850. [Google] [More] ⦿

Robert Bringhurst

Author of The Elements of Typographic Style (1992), by many considered as the best book in typography ever written. Revisions were done in 1996, 2004, 2005 and 2008 [review, web, lecture]. Interview with Delve Withrington. He is also a prize-winning poet.

Other books by him include A Short History of the Printed Word (1999, with Warren Chappell).

Biography, from which I quote: Robert Bringhurst was born in Los Angeles in October 16, 1946 and spent his years growing up in the border provinces and states between Western Canada and the United States. He acquired a BA from Indiana University in 1973 and an MFA from the creative writing program at UBC in 1975, where he later taught. Bringhurst collaborated with West Coast artist Bill Reid on a book of Raven Myths, and Bringhurst later wrote a book about Reid's sculpture. Bringhurst is known not only as a poet but also in the fields of typography, linguistics, art history and Native studies. He received the Macmillan Prize for Poetry in 1975 and currently resides in Vancouver. He has some memorable type quotes, such as this one: By all means break the rules, and break them beautifully, deliberately, and well. That is one of the ends for which they exist.

Discussions of The Elements of Typographic Style: The typophiles [John Savard: Sounds like The Elements of Typographic Style is the masterwork it was acknowledged to be, but one that has to be taken with a grain of salt. It is a rich mine of information, but it does not set the bounds for all that can be done in typography], Sam Potts [ETS's position on typography after all isn't so different from saying the best movies were made in the 40s in Hollywood and so we, today, should be making black and white movies to uphold the tradition. Imagine a filmmaking manual that argued for this.], Mark Simonson, Maurce Meilleur.

In 2016, he published Palatino: The Natural History of a Typeface: This book provides a detailed and sumptuously illustrated history of the evolution of all members of the Palatino tribe: foundry Palatino, Linotype Palatino, Michelangelo, Sistina, Aldus, Heraklit, Phidias, American Palatino, Enge Aldus, Linofilm Palatino, Zapf Renaissance, PostScript Palatino, Palatino Nova, Aldus Nova, and Palatino Sans. It includes new specimens of the foundry and Linotype faces printed by hand directly from the metal, as well as hundreds of color illustrations documenting the artistry and care expended in creating these components of our typographic heritage.

He spoke at ATypI 2008 in St. Petersburg and at ATypI 2010 in Dublin. [Google] [MyFonts] [More] ⦿

Robert Chwalowski

Polish type design pages by Robert Chwalowski. On-line type book on good and bad typography by Robert Chwalowski, in Polish. He is the author of Typografia typowej ksiazki (2001) (Typography of a typical book). [Google] [More] ⦿

Robert Fauver
[Typeology]

Robert Lee
[Web Museum of Wood Types]

Roberto de Vicq de Cumptich

Robert Thorne

English punchcutter and typefounder (1754-1820, North London), designer of the first fat typefaces, founder of the Fann Street Foundry in 1794 and active until his death in 1820, when his foundry was sold to William Thorowgood a few months after his death. Designer of one of the first fat didone typefaces, Thorowgood (1809), and of Thorne Shaded (1820; Thorne Shaded was part of the Reed foundry material, had defective matrices, so Stephenson&Blake had it recut by Karl Gomer in 1938-1940). iAs metal typeface, Thorowgood was featured in 1953 by Stephenson and Blake.

Quoting from the typophile wiki: In 1794 Robert Thorne purchased the foundry of Thomas Cottrell, a former employee of the original William Caslon, which had been founded in 1757 when Cottrell and Joseph Jackson were fired in a wage dispute. By 1798 Thorne had replaced all of Cottrell's types with his own designs and in 1801 was the first type founder to begin showing the fat typeface types. He went on to design many popular display typefaces. He also moved the foundry to Fann St. renaming it the Fann Street Foundry. Upon Thorne's death in 1820 the foundry was purchased at auction by William Thorowgood using money he had won in a lottery though he was never involved in the type founding business. Subsequently many of the types identified as Thorowgood's are actually the designs of Robert Thorne.

Author of Specimen of Printing types (1794, 1803, 1814).

Digital revivals of his types:

URW Thorowgood.
Thorowgood SB (Scangraphic).
Thorne Shaded was digitized and condensed by Nick Curtis as Shady Grove NF (2006).
Dieter Steffmann released his free version, Thorne Shaded ca. 2001.

[Google] [MyFonts] [More] ⦿

Brazilian graphic and type designer, who teaches at Type Cooper West (in San Francisco) and is a renowned restaurant branding designer. Bembo's Zoo is Roberto de Vicq de Cumptich's children's book with all drawings integrated with glyphs from Bembo. He also published Men of Letters and People of Substance (David R. Godine, 2007). The promotional blurb states: de Vicq takes the designs of type and ornaments (known affectionately in the trade as "dingbats") and common linecuts to form the typefaces of his literary heroes. In the second part he combines type ornaments and icons to suggest a typeface with singular attributes: pride, fear, fanaticism, and surprise. But these are not drawings; they are images arranged from the combination of specific and discrete graphic forms. They are created on a computer and not in a composing stick. Designer at Muccatypo of Bastardo, Wet and Genealogy.

He wrote Words at Play (with Matteo Bologna, Adobe, 2004), about which he says: This book showcases type portraits of well-known writers in a playful homage to the power of words and the beauty of typography. In 2010, he designed a PDF brochure for TDC in New York entitled How To Make Love To Your Type [and the typophiles as a group are a cranky bunch without any sense of humor].

In 2021, he released Tuppence at Delve Fonts. Tuppence is a contemporary interpretation (including a variable font) of Blackfriars, a reversed-contrast Victorian typeface released in 1910 by London foundry Stephenson Blake.

Typographic picture by TDC, 2009. Another URL. Klingspor link. Adobe link. [Google] [More] ⦿

Robin Dodd

Author of From Gutrenberg to OpenType (Lewes, 2006). [Google] [More] ⦿

Robin Kinross

British typographer, editor and writer, and proprietor of Hyphen Press. After graduating (1975) and postgraduating (1979) from the Department of Typography & Graphic Communication at the University of Reading, he began to do editorial typography. He wrote a thesis on Otto Neurath and Isotype in 1979. Author of Modern Typography (1992, here is the second edition) and Unjustified Texts (2002). He works for Hyphen Press. Interviewed by Andy Crewdson. [Google] [MyFonts] [More] ⦿

Robin Williams

Type personality, columnist at Adobe and Eyewire, and author of several books on typography, including A Blip in the Continuum (with John Tollett), How to Boss Your Fonts Around, The Non-Designer's Design Book (with Carole Quandt), The Non-Designer's Type Book (with Nancy Davis), and several Mac books.

Alternate URL. [Google] [More] ⦿

Roger Chatelain

Born in 1938, From 1965 until 2000, he was typography professor at Porrentruy, Genève and Lausanne. Author of Rencontres typographiques (2003, Editions Eracom, Lausanne), coauthor of "Guide du typographe" (1993 and 2000). Author of "Dossier photocomposition" (1976) and "la Typo du journaliste" (1991, 1996). Coauthor of "L'imprimé" (1991), "Le livre à Lausanne, Cinq siècles d'édition et d'imprimerie" (1993), "En français ... dans le texte" (1994), "La lutte continue, 125e anniversaire du Gutenberg" (1997), "Empreintes 25e anniversaire de l'Ecole romande des arts graphiques" (1997). Ex-editor of Revue suisse de l'imprimerie. [Google] [More] ⦿

Roger Druet

Famous French calligrapher who wrote "La civilisation de l'écriture" with Herman Grégoire (Fayard, 1976). [Google] [More] ⦿

Roger Walton

Author of the books "Typographics 1" through "Typographics 4". [Google] [More] ⦿

Roh Design
[Mike Rohde]

Mike Rohde (Roh Design, Milwaukee, WI) writes on sketching, drawing, technology, travel cycling and books. Author of The Sketchnote Handbook, the illustrated guide to visual note taking (2013, The Peachpit Press). For this book, he created a hand-printed typeface family, Sketchnote (2013, +Text, +Square), which can be bought from Delve Fonts. He also created Sketchnote Dingbats (2014). Creative Market link. [Google] [MyFonts] [More] ⦿

Ron Eason

Prolific author. With Sarah Rookledge, he wrote "Rookledge's International handbook of typedesigners: a biographical directory" (1991) and "Rookledge's International Directory of Type Designers" (1994). [Google] [More] ⦿

Rosemarie Kloos-Rau

German designer who made Wiesbaden Swing Dingbats and the neat handwriting Wiesbaden Swing in 1992. In 1993, together with Michael Rau, she published Schreibschriften (Bruckmann, München), a collection of 500 calligraphic or script alphabets.

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

Rosemary Sassoon
[Sassoon Williams]

Ross F. George
[Ross F. George: Speedball 10 (1927)]

Ross F. George

Inventor and patent holder (with W.H. Gordon) of the speedball pen. Lettering artist from Seattle, influenced by W.H. Gordon. W.H. Gordon and Ross F. George wrote Presenting The Speedball Pen With Alphabets, Drawings and Designs Produced With This Wizard of Lettercraft (1915, Seattle, WA; local download). George's alphabets appeared in the Speedball Lettering catalogues, published between 1935 and 1948. The Speedball Text Book series's 8th through 17th editions were published at regular intervals from 1925 until 1956, and have many of his alphabets. Some dates: 8th (1925), 10th (1927), 11th (1929), 12th (1935), 13th (1938). Link related to his art deco alphabets. Some of the alphabets in Speedball Lettering have been digitized. To name a few:

Toto's K22 TriLine Gothic (2011) is a free multiline font based on Ross F. George's TriLine Gothic from 1956.
Jim Parkinson created Wigwag (2003, a display family inspired by Ross George as well as the work of Samuel Welo and Cecil Wade).
Jason Walcott made Baroque Text JF (2003, a great Fraktur font based on a hand-lettered alphabet drawn by Ross George).
Nick Curtis added Xanthippe NF (2006, an "exuberant" blackletter face) and Big D NF (2014).
Garrett Boge revived Free Roman.
Nick Curtis designed Catty Wumpas NF (2004).
Nick Curtis created Gnarly Dude NF (2005).
Nick Curtis created Hacky Sack NF (2009), after Ross George's Stunt Roman.
Harold Lohner published Milky Way (2001) and MilkyWayTwo (2001).
Michael Stacey created the brushy typeface ITC Wisteria (1995), an almost exact reproduction of one of George's brush typefaces which appeared in many publications from 1938 until 1952 (see here).
Heller and Fili give him credit for Chop Suey (1935), an oriental simulation typeface which has found its way into the free font world under several guises.
Jim Spiece (Spiece Graphics) created the Wild West family Cactus Flower SG.
Paulo W created Speedball Western Letters (2009), Speedball Metropolitan Caps (2010) and Speedball Metropolitan Poster (2010). Sunamy (2007, Iza W) is a ninja font made after an example of Ross George.
Nick Curtis made the monoline script typeface Nellie Kay NF (2011).
The art deco typeface Blue Jay Way NF (2011, Nick Curtis) was also inspired by Ross F. George.
Big George NF (2011, Nick Curtis) is a fat comic book style typeface that revives another of George's creations from Speedball Text Book.
Split Caps by George was revived by Nick Curtis as Spread Out NF (2011).
Nick Curtis's revivals from 2014 include Trading Hoss NF (after D-nib Display) and Twinkletoes NF.
Dick Pape created these typefaces based on the 17th Edition: Speedball America, Speedball Architects Italic, Speedball Architects, Speedball Block, Speedball Brush Bold Italic, Speedball Built Up Style, Speedball Bulletin Dusted, Speedball Bulletin Heavy, Speedball Bulletin Plain, Speedball Bulletin Squiggley, Speedball Carnival, Speedball Carved Caps, Speedball Cond Bold Italic, Speedball Cond Poster Gothic Bold, Speedball Decorative Initials, Speedball Decorative Ransom, Speedball Draftsman's Art, Speedball Formal Roman, Speedball Free Roman, Speedball Gay Nineties A, Speedball Gay Nineties B, Speedball Line Gothic, Speedball Metropolitan Poster, Speedball Power, Speedball Roman Italic, Speedball Rough, Speedball Slant Script, Speedball Speed D Italics, Speedball Squeezed Headline, Speedball Stencil Italic, Speedball Variation. Download here.
In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual.
Steve Harrison's free fonts: Doolally (2020; Ross F. George, 1938), Dawdling (2020; Ross F. George, 1935), Dawdling Snowflake (2020; Ross F. George, 1935), Bogeyed (2021), Faffinabout (2021).

Examples of his Speedball Text Book alphabets: Speedball Title Display 1 (1927), SpeedballTitle Display 2 (1927), Easter Suggestion (1935), Speedball Title 1 (1938), Speedball Title 2 (1938), untitled lettering (1941), Poster Gothic 5 (1935), Postrie Caps (1938), Roman 2 (1935), Roman 3 (1935), Roman 4 (1935), Roman 7 (1935), Roman 7 (1938), Symphony 1 (1935), Symphony 1 (1952), Symphony 2 (1938), Symphony 2 (1948), Modern 1 (1938), Modern 2 (1941), Modern 2 (1948), Line Gothic (1938), Tri-Line Gothic (1956). [Google] [MyFonts] [More] ⦿

Ross F. George: Speedball 10 (1927)
[Ross F. George]

Ross F. George's book Speedball 10, published by C. Howard Hunt Pen Co. in Camden, NJ in 1927, was scanned in 2014 by Lee Littlewood, a signpainter in Portland, OR, who runs Lee's Better Letters [2915 NE 21st A, Portland, OR 97212]. The PDF file [59 MB] is made available with his permission. I extracted some useful images from that file. For further information on Ross F. George, see here. [Google] [More] ⦿

Roumond

This page has a number of scans from a booklet by signpainter Roumond entitled 32 Alphabets Modernes, published in Paris by A. Charayron and Léon Duran, some time in the 1930s. There are lots of alphabets with art nouveau and art deco influences.

In 2011-2012, Dick Pape digitized all 32 fonts from that booklet. They can be downloaded here.

Pape's 32 fonts are FAModerne0369, FAModerne0562a, FAModerne0562b, FAModerne0946aBold, FAModerne0946bBold, FAModerne1367a, FAModerne1367b, FAModerne2021a, FAModerne2021b, FAModerne2491a, FAModerne2491b, FAModerne2491c, FAModerne2491d, FAModerne4441, FAModerne5204, FAModerne5204a, FAModerne5204b, FAModerne5204c, FAModerne6183a, FAModerne6183b, FAModerne6518a, FAModerne6518b, FAModerne6518c, FAModerne6518d, FAModerne7287a, FAModerne7287b, FAModerne7666, FAModerne7798, FAModerne9002a, FAModerne9002b, FAModerne9321a, FAModerne9321b. [Google] [More] ⦿

Roy Cleon Claflin

Author, b. 1883, of Standard Lettering (1922, Columbia School of Drafting, Washington, DC). Local download. [Google] [More] ⦿

Roy Millington

Author of Stephenson Blake The Last of the Old English Typefounders, The British Library, London, 2002. [Google] [More] ⦿

Ruari McLean

Scottish typographer and scholar, b. near Newton Stewart, Galloway, 1917, d. 2006. McLean was raised in Oxford and spent most of his life in London. He started as a designer for Penguin books on their Puffin Picture Books line. Author of these texts:

Jan Tschichold: Typographer (1975).
The Thames and Hudson Manual of Typography. Originally published in 1980.
True to Type: A Typographical Autobiography. Published by Oak Knoll Press in the United States and Werner Shaw in the UK.
Typographers on Type.

Obituary. [Google] [MyFonts] [More] ⦿

Rudolf Hostettler

Swiss type designer. Author of "The Printer's Terms", designed by Jan Tschichold. And of Technical Terms of the Printing Industry (5th edition was printed in 1995) and Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography, Epitaph für Rudolf Hostettler (St. Gallen: Typotron, 1993). Selected shots from his 1949 text. [Google] [More] ⦿

Rudolf Koch
[Peter Bezdek]

Peter Bezdek writes about Rudolf Koch in Die deutsche Schrift in 1984, fifty years after Koch's death. [Google] [More] ⦿

Rufino Blanco y Sánchez

Spanish author of Arte de la escritura y de la caligraf�a: teor�a y práctica (1920, Madrid, Perlado, Páez y Compañía), a textbook into the art of calligraphy and writing. This book is available on-line. [Google] [More] ⦿

Rulon-Miller Books

Books on type and design. [Google] [More] ⦿

Runic bibliography

Runic bibliography by Jan Axelson (Stockholm/Uppsala), James E. Knirk (Oslo) and Jonas Nordby (Oslo). [Google] [More] ⦿

Russell Laker

Author of Anatomy of Lettering (1946, The Studio Publications, London). [Google] [More] ⦿

Russische Schriften

A Russian book about Cyrillic typefaces published in 1940 by Buch- und Tiefdruck GmbH, Berlin. [Google] [More] ⦿

Rüdiger Lorenz

Author of Der letzte seines Standes? Der Schriftgießer (Icking o.J., DVD). [Google] [More] ⦿

Sait Maden

Noted Turkish graphic and type designer, 1932-2013. Author of Baslangicindan Bugune Turk Grafik Sanati/Turkish Graphics from the Beginning till Today (Cevre-Mimarlik ve Gorsel Sanatlar Magazine, 1979-80) and Turk Grafik Sanatinin Dunu, Bugunu/The Yesterday, Today of Turkish Graphic Arts (Cumhuriyet Donemi Turkiye Encyclopedia, 1984, vol 3).

His typefaces include an organic sans and a tall didone. [Google] [More] ⦿

Saki Mafundikwa
[Afrikan Alphabets]

Samuel Winfield Tommy Thompson

Samuel Welo

Samuel Welo was an American advertising calligrapher, typographer, designer and lettering artist whose work appeared in the 1920s. Scans by Gene Gable of many pages of Studio Handbook Letter&Design for Artists and Advertisers (1927, Samuel Welo). This book has 233 pages and is entirely hand-lettered! Based on his lettering, several typefaces have seen the light of day. A partial list:

P22 Art Deco Chic (2002, James Grieshaber).
Hamilton (David Nalle, Scriptorium, 1993): a tall, bold display font typical of art nouveau poster lettering and turn-of-the-century advertising design.
Plakat (David Nalle, Scriptorium, 1993): a rough-edged curly decorative poster face.
Melcheburn (David Nalle, Scriptorium, 1993): a blackletter face.
Samuello (Iza W, Intellecta Design, 2007). This type family comes in five styles.
Rio Rita NF (2012, Nick Curtis).
Welo Casual NF (2012, Nick Curtis).
Mohair Sam (2005, Nick Curtis): the upper case is based on Welo's letters, but the lower case on ATF's Romany Script.
Pyriform Tones (2007, Nick Curtis): first done by Welo in 1925.
Fireside Chat NF (2003, Nick Curtis) is a font based on a design by Welo shown in Studio Handbook for Artists and Advertisers (1927).
ITC Photoplay (2002, Nick Curtis): based on lettering from 1927 by Samuel Welo, intended originally for captions of silent movies. It was in Studio Handbook for Artists and Advertisers (1927).
Sweet Afton NF (2014, Nick Curtis) is based on another silent movie font by Welo.
Grenadier NF (Nick Curtis) is based on Samuel Welo's Modernistic.
Souci Sans (Nick Curtis) is based on a type design shown in Lettering Modern and Foreign (1930).
Blue Plate Special (Nick Curtis) is a font family based on a design by Welo shown in Studio Handbook for Artists and Advertisers (1927).
Herald Square NF (Nick Curtis) is a font family based on a design by Welo shown in Studio Handbook for Artists and Advertisers (1927).
Magic Lantern NF (Nick Curtis) is a font family based on a design by Welo shown in Studio Handbook for Artists and Advertisers (1927).
Speedball No 1 NF and Speedball No 2 NF (Nick Curtis) are font families based on a design by Welo shown in Studio Handbook for Artists and Advertisers (1927).
Washington Square NF (Nick Curtis) is a font based on a design by Welo shown in Studio Handbook for Artists and Advertisers (1927).
Whoopie Cushion SW (Nick Curtis) is a font family based on a design by Welo shown in Studio Handbook for Artists and Advertisers (1931).
Mustang Sally and Tugboat Annie (Nick Curtis) are fonts based on a design by Welo shown in Studio Handbook for Artists and Advertisers (1931).
Suave Sam NF (2009, Nick Curtis) is art deco at its peak.
Fluid Drive NF (2014, Nick Curtis).
Carillon (2014, David Nalle) is based on one of Welo's alphabets.
LHF Welo Thin (2015, Patrick Kalange) is an art deco poster typeface based on Welo's work.
Lenox Avenue (2017, David Kerkhoff).
Formal Notice JNL (2020, Jeff Levine). A revival of an alphabet in Studio Handbook for Artists and Advertisers.
Show Poster JNL (2021, Jeff Levine). A vernacular typeface based on a design from the 1960 edition of Samuel Welo's Studio Handbook for Artists and Advertisers.

Other alphabet designs: (unnamed, 1928), (unnamed, 1928), Modernistic (1932; I suspect that this was used as a basis for Samuello by Intellecta Design). Books by Welo:

Lettering: Modern and Foreign (1930, Chicago: Frederick J. Drake and Company). Local download.
Practical lettering, modern and foreign (1946).
Studio Handbook Letter&Design for Artists and Advertisers (1927).
Trademark and Monogram Suggestions (1937).

View Samuel Welo's typefaces. [Google] [MyFonts] [More] ⦿

New York-based letterer and type designer, b. 1906, Blue Point, NY, who was also known as "Tommy". [Some sources have 1905]. He had a studio in New York City and was the author of several books on type and lettering. He died in 1967 in New York. His oeuvre includes

Baltimore Script (1955). Matrices cut by George Battee. Mac McGrew: Baltimore Script is a fancy style designed by Tommy Thompson and cut by George Battee for Baltimore Type in 1955. The lowercase follows the general style of a script letter hand-written with a broad pen, although the inclination is slight and the letters don't quite connect. Capitals are flourished. It is suitable for stationery, announcements, and greeting cards, but its range of small sizes is hardly enough for advertising use.
Collier Heading. McGrew: Collier Heading was designed by Tommy Thompson in 1946 for Collier's magazine. It is an adaptation of an eighteenth-century style known generally as Grecian, and was cut by Monotype in a considerable range of sizes. Other Collier or Collier Heading types have turned up; one was designed by Tommy Thompson for Collier's magazine, but not identified otherwise. It was probably also cut by Monotype. One of these could possibly be the Bert Black mentioned previously.
Various weights of Futura (later digitized by URW).
Mademoiselle (1953, baltimore Type Foundry). Mac McGrew writes about Mademoiselle: Mademoiselle was designed by Tommy Thompson in 1953 as a display typeface for Mademoiselle magazine. It was cut by Herman Schnorr at Baltimore Type, which also offered fonts for general sale. It is a delicate, narrow modern roman, with long ascenders and short descenders, rather loosely fitted, and works well for display with transitional text typefaces such as Bulmer and Scotch Roman.
Post Headletter (1943). Privately cast for the Saturday Evening Post.
Thompson Quillscript (1953, ATF): a 50s version of a chancery hand. McGrew: Thompson Quillscript was designed by Tommy Thompson for ATF about 1952. It is an attractive cursive letter with the appearance of lettering with a broad pen. Letters slope moderately and are not joining. The general effect is less formal than most other such typefaces. Capitals are rather reserved, but a font of alternate characters, mostly more informal capitals, was available separately until 1968. Compare Heritage, Lydian Cursive, Park Avenue, Raleigh Cursive. This typeface made it to the PhotoLettering collection.
The following typefaces for Photo Lettering: Thompson Buccaneer Thompson Cable, Thompson Coliseum, Thompson Colonial Wide 8, Thompson English, Thompson Federal, Thompson Federal Italic, Thompson Federal Open, Thompson Georgian 2, Thompson Georgian Semi Condensed 2, Thompson Georgian 3, Thompson Georgian 4, Thompson Glasgow Italic 4, Thompson Gross Bold 9, Thompson Headline Casoni, Thompson Logotype, Thompson Pegasus Stencil, Thompson Penscript, Thompson Railway Stencil, Thompson Scribe, Thompson Stencil 8, Thompson Stencil 10, Thompson Trend Extra Cd 3.

Author of these books: The ABC of our Alphabet (1942, London), The Script Letter: Its Form, Construction, and Application (1939, New York), How to render roman letter forms (1946, New York), Basic layout design; a pattern for understanding the basic motifs in design and how to apply them to graphic art problems (1950, New York), Script Lettering for Artist (1969, New York). [Google] [More] ⦿

Samvado Gunnar Kossatz
[Fontbook]

Author of the essay Robert Thorne and the origin of the modern fat face (2017, 28 pages): It is usually believed that the typefounder Robert Thorne (1753-1820) was the first to have introduced in the early 19th century the fat face, a swollen offspring of the new modern types then in vogue. Sébastien Morlighem's essay intends to reassess his precise role in its development as well as other English founders. It is built on a re-reading of several key texts and a careful survey of original specimen books from the Thorne, Caslon & Catherwood, Fry & Steele and Figgins foundries. Co-edited with Alice Savoie in the Poem Pamphlet series.

Sandra Chamaret

Sandra Chamaret (b. 1975) is co-principal and co-founder (with Gérald Alexandre) of Sogral (Société graphique d'Alsace), and teaches at l'École nationale supérieure des arts décoratifs de Strasbourg. Sogral was transformed into Fonderie alsacienne de typographie superflue.

Designer in 1997 of Mademoiselle Berthe, Bonne Fête Maman and EnHaut-EnBas. In 2010, Sandra Chamaret, Julien Gineste and Sébastien Morlighem wrote Roger Excoffon et la fonderie Olive. [Google] [More] ⦿

Sandra Garcia

Sandra Garcia (b. Bogota, Colombia) first studied at the Universidad del Area Andina, Bogota and then obtained a Masters in typography from Centro de Estudios Gestalt in Veracruz, Mexico. Freelance designer and teacher at Universidad de la Comunicacion, in Mexico City.

Sandra created the wayfinding sans typeface Colectiva in 2017 together with Tipas Type, a type foundry she co-founded. Colectiva was originally designed for Mexico City's subway system.

In 2019, she published Emperatriz at Latinotype.

She collaborated on the design of the typographic family Woun Iek for the native Wounaan Colombian language.

In 2017, she received the Clap international award for the project Xantolo, a font for children's publications. Xantolo was part of Tipas Type, a space created by women to promote female work in the typographic field.

For a Mexican beer brand, Sandra Garcia and Tipas Type designed the splendid blackletter typeface Corona (2018) and the copperplate calligraphic typeface Especial (2019).

In 2019, Dafne Martinez, Monica Munguia, and Sandra Garcia finally released 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

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

In 2022, Sandra Garcia released the ultra-condensed reverse stress Western typefaces Extra C and Extra C Variable at Tipastype.

Speaker at ATypI 2019 in Tokyo. Co-author of the book Elementype, a practical guide to typographic use. [Google] [MyFonts] [More] ⦿

Sassoon Williams
[Rosemary Sassoon]

Born in 1931, Rosemary Sassoon is a British handwriting and script expert who has worked a lot on didactic scripts for children. She obtained a PhD from the University of Reading for her work on how models and teaching methods affect children's handwriting. She is the author of these texts:

The Practical Guide to Calligraphy. London: Thames and Hudson, 1982.
The Practical Guide to Lettering & Applied Calligraphy. New York: Thames & Hudson, 1985.
Handwriting: A New Perspective. Cheltenham, England: Stanley Thornes Ltd., 1990.
Handwriting: The Way to Teach It. Cheltenham, England: Stanley Thornes, Ltd., 1990.
Better Handwriting with G.S.E. Briem. Teach Yourself Series, 1994.
Handwriting of the Twentieth Century: from Copperplate to Computer. Routledge, 1999.

She is best known for her Sassoon Primary font family (primary school writing; see the 2000 typeface Sassoon Infant). Her fonts were developed by Adrian Williams of Club Type. At MyFonts, they operate as Sassoon-Wiliams. The list:

Sassoon Book.
Sassoon for Start-Bee (2020).
Sassoon Felt.
Sassoon Infant and Sassoon Infant Pro (2020).
Sassoon Joined NORDIC.
Sassoon Joined ENGLISH.
Sassoon Montessori.
Sassoon Patterns.
Sassoon Primary.
Sassoon Primary Cond.
Sassoon Sans.
Sassoon Write.

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

Sébastien Morlighem

Professor of the history of typography and type design at Ecole Estienne in Paris (since 1997) and, since 2009, at the Ecole supérieure d'art et de design d'Amiens. Born in 1971, he was trained at the same school by Franck Jalleau and Michel Derre in type design and calligraphy. He holds a PhD from the University of Reading. Morlighem lives in Paris.

At ATypI 2009 in Mexico City, he spoke on the contributions of José Mendoza to French typography. José (Martin Majoor and Sébastien Morlighem, introduction by Jan Middendorp, 2010, Bibliothèque typographique) describes Mendoza's contributions.

In 2010, Sandra Chamaret, Julien Gineste and Sébastien Morlighem wrote Roger Excoffon et la fonderie Olive.

In 2012, he was a Ph.D. student at thE university of Reading and had as thesis topic 'The 'modern face' in France and England (1780-1830): typography as an ideal of progress.

Speaker at ATypI 2019 in Tokyo on the topic of The Sans Serif in France: The Early Years (1834-1844). [Google] [More] ⦿

Sean Cavanaugh
[Digital Type Design Guide]

Sean Cavanaugh

Author (b. Cape May, USA, 1962) of Digital Type Design Guide (Hayden Books, ISBN 1-56830-190-1, 1995), which for 45 US dollars comes with a CD with 220 useful PostScript and TrueType fonts (not designed by Sean though). A second 260-font CD for 30USD. He runs The Fontsite, where you can download free versions of CombiNumerals 4.0 (circled numbers), ATF Antique (ATF Antique was first released by the Barnhardt Bros.&Spindler type foundry in 1842. It was designed for sign cutting, and saw much use throughout the latter 19th century. Its popularity led to its re-introduction by ATF in 1905 under the name Antique 1. It is the precursor to the typefaces Bookman and Rockwell.), Goudy Sans, US Flag Font, Mini 7 and Mini 7 Tight (pixel fonts). Earlier, there were also Dynamo and Rosie. Commercial typefaces of his include the CombiSymbols family. Free fonts at FontSite: Bergamo, CartoGothic, CombiNumerals. Font Squirrel link. [Google] [MyFonts] [More] ⦿

Sean Jennett

Author of The making of books, 5th edition, Faber&Faber, London 1973. On page 169, we find this quote: It does not require many fingers to count the number of great types in the history of printing. [Google] [More] ⦿

Sebastian Carter

British author of Twentieth-Century Type Designers (Trefoil, 1987; Lund Humphries Publishers, 1995). Owner of Rampant Lions Press. [Google] [MyFonts] [More] ⦿

Sebastien Bruggeman

Dutch author of Hello Chinese (Acco). He has a sub-page on Chinese fonts, and lots of links related to Chinese input, and unicode fonts for Chinese. [Google] [More] ⦿

Sebastien Morlighem
[Fat Faces: origins]

Shinn Type fonts at MyFonts. Behance link.

Sergio Polano

Professor of Aesthetics, Architecture Faculty, IUAV University in Venice, b. 1950. At ATypI in Rome in 2002, he spoke about the state of art in type design in Italy and the history of Italian type design in the twentieth century. He wrote extensively on Aldo Novarese: "Aldo Novarese: Letters Are Things" (Emigre, Sacramento, vol. 26, spring 1993, pp. 30-37), "Aldo Novarese. Progettare l'alfabeto" (Arte|Documento|, Udine, vol. 7, 1993, pp. 339-344), "So long, Aldo!" (TypeLab Gaczeta, Barcelona, Sept. 1995, vol. 3, p. 2), "Aldo Novarese letterista 1920-1995" (Casabella, Milano, vol. 632, March 1996, pp. 46-49), "Alfa-beti: sintesi di scrittura e figura" (sintesi, Perugia, vol. 8, March 2000). See also here. Also known as Poison Galore. [Google] [More] ⦿

Shigenobi Fujita

Japanese type designer, b. Fukuoka, 1957. He graduated from the Design Department, Chikuyo Gakuen Senior High School and joined the Type Design Department of Shaken Co., Ltd, a company known for its photocomposers. Since joining Fontworks in 1998, he has produced a variety of typefaces including the Tsukushi series. Fujita received the Tokyo TDC Award for Tsukushi Old Mincho and Tsukushi Round Gothic in 2010. The Tsukushi series has become essential for book and graphic designers. His latest typeface family, Tsukushi Antique, breathes new life into traditional Mincho and Gothic typefaces, giving users a fresh new look and bolstering support for the entire Tsukushi line (quote by Fontworks). He was featured in the NHK television program "Professional" in 2016, and his Fontworks UD fonts won the Silver Award in IAUD Awards 2016. His Tsukushi Series won the type design award at the Tokyo TDC Annual Awards 2018.

Discussion of Tsukushi Antique Gothic (2016) by Toshi Omagari.

He wrote The Fascination of Glyph Design and Typefaces. [Google] [More] ⦿

Shinn Type
[Nick Shinn]

Nick Shinn (b. London, 1952) is an art director and type designer. He teaches at York University in Toronto, and is a founding member of the Type Club of Toronto. He writes regularly for Graphic Exchange magazine, and has contributed to Applied Arts, Marketing, Design, and Druk. He founded Shinn Type in 1999, and made fifteen type families. Interview by Jan Middendorp, in which he describes himself as a contrarian. Pic by Isaias Loaiza. Pic by Chris Lozos at Typo SF in San Francisco in 2012. Custom typefaces have been produced for newspapers such as The Birmingham News (Alabama), The Chicago Tribune, The Daily Express (London), The Daily Mail (London), The Globe and Mail (Toronto), The Montreal Gazette, and The St. Petersburg Times (Florida). Custom fonts, with exclusive rights, have been created for corporations such as Thomson Nelson, Enbridge, Rogers Communications Inc., and Martha Stewart Living. Nick organizes type evenings in Toronto all year long.

He is the designer of Fontesque (a wild family of curly glyphs), the monospaced font Monkey Mono, Artefact (1999), Beaufort (a sharply serifed family done in 1999; in 2008, he published a 10-style extension called Beaufort Pro), Bodoni Egyptian (1999), Alphaville (2000, techno typeface with straight mono-width strokes), Brown, Brown Gothic, Duffy Script (2008, in 4 styles: an interpretation of the lettering of contemporary illustrator Amanda Duffy, aka Losergirl), Handsome (1999, cursive handwriting family, since 2005 available in OpenType), Merlin, Oneleigh (1999, masterful!!), Paradigm (1995, updated in 2008, inspired by 15th century letterforms), Shinn, Walburn (1996) [note: Walburn and Brown were originally commissioned for the 2000 redesign of the Globe and Mail. Walburn is an adaptation of a didone typeface by Erich Walbaum, c.1800], Worldwide (1999).

In 2001, he designed the Richler font in honour of the memory of Mordecai Richler. The Richler font was only available to the Giller Prize, Random House and the Richler family until its public release in May 2013 at MyFonts, where Richler (+Cyrillic, +Greek) is advertised as a 21st century antiqua book face.

In 2002, he published Goodchild (a Jenson revival; see also Goodchild Pro (2017). Goodchild is a Venetian with clean (not antiqued!) outlines and a larger-than-Jensonian x-height. It comes in 4 styles and is targeted at sophisticated academic typography) and the liquid lettering family Morphica, exclusively at Veer.

In 2003, he released the absolutely gorgeous "modern" sans Eunoia (which has a unicase weight), and the quirky sans family Preface (2003; Preface Thin is a hairline weight; Preface Light is free at FontShop). In 2003, he also published the mmonowidth unicase family Panoptica (2003), which includes styles called Regular, Sans, Egyptian, Doesburg and Octagonal, to name a few.

In 2004, he released Nicholas, a Jensonian serif family, which is the headline version of Goodchild.

Additions in 2006 include Softmachine (VAG Rounded/comic book style family). Sexy type from Toronto is an article by Erin Kobayashi about Shinn's work published in the Toronto Star on April 15, 2007. Nick Shinn designed the type for the redesign of The Globe and Mail in April 2007: Globe and Mail Text [look at the f], Globe and Mail Sans (or GM Sans), Globe and Mail News (or GM News).

In 2008, these typefaces went retail. One typeface is called Pratt, named after David Pratt, the design director at The Globe and Mail who commissioned the typeface for his redesign of the paper. The companion typeface will be called Pratt Sans.

Additions in 2008: Figgins Sans (4 styles), Scotch Modern (a 5 style didone family that revives the typeface used in New York State Cabinet of Natural History), Scotch Micro. Paul Shaw writes: Scotch Roman, beloved by D.B. Updike and W.A. Dwiggins, was a standard in the typographic repertoire of pre-World War II printers but fell out of favor after the war, supplanted by Bodoni. Nick Shinn of Shinntype has made a bid to resurrect this oft-maligned typeface with Scotch Modern. Scotch Modern is not a revival of the familiar Scotch Roman of Linotype and Monotype, but of a more modern design attributed to George Bruce, the great 19th-century New York punchcutter. Shinn used a sample of the typeface from the New York State Cabinet of Natural History's 23rd Annual Report for the Year 1869 (printed in 1873) as a model. He drew it by eye, aided by a sharp loupe: no photographic enlargements, no scans, no tracing. The ends of the strokes are slightly rounded, to capture the effect of metal type being impressed into soft paper. Shinn contends that the 19th-century Scotch types were "eminently readable" and a factor in the rise of modern literacy. His rendition, an OpenType font, aims for readability in all situations with display, regular, and microtype versions. The display roman includes a unicase font-a nod to Bradbury Thompson's Alphabet 26 experiment-and the italic has elegant swash caps. Scotch Roman has never been a typeface for those seeking eternal beauty or anyone desperate for typographic kicks. Dwiggins gave it a 10 for legibility (where 10 was "reasonable human perfection") but only 4 for grace and 0 for novelty. Shinn's Scotch Modern, with its many OpenType extras, scores well on all three counts. It's a typeface for those who prefer a mature single malt: simple at first, but more complex as it is savored. Photograph. At ATypI 2008 in St. Petersburg, his talk was entitled Scotch Modern. Several catalogs have been published by Shinntype. Particularly noteworthy is The Modern Suite (2008, Nick Shinn, Coach House Press, Toronto), which showcases Figgins Sans and Scotch Modern. Sample of some Scotch Modern dingbats.

Production in 2010: Sensibility (a humanist sans superfamily), Sense (a modernist sans superfamily), Bodoni Egyptian Pro (a monoline slab Bodoni experiment---the Pro version of a 1999 family by him).

In 2011, he created Checker, an all caps 3d black and white-tiled typeface, and Parity (a roman unicase pair).

Naiad (2013) is a didone, or neoclassical, typeface with Victorian curlicues thrown in to create a Victorian look.

Pratt Nova (2014) is a 17-style large x-height typeface family that attempts to achieve visual and semantic opulence, equipping the typographer with a comprehensive array of harmonized fonts, all rigorously drawn, superbly fitted iterations of a single, profoundly original design. Neology (2014) is a 15-style sans family subdivieded into Deco, Grotesque and plain sans subfamilies.

Brown Pro (2016) is a classic grotesque, distinguished by its semi-condensed proportions and slight flaring of the edges and some ink traps.

Figgins Standard (2016) is a take on the low-contrast original sans typefaces designed in the 1830s in industrial London.

Gambado (2016). This is a collection of shaken typefaces with bouncing letters. Particular fonts include Gambado Sans and Gambado Scotch.

Dair (2017) is a revival of Canada's first home-grown typeface, Cartier, which was completed by Carl Dair in 1967 and named after 16th century explorer Jacques Cartier, who mapped the Gulf of St. Lawrence in the 1530s. Dair 67 and Dair 67 Italic are facsimiles of the original fonts. Dair and Dair Italic are fully-featured 21st century fonts.

In 2018, Nick Shinn published Phiz, a diverse suite of 27 decorative fonts based on Figgins Sans Extra Bold.

Designer of Boxley (2016), a superelliptical sans typeface family.

At the end of 2020, he published the 14-style condensed rounded sans typeface family Aptly. o

Typefaces from 2021: Buslingthorpe (a tall-necked typeface in which the x-height is only 29% of the ascender height, beating classic tall fonts such as Rudolf Koch's Koch Antiqua, and Lucian Bernhard's Lucian and Bernhard Modern).

Speaker at ATypI 2017 Montreal.

MyFonts interview. I Love Typography link. FontShop link. Klingspor link.

View Nick Shinn's typeface library. [Google] [MyFonts] [More] ⦿

SIAS (or: Signographical Institute Andreas Stötzner)
[Andreas Stötzner]

Andreas Stötzner (b. 1965, Leipzig) is a type designer who lives in Pegau, Saxony. Graduate from the Hochschule für Grafik und Buchkunst Leipzig and the Royal College of Art in London (1994). Since then, free-lance. Started making typefaces in 1997. He edits the sign and symbol magazine Signa. He spoke at Typo Berlin 2004 and at ATypI 2005 in Helsinki where his talk was entitled On the edges of the alphabet. Coauthor with Tilo Richter of Signographie : Entwurf einer Lehre des graphischen Zeichens. He set up SIAS in 2006-2007 and started selling fonts through MyFonts.

He created Andron Scriptor (2004, free), with original ideas for Greek and Cyrillic alphabets. The Andron project intends to extend this Venetian text typeface in many directions: right now, it covers Latin, Greek, Coptic, Gothic, runes, Cyrillic, Etruscan and Irish scripts, musical symbols, astronomical and meteorological symbols, and many dingbats. The Andron MC Corpus series (2012) contains Uncial, Mediaeval and Capital styles. He also created Andron 1 Monetary (2014), Andron 1 Alchemical and Andron 2 ABC (2014, for children's literature).

On or before 2006, he created a few typefaces for Elsner & Flake. These include EF Beautilities, EF Ornamental Rules, EF Squares, EF Topographicals, EF Typoflorals, EF Typographicals, EF Typomix, EF Typosigns, EF Typospecs, EF Typostuff.

Fonts from 2007-2010: Gramma (2007, three dingbats with basic geometric forms), Andron Corpus Publix (2007, dingbats including one called Transport), SIAS Freefont (2007, more dingbats), SIAS Lineaturen (2007, geometric dingbats) SIAS Symbols (2009), Andron Freefont (2009, text font), Andron 1 Latin Corpus (2009), Andron 1 Greek Corpus (2009), Andron Kyrillisch (2009, consisting of Andron 1 CYR, Andron 2 CYR and Andron 2 SRB where SRB stands for Serbian), Andron 2 English Corpus (2010, blackletter-inspired alphabet), Andron 2 Deutsch Corpus (2010), Andron Ornamente (2012), Rein staedt (2009, blackletter family), Cri sis (2009, economic sans).

Lapidaria (2010) is an elegant art deco sans family that includes an uncial style and covers Greek. Hibernica (2010) is a Celtic variant of Lapidaria. Symbojet Bold (2010) is a combination of a Latin and Greek sans typeface with 400 pictograms.

Rosenbaum (2012) is a festive blackletter face, obtained by mixing in didone elements.

In 2013, he published Arthur Cabinet, a six-style inline art deco caps collection of typefaces, with accompanying Arthur Ornaments and Arthur Sans. Meanwhile, Andron Mega grew to 14,700 unicode glyphs in 2013.

Typefaces from 2014: Behrens Ornaments (art nouveau ornaments based on Behrens Schuck by Peter Behrens, 1914), Fehlian (an open capitals typeface family with Plain, Gravur and Precious styles), Happy Maggie (a hand-drawn script based on Maggie's sketches when she was 13 years old), Abendschroth (for lullabies, girl's literature, murder poems, short stories and Christmas gift books), Abendschroth Scriptive, Albyona English No. 1 (as Andreas writes, suitable for children's books, fantasy literature, crime novels, natural food packaging and poison labeling, for infancy memories, vanitas kitsch items, dungeon museum bar menu cards, introductions to herbalism and witchcraft manuals), Lindau (a Venetian Jensonian typeface with considerable flaring in the ascenders), Grund (based on the 1924 art deco signage in Leipzig's Untergrundmesshalle Markt whose architect was Otto Droge), Leipziger Ornamente (based on variopus buildings in Gohlis, Leipzig, dating from the 1920s-1950s), Kaukasia Albanisch (ancient writing system of the Caucasus region, allegedly created by Mesrop Mashtots who also invented the Armenian alphabet in 405).

Commissioned fonts include Runes (commission by Ludwig Maximilian University Munich), Lapidaria Menotec, Old Albanian, Dania (a special notation for Danish dialectology. Font extension of Latin Modern Italic (Open source), commissioned by the Arnamagnanean Institute, Copenhagen Universit).

Typefaces from 2015: Andron 2 EIR Corpus (uncial, Gaeli), Artemis Sans (Greek version of Arthur Sans), Ardagh (a Gaelic / Irish version of Arthur Sans). Don Sans (a sturdy sans).

Typefaces from 2016: Popelka (an uncial fairy tale font modeled after the opening sequence of the 1973 movie Drei Haselnüsse für Aschenbrödel).

MyFonts. Behance link. Abstract Fonts link. Klingspor link.

Showcase of Andreas Stötzner's typefaces at MyFonts. View the SIAS typeface library. [Google] [MyFonts] [More] ⦿

Siegmund Motter
[Motter Fonts (and Motter & Klapka OeG)]

Silver Buckle Press

Madison, WI-based publishers of Specimen Book of Wood Type (1998), designed and printed by Rachel Davis, and of Specimen Book of Wood Type from the collection of the Silver Buckle Press. Introduction by Rob Roy Kelly. Foreword by Stephen O. Saxe (1999). In 1988, they published the calendar of ornamental material from the Silver Buckle Press (University of Wisconsin at Madison). [Google] [More] ⦿

Silvia Sfligiotti
[italic 1.0]

View Dan Solo's typefaces. Another page on Solotype. Dan Solo's typefaces listed in decreasing order of popularity. View Dan Solo's typefaces. View Dan Solo's typefaces. [Google] [MyFonts] [More] ⦿

Silvia Sfligiotti

Teacher of editorial design at the Accademia di Comunicazione in Milano, and coauthor of "La grafica in Italia". Partner in Studio Bianca and in Studio Alizarina. At ATypI in Rome in 2002, she spoke about contemporary type design in Italy. Her talk was a summary of "Italic 1.0 Il disegno di caratteri contemporaneo in Italia Contemporary Type Design in Italy", an English-Italian book edited by Paola Lenarduzzi, Mario Piazza and Silvia Sfligiotti and published by AIAP in 2002.

Silvia teaches at the Scuola Politecnica di Design in Milan. Alternate URL. [Google] [More] ⦿

Simon Garfield

Simon Garfield is a British journalist and non-fiction author. He was educated at the independent University College School in Hampstead, London, and the London School of Economics, where he was the Executive Editor of The Beaver. Author of Just My Type: A Book About Fonts (2011).

Michael Bierut's comment: With wit, grace and intelligence, Simon Garfield tells the fascinating stories behind the letters that we encounter every day on our street corners, our bookstore shelves, and our computer screens. In Imprint, Paul Shaw tears the book apart however: But those who actually know something about type design and typography -- two related subjects that Garfield frequently mixes up -- will find it maddening. The factual mistakes are grounds for complaint, but on their own they are not enough to get upset about. Instead, it's Garfield's style that is the problem. Garfield flits about from one topic to the next like a nervous hummingbird, without settling long enough to give any a proper telling.

On the other hand, Matthew Butterick recommends it for non-specialists: To me, any book that introduces readers to the pleasures of typography is a good book, and ultimately makes life better for every professional typographer and type designer. [Google] [More] ⦿

Simon Loxley

Author of Type: The Secret History of Letters (2004, I.B. Taurus, London, UK). See also Google books. Cover of that book. Anatomy of type drawing from that book. [Google] [More] ⦿

SimpleBits (or: Icon Shoppe)
[Dan Cederholm]

Dan Cederholm (Salem, MA) founded Dribble and set up the SimpleBits web page. The Shoppe is an offshoot of SimpleBits, LLC, a design studio founded in 2002 by Cederholm. SimpleBits specializes mostly in icons. Typefaces by Icon Shoppe include Chameleon16 (2007), a beautifully designed truetype pixel font. Icons by Icon Shoppe include Ballroom, Chameleon, Stockholm and Overcast. Typefaces by SimpleBits comprise Ships Whistle (2020: a rounded monolinear sans), Parkly (2021: a national parks font), Cartridge (2021: based on 1980s style video game labels such as those used for the Atari 2600 console), Captain Edward (2021: named after Captain Edward Teach, aka Blackbeard, this font takes cues from Cooper Black's lighter-weight siblings and draws inspiration from the rugged New England coast), Vault Alarm (2021: chunky) and Rotundo (2021).

Typefaces from 2022: Easy Coast.

Author of Twenty Bits I learned About Making Fonts (2021). [Google] [MyFonts] [More] ⦿

Soffi Beier

Sofie "Soffi" Beier graduated from Danmarks Designskole (The Danish School of Design) in 2000, and has since been working as a graphic designer, designing several Danish magazines, websites, books and CD covers along with a number of typefaces. She has a PhD from the Royal College of Art in the UK, with a thesis entitled Legibility and Visual Compensation of Typefaces. Sofie works in London and Copenhagen. She teaches at Danmarks Designskole.

Author of Reading Letters: Designing for Legibility (2012) and Type Tricks (2017).

Designer of these typefaces:

The 8-style sans family Engel (2005). Followed by Engel New Sans (2010, at Die Gestalten), Engel New Serif, and eventually, Engel New (2017, The Northern Block).
Pemba Script (2005, Die Gestalten). A connected 1950s era script.
The rounded sans typeface family Ovink (2011). Published in 2017 by The Northern Block. It was loosely inspired by Knud V. Engelhardt's work for the street signage, designed around the years 1926-27 for Gentofte in Denmark. Named after legibility expert Gerrit Willem Ovink, the family was designed for legibility at great distances based on research published by Beier in Beier, S.&Larson, K. (2010): "Design Improvements for Frequently Misrecognized Letters", Information Design Journal, 18(2), 118-137.
That same research was used in the calligraphic text typeface Spencer (2011, The Northern Block), which was named after legibility expert Herbert Spencer.
Pyke (2011, released by The Northern Block in 2021). A 12-style Bodoni-inspired variation (with optical scaling: Display, Text, Micro) on the didones, named after legibility researcher Richard Lionel Pyke. Spencer and Pyke are two phenomenal contributions to the field, sure to garner her a closetful of awards.
The sans / serif / open typeface family Karlo (2015, at Die Gestalten). Karlo is inspired by Edward Johnston's letter forms and calligraphy and has the characteristic Gill Sansian ear of the lower case g. In 2018, it was republished by The Northern Block. She writes: In Denmark, a guy named Karlo would typically be an old fellow with a slick hairstyle that makes an effort with his appearance. He is a handyman who can do a bit of this and that when needed. He is a happy go lucky kind of guy that takes one day at a time. To me, the typeface family has some of the same qualities.

Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam on the subject of typeface legibility. Her talk at ATypI 2014 in Barcelona was entitled The voice of a typeface. Speaker at ATypI 2014 in Barcelona. Speaker at ATypI 2016 in Warsaw on The legibility of letters and words and at ATypI 2017 in Montreal on The legibility of numerals. Speaker at ATypI 2018 in Antwerp on the topic of stroke weight and letter width. Speaker at ATypI 2019 in Tokyo on the topic of Age-Related Deficits and Their Effects on Reading. [Google] [MyFonts] [More] ⦿

Solotype
[Dan X. Solo]

Dover Press sold Oakland's Dan X. Solo's digitizations. Dan Solo (b. 1928, d. 2012) has collected over 13,000 sets of metal fonts, starting when he was 9 years old and growing up in Oakland, CA. Finally, in 2002, he stopped doing that and began converting all of his fonts to computer type. Solotype, his company, was established in Alameda, CA. He printed 30 books on fonts (with Dover), including The Solotype catalog of 4,147 display typefaces, and created hundreds of fonts. In 2007, Dan Solo retired from the font business. He died in 2012.

Robert Trogman writes: I know Dan X. Solo personally. He ran a typographic studio in Berkeley for over 30 years. He had a large collection of film fonts, including some of my own. He created thousands of fonts and is now retired and is an avocational prestigitator. Copyrights have run out on most of his fonts. He also protected himself by creating pseudonyms on the questionable font names. Stuart Sandler confirms that many of the fonts in Solo's Dover books are in fact from the Filmotype collection, which Stuart is digitizing right now.

Gene Gable writes: Dan Solo of Solotype in Berkeley was experimenting with photo type as early as 1945 and started doing optical special effects in the early '60s. And a number of the larger display-type shops developed their own techniques. But in terms of opening up new markets for display type (and giving designers more control over type setting), Visual Graphics and Letraset lead the way. These companies were proud of, and promoted, the fact that that their products could be used by non-typesetters with little training.

Bio. He wrote about himself: Dan X. Solo The Solotype Archive was begun in 1942 when I was 14. I was a kid printer for several years before that. At 16, after a quick three months of training, I dropped out of school and went to work full time as a radio actor and announcer in San Francisco. (Easy to get jobs in those days, due to the war-induced manpower shortage.) In 1949 and 1950, I created a magic show which played West Coast theatres with some success. After that, back to broadcasting. By 1962, I was completely burned out on radio, so I decided to see if I could make a living with my collection of antique types, which numbered about a thousand fonts at that time. In 1962, I sent out 4,000 catalogs showing the type to ad agencies all over the U.S. The timing was perfect (no thanks to me) because there was developing at that time a renewed interest in the old types. Business took off immediately. The Solotype collection was one of four commercial collections at the time, but I seemed to have been more aggressive in marketing than the other chaps. (Well, Morgan Press certainly knew how to market.) Two years into the business, I began to collect alphabets on paper for conversion to photo lettering, which was just becoming mainstream in the type business. We closed the shop for a month every year and went on a type hunt, mostly in Europe where there didn't seem to be much competition among collectors. Other typographers couldn't understand how we could do this, but I believe it made people appreciate the resource we offered even more. Over the years, the collection became quite large. When I closed Solotype a couple of years ago, I got rid of about half the archive (because the fonts were dull, or already digitized, or for a variety of other reasons) leaving me with about 6,000 fonts on paper or film. In 1974, I began to supply Dover Publications with mechanicals for books of 100 alphabets on a particular theme. I did 30 of these books over the years, and 30 more of printers' ornaments, borders, and so forth. Sometime in the 1990s, Dover asked me to digitize books of 24 fonts each, to be sold with a disk in the back. I did 12 of these. The Dover relationship came to an end when Hayward Cirker, the owner and my special friend, died and the company was sold to another publisher. Dover felt that they had covered the type field thoroughly. Now in my old age, my wife and I have a mindreading act that is great fun and good for the ego. Even so, when not traveling, I digitize type for relaxation and enjoyment, but have made no effort to sell it. Until now.

Solo's wood type/Western/ headline/ Victorian collection includes Acantha, Bindweed, Dime Museum (2004, a French Clarendon revived by ATF in 1933 under the name P.T. Barnum), Egyptian Oldstyle, Excelsis, Extravaganza, Rigney, Assay, Baraboo Banner, Beijing, Brevet (after a Victorian typeface from 1887 by Ernst Lauschke), Brussels, Cathedral, Cleopatra, Cognac, Crossroads, Dainty Lady, Dangerfield, Diablo, Dutch Treat, Grecian, Lord Mayor, Malibu, Minnesota, Moulin Rouge, Penny Arcade (1992, a Victorian face after an 1890 original called Mural by Boston Type Foundry), Trixie, Valerie, Valjean, and Zorro. Alaska is based on an 1890 design of Marder, Luse and co. Arcade imitates an 1888 design of Barnhart Brothers&Spindler. Bamboo (oriental simulation face) is based on a 1889 creation of Barnhart Brothers&Spindler. Behrens Antiqua and Behrens schrift are revival of early 20th century typefaces by Peter Behrens. Eccentric is a digitization of a 1898 arts and crafts typeface by Kingsley/ATF. Hansard is a revival of a display type published in 1887 by MacKellar, Smiths,&Jordan. Pekin is a digitization of a face, first designed by Ernst Lauschke in 1888 and issued by Barnhart Bros.&Spindler foundry in Chicago under the name Dormer, and revived by them in 1923 under the name Pekin. Charles Henry Beeler made a condensed sans serif issued by Mackellar, Smiths&Jordan foundry in 1887: it was digitally revived as Roundhead. Monument is a revival of a 1893 typeface by the Boston Type Foundry, but was also cast at the Central Type Foundry. Vienna Light is a delicate early 1900s type originally created by the German foundry of Schelter&Gieseke. Other designs: Bareback, Campaign (ca. 1970), Cigar Label (1997), Estienne, Farringdon (a western face), Goodfellow (digitization of wood type from 1895 found at Hamilton and probably due to W.H. Page), Harlem Text (blackletter), Houdini (ca. 1992), Memorial, Quadrille 2 (a simplified Tuscan face), Sparticus, Vanities (a Victorian type), Whirligig.

In 2005, MyFonts added Seminary (after a Victorian font from 1885 by Bruce Type Foundry), Margie (formal script based on Marggraff Bold Script by the Dresden foundry vormalig Brüder Butter, 1920s), Fancy Dan, Bamberg (2005, after a condensed wood type from ca. 1850), Fat Face No. 20, French Ionic (quite ugly--based on an 1870 Clarendon derivative by the Cincinnati Type Foundry), Hearst Italic (based on a 1904 typeface by Carl Schraubstadter of the Inland Type Foundry), Hearst Roman (based on a typeface from the Inland Type Foundry allegedly stolen from a hand lettering job done by Goudy, acccording to Goudy himself), Tally Text (early photolettering type of the comic book style), Welcome 1 (based on Van Loey-Nouri's art nouveau typeface from 1900). A list of some digitized fonts:

Art Deco: Advertisers Gothic Light, Alex, Beverly Hills, Boul Mich, Capone Light, Chic (after Morris Fuller Benton's Chic, 1927), Clyde, Eagle Bold, Eagle Narrow, Eden Bold, Eden Light, French Flash, Gallia, Graybar Book, Grock, Matra, Modernique (art deco), Parasol, Parisian, Phoenix American, Plaza Suite, Publicity Gothic, Salut, Stymie Obelisk, Zeppelin.
Victorian: Anglo, Arboret, Campanile, Chorus Girl, Fancy Celtic, Ferdinand, Floral Latin, Glorietta, Grant Antique, Gutenberg, Hogarth, Jagged, Katherine Bold, Lafayette, Meisteringer, Olympian, Phidian, Ringlet (1998, a Victorian typeface after an 1882 original by Hermann Ihlenburg), Romanesque, Rubens, Stereopticon, Templar, Wedlock, Zinco.
Script/Cursive: Amapola, Artists Script, Carpenters Script, Certificate Script, Commercial Script, Conway (an architectural script), Elegance, Engrossing Script, Figaro, Flare, Gloria Script, Hanover, Helvetica Cursive, Holly, Kunsteler Bold, Liberty, Manuscript, Orion Script, Pantagraph Script (+No2, +No3), Park Avenue, Romany Script, Trafton Script, Typo Upright, University Script, Virginia Antique.
Art Nouveau: Ambrosia, Argus, Artistik, Auriol, Baldur, Bocklin, Cabaret (2003, as in Murder She Wrote), Carmen, Childs, Edda Black, Excelsior, Francomia, Giraldon, Harrington, Isadora, Metropolitan, Murillo, Oceana, Odessa, Orbit Antique, Palmetto (2005; an art nouveau typeface based on a 1887 typeface called Palm from the A.D. Farmer Foundry), Siegfried, Skjald, Spartana, Titania.
Gothic/Medieval: Academy Text, American Uncial, Antique Black, Becker Bold, Bradley, Castlemar, Celebration Text Fancy, Church Text, Engravers Old English, Frederick Text, Freehand, Hingham Text, Initials-Bradley and Caxton, Kanzlei Light, Lautenbach, Lautenbach Fancy Caps, Libra, Morris Black, Nicholini Broadpen, Rhapsodie Swash Caps, Scottford Uncial, Solemnis, Washington Text, Wedding Text.
Celtic: Anglo Text, Camden Text, Chappel Text, Cimbrian, Colchester Black, Durer Gothic, Durwent, Fenwick, Genzsch Initials, Gloucester Initials, Gutenberg Gothic, Hansa Gothic, Harrowgate, Kaiser Gothic, Kings Cross, Konisburg, Malvern, Medici Text, Middlesex, Progressive Text, Tudor Text, Warwick, Westminster Gothic, Yonkers.
Special-Effects Display Fonts: Azteca Condensed, Buddha (oriental simulation face, after a Schelter&Giesecke type), Burst, Campaign (1970), Chinatown (oriental simulation), Cigar Label (1997-2002), Colonial Dame, Contract Banner (2004, a take on Mezzotint from 1880), Direction, Fillet, Filmstar (1999), Firebug, Headhunter, Hollywood Lights, Igloo Solid, Import, Lariat, Needlepoint, Old Glory, Protest, Rustic, Scimitar (Arabic simulation face), Scoreboard, Skyline, Starburst, Sundown Shadow, Tableau, Tonight, Xerxes.
Other: Acantha, Assay, Baraboo Banner, Beijing, Bindweed, Brevet (after a Victorian original by Ernst Laushke, 1887), Brussels (positioned inbetween Stephenson Blake's Flemish Expanded and Flemish Condensed), Cathedral, Cleopatra, Cognac, Crossroads, Dainty Lady, Dangerfield, Diablo, Dime Museum, Dutch Treat, Egyptian Oldstyle, Excelsis, Extravaganza, Grecian, Lord Mayor, Malibu, Minnesota, Moulin Rouge, Penny Arcade, Rigney, Trixie, Valerie, Zorro.

Images of selected typefaces: Agency Gothic, Alpha Midnight, Alpha Twilight, Anita Lightface (1977), Art Deco Display Alphabets, Ashley Crawford, Ashley Inline, Astur, Bamberg, Banco, Beans, Blackline, Bobo Bold, Braggadocio, Broadway Engraved, Busorama Bold, Busorama Light, Bust, Charger, Checkmate, Colonel Hoople, Corral, Dudley P Narrow, Dynamo, Earth (a futuristic / prismatic typeface revived by nick Curtis in 2015 as Terranova NF), Eclipse, Empire, Ewie, Fat Cat, Fatso, Festival, Futura Black, Futura Inline, Gillies Gothic Bold, Greeting Monotone, Grooviest Gothic, Hess Neobold, Hotline, Huxley Vertical, Inkwell Black, Joanna Solotype, Joyce Black, Koloss, Lampoon, Mania, Mania Contour A, Mania Contour B, Margit, Mindy Highlight, Modernistic, Monograms Stencil, Mossman, Neon, Neuland (+Inline), Phosphor, Piccadilly, Pickfair, Polly, Prismania P, Quote, Rhythm Bold, Shady Deal, Sheet Steel, Sinaloa.

The Solotype Catalog is a file with information on Dan Solo's typefaces, annotated with remarks about name equivalences and digitizations. The original file was due to Thibaudeau, but typophiles on alt.binaries.fonts have added to it in 2010. PDF version. Excel version. Text version. See also here.

Sonja Steiner-Welz

Author of Von der Schrift und den Schriftarten (Reinhard Welz Vermittler Verlag, Mannheim). These have a history of type and lettering, instructions on lettering (e.g., stroke guide for Antiqua Majuskeln, Lombardische Versalien, and Gotische Majuskeln), some type specimen (mainly German, from the early part of the 20th century), some alphabets, drawn by her, information on the German school scripts, and a German type and lettering glossary: i, ii, iii, iv. It was probably published between 1956 and 1959.

In 2010-2012, Dick Pape created a number of (mostly caps-only) typefaces based on that book. These include SSWAntiquaPionsel, SSWAntiquaVersalien (a caps set based on Ludovico Vicentino, 1523), SSWCelticAntiquaOutline, SSWFederAntiqua, SSWHollowScript, SSWHolz (Lombardic caps), SSWJensonsAntiqua, SSWLeopoldAntiqua, SSWLombardischeVersalien, SSWMannheimOrnament, SSWPlakatschrift (a useful outline alphabet), SSWRoundPrinting, SSWRusticAlphabet, SSWRusticScript, SSWSchablonenschrift (Bauhaus-style stencil face), SSWUrbanAntiqua-Versal, SSWWoodcuts.

Download Pape's fonts here. [Google] [More] ⦿

Stan Knight

Idaho-based author of

Historical Scripts from Classical Times to the Renaissance (1998, Oak Knoll Press, New Castle, DE). This is an excellent survey of bookhands containing full-page, enlarged illustrations and well-researched sources. It is a useful text for studying the history of manuscripts as well as the details of letter construction.
Historical Types from Gutenberg to Ashendene (2012, Oak Knoll Press, New Castle, DE). This book covers Jenson, Griffo, Garamont, Caslon, Baskerville, Bodoni, Simon de Colines, Miklós Kis, Johann Michael Fleischman, and Richard Austin. It is reviewed by Alastair Johnston.

[Google] [More] ⦿

Stanley C. Hlasta

Author of Printing Types&How to use them (1950, Carnegie Press, Pittsburgh). [Google] [More] ⦿

Stanley Morison

Stanley Arthur Morison was an influential British designer and type designer (b. 1889, Wanstead, d. 1967, London), who spent most of his creative energy at Monotype between 1920 and 1950.

Designer with Victor Lardent of Times New Roman (1932) while consultant for the London Times. He designed Blado MT at Monotype (1923) (a revival of characters drawn by Ludovico degli Arrighi). He is also credited with revivals of Baskerville, Bell, Garamond (1922) and Bembo (1929).

Mac McGrew writes: Bembo was cut in 1929 by the English Monotype corporation under the direction of Stanley Morison, and shortly thereafter by Lanston Monotype in America. It derives from the first roman type used by Aldus Manutius in the dialogue De Aetna, by Pietro Bembo, printed in Venice in 1495. Punches were cut by Francesco Griffo of Bologna, the designer responsible four years later for the first italic types. This typeface is probably the most popular and successful of the numerous typefaces revived by Morison as typographic adviser to the English company. Morison attributed its success to the fact that "it was inspired not by writing but by engraving; not script but sculpture." The italic is adapted from a 1524 typeface of Giovanni Taglienti, and has a natural grace of its own. English Monotype also made Bembo Bold and Bembo Bold Italic.

Bio at Britannica. Biography by Nicholas Fabian.

He wrote Four Centuries of Fine Printing (1924, New York: Farrar, Strauss and Company), Type Designs of the Past and Present (1926, The Fleuron Limited, London: a highly recommended 70-page treatise on the history of type), and First Principles of Typography (1936; reprinted in 1955). A Tally of Types was published by Cambridge University Press in 1973. His Letter Forms (2nd edition) was published by Hartleys & Marks in 1996.

A quote from First Principles of Typography: Type design moves at the pace of the most conservative reader. The good type-designer therefore realizes that, for a new fount to be successful, it has to be so good that only very few recognize its novelty.

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

Steen Ejlers

Danish architect and graphic designer (b. 1951) and senior lecturer at the Royal Academy of Fine Arts in Copenhagen. Steen Ejlers graduated from the Royal Danish Academy of Fine Arts, School of Architecture in 1975. He wrote several books including Claus Achton Friis - skrift&brugsgrafik (Arkitektens Forlag, 1996), and a book on Gunnar Biilmann Petersen, who was an eminent letter designer and the first design professor in Denmark. Alternate URL. Speaker at ATypI 2011 in Reykjavik. [Google] [More] ⦿

Stefan Rögener

Author of Typen machen Marken mächtig (1995, Impress Verlag), written with Albert-Jan Pool and Ursula Packh&aauml;user. [Google] [More] ⦿

Stefan Schlesinger

Stefan Schlesigner was born in Vienna in 1896. He moved to the Netherlands in 1925, where he worked for Van Houten's chocolate, Metz department store, printing firm Trio and many other clients. He died in the gas chambers of Auschwitz in 1944. His typefaces:

Rondo (1948), at the Lettergieterij, co-designed with Dick Dooijes (published in 1948 after Schlesinger's death). Rondo Bold is from 1954. Mecanorma later added Rondo to its (phototype) library. For digital versions, see Castcraft's OPTI Rondo, Minuet (2007, Canada Type's version of Rondo), and Mecanorma's Rondo.
The Western "italienne" slab serif font Hidalgo (1939, Lettergieterij Amsterdam). Canada Type explains: In the late 1930s, old Egyptiennes (or Italiennes) returned to the collective consciousness of European printers and type houses, especially in France where Le Figaro newspaper was seeing record circulation numbers. In 1939 both Monotype and Lettergieterij Amsterdam thought of the same idea: Make a new typeface similar to the reverse stress slab shapes that make up the titles of newspapers like Le Figaro and Le Frondeur. Both foundries intended to call their new type Figaro. Monotype finished theirs first, so they ended up with the name, and their type was already published when Stefan Schlesinger finished his take for the Amsterdam foundry. Schlesinger's type was renamed Hidalgo (Spanish for a lower nobleman, son of something) and published in 1940 as "a very happy variation on an old motif". Although it wasn't a commercial success at the time, it was well received and considered subtler and more refined than the similar types available, Figaro and Playbill. In the Second World War, the Germans banned the use of the type, and Hidalgo never really recovered. In 2017, Hans van Maanen (Canada Type) revived and expanded Hidalgo as Basilio.
Superba.
He was working on the calligraphic script typeface Saranna (1941). As explained by Canada Type: The story of Serena is a unique one among revivals. Serena was neither a metal typeface nor a film one. In fact it never went anywhere beyond Stefan Schlesinger's 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn. The only sketches left of Schlesinger's Saranna work are found in the archives of the Drukkerij Trio (the owner of which was Schlesinger's brother-in-law). The sketches were done in pencil and ink over pencil on four sheets of paper. And now Hans van Maanen revives Schlesinger's spirit as closely as the drawings permit. Hans Van Maanen thus digitized Serena (2007, Canada Type's take on Saranna). Malou Osendarp is also working on a revival of Saranna.
At Future Fonts, Diana Ovezea and Sabina Chipara published Bizzarrini. Diana Ovezea writes about the wonderful Bizzarrini: Though the idea originates from a Stefan Schlesinger ad sketch for a Paris couture house, we straightened up this typeface and made it seem engineered and sharp. It gets its name from the Bizzarrini Manta, a wedge-shaped concept car designed in 1968 by Giorgetto Giugiaro. Bizzarrini has extremely long wedge serifs. Following Schlesinger's sketch, it features very tall capitals with an out-of proportion middle-line (very big heads on S, B and R).

Author of Voorbeelden van Moderne Opschriften voor Schilders en Tekenaars (NV Kosmos, Amsterdam). Cherries.

Stefan Waidmann

Author of Schrift und Typografie. Die Sprache der klassischen Schriften (1999, Niggli). [Google] [More] ⦿

Stefania Cantù

Stefania Cantù was born in Gallarate (Milan) in 1985. In 2012, she obtained a Masters degree in Languages and Culture for International Communication and Cooperation, Arabic and Chinese languages. Stefania Cantù and Paolo Daniele Corda coauthored La Scrittura Araba e il Progetto DecoType (2013, Sedizioni). [Google] [More] ⦿

Stelio Crise

Author of Di un patetico saggio di caratteri tipografici (Firenze, Sansoni, 1960). I haven't seen that book yet, but with such an intriguing title, I will make it a must for my next trip to Harvard. [Google] [More] ⦿

Stephen Coles
[Typographica]

Studio Bibliografico Scriptorium

Stephen Coles

Aka Stewf. Stephen was a Utah-based graphic designer who used to design layouts for the USLC Chronicle. A typeface identifier with an encyclopedic mind, he runs the successful and lively type blog Typographica with Caren Litherland [that site was founded by Joshua Lurie-Terrell in 2002. Coles joined a couple years later. Matthew Bardram and Patric King helped out for a while]. He was Type Director at FontShop San Francisco from 2004-2010. Stephen is now a writer and typographic consultant, doing work for a variety of foundries and design studios. He founded Fonts In Use and is the Associate Curator and Editorial Director at Letterform Archive.

Author of The Anatomy of Type : A Graphic Guide to 100 Typefaces (2012, Harper Design) and The Geometry of Type: The Anatomy of 100 Essential Typefaces (2013, Thames & Hudson, UK). Amazon link.

Speaker at ATypI 2017 Montreal.

His typefaces:

The Mac version of "Monica", Andy Crewdson's digitization of Monica Lewinsky's handwriting (in notes she wrote for Bill Clinton).
Eerostyle (2008), created with FontStruct. Eerostyle is a parody of Eurostile.
The FontStruct fonts Pebble Soft, Pebble, Morricone (Far West spoof), Leaflet Gap (kitchen tile), Leaflet Wide Stem, Leaflet Stem, Leaflet, Varsity (athletic lettering), MinimalBloc Gap (kitchen tile).
WPA Gothic and WPA Gothic Deco (also done at FontStruct). These are poster typefaces inspired by posters produced in the 1930s by FDR's WPA (Works Progress Administration) such as this one. Similar poster typefaces would include Futura Display, Tourist Gothic, FF Moderne Gothics, Refrigerator, and MVB Solano Gothic.

[Google] [MyFonts] [More] ⦿

Stephen G. Moye

Designer from Cranston, Providence, RI, b. 1947, who made these free typefaces:

Architext (1991). An octagonal typeface. Artlookin (1991) and Trooklern (1991) are identical.
CiviRegular (a free version of Civilite by Moye and Beatty).
Fleurons A (1991-1993). Based on A Suite of Fleurons by John Ryder.
Goudy Hundred (1999). A rendering of Goudy's Bertham font, which in turn was named after Goudy's wife Bertha. The drawings and matrices were lost in a fire in 1939.
Hook Read (1991).
Kellnear (1991).
Koch (1991). A rendering of Rudolf Koch's Antiqua.
Lichtner (1991). Livia (1991) is identical. A Trajan pair of typefaces.
Paddington (1997, a simulation of Edward Johnston's writing for the London Transport in 1918).

Author of Fontographer: Type by Design (MIS Press, 1995), a book set in Livingston, a font Moye designed himself. Moye was saddened by the demise of Fontographer at the hands of Macromedia, and elated by its resurrection at FontLab in 2005. He also wrote Tex TypeSpec [free PDF at CTAN].

Dafont link. Abstract Fonts link. [Google] [More] ⦿

Stephen O. Saxe

Letterpress specialist. Author of a fine article in 1983 on wood type. Alastair M. Johnston and Stephen O. Saxe edited the book Nineteenth Century Designers and Engravers of Type (Oak Knoll), which republishes William E. Loy's entire series of articles about America's type designers that had appeared ca. 1896-1900 in The Inland Printer. [Review by James Puckett] [Google] [More] ⦿

Steve&Marie Campbell

Authors of the non-commercial font specimen book Free Fonts Freeware&Shareware Font Directory (Début Publications, 2006). TRhe web page compares several handwriting fonts. [Google] [More] ⦿

Steven Heller

Prolific author, art director of the New York Times Book Review and founder and coChair of the School of Visual Arts, New York MFA/Design Program. He is the former editor of the AIGA Journal of Graphic Design and author or editor of over 170 books on popular culture, graphic design history, and political art. MyFonts page on him. Editor of The Education of a Typographer (2004, Allsworth Press). Some of his books closest to type design and typography:

Merz to Emigre and Beyond: Avant-Garde Magazine Design of the Twentieth Century (2004).
Paul Rand (1998).
Texts on Type: Critical Writings on Typography (2001, edited by Heller and Philip B. Meggs).
Typology: Type Design from the Victorian Era to the Digital Age (1999, with Louise Fili).
Faces on the Edge: Type in the Digital Age (1997, with Anne Fink).
Handwritten: Expressive Lettering in the Digital Age (2006, with Mirko Ilic).
Iron Fists Branding the 20th Century Totalitarian State (2008, London).
Un Sedicesimo (2008, with Louise Fili, Corraini, Mantova, 2008).
Letterforms: Bawdy, Bad and Beautiful: The Evolution of Hand-Drawn, Humorous, Vernacular, and Experimental Type (with Christine Thompson, Watson-Guptill, 2000): Christine Thompson, designer at the New York Times on the Web since the site's inception in 1995, has won multiple awards for her work in interactive media. She lives in New York.
Stencil Type (with Louise Fili, published by Thames and Hudson).
The Graphic Design Reader (Allworth Press), The Education of a Design Entrepreneur (Allworth Press), Graphic Humor: The Art of Graphic Wit (Allworth Press), Cuba Style: Graphics From the Golden Age of Design (Princeton Architectural Press), Counter Culture: The Allure of Mini-Mannequins (Princeton Architectural Press),
The Swastika, Design Literacy.
Type Speaks: A Lexicon of Expressive, Emotional, and Symbolic Typefaces (2021). By Steven Heller and Gail Anderson. eview by Roger Black.

The typeface Heller Sans JNL (2019, Jeff Levine) is named after Steven Heller as its designer digitized an experimental alphabet by Steven Heller. [Google] [MyFonts] [More] ⦿

Steven Skaggs

A native of Louisville, KY, he studied calligraphy and typography under Hermann Zapf. His typefaces, all part of Delve Fonts (Delve Withrington's foundry in Alameda, CA), in alphabtical order:

Piston (2012). A steam-punk typeface designed to be customized by the user through converting to outlines and pulling the straight strokes to pack as desired. It was called Engine nine at some point.
Maxular (2012-2018). A 14-font rounded slab serif family that includes special Rx styles fine-tuned for macular degeneration sufferers. Very legible at small sizes.
Rieven Uncial (2009). Post-modern hybrid uncial. Rieven received a "Certificate of Excellence in Type Design" in the 2010 TDC2 competition. The Rieven family was expanded with the additions of Rieven Roman and Rieven Ornaments in 2013.

Studies in Pen Art
[William E. Dennis]

A PDF file of the book Studies in Pen Art (by Brooklyn, NY-based penman William E. Dennis, 1914, A.N. Palmer Co). This 95-page booklet has beautiful specimens of alphabets, from display typefaces to calligraphic scripts, blackletter types and ornamental types. There are also reproductions of flowery ornaments such as the acanthus ornaments popular in the early 20th century. He created Sickels alphabet, ca. 1899.

Additional link. Another PDF file. Examples of Dennis's hand: a bird (1896), his signature (1896), Austin N. Palmer's name hand-printed (1896). [Google] [More] ⦿

Italian antiquarian type bookseller run by sara Bassi in Mantova, Italy. [Google] [More] ⦿

Studio Type (or: Typojo)
[Jo de Baerdemaeker]

Belgian type designer (b. Brussels, 1974) who lived in Kessel-Lo, and is now based in Antwerp.

For his M.A. in Reading in 2004, he designed Lungta (2004). At ATypI 2006 in Lisbon, he spoke about Tibetan letterforms. In 2009, he obtained his doctoral degree from Reading on a topic entitled Tibetan Typeforms: from their inception in 1738 up to the present day.

Jo taught at the Department of Typography & Graphic Communication (University of Reading). He presently teaches at the Plantin Institute of Typography (Antwerp), at the European Lettering Institute (Bruges) and at LUCA (campus Sint-Lucas Gent). Earlier he taught at LUCA (campus Sint-Lukas Brussels), and at KASK School of Arts (HO Gent).

In 2012, Jo De Baerdemaeker founded Studio Type in Antwerp (Belgium), and collaborates with international design studios and type foundries. He received the title Nieuwe Vlaamse Meester in de Kunst in 2017 from the Flemish Government.

Author of Tibetan Typeforms (De Buitenkant).

His typefaces:

Antwerpen. A custom titling font commissioned by Today, exclusively available for the visual identity of the City of Antwerp. Antwerpen consists of 3 weights (Antwerpen Regular, Antwerpen Small, and Antwerpen Tall).
Colard Mansion (2017). This custom font family was designed in light of Haute Lecture by Colard Mansion: innovation text and image in medieval Bruges, a unique exhibition on the oeuvre of Colard Mansion, at the Groeningemuseum Bruges which ran in 2018. The remarkable typography of Mansion inspired De Baerdemaeker to carry out detailed research into the work of the master and to develop a new digital font family for the City of Bruges. It consists of Colard Mansion Bastarda, and an angular sans typeface family.
Construct. An experimental geometric typeface in which the initial lowercase letters were extended with a horizontal headline as in Devanagari: graduation project at St Lukas College of Art and Design, Brussels.
Dolma (2018) (Tibetan Petsug). Dolma is a Tibetan font in the headless Umed Petsug style. This handwritten style is often used in Tibetan publications. Petsug was frequently used in the Kham Province of East Tibet. Dolma was designed for the 40th anniversary celebrations of Karma Sonam Gyamtso Ling, the Tibetan Institute in Schoten (Antwerp) in 2018.
Elegant Contemporary (2009). A 4-style grotesque done for an arts center in Nottingham, inspired by Hans Möhring's Elegant Grotesk, 1928.
Flanders Art. A 27-style sans serif & serif font family, custom designed for the visual identity of the Flemish Government.
KdG. The KdG font was designed for the new visual identity of the Karel de Grote Hogeschool (KdG) which is located in Antwerp.
Ken Broeders. This custom comic book typeface is designed exclusively for the renowned graphic novel designer Ken Broeders. Based on his unique handwriting, Ken uses this font for the lettering of the numerous translations of his beautifully hand illustrated and originally concepted graphic novels Apostata, Driftwereld, and other projects.
Lungta (2004). an unbelievably gracious bicephalic typeface with Latin text serif and Tibetan components. He says that the design was influenced by Dwiggins. Lungta is currently in use by The Oxford University Press, and was used for the Tibetan portion of the book In the forest of faded wisdom: 104 poems by Gendun Chopel. This book, edited and translated by Donald S. Lopez Jr, was published in November 2009 by The University of Chicago Press.
Nirmala Bengali. Nirmala UI is a modern Indic typeface family commissioned by Microsoft. It was first released with Windows 8 in 2012 as a UI font and supports languages using Bengali, Devanagari, Kannada, Gujarati, Gurmukhi, Malayalam, Odia, Ol Chiki, Sinhala, Sora Sompeng, Tamil and Telugu. It also has support for Latin, with glyphs matching Segoe UI. It is also packaged with Microsoft Office 2013 and later versions of Windows. The typeface was art-directed by Fiona Ross, produced by John Hudson, and hinted by Ross Mills. Fiona Ross and John Hudson also designed the Devanagari and Odia, David Brezina designed the Gujarati, Valentin Brustaux the Telugu, Jo De Baerdemaeker the Bengali and Fernando de Mello Vargas the Malayalam and Tamil. The Latin from Segoe UI is by Steve Matteson.
Noto Javanese. A Javanese font for the Monotype / Google Noto Sans project.
Sherpa, part of the Sherpa font project. The project started with the study and design of the Sherpa typeface for the Lantsa (Ranjana) script, and will continue with other scripts fro the Himalayan region, like Tibetan, Phags-pa, Lepcha, Mongolian, Soyombo, and Devanagari scripts.
Typo Belgieque (2021). A project to revive some old and typically Belgian typefaces. Times New Belgian: The latest reading technology with centuries-old Belgian letters is an article about this project that appeared in de Tijd, February 2021.
Wiels (2008). A sans typeface designed for the Centre of Contemporary Art in Brussels, Belgium.

At ATypI 2006 in Lisbon, he spoke about Tibetan letterforms. Speaker at ATypI 2010 in Dublin: The Javanese typefaces of Johannes Enschedé en Zonen and Lettergieterij Amsterdam voorheen N. Tetterode. Speaker at ATypI 2011 in Reykjavik on The Mongolian script. Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2016 in Warsaw (on reverse italics). Speaker at ATypI 2019 in Tokyo on the topic of Ferdinand Theinhardt's Legacy in Tibetan Typography. [Google] [More] ⦿

Sue Walker

Professor of Typography and Head of the Department of Typography & Graphic Communication at The University of Reading, and a partner in Text Matters, an information design consultancy based in the UK. At ATypI 2005 in Helsinki she spoke on Children and typography. Speaker at ATypI 2010 in Dublin.

She specializes in reading for children, and wrote extensively on that subject. See, e.g., Typography in Children's Books. At Kidstype, she discusses the development of a special font for early readers, Fabula (co-developed with Conrad Taylor, Vincent Connare, Gerry Leonidas and José Scaglione). Kidstype is about type and typography in books and electronic resources aimed at children. It describes some of the research and writing of Sue Walker and Linda Reynolds.

Suomen typografinen atlas 1642–1827

Massive, two-volume atlas of Finnish typography edited by Anna Perälä, published at Helsinki: Helsingin yliopiston kirjasto, 2000. [Google] [More] ⦿

Susanne Zippel
[Mittelpunkt Zhongdian]

The Encyclopaedia of Type Faces

SWIPE

On-line bookstore specializing in typography. [Google] [More] ⦿

Talbot Baines Reed

Talbot Baines Reed (1852-1893) was an English writer of boys' fiction who established a genre of school stories that endured into the second half of the 20th century. Among his best-known work is The Fifth Form at St. Dominic's. He was a regular and prolific contributor to The Boy's Own Paper (B.O.P.), in which most of his fiction first appeared. Through his family's business [his father was Sir Charles Reed], Reed became a prominent typefounder, and wrote the celebrated text A History of the Old English Letter Foundries (Faber and Faber Limited, London, 1887).

From Wikipedia: Reed's father, Charles Reed, was a successful London printer who later became a Member of Parliament (MP). Talbot attended the City of London School before leaving at 17 to join the family business at the Fann Street type foundry. His literary career began in 1879, when the B.O.P. was launched. The family were staunchly Christian, pillars of the Congregational Church, and were heavily involved in charitable works. However, Reed did not use his writing as a vehicle for moralising, and was dismissive of those early school story writers, such as Dean Farrar, who did. Reed's affinity with boys, his instinctive understanding of their standpoint in life and his gift for creating believable characters, ensured that his popularity survived through several generations. He was widely imitated by other writers in the school story genre. In 1881, following the death of his father, Reed became head of the Fann Street foundry. By then he had begun his monumental Letter Foundries history which, published in 1887, was hailed as the standard work on the subject. Along with his B.O.P. obligations Reed wrote regular articles and book reviews for his cousin Edward Baines's newspaper, the Leeds Mercury. He was busy elsewhere, as a co-founder and first honorary secretary of the Bibliographical Society, as a deacon in his local church, and as a trustee for his family's charities. All this activity may have undermined his health; after struggling with illness for most of 1893, Reed died in November that year, at the age of 41.

Early in his career he met the leading printer and bibliographer of the day, William Blades, from whom he acquired a lasting fascination with the printing and typefounding crafts. While still relatively inexperienced, Reed was asked by Blades to help organise a major exhibition to mark the 400th anniversary of William Caxton's printing of The Game and Playe of the Chesse. This was thought to be the first book printed in England, and the exhibition was originally planned for 1874. However, Blades's research proved that Caxton's first printing in England had in fact been in 1477, of a different book, so the quatercentenary celebrations were rescheduled accordingly. The exhibition was held during the summer of 1877, at South Kensington, and was opened by William Gladstone, the former and future prime minister. It included displays of Caxton's printed works, together with many examples of printing through the intervening years. Reed's main contribution was to the exhibition's catalogue, for which he wrote an essay entitled "The Rise and Progress of Typography and Type-Founding in England". The exhibition was supported by leading London printers, publishers, booksellers, antiquarians and scholars, and attracted wide public interest. Sir Charles Reed, who had been knighted on Gladstone's recommendation in 1874, died in 1881. A few months later, Talbot's elder brother Andrew retired from the business because of ill health. As a result, at the age of 29, Talbot became the sole managing director of the Fann Street business, a position he held until his death. This was, however, by no means Reed's sole activity in connection with the trade. In 1878, in response to a suggestion from Blades, he had begun work on a general history of typefounding in England, a task which occupied him intermittently for ten years. Published by Elliot Stock in 1887 under the title of History of the Old English Letter Foundries, the book became the standard text on the subject. Its 21 chapters are illustrated throughout with examples of typefaces and symbols used for four centuries. The text is presented in modern style, but with the initial letter of each chapter ornately drawn from a 1544 pattern. Also in 1887 Reed produced a revised and enlarged specimen book for the Fann Street foundry, with many new typeface designs and artistic ornamentations. [Google] [More] ⦿

Talus

Belgian printing house which has launched a typographic series called t. The first book in this series is "Femmes&métiers du Livre" (Jef Tombeur, 2004). It also offers "Typographique tombeau de Jean-Pierre Lacroux", which is a joint effort of people like Éric Angelini, Thierry Bouche, Jef Tombeur and Alain Hurtig. Located in Soignies, the house is managed by Michel Bourdain. [Google] [More] ⦿

Tamye Riggs

San Francisco-based type persona, who used to work at Garage Fonts/Phil's Fonts, and then at Fontshop (until 2005). Coeditor with Richard Kegler and James Grieshaber of Indie Fonts (2002) and Indie Fonts 3 (2007). Coauthor with James Grieshaber of Font: Classic Typefaces for Contemporary Graphic Design. Involved in Typelife. MyFonts page. Presently Executive Director, SOTA (Society of Type Afficionados) and TypeCon. In December 2015, she was appointed executive Director of ATypI. [Google] [MyFonts] [More] ⦿

Taylor & Taylor

Publishers in 1939 in San Francisco of Types, Borders and Miscellany of Taylor & Taylor, with Historical Brivities on their Derivation and Use. [Google] [More] ⦿

T.E. Jansen

Dutch wood engraver and printer located in Nijmegen, who lived from 1809 until 1863. He published the lettering model book Cahier van acht en dertig lettermodellen, ten dienste van huis- en rijtuig-schilders, enz. (1854)

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿

Teal Triggs

Teal Triggs is director of postgraduate studies, faculty of art, design and music, Kingston University, London. She has written on graphic design, typography, and feminism. Her books include Type Design: Radical Innovations and Experimentation, and The Typographic Experiment: Radical Innovation in Contemporary Type Design (Thames&Hudson, 2003). [Google] [More] ⦿

The Best Type Book with No Typesetting
[Gene Gable]

Gene Gable scanned many pages of Studio Handbook Letter&Design for Artists and Advertisers (1927, Samuel Welo). This book has 233 pages and is entirely hand-lettered! [Google] [More] ⦿

The Book Den

Pick up out-of-print second hand type books. [Google] [More] ⦿

The Cardozo Kindersley Workshop
[Lida Lopes Cardozo]

Lida Lopes Cardozo was born in Leiden, The Netherlands, in 1954, and was married to David Kindersley. A well-known letter cutter, she organized David Kindersley's Workshop in 1987. Coauthor with David Kindersley of Letters Slate Cut (Taplinger Pub Co, 1981). After Kindersley's death in 1995, she set up a stonecutting / handwriting / type design site called The Cardozo Kindersley Workshop, to continue what Kindersley started. The list of typefaces published by The Cardozo Kindersley Workshop:

Emilida (Timothy Guy and Lida Lopes Cardozo).
Kindersley Grand Arcade (2005, The Cardozo Kindersley Workshop). Lida writes: Kindersley Street (aka Kindersley Grand Arcade), our new typeface based on Kindersley Mot, is being designed, for the Grand Arcade, Cambridge. It will have a newly designed lower-case to fit the original capitals from David Kindersley's drawings which have now properly digitised. It is the official revival of Kindersley's MoT Serif (1952) [a design that had been submiited for use on UK signs to the British Ministry of Transport]. This typeface is free.
Kindersley Street Italic (Lida Lopes Cardozo and Eiichi Kono). An italic to compliment Kindersley Street.
Pulle (Lida Cardozo): A new titling typeface with a difference. It's called Pulle, and instead of different weights it has 1000 different heights, starting from tall and getting taller. Lida named it after her brother, Paul Pulle, who sadly died in the year 2000. Lida has been drawing and cutting this particular letterform for over 20 years. The typeface was used publicly for the first time for a glass panel in the recently refurbished Cambridge Central Library.

[Google] [MyFonts] [More] ⦿

The Elements of Style

On-line version of the 1918 book by William Strunk, Jr. (1869-1946), entitled "The Elements of Style" (W.P. Humphrey, Ithaca, NY, 1918), reprinted by Batleby.com, New York, 1999. [Google] [More] ⦿

Famous 1953 book W. Pincus Jaspert, W. Turner Berry, and A.F. Johnson, published in 1953 by Blandford, but now reissued in paperback (2001) by Cassell Illustrated in the UK (part of the Octopus Publishing Group) and/or Sterling in the USA. It gives samples and histories of almost 2000 fonts. The 1962 (third) edition by Pitman Publishing, NY, had the authors in this order: W. Turner Berry, A. F. Johnson [and] W. P. Jaspert. The 1970 (fourth) edition by Barnes & Noble, NY, had this order: W. Pincus Jaspert, W. Turner Berry [and] A. F. Johnson. Fifth Edition of The Encyclopaedia of Type Faces (2001). [Google] [More] ⦿

The Evolution of Type
[Michael Brandt]

History of type. Type glossary. Links. Site maintained by Michael Brandt and Oriana Anholt of mediumbold. Old URL.

Micael Brandt is also the author of The Evolution of Type. [Google] [More] ⦿

The Farm and Trades School

Publisher of Specimen of Typefaces (Thompson's Island, Boston, MA, 1925). [Google] [More] ⦿

The Fell Types

The Fell type collection was a gift made to Oxford University by a bishop of Oxford, Dr. John Fell (bishop of Oxford), in the late seventeenth century (ca. 1672). He bought punches and matrices in Holland and Germany in 1670 and 1672 and entrusted his personal punchcutter, Peter de Walpergen, with the cut of the larger bodies. Bibliography compiled by Igino Marini, who revived some Fell types in 2004:

Stanley Morison: "The roman italic&black letter bequeathed to University of Oxford by Dr. John Fell", Oxford University Press, 1951.
Stanley Morison: "John Fell The University Press and the 'Fell' Types", Oxford University Press, 1967.
Horace Hart: "Notes on a Century of Typography at the University Press Oxford, 1693-1794", Oxford, The Clarendon Press, 1970 (facsimile edited by Harry Carter from the original of 1900).
Harry Carter: "The Fell Types - What has been done in and about them", Oxford University Press, New York, 1968.

[Google] [More] ⦿

The Font Wars
[James Shimada]

A wonderful article written in 2006 by James Shimada that tells the story of PostScript, parametric fonts, TrueType and OpenType. [Google] [More] ⦿

The FontBook

Great book by Ed Cleary, Jürgen Siebert and Erik Spiekermann, published by FontShop International in 1995 and 1998. Over 25,000 type samples. A second volume appeared in 2003. [Google] [More] ⦿

The Icelandic Method
[Gunnlaugur S.E. Briem]

A free instruction booklet by Gunnlaugur S.E. Briem written in 1985, and concerned with handwriting education for Icelandic children. Nan Jay Barchowsky, who published it in her series called Cursive Italic News says: The Ministry of Education in Iceland is introducing italic handwriting in schools. That is the result of pressure from teachers who were dissatisfied with the style they had, a copperplate-based business hand. A group of Icelandic teachers who are interested in experimental teaching of italic formed a working party last year, They were interested in the method and asked Briem to put together instructions that could be used with children by teachers who had little or no experience with italic. The members of the working party initially paid for the printing out of their own pockets. Dr. Gunnlaugur S.E. Briem donated his work. The scheme has been very well received. Letters of support have come in from handwriting experts in many parts of the world, Education authorities in other countries have suggested collaboration. The PDF showcases three font families by Briem himself, Italiuskrift05 (his casual handwriting for instructions, dated 1985), BriemAnvil06 (serif family) and BriemAnvilSans07 (sans family). [Google] [More] ⦿

The Inland Printer

A popular American publication with articles, specimens and ads about typefaces and type founderies. It was published in 142 volumes between 1883 and 1926. Its editors included A.C. Cameron (1883-1894), A.H. McQuilkin (1895-1908), and Harry Hillman (1923-1926). In the end it merged with American Printer & Lithographer, to form Inland and American Printer and Lithographer. [Google] [More] ⦿

The Kingsport Press

The Kingsport Press was located in Tennessee. In the early 150s, it published three large volumes, about 1800 pages long in all, entitled The Kingsport Book of Typefaces, displaying typefaces by Monotype and Linotype. [Google] [More] ⦿

The Lettering Art: Works by Moscow Book Designers 1959-1974

A book published in 1977 that paints a full picture of Russian typography at that time. [Google] [More] ⦿

The Manual Of Linotype Typography

This manual by William Dana Orcutt and Edward E. Bartlett, dated 1923, and published by the Mergenthaler Company in Brookly, NY, is available for free download. The quality of the scanning is relatively poor though. [Google] [More] ⦿

The Menhenitt Company

Toronto-based publisher of Instruction Course in Show Cards (1927: this comes in separate booklets from lessons 1 through 10) and Demonstration Folio (1927). Downloads of Instruction Course in Show Cards: Lessions 1-6, Lessons 7 and 8, Lessons 9 and 10, Lessons 11 and 12. [Google] [More] ⦿

The Museum of Printing: McGrew Collection

The collection of books donated by Mac McGrew to The Museum of Printing in North Andover, MA. These books are part of the material that was used to research details for his book, American Metal Typefaces of the Twentieth Century:

ACME TYPE FOUNDERS: Type c1984

ACME TYPE FOUNDRY: All-Slug Type Faces c1952

ACME TYPE FOUNDRY: 1-line Showings c1964

ACME TYPE FOUNDRY: Foundry Type 1939

ACME TYPE FOUNDRY, Acme Type, Catalog #10, 1960

ADVERTISING TYPOGRAPHERS ASSN: Standard Type Book sample pages

ADVERTISING & PUBLISHING PRODUCTION YEARBOOK, Sixth Annual, Colton Press, NY 1940

AGNER, Dwight: The Nightowl at Ten, Press of the Nightowl, 1975

AIGA, Updike American Printer & His Merrymount Press, 1947

ALLEGHENY LUDLUM STEEL CORP: Stainless Steel Handbook, Pittsburgh 1951 (des by MFM)

AMERICAN TYPE FOUNDERS, American Line Type Book, Pittsburgh 1906

AMERICAN TYPE FOUNDERS, Supplement to American Line Type Book, 1909

AMERICAN TYPE FOUNDERS, American Specimen Book of Type Stryles, Jersey City 1912

AMERICAN TYPE FOUNDERS, Decorative Material, c1907

AMERICAN TYPE FOUNDERS, Specimen Book & Catalogue, 1923

AMERICAN TYPECASTING FELLOWSHIP: Thompson Middleton Hammer Goudy 1980

AMERICAN TYPE FOUNDERS, Book of American Types, 1934

AMERICAN TYPE FOUNDERS, Legible Sans-Serif Types by Bernhard, c1931

AMERICAN TYPE FOUNDERS, Rockwell Antique, nd

AMERICAN TYPE FOUNDERS, The Book of American Types, 1941

AMERICAN TYPE FOUNDERS, Oxford Series, nd

AMERICAN TYPE FOUNDERS: Goudy Extrabold & Italic c1930

AMERICAN TYPE FOUNDERS, Interrelating Typographic Borders, nd

AMERICAN TYPE FOUNDERS: Looks Plus 1944

AMERICAN TYPE FOUNDERS, Design with Type Planning Book, 1955

AMERICAN TYPE FOUNDERS, Caslon Italic No. 540 & Swash Letters, c1927

AMERICAN TYPE FOUNDERS, Novel Gothic, nd, 12x9 (C-4)

AMERICAN TYPE FOUNDERS, The Book of American Types, 1961

AMERICAN TYPE FOUNDERS, American Caslon Italic, nd

AMERICAN TYPE FOUNDERS, 6 Stymie Types, nd

AMERICAN TYPE FOUNDERS, Stymie Inline Title, nd

AMERICAN TYPE FOUNDERS, Goudytype, 1928

AMERICAN TYPE FOUNDERS, The Book of American Types, 1968

AMERICAN TYPE FOUNDERS, Alphabet Cards nd

AMERICAN TYPE FOUNDERS, miscellaneous booklets & folders in box file (C-1)

AMERICAN TYPE FOUNDERS, Raleigh Gothic Condensed, c1932

AMERICAN TYPE FOUNDERS, Two-Series Modernage Typography, c1930

AMERICAN TYPE FOUNDERS, Cloister Lightface, nd

AMERICAN TYPE FOUNDERS, Garamond, 1925

AMERICAN TYPE FOUNDERS, Garamond Italic, nd

AMERICAN TYPE FOUNDERS, French Type Faces, c1930

AMERICAN TYPE FOUNDERS, Specimen Book of Type, Philadelphia 1898

AMERICAN INSTITUTE OF GRAPHIC ARTS: American Type Designers 1948

AMERICAN WOOD TYPE CO.: Foundry Type, Wood Type 1957

AMERICAN TYPE FOUNDERS: Goudy Catalogue & Italic c1932

AMERICAN ARCHITECT Nov 1933: "Lettering Inspired by Type Faces," by C A McGrew p55

AMSTERDAM CONTINENTAL: Standard Series c1966

AMSTERDAM CONTINENTAL: A Handbook of Types c1967

ANDERSON, Greg: Two Essays on the Grabhorn Press, pvt 1969

ANGEL, MARIE: A New Bestiary 1963

ANNENBERG, Maurice: Typographical Journey Through the Inland Printer 1883-1900, Maran Press 1977

ANNENBERG, Maurice: Type Foundries of America & Their Catalogs, Maran Printing Services 1975

ASSN TYPOGRAPHIQUE INTERNATIONALE: Index of Typefaces 1975

ASSN OF AMERICAN UNIVERSITY PRESSES: AAUP Book Show 1987

ATLANTIC LINOTYPE: Foundry Type, Brooklyn, nd

ATYPI, misc materials in env, Frankfurt, 1982

BALTIMORE TYPE: Type & Rule Catalogue No. 14 1962

BARNHART BROTHERS & SPINDLER, Type, Catalog 25-A, 1925

BARNHART BROTHERS & SPINDLER, Christmas Ornaments (& Dietz Text), c1932

BARNHART BROTHERS & SPINDLER, Type, Catalog 25-A, 1925

BARNHART BROTHERS & SPINDLER, Type, Specimen Book No. 9, 1907

BAUER ALPHABETS: Bauer Type Calculator

BAUER ALPHABETS: Venus c1965

BAUER ALPHABETS INC., Bauer Type Calculator, nd

BAUER TYPE FOUNDRY: Bernhard Brushscript c1930

BAUER ALPHABETS: Weiss

BAUER TYPE FOUNDRY INC, Specimen Book of Bauer Types, nd

BAUER ALPHABETS INC: For Your Guidance c1967

BAUER-NEUFVILLE: The Distinguished Bauer Family c1976

BEAUMONT, James G: Typeface Examples, 19th Century Printing House, Oakdale, Pa, nd

BERRY, W TURNER & A F JOHNSON, Encyclopaedia of Type Faces, Pitman, NY, nd

BERRY, W TURNER & A F JOHNSON, Encyclopaedia of Type Faces, Blandford Press, London, 1953

BERRY, JOHNSON & JASPERT, Encyclopaedia of Type Faces, 3rd Edition, Blandford Press, London, 1962

BERTHOLD: Fototypes E1, Berlin, 1974

BINNY & RONALDSON, A Specimen of Metal Ornaments, 1809, reprint

BLIGHT, V C N: The Columbian Press, Sydney, NSW, 1962

BLIVEN, Bruce Jr: The Wonderful Writing Machine, Random House, 1954

BOHADTI, Gustav: Type Matrices: Paul H Duensing, 1968

BOHNE, PALL W: A Unique 1824 Columbian Press

BON HOMME RICHARD: A Quart of Oysters & Other Bon Mots 1972

BORO TYPOGRAPHERS INC, NYC: Borders, Ornaments 1969

BORO TYPOGRAPHERS, NYC: Type Index rev 1965/Univers

BORO TYPOGRAPHERS INC, NYC: 2-Line Specimens

BRADOFSKY, Hyman: Looking Back, Bradofsky, Pomona, Calif., 1984

BROWN, FRANK CHOUTEAU: Letters & Lettering 1904

BRUCE, DAVID: History of Typefounding in the U.S. 1981

BRUCE GEO & CO, Specimens of Printing Types, 1848 (Ceprint)

BRUNOGRAPHICS, Balto: Ludlow

BRUNOGRAPHICS, Balto: Linotype

BRUNOGRAPHICS, Balto: Hand-set Type

BUNDSCHO, J M INC: Here Type Can Serve You, Chicago, 1935

BUNDSCHO INC, J M: Type Faces 1944

BUNDSCHO INC, J M: Type Faces 1952

CARNEGIE INSTITUTE OF TECHNOLOGY: Plaid Proofs, Pgh 1959

CARNEGIE INSTITUTE OF TECHNOLOGY: The Hunt Botanical Library, Pittsburgh 1961

CASLON PRESS, Pgh: Type Specimens

CASTANEDA, CARLOS E: The Beginning of Printing in America 1939

CATICH: Rev Edward M: Eighth Annual Frederic W Goudy Award, RIT, 1976

CAXTON CLUB, Robert Hunter Middleton, The Man & His Letters, 1985

CENTRAL TYPESETTING CO, Machine Faces, Pittsburgh, nd, 11x8½ (2 copies) (C-4)

CHAMPION PAPER CO: Printing Salesman's Herald 44, Typography 1982

CHAPLIN, RUTH A: The Little Details 1949

CHAPPELL, Warren: 40-odd Years in the Black Arts (Goudy Award), Press of the Good Mountain 1970

CHICAGO DESIGNERS: 27 Chicago Designers, 1936

CHURCH [boxfile) (A-2)

CINCINNATI ARTS MUISEUM: Hermann Zapf 1960

CIRKER, Blanche, ed: 1800 Woodcuts by Thomas Bewick and His School, Dover 1962

CLEETON, GLEN U & CHARLES W PITKIN: General Printing 1941

COLISH INC, A: Types

COLONIAL PRESS: Type Specimens, Pittsburgh, nd

COMPOSING ROOM INC, NYC: Type Faces 1953

COMPOSING ROOM INC, NYC: Typefaces 1963

COMPOSING ROOM INC, NYC: New Faces 1964

COMPOSING ROOM INC, NYC: 29 Helpful Hints

COMPOSING ROOM INC, NYC: 18pt Types for Machine Composition

CONAWAY TYPESETTING, RAY, Pgh: 1-Line Type Specimens c1965

CONTINENTAL TYPEFOUNDERS ASSN., Specimen Book of Continental Types, 1930

CONTINENTAL TYPEFOUNDERS, A Selection of 50 Continental Typefaces, c1936

CONTINENTAL TYPEFOUNDERS, Half Font Price List, 1931

COOPER & BEATTY, Toronto: Typofile 1966 [box file) (A-5)

COOPER & BEATTY, Toronto: Type-o-file 1959 [box file) (A-5)

COOPER & BEATTY ltd, toronto: Type Selection Chart

COST, Parricia Knittel: Contributions of LB & MF Benton to Typesetting & Typeface Design (ms) 1986

CRAFTSMAN TYPE INC, Dayton: Typecrafter

CRAFTSMAN TYPE: Type Specimen Handibook, Dayton nd

CRAFTSMAN TYPE, Dayton: Handibook c1964

CRAFTSMEN-ZIEGLER, Pgh: Specimens of Type nd

CURTIS PAPER CO: Washington's Farewell Address, Newark Del 1954

DAHL & CURRY: Type Faces, Minneapolis, Minneapolis, nd: 11½x10½ (B-4)

DAMON TYPE FOUNDERS CO., Type, Borders, etc., 1929

DAVIS & WARDE: Type, Vol. II, Gothic & Sans-Serif c1950

DAVIS & WARDE: Type, Vol. I, Serif c1950

DAVIS & WARDE: Type Faces, Display c1950

DAVIS & WARDE: Type Faces c1930

DAVIS & WARDE: Foundry, Lino, Mono

DAVIS 7 WARDE, Faces not listed in type book, 1977

DAVIS & WARDE: Type, Vol. II, Gothic & Sans-Serif c1950

DAVIS & WARDE: Foundry, Mono, Lino 1-liner 1977—9x4

DAYTON TYPOGRAPHIC: Typeface Book, Dayton, Ohio, 1976

DeVINNE, THEODORE LOW: Modern Methods of Book Composition 1914—7½x5

DeVINNE, THEODORE LOW: Correct Composition 1914—7½x5

DeVINNE, THEODORE LOW: A Treatise on Title-Pages 1914—7½x5

DeVINNE, THEODORE LOW: Plain Printing Types 1914—7½x5

DOCTOR, Wilbur L: The Montallegro Typeface, Doctor, Kingston, RI 1985

DOCTOR, WILBUR L: The Montallegro Typeface 1985

DOCTOR, WILBUR L: Updike & Rogers 1986

DREIER, Thomas: The Power of Print—and Men, Mergenthaler Linotype 1936

DREYFUS, John: The Work of Giovanni Mardersteig, Press of the Good Mountain, 1972

DuBOIS PRESS, Rochester: Type Specimen Book

DUENSING, PAUL: Bibliotheca Typographica 1980

DUODECIMO, TYPOCRAFTERS, PRINTING MISCELLANEA

DUODECIMO KEEPSAKES ETC

DUODECIMO SOCIETY: The Land in the Fork, 1959

DUODECIMO SOCIETY: Duodecimo Calendar 1959

DUODECIMO ETC

DWIGGINS, William A: The Five Hundred Years, Press of the Nightowl, 1972

ECKMAN, DR JAMES, Keystone Type Foundry 1888-1917, PaGA 1958 reprint

ECKMAN, DR JAMES, Inland Type Foundry 1894-1911, PaGA 1960 reprint

ECKMAN, James: The Heritage of the Printer, v1, North American Publishing Co 1965

ECKMAN, DR JAMES, Great Western Type Foundry of Barnhart Brothers & Spindler 1869-1933, PaGA 1961 reprint

ECKMAN, JAMES: The Collectanea Typographica of H L Bullen 1961

ECKMAN, DR JAMES, Chicago Type Foundry of Marder Luse & Co 1863-1892, PaGA 1959 reprint

FASS, JOHN S: The Hammer Creek Press Type Specimen Book 1954

FISHENDEN, R B, ed: Penrose Annual, v50, Lund Humphries 1956

FLEURON, THE, n3, Oliver Simon ed, London 1924

FLEURON, THE, n5, Stanley Morison ed, London 1926

FLEURON ANTHOLOGY, prospectus, Univ of Toronto Press nd

FLEURON, THE, n7, Stanley Morison ed, London 1930

FLEURON, THE, n6, Stanley Morison ed, London 1928

FLEURON, THE, n1, Oliver Simon ed, London 1923

FORGHUE, Norman W: Book Parts & Their Typographic Forms, Chicago, nd

FORGUE, Norman W: Poorer Richard, Black Cat Press, 1954

FRANKLIN, BENJAMIN: An Apology for Printers 1973

FRANKLIN TYPOGRAPHERS, NYC: Type Faces

FRANKLIN, BENJAMIN: Autobiography

FRAZIER, J L: Modern Type Display 1929

FRAZIER, J L: Type Lore 1925

GARNETT, Porter: The Laboratory Press, Carnegie Institute of Technology, 1927

GENERAL PRESS CORP, Pgh: Type Specimens

GEORGE, SAM, Pgh: Linotype Specimen Book c1965

GERSCH, HUBERT: Freudenfueurwerk 1962

GEYER PRINTING CO, Pgh: Type Faces 1958

GILL ERIC: An Essay on Typography 1936

GOUDY CHAPPEL: On Moxon's 25th 1982

GOUDY, FREDERIC W, Goudy's Type Designs, Myriade Press, 1978

GOUDY, FREDERIC W, Typologia, Univ of Calif Press, 1977

GOUDY, Frederic W: The Trajan Capitals, Oxford University Press, NY, 1936

GRAPHIC CRAFTS INC, Willow Street Pa: An Alphabet of Trades 1870-80 1981

GRAPHIC ARTS INDUSTRY IN PITTSBBURGH: 500 Years of Printing, Pittsburgh c1940

GRAPHIC ARTS TYPOGRAPHERS, Type Faces 3, NYC 1966

GUJARATI TYPE FOUNDRY, Type Book, c1920

H&H TYPOGRAPHIC SERVICE: Type book

H&H TYPOGRAPHIC SERVICE: 1-Line Specimens c1964

H&H TYPOGRAPHIC SERVICE: Type book, Pittsburgh, nd

HABER TYPOGRAPHERS: Type by Haber 1966

HABER TYPOGRAPHERS: Type by Haber supplement 8 1965

HABER TYPOGRAPHERS: Type by Haber supplement 5 1963

HABER TYPOGRAPHERS: Type by Haber supplement 6 1964

HABER TYPOGRAPHERS: Type by Haber supplement 7 1965

HANSEN H C TYPE FOUNDRY, Type, Printing Machinery & Supplies, 1909

HARRIS, ELIZABETH M: The Fat & the Lean 1983

HAWLEY, TIM: Printing Periodicals 1983

HAYES, James: The Roman Letter, RR Donnelley & Sons Co, 1952

HAYES, JAMES: The Roman Letter 1952

HAYWOOD, WILLIAM F: It's a Small World #34 1988

HAYWOOD, WILLIAM F: It's a Small World #33 1987

HAYWOOD, WILLIAM F: It's a Small World #32 1986

HAYWOOD, WILLIAM F: It's a Small World #31 1985

HAYWOOD, WILLIAM F: It's a Small World #35 1989

HAYWOOD, WILLIAM F: It's a Small World #30 1984

HAYWOOD, WILLIAM F: It's a Small World #29 1983

HAYWOOD, WILLIAM F: It's a Small World #28 1982

HAYWOOD, WILLIAM F: It's a Small World #14 1968

HAYWOOD, WILLIAM F: It's a Small World #26 1980

HAYWOOD, WILLIAM F: It's a Small World #25 1979

HAYWOOD, WILLIAM F: It's a Small World #13 1967

HAYWOOD, WILLIAM F: It's a Small World #24 1978

HAYWOOD, WILLIAM F: It's a Small World #23 1977

HAYWOOD, WILLIAM F: It's a Small World #10 1964

HAYWOOD, WILLIAM F: It's a Small World #22 1976

HAYWOOD, WILLIAM F: It's a Small World #15 1969

HAYWOOD, WILLIAM F: It's a Small World #21 1975

HAYWOOD, WILLIAM F: It's a Small World #18 1972

HAYWOOD, WILLIAM F: It's a Small World #17 1971

HAYWOOD, WILLIAM F: It's a Small World #16 1970

HAYWOOD, WILLIAM F: It's a Small World #27 1981

HEADLINERS: Wood & Foundry Type, Morgan c1964

HEADLINERS: More Morgan 1968

HERBICK & HELD: Keyboard Faces c1935

HERBICK & HELD: The Fine Art of Copy Preparation c1950

HERBICK & HELD: The Fine Art of Typography c1955

HERMANN ZAPF: About Alphabets 1970

HESS, Sol: Origin & Development of Printing Types, Lanston Monotype Machine Co, 1944

HESS, SOL, Origin & Development of Printing Types, Lanston Mono, nd

HIGHTON INC, ALEX G, Newark: Type Specimen Book c1950

HIGHTON CO, Newark: Type Indexes, Hand, Machine, Photo c1971

HITCHCOCK, Maureen: Benton Types—Typefaces designed or adapted by M F Benton, Press of the Good Mtn 1978

HLASTA, STANLEY C, Printing Types & How to Use Them, CIT, 1950

HOFFMAN TYPOGRAPHIC SERVICE, Buffalo: Type catalog

HOFFMAN TYPOGRAPHIC SERVICE, Buffalo: Additional Type Faces c1965

HOPKINS, RICHARD L: Yesterday's "Swift" 1980

HOPKINS, Richard L: The American Point System, Hill & Dale Press, 1976

HOPKINS, RICHARD L: Monotype References 1980

HOUSE & HOME

HUSS, Richard E: Dr Church's "Hoax," Graphic Crafts Inc., 1976

HUSS, Richard E: Printers' Mechanical Typesetting Methods 1822-1925, University Press of Virginia, 1973

HUSS, Richard E: The Printer's Compositon Matrix, Oak Knoll Books 1985

IMPRIMERIE DROMAAIRE: 19th Century Russian Printing Types 1980

IMPRIMERIE DROMADAIRE: Scott Joplin 1983

INDIANAPOLIS PRINTING CO: Linotype & Foundry Faces

INLAND PRINTER: Photocopies of type related items, 1900-1966

INLAND TYPE FOUNDRY, Specimen Book, 1901

INTERNATIONAL PAPER CO: The Pocket Pal 1957

INTERTYPE CORP, One-Line Specimens (alphabetical list laid in), 1970

INTERTYPE: Faces, Intertype Corp 1928

INTERTYPE CORP, Imperial, 1957

INTERTYPE: How to Select Type Faces, Intertype Corp, nd

INTERTYPE CORP, Matrix Identification, c1972

INTERTYPE: Alphabets & Character Showings. Intertype Corp 1949

INTERTYPE CORP, Intertype Faces, One-Line Spoecimens, 1970

INTERTYPE CORP, Comparison of Weights in Book Faces, nd

INTERTYPE CORP, One-Line Specimens, 1958

INTERTYPE: How to Select Type Faces, Intertype Corp, 1929

INTERTYPE: How to Select Type Faces, Intertype Corp, 1956

INTERTYPE: Faces, Intertype Corp 1933

INTERTYPE: Alphabets, Intertype Corp 1nd

INTERTYPE: Faces, Intertype Corp 1945

INTERTYPE COMPANY: How to Select Type Faces

INTERTYPE: Vogue, Intertype Corp nd

INTERTYPE: Cairo, Intertype Corp 1951

INTERTYPE: Faces, Intertype Corp 1955

JAGGARS-CHILES-STOVALL INC, JCS Gazette & phototype pages, Dallas, nd

JAGGARS-CHILES-STOVALL INC, Tight Type #2, Dallas, nd

JAGGARS-CHILES-STOVALL INC, Dallas: Type Book 1960

JOHNSTON, EDWARD: Writing & Illuminating & Lettering 1915

JOHNSTON, Edward: Manuscript & Inscription Letters, John Hogg, London 1911

JONES: Thomas Roy: Printing in America, and ATF, Newcomen Society, 1948

KARCH, R Randolph: Great merican Writers Who Were Printers, Arsenal Jr HS Press, Pgh 1935

KELLY, Rob Roy: American Wood Type 1828-1900, Van Nostrand 1969

KELSEY CO, misc catalogs etc in envelope

KEYSTONE TYPE FOUNDRY, Nickel-Alloy Type, 1907

KING TYPOGRAPHIC: This Is King Typographic Service, NYC, c1976

KING TYPOGRAPHIC SERVICE, NYC: Foreign Languages

KINGSPORT PRESS: Book of Type Faces, Display Faces

KINGSPORT PRESS: Book of Type Faces, Monotype Faces

KINGSPORT PRESS: Book of Type Faces, Linotype Faces

KINGSPORT PRESS: Book of Type Faces, Supplement

KLINGSPOR TYPEFOUNDERS: Klingspor Types c1955

KLINGSPOR, GEBR: Marathon

LABAREE, Leonard W & Whitfield J Bell: Mr Franklin, Selection from Personal Papers, Yale Univ Press 1956

LACLEDE TYPE FOUNDRY, St Louis, Laclede Type Foundry Specimens, 1922

LAKESIDE PRESS: Benjamin Franklin, Printer, RR Donnelley & Sons Co. 1956

LANSTON MONOTYPE CO, Monotype Success, reprint by Richard L Hopkins, 1984

LANSTON MONOTYPE: Selected Specimen Book Pages, v3, Lanston Monotype Machine Co nd

LANSTON MONOTYPE: Selected Specimen Book Pages, v2, Lanston Monotype Machine Co nd

LANSTON MONOTYPE: Selected Specimen Book Pages, v1, Lanston Monotype Machine Co nd

LANSTON MONOTYPE: Types, Village No. 2, Goudy Bible, Goudy Thirty 1956

LANSTON MONOTYPE CO, Deepdene, 1930 (insert 1927)

LANSTON MONOTYPE: Words by Beatrice Warde & Types by Varied Hands 1953

LANSTON MONOTYPE CO, Monotype Specimen Book of Faces, c1913-1938

LANSTON MONOTYPE: New Monotype Faces 1931 to 1936

LANSTON MONOTYPE CO, Monotype Type Faces, c1960

LANSTON MONOTYPE: The MNonotype, How It Works 1937

LANSTON MONOTYPE: Handy Index of Rental Matrices 1955

LANSTON MONOTYPE CO, Italian Old Style, 1924

LANSTON MONOTYPE CO, Specimens of Monotype Type Faces etc., c1972

LANSTON MONOTYPE CO, Specimens of Monotype Type Faces etc., misc pp, nd

LAWSON, Alexander S: A Printer's Almanac (Heritage of Printer, v2), North American Pub Co 1966

LEWIS, BERNARD, Behind the Type, Life Story of F W Goudy, CIT, Pittsburgh 1941

LIEBERMAN, J Ben: Type & Typefaces, Myriade Press 1978

LINDEGREN, Erik: ABC of Lettering & Printing Typefaces, Greenwich House, NY, 1982

LINOTYPE GMBH, Linotype-Schriften, 1967

LINOTYPE: Großkegelschriften, Linotype GMBH, Frankfurt c1969

LINOTYPE/INTERTYPE, misc specimens, box file

LITTLE, Evelyn Steel: 26 Lead Soldiers, a Salute to Printers, Eucalyptus Press, 1939

LONG, Robert P: Wood Type & Printing Collectibles, pvt 1980

LORAIN PRINTING CO, Lorain Ohio: From Our Composing Room c1961

LOS ANGELES TYPE FOUNDERS: Specimens & Price List 1959

LOS ANGELES TYPE & RULE CO: Type Faces c1947

LOS ANGELES TYPE FOUNDERS: Type 1964

(LUDLOW): William A Reade 1866-1930, Private, Chicago, 1930

LUDLOW: Record Gothic Cond Ital, Ludlow Typograph Co nd

LUDLOW: Record Gothic Med Ext, Ludlow Typograph Co c1966

LUDLOW TYPOGRAPH CO, Record Gothic Condensed, nd

LUDLOW: Record Gothic Family, Ludlow Typograph Co nd

LUDLOW: Typefaces, Ludlow Typograph Co nd

LUDLOW: Typefaces, Ludlow Typograph Co 1958

LUDLOW: Tempo Black Cond Ital, Ludlow Typograph Co nd

LUDLOW: Typefaces, Ludlow Typograph Co 1957

LUDLOW: 2 New Faces (Zephyr, Parkway Script), Ludlow Typograph Co nd

LUDLOW: Typefaces, Ludlow Typograph Co nd

LUDLOW: Typefaces, Some, Ludlow Typograph Co 1941

LUDLOW: Record Gothic Bold Ext Rev, Ludlow Typograph Co nd

LUDLOW: Bodoni Family, Ludlow Typograph Co nd

LUDLOW: A New Script (Wave), Ludlow Typograph Co nd

LUDLOW: Typefaces of Recent Production, Ludlow Typograph Co 1937

LUDLOW: Typefaces Recently Produced, Ludlow Typograph Co 1936

LUDLOW: Typefaces Supplement, Ludlow Typograph Co 1934

LUDLOW: Typefaces, One Line Specimens, Ludlow Typograph Co 1934

LUDLOW: Supplementary Specimen Pages, Ludlow Typograph Co 1932

LUDLOW: Typefaces, Ludlow Typograph Co 1961

LUDLOW: One-Line Specimens, Ludlow Typograph Co 1931

LUDLOW: Typefaces, Some, Ludlow Typograph Co 1954

LUDLOW: Typeface Alphabets, Ludlow Typograph Co 1966

LUDLOW TYPOGRAPH CO, Garamond, 1930

LUDLOW: Supplementary Specimen Pages, Ludlow Typograph Co 1931

LYONS PRESS, T J: 76 Americana Type Faces 1961

MACKENZIE & HARRIS INC, SF: Type specimens

MACKENZIE & HARRIS INC: Type Book c1954

MANGIS TYPOGRAPHIC: Type Faces, Pittsburgh, 1958

MANGIS TYPOGRAPHIC SERVICE: Type Faces of Distinction 1967

MANGIS TYPOGRAPHIC SERVICE: Body Faces c1960

MATROTYPE: Linecasting Matrices, Matrotype Co Ltd c1979

McCAFFREY, Frank: Type Mechanized, Printing House Craftsmen 1941

McGREW, M F, Family of Basic American Gothics, H&H Typo, nd

McGREW, Misc clippings & specimens file

McGREW, Typographic design file

McGREW, Copyfitting file

McMURTRIE, DOUGLAS C, Type Design, Bridgman Publishers, Pelham NY, 1927

McMURTRIE, Douglas C: Invention of Printing, Printing House Craftsmen 1939

McMURTRIE, DOUGLAS C, Some Facts Concerning the Invention of Printing, Chicago PHC, 1939

MERGENTHALER LINOTYPE: The Readability of Type 1941

MERGENTHALER LINOTYPE CO, Specimen Book Supplement No. 1, 1939

MERGENTHALER LINOTYPE CO, Lino Type Faces, nd

MERGENTHALER LINOTYPE: The Romance of Print 1945

MERGENTHALER: Peter Piper, Mergenthaler Linotype Co, 1936

MERGENTHALER LINOTYPE CO, clippings in env, c1930-40

MERGENTHALER LINOTYPE CO, Linotype Faces, One-Line Specimens, 1950

MERGENTHALER LINOTYPE CO: Distinction in Design 1954

MERGENTHALER LINOTYPE: The Legibility of Type 1935

MERGENTHALER: Matrix Specimen Book, Mergenthaler Linotype Co 1977

MERGENTHALER LINOTYPE CO, Specimen Book Supplement No. 3, 1941

MERGENTHALER: Linotype Machine Principles, Mergenthaler Linotype Co, 1940

MERGENTHALER LINOTYPE CO, Linotype Faces, 1929

MERGENTHALER LINOTYPE: The Readability of Type 1947

MERGENTHALER: One-Line Specimens, Mergenthaler Linotype Co 1948

MERGENTHALER: One-Line Specimens, Mergenthaler Linotype Co 1950

MERGENTHALER: One-Line Specimens, Mergenthaler Linotype Co 1958

MERGENTHALER LINOTYPE CO, Clip Sheets of Linotype Display Faces, nd

MERGENTHALER LINOTYPE: Peter Piper 1936

MERGENTHALER LINOTYPE CO, Specimen Book Supplement No. 2, nd

MERGENTHALER LINOTYPE CO, Lino Type Faces, nd

MERGENTHALER: Index & Addenda, One-Line Specimens, Mergenthaler Linotype Co nd

MERGENTHALER LINOTYPE CO, Useful Matrix Information, 1945

MERGENTHALER: Supplement, Specimen Book, Mergenthaler Linotype Co 1948

MERGENTHALER: A-P-L Faces, Mergenthaler Linotype Co 1938

MERGENTHALER LINOTYPE CO, Linotype Faces, 1929

MERGENTHALER: Manual of Linotype Typography, Mergenthaler Linotype Co 1923

MERRIMAN, Frank: A.T.A. Type Comparison Book, Advertising Typographers Assn 1965

MEYER, FRANZ SALES: A Handbook of Ornament

MEYNELL, FRANCIS, English Printed Books, London 1948

MICHAEL, John & Jean: Bruce Rogers/Centaur Type, Acorn Press, 1968

MILWAUKEE JOURNAL, Type Faces and Production Techniques, 1950

MISCELLANEOUS Type Specimen sheets and folders

MONO-LINO TYPESETTING CO: Type Book c1950

MONO-LINO: Specimen Book, Type Styles c1938

MONO-LINO TYPESETTING CO: Type Book, Pittsburgh, 1968

MONO-LINO TYPESETTING CO: Type book c1950

MONOTYPE CORP, ‘Monotype' Display Faces, c1967

MONOTYPE CORP., ‘Monotype' Centaur etc, London, nd

MONOTYPE CORP LTD, Salfords: Type Study Leaflets for Students 1974?

MONOTYPE CORP, ‘Monotype' Display Faces, 1976

MONOTYPE CORP, ‘Monotype' Specimen Book, London, nd

MONSEN TYPOGRAPHERS, INC: Type Library, v1, Chicago, 1961

MONSEN TYPOGRAPHERS, INC: Type Library, v2, Chicago, 1961

MONSEN-CHICAGO: Typographic Handibook 1946

MONSEN-CHICAGO: Type Handibook 1941

MONSEN-CHICAGO: Type and Its Origin c1945

MONSEN-CHICAGO: Typographic Handibook c1950

MONSEN-CHICAGO: Typographic Handibook 1937

MONSEN-CHICAGO: Typographic Handibook

MORGAN PRESS: Foundry Type, Hastings-on-Hudson, NY, nd

MORGAN PRESS: Wood c1950

MUSEUM OF ART, CARNEGIE INSTITUTE: The Art of Black Africa 1969

NEBIOLO SOCIETÀ, Caratteri Nebiolo, nd

NELSON, Stan: Typefounding, The Atelier Press, 1972

NEW YORK TIMES: Type Book

NEW YORK TIMES: Style Book, McGraw-Hill 1962

NEW YORK TIMES: The Story of the Recorded Word 1940

NOORDZIJ, GERRIT, The Stroke of the Pen, The Hague, 1982

OHLER, S R: A Walk in the Park, Pickwick-Morcraft, 1967

ORCUTT, William Dana: In Quest of the Perfect Book, Little, Brown & Co, 1926

OVERALL, Richard M: Seven Scintillations, Press of the Nightowl, 1965

P-H-P GRAPHIC ARTS, Phila: 1-Line Type Specimens c1969

PETTINGILL & CO., Pettingill's Type Book, 1901

PETTY, G HARVEY: Calligraphy & Lettering 1984

PHILADELPHIA TYPESETTING ASSN: Phila Type Directory 1959

PHILADELPHIA TYPESETTING ASSN: Phila Type Directory 1957

PHILLIPS, Frederic Nelson: Old-Fashioned Type Book, Phillips Inc, NY 1945

PHOTO-LETTERING: One LIne Manual of Styles (Index to Alphabet Thesaurus), Van Nostrand 1971

PHOTO-LETTERING, NY: Type Index 1968

PICKWICK-MORCRAFT INC: Type Specimens c1963

PITTSBURGH SUN-TELEGRAPH: Type Specimen Book, 1943

PITTSBURGH PRESS: Advertising Type Faces, nd

PLIMPTON PRESS, Type Specimen Book, 1965

PRINT, Magazine of Graphic Arts: Typewriter Type Issue, New York 1952

PRINTING HOUSE CRAFTSMEN: Printing Progress, a Mid-Century Report, Cincinnati 1959

PRINTING HOUSE CRAFTSMEN: Index to Graphic Arts Periodical Literature, 1941

PRINTING HOUSE CRAFTSMEN: A New England Keepsake, Boston 1938

PRODUCTION YEARBOOK, Omnibus of Type Faces, Colton Press, 1939

PROGRESSIVE COMPOSITION CO, Phila: Progressive Type Faces, v1 (A-K) c1960

PROGRESSIVE COMPOSITION CO, Phila: Progressive Type Faces, v2 (L-Z) c1960

PROGRESSIVE COMPOSITION CO, Phila: From A to Z

RAPID TYPOGRAPHERS INC, NYC: Square Serif & Gothic Type Specimens

RAPID TYPOGRAPHERS, NYC: Handy Type Listings

REHE, Rolf F: Typography: How to Make It Most Legible, Design Research International, Carmel, Ind, 1984

REICHL, ERNST: Legibility 1949

ROCHESTER TYPOGRAPHIC SERVICE: Typo Type c1966

ROCHESTER TYPOGRAPHIC SERVICE: Specimen pages

ROCHESTER TYPOGRAPHIC SERVICE: Typo Type c1940

ROGERS, Bruce: Paragraphs on Printing, Dover 1979

ROGERS, BRUCE: The Integrity of Printing 1983

RUETER, WILLIAM: The Making of Letters 1980

SCHLESINGER, Carl, ed: The Biography of Ottmar Mergenthaler, Oak Knoll, 1989

SCHMETS. RONALD, Of Typefounding, Portrait of D Stempel Firm, Darmstadt, 1987

SCHMIDT CO, E F, Milwaukee: Reflections 1, Early Writing 1961

SCHMIDT CO, E F, Milwaukee: Reflections 2, The Alphabet 1961

SCHNEIDEREITH & SONS: New Wings for Intelligence (Tribute to Mergenthaler), Baltimore 1954

SERVICE ENGRAVERS (H SHERR), Reverse Type for Ludlow, 1958

SHERBOW, Benjamin: Effective Type-use for Advertising, Benjamin Sherbow, 1922

SHERBOW, BENJAMIN: Making Type Work 1921

SIMONCINI, Francesco: Readability & Functionality of Typefaces, Turin 1965

SOCIETÀ NEBIOLO, Torino: Type Faces etc.

SOCIETY OF TYPOGRAPHIC ARTS, Chicago: The Book of Oz Cooper, 1949

SOLO, Dan X: Victorian Display Alphabets, Dover 1976

SOUTHWESTERN TYPOGRAPHICS: Typographics Specimens 1965

SPELTZ, ALEXANDER: Styles of Ornament 1936

STEMPEL AG: Palatino, Michelangelo, Sistina

STEMPEL AG, Printing Types, 1967

STEMPEL AG: Metropolis 1929

STEMPEL AG: Type Faces Available c1962

STEMPEL AG: Types on Anglo-American Point-System c1971

STEPHENSON BLAKE: Hand List of Modern Display and Text Types

STEPHENSON BLAKE: Typeface Synopsis

STEPHENSON BLAKE, A booklet of interest to every American printer, nd

STEPHENSON BLAKE, Specimens of Printing Types, c1962

STEPHENSON BLAKE: A Book of Scripts & Rondes

STEPHENSON BLAKE, Specimens of Printing Types, 1950

STEPHENSON BLAKE: Type Lore c1950

STEPHENSON BLAKE: Brass Rules & Ornaments

STERLING, Homer E: Type Alphabets for Layout Lettering, Carnegie Institute of Technology 1932

STEWART CO, JAMES L: Type Specimen Book c1940

STRATHMORE PAPER CO: Memories of the Gay 90s, nd

STUART, EDWIN H.: 1-line Specimen Book c1970

STUART, Edwin H: Copy Preparation, Pittsburgh nd

STUART, EDWIN H: 1-line Type Specimens

STUART, Edwin H Co: Type Specimen Book, nd (B1970)

STUART, Edwin H Co: Type Book, nd (B1960)

STUART, Edwin H Co: Type Specimen Book, nd (B1970)

TGC COMMUNICATIONS: TGC Typeface Index, NYC, 1967

THOMAJAN, P K, American Type Designers, RIT, reprinted from American Printer 1956

TRAVEL, MAPS, ETC

TYPE FILMS OF CHICAGO: Library of Film Faces 1972

TYPE AND ART, Type Specimens, Cleveland 1-58

TYPE DIRECTORS CLUB OF NEW YORK: 4th Annual Awards for Typographic Design Excellence 1958

TYPE AND ART, Type Specimens, Cleveland 6-58

TYPEFOUNDERS OF CHICAGO: Catalog

TYPEFOUNDERS OF CHICAGO: Type Specimens by Neon Type Division 1983

TYPEFOUNDERS OF CHICAGO: Type Specimens by Neon Type Division 1962

TYPEFOUNDRY AMSTERDAM, Columbia, c1956

TYPOCRAFTERS ETC.

TYPOGRAPHER, Goudy Issue, RIT, v20 n1 1960

TYPOGRAPHER: Dedicated to the Memory of Frederic W Goudy, RIT, 1960

TYPOGRAPHERS ASSN OF NY, Type Face Directory, 1965

TYPOGRAPHIA: Fine Printing, Paul H Duensing, 1965

TYPOGRAPHIC SERVICE CO, NY: Type Faces c1963

TYPOGRAPHIC SERVICE, Phila: Typo Type, metal c1950

TYPOGRAPHIC SERVICE CO, NYC: Type Faces

TYPOGRAPHIC SERVICE INC, Phila: Typo Types

TYPOGRAPHIC SERVICE CO: Combined Reference Guide, Indianapolis 1965

TYPOGRAPHICS COMMUNICATIONS INC., Announcement, 1967

TYPOGRAPHICS: Specimens, Southwestern Typographics, 1965

TYPOGRAPHICS: Type Faces, v2 H-Z+, Southwestern Typographics Inc/John A Scott Co, Dallas, 1965

TYPOGRAPHICS: Type Faces, v1 A-G, Southwestern Typographics Inc/John A Scott Co, Dallas, 1965

UNIVERSITY OF CHICAGO: Manual of Style, Chicago 1945

UNIVERSITY OF MICHIGAN: Scribes & Printers (exhibit), U/M 1943

UPDIKE, Daniel B: In the Day's Work, Harvard University Press, 1924

UPDIKE, D B, Printing Types, Their History Forms & Use, Harvard Univ Press, 1951

URW UNTERNEHMENSBERATUNG: Signus System for Lettering 1983

US GOVT PRINTING OFFICE: Style Manual, Washington 1967

US GOVT PRINTING OFFICE: Classification of Printing Industry Techniques, Washington 1939

VAN KRIMPEN, JAN: A Letter to Philip Hofer 1972

VICTORIA TYPOGRAPHERS, Chicago: Type Forms

VILLAGE PRESS, Intimate Recollections, Marlborough, NY, 1938

VISUAL COMMUNICATIONS SOCIETY OF PITTSBURGH: Tenth Annual Exhibit, Pgh 1966

VISUAL COMMUNICATIONS SOCIETY OF PITTSBURGH: Communications (Zapf), v14 n3, April 1969

VISUAL COMMUNICATIONS SOCIETY OF PITTSBURGH: Communications, v15 n1, Feb 1970

WARDE, BEATRICE, The Crystal Goblet, World Publishing Co, 1956

WARDE, Beatrice: Concerning Some Words & Types, Lanston Monotype Machine Co, 1953

WARWICK TYPOGRAPHERS, St Louis: Type Specimen Book, Supplement

WARWICK TYPOGRAPHERS: Type, St Louis, nd

WATTS, STEVENS LEWIS: Henry Lewis Bullen & His Work 1966

WEBER, C E, Schadow-Antiqua (& Forum), Stuttgart, nd (1950s)

WEBER C E SCHRIFTGIESSEREI STUTTGART, (no title), nd

WENTZ, Roby:Eleven Western Presses, Printing House Craftsmen 1956

WEST VIRGINIA PULP & PAPER: A Typographic Quest No. 1

WESTERN PENNSYLVANIA CONSERVANCY: Wild Flowers of Western Pa 1979

WESTERN PENNSYLVANIA CONSERVANCY: Wild Flowers of Western Pa 1978

WESTINGHOUSE PRINTING DIVISION: Type Specimens 1973

WESTINGHOUSE PRINTING DIVISION: Type Specimens 1973

WESTINGHOUSE: Stenographer's Handbook, Westinghouse E&M Co 1943

WESTVACO: A Typographic Quest No. 6, Etcetera 1968

WESTVACO: A Typographic Quest No. 3, Type to be Read 1965

WILLENS & CO, Detroit: Mighty Midget Book of Type c1963

WILLENS & CO, Detroit: One Line Type Specimen Book c1966

WILLENS & CO, Detroit: 1-Line Type Specimen Book 1961

WILLENS & Co: Americana, Detroit nd

WILLIAMSBURG; The Printer in 18th Century Wmsburg, Colonial Wmsburg 1978

WULLING, EMERSON G: A Comp's Eye View of Wilder Bentley 1983

YOUNGSTOWN SHEET & TUBE: 50 Years in Steel, Youngstown 1950 (des by MFM)

ZAPF, Hermann: Manuale Typographicum, MIT Press, 1970

ZAPF, Hermann: Hunt Roman, the Birth of a Type, Pittsburgh Bibliophiles, 1965

[Google] [More] ⦿

The New Typography

Jan Tschichold's book, The New Typography: a handbook for modern designers (University of California Press), was translated by Ruari McLean. Other books dealing with Tschichold: Modern Typography: an essay in critical history (Robin Kinross, Hyphen Press) and Jan Tschichold: Typographer (Ruari McLean, David R. Godine, Publisher, Inc.). [Google] [More] ⦿

The Practice of Typography

Free book on the web, by Theodore Low Devinne (1902). [Google] [More] ⦿

The Silver Buckle Press Collection

Located at the University of Wisconsin, this site offers some copies of old type specimen books for viewing. There are neither PDF downloads nor high resolution scans, but one can get a feel of the contents. The list (as of early 2012) is below:

Add "punch" to your printing with Hamilton wood type. 1951
American line type book: borders and ornaments price list, printing machinery and material. 1906
ATF Spartan: medium and italic.
Automatic white space.
Bauer types in use.
The Blue Streak Linotypes: master models 31 & 32.
The Blue Streak Linotypes: model fourteen.
Hamilton printing plant equipment / manufactured by Hamilton Manufacturing Company. Hamilton Manufacturing Co. (Two Rivers, Wis.) ([1922-1932])
Instruction on installation, care and operation of the chandler & price 10x15 and 12x18 craftsman press with rice automatic feeder 1934. Chandler & Price company (1934)
[Letter from Ray C. Cook, sales director of Hamilton Manufacturing Company regarding Hamilton wood type catalog no. 25]. Cook, Ray C. (1951)
La lettre d'imprimerie: origine, développement, classification & 12 notices illustrées sur les arts du livre. Thibaudeau, F (1921)
La lettre d'imprimerie: origine, développement, classification & 12 notices illustrées sur les arts du livre. Thibaudeau, F (1921)
Linotype news. 1963
Nickel-alloy type: Keystone Type Foundry. 1906
The Nubian: A New Fashion in Types (1928). Local download.
Price list of printing type and typographic material. Mackellar, Smiths & Jordan Co (1891)
The printing arts: selected from a detailed description of all guilds. Sachs, Hans, Ammann, Jost (1968)
Two-series modernage typography introduced by the American Type Founders Company.
Type specimen book. Democrat Printing Co. (Madison, Wis.) ([1940])
Types: fancy metal rules and metal furniture too.
Wood 2. Morgan Press ([1964])
Wood type. Hamilton Manufacturing Co (1938)
Wood type. 1897
Woodcock's printers' and lithographers' weekly gazette. 1881
Woodtype: selective emphasis for fine typography. 1960

[Google] [More] ⦿

The Text&Typography Page

Discussions of a few type books by Paula Katherine Marmor. [Google] [More] ⦿

The Type Studio
[Ilene Strivzer]

Author of Type Rules!: The Designer's Guide to Professional Typography (2010, Ilene Strivzer Inc). Ilene Strivzer (b. 1953), the founder of The Type Studio in Westport, CT, writes: The Type Studio is a unique and innovative studio specializing in all aspects of typography and visual communications. Our services range from the technical to the aesthetic, and include font development, type direction and consulting, type-oriented graphic design, copy writing, workshops and seminars. She wrote this article as an advertisement for OpenType (read: make people pay once again for fonts they already have). She was production director of Upper and Lower Case Magazine and director of type production at ITC in New York City, where she developed more than 300 text and display typefaces in cooperation with Sumner Stone, Erik Spiekermann, Jill Bell, Jim Parkinson, Phill Grimshaw and others. She organizes Gourmet Typography workshops. [Google] [More] ⦿

Théophile Beaudoire

Nineteenth century French punchcutter (1833-1903) who designed the transitional text typeface Romana with Gustave F. Schroeder (Kingsley ATF, 1860; now available at Bitstream). Beaudoire was sous-directeur odf the Fonderie Générale in Paris. He also ran his own type foundry, Beaudoire et cie. As director of that foundry, he published Beaudoire & Cie., fonderie générale de caractères français et étrangers (18xx). Local download.

typefaces attributed to him, besides Romana, include Old Roman Stephenson Blake (1878) and Elzevir (1858). Elzevir was also known as French Old Style. Berry, Johnson and Jaspert write in 1953: The upper case is derived from Louis Perrin's Lyons Capitals. Note the splayed M and the tail of the R. The type is somewhat condensed and has short ascenders and descenders. In the c and e the thickest parts of the curves are very low; the g has a steeply inclined tail and there is a tall t. The italic has a slight inclination. Linotype (London) Old Style No. 33 is similar.

The scans below include Romain Elzevir (1858) and Elzevir (corps) 14 (1863, Fonderie Generale), which is a copy of Perrin's Marquet 14.

As for partial revivals or descendants, we refer to Mercure (Charles Mazé at Abyme, 2010-2021). Mercure is based in part on Beaudoire's Elzévir, but also on Perrin's Augustaux. [Google] [MyFonts] [More] ⦿

Theodore Low De Vinne

American printer (b. Stamford, CT, 1828, d. New York, 1914). In 1848, he entered the shop of Francis Hart in New York City, where he became owner after Hart's death in 1877. It continued as Theo. L. De Vinne&Company until 1908, when it was incorporated as the De Vinne Press. De Vinne was the best-known American printer of his day. He was neither a type designer nor a type cutter. His books include

The Invention of Printing (1876)
Specimens of black-letter in stock at the De Vinne Press, no. 12 Lafayette Place, New-York City (1887).
The Roman and Italic Printing Types in the Printing House of Theodore L. De Vinne&Co. New-York (De Vinne Press, 1891). Archive link. PDF.
Plain Printing Types (New York: Century, 1900).
The practice of typography: a treatise on the processes of type-making, the point system, the names, sizes, styles and prices of plain printing types (4 vol., 1900-1904, Century Co., New York). Amazon link. The Third Edition of that book from 1910. PDF.
Types of the De Vinne Press. Specimens for the Use of Compositors, Proofreaders and Publishers (NY: De Vinne Press, 1907). Archive link. PDF.
Notable Printers of Italy during the Fifteenth Century (1910).

Biography by Nicholas Fabian. Bio at Britannica. Bio at Infoplease.

His type styles were revived in 2010 by Jeff Levine as Publication JNL.

Typophile Chapbook: Theodore Low De Vinne; was published by Carl Purington Rollins.

View digital typefaces based on De Vinne's work. [Google] [MyFonts] [More] ⦿

Theodore Rosendorf

The Typographic Desk Reference (Oak Knoll Press, New Castle, DE, 2009) is Theodore Rosendorf's useful reference guide of typographic terms and type classification. There is a foreword by Ellen Lupton. The much larger Second Edition (2015) is coauthored wit Erik Spiekermann. Theo Rosendorf is based in Decatur, GA. [Google] [More] ⦿

Thibaudeau's classification
[François Thibaudeau]

In 1921, François Thibaudeau (1860-1925), a French typographer, proposed a simple classification system based on serifs:

Triangular serifs are called Elzevir (or antique, as in Jenson and Garamond). When they are geometrically rigorous triangles, the style is called Latin. Heavy Elzevir types are called deVinne types.
Didot typefaces, now called didones: these are characterized by rectangular serifs.
Egyptians have rectangular serifs on top and bottom of thickness equal to the stroke width. When the bottom slabs are rounded on the inside, he calls them égyptiennes anglaises (English Egyptians). Another subfamily of the Egyptian types are the Italian types, which have thick slabs and reverse stress.
"Antiques" (or: lettre baton): sans-serif typefaces such as those drawn by the Greeks and Romans.
Hellenic types: these have triangular serifs and feature bi-concave strokes.
Trait de plume types: these often have triangular serifs, but the glyphs are almost drawn by a pen, as in many art nouveau typefaces.

Thibaudeau later added the Script and Display sections to the list above to categorize types used in advertising.

Franços Thibaudeau wrote the art nouveau-styled Manuel français de typographie moderne, faisant suite à "La Lettre d'imprimerie"... Cours d'initiation... par la pratique du croquiscalque, ou manuscrit typographique (1924). He also wrote La Fonderie Typographique Française Album d'alphabets pour la pratique du croquis-calque, édité spécialement pour le Manuel français de typographie moderne de F. Thibaudeau (ca. 1920, impr. de G. de Malherbe, Paris). Local download of the latter book in PDF format [15.7MB]. [Google] [More] ⦿

Thom Janssen
[Geen Bitter]

Thomas Curson Hansard

Author of Typographia: an historical sketch of the origin and progress of the art of printing (1825), a book that was entirely scanned by Google Books. [Google] [More] ⦿

Thomas Ewing French

Scientific lettering expert, 1871-1944. His book The Essentials of Lettering (1912, McGraw-Hill, New York), coauthored with Robert Meiklejohn, has many historical examples and takes the reader on a grand tour of lettering. The tease. Local download.

For a digital revival of some alphabets, see Jeff Levine's New Thin Roman JNL (2019) and Drafting Class JNL (2021). [Google] [More] ⦿

Thomas F. Adams

Author of Typographia; or, The printer's instructor: a brief sketch of the origin, rise, and progress of the typographic art, with practical directions for conducting every department in an office, hints to authors, publishers, &c (publ. L. Johnson & Co., Philadelphia, 1858). [Google] [More] ⦿

Thomas Wood Stevens

Early 20th century designer of letters, who was associated with the Carnegie Institute of Technology, Pittsburgh. Author of Lettering (1916, The Prang Company, New York).

Alphabets from his 1916 book include Art Nouveau Capitals, Italic Capitals, Italic Lowercase, Modern Script Italics, Modern German Italic Capitals, Modern Round Gothic, Uncial (based on a 14th century manuscript), Venetian Modern Capitals, Roman Lowercase, Modern German.

PDF file of his 1916 book.

Digital remakes include Wood Stevens (2012, Intellecta).

In 2012 and 2013, Dick Pape digitized many of the typefaces discussed in Lettering (1916). They are freely downloadable from this site. The typefaces in Dick's collection are attributed as follows:

No artist: TWS Brush Caps 31, TWS Capitals from Coins 15,
Harry Lawrence Gage: TWS Heavy Capitals 49, TWS Italian Gothic Caps 80, TWS Renaissance Alphabet 39, TWS Robinson Caps 23, TWS Roman Caps 13, TWS Slab Capitals 22, TWS The Japanese 32 [note: see also Yoshi Toshi, 2003, by Da ABF Mafia, and Yoshitoshi, 2003, by David Nalle].
Norman P. Hall: TWS Heavy Modern 30.
Oswald Cooper: TWS Long Ascenders 36.
Ned Hadley: TWS Modern Caps 24, TWS Modern French 25.
Helen E. Hartford: TWS Modern German Capitals 28.
Charles H. Barnard: TWS Modern Roman 05.
F. G. Cooper: TWS Modern Roman Bold 37.
William A. Dwiggins: TWS Modern Roman Caps 32, TWS Variation on Georgian.
Guido Rosa: TWS Outline Caps 21.
George W. Koch: TWS Roman Wide Pen 33.

Commercial revivals include he slab serif Nouveau Lettering JNL (2019, Jeff Levine). [Google] [More] ⦿

Three chapters in the development of Clarendon---Ionic typefaces
[Mitja Miklavčič]

Essay by Mitja Miklavčič on the history of Clarendon and Ionic, written at the University of Reading in 2006. Figures/scans by him: Construction of Egizio Italic by Nebiolo, a comparison between Egyptian, roman and ionic. [Google] [More] ⦿

Three Dots Type
[Marian Misiak]

Founded in 2017 by Marian Misiak, Three Dots Type is a small type foundry based in Wroclaw, Poland. The main font designer is Marian Misiak, and the second in line is Dominika "Nika" Langosz. Their fonts as of 2019:

Heneczek Pro (2018, by Langosz). A didone family.
Di Grotesk.
Janus (by Marian Misiak, 2010-2017). This typeface family as originally designed for the National Museum in Wroclaw.
Maria Connected & Unconnected. An experimental typeface: The shapes of letters in Maria Connected and Unconnected are determined by FIDU technology---an experimental method of creating metal objects formed with air, patented by designer Oskar Zieta.
New Zelek Pro (by Bronislaw Zelek). Originally conceived as a dry transfer for the French company Mecanorma in 1974, the font was digitally revived by Three Dots Type after consultations with Zelek himself.
Sudety (2018, by Jan Estrada-Osmycki).

Marian Misiak is a graduate of the type design program at the University of Reading in 2010. Marian designed Timeline for his thesis. Timeline is a full family with serif, sans and Arabic subfamilies. It is intended for information design---the serif is kept uncomplicated while the sans and Arabic are basically monoline styles.

Marian has both a Polish and a Czech background. With Tomek Bersz, he runs a studio in Warsaw, Bersz Misiak. In 2015, she co-authored a book on the cultural history of Polish type design with Agata Szydloska. Speaker at ATypI 2016 in Warsaw. [Google] [More] ⦿

Tibor Szantó

Author of A betü, in two volumes, Akadémiai Kiadó, Budapest, 1965-1966, a nice snapshot (in Hungarian) of the state of the typographic art at that point of the 20th century. Full title: A betü: a betutörténet és a korszeru betumuvészet rövid áttekintése. He also published A tipográfia nyelve. [Google] [More] ⦿

Tiffany Wardle

Now Tiffany de Sousa Wardle. She obtained a Bachelors of Fine Arts with an emphasis in Graphic Design from Brigham Young University, worked in magazine design in New York City, and returned to her native Utah to teach as an adjunct professor in Graphic Design at BYU while based in Pleasant Grove, UT. At Reading (UK), she obtained a Master of Arts in the Theory and History of Typography and Graphic Communication. Presently, she is based in San Jose, CA. She manages a great web page on type books and is involved in many typographic projects: Interrobang (A SOTA Publication), Indie Fonts III (a type book), TypeCulture (another type book), the Society of Typographic Aficionados (as a board member), the Association Typographique Internationale, Typophile (as a moderator). Since 2021, Tiffany Wardle is content development director at The Type Founders in New York.

She designed a Bauhaus-style rounded font not available for public consumption. She also made the gorgeous font Affiché (2002), which is inspired by turn-of-the-century posters of Charles Loupot.

At Adobe, she participated in Adobe Handwriting (based on the handwriting of Frank Grießhammer, Ernest March and Tiffany de Sousa Wardle). [Google] [MyFonts] [More] ⦿

Tim Ahrens
[Just Another Foundry (or: JAF34)]

Tim Brayshaw
[twisty.com]

Tipoitalia3

Initiated by Claudio Rocha and published by the Tipoteca Italiana, the third issue of Tipoitalia (2015) is entirely dedicated to 20th-century Italian typography. Fourteen contributors collaborated with the editorial team, made up of Sandro Berra, Massimo Gonzato, Riccardo Olocco and Claudio Rocha. The cover of TipoItalia 3 and letterpress-printed insert by Archivio Tipografico are dedicated to Alessandro Butti. Traces of his personality and work appear in the articles by Enrico Tallone and Alessandro Colizzi, but his name also reappears on many other pages of this issue. It is hinted at in Lucio Passerini's overview of twentieth-century Italian type, in Michele Patanè's critique of digital versions of a few Nebiolo typefaces, as well as in Riccardo De Franceschi's piece on Veltro. And it pops up again in the pages written by James Clough (followed by Akira Kobayashi's contribution on the genesis of Eurostile Next), which compares Novarese's Eurostile with Microgramma and its other somewhat squarish predecessors. For this issue of TipoItalia Clough also covers an extraordinary selection of Fascist-era wall texts in an excerpt from his recent book Signs of Italy. Our journey through twentieth-century Italy also features Fortunato Depero's bolted book, Carlo Frassinelli's graphic design revolution, the vicissitudes of Francesco Simoncini's foundry (now forty years after his death), and the rationalist saga of modular type, with texts by Gianluca Camillini, Carlo Vinti, Alessio D'Ellena, and Luciano Perondi. Type design and rationalism are also discussed in Mauro Chiabrando's article on Reggiani and his foundry, whose special series of typefaces included Triennale. Claudio Rocha, in addition to the graphic design, is also the author of a reconsideration of vintage typographic decorations and ornaments. [Google] [More] ⦿

Titus Nemeth

Titus Nemeth runs TNTypography in Paris, and specializes in Arabic typeface design, typography and custom type. A 2006 graduate in the Master of Arts Typeface Design programme at the Department of Typography and Visual Communication, University of Reading, he also studied Arabic script at the École Supérier d'Art et de Design d'Amiens, France. Titus holds a PhD in Typography & Graphic Communication from the University of Reading, UK.

Originally from Vienna, he specialises in multi-script typeface design with an emphasis on the Arabic script. He lives in Paris. His Masters thesis researched the current state of Arabic newspaper type and typography and found acclaim by experts in the field (The current state of Arabic newspaper type and typography (2006, Reading: University of Reading)). Currently, he teaches type design at ESAD Amiens, France, and is a guest lecturer in the MATD program at the University of Reading.

The typeface Nassim (Latin/Arabic, his project at the University of Reading in 2006) was awarded the 'Certificate of Excellence in Type Design' at the TDC 2007, won the first prize in the original typeface design category of the European Design Awards 07 and was shortlisted by the Design Museum London for the exhibition "Designs of the Year 2007" in the category typography. It will be published by Rosetta Type in 2011. Titus Nemeth's research covers technological, linguistic and interdisciplinary aspects of multi-script typography and typeface design.

Ph.D. student at the University of Reading in 2012. Thesis topic: Arabic typography 1911-2011.

In 2008, he worked as an assistant professor of Graphic Design at Virginia Commonwealth University in Doha, Qatar and continued his work as a freelance designer and consultant. Designer of the futuristic typeface Wallflower (2004; he calls it a humanist stencil) and of Fra Bartolomeo (2004, based on the lettering on a sketch by Italian renaissance artist Fra Bartolomeo). Working on this serif face (2005). His talk at ATypI 2008 in St. Petersburg: Tasmeem, a new software jointly developed by WinSoft and DecoType, offers new perspectives for Arabic typeface design. Titus Nemeth was invited by the developers to be the first third party designer to get insights of the system, its methodologies and to actually design for Tasmeem. He was asked to convert his existing Nassim typeface from an OpenType based rendering, to rendering within Tasmeem. Hiba Studio interview.

At ATypI 2009 in Mexico City, he spoke about l'arabe maghrébin.

Since 2009 Titus has been teaching typography in Amiens. His typeface Aisha (2009) won an award in the non-Latin category at TDC2 2010, and was published at Rosetta Type in 2010. He states: Aisha is a multi-script typeface for Arabic and Latin. While the Arabic design is a revival of a metal fount inspired by Maghribi calligraphy, the Latin design was newly conceived and drawn to echoe the feel and look of the Arabic. Samples of Aisha: i, ii, iii, iv, v, vi, vii, viii, ix.

In 2011, Rosetta published Nassim and in 2016 Skolar Sans Arabic (as part of their large Sklolar Sans project).

Codesigner with Joshua Darden of Omnes Arabic.

Author of Arabic Type-Making in the Machine Age (Brill, 2017) and Arabic Typography: History and Practice (Niggli, 2022).

Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2016 in Warsaw on There is nothing Arabic about the Arabic script.

FontShop link. Klingspor link.

Tom Carnase

Type designer Thomas Paul Carnase was born in The Bronx, New York City in 1939. He graduated from New York City Community College in 1959. Carnase started making fonts in the photolettering era, and lived through the transition to digital. In the 1960s, he opens the studio Bonder & Carnase Inc. From 1969 until 1979, he is vice-president and partner of the agency Lubalin, Smith, Carnase Inc. In 1979, he founds the Carnase Computer Typography studio. In 1980, Carnase becomes co-founder and president of the World Typeface Center Inc., an independent type design agency. He manages the in-house magazine Ligature published by the World Typeface Center from 1982 to 1987. Besides type design, Carnase has designed graphics for packaging, exhibitions, corporate identities and logos for numerous clients, including ABC, CBS, Coca-Cola, CondéNast Publications, Doubleday Publishing and NBC. He has held teaching positions at the University of Cincinnati in Ohio, the Pratt Institute in New York, the Herron School of Art in Indiana, the Parson's School of Design in New York, the Cleveland Institute of Art in Ohio, the University of Monterrey in Mexico, and the Rochester Institute of Technology in New York, among others. His fonts include:

Fonts at WTC: WTC Carnase Text, WTC Favrile (1985), WTC Goudy (sold by URW++), WTC Our Bodoni (with Massimo Vignelli), WTC Our Futura, WTC 145. Clones of Favrile abound: OPTI Favrile (Castcraft), Fascinate (NovelFonts), Francois (Serials).
At LSC (LSC stands for Lubalin Smith Carnase Inc, an agency he co-ran in the 70s), he created a number of typefaces such as LSC Book, LSC Condensed and LSC Caslon No. 223.
ITC Busorama, a geometric titling typeface that started with an ad for a bus company. Busorama, despite its innate ugliness, has been copied tens of times. Nick Curtis managed to turn it into an art deco typeface in 1999 with his Ritzy Normal.
With Herb Lubalin, he designed L&C Hairline (ca. 1966, VGC) and L&C Stymie Hairline (1973, VGC).
At ITC: ITC Manhattan (1970), ITC Avant Garde Gothic (with Herb Lubalin and Ed Benguiat, 1970), ITC Bolt Bold (with Ronne Bonder, 1970), ITC Gorilla (with Ronne Bonder, 1970), ITC Grizzly (with Ronne Bonder, 1970), ITC Grouch (with Ronne Bonder, 1970: this Caslon headline typeface was mimicked and extended in 2011 by Tomi Haaparanta as Grumpy Black; see also Softmaker's Zepp and Bitstream's Dutch 791), ITC Machine (with Ronne Bonder, 1970), ITC Pioneer (with Ronne Bonder, 1970), ITC Ronda (with Ronne Bonder, 1970), ITC Tom's Roman (with Ronne Bonder, 1970), ITC Fat Face Western, ITC Pioneer No. 2, ITC Honda, ITC Didi (a high contrast didone revived in 2013 by Jason Anthony Walcott as Domani CP), ITC Bernase Roman, ITC Neon (1970; jointly by Ronné Bonder and Tom Carnase; based on Prisma, and initially shown by Photo-Lettering as Neon; Prisma in turn was based on Rudolph Koch's Kabel; digitizations include Neptune (FontBank, 1990-1993) and the free shadowed Multistrokes (Manfred Klein, 2003)), and Milano (with Ronne Bonder).
L'Eggs, ca. 1969. A custom font for a line of hosiery to be called L'eggs by designer Roger Ferriter and Tom Carnase.

Author of Type: the best in digital classic text fonts (1995, Graphis, with Baruch Gorkin), about which Hrant Papazian writes: I just went through the Carnase/Gorkin book - I'd forgotten how lousy it is---please don't buy it.

View Tom Carnase's typefaces. [Google] [MyFonts] [More] ⦿

Tom Kemp
[Twice Publishing]

Type and calligraphy 1450-1830

Toni Pecoraro

Toni Pecoraro was born in Favara (Agrigento) Italy in april 1958. In 1977 he graduated from the Agrigento Institute of Art. From 1977 to 1981 he studied decoration at Florence Fine Arts Academy. From 1985 to 1990 he taught Engraving Techniques at Macerata Fine Arts Academy. At present he is teaching Engraving Techniques at Bologna Fine Arts Academy, and lives in Montefiore Conca. On his web site, he placed a reedited version of Giovanni Antonio Tagliente's 1530 book published in Venice. [Google] [More] ⦿

Trine Rask

Danish designer Trine Rask lived in Den Haag from 2003-2004, as a graduate student at the KABK. In her final project there, she designed North (published in 2008 by LazyDogs), a book typeface suiting the textimage of the four Scandinavian languages, Danish, New Norwegian, Bokmal and Swedish.

Trine Rask teaches type design at The Danish School of Media and The Danish Design School in Copenhagen.

Author of Skriftdesign - øvelser på papiret (2009).

In 2009, Trine went commercial at MyFonts.

Her early fonts include Tommy Slim (2003, an all caps font to be used at 48 points and above), Case (a casual printed face), Pixel, Covergirl (2006, a stylish upright connected script for the fashion industry), Jewel (extra heavy with large contrast), and Brandts (sans serif).

Her rounded typeface family Rum (2009) won an award at TDC2 2010). Rum is not named after the drink, but is just Danish for "room, space". In 2010, she published Rum Sans, a humanist modular sans serif to accompany Rum. In 2021, she added a poster version, Rum Plakat.

In 2012, Trine designed Bornholm Tejn, named after the Tejn village on the rocky Danish island of Bornholm. It is a rough stone-cut polgonal typeface. It was followed some time later in 2012 by Bornholm Sandvig, in 2013 by Bornholm Dondal (stone-cut emulation) and in 2016 by the lowercase variant, Bornholm Tejn Low. She also published Rum Serif that year.

In 2013, she finished Bornholm Allinge (chiseled stone face). Rum Sans (a humanist sans in 11 styles) and Rum Soft Sans (11 styles) were part of the commercial typeface library at Incubator / Village, but showed up in 2021 at MyFonts.

Typefaces from 2019: Matita Geometric (a 5-style humanist geometric typeface designed with mathematics in mind), Matita Connected, Matita Written (hand-printed to teach handwriting), Slik.

Typefaces from 2020: Matita Informal.

Typefaces from 2022: Rum Silhouette. [Google] [MyFonts] [More] ⦿

Triona Pers

Run by Dick Ronner from Houwerzijl, The Netherlands, this publisher has many books printed with wood type. [Google] [More] ⦿

Tutorial on character codes
[Jukka Korpela]

Jukka Korpela's great tutorial on character codes. Latin1 subpage. Jukka Korpela wrote Unicode Explained (O'Reilly). [Google] [More] ⦿

Twice Publishing
[Tom Kemp]

Tom Kemp on "Formal Brush Writing", which also is the title of his wonderful book on this technique, building on the work of father Edward Catich regarding Roman inscriptions in general and Trajan letterforms in particular. [Google] [More] ⦿

twisty.com
[Tim Brayshaw]

Bristol, UK-based Tim Brayshaw's creations (free): Block Titling (very original!), Bodoni Mutant, Candle (fresh and artsy outline font), Grunge, MixAndMatch, Ogimus (Ogham style--not finished), Staidier not Stadia. His LinkedScript is not at the site. Books about fonts.

Dafont link. [Google] [More] ⦿

TwoPoints.net
[Martin Lorenz]

Design bureau in Barcelona, Hamburg and Berlin, est. 2007, with fonts that are mainly due to German type designer Martin Lorenz. The list of typefaces:

TpFloral (2006) is a modular typeface inspired by Kombinationsschrift (1926, Josef Albers). It is based upon two basic elements, a quarter circle and a square.
TpStretch (2002).
TpKurier Sans and Serif (2006). A redesign of Courier. Followed by TpKurier-Contrast (2008), TpKurier-Filled (2009) and TpKurier-Calligraphic (2010). In 2013, Vette Letters published VLNL Tp Kurier (2013, a monospaced typewriter face; + Serif, + Callig Regular).
TpMartini (2008) is a didone family that was used for the identity of Bambi Mint. It was published in 2013 by Vette Letters as VLNL Tp Martini.
TpLlum (2008) is a typeface that was designed for the festival Montjuïc de Nit. It was published in 2012 by Vette Letters.
TpDuro (2010) is a blackletter typeface.
In 2017, TwoPoints was commissioned to design a typeface for ESPN The Magazine's NBA Preview issue.
At Vette Letters, he published VLNL TpDuro (2019: a blackletter inspired by an Albrecht Dürer design from 1525; with Juanra Pastor).
VLNL Tp Bar Paco (2014, inspired by the vernacular type found in traditional Spanish bars in Barcelona).
Tp Rawkost (2019), Tp Marte (2019), Tp Luna (2019).
In 2019, they were commissioned by ESPN to make a special display font, ESPN Next. In 2018, they designed the arc-and-circle typeface Gold Rush for an ESPN Magazine issue about the female athletes participating in the Winter Olympics in Pyeong Yang.

In 2019, TwoPoints published On The Road To Variable (Victionary). [Google] [MyFonts] [More] ⦿

Bibliography on type and calligraphy from 1450 until 1830, compiled at l' Institut de l' Histoire du Livre for a course taught there by James Mosley. [Google] [More] ⦿

Type bibliography

Compiled by Norm Walsh. [Google] [More] ⦿

Type Distortions

Review by Lawrence Wallis of two books, 20th Century Design by Catherine McDermott, Carlton Books Ltd. (1999), and The Look of the Century: Design Icons of the Twentieth Century by Michael Tambini, Dorling Kindersley (1999). [Google] [More] ⦿

Type for Change
[Gustavo Machado]

Gustavo Machado (Toronto, Canada) created this site dedicated to type in function of positive change. The idea is based on his Masters of Fine Arts thesis entitled An Inquiry into Typography as an Agent of Social Change (2008). He calls it design activism. [Google] [More] ⦿

Type Library

Type library in Birmingham (1st Floor Toll House The Bond 180-182 Fazeley Street Birmingham B5 5SE), by appointment only and 5 pounds entrance. [Google] [More] ⦿

Type Navigator

The book Type Navigator Typography The Independent Foundries Handbook by Jan Middendorp (2011) contains a CD with fonts. A list of the contents:

Anatoletype: Acuta Thin,DejaRip Demo, Dolce Basic-Thin
ARS Type: ARS Novelty
Avoid Red Arrows: Empties Full, FITAL Regular, Nazens, RegionBold, Zuendli Streichholz
Buro Dunst: Heimat Sans Demo Regular, Novel Pro Demo Regular, Novel Sans Demo Regular. Novel Std Demo Regular
BuyMyFonts.com: BMF Elettriche Mono Cubetto, BMF Elettriche Mono Cuore
Emtype Foundry: Periodico Text Light
Fabrizio Schiavi Design: Siruca Pictograms 1.2
FaceType: Letterpress Bastard, Lignette Script, Marlowe Swirl
Fontsmith: FS Blake Heavy, FS Rome, FS Rufus Regular, FS Sally Medium
Gestalten Fonts: Adhesive Black Ltd, Basic Light Ltd, Capricorn OSF Black Ltd, Engel Light Ltd, Naiv Fat, Nautinger Regular Ltd, Regular Cargo, Treza Regular Ltd
HVD Fonts: HVD Age 11, HVD Bodedo, HVD Comic Serif Pro, HVD Edding 780, HVD PEACE, HVD POSTER, HVD POSTR Clean, HVD ROWDY, HVD Spencils Block, HVD Spencils Regular, HVD Steinzeit fillin, HVD Steinzeit
Just Another Foundry: Zalamander Caps Bold, Zalamander Caps Extrabold, Zalamander Caps Extralight, Zalamander Caps Light, Zalamander Caps Regular, Zalamander Caps Semibold
LucasFonts: JesusLovesYou
Neutura: Orange Round Regular
OurType: Alto Condensed Semibold, Alto Pro Mono Condensed Bold, Comb Pro Thin, Eva Standard Light Italic, Fakt Medium, Fakt Condensed Light Italic, Fakt SemiCondensed Semibold, Fayon Standard Extra Black, Fresco Plus Standard Black Italic, Fresco Sans Condensed Light, Lirico Press Semibold, Ludwig Condensed Thin, Meran Condensed Normal Italic, Monitor Condensed Bold Italic, NeueSans Semibold, Parry Semibold, Sansa Condensed Soft Black Italic, Sansa Slab Light, Tiina Medium, Versa Condensed Normal, Versa Sans Condensed Bold Italic
Playtype: Play Bold, Play Regular
Storm Type: Aaahoj, Bhang Strong, LidoSTF, LidoSTFBold, Lido S T F Bold Italic, Lido S T F Italic, Lido S T F Condensed, Lido S T F Condensed Bold, Lido S T F Condensed Medium, Lido S T F Medium, Lido S T F Medium Italic, Regula Old Face Italic, Regula Old Face, Rondka Urtyp, Stencilul, Vida 33 Stencil Demo
Subtype: Cloud, Quart, SWEM
VetteLetters: VLNL Dream Meal Left, VLNL Dream Meal Right, VLNLDBXLZX-Bold, VLNLDBXLZX-Light, VLNLDBXLZX-Regular
Volcano Type: Matryoshka Pregnant

[Google] [More] ⦿

Type specimen books

To find type specimen books, look first in Maurice Annenberg's "Type Foundries of America and their Catalogs" (1975). Jeffrey Barr states that the "top five libraries for type specimen books and their holdings are: Columbia University, 445; Newberry Library, 134; California Historical Society (Kemble Collections), 122; Harvard University, 115; and the Huntington Library, 80." Well, yes, Columbia has the ATF Library and Museum, so that is no surprise. However, it all depends how one counts. McGill University in Montreal has 730 items under "type specimen", mostly folios, but without having counted them precisely, probably about 150 specimen books. [Google] [More] ⦿

Type Specimen of the Adagio Press

Paul R. Sternberg sells this unique book for 60USD (email him). [Google] [More] ⦿

Type Together
[Veronika Burian]

Foundry est. in 2005 by Veronika Burian (Czechia) and José Scaglione (Argentina). TypeTogether's library of retail fonts includes

Karmina (Veronika Burian / José Scaglione, a text typeface for newspapers, winner of the ED Awards) and Karmina Sans (12 styles). Award winner at Tipos Latinos 2010. Karmina, Bree and Ronnia were selected as part of the travelling exhibition Tipos Latinos 2008.
Athelas (José Scaglione / Veronika Burian, 2008, a calm and balanced 4-style book type family, winner of the first prize at the Granshan 2008 competetion).
Ronnia (Veronika Burian / José Scaglione, a flexible sans serif for editorial use with 28 styles).
Maiola (an award-winning calligraphic serif family by Burian).
Crete (Veronika Burian, 2007, inspired by lettering in a chapel in Crete, winner of the Gransham 2008 competition; ideal for posters). Followed by Crete Round (2011).
Bree (Veronika Burian / José Scaglione, 2008). A 10-style upright italic with a matchting oblique for display usage. In the years that followed, Bree was substantially expanded: Bree is available in Greek (by Irene Vlachou), Cyrillic (by by Veronika Burian, with expert support by Vera Evstafieva), Arabic (by Azza Alameddine) and Thai (by Cadson Demak's Panuwat Usakulwattana). Bree Latin now supports Pinyin and features improved Vietnamese diacritics (with the help of Donny Truong). Bree Devanagari (by Pooja Saxena) is in the works.
Adelle Sans. A 12-style slab serif family made in 2009. Award winner at Tipos Latinos 2010. Adelle Condensed followed in 2013. With the help of Erin McLaughlin and Vaibhav Singh, Adelle Sans Devanagari was finished in 2017. Adelle Mono was added in 2020.
Abril (2010) is a didone font family engineered mainly for newspapers and magazines that features friendly and elegant styles for headlines and robust and economic styles for text. It won an award at Tipos Latinos 2012. Abril Fatface is free at Google Font Directory. Abril Titling was published in 2013-2014.
Jockey One (2011) is a free sans typeface at Google Font Directory.
Birdy (2011). A free angular inline typeface by Veronika Burian.
Fonts by third party designers: Cora (by Bart Blubaugh), Alizé (2009, by Tom Grace) and Givry (by Tom Grace: a bastarda typeface), Iskra (2012, by Tom Grace; not to be confused with Iskra by Edgar Reyes, 2009), Gitter (a modular type with letters built up of triangles).
Tablet Gothic (2012). A joint design of Veronika Burian and José Scaglione, it is a grotesque meant for titling. Tablet Gothic won an award at Tipos Latinos 2014.
Alverata (2013). A lapidary flared typeface with a huge x-height influenced by roman ("romanesque") lettering from the XIth and XIIth centuries. Alverata consists of three different fonts: Alverata, Alverata Irregular and Alverata Informal. For the development of the Greek letterforms, Unger collaborated with Gerry Leonidas (University of Reading) and Irene Vlachou (Athens). He cooperated with Tom Grace for the Cyrillic letterforms. Alverata was published by Type Together in 2014 and 2015. It appears to have Vesta's skeleton and dimensions. PDF file.
In 2015, Veronika Burian and José Scaglione finally published the 18-style editorial sans typeface family Ebony, which won an award at Tipos Latinos 2016.
TypeTogether and Design Sessions Studio collaborated in the development of a logotype and an associated type family for the government-owned TV channel and Radio station of Puerto Rico, WIPR Unicase.
Protipo (2018) is a 52-font information design sans family designed by Veronika Burian and José Scaglione. This was a major team effort. Irene Vlachou will soon finish the variable font production. The information icons were designed by Luciana Sottini. Kerning by Radek Sidun and engineering by Joancarles Casasin.
In 2019, Type Together released Catalpa (Veronkia Burian, Jose Scaglione, Azza Alameddine) and wrote: Primed for headlines, Catalpa is designed to give words bulk and width and gravity itself. The Catalpa font family is José Scaglione and Veronika Burian's wood type inspired design for an overwhelming headline presence.
Postea (2021). A geometric sans with some eccentric details and variable font support. Noemi Stauffer writes: Postea comes with a collection of Bauhaus-inspired geometric patterns and ornaments and a suite of icons that can be called up simply by enclosing their names between a pair of colons, and choosing the correct stylistic set. Now that is typographic magic!
Type Together made many custom typefaces. These include Abril Almeria(for Spanish newspaper La Voz de Almeria), Athelas Apple Books (for Apple iBooks), Bodoni Stencil (for Levi's---based on ParaType Bodoni), Clarín Titulos(for Argentine newspaper Clarin), Karmina Cyrillic (for Bible Society in Russia), Spore (for Electronic Arts), Twinkl Cursive (for Twinkl educational materials), Twinkl Sans, WIPR (for Puerto Rican broadcaster WIPR), NRK Etica Super and Slab, Bree Peru, Literata Book, Qlikview Sans.
In 2021, Veronika Burian and José Scaglione designed Belarius, a three-axis variable family that shifts from sans to slab serif, from condensed to expanded widths, and includes every possibility in between. Published by Type Together in 2021, it was developed under the guidance of Veronika Burian and José Scaglione, with type design by Azza Alameddine and Pooja Saxena, and additional kerning and engineering help from Radek Sidun, Joancarles Casasin and Irene Vlachou.

Speaker at ATypI 2017 Montreal.

MyFonts link. Klingspor link.

Type Together occasionally published educational books as well. In 2022, they released Building Ligatures The Power of Type.

MyFonts interview.

Catalog of the Type Together typeface library. Adobe link. [Google] [MyFonts] [More] ⦿

Typeface and Lettering

Typography book published by Heintze and Blanckertz in Berlin in 1931. [Google] [More] ⦿

Typeface Research Pty Ltd
[Harry C. Pears]

Australian Harry Pears (b. The Quirindi, Australia) is a veteran of the type world. He started his career as a colour camera operator and then as a phototypesetter. He started marketing digital typefaces in Australia, and has designed a few fonts himself. Creator in 2001 of the Celtic look family Lindisfarne Nova (with calligrapher Margaret Layson) at Bitstream (this includes Lindisfarne Nova Incised and Lindisfarne Runes).

Harry is the owner of Typeface Research Pty. Ltd. of Lake Cathie, Australia. Author of Decorate with Type An encyclopedia of decorative and novelty fonts (2011), in which he proposes a new categorization of decorative types.

MyFonts link. Bio at Bitstream. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿

Typeology
[Robert Fauver]

Typeology is the commercial foundry of Robert Fauver (b. 1978), who lives in Moorestown, NJ. His site has an on-line PDF-format type magazine that showcases new fonts, and was started in 2006. In Typeology #1 (2006), we find, e.g., 14 fonts from Dino Dos Santos René Verkaart, Damien Gosset, Marcio Hirosse, Andre Nossek, Keith Bates, Amy Conger, Jason Ramirez, Hannes Siengalewicz, Sean Kelly and Clément Nicolle.

His early fonts were free, like the grunge ornate caps typeface Dirty Ames (2006, based on an intials typeface created by D.T. Ames in 1884), and the Broadway style typeface Quaker Shade (2009). His commercial typefaces include Holmes (2009, graffiti style) but a version of that is also at Dafont. Dafont link. Klingspor link. [Google] [MyFonts] [More] ⦿

Typo

Fantastic German collection of web pages with a glossary of sorts. More an encyclopedia of typography, really. By Karen Wegehenkel, Technical University of Dresden. Has a good bibliography of type books as well. Link died. [Google] [More] ⦿

Typo Knowledge Base (tkb)
[Kai F. Oetzbach]

A type portal managed by teachers and students at the Fachhochschule Aachen, Germany, in German. The page contains the basic rules of legibility and good typography. There is a historic timeline, a list of famous type designers, a list of famous typefaces, a timeline of the great typefaces, anatomy of a letter (glossary), lecture notes, and font downloads of fonts that were developed in the courses of K.F. Oetzbach. The latter include Fegron (Marcel Feiter) and Unperfekt, Semiperfekt and Sansperfekt (Niels Vollrath). Finally, there are many useful book reviews. The site was started by K. F. Oetzbach, André Berkmüler, Natascha Dell and Simon (Burschi) Becker. There are about 25 people participating in the growth of this type portal. K.F. Oetzbach is the codesigner in 2005-2006 with Natascha Dell at Fontfarm of several fonts. [Google] [More] ⦿

Typodarium 2009
[Raban Ruddigkeit]

Typodarium is a typographic one-sheet-per-day wall calendar by Lars Harmsen and Raban Ruddigkeit (2009, Verlag Hermann Schmidt). [Google] [More] ⦿

Typofonderie (was: Porchez Typofonderie)
[Jean-François Porchez]

Jean-François Porchez (b. 1964) lived in Malakoff near Paris until 2006, when he moved to Sèvres, and from there to Clamart in 2008. He studied at the Atelier Nationale de Recherche Typographique (or ANRT), and caught the world's attention when he created a new type family for Le Monde in 1994. His fonts Angie and Apolline were prize-winning entries at the Morisawa Typeface competition. He received the Charles Peignot award in 1998, and many awards at Bukvaraz in 2001 for fonts such as Ambroise and Anisette. He runs an increasingly important foundry, Porchez Typofonderie, and is the main typographical driving force in France today. He set up ZeCraft. Until 2004, he taught typography at ENSAD in Paris, and teaches occasionally at Reading. From 2004 until 2007, he was President of ATypI. His fonts:

Airco Std (2020). An italic at 27 degrees to evoke speed.
Allumi PTF (2009---Eurostile meets Frutiger). Allumi comes in 27 styles. In 2021, Allumi Inline was added. Allumi Dingbats (2009) is free: it has several fists and arrows.
Alpha Poste (2005). A sans family for the group La Poste.
Ambroise, Ambroise Firmin (condensed) and Ambroise François (extra condensed) (2001, 30 fonts in all). Inspired by late style (1830s) Didot's, and with g, y and k as in the types of Vibert, the Didot family punchcutter as per the specimen books of the Fonderie Générale. This family was updated and extended with a new italic in 2016 as Ambroise Pro.
Angie (1995, FontFont). A flared humanist sans in six styles.
Anisette (1997, Font Bureau), Anisette Petite (2001-2008). Anisette is an art deco / avant garde family. The Petite is trending towards a more standard geometric sans. Anisette Pro Petite appeared in 2013.
The Typelab fonts Antwerpen (1993) and Antarée (1993).
Apolline (1995-1998, Porchez Typofonderie).
Arcane (1997, Ogilvy-Quérac).
Ardoise (2010). An extension of the Charente typeface (1999), which Porchez designed for the daily La Charente Libre, following the simple style of Franklin Gothic. The typeface extension to normal widths was developed from 2006 by Porchez and was used in 2010 in the redesign of the magazine Pelerin. Porchez: Ardoise PTF and its 45 series could be considered as an homage to Antique Olive. [...] It is virtually immune to distortion.
Audace Std (2020). A curvy sans.
Bienvenue (1999-2000, for France Telecom), Francetelecom-Demi (1999-2000, also for France Telecom).
Charente (2000).
AW Conqueror (2010). Jean-François Porchez was approached at the end of 2009 by Reflex Image to create a set of typefaces to relaunch the Conqueror papers collection. AW Conqueror is a family of free fonts available at the slow, chaotic and dysfunctional Conqueror.com / Arjo Wiggins web site. Styles include AW Conqueror Sans, AW Conqueror Slab, AW Conqueror Inline, AW Conqueror Didot and AW Conqueror Carved (with horizontal stripes as in money fonts). Not to be confused with the 2005 family called Conqueror by Yuri Gordon.
Courrier (1997).
Deréon (2005). Custom design for Beyoncé Knowles, remotely related to Dwiggins' Caledonia.
Disney Channel (1997).
Henderson Serif & Sans [2006). A Baskerville-meets-Arial family conceived by J.-F. Porchez, but extended and perfected by J.-B. Levée.
La Terre (1994-2000). Circulated on abf under the names BAAAAALaTerre-Regular in 2002.
Le Monde Journal (1997), Le Monde Sans (1997), Le Monde Livre and Le Monde Livre Classic (1997), Le Monde Journal Ipa (2003, a phonetic family), Le Monde Costa (Costa Crociere), Le Monde Courrier (2002).
Linotype Sabon (2002). An interpretation of Tschichold's Sabon. This project was conceived at Type Sexy Night in Leipzig with a thoroughly drunk Bruno Steinert.;
Lion (1998, Peugeot automobiles).
Pyrénée (1996, Albert Boton, Carré Noir).
Mencken (2005). For the Baltimore Sun, dubbed a contemporary Didot by JFP himself. Mencken replaces Retina for the stock tables and small print---Retina was originally created by typographer Tobias Frere-Jones of Hoefler&Frere-Jones for use in The Wall Street Journal, but seems harder to read than Mencken). In 2017, it was developed into a 163-style family, consisting the low contrast transitional Mencken Text, and the Scotch didone Mencken Head. It was also used near the end of presidential campaign of Emmanuel Macron. It is named after American journalist and satirist Henry Louis Mencken (1880-1956). For a retail version, see Mencken (2020, Typofonderie).
Parisine (1996). Read about the history here. Parisine Office was done in 2005 for the RATP. Other weights include Parisine Clair, Parisine Sombre, Parisine Plus.
Renault Identité (2004). Designed for Renault, and based on lettering by Eric de Berranger.
Retiro (2006-2009). A Didot headline suitably ibericized for the magazine Madriz. Winner at TDC2 2010.
Singulier (2012) is a geometric sans typeface created for Yves Saint Laurent Parfums. It was inspired by the monogram and logotype called Yves Saint Laurent that was created by Cassandre in the early 1960s.
Sitaline (a corporate type for SITA, 1998).
Vuitton Persona (2007). An all-capital two-color custom font designed for Louis Vuitton Malletier. Retail since 2008.
Ysans was conceived in 2010 and published in 2017. Influenced by Cassandre's lettering, this geometric sans is aimed at the fashion industry. Its beveled multiline version is Ysans Mondrian.
In 2020, he designed Arteria, a compressed display typeface family inspired by Italian shop signs and wood types.
In 2021, Porchez developed the wonderful copperplate calligraphic typeface family Altesse, which is a typographic adaptation of the scripts engraved by the French copperplate masters from the 19th and 20th centuries. Altesse comes in many optical sizes. It won the grand prize in the 2022 Tokyo TDC competition.
In late 2021, he released Astronef Super, a retro-futuristic typeface family with seven weights pushed to the extreme on both ends.

FontFont write-up. Adobe write-up. Bio. At ATypI 2004 in Prague, he spoke about Parisine and legibility.

In 2014, Adverbum published the French/English book Jean François Porchez L'excellence typographique---The haute couture of typeface design, which has pieces by Karen Cheng, Aaron Levin, Muriel Paris and Sumner Stone.

Linotype link. Behance link. Another Behance link. FontShop link. MyFonts link. MyFonts interview in 2009. Behance link. Speaker at ATypI 2010 in Dublin.

View the typefaces made by Typofonderie Porchez. Adobe link. [Google] [MyFonts] [More] ⦿

Typographeee

This web site is dedicated to an e-book on typography and type designers written in 2011 by Lance Schmittling, Jennifer Higerd (from Union, MO), and Dominic Flask (from Wichita, KS). It is more biased towards graphic design, and has few sections on type design. [Google] [More] ⦿

typographer.com

Archive of some free fonts (including Ethan Dunham's Scarecrow and RedFive--watch out, RedFive has a faulty number 2), and articles and discussions about type. Plus a book review section. And an on-line magazine run by David John Earls. [Google] [More] ⦿

Typographic Matchmaking
[Huda Smitshuijzen AbiFarès]

A book by Huda Smitshuijzen AbiFarès published in 2007. It describes her project, started in 2005, of matching Dutch and Arab type designers to design Arabic counterparts of Dutch typefaces. The "couples" are

Gerard Unger&Nadine Chahine: Working on Big Vesta Arabic.
Fred Smeijers&Lara Assouad Khoury: Working on Fresco Arabic.
Martin Majoor&Pascal Zoghbi: Sada, an Arabic companion of Sedra.
Lucas de Groot&Mouneer Al-Shaarani
Peter Bilak&Tarek Atrissi: Fedra Arabic.

: [Google] [More] ⦿

Typographica
[Stephen Coles]

The official title of Stephen Coles' revival of the Old Typographica is Typographica. Type Reviews, Books, Commentary. [Google] [More] ⦿

Typographische Variationen

Acclaimed book published by Hermann Zapf (b. 1918) in 1963. [Google] [More] ⦿

Typography Papers 9

The ninth in a series of edited texts published at University of Reading. This volume as edited in 2013 by Paul Luna and Eric Kindel. Contributors include Gerard Unger (on "Romanesque" letters), Eric Kindel (on the history of stencil letters), Maurice Göldner (on the history of an early twentieth-century German typefounder, Brüder Butter), Paul Luna (on the role of pictures in dictionaries), William Berkson and Peter Enneson (on a new view of readability of text), and Titus Nemeth (on a new form of Arabic type for metal composition). [Google] [More] ⦿

Typologia
[Frederic Goudy]

The full title of this book is "Typologia, Studies in Type Design \& Type Making" (1940, University of California Press, Berkeley). At the TypeArt Reference Library, you can find 5 chapters of it. This is Frederic Goudy's magnum opus, his life's work, giving his vision on many typographic things. It contains the story of the proprietary typeface University (of California) Old Style. It even has a big section on the history of legibility. [Google] [More] ⦿

TypoLyrics

A type showcase book by Slanted published in 2010. [Google] [More] ⦿

Typophile Books

Annotated list of type books. Books on type history. Type specimen books. Typography books. [Google] [More] ⦿

Typosphere

Type and graphic design book published in 2007 by Mao Mao in Barcelona. [Google] [More] ⦿

Typotek

Type bibliography. [Google] [More] ⦿

Typotheque
[Peter Bilak]

Typotheque is an initiative of Peter Bilak and ui42 out of Bratislava (Slovakia), and later, The Netherlands: Typotheque is an Internet-based independent type foundry. It offers quality fonts for PC and Macintosh platforms in standard European character set and in CE (central european) character set. All fonts have full (european) character sets, are thoroughly tested and manually kerned.

Typotheque also offers its own type utilities: AccentKernMaker and FontAgent. In 2000, with Stuart Bailey, Peter Bilak co-founded art and design journal Dot Dot Dot. Along with Andrej Kratky he co-founded Fontstand.com, a font rental platform. Peter is teaching at the Type & Media postgraduate course at the Royal Academy of Arts, The Hague.

Free fonts: Remix Typotheque and RaumSüd.

Commercial fonts: Fedra Sans (2001, 30 weights), Holy Cow (2000), Champollion (2000), Eureka (2000), Eureka Phonetik (2000), Eureka Arrows (2000), Eureka Glyphs (2000), Jigsaw (Light and Stencil, 2000, by Johanna Balusikova), Fedra Mono (2002), Fedra Bitmaps (2002), Fedra Serif (2003, 48 weights, with a characteristic shy female A, toes pointing inwards), Fedra Serif Display (2006) and Fedra Arabic (2006) .

Greta (2006-2007, Greta Text and Greta Display) is a newspaper type family designed initially for the main Slovak newspaper, SME. Greta Text won an award at TDC2 2007. It is also being used by the Sunday Times (along with Sunday Times Modern by Emtype and Flama by M. Feliciano). Greta Symbol (2012) is a 10-style 1200-glyphs-per-style superfamily of symbols commonly used in newspapers, magazines and online publications. Finally, Greta Mono (by Peter Bilak and Nikola Djurek) saw the light in 2015. Codesigner with Daniel Berkovitz of Greta Sans Hebrew (2015), which won an award at TDC 2016 and was released in 2017. Greta Sans supports Latin, Greek, Cyrillic, Armenian, Arabic, Hebrew, Devanagari, Thai and Hangul. Greta Sans was designed by Peter Bilak, produced together with Nikola Djurek. Irina Smirnova designed the Cyrillic version. The Latin part has been published in 2012, the Cyrillic and Greek in 2015. In 2015, Greta Sans was recognised by the Tokyo TDC. The Arabic version was designed by Kristyan Sarkis and published in 2015. Greta Sans Devanagari was published in 2017, designed by Hitesh Malaviya at ITF under the supervision of Satya Rajpurohit. The Thai version was designed by Smich Smanloh from Cadson Demak, and published in 2019. This Hangul version was designed by Sandoll designers Yejin We and Jinhee Kim, and directed by Chorong Kim.

In 2005, Collins Fedra Sans and Serif were published for use in the Collins dictionaries. A slightly modified version of Fedra Sans is used by the Czech Railways.

In 2008, Peter Bilak, Eike Dingler, Ondrej Jób, and Ashfaq Niazi created the 21-style family History at Typotheque: Based on a skeleton of Roman inscriptional capitals, History includes 21 layers inspired by the evolution of typography. These 21 independent typefaces share widths and other metric information so that they can be recombined. Thus History has the potential to generate thousands of different unique styles. History 1, e.g., is a hairline sans; History 2 is Peignotian; History 14 is a multiline face; History 15 is a stapler face, and so forth.

In 2009, Bilak published the extensive Irma (Sans, Slab) family, which includes a hairline. Typotheque's other designer is Johanna Balusikova.

Collection of over 90 articles on type design by by Stuart Bailey, Michael Bierut, Peter Bilak, Andrew Blauvelt, Erik van Blokland, Max Bruinsma, David Casacuberta, Andy Crewdson, Paul Elliman, Peter Hall, Jessica Helfand, Steven Heller, Roxane Jubert, Emily King, Robin Kinross, Rosa Llop, Ellen Lupton, Martin Majoor, Rick Poynor, Michael Rock, Stefan Sagmeister, and Dmitri Siegel.

In 2011, he created Julien, a playful geometric display typeface loosely inspired by the early 20th century avant-garde. It is based on elementary shapes and includes multiple variants of each letter. It feels like a mix of Futura, Bauhaus, and geometric modular design.

Julien (2012) is a playful geometric display typeface loosely inspired by the early 20th century avant-garde.

Karloff (2012, Typotheque: Positive, Negative, Neutral) is a didone family explained this way: Karloff explores the idea how two extremes could be combined into a coherent whole. Karloff connects the high contrast Modern type of Bodoni and Didot with the monstrous Italians. The difference between the attractive and repulsive forms lies in a single design parameter, the contrast between the thick and the thin. Neutral, the offspring, looks like a slab face. They were made by Peter Bilak, Nikola Djurek and Peter van Rosmalen.

Lumin (2013) is a family that includes slab-serif, sans serif, condensed and display typefaces, and no attept is made to make them uniform in style.

Lava (2013) is a magazine typeface originally designed for Works That Work magazine. It was extended to a multilingual workhose typeface family. It as extended in 2021 to Lava 2.0, at which time they added a variable version of Lava that does this size-specific tracking optimization automatically---Typotheque calls it optical spacing. By 2021, Lava covered Latin, Greek, Cyrillic, Devanagari, Telugu and Kannada. Typotheque collaborated with type designers Parimal Parmar, who drew the Devanagari; and Ramakrishna Saiteja, who drew Kannada and Telugu companions for Lava Latin, designed by Peter Bilak.

For Musée des Confluences in Lyon, France, Typotheuqe designed the custom sans typeface Confluence (2014).

For Buccellati Jewellery and Watches in Milan, Typotheque made the classy sans typeface Buccellati in 2013.

In 2016, Peter Bilak, Nikola Djurek and Hrvoje Zivcic published the Uni Grotesk typeface family at Typotheque. It is based on Grafotechna's 1951 typeface Universal Grotesk, which in turn is based on 1934 design by Vladimir Balthasar. Noteworthy also is the prismatic style Uni Grotesk Display.

In 2016, Peter Bilak designed the wayfinding sans typeface family November for Latin, Greek, Cyrillic and Hebrew. Its rounded version is October. November, co-designed by Peter Bilak, Irina Smirnova and Kristyan Sarkis, won two awards at Granshan 2017. November Stencil was published in 2018.

The Q Project was conceived in 2016 by Peter Bilak, and published in June 2020. Nikola Djurek produced the Q Shape 01, loosely based on the Edward Catich's basic brush strokes from his book The Origin of the Serif: Brush Writing and Roman Letters. Bilak explains: The Q Project is a game-like [modular] type system that enables users to create a nearly infinite number of variations. Inspired by toys like Lego or Meccano, Q invites you to explore its vast creative space and discover not only new solutions, but also new problems. Q consists of ix uppercase Base fonts and 35 attachments that can be added as individual layers (Q Base and Serifs). It also comes with a variable font with a motion axis (Q Mechanic), as well as three levels of basic shapes that can be combined into new forms (Q Shapes).

In 2021-2022, Typotheque custom-designed the humanist sans typeface NRK Sans for the Norwegian broadcaster, NRK.

History won an award at ProtoType in 2016.

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

Ugo da Carpi

Ugo da Carpi (b. ca. 1455, d. ca. 1523) was an Italian painter and printmaker who worked in woodcut. Author of the handwriting book Thesauro de Scrittori (1535). This book was republished in 1968 by Nattali and Maurice (London). An alphabet. [Google] [More] ⦿

University of Amsterdam: Special Collections
[Mathieu Lommen]

The library of the University of Amsterdam has many on-line and hard copy collections. Among these, the following stand out:

Archief Jan van Krimpen.
Collectie Bram de Does. Bram de Does designed Trinité (1982) and Lexicon (1992). His original drawings of Lexicon, for example, have been scanned in and can be viewed (but not downloaded). For a digital descendant of Lexicon, see Lucas Sharp's Eros.
Collectie Gerrit Noordzij.
Collectie S.L. Hartz. Sem Hartz worked for Johan Enschedé en Zonen in Haarlem. This collection includes archive material on the typeface Juliana (1958).
Collectie Tetterode. This collection dating from 1971 is quite extensive (17,000 items), including a lot of material on S.H. de Roos. It covers Tetterode's type work from 1851 onwards.

Mathieu Lommen is an author and book historian who works as a curator at the Special Collections department of the Amsterdam University Library. Mathieu regularly publishes on 19th and 20th century book typography and type design. He is also editor of the scholarly magazine Quaerendo. His books include Dutch Alphabets (2016, De Buitenkant, Amsterdam), Letterproeven van Nederlandse gieterijen / Dutch typefounders specimens (1998, Amsterdam), Bram de Does: Letterontwerper and Typograaf (2003, De Buitenkant), and Nederlandse Belettering Negentiende-Eeuwse Modelboeken (De Buitenkant, Uitgelezen Boeken, Jaargang 17, Nummer 3, 2015).

Mathieu Lommen's talk at ATypI 2013 in Amsterdam was entitled Highlights of Amsterdam type design. [Google] [More] ⦿

University of Strasbourg

Browse digital versions of old books at the University of Strasbourg. [Google] [More] ⦿

University of Toronto

The University of Toronto generously scans in many old copyright-free books, including many texts on typography and type design. [Google] [More] ⦿

UORG
[Frank Heine]

Born in 1964, Frank Heine died in Stuttgart in 2003. Heine established UORG in Stuttgart in 1992. UORG was essentially a one-person outfit. Frank also released his fonts through Emigre, FontHaus, FontShop and [T26]. Author of Frank Heine: Type &c (Gmeiner Verlag, 2003).

Klingspor link. FontShop link.

Frank Heine's typefaces:

At [T-26]: Amplifier (1994), IndecisionBasic, Feltrinelli, Intolerance, Kracklite, Opsmarckt (1996, medieval simulation script, including borders), Opsmarckt-Borders (1996), WholeLittleUniverse, Divine.
In FUSE 15 (1996), he did Determination.
At Emigre, he created the grungy Motion (1992), his script family Dalliance (2001), Tribute (2003, a creative revival of a 1565 typeface by Guyot), his curly Remedy (1991) family.
His list of fonts also includes Coolage Bold, Desolation, Vespasian, and Schablone (for Factory, 1993). It is unclear if he also designed Contrivance (1993), a neat curly handwriting font.

[Google] [MyFonts] [More] ⦿

V. J. Moss Books

British bookseller of "books about books". [Google] [More] ⦿

Valérie Lejeune

Author of Cross Stitch Letters Bible des lettres au point de croix (2009). this 712 page tome showcases 844 alphabets, most of which were drawn before 1930. [Google] [More] ⦿

Valter Falk

Swedish art historian who wrote several books in swedish on type design. His masterpiece was written in 1975: Bokstavformer och typsnitt genom tiderna (Letter designs and typefaces through the ages). [Google] [More] ⦿

Vari-Typer Type Faces

Type specimen book published by Ralph C. Coxhead Corporation, manufacturers of vari-typer based in New York City, in 1946. [Google] [More] ⦿

V.B. Grinnell

Victorian era painter in Vinton, IA. Author of Grinnell's Hand Book of Painting (1894), which shows some alphabets for sign painters. Local download. [Google] [More] ⦿

Velvetyne Type Foundry (or: VTF)
[Frank Adebiaye]

Velvetyne Type Foundry (or VTF) is the French foundry of Parisian Frank Adebiaye (b. 1982, Versailles). It used to be called Velvetyne TypeForgery because he uses FontForge to design all his free fonts, which come complete with FontForge sources. Originally, it had many free fonts by Frank Adebiaye himself. At some point, it became more of a coop, and started publishing experimental typefaces by several contributors and collaborators. These fonts are reported elsewhere on my pages under the names of their designers.

Creator of some free (often experimental) fonts in 2010-2011. Cooperators include Sylvain Henri, Jérémy Landes-Nones, and Sébastien Hayez. Frank's typefaces:

Ajonc.
Babacar (2012). He calls it an African fractur.
Babbage.
Backout (2012). He writes about this flared poster all-caps typeface: BackOut is what an African Albertus could be.
Barjavel and Barjavel Mono.
Basteljau.
Bi-lined typefaces: Eighteen, Bachibouzouk.
Bluff, Bold, Boxer, Cardinal, Grotesk, Jimmy: geometric experiments.
Chaumont: ransom note family.
Chedid.
Combat (2015). A wedge serif based on the title of an early 20th century anarchist newspaper published in Limoges, France, called Le combat social.
Compute, Elektron: computer-inspired typefaces.
Coqnegre Perspective: angular face.
Coqnegre Turismo, Stencil: art deco stencil typefaces.
Experimental typefaces: Blanka, Courrrier (sic), Faber, Firenze, Five, Georges, Ink, Jake, Lenny, Normant.
Fabuliste: an experimental modern face.
Fersen.
Forward (2021). A commercial futuristic font at Future Fonts, co-designed with Studio Triple.
Frank: monospaced techno blackletter face.
Geek, Inky, Marcelle, Ping: playful typefaces.
Gegenwart.
Gorki and Gorki Block: a pixel typeface and a constructivist brother.
VTF Grotesk (2010).
Format 1452: a DIN style typeface.
Hangul: A Korean simulation font.
Konzern: a texture font.
Kravitz.
Leyde.
Lineal: clean sans.
Lment.
Mandeville.
Mainz: Ornaments based on sewer plate designs in Mayence.
Manset: a geometric sans.
Meginhart.
Mercandieu: grotesk.
Metropolis.
Mono (2011). A monoline sans.
Mont Chauve: experimental.
Mourier. Based on a geometric alphabet created in 1973 by Danish graphic designer Eric Mourier. The font uses square of 7 x 7 units and consists of unclosed lines. The first and only use was in the booklet The Myth about Bird B by Knud Holten. Sébastien Hayez was the first to digitize the typeface (in 2002). Published by Velvetyne in 2011.
Murat.
Mutations.
New Wave: avant-garde.
Nkm.
Pierrafeu. A brush face.
Pompidou.
Prospective, Robusto Mechanica, Grey Charles: more geometric experiments.
Radikal.
Resistance (2016). A geometric sans serif created using Glyphr Studio by the students of ENSAD Paris at La Gééale.
Rhinox.
Rnic. A runic simulation typeface.
Sagittaire.
Slang.
Stencil typefaces: Free Jazz, Rogue Leader, Rogue Two, Stencil.
Steps Mono Mono (2015). An octagonal monospaced typeface created for the magazine Étapes.
Therow.
Thiefaine.
Vielfalt: dingbats.
Waltenberg.
Wozniak.
Zukunft (+Oblique): a geometric sans family.

Author of a book on the life and work of Fran+çois Boltana (2012, with Suzanne Cardinal).

Behance link. Open Font Library link. Klingspor link. Home page. Future Fonts link. [Google] [More] ⦿

Veronika Burian
[Type Together]

Vicente Fernandez Valliciergo

Veruschka Götz

Author of Fixierte Gedanken: eine Kurzgeschichte der Schrift, des Alphabets, der Zahlen und Ziffern (2010). [Google] [More] ⦿

Spanish author of various books on calligraphy and penmanship. These include:

Nuevo metodo de caracteres goticos y de adorno (1905, Madrid).
Nuevo metodo grafico del escritura inglesa (1896, Madrid).
Nuevo metodo de ensenanza de la letra inglesa. Caligrafo de la Real Casa premiado con diferentes medallas de oro y plata.
Caligrafia Francesa : primer metodo de ensenanza de la letra redondilla: para uso de los colegios y academias, y de todo aquel que desee aprender por si solo (Madrid, ca. 1887).

[Google] [More] ⦿

Vicente Gil

Brazilian author of "A revoluçao dos tipos". [Google] [More] ⦿

Victor Miard
[DRAIM]

Victor Oliva

Catalan author of Introducción al estudio del arte del alfabeto en Cataluña (Verdaguer, 1913), a book about the history of the alphabet. Pic of the Epistolae Sancti Augustini alphabet. [Google] [More] ⦿

Victor Scholderer

Designer (1880-1971) of "New Hellenic" (1927-1928), a very elegant Greek typeface with original capitals, and a lower case that is based upon a 15th century Venetian typeface ascribed to Giovanni Rosso (Rubeus). He published Greek Printing Types 1465/1927 (Mastoridis Publications, Typophilia, 1995). Scholderer was curator in the British Museum Library. In 1927, Scholderer, on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. New Hellenic was the only successful typeface in Great Britain after the introduction of Porson Greek well over a century before. The Greek Font Society digitized the typeface (1993-1994) funded by the Athens Archeological Society with the addition of a new set of epigraphical symbols. Later (2000) more weights were added (italic, bold and bold italic) as well as a Latin version. That type family is called GFS Neohellenic (1993-2000, George Matthiopoulos and Takis Katsoulidis). [Google] [More] ⦿

Victor T. Wilson

Author of Free hand-lettering (1905, John Wiley, New York). See also here. [Google] [More] ⦿

Videogame Text
[Zach Whalen]

This site is a blog about a book proposal by Zach Whalen on the typography and types used in videogame text. It is immensely useful for type historians, and highly recommended. It is based on Zach's 2008 dissertation at the University of Washington entitled The Videogame Text: Typography and Textuality. Interesting subpages:

[Google] [More] ⦿

Vietnamese Typography
[Donny Truong]

Donny Truong is a designer with a passion for typography and the web. He received his MA in Graphic Design from the George Mason University School of Art (in Fairfax, VA), where he taught advanced web design and usability. Currently, he is director of design and web services at George Mason University's Antonin Scalia Law School.

He wrote the on-line text Vietnamese Typography (2016; second edition here, dated 2018) and Professional Web Typography. [Google] [More] ⦿

Viktor Kharyk

Ukrainian designer, b. Kiev, 1957. Graduate of the Senior College for Print and Design in Kiev in 1982. Viktor became art director at Sphera in Kiev. Main type designer at Düsseldorf-based company Unique GmbH since 1998. In 2012, he cofounded Apostrof with Konstantin Golovchenko. He designs Armenian, Greek, Georgian, Devanagari, Hebrew, Cyrillic and Arabic fonts, and is particularly interested in revivals of ancient, forgotten, or historically important typefaces and writing systems. His work:

At Elsner and Flake, he published EF Bilibin (2004, uncial), EF Abetka (2004), EF Gandalf (2004, uncial), Bilbo (2004-2008, an uncial family), Kiev EF (2002), Lanzug EF (2002, letters as zippers), Rose Deco EF (2001), EF Elf (2002, imitating Tolkien's writing), EF Deco Uni (2001-2004), EF Deco Akt Light (2001-2004), EF Fairy Tale (2003-2008, caps face), EF Varbure (2004, an experimental family), Rose Garden EF (2001, initial caps ornamented with roses; the text is uncial), and Viktors Raven EF (a spectacular caps font with letters made out of a raven).
At MasterFont: Abetka MF (1999, with Alexeev), Kiev MF (1976-2003), and Netta MF (1999, text family). These fonts have Latin and Hebrew components.
At Paratype, he published Uni Opt (2007, Op Art letters based on free brush technique similar to experimental lettering of the early decades of the 20th century; for instance to Graficheskaya Azbuka (Graphic ABC) by Peter Miturich and works by Victor Vasareli), Joker (1978, a subtractive font---since 2000, also in Cyrillic, Latin, Hebrew, Greek, Georgian, Armenian and Arabic), Blooming Meadow (2007, flowery ornaments), Bogdan Rejestrowy and Bogdan Siczowy (2006, based on Ukrainian Skoropis (fast handwriting) of the 16th and 17th centuries, and named after Ukrainian Getman Bogdan Khmelnitsky. The character set contains Cyrillic, Old Slavonic, Glagolitic, Latin and Greek alphabets), Lidia (2006, a lined engraving typeface based on a 1967 font by Iraida Chepil for Polygraphmash).
At 2D Typo: Florentin 2D (2011, angular family), New Hotinok 2D (2010, with Henadij Zarechnijuk).
Other work: Simeon 2D (2011, 2D Typo), some fonts at Face Typesetting (1970s), Getto (1970s), White Raven (2002), Handwritten Poluustav Ioan Cyrillic (1999-2001), Letopis (1983), New Zelek (1980s), UniAkt (2001, based on Unifont, an erotic caps face, done with Natalia Makievska).
Free fonts at Google Web Fonts, published via Cyreal: Iceberg (2012, octagonal).
Cyrillizations by Viktor Kharyk: Data 70 (1976; original from 1970 by R. Newman), ITC American Typewriter, Bullion Shadow (1984; of the shadow font Bullion Shadow (1978; original from 1970 by Face Photosetting), Calypso (1984; of Excoffon's 1958 original), Lazybones (1980s; of a 1972 Letraset font with the same name), Glagolitic (1983, Elvira Slysh, digitized in 2003), Augustea (1947, Allessandro Butti), Stencil (after a 1938 typeface by R.H. Middleton called Stencil), Columna (1980s; after Max Caflisch's original from 1955), Sistina (1951, Hermann Zapf), Weiss Kapitale (1935, Emil Rudolf Weiss), Vivaldi (1965, Friedrich Peter), ITC Tiffany (1974, Ed Benguiat, digitized in 1995), ITC Bookman Herb Lubalin (1974, digitized in 1980s), Berthold Cyrillic Helvetica Cyrillic (1980), Churchward Galaxy (1970s, J. Churchward, digitized in 1980s), Olive Bold Condensed (1980s, original of Roger Excoffon in 1962-1966), Motter Ombra (1980, original by O. Motter in 1975), Sinaloa (1981, original by Odermatt and Tissi in 1972), Serif Gothic (1990, original by Herb Lubalin and Tony DiSpigna in 1974), Dynamo (1980s, original of K. Sommer in 1930), EF Gimli and EF Gloin (2004-2010, mediaeval typefaces done at Elsner&Flake together with Marina Belotserkovskaja).
Other typefaces: Lili (multilined), Rutenia (by Henadij Zarechjuk and Viktor Kharyk).

At TypeArt 01, he won first prize with Varbur Grotesque (1999-2001, with Natalia Makeyeva), third prize with Joker (1970-2000), and honorable mention with Abetka. At TypeArt 05, he received awards for UniOpt (2002, Kafkaeqsue Op Art display style) and Blooming Meadow (dingbats). In 2009, his 2006 digitization of Anatoly Shchukin's 1968 typeface Ladoga (+Text, +Dis play, +Ladoga Armenian) won an award at Paratype K2009.

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

Typefaces made in 2018: Algor, Zluka (with Henadij Zarechnjuk; named after The Act Zluka, or Ukraine's Unification Act of 1919), XX Sans, Yurch (developed by Henadij Zarechnjuk and Viktor Kharyk by samples of calligraphic lettering by Ukrainian book designer Volodymyr Yurchyshyn), heb? [Google] [MyFonts] [More] ⦿

Villu Toots

Villu Toots (b. Tallinn, 1916, d. Tallinn, 1993) was an internationally known Estonian calligrapher, book designer, educator, palaeographer and author. In 1965 Toots established a successful one-man calligraphy school named Kirjakunsti Kool with a three-year course.

Sample of his work on posters, 1956-1980. Scans: handset text, chancery hand, book cover (1956), geometric alphabet (1956), Brych, Gooti (1980), Pro Anno (1978), Rodrigues, Tahestik.

Author of many books on calligraphy. These include i Opime plakatkirja. Algteadmisi kirjakunstist (Tallinn, 1949), Tänapäeva kiri (Tallinn, 1956), 300 burtu veidi" (Riga, 1960), Kirjukunsti ABC Grotesk ehk plokk-kiri (1968, Tallinn), Eesti kirjakunst 1940-1970" (Tallinn, 1973), Kiri kui kunst (Tallinn, 1981), Kiri Eesti kultuuriloos (compiled by Rein Loodus; Tallinn, 2002), Kalligraafilisi etüüde. Calligraphical studies (Tallinn, 1976), 50 eksliibrist (Tallinn, 1979), Sule ja pintsli duett (Tallinn, 1985), Paraaf (Tallinn, 1987), Calligraphical spirals (Gothenburg and Tampere, 1989), and Calligraphic Bookplates and Monograms (San Juan Capistrano, CA, 1992). In 2016, the Society of Scribes Calligraphy NYC, has set up a pre-order website for the limited edition book Villu Toots: One Hundred Book Covers. [Google] [More] ⦿

Vincent F. Apicella

Vincent V. Apicella, Joanna V. Pomeranza and Nancy G. Wiatt co-authored The Concise Guide to Type Identification (1990, Lund Humphries, London), in which modern day types are classified, listed, and named. It contains equivalences between type names for various type manufacturers. Most importantly, it shows typeface equivalences for various typefaces from the phototype era. [Google] [More] ⦿

Vincent Figgins

Influential typefounder, born in England, 1766-1844 (Peckham). He published several books of type specimens, and designed Gresham (1792), Old English (1815), Figgins Shaded (1816), Figgins Tuscan (1817, digitized by HiH (2005)), Egiziano Black (1815) and Egyptian (1817). His slab serifs such as Egiziano served as a model for Ale Navarro's LC Merken (2019).

Giza (Font Bureau, 1994) is a revival by David Berlow of the latter face.

Among the Gaelic typefaces he designed, we mention the later transitional angular typeface called Early Figgins by Michael Everson (ca. 1815), and the Gaelic modern angular typeface Everson calls Later Figgins. The latter typeface resurfaces ca. 1913 as Intertype and Intertype Bold (designer unknown), with versions at ATF (ca. 1916) and Linotype (ca. 1916), and as Monotype Series 24a (ca. 1906, which according to Everson was recast in 1913 by Michael O'Rahilly, and digitized in 1993 as Duibhlinn).

Finally, Figgins's work from 1815 and 1817 inspired Matthew Carter's Elephant (1992), also called Big Figgins and Big Figgins Open (1998).

Another digitization is Figgins Antique by Tom Wallace.

Scans: Sample of the Figgins type from Hardiman's "Irish Minstrelsy", Two-Line Pearl Outline (1833).

Epitome of Specimens by V.&J. Figgins was published in London in 1866. Vincent Figgins Type Specimens 1801 and 1815. Reproduced in facsimile. Edited with an introduction and notes by Bernard Wolpe was published in 1967 in London by the Printing Historical Society.

Digital typefaces that can be traced back to Figgins. View typefaces derived from Figgins. [Google] [MyFonts] [More] ⦿

Vincent Zoonekynd

Author of Les fontes sous LaTeX pour les nuls (et les autres) (2000), a 168-page book full of goodies on font formats, technical information, and mouthwatering detail. [Google] [More] ⦿

Visible Language

Started in 1967 as The Journal of Typographical Research. Now called Visual Language, it rarely publishes relevant typographical articles. The best issues are the ones from 1967-1970. [Google] [More] ⦿

Volodymyr Lesniak

Ukrainian type design teacher at the Kharkov Academy of Designa and Arts. Author of Modernist and Postmodernist Types (2006), a 148-page book that illustrates the work of the students of the Kharkiv Academy of Design and Fine Arts. Author also of Display Type (20007, Kharkiv). [Google] [More] ⦿

Vrest Orton

Vermont-based author (b. 1897) of Goudy, Master of Letters (Black Cat Press, Chicago, 1938; published in 1939; see also here), about the life of Frederic Goudy (1865-1947). The book has quite a bit of historic detail such as a vivid description of the fire that destroyed Goudy's workplace at Deepdene. But there are virtually no type specimens or typographic images. [Google] [More] ⦿

W. Foulsham & Co

Fleet Street, London-based publisher of Modern Lettering (1940). The author of the text is identified as Draughtsman. [Google] [More] ⦿

W. Sutherland

Author of The Art and Craft of Sign-writers, 1887, Decorative Art Journals company. [Google] [More] ⦿

W. Turner Berry

W. Turner Berry and A.F. Johnson published "Catalogue of Specimens of Printing Types by English and Scottish Printers and Founders 1665-1830", New York: 1983. [Google] [More] ⦿

Walden Font
[Oliver Weiss]

Walden Font (est. 1997) sells historical typefaces&clip-art by Oliver Weiss from Winchester, MA. Walden's site includes a brief history of blackletter, as summarized in the PDF document The Gutenberg Press: Five Centuries of German Fraktur (1997). Typefaces by categories:

The nice 14-font package called Civil War Press.
The free art nouveau font Jugend WF (2006).
Kraftwerk Press (2016-2017), a collection of 25 German industrial fonts emulating the era from 1920-1930:
- WFBorderBergland, WFBorderLineal, WFBorderLorbeer, WFBorderRauhreif, WFBorderRiesel, WFBorderSaftig, WFBorderSandmann, WFBorderSchnuppe, WFBorderWolkig, WFBorderZahnung, WFKraftwerkOrnamente, WFKraftwerkVignettenFett, WFKraftwerkVignettenLicht. Great borders and ornaments that were mainly revived from Neues Schmuckmaterial (Schriftguss AG, formerly Brüder Butte).
- WFFettdruck, WFHochdruck, WFNormdruck: Examples of Reklameschrift originally designed in 1908, 1926 and 1920, respectively.
- WFFetteKrause. Inspired by an advertisement for printing machinery in a 1924 issue of the Hungarian trade magazine Magyar Grafika.
- WFKaracho: Inspired by a bit of hand-lettering from a 1926 issue of the German advertising art periodical Gebrauchsgrafik.
- WFLuftpost. Based on lettering samples for sign painters.
- WFNeueOhioSchrift. Weiss writes: The Brüder Butter foundry in Dresden had a good working relationship with ATF, and thus several American typefaces found their way into the Butter catalog. Among them was Pabst Oldstyle, designed in 1902. Brüder Butter changed the erect peak of Pabst's A to a flaccid one, and distributed the result as Ohio Schrift, starting about 1913. Throughout the 1920s, Brüder Butter marketed the Ohio family through a series of leaflets that put the typeface through its paces in innovative ways. WFNeueOhioKursiv is the Italian companion. In 1922, Brüder Butter added a bold typeface to the Ohio family. This was not an ATF transplant, but a new design by Eduard Lautenbach. It was available with a set of swash capitals, and several curly-cued, lowercase alternates, ideally suited for children's books. Weiss's revival is WFNeueOhioKraft.
- WFNeueWerbeKraft. Based on Arthur Schulze's Werbkraft (1926).
- WF Paletti. Loosely based on the popular monoline silent movie script typeface Tango-Kursiv (1913, Ernst Deutsch).
- WF Vulkan. A loud all caps typeface based on an advertisement in the April 1926 issue of Gebrauchsgraphik.
Their Renaissance&Handwriting font pack has nine different handwriting fonts from 1450 to 1700.
The Minuteman Printshop set contains 18 colonial fonts: Ancient Black, Caslon Book, Caslon Book Italic, Caslon Swash Italic, Webster Italic, Webster Roman, English Hand, Rev.War Heroes, Signers of the DoI, Colonial Bullets, Daisy Border, Lily Border, Marigold Border, Needlepoint Border, Pine Cone Border, Quilt Border, Rose Border, Tulip Border.
Eighteen blackletter fonts, called the Gutenberg Press series: Alte Schwabacher, Breitkopf Fraktur, Coelnisch Current, Fette Haenel Fraktur, Ganz Grobe Gotisch, Grossvater Kurrent, Gutenberg Bibelschrift, Kurrent Kupferstich, Luthersche Fraktur, Maximilian Gotisch, Neue Schwabacher, Peter Schlemihl, Suetterlin, Theuerdank Fraktur, Unger Fraktur, W'bg. Schwabacher, Zentenar Fraktur.
Wood type, the Wild West Press series (2010, 47 fonts), and related fonts: Sawtooth WF (2002), Acanthus Border, Ashwood Condensed, Ashwood Extra Bold, Asphaltum, Aubrey Landing, Baubles Border, Bear Gulch, Brass Rules, Bullion Extra Condensed, Bullion Italic, Bullion, Cattle Brands, Chalk Bluff, Clifford Eight, Cut and Shoot, Dead Man's Hand, Faywood Extra Condensed, Faywood Italic, Faywood, Fringe Border, Garland Border, Gatlin Bold, Grid Border, Heroes and Villains, Jawbones Condensed, Lace Border, Langtry, Matchwood Bold Italic, Matchwood Bold, Matchwood Italic, Matchwood, Muleshoe, Ophir, Rawhide, Round Mountain, Royal Nonesuch, Sageland, Sawtooth, Seal Border, Shelldrake, Stockton, Thousandsticks, Thunder Mountain, Vine Border, Western Bullets, Whitecross, Wildwash.
Art nouveau revivals. His Art Nouveau Printshop Vol. 1 (2020) includes these fonts:
- WF Border Edellinien: Based on borders by Schelter & Giesecke, 1901.
- WF Border Eos.
- WF Border Flach: After a specimen seen in a 1915 specimen book at Bauersche Giesserei.
- WF Border Nimbus.
- WF Border Patriz Huber: After a Schelter & Giesecke design from 1906 called Patriz Huber Ornamente, which was named after designer, goldsmith and furniture maker Patriz Huber, 1878-1902.
- WF Border Peacock: Based on borders by Schelter & Giesecke, 1904 (or earlier).
- WF Border Seerosen.
- WF Border Ver Sacrum: Based on borders by Heinz Keune for Schelter & Giesecke, 1901 (or earlier).
- WF Dahlia: Closely based on a draft for F. Schweimann's Wodan, first issued by Stempel & Co in 1902.
- WF Fafner: After a poster typeface by Schelter & Giesecke first seen in 1905. Unknown designer.
- WF Habsburg: After an original by Heinz Keune from 1903 for Schelter & Giesecke.
- WF Jugendstil Ornaments.
- WF Liane Semibold: A condensed Plakatschrift that revives Liane Semibold (1908, Schelter & Giesecke).
- WF Maria Theresia: After Maria-Theresia-Versalien (1903, Heinz Keune for Schelter & Giesecke).
- WF Meierschrift: Based on Meierschrift (1903, C.F. Meier), which was produced by Schelter & Giesecke in 1904.
- WF Ovid: After an original by Heinz Keune from 1903 for Schelter & Giesecke.
- WF Radium: After an original white on black typeface by Schelter & Giesecke (1905).
- WF Rienzi Versalien: After Versalienschrift Rienzi (1901).
- WF Schelter Antiqua: A revival of Schelter Antiqua (1905, Schelter & Giesecke).
- WF Wallenstein: Based on an original by Heinz Keune (1904), who intended it as a heavy weight companion of Habsburg and Wittelsbach,
- WF Wittelsbach: After an original by Heinz Keune from 1903 for Schelter & Giesecke.
Gnomos is a grungified merovingian typeface [Walden Font claims that it was found in a 16th century house].
Magick: A series of 11 alchemic and medieval typefaces, including custom creations by Australian calligrapher Mark Calderwood: Astaroth, Bastarda, Batwynge, Gnomos, Luxeuil, Orgeuil, Runor, Salem 1692, Alchemy Symbols, Astrological Symbols.
Diverse Handes: Nine historically accurate script fonts from the Renaissance era: 10th Century Bookhand WF, Bastarda WF, Copperplate 1672 WF, English Hand WF, German Latin WF, James the Second WF, Spanish Court Hand WF, Uncial WF, William Shakespeare WF.
A collection of 62 American poster fonts of World War II, heavily influenced by art deco, was created in 2013: Acie WF, Almanzo WF, Balfrey WF, Bellofatto WF, Bleecker WF, Bleecker WFShaded, Bobbin WF, Bullshorn WF, Calt WF, Cassino WF, Cephus WF, Chippett WF, Cutright Bold ItalicWF, Cutright Bold WF, Cutright WF, Dickie WF, Dragoo WF, Elbie WF, Eldon WF, Elmira WF, Enlow WF, Epsom WF, Falaise WF, Fansler WF, Fustian WF, Glancy WF, Golden WF, Graveney WF, Greenlaw WF, Hackett WF, Hardwick WF, Harlie WF, Huntley WF, Irby WF, Iva WF, Jowdy WF, Kilroy WF, Kododa WF, Lacar WF, Maximino WF, Nelda WF, Nuisance WF, Odon WF, Olindo WF, Payson WF, Payson WFBold, Payson WFBold Italic, Payson WFItalic, Perlina WF, Poster Bullets WF, Remely WF, Reny WF, Sharkey WF, Sheffie WF, Telmoss WF, Tilmon WF, Toxie WF, Ula WF, Wallington WF, Wilber WF, Wylie WF, Zipnut WF.
Other fonts in the collection: 10thCenturyBookhand, AcanthusBorder, Alchemy-Symbols, Alte Schwabacher, AncientBlack, AshwoodCondensed, AshwoodExtraBold, Asphaltum, Astaroth, Astrological-Symbols, AubreyLanding, Bastarda, Batwynge, BaublesBorder, BearGulch, BrassRulesBorder, BreitkopfFraktur, Bullion, BullionExtraCondensed, BullionItalic, BullionRoman, CWP_TypeNo08, CWP_TypeNo09, CaslonBook-Italic, CaslonBook, CaslonSwashItalic, Cattle Brands, ChalkBluff, CliffordEight, CoelnischCurrentFraktur, ColonialBullets, ConfederateSignatures, Copperplate1672, Cut&Shoot, DaisyBorder, Dead Man's Hand, EnglishHand, Faywood, FaywoodExtraCond, FaywoodItalic, FetteHaenelFraktur, FinalFrontierShipside, FringeBorder, GanzGrobeGotisch, GarlandBorder, GatlinBold, GebetbuchFraktur, GermanLatin, Gnomos, GridBorder, GrossvaterKurrent, GutenbergBibelschrift, Heroes & Villains, JamesII, JawbonesCond, Jugend, KurrentKupferstich, LaceBorder, Langtry, LilyBorder, LutherscheFraktur, Luxeuil, MarigoldBorder, Matchwood, MatchwoodBold, MatchwoodBoldItalic, MatchwoodItalic, MaximilianGotisch, Muleshoe, NeedlepointBorder, NeueSchwabacher, OldStateHouse, Ophir, Orgeuil, Pangho, Panghobl, Pangolin, Pangbl, PeterSchlemihl, PineConeBorder, QuiltBorder, Rawhide, RevolutionaryWarHeroes, RoseBorder, RoundMountain, RoyalNonesuch-Bold, Runor, Sageland, Salem1692, Sawtooth, SealBorder, Shelldrake, SignersoftheDOI, SpanishCourtHand, Stockton, Sütterlin, TheuerdankFraktur, Thousandsticks, ThunderMountain, TulipBorder, TypeNo1, TypeNo2, TypeNo3, TypeNo4, TypeNo5, TypeNo6, TypeNo7, TypeNo8, TypeNo9, TypeNo10, TypeNo11, TypeNo12, TypeNo13, TypeNo14, Uncial, UngerFraktur, UnionSignatures, VineBorder, WebsterRoman, Western Bullets, Whitecross, WilliamShakespeare, WittenbergSchwabacher, ZentenarFraktur.
The New Victorian Printshop collection (56 fonts): Absalom, Adelar, Amaltea, Amilcar, Augur, Banter, Baretto Italic, Baretto Shaded, Baretto, Barettoshaded Italic, Beamish, Blaisdell, Blinov, Braham, Brinton, Brunel Script, Chatelaine, Cupboard, Devough, Dewitt, Ephinol, Gano Extended, Giglio, Gresley, Grubb Script, Hester, Hipolon, Hiram, Inigo, Isherwood, Jasper, Jophet, Klabasto, Lightburn, Medola, Monboddo, Nestor, Oldkirk Italic, Oldkirk, Ormsby, Pennyfarthing, Phectic, Pomeroy, Rebstock, Rudyard, Rungholt, Sedgwick, Steam Border Medium Aztec, Steam Border Medium Bar and Balls, Steam Border Medium Bar and Curls, Steam Border Medium Bar and Leaves, Steam Border Medium Baroque, Steam Border Medium Belgian Lace, Steam Border Medium Dish and Wire, Steam Border Medium Drainfly, Steam Border Medium Flourish, Steam Border Medium Frill, Steam Border Medium Geometric, Steam Border Medium Leaf, Steam Border Medium Loops, Steam Border Medium Picture Frame, Steam Border Medium Quatrefoil, Steam Border Medium Ribbon, Steam Border Medium Shells, Steam Border Medium Spruce, Steam Border Medium Tiles, Steam Border Medium Triangles, Steam Border Medium Woody, Steam Border Thin Brick Bar, Steam Border Thin Cordula, Steam Border Thin Double Wavy, Steam Border Thin Double, Steam Border Thin Fine Dots, Steam Border Thin Forward Wave, Steam Border Thin Oscillations, Steam Border Thin Scallop, Steam Border Thin Straight Rule, Steam Border Thin Tight Oscillations, Steam Border Thin Triple, Steam Border Thin Undulations, Steam Border Wide Arch and Vine, Steam Border Wide Argent Leaf, Steam Border Wide Bar and Acanthus, Steam Border Wide Bower, Steam Border Wide Knots and Weeds, Steam Border Wide Lattice, Steam Border Wide Mephisto, Steam Border Wide Peacock, Steam Border Wide Rebstock, Steam Border Wide Roccoco, Steam Border Wide Shield and Acanthus, Steam Border Wide Shield and Vine, Steam Border Wide Stipple, Steam Border Wide Stone Leaf, Steam Border Wide Vault, Steam Charms, Steam Flourishes, Steam Gems, Steam Logotypes, Steam News Cuts 1, Steam News Cuts 2, Steam News Cuts 3, Swartwood, Tempris, Tilson Initials, Tivadar, Trowbridge, Twiselton, Whitcomb, Whittle, Winan.

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

Walter Gropius
[Bauhaus School]

Web Designers Guide to Typography

Walter John Pearce

Letterer from the art nouveau era. In some fonts named after him, the name William J. Pearce seems to have crept in. Author of the art nouvea style book Painting and decorating (1898, Charles Griffin: London). Examples of his alphabets include these Modern Block Capitals and these Gothic Capitals. These pictures appeared in the 1910 book by Lewis Foreman Day entitled Alphabets Old and New, For the use of Craftsmen [other editions of this book date back to 1898].

In 2012, the former alphabet was digitized by Dick Pape as LFD Block Capitals 213. Another free digitization is W.J. Pearce No. 213 by Klaus Johansen. [Google] [More] ⦿

Walter Käch

Teacher of Adrian Frutiger, b. 1901, Ottenbach, Switzerland. Pic. Here, you can find wonderful advice for making well-adjusted alphabets. In this wikipedia, we read: At the age of 16, Frutiger was apprenticed as compositor to a printer in the nearby town of Interlaken for four years and attended classes at the Zürich School of Arts and Crafts. (Rauri) Under the tutelage of Walter Käch from 1949 to 1951, students learned type design by rubbing forms from Roman inscriptions. The students then applied the knowledge learned from these ancient letterforms to their own type creations. The students came to realize that the way the inscriptions were made was an outline applied with a pen, and then chiseled into the rock. When students were first learning to design typefaces, they used pens to create flowing letterforms. Then students moved on to work with pencil. No instruments, such as rulers were used- everything was done by eye, and corrections had to be made by scraping the markings off with a knife. Frutiger respected Käch, and felt he was a fine teacher who allowed many different views to be prevalent. However, the young student disagreed with his teacher on how technical and defined forms should be. Käch was a calligrapher, and thought because punch cutters used a grid their forms were too harsh and technical. His typefaces are all dated 1949 and were published by ZHdK Zurich:

Arte Antica (a great fat didone headline face)
Au cerf (formal calligraphy)
Capitalis Monumentalis (roman capitals)
Flo rist (slab serif)
Gegr 1845 (multiline)
Modes de Paris (condensed didone headline Vogue-style)
Optik Foto Film (fat slab serif)
Oertli & Co
Picture Gallery (flared roman)
Rauch waren (fat sans)
Röntgen Therapie (1949). A fat humanist sans. Digitally revived by Scott Vander Zee, ca. 2017.
Segel Club (fat sans headline)
V elos

Author of the lettering manual Schriften/Lettering/Ecritures (1949), which, according to Peter Bain, establishes a conversation between typeface designers, typefounders, and those who were drawing letters in a typographic age. [Google] [More] ⦿

Walter Plata

German author of Google] [More] ⦿

Walter Tracy

Born in the UK (1914-1995). He was a type designer at Barnard Press from 1935-1938, did freelance design in 1947, and worked for Linotype England as head of the type department from 1948-1978. He continued after 1978 designing Arabic typefaces for Linotype. Tracy was a typographic advisor to The Times. He is perhaps most famous for his bestselling book Letters of Credit, a View of Type Design (London, 1986). This was republished in 2003 by David R. Dine in Boston. He also published "The Typographic Scene" (London, 1988). For lo-fi printing types, a recommended reading is Tracy's Telephone Directories (in issue #15 of the old series of Typographica (1958), pp 4-15). His typefaces:

Adsans (1959). A typeface with short descenders to jam as much text as possible in newspaper ads and telephone directories. Digital revivals include Bitstream's Humanist 970 and Ian Lynam's Adora (2011).
Doric (1973).
Jubilee (1953-1954, Linotype). A roman with moderate stress.
Kufics (1980, Arabic font at Linotype).
Malik (1988, Arabic font at Linotype).
Maximus (1967).
Medina (1989, Arabic font at Linotype).
Oasis (1985).
Pilgrim (Linotype) is attributed to Walter Tracy. It is based on Eric Gill's Pilgrim (1934) originally designed by Gill for a book published by the Limited Edition Club of New York. It has an incised quality that one also finds in other typefaces by Gill such as Joanna and Perpetua.
Qadi (1979, Arabic font at Linotype).
Sharif (1989, Arabic font at Linotype).
Telegraph Modern (1969). For "The Daily Telegraph" newspaper.
Telegraph Newface Bold (with Shelley Winter, 1979).
Times Europa (1972). For The Times of London, as a replacement of Times New Roman which was made in 1931.

Linotype link. FontShop link. Klingspor link.

View Walter Tracy's typefaces. [Google] [MyFonts] [More] ⦿

Warren Chappell

Born in Richmond, VA, 1904, d. Charlottesville, VA, 1991. Typographer, illustrator, letterer, and type designer. He made two type families:

Trajanus (1939-1940, for Stempel). McGrew on Trajanus: Trajanus was designed by Warren Chappell, New York illustrator and letterer, in 1939, and cast by Stempel in Germany. It has the basic form of classic Venetian letters, but with a nervous, pen-drawn, contemporary quality. Ascenders are fairly long but descenders are short. The narrow italic lowercase shows a calligraphic quality in particular. There is an extra little flick of the pen at the end of crossbars of f and t; caps M and N have no serifs on their apexes; and cap U is lowercase in form. Trajanus is named for the Roman emperor whose accomplishments are immortalized in classic letters on the Trajan column. The three versions are also made by German Linotype, but have not received much attention in America. For revivals, see Tribunus SG by Jim Spiece and Linotype Trajanus (probably close to the original design as Linotype absorbed Stempel).
Lydian (1938, ATF) and Lydian Cursive (1940). McGrew writes: The Lydian series is a brilliant and popular calligraphic style designed by Warren Chappell for ATF. The lighter weight and italic were designed in 1938; bold and italic in 1939. They have the appearance of being lettered with a broad pen held at a 45-degree angle, but the ends of vertical strokes are square, improving legibility and stability. This is probably the most popular thick-and-thin serifless letter of American origin, though the concept is more popular in Europe. Oldstyle figures were made for these four Lydians, but were fonted separately and very rarely used. These four typefaces were copied by Intertype in an unusually large range of sizes for a slug machine, and from these matrices some suppliers cast fonts of type for handsetting. Lydian is named for the designer's wife, Lydia. Compare Czarin, Stellar, Radiant, Optima, Samson, Valiant. Lydian Cursive was drawn by the same designer in 1940. Although it gives the appearance of having been drawn with the same sort of pen as the regular series, it is much freer and more calligraphic, with a style unmatched by any other American script or cursive face. Lydian Bold Condensed was designed in 1946, also by Chappell, but not marketed until 1949. It has the general character of the earlier typefaces, but with much more emphasis on the vertical strokes. This gives the lowercase a suggestion of the effect of a simplified German blackletter. Digital versions:
- Lydian and Lydian Cursive by Bitstream. The early versions of Lydian and Lydian Cursive were called Granite, Lisbon, Granite Cursive and Lisbon Cursive.
- Lydian and Lydian Cursive by Tilde. These are identical to the Bitstream fonts.
- Monotype Lydian.
- Manofa (2018, Mariya Pigoulevskaya for The Northern Block). This bold family was inspired by Lydian.
- MPI Sardis (2013). By mpressinteractive. Inspired by Lydian.
- Beorcana Pro (2006, Carl Crossgrove). A distant relative of Lydian.
- Libris ADF. A free family by Arkandis.
- Lydia Bold Condensed (2013, Benjamin Critton).
- OPTI Lydian Cursive (Castcraft).
Chappell studied under Koch in 1931-1932 and worked briefly for him afterwards. This page states that he designed a font called Eichenauer (for Gustav Eichenauer, who cut the type in lead) in 1955, but it was never manufactured and released. This face, tentatively named Eichenauer, was shown in Chappell's book A Short History of the Printed Word.
Klingspor file on him (PDF). FontShop link.
View Warren Chappell's typefaces. [Google] [MyFonts] [More] ⦿

W.E. Dennis

Penman in Brooklyn, N, who wrote Studies in Pen Art (1914). [Google] [More] ⦿

Book by Michael Leary, Daniel Hale and Andrew Devigal, published by Hayden Books, 1997. [Google] [More] ⦿

Web Museum of Wood Types
[Robert Lee]

This web museum is run by Robert Lee of Unicorn Graphics in Garden City, NY. It has pictures of several wood type catalogs, such as those of Hamilton (#14, from 1899, #25, and #38), Morgans and Wilcox (1890), Day and Collins (1904), Delittle's (1967), am Wm. H. Page (1870, 1872, 1878, 1890). [Google] [More] ⦿

Wei-Hsiang Su

Wei-Hsiang Su is one of the cofounders of justfont, a Taiwan-based foundry known for its Jin Xuan font family. In 2015, Jin Xuan became the world's first successfully crowdfunded East Asian ideographic typeface. A specialist in digital marketing and advertising, Su leads branding and marketing at justfont. Su coauthored A Chinese Font Walk, Taiwan's first book on Chinese fonts.

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

Wendell Krieg

Author of Heritage of Borders, The Type Collection of Wendell Krieg (Borderland, Evanston, IL, 1976). This 400-page book has thousands of borders, ornaments, corners, embellishments, combination borders, frames, and grounds. [Google] [More] ⦿

Wendy Peck

Author of "Great Web Typography" (Wiley, 2003). [Google] [More] ⦿

Western calligraphy

Bibliography on Western calligraphy. [Google] [More] ⦿

Wiebke Höljes

German designer of Linotype Cadavre Exquis (1997), a bewitched face. Author of "Type Style Mixer" (London/Amsterdam, 2001). [Google] [More] ⦿

Wiescher Design
[Gert Wiescher]

Gert Wiescher was born in Braunsbach am Kocher, Germany, in 1944. Based in München, Gerd Wiescher designed many classy and classic Bodoni families, as well as New Yorker Type (1985). All of his typefaces are carefully fine-tuned and balanced. Wiescher founded first Munich Type and then Wiescher Design and Autographis. He is known as a hard, fast and prolific worker. His exquisite typefaces can be bought at MyFonts. Catalog of his bestselling typefaces. Interview in 2008. Wikipedia page. Creative Market link. List of typefaces:

Scripts: Prima Script (2017: for menus and cookbooks), Marmelade (2015, +Fruits, a set of dingbats), Triana (2014, a thin monoline penmanship script named after a Spanish sailor on the Pinta who in 1492 was the first to see America---in this case the Bahamas), Floral Script (2014, copperplate style script), Sherlock Script (2014: this comes with Sherlock Stuff (fingerprints) and Sherlock Stuff Dots (ink stains)), Felicita (2013, a swashy copperplate script), Vividangelo (2013, after the handwriting of a real person), Dreamline (2013, connected monoline cursive wedding scripts in A, B and C styles), Fiorentina (2012, a renaissance style script with 650 characters), Excelsia Pro (2012), Delicia Pro (2012, a fat brushy signage script), Nono (2011, formal swashy calligraphic family), Dyane (2011), Penn (2011), Lettera (2011, hand-drawn formal face), Tosca (2010, a high-contrast calligraphic typeface with 730 glyphs), Grandcafe (2010), Loulou (2010, curly and of extreme contrast), Schoolblock (2010, hand-printed school font), Grandezza (2010, calligraphic family; +Xtra), Sixtra (2010, a curly didone script), English Script (2010, classic Spencerian calligraphic script), Savage Initials (2009), Morning News (2009), Revolte (2009, a brush script for demonstration signs), Estelle (2009), Scriptofino (2008, 4 calligraphic styles to give Zapfino a run for its money), Exprima (2008), Daiquiri (2008), Lisa Bella, Lisa Fiore and Lisa Piu (2008, connected and calligraphic), Tati (2008), Movie Script (2007), Cake Script (2007), Eddy (2007, grungy calligraphy), Pointino (2007), Bohemio (2007, a great oriental-brush script), Artegio (2007, two calligraphic scripts), Xylo (2006, in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer), Tamara (2005, art-deco script based on some initials for Semplicita made in the 1930s by the Nebiolo foundry), Tecon, Ellida (2005, inspired by the elaborate scripts of 18th-century English calligrapher George Bickham, with additional influences from 19th-century American calligrapher Platt Rogers Spencer), Eloise (2009, a high-contrast version of Ellida), Nadine Script (2005, an elegant script inspired by a set of initials the French designer and artist Bernard Naudin drew for Deberny&Peignot in the 1920s), Royal Classic (2005, unbelievable script based on a design that has initially been comissioned by King Ludwig I of Bavaria for in-house-use), DesignerScript, Filzer Script (1995, handwriting), Futuramano-Condensed-Bold, Futuramano-Condensed, Futuramano-Plain, Futuramano-Thin, Giambattista, Scriptissimo-Plain, Scriptissimo-Forte, Scriptissimo-Swirls, Squickt (1989), Konstantin A, B and C (2005), Konstantin Forte (2005), MyScript, GrocersScript, Swanson (2006). Scriptissimo (2004) has versions named Start, Middle and End, tweaked for their position in the word, and there are plenty of ligatures. Check also Bodoni Classic Chancery (2007) and Bodonian Script (2012).
Sans: Brute Sans (2018), Xpress (2018), Xpress Rounded (2019), Classic Sans (2017, a revival of Theinhardt Grotesk), Classic Sans Rounded (2017), Maxi (2017), Nic (2017), Azur (a large almost geometric sans famly with 1950s Roger Excoffon-style French flavours, called a Medterranean grotesk by Wiescher himself), Royal Sans (2017, after Theinhardt's Royal Grotesk---the forerunner of Akzidenz Grotesk--- from 1880), Docu (2016, a workhorse elliptical sans family), Viata (inspired by Bauhaus), Noticia (2016, in the Bauhaus tradition, with very pointy v and w, and a bipartite k; not to be confused with the 2011 Google Web Font Noticia Text by José Solé; followed in 2019 by Noticia Rounded), Avea (2015), Aramis, Nota Bene (2015: squarish, narrow, technical), Nota (2015, technical and cold: the rounded version, Nota Rounded, followed in 2019), Dylan Condensed (2014), Dylan Copperplate (2014), Supra (2013, grotesk: Supra Thin is free. See also Supra Condensed (2013), Supra Mezzo (2013, between regular and condensed), Supra Extended (2013), Supra Rounded (2015), Supra Classic (2014), and Supra Demiserif (2013, slab serif derived from Supra)), Dylan (geometric sans), Franklin Gothic Raw (2013, like Franklin Gothic but with raw, not rough, outlines, only visible at very large sizes), Blitz (2012, a flared family), Blitz Condensed (2012), Contra Sans (2011, which led to Contra Slab, Contra Condensed and Contra Flare), Vedo (2011, a Bauhaus style family that include a hairline weight), Germania (2011, a useful and beautiful monoline sans family), Geometa (2011, +Rounded, +Rounded Deco, +Deco: all based initially on Renner's Futura), Geometra Rounded (2011, a rounded family based on Futura and "much less boring than DIN"), Bombelli (2010, ultra-wide architect's hand), Bluenote Demi (2010, a grungy Franklin Gothic Condensed), Perfect Sketch (2010, sketched grotesque), Unita (2009), Antea (2009), Eterna (2009, sans with a swing), Pura (2008, an uncomplicated grotesk family), Purissima (2010, a decorated extension of Pura; +Bold), Copperplate Gothic Hand (2009, after a 1901 design by Goudy), Copperplate Alt (2011), Copperplate Wide (2011), FranklinGothicHandDemi (+Shadow), Franklin GothicHandCond (2009), Franklin Gothic Condensed Shadow Hand (2010), and Franklin Gothic Hand Light (2009, a hand-drawn version of Franklin Gothic), Papas (2005, sturdy, slightly curly), Julienne (2005, a condensed sans family; see the new versions Moanin and Julienne Piu, 2017), Cassandra (1996, an art deco style after Adolphe Mouron Cassandre), Futura Classic (2006), Cassandra Plus (2012), Ela Sans (2005, a large family), Mondial-Bold (2004), Mondial-Demi, Mondial-Light, Mondial-Medium, Mondial-Normal, Mondial-XBold, Monem-Bold, Monem-Medium, Monem-Normal, Monem-Roman.
Serif: Imperia (2011, a Trajan column caps face), Monogramma (2012, a Trajan family for monograms), Imperium (2005, a precursor of Imperia with a Relief shadow style included), Hard Times (2011), Fat Times (2011, retraced Times), Elegia (2011, slightly Victorian family), Breathless (2010, a spiky family, inspired by nouvelle vague movie posters), Bodoni Classic 1, Bodoni Classic 2, Bodoni Classic 3, BodoniClassic-Condensed, BodoniClassic-Handdrawn, BodoniClassic-Swashes, BodoniClassic-Text, Bodoni Classic Deco, Bodoni Classic Swirls (2009), Bodoni Classic Pro (2011), Bodoni Classic Inline (2012), Bodoni Classic Fleurs (2014, ornamental caps), Bodoni Comedia (2010, one of my favorites: a funny "live one day at a time" curly Bodoni cocktail), Bodoni Classic Swing (2010), Bodoni Classic Free Style (2010, curly), Bodoni Classic Ultra (2010), La Bodoni Plain (+Italic, 2008), Take Five (2005, a jazzy take on Bodoni Classic), DonnaBodoniAa, DonnaBodoniBe, and DonnaBodoniCe (three scripts named after Bodoni's wife, Margharita dell'Aglio, who published his complete works, the Manuale Tipografico, in 1818, five years after his death), Edito, Robusta. A great series, some of which were originally published at Fontshop, see, e.g., FFBodoniClassic (1994). MyFonts: When the first of Wiescher’s Bodoni Classic fonts came out in the 1993, there was nothing like it. Up to then, virtually all Bodoni revivals had been given clear-cut forms and square serifs. But Bodoni’s originals from the late 1800s were never as straight and simplistic as is often assumed: they had rounded serifs and slightly concave feet. Wiescher digitized a wide range of Bodoni letterforms, including a wonderful script-like family called Chancery and a nice series of Initials. Having accomplished his mission twelve years later, he began making personal additions to the family, such as the more decorative Bodoni Classic Swashes. Recently a useful little family was added to the clan: LaBodoni is sturdier and less optically delicate than most Bodonis, and therefore more usable as a text face. Wiescher made Metra Serif (2009), Principe (2008) and Paillas (2009). Prince (2009) is a curlified didone.
Romain du roi: In 2008, Wiescher designed the two-style Royal Romain, which is based on the Romain du Roi of Philippe Grandjean, which was completed in 1745 after Grandjean's death by Grandjean's successor Jean Alexandre and Louis Luce. Wiescher: The Romain du Roi was for the exclusive use of the Louis XIV. It was never sold or given to any other king or government. The king of Sweden tried to scrounge a set, but the king refused. This font is the basic design for such famous fonts as the Fournier and Bodoni. Just so the Romain du Roi doesn't get lost in the digital turmoil I set out to redesign it in 2004 and finished now in early 2008. I did a lot of research in France's National Library. A good excuse to visit Paris is always welcome!!!
Engravers: Dylan Copperplate (2014), Cavaliere (2010), Guilloche A (2009), Guilloche B (2013, op-art borders), CopperplateClassic-Plain, CopperplateClassic-Round, CopperplateClassic-Sans, Copperplate Classic Light Floral (2009), Cimiez-Bold, Cimiez-Roman (2004), Ela-Demiserif, Ela-Sans (2004), Eleganza (2008).
Blackletter/Fraktur: Renais (2011, renaissance initials), Flipflop (2011), Fraktura and Fraktura Plus (2008), Royal Bavarian (2004, based on a typeface commissioned by King Ludwig 1st of Bavaria about 1834), Royal Blossom (2009), Royal Bavarian Fancy (2004), Bold Bavarian (2010, a heavy version of Royal Bavarian), Monkeytails (2008), Fat Fritz (2006, rounded endings), Ayres Royal (2005, blackletter typeface based on drawings of London's calligrapher John Ayres, ca. 1700; to be used with RoyalBavarian; followed in 2010 by BoldAyres).
Slab serif: Slam Normal (2017), Slam Rounded (2017), Suez (2017: with extra tall ascenders and descenders), Egyptia (2010), Egyptia Rounded (2010).
Typewriter: Lettera (2014), Lectra (2011), QuickType-Bold, QuickType-Plain, QuickType-Sans.
Decorative: Tric (2017, art deco), Franklin Gothic Raw Semi Serif (2015), Frank Woods (2013, letterpress simulation based on Franklin Gothic Heavy), Ohio Bold (2012, a rough headline type in the tradition of Louis Oppenheim's Lo-Type from 1913), Viking Initials (2012), Cannonball (2012, a psychedelic typeface derived from a jazz record-sleeve for Cannonball Adderley), Byblos (2011, derived from the logo of St. Tropez's famous Hotel Byblos), Blockprint (2013, early 1900 German expressionist grunge face, renamed Bannertype after 24 hours), Ferrus (2010, inspired by Cassandre's Acier Noir, 1936), Petite Fleur (2009, flowery embellishments and the capitals of his redesigned Royal Romain, which in turn is based on the famous romain du roi), Glass Light (2012, a decoirative art nouveau type family based on Glass Light by Franz Paul Glass, 1912), Penstroxx (2009, 5 fonts that are based on the powerful, expressive Traits de plume (penstrokes) designed in Paris around 1930 by Alfred Latour), Liquoia A, B and C (2008, decorative scripts), Modernista (2008, an art nouveau headline face, based on an 1898 sample by Peter Schnorr), Ornata A, B, C, D, E, F and G (2008-2009: ornaments), Fleuraloha (2008), Floralissimo (2008: flowery ornaments), Frank Flowers (2011), Scrolls A (2010, penman's dingbats), Bacterio (2007), Alpha Bravo, Alpha Charlie, Alpha Echo (2006), Barracuda, Cacao (2005, fifties style), Cassandre Initials (2004, Elsner&Flake, after the 1927 original by Adolphe Mouron Cassandre), Contype, Fleurie (2005), Fleurons Two (2006), Fleurons Three (2006), Fleurons Four (2006), Fleurons Initials (2007), Fleurons Six (2008), Fleuron Labels (2008), HebrewLatino, Julius, Lunix (2006), MyHands, NewYorkerType (1985; extended in 2011 to NewYorker Plus, and in 2020 to New Yorker Type Classic and New Yorker Type Pro; after Rea Irvin's well-known typeface for The NewYorker), Venice Initials (2006, after a 15th century find, but Wiescher added about half of the caps), Ventoux, Vivian (2005), Woody.
Pixel and/or futuristic: Nexstar (2013: this octagonal typeface is also useful or athletic lettering), Alpha Fox (2007), Alpha Juliet (2010), Alpha Papa (2010), Alpha Square (2010), Alpha Jazz (2010), Alpha Papa (2010, LED meets stencil).
Stencil typefaces: Dripps (2010, handpainted, perhaps brutalist), Red Tape Plus (2014).
Comic book fonts or brush fonts: Breezy (2015), Caboom (2014).
Dingbats: Wayside Ornaments (2012), XX Century Ornaments (2012), Thistle Borders (2012), Greenaway Mignonettes (2012, after Kate Greenaway (1846-1901), author and illustrator of childrens books), Collins Florets (2012), Flourishes A (2010), Jingle Doodles (2010).
Art deco: Trix (2017), Zelda (2017, named after F. Scott Fitzgerald's wife).
Commissioned and special typefaces include a version of the logotype for the Munich's newspaper Abendzeitung, Maxi (variable width sans), NIC Grotesk, Tric (art deco), a Cyrillic version of Bodoni Classic for Vogue Moscow, a special Bodoni Classic for Ringier Publishers in Zurich, and Red Tape, a typeface that is on permanent exhibition at the German National Library in Leipzig.
Typefaces from 2019: Elita (a condensed sqaurish typeface), Artis Sans, Sigma Condensed and Sigma (simplified readable sans families), Cosma (an elegant high-contrast text family with tapered upstrokes and crossbars, but otherwise didone roots), Quincy (a bebop typeface that started from some letterutouts), Phoebe (an elliptical techno family), Phoebe Rounded, Polygon A, Polygon I, Polygon X.
Typefaces from 2020: Bullets Bannertype, Alpha One (a counterless experiment), Exec (a 14-style sans family), Exec Corners, Exec Demiserif, Penta (a grotesque family with large counters that make the ExtraLight style quite striking), Penta Rounded.

Author of many books, including Zeitschriften & Broschüren (Systhema-Verlag, München, 1990), Schriftdesign (Systhema-Verlag, München, 1991), and Blitzkurs Typografie (Systhema-Verlag, München, 1992).

The following text was excerpted from his wikipedia page: At 14 years of age, Wiescher went to Paris to study fine art. He financed his stay by doing portraits on the Place du Tertre on Montmartre. In the sixties Wiescher studied graphic design at the Berlin Academy of Fine Arts. (Since November 2001, Berlin University of the Arts.) He financed his studies by sidewalk painting and drawing portraits. While doing sidewalk paintings, he met the typeface designer Erik Spiekermann, who inspired his love of this branch of design. After two years he quit his studies, and went to Barcelona where he worked at the offices of Harnden & Bombelli, for whom he designed the OECD-Pavilion of the 1970 Osaka World Expo. In 1972 he moved on to Johannesburg working as an art director at Grey and Young advertising . In 1975, he returned to Germany, working first for DFS+R-Dorland, and then for the "Herrwerth & Partner" ad agency. At Herrworth, he was involved in introducing IKEA into the German market. In 1977 he became a creative partner in the Lauenstein & Partner ad agency, creating mainly campaigns for large German retail chains. In 1982 he started his own design office, creating work for editors (Markt & Technik, Systhema and Langen-Müller-Herbig), computer companies (House of Computers, FileNet) and he worked for Apple Computers designing their publications (Apple-Age and Apple-LIVE).

View Gert Wiescher's typefaces. Wikipedia link. [Google] [MyFonts] [More] ⦿

Wilhelm Diebener

Editor (d. 1922) of Monogramme und Dekorationen (1908, Leipzig: W. Diebener). This book showcases art nouveau era emblems, monograms and decorative typographic pieces with contributions by Peter Behrens, E. Doepler, Gustav Gessner, R. Langner, Edward Menzel, Robert Neubert, Georg Wastian and Bernhard Wenig. It also has many specimens of typefaces of the time period---both art nouveau and already early art deco styles. [Google] [More] ⦿

Wilhelm Hilder

Author of Moderne Alphabete (1922, Verlag Bernhard Friedrich Voigt. Leipzig), a booklet in which Hilder shows about 40 of his hand-drawn alphabets. I scanned in most of that book for all of you. [Google] [More] ⦿

Wilkonson, Heywood, & Clarke

Publisher of Monograms & Heraldic Designs (1912). [Google] [More] ⦿

Will Hill

Will Hill (b. Tokyo, 1954) is a typographer, designer, educator and visual artist with a background in graphic design and illustration, whose work is concerned with type, letters and the visual properties of language. Much of this work deals with the typography of environment and architecture. In 2006, he completed an MA in Typeface Design at the University of Reading. This included the design of a dual Latin/Cyrillic typeface, and a dissertation exploring aspects of postmodernity in typographic revivals.

Will Hill is Senior Lecturer in Graphic Design at Anglia Ruskin University, Cambridge, UK and heads the MA program in Typographic Design there since 2005.

Author of The Complete Typographer (Page One in the UK and Wylie in the US, 2005; also Thames and Hudson, 2010), and is co-author of Art and Text (Black Dog, 2011).

He has recently collaborated with sculptor Harry Gray on the artwork Discover and Acquire for Clare College, Cambridge and the Romsey R, a major sculptural commission for Cambridge council.

Designer of P22 Dichromate (2020, at P22). P22 Dichromate is a new modular-based display font system that comprises two interlocking fonts. These may be used independently or overlaid to create chromatic color combinations.

Speaker at ATypI 2010 in Dublin, at TypeCon 2011 in New Orleans, and at ATypI 2013 in Amsterdam. In Amsterdam, he addressed the problem of type classification. Speaker at ATypI 2017 Montreal. [Google] [MyFonts] [More] ⦿

Will Powers

Gentle and wise typographer from Minnesota who died in 2009 at the age of 63. He was not a type designer, but an old-fashioned printer. Author of New types for new books: what we have; what we need (2005, [Minneapolis (MN)]: Minnesota Historical Society Press/College of Visual Arts). Pic. [Google] [More] ⦿

Will Robertson
[An exploration of the Latin Modern fonts]

Willem Silvius

Publishers of the earliest known type specimen book in the low countries: The Leyden "Afdrucksel" (1582). A facsimile with an introduction and notes by Paul Valkema Blouw was published at Terlugt Press, Leyden, 1983. See here. Willem Silvius was a printer in Antwerp around the midde of the sixteenth century. [Google] [More] ⦿

Willem Tietsema

Lettering and writing teacher in Groningen, The Netherlands, 1809-1882. He published two lettering model books, Handleiding bij het vervaardigen van onderscheidene soorten van schrijf-model en kunstletters (1869, P. van Haren, Groningen) and Alphabet voor bouwkundigen enz in 12 voorbeelden.

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿

Willi Kunz

Author of Typography: Formation and Transformation (2003) and Typography: Macro and Microaesthetics. Kenneth Frampton published an article entitled Willy Kunz Typography: Formation and Transformation in Comedia, edition 04-4, 2004. Amazon link. [Google] [More] ⦿

William Blades

British author, 1824-1890. He wroe Some early type specimen books of England, Holland, France, Italy, and Germany 91875, J.M. Powell, London). [Google] [More] ⦿

William Caslon III

British typefounder in London, 1754-1833. Son of William Caslon II, grandson of William Caslon I. He co-owned the Chiswell Street family firm from the death of his father in 1778 until 1792, when he sold his share in the foundry to his mother and his sister-in-law, the widow of his brother Henry. In the same year he purchased the Salisbury Square foundry of Joseph Jackson (apprentice to his grandfather and rival to his father), who had recently died, and called the foundry Caslon&Son. In 1807, this business was passed on to his son William Caslon IV who in turn sold up in 1819 to Blake, Garnett&Co. (later Stephenson Blake). Author of A specimen of printing types (1785, Galabin and Baker, London) and A specimen of cast ornaments (1795, C. Whittingham, London).

Images from A specimen of printing types (1785): a crown, Double Pica Greek, English Arabic, English Italic, Five Line Pica Ships, Long Primer Roman No 1, Pica Black No. 2, Pica Coptic, Pica Ethiopic, Two Line Double Pica, Two Line Great Primer, Two Line Long Primer. [Google] [MyFonts] [More] ⦿

William Day Streetor

Author of Constructive Lettering (1929). [Google] [More] ⦿

William E. Dennis
[Studies in Pen Art]

William Morris's typefaces:

William E. Henning

Author of An Elegant Hand, The Golden Age of American Penmanship and Calligraphy (2006, Oak Knoll Press). Edited by Paul Melzer. Oak Knoll writes: This work chronicles the history of the Golden Age of American penmanship and calligraphy. The author guides the reader through the lives and careers of some of the most important American penmen, including Platt Rogers Spencer, the Father of American Handwriting, and Spencer's gifted student, George A. Gaskell, whose books and periodicals reached hundreds of thousands of students throughout the second half of the 1800s. Paul Melzer, the editor of this work, added more than 400 examples taken from original specimens to handsomely illustrate Henning's manuscript. [Google] [More] ⦿

William E. Loy

William E. Loy was a type vendor, printer, and writer. From 1896 onwards, he published a series of articles about type designers that appeared in The Inland Printer. Alastair M. Johnston and Stephen O. Saxe edited the book Nineteenth Century Designers and Engravers of Type (2009, Oak Knoll, New Castle), which republishes William E. Loy's entire series of articles about America's type designers that had appeared ca. 1896-1900 in The Inland Printer. [Review by James Puckett] Typeface designers covered by Loy (and found in Nineteenth Century American Designers and Engravers of Type are: Charles H. Beeler, Jr., Henry Brehmer, David Bruce, George Bruce, William F. Capitain, John F. Cumming, Andrew Gilbert, John Graham, John E. Hanrahan, Julius Herriet, Julius Herriet, Jr., Charles E. Heyer, Herman Ihlenburg, William W. Jackson, Alexander Kay, Samuel S. Kilburn, George B. Lothian, H.T. Lounsbury, Berne Nadall, William H. Page, Alexander Phemister, Edward C. Ruthven, Gustave F. Schroeder, Henry Schuenemann, Henry Starr, Edwin Starr, John M. Wehrle, James West, Nicholas J. Werner, Elihu White, and August Woerner. [Google] [More] ⦿

William Graily Hewitt

English calligrapher and illuminator, b. 1864, London. He started out as a lawyer, then as a writer, before turning to calligraphy. He was one of the first students of Edward Johnston at the Central School of Arts and Crafts in London in 1900. Hewitt went on to teach classes at the School for over thirty years. Hewitt's works include The Pen and Type Design (1928), which was set in his own typeface, Treyford, and Lettering (1930; reprinted in 1976 by Pentalic in New York). He died in 1952.

Hewitt designed Gwendolin for The Greynog Press in 1935. Berry, Johnson and Jaspert write: In general this roman is a Venetian but reminiscent of the calligrapher in many of the serifs, for example on the E, L and the feet of m, n and u. The capitals are mostly wide, especially the splayed M. U has the lower-case design. The lower-case g has a very broad tail and the w a cursive form. [Google] [MyFonts] [More] ⦿

William Hugh Gordon

Together with Ross F. George, William Hugh Gordon invented the Speedball pens in 1914, the first of which was patented in 1916. Born in Canada in the 1860s of Scottish parents, he emigrated to the United States in the 1870s and lived in Colorado Springs, Chicago, Los Angeles and Seattle. He died in 1920.

To promote the pens, Gordon and George published an instructional book, Presenting the Speedball Pen with alphabets, drawings and designs produced with this wizard of lettercraft (1915).

Author of Lettering for Commercial Purposes, Cincinnati, Ohio, 1918 [Open Library link; local download]. He liked full round ovals, condensed vertical elements and a slightly broken alignment. He was one of the main American designers of commercial lettering during the early part of the 20th century. His students included Ross F. George. PDF of that book.

Digital typefaces based on his alphabets include Penina (2021, Mario Feliciano: a multi-contrast single weight delicate serif), Pen Elegant JNL (2018, by Jeff Levine; after an alphabet from a 1918 lettering instruction book by Gordon), Cowling Sans AOE (2017, Astigmatic), Gordoni (2016, James Greenwood), WHG Simpatico NF (2002, Nick Curtis), and Minstrel Poster NF (2002, Nick Curtis).

Additional link, where we find his Black Face Poster alphabet from 1918. Biographical research by Alex Jay. [Google] [MyFonts] [More] ⦿

William Levwyn Longyear

Born in 1899, Longyear published A dictionary of modern type typefaces and lettering (1935, Pelham, NY: Bridgman Publishers), a book of type specimen. [Google] [More] ⦿

William Morris

British type designer, architect and designer (b. Walthamstow in East London, 1834, d. 1896). Defender of the medieval form, he set up Kelmscott Press in 1891, and was one of the founders of the Arts and Crafts Movement. Morris was an artist, poet, writer and designer himself, but he is probably best remembered for his fabric designs and his book designs for Kelmscott Press, such as The Kelmscott Chaucer (1896). All his punches and matrices and some types are now with Cambridge University Press.

Kelmscott Golden or Golden Type (1889-1890): a bolder re-design of the classical Jenson face, done while he ran Kelmscott Press. The punches were cut by E.P. Prince. It was based on Nicolas Jenson but darkened. ATF's copy of this was called Nicolas Jenson, just before 1900. Morris used it in many of the books in the Kelmscott Press. Ancient Roman was Keystone Type Foundry's adaptation in 1904 of the Golden type [Mac McGrew deems it comparable to Jenson Oldstyle]. All matrices, punches and some of the types are in possession of Cambridge University Press. Digital versions include GoldenType (Elsner and Flake), GoldenType ITC (ITC), Kelmscott Roman (Nick Curtis), Kelmscott (Scriptorium), True Golden (Scriptorium), URW GoldenType (URW), URW GoldenTypeITC (ITC).
Troy (1891-1892): blackletter. Called Morris Gotisch, it was published by Berthold in 1903. Multiple digital versions exist: GL Morris (2017-2018, Gutenberg Labo, a free version), P22 Morris Troy (2001, Richard Kegler), Joyeuse (1992, Scriptorium: a variation), Morris Gothic and Morris Initials (Tom Wallace), Troy3Roman (Chet Gottfried), MorrisBlack (Dan Solo), Satanick (Marty Snyder), an unnamed revival by Eliana Ferreira (2010), Kelmscott (Scriptorium), Morris Gotisch (Gerhard Helzel), MorrisBlackLetter (Scriptorium), MorrisRoman (Dieter Steffmann), Troycer (Torbjörn Olsson).
Chaucer (1892): an enlargement [in the sense of point size only!] of Troy. Wetzig mentions the date 1897. For a digital version, se Alter Littera Chaucer (2012).
Morris Romanized Black. Mac McGrew: Morris Romanized Black is an adaptation of the Troy and Chaucer types designed by William Morris for his Kelmscott Press. This adaptation first appeared under the name Tell Text about 1895, and was renamed in 1925. Troy and Chaucer were two sizes of one style, approximately 18- and 12- point respectively. William Morris had previously designed a roman type which became popular commercially as Jenson Oldstyle (q.v.); of this design he says, "After a while I felt that I must have a Gothic [in the sense of Blackletter or Old English] as well as a Roman, and herein the task I set myself was to redeem the Gothic character from the charge of unreadableness. ... Keeping my end steadily in view, I designed a blackletter type which I think I may claim to be as readable as a Roman one, and to say the truth, I prefer it to the Roman." Compare Satanick. For digital versions, refer to the digital interpretations of Troy.
Jenson Oldstyle, Morris Jensonian, Morris Old Style. Well, not really---Mac McGrew explains: Jenson Oldstyle, though a comparatively crude typeface in itself, did, much to start the late nineteenth-century move toward better types and typography. Designed by J. W. Phinney of the Dickinson Type Foundry (ATF) and cut by John F. Cumming in 1893, it was based on the Golden Type of William Morris for the Kelmscott Press in 1890; that in turn was based on the 1470-76 types of Nicolas Jenson. Morris had established standards for fine printing, in spite of the fact that he did not design really fine types. Serifs in, particular are clumsy, but the Jenson types quickly became popular. BB&S introduced Mazarin in 1895-96, as "a revival of the Golden type, redesigned by our artist." But it was a poor copy, and was replaced by Morris Jensonian. Inland's Kelmscott, shown in 1897, was acquired by BB&S and renamed Morris Jensonian in 1912; Keystone had Ancient Roman (q. v.); Crescent Type Foundry had Morris Old Style. Hansen had Hansen Old Style (q. v.); and other founders had several other typefaces, all nearly like Jenson. It is hard to realize that Jenson was inspired by the same historic type as the later and more refined Centaur, Cloister, and Eusebius. ATF spelled the name "Jensen" in some early specimens, and added "No. 2" to the series, the latter presumably when it was adapted to standard alignment or when minor changes were made in the design. Jenson Italic was introduced at the same time as the roman. ATF advertised Phinney's Jenson Heavyface in 1899 as "new and novel-should have been here long ago." Jenson Condensed and Bold Condensed were introduced in 1901.
Morris Initials: illuminated capitals in the Kelmscott edition of Chaucer's works at the Kelmscott Press. Digital versions: Morris Inits (George Williams), Chaucerian Initials (Scriptorium), Morris Initials (Scriptorium), Morrisinits (Dieter Steffmann), William Morris Initials (2018, Chafomon). The Morris Jenson Initialen font by Typograf (2015) is somehow different.

Self portrait, 1856 and picture, age 53.

William S. Peterson writes on Morris.

FontShop link. MyFonts link. Bio by Nicholas Fabian.

Reference books include Typophile Chapbook: The Kelmscott Press, 1891 to 1898 (William Morris), and The Cambridge University Press Collection of Private Press Types, Kelmscott, Ashendene, Eragny, Cranach (Thomas Balston, 1951; inscribed by Adrian Wilson to Bob&Jane Grabhorn). William Morris himself wrote The Art and Craft of Printing (1895, Kelmscott Press) in which he explains his aims in founding the Kelmscott Press. Ebook version of the latter book.

View typefaces by William Morris, and historical descendants. [Google] [MyFonts] [More] ⦿

William S. Peterson

William S. Peterson is a University of Maryland professor, who had some nice pages on modern fine printing, with interesting contributions on George Allen, William Morris, Charles Ricketts, Henry Stevens, Daniel Berkeley Updike, and Emery Walker. Reservocation publishes an interview regarding his book The Well-Made Book (2003, a collection of Daniel Berkeley Updike Essays).

I quote a passage: In the first half of the twentieth century, the best typefaces were almost always produced by Monotype, but that firm unfortunately fumbled the ball when the era of hot metal came to an end. Monotype's digital versions (and, slightly earlier, the versions for phototypesetting) of its own library of typefaces were often embarrassingly bad: Perpetua, Bembo, Bell, and Centaur, for example - all great Monotype triumphs in the days of letterpress printing - seem to me, now essentially unusable in their present forms. The Monotype typefaces that still look good in the twenty-first century are mainly ones that were a bit heavy to begin with, such as Poliphilus, Bulmer and Ehrhardt. [...] Of the typefaces designed since the digital revolution, my favorites for bookwork are Adobe Caslon, Founder's Caslon, Minion, Galliard, and Miller. [Google] [More] ⦿

Wilson A. Bentley

Author of Snowflakes in Photographs (Dover, NY) and Snow Crystals (Dover, NY, 1962; with W.J. Humphreys).

Bentley's photographs inspired the snowflake font GL SnowBentley (2018, Gutenberg Labo). [Google] [More] ⦿

W.J. Loftie

Author of Lessons in the Art of Illuminating (1880, Blackie & Son, Glasgow). A series of examples selected from works in the British Museum, Lambeth Palace Library, and the South Kensington Museum, with practical instructions, and a sketch of the history of the art. Local PDF file for that book. [Google] [More] ⦿

W.M. Tompson

Author of Tompson's Roman Alphabet (1878, publ. F.W. Devoe & Co., New York). In this book, Tompson describes mechanically how to construct the roman capitals. [Google] [More] ⦿

Wolfgang Homola

Type design graduate from Reading who created Pulse (2004), a family consisting of a sans and an adapted serif for corporate identity design. Today, Wolfgang Homola is an independent type designer and graphic designer in Vienna. At ATypI 2009 in Mexico City, he introduces a new typeface for a new signage system for the AK building in Vienna.

In 2011, he published the sans family Soleil at TypeTogether. This family is geometric with a twist---it features small asymmetries and optical corrections. In 2015, he added Soleil Magic Caps.

His dissertation in 2004 was entitled Type Design in the Age of the Machine. The Breite Grotesk by J.G. Schelter & Giesecke.

View Xavier Dupré's typefaces.

Wolfgang Schmittel

German graphic designer and photographer, b. 1930, Frankfurt, d. 2013, Kronberg im Taunus. Creator of the compass-and-ruler typeface Braun (1952) for the logo of Braun, the company for which he worked from 1952 until 1981. He is considered as the pater familias of corporate design. Author of these books at ABC Verlag, Zurich:

Design, Concept, Realisation (1975).
Process Visual (1978).
Corporate Design International (1984).

[Google] [More] ⦿

Wolfgang Weingart

Swiss typography teacher (b. 1941, d. 2021, Basel) at the Basel School of Design/Switzerland since 1968. Interview. Brief CV. Author of Wolfgang Weingart: Typography (2000), a text called arrogant by Stuart Bailey. I bought the book, and must say that the ratio of message to volume is rather small. Adam Rotmil comments on his exceptional teaching capabilitis just before Weingart's retirement from HGK Basel in 2004. A famous Weingart quote, cited in Revival of the Fittest, Digital Versions of Classic Typefaces (Philip B. Meggs&Roy McKelvey): Four typefaces are enough to address every typographic problem. Every digitization of an old typeface is, for me, a fake. Another quotation: Anyone who uses Helvetica knows nothing about typefaces.

Obituary. [Google] [MyFonts] [More] ⦿

Wood Type Listings

Wood types enumerated. [Google] [More] ⦿

W.R. Symms

Author of The Art of Illuminating As Practised in Europe from the Earliest Times (1860, Day and Son, Lithographers to the Queen, London). Examples from that book: 14th century Lombardic, 15th century chancery. [Google] [More] ⦿

W.R. Tymms

Author of The Art of Illuminating As Practised in Europe from the Earliest Times (1860, Day and Son, Lithographers to the Queen, London). [Google] [More] ⦿

Wujin Sim

Sim Wujin works in education and publishing, focusing on the design methodology of books and type. He wrote Manual of Body Text Typesetting (2015, Hiut Magazine, issues 6 and 7), and Easy-to-Find InDesign Dictionary (2011), and coauthored Microtypography: Punctuation Marks and Numerals (2015) and Typography Dictionary (2012). He published Type Trace: A History of Modern Hangul Type (2015) and translated Hara Hiromu and Modern Typography: Type, Photo, and Print of Japan in the 1930s (2017). Sim is currently the head of Sandoll Type Design Institute in Korea.

Co-designer of BM Euljiro 10 years later (2020, Bongjin Kim; Bomjun Kim; Myungsoo Han; Hyesun Chae; Mikyoung Jeong; Wujin Sim; Minjae Kang; Yoonah Kim; Yona Kim; Suwha Jang).

IBM Plex Sans KR (2019; by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Wujin Sim, Chorong Kim and Dohee Lee) is a free multilingual typeface at Google Fonts.

ATypI 2019 in Tokyo on the topic of Hangul type design. [Google] [More] ⦿

Xavier Dupré

French type designer (b. 1977), who studied graphic design in Paris as well as calligraphy and typography at the Scriptorium de Toulouse. From 1999 to 2001, he worked as a type designer in a packaging design agency. He collaborated with Ladislas Mandel on Renaissance writings. Since 2001, he lives at least part of the time in Asia. During this period, he designed Latin and Khmer typefaces for NGOs in Cambodia, for example. On his web site, he says that he enjoys full freedom in his work. When he is not designing typefaces, he spends time in nature or prepares vegetarian food and pastries. His work was discussed by Yves Peters. Dribble link. FontShop link. He designed the following fonts:

The aesthetic text font Humanix, 1998.
FF Parango (2001). A garalde typeface.
The beautifully balanced family FF Reminga (2001) and FF Reminga Titling.
The swinging FF Jambono (2002).
The fifties font FF Tartine Script (2002).
The elegant garalde text family FF Angkoon (2003, FontFont, winner of an award at TDC2 2004).
The slab serif family FF Absara (2004). This typeface won an award at the TDC2 2005 type competition. It was followed in 2005 by FF Absrara Sans (FontShop) and in 2007 by FF Absara Headline and FF Absara Sans Headline.
Region Bretagne (2003-2016), an exclusive typeface for the Brittany province in France, based on his 12-weight typeface family Spotka (T-26, 2003), which was created in cooperation with Silas Dilworth.
Meteor (2003, T-26).
FF Megano (2005, FontShop), a humanist sans in six weights and a very eye-catching "g".
Zingha (Font Bureau), an all-round serif family.
Vista Sans (2005, Emigre): this won an award at TDC2 2006.
Two Khmer fonts commissioned in 2003 and 2004 for Cambodia: ApsaraLight, ApsaraRegular, ApsaraMedium, ApsaraBold, ChriengCKS-Regular, ChriengCKS-RegularAlternate (done with the help of Michel Antelme).
FF Sanuk (2006, FontFont), a 27-style family rooted in architectural drawing letters. FF Sanuk has subfamilies with standard suffixes such as Office, Pro, and so forth. In 2018, he added FF Sanuk Round. FF Sanuk Big Pro (2016) is a headline family with exaggerated x-height and tiny ascenders and descenders: all lungs and no legs.
Malaga (2007, Emigre), a 32-weight serif family with a distinctive flat-topped lower case a.
Vista Slab (2008, Emigre: 108 styles).
FF Masala (2009, round scriptish sans) and FF Masala Script (2009).
FF Yoga Sans and Serif (2009), a type system conceived for newspapers and magazines. The FontShop ad: FF Yoga, with its sturdy serifs is a good choice for body text, but it also serves as an original headline typeface with its subtly chiseled counters. The typeface mixes the dynamic tension of angular cuts with the balanced rhythm and elegant curves of Garalde typefaces. FF Yoga Sans is a contemporary alternative to Gill Sans and a sober companion to the serif FF Yoga.
Mislab (2013, Typofonderie). A slightly cursive and fully humanist slab family in 32 styles and three widths. Mislab won an award at TDC 2014.
Garalda (2016). A totally new Garamond with a lot of personality that was inspired by the Garamond Ollière (1914) cut by Maurice Ollière. The roman introduces angular elements, while the gorgeous italic is quite smooth and clean. The serifs on f, h, i, k, l, m, n, p, q and r are square.
The daring attention-grabbing sturdy slab serif typeface Molto (2018, Type Together). Earler, this was called Miniad (2015).
Ciabatta (2019). A great food packaging / "creamy" script in five weights, published by Sudtipos. It is based on Xavier's earlier typeface Nougato (2017, Fontstore: no longer available).
Khmer School (2017). A Khmer typeface in 7 fonts (including a dotted one) to teach Khmer writing. This family is free.
FF Pastoral (2019). This sans family features a large x-height and unusually tilted terminal strokes.

A long interview with Julien Gineste became a book, Xavier Dupré, itinéraire typographique / typographical itinerary (2019, Zeug). [Google] [MyFonts] [More] ⦿

Yale University

Type specimen book collection at Yale University. [Google] [More] ⦿

Yannis Haralambous

Metafont/TEX font and font software developer, specializing in non-Latin fonts and their integration in TEX. Ran Atelier Fluxus Virus in Lille, France. Codeveloper of the Omega typesetting system which includes the Omega Font Family (type 1). Since 2001, professor of Computer Science at the École Nationale Supérieure des Telecommunications de Bretagne in Brest. He is the author of the 1000+-page text Fontes et codages (O'Reilly, 2004), which was translated by P. Scott Horne with the English title Fonts & encodings. From Unicode to Advanced Typography and Everything in Between (2007, O'Reilly). See also here. Also author of Keeping Greek Typography Alive, an article presented at the 1st International Conference on Typography and Visual Communication held in Thessaloniki in June 2002.

Yannis Haralambous and John Plaice are the authors of Omega typesetting system, which is an extension of TeX. Its first release, aims primarily at improving TeX's multilingual abilities. In Omega all characters and pointers into data-structures are 16-bit wide, instead of 8-bit, thereby eliminating many of the trivial limitations of TeX. Omega also allows multiple input and output character sets, and uses programmable filters to translate from one encoding to another, to perform contextual analysis, etc. Internally, Omega uses the universal 16-bit Unicode standard character set, based on ISO-10646. These improvements not only make it a lot easier for TeX users to cope with multiple or complex languages, like Arabic, Indic, Khmer, Chinese, Japanese or Korean, in one document, but will also form the basis for future developments in other areas, such as native color support and hypertext features. ... Fonts for UT1 (omlgc family) and UT2 (omah family) are under development: these fonts are in PostScript format and visually close to Times and Helvetica font families.

Author of From Unicode to Typography, a Case Study the Greek Script, an informatice article written in 1999.

Active participant in the GNU Freefont project. With John Plaice, he contributed to these Unicode ranges:

Latin Extended-B (U+0180-U+024F)
IPA Extensions (U+0250-U+02AF)
Greek (U+0370-U+03FF)
Armenian (U+0530-U+058F)
Hebrew (U+0590-U+05FF)
Arabic (U+0600-U+06FF)
Currency Symbols (U+20A0-U+20CF)
Arabic Presentation Forms-A (U+FB50-U+FDFF)
Arabic Presentation Forms-B (U+FE70-U+FEFF)

He also added glyphs for Sinhala (U+0D80-U+0DFF). In 1999, Yannis Haralambous and Virach Sornlertlamvanich made a set of glyphs covering the Thai national standard Nf3, in both upright and slanted shape. Range: Thai (U+0E00-U+0E7F). These too are in the GNU Freefont family. [Google] [More] ⦿

Yaronimus

A comprehensive Hebrew typography blog and Hebrew type design and typography jump site with the latest news. Israel-based Yaronumus is the author of From Le Be to Days and Nights, which is based on his seminar work [in Hebrew]. [Google] [More] ⦿

Yateendra Joshi

Author of Communicating in Style (Delhi, TERI, 2003), reviewed by John Berry. [Google] [More] ⦿

Yukari Haruta
[Haruta Design Studio]

Yuri Gherchuk

Yuri Gherchuk, Ph.D. in Fine Arts, is an art historian and critic specializing in typography, book design, and illustration. He is the author of several books and many articles on graphics and book design, type, and environmental typographics. He lectures on the history of graphics and book design. Yuri Gherchuk is a member of the Art Critics and Art Historians Association, and of the Moscow Artists Union. Speaker at ATypI 2008 in St. Petersburg. [Google] [More] ⦿

Yuri Gordon
[Letterhead Studio YG]

Yves Perousseaux

Author (d. 2011) of Histoire de l'Écriture Typographique (2005), a 2-tome account of typography from the French perspective. The first volume is called Tome I: de Gutenberg au XVIIe siècle. The second one is Histoire de l'Écriture Typographique le XVIIIe siècle. In 1995, he set up L'Atelier Perousseaux. He attended the Lurs meetings almost without interruption from 1980 until 2010. Pic. [Google] [More] ⦿

Zach Whalen
[Videogame Text]

Zoltán Nagy

Hungarian type designer (1920-1998) (some pubs mention a birth date of 1921), who is responsible for most types in Hungary in the 20th century. He studied graphic arts at the Technical University of Budapest, and became chief engineer and art director at Elsö Magyar Betüöntöde. Author of Techniques of Type Design. He also engraved many postage stamps.

His typefaces consist of metal types done at EMB (Elsö Magyar Betüöntöde), a type foundry in Budapest, and phototypes at VGC:

Antikva Margaret (1965, VGC), his most important work. This text family won a third place award at an ITC-sponsored competition in 1966. Tibor Szikora's Margaret Neue (2021) was inspired by this.
Ecsetiras (1967, EMB).
Kirillitsa (1967, EMB). A heavy grotesk for Cyrillic.
Kalligrafia (1968, EMB).
Terentius (1961, EMB). An outlined shadow face.
Ungarische Grotesk (+breitfett) (1967, EMB). Aka Széles Groteszk (+kövér groteszk).
Reklam kurzív (1960, EMB), a signage script.
Katerina (1970). This typeface, slightly modified according to requirements of the Ministry, is used on Hungarian passports.
Later photo typefaces: Magdalena (1971), Gilgames (1972), Sznoett (1973), Unió (1975), Unio Grotesk (1981, Cyrillic), ITEX Linear (1984), Nexus (1984), Thomas (1984).

Digitizations of his typefaces:

ICG did a digital version of Antikva Margaret in 1992, also called Antikva Margaret.
In 2005, Ralph M. Unger digitized Ecsetiras at URW as FontForum URW Ecsetiras.
In 2011, another digital version of Antikva Margaret appeared, thanks to Nick Curtis, who created Olde Megrat NF.
Oszkár Boskovitz is working on the digitization of his oeuvre and has already completed the brush typeface Ecsetirás (2001).