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110design
[Alexei Vanyashin]

Russian graphic and web design studio in Moscow, run by Alexei Vanyashin, Fedor Balashov and Kate Semenova. Alexei Vanyashin studied typography at Stroganov University under Dmitry Kirsanov from 2002 until 2003. He graduated in graphic design from the Institute of Design in Moscow in 2008. In 2009-2010, he worked on the Florian Diploma project at the Type and Typography course at the British Higher School of Art and Design in Moscow under Ilya Ruderman. Florian is a 9-style angular (wedge serif) text family. Florian and Geo Text won First Prize at Granshan 2010 in the Cyrillic text typeface category. Alexei designed the curlified Bodonito Display (2009), Eurotesque, Wire (2009, monoline sans), and ModL (2009). Schmale Antiqua (2010) is a very thin Latin and Cyrillic didone typeface that revives a 19th century typeface widely used for setting book titles. Behance link.

Cofounder in 2011 of Cyreal, a Russian foundry. There, he designed typefaces such as Rationale (2011, with Olexa Volochay and VladimirPavlikov), Vidaloka (2011, a didone done with Olga Karpushina), Alike (2009, with Svetlana Sebyakina), and Adamina (2011, a text typeface for small print: free at OFL). I am not sure if Iceland (2011, Cyreal: free at Google Web Fonts) is also his.

Typefaces made in 2012: Junge (a delicate roman face, free at Google Web Fonts, which was inspired by the calligraphy of Günther Jung), Merge Pro Greek and Cyrillic (codesigned with Kosal Sen, Philatype), Jacques Francois and Jacques Francois Shadow (Cyreal: co-designed with Manvel Shmavonyan, they are revivals of Enschedé No. 811 by J.F. Rosart; free at Google Web Fonts).

Suisse International Condensed Cyrillic won an award at Modern Cyrillic 2014.

Sumana (2015, free at Google Web Fonts, and published by Cyreal) is a family of Latin and Devanagari fonts for text setting and web usage. The Latin counterpart is derived from Lora by Olga Karpushina, Cyreal. Its vertical and horizontal metrics are adjusted to better match with the Devanagari. [Google] [MyFonts] [More]  ⦿

2nd International Conference on Typography and Visual Communication

Conference in Thessaloniki, Greece, June 24-29, 2004, organized and hosted by the University of Macedonia. Speakers include Jacques André, Jannis Androutsopoulos, Michalis Arfaras, Dimitris Arvanitis, Christina Banou, Nicolas Barker, Petr van Blokland, Neville Brody, Petra Cerne Oven, Costis Dallas, Simon Daniels, Milena Dobreva, Mary Dyson, Peter Enneson, Shelley Gruendler, Justin Howes, John Hudson, Lampros Kalampoukas, Peter Karow, Robin Kinross, Kevin Larson, David Lemon, Gerry Leonidas, Erik van Blokland and Just van Rossum, Jason Lewis, Stephan Lubell, Piero De Macchi, Alan Marshall, Klimis Mastoridis, George Matthiopoulos, James Mosley, Maria Nicholas, Hrant Papazian, Jean-François Porchez, Manolis Savidis, Triantafyllos Sklavenitis, Andreas Sophocleous, Richard Southall, Erik Spiekermann, Charis Tsevis, Michael Twyman, Vangelio Tzanetatou, Gerard Unger, Karel van der Waarde and Evripides Zantides. Report by Toby Thain. Pictures by Jan Middendorp. Pictures by J.-F. Porchez. See also here. [Google] [More]  ⦿

38 Lineart Studio (or: Grayscale, or: Fontsources)
[Muhammad Ridha Agusni]

Architect and designer in Banda Aceh, Indonesia, b. 1980, who set up Grayscale, then 38 Lineart, and finally Fontsources.

In 2018, he released the hexagonally-patterned color font Space, the nervous monoline display typeface Barcelona, the monoline script Brandy, the tattoo and metal band blackletter font Amstha, Twinkle (hexagonal texture), Premium Quality, Hightide (signage script), Ashley Pages, Bold Grunge (a wood style Western font), Rabbit House, Strongbold (brush style), Onthel (a rhythmic signage script), Cafeine, Seulanga (calligraphic), Sweet Bubble, Downhill, Architecture (technical writing font), Wisethink (rough brush), Emerald, Ghotic, Oakland (signage script), Parthenon (signage script), Strawberry Night (script), the formal calligraphic font Beauty Athena, the inline font Epicentrum, and the signature font Attitude in 2018.

Typefaces from 2019: Ghoust (a marker font done at Cititype), Diamant Handwriting (a signature font), Utrecht (with Siti Saribanon Nurjannah), Exhibitionist (a fine rhythmic script), Holimount, Prague Metronome (a thin signature script), Allegroost (a brush typeface), Anisha (script), Kyoto Northern, ChiQuel (a Victorian display typeface that can be layered), Hillstone (a dry brush script), Malique, Ginchiest (a retro signage script), Kid Knowledge, Haghia, Khatija Calligraphy, Bernound, Graffity, Brandy Script (monoline), Downhill, Concept (sketched, blueprint font), Konya (signature script), Blacksmith, Curve Calibration (condensed sans).

Typefaces from 2020: The Pallace (a great natural inky signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Chipen (inline, all caps), Jakarta (a flowing inky script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Rhode White (a great signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Bailamore (a creamy signage script), Vogie (a sporty / techno sans family of 72 fonts, plus a variable font), Rollingtime (a brush script jointly designed by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Piedmont (a heavy connected handwriting script advertized as a masculine signature font), Whiplash (an all caps dry brush font), Aceh (a 36-style geometric sans), Youthink, Sacred Letter (a vintage weathered script), Serif Sketch (by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Corinthiago, Smart Chameleon (a handcrafted typewriter font by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Hiroshima Gyoshi (a brush font inspired by Japanese calligraphy), Roughmarker (dry marker font), Brotherhood, Blugie (a fat finger font), Rome Ionic (an all caps roman typeface), Black Orchestra (a great horror or black metal font), Black Orchestra (a horror font).

Typefaces from 2021: Magreb (an 8-style renaissance serif typeface), Toxide (calligraphic; Celtic; uncial), Redtone (a 14-style geometric sans), Moula (an 18-style geometric sans for Latin, Greek and Cyrillic), Zouk (blackletter), Zagreb (an inky signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Alsace (Victorian), Backbone (a black metal blackletter typeface), Roundkey (a 24-style condensed, but not round, sans), Wordwalker (a marker pen font by Muhammad Ridha Agusni and Siti Saribanon Nurjannah for Cititype), Sweet Bubble (a bubblicious font), Souljah (an elegant inky calligraphic script).

Creative Fabrica link. Another Fontbundles link. [Google] [MyFonts] [More]  ⦿

440EMU

Creator of the free dot matrix font Teleindicadores 1 (2013). This font covers Latin, Greek and Cyrillic. [Google] [More]  ⦿

4th February
[Sergiy Tkachenko]

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

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

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

A1DownFont

Greek fonts: HellasArial (Pouliadis Associates, 1992), HellasTimes New Roman Greek (Pouliadis Associates, 1992), Avant Greek (Magenta, 1992). [Google] [More]  ⦿

Ace of Space Graphics

Free truetype dingbat fonts. Beautiful creations by Sharon such as Critters 1, Critters 2, Thanks 1, Flora 1, Whimsy, Greek1, Orient1, BigTop, Geo2, AOS_Geo1, AOSValentine, Paddy1.

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

Acolina

Small rune font archive. Has, for example, from Ecological Linguistics, their Maya glyph fonts DaysBF, DaysCodBold, DaysCodBoldItalic, DaysCodItalic, DaysCod, all made in 1994. From the American Philological Association, Jeffrey Rusten's Greek font Athenian (1991). Also, the Maya glyph fonts Abaj, AbajBold, TunBold, Tun, Wuuj, WuujBold, WuujBoldItalic, WuujItalic. [Google] [More]  ⦿

Adam Jagosz

Aka Iorveth Aen Seidhe. Katowice, Poland-based designer of Slowglass (2017: a stocky 30-style geometric semi-serif sans family with vast language coverage that includes Cyrillic, Greek and Vietnamese), the rune simulation font Pertho (2016) and the penis font Semi (2016). He also made several interesting calligraphic pieces.

In 2019, he designed the 62-style sci-fi typeface family Ares (+Ares VF), the condensed Latin / Greek / Cyrillic sans Rywalka, the creamy stencil typeface Aromatron and the leafy Aromatron Ornaments.

Typefaces from 2020: AJ Quadrata (a revival of Textura Qadrata).

Aka Quadratype. Devian Tart link. Creative Fabrica link. [Google] [MyFonts] [More]  ⦿

Adam Katyi
[Hungarumlaut (was: Cila Design)]

[MyFonts] [More]  ⦿

Aditya Bayu Perdana

Bandung and Jakarta, Indonesia-based designer of these local language fonts in 2014-2015: Prayara (for Kawi), Godhong (for Javanese), Kamo (for Javanese), Ngrawit, Palataran (for Balinese), Liwet (for Sundanese), Lontara and Lontaraq (for Buginese), Wijaya (for Kawi), Mulawarman (for Pallava), Pustaha (for Batak), Lilitan (for Balinese), Aturra (for Javanese), Wulang (for Javanese; based on the 19th century calligraphic handwriting of Serat Jayalengkara Wulang), Tantular (a humanist sans for Latin, Balinese, Batak, Bugis, and Kawi).

Designer of the multiscript Bodoni typeface Kasira (2015), which covers Latin, Cyrillic, Greek, and Balinese, and the Javanese fonts Nawatura (2016), Bangil (2016) and Makara (2016).

Typefaces from 2017, designed during his studies at Parahyangan University in Bandung: Nakea (Javanese), Pustaka (Javanese).

Typefaces from 2018: Batangan (Javanese), Kavali (Sundanese), Jogjakartaip (Javenese), Salapa (for Lontara script), Pustaka Bali (Balinese), Nawatura, Istaka, Dioharudin (Cirebonese script).

Typefaces from 2019: Merpat (for Balinese), Kataruman (for Sundanese). [Google] [More]  ⦿

Adrien Midzic

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

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

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

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

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

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

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

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

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

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

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

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

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

Aerowsol

Designer in Athens (Greece) of the metal band typeface Idle Smasher (2010) and the computer typeface Funcrusher Plus (2011). [Google] [More]  ⦿

Aggeliki Skandalelli

Aggeliki Skandalelli is an Athens-born art director and graphic designer. After studying graphic design at AKTO Applied Arts School in Athens, she did an internship at Saatchi&Saatchi /Athens and went on to take a position as junior art director at Fortune Advertising. In 2000 she joined DDB /Athens and in 2003 was promoted to art director. During her time at DDB, Aggeliki collected a Grand Effie for the Tellas Telephone Network campaign, two Ermis Gold awards for an Alpha Bank print campaign and a Knorr TV spot, an Ermis Grand for the Thalassitis wine print campaign and an Ermis Silver for the hair salon Nicolas print ads. Since 2006, Aggeliki has been a senior art director at J. Walter Thompson /Athens, working for major accounts, such as Vodafone, Smirnoff, Amstel, Minoan Shipping Lines and Eurobank. She has also been in charge of various freelance assignments, creating logos, print ads and brochures.

Designer at Parachute in Athens, Greece, of the Latin / Greek / Cyrillic signage typeface PF Scandal Pro (2007-2012).

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

Aggelos Bakas

Greek graphic and type designer, b. 1954. He studied typography at London College of Printing. Since 1997 he designs and publishes the magazine Akro. He was a professor at Graphic Design Department of University of Wales College Newport and Creative Director of Basis, an advertising company based in Thessaloniki. He collaborates with Cannibal since 1999, where he designed Darkroom CF (brush face) and Smooth CF Condensed. . Klingspor link. [Google] [More]  ⦿

Agios Eugraphos Type Optic Synergy
[Nick Margaritis]

AETOS (Agios Eugraphos Type Optic Synergy) is a Greek type foundry, est. 2015, in Thessaloniki by Nick Margaritis. In 2015, Nick designed the spurred display typeface Kafenia. [Google] [MyFonts] [More]  ⦿

Ahoi

Paul Rädle's great jump page for foreign fonts and phonetic fonts. [Google] [More]  ⦿

Aimilios Galipis
[Banned Graphics]

[More]  ⦿

Aka Acid (or: Cybertronical Design)
[Myrto Orfanoudaki Simic]

UI mobile and web designer in Athens, Greece. Myrto made these free pixel typefaces between 2007 and 2013: Aka-AcidGR-4B, Aka-AcidGR-4B20, Aka-AcidGR-5X5, Aka-AcidGR-ArialPixel, Aka-AcidGR-BoredRe, Aka-AcidGR-Elektr, Aka-AcidGR-Everyday, Aka-AcidGR-Kairee, Aka-AcidGR-Mazew, Aka-AcidGR-Micro, Aka-AcidGR-Necplus, Aka-AcidGR-Neustyle, Aka-AcidGR-Pixel, Aka-AcidGR-Starmap, Aka-AcidGR-Stunt, Aka-AcidGR-SystemTronical, Aka-AcidGR-SystemsAnalysis, Aka-AcidGR-Web, Aka-AcidGR-Zephyrea, Aka-AcidGRAccessN12. The pore-2007 typefaces include Aka-AcidGR-4B, Aka-AcidGR-4B20, Aka-AcidGR-ArialPixel, Aka-AcidGR-Compacta, Aka-AcidGR-Elektr, Aka-AcidGR-Everyday, Aka-AcidGR-Kairee, Aka-AcidGR-Mazew, Aka-AcidGR-Micro, Aka-AcidGR-Mutlu, Aka-AcidGR-Necplus, Aka-AcidGR-Neustyle, Aka-AcidGR-Starmap, Aka-AcidGR-SuperG, Aka-AcidGR-SystemTronical, Aka-AcidGR-SystemsAnalysis, Aka-AcidGR-Web, Aka-AcidGR-Zephyrea, Aka-AcidGRAccessN12.

The following text and script fonts and dingbats were made from 2007 until 2013: AC-Hollow_unicode, Aka-Acid-Animaux, Aka-Acid-Bots, Aka-Acid-Mockups, Aka-AcidGR-AfterDiet, Aka-AcidGR-AlmostGothic, Aka-AcidGR-AngryJoe, Aka-AcidGR-Around, Aka-AcidGR-Atomic, Aka-AcidGR-BadFont, Aka-AcidGR-BadKitty, Aka-AcidGR-BigInJapan, Aka-AcidGR-BriefEncounter, Aka-AcidGR-Calligram, Aka-AcidGR-Chubby, Aka-AcidGR-Collage, Aka-AcidGR-Compacta, Aka-AcidGR-CompactaScript, Aka-AcidGR-Composition, Aka-AcidGR-ContencedScript, Aka-AcidGR-Cord, Aka-AcidGR-Creepy, Aka-AcidGR-Curly, Aka-AcidGR-CurlyEarly, Aka-AcidGR-CuttingEdge, Aka-AcidGR-Cyberella, Aka-AcidGR-DiaryGirl, Aka-AcidGR-Dingme, Aka-AcidGR-Disturbed, Aka-AcidGR-DisturbingCookie, Aka-AcidGR-Dot, Aka-AcidGR-Dotted, Aka-AcidGR-FatCondensed, Aka-AcidGR-FatItalic, Aka-AcidGR-FatMarker, Aka-AcidGR-Fatbamboo, Aka-AcidGR-FifiTheCat, Aka-AcidGR-Fifindrel, Aka-AcidGR-FifisHand, Aka-AcidGR-Freefeel, Aka-AcidGR-FrenchToast, Aka-AcidGR-Fristgrade, Aka-AcidGR-Froglusly, Aka-AcidGR-GhostStory, Aka-AcidGR-Gorgi, Aka-AcidGR-Graduate, Aka-AcidGR-GreekPharmacist, Aka-AcidGR-Grudge, Aka-AcidGR-HappyPuppy, Aka-AcidGR-HiSchool, Aka-AcidGR-Hurry, Aka-AcidGR-ImpressingTeacher, Aka-AcidGR-Inky, Aka-AcidGR-Kiki, Aka-AcidGR-Liberate, Aka-AcidGR-Lightinjapan, Aka-AcidGR-Limbo, Aka-AcidGR-Linky, Aka-AcidGR-LivingSword, Aka-AcidGR-Loving, Aka-AcidGR-Lundi, Aka-AcidGR-Lycee, Aka-AcidGR-MC, Aka-AcidGR-MakingMonsters, Aka-AcidGR-MediumInJapan, Aka-AcidGR-Mutlu, Aka-AcidGR-Pasta, Aka-AcidGR-RealAdult, Aka-AcidGR-RomanScript, Aka-AcidGR-RoundUp, Aka-AcidGR-Safe, Aka-AcidGR-Sagging, Aka-AcidGR-Sausages, Aka-AcidGR-Schoolgirl, Aka-AcidGR-ScrachThis, Aka-AcidGR-ScriptCondenced, Aka-AcidGR-Serif, Aka-AcidGR-Slimthin, Aka-AcidGR-SocialRage, Aka-AcidGR-StretchUp, Aka-AcidGR-StrokingLines, Aka-AcidGR-SuperG, Aka-AcidGR-ThickStick, Aka-AcidGR-ThinBlackboard, Aka-AcidGR-TinyCondenced, Aka-AcidGR-TotallyPlain, Aka-AcidGR-Tremor, Aka-AcidGR-Vectroid, Aka-AcidGR-WideMe, Aka-AcidGR-Wurly, Aka-AcidGR-Xtend, Aka-AcidGR5yearsold, Aka-AcidGRBuzzed, Aka-AcidGRFatCord, Aka-AcidGRFreakedOut, Aka-AcidGROpen, Aka-AcidGRPathetic, Aka-AcidGRSpagetti, Aka-Acid_Knickknack, AkaAcidQuickPad.

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

Akira Kobayashi
[Neue Frutiger]

[More]  ⦿

Alan M. Stanier
[Cypriote metafont]

[More]  ⦿

Alan Wood's Unicode Resources

Great Unicode jump page. Has a page showing all fonts that support the various Unicode ranges. Check, for example, his Shavian Unicode sub-page. Unicode font utilities. Some font downloads, including the Unicode font MPH Damase (2005, Mark Williamson). [Google] [More]  ⦿

Alberto Romanos
[Branding with Type]

[MyFonts] [More]  ⦿

Aldus Manutius

Late 15-th century Venetian scholar and printer, b. 1449, Bassiano, d. 1515, Venice. He founded the Aldine Press in 1495. His typefaces were all designed and cut by the brilliant Francesco Griffo, a punchcutter who created the first roman type cut from study of classical Roman capitals. Bembo, Cloister Italic and Poliphilus [aka Aldus Manutius' Roman] can be traced back to him. Example of his Italian Antiqua, 1499.

Kevin Steele explains in 1996: Some sources cite the publication of Cardinal Bembo's De Aetna as 1493 or 1495. And in fact, the design continued to evolve until the 1499 publishing of the spectacular Hypnerotomachia Poliphili. Let's not split hairs. Let's celebrate 500 years of Bembo! In the mid fifteenth century printing quickly spread to Italy from Germany, and by the 1470's Venice had became the center of the printing industry, home to over 100 printing companies. Pioneers such as Erhard Ratdolt and Nicolas Jenson had already begun working on adapting the roman alphabet for metal type by the time Aldus Manutius established his press in 1494, with the intention of publishing all the Greek classics. Aldus Manutius (1450-1515) was a printer, entrepreneur, a great ego, and publisher of over 1200 titles. Among the many contributions of Aldus was the popularization of small, portable books. His expensive beautiful books were far from today's paperbacks, mind you. One of the many great talents working for Aldus was Francesco Griffo, a gifted type designer. Griffo created many innovative type designs that are still admired for their beauty and readability. Their collaboration broke up over a copyright dispute, primarily over the ownership of the cursive type typeface that Griffo developed under the direction of Aldus. Although Aldus even had a papal decree to protect this style of alphabet, it was as difficult then as it is now to protect a typeface design. The alphabet was widely copied, and the style is known as italic, after its country of origin.

Digital typefaces derived from his work: 1501 Manutius (2001) by Klaus-Peter Schäffel.

Selection of fonts based on Manutius's work. [Google] [MyFonts] [More]  ⦿

Alejandro Torres

Genova, Italy-based designer of the bilined art deco typeface Metropolis (2013) that covers Latin, Greek and Cyrillic. Behance link. [Google] [More]  ⦿

Alekos Politis

Or Alex Politis. During his graphic design studies in Athens, Greece, Alex Politis created the fat octagonal typeface Solid (2014, Latin and Greek). [Google] [More]  ⦿

Aleksandar Nikov

Creator of the free constructivist typeface Desonanz (2015) for Latin Greek and Cyrillic. [Google] [More]  ⦿

Aleksandar Nikov

Graphic and sound designer in Skopje, Macedonia. In 2014, he created the free squarish typeface Desonanz for Latin, Greek, Coptic and Cyrillic. The orginal design of Desonanz dates back to 2010. [Google] [More]  ⦿

Aleksandr Savenkov

Novosibirsk, Siberia-based creator of the free pixelized typeface Upheaval Pro (2012), which is a Greek / Cyrillic extension of Upheaval by Brian Kent. In 2013, he created the pixelish typeface Dusty Pro for Latin, Greek, Cyrillic and Hebrew. It is an extension of Andreas Nylin's Dusty.

Symvola (2014) is a free typeface containing basic Latin and Greek characters. The design is inspired by the time machine's interface from Space Quest IV and puzzle panels from The Witness.

Omnic Sans (2016) is a free artificial language font that is based on the Omnic script used in the Overwatch by Blizzard Entertainment. In 2016, he also designed the free typeface Starseed Pro.

Behance link. [Google] [More]  ⦿

Alessandro (Alex) Segalini

Freelance Italian graphic designer, b. near Piacenza, 1976, who graduated with an M.S. in Industrial Design in 2004 from the Politechnic of Milan with a thesis entitled Ernesto Hemingway: una font tra letteratura e tipografia: a font between literature and typography. In it, he describes his typeface Ernesto Hemingway. At ATypI 2005 in Helsinki, he spoke about that same typeface. Initially, he worked in Rome, with interests extending across linguistics, book design, information design, calligraphy, lettering, visual identities, and designing with multiple languages. In 2005, he took a position as graphic design instructor at the Department of Graphic Design of Bilkent University (Bilkent, Ankara, Turkey). In 2007, he took a position at the Izmir University of Economics in Izmir, Turkey. In 2010 he co-founded ISType, a lecture and workshop series devoted to encouraging typographic literacy in Turkey. Presently he teaches typography and type design at Texas State University, School of Art & Design. He is the typographer and graphic designer for Contra Mundum Press (CMP), a boutique publisher based in New York and Paris that specializes in world literature and other genres.

He created these typefaces:

  • A like Animals (2003). Also called A di Animali, this is an experimental typeface done together with illustrator Anna Donadelli.
  • 5G (2002). Handwriting.
  • Custom types: Guia Script (2006, for Gelati Carte d'Or Algida), Guia Script Greek (2006), Quintag (2002, handwriting), Forno (2004, hand-printed), Dolce (2005, a swift brush typeface for Barilla), Unione (2005, for a bank), Pacioli (2005, for Accademia Editoriale in Rome), and Phoebus (custom sailing boat vinyl lettering).
  • Limerick was designed in 2006 together with Marek Brzozowski.
  • In 2009, Segalini published Hemingway Pro, a commercial 9-style sans display family, available from Red Rooster. Hemingway Deco Initials is free though. Hemingway was inspired by the prize-winning novel The Old Man and the Sea (1952, Ernest Miller Hemingway).

At ICTVC 2007, he spoke about 20th century Bodonians. Typophile link. Alessandro's page with hundreds of useful links. Behance link. Klingspor link. Home page. PDF file with samples of his fonts. [Google] [MyFonts] [More]  ⦿

Alex Pol

Athens, Greece-based designer (b. 1976) of the display typefaces Alex P1 and Alex P2 (2020). [Google] [More]  ⦿

Alexander Bobrov
[Indian Summer Studio]

[MyFonts] [More]  ⦿

Alexander Grazhdan

Athens, Greece-based designer of the Latin / Greek display typeface Edgy Elegance (2018). [Google] [More]  ⦿

Alexander Lange

Karlsruhe-based software developer. Creator of the large (and free) Unicode font Quivira (2005). It covers mathematics, chess, astrological symbols, arrows, fists, Latin, Greek, Cyrillic, Hebrew, Armenian, Georgian, Tifinagh, Coptic, emoticons, Vai, and Braille, to name just a few ranges. Alexander graduated in computer science at the Hochschule Mannheim University of Applied Sciences (degree: Diplom-Informatiker (UAS)). [Google] [More]  ⦿

Alexander Nedelev
[Typedepot]

[MyFonts] [More]  ⦿

Alexandros Mavrogiannis
[Studio Big Horror]

[More]  ⦿

Alexandros Papalexis

Alexandros Papalexis studied graphic design and typography at the National Design School (TEI) of Athens. He started designing his own fonts while attempting to improve some older ones for his own projects. For 15 years he has been designing corporate packages for leading Greek companies and CD covers for the music industry, while his work has been featured in design-oriented magazines. His typeface designs at Parachute include PFKids (1999-2006), PFFreescript, PFJunior, PF Playskool (2003). [Google] [MyFonts] [More]  ⦿

Alexandros Pertsinides

Greek designer of Carbonchaos (2011, multilined face), and Perfect (2011, a geometric monoline face). Home page. [Google] [More]  ⦿

Alexandros Poursanidis

Thessaloniki, Greece-based designer of a rhobic typeface called Art Deco (2016). [Google] [More]  ⦿

Alexandros Skouras

Chicago, IL-based designer of Olympic Game Pictograms (2015) and Greneue (2015, a Greek sans typeface). Behance link. [Google] [More]  ⦿

Alexandros Traianos

Graphic designer in Thessaloniki, Greece. Creator of the free mini-slab serif typeface Dryades (2017). In 2018, he designed the hand-prnted typeface Acheron. [Google] [More]  ⦿

Alexei Vanyashin
[110design]

[MyFonts] [More]  ⦿

Alexey Kryukov

Russian developer of these free font families, quite exquisite and complete:

  • Old Standard TT (2006-2010): a high quality didone 2-style family, suitable for classical, biblical and medieval studies as well as for general-purpose typesetting in languages which use Greek or Cyrillic script, as well as Latin. Many math symbols are included. Old Standard is part of the Google open font directory of free web fonts, and was adapted for TeX use. He writes: Old Standard is supposed to reproduce the actual printing style of the early 20th century, reviving a specific type of Modern (classicist) style of serif typefaces, very commonly used in various editions of the late 19th and early 20th century, but almost completely abandoned later. It supports typesetting of Old and Middle English, Old Icelandic, Cyrillic (with historical characters, extensions for Old Slavonic and localised forms), Gothic transliterations, critical editions of Classical Greek and Latin, and many more. People have also started using it for mathematical typesetting.
  • Tempora LGC Unicode: Kryukov writes Tempora LGC Unicode was my first attempt to create a multilingual font supporting Latin, Greek (including polytonic characters) and Cyrillic scripts. This family is based on two well-known free typefaces similar to Adobe Times: Nimbus Roman No 9 L by URW (russified by Valek Filippov), and the Omega Serif family, developed by Yannis Charalambous. However, all basic components of the font, and especially its Greek and Cyrillic parts, have suffered serious modifications, so that currently Tempora LGC Unicode represents an independent typeface, quite different from its predecessors. Free download site. Many updates were made to the font package, with copyright notices to Michael Sharpe (2015), Alexey Kryukov (2005), URW++ Design & Development (1999), Valek Filippov (2001), Dmitry 40in (2001), The Omega Project (1996), and the Free Software Foundation (2002, 2003).
  • Theano Classical fonts: Theano Didot (2008) is a classicist face, with both its Roman and Greek parts implemented in Didot style. Theano Modern has Greek letters designed in the Porsonic style. It is based on Figgins Pica No. 3 / Small Pica No. 2, one of the most successful Porsonic Greek typefaces. Theano Old Style is a modernized "Old Style" Greek font with a large number of historic ligatures and alternate forms, modelled after some early 19th century types designed by Figgins' type foundry. It is accompanied by a Latin typeface based on some "Old Style" Roman fonts of the late 19th and early 20th century. Pick up Theano Modern C (2012) at Open Font Library, and Theano Didot at CTAN.
  • CM-LGC (2003): The CM-LGC package contains Type 1 fonts converted from METAFONT sources of the Computer Modern font families. The following encodings are supported: T1, T2A (Cyrillic), LGR (Greek) and TS1. This package includes also Unicode virtual fonts for use with Omega/Lambda. CM-LGC is the first Type 1 font package for LaTeX which supports all European scripts (LGC means Latin, Greek and Cyrillic). Alexej Kryukov used Textrace to create CM-LGC.

He contributed to the GNU Freefont project via FreeSerif Cyrillic, and some of the Greek symbols. He also provided valuable direction about Cyrillic and Greek typesetting.

Kernest link. Fontspace link. Another URL. Google Plus link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

Alexios Zavras
[MgOpen Fonts]

[More]  ⦿

Alice Savoie
[Alice Savoie, Frenchtype]

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Alice Savoie, Frenchtype
[Alice Savoie]

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

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

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

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

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

Alif Nuryasin
[Alifinart Studio]

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Alifinart Studio
[Alif Nuryasin]

Balikpapan, Indonesia-based designer of the script typefaces Judessant (2020), Samball (2020) and Assessment (2020), the grungy Corona Covid19 (2020), the chalk typeface Struggle Line (2020), the inky script Samudera (2020) and the monoline script typeface Hello I'm Coming (2020).

Typefaces from 2021: Guyon Gazebo (a wavy display font), The Rambutan (script), Shakila (script), Salma Alfasans (an almost monolinear geometric sans in 18 styles), Nabana (hand-printed), Barokah (a display serif with sharp edges), Mustica Pro (a geometric sans; 22 styles including a Hairline; +Cyrillic, +Greek), My Olivin (a rounded sans), My Rambutan (script), Judessant (calligraphic), Ananda (calligraphic), Assakita (script).

Typefaces from 2022: Salma Pro (a 54-style sans with Patek Philippe circles instead of round circles). [Google] [MyFonts] [More]  ⦿

Alja Herlah

Slovenian type designer, who co-founded Type Salon together with Krista Likar in Ljubljana in 2020. Alja's typefaces:

  • Praz Slab and Praz Italic (2014). Developed during the 2014 Tipobrda workshop mentored by Domen Fras and Lucija Bratus.
  • Alica (2015). A cursive slab serif heavily inktrapped typeface designed at TipoBrda 2015.
  • Univerza Sans (2020, Type Salon). Univerza is not a take on Frutiger---it is Slovenian for "university". Alja writes: Univerza Sans was developed to mark the hundredth anniversery of University of Ljubljana. The style is influenced by the combination of Slovenian avant-garde with some recognizable forms that are known for Slovenian typography.
  • Palsam Pro (2020, Abjad). This rounded sans typeface covers Latin and Arabic and was co-designed by Ali Almasri and Alja Herlah. Regarding the Arabic part, they write: The main highlight for Palsam was the cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. The Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh.
  • Spektra (2020, Type salon). A black condensed sans by Krista Likar and Alja Herlah that combines five scripts: Latin, Arabic, Cyrillic, Greek and Hebrew. It also has a variable type with an italic axis.
  • In 2021, Krista Likar and Alja Herlah published Plecnik, which is named after Slovenian architect Joze Plecnik. Plecnik is defined by classical elements and shapes, classic proportions, humanist stroke endings and low contast. It has a capital A with an overhang. Plecnik Display is quite different as it features flaring in every stroke.
  • In 2021, Alja released Gizela (a dagger-edged all caps typeface), and wrote: Gizela shows her personality with a feminine, sensual, seductive and art deco vibes.
[Google] [MyFonts] [More]  ⦿

Alkaios
[Lucius Hartmann]

Free Greek font that covers Latin, Latin-1 Supplement, Latin Extended-A, Combining Diacritical Marks, Greek. It was developed by Lucius Hartmann (Hinwil, Switzerland, 2005) and was modeled in Times-Roman. [Google] [More]  ⦿

Allan Loder
[New Testament Manuscripts Font Collection]

[More]  ⦿

Allotype Typographics

Foundry in Ypsilanti, MI. Kadmos, Bosporos (both classical Greek), Czasy, Szwajcarski (Polish), and Demotiki (modern Greek). Nice fonts, 85 US dollars per face. Jeffrey Rusten swears that these are the highest quality fonts for polytonic Greek. [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 Sefarad 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]  ⦿

ALT Foundry
[Andreas Leonidou]

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

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

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

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

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

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

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

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

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

Typefaces from 2017: Rekt, Rogue (free).

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

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

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

Alter

Mexican designer of the fashion didone typeface Bizzarra (2016), which follows the fat face style, and covers both Latin and Greek. Behance link. [Google] [More]  ⦿

Altgriechische Zeichensätze
[Lucius Hartmann]

Lucius Hartmann (Hinwil, Switzerland) at the University of Zürich lists the main fonts that are useful to classicists and users of old Greek. Downloadable fonts include Aisa Unicode (by Hildegund Mueller&Stefan Hagel, 1997-1998). Hartmann himself created Sappho (2002) and Alkaios (2005). [Google] [More]  ⦿

Amadeus Information Systems
[Phil Chastney]

Amadeus Information Systems Limited / Phil Chastney are the designers of SImPL (1999-2001) and Sixpack Medium (2009), great Courier-like monospace fonts with many diacritics and symbols, filling many of the Unicode pages. The designer is Phil Chastney, who writes One of the design aims of the font was to provide a complete set of all known APL symbols, plus sufficient characters to allow prompts, comments, etc., to be expressed in every European language known to be in current use. Basically, that means the Latin, Greek and Cyrillic alphabets, plus accented and variant letter forms as required for other European languages using these alphabets.. Incidentally, Armenian and Cyrillic are also covered, and the number of mathematical symbols is staggering. [Google] [More]  ⦿

Amar Arif
[KaryAmo Studio]

[MyFonts] [More]  ⦿

Amélie Bonet

French graphic and type designer who graduated from Ecole Estienne in 2005 with a thesis entitled La cancellaresca, L'âge d'or de la calligraphie italienne.. She also studied visual communications at Ecole Duperré in Paris. She has an MA in typeface design from The University of Reading (2009), based on her typeface Polydom, which covers Latin, Greek and Devanagari. Her other typefaces include Groe (2010), We Folk (2010, caps only), Operetta (a cancellaresca based on Tagliente's lettering), PSA (an iconographic and sans type system for Peugeot and Citroen), and Gustan. She lived in Los Angeles. In the spring of 2010, she joined Dalton Maag in South London as a type designer.

At Dalton Maag, she helped out with Nokia Bengali, which won an award at Granshan 2014.

Roxane (2011, Rosetta Type) covers Latin and Devanagari.

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

American Philological Association
[Donald Mastronarde]

Association which published a free Greek Opentype font, KadmosU (2005). New Athena Unicode (2004-2010) is also free: New Athena Unicode is a freeware multilingual font distributed by the American Philological Association. It follows the latest version (5.1) of the Unicode standard and includes characters for English and Western European languages, polytonic Greek, Coptic, Old Italic, and Demotic Egyptian transliteration (and Arabic transliteration), as well as metrical symbols and other characters used by classical scholars. New Athena Unicode is a "smart font" that includes OpenType ligatures allowing the display of composed characters not recognized by Unicode but needed by scholars. I am not sure that I am right, but the Greekkeys pafge makes me believe that Donald Mastronarde (a Professor a UC Berkeley) of the American Philological Association is responsible for the creation and upkeep of New Athena Unicode. [Google] [More]  ⦿

Amy Dittman

Saint Cloud, MN-based designer of a fat 3d poster typeface in 2014, during her studies at St. Cloud State University. It was inspired by Macklemore & Ryan Lewis's song "Gold" featuring the chorus to the song. [Google] [More]  ⦿

Ana Novakovic

Graduate of of the Graphic and Media Design program of the London College of Communication at the University of the Arts London, who was first based in London, where she worked as a graphic designer, and is now in Thessaloniki, Greece, where she is at Mossom Design while studying at AAS College Thessaloniki. Fontstructor who made the modular art deco typefaces Mercury and Mercury Bold in 2012. In 2013, she created Modular Typeface and Fontastic Typeface (gridded). [Google] [More]  ⦿

Anastasia Dimitriadi
[DimitriAna]

[MyFonts] [More]  ⦿

Anastasios Koutsofavas

Greek designer in Thessaloniki of the Greek polytonic font Tartana (2010) for a Greek monastery.

Behance link. See also here. [Google] [More]  ⦿

Anastasios Nanopoulos

Argos, Greece-based designer of the Comic Sans style Latin and Greek typeface SX Handy (2016) and the monoline script SX Write II (2018). [Google] [More]  ⦿

Anastasios Pappas

Graphic designer, b. 1975, Athens, Greece. Designer of the free clean sans typeface Aneo (2019) for Latin and Greek. [Google] [More]  ⦿

Andili Rachouti

Designer in Athens, Greece, who created the alchemic Latin/Greek typeface family Bohemian Rhapsody (2014). [Google] [More]  ⦿

Andrea Groisman

Costa Rican graduate of the type design program at the University of Reading, class of 2017. Her graduation typeface there was Goji, a multi-script reverse-contrast typeface family created to celebrate the benefits of superfoods on websites. The family covers Latin, Greek and Kannada scripts. It includes various weights and styles, such as light, regular, bold, and an italic display. The most distinct feature of Goji is the horizontal stress.

At Type Cooper 2021, she developed Pea Pro and wrote: Pea Pro is display sans serif typeface inspired by the sports nutrition industry. Big ink traps and heavy weight features give it a strong character, ideal for large headings and branding applications. [Google] [More]  ⦿

Andreas Kalpakidis
[Inde Graphics]

[More]  ⦿

Andreas Larsen

Copenhagen-based designer (b. 1986) of Tal (2014), a full set of numerals in many weights for use on small devices. Tal is advertized as free, but there are no download buttons anywhere.

In 2014, he also created the Open Source fonts Gidole Play (later renamed Gidolinya) and Gidole Sans [micropage], which is patterned after DIN 1451 and uses Euler spirals. Dedicated page for Gidole Sans. Github link for Gidole.

In 2015, he published Gidole Regular and the monoline sans programming font families Monoid and Mono 16, which cover Latin, Greek and Cyrillic. Gidole was forked and extended in 2016 at Open Font Library by Cristiano Sobral as Normung.

He modified the free M+ font to design MonoMusic for chords and tabs.

Behance link. Dafont link. Open Font Library link. Use Modify link. [Google] [More]  ⦿

Andreas Leonidou
[ALT Foundry]

[MyFonts] [More]  ⦿

Andreas Nolda

Lecturer at the Department of German Studies of the University of Szeged, Hungary. Designer of the free Utopia Nova font family for Latin, Greek and Cyrillic (2014-2015), which is a modified version of Andrey V. Panov's Heuristica font family, which in turn is based on the Utopia Type 1 fonts, designed by Robert Slimbach for Adobe and licensed to the TeX Users Group (TUG) for free modification and redistribution. Open Font Library link. The changes applied to Heuristica:

  • proportional figures
  • Greek glyphs from the Fourier fonts
  • a stylistic set with longer slashes, matching the parentheses in height and depth
  • kerning for pairs of slashes like in "http://" (a Heuristica issue Panov refused to fix)
  • small-cap substitution table for ligatures without corresponding small-cap glyphs (fixing another Heuristica issue)

Utopia Nova was renamed Lingua Franca a day after it was first posted on Open Font Library. Open Font Library link for Andreas Nolda.

In 2016, we find an extension of Utopia Nova by Stefan Peev called Linguistics Pro on CTAN, where useful TeX support files are added as well. See also Font Squirrel. [Google] [More]  ⦿

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

[MyFonts] [More]  ⦿

Andrey V. Panov
[CM Unicode]

[More]  ⦿

Andrey V. Panov
[Computer Modern Unicode fonts]

[More]  ⦿

Andrij Shevchenko
[Andrij Type]

[MyFonts] [More]  ⦿

Andrij Type
[Andrij Shevchenko]

Andrij Shevchenko (b. 1973) (aka Andrij Che) is the Berdyansk-based Ukrainian designer of the following typefaces, somne of which can also be had from MyFonts. Behance link.

In 2012, he started Ukrainian Type.

  • Agarsky (2006, a bold casual script face) which used to be called Agara until Berthold complained about the possible confusion with Agora.
  • Zion Train (2007, an experimental sans in 20 styles).
  • Andrij Script. See here.
  • Andrij Hand (a Cyrillic handwriting font, 2002-2006; see discussion).
  • Strudel (2002, informal handprinting).
  • ALS Agrus (2005-2006, a script face, Art Lebedev Studio).
  • Machinegun (2005, octagonal military look).
  • Magela (2003, a Cyrillic sans).
  • Hajdamaka (2004, a bouncy Latin/Cyrillic script).
  • Also check out his lettering (not fonts) in Kozaku (2005, a flowing Cyrillic script), XLibna (2005, another Cyrillic script) and here (2005).
  • The semi-serifed Oksana (2007, 6 styles), Oksana Sans (2007, +Condensed), Oksana Text (2008), Oksana Cyrillic (2007), Oksana Greek (2007), and Oksana Text Swash (2008). This was followed by Oksana Text Narrow (2011), Oksana Sans (+Wide) and Oksana Sans Compressed (2011), which have hairline weights.
  • Osnova Pro (2010): a sans family that covers Cyrillic, Greek and Latin.
  • Ababa (2002, Cyrillic lettering).
  • Turbota (2010) is a rounded Latin / Cyrillic type family that was was developed as part of an identity system for Turbota, a center for disabled children in the Ukraine.
  • Arsenal (2011). A free typeface that won a national Ukrainian type competition called the Mystetsky Arsenal contest.
  • Seaside (2011) is a Peignotian face.
  • Bandera Pro (2011) is a useful workhorse square serif type family that covers Latin, Greek and Cyrillic. Accompanied by Bandera Text (2014) and Bandera Display (2014).
  • Arsenal (2012) is a workhorse sans family for Latin and Cyrillic. It won the Mystetsky Arsenal contest, and is free.

    Zion Train Pro (2012, +Stencil): Originally ZionTrain was built as a (probably first in Cyrillic!) navigation typeface for the Kharkiv identity project and Kharkiv subway and airport navigation systems. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. The project was used in Kharkiv promotion at homeland and abroad, but was rejected by the new government. As a corporate typeface it was used for a few cultural projects. Now it is equipped with Slavic Cyrillic and Monotonic Greek.

  • Humus (2007-2022). A ten-style humanist / lapidary Latin / Ukrainian Cyrillic / Greek typeface that is characterized by flared terminals.

Additional URL.

MyFonts interview.

Showcase of Andrij Shevchenko's typefaces at MyFonts. [Google] [MyFonts] [More]  ⦿

Andriy Konstantynov
[Mint Type (was: PDesign 6.0)]

[MyFonts] [More]  ⦿

Androniki Sioki

Ph.D. student at the University of Reading. Thesis topic: Typography of Greek primers published in the 20th Century. [Google] [More]  ⦿

Angel Giovan

Greek designer of the free hand-drawn Greek font Greek Classics (2014). [Google] [More]  ⦿

Angela Fragou

Graphic designer in Athens, Greece, who created the Latin display typeface Thorn (2014). [Google] [More]  ⦿

Angela Poghosova

Armenian type designer who won an award at Granshan 2009 for her Armenian typeface Goga. She also created the ASF Angela family for Armenian, Latin, Greek and Cyrillic. This family was awarded Second Prize in the Granshan 2010 competition for Armenian text types, and Second Prize in the Granshan 2010 competition for Cyrillic text types. Her name is also spelled Anzhella Poghosova.

In 2021, she designed ASF Diana (a ten-style text and display family for Latin, Cyrillic and Armenian). [Google] [MyFonts] [More]  ⦿

Angeliki Georgiadi

Creator of the Greek paperclip font Common Greek (2013).

Behance link. [Google] [More]  ⦿

Angelo Haritsis
[EelVex]

[More]  ⦿

Anna Bai

During her studies in Athens, Greece, Anna bai designed the symbolic typeface Mandala (2016). [Google] [More]  ⦿

Anna Danilova

Type designer who is employed by Artem Gorbunov (Gorbunov Bureau) in Moscow. Her typefaces there:

  • The Greek part of Bureauserif (2015-2016), a text typeface family by Ksenija Belobrova. The Greek part was done by Anna Danilova.
  • Bureausign (2015-2016). Anna Danilova's splendid Latin / Cyrillic wayfinding font family.
  • Envy (2016). A number font by Anna Danilova for Envy Car Rental.
  • Mary Trufel (2016). A hand-printed typeface by Anna Danilova.
  • Olimpiada (2018). By Anna Danilova (and Michael Nozik) for olimpiada.ru. This sans typeface is based on the wayfinding font Bureausign.
[Google] [More]  ⦿

Anna Raven

Type designer in Moscow. At WDC Fonts, she created the Venetian serif typeface Stiana (2013, with Eugen Sudak), based on models by Nicholas Jenson and William Morris. Stiana covers Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

Anna Tsuranova
[Letter Muzara]

[MyFonts] [More]  ⦿

Antigone

Designed by Jan van Krimpen, this Greek typeface published by Joh. Enschedé en Zonen. See here. [Google] [More]  ⦿

Antioch
[Ralph Hancock]

For Unicode classical Greek in Word 97 and Word 2000, Antioch gives you Greek, Coptic and Hebrew with programmable keyboards. Win 95 or 98. 50 USD shareware. fee $50. Page by Ralph Hancock. Antioch package by Ralph Hancock and Denis Liegois. Ralph Hancock also designed the Courier-like font Angaros in 1997. The Antioch package contains the Greek unicode font Vusillus Old Face (2002), which was digitized by Ralph Hancock based on English typefaces from the 18th century. Hancock also designed Mediolanum, one of the first Greek typefaces, developed in Northern Italy at the end of the 15th century. [Google] [More]  ⦿

Antonio Hernández Marín
[El Circulo de Oro de Uresh-Nefer]

[More]  ⦿

Antonis Margaronis

During his studies at TEI in Athens, greece, Antonis Margaronis (b. 1992) created the display typeface Zipper (2014). [Google] [More]  ⦿

Antonis Tsolomitis
[Kerkis]

[More]  ⦿

Antonis Tsolomitis
[Laboratory of Digital Typography and Mathematical Software]

[More]  ⦿

Antonis Tsolomitis
[Sophia Kalaitzidou]

[More]  ⦿

Anugrah Pasau
[Lafontype (pr: tardiexwas: Pixifield, Elementype, Fontliner Studio)]

[MyFonts] [More]  ⦿

Aoife Mooney

Aoife is an Irish typeface designer and teacher. She has a BA degree in Visual Communications from Dublin Institute of Technology (2005) and an MA in Typeface Design from the University of Reading in 2010. Alongside her freelance practice, Aoife is an Assistant Professor at Kent State University, where she teaches typography and typeface design. Before moving to Akron, Ohio, Aoife worked as part of Hoefler & Co design team in New York (joining in 2011), developing Idlewild, Surveyor, and other typefaces. Most recently she worked with Frere-Jones Type on Mallory, and did some projects for Google.

She designed Magnimo while at Reading. Aoife writes: from the Latin Magna, meaning great or large, and the Indic Anima, meaning spirit or soul. Magnimo is a big-hearted typeface with many moods and voices. I am quite impressed by this three-style typeface (Regular, Italic, Upright Italic), which, with its lively angular design, seems just right for green party and energy drink magazines. All the extra features expected of a 2010 typeface are there, including a matching and nicely balanced Greek, and coverage of most European diacritics. Additional scans: i, ii, iii.

Old URL.

In 2016, she published the free Google Font family BioRhyme (+Expanded). See also Open Font Library.

Speaker at ATypI 2016 in Warsaw on Synoptic Translations. Speaker at ATypI 2017 Montreal, where she entertained the crowd with socially relevant typography and type for dissenting voices. Speaker at ATypI 2018 in Antwerp. [Google] [More]  ⦿

Apostolos D. Tsiovaras
[Cursor Design]

[More]  ⦿

Apostolos Syropoulos

Xanthi, Greece-based designer of the Greek type1 font family Phaistos (2004, with Stratos Doumanis). He also created the "oinuit" system, a set of Lambda (Omega LaTeX) typesetting tools for the Inuktitut language which comes bundled with the type 1 family Inuit (2002). In 2007, he published the Philokalia package, which includes a free Philokalia OpenType font developed with Ioannis Gamvets. It was specially made to print the Philokalia books. The UM Typewriter font family (2008, for OpenType fonts) is a monospaced font family that was built from glyphs from the CB Greek fonts, the CyrTUG Cyrillic alphabet fonts ("LH"), and the standard Computer Modern font family. Epi-Olmec (2008) is an Aztec dingbat font. In support of the Open Font Library, he created the rune font Icelandic (2008: this font includes most "magical" staves that have been used in Iceland. Original drawings from the Museum of Sorcery&Witchcraft). He also made Asana Math (2007), which references Young Ryu (2000) and Claudio Beccari (1997-1999).

In 2016, Pablo Garcia Risueño, Apostolos Syropoulos and Natalia Verges launched the free package SVR Symbols. The glyphs of this font are ideograms that have been designed for use in Physics texts. Some symbols are standard and some are entirely new.

Still in 2016, he designed the calligraphic Greek font Frederika2016 as an attempt to digitize Hermann Zapf's Frederika font. The font is the Greek companion of Virtuosa by the same designer.

Kernest link. [Google] [More]  ⦿

Apostrophic Laboratory
[Fredrick M. Nader]

One of the most dynamic foundries from 2000 until 2003. The "Lab" was run by Apostrophe (Fredrick Nader) and was based in Toronto. The name Apostrophe comes from a Frank Zappa song. It has produced well over 1000 original free fonts, in all formats (type 1, truetype, and opentype, PC and Mac), and nearly all fonts have full character sets. Many have character sets for extended European languages and Cyrillic as well. It was for a few years the only active producer of multiple master fonts. Download site at Typoasis. Original URL, now being reworked. Highlights:

  • Miltown (from the Matrix movie).
  • Fluoxetine (old typewriter).
  • Desyrel (handwriting, Dana Rice).
  • PicaHole-1890Morse font.
  • Ritalin has almost 500 glyphs, and is a family designed for Latin, Greek, Turkish, eastern European, Cyrillic and Baltic.
  • The 3-axis multiple master ImpossibleMM (of Mission Impossible fame).
  • Carbolith Trips (letters from cuneiforms).
  • Diehl Deco (revival of 1940 lettering by Wooster Bard Field; with Marley Diehl).
  • Textan (with Rich Parks or Richard D. Parker; inspired by the Chinese Tangram).
  • Poultrygeist (horror comic font).
  • Hard Talk (an R-rated font by Slovenian Marjan Bozic).
  • Independant (with Phynette; a faithful revival of a 1930s font by Collette and Dufour for Maison Plantin in Belgium---a fantastic Art Deco font family).
  • Metrolox ("Enemy of the State" font, with Karen Clemens; a Unicode font with 567 glyphs for over 20 Latin-based languages and some math symbols).
  • Komikaze, Komikazba, Komikahuna and Komikazoom (comic book fonts: 1280 glyphs for Latin, Greek, Cyrillic, Baltic, Turkish, East-European, with dingbats and Braille).
  • Republika (a 300-font techno family; read about it here).
  • ChizzlerMM (3-axis multiple master, a reworked version of Graham Meade's Chizzler).
  • Street (a 87-font family by Graham Meade).
  • Amerika (fantastic Armenian-look font series, with support for Greek, Cyrillic/Russian, Baltic, Turkish and Central European).
  • The dingbats Eyecicles and Texticles, both with Graham Meade.
  • Insula (2001, a Celtic/uncial font with Cybapee).
  • Komika (2001, 50 comic book fonts designed with Vigilante). A spoof on Comic Sans, this family includes Komika Hand and Komika Text.
  • Labrit (a great Fraktur font, with Graham Meade).
  • Frigate (a Roman-kana font by Melinda Windsor).
  • Scriptina (an unbelievable calligraphic font by Apostrophe, 2000-2001). In 2010, CheapProFonts published an extension, Scriptina Pro.
  • Freebooter Script (an equally unbelievable calligraphic font by Graham Meade, 2001).
  • Choda (a display font like none you have seen before; Apostrophe and Meade, 2001).
  • Endor (with Meade, a Gothic font; 2001).
The list of designers and their fonts:
  • Apostrophe [dead link]: Day Roman (2002, the first digitization of Fr. Guyot's "Two Line Double Pica Roman", designed in the early 1600s), Bombardier (2002), Propaganda (2002), PropagandaCyrillic (2002), PropagandaGreek (2002), Contra (2003), Ergonome (2002), Ergonomix (2002, techno dingbats), Alfabetix (2002), SoMM (2002, a multiple master font), Templo (2001, a pixelish font), Zoloft, Miltown, Witches Brew, Celexa, Labrat, Effexor, Fluoxetine, Tralfamadore, Halcion, RxMM, Paxil, Valium, Fight This, Ritalin, Xanax, Maskalin, PicaHole, ImposMM, MiltownII, Carbolith, Komikaze, Komikazoom, Komikahuna, Diogenes, Komikazba, MistressScript, Sledge, Mary Jane, Republika, StarBat, Merkin, Erectlorite, Halter, Estrogen, Steinem (based on Dalton Maag's British Steel typeface), Lab Mix, Mary Jane II, Amerika, Masque, Konfuciuz, Mastodon, Broad, Amerika Sans, Scriptina, Karnivore, Cholo, Sedillo and Reprobate (all three based on Mike Sedillo's handwriting, 2001), Templo (screen font family, 2001).
  • Marjan Bozic and Apostrophe: Hard Talk.
  • Karen Clemens and Apostrophe [dead link]: Wellbutrin, Metrolox, Jagz.
  • CybaPee and Apostrophe [dead link]: Cyclin, Lady Ice, Insula.
  • CybaPee [dead link], Graham Meade and Apostrophe: Yellowswamp, Lady Ice revisited.
  • Steve Deffeyes: Loopy.
  • Marley Diehl and Apostrophe: Diehl Deco.
  • Fleisch and Apostrophe: Colwell, Hadley.
  • Steve Graham: Hypnosis.
  • Frank Guillemette and Apostrophe: Ankora.
  • Jeri Ingalls and Apostrophe: Paxil.
  • Neumat Ick and Apostrophe: Icklips, Powderfinger.
  • Keya Kirkpatrick: Extasy
  • Keya Kirkpatrick and Apostrophe: Kimono.
  • Jeff Lan: Healthy Alternative, Haven Code.
  • Su Lucas and Apostrophe: Barbarello.
  • Brigido Maderal and Apostrophe: Lab Bats.
  • Graham Meade: Quastic Kaps (8-weight family, 2003), Quixotte (2002), Mechanihan (2002), Kameleon (2002), Lady Ice Extra (2002), Gizmo (2002), Zillah Modern (2002), Wazoo (2002), JamesEightEleven (2002), Equine (2001), Street Corner (2001), Freebooter Script, Street (31 font sans and slab serif), Bipolar Control, Lane, Street, Street Slab, 2nd Street, Kronika, Thong, Whackadoo Upper, Charrington, Lady Copra, Zebra, Extra Meade Pack, Control Freak, Dekon, Asenine, Heidorn Hill (a Fraktur font), Castorgate, Troglodyte.
  • Graham Meade and Apostrophe: Moondog (2001), Choda, Futurex, Duralith, Epyval, BooterMM, Pamelor, Sabril, Erinal, Karisma, Whackadoo, Bicicles, Drummon, Primary Elector, Youthanasia, Grunja, Prussian Brew, ChizMM, Luciferus, Labtop, Gilgongo, Labrit, Kandide, Brassiere (which became the commercial typeface Ipscus in 2009), Eskargot, Endor, Labag.
  • Graham Meade and Rich Parks: Luteous, Luteous II.
  • Link Olsson and Apostrophe: Librium, Severina, Poultrygeist, Extrano, Komikandy.
  • Rich Parks and Apostrophe: Textan, Glaukous, Textan Round, TexSquareMM, TexRoundMM.
  • Alejandro Paul and Apostrophe: Fontcop, Usenet, Cayetano, Elektora.
  • Evelyne Pichler: Sindrome.
  • Evelyne Pichler and Apostrophe: 1910 Vienna.
  • Phynette and Apostrophe: Independant.
  • Peter Ramsey and Apostrophe: Distro, Futurex Distro (2001).
  • Dana Rice and Apostrophe: Desyrel, Lilly.
  • Wayne Sharpe: Ovulution I and II.
  • Jessica Slater: Wiggles.
  • Jessica Slater and Apostrophe: McKloud.
  • Derek Vogelpohl: Phosphorus, Florence sans, Plasmatica, Covington, Avondale, Phosphorus II.
  • Melinda Windsor: Plastic, Frigate.
  • Robby Woodard: Ashby (2001).
  • WolfBainX and Apostrophe: Tribal, Komika.
  • Yol: Traceroute.
Font Squirrel link. Dafont link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

Appligraph Ltd

Greek outfit which made AGIerissosE (1993-1995) and AGVienessaC (1997). The latter is a nice Greek script. Designers of these 1995 fonts for Latin and Greek: AG-Aircraft_B-NPln-NormalItalic, AG-AtlanticInlineExt-Normal, AG-BrushesExt-HeavyItalic, AG-Helvet924Pln-Normal, AG-ImpulsExt-BoldItalic, AG-Kinga_E-Bold, AG-Lithos_E-Normal, AG-MonaLR_E-Normal, AG-Vakus_C-Heavy, AG-Vakus_C-HeavyItalic, AG-Vikings_C-Normal, AG-Vikings_P-NormalRev, AG-Vivis_E-Normal, AG-Zeues_E-Normal, AGAdonisPlnBold, AGBauhausBNPlnNormalItalic. [Google] [More]  ⦿

Arabia Ware Benelux

Vendor of Mac and PC fonts for several languages and from a variety of companies, active ca. 1999. The fonts covered Japanese, Chinese, Russian, Arabic, Hebrew, Persian, Urdu, Tamazight, Turkish, Greek, Indic, Thai, Eastern European, and Korean. [Google] [More]  ⦿

Archaeological Fonts (by Bonneville Electronics)

The was a commercial site located in West Clinton, Utah, that was run by Scott T. Smith from Clinton, Utah. It had Mayan, hieroglyphs, cuneiform, Syriac, Etruscan, old Greek, old Hebrew and archeological fonts as well as Native American dingbats. [Google] [More]  ⦿

archaic
[Peter R. Wilson]

Peter R. Wilson's metafont code (2000-2005) for many archaic languages: Proto-Semitic (16bc), Phoenician (10bc), Greek (6bc), Greek (4bc), Etruscan (8bc), Futharc (Anglo-Saxon, 6ad), Hieroglyphics (30bc: the hieroglf provides a Metafont version of about 80 Egyptian hieroglyphs from Serge Rosmorduc's comprehensive hieroglyph package, see here for a type 1 version called Archaic-Poor-Mans-Hieroglyphs (2005)), Cypriot (9bc). Peter also developed metafont fonts for bookhands. The Archaic ollection contains fonts to represent Aramaic, Cypriot, Etruscan, Greek of the 6th and 4th centuries BCE, Egyptian hieroglyphics, Linear A, Linear B, Nabatean old Persian, the Phaistos disc, Phoenician, proto-Semitic, runic, South Arabian Ugaritic and Viking scripts. The bundle also includes a small font for use in phonetic transcription of the archaic writings. The bundle's own directory includes a font installation map file for the whole collection. The authors are Peter R. Wilson, Uwe Zimmermann and Apostolos Syropoulos. See here for the type 1 fonts Archaic-OandS (2005) and Archaic-OandS-Italic (2005). Here we find type 1 versions called Square-Capitals (2005) and Square-Capitals-Bold (2005). He also made the type 1 typefaces Archaic-Etruscan (2005), Archaic-Runic (2005) and Archaic-ProtoSemitic (2005). Further packages of type 1 and metafont fonts: Archaic-Aramaic (2005), South Arabian (2005, for the South Arabian script, in use for about 1000 years from roughly 600 BC; based on a metafont by Alan Stanier), Archaic-Linear-B (2005: a syllabary used in the Bronze Age (15bc) for writing Mycenaean Greek), Archaic-Nabatean (2005: the Nabatean script used in the Middle East between the fourth centuries BC and AD), Archaic-Old-Persian (2005: the Old Persian Cuneiform script in use between about 500 to 350 BC.), Archaic-Ugaritic-Cuneiform (2005: the Ugaritic Cuniform script in use about 1300 BC), Archaic-Cypriot (1999-2005). [Google] [More]  ⦿

Archäologie Online

Archive with some rune, medieval and Greek fonts. Alternate URL. [Google] [More]  ⦿

Archer Hutchinson

New York City-based creator of the dot matrix typefaces Disorient (2010) and Disorient Pixels (2010), both made with FontStruct. FontStruct link, where he publishes as Archer03.

In 2018, he designed the free all caps Greek font Inititiation Ritual. [Google] [More]  ⦿

Ardas 2001

Some Greek fonts. Page makes my browser crash. [Google] [More]  ⦿

Area Download

Free Georgian, Cyrillic, Greek, Armenian, Coptic and Gothic Truetype fonts. [Google] [More]  ⦿

Areopag.com

Victor Kalashnikov's Greek, Hebrew and Old Church Slavonic truetype font archive. Contains a few goodies such as the dingbats called FaithOrnaments (Proclaim Communications, 1994) and OldChurchSlavonic (Monotype). In all, about 100 Greek, Old Church Slavonic and Hebrew fonts. Among the Hebrew fonts, we find Moses Judaika, Pecan Sonc, and Gideon Medium. [Google] [More]  ⦿

Arev Fonts
[Stephen Schrenk]

Motivated by mathematical applications, the "Arev" set of fonts adds Greek, Cyrillic, Latin-A, and some Latin-B, and Symbol characters (music and math, mainly) to Bitstream's Vera fonts. Stephen Schrenk (whose nom de plume is Tavmjong Bah) created the Arev Sans font. The text accompanying the Arev Sans package is: The package arev provides virtual fonts and LaTeX packages for using Arev Sans. Arev Sans is a derivative of Bitstream Vera Sans created by Tavmjong Bah by adding support for Greek and Cyrillic characters. Bah also added a few variant letters that are more appropriate for mathematics. The primary purpose for using Arev Sans in LaTeX is presentations, particularly when using a computer projector. Arev Sans is quite readable for presentations, with large x-height, "open letters," wide spacing, and thick stems. The style is very similar to the SliTeX font lcmss, but heavier. Stephen Hartke converted Arev Sans to Type 1 format, and created the virtual fonts and packages for using Arev Sans in LaTeX. [Google] [More]  ⦿

Ari Rafaeli
[ARTypes]

[MyFonts] [More]  ⦿

Aria Kaloudi

Graphic designer in Athens, Greece, who designed the Latin / Greek decorative typefaces Raisa (2018) and Industria (2018). [Google] [More]  ⦿

Arial Unicode MS

Microsoft link for licensing. The font Arial Unicode MS is a full Unicode font, containing all of the approximately 40,000 alphabetical characters, ideographic characters, and symbols defined in the Unicode 2.1 standard. Arial was designed by Robin Nicholas and Patricia Saunders in 1982 for Agfa Monotype and was released as TrueType font in 1990. From 1993 to 1999, it was extended as Arial Unicode MS (with its first release as a TrueType font in 1998) by the following members of Monotype Typography's Monotype Type Drawing Office, under contract to Microsoft: Brian Allen, Evert Bloemsma, Jelle Bosma, Joshua Hadley, Wallace Ho, Kamal Mansour, Steve Matteson, and Thomas Rickner.

There is no italic version---only a regular and bold exist. Arial Unicode MS is normally distributed with Microsoft Office, but it is also bundled with Mac OS X v10.5 and later. It may also be purchased separately (as Arial Unicode) from Ascender Corporation (now absorbed by Monotype), who licenses the font from Microsoft.

Regarding the difference with ordinary Arial, we read this technical explanation on Wikipedia: When rendered with the same engine and without making adjustments for the different font metrics, the glyphs that appear in both Arial and Arial Unicode MS appear to be slightly wider, and thus rounder, in Arial Unicode MS. Horizontal text may also appear to have more inter-line spacing in Arial Unicode MS. This is due to larger bounding boxes (Arial Unicode MS needs more room for some of its extended glyphs) and the limitations of renderers, not changes in the glyph shapes. The lack of kerning pairs in Arial Unicode MS may also affect inter-glyph spacing in some renderers (for example the Adobe Flash Player). Arial Unicode MS also includes Hebrew glyphs different from the Hebrew glyphs found in Arial. They are based on the shapes of the Hebrew glyphs in Tahoma, but are adjusted to the weight, proportions and style of Arial. [Google] [More]  ⦿

Armtype
[Edik Ghabuzyan]

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

He created (free) Armenian extensions of Microsoft's Tahoma, GHEA Tahoma (Regular, Bold), in 1996. His winning entries in Granshan 2009 include Aragast (for Cyrillic), Asparez, Parmani, Notgrir, and Diana.

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

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

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

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

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

Arno Teigseth

Designer in 2008 of WtDoWtlibraryDocMarkup02, WtFoSerifBook, WtGrGrecianBook (Greek), WtHeFrankRihellBook, WtOnOrnament, WtUDiZapfDinItcL. These fonts are seemingly unfinished. [Google] [More]  ⦿

Arquivos para baixar

Greek, Hebrew, Ugaritic and Meroitic font archive. [Google] [More]  ⦿

Art City
[Daniel Bak]

Artcity is a digital type foundry and lettering studio based in Legionowa, Poland. Artcity specializes in designing fonts for comic books and books for children. The principal, Daniel Bak, is the Warsaw, Poland-based designer of the free monoline signage typeface Sweet Melody (2012). In 2014, Sweet Melody became a commercial typeface. He also designed the comic book typefaces Wormtongue, Fatality, Uzurpator (2014) and Angry Ronin (2014), the hand-printed typeface Danny, the techno typeface Technikolor (2014), the poster typeface Jeffs Garage, the Latin/Cyrillic children's book font family Zira (2014), and the Latin / Cyrillic / Greek children's book typeface Cornelius (2014).

In 2018, he published Baobab.

Typefaces from 2022: Handcraft (a scrapbook script).

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

Art Gorbunov (or: Gorbunov Bureau)

Studio in Moscow set up in 2007. Their typefaces:

  • Bureauserif (2015-2016). A text typeface family by Ksenija Belobrova. The Greek part was done by Anna Danilova.
  • Bureausign (2015-2016). Anna Danilova's splendid Latin / Cyrillic wayfinding font family.
  • Envy (2016). A number font by Anna Danilova for Envy Car Rental.
  • Galochki (or: Checkmarks). Done in 2013 by Ksenia Belobrova.
  • Lavish Shoestring (2016). A monoline script by Misha (Michael) Nozik.
  • Mary Trufel (2016). A hand-printed typeface by Anna Danilova.
  • Olimpiada (2018). By Anna Danilova (and Michael Nozik) for olimpiada.ru. This sans typeface is based on the wayfinding font Bureausign.
  • Voltaire (2015, Ksenia Belobrova). A script typeface based on illustrations in one of Voltaire's books from 1734. Voltaire covers Latin and Cyrillic.
[Google] [More]  ⦿

Artegra
[Ceyhun Birinci]

Type designer in Antalya (or Istanbul), Turkey, who studied graphic design at Marmara University. Creator of the rounded organic sans typeface family Primus (2012-2015) and of the basic geometric sans typeface family Genius (2013-2015).

In 2017, he designed the 162-style geometric sans typeface family Artegra Sans, which covers Latin, Greek and Cyrillic. He added the 54-font family Artegra Slab later in 2017. Near the end of 2017, he designed the squarish Latin typeface Kufica, which is based on the Arabic kufic style.

Typefaces from 2018: Millard (a transitional typeface family), Caldina (a rounded sans family), Suprema (geometric sans in 14 styles; it features horizontal and vertical terminal cuts).

Typefaces from 2020: Dexa Pro (a 72-style workhorse sans), Artegra Soft, Habanera (a semi-geometric sans family with Outline and Rounded subfamilies).

Typefaces from 2021: Dexa Round (an 18-style rounded sans family), Anatolian (a 12-style octagonal slab serif), Procerus (an 18-style ultra-compressed movie credit font family).

Fontspring link. Behance link. . Home page of Ceyhun Birinci. Fontspring link. Fontsquirrel link. Behance link for Artegra Type. [Google] [MyFonts] [More]  ⦿

Artemis Panousieri

During her MA studies in Athens, Greece, Artemis Panousieri created the free handcrafted Greek typeface Ntari Ntari (2015; with Elisabet Sklabou). [Google] [More]  ⦿

ARTypes
[Ari Rafaeli]

ARTypes is based in Chicago, and is run by Ari Rafaeli. List of their typefaces categorized by revival type:

  • Hermann Eidenbenz: Graphique (1946) now called Graphique AR, a shadow face.
  • Jan van Krimpen (Enschedé) revivals: Romulus Kapitalen (1931), Romulus Open (1936), Curwen Initials (Van Krimpen did these in 1925 for The Curwen Press at Plaistow, London), and Open Kapitalen (1928).
  • Jacques-François Rosart: Rosart811, a decorative initial typeface that is a digital version of the 2-line great primer letters cut by J. F. Rosart for Izaak&Johannes Enschedé in 1759 (Enschedé no. 811).
  • Stephenson Blake revivals: Borders, Parisian Ronde.
  • Rudolf Koch (Klingspor) revivals: Holla, Koch-Antiqua-Kursiv Zierbuchstaben, Maximilian-Antiqua, Neuland 24pt.
  • Bernard Naudin (Deberny&Peignot) revival: Le Champlevé.
  • W. F. Kemper (Ludwig&Mayer) revival: Colonia. P.H. Raedisch: Lutetia Open (2007) is based on the 48-pt Lutetia capitals engraved by P. H. Raedisch under the direction of Jan van Krimpen for Enschedé in 1928.
  • Richard Austin: Fry's Ornamented (2007) is a revival of Ornamented No. 2 which was cut by Richard Austin for Dr. Edmund Fry in 1796. Stephenson, Blake&Co. acquired the type in 1905, and in 1948 they issued fonts in 30-pt (the size of the original design), 36-, 48- and 60-pt.
  • Max Caflisch (Bauer) revival: Columna.
  • Elisabeth Friedlaender (Bauer) revivals: Elisabeth-Antiqua, Elisabeth-Kursiv (and swash letters). Linotype Friedlaender borders.
  • Herbert Thannhaeuser (Typoart) revival: Erler-Versalien.
  • O. Menhart (Grafotechna) revivals: Manuscript Grazhdanka (cyrillic), Figural, Figural Italic (and swash letters). Also, Grafotechna ornaments (maybe not by Menhart).
  • Hiero Rhode (Johannes Wagner) revival: Hiero-Rhode-Antiqua (2007).
  • F. H. E. Schneidler (Bauer) revival: Legende.
  • Herbert Post revival: Post-Antiqua swash letters.
  • Georg Trump (Weber) revivals: Trump swash letters, Trump-Gravur (called Gravur AR now). The outline caps typeface Forum I-AR is derived from the Forum I type designed by Georg Trump (1948, C. E. Weber). Signum AR-A and Signum AR-B (2011) are based on Trump's Signum (1955, C.E. Weber). Palomba AR (2011) is based on Trump's angular calligraphic typeface Palomba (1954-1955, C.E. Weber). Amati AR (2011) is based on a Georg Trump design from 1953.
  • Hermann Zapf revival: Stempel astrological signs.
  • F.H. Ernst Schneidler: Zentenar Initialen is based on the initials designed by Prof. F. H. E. Schneidler, ca. 1937, for his Zentenar-Fraktur types.
  • Isaac Moore: Old Face Open (Fry's Shaded) is a decorative Baskerville which was probably cut by Isaac Moore for Fry ca. 1788. A revival was issued in eight sizes by Stephenson Blake in 1928.
  • Border units and ornaments: Amsterdam Apollo borders, Gracia dashes, Primula ornaments, Bauer Bernhard Curves, Weiß-Schmuck, Curwen Press Flowers, Klingspor Cocktail-Schmuck, Nebiolo fregi di contorno, Attika borders, English (swelled) rules, Künstler-Linien, an-Schmuck, Primavera-Schmuck.
  • Freie Initialen are derived from initials made for the Stempel Garamond series. The type was issued in 1928 in three sizes (36, 48, and 60 pt); the AR version follows the 60-pt design.
  • Initiales Grecques, based on Firmin Didot's design, ca. 1800.
  • Emil A. Neukomm revivals: Bravo AR (2007; originally 1945).
  • Ernst Bentele revivals: Bentele-Unziale (2007).
  • Joseph Gillé: Initiales ombrées (2007) is based on Gillé's original all caps typeface from 1828.
  • Maria-Ballé-Initials (2007), after an original font from Bauersche Giesserei.
  • Raffia Initials (1952, Henk Krijger): revived by ARTypes in 2008 as Raffia.
  • Ornaments 1 AR (2010): from designs from 18th and 19th century typefounders that were ancestors of the Stephenson Blake foundry.
  • Ornaments 2 AR (2010): Ornaments 2 contains designs for the Fanfare Press by Berthold Wolpe (1939) and for the Kynoch Press by Tirzah Garwood (ca. 1927).
  • Ornaments 3 AR (2010): based on designs by Bernard Naudin for Deberny et Peignot, c. 1924; and ornaments based on designs by Oldrich Menhart, Karel Svolinsky and Jaroslav Slab for the state printing office of Czechoslovakia and Grafotechna.
  • Ornaments 4 AR (2010): based on the Amsterdam Apollo and Gracia ornaments and the Amsterdam Crous-Vidal dashes (designed by Crous-Vidal).
  • Ornaments 5 AR (2010): based on the Amsterdam Primula ornaments designed by Imre Reiner, 1949.
  • Ornaments 6 AR (2010): based on designs for the Curwen Press by Edward Bawden and Percy Smith.
  • Yü Bing-nan revival: Freundschafts-Antiqua AR (2010). Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed in 1962 by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960.
  • Sans Serif Inline (2011). Based on the 36-point design of the Amsterdam Nobel Inline capitals (1931).
  • Hildegard Korger revivals: Typoskript AR (2010) is based on a metal type which was produced in 1968 by VEB Typoart, Dresden, from a design of the German calligrapher and lettering artist Hildegard Korger.
  • Hans Kühne revival: Kuehne-Antiqua AR (2010) revives a Basque typeface by Hans Kühne.
  • The Troyer AR ornaments (2010) are based on the first series of ornaments designed for American Type Founders by Johannes Troyer in 1953.
  • The Happy Christmas font (2011) is a snowflake font that is based on designs by Amsterdam and Haas, c. 1950. December Ornaments (2011) contains the 36 Amsterdam designs which were originally issued in 24 and 36 point.
  • Walter Diethelm: Diethelm AR (2011) revives Walter Diethelm's Diethelm Antiqua (1948-1951, Haas).
  • Walter Brudi revivals: Pan AR (2010, based on a 1957 font by Brudi).
  • Hermecito (2013) is a 46-style type system based on an angular serif. It covers Cyrillic, Latin, Greek and several other scripts. Besides being eminently readable, it also has extensive coverage of mathematical and phonetic symbols. Renzo (2013) is along the same lines but with sharpened serifs.
  • Spiral (2014) is a revival of a typeface called Spiral designed by Joseph Blumenthal and cut bu Louis Hoell in 1930. In 1936, Monotype reissued that type as Emerson 320.
  • Custom typefaces include Fabrizio (2016), a classical serif typeface family for Hebrew, Latin, Cyrillic and Greek, with hints of Garamond and Caslon. Ari writes that Fabrizio made its first appearance in Saggi di Letteratura Italiana: Da Dante per Pirandello a Orazio Costa, by Lucilla Bonavita, printed at Pisa in March 2016 by Fabrizio Serra Editore for whom the type was specially designed.
MyFonts link.

View the typefaces made by Ari Rafaeli / ARTypes. [Google] [MyFonts] [More]  ⦿

As Symbols

Greek outfit which made Byzantine (2000), a Greek font that can be downloaded here. [Google] [More]  ⦿

Ascender Corporation

Elk Grove Village, IL-based company established in 2004, which specializes in font development, licensing and IP protection. It rose from the ashes of a major fire at Agfa/Monotype at the end of 2003. Its founders are Steve Matteson (type designer, formerly with Agfa/Monotype), Thomas Rickner (of Microsoft fame, where he hinted many Microsoft families), Ira Mirochnick (founder and President of Monotype Typography Inc in 1989 (where he was until 2000) and a Senior Vice President and director of Agfa Monotype Corporation (2000-2003), a self-proclaimed expert in font licensing issues and IP protection), and Bill Davis (most recently the Vice President of Marketing for Agfa Monotype). Also included in this group are Josh Hadley, Brian Kraimer, Jim Ford (since 2005), and Jeff Finger (as Chief Research Scientist, since 2006). On December 8, 2010, Ascender was acquired by Monotype for 10.2 million dollars.

Their typefaces include Endurance (2004, Steve Matteson, an "industrial strength" Grotesk designed to compete with Helvetica and Arial; it supports Greek, Cyrillic and East European languages).

In April 2005, Ascender announced that it would start selling the Microsoft font collection, which is possibly their most popular collection to date. They also started selling and licensing IBM's Heisei family of Japanese fonts in April 2005: Heisei Kaku Gothic, Heisei Maru Gothic and Heisei Mincho. Ascender's version of the CJK font Heiti is called ASC Heiti. Also in 2005, they started distributing Y&Y's Lucida family.

In October 2005, Ascender announced the development of Convection, a font used for Xbox 360 video games. Their South Asian fonts cover Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil and Telugu, and include Ascender Uni, Ascender UniDuo and Arial Unicode for general use across all Indic languages, and, in particular, the Microsoft fonts Vrinda (Bengali), Mangal (Devanagari), Shruti (Gujarati), Raavi (Gurmukhi), Tunga (Kannada), Kartika (Malayalam), Latha (Tamil) and Gautami (Telugu). Khmer SBBIC (2011) is a Khmer font at Open Font Library.

It does more type trading and licensing than type creation, although Steve Matteson has contributed fairly well to their new typefaces. Their brand value took a hit when they started selling scrapbook, handwriting and wedding fonts under the name FontMarketplace.com.

Recent contributions: Crestwood (2006, a house face, possibly by Steve Matteson) is an updated version of an elegant semi-formal script typeface originally released by the Ludlow Type Foundry in 1937.

In 2009, they started a subpage called GoudyFonts.Com to sell their Goudy revivals.

In 2010, they announced a new collection of OpenType fonts created specifically for use in Microsoft Office 2010: Comic Sans 2010 (including new italic and bold italic fonts), Trebuchet 2010 (including new black&black italic fonts), Impact 2010, Pokerface 2010, Rebekah 2010 and Rebus Script 2010. Ligatures in Comic Sans?

New releases.

View Ascender's typefaces. [Google] [MyFonts] [More]  ⦿

Athenian Font
[Jeffrey Rusten]

"TrueType "Athenian" is part of GreekKeys, the Macintosh/Windows font + keyboard package designed by George B. Walsh and Jeffrey Rusten, and owned by the American Philological Association. The font contains all common ancient Greek (polytonic) accents and symbols; it is to be used on Macintosh and Windows (3.1 or 95) for READING Classical Greek with Perseus (on the Web page or the CD version) and in other publicly available ancient Greek texts." This font is free. Walsh died, but Jeffrey Rusten was at Emory University, Atlanta, and is now at Cornell University. See also here. Alternate site. Mac and PC. Mac version. Another Mac version. IMPORTANT NOTE: The font was withdrawn by Jeffrey Rusten, so PLEASE do not bother him. The present link still has the font, but Rusten asked me to ask you not to use the font. [Google] [More]  ⦿

AthenMacGr

AthenMacGr is freeware for MacOS X written by Julian A. Salort from Marseille. On this page, you can download the Mac version of Athenian. [Google] [More]  ⦿

Athens School of Fine Arts

From Natasha Raissaki's web page: The Athens School of Fine Arts has reopened its historic printing workshop. The workshop was initially founded by Yiannis Kefallinos the engraver, teacher and founder of the engraving course at the Athens School of Fine Arts in 1939, but after his death in 1959 the course and its premises had ceased to operate. In 2004, the printing workshop was refurbished and all its typographic equipment (metal types, typecases, presses etc.) were restored through the copious efforts of Professor Leoni Vidali and her team. This academic year [2005-2006] is open to students as a two-year lab course, during which they will be taught hand type setting and page layout which they will complete with traditional or digital methods. [Google] [More]  ⦿

Athina Konstiantou

Athina Konstiantou (Athens, Greece) took inspiration from the De Stijl movement, and in particular, Piet Mondrian, when she created the typeface Mondrian in 2015. [Google] [More]  ⦿

Atypical
[George Triantafyllakos]

George Triantafyllakos was born in Thessaloniki, Greece, in 1980. In 2004, he was a PhD student, Department of Informatics, Aristotle University of Thessaloniki. Founder, with Manolis Pratsinakis, of Backpacker. He set up the independent foundry Atypical.

His typefaces at Atypical: Atypical (2014), Burger (2014), Cornelius (2014, art deco), Direct (2014, sans), Donmeh (2016), Friday (2014), JoyD (2015, flared and lapidary), Marx in France (2014), Marx in USA (2014, condensed fashion mag style with teardrops), Monotonous (2014, monoline and monospaced), PhD (2014, squarish), Slab (2014), Vs (2017), Walter (2014, art deco, with Hollow and Stencil styles, and a possibility of layering with patterns).

At the open source type foundry Velvetyne, he added the Greek chracters to Lucas Le Bihan's Sporting Grotesque (2016).

Dafont link. Fontsquirrel link. Klingspor link. Kernest link. iFontMaker link. Cannibal Fonts link. Velvetyne Type Foundry link. [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]  ⦿

Avenir Next World

The original Avenir typeface was designed by Adrian Frutiger in 1988. Unlike Futura, which has partially colored Avenir, Avenir is not purely geometric---it has vertical strokes that are thicker than the horizontals and a lower case o that is not a perfect circle. And just as most fonts from the 1980s, Avenir has shortened ascenders. These nuances aid in legibility but the small x-height makes it less elegant.

In 2012, Akira Kobayashi worked alongside Adrian Frutiger on Avenir Next. Akira kept expanding Avenir to cover more languages. Avenir Next World family, released by Linotype in 2021, is an expansive family of fonts that offers support for more than 150 languages and scripts. The subfamilies include Avenir Next Hebrew, Avenir Next Thai, Avenir Next Cyrillic, Avenir Next Arabic and Avenir Next Georgian. Avenir Next World contains 10 weights, from UltraLight to Heavy.

Contributors besides Adrian Frutiger and Akira Kobayashi: Anuthin Wongsunkakon (Thai), Yanek Iontef (Hebrew), Akaki Razmadze (Georgian), Nadine Chahine (Arabic), Toshi Omagari (Arabic) and Elena Papassissa (Greek, Armenian). See also Avenir Next Paneuropean (2021; 56 styles; by Akira Kobayashi). [Google] [MyFonts] [More]  ⦿

Avi Fonts
[Panayotis Katsaloulis]

The Avi Fonts were made for a Greek company located in Athens, called Aviette or Avisoft. This free set of multi-accented Latin/Greek fonts is available since 2004-2005 with Debian Linux: AVI-BonatiPT-Bold, AVI-BonatiPT-BoldItalic, AVI-BonatiPT-Italic, AVI-BonatiPT-Normal, AVI-Jacobs-Bold, AVI-Jacobs-BoldItalic, AVI-Jacobs-Italic, AVI-Jacobs-Normal, AVI-Optima-Bold, AVI-Optima-BoldItalic, AVI-Optima-Italic, AVI-Optima-Normal, AVI-OptimaCollege-Italic, AVI-OptimaCollege, AVI-ParisAifel-Medium, AVI-ParisAifel-MediumItalic. The authors are Atanasio, and Panayotis Katsaloulis. See also here. Panayotis Katsaloulis helped fixing Greek accents in the Greek Extended area in the GNU Freefont project: (U+1F00-U+1FFF). [Google] [More]  ⦿

Babis Touglis
[The Zyme]

[MyFonts] [More]  ⦿

Babylon Lingua

William Ramey's pages on Akkadian, Aramaic, Assyrian, Coptic, Cuneiform, Cyrillic, Egyptian, Greek, Hebrew, Hieroglyphics, Latin, Meroitic, Nahkt, Phoenician, Sumerian, and Ugaritic. [Google] [More]  ⦿

Backpacker
[George Triantafyllakos]

George Triantafyllakos was born in Thessaloniki, Greece, in 1980. In 2004, he was a PhD student, Department of Informatics, Aristotle University of Thessaloniki. Founder, with Manolis Pratsinakis, of Backpacker, where one can find free Latin and Greek typefaces: BPLatinNumerals, BPbigHead, BPchildLefty, BPchildFatty, BPchubby, BPchubbyFat, BPdots, BPilialena, BPletterSquares, BPletterSquaresWide, BPmolecules, BPmouse, BPmyhand, BPneon [paperclip face], BPpong [light stencil face], BPsquareHand, BPtall, BP PhD Sans, BP PhD Italic, BP PhD Mono, BP Inktrap, BP Script. These include quite a few handwriting typefaces. Commercial handwriting fonts at Cannibal (2001-2005): BPPallas, BPOlga, BPMaria, BPHaroula. In 2007, he added BP display black, BP mono and BP mono italics, and BP script. In 2008, BPreplay was created as a correction of MgOpenModata. Creations in 2009 and 2010: BPOApeloig, BPScript, BP Typewrite, BP Imperial (think Impact), BP Dots (30 monospaced dot fonts).

He set up the independent foundry Atypical.

Designer of TapeBold (2015, iFontMaker).

In 2016, he released the free all caps sans typeface Hellenica for Latin, Greek and Cyrillic.

In 2017 he participated in the team of designers who won the competition for the design of the new visual identity of the National Library of Greece (George D. Matthiopoulos, Dimitris Papazoglou, George Triantafyllakos and Axel Peemöller).

Fontsquirrel link. Kernest link. iFontMaker link. Cannibal Fonts link. [Google] [More]  ⦿

Banned Graphics
[Aimilios Galipis]

Thessaloniki-based designer of Romantica (2012), a grungy typeface for Latin and Greek. In 2013, he made Bad Font.

Behance link. [Google] [More]  ⦿

Barsik

WTLHebraica (1997), WtlHebrew, WtlGreek. Dead link. [Google] [More]  ⦿

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

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

The list of type designs:

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

Old URL. [Google] [More]  ⦿

Bayer Corp

A collection of fonts from Bayer Corp (1995): AlbertusExtraBoldW1, AlbertusMediumW1, AntiqueOliveW1, AntiqueOliveW1Bold, AntiqueOliveW1Italic, AvantGardeBook, AvantGardeBookOblique, AvantGardeDemi, AvantGardeDemiOblique, Bookman, BookmanDemi, BookmanDemiItalic, BookmanItalic, CGOmegaW1, CGOmegaW1Bold, CGOmegaW1BoldItalic, CGOmegaW1Italic, CGTimesW1, CGTimesW1Bold, CGTimesW1BoldItalic, CGTimesW1Italic, CenturySchlbkBold, CenturySchlbkBoldItalic, CenturySchlbkItalic, CenturySchlbkRoman, ClarendonCondensedW1Bold, CoronetW1Italic, GaramondW1Antiqua, GaramondW1Halbfett, GaramondW1Kursiv, GaramondW1KursivHalbfett, Helvetica-Narrow, Helvetica-NarrowBold, Helvetica-NarrowBoldItalic, Helvetica-NarrowItalic, Helvetica, HelveticaBlack, HelveticaBlackOblique, HelveticaBold, HelveticaBoldItalic, HelveticaItalic, HelveticaLight, HelveticaLightOblique, LetterGothicW1, LetterGothicW1Bold, LetterGothicW1Italic, MarigoldW1, PalatinoBold, PalatinoBoldItalic, PalatinoItalic, PalatinoRoman, UniversCondensedW1Bold, UniversCondensedW1BoldItalic, UniversCondensedW1Medium, UniversCondensedW1MediumItalic, UniversW1Bold, UniversW1BoldItalic, UniversW1Medium, UniversW1MediumItalic, ZapfChanceryMediumItalic, ZapfDingbats. See also here. Further fonts are here. Bayer's Courier families for Greek, East-European, Cyrillic, Turkish and Latin. Type 1 collection. All these fonts are in fact part of an old Lexmark printer package. [Google] [More]  ⦿

Becca Hirsbrunner Spalinger

American type designer who graduated from the MATD program at the University of Reading in 2015. Her graduation typeface was Etincelle, which was designed with long ascenders and descenders to better blend with the deep swashes of a specific style of Arabic used for Ajami languages in northern Nigeria and southern Niger. In addition to Arabic, Etincelle currently includes Greek, Cyrillic, and extended Latin characters. Etincelle Arabic Bold is the first attempt at a typeface design based on handwritten manuscripts from Nigeria, in a style of writing called Rubutun Kano by the speakers of the Hausa language.

Becca is affiliated with SIL International, where she was involved in the following projects:

  • Gentium. This famous free typeface supports a wide range of Latin-based alphabets and includes glyphs that correspond to all the Latin ranges of Unicode. Gentium Plus supports a wide range of Latin, Greek and Cyrillic characters. It was developed between 2003 and 2014 by J. Victor Gaultney (main designer), Annie Olsen, Iska Routamaa, and Becca Hirsbrunner. CTAN download link.
  • In 2011-2012, George Nuss designed the Arabic typeface Fouta for the Guinean community. This was at the basis of the free font Harmattan (2015, Becca Hirsbrunner and Iska Routamaa at SIL International; Google Font link). SIL explains: Harmattan, named after the trade winds that blow during the winter in West Africa, is designed in a Warsh style to suit the needs of languages using the Arabic script in West Africa. The font does not cover the full Unicode Arabic repertoire. It only supports characters known to be used by languages in West Africa. This font provides a simplified rendering of Arabic script, using basic connecting glyphs but not including a wide variety of additional ligatures or contextual alternates (only the required lam-alef ligatures.) This simplified style is often preferred for clarity, especially in non-Arabic languages, but may be considered unattractive in more traditional and literate communities.
  • Alkalami (2015-2017, SIL): Alkalami is designed for Arabic-based writing systems in the Kano region of Nigeria and Niger. Alkalami is the local word for the Arabic "qalam", a type of sharpened stick used for writing on wooden boards in the Kano region of Nigeria and in Niger, and what gives the style its distinct appearance. The baseline stroke is very thick and solid. This style of writing African ajami has sometimes been called Sudani Kufi or Rubutun Kano.
[Google] [More]  ⦿

Belleve Invis
[Renzhi Li]

Programmer and font technologist in Hefei, China. He wrote a parametric program that can create fonts. His first adventure is the gorgeous (monoline monospaced) programming font Iosevka (2015), which is completely free: for the source code, see Github. It has 7 weights and 6 styles and is entirely programmed. Belleve says that he was inspired by Pragmata Pro, M+ and PF DIN Mono. Github link to the releases. The font covers Latin, Greek and Cyrillic, and is narrower than many fonts in order to be compatible with CJK characters. A tour de force that deserves an award. The 27-style Iosevka Extended was released in 2020. Jozsika (2015-2017) is a customized version of Iosevka Curly. Github link. Aardvark Sans (2020) by a mystery author is also based on Iosevka.

In 2019, he released the free semi-monospaced font Zapus Sans. It is based on his earlier typeface Iosevka Aile.

Sarasa Gothic (2020) is a CJK programming font based on Iosevka and Source Han Sans.

Github link. [Google] [More]  ⦿

Ben Bold
[Bold Studio (was: Studio BB)]

[MyFonts] [More]  ⦿

Ben Harris

Designer of the multistyle free monospaced octagonal and pixel font family Bedstead (2017), covering, Latin, Greek, Cyrillic, Hebrew, mathematics, and a slew of other things. He explains: Bedstead is an outline font based on the characters produced by the Mullard SAA5050 series of Teletext Character Generators. The SAA5050 is familiar to those of a certain age as the chip that produced the MODE 7 display on the BBC Microcomputer. It generates characters from a 5x9 pixel matrix, smoothing diagonal lines to produce an interlaced 10x18 matrix for each character. Bedstead extends that algorithm to continuity, converting a 5x9 pixel grid into an outline with smooth diagonals. [Google] [More]  ⦿

Ben Jones
[Protimient.com]

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Ben Kiel

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

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

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

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

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

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

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

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

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

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

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

Beopho Choi

Type designer associated with Heumm Design in North Korea.

Typefaces from 2021: HU Blackout (a blocky sans; for Latin, Greek and Cyrillic), HU Garaetteok (a rounded headline sans), HU Mois (a handwriting typeface by Yehyeong Lee and Beopho Choi; Latin, Greek and Cyrillic), HU Kinderland (a fat finger font by SangHyeon Park and Beopho Choi). [Google] [MyFonts] [More]  ⦿

Bet HaShem Midrash

Designer in New Haven, IN, of these free fonts: EarlyAramaic, Greek-Plain, Jerusalem-Linux (1991-2002, The Zondervan Corporation), NacharQuwah (2005, for Aramaic), PaleoBora-Light. [Google] [More]  ⦿

Bianca Berning

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

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

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

Bible Study Tools

BST Greek, BST Hebrew fonts. Free, Mac and PC. [Google] [More]  ⦿

Bible Works Fonts
[Michael S. Bushell]

Free original fonts, bwgrkl, bwgrkn, bwhebb, for Greek and Hebrew. Postscript and truetype. Other fonts include BWVIET, BWEESS, BWEETI, and BYSYMBOL. Check also Maranatha Church. Alternate URL. Alternate URL. Yet another URL. [Google] [More]  ⦿

Bigelow&Holmes
[Charles Bigelow]

Bigelow&Holmes was founded by Charles Bigelow and Kris Holmes. Charles Bigelow (b. 1945, Detroit) is a type designer and teacher, who runs his own studio, Bigelow&Holmes. Bigelow was a colleague of Donald Knuth at Stanford University when Knuth developed his Computer Modern typeface family for TeX. In mid-2006, Bigelow accepted the Melbert B. Cary Distinguished Professorship at Rochester Institute of Technology's School of Print Media. Before that, he taught at Stanford University, Rhode Island School of Design, and other institutions. Typefaces designed by Bigelow:

  • The Lucida family (1985). Lucida is used in several scientific publications such as Scientific American. Its origins go back to Computer Modern. I find it more appropriate for screens than paper, but that is just a personal view. The Lucida family contains LucidaConsole (1993), LucidaSansTypewriter (1991), LucidaFax, LucidaCalligraphy, LucidaBright, Lucida Blackletter (1991, a bastarda) and Lucida Handwriting. It has been recently expanded to comply with the Unicode Standard, and includes non-Latin scripts such as Cyrillic, Greek, Arabic and Hebrew. Charles Bigelow created the font families Lucida Math (with Kris Holmes, 1993), Lucida Sans (with Kris Holmes, 1985), Lucida Typewriter Sans (with Kris Holmes, 1985) and Lucida Serif (with Kris Holmes, 1993). The paper by Charles Bigelow and Kris Holmes, The design of a Unicode font (Electronic Publishing, 1993, pp.289-305), explains the design issues such as letter heights, readability studies, and typeface designs for readers versus non-readers of the various scripts.
  • Syntax Phonetic.
  • Leviathan (1979).
  • Apple Chicago (1991), Apple Geneva (1991).
  • Microsoft Wingdings (1992).
  • For the Go Project, Kris Holmes and Charles Bigelow designed the free typeface families Go Sans and Go Mono in 2016. The font family, called Go (naturally), includes proportional- and fixed-width faces in normal, bold, and italic renderings. The fonts have been tested for technical uses, particularly programming. These fonts are humanist in nature (grotesques being slightly less legible according to recent research) and have an x-height a few percentage points above that of Helvetica or Arial, again to enhance legibility. The name Go refers to the Go Programming Language. CTAN link.
Ascender link. Wikipedia link. FontShop link. Klingspor link. Font Squirrel link. Ascender link. Lucida Fonts is a dedicated commercial site. [Google] [MyFonts] [More]  ⦿

Bitstream Cyberbit

From Bitstream's web page: "Bitstream Cyberbit is our award-winning international font. Based on one of our most popular and readable type designs (Dutch 801 BT [note: Bitstream's version of Times and Times New Roman]), it includes all the typographic characters for most of the world's major languages. Cyberbit is now available! The product release includes the roman weight of Dutch 801 BT, a "serif" font. (A serif font has small finishing strokes at the end of the main stems, arms, and tails of characters, while a sanserif font does not.) The font is in TrueType format for Windows 95 and Windows NT. Future releases will provide support for "sanserif" typefaces, other platforms, other font formats, and even more languages. Bitstream Cyberbit is a work in progress. Bitstream is now distributing the roman weight of Cyberbit, free of charge, over the Internet! Remember, this release is in TrueType format for Windows 95 and Windows NT". --- Well, Bitstream no longer offers the font. It is still out there however. Try here, here, here, or here. Has these unicode ranges: Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, Spacing Modifier Letters, Greek, Cyrillic, Hebrew Extended (A and B blocks combined), Thai, Latin Extended Additional, General Punctuation, Currency Symbols, Letterlike Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Box Drawing, Block Elements, Geometric Shapes, Miscellaneous Dingbats, Alphabetic Presentation Forms, Combining Diacritical Marks, Enclosed Alphanumerics, Arabic, Arabic Presentation Forms-A and -B, CJK (Chinese, Japanese, Korean) Symbols and Punctuation, Hiragana, Katakana, Bopomofo, Hangul Compatibility Jamo, Enclosed CJK Letters and Months, CJK Compatibility, Hangul, CJK Unified Ideographs, CJK Compatibility Ideographs, CJK Compatibility Forms, Small Form Variants, and Halfwidth and Fullwidth Forms. [Google] [More]  ⦿

Blancoletters
[Juan Luis Blanco]

Juan Luis Blanco is a graphic designer, type designer and calligrapher based in Zumaia in the heart of the Basque country. Since 1993, he works as a freelancer graphic designer. In 2013, he obtained an MA in Typeface Design from the University of Reading. Currently he combines calligraphy classes and graphic design with typographic projects that focus on Basque lettering as well as multi script typefaces involving the Latin, Arabic and Tifinagh alphabets.

For his graduation work in the Masters of Type Design program of the University of Reading, Juan Luis Blanco (Spain) created the Latin, Greek, Cyrillic, Tifinagh, Arabic typeface family Amaikha (2014). Amaikha is characterized by Latin warmth and roundness.

A list of his typefaces:

  • Akaya Telivigala/Kanadaka. Blanco writes: Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts designed in collaboration with Vaishnavi Murthy (Bangalore, India). Akaya Telivigala and Akaya Kanadaka are made as two separate font files which share a common Latin. Github link. i Google Fonts link for Kanadaka. Google fonts link for Telivigala.
  • Amaikha (2014). His graduation typeface from the University of Reading.
  • Harri (2016, Type-o-Tones). A display font based on the peculiar letter forms used in signs and fascias all over the Basque Country. The letterforms can be traced back to romanesque inscriptions. Harri (stone, in Basque) is an all-caps typeface, and must be ranked as one of the greatest digital typefaces that capture the Basque soul. In 2020, it was republished at Blancoletters. Later in 2020, Harri Text was added. See also Harri text at Type Network.
  • Ingeo (2021). A 9-style geometric sans that oozes confidence and style, and has a senate seat thanks to its pharaonic lower case g.
  • Karela (2017). A humanist slab serif.
  • Qandus (2017), a multiscript typeface co-designed with Kristyan Sarkis and Laura Meseguer. It won a TDC Certificate of Typographic Excellence in 2017. Qandus covers Arabic, Latin and Tifinagh.
  • Tuqbal Pro (2015-2019, by Andreu Balius and Juan Luis Blanco). Tubqal Pro is a tri-script type family based on its previous Tubqal typeface commissioned by the Khatt Foundation as part of the Typographic Matchmaking in the Maghrib 3.0, the 3rd edition of the multi-script typographic research project of the Khatt Foundation. It includes Latin, Arabic (+Farsi) and Tifinagh (for the Tifinagh based languages: Tamazight (Central Atlas), Kabyle, Tamazight (Standard Moroccan), Tachawit, Tachelhit, Tagdal, Tamahaq, Tahaggart, Tamasheq, Tarifit, Tamajaq, Tawallammat, Tamajeq, Tayart, Tumzabt, Zenaga).

Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Laura Meseguer 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. [Google] [MyFonts] [More]  ⦿

Bob Studio

Bob is an independent design studio based in Athens. They designed the Greek grotesk display typeface Koukaki (2012). Behance link. [Google] [More]  ⦿

Bogdan Balatchi
[DePlictis Type (was: ESS Fonts)]

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Bogz Designs

Athens, Greece-based designer of the dry brush typeface Fontastic (2017). Behance link. Graphicriver link. [Google] [More]  ⦿

Bold Monday
[Pieter van Rosmalen]

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

In 2018, Bold Monday joined The Type Network.

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

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

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

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

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

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

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

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

Logo.

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

Bold Studio (was: Studio BB)
[Ben Bold]

Lake Konstanz, Germany-based designer of these typefaces:

  • The pixel typeface BB Bitmap (2008, for a rock band).
  • The BB Roller Mono Pro typeface family (2013-2017, +Text, +TextSoft +Headline, +HeadlineSoft).
  • The octagonal typeface system BB Strata (2015-2018). See also BB Strata Pro (2019).
  • BBT Series 2011-2014: Various contributions, including numerals, for clock typography.
  • BB Studio Pro (2013-2017). A sans family, with Greek, Cyrillic, Mono and Stencil substyles. See also BB Studio Round Pro (2013-2017).
  • BB Torsos Pro (2019). Based on the shape and proportion of the human body. Interpolations between styles are mathematically precise and innovative.
  • Noname Pro (2019).
  • BB Manual Mono Pro (2020). At 60 fonts, probably the largest monospaced typeface in the world in 2020. The glyphs are organic, monowidth and simple.
  • BB Anonym Pro (2020). A rounded version of Noname (2019).
  • BB Casual Pro (2020). A 34-style sans.
[Google] [MyFonts] [More]  ⦿

Borutta (or: Duce Type)
[Mateusz Machalski]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Borys Kosmynka

Freelance graphic and type designer in Lodz, Poland. He cooperates with the Book Art Museum (which stores the legacy of Polish typography) to revive the spirit of letterpress printing and digitize old type. Speaker at ATypI 2017 in Montreal.

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

Graduate of the MATD program at the University of Reading, class of 2019. His graduation typeface, Pactio, is a multi-script typeface family, intended for printing long text passages. It was created with small to medium size printing in mind. The Pactio family consists of six weights each for Latin, Cyrillic, and Arabic.

In 2020, the team at Capitalics in Warsaw, namely Mateusz Machalski, Borys Kosmynka and Ania Wielunska, revived Adam Poltawski's Antykwa Poltawskiego (1928-1931) as Poltawski Nowy (2020). [Google] [More]  ⦿

Botio Nikoltchev
[Lettersoup]

[MyFonts] [More]  ⦿

Branding with Type
[Alberto Romanos]

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

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

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

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

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

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

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

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

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

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

Bretagne Type Foundry
[Lucas Le Bihan]

French graphic and type designer who studied at Ecole Estienne, class of 2016. After graduation, he worked with Raphael Bastide and Large. A frequent contributor to Velvetyne, he set up Bretagne Type Foundry in 2016.

Creator of the vintage typeface Nanook (2015, free at Open Font Library; see also Github). Nanook is based upon lettering of Robert Flahert's documentary, Nanook of The North. He also was involved in the creation of the transitional curveless typeface Avara Two (2013). Originally developed by Raphaël Bastide, it was later adjusted by Wei Huang and Lucas Le Bihan. In 2020, Lucas Le Bihan and Jean-Baptiste Morizot co-designed Karrik (Velvetyne), a vernacular sans.

Typefaces at Bretagne Type Foundry:

  • The free contrast-rich sans typeface Sporting Grotesque (2015, Velvetyne link; Open Font Library link; Greek support by George Triantafyllakos). Updated in 2021.
  • Happy Times At The IKOB (2016), Free at Open Font Library.
  • Self Modern (2018). A thin text typeface.
  • Cucina. A connected script typeface.
  • Résidence (2016).

Fontsquirrel link. [Google] [More]  ⦿

Brett T. Johnson
[Simeon out West Foundry]

[MyFonts] [More]  ⦿

Brian Hamilton Kelly

Designer of a metafont family of Greek fonts based on Knuth's Greek characters in the CM fonts. Kelly's fonts come in roman, bold, italic, and typewritter typefaces, but they lack accents and breathing marks, so they are not suitable for use with ancient Greek text. [Google] [More]  ⦿

Brian Jongseong Park

Seoul-based designer who is working on the serif typefaces Naxia (2007, Greek) and Dobong (2006). He created Dobong (2006), which covers Latin, Greek, Cyrillic and Hangul. [Google] [More]  ⦿

Bridge Postcard Collector's

Truetype download: CourierNewPSMT (East-European font by Monotype), HellasCour (Greek font by Pouliadis Associates, 1992), VPS-Courier-Hoa (VPS font: Vietnamese), VPS-Courier (VPS font: Vietnamese). [Google] [More]  ⦿

Brill
[John Hudson]

E.J.Brill is an academic publisher in Leiden, The Netherlands. In 1989, DecoType produced the first ever computer-typeset Persian and English dictionary for them. In 2009, Brill has resumed its 325 year old tradition of Arabo-Dutch typography by adapting Tasmeem for its Arabic texts. In 2008, Brill commissioned John Hudson to make a text face. Hudson's PDF explains how Brill had been working mostly with Baskerville, so the new Brill typeface is also transitional, but narrower, resulting in savings of paper. Greek and Cyrillic are covered by Brill as well.

In 2012, Brill was made available for free download for non-commercial use. While Brill is an original design by John Hudson, the blackletter range of characters was made by Karsten Lücke. Gerry Leonidas and Maxim Zhukov were consulted for Greek and Cyrillic, respectively. The fonts follow Unicode and contain nearly all symbols people in the humanities may ever need. [Google] [More]  ⦿

British Library

Publishers of the free font Reader Sans, which covers Cyrillic, Greek, Latin, Hebrew and Slavonic. The copyright says Bitstream. [Google] [More]  ⦿

Bruno La Versa

Graphic designer from Catania, Italy. He created the ultra-geometric typeface Eidos (2013).

In 2015, at Zetafonts, Cosimo Lorenzo Pancini designed CocoBikeR (2015) to celebrate the hipster and bike cultures. Bruno La Versa did the illustrations for that project. CocoBikeR (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. [Google] [More]  ⦿

Bruno Maag
[Dalton Maag]

[MyFonts] [More]  ⦿

Burim Loshaj
[Loshaj Foundry]

[MyFonts] [More]  ⦿

ByoungHeon Park

Type designer associated with Heumm Design in North Korea. Creator of the monolinear hand-drawn typeface HU Cookie (2020, with Haerin Lee and Rumi Kim), HU Wind Sans (2020: a 15-style sans for Latin, Greek and Cyrillic by Haerin Lee, SangHyeon Park and ByoungHeon Park), HU Hand Serif (2020: with Yehyeong Lee and Haerin Lee), and HU The Game (2020, with Haerin Lee), a typeface with mini-spurs and odd terminals that is designed for display.

Typefaces from 2021: HU Sangsang (a fat finger font by ByoungHeon Park and Jueun Kim), HU Masking Tape Latin (a masking tape font for Latin, Greek and Cyrillic by Rumi Kim and ByoungHeon Park), HU Big Round (a techno typeface by Rumi Kim, ByoungHeon Park and Gahee Kim), HU Rosette (a cursive display serif by Haerin Lee, Rumi Kim, ByoungHeon Park and Gahee Kim).

Typefaces from 2022: HU Makingfilm (a stencil typeface by ByoungHeon Park and Jihoon Park). [Google] [MyFonts] [More]  ⦿

Byzantine Fonts to Download Thread

Discussion on Byzantine fonts. [Google] [More]  ⦿

Byzantine Music Fonts
[Ioannis A. Vamvakas]

The Byzantine Music Fonts (2005) were designed by Ioannis A. Vamvakas. Aesthetic help came from Panagiotis Kotopoulis. The metafont contains the Jesus Christ symbol, Greek Capital Letters, and music symbols. Byzantine music is the official ecclesiastical music used by the Greek Orthodox Church. Alternate URL. [Google] [More]  ⦿

Byzantines Grammatoseires

Byzantine era Greek fonts: Byzantine (2000, As Symbols), AGIerissosE (1993-1995, Appligraph Ltd), MgDimitriosUCPolItalic (2000. Magenta Ltd), AGVienessaC (1997, Appligraph Ltd). [Google] [More]  ⦿

Cafe.no
[Cato Hernes Jensen]

Cafe.no was founded in 2000 by Norwegian designer Cato Hernes Jensen, who holds a BA in Graphic Design from Staffordshire University (UK) and an MA in Sociology from the University of Oslo. He also studied computer engineering in his hometown Horten.

His typefaces include Journeyman (2016: an all caps layered display typeface in the sign painter tradition, which comprises 3d Shadow and Silhouette styles and covers Latin, Greek and Cyrillic).

In 2019, he published Brexit. [Google] [MyFonts] [More]  ⦿

Cahya Sofyan
[Studio Sun (or: Sun Brand Co)]

[MyFonts] [More]  ⦿

Camille Moisset

Based in Steenvoorde, France. Designer of the free font KM Standard TT (2014, OFL) during a course at ERG in Brussels. This typeface is based on Alexey Kryukov's Old Standard TT (2006-2008). It is a bold didone family for Latin, Cyrillic and Greek with small stencil cuts in the Latin section.

A shop sign for the Fontainas Bar in Brussels inspired her to design the vernacular typeface Fontainas (2015) Behance link. [Google] [More]  ⦿

Cannibal Fonts
[Panos Haratzopoulos]

Greek commercial foundry specializing in Greek fonts, founded in 1995 by Yiannis Kouroudis (b. 1962) and Panagiotes (Panos) Haratzopoulos (b. 1967). Regulars include Y. Kouroudis, T. Katsoulidis, D. Arvanitis, H. Charalambous and A. Bakas. Some fonts are Greek extensions of the major Western fonts (such as the fonts from Emigre, Berthold Types, FontShop, Commercial Type, Font Bureau, House Industries).

Original fonts include CF2 Allegro, CF2 Ancient Symposium, CF2 Anteus, CF2 Baby, CF2 Bac, CF2 Bar, CF2 Big, CF2 Bizzare, CF2 BlastGothic, CF2 Bloco, CF2 Compacta Greek, CF2 Criton, CF2 Daphne, CF2 Darkroom, CF2 Deconstruction, CF2 Demo, CF2 Derrida, CF2 DiscoVolante, CF2 DogEatDog, CF Dromon (2014-2015: a revival of the Greek traffic signage font that in turn was initially designed and adopted by the Ministry of Public Works in 1974 based on an adaptation of the British model designed by Jock Kinneir and Margaret Calvert in the 1960s), CF2 Eteocles, CF2 Fat, CF2 Garamond Greek, CF2 Holly, CF2 HotMetal, CF2 Initials, CF Klak (designed by Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos, based on Greek movie posters from the 40s, 50s and 60s), CF2 KouroudisGraffiti, CF2 KouroudisSelect, CF2 Leda, CF2 Leftism, CF2 Liar, CF2 Marker, CF2 Matrix, CF2 Milk, CF2 Nervoso, CF2 Newspaper, CF2 Note, CF2 Painter, CF2 Poster, CF Salamis (designed by Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos), CF2 Sans, CF2 Semplice, CF2 Smooth, CF2 Sophia, CF2 Stamp, CF2 Stencil, CF2 Stonepen, CF2 Suprematica, CF2 Twins, CF2 Type, CF2 Undo, CF2 Urania, CF2 Venus, CF2 Vivace, CF2 X-Ray, Rotis Semi, Perpetua Hellenic, Serif Hellenic, Bolt Hellenic, Conduit Hellenic, Franklin Gothic Hellenic, Gill Sans Hellenic, Goudy Hellenic, Kabel Hellenic, Legacy Sans Hellenic, Meta FF Greek, Officina Hellenic, Perpetua Hellenic, Rotis Hellenic and Stone Sans Hellenic.

The designers include Demetres Arbanites (b. 1948), Yiannis Karlopoulos (b. 1967), Takis Katsoulides (designer of the Byzantian typeface Genesis Polytonic), Yiannis Kouroudis (b. 1962), Paris Koutsikos (b. 1967), Aggelos Mitakas (b. 1954), Vladimir Radibratovic (b. 1962, educated in Belgrade), Konstantinos Spaliaras (b. 1971), Blases Foteinos (b. 1968), Ektor Haralamitous (b. 1945), Panagiotes (Panos) Haratzopoulos (b. 1967).

Haratzopoulos and Bilak (Typotheque) made Fedra Serif Greek (2003). Their news page is handy.

New releases in 2005: Autokratorika, DIN Greek, Fedra Sans, Fedra Serif A Greek, Fedra Serif B Greek, Joanna Hellenic, Meta FF Greek, Perpetua Hellenic, Rotis Sans Hellenic, Rotis Serif/SemiSerif Hellenic, Zine FF Sans Display Greek, Zine FF Serif Display Greek.

Panos Haratzopoulos is the main contributor to Cannibal. Designer of Greek versions of FontFont fonts (e.g., Instant Types Greek, Isonorm Greek, and Meta 1 Greek), House Industries (Chalet Greek and Neutraface Condensed Greek in 2010, Neutra in 2007), Garagefonts (Freight Display and Big, in 2007), Typetrust (Kari in 2007), Monotype (Davison American Greek in 2007-2008), Commercial Type (2011, Stag Greek and Stag Sans Greek), Lineto (2011, Gravur Condensed), Font Bureau (Sloop Greek in 2008, Heroun Sans in 2007 [for Men's Health Magazine], Griffith Gothic (in 2005), Berthold Types (in 2005-2006: Block, Bodoni Old Face, Akzidenz-Grotesk, Formata and Imago), Typotheque (in 2003: Fedra Serif Greek, done with Peter Bilak), Emigre (Template Gothic, 2003, Keedy (2003), Cholla (2003), Arbitrary (2003) and Mason (2003)).

Custom fonts include Dimokratia (2010, for the Dimokratia daily), Wunderman Pencil (2011, for Wunderman AE), FF Unit Slab Greek (2009, by Panos for the Metro newspaper), Le Corbusier Greek (2009, based on a Nico Schweizer font, for Homme Magazine), Farnham Greek (by Panos for Eleftheros Typos based on FB Farnham by Christian Schwarz). Panos made three versions of Gotham Greek between 2004 and 2007 for different newspapers, Macedonia, Eleftheros and Domino. Panos and Yiannis Karlopoulos did custom work for Maxim Magazine in 2005, producing Proteus Project (originally a HFJ font) and Griffith Gothic Greek. Irene Vlachou and Panos created Amplitude and Franklin Antiqua Greek for AutoBild in 2007, and Esquire and Crank Greek for Esquire in 2004.

Corporate fonts include a Greek version of Neoritmo (Claudio Piccinini) for the titles of the Benaki Museum's new website, Yamaha Hellas (a Greek version of Yamaha Koolhoven, 2001), Ballisage Greek (2007, Irene Vlachou, for Leroy Merlin), Tartine Script Greek (2005, by panos for Uphill/Nestea), Urania Sato (2007, based on CF Urania), FNAC Greek (2008, based on the FNAC chain font by Olivier Nineuil originally done in 2005).

The font Gill Sans Hellenic (2000) was chosen for the corporate identity of the Olympic Games of Athens in 2004. The Greek version was designed by Hector Charalambous and was art directed by Panayiotis Haratzopoulos after permission for hellenization was given by Monotype. The font is available from Greek Digital Types.

In 2013, John Karlopoulos, Vassilis Georgiou, and Panos Haratzopoulos co-designed the signage typeface CF Majestic (2013).

In 2014, Cannibal published Genesis. In 2015, they added the Greek script font Red Script. In 2016, Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos co-designed the calligraphic script typeface CF Ariston and the connected script typeface CF Astir. In 2017, Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos co-designed the Greek brush script typeface CF Splendid (with two substyles, Serano and Special).

In 2021, Haratzopoulos released CF Modern Grotesk at Fonts.Gr. This almost monolinear sans attempts to be neutral in the Helvetica and Univers genre. It include variable fonts.

Alternate URL. FontShop link. Klingspor link. Behance link. [Google] [MyFonts] [More]  ⦿

Canonical Design
[Dalton Maag]

Design team that is related to Ubuntu. In 2010, they cooperated with the type design team of Dalton Maag to bring us free fonts for Ubuntu (called Ubuntu). Download the fonts: Ubuntu-Bold, Ubuntu-BoldItalic, Ubuntu-Italic, Ubuntu-Regular. Google Directory link for Ubuntu Mono (2010: free) and for Ubuntu Condensed. Announcement pages. The initial package contains Latin A+B Ext, Greek Polytonic and Cyrillic Extended, but lots of extensions are expected over the next few years.

Andrew Fitzsimon of Canonical Ltd created the font used in the logo of Ubuntu called Ubuntu-Title in 2005.

The package description reads: The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. Ralf Herrmann likes the font family but recalls that other typographers find Ubuntu too close to DTL Prokyon.

Dalton Maag's Fontspace link. [Google] [More]  ⦿

Carmelo Lupins

Designer of the free font "Greek Garamond". The page also archives some fonts by others, such as Academiury-ITV, CopticNormal, CopticNormal_II, Cyrillic-Regular, Greek-garamond-1.1, Greek-garamond, Greek, Linear-B, Masis, Ultima-Runes----ALL-CAPS, gothic-1. [Google] [More]  ⦿

CAST

CAST, or Cooperativa Anonima Servizi Tipografici (est. 2014, Bolzano, Italy) is a digital type foundry dedicated to the production and marketing of high quality fonts catering to specific needs, especially in the areas of branding and publishing. Their typefaces:

  • Divenire (2014). By Molotro / Luciano Perondi. Divenire is derived from an earlier custom typeface designed for the Partito Democratico (Italian Democratic Party), which uses it for political communications. For the information of non-Italians---this is not Berlusconi's party.
  • Dic Sans (2014, Luciano Perondi). 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 use Sans Dic, and Americans are permitted to typeset in Extra Bold Dic, or its shadow version, Tricky Dic.
  • Brevier (2014). Riccardo Olocco's typeface was designed for setting long texts in small or very small type sizes---the name Breveir refers to 8 point size in ancient times.
  • Gramma (2014, Riccardo Olocco). A compact temporary sans with large x-height eventually published at CAST.
  • Brasilica (2015). By Rafael Dietzsch, based on his graduation typeface in 2012 in the MATD program at the University of Reading. This Latin / Greek typeface family with sufficient diacritical support of most Brazilian indigenous languages. It is a serifed typeface but has matching sans styles. My own first reaction to this typeface was sturdy. Brasilica won an award at Tipos Latinos 2014 and was published by CAST.
  • Macho Modular (2015). By Luciano Perondi. 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.
  • Saffran (2007, by Erasmo Cuifo and Alessio D'Ellena; published in 2015 by CAST). Saffran is a stencil sans with squarish letterforms.
  • Zenon (2014, for Latin, Bengali, Greek and Cyrillic, by Riccardo Olocco). Zenon is Riccardo's graduation typeface in the MATD program at the University of Reading, UK. He writes: is a sum of different styles, from Francesco Griffo to Granjon, from modern typefaces to the first sketches of Times New Roman. Zenon is an apparently Renaissance revival with modernish proportions. A closer look reveals that it is a typographic potpourri. Zenon was published by CAST in 2015.
  • Sole Serif (2016). A text typeface family by Luciano Perondi, who writes: Sole Serif is a newspaper face with features relating to book typography. Inspiration from Francesco Griffo's romans was adapted to resist the rough usage typical of newspaper printing without any loss of quality. Sole Serif is available in an extensive range of cuts including extra bold and ultra thin. With its big x-height, short ascenders and a roundish and wide italic for text and titles, it has all the attributes of a newspaper face. Nonetheless, details like the inclined axis, calligraphic terminations, Renaissance proportions and a refined but slightly mannered design, all evoke the book rather than the daily paper. In 2018, Luciano Perondi and Riccardo Olocco designed the companion typeface Sole Sans. It was originally designed for the leading Italian financial newspaper Il Sole 24 ore.
[Google] [MyFonts] [More]  ⦿

Castle Type
[Jason Castle]

Designs by Jason Castle from San Rafael, CA, who studied psychology at Dominican University of California. He does custom font design and sells commercial typefaces through MyFonts and FontShop. Blog. These include:

  • A: AfrikaBorders, Afrika Motifs, Agency Open (M. F. Benton, 1934, revival Jason Castle), Agency Gothic Inline, Ampersands, Azbuka (2005, a heavy slab serif).
  • B: Brasileiro (2007, an art deco face).
  • Carisma (2007, a clean geometric sans), Carlos (art deco inspired by Elektra), Castle Fleurons, Chinoise (2008, based on hand lettering that is reminiscent of a style of ancient Chinese square-cut ideograms), Cloister Black, Copperplate Script, Cradley (2015, a Caslon titling family with Greek and Cyrillic, named after the birthplace of William Caslon).
  • D: Deko Initials (1993, discontinued in 2007; based on NADA0 drawn in 1972 by Marcia Loeb), Dionisio (2008, didone).
  • E: Eden (Bold, Light; originally designed by Robert H. Middleton in 1934).
  • F: Fat Freddie, Futura CT and Futura CT Inline (2007, based on Futura ND, but discontinued after only a few weeks).
  • G: Goudy Lombardy (Lombardic), GoudyStout, Goudy Text, Goudy Trajan (1994-2010, free; +alternates).
  • H: Handsome (2002, nice finger dingbats, aka fists).
  • J: Jensen Arabique (left field art deco, based on work of Gustav Jensen, 1933).
  • K: Koloss (art deco).
  • L: Latin CT (2008, 6 styles), Latin Wide, Laureat, Lise Informal (2008, hand-printed), Lombardy.
  • M: Maximilian CS (Rudolf Koch, 1917), Metropolis Bold and Shaded (based on the 1932 Stempel cut as designed by W. Schwerdtner), Minotaur (2008, an original monoline design based on an Oscan votive inscription from the second century BC; looks like simulated Greek).
  • N: Norberto (2009, an all-caps Bodoni; +Stencil).
  • O: Ogun (2008, inspired by an Egyptian-style Russian block alphabet and useful for athletic lettering; formerly named Azbuka).
  • P: Plantain (2002, a digital version of Plantin Adweight, a 1913 typeface by F. H. Pierpont), Plantain Stencil (2009), Progreso (2010, a condensed, unicase, serif gothic type design inspired by the hand-lettering on Russian posters from the 1920s).
  • R: Radiant, Radiant Extra Condensed CT (both Radiants are revivals of Roger Middleton's typeface by that name, 1940), Ransahoff (2002, ultra condensed didone), Rudolf (1992, based on Rudolf Koch's German expressionist work such as Neuland).
  • S: Samira (2008, art nouveau style; based on Peter Schnorr's Schnorr Gestreckt, from 1898), Shango (1993, based on Schneidler Initials by F.H.E. Schneidler (1936), and including a digital version of Schneidler Cyrillic (1992); extended in 2007 to Shango Gothic and in 2008 to a 3-d shadow version, Shango Chiseled, and in 2009 to Shango Sans), Sculptura (2005, an all caps typeface based on Diethelm's Sculptura from 1957), Sencia (2008, based on Spanish art deco stock certificate lettering from 1941), Sonrisa (2009, art deco family---Sonrisa Thin is free), Standard CT (a neo-grotesque family), Standard CT Stencil (2012: free).
  • Tambor (Light, Black, Inline, Adornado) (1992) (note: Jason claims that it was remotely based on Rudolf, which in turn was based on calligraphy of Rudolf Koch), Trio (an art deco sansserif), Trooper Roman (discontinued).
  • V: Vincenzo (2008, a slabby didone), Warrior (2009, a 3d font based on Ogun; +Shaded).
  • X: Xavier (art deco family based on Ashley Crawford by Ashley Havinden, 1930, revival by Jason Castle in 1992).
  • Z: Zagora, Zamenhof (2011: an all caps poster face with constructivist ancestry, named after the inventor of Esperanto), Zuboni Stencil (2009, Latin and Cyrillic, constructivist and perhaps even military).

Klingspor link. Behance link.

View Jason Castle's typefaces. [Google] [MyFonts] [More]  ⦿

Catharsis
[Christian "Cinga" Thalmann]

Catharsis is located in Leiden, The Netherlands. Before that, Christian Thalmann's page Cinga.ch was run out of Switzerland, when he was a student at ETH Zürich. Thalmann is an astrophysicist by training.

Catharsis had free typefaces such as the great Arabic simulation typeface Catharsis Bedouin (2004), CatharsisCircular, CatharsisRequiem (a unicase pair), CatharsisRequiemBold, CatharsisCargo, Cirnaja Bookhand and Cirnaja Calligraphy (made for his artificial language, Obrenje), Catharsis Macchiato (2005), CatharsisEspresso (2005).

At Catharsis, the commercial foundry, he published Octant in 2013: Octant is an original steampunk display typeface drawing inspiration from Victorian-age steel and brass engineering, as well as from blackletter typography. Gryffensee (2013, in styles called Eins, Zwei and Drei) is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. It also covers Cyrillic.

Backstein (2013), baked brick, took its inspiration from the broken antiqua lettering in Berlin's old subway stations.

Volantene Script (2013) is a (free) uncial display typeface inspired by the penmanship of Lady Talisa Maegyr-Stark as seen on HBO's Game of Thrones. Numina (2013, Glamour and Glory substyles) is an extensive condensed fashion-oriented typeface family related to Skyline and Corvinus.

Maestrale (2013) adds calligraphic and flamboyant extenders to a decorative text typeface for a dramatic effect. Choose between Maestrale Manual (swashy) and Manuale Text.

Blumenkind (2013) is inspired by an instance of metal-strip lettering found on the Bürgermeister Kornmesser Siedlung residential building complex in Berlin from the 1960s.

Brilliance (2013) is a glamorous contemporary display blackletter combining the rich tapestry of Textura with a hint of the airy lightness of Spencerian script. Let's say that it is a light-hearted Textura.

In 2015, he made the free 45-style classic serif typeface family Cormorant, which includes several unicase fonts. This typeface started out in 2014 as Paramond, a light, contrasted, space-taking Garalde with impossibly tiny counters and long extenders. Links to the Google Font directory: Cormorant, Cormorant Garamond, Cormorant Infant, Cormorant SC, Cormorant Unicase, Cormorant+UprightCormorant Upright. See also CTAN.

In 2016, he created the humanist geometric sans typeface family Quinoa for Latin, Cyrillic, Greek and Hebrew.

Typefaces from 2017: Tesserae (kitchen tile style), Traction. Traction was originally conceived and designed by Christian Thalmann. Chiara Mattersdorfer and Miriam Suranyi expanded, completed and produced the font family. This typeface sports signature serifs, soft edges and a fluid, organic design.

In 2018, Christian started work on a blackletter-themed stencil typeface, first called Komik Ohne (the German for Comic Sans) and later named Kuschelfraktur (2019).

Between 2016 and 2019, he developed Eau de Garamond---a sans distilled from the essence of Garamond---, which was later renamed Ysabeau. Github link. In 2020, we find another fork, Isabella Sans.

Overbold (2019) is described by him as follows: Overbold is an unapologetic display typeface inspired by an illustration in Eric Gill's Essay on Typography (p.51), in which he demonstrates how not to make letters. In particular, he shows that increasing the weight of the downstroke in a serif A without structural adjustments yields an absurd, overbold result. I found the letter so charming that I decided to blatantly disregard Gill's wisdom and draw an entire overbold typeface. Here is the result. I'm not sorry.

1001 fonts link. Yet another URL. Fontspace link. Behance link. Klingspor link. Dafont link. Open Font Library link. Github link. [Google] [MyFonts] [More]  ⦿

Catherine

Greek designer of the free font Pumped Up Kicks (2011, hand-printed).

Dafont link. [Google] [More]  ⦿

Cato Hernes Jensen
[Cafe.no]

[MyFonts] [More]  ⦿

cb fonts
[Claudio Beccari]

From 1997 until 1999, Turin-based Claudio Beccari created his cb fonts (metafont) for Greek by adapting Silvio Levy's Greek fonts. The cb-fonts are now the official fonts for the Greek option of the BABEL package. They are very complete and highly recommended. Type 1 versions here. In 2004, he added the CB Coptic family (metafont), which was based on files created in 1995 by Serge Rosmorduc. The type 1 fonts were made by using TeXtrace and pfaedit by Apostolos Syropoulos. The fonts: glic0700, glic0800, glic1000, glic1200, glic1382, glic1659, glic1991, glic2389, glic2866, glic3440, glic4128, glii0700, glii0800, glii1000, glii1200, glii1382, glii1659, glii1991, glii2389, glii2866, glii3440, glii4128, glin0700, glin0800, glin1000, glin1200, glin1382, glin1659, glin1991, glin2389, glin2866, glin3440, glin4128, glio0700, glio0800, glio1000, glio1200, glio1382, glio1659, glio1991, glio2389, glio2866, glio3440, glio4128, gliu0700, gliu0800, gliu1000, gliu1200, gliu1382, gliu1659, gliu1991, gliu2389, gliu2866, gliu3440, gliu4128, gljc0700, gljc0800, gljc1000, gljc1200, gljc1382, gljc1659, gljc1991, gljc2389, gljc2866, gljc3440, gljc4128, gljn0700, gljn0800, gljn1000, gljn1200, gljn1382, gljn1659, gljn1991, gljn2389, gljn2866, gljn3440, gljn4128, gljo0700, gljo0800, gljo1000, gljo1200, gljo1382, gljo1659, gljo1991, gljo2389, gljo2866, gljo3440, gljo4128, glmc0700, glmc0800, glmc1000, glmc1200, glmc1382, glmc1659, glmc1991, glmc2389, glmc2866, glmc3440, glmc4128, glmi0700, glmi0800, glmi1000, glmi1200, glmi1382, glmi1659, glmi1991, glmi2389, glmi2866, glmi3440, glmi4128, glmn0700, glmn0800, glmn1000, glmn1200, glmn1382, glmn1659, glmn1991, glmn2389, glmn2866, glmn3440, glmn4128, glmo0700, glmo0800, glmo1000, glmo1200, glmo1382, glmo1659, glmo1991, glmo2389, glmo2866, glmo3440, glmo4128, glmu0700, glmu0800, glmu1000, glmu1200, glmu1382, glmu1659, glmu1991, glmu2389, glmu2866, glmu3440, glmu4128, gltc0700, gltc0800, gltc1000, gltc1200, gltc1382, gltc1659, gltc1991, gltc2389, gltc2866, gltc3440, gltc4128, gltn0700, gltn0800, gltn1000, gltn1200, gltn1382, gltn1659, gltn1991, gltn2389, gltn2866, gltn3440, gltn4128, glto0700, glto0800, glto1000, glto1200, glto1382, glto1659, glto1991, glto2389, glto2866, glto3440, glto4128, glwc0700, glwc0800, glwc1000, glwc1200, glwc1382, glwc1659, glwc1991, glwc2389, glwc2866, glwc3440, glwc4128, glwi0700, glwi0800, glwi1000, glwi1200, glwi1382, glwi1659, glwi1991, glwi2389, glwi2866, glwi3440, glwi4128, glwn0700, glwn0800, glwn1000, glwn1200, glwn1382, glwn1659, glwn1991, glwn2389, glwn2866, glwn3440, glwn4128, glwo0700, glwo0800, glwo1000, glwo1200, glwo1382, glwo1659, glwo1991, glwo2389, glwo2866, glwo3440, glwo4128, glwu0700, glwu0800, glwu1000, glwu1200, glwu1382, glwu1659, glwu1991, glwu2389, glwu2866, glwu3440, glwu4128, glxc0700, glxc0800, glxc1000, glxc1200, glxc1382, glxc1659, glxc1991, glxc2389, glxc2866, glxc3440, glxc4128, glxi0700, glxi0800, glxi1000, glxi1200, glxi1382, glxi1659, glxi1991, glxi2389, glxi2866, glxi3440, glxi4128, glxn0700, glxn0800, glxn1000, glxn1200, glxn1382, glxn1659, glxn1991, glxn2389, glxn2866, glxn3440, glxn4128, glxo0700, glxo0800, glxo1000, glxo1200, glxo1382, glxo1659, glxo1991, glxo2389, glxo2866, glxo3440, glxo4128, glxu0700, glxu0800, glxu1000, glxu1200, glxu1382, glxu1659, glxu1991, glxu2389, glxu2866, glxu3440, glxu4128, gmmn0500, gmmn0600, gmmn0700, gmmn0800, gmmn0900, gmmn1000, gmmn1095, gmmn1200, gmmn1440, gmmn1728, gmmn2074, gmmn2488, gmmn2986, gmmn3583, gmmo0500, gmmo0600, gmmo0700, gmmo0800, gmmo0900, gmmo1000, gmmo1095, gmmo1200, gmmo1440, gmmo1728, gmmo2074, gmmo2488, gmmo2986, gmmo3583, gmtr0500, gmtr0600, gmtr0700, gmtr0800, gmtr0900, gmtr1000, gmtr1095, gmtr1200, gmtr1440, gmtr1728, gmtr2074, gmtr2488, gmtr2986, gmtr3583, gmxn0500, gmxn0600, gmxn0700, gmxn0800, gmxn0900, gmxn1000, gmxn1095, gmxn1200, gmxn1440, gmxn1728, gmxn2074, gmxn2488, gmxn2986, gmxn3583, gmxo0500, gmxo0600, gmxo0700, gmxo0800, gmxo0900, gmxo1000, gmxo1095, gmxo1200, gmxo1440, gmxo1728, gmxo2074, gmxo2488, gmxo2986, gmxo3583, gomc0500, gomc0600, gomc0700, gomc0800, gomc0900, gomc1000, gomc1095, gomc1200, gomc1440, gomc1728, gomc2074, gomc2488, gomc2986, gomc3583, gomi0500, gomi0600, gomi0700, gomi0800, gomi0900, gomi1000, gomi1095, gomi1200, gomi1440, gomi1728, gomi2074, gomi2488, gomi2986, gomi3583, gomn0500, gomn0600, gomn0700, gomn0800, gomn0900, gomn1000, gomn1095, gomn1200, gomn1440, gomn1728, gomn2074, gomn2488, gomn2986, gomn3583, gomo0500, gomo0600, gomo0700, gomo0800, gomo0900, gomo1000, gomo1095, gomo1200, gomo1440, gomo1728, gomo2074, gomo2488, gomo2986, gomo3583, gomu0500, gomu0600, gomu0700, gomu0800, gomu0900, gomu1000, gomu1095, gomu1200, gomu1440, gomu1728, gomu2074, gomu2488, gomu2986, gomu3583, goxc0500, goxc0600, goxc0700, goxc0800, goxc0900, goxc1000, goxc1095, goxc1200, goxc1440, goxc1728, goxc2074, goxc2488, goxc2986, goxc3583, goxi0500, goxi0600, goxi0700, goxi0800, goxi0900, goxi1000, goxi1095, goxi1200, goxi1440, goxi1728, goxi2074, goxi2488, goxi2986, goxi3583, goxn0500, goxn0600, goxn0700, goxn0800, goxn0900, goxn1000, goxn1095, goxn1200, goxn1440, goxn1728, goxn2074, goxn2488, goxn2986, goxn3583, goxo0500, goxo0600, goxo0700, goxo0800, goxo0900, goxo1000, goxo1095, goxo1200, goxo1440, goxo1728, goxo2074, goxo2488, goxo2986, goxo3583, goxu0500, goxu0600, goxu0700, goxu0800, goxu0900, goxu1000, goxu1095, goxu1200, goxu1440, goxu1728, goxu2074, goxu2488, goxu2986, goxu3583, grbl0500, grbl0600, grbl0700, grbl0800, grbl0900, grbl1000, grbl1095, grbl1200, grbl1440, grbl1728, grbl2074, grbl2488, grbl2986, grbl3583, grmc0500, grmc0600, grmc0700, grmc0800, grmc0900, grmc1000, grmc1095, grmc1200, grmc1440, grmc1728, grmc2074, grmc2488, grmc2986, grmc3583, grmi0500, grmi0600, grmi0700, grmi0800, grmi0900, grmi1000, grmi1095, grmi1200, grmi1440, grmi1728, grmi2074, grmi2488, grmi2986, grmi3583, grml0500, grml0600, grml0700, grml0800, grml0900, grml1000, grml1095, grml1200, grml1440, grml1728, grml2074, grml2488, grml2986, grml3583, grmn0500, grmn0600, grmn0700, grmn0800, grmn0900, grmn1000, grmn1095, grmn1200, grmn1440, grmn1728, grmn2074, grmn2488, grmn2986, grmn3583, grmo0500, grmo0600, grmo0700, grmo0800, grmo0900, grmo1000, grmo1095, grmo1200, grmo1440, grmo1728, grmo2074, grmo2488, grmo2986, grmo3583, grmu0500, grmu0600, grmu0700, grmu0800, grmu0900, grmu1000, grmu1095, grmu1200, grmu1440, grmu1728, grmu2074, grmu2488, grmu2986, grmu3583, grxc0500, grxc0600, grxc0700, grxc0800, grxc0900, grxc1000, grxc1095, grxc1200, grxc1440, grxc1728, grxc2074, grxc2488, grxc2986, grxc3583, grxi0500, grxi0600, grxi0700, grxi0800, grxi0900, grxi1000, grxi1095, grxi1200, grxi1440, grxi1728, grxi2074, grxi2488, grxi2986, grxi3583, grxl0500, grxl0600, grxl0700, grxl0800, grxl0900, grxl1000, grxl1095, grxl1200, grxl1440, grxl1728, grxl2074, grxl2488, grxl2986, grxl3583, grxn0500, grxn0600, grxn0700, grxn0800, grxn0900, grxn1000, grxn1095, grxn1200, grxn1440, grxn1728, grxn2074, grxn2488, grxn2986, grxn3583, grxo0500, grxo0600, grxo0700, grxo0800, grxo0900, grxo1000, grxo1095, grxo1200, grxo1440, grxo1728, grxo2074, grxo2488, grxo2986, grxo3583, grxu0500, grxu0600, grxu0700, grxu0800, grxu0900, grxu1000, grxu1095, grxu1200, grxu1440, grxu1728, grxu2074, grxu2488, grxu2986, grxu3583, gsma0500, gsma0600, gsma0700, gsma0800, gsma0900, gsma1000, gsma1095, gsma1200, gsma1440, gsma1728, gsma2074, gsma2488, gsma2986, gsma3583, gsmc0500, gsmc0600, gsmc0700, gsmc0800, gsmc0900, gsmc1000, gsmc1095, gsmc1200, gsmc1440, gsmc1728, gsmc2074, gsmc2488, gsmc2986, gsmc3583, gsme0500, gsme0600, gsme0700, gsme0800, gsme0900, gsme1000, gsme1095, gsme1200, gsme1440, gsme1728, gsme2074, gsme2488, gsme2986, gsme3583, gsmi0500, gsmi0600, gsmi0700, gsmi0800, gsmi0900, gsmi1000, gsmi1095, gsmi1200, gsmi1440, gsmi1728, gsmi2074, gsmi2488, gsmi2986, gsmi3583, gsmn0500, gsmn0600, gsmn0700, gsmn0800, gsmn0900, gsmn1000, gsmn1095, gsmn1200, gsmn1440, gsmn1728, gsmn2074, gsmn2488, gsmn2986, gsmn3583, gsmo0500, gsmo0600, gsmo0700, gsmo0800, gsmo0900, gsmo1000, gsmo1095, gsmo1200, gsmo1440, gsmo1728, gsmo2074, gsmo2488, gsmo2986, gsmo3583, gsmu0500, gsmu0600, gsmu0700, gsmu0800, gsmu0900, gsmu1000, gsmu1095, gsmu1200, gsmu1440, gsmu1728, gsmu2074, gsmu2488, gsmu2986, gsmu3583, gsxa0500, gsxa0600, gsxa0700, gsxa0800, gsxa0900, gsxa1000, gsxa1095, gsxa1200, gsxa1440, gsxa1728, gsxa2074, gsxa2488, gsxa2986, gsxa3583, gsxc0500, gsxc0600, gsxc0700, gsxc0800, gsxc0900, gsxc1000, gsxc1095, gsxc1200, gsxc1440, gsxc1728, gsxc2074, gsxc2488, gsxc2986, gsxc3583, gsxe0500, gsxe0600, gsxe0700, gsxe0800, gsxe0900, gsxe1000, gsxe1095, gsxe1200, gsxe1440, gsxe1728, gsxe2074, gsxe2488, gsxe2986, gsxe3583, gsxi0500, gsxi0600, gsxi0700, gsxi0800, gsxi0900, gsxi1000, gsxi1095, gsxi1200, gsxi1440, gsxi1728, gsxi2074, gsxi2488, gsxi2986, gsxi3583, gsxn0500, gsxn0600, gsxn0700, gsxn0800, gsxn0900, gsxn1000, gsxn1095, gsxn1200, gsxn1440, gsxn1728, gsxn2074, gsxn2488, gsxn2986, gsxn3583, gsxo0500, gsxo0600, gsxo0700, gsxo0800, gsxo0900, gsxo1000, gsxo1095, gsxo1200, gsxo1440, gsxo1728, gsxo2074, gsxo2488, gsxo2986, gsxo3583, gsxu0500, gsxu0600, gsxu0700, gsxu0800, gsxu0900, gsxu1000, gsxu1095, gsxu1200, gsxu1440, gsxu1728, gsxu2074, gsxu2488, gsxu2986, gsxu3583, gttc0500, gttc0600, gttc0700, gttc0800, gttc0900, gttc1000, gttc1095, gttc1200, gttc1440, gttc1728, gttc2074, gttc2488, gttc2986, gttc3583, gtti0500, gtti0600, gtti0700, gtti0800, gtti0900, gtti1000, gtti1095, gtti1200, gtti1440, gtti1728, gtti2074, gtti2488, gtti2986, gtti3583, gttn0500, gttn0600, gttn0700, gttn0800, gttn0900, gttn1000, gttn1095, gttn1200, gttn1440, gttn1728, gttn2074, gttn2488, gttn2986, gttn3583, gtto0500, gtto0600, gtto0700, gtto0800, gtto0900, gtto1000, gtto1095, gtto1200, gtto1440, gtto1728, gtto2074, gtto2488, gtto2986, gtto3583, gttu0500, gttu0600, gttu0700, gttu0800, gttu0900, gttu1000, gttu1095, gttu1200, gttu1440, gttu1728, gttu2074, gttu2488, gttu2986, gttu3583. [Google] [More]  ⦿

cb Greek fonts

cb Greek metafont package by Apostolos Syropoulos. [Google] [More]  ⦿

Cerement

American designer at FontStruct in 2008 of Lucid (monospaced 5x7 LCD font for Latin, Cyrillic, Greek and katakana: white on black), Absinthe (pixel face), Faith (condensed, unicase), Neuerburg (blackletter influences: from the logo for "Haus Neuerburg Zigaretten" designed by Prof. O.H.W. Hadank, 1925), Conform (pixel face), Minim (Textura blackletter). [Google] [More]  ⦿

Cerulean Stimuli
[Kevin Pease]

Kevin Pease runs Cerulean Stimuli in Collingswood, NJ. He created the typefaces Cerulean (2003) and Cerulean Black (2005). Check also his pixel family Fourmat (2004) and the very original card game-inspired Pokeresque (2006).

In 2016, he designed the unicase display typeface family Cerulea for Latin, Greek and Cyrillic. In 2017, he published Walklike, its name referring to the song Walk Like an Egyptian and thus to hieroglyphic influences. He ends 2017 with the balloon font family Glazed.

Typefaces from 2022: Anachrony (a weirdly modular family; ten styles). [Google] [MyFonts] [More]  ⦿

Ceyhun Birinci
[Artegra]

[MyFonts] [More]  ⦿

Chair of Medieval English Literature

At the Heinrich Heine University of Düsseldorf: SILDoulosIPA-Regular, SILManuscriptIPA-Regular, SILSophiaIPA-Regular, TimesNewRoman-OldEnglish-KT, TimesNewRoman-OldEnglish-KT-BoldItalic, TimesNewRoman-OldEnglish-KT-Bold, TimesNewRoman-OldEnglish-KT-Italic, TimesNewRoman-OldEnglish-KT. [Google] [More]  ⦿

Changchun Ye

Type designer. Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese. [Google] [More]  ⦿

Charilaos Emmanouil Papakostas

Graphic designer in Athens, Greece, who created CEP (2013), a typeface that combines Brazilian pixacao and American chicano gang graffiti styles. [Google] [More]  ⦿

Charis Tsevis

Charis Tsevis was born in Athens in 1967. He studied Graphic Design and Advertising (Diploma) at the Deutsche Hohere Lehrastalt fur Graphic Design, Athens, Greece, and Visual Design (Master) at the Scuola Politecnica di Design, Milan, Italy. He is the Vice Head at the Graphic Design department of AKTO College of Art and Design / Middlesex University (in Athens), where he teaches editorial design and typography. He runs Tsevis Visual Design, his own studio in Athens, and collaborates with 'Parachute Type and Image Corporation' designing typefaces. He runs a type blog site. Charis is a regular columnist at RAM, the leading computer publication in Greece. He is also a regular columnist in +Design, an authority design Greek magazine covering aesthetics and design issues. Charis studied Graphic Design at the Deutsche Höhere Lehranstalt für Grafik und Werbung, Athens. He received his Master Degree in Visual Design from the Scuola Politecnica di Design, Milan, Italy. He worked for MBStudio in Milan and later for Apogevmatini, a national historic Greek newspaper. Since 1997 Charis runs his own design firm Tsevis Visual Design.

He has been designing fonts for several years, while experimenting with his students. PF Libera (2001-2006, handwriting) was his first and most successful design. Other typefaces include PFBeatnick, PFAmateur (2002), PFRadikale, PFBerkeley Blue, PFMacsimile. All were published at Parachute. Most of his typefaces cover Latin, Greek and Cyrillic.

Klingspor link. [Google] [More]  ⦿

Charles Bigelow
[Bigelow&Holmes]

[MyFonts] [More]  ⦿

CHC Software Archive

Chris Stephens's page with Greek font links, for Mac and PC. Has Son of Wingreek, Old English fonts. [Google] [More]  ⦿

Chris Brand

Born in Utrecht in 1921, Chris Brand lived in Breda, and died in 1998. He studied calligraphy in 1940, and worked in Brussels from 1948-1953. He taught design at various academies until 1986. Known for book cover jackets, Brand created the clean serif typeface Albertina in 1964-1965 (Monotype). This typeface was first used for a retrospecive on Stanley Morison's work exhibited at the Albertina Library in Brussels in 1966. Dean Allen [Textism]: Working designers should have at least one text family to focus on; to test its idiosyncrasies and stretch its limits, to see how it responds to the unpredictable demands of day-to-day work. Albertina is the family with which I do the most tinkering. It's remarkably flexible, offering a full complement of text and titling figures, roman and italic small caps, as well as supplemental Greek and Cyrillic fonts. It has the sort of strength, or presence on the page absent from most digital type, owing to sturdy construction, and it lacks fussiness.

The digital font DTL Albertina saw the light in 1987 at Dutch Type Library.

Brand also created Veerle Uncialis (1991, named after his granddaughter Veerle Simons) but it is unclear whether this font is his or a reworking of a typeface by the Parisian typefounder Fournier. Finally, he made the coptic font Draguet (1968).

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

Chris' British Road Directory
[Nathaniel Porter]

Chris Marshall's web site on British roads and traffic signs. He has a subpage on fonts used on British highways. Based on these specifications, Nathaniel Porter and John Prentice (who added Greek characters, based on Greek road signs) made a set of free fonts that follow the British highway system. These include Transport Medium, Medium Greek and Heavy (the main British highway font), Motorway Permanent (for numbers on signs), Motorway Temporary (for use on temporary signs), Pavement (for painted lettering on the road surface), and VMS (an octagonal font for use in light-up panels). Erik Spiekermann blasts his implementation of Transport: A gentleman called Nathaniel Porter has digitized Transport Heavy, and it is being used by various agencies. The data is even worse than the Swedish Tratex font which must have been done by an amateur on on Ikarus system without corrections. This one here is just a raw scan. Amazingly, it works as a font. Too heavy for signs, but just shows how good font software has become if it can actually make a working font from a scan that looks like a piece of German rye bread. I suspect that this version of Transport Heavy is being used in Italy and Spain. And in Greece as well. They also made Old Road Sign Font after the road sign lettering in the UK in use before 1964. Its origins go back to 1944. [Google] [More]  ⦿

Chris Kokoris

Athens, Greece-based designer and illustrator who studied at Middlesex University in the UK. Creator of the decorative caps typeface Bird watching (2015). Behance link. [Google] [More]  ⦿

Chris Ouzounis

Athens, Greece-based designer of LC Athenian Sans (2019). [Google] [More]  ⦿

Chris Taklis

Athens-based photographer, b. 1986, aka Kailor. Creator of Kaifo (2007, a hookish display face), and AnglosaxonicRunic (2007). Alternate URL. [Google] [More]  ⦿

Christ Trek Fonts
[Tim Larson]

Tim Larson (Christ Trek Fonts) is the Minnesota-based creator of the Open Font License fonts Marapfhont (2009, inspired by the logo font of the classic 1990s game Marathon) and Squarish Sans CT (2011, in Bank Gothic style). Both fonts are free and have tons of glyphs that cover many unicode pages, including mathematical symbols, Greek, Coptic and Hebrew. It is quite possible---but I am not sure of that--that this Bank Gothic family member is the only one that has such a coverage.

Tim is working on Brampton.

He writes about Squarish Sans: Squarish Sans is not a direct clone of any Bank Gothic. I have made conscious choices to deviate from existing designs. Yet it is strongly inspired by them, of course, particularly Michael Doret's DeLuxe Gothic, in that Squarish Sans has a true lower case as well as small caps. It should fit the bill should you have need of a Bank Gothic face.

Motivation for Marapfhont came from the Marathon Trilogy game: Remember the Marathon Trilogy by Bungie Games back in the mid-1990s? If you do, you remember it's iconic logo font, Modula Tall. There are no free alternatives to Modula Tall, and the few similar fonts miss important aspects of its character. I wanted to create a typeface inspired by the appearance of Modula Tall in Marathon. The lowercase of Modula Tall didn't fit the Marathon "feel" at all, for me, so I have redesigned the miniscules, to carry the signature look throughout. Thus, Marapfhont is not a clone of Modula Tall, but may nonetheless be used to generate the "MARATHON" title.

In 2013, he finished the pixelish typeface Looks Like Spht. In 2014, Tim Larson published the free Hebrew simulation font Hananiah (2014, OFL), which is based on Ezra SIL. It also includes regular Hebrew. In 2015, he published the German expressionist typeface Abibas [Abibas is a fork/extension of Gamaliel, a blackletter by Rafael Ferran i Peralta].

Typefaces from 2016: Politics As Usual (political dingbats for the United States), Horta (an angular sci-fi typeface). Open Font Library link. Home page. Aka Christ Trekker. [Google] [More]  ⦿

Christian "Cinga" Thalmann
[Catharsis]

[MyFonts] [More]  ⦿

Christian Mengelt

Christian Mengelt (b. 1938, St. Gallen, Switzerland) is a graphic designer, type designer, and teacher. He studied graphic design under Armin Hofmann and Emil Ruder at the School of Design, Basel. In 1964, he set up his own graphic design studio together with different partners, and has cooperated with various design and advertising agencies, such as GGK (Gerstner, Gredinger und Kutter) Basel, Switzerland, and Mendell&Oberer Munich, Germany. With Karl Gerstner and Günter Gerhard Lange, he was briefly involved in the Gerstner program at H. Berthold AG. Early type designs include Univers Compugraphic (1972, Compugraphic) and Cyrillic Gothic (1974, Compugraphic), both realized in cooperation with André Gürtler. From 1972 until 2001, he taught graphic and type design at the Basel School of Design, which he headed from 1986-2001. With André Gürtler and Erich Gschwind, he formed Team 77 in Basel and became deeply involved in most aspects of letterform design and application, which led to these type designs:

  • 1976: Media (Bobst Graphic, Autologic).
  • 1977: Avant Garde Gothic Oblique (ITC).
  • 1978: Signa (Bobst Graphic, Autologic).
  • 1974-1980: Haas Unica (Haas Type foundry, Linotype, Autologic). In 2012-2014, Christian revived this digitally as Unica 77 at Lineto, one year before Toshi Omagari published Neue Haas Unica at Linotype.
  • After a long hiatus, with the help of the Linotype staff, he created Sinova in 2011, a versatile humanist sans type family in ten styles, which has broad language support.
  • Mengelt Basel Antiqua (2014, Linotype). A relaxing Venetian text typeface family based on the Basel book typefaces from the 16th century. Linotype, its publisher, writes: The first edition of the anatomy atlas De humani corporis fabrica came out nearly 500 hundred years ago. It was published in 1543 in Basel by Andreas Vesalius. The work was published in multiple volumes and is extraordinary not only for its content and design, but also its typography. It excites philologists and typographers to this day. De humani corporis fabrica was printed in the workshop of Johannes Oporinus, who was considered one of the major printers and publishers in Basel in his time. He used one of the Venetian Antiqua-inspired fonts for the typesetting. This is a genre of fonts which was much loved by the Basel printers. The printer Johann Amerbach brought it to Switzerland from Italy a few centuries earlier. [Note: Is this a misprint?] The American philologist Daniel H. Garrison provided the initiative for Mengelt to explore the Basel Antiqua fonts from the 16th century. He is working on a re-edition of the De humani corporis fabrica and is looking for a fitting print font which has historical references, but the technical characteristics of a modern font. Mengelt takes on the challenge and designs his Mengelt Basel Antiqua font on the basis of the original Basel prints.
  • He received an Honorable Mention in the Latin category for Newline in 2016 at the Morisawa Type Design Competition 2016.

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

Christine Asimakopoulos

Athens, Greece-based designer of the Hangul emulation typeface Seoul (2016). [Google] [More]  ⦿

Christine Lee

Athens, Greece-based designer of the squarish typefaces Zenovia (2018) and Seoul (2018). [Google] [More]  ⦿

Christo Bino

Thessaloniki, Greece and Korce, Albania-based designer of the fine free (Latin) display typeface Geometrico (2016). His main thing, though, is the design of sets of icons, such as the large varied sets Slimicons (2016) and Sharpicons (2016). His company is called Dreamstale. Behance link. Creative Market link. [Google] [More]  ⦿

Christoph Koeberlin

Active type expert and type designer, who created FF Mark in 2013 together with Hannes von Döhren and the FontFont team. This 10-style font family spanning hairline to black is marketed as Ze new Germanetric sans. The FF Mark Ultra weight, published in 2015, is absolutely stunning. One of the weights of FF Mark is free.

In 2016, he designed Fabrikat, which had creative input of Hannes von Döhren. This simple geometric sans serif family is based on the DIN style used in the 20th century by German engineers: It has a plain and precise appearance, and is a textbook example of a compass-and-ruler typeface. The monospaced almost-typewriter version Fabrikat Mono followed in 2017. In 2020, Fabrikat Normal was released at Hans von Doehren Fonts.

In 2020, he released Pangea and Pangea Text at Fontwerk. He writes: Pangea is a symbol of not only living together but of global cooperation. While Gergo Kokai from Hungary supported him in the design of the upright characters, he brought Tanya George from India on board to work on the italics (work in progress). He consulted with Irene Vlachou from Greece and Ilya Ruderman from Russia to ensure the quality of the Greek and Cyrillic characters. The spacing and the kerning of the font would not have been possible without Igino Marini from Italy and his iKern tool. A broad foreign language extension seems obligatory for this omnicultural approach and in fact, extended Latin, Cyrillic, Greek and Vietnamese are already included. Arabic, Hebrew and other languages are to follow. In 2021, he added the free 20-style Pangea Afrikan family with coverage of most of Africa's languages.

In 2016, he set up Sportsfonts, and promptly published the 24,000-glyph 49-font athletic lettering superfamily, Winner.

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

Christos Chiotis
[Pixelogical (was: Unicorg)]

[More]  ⦿

Christos Diafas

Cofounder and Creative Director at Point Zero Advertising (1989-2001) and Creative Director since 2001 at the BBDO Group in Greece. He designed the Greek font Duffy. [Google] [More]  ⦿

Christos Onoufriou

Athens-based Greek designer (b. 1982) of the stylish Greek/Latin display typeface GR-Superold (2005). Web page. [Google] [More]  ⦿

Christos Petropoulos

Athens-based designer of the free deconstructed typeface Diamond Impact (2017). [Google] [More]  ⦿

Christos Tsolerides

Young Greek type designer. At FontStruct, he created BOMBOM-TheBase, BOMBOM-CityLights, BOMBOM-FullMetal, Roundabout, Structura-SC, Structura-Gothic, Structura, Structura-Alt, StreetPost (stencil) and SlabSlab (squashed slab serif), all in 2008. In 2009, he added the film strip font Berliner, and the stencil typeface Street Post. [Google] [More]  ⦿

Church of Greece

The GreekKeys Athena Roman font by Jeffrey Rusten (1997) has Greek, Cyrillic, Latin, and every imaginable accented character. This font was withdrawn by Jeffrey Rusten, but you can still find it here. [Google] [More]  ⦿

Classical Greek and Linux

Links and discussion on Greek and Linux. [Google] [More]  ⦿

Classical Greek Fonts
[Matthew Robinson]

Greek resource page by Matthew Robinson. Small Greek font archive: Grecs-duroiWG, Greek, GreekOldFace, Hebrew-Regular, Koptos-Regular, Korinthus, Korinthus, Korinthus-Italic, StandardGreekBold, StandardGreekBoldItalic, StandardGreekItalic, StandardGreek, Ellhnikh, Grammata, Angaros, MilanGreek. [Google] [More]  ⦿

Claudio Beccari
[cb fonts]

[More]  ⦿

Claus Eggers Sørensen

Also known by insiders as El Pato Loco Atomico. Danish type designer (b. 1973, Kulby, Vestsjalland, Denmark) who obtained his BDes from The Gerrit Rietveld Academie in Amsterdam, and his MA in typeface design from The University of Reading (2009), based on his type family Markant, which was specifically designed for newspapers and cares about ink traps, wide open bowls, inflection points and other special features. It supports Greek and Cyrillic as well.

He says: I created a new design again taking inspiration from the early sketches of Dwiggins' Experimental No. 223. I was able to use the very open aperture design of the e in this experiment. The a again explored a inflexion points within the counters, and this was too integrated in the design. Finally lightly rounded wedge shaped base serifs were chosen.

In 2011, Claus placed Playfair Display with Google Web Fonts. He explains: Playfair Display is a transitional design. From the time of enlightenment in the late 18th century, the broad nib quills were replaced by pointed steel pens. This influenced typographical letterforms to become increasingly detached from the written ones. Developments in printing technology, ink and paper making, made it possible to print letterforms of high contrast and fine hairlines. This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the printer and typeface designer John Baskerville's designs, the punchcutter William Martin's typeface for the Boydell Shakespeare (sic) edition, and from the Scotch Roman designs that followed thereafter. As the name indicates, Playfair Display is well suited for titling and headlines. It was followed in 2012 by Playfair Display SC. Free download at CTAN and at Open Font Library. Free download of Playfair Display Italic.

In 2014, Claus designed Inknut Antiqua, a free angular text typeface family for low resolution screens, designed to evoke Venetian incunabula and humanist manuscripts, but with the quirks and idiosyncrasies of the kinds of typefaces you find in this artisanal tradition. Google Fonts link for Inknut Antiqua. Open Font Library link. Inknut Antiqua covers Latin and Devanagari.

Claus lives in Amsterdam. Google Font Directory link. Speaker at ATypI 2011 in Reykjavik on the topic of typography for touch-screen devices.

Klingspor link. [Google] [More]  ⦿

ClearlyU BDF font

Mark Leisher's creation: "ClearlyU is a set of BDF (bitmap) 12 point, 100 dpi fonts that provides glyphs that can be used for Unicode text. The font contains over 4000 glyphs, including numerous additional glyphs for alternate forms and ligatures. The ClearlyU typeface was originally inspired by Donald Knuth's Computer Modern typeface, but has been slowly evolving into something else." Supported are: Navajo, Armenian, Cyrillic, Georgian, Greek and Coptic, Hebrew, Lao, Thai. [Google] [More]  ⦿

CM Unicode
[Andrey V. Panov]

Free font package from 2009 by Andrey Panov, specially adapted for TeX. CM Unicode (or: Computer Modern Unicode) is an OpenType and Type 1 unicode version of Knuth's Computer Modern font family. The OIpenType fonts include CMUBright-Bold, CMUSerif-BoldItalic, CMUSerif-BoldSlanted, CMUBright-Oblique, CMUBright-Roman, CMUBright-SemiBoldOblique, CMUBright-SemiBold, CMUTypewriter-Light, CMUTypewriter-LightOblique, CMUSerif-Bold, CMUBright-BoldOblique, CMUClassicalSerif-Italic, CMUTypewriter-Italic, CMUConcrete-BoldItalic, CMUConcrete-Bold, CMUConcrete-Roman, CMUConcrete-Italic, CMUSerif-BoldNonextended, CMUSerif-Roman, CMUSansSerif-Oblique, CMUSerif-RomanSlanted, CMUSansSerif-BoldOblique, CMUSansSerif, CMUSansSerif-DemiCondensed, CMUTypewriter-Oblique, CMUSansSerif-Bold, CMUTypewriter-Bold, CMUSerif-Italic, CMUTypewriter-Regular, CMUTypewriter-BoldItalic, CMUSerif-UprightItalic, CMUTypewriterVariable-Italic, CMUTypewriterVariable.

Alternate download site. Google Plus link. [Google] [More]  ⦿

Coji Morishita
[M+ Fonts]

[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]  ⦿

Computer Modern Unicode fonts
[Andrey V. Panov]

Andrey V. Panov developed the Computer Modern Unicode fonts in 2003-2007 by conversions from metafont sources using textrace and fontforge (former pfaedit). He wanted to create free good quality fonts for use in X applications that support many languages. Currently the fonts contain glyphs from Latin1 (Metafont ec, tc), Cyrillic (la, rx) and Greek (cbgreek) code sets. There are 33 fonts in the family: CMUClassicalSerif-Italic, CMUSansSerif-Bold, CMUSansSerif-BoldOblique, CMUSansSerif-Demi-Condensed, CMUSansSerif-Oblique, CMUSansSerif, CMUSerif-Bold-Nonextended, CMUSerif-Bold-Slanted, CMUSerif-Bold, CMUSerif-BoldItalic, CMUSerif-Italic, CMUSerif-Roman-Slanted, CMUSerif-Roman, CMUSerif-Unslanted-Italic, CMUTypewriter-Bold, CMUTypewriter-BoldItalic, CMUTypewriter-Italic, CMUTypewriter-Oblique, CMUTypewriter-Regular, CMUTypewriterVariable-Italic, CMUTypewriterVariable. The fonts come in type 1, OpenType and SFD, the universal spline format used by FontForge. The CMU Bright subfamily was added some time later in 2007.

Istok Web (2011) was published at the Google Font Directory.

In 2008, he made Heuristica (or Evristika), a serif family that extends Adobe's Utopia (for Latin, Greek and Cyrillic). Heuristica was improved in 2014 by Andreas Nolda as Utopia Nova. Open Font Library link for Heuristica. Download site for Heuristica.

Free download. Direct download.

Alternate URL. Kernest link. Klingspor link. [Google] [More]  ⦿

Conceptum S.A.

Download Greek fonts for Windows, Mac and UNIX: Arial Greek, Hellas Times 2. [Google] [More]  ⦿

Constantina Klepetsani

During her studies in Athens, Greece, Constantina Klepetsani designed the hipster typeface Geom (2016) and Mondrian Font (2016). [Google] [More]  ⦿

Constantine Terzopoulos
[Psaltic Fonts]

[More]  ⦿

Constantinos Chaidalis

Graphic designer in Athens, Greece. Creator of the experimental typeface Mahler (2013). Behance link. [Google] [More]  ⦿

Constantinos Charitos

Athens, Greece-based designer of Runabic (2015), a typeface for Latin and Greek that combines Nordic rune elements with pixacao graffiti. In 2018, he published the spurred typeface Avacyn. [Google] [More]  ⦿

Context Ltd
[Stefan Peev]

Stefan Peev (Context Ltd, Plovdiv, Bulgaria) released the free Latin / Cyrillic sans typeface Selena, the free transitional text typeface Sibila, and the sans typeface Bretan in 2014 via the Open Font Library. Tipotype (2014, free at Open Font Library) is a roman type serif font family inspired by the well known fonts like Free Serif, Tex Gyre Termes and Omega Serif. Besides Latin and Cyrillic, Tipotype also includes the "Bulgarian" letterform model, which has been proposed by a group of Bulgarian designers in the 1960s. In 2015, he published the old Slavonic typeface Supralskija, the text typeface Sibila, and the commercial (and sometimes free) sans typefaces Tervel, Hemus, Repo, Omurtag, Gremi, Plovdiv (the project started as a part of the official programme of Plovdiv---European Capital of Culture 2019), Libra Sans (based on Liberation Sans), Font Night (an art deco project with Krassimir Stavrev for an event in Plvdiv), and Coval.

In 2016, he designed the free Libra Serif Modern (based on Libra Serif), the free text typeface Pliska, the free Veleka (a modification of Charis SIL to cover Bulgarian Cyrillic and Greek), the free font Linguistics Pro (based on Andreas Nolda's Utopia Nova), Maritsa, Perun (a modification of Free Universal (Stephen Wilson, 2009) and SIL Sophia (1994-2008)), Arda (a condensed sans), Libra Sans Modern, HK Grotesk (he added Cyrillics to Pradil's Latin font), and Bogorov (Cyrillic font).

In 2018, he designed the Cyrillic revival typeface Grazhdanskiy Shrift.

In 2020, he released the manicured family Hebert Sans. and the condensed sans typeface Arda (which is in the orbit of Akzidenz Grotesk)

Behance link. Open Font Library link. Fontsquirrel link. [Google] [More]  ⦿

Coptic

Free Greek fonts at Howard Berlin's site included Antonious by Michael Wasim, SPAchmim (by Scholars Press), MENA, CopticGregor (by Dirk Van Damme, Gregor Wurst, 1994), CopticNormal and the Wingreek fonts. [Google] [More]  ⦿

Cosimo Lorenzo Pancini

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Costas Mylonas

Constantine Mylonas, of Athens, Greece, was an emeritus professor of engineering, who taught at Brown University from 1953 until 1981. During World War II he served in the Greek army until the Nazi occupation of Greece, then escaped to Egypt and served in the Free Greek Navy in Alexandria. He received his PhD from University College, London, and went to Brown in 1953. He conducted research into the strengths of materials. He was a champion marksman with pistols and represented Greece in the 1947 World Shooting Championship in Stockholm. He was also a member of the 1948 Greek Olympic team.

In 1991-1992, Costas Mylonas and Ron Whitney (of the AMS) co-designed a set of Greek fonts called Euclid, which they describe in their article Complete Greek with Adjunct Fonts (TUGBoat, vol. 13, pp. 39-50, 1992). This Times-Elsevier Greek font family was developed using MetaFont and was never released to the public. [Google] [More]  ⦿

CoType Foundry

CoType is the London-based type foundry of Mark Bloom and Joe Leadbeater, est. 2019. Their typefaces include

  • Aeonik and Aeonik Pro (2018). A 14-weight sans typeface family by Joe Leadbeater and Mark Bloom. Aeonik supports Latin, Greek and Cyrillic, and is accompanied by a variable font. Followed in 2022 by Aeonik Mono and Aeonik Fono.
  • Altform (2021). A low contrast sans family by Mark Bloom. Designed by mixing geometric and grotesque elements, it has many weights and is accompanied by a two-axis (weight, italic tilt) variable font.
  • Ambit (2019). A sans by Mark Bloom: Ambit is an eccentric and unique sans serif font inspired by early grotesques, but adapted for the 21st century. It is characterized by the misbehaving curly lower case f and r glyphs.
  • Coanda (2019). A techno typeface by Mark Bloom, who writes: Coanda: an ideology of the future, crafted from the past. Coanda honours the ambitious outlook of 20th century designers Wim Crouwel and Mimmo Castellano, and pays respect to the meticulous detail crafted by The Designers Republic.
  • Orbikular (2020). A 5-weight modern typeface by Mark Bloom.
  • RM Neue (2019). A sans by Mark Bloom. The first iteration of RM was released in 2011, followed by RM Pro in 2016. RM Neue is a completely redrawn and redesigned adaptation of RM Pro, previously available in only three weights. Bloom writes: Inspired by utilitarian neo-grotesques, RM Neue aims to be a timeless addition to each designer's font repertoire and has been designed to be clean and legible at all sizes.
  • Betatron (2021). Sci-fi.
  • Scandium (2021). a 14-style sans: Scandium is a contemporary sans with open shapes and a technical vibe inspired by the needs of the automotive industry---openness, performance, and style. With its modestly squared curves, high x-height, and vertical terminals, Scandium marries performance with purpose. It includes many icons and some emojis.
[Google] [More]  ⦿

Craceltype
[Joao Cracel]

Type design studio in Lisbon, Portugal, founded in 2018 by type designer Joao Cracel. In 2019, Craceltype published the 18-style humanist sans typeface families Jano Sans Pro and Jano Sans Std. In 2020, they added Jano Round.

Typefaces from 2021: Lydia Sans (a 24-style Latin / Greek / Cyrillic geometric sans in the Futura orbit; with two variable fonts).

Amika (2020) is a 22-style low contrast tectonic sans typeface family. [Google] [MyFonts] [More]  ⦿

Crossswire

Greek font archive. Has Ralph Hancock's Milan in all formats. Also has the Hebrew font Ezra SIL (2002). [Google] [More]  ⦿

Cucu

Graphic designer in Athens, Greece, who created a custom sans (Latin) typeface for his company, Reboot (2013). [Google] [More]  ⦿

Cursor Design
[Apostolos D. Tsiovaras]

Cursor Design (Larissa, Greece) is a graphic design and creative studio founded in 2002 by Apostolos D. Tsiovaras. In 2013, Tsiovaras designed the display typeface Mermaid. In 2015, he created the display typeface Peggy Gothic.

Behance link. [Google] [More]  ⦿

Cuttlefish Fonts
[Jason Pagura]

Cuttlefish Fonts offers free original fonts by Cupertino, CA-based graphic designer Jason Pagura, such as Rutaban (2001), Bernur (1996, sans), Gemelli (handwriting), Gohan (fat finger comic book lettering, updated into ShinGohanSix in 2007), Bolonewt (2003), Antherton Cloister (2003, based on insect antennae. Discussed here) and Rutager (2001). He was working on Palormak (2006, futuristic).

Between 2006 and 2010, he published Agamemnon, a large and warm transitional slab serif typeface with wood type influences that covers Latin, Cherokee, Cyrillic and Greek.

Later typefaces include Cartmeign and Posterony (2007, anthroposophic).

Dafont link. 1001fonts link. [Google] [More]  ⦿

Cyanotype
[Damian Guerrero]

Damian Guerrero Cortes is the Mexico City-based designer of the 48-style multi-texture layerable pixel-based font families Dance Floor (2019) and 2nd Dance Floor (2020).

Damian's take on Bookman is Bookseller Bk (2020): it has straightened serifs on the ascenders and features some ball terminals to distinguish it from the original Bookman. Damian's italic is totally different though. Damian says that Bookseller is based on a typeface found in a French book published between 1882 and 1893 and cites Didot, Scotch Roman and Clarendon as distant references. Bookseller covers Greek and Cyrillic and shows sturdiness for small print. See also Bookseller Cp (2020: a 12-style Scotch family).

Typefaces from 2021: Sweetener (a sugary script), MultiType Brick, MultiType Rows (34 fonts with horizontal stripes as in retro video games), MultiType Brick (brick-textured), MultiType Glitch, MultiType Gamer (a 24-style retro gaming font family), MultiType Pixel. [Google] [MyFonts] [More]  ⦿

Cyllogos Mousikofilon Con

Greek/Byzantine music fonts: ED-Fthora, ED-Isson, ED-Psaltica, UB-Byzantine-Italic (Unibrain), UB-Byzantine (Unibrain), bem13. [Google] [More]  ⦿

Cyn Fonts
[Petros Vasiadis]

Petros Vasiadis is a graduate of Vakalo Art & Design College who works in Athens, Greece. Petros Vasiadis set up CYN Fonts in Athens, ca. 2013, and offers these free (mostly brush) fonts for Latin and Greek: CYN Kypselers (hexagonal), Logikfron (grunge), Me Rider (grunge), Banxed (hexagonal), CYN Ypsoma (hand-printed), CYN Unlimited (brush), CYN Ufos (scratchy), CYN U, CYN Pan Shadow, CYN Pan (hand-printed), CYN Nextshift (hand-printed), CYN Goodinside, CYN Forgiven, CYN Filos (brush), CYN Byron, CYN Autozen (nice brush), CYN Autoside (brush), CYN Autopol (scratchy brush), CYN Autolimit (brush), CYN Autofly (brush), CYN 4Uven. In 2015 Cyn Fonts had these typefaces: Actual, Calimera, CYN Pan, CYN Singing, CYN_4Uven, CYN_autofly, CYN_autoLimit, CYN_autoLimit_it, CYN_AutoPOL, CYN_AutoPOL_it, CYN_autoSide, CYN_autoSide_it, CYN_autozen free font, CYN_Byron, CYN_Byron_it, CYN_FILOS, CYN_FILOS_italic, CYN_Forgiven, CYN_Forgiven_italic, CYN_Goodinside_italic, CYN_Goodinside_shadow, CYN_Nextshift, CYN_Nextshift_i2, CYN_U (2011, free brush face), CYN_UFos, CYN_Unlimited, CYN_Unlimited_it, CYN_Unlimited_U, CYN_Ypsoma, CYN_Ypsoma_Bold, CYN_Ypsoma_Bold_it, Gearus, Logikfront, Merider (:Me Rider:), Pagkrati, RighOn.

He cut the serifs and ends off Times Roman to create the sans typeface RighOn, the extended rounded display sans typeface Pagkrati, and the slab serif typeface Calimera in 2013. Free downloads.

In 2014, he created the free font Gearus, the free handwriting font Singing, and the free thin sans display typeface Actual Free Font (2014, Latin and Greek).

In 2015, he published Cyn Filos (free rough brush font), Covalt, the curly typeface Medelsan, the stencil typeface Quaummerce, the interesting 10-weight Latin / Greek sans family Pinaxi (commercial). Its very open forms and organic feel make this ideal for mobile devices. He also made a proposal for a drachma symbol at the height of the Greek Euro crisis in June 2015. Still in 2015, he designed the grunge fonts Studiomast and Typink, the free handwriting font Cyn Goodinside, the calligraphic nibbed typeface Erasty, the nibbed typeface Achieve, the commercial vintage poster typeface Palko, Delyte, Bortrait, Porta, Maternity, The Loom, the handcrafted Tasy and Innosend, the nibbed typefaces Nicky, Relevancy and Applauds, the amoebic Locker, the octagonal Powergo, the inky script typeface Trip, and the monospaced organic sans typeface Bot (Latin and Greek).

Typefaces from 2016: PVF NeuTymes, PVF Clothing, PVF Over, PVF Newtown, PVF Mazzy, PVF Saved, PVF Seventy, PVF Solon (Greek simulation font), PVF Springs, PVF Climax, PVF Tropo, PVF Riding, PVF Spice, PVF Cash, PVF Chock, PVF Presence, PVF Codesk, PVF Saved, PVF Pop, Stroma, Ally, Hutch (tattoo script), Treesign.

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

Cypriote metafont
[Alan M. Stanier]

From Essex University, Alan M. Stanier's metafont for Cypriot. [Google] [More]  ⦿

D. Paul Alecsandri
[Every Witch Way]

[More]  ⦿

Daidala
[Jonathan Coltz]

Jonathan Coltz (University of Minnesota) writes eloquently about typography. He praises Linotype Janson Text, Linotype Sabon and Hoefler's Requiem, and condemns the awful digitization of Dwiggins' Electra by Linotype. Check his November 2, 2002 posting on the state of Greek fonts. His favorite typefaces, with discussion: FF Alega, FF Kievit, Requiem, Scene, FF Avance, FF Scala/FF Seria, Pastonchi (also here), LT/MT Sabon, Aetna. He also wrote opinions on FF Angie, Pastonchi, Ehrhardt, Avenir, Mendoza, FF Celeste, Syntax, Mrs Eaves, FF Meta, FF Eureka, TheMix, Loire, Columbus, Apollo, FF Super Grotesk, ITC Bodoni, and Kepler. [Google] [More]  ⦿

Daisuke Suzuki
[VL Gothic]

[More]  ⦿

Dalton Maag
[Canonical Design]

[More]  ⦿

Dalton Maag
[Bruno Maag]

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

The Dalton Maag team designed these commercial fonts:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Damian Guerrero
[Cyanotype]

[MyFonts] [More]  ⦿

Dan Carr
[Golgonooza Letter Foundry]

[MyFonts] [More]  ⦿

Dan Rhatigan

Daniel Rhatigan (Ultrasparky) was born on Staten Island in 1970. He finished the MA Typeface Design program at the University of Reading, UK, in 2007. Before that, he briefly taught type design at the City College of New York. He briefly was type director at Monotype Imaging, based in the UK, and is scheduled to replace David Lemon as the new Senior manager of the Adobe Type team at the beginning of 2017. In 2021, Dan Rhatigan joined Type Network where he curates Type Network's typeface library and oversees its foundry relationships.

Dan is an expert on Indic scripts, and spoke about that at ATypI 2011 in Reykjavik.

His graduation typeface at Reading was Gina (2007), a serif about which the reactions are generally good (a Minion with character according to Stephen Coles, and an awful lot of Unger in one gulp according to Joe Clark). Gina covers not only Greek, but most European languages. I especially appreciate its attention to mathematical symbols and typesetting. In 2009, Ian Moore and Dan Rhatigan created Sodachrome, a typeface designed at The Colour Grey for Sodabudi, a forthcoming online store for art work inspired by folk art from India. Dan Rhatigan blogged about it here. When the two parts of the typeface are screenprinted in different colours on top of each other, they produce an optical effect. In 2010, his (free) rounded bold serif typeface Copse font was published at Kernest (free downloads).

Kernest link. Google Web Font Directory carries his free typeface Astloch, a monoline blackletter face.

Another download link. Clear Sans (2013) was designed by Daniel Ratighan at Monotype under the direction of the User Experience team at Intel's Open Source Technology Center. Clear Sans is available in three weights (regular, medium, and bold) with corresponding italics, plus light and thin upright (without italics). Clear Sans has minimized, unambiguous characters and slightly narrow proportions.

Ryman Eco is a free multilined typeface created in 2014 by Dan Rhatigan and Gunnar Vilhjálmsson at Monotype that satisfies its two design goals---beauty and economy (it uses 33% less ink than a normal text font).

Speaker at ATypI 2017 Montreal.

Fontsquirrel link. CTAN download link. Klingspor link. Monotype link. Google Plus link. [Google] [More]  ⦿

Daniel Bak
[Art City]

[MyFonts] [More]  ⦿

Daniel Benjamin Miller

Daniel Benjamin Miller (b. 2000, New York) is an undergraduate student in philosophy at McGill University. His type design work:

  • BMucicFont (2020). Based on the Steinberg Media music fonts for LilyPond music software.
  • Salieri (2020). A revival of Jan Tschichold's Sabon (1964-1967).
  • GFS Heraklit. This started out from Zapf's Heraklit Greek (1954). A digital revival was first done by George Matthiopoulos. Later improvements by Antonis Tsolomitis and in 2020 by Daniel Benjamin Miller.
  • NX Baskerville Bold Italic (2020). An addition to Libre Baskerville (2012, Rodrigo Fuenzalida and Pablo Impallari).
  • He added OpenType support and made some minor adjustments to ET Bembo (2002, Dmitry Krasny / Deka Design), releasing the result as XETBook (2019). In 2020, that font family was extended by Michael Sharpe as ETbb.
  • In 2019, he started working on Regis, an original face inspired by the work of Pierre-Simon Fournier and Monotype 178 Barbou.
  • RW Garamond (2019) is a freeware Garamond font in OpenType format. RW stands for Rudolf Wolf, the designer who created Stempel's version of Garamond from the Egenolff-Berner specimen. RW Garamond is a modified version of URW Garamond No. 8. and GaramondX, with changes being made to support OpenType (better vertical metrics, added diacritics, better kerning, more mathematical symbols, Greek for mathematics, character variants). Copyrights: 2000, URW++; 2005, Ralf Stubner; 2009, Gaël Varoquaux; 2012-2017, Michael Sharpe; 2019, Daniel Benjamin Miller.
  • Domitian (2019). Based on URW's Palladio which in turn is based on Hermann Zapf's Palatino. Domitian is a project to develop a full-featured, free and open-source implementation of Palatino design. "Domitian" refers to the builder of the Flavian Palace, which is located on the Palatine Hill. Miller added true small caps and old style figures to URW's Palladio. The metrics have been adjusted to more closely match Adobe Palatino, and hinting has been improved.
  • Garamond Libre (2019). Based on Unicode Fonts for Ancient Scripts (George Douros, 2017). CTAN link. Miller writes: Garamond Libre is a free and open-source old-style font family. It is a "true Garamond," i.e., it is based on the designs of 16th-century French engraver Claude Garamond. The roman design is Garamond's; the italics are from a design by Robert Granjon. The upright Greek font is after a design by Firmin Didot; the "italic" Greek font is after a design by Alexander Wilson. The font family includes support for Latin, Greek (monotonic and polytonic) and Cyrillic scripts, as well as small capitals, old-style figures, superior and inferior figures, historical ligatures, Byzantine musical symbols, the IPA and swash capitals. Miller added a bold italic.
  • The STEP fonts (2019), free at CTAN and Github, created to be metrically compatible with Adobe's digitization of Linotype Times. STEP is based on the STIX and XITS fonts, and includes support for OpenType mathematical typesetting, usable with LuaTeX, XeTeX and Microsoft Office. It contains an original STEP Greek (2020) in Elzevir style.
  • Courier Ten (2020). This is Courier 10 Pitch BT, made available by Bitstream, offered here in OpenType format as well as Type 1 for use with LaTeX. Package maintained by Daniel Benjamin Miller starting in 2020.
  • MLModern (2021). He explains: MLModern is a text and math font family with (LA)TEX support, based on the design of Donald Knuth's Computer Modern and the Latin Modern project [note: 2003-2009, by B. Jackowski and J. M. Nowacki]. Some find the default vector version of Computer Modern used by default in most TEX distributions to be spindly, sometimes making it hard to read on screen as well as on paper; this is in contrast with the older bitmap versions of Computer Modern. MLModern provides a sturdy rendition of the Computer Modern design. [...] A script by Chuanren Wu was used to blacken the fonts before manual adjustment.
  • MFB Oldstyle (2024). A public domain font based on Morris Fuller Benton's classic serif font, Century Oldstyle.

Miller is a supporter of free and open-source fonts, as well as free and open-source software. He uses FontForge for design, and releases all his work under free licenses: I really just want people to be able to use my designs, improve them and share them. First, on a pragmatic level, I know that my work will be imperfect, and I'd like others to be able to use their judgment to make adjustments (which I hope they'll also release under a free license). Second, I think that too much material (and not just fonts) is behind barriers of restricted access and artificial scarcity. This kind of thing---useful tools and information---wants to be free, so let it out for everybody to use.

Github link. [Google] [More]  ⦿

Daniel Grumer

Born in 1985, Daniel Grumer studied at the Bezalel Academy of Arts and Design in Jerusalem. In 2015-2016, he studied type designat in the TypeMedia program at KABK in Den Haag.

At Haaretz, we read: As can be seen in the road signs for Arab communities, to mention just one example, in Israel the Arabic language has been marginalized at the expense of Hebrew. This is further emphasized by the contrast between the square and aggressive Hebrew typefaces of official Israel and the softer and more rounded letters of typical Arabic typefaces, a difference that in fact reflects the balance of powers between the country's Jewish and Arab communities. To achieve visual coordination, equal visibility and presence and peaceful coexistence between these two languages that share a same space while taking a small step for peace, Grumer created Avraham-Ibrahim as his final project as a visual communications major at Jerusalem's Bezalel Academy of Arts and Design in 2014. Grumer, who learned Arabic in the army, got help (over the Internet) from a Jordanian calligraphy designer of Syrian descent. He found another source of inspiration for his typeface in the Hebrew signs written by Arab merchants that "simply make the Hebrew language dance and liberate it from the geometric pressure," he says.

His graduation typeface at KABK in 2016 is the perfectly balanced tri-lingual (Latin / Arabic / Hebrew) typeface Abraham.

In 2016, he fine-tuned Peter Bilak's November Hebrew: November is a rational, utilitarian typeface inspired by street signage. Unlike most signage types it also handles long texts with ease. It covers Hebrew script, but also Arabic, Cyrillic, Greek and Latin, and is accompanied by a set of wayfinding symbols. Daniel designed the Condensed and Compressed styles. [Google] [More]  ⦿

Daniel Johnson

Canadian type designer. His typefaces:

  • Aguardiente (2010, heavy sans).
  • Deka (2010, a monospace font designed for very small display sizes).
  • Didact Gothic (2010, a simple and readable sans i in the form most often used in elementary classrooms).
  • He contributed to the GNU Freefont project. In particular, he created by hand a Cherokee range specially for FreeFont to be "in line with the classic Cherokee typefaces used in 19th century printing", but also to fit well with ranges previously in FreeFont. Then he made Unified Canadian Syllabics in Sans, and a Cherokee and Kayah Li in Mono. And never to be outdone by himself, then he did UCAS Extended and Osmanya. His GNU Freefont ranges:
    • Armenian (serif) (U+0530-U+058F)
    • Cherokee (U+13A0-U+13FF)
    • Unified Canadian Aboriginal Syllabics (U+1400-U+167F)
    • UCAS Extended (U+18B0-U+18F5)
    • Kayah Li (U+A900-U+A92F)
    • Tifinagh (U+2D30-U+2D7F)
    • Vai (U+A500-U+A62B)
    • Latin Extended-D (Mayanist letters) (U+A720-U+A7FF)
    • Osmanya (U+10480-U+104a7)
  • Grana Padano (2010).
  • Judson (2010, designed for African literacy).
  • Jura (2009). A sans family with support for Burmese, Cyrillic and Greek; redesigned and improved by Alexei Vanyashin in 2016; a variable font was added in 2019 by Mirko Velimirovic). Johnson explains: Jura is a family of sans-serif fonts in the Eurostile vein. It was originally inspired by some work I was doing for the FreeFont project in designing a Kayah Li range for FreeMono. (Kayah Li is a language used by a minority people group in Burma. Because the Burmese government suppresses the teaching of minority scripts, the Kayah Li script is taught only in schools in refugee camps in Thailand.) I wanted to create a Roman alphabet using the same kinds of strokes and curves as the Kayah Li glyphs, and thus Jura was born. Github link for Jura.
  • Megrim (2010, a monoline drawing table sans).
  • Pacaya (2013, a medium-weight sans).
  • Pfennig (2010, an extensive humanist sans family).
  • Rahel (2009, Hebrew).
  • Sacco-Vanzetti (2009, sans).
  • Stanislav Caps (2013).
  • Travelogue (2008).
  • Triad Postnaya (2010). An old Church Slavonic typeface and its Latin simulation twin. Free at the Open Font Library. Triod Postnaya attempts to mimic the typefaces used to publish Old Church Slavonic service books prior to the 20th century. It also provides a range of Latin letters in the same style.

Klingspor link. Fontspace link. Dafont link. Kernest link. Fontsquirrel link. Google Plus link. [Google] [More]  ⦿

Daniel Lyons
[Lyons Type]

[More]  ⦿

Daniel Ralph

London-based illustrator and graphic designer. Creator of Fred Fredburger (2011), the Cartoon Network type family, which covers Latin, Greek, Cyrillic, Arabic and Hebrew. [Google] [More]  ⦿

Daphne Kontomina

Athens, Greece-based designer of the video game font SP Invader (2017). [Google] [More]  ⦿

Darien Valentine
[Fixedsys]

[More]  ⦿

Darius Samek
[Elster Fonts]

[MyFonts] [More]  ⦿

Darren Rigby
[Darren Rigby]

Refreshing fonts created by Canadian Darren Rigby using High-Logic. The fonts come in truetype format (in 2000): Bayern (fraktur font), Beltane (2002), Brasspounder (2004), Con Jitters (2002, handwriting), Enigmatic, EnigmaticUnicodeRegular, Fitzgerald, GangueOuais (2002), HindsightUnicode (2001, with all European languages, Cyrillic, Armenian, and IPA), HindsightSmallCaps, HindsightRegular, HindsightMonospaceRegular, IntruderAlert, QuicktypeRegular, ThinDime, TorturerUpright, SilverDollar, DontWalkRun, History-Repeating (1999-2000), HistoryHappens, HistoryRepeatingH, HistoryHappens, HistoryRepeatingV, Lemon, Norse-Code (runes), OneEighty, TorturerBound, TorturerCrushed, Daybreaker, Yerevan, Seebreaze, Jareth, Tin Birdhouse, Tin Doghouse, Three-Sixty, Three-Sixty Condensed, Levity (2001, Western font), Gravity, River Avenue, Water Street, Warer Street Detour (unicase), Meridiana, Torquemada, Torquemada Starved, Torquemada Starved Unicode, Radian (2002), All Hooked Up (2002), Brasspounder (2004), Quilljoy (2004). [Google] [More]  ⦿

Darren Rigby
[Darren Rigby]

[More]  ⦿

Dave Rowland
[Eclectotype (was: Schizotype)]

[MyFonts] [More]  ⦿

David Brezina

Czech designer (b. Brno) who graduated with a Masters in Informatics at the Masaryk University in Brno in 2005, spent a term at the Denmark's Designskole in Copenhagen in 2004 and graduated with distinction from the MA in Typeface Design at the University of Reading in 2007, where he wrote a thesis on his typefaces called Skolar and Surat. Skolar won an award at Paratype K2009. It was designed with scholarly and multilingual publications in mind. See, e.g., Skolar Devanagari. Later David founded Rosetta Type.

From 2004 to 2007, he ran his own design studio DAVI, with projects in graphic, web and interface design. Back in Brno, he worked with Tiro Typeworks (Canada) as an associate designer. At ATypI 2008 in St. Petersburg, he spoke about multi-script typography.

His typefaces include

  • CODAN (2005): a typeface inspired by the city of Copenhagen.
  • Yunnan (2004): oriental simulation face. Discussion on typophile.
  • Skolar and Surat (2008). Skolar was designed for multilingual scientific publications and is a serifed typeface in the Menhart tradition. It was published in 2009 by Type Together, and it is also listed by Rosetta Type. Skolar Basic (2009, Type Together) is the official name of this 6-style text family. Surat is an accompanying Gujarati family. Related to that, he wrote The evolution of the Gujarati typographic script (2007, University of Reading). Rosetta writes: Skolar was originally designed for academic publications: its vast character set caters for 90+ Latin-script languages, and its Greek and Cyrillic extensions together with Latin transliterations add support for another 70+ languages. All scripts are available with small caps, superior and inferior letters, five sets of numerals and alternate character forms (see note about the versions below). A comprehensive set of arrows (easily accessed via OpenType) and bullets round off the character set to meet the needs of even the most complex editorial and academic text settings. The light and extrabold styles (upright and italics) were designed with help from Anna Giedrys and Elena Schneider. Skolar's Cyrillic harmonises well with the Latin in its careful balance of distinctive styling and solid performance. Designed in consultation with Alexandra Korolkova, it supports most Slavic languages as well as many others like Kazakh and Mongolian. Additionally, Skolar includes language-specific forms for Serbian and Bulgarian. The Greek is a modern interpretation of the classic styles found in academic works, and is characterised by lively, fluid forms and varying stress. It includes both monotonic and polytonic Greek, and was designed in consultation with Irene Vlachou and Gerry Leonidas. Complete Skolar family also supports Indic scripts Devanagari (codesigned with Vaibhav Singh) and Gujarati distributed separately. Skolar has received international praise at the 2008 ED Awards, and was also shortlisted as one of the best typefaces that year by I LOVE TYPOGRAPHY. In 2009, the Cyrillic was awarded a Special Diploma at the international type design competition Modern Cyrillic, and won the first prize in Granshan's Cyrillic text type category. In 2015, the 72-font family Skolar Sans (see also, Skolar Sans PE, 2016), codeveloped by David Brezina and Slava Jevcinova at Rosetta Type Foundry, won a silver medal at the European Design awards. Skolar PE was added in 2020.
  • Yrsa and Rasa (2015, open-source type families published by Rosetta with financial support from Google). The fonts support over 92 languages in Latin script and 2 languages in Gujarati script (Gujarati and Kachchi). The design and production are by Anna Giedrys and David Brezina. Yrsa is the name of the Latin-only type family. Rasa is the name of the Gujarati type family. They explain: Both type families are intended for continuous reading on the web (longer articles in online news, magazines, blogs). In Yrsa, a special consideration was given to Central and East European languages and proper shaping of their accents. Rasa supports a wide array of basic and compound syllables used in Gujarati. In terms of glyphs included Rasa is a superset of Yrsa, it includes the complete Latin. What makes Yrsa & Rasa project different is the design approach. It is a deliberate experiment in remixing existing typefaces to produce a new one. The Latin part is based on Merriweather by Eben Sorkin. The Gujarati is based on David Brezina's Skolar Gujarati.
  • Adobe Gujarati (2012).
  • In 2019, at Rosetta Type, together with Slava Jevcinova and William Montrose, he released the variable font Adapter (with three axes, for latin, Greek and Cyrillic).
  • In 2020, he released Handjet (started in 2018, at Rosetta Type), which is built on the principle of a dot matrix printer or handjet printer. Glyphs are made up of collections of individual modules that take 23 elemental shapes. The Handjet family covers Armenian, Arabic, Cyrillic, Greek, Hebrew and Latin. Github download link.
  • Gridlite (2020, Rosetta Type) is a modular pixel typeface with adjustable foreground and background patterning. It also has a variable type format with three axes, Weight, Background, and Element Shape.

Blog. Myfonts link. Klingspor link. Speaker at ATypI 2013 in Amsterdam on the topic of multilingual type design. [Google] [MyFonts] [More]  ⦿

David J. Perry
[Fonts for Scholars]

[More]  ⦿

DBSV
[Vangelis Dim. Gardikiotis]

DBSV Moulding Ideas is a creative agency and type foundry located in Larissa, Thessaly, Greece. Their first typefaces are the layered monoline sans family Aeolus Pro (2014, in dashed, bilined and trilined versions called Staccato, Rail and Tribe; by Vangelis Dim. Gardikiotis) and the curvy monoline typeface Khamai Pro (2014), which was a dashed line version called Khamai Pro Staccato, a bilined version called Khamai Pro Rail, and a trilined version called Khamai Pro Tribe. All typefaces cover Latin, Greek and Cyrillic.

In 2015, Vangelis Dim. Gardikiotis designed Corset Pro and Artios Pro (a narrow techno family).

In 2016, he designed the informal curvy display typeface Pentathlon Pro. In 2017, he published the Latin / Greek / Cyrillic typeface family Cyceon Pro, and in 2018 Eris Pro.

Typefaces from 2019: Noema Pro.

Typefaces from 2020: Saeta Pro (a display family in twelve styles). [Google] [MyFonts] [More]  ⦿

Debbie Sinis
[dgs Designs]

[MyFonts] [More]  ⦿

Deckersche Schriftgießerei
[Rudolf Ludwig Decker]

Berlin-based foundry of Rudolf Ludwig Decker. Their fonts include Deckersche Fractur (1844) and an uncial Greek that was used by both Oxford and Cambridge University Press in the late 1800s. That Greek typeface was revived in 2007 by George D. Matthiopoulos as GFS Decker. [Google] [More]  ⦿

DejaVu Fonts
[Stepan Roh]

The DejaVu fonts form an open source font family based on the Bitstream Vera Fonts. Free download. Its purpose is to provide a wider range of characters (see Current status page for more information) while maintaining the original look and feel through the process of collaborative development. Included are DejaVuSans-Bold, DejaVuSans-BoldOblique, DejaVuSans-Oblique, DejaVuSans, DejaVuSansCondensed-Bold, DejaVuSansCondensed-BoldOblique, DejaVuSansCondensed-Oblique, DejaVuSansCondensed, DejaVuSansMono-Bold, DejaVuSansMono-BoldOb, DejaVuSansMono-Oblique, DejaVuSansMono-Roman, DejaVuSerif-Bold, DejaVuSerif-BoldOblique, DejaVuSerif-Oblique, DejaVuSerif-Roman, DejaVuSerifCondensed-Bold, DejaVuSerifCondensed-BoldOblique, DejaVuSerifCondensed-Oblique, DejaVuSerifCondensed.

Authors and contributors comprise Adrian Schroeter, Ben Laenen, Dafydd Harries, Danilo Segan (Cyrillic), David Jez, David Lawrence Ramsey, Denis Jacquerye, Dwayne Bailey, James Cloos, James Crippen, Keenan Pepper, Mashrab Kuvatov, Misu Moldovan (Romanian), Ognyan Kulev, Ondrej Koala Vacha, Peter Cernák, Sander Vesik, Stepán Roh (project manager; Polish), Tavmjong Bah, Valentin Stoykov, and Vasek Stodulka. The idea is to eventually cover most of unicode. Currently, this is covered: Latin (+supplement, extended A and part of extended B), IPA, Greek, Coptic, Cyrillic, Georgian, Armenian, Hebrew, N'ko, Tifinagh, Lao, Canadian aboriginal syllabics, Ogham, Arabic, math symbols, arrows, Braille, chess, and many dingbats.

Alternate download site. Wiki page with download information.

Fontspace link. Open Font Library link. [Google] [More]  ⦿

Deniart Systems
[Jan Koehler]

Great fonts for astrology, hieroglyphics, alchemy and the occult, by Toronto's Jan and Denise Koehler, mostly designed between 1993 and 1995. They moved to Litomerice and then Teplice, the Czech Republic, recently. MyFonts sells the fantastic Meso Americano dingbats, Hypnotica, AlchemySymbols (two fonts), BlackMagick, Border Twins (2010), CastlesShields, Curly Jane (2010), Cubista Geometrica (2010: op art), DaggersAlphabet, Dendera (ancient Egyptian Zodiac symbols), Dragons, Eggnog (2010), Fontazia Floradot (2012), Fontazia Papilio (2009), Fontazia Pop62 (2011, dingbats of flowers), Fontazia AquaFlorium (2010, fishtank dingbats), Fontazia Mazzo (2010, vases), Fontazia Stiletto (2011), Fontazia Y3K (2009, aliens), the Hieroglyph family (dingbats, really), Jolly Jester (2010, curly hand), MagiWriting, Meandros (2010, a paperclip design inspired by the Greek Key, or Fret, motif), Phaistos, Pocket Wrench (2010, octagonal), Polka Dot Wrench (2010), PowersofMarduk, Praha Deco (2010, inspired by the Prague art deco movement), the RongoRongo family (Easter Island script), SkeletonAlphabet, Sublimina, Superchunk, WhiteMagick, Yenda (2010, bold and angular).

List of font packages: Aglab, Alchemy Symbols, American Sign Alphabet, Ancient Writings Vol. 1, Ancient Writings Vol. 2, Angelica, The Astrologer Bundle, Astrologer, Aztec Day Signs, Black Magick, Braille Alphabet, Castles&Shields, Celestial Writing, Celtic Astrologer, Certar, Chinese Zodiac, Coptic Alphabet, Daggers Alphabet, Dendera, Dinosauria, Dragons, Egyptian Deities, Enochian Writing, Egypt. Hieroglyphics Vol 1, Egypt. Hieroglyphics Vol 2, Egypt. Hieroglyphics Vol 3, Egypt. Hieroglyphics Vol 4, Futhark, Greco, Hebrew Basic, Hypnotica, Magi Writing, Magick&Mystic, Malachim Writing, Masonic Writing, Maya Day Names, Maya Month Glyphs, Meso Americano, Meso Deko, Morse Code, Old Persian Cuneiform, Passing the River, Phaistos, Pike's Alphabets, Powers of Marduk, Sanskrit Writing, Semaphore Code, Signals&Signs, Skeleton Alphabet, Sublimina, Tengwanda Gothic, Tengwanda Namarie, Theban Alphabet, The Egyptologist, Tolkien Scripts, WhiteMagick, Skeleton Alphabet, Hebrew Basic, Sanskrit Writing. Note: I cannot find an entry for Jan Koehler at MyFonts, where all Deniart fonts are said to have been made by Denise Koehler. [Google] [MyFonts] [More]  ⦿

Denis Liegois

Page in French by Denis Liégois on unicode polytonic (classic) Greek fonts. [Google] [More]  ⦿

Denis Roegel
[LaTeX Navigator]

[More]  ⦿

Denise Koehler

Partner of Jan Koehler in Deniart Systems, which operated from 1993-2009 in Toronto, and then in Litomerice (Czech Republic). Her typefaces include: Skeleton Alphabet, Sanskrit Writing, White Magick Symbols, Theban Alphabet, Tolkien Tengwanda Namarie, Tolkien Tengwanda Gothic, Sublimina, Semaphore, RongoRongo (a system of glyphs discovered in the 19th century on Easter Island), Powers Of Marduk, Phaistos Disk Glyphs, Passing The River, Old Persian Cuneiform (1995), Morse Code, Meso Deko, Maya Month Glyphs, Maya Day Names, Masonic Writing, Malachim Writing, Magi Writing, Hypnotica, Egyptian Hieroglyphics Basic, Egyptian Hieroglyphics - The Egyptologist, Hebrew Basic, Greco (Greek face), Futhark, Enochian Writing, Egyptian Hieroglyphics - Deities, Medieval Dragons, Dinosauria, Egyptian Hieroglyphics - Dendera, Daggers Alphabet, Coptic Alphabet, Chinese Zodiac Symbols, Tolkien Certar, Celtic Astrologer Symbols, Celestial Writing, Castles&Shields, Braille Alpha, Black Magick, Aztec Day Signs, Astrologer Symbols, Angelica, American Sign Alphabet, Alchemy Symbols, Tolkien Aglab, Fontazia AquaFlorium (2010, fish tank dingbats), Snow Crystals (2010, followed by Snow Crystals 2 in 2012), Star Crystals (2010, more snow-like structures but having 8 instead of 6 axes of symmetry), Karika Swirls (2010), Karika Hearts (2010), Karika Encore (2011), Fontazia Chateaux (2011), Fontazia Chateaux Deux (2011), Fontazia Insomnia (2011), 21 Emmerson (2011), 4 Point Greek Fret (2011: labyrinthine), 4 Point Florals (2011), 4 Point Deco (2011), Mykonos (2011, labyrinthine), Harmonics (2011, a zig-zag face), Fontazia Motyl (2011, butterfly dings), Holiday Penguins NF (2011, Christmas dingbats), Fontazia Christmas Tree (2011), Eggs Galoe (2012, Easter egg font), Border Glyphs (2012, hieroglyphic), Fontazia Christmas Baubes (2012), Fontazia Christmas Tree 2 (2013), Karika Hypnotica (2014, hypnotic or kaleidoscopic glyphs), Symcaps Vario X1, Symcaps Vario X2, Symcaps Vario X3 (2016, op-art design). Klingspor link. [Google] [MyFonts] [More]  ⦿

Dennis Ludlow
[Sharkshock]

[MyFonts] [More]  ⦿

DePlictis Type (was: ESS Fonts)
[Bogdan Balatchi]

Graphic designer Bogdan Balatchi (DePlictis Type, and before that, ESS Fonts) graduated in 2004 from the Faculty of Arts of West University in Timisoara, Romania. Most of his work is inspired by old Slavic calligraphy.

Bogdan created the display sans typeface Facebook Letter Faces (2011) and the medieval lettering typeface Kogaion ESS (2011), which are both free. Klauss (2011) and Pain in the sky (2011) are commercial soft techno typefaces.

In 2012, Bogdan created the groovy typeface Best Party Of The Week-End.

In 2020, he released BlinkHead (a modular typeface), Damasquine (an art deco-ish Greek enulation font), and Architype AD-2014.

In 2021, he published Greuceanu (a decorative archaic typeface), Areon Flux (a modular typeface), Squadzone (an urban techno font) and the medieval font Monasterka (for Latin, Greek and Cyrillic). [Google] [MyFonts] [More]  ⦿

DEPOTzNET

Organized font archive. Many subcategories including Party fonts, Holiday fonts, Balloons, Halloween, Christmas, screen fonts, phonetic fonts, African, Balinese, Bengali, Burmese, Cambodian, Croata-glagolitic, Cyrillic, Ethiopic, Georgian, Greek, Hebrew, Hindi, Hmong, Japanese, Javanese, Khmer, Lao, Malayan, Nepali, Nko, runes, Tamil, Vietnamese. [Google] [More]  ⦿

Derek Green
[Gawr Juhs]

[More]  ⦿

Design Under Pressure

Patras, Greece-based designer of the free Latin and Greek comic book typeface Odessa (2018) and the free Latin / Greek display typeface Vavoura (2018). [Google] [More]  ⦿

dgs Designs
[Debbie Sinis]

Greek designer of DGS Art Deco Greek (2019) and the primitive script typeface Teardrop (2019). [Google] [MyFonts] [More]  ⦿

Di Barros
[Roberto Teixeira]

Brazilian designer of the retro display typeface Di Barros (2020), which has an extensive glyph set for Latin, Greek, Armenian and Cyrillic. [Google] [MyFonts] [More]  ⦿

Diabetes Australia Multilingual Fonts

Archive: -JS-Rapee (Thai), ER-Bukinist-1251 (Ukranian), Simsun (Chinese), NUTANU-Regular (Hindi), Times-New-Roman-Greek, VPS-Times (Vietnamese). [Google] [More]  ⦿

Diego Rodas

During his studies at UFRJ Universidade Federal do Rio de Janeiro, Diego Rodas (Catanduva, Brazil) designed the Greek God figurine typeface Adonis (2017). [Google] [More]  ⦿

Diego Sanz Salas

Peruvian creator (b. 1984, Arequipa, Peru) at FontStruct in 2009 of Sencilla (+Cuadrada, +Morena), a family that covers Latin, Cyrillic, Extended Latin, Hebrew, Greek, Armenian, Coptic, Arabic, Thai, and Devanagari. At FontStruct in 2008, he made mercury and mercury_bold. At Cocijotype, he created the artsy Incan stone wall-inspired Quincha (2009), which according to this site is the first commercial font made in Peru. It won an award in the experimental category at Tipos Latinos 2010.

Amarilis (2011) is an ornamental caps face, which can be bought here.

Chicha (2012) is a bouncy curvy layered set of typefaces published by Cocijotype. It is based upon Peruvian market signs.

Typefaces from 2018: Papaia (plumpish and curvy, with many dingbats). Winner at Tipos Latinos 2018 of a type design award for Papaia.

MyFonts link. Logo. Interview in March 2010. Behance link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Dimitra ITD

Greek versions: arial Greek, Courier New Greek, Times New Roman Greek, all TrueType. See also here. [Google] [More]  ⦿

Dimitra Tzanos

Graphic designer in Athens, who was born and raised in Johannesburg. Home page. Creator of the iFontMaker font African Edges (2010, hand-printed). [Google] [More]  ⦿

DimitriAna
[Anastasia Dimitriadi]

Athens, Greece-based designer of the free Latin / Greek handcrafted poster typeface Sunday (2014, Fontfabric) and the commercial poster typeface Silhouette (2014).

In 2015, she and Iordanis Passas created the gorgeous Finos, which was inspired by Greek retro cinema (buy it here and check the free demo). Her second typeface of 2015 is the equally impressive deco script typeface family Magellan (in Deco and Script sub-styles). Marpesia (2015) is a connected calligraphic script typeface. Charming (2015) is a free spurred vintage tattoo typeface for Latin, Greek and Cyrillic. Adalberta (2015) is a great connected script typeface.

Typefaces from 2016: Sketchbook Script (+Pro), Old Harbour (vintage lettering collection consisting of Blue waves, Blue waves striped, Captain's pipe, Captain's pipe Sans, Sailor's tattoo, Sailor's tattoo Sans, Old Ship, Old Anchor, Old Lighthouse, Seashells, Starfish, Old Harbour dingbats), Juvenile.

Typefaces from 2017: Lady Marmalade (a textured, almost painted, coffee shop lettering font), Footbridge (brush script), Novaturient (Latin / Greek; a wild calligraphic font), Thirsty Heart.

Typefaces from 2018: Hayao's Letters (fantastic drop caps that pay tribute to Hayao Miyazaki and his magical films), Chalky Letters (a multilayered font collection).

Typefaces from 2020: French Armoire (a formal calligraphic typeface), Patmos Sans, Patmos Serif (an old Slavonic emulation typeface for Latin, Greek and Cyrillic).

Typefaces from 2021: Folk Zodiac Signs. [Google] [MyFonts] [More]  ⦿

Dimitrios Filippou on Greek TEX

Article by Filippou on Greek in TEX. [Google] [More]  ⦿

Dimitrios Giannakoulias

Patras, Greece-based graphic designer and typographer. [Google] [More]  ⦿

Dimitrios Kyriazis

Athens, Greece-based designer, who drew the ornamental caps alphabet Entangled (2012). [Google] [More]  ⦿

Dimitris Anasto

Designer of the wavy Latin / Greek typeface Hyto (2020). [Google] [More]  ⦿

Dimitris Arvanitis
[Espresso Society Studio]

[MyFonts] [More]  ⦿

Dimitris Bouskos

Athens, Greece-based designer of the free brush typeface Katana's Edge (2016) and the powerful beer brandig font Cannibale (2016). [Google] [More]  ⦿

Dimitris Chatzelas

Designer in Volos, Greece. He made the interesting multiline geometric typeface Sob (2011), which is built with triangles. Osi (2011) is a rounded geometric sans typeface for Latin and Greek. Chaplain (2011) is a display typeface with a religious look.

Unida (2012) is a high-contrast fashion mag face. [Google] [More]  ⦿

Dimitris Foussekis

Famous Greek illustrator, who studied geology and paleontology and worked as a specialist designer for archeological findings. Among his influences are Edmund Guy and Philip Burke. His designs appear weekly in magazines and often in advertising campaigns. He has designed several typefaces for Parachute such as PF Cosmonut Pro (2002 a retro futuristic typeface), PF Wonderland Pro (2003-2006, a curly/angular typeface with fantastic dingbats, a font for fairy tales), PF Psychedelia (2003), PF MyWay, PF ManicAttack, as well as Da Vinci Script Pro (2001-2006, with Panos Vassiliou, covers Latin, Greek and Cyrillic). [Google] [MyFonts] [More]  ⦿

Dimitris Goro

Graphic designer in Athens, Greece, who designed the beautiful calligraphic Greek Wild Pirate Font in 2016. This comes close to emulating true handwriting. [Google] [More]  ⦿

Dimitris Kanellopoulos

Born in Athens in 1979, Dimitris Kanellopoulos studied visual communication design at the Kent Institute of Art & Design in the UK. Back in Athens, he co-founded the design group "PoorDesigners" ('06-'09). In 2012, he and Yiorgos Yiacos co-founded the creative studio The Comeback.

In 2013, Yiorgos Yiacos and Dimitris Kanellopoulos co-designed the custom sans and inline typeface family Free Cinematica for Free Cinema. [Google] [More]  ⦿

Dimitris Koliadimas

Born in 1978 in Thessaloniki, Greece, Dimitris Koliadimas studied at the Technological Educational Institute of Athens School of Graphic Design & Graphic Arts in Graphic Design Department (1997-2001) and at London College of Communication (2002: Master of the Arts in Typo / graphic studies). Since 2005 he collaborates with Dimitris Papazoglou at Designers United.

At Cannibal Fonts, he published Kamtchatka. Klingspor link. [Google] [More]  ⦿

Dimitris Kolyris
[Sirylok (was: Popdog Fonts, or Fiberia)]

[More]  ⦿

Dimitris Mitsiopoulos

Dimitris Mitsiopoulos is a Greek type designer. He is a founding member and partner at Altervision typography and visual communication. Altervision was established by Dimitris Mitsiopoulos, Tasos Efremidis, Apostolos Rizos and Klimis Mastoridis in the beginning of 1997. [Google] [More]  ⦿

Dimitris Papazoglou

Born in 1976 in Athens Papazoglou studied typographic design and visual communication at the Instituto Europeo di Design of Milan. Since 2005 he collaborates with Dimitris Papazoglou at Designers United. He teaches typography and visual communication for postgraduate students at the Private School of Applied and Fine Arts, AKTO.

At Cannibal Fonts, he published Kamtchatka. Klingspor link. [Google] [More]  ⦿

Dimitris Perdikopoulos

Designer in Athens, Greece who made the Latin/Greek compressed sans typeface Condact 57 (2012, Ten Dollar Fonts). [Google] [More]  ⦿

Dimitris Sakkas

Illustrator and graphic designer in Athens, Greece, who made Rethink Arial (2012). [Google] [More]  ⦿

Dimosthenis Kaponis

Greek type designer who Hellenized Raph Levien's open source typeface Inconsolata LGC from 2010-2012. [Google] [More]  ⦿

Dino dos Santos
[dstype]

[MyFonts] [More]  ⦿

Diogenes

Peter Heslin is the author of Diogenes, a free GNU license "tool for searching and browsing the databases of ancient texts, primarily in Latin and Greek, that are published by the Thesaurus Linguae Graecae and the Packard Humanities Institute." [Google] [More]  ⦿

Dmitrij Greshnev
[Green Type]

[MyFonts] [More]  ⦿

Dmitry Goloub

Russian type foundry, est. 2014 by Dmitry Goloub, the Moscow-based codesigner with Lucas Perdidaão of the free grid-based art deco typeface Bobber (2012, in ai format) and of Alpine (2014). From 2009 until 2010 and again in 2012, he lived in Firenze, Italy.

Typefaces from 2013 include Bolognese Sans, Moor (multilined art deco family), Bobber Script, and Bread & Milk Sans. Genplan (2013) is a great free layered inline typeface for Latin and Cyrillic that is based on 1930s Soviet poster types. See also TT Genplan Pro (2014).

Cittadino Symbols (2013) is a free rounded city traffic icon font related to a Milan subway project. In 2013, this was replaced, still for the Milan metro maps, by Meneghino Wayfind, a tweetware typeface that was influenced by PT Sans Caption.

In 2015, Goloub created Ardent: Ardent is my Sergey Chekhonin-inspired typeface. Ardent is an attempt to prove that the bizarre Cyrillic letterforms of 20s are still decent for use in modern design, even in Latin script. It is highly ornamental and lapidary. Still in 2015, he designed the sans typeface family Intersans (a multilingual Swiss army knife sans), which supports Extended Latin, Extended Cyrillic (including Bulgarian and Serbian Cyrillic), Polytonic Greek, Armenian (Asomtavruli, Nuskha-khutzuri, Mkhedruli, Mkhedruli Mrglovani), Georgian and Hebrew. It also includes true italics, small caps, small caps italics and a lot of pictograms.

Typefaces from 2020: Grrr (at Paratype, with Alexandra Korolkova: a techno family characterized by an oversized lower case f).

Dmitry Goloub's home page. [Google] [MyFonts] [More]  ⦿

DolWork
[Gerben Dollen]

Gerben Dollen is the Groningen, Netherlands-based graphic designer of the commercial font RES (2006). In 2006, he started studying for an MA in Typeface Design at the University of Reading, where he graduated in 2007 with a type project called Actium, a sans face with Latin and Greek letters. MyFonts page for Dolwork, his foundry, where the 12-style family Actium was published in 2010. He currently works at Type Mafia in Amsterdam. [Google] [MyFonts] [More]  ⦿

Donald Mastronarde
[American Philological Association]

[More]  ⦿

Donald P. Goodman III

Donald P. Goodman III is a practicing attorney in the Commonwealth of Virginia, a graduate of the William and Mary School of Law and of Christendom College with a degree in history and a minor in classical languages. He has contributed several TeX packages for setting religious texts such as catechis (for catechisms) and liturg (for Catholic liturgical texts). In that context, he has designed the DRM font package in 2014.

The DRM (Don's Revised Modern) family of fonts are in Metafont format (for use with TeX). It has many optical sizes and comes in roman, italic and small caps styles. In addition, it has many ornaments, and symbols. Although written in Metafont, the author also provides a set of 103 (!!!) Opentype fonts. The opticals include 5pt (pearl), 7pt (minion), 8pt (brevier), 9pt (bourgeois), 10pt (long primer), 12pt (pica), 14pt (english), 16pt (great primer), 20pt (paragon) and 24pt (double pica). The table below gives a fuller optical size naming picture and its relationship with traditional American and British ways of listing type sizes. There are also Greek fonts. At the publication date, September 2014, the author was still working on the kerning---expect an improved package soon. The DRM fonts are wedge-serifed, and incorporate an odd mix of style elements---some terminals are didone, but other elements are more transitional or Caslonesque. Free download of the 6MB package.

Designer of Dozenal (2008), a metafont package for typesetting documents in base twelve. It includes a macro by David Kastrup for converting positive whole numbers to dozenal from decimal (base ten). It also includes a few other macros, redefines all the standard counters to produce dozenal output, and provides Metafont characters, in Roman, italic, slanted, and boldface versions of each, for ten and eleven (the Pitman characters preferred by the Dozenal Society of Great Britain). These characters were designed to blend well with the Computer Modern fonts. [Google] [More]  ⦿

Donald P. Reiher

Designer of GRK0 and the Hebrew font Hebreka (1994). [Google] [More]  ⦿

Douglas Lyle McCue Jr
[typO969]

[More]  ⦿

Download Greek and Byzantine Fonts

How to page, with some free TTF in Greek, maintained by Pigi Bitzeni. [Google] [More]  ⦿

Download Greek Fonts

Greek font archive and Greek links. [Google] [More]  ⦿

Download Greek Fonts

Greek language page by Hatzikokolakis Kostas and Tsichlis Labros. Has Arial and Courier truetype fonts for Greek. [Google] [More]  ⦿

Dr. Shirley J. Rollinson

At Shirley J. Rollinson's site in Portales, New Mexico, an archive with Greek, Coptic, Hebrew and dingbat fonts. A sampling: AWI105 (Amien World International), Alex, Altrussisch, AltrussischBold, AltrussischBoldItalic, AltrussischItalic, American-PresidentsSAMPLE, AngloSaxonRunes, AngloSaxonRunes1, AngloSaxonRunes2, Animals, Animals2, AntoniousJJencom, AntoniousJJencomHollow, AntoniousJJencomThin, AntoniousJJencomWide, AntoniousNormal, AntoniousNormalHollow, AntoniousNormalThin, AntoniousNormalWide, AntoniousOLOverLine, AntoniousOLOverLineHollow, AntoniousOLOverLineThin, AntoniousOLOverLineWide, Athenian, Athletes, BSTGreek, BSTHebrew, Basics, CU_SYMBL, CarrAnimalDingbats, CarrArrowsfilled, CarrArrowsoutline, CarrDingbats2, CarrDings, CelticPatterns, ChayaBold, ChemCycles, ChristianCrosses, ClassifiedDingbats, CommonBulletsNormal, Coptic-Regular, Coptic-Regular, CopticNormal, Dastafarin-Regular, Dingbat-Cats2, DivChem, DwarfRunes, DwarfRunes1, DwarfRunes2, Eggs, FOOD, Fabeldyr-2, Flower-Show, FontForFree, Futura-Thin, Futura-ThinItalic, GermanicRunes, GermanicRunes1, GermanicRunes2, GideonMedium, Grammata, Greek-Regular, Greek-Regular, Greek, GreekOldFace, GreekOldFaceC, HWGreek, Hebpar, Hebrew-Italic, Hebrew-Regular, Inter, Ismini, KirillicaWincyr, Kitchentile, KoineMedium, Koptos-Regular, Korinthus-Italic, Korinthus, Kur2siv-Italic, Lashon-Tov, Lavra-Plain, Linear-B, LudlowDingbats, MENA-1, Martin-Vogel's-Symbols, Medicine, MendelSiddurBold, MendelSiddurMW-Bold, Milan-Greek, MonitorNormal, New-Dingcats, Noam-New-Hebrew, NovaNormal, Novgorod-Plain, Ornaments, Paleo-Hebrew-NormalA, PecanSoncHebrew, Pni2na, Pointers, QuiltersDelight, RK-Meroitic-(Demotic), RK-Meroitic-(Hieroglyphics), RK-Meroitic-Transscript, RK-Persian-Cuneiform, RK-Sanskrit, RK-Ugaritic-Transscript, RK-Ugaritic, Rashi, Roman-Catholic, RuthFancy, SILDoulosIPA, SILGalatia, SILGalatiaBold, SILGalatiaExtras, SILGalatiaExtrasBold, SILManuscriptIPA, SILSophiaIPA, SPAchmim, SPDamascus, SPDoric, SPEdessa, SPEzra, SPIonic, SPTiberian, Sgreek-Fixed, Sgreek-Medium, ShalomOldStyle, ShalomOldStyle, ShalomScript, ShalomStick, ShebrewMedium, States, Statuer, Symbol-Accentuated, SymbolMW-Bold, SymbolMW-BoldItalic, SymbolMW-Italic, SymbolMW-Normal, TLHelpCyrillic, TattooNo1, TattooNo2, TimesNewRomanNavajo, TimesNewRomanNavajoBold, TimesNewRomanNavajoBoldItalic, TimesNewRomanNavajoItalic, TorahSofer, TransliterationItalic, Tzipporah, Ugarit, VintageDingbats, WarnSymbols1, WarnSymbols2, WarnSymbols3, WarnSymbols4, WarnSymbols5, YourKeys, ZapfDingbats, button_by_fanta, fantas-second, hebrew, persische-Keilschrift. [Google] [More]  ⦿

Dry Heaves Fonts (was: Phil Fonts)
[Phillip Andrade]

Not to be confused with Phil's Fonts, Phil Fonts offers charityware fonts by Phillip Andrade who uses the nicknames Dry Bohnz, neatoguy and spamboy. Most fonts are grungy, and were designed roughly between 1999 and 2003.

The list: BlownDroid, Neatified, HappyLarry, IShotTheSheriff, Alien Marksman, EvilCow, Corporate Suit, BadHairDay, Tiptonian, Philbats. Grouped as Scroll fonts from the dead Sea, we find: Habbakuk Scroll (Hebrew), Manual of Discipline (Hebrew), Parthenon (Greek), Ambrosius, Problem Secretary (old typewriter), DeadCircuit, MoldyPillow, Pastorswrit, RadiatedPancake, StolenLlama, Untitled, WetNapkin, Worn Manuscript (1999, grungy blackletter), DustyWombat, NasalDrip, Alphasnail, CarbonatedFont, RaptorAttack (2001), Warped Greased Monkey, Alphasnail (2001), Beth David (1999, Hebrew), Greased Monkey (2001), Lost City (1999, Hebrew), Missing man out (2001), No Brainer (2001), Raptor Kill (2001), Spazbats (2002, dingbats), Speed of Oatmeal (2001), Troglodyte (2001), Polyphemus (2000), Infestation (2000), Hand Drawn Wasabi (2002, katakana font), I Am A Font Designer (2003, scanbats), Neosight (2003), FirstTemple (2003, an old Phoenician lettering font), ScreamingGuitar (2002, guitar dingbats), DHUgaritic (2003), PeskyPhoenicians (2003).

Devian tart link. Alternate URL. Fontspace link. Dafont link. Abstract Fonts link. [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]  ⦿

Dual Type
[Zrinka Buljubasic]

Originally from Croatia, she studied Visual Communication Design Bachelor and New Media Design Masters at Art Academy of Split, after which she pursued typographic education by attending Type@Cooper Condensed Program in New York and later at TypeMedia Masters of the Royal Academy of Art, The Hague, The Netherlands. She worked for a decade as a graphic and digital designer. Zrinka runs the type and graphic design studio Dual Type with Gen Ramirez.

Her graduation typeface in the TypeMedia program at KABK was Dalma (2018). Dalma is a carefully manicured roundish display typeface for Latin, Greek and Cyrillic.

In 2019, Martin Grasser and Zrinka Buljubasic co-designed 188 Sans for And Repeat / Future Fonts. They write: The Regular weight, based loosely on Frank Hinman Pierpont's Monotype Grotesque, calls to mind early 20th century workhorse sans-serifs.

Co-designer of Sunnyside (2021, Martin Grasser and Zrinka Buljubasic), a slab serif rooted in the aesthetic language of 70's California. Dribble link. [Google] [More]  ⦿

Dylsectic

Dylsectic is located in Athens. It made a charming squarish face, Rufus (2010), as well as the great bubble font Five Petrol Poles (2010). In 2017, he designed the Greek display typeface Biopoleio. Home page. [Google] [More]  ⦿

Eclectotype (was: Schizotype)
[Dave Rowland]

Type foundry in Sheffield, UK, first called Schizotype, and in 2021 renamed Eclectotype because this is not a foundry that likes to stick to trends or expectations. Its designer, Dave Rowland (b. 1982, Chesterfield) grew up in Sheffield, UK, but was based in Japan, the Philippines, Liverpool, Surat Thani, Thailand, and Koh Samui, Thailand [where he presently lives]. MyFonts Interview.

He created these fonts in 2009: Quesadilla (signage type, Mexican simulation face), Quesadilla Shadow, Schizotype Scrolls, Quiff, Toothpaste, Astroboy (connected script), Decolletage (art deco), Kazumi Sans, Acid Haus, Dr. Black, Dr. Eric, Soyo Gogo, BMX radical (brush), Team, Miami Hopper, and Tubularis (multiline face), Sickle, Klique (futuristic display face), Uncle Eric (a cartoon face), Praline Smooth (connected script in the style of Mistral), Kwaktur, (blackletter typeface based on the logo of Belgium's Kwak beer), Blackball (another blackletter) and Modulogue (a modular display family).

Additions in 2010: Christmas Tuscan (a modular Tuscan), Masonic Lodge, Mook (a retro, unicase, bubble font), Toothpaste 2, Gaden Sans (organic monoline typeface that includes a hairline weight), Sizemore (all caps slab headline face), Quickscript (signage face), New Wave.

Fonts designed in 2011: Brag Pro (like Brag, a Cooper Black alternative), Brag Stencil Pro, Chestnut (curly, hand-printed), Brag (a fat round face in Cooper Black style), Gelato Script (a connected signage face), Brag Stencil (2011), Streetscript (2011, brushy signage face).

In 2011, he created a quaint text family, Vulpa, with quirky foxtail terminals.

Typefaces from 2012: Margot (a rounded slab serif described as a lovechild of American Typewriter and Cooper Black), Range Serif (an angular typeface), Pastiche Brush (a brushy connected script inspired by the titles of the 1959 movie Imitation of Life (Wayne Fitzgerald)), Quayside (a bulbous baseball or signage script).

Typefaces from 2013: Alight Slab (hairline slab), Anultra Slab (a heavy bold slab serif), Ollie (a connected baseball or signage script), Urge Text (an extensive modern text family with ample language support and plenty of mathematical symbols, and large ball terminals).

Typefaces from 2014: Range Sans (a grotesque sans family with the quirky angular cutouts inherited from Range Serif), Samui Script (upright connected script), Streetscript Redux (signage script), Price Didone (created for setting elegant price tags).

Typefaces from 2015: Oldskool Script (a connected signage script; one of many quite different commercial fonts with the same name), Hazel Script (a great flowing calligraphic script designed around the time of the birth of his first child, Hazel; the name may create confusion as there is a famous BB&S metal font with the same name), Mastadoni (a fat didone for headlines and fashion mags), Kake (a great creamy sign-painting font), Bali Script (creamy signage script), Flat Sans.

Typefaces from 2016: Cinema Script (retro movie script), Chill Script (a retro non-brush signage script), Blanket (a soft cursive font, ideal for children's books), Schizotype Grotesk (a very original angry geometric grotesk, with bucketloads of pizzazz), Astrid Grotesk, Asterisk Sans Pro (a versatile humanist sans family for Latin, Greek, and Cyrillic), Strelka Ultra (a retro space age typeface), Revla Serif (beatnik style, emulating randomly positioned handlettering).

Typefaces from 2017: Duckie (a bubblegum or creamy signage script), Tusque (a layered decorative Tuscan typeface), Ekamai (a tight non-connected creamy signage script), Quinella (seventies script), Delfino Script (retro signage script), Tchig Mono (a special, almost hipster monospace typeface family), Revla Sans (beatnik style), Revla Sans Text, Eroika Slab (a robust wedge serif family).

Typefaces from 2018: Aziga (descrived by Dave as a high (occasionally reversed) contrast, postmodern, deconstructed-reconstructed, serifless (mostly), fashion didone), Revla Slab (bouncy, beatnik), Galix (subdue futuristic sans family), Gelato Luxe (an update of his earlier Gelato Script), Engria (an angular brush-inspired text typeface).

Typefaces from 2019: Gelato Fresco (a warm flowing script), Amica Pro (a stocky part humanist part geometric workhorse sans), Galix Mono, Backstroke, Gigantic (an exercise in ultra-fatness).

Typefaces from 2020: Gelica (a 14-style retro soft serif family influenced by Cooper Black, Goudy Heavyface and Ludlow Black), Capsule (a reverse-stress high-contrast rounded sans-serif), Sausage (a friendly fat rounded typeface that is is unapologetically bold and bulbous. Influenced by magnetic fridge letters, hot dogs and 70s phototype fonts, it is retro, but not cloyingly so).

Typefaces from 2021: Revla Round (a child-friendly version of Revla Sans), Megumi (a formal hairline fashion mag script), Yink (a bulbous psychedelic experiment).

Klingspor link. Behance link.

Showcase of Schizotype's typefaces at MyFonts. Fontspring link. MyFonts interview. [Google] [MyFonts] [More]  ⦿

Ectaco

In 1999, this company produced a number of fonts that combine Latin with other languages such as Cyrillic, Greek, Turkish and Arabic. Download here. [Google] [More]  ⦿

Ed Ashby-Hayter

During his studies in Falmouth, UK, Ed Ashby-Hayter created the Latin / Cyrillic / Gree sans typeface EAH Rounded (2015). [Google] [More]  ⦿

Edik Ghabuzyan
[Armtype]

[MyFonts] [More]  ⦿

Edward Detyna
[Electronic Font Foundry]

[More]  ⦿

EelVex
[Angelo Haritsis]

Creator of free Greek versions of the Times, Helvetica and Courier typefaces, downloadable from Github. The glyphs from this source were used to compose Greek glyphs in FreeSans and FreeMono in the GNU Freefont project [range Greek (U+0370-U+03FF)]. EelVex home page. [Google] [More]  ⦿

Efstratios Moysis
[StratosMFonts]

[MyFonts] [More]  ⦿

Ege Esin
[Esintype]

[MyFonts] [More]  ⦿

Ekke Wolf
[Wannatype (was: Typic)]

[MyFonts] [More]  ⦿

El Cappuccino

From Sun: HelmetCondensedBold, HelmetCondensedBoldItalic, HelmetCondensedItalic, HelmetCondensedNormal (1999). Also, OLBGRK, OLBHEB for Greek and Hebrew. [Google] [More]  ⦿

El Circulo de Oro de Uresh-Nefer
[Antonio Hernández Marín]

Defunct hieroglyphics page by Antonio Hernández Marín. It had some downloadable fonts, including Trophos (Greek font by Carlos F. Gilardoni, 1994), Antonious (Greek, by Wisam Michael), Coptic, and TransliterationItalic (Egyptian transliteration font from Utrecht University). Old URL. [Google] [More]  ⦿

El Yeshuati

OLDGRK (Greek) and OLDHEB (Old Hebrew): free truetype fonts. [Google] [More]  ⦿

Eleana Gkogka

Athens, Greece-based designer of Cargo Box Font (2010). Behance link. [Google] [More]  ⦿

elections.gr

Basic Greek fonts. [Google] [More]  ⦿

Electra Vasiliadi

Athens, Greece-based designer of the zodiac-inspired typeface Zodiac (2016). [Google] [More]  ⦿

Electronic Font Foundry
[Edward Detyna]

The Electronic Font Foundry (EFF) in Ascot, Berkshire, UK, sold most classical fonts at about 15 dollars per weight, and made custom fonts. Established in 1984, the foundry had 1300 fonts by 2012.

The font designer and owner was Edward Detyna, who died in March 2014. People are reporting to me that the fonts are in limbo, and that Detyna's family is not replying to requests for information.

On July 4, 2002, Apostrophe wrote this: I'm currently having a difficult time trying to predict the past of EFF LondonA, EFF Liz, EFF Eric and EFF Formal, to name a few. I have a feeling that these folks just happen to be twins with entities that are currently across the Atlantic from them, namely Adobe Garamond, Cooper Black, Gill Sans and Copperplate Gothic. A friend of Detyna's writes this: When I met him at least twenty years ago, Edward and his associates had a font design studio based in Ascot, near London. He is a mathematician/statistician turned typographer, and was really on top of type design at the time. There are academic articles published on mathematical subjects on the internet. He's an old man now, but still a very smart guy. When he started, with fonts for Acorn RISC-OS (now defunct, but leading-edge British computer of mid-eighties to -nineties), he had very advanced and sophisticated algorithms for anti-aliasing and hinting, and his hand-hinting is still better than almost any other fonts I have used for screen work. He still sells fonts and adapts to user requirements promptly. I recently asked him to adjust the hinting on a font and he turns it around in a day.

Jason Koxvold wrote to me in 2017: I knew Edward back in 1990 or so, when I was 13, and he mentored me to a great degree. For a while I worked an internship of sorts at EFF, and then one day, my mother came to see what I was up to---he gave her the job of office manager. He was a tremendously helpful and meaningful person to me then as a very young man with a passion for typography.

Closed captioning fonts for TV, made according to the EIA 708-B specifications, include EFF Sans Serif CC, EFF Serif CC, EFF Sans Serif Mono CC, EFF Serif Mono CC, EFF Casual CC, EFF Script CC, EFF Small Caps CC.

EFF also has fonts for Vietnamese, Greek, Hebrew, and Cyrillic.

EFF Primary is a large family of educational fonts.

EFF Utamaru is an oriental simulation font. [Google] [More]  ⦿

Elena Papassissa

Italian graduate of ISIA Urbino, Italy (M.Sc. in Communication and Design for Publishing and a Bachelor's in Graphic Design and Visual Communication). Graduate of the MATD program at the University of Reading in 2012. Her graduation typeface at Reading was the multi-script Dr. Jekyll and Miss Hyde (2012), created for Latin, Greek and Armenian. My first reaction is that the curviness and roundness of the Latin part is due to the desire to harmonize with the two other scripts. All styles are flared out near the top, which gives the result a comic book feel. In fact, Elena mentions that children's books was one of the main motivations.

Elena Papassissa (Greek) collaborated with Akira Kobayashi and Monotype Studio on the Greek and Armenian parts of Avenir Next World (2021).

She is pursuing a PhD at the University of Reading on the history of Armenian type design under Fiona Ross. At ATypI 2013 in Amsterdam, she discusses the current state of Armenian type design. Speaker at ATypI 2017 Montreal. [Google] [More]  ⦿

Eleni Beveratou

Graduate of the University of Reading in 2011. Originally from Greece, Eleni's graduation typeface was Intone (2011), which was specially created for Latin and Greek texts.

During TipoBrda 2010, she created the contrast-rich display sans typeface Untitled.

At Fontsmith, she published FS Olivia (2012), an angular text family for Latin Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

Elia Tsamantaki

Athens, Greece-based creator of the (Latin and Greek) children's script typefaces Fun (2012) and Dream (2012). [Google] [More]  ⦿

Elias Papanikolaou
[EPA Greek Workbench]

[More]  ⦿

Elis Bello

Athens, Greece-based designer of the labyrinth-based typeface The Maze (2016). He designed The Maze (2016), which was inspired by the movie The Maze Runner. [Google] [More]  ⦿

Elisavet Zioga

Athens, Greece-based designer of the free display font family Lovegood (2017). [Google] [More]  ⦿

Elpenor

Archive with Greek polytonic Unicode fonts: Asteria-Bold, Asteria-Bold-Italic, Asteria-Italic, Asteria, Georgia-Greek. The Asteria family is by Semata (2004). [Google] [More]  ⦿

Elsa Baussier

Graphic and type designer based in Paris. Her typefaces:

  • Dixit (2020). A text typeface based on a font by Johannes Enschedé. Dixit covers Latin, Greek and Cyrillic.
  • Salford Sans (2020). An 8-weight headline sans family developed in collaboration Lewis Guffie (Latin, Greek, Cyrillic) and Dave Williams (Latin and Arabic). Elsa did the symbols,
[Google] [More]  ⦿

Elster Fonts
[Darius Samek]

German designer of:

  • Kontext Dot (2021). A halftone printing font. Still in 2021, this was followed by Kontext H and Kontext V (an experimental font family that plays with optical effects).
  • Billund (2021). A textured marquee font emulating letters made with Lego pieces. Billund covers Latin, Greek and Cyrillic.
  • The six-style gaspipe font Magpie (2021), which comes with additional stencil styles.
[Google] [MyFonts] [More]  ⦿

Emilios Theofanous

Aka Aemil, b. Cyprus. After studying Mathematics at the University of Athens he obtained an MA in Digital Arts from the Athens School of Fine Arts. He worked as an animator and graphic designer, and later studied type design at Esad Type in Amiens, France. He is currently working as a senior type designer at Monotype in London.

FontStructor who made the Latin / Greek stencil typeface ATF Lorem (2013). [Google] [More]  ⦿

Emilios Theofanous

Graduate of ESAD in Amiens, France, where his graduation typeface was Topos (2018). He writes: Topos is a type family designed for contemporary book and poetry publications. [...] In addition to the standard weights, from Light to Black, Topos comes in four grades, all sharing the same spacing for the Book size. This offers the flexibility of choice of colour, without altering the layout: the calibration will remain the same, while the weight is fine-tuned. Historical references from the Baroque era run throughout this type family with more celebrated features visible in the italics. Greek, including polytonic, is supported as well.

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. [Google] [More]  ⦿

Emmanuel Margetis

Based in Athens, Greece, Emmanuel Margetis created Gravity (2013), a poster typeface. [Google] [More]  ⦿

Empirica
[Michel Dricot]

The Empirica-Regular truetype font by Michel Dricot, 1995, a clean sans serif with roman and Greek letters. [Google] [More]  ⦿

EPA Greek Workbench
[Elias Papanikolaou]

Elias Papanikolaou's Amiga fonts for Greek. [Google] [More]  ⦿

Epsilon Alpha competition

Epsilon Alpha (Hellenic Alphabet) is a Greek type design competition with awards in the 500 to 1000 Euro range. The winning entries were at the 3rd International Conference on Typography and Visual Communication in Thessaloniki in June 2007. The jury consisted of Dan Carr, Keith Tam, George Matthiopoulos, Michail Semoglou and Panagiotis Haratzopoulos. They gave the awards to Alice Savoiie (text type) and Thomas Grace (display type). [Google] [More]  ⦿

Erewhon
[Michael Sharpe]

Erewhon (nowhere) is a transitional font based largely on Andrey V. Panov's Heuristica, but with so many changes that Michael Sharpe, its designer at UCSD in San Diego, decided in 2014 to offer it as an enhanced alternative. Heuristica (2008-2012) extended the Utopia font family made available by the TEX Users Group, adding many accented glyphs, Cyrillic glyphs, ligatures, superior and oldstyle fixed-width figures in all styles. Erewhon has 1398 characters and is free at CTAN. [Google] [More]  ⦿

Eri Papaefstathiou

At Vakalo College, Eri Papaefstathiou (Athens, Greece) designed the (latin) didone display typeface Spinster (2018) and the high contrast Greek display typeface Eclipse (2018). [Google] [More]  ⦿

Eric Pement

Eric Pement's Hebrew font archive: Alex, BSTHebrew, Chaya-Bold, ChemCycles, David-New-Hebrew, DivChem, Dor, ElroNet-Monospace, ElroNet-Proportional, Futura-Thin-Italic, Futura-Thin, Gideon-Medium, HadasahLight, HadasahShamen, Hebpar, Hebrew-Bold-Italic, Hebrew-Bold, Hebrew-Italic, Hebrew-Italic, Hebrew-Regular, Hebrew-Regular, Kur2siv-Italic, Lashon-Tov, Mendel-Siddur-Bold, MendelSiddurMW-Bold, Miriam, Moses-Judaika-Word, Moses-Judaika, Noam-New-Hebrew, Nova-Normal, Paleo-Hebrew-NormalA, Pecan_-Sonc_-Hebrew, Pni2na-Bold, Qumran-Caves, Rashi, Ruth-Fancy, SPDamascus, SPEzra, SPTiberian, Sgreek-Medium, Shalom-Old-Style, Shalom-Script, Shalom-Stick, Shebrew-Medium, Symbol-MW-Bold-Italic, Symbol-MW-Bold, Symbol-MW-Italic, Symbol-MW, Torah-Sofer, Tzipporah, WarnSymbols1, WarnSymbols2, WarnSymbols3, WarnSymbols4, WarnSymbols5, Web-Hebrew-AD, Web-Hebrew-Monospace. He also has a Greek font archive. [Google] [More]  ⦿

Eric Wannin
[Quartet Systems]

[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]  ⦿

Eros Androulidakis

Athens, Greece-based designer of Liquid Golden (2018). [Google] [More]  ⦿

Esintype
[Ege Esin]

Esintype (Turkey) was founded in 2020 by Ali Riza Esin and Ege Esin. In 2020, they co-designed the heavy mechanical industrial all caps slab serif typeface Paverify, which covers Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

Espresso Society Studio
[Dimitris Arvanitis]

Dimitris Arvanitis (b. 1948, Chalkis, Greece) is a painter and graphic designer who has been or is art director EMI-Columbia and Minos and for magazines such as Periodiko, Difono, Tachidromos, Jazz&Tzazz, Kaleidoscopio and Adobe Magazine. He is a member of the Cannibal Fonts company, and founded Espresso Society Studio. He writes in magazines and newspapers, and designs fonts. His creations for Latin and Greek include CF2 Sophia, ConduitTC-Hel, Modula TallGreek and Senator TallGreek (a Greek version of Emigre's Senator).

Cannibal Fonts by him include Bac CF, Bloco CF, Fat CF, Milk CF, Poster CF, Sophia CF, Type Polaroid CF, and Type Ray CF.

MyFonts page. Klingspor link. Old home page. Cannibal Fonts link. [Google] [MyFonts] [More]  ⦿

Essqué Productions
[Stephen M. Knouse]

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

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

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

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

Estampilles
[Nikos Goulandris]

Nikos Goulandris's Mac dingbat font with 94 potter's stamps. He also made AlexandrosP (heads), Cosette, Meduse, Karagiozis (1996, figures taken from pottery), IsminiLight (Greek font), GreekWin, VoreasNormal and BasBayeux (for a discussion, see here). PC truetype versions at Masterstech. [Google] [More]  ⦿

Esteriografica (was: Familia Design)
[Rafael Dietzsch]

Rafael Dietzsch ran Familia Design in Brazil, ca. 2007. Presently, he heads Estereografica in Brasilia, Brazil, and is Assistant Professor at the Faculty of Communication, University of Brasilia, and a PhD candidate at the University of Brasilia. Graduate of the University of Brasilia, and of the MATD program at the University of Reading in 2012. His graduation typeface is Brasilica (2012), which is a Latin / Greek typeface family with sufficient diacritical support of most Brazilian indigenous languages. It is a serifed typeface but has matching sans styles. My own first reaction to this typeface was sturdy. Brasilica won an award at Tipos Latinos 2014. His thesis in 2012 at Reading was entitled Typefaces for Brazilian indigenous languages. Brasilica was published by the Italian type foundry CAST in 2015.

At ATypI 2013 in Amsterdam, he spoke about typefaces for Brazilian indigenous languages. At ATypI 2018 in Antwerp, he spoke on wood type in Brazil. [Google] [MyFonts] [More]  ⦿

ETC Type
[Mateo Broillet]

Geneva, Switzerland-based graphic and type designer, b. 1990, who studied at ECAL in Lausanne. Designer of the Trajan column-inspired display serif typeface Nero Alto (2019, published by Typeverything).

Mateo also designed the free fonts Seymaz (2020; a variable condensed octagonal sans family inspired by the Grecian wood type style from the 19th century) and Sabir Mono (2018; a monospaced programming font with support for Latin, Greek, Cyrillic and Hebrew developed as a student project). Fontesk link to his free typefaces. Github link for ETC Type, where one can also download some of his typefaces. [Google] [More]  ⦿

Eudora Greek Tables

Greek script and Greek bitmap fonts. [Google] [More]  ⦿

Eudora Greek Tables (Norway)

Greek script and Greek bitmap fonts. [Google] [More]  ⦿

Eugen Sudak
[WDC Fonts]

[MyFonts] [More]  ⦿

Eugene Alefragi

Greek designer of Guernica (2015), a typeface that consists of pieces of Pablo Picasso's famous painting. [Google] [More]  ⦿

Eugene Bunin

Graphic designer based in Kyrgyzstan. In 2020, Eugene Bunin and Christine Beginskaya released the futuristic partly stencil typeface family Gluon.

In 2020, Eugene released Kellion (a cyberpunk typeface), Hellebore (inspired by the logo and the game Mortal Shel), the dystopian typeface Dredger, the futuristic typeface Akrux, the retro-modern all caps sans typeface Inlow and Esm (a 6-style low contrast Swiss sans for Latin, Greek and Cyrillic).

Typefaces from 2021: Interite (a modern typeface with didone elements), Covenante (a display serif), Tp1972 (futuristic), Cradock (a 10-style almost monospaced sans), Razorback (techno), Metal Morphosis (octagonal), Neuromancer (a glitch font), Monumentum (a squarish monumentalist typeface), Dissidia, Arkham (an all caps tattoo font), Transmetropolitan (a piano key typeface), Aurelac (a sharp-edged display font).

Typefaces from 2022: Np1972 (a futuristic font that looks like a matrix), Robert Moore (a comic book typeface family). [Google] [MyFonts] [More]  ⦿

EUROIDEA

Archive with free Greek fonts for the Mac and PC (Hellas Arial and Hellas Times). [Google] [More]  ⦿

European Parliament

1MB worth of Greek fonts. [Google] [More]  ⦿

European Space Agency

Free custom-designed fonts for the European Space Agency:

  • The original set: ESAProgramme (1995), ESASubtitle (1996), ESATitle (1996). The designers are anonymous. I am hosting these here.
  • NotesESA: the corporate font, used for titles, subheads and some special text. Developed between 2004 and 2008 by Ole Schaefer.
  • Notes Style: A logo font by Ole Schaefer published in 2005.
  • Din Pro Bold and Regular (Albert-Jan Pool for FontShop, 2005) which cover Latin, Greek and Cyrillic.
  • The Sans (1994-2006): Four free weights by Lucas DeGroot.
  • Reykjavik One (2001, Stefan Kjartansson) for captions.
  • Verdana and Georgia used as system fonts.
[Google] [More]  ⦿

Euschemon Creative

Kalamata, Greece-based designer of Guernica (2017), a typeface in which each glyph is inspired by a detail of Picasso's Guernica. [Google] [More]  ⦿

Eva Karapidaki

Eva Karapidaki holds a Bachelor of Arts in Graphic Design from Middlesex University /AKTO. She often writes for +Design magazine and works for Tsevis Visual Design. Her first commercial typeface is PF Hardkore (2007, Parachute). [Google] [More]  ⦿

Eva Masoura

Ex-student at the University of Reading who designed Almeida (2003). At TDC2 2006, she won an award for her design of Frutiger Next Greek (2005), shared with Adrian Frutiger. [Google] [More]  ⦿

EversonMono for MacOs

Free Mac fonts in the EversonMono series for CSX, Celtic, Croatian, Cyrillic, Esperanto, Gaelic, Georgian, Greek, Icelandic, Inuktitut, Ogham, Romanian, Sami, and Turkish. [Google] [More]  ⦿

Every Witch Way
[D. Paul Alecsandri]

D. Paul Alecsandri designed the runic fonts Futharc (2001), NewSymbolFont (2000) and Samaritan (2001). We also find the rather complete Unicode truetype font Roman-Unicode (2001), which cover all European, Arabic, Hebrew, Greek, Cyrillic, Thai and Indic languages, and provide kana as well (but not kanji). All parts of unicode covered. See also here.

Samaritan (2001) deals with a pre-Samaritan or pre-Babylonian Hebrew.

Originally designed for linguistics, the free typeface Chrysanthi Unicode (2001) contains all Unicode Latin characters (including Basic Latin, Latin 1 Supplement, Latin Extended A&B, IPA, and Latin Extended Additional) as well as Greek, Cyrillic, Hebrew, and everal others.

Fontspace link. [Google] [More]  ⦿

Evita Tachataki

Heraklion, Greece-based designer of a great Greek lettering poster for an optician called Markakis (2016). [Google] [More]  ⦿

Explogos
[Steve Gardner]

Suffolk, UK-based creator of many free typefaces. Designer of the free sans typefaces Smiley (2013, a hairline circle-based sans), Larke Sans (2013), Statement (2013), Formation Sans (2013) and Creativ Zoo (2013, +Serif), and the free serif typefaces Formation Serif (2013) and Edmundsbury Serif (2013), and its sans companion Edmundsbury (2013). As Cute As (2013) is a hand-drawn typeface.

Typefaces from 2014: Larke Neue (sans family), Explogos (a free organic sans typeface, and a 778-glyph commercial extension that covers, e.g., Greek and Cyrillic besides all Latin-based European languages), Squarea (squarish), Cirqua (circle-based sans), Chapaza (transitional text typeface, +Italic), Plateia (a sans typeface for Latin, Greek and Cyrillic), Coughy Machine, Kalypsa (free sans with 2300 glyphs and coverage of Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, IPA Extensions, Spacing Modifying Letters, Combining Diacritical Marks, Greek & Coptic, Cyrillic, Cyrillic Supplement, Latin Extended Additional, Greek Extended, General Punctuation, Superscripts & Subscripts, Currency Symbols, Letterlike Symbols, Number Forms, Mathematical Operators, Coptic), As Cute as Comic, UFont Sans Medium, Bedric's Worth, Pragma Sans, Bold As Cute As, As Cute As Comic.

Typefaces from 2015: Tretton, Baqacents (sic), Reformation Sans.

Typefaces from 2016: Tretton Serif, Qaranta Bold.

Typefaces from 2018: Calamity Wayne (a reverse-contrast slab serif for Latin, Greek and Cyrillic, inspired by the wild west French Clarendons and Italians of the late-1800s).

Typefaces from 2022: Caliventa (a flared angular text typeface). [Google] [MyFonts] [More]  ⦿

Eye Opium

Athens, Greece-based designer of Ieroglyfia (2017). [Google] [More]  ⦿

EZ Byzantine Music Font Package

Greek/Byzantine music font package brought to you by Father Ephraim from the Greek Orthodox St. Anthony's Monastery in Arizona: EZ-Oxeia, EZ-Fthora, EZ-Psaltica, EZ-Special-I, EZ-Special-II, EZ Omega. These fonts are similar to the fonts from CYLLOGOS MOUSIKOFILON CON.

The Byzantine Drop Caps package includes Agion Oros XHR (1994, by I.M. Grhgorioy), EileenCaps, Genesis, MgAgiaSofiaUC, MgAgionOrosUC, MgByzantineUCPol, MgEkklisiaUC, MgGothicOld, MgKonstantinosUC, MgViking, MrSByzantinePT, Mt, PFGoudyInitials, PFKonstantinople and PFKonstantinopleInitials. The fonts starting with Mg are by Magenta, ca. 1989. The PF fonts refer to Parachute, ca. 2003. [Google] [More]  ⦿

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

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

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

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

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

In 2007, he created the organic sans typeface IronThree.

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

In 2009, Foco Italics was published.

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

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

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

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

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

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

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

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

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

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

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

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

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

[MyFonts] [More]  ⦿

Faculty of Classics, Oxford University

Greek font links, and great Greek font jump page. Direct access. [Google] [More]  ⦿

Fani Dimopoulou

Patras, Greece-based designer of the typewriter typeface Makina (2018) and the Gree emulation typeface Master Yoda (2018). [Google] [More]  ⦿

Fani Ikonomopoulou

Graphic designer in Sparta, Greece, b. 1978. In 2015, she created the wavy Latin / Greek typeface Onda. [Google] [More]  ⦿

Fani Kokolaki

Greek designer (b. 1991) of FK Dino (2020). [Google] [More]  ⦿

Fantasy Fonts Archive

Fantasy fonts archive. Includes CRL_1 (Greek), several Startrek fonts (such as STCardassian), KeplerAstro and Hermetic (astrology fonts), rune fonts (such as Enochian and Dethek-Dwarvish-FR), and Tim Gathercole's Tencton. [Google] [More]  ⦿

FauxFoundry
[Laurence Penney]

In June 2019, together with Laurence Penney, Irene Vlachou initiated the experimental project FauxFoundry, a web font service offering fallback fonts, such that multiple scripts can be presented with reasonable fidelity to the web designer's intent, even when the primary font does not support those scripts. Currently working for Greek, thus providing Greek fallback fonts for fonts that do not contain Greek. The system takes measurements from Latin fonts that represent the parametric axes developed by Type Network. In the process, FauxFoundry developed the FauxForger software utility. [Google] [More]  ⦿

Ferdie Balderas
[Indieferdie]

[More]  ⦿

Fermin Guerrero

Born in Carmelo, Colonia, Uruguay in 1983, then based in Geneva, Switzerland, where he studied Visual Communication at the Haute Ecole d'Art et de Design, and now back in Montevideo, Uruguay, this graphic designer created the counterless geometric typeface Circ (2011), and the triangulated experimental typeface VIGA (2011). Fermin has a Bachelors degree in Industrial Design (2009). At his foundry, also called Fermin Guerrero, one can buy VIGA and MANIFESTA (2012, a De Stijl typeface).

For his Bachelors thesis at HEAD in Geneva, he created the typeface Genève (2014): In developing Genève I was inspired by the typeface used by French printer/editor/publisher Henri II Estienne in his famous book Thesaurus Linguae Graecae, published in Geneva in 1572. This typeface was brought to Geneva by Henri's father, Robert Estienne, who, before settling in Geneva and working as Calvin's printer, was the printer of France's King, François I. This typeface highly influenced the typographers and printers in Geneva at that time. Henri and Robert Estienne's work in Geneva helped it to become one of the most important cities in Europe for print and typography in the sixteenth century. Genève consists of four styles: Classique (humanist serif), Austère (geometric serif), Spontanée (humanist sans-serif) and Alternative (stencil, display version).

Graduate of the MATD program at the University of Reading, class of 2015. His graduation typeface was Exentra which was was conceived for publications promoting forward-thinking through a contemporary and experimental vision of modern culture and trends. It supports Latin, Gurmukhi and Greek. In addition, Fermin added the fat face didone / gothic mixture mixture font Black Display for applications in fashion, and the super-angular and scary Franky as sub-styles of Exentra.

In 2017, he published Thesaurus, the renaming and outgrowth of Genève, at Typotheque. Thesaurus Display Italic followed in 2018. Well-deserved winner at Tipos Latinos 2018 of a grand prize.

In 2019, he designed Brick Pro (Display, Text) for Colophon, which explains: Brick's foundations lie in the signage of three prominent pubs in London's East End, The Jolly Butchers (Brick Lane---now closed), The Royal Oak (Columbia Road), and The Prince Albert (Acton Street). Referencing their Art Deco traits, with a trace of Art Nouveau heritage, Brick is Fermín Guerrero’s re-interpretation and continuation of the vernaculars elegant gestures, brought into the 21st century. [Google] [MyFonts] [More]  ⦿

Fernando Haro

Las Palmas de Gran Canaria, Ampuero and Laredo, Spain-based designer (b. 1971) who set up deFharo. Creator of the monoline sans typeface Depez (2011), Fabada (2011), and the free monoline geometric sans typeface La Chata (2011). La chatte, in French? Maybe not.

In 2011, he made the monoline organic sans typeface Lerótica (free at OFL).

In 2012, he created Nabatea (stone chisel typeface), V de Vacia (a grungy outline face), Sabática (organic), the straight-edged data style typeface Gabardina, the grotesk typeface A Bebedera, the shadow typeface B de Bonita, D Puntillas, and the deconstructed Qebrada.

In 2013, he designed Yacarena Ultra, H.H. Agallas, Nacimiento (a dymo label font), J Airplane Swash (a psychedelic typeface named after Jefferson Airplane), CA Garrutas (grunge), CA Gatintas (grunge), I Am Telefono (the largest phone dingbat and scanbat typeface on earth), Wach Op-Art (kaleidoscopic icons), K.O. Activista, I Am Hueca, X Template (stencil), H.H.Samuel (rounded sans), U2 Metalona (a beautiful white-on-black display face), M F Plexus Italic, J.M. Nexus Grotesque (an "thin inline" fat grotesque), Wachinanga, Tabaquera, Pabellona (grunge), El Pececito (video game font), the poster typeface Hobby of Night (OFL), H2O Shadow (outline version of Fabada), Zabatana Poster (a didone-inspired poster font), Oaxaquena Tall, Yacimiento (wood style wedge serif), and Rabanera.

Typefaces from 2014: Babalusa Cut, A Cuchillada, Sabandija (a plump round display typeface), F2 Tecnocratica, F1 Secuencia Quad (pixel face), La Pejina FFP (bilined), Tabaiba Wild, Gabachita (ultra-condensed rounded sans).

Typefaces from 2015: Tabarra Pro (Swiss style sans family for Latin, Cyrillic and Greek), A Sogra Ruth (ultra-condensed art deco), Gaban (an outline version of Tabardo), Tabardo (a heavy blocky font), Wacamoler Caps (a Tuscan typeface inspired opening credits of the Western movie Winchester '73 directed by Anthony Mann in 1950), Ubicada (condensed geometric sans), Rabiosa (neurotic font), Zacatecas (condensed shaded sans), F3 Secuencia Round, La Babaca (a powerful black condensed sans in the style of Impact), Obcecada Sans + Serif (condensed with almost disappearing descenders), Eacologica Round Slab (a nice commercial font with an incomplete set of numerals), Palim Script (curly), Vacaciones (signage face), de La Cruz.

Typefaces from 2016: Yugoslavia (calligraphic), Love Box (stencil), Cienfuegos (connected retro script named after the Cuban her Camilo Cienfuegos), Gaitera Ball (round fat script), The Black Box (a retro banner font), Durum Kebab (shadow sans), Jolgoria In Town (script), Yerbaluisa (signage script), Escobeta One (brush script), Posteratus Rex, Bastardilla (a cursive font), Rotulona Hand, The Juke Box (retro juke box lettering), Angelique Rose (connected monoline script), Promenades, Bucanera (a swashbuckle font), Lucemita, Panama Road (a casual calligraphic font), Deslucida, Disoluta, Sucesion Slab, Tabarra Pro Round, Qebab Pro Shadow, Monserga (white on black), Indulta SemiSerif.

Typefaces from 2017: Partizano Serif (a retro poster font; free demo), Jack Stanislav (a great condensed movie poster font), Fontanero (rounded fat sans), Yonky (fat slab serif), Zigzageo, Libertatus (manual serif fonts based on a Czech poster from 1935), Libertatus Duas (slab serif), Flamante Sans, Flamante Serif, Flamante (Round, SemiSlab, Stencil, Seca, Cairo, Roma), Seisdedos Dead (rough stencil fonts), Neo Latina (stencil), Carta Magna (blackletter), La Sonnambula (signature script), Bola Ocho (an eightball font), Clandestina (textured, layered), Acratica (signage script), Penitencia Inline, Autarquica (outlined vernacular style), Caminata One (shaded signage typeface), Sin Razon (wedge serif), Glotona Black and White (a layered tattoo style font duo), Glotona Dots (the textured versions of Glotona), 6th Aniversario, Tribal Box (squarish sans, with tattoo ornaments and a great environment for borders), Candy Pop (bubblegum font), Sargento Gorila (army stencil font), Libertinas + co (a curly calligraphic script; the free version has no numerals).

Typefaces from 2018: Gudariak (a free color SVG font: Vicente Ballester Marco (Valencia 1887-1980) was a graphic designer and Valencian poster artist affiliated with the CNT (Confederacion Nacional del Trabajo) who created political propaganda posters of clear modernist and post-cubist influence during the Spanish Civil War. The Gudariak typeface is inspired mainly by one of the posters he made for the Government of Euskadi and also in others where the author continues to explore this particular typographic style. ), Farisea Fraktur, Octuple Max (techno), Ordeal Eroded, Panfleta Stencil, Secuela (free), Fragua Pro (condensed sans family), Getho (a geometric semi-sans), Cowboya Tuscan (a curly Tuscan circus font), Txuleta Deco (a striped art deco typeface), Coltan Gea (slab serif), Getho Semi Sans, Cowboys (a Tuscan typeface), Drystick Geo Grotesk, Diezma, Grifa Slab, Coltan Gea (slab serif family), Paloseco (geometric and grotesk), Stoica (a color SVG font), Letrera Caps (a rounded square style layered and color font that pays homage to the sans serif inline genre), Enagol Math (a condensed rounded slab serif based on carefully applied mathematical ratios), Heptal, Velocista, Octagen Condensed, Octagen Black, Sextan Serif, Sextan Cyrillic, Quickat (signage script), Octagen (condensed sand with short descenders), Wolframia Script (flowing handwriting), Pentay Slab, Pentay Sans, Pentay Book, Cuatra, Judera (Flat and Ring: monospaced, unicase and totally sqaurish), Quotus (slab serif), Tripleta Grotesk (a 16-style geometric sans family).

Typefaces from 2019: Pervitina Dex (sci-fi), Megalito Slab, Obesum Caps, Jane Roe (sans), Icons Opentype, Felona (stencil: a variable font), Neo Fobia, Bocartes Fritos (food icons), Red Thinker (a squarish monoline sans), Pena Caldaria (blackletter).

Typefaces from 2020: Anoxic (a squarish monoline sans).

Typefaces from 2021: Humato (a sturdy font for weightlifters), Probeta (a squarish techno sans family in 42 styles), Speeday (a speed emulation sans).

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

Ferran Milan Oliveras

Born in Barcelona in 1979, Ferran Milan studied graphic design at Massana School of Art in the same city, then relocated to the UK to study typeface design. In 2011 he graduated from the MA in Typeface Design at the University of Reading. Ferran worked at Andreu Balius Studio in Barcelona and at Dalton Maag in London before co-founding the Letterjuice type foundry with Pilar Cano.

He created the Latin / Arabic typeface Bubblegum (2011) during his studies there. Bubblegum is soft and rounded, but is remarkably well-suited for small text thanks the careful use of inktraps.

In 2012, he won the Bronze Prize in the Latin category of the Morisawa Type Design Competition for Baldufa. Baldufa was also crowned at TDC 2013. Award winner at The 2014 Horouf Type Design Competition. Its angular and stocky design makes it ideal for use in catalogs and magazines. In 2021, Ferran Milan and Pilar Cano released Baldufa Greek Ltn (Greek and Latin), Baldufa Greek, Baldufa Cyrillic Ltn, Baldufa Cyrillic and Baldufa Paneuropean.

In 2013, Pilar Cano and Ferran Milan co-designed the text typeface Quars, which was published at Letterjuice. It was influenced by Scotch Roman and classical Dutch typefaces. In addition, it offers a generous glyph set with many ligatures specially crafted for titling and ornaments based on anonymous metal types found in the drawers of an old printing workshop in a coast town near Barcelona.

Pilar Cano and Ferran Milan bundled their efforts once again in 2018 for the Latin / Thai typeface family Arlette (TypeTogether).

Codesigner with Pilar Cano in 2022 of Nawin Arabic, an informal Arabic typeface inspired by handwriting. [Google] [MyFonts] [More]  ⦿

Finder

Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese. [Google] [More]  ⦿

findmyfont

Commercial software for Mac and Windows by Softonium Developments in Greece. Given an image of a font, or just letters of a font, this software locates the font on one's computer. [Google] [More]  ⦿

Fixedsys
[Darien Valentine]

Free truetype fonts: Tai Le Valentinum (for the Tai Le script used in China, Burma and Laos), Valentine Arabic, the faux pixel font Sounds of Apathy, and the unicode faux pixel font Fixedsys Excelsior 2.0 (2007). The latter covers Latin, Greek, Cyrillic, Hebrew, Armenian, Tamil, Hylian, N'Ko, Ethiopic, blackletter, Dehong Dai, Pahawh Hmong, Thaan, Arabic, Thai, Ogham, runic, and IPA. All fonts made by Darien Valentine in 2004. See also here. [Google] [More]  ⦿

Flanker (or: Studio di Lena)
[Leonardo Di Lena]

Flanker, or Studio Di Lena, is the foundry of Italian type designer Leonardo Di Lena (b. 1975, Rome). Initially, it offered fresh free designs of classics. In 2012, it went commercial. Their fonts:

  • Bodoni Flnk.
  • CNR lineare: athletic lettering.
  • Didot Flnk.
  • Doppio Senso: inspired by the 1992 traffic signal typeface in Italy, Transport D.
  • Elettra (2013). A transitional typeface with extra long serifs and several didone traits. For display work.
  • Flanker: classical roman face.
  • Flanker Garaldus (2012). Based on a 1956 font by Aldo Novarese.
  • Griffo Flnk: A multistyle family after typefaces like Bembo.
  • Imperator: a classical roman face.
  • Italian Typewriter (2012). A family of monospaced typewriter typefaces based on Italian typewriters of the thirties and forties.
  • Lello: another classical roman face.
  • Magnificat (2011): after Friedrich Peter's ornamental font from 1975. Free download at Dafont.
  • Marantz: fat art deco face, after the logo of the sound system company.
  • Marlboro Flnk: ultra condensed and tall.
  • Poliphili (2017). This is a serious attempt at a revival of the elegant typeface used in Hypnerotomachia Poliphili (1499, publ. Aldus Manutius) that was cut by Francesco da Bologna. That roman font in turn was a revised version of the type used in 1496 for Pietro Bembo's De Aetna.
  • Flanker Ruano (2013). Based on a chancery typeface by Raffaelo Bertieri (1926).
  • Selene (2013). A monoline sans. Followed by Selene Book (2021: a 14-style geometric sans with art deco influences in some styles).
  • Semplicità (2014-2015): a remake of the art deco sans by Butti and Novarese in 1930.
  • Shock to the system: an original in the cyberpunk style.
  • Sony: after the Sony logo letters.
  • Flanker Tanagra (2022). Leonardo writes about this condensed vintage serif: In order to give new imput to the art of typeface design in Italy, Nebiolo Company held, in March 1910, an artistic competition for a new alphabet conception, so the best-ranked design would be transformed into a real new typeface. 42 competitors participated and, although the first prize was not technically awarded, "Ancora" resulted as the best typeface, created by the designer-typographer Natale Varetti of Turin. Nonetheless, the new alphabet was transformed into a full-fledged metal typeface in 1924, renamed "Tanagra" in honor of the Greek city in the center of Boeotia.
  • There's nothing money can't buy: a sans.
  • Titano: an original art deco sans family.
  • Total Eclipse: futuristic.
  • Traiano: Trajan column style.
  • Travertino: a sans workhorse family.

The outfit was known as JFDooM Flanker's Fonts, between 2001 and 2004. The fonts then were slightly different. They included BodoniFlnk, BodoniFlnkCor, BodoniFlnkCorGrass, BodoniFlnkGas, CNRLineare, DidotFlnk, DidotFlnkCorsivo, DidotFlnkCorsivoGrassetto, DidotFlnkGrassetto, Emblema-della-Repubblica-Italiana, Frantisek, GaramondFlnkNormale, GaramondFlnkCorsivo, GaramondFlnkCorsivoGrassetto, GaramondFlnkGrassetto, GriffoFlnkCorsivo, GriffoFlnkCorsivoGrassetto, GriffoFlnkGrassetto, GriffoFlnknormale, Lellocorsivobold, Lellocorsivo, Lello, MarlboroFlnk, Magnificat, There's-nothing-money-can't-buy, Poker, ShocktothesystemCorsivo, ShocktothesystemVuoto, Sony, Bjork-Isobel, Imperator, Traiano, Rdclub. Most fonts have Greek and Cyrillic letters as well.

View Leonardo Di Lena's typefaces. [Google] [MyFonts] [More]  ⦿

Flawless Supplies

Greek design of the Escher-style typeface Impossible Font (2016). [Google] [More]  ⦿

Fleha Type
[Teja Smrekar]

Participant in the TipoRenesansa workshop in Slovenia in 2010, who designed the angular typeface Arkadika (2010). She also made the pixel typeface Piksna (2010). Her first degree in fine arts was from the University of Maribor. She also has a degree from the Academy of Fine Arts and Design in Ljubljana.

Arkadika was further developed at tipoRenesansa, 2nd international type design workshop in 2011. At tipoRenesansa, 4th international type design workshop (2012), she created the contemporary serif typeface Paradigma.

In 2013, Teja received the 2013 Monotype Studentship at the University of Reading. At Reading, her gradaution typeface was Mirna (2014): Mirna is a text typeface for continuos reading with a playful stencil display style. It is suitable for editorial text settings in lifestyle, fashion and health magazines. Display stencil style is suitable for branding and packaging. The typeface is meant to be read on paper printed with high-quality offset printing technology, as well as on high resolution screens and reading devices. Mirna has Greek, Cyrillic and Khmer family extensions.

In 2019, she set up Fleha Type and promptly published the handcrafted typeface Katka.

In 2020, Fleha Type released the experimental modular script typeface Trico Script by Mitja Miklavcic and the weathered stencil typeface Linoma.

In 2022, Teja Smrekar designed Grato Marker at TypeMates. [Google] [MyFonts] [More]  ⦿

Fontarkivet

Font archive from Denmark. Includes several original dingbat fonts from Listemageren such as Ancient Greeks and Gabriel's Angels. [Google] [More]  ⦿

Fontbilisi (was: Germán León)
[Germán León]

Fontbilisi was established by German Leon (b. Madrid, Spain) in 2013. For a while, he was located in Tbilisi, Georgia. Since 2014, he is in Lima, Peru. In 2017, his MyFonts page places his origins in Ukraine. He explains: He was born in Madrid, but crisis and love brought him to Tbilisi, Georgia, from where he is currently designing.

His first typeface is the quaint Latin slab serif Miraflores (2012). In 2013, he published GL Tetuan (a slab serif that covers Latin, Cyrillic, Georgian and Greek) and GL Benicassim (a sans for Latin and Cyrillic). The foundry Germán León was renamed Fontbilisi that same year.

In 2017, Leon published GL Parla (a decorative, even playful, typeface derived from didones). Linkedin link. [Google] [MyFonts] [More]  ⦿

Fontry West
[James L. Stirling]

Fontry West is located in Tulsa, OK. At MyFonts, these Fontry West fonts can be bought: Iron, Toxcons (2008, skulls), WILD1 Firstvision, WILD1 Larra, WILD1 Nobody, WILD1 Ruts, WILD1 Toxia, WILD2 Ghixm, WILD2 Keetoowah (2008). Its type designer is James L. Stirling, who cofounded the Watts, Oklahoma-based design and lettering studio The Fontry in 1992 with Michael Gene Adkins. Born in 1964 in Oklahoma, Stirling co-designed WILD1 Firstvision (1997, techno) and Ironrider and Ironhorse (2008, blackletter typefaces based on wood types) with Adkins. In 2000, he co-designed the fonts Modern Poster and Modern Roman, based on the lettering of Alf R. Becker, a sign painter from 1932 to 1957. These fonts were published by Agfa-Monotype. Later fonts there include Steel Narrow, Steel Moderne, Chicago Modern. At The Fontry in the early 1990s, he made Klash (comic books style), Peppermint and Peppermint Openface (Southwest influences), Marbles&Strings, and Keetowah. He also made some Greek fonts at The Fontry.

In 2009, James Stirling started a serious digitization program of the art deco fonts of Alf R. Becker (based mostly on his Signs of the Times series), and made ARB 70 Modern Poster, ARB 93 Steel Moderne, ARB 44 Chicago Modern, ARB08ExtremeRomanAUG-32CASNormal (2009; the original is from 1932), and ARB 67 Modern Roman.

The grunge typeface JLS OverKill Grunge (2009) is free. JLS Smiles (2010) is a family of typefaces consisting of smilies / emoticons. FHA Modernized Ideal Classic (2011, with Michael Gene Adkins) is based on a demonstraton alphabet from Frank H. Atkinson's Atkinson Sign Painting (1908).

Typefaces from 2012 include FHA Condensed French (with Michael Gene Adkins), JLS Space X1C (LED style), JLS Space X2C, JLS Space Gothic, JLS Data Gothic.

  • In 2013, James cooperated with Michael Gene Adkins on FHA Broken Gothic, a layered chiseled type system based on Frank Atkinson's Broken Poster.

    Typefaces from 2014: FHA Tuscan Roman (2014, Michael Gene Adkins, James L Stirling).

    In 2015, Stirling designed JLS Main Square Frames (corners, rules and frames for vintage ads and monograms).

    Typefaces from 2018: FTY Overkill Condensed.

    Dafont link. FontShop link. Fontspring link.

    View James Stirling's typefaces. [Google] [MyFonts] [More]  ⦿

    • Fonts for Scholars
    [David J. Perry]

    Cardo is a Unicode font under development by David J. Perry from Rye, New York. Covering European languages, as well as Hebrew, Greek/Coptic and Greek Extended, it is free for non-commercial use. He writes: "This font is my version of a typeface cut for the Renaissance printer Aldus Manutius and first used to print Pietro Bembo's book De Aetna. This font has been revived in modern times under several names (Bembo, Aetna, Aldine 401). I chose it mainly because it is a classic book face, suitable for scholarship, and also because it is easier to get various diacritics sized and positioned for legibility with this design than with some others. I added a set of Greek characters designed to harmonize well on the page with the Roman letters as well as many other characters useful to classicists and medievalists."

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

    Fonts for the New Testament Greek
    [Jonathan Robie]

    Greek font links with a nice discussion by Jonathan Robie. [Google] [More]  ⦿

    Fonts Jos Kunst
    [Jos Kunst]

    Two free fonts by Dutchman Jos Kunst: classical Greek (Mac only), and MathLogic (Mac, PC). Jos Kunst lived from 1936-1996. Bio. [Google] [More]  ⦿

    Fonts.gr (or: Greek Digital Types, or: Ellenike Psephiake Typotheke)

    The largest Greek font vendor today. Fonts.gr is a collective type foundry in Athens, Greece. It was founded in 1994 by graphic and type designer Panos Haratzopoulos (Cannibal) and saw contributions by designers Yannis Karlopoulos and Vassilis Georgiou. Its typefaces include the Futura / Avenir-style CF Asty (2017).

    List of type designers. Behance link. [Google] [More]  ⦿

    Fontsmith
    [Jason Smith]

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

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

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

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

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

    Fontworld
    [Israel Seldowitz]

    "Quality-crafted multiple language fonts." Based in New York and run by Mark Seldowitz, they sell Arabic, Russian, Greek, Vietnamese, Hebrew, Baltic and Central European typefaces. Mark sold the Hebrew fonts made by his brother Israel Seldowitz, who studied in Israel with Henry Friedlaender, the creator of the Hadassah typeface. [Google] [More]  ⦿

    Fontworld (Greek)

    Greek typefaces in packages at about 12 dollars per face. Check out Pithos, in particular. [Google] [More]  ⦿

    Forme Type
    [Jeremy Johnson]

    London-based graphic and type designer (b. 1975) who studied at The Royal College of Art, The University of Brighton, and was taught at the Royal College of Art by Margaret Calvert, Malcolm Kennard and Alan Kitching. Creator of the sans typeface family Forme One (2014) and the related typefaces Forme Signage (2015, for wayfinding), Forme Furniture (2015, pixelized), Forme Type Block (2015), Forme Type Ornaments and Geometric Patterns (2015), Forme Pixel Type (2015) and Forme Stencil (2015), a layered typeface family that was carefully crafted based on compass and ruler. Jeremy writes: This typeface derived from a three dimensional stencil with two characters, made from wood manually rotated to create letter shapes.

    In 2017, he designed the 3d pixel font Furniture Type.

    In 2018, he created TextFace Type.

    Graduate of the MATD program at the University of Reading, class of 2020. His graduation typeface was called Forme Grotesque. It comes with a three-axis variable font (weight, slant, optical size). It explores the richness of the 19th century British Grotesque genre, performs remarkably well both on screen and in print, and shines at very small sizes. It also covers Arabic, Cyrillic and Greek. Forme Grotesque was published by Colophon in 2022. [Google] [MyFonts] [More]  ⦿

    Forth Net

    A few Greek fonts for PC, Mac, X-Windows and Amiga. [Google] [More]  ⦿

    Foundry 5 Limited

    In 2021, Kostas Bartsokas, Mohamad Dakak and Pria Ravichandran set up Foundry 5 Limited in the UK. Their typefaces:

    • Jali Arabic, Jali Greek and Jali Latin (2021) by Mohamad Dakak. Jali is a wayfinding easy-to-read humanist sans typeface family that combines Latin, Arabic and Greek in a hamrmonious fashion. It is rooted in Dakak's graduation typeface at the University of Reading in 2016.
    • Peridot Latin (2022: a 121-strong sans superfamily by Kostas Bartsokas and Pria Ravichandran), Peridot PE (2022: a 121-style sans superfamily by Kostas Bartsokas and Pria Ravichandran designed for branding, display, corporate use, editorial and advertising; it covers Latin, Greek and Cyrillic).
    [Google] [MyFonts] [More]  ⦿

    Fountain--A Friendly Type Foundry
    [Peter Bruhn]

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

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

    Peter Hoffmann created Alita.

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

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

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

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

    Four Greek and Byzantine fonts

    [More]  ⦿

    François H. Villebrod
    [Typiko]

    [More]  ⦿

    François Rappo

    Swiss designer (b. 1955) located at Lake Geneva. Recipient of the 2012 Jan Tschichold prize. He is Head of the Master in Art Direction at ECAL/University of Art & Design Lausanne. His typefaces:

    • The gorgeous revival family Didot Elder (published at Optimo, 2004), which is based on work by Pierre Didot from 1819.
    • The stylish typewriter family CEO (2005, Optimo).
    • At B&P Foundry, the serif family LaPolice BP (2007-2008).
    • The Theinhardt family (2009, Optimo), which was named after the (generally accepted) designer of the first sans. It covers Latin, Greek and Cyrillic. An update was issed in 2018.
    • At B&P Swiss Typefaces, he published New Fournier (2011) based on the typography of Pierre-Simon Fournier. It comes in 24 styles.
    • Genath (2011, Optimo). Erik Spiekermann twitters: Best Caslon alternative yet. The typeface is based on a baroque type from the Genath foundry in Basel, and is based on a specimen from 1720 that is most likely Johann Wilhelm Haas's first design in Basel.
    • Clarendon Graphic (2015, Optimo). Comprehensive, perfect, all-encompassing, a new standard for Clarendon. It has 26 styles including some stencil cuts.
    • Plain (2014), Apax (2016) and Rand (2019), a trilogy of grotesque typefaces. Rappo writes: As Plain investigated the rational simplicity of modernism and Apax re-evaluated the visual grammar of constructivism, Rand explores the shapes that brought a certain spirit and warmth to the rigidity of modern design---emerging notably from The New York School. While some glyphs like the a inherit the clarity of Swiss rationalism, other glyphs borrow from design icons such as the from the Westinghouse logo by Paul Rand. Rand also features a nice Rand Mono subfamily.
    • Practice (2016). A typeface family for magazines.
    • JJannon (2019). A revival of Jean Jannon's type from 1641. This 16-style family is crisp and sharp-edged.

    Swiss Type Design link. Pointypo piece on him. [Google] [More]  ⦿

    Franck Jalleau

    French type designer, calligrapher, and stonecutter, b. 1962. Franck Jalleau studied at the Ecole des Beaux-Arts de Toulouse and at the Atelier national de Création typographique (ANCT), where he subsequently worked as an instructor until 1990. A type designer, he works primarily in the publishing field and on French administrative documents (the General Tax Code, passports, identity cards, car registration documents, etc.). Since 1990, for the Imprimerie Nationale, he oversees the adaptation of the typographic holdings for digital typesetting. For this effort, the Imprimerie's Garamond was one of the first typefaces he rehabilitated, along with the grecs du Roi. Currently, Franck Jalleau teaches at Ecole Estienne in Paris.

    Franck designed several typefaces for Agfa, Editions Magnard, city of Brive-la-Galliarde, for the NGO ATD Fourth World Movement, etc. In 1987, he engraved the Movement's message in stone, which was installed first at the Place de Trocadéro in Paris, and then at the United Nations in New York, the European Parliament in Strasbourg, the Basilica of St. John Lateran and in Reims Cathedral. Franck Jalleau won the Prix des Graphistes in 1988 and has received several international awards, including the Morisawa Award (Japan) in 1987 and 1996. He has taught type design at the École Estienne since 1991, and he offers training courses in character design in art schools both in France (Toulouse, Caen, Amiens) and abroad. His typefaces:

    • As an OEM for the Imprimerie, he designed some fantastic fonts between 1990 and 1998, including Arin (1986; Morisawa award 1987), Garamont (1995), Grandjean (1997), Jalleau (1996), Perrin (1997), Roma (1996), Scripto (Morisawa award 1996), Virgile (1995, Agfa) and Oxalis (1996, Agfa).
    • Francesco (1998) is based on the letters of Francesco Griffo. Perfectly executed, it is a Venetian renaissance revival face---although first designed in 1998, it was published only in 2010 at BAT Foundry, which Franck helped co-found. It also covers Greek and Cyrillic. Interestngly, it features random counter shapes to give that 15th century look. Among Francesco's historical sources is the famous Hypnerotomachia Poliphili printed in 1499 by Aldus Manutius. Subsequently, Francesco was republished by Production Type.
    • In 2002, he created Le Brive, commissioned by senator and mayor Bernard Murat of Brive-la-Gaillarde.
    • In 2005, he digitized the Grec du Roi based on original characters and ligatures by Claude Garamond for François 1er, 1544-1550.
    • In 2009, he created Le Maghrébin based on material in the Imprimerie Nationale. The original from 1846 and 1850 was cut by Marcellin Legrand. This version of Arabic is also called western, or African (africain), and features many ligatures.
    • In 2016, he designed the monospace sans typeface family Aubusson. Initially designed as a custom typeface by Franck Jalleau for the Cité internationale de la tapisserie d'Aubusson, the monowidth proportions are linked to pattern and tiles arrangements used in tapestry. The retail version of Aubusson offers four weights with matching italics. It was published by Black Foundry.
    Linkedin link. Fascinating interview (in French). FontShop link. Production Type link. [Google] [MyFonts] [More]  ⦿

    Frantisek Storm
    [Storm Type Foundry]

    [MyFonts] [More]  ⦿

    Franziska Hubmann

    Franziska Hubmann was born in Vienna, Austria, and studied graphic, communication and type design there. She has worked as typographer and type designer ever since. She is associated with Schriftlabor. In 2017, she graduated from the typeface design program at the University of Reading. Her typefaces:

    • The Kurrent style school script font Herlinde (2017).
    • Some revivals based on shop and building signs found in Vienna, such as Kohler Weber, Gemeinde Wien and Thalia Apotheke, all done in 2017.
    • The nicely balanced text typeface family Romanze (Typejockeys), 2015-2017.
    • The provocative angularly disturbed Femme Fatale.
    • Bynx (2017). Her graduation typeface at the University of Reading for Latin, Greek and Cyrillic. It was crafted for editorial design and won an award at Granshan 2017.
    • Plantago (2014). Viktor Solt-Bittner drew logo sketches for an insurance company. After they rejected the design, he turned the sketches into a font family. Later, in 2018, Plantago was expanded, developed and completed by Schriftlabor's type directors Franziska Hubmann and Lisa Schultz.
    [Google] [More]  ⦿

    Fredrick M. Nader
    [Apostrophic Laboratory]

    [MyFonts] [More]  ⦿

    Free Font FORA

    About 20 font links, with comments. Greek site. Some free Greek fonts can be downloaded here. [Google] [More]  ⦿

    Friedemann Dittrich

    Greek and Hebrew fonts: Hebrew (Michael S. Bushell, 1994), OdysseaF (Payne Loving Trust, 1996), SPTiberian (Scholars Press, 1995), SymbolGreekPF (Payne Loving Trust, 1996). Direct access. [Google] [More]  ⦿

    Fulvio Bisca

    Italian illustrator and designer from Torino (b. 1970) who made Antitled, a sans serif family at T-26 (2001, completed in 2004). Ex-graduate of Institute G.B. Bodoni in Torino in 1989.

    In 2010, he made Cutoff Pro (URW++, +Bold), a serif family with serifs cut off in odd ways, and which covers all European scripts, including Cyrillic and Greek. One could say that it is a hyper-organic typeface.

    Typefaces from 2014 include Vertebrata.

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

    FUNDP: Tablinum
    [Paul Pietquin]

    Nikos Goulandris's modern Greek font Ismini was adapted by Paul Pietquin at the Département de Langues et Littératures Classiques des FUNDP (University of Namur, Belgium), which led to the Greek fonts Isminipc and SuperIsmini. Mac and PC. [Google] [More]  ⦿

    G. Azzaro

    11MB ziped font file contains the Sun/Corel starter collection of about 300 Bitstream truetype fonts, supplemented by the odd Monotype foreign language font (such as Porson Greek). [Google] [More]  ⦿

    G. Thomas Schroer
    [Numus Moneta Font]

    [More]  ⦿

    Gahee Park

    Type designer associated with Heumm Design in North Korea.

    Typefaces from 2021: HU Big Round (a techno typeface by Rumi Kim, ByoungHeon Park and Gahee Kim), HU Rosette (a cursive display serif by Haerin Lee, Rumi Kim, ByoungHeon Park and Gahee Kim). [Google] [MyFonts] [More]  ⦿

    Galaxie Software (or: Biblescript)

    BibleScript was the product that started Galaxie Software (located in Garland, TX) back in 1991. It was one of the most popular Greek and Hebrew font packages for 20 years. The following fonts can be freely downloaded from their site: GU-Greek (2001), GU-Hebrew (2001), Greek (2001), Greek-Uncials (2005), Greektl, Hebrew (2001), Hebrewtl, OLBGRK (2003), OLBHEB (2003), Scholar (1997). "GU" stands for Galaxie Unicode. [Google] [More]  ⦿

    Galeb

    Cyrillic, Old Church Slavonic, and Byzantine Greek font archive: UB-Byzantine (1993, by Unibrain SA), SymbolGreekPF (Payne Loving Trust), OdysseaF (Payne Loving Trust), NB-Byzantine (1999, Nikolaos), Miroslavljeva Cirilica (1993, Dino Art Corporation), MgGreekArchaic Plain (1989), Ciril Studenica (1993), C_Sveti_NIKOLA Normal (1993, Predrag Milivojevic, Belgrade), ALBXHRNormal (1994, Im Grhgorioy). [Google] [More]  ⦿

    Galini Scarlatou

    Athens, Greece-based designer of the creamy didone typeface Shrimp (2017). Behance link. [Google] [More]  ⦿

    Galinos Paparounis
    [Holy (was: Odysseas GP)]

    [More]  ⦿

    Garamond Premier Pro

    Robert Slimbach worked on this family between 1992 and 2004, yet Adobe gives it away for free, bundled in their CS2 (Creative Suite 2) package. It has 32 weights and all names have the prefix GaramondPremPro (BdItalic, ItSubh, Bold, LtDisp, Italic, LtItDisp, Medium, Med, MediumIt, MedCapt, Regular, MedDisp, SbIt, MedIt, Semibold, MedItCapt, Bd, MedItDisp, BdCapt, MedItSubh, BdDisp, MedSubh, BdIt, Smbd, BdItCapt, SmbdCapt, BdItDisp, SmbdDisp, BdItSubh, SmbdIt, BdSubh, SmbdItCapt, Capt, SmbdItDisp, Disp, SmbdItSubh, It, SmbdSubh, ItCapt, Subh, ItDisp), and covers many scripts. The typophiles are particularly impressed with the coverage of Greek, and many like the comprehensive and balanced style. Ulrich Stiehl points out some minor flaws:

    • Several letters, e.g., the "Registered" sign, are too small and are completely illegible in ordinary text sizes such as Adobe Originals 12p.
    • The Medium-Bold (Med) and Semi-Bold (Smbd) styles do not work properly with Microsoft Word due to faulty internal font style naming. [Note: maybe some of this was intentional.]
    • Using all styles or all characters of "Garamond Premier Pro" in a document makes PostScript drivers crash. Adobe admits in the "Release Notes" of this font: "In our testing, we found that a PostScript Level 2 device with 32 MB of RAM could handle only 3 different fonts from the Garamond Premier family on one page."
    [Google] [More]  ⦿

    Gary Munch
    [MunchFonts]

    [MyFonts] [More]  ⦿

    Gary S. Dykes

    Gary S. Dykes made 21 free public domain truetype fonts for Roman, Greek, Hebrew, Syriac (2002), Coptic, Ugaritic, Sabaean, Aramaic, including a beautiful Greek Minuscule font: Aram44, BLDGrk.ttf (2000), Coptic44 (2000, for all Sahidic and Bohairic typography), DISP_44 (2002), G100XTRA (2002), Greek44 (1997-2002), GARYS (2002, a blackletter font), GoudyHundred (2001, based on Stephen Moye's version of Goudy's Bertham), Goudy_B (2002), Goudy_IT_BD (2002), Goudy_It (2000), Greek44s (2002, has some Byzantine glyphs), HEB44a (2003), HEB44b, HEB44c, HEB44d, MINU44a (2003), MINU44b (2003), My_XTRA (2002), SABAEN44 (2002), Syriac44 (2001, for Estrangelo), Ugar_44 (2001). Some of the fonts are under the label "Fraktur Fonts". [Google] [More]  ⦿

    Gawr Juhs
    [Derek Green]

    Derek Green (Gawr Juhs, Edinburgh, Scotland) specializes in visual communication and branding. He offers some free fonts. In 2012, he made Embra, Rave87, Portabello (counterless), and Constellation (a dot matrix font).

    In 2013, he made Char, Impression and Gioma (a free Latin / Greek prismatic typeface created for a woman in southern Crete).

    In 2016, he designed the free all caps art deco typeface Decodent.

    Behance link. [Google] [More]  ⦿

    gbt.org

    Five Greek TrueType fonts. [Google] [More]  ⦿

    Genilson Lima Santos

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

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

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

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

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

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

    Georg Duffner

    Austrian designer who is trying hard to give the free software world an excellent qualitatively competitive free Garamond family. At Google Web Fonts, we find his EB Garamond family (2011), which covers Latin and Cyriilic. It is named after Egelnoff and Berner.

    He explains: The source for the letterforms is a scan of a specimen known as the Berner specimen, which, composed in 1592 by Conrad Berner, son-in-law of Christian Egenolff and his successor at the Egenolff print office, shows Garamont's roman and Granjon's italic fonts at different sizes. Hence the name of this project: Egenolff-Berner Garamond. Also planned are polytonic Greek, IPA and ornaments.

    In 2017, Octavio Pardo entered the EB Garamond project. The fonts can now be downloaded from Github. For Valentine's Day, a certain Bryn replaced the o and the tittles by hearts, and called the font Better EB Garamond (2017).

    Designer of the free font OMW Ayembedt (2013): Ayembedt is a font aiming to recreate the symbolic typeface called Daedric, found in the Elder Scrolls video game series, most notably in The Elder Scrolls III: Morrowind.

    Klingspor link. Open Font Library link. CTAN download of EB Garamond. Google Plus link. Duffner's Github link. [Google] [More]  ⦿

    Georg John

    German designer at Linotype of Linotype Cutter Schere Com (1997, white on black informal lettering; with Georg Kugler in 2007), Linotype Tagesstempel (1999, with Georg Kugler) and Johnstemp Pro (2008, grunge). In 2014, he made John LED7 (2014), a dot matrix typeface for Latin, Greek and Cyrillic. In 2016, he designed the mechanical / octagonal typeface John Tape and the scribbly script font Johnend.

    In 2017, he published John Tapextra (tape or duct tape font).

    Are Georg John and Georg Kugler one and the same?

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

    Georg Seifert
    [Schriftgestaltung]

    [MyFonts] [More]  ⦿

    George B. Walsh
    [GreekKeys]

    [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 Bourle
    [George Bourletsikas]

    [More]  ⦿

    George Bourletsikas
    [George Bourle]

    Or George Bourle. Thessaloniki, Greece-based lettering artist. Designer of Ellinikon (2019), The Knot (2019: a font duo meant for weddings), Left Hand Kids Font (2019), Boldera (2019: brush style), Coolscript (2019) and Brulee (2019: a monoline script). [Google] [More]  ⦿

    George Chandrinos

    Illustrator in Athens, Greece. His shop is called Rote Grafik. His posters are remarkable and showcase Ben Shahn-style lettering. [Google] [More]  ⦿

    George D. Matthiopoulos

    Professor of Type design and Typography at the School of Graphic Arts of the Technical Institute of Athens. He also teaches at the Department of Graphic Design and Visual Communication, University of West Attica. He is head of the design team and a type designer at the Greek Font Society. He is the Art Director of Indigo Associates specializing in book design, corporate identity and typographic communication for museum exhibitions. He has written the textbook of the course Type History and Design for the Greek Open University (2002) and he has translated in Greek Viktor Scholderer's Greek Printing Types: 1465-1927 (Typophilia, 1995) and Robert Bringhurst's "The Elements of Typographic Style (University of Crete Press, 2001).

    Speaker at ATypI 2007 in Brighton and at ATypI 2008 in St. Petersburg (where he spoke about Greek book design, 15th-20th centuries). At the GFS, he was involved in these free high quality font families:

    • GFS Artemisia was designed by Takis Katsoulidis and digitized by George Matthiopoulos in 2001.
    • GFS Didot (1994, a didone designed by Takis Katsoulidis and digitized by George Matthiopoulos; a matching Latin alphabet is based on Hermann Zapfs Palatino). Open Font Library link.
    • GFS Bodoni (1992-1993) is a didone designed by Takis Katsoulidis and digitized in 2005 by George Matthiopoulos.
    • GFS Olga (1995, a serif designed and digitized by George Matthiopoulos, based on the historical Porson Greek type (1803)).
    • GFS Solomos (2006). He writes: From the middle of the 19th century an italic font with many calligraphic overtones was introduced into Greek printing. Its source is unknown, but it almost certainly was the product of a German or Italian foundry. In the first type specimen printed in Greece by the typecutter K. Miliadis (1850), the font was listed anonymously along others of 11pts and in the Gr. Doumas undated specimen appeared as 11pt Greek inclined. For most of the second half of the century the type was used extensively as an italic for emphasis in words, sentences or exerpts. In 1889, the folio size Type Specimen of Anestis Konstantinidis publishing, printing and type founding establishment also included the type as Greek inclined [9 & 12 pt]. Nevertheless, the excessively calligraphic style of the characters, combined with the steep and uncomfortable obliqueness of the capitals, was out of favour in the 20th century and the type did not survive the conformity of the mechanical type cutting and casting. The font has been digitally revived, as part of our typographic tradition, by George D. Matthiopoulos and is part of GFS type library under the name GFS Solomos, in commemoration of the great Greek poet of the 19th century, Dionisios Solomos.
    • GFS Gazis (2007). These majuscule typefaces were made by George Matthiopoulos in 2006 and 2007: GFSAmbrosia, GFSEustace-Regular, GFSFleischman-Regular, GFSGaraldus, GFSJackson-Regular, GFSNicefore.

      He writes: GFS Ambrosia has the main characteristics of the majuscule forms of the early Christian tradition while GFS Nicefore is a typical byzantine sample of the 5th-7th century period. GFS Jackson is an edition of the font cut, in 1788, by Joseph Jackson on commission by the Cambridge University in preparation of the edition of the Beza codex containing the New Testament from the 5th-6th century. Theodore Beza was the erudite scholar from Geneva who had given the codex as a gift to the University in 1581. GFS Eustace is a typical example of byzantine woodcut initials used in many similar forms in Italy for Greek editions of the Bible, Prayers and other theological literature from the 15th to 19th centuries. GFS Fleischman, on the contrary, is based on a typeface cut by Johann Michael Fleishman, typecutter of the Dutch Enschedé foundry in the baroque style that prevailed in the mid-18th century.

    • GFS Neohellenic (1993-2000, Takis Katsoulidis and George D. Matthiopoulos). They explain: In 1927, Victor Scholderer (British Museum Library curator), 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 type, since to 1930s, was also well received in Greece, albeit with a different design for Ksi and Omega. GFS 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. GFSNeohellenicMath was published in 2018: The font GFSNeohellenicMath was commissioned to the Greek Font Society (GFS) by the Graduate Studies program "Studies in Mathematics" of the Department of Mathematics of the University of the Aegean, located on the Samos island, Greece. The design copyright belongs to the main designer of GFS, George Matthiopoulos. The OpenType Math Table embedded in the font was developed by the Mathematics Professor Antonis Tsolomitis. The font is released under the latest OFL license, and it is available from the GFS site at http://www.greekfontsociety-gfs.gr. The font is an almost Sans Serif font and one of its main uses is for presentations, an area where (we believe) a commercial grade sans math font was not available up to now.
    • GFS Philostratos (2008). A rounded Latin / Greek sans after Maurice Eduard Pinder's Griechische Antiqua.
    • GFS Pyrsos (1995). He writes: This typeface first appeared in the late 20s and was used as an alternative italic type to the most commonly used Greek italics at the time, coming from Germany (Leipzig). The name commemorates the edition of the Greek encyclopaedia Pyrsos (1927-1933) from which the types were taken.
    • GFS Goschen (2009): a Greek typeface named for the German publisher Georg Joachim Göschen, who, at the turn of the 19th century, saw to the creation of a new cursive type for use in an edition of the New Testament in Greek. The typeface was cut by Johann Prillwitz, and was influenced by the Greek types of Bodoni.
    • GFS Decker (2007). This is a revival of an uncial Greek that was used by both Oxford and Cambridge University Press in the late 1800s, designed by Deckersche Giesserei in Germany. /UL> [Google] [More]  ⦿

    George Douros
    [Unicode Fonts for Ancient Scripts]

    [More]  ⦿

    George Kalantzopoulos
    [Marathon Data]

    [More]  ⦿

    George Katsigiannis

    Patras, Greece-based designer of the free techno display typeface SpirtO (2019) for Latin and Greek. [Google] [More]  ⦿

    George Lygas

    George Lygas studied Printing and Graphic Arts at the National Design School (TEI) of Athens. His graduation thesis on Greek Typography was the base for PF Scriptor, a revival of a historic Greek typeface. He collaborated with Panos Vassiliou in the design of PF Stamps (2002-2006, a stencil family, also done with Panos Vassiliou). All his typefaces cover Greek and Cyrillic He currently works for Parachute. [Google] [MyFonts] [More]  ⦿

    George Nikolaidis

    Graphic designer in Larissa, Greece, b. 1973, specializing in display typefaces. He created the free Nikolaidis Hand in 2015 for Latin and Greek.

    In 2016, he designed the bilined tattoo-style Halfstripe Font, Scrap Font, and the modular typeface GNF Empire.

    In 2018, he designed GNF Title Nation, the condensed all caps font GNF Tallone, and GNF Olympian.

    In 2019, he designed GNF Uneven, the all caps squarish GNF Monotype, the ultra fat poster typeface GNF Boolean and the variable width font GNF Menu. [Google] [More]  ⦿

    George Nimas

    Attica (Eleusis), Greece-based graphic designer and photographer, b. Athens, 1981, who studied at AKTO, Middlesex University, UK. In 2017, he created the rounded monoline organic typeface Gap for Latin and Greek. Behance link. [Google] [More]  ⦿

    George Roussos

    During his studies, Thessaloniki, Greece-based George Roussos created the decorative (Latin) caps typeface Infectura (2015). Behance link. [Google] [More]  ⦿

    George Ryan

    American designer, b. Rockville Centre, NY, 1950. George Ryan held senior positions at Linotype and Bitstream since 1979, where he has been involved in the production of over 2500 fonts. In 2004, Ryan joined Agfa Monotype, and is now a Monotype typeface designer. Creator of these typefaces:

    • The amazingly beautiful text font Kennedy GD (1995, Galapagos).
    • Other Galapagos fonts: McLemore (2002), Geis (2002), Jorge (2002), Culpepper (2002, an extension and interpretation of Rudolf Koch's Neuland, 1923), the elegant formal script font Tiamaria (2002, connected script), the fat art nouveau font Robusto (2002, based on letters found in a book about Oswald Cooper), Prop Ten (2002).
    • The hand-printed comic book style typeface ITC Kristen (1995).
    • The legible Nikki New Roman GD (1996).
    • The handwriting font MohawcsNote GD.
    • The Bitstream font Oz Handicraft BT (1991). This was created by George Ryan in 1990 from a showing of Oswald Cooper's hand lettering found in The Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago). A refresh was done in 2016.
    • Migrate GD (now ITC Migrate).
    • ITC Eborg.
    • The fine dingbat font Web-O-Mints GD.
    • The clean sans serif Wyle GD.
    • Established in 2003 by George Ryan in Arlington, MA, Bilt Fonts (Aruban Font Foundry) sells revivals and original designs through MyFonts. Typefaces include Pietin, Geo Sans, Netto, Rescue, Jingle, Geo Tablet, Lottsa Lotta, Big Stuff, Rainman, Depth Charge, Sansand, Bulla Bulla, Kappa Nappa, Kappa Sappa, Sarabella (2004, calligraphic), Marcus Texus (fun informal), Marcus Displaeus, and Spio Beo.
    • Semaphore (Bitstream, with Dave Robbins).
    • In 2007, at Monotype, he made Givens Antiqua, named after Robert Givens, the co-founder and first president of Monotype Imaging---it is a soft and elegant serif family in 16 styles.
    • In 2012, he published the comic book felt tip marker typeface Koorkin (Monotype).
    • In 2013, he worked on an Ethiopic typeface at Monotype.
    • 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 effort, George Ryan extended the popular Gill Sans from 18 to 43 fonts in his Gill Sans Nova (2015). 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. Greek and Cyrillic coverage.

    FontShop link. Klingspor link.

    View George Ryan's typefaces. [Google] [MyFonts] [More]  ⦿

    George Strouzas
    [KEIK Design Bureau]

    [More]  ⦿

    George Strouzas

    Graphic designer in Athens, Greece. Creator of the multilined display face RBTP (2010). Its design was based on strict ruler and compass guidelines. [Google] [More]  ⦿

    George Thomas

    There are several type designers called George Thomas. This George Thomas is based in Athens, Greece, and designed the octagonal typeface Wolftooth (2015). [Google] [More]  ⦿

    George Toumbalis

    Giorgos Toumbalis studied Image processing and DTP at DOME Design School in Athens. He is considered an expert on graphic design issues and he is a regular columnist in +Design, the Greek magazine on aesthetics and design issues. He started his first business in 1996 and some of his major clients include Sony Music, BMG, Warner Music, Capital Radio 96.5, Planet Works, Filmnet, Flash.gr. Some of his font designs, released by Parachute, include PF Mechanica B (2002-2006: a tiled typeface for Latin, Greek and Cyrillic) and PF Overload. [Google] [More]  ⦿

    George Triantafyllakos
    [Atypical]

    [More]  ⦿

    George Triantafyllakos
    [Backpacker]

    [More]  ⦿

    George Valmas

    George Valmas is from Thessaloniki, Greece. He made the hand-printed Freehand (2010), which is not free. In 2013, he designed Atena (a Greek simulation face) and Freedo Tall (Ten Dollar Fonts).

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

    George Vassos

    Arta, Greece-based creator of the chemical formula font Chemigram (2012). [Google] [More]  ⦿

    George Veloudis

    Athens, Greece-based designer of the school project font Circuit (2015). [Google] [More]  ⦿

    George Williams

    George Williams's site (now defunct) site was a discovery! George Williams (b. 1959) wrote spline-generating code and then went on to produce several fonts with his software between 1987 and 1998:

    • Art nouveau style: Carmen, Ambrosia (1989), Fantaisie Artistique, Baldur, Monopol, Parisian, Peignot, Bocklin, Edda.
    • Lombardic: Lombardic.
    • Victorian: Caprice, Ringlet.
    • Uncial: Uncial Animals, Roman Uncial Modern.
    • Ornamental caps: Versal, Decorative, Square Caps, Extravagant Capitals, Floral Caps, Morris, Andrade.
    • Display typefaces: Crystal, Flash, Cupola, Santa Barbara Streets (2013-2014; after the street signs in Santa Barbara, CA).
    • Blackletter: Rotunda (1998), Bastarda, Textura Modern, Fractur (a remake of Wittenbach).
    • Art deco: Piccadilly, Mirage (1999, prismatic).
    • Calligraphic: Humanistic.
    • Text: Caslon.
    • Slab: Monospace.
    • Sans: Caliban.
    • Bamboo Gothic (2007).
    • TIS620-2529 (a Thai font).

    George Williams writes: I have been slowly working to provide free unicode postscript fonts for the three major groupings of styles used by European (Latin, Greek and Cyrillic anyway) type designs: serif, sans-serif and typewriter (or Times, Helvetica and Courier). Monospace is my approximation to Courier. Close examination will reveal that it is a bad copy of courier. Caslon Roman (1992-2001) is a serif font (designed by William Caslon in 1734), it's not a bad copy of Times, it's a bad copy of something else. Caliban is a bad copy of Helvetica. If Microsoft can call their version of Helvetica Arial, then Caliban seems appropriate for mine. Yet another URL.

    George Williams is best known as the inventor and creator of FontForge, the biggest and best free font editor today. It made him the darling of the Open Software community. Interview with OSP.

    Fontspace link. Dafont link. Abstract Fonts link. [Google] [More]  ⦿

    Georgia Kaltapanidou

    Designer from Thessaloniki, Greece. Creator of a mimimalist monoline sans typeface called Unfont (2011). [Google] [More]  ⦿

    Georgina Aliazi

    During her studies in Athens, Greece, Georgina Aliazi designed the experimental typeface Line And Dot (2017). [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]  ⦿

    Gerben Dollen
    [DolWork]

    [MyFonts] [More]  ⦿

    Gerber Fonts

    Manchester, CT-based company that sells a font package, as well as a number of fonts for Arabic, Cyrillic, Greek, Hebrew and Thai. See also here. [Google] [More]  ⦿

    Germán León
    [Fontbilisi (was: Germán León)]

    [MyFonts] [More]  ⦿

    German Donaldist Society (D.O.N.A.L.D.)
    [Thomas Pryds Lauritsen]

    The free Carl Barks Script (1998), an all caps bold comic book font that covers Greek as well, was originally made by the German Donaldist Society. In 1998, it was extended by Thomas Pryds Lauritsen of the Danish Donaldist Society. [Google] [More]  ⦿

    Gerry Leonidas

    Gerry Leonidas is a Lecturer and Course Director of the MA in Type Design in the Department of Typography&Graphic Communication at the University of Reading, England. He is a practicing designer of Greek and Latin typefaces, and a regular consultant on typography and type design. From 2017 until 2020, he was president of ATypI.

    Brief CV. Site with the list of his graduates. Speaker at ATypI 2008 in St. Petersburg. Speaker at ATypI 2009 in Mexico City. Speaker at ATypI 2011 in Reykjavik and at Typecon 2012 in Milwaukee.

    Speaker at ATypI 2012 Hong Kong: Digging into the ATypI Archive. Speaker at ATypI 2016 in Warsaw.

    Old URL. [Google] [MyFonts] [More]  ⦿

    Ghostscript fonts

    Yet another ghostscript font archive, with the following URW++ truetype fonts made in 2000: A028-Ext, A028-Med (lapidary), A030-Bol, A030-BolIta, A030-Ita, A030-Reg, AntiqueOlive-Bol, AntiqueOlive-Ita, AntiqueOlive-Reg, ClarendonURW-BolCon, Coronet, Dingbats, GaramondNo8-Ita, GaramondNo8-Med, GaramondNo8-MedIta, GaramondNo8-Reg, LetterGothic-Bol, LetterGothic-BolIta, LetterGothic-Ita, LetterGothic-Reg, Mauritius-Reg, NimbusMon-Reg, NimbusMon-Reg, NimbusMono-Bol, NimbusMono-BolIta, NimbusMono-Ita, NimbusMono-Reg, NimbusRomanNo4-Bol, NimbusRomanNo4-BolIta, NimbusRomanNo4-Lig, NimbusRomanNo4-LigIta, NimbusRomanNo9-Ita, NimbusRomanNo9-Med, NimbusRomanNo9-MedIta, NimbusRomanNo9-Reg, StandardSymL, U001-Bol, U001-BolIta, U001-Ita, U001-Reg, U001Con-Bol, U001Con-BolIta, U001Con-Ita, U001Con-Reg, URWClassico-Bol, URWClassico-BolIta, URWClassico-Ita, URWClassico-Reg. All these fonts come with complete East-European accent sets, as well as Greek symbols. [Google] [More]  ⦿

    Giannis Arkoudos

    Athens, Greece-based designer (b. 1973) of Greek Bear Tiny E (2006, pixel). Blog (in Greek). [Google] [More]  ⦿

    Giorgos Soulios

    Larissa, Greece-based designer (b. 1998) of the squarish typeface Soulios Design (2020). [Google] [More]  ⦿

    Giovanni Landi

    Pistoia, Italy-based designer (aka Il Papyrus) of the Celtic knot font Celtic101 (2002) and the Greek font families Atene (1995) and Naxos (1995). GBL edizioni is his company. [Google] [More]  ⦿

    Glyn

    Glyn is the Greek creator of the hand-printed typefaces Bezier Dome (2012, iFontMaker), Bezier Glyn Art Sketchy (2012), Bezier Glyn Sketchy Bold, Bezier Dots n Snakes (2012). [Google] [More]  ⦿

    GNU Freefont (or: Free UCS Outline Fonts)
    [Steve White]

    The GNU Freefont is continuously being updated to become a large useful Unicode monster. GNU FreeFont is a free family of scalable outline fonts, suitable for general use on computers and for desktop publishing. It is Unicode-encoded for compatability with all modern operating systems. There are serif, Sans and Mono subfamilies. Also called the "Free UCS Outline Fonts", this project is part of the larger Free Software Foundation. The original head honcho was Primoz Peterlin, the coordinator at the Institute of Biophysics of the University of Ljubljana, Slovenia. In 2008, Steve White (aka Stevan White) took over.

  • URW++ Design&Development GmbH. URW++ donated a set of 35 core PostScript Type 1 fonts to the Ghostscript project.
    • Basic Latin (U+0041-U+007A)
    • Latin-1 Supplement (U+00C0-U+00FF)
    • Latin Extended-A (U+0100-U+017F)
    • Spacing Modifier Letters (U+02B0-U+02FF)
    • Mathematical Operators (U+2200-U+22FF)
    • Block Elements (U+2580-U+259F)
    • Dingbats (U+2700-U+27BF)
  • Yannis Haralambous and John Plaice. 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.
    • 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)
  • Yannis Haralambous and Wellcome Institute. In 1994, The Wellcome Library The Wellcome Institute for the History of Medicine 183 Euston Road, London NW1 2BE, England, commissioned Mr. Haralambous to produce a Sinhalese font for them. We have received 03/09 official notice from Robert Kiley, Head of e-Strategy for the Wellcome Library, that Yannis' font could be included in GNU FreeFont under its GNU license: Sinhala (U+0D80-U+0DFF).
  • Young U. Ryu at the University of Texas at Dallas is the author of Txfonts, a set of mathematical symbols designed to accompany text typeset in Times or its variants. In the documentation, Young adresses the design of mathematical symbols: "The Adobe Times fonts are thicker than the CM fonts. Designing math fonts for Times based on the rule thickness of Times =,, +, /, <, etc. would result in too thick math symbols, in my opinion. In the TX fonts, these glyphs are thinner than those of original Times fonts. That is, the rule thickness of these glyphs is around 85% of that of the Times fonts, but still thicker than that of the CM fonts." Ranges: Arrows (U+2190-U+21FF), Mathematical Symbols (U+2200-U+22FF).
  • Valek Filippov added Cyrillic glyphs and composite Latin Extended A to the whole set of the abovementioned URW set of 35 PostScript core fonts, Ranges: Latin Extended-A (U+0100-U+017F), Cyrillic (U+0400-U+04FF).
  • Wadalab Kanji Comittee. Between April 1990 and March 1992, Wadalab Kanji Comittee put together a series of scalable font files with Japanese scripts, in four forms: Sai Micho, Chu Mincho, Cho Kaku and Saimaru. The font files were written in custom file format, while tools for conversion into Metafont and PostScript Type 1 were also supplied. The Wadalab Kanji Comittee has later been dismissed, and the resulting files can be now found on the FTP server of the Depertment of Mathematical Engineering and Information Physics, Faculty of Engineering, University of Tokyo: Hiragana (U+3040-U+309F), Katakana (U+30A0-U+30FF). Note that some time around 2009, the hiragana and katakana ranges were deleted.
  • Angelo Haritsis has compiled a set of Greek type 1 fonts. The glyphs from this source has been used to compose Greek glyphs in FreeSans and FreeMono. Greek (U+0370-U+03FF).
  • Yannis Haralambous and Virach Sornlertlamvanich. 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).
  • Shaheed Haque has developed a basic set of basic Bengali glyphs (without ligatures), using ISO10646 encoding. Range: Bengali (U+0980-U+09FF).
  • Sam Stepanyan created a set of Armenian sans serif glyphs visually compatible with Helvetica or Arial. Range: Armenian (U+0530-U+058F).
  • Mohamed Ishan has started a Thaana Unicode Project. Range: Thaana (U+0780-U+07BF).
  • Sushant Kumar Dash has created a font in his mother tongue, Oriya: Oriya (U+0B00-U+0B7F). But Freefont has dropped Oriya because of the absence of font features neccessary for display of text in Oriya.
  • Harsh Kumar has started BharatBhasha for these ranges:
    • Devanagari (U+0900-U+097F)
    • Bengali (U+0980-U+09FF)
    • Gurmukhi (U+0A00-U+0A7F)
    • Gujarati (U+0A80-U+0AFF)
  • Prasad A. Chodavarapu created Tikkana, a Telugu font family: Telugu (U+0C00-U+0C7F). It was originally included in GNU Freefont, but supoort for Telugu was later dropped altogether from the GNU Freefont project.
  • Frans Velthuis and Anshuman Pandey. In 1991, Frans Velthuis from the Groningen University, The Netherlands, released a Devanagari font as Metafont source, available under the terms of GNU GPL. Later, Anshuman Pandey from Washington University in Seattle, took over the maintenance of font. Fonts can be found on CTAN. This font was converted the font to Type 1 format using Peter Szabo's TeXtrace and removed some redundant control points with PfaEdit. Range: Devanagari (U+0900-U+097F).
  • Hardip Singh Pannu. In 1991, Hardip Singh Pannu has created a free Gurmukhi TrueType font, available as regular, bold, oblique and bold oblique form. Range: Gurmukhi (U+0A00-U+0A7F).
  • Jeroen Hellingman (The Netherlands) created a set of Malayalam metafonts in 1994, and a set of Oriya metafonts in 1996. Malayalam fonts were created as uniform stroke only, while Oriya metafonts exist in both uniform and modulated stroke. From private communication: "It is my intention to release the fonts under GPL, but not all copies around have this notice on them." Metafonts can be found here and here. Ranges: Oriya (U+0B00-U+0B7F), Malayalam (U+0D00-U+0D7F). Oriya was subsequently dropped from the Freefont project.
  • Thomas Ridgeway, then at the Humanities And Arts Computing Center, Washington University, Seattle, USA, (now defunct), created a Tamil metafont in 1990. Anshuman Pandey from the same university took over the maintenance of font. Fonts can be found at CTAN and cover Tamil (U+0B80-U+0BFF).
  • Berhanu Beyene, Prof. Dr. Manfred Kudlek, Olaf Kummer, and Jochen Metzinger from the Theoretical Foundations of Computer Science, University of Hamburg, prepared a set of Ethiopic metafonts. They also maintain the home page on the Ethiopic font project. Someone converted the fonts to Type 1 format using TeXtrace, and removed some redundant control points with PfaEdit. Range: Ethiopic (U+1200-U+137F).
  • Maxim Iorsh. In 2002, Maxim Iorsh started the Culmus project, aiming at providing Hebrew-speaking Linux and Unix community with a basic collection of Hebrew fonts for X Windows. The fonts are visually compatible with URW++ Century Schoolbook L, URW++ Nimbus Sans L and URW++ Nimbus Mono L families, respectively. Range: Hebrew (U+0590-U+05FF).
  • Vyacheslav Dikonov made a Braille unicode font that could be merged with the UCS fonts to fill the 2800-28FF range completely (uniform scaling is possible to adapt it to any cell size). He also contributed a free Syriac font, whose glyphs (about half of them) are borrowed from the free Carlo Ator font. Vyacheslav also filled in a few missing spots in the U+2000-U+27FF area, e.g., the box drawing section, sets of subscript and superscript digits and capital Roman numbers. Ranges: Syriac (U+0700-U+074A), Box Drawing (U+2500-U+257F), Braille (U+2800-U+28FF).
  • Panayotis Katsaloulis helped fixing Greek accents in the Greek Extended area: (U+1F00-U+1FFF).
  • M.S. Sridhar. M/S Cyberscape Multimedia Limited, Mumbai, developers of Akruti Software for Indian Languages (http://www.akruti.com/), have released a set of TTF fonts for nine Indian scripts (Devanagari, Gujarati, Telugu, Tamil, Malayalam, Kannada, Bengali, Oriya, and Gurumukhi) under the GNU General Public License (GPL). You can download the fonts from the Free Software Foundation of India WWW site. Their original contributions to Freefont were
    • Devanagari (U+0900-U+097F)
    • Bengali (U+0980-U+09FF)
    • Gurmukhi (U+0A00-U+0A7F)
    • Gujarati (U+0A80-U+0AFF)
    • Oriya (U+0B00-U+0B7F)
    • Tamil (U+0B80-U+0BFF)
    • Telugu (U+0C00-U+0C7F)
    • Kannada (U+0C80-U+0CFF)
    • Malayalam (U+0D00-U+0D7F)
    Oriya, Kannada and Telugu were dropped from the GNU Freefont project.
  • DMS Electronics, The Sri Lanka Tipitaka Project, and Noah Levitt. Noah Levitt found out that the Sinhalese fonts available on the site metta.lk are released under GNU GPL. These glyphs were later replaced by those from the LKLUG font. Finally the range was completely replaced by glyphs from the sinh TeX font, with much help and advice from Harshula Jayasuriya. Range: Sinhala (U+0D80-U+0DFF).
  • Daniel Shurovich Chirkov. Dan Chirkov updated the FreeSerif font with the missing Cyrillic glyphs needed for conformance to Unicode 3.2. The effort is part of the Slavjanskij package for Mac OS X. range: Cyrillic (U+0400-U+04FF).
  • Abbas Izad. Responsible for Arabic (U+0600-U+06FF), Arabic Presentation Forms-A, (U+FB50-U+FDFF), Arabic Presentation Forms-B (U+FE70-U+FEFF).
  • Denis Jacquerye added new glyphs and corrected existing ones in the Latin Extended-B (U+0180-U+024F) and IPA Extensions (U+0250-U+02AF) ranges.
  • K.H. Hussain and R. Chitrajan. Rachana in Malayalam means to write, to create. Rachana Akshara Vedi, a team of socially committed information technology professionals and philologists, has applied developments in computer technology and desktop publishing to resurrect the Malayalam language from the disorder, fragmentation and degeneration it had suffered since the attempt to adapt the Malayalam script for using with a regular mechanical typewriter, which took place in 1967-69. K.H. Hussein at the Kerala Forest Research Institute has released "Rachana Normal" fonts with approximately 900 glyphs required to typeset traditional Malayalam. R. Chitrajan apparently encoded the glyphs in the OpenType table. In 2008, the Malayalam ranges in FreeSerif were updated under the advise and supervision of Hiran Venugopalan of Swathanthra Malayalam Computing, to reflect the revised edition Rachana_04. Range: Malayalam (U+0D00-U+0D7F).
  • Solaiman Karim filled in Bengali (U+0980-U+09FF). Solaiman Karim has developed several OpenType Bangla fonts and released them under GNU GPL.
  • Sonali Sonania and Monika Shah covered Devanagari (U+0900-U+097F) and Gujarati (U+0A80-U+0AFF). Glyphs were drawn by Cyberscape Multimedia Ltd., #101, Mahalakshmi Mansion 21st Main 22nd "A" Cross Banashankari 2nd stage Banglore 560070, India. Converted to OTF by IndicTrans Team, Powai, Mumbai, lead by Prof. Jitendra Shah. Maintained by Monika Shah and Sonali Sonania of janabhaaratii Team, C-DAC, Mumbai. This font is released under GPL by Dr. Alka Irani and Prof Jitendra Shah, janabhaaratii Team, C-DAC, Mumabi. janabhaaratii is localisation project at C-DAC Mumbai (formerly National Centre for Software Technology); funded by TDIL, Govt. of India.
  • Pravin Satpute, Bageshri Salvi, Rahul Bhalerao and Sandeep Shedmake added these Indic language cranges:
    • Devanagari (U+0900-U+097F)
    • Gujarati (U+0A80-U+0AFF)
    • Oriya (U+0B00-U+0B7F)
    • Malayalam (U+0D00-U+0D7F)
    • Tamil (U+0B80-U+0BFF)
    In December 2005 the team at www.gnowledge.org released a set of two Unicode pan-Indic fonts: "Samyak" and "Samyak Sans". "Samyak" font belongs to serif style and is an original work of the team; "Samyak Sans" font belongs to sans serif style and is actually a compilation of already released Indic fonts (Gargi, Padma, Mukti, Utkal, Akruti and ThendralUni). Both fonts are based on Unicode standard. You can download the font files separately. Note that Oriya was dropped from the Freefont project.
  • Kulbir Singh Thind added Gurmukhi (U+0A00-U+0A7F). Dr. Kulbir Singh Thind designed a set of Gurmukhi Unicode fonts, AnmolUni and AnmolUni-Bold, which are available under the terms of GNU license from the Punjabu Computing Resource Center.
  • Gia Shervashidze added Georgian (U+10A0-U+10FF). Starting in mid-1990s, Gia Shervashidze designed many Unicode-compliant Georgian fonts: Times New Roman Georgian, Arial Georgian, Courier New Georgian.
  • Daniel Johnson. Created by hand a Cherokee range specially for FreeFont to be "in line with the classic Cherokee typefaces used in 19th century printing", but also to fit well with ranges previously in FreeFont. Then he made Unified Canadian Syllabics in Sans, and a Cherokee and Kayah Li in Mono! And never to be outdone by himself, then did UCAS Extended and Osmanya.... What next?
    • Armenian (serif) (U+0530-U+058F)
    • Cherokee (U+13A0-U+13FF)
    • Unified Canadian Aboriginal Syllabics (U+1400-U+167F)
    • UCAS Extended (U+18B0-U+18F5)
    • Kayah Li (U+A900-U+A92F)
    • Tifinagh (U+2D30-U+2D7F)
    • Vai (U+A500-U+A62B)
    • Latin Extended-D (Mayanist letters) (U+A720-U+A7FF)
    • Osmanya (U+10480-U+104a7)
  • George Douros, the creator of several fonts focusing on ancient scripts and symbols. Many of the glyphs are created by making outlines from scanned images of ancient sources.
    • Aegean: Phoenecian (U+10900-U+1091F).
    • Analecta: Gothic (U+10330-U+1034F)
    • Musical: Byzantine (U+1D000-U+1D0FF)&Western (U+1D100-U+1D1DF)
    • Unicode: many miscellaneous symbols, miscellaneous technical, supplemental symbols, and mathematical alphanumeric symbols (U+1D400-U+1D7FF), Mah Jong (U+1F000-U+1F02B), and the outline of the domino (U+1F030-U+1F093).
  • Steve White filled in a lot of missing characters, got some font features working, left fingerprints almost everywhere, and is responsible for these blocks: Glagolitic (U+2C00-U+2C5F), Coptic (U+2C80-U+2CFF).
  • Pavel Skrylev is responsible for Cyrillic Extended-A (U+2DEO-U+2DFF) as well as many of the additions to Cyrillic Extended-B (U+A640-U+A65F).
  • Mark Williamson made the MPH 2 Damase font, from which these ranges were taken:
    • Hanunóo (U+1720-U+173F)
    • Buginese (U+1A00-U+1A1F)
    • Tai Le (U+1950-U+197F)
    • Ugaritic (U+10380-U+1039F)
    • Old Persian (U+103A0-U+103DF)
  • Primoz Peterlin filled in missing glyphs here and there (e.g., Latin Extended-B and IPA Extensions ranges in the FreeMono family), and created the following UCS blocks:
    • Latin Extended-B (U+0180-U+024F)
    • IPA Extensions (U+0250-U+02AF)
    • Arrows (U+2190-U+21FF)
    • Box Drawing (U+2500-U+257F)
    • Block Elements (U+2580-U+259F)
    • Geometrical Shapes (U+25A0-U+25FF)
  • Jacob Poon submitted a very thorough survey of glyph problems and other suggestions.
  • Alexey Kryukov made the TemporaLCGUni fonts, based on the URW++ fonts, from which at one point FreeSerif Cyrillic, and some of the Greek, was drawn. He also provided valuable direction about Cyrillic and Greek typesetting.
  • The Sinhala font project has taken the glyphs from Yannis Haralambous' Sinhala font, to produce a Unicode TrueType font, LKLUG. These glyphs were for a while included in FreeFont: Sinhala (U+0D80-U+0DFF).

    Fontspace link. Crosswire link for Free Monospaced, Free Serif and Free Sans. Download link. [Google] [More]  ⦿

    • gnu.org

    Chinese truetype fonts. And 20 MB worth of international bitmap fonts. The fonts at the latter link contain PCF and BDF sources, and some truetype and type 1 fonts. Among the bitmap (BDF) fonts: ISO8859 series 1 through 9 (Latin, Greek, Cyrillic), KOI8 (Cyrillic), Indic, Lao, Tibetan, Thai, Vietnamese, Chinese, Japanese, Korean, Ethiopic, Arabic, IPA, Hebrew. Truetype: Latin-X fonts, Vietnamese (VISCII roman). Type 1: Latin-X fonts, Vietnamese (VISCII roman), Thai (TIS620), Thai National Font. The readme goes: "We greatly appreciate the contribution of Yannis Haralambous and Tereza Tranaka. They made free TrueType and Type1 fonts for Latin-X series, Thai, and Vietnamese. They will eventually make fonts for more character sets." The fonts are called OmegaSerif, and were made in 1999. Also included is the Thai National font Nf3, made by Yannis Haralambous and Virach Sornlertlamvanich in 1999. [Google] [More]  ⦿

    goGREECE.com

    Download Greek truetype fonts: Arial, Times New Roman, Avant Greek (PC). Plus AthenMacGr and other Mac fonts. And a bunch of Amiga Greek fonts. [Google] [More]  ⦿

    Golgonooza Letter Foundry
    [Dan Carr]

    Dan Carr (b. Cranston, RI, 1951-2012) was an American poet, type designer, typographer, printer, teacher, punchcutter, environmentalist, human rights activist and New Hampshire State Representative (2008-2010). Carr received his BA at Clark University in Worcester, Massachusetts. In Boston, in 1979 he and his partner Julia Ferrari, started the Golgonooza Letter Foundry & Press, a hot metal Monotype graphic design and composition house, which they moved to Ashuelot, NH, in 1982. Together they created Trois Fontaines Press in 1997, a limited edition fine press. Carr taught typography, and the history of typography at Keene State University in Keene, NH. He died after a struggle with cancer.

    At Golgonooza they produced high-quality letterpress books for a wide variety of clients. Dan Carr is the designer of the great-looking text fonts Lyons and Cheneau, 1990-1994, as well as Regulus (a metal font created in 1998 that earned him the title of Master Typographic Punchcutter of France in 1999), Philosophie, Genesis Numerals, and Beckett Bodoni, at the Golgonooza Letter Foundry. He won a Bukvaraz 2001 award for Parmenides (a metal type for archaic Greek). His digital typeface "Cheneau" was chosen for a judges' choice award by the Type Directors Club in 2000. Both Dan Carr's Parmenides Greek and Christopher Stinehour's Diogenes Greek were commissioned by the printer Peter Koch for The Fragments of Parmenides.

    Alternate URL. Klingspor link. Caxton Club link. [Google] [MyFonts] [More]  ⦿

    Google Font Directory: Greek

    Greek fonts available for download at the Google Font Directory. As of May 2011, these included Jura, Caudex, Play, Didact Gothic, Nova, Open Sans, Ubuntu, Anonymous Pro, GFS Didot and GFS Neohellenic. [Google] [More]  ⦿

    Gor Jihanian

    Type and graphic designer from Armenia who graduated first from the University of Colorado in Boulder (2012) and later from the MATD program in Type Design at the University of Reading in 2016. His graduation typeface is Byron, a text typeface family for Latin, Greek and Armenian. Interview at Future Fonts.

    In 2020, he released Spindle, a symbiotic script typeface for Latin and Armenian, and explains: After the MATD program, I spent late nights digging through medieval Armenian manuscripts. Though not a strict revival, Spindle began as a study of three styles. The basis stems from the Notrgir style, a notary script invented for speed and efficiency, but not always legibility. In contrast, the earlier Bolorgir style is built up from a steady rhythm of vertical strokes and counters. While the later Slagir style is a chaos of cursive flourishes. I began trying to replicate the strokes, and as I transferred the letters into digital, I noticed characteristics from each style synthesizing into surprising and fluid shapes that would later become Spindle. The project was shelved for months until one day David Jonathan Ross asked to see my work. I showed those rough yet-unnamed letters of Spindle, and to my surprise he liked them and was curious if there were plans of adding Latin...there was not. With a little encouragement and constructive feedback, I dusted off the files and began drafting the Latin. The addition was more of a revision, a swinging pendulum constantly going between the two scripts.

    Future Fonts link. [Google] [More]  ⦿

    Grab The Eye

    Design studio in Athens, Greece. Creator of the hipster typeface Gravitar (2014). Behance link. [Google] [More]  ⦿

    Gradient (was: Mindburger Studio)
    [Milos Mitrovic]

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

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

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

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

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

    Typefaces from 2020: Poly Sans (+Mono).

    Village link.

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

    Graeca

    Gorgeous Greek font Graeca (TrueType) by P.B. Payne. See also here. [Google] [More]  ⦿

    Grammata
    [Juan-José Marcos]

    Juan José Marcos, a professor of classics at the University of Plasencia in Spain, developed a free ornamental and florid Greek font in June 2002 with the WinGreek encoding system. It has 233 glyphs and 710 kerning pairs. It was renamed Ellenike. [Google] [More]  ⦿

    Granshan 2010

    The Ministry of Culture of the Republic of Armenia and the Typographic Society Munich (tgm --- Typographische Gesellschaft München) organized Granshan 2010, The 3rd International Eastern Type Design Competition, which was created especially for Armenian, Cyrillic and Greek fonts. Edik Ghabuzyan and Boris Kochan were the big bosses. The jury consisted of Gerry Leonidas, Oliver Linke, Hrant Papazian, Carolyn Puzzovio and Manvel Shmavonyan. The outcome:

    [Google] [More]  ⦿

    Granshan 2011

    The Ministry of Culture of the Republic of Armenia and the Typographic Society Munich (tgm --- Typographische Gesellschaft München) organized Granshan 2011, The Fourth International Type Design Competition for Non-Latin Typefaces, which was created especially for Armenian, Cyrillic and Greek fonts. Edik Ghabuzyan and Boris Kochan are the big bosses. The jury consisted of the two big bosses, plus Veronika Burian, Thomas Phinney, Manvel Shmavonyan, Panos Vassiliou and Emil Yakupov. They were aided for Armenian text typefaces by Fred Afrikyan, Gagik Martirosyan, and Aram Megrabyan. For Cyrillic, the help came from Gayane Baghdasaryan, Dmitry Kirsanov, and Vladimir Yefimov. Finally, the Greek rescue subcommittee consisted of Konstantine Giotas, Klimis Mastoridis, and Kostas Aggeletakis.

    The grand prize (1000 Euors) was won by Alexandra Korolkova for Belladonna. The other results are as follows:

    • Armenian text typefaces category
      • 1st prize - not awarded
      • 2nd prize - Aregak: Hrachuhi Grigoryan, Armenia
      • 3rd prize - Emrys: Ben Jones, UK
    • Cyrillic text typefaces category
      • 1st prize - William: Maria Doreuli, Russia
      • 2nd prize - Permian: Ilya Ruderman, Russia
      • 3rd prize - Circe: Alexandra Korolkova, Russia
    • Greek text typefaces category
      • 1st prize - Emrys: Ben Jones, UK
      • 2nd prize - Artigo: Joana Maria Correia da Silva, Portugal
      • 3rd prize - Foxhill: Hanna Donker, UK
    • Display category
      • 1st prize - Belladonna: Alexandra Korolkova, Russia
      • 2nd prize - Fry: Oleg Macujev, Russia
      • 3rd prize - Meteor Script: Ilya Ruderman, Russia
    [Google] [More]  ⦿

    Granshan 2012

    The Ministry of Culture of the Republic of Armenia and the Typographic Society Munich (tgm --- Typographische Gesellschaft München) are organizing Granshan 2012, The Fifth International Type Design Competition for Non-Latin Typefaces, which was created especially for Armenian, Cyrillic, Greek, Indic (i.e., Devanagari, Bengali, and Tamil only) and Arabic fonts. Exceptionally, this year, Latin fonts designed in the last ten years can also be nominated.

    Edik Ghabuzyan and Boris Kochan are the big bosses. The jury consists of Timothy Donaldson, Otmar Hoefer, Ahmed Mansour, Fiona Ross, Manvel Shmavonyan, Panos Vassiliou, and Vladimir Yefimov. There are five expert panels:

    • Armenian text typefaces category: Ara Baghdasaryan, Gagik Martirosyan, Aram Megrabyan.
    • Arabic text typefaces category: Mamoun Ahmed, Mohamed Hassan, Nehad Nadam.
    • Cyrillic text typefaces category: Gayane Baghdasaryan, Dmitry Kirsanov, Tagir Safayev.
    • Greek text typefaces category: Konstantine Giotas, Klimis Mastoridis, Kostas Aggeletakis.
    • Indic text typefaces category: Ravi Pooviah, Mahendra Patel, Graham Shaw.

    Impossible to find the list of winners. [Google] [More]  ⦿

    Graphic Quest

    Designer in 2020 of Rapido (handcrafted, for Latin and greek), Retrostripe (textured), and Audio Waves. [Google] [More]  ⦿

    GRCONV

    From the University of the Aegean, Diomidis Spinellis's Greek/Coptic site with his free tool Grconv: "Grconv converts between a large number of character sets, transcription, and transliteration methods that are used to represent Greek text. In addition, it supports a number of encodings used to represent those character sets in different environments. Grconv reads the file(s) specified in its command line printing the converted results on its standard output, or runs as a filter, reading text from its standard input printing the converted result on its standard output; the redirection operator can be used to write to files." [Google] [More]  ⦿

    Greek and Hebrew Fonts for Microsoft Windows

    Glenn Wooden and Harry Hahne explain about Greek and Hebrew under MS Windows. Their recommendation in 2000: Both WinGreek and Silver Fonts are good choices for Greek, but Silver Fonts offers higher quality output and greater ease of editing. These two sets also provide economical Hebrew fonts, although editing is easier with Silver Fonts. BibleScript provides a more polished Hebrew text with cantillations, easy Roman transliteration of Hebrew and Greek, and a wide range of Hebrew typefaces. The public domain fonts from Scholars Press are a good choice for displaying biblical and classical texts which use the TLG and Michigan-Claremont text encoding schemes or for those on a limited budget. [Google] [More]  ⦿

    Greek at Linguist's Software

    Link shows modern Greek. Check also pages for classical and biblical Greek. Linguist's Software is run by Philip Barton Payne. Their main web contact is Gene Sorensen. [Google] [More]  ⦿

    Greek (Babel)

    Greek fonts in one zip file. [Google] [More]  ⦿

    Greek Font Archive: unicode Fonts

    Peter Gainsford's table of Greek unicode fonts, with links, licensing info, and personal remarks and comparisons. [Google] [More]  ⦿

    Greek Font Society

    The Greek Font Society was founded in 1992 by the late Michael S. Macrakis (1924-2001) as a Non-Profit Organization with the expressed aim of contributing to the research of Greek typography. The Society was founded initially by the Kostopoulos Foundation, with further support provided by the Greek Ministry of Culture, the Leventis Foundation, Regis College-USA, the Maliotis Foundation and the Girondelis Foundation. From 2004 until 2006, the Board of Directors consists of M.V. Sakellariou (President). L. Macrakis (Vice-President), D.G. Portolos (Secretary), L.G. Savidis (Treasurer), G.E. Agouridis, A.G. Drimiotis, and A. Giakoumakis. GFSs type design programme began through the collaboration of painter-engraver Takis Katsoulidis with type designer George D. Matthiopoulos. Since then, GFS has designed a growing list of Greek polytonic (fully-accented) fonts which include various historical revivals and new designs with respect to typographic tradition. In addition, GFS was commissioned to design fonts for the Athens Academy, The Athens Archeological Society, the Institute of Speech amongst others. Furthermore, GFS organised an International Conference, Greek Letters: from Tablets to Pixels at the Institute Français dAthènes in 1995, and has been active in the publication of works on Typography. For this aim GFS edited and designed the proceedings of the Conference: Michael S. Macrakis (edit), Greek Letters: from Tablets to Pixels, Oak Knoll Press, Newcastle-Delaware, 1996. The artistic collaborators include George D. Matthiopoulos, Michail Semoglou and Natasha Raissaki. Finally, they are making some high quality free fonts, such as:

    • GFS Didot (1994, a didone designed by Takis Katsoulidis and digitized by George Matthiopoulos; a matching Latin alphabet is based on Hermann Zapf's Palatino). Open Font Library link.
    • GFS Bodoni (1992-1993): a didone designed by Takis Katsoulidis and digitized by George Matthiopoulos. See also GFS Bodoni Classic (Greek only).
    • GFS Olga (1995, a serif designed and digitized by George Matthiopoulos, based on the historical Porson Greek type (1803)).
    • GFS Callierges Greek, based on the types of Zacharias Callierges (15th century), digitized by George Matthiopoulos.
    • GFS Porson Greek, digitized by George Matthiopoulos in 1995. This is based on the types of Richard Porson of the 18th century.
    • GFS Artemisia (2001), by painter-engraver Takis Katsoulidis and digitized by George D. Matthiopoulos. Open Font Library link.
    • GFS Complutensian Greek, digitized by George Matthiopoulos and Antonis Tsolomitis. This was based on the types of Arnaldo Guillen de Brocar (16th century). Now called GFS Complutum (2007).
    • GFS Neohellenic (1993-2000, Takis Katsoulidis and George D. Matthiopoulos). They explain: In 1927, Victor Scholderer (British Museum Library curator), 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 type, since to 1930s, was also well received in Greece, albeit with a different design for Ksi and Omega. GFS 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. A further extension, GFSNeohellenicMath, was published in 2018: The font GFSNeohellenicMath was commissioned to the Greek Font Society (GFS) by the Graduate Studies program "Studies in Mathematics" of the Department of Mathematics of the University of the Aegean, located on the Samos island, Greece. The design copyright belongs to the main designer of GFS, George Matthiopoulos. The OpenType Math Table embedded in the font was developed by the Mathematics Professor Antonis Tsolomitis. The font is released under the latest OFL license, and it is available from the GFS site at http://www.greekfontsociety-gfs.gr. The font is an almost Sans Serif font and one of its main uses is for presentations, an area where (we believe) a commercial grade sans math font was not available up to now.
    • GFS Elpis (2006, Natasha Raissaki), an original design which tries very hard to match the Greek and Latin parts of its alphabet.
    • GFSSolomos (2006) by George D. Matthiopoulos.
    • GFS Theokritos, a redesign by George D. Matthiopoulos of a font created by Yannis Kefallinos (1894-1958) in the 1950s. Free at Open Font Library.
    • GFS Baskerville (2007) by Antonis Tsolomitis.
    • GFS Gazis (2007, George Matthiopoulos), about which they write: During the whole of the 18th century the old tradition of using Greek types designed to conform to the Byzantine cursive hand with many ligatures and abbreviations - as it was originated by Aldus Manutius in Venice and consolidated by Claude Garamont (Grecs du Roy) - was still much in practice, although clearly on the wane. GFS Gazis is a typical German example of this practice as it appeared at the end of that era in the 1790s. Its name pays tribute to Anthimos Gazis (1758-1828), one of the most prolific Greek thinkers of the period, who was responsible for writing, translating and editing numerous books, including the editorship of the important Greek periodical (Litterary Hermes) in Wien.
    • These majuscule typefaces were made by George Matthiopoulos in 2006 and 2007: GFS Ambrosia, GFS Eustace, GFS Fleischman-Regular, GFS Garaldus, GFS Jackson-Regular, GFS Nicefore. He writes: GFS Ambrosia has the main characteristics of the majuscule forms of the early Christian tradition while GFS Nicefore is a typical byzantine sample of the 5th-7th century period. GFS Jackson is an edition of the font cut, in 1788, by Joseph Jackson on commission by the Cambridge University in preparation of the edition of the Beza codex containing the New Testament from the 5th-6th century. Theodore Beza was the erudite scholar from Geneva who had given the codex as a gift to the University in 1581. GFS Eustace is a typical example of byzantine woodcut initials used in many similar forms in Italy for Greek editions of the Bible, Prayers and other theological literature from the 15th to 19th centuries. GFS Fleischman, on the contrary, is based on a typeface cut by Johann Michael Fleishman, typecutter of the Dutch Enschedé foundry in the baroque style that prevailed in the mid-18th century.
    [Google] [More]  ⦿

    Greek Fonts

    Archive with free Greek TrueType fonts for Mac and PC. [Google] [More]  ⦿

    Greek Fonts Gateway
    [Michael Palmer]

    Greek font links by Michael Palmer. [Google] [More]  ⦿

    Greek Grammar on the Web

    Fantastic Greek font page by Professor Marc Huys from the University of Leuven, Belgium. This page had (has?) Supergreek (copyright Payne Loving Trust) and many other Greek fonts, and an extensive discussion on Greek fonts. [Google] [More]  ⦿

    Greek (Haralambous)

    Yannis Haralambous's Greek metafont package. [Google] [More]  ⦿

    Greek House of Fonts
    [Sebastian Riessen]

    Sebastian Riessen is the San Diego-based creator of the rounded fat typeface Greek House Fat (2006-2009, caps only). Dafont link. Free fonts: Greek House Basic, Krakt and Symbolized. Pay fonts: Greek Curlz, Greek Collegiate, Greek Ole English, Greek Script, Greekhouse 70s, Greek Applique, Applique Outlined, Greek Ancient, Greekhouse Heavy, Greek Junior High, Collegiate Outline, Wicked Olde English, English Skript, Greek HouseSymbolized (2012), Greek Fathouse, Greek Marker Bold, Greek Freight Tag, Greekhouse Scribbled, Greekhouse Studz, Greekhouse Stitched.

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

    Greek Market--Greek Fonts

    Monotype Arial and TimesNewRoman families. [Google] [More]  ⦿

    Greek (Silvio Levy)
    [Silvio Levy]

    Silvio Levy's Greek metafont package based on Computer Modern. [Google] [More]  ⦿

    Greek Uncial fonts

    Greek uncial metafont. [Google] [More]  ⦿

    Greek unicode

    Greek UNICODE compliant (8859-7) Helvetica and Courier fonts. [Google] [More]  ⦿

    GreekBoston.com

    Greek fonts for Mac and PC, such as the Arial, TimesNewRoman and Avant families. [Google] [More]  ⦿

    GreekKeys
    [George B. Walsh]

    Greek font information from the American Philological Association. It used to carry the unicode font Athena Roman. GreekKeys for Macintosh is a product providing easy keyboard input and specialized fonts for scholars of ancient (polytonic) Greek. First produced in 1984, GreekKeys has long provided a widely-used custom encoding for polytonic Greek, but now also supports and advocates Unicode as the proper standard for polytonic Greek in the future. GreekKeys is owned and distributed by the American Philological Association, a non-profit professional organization of North American classical scholars. GreekKeys is currently maintained and revised by Donald Mastronarde, Professor of Classics at the University of California, Berkeley. The original GreekKeys for Macintosh dates back to 1984, and was designed and distributed by George Walsh of the Department of Classics of the University of Chicago. He died in 1989, and the next year his wife, Susan M. Kastendiek (the eponym for the original name "SMK") donated the program to the American Philological Association. Since then it has been largely the responsibility of Jeffrey Rusten to update and answer questions about GreekKeys. The site was at Cornell University, but at some point it moved to Berkeley. [Google] [More]  ⦿

    greektex

    greektex by Yiannis N. Moschovakis (Dept of Mathematics, UCLA) and George Spiliotis is also based on Silvio Levy's Greek metafonts and Donald Knuth's Computer Modern. [Google] [More]  ⦿

    GreeKTeX Ver 3.1

    K. J. Dryllerakis's GreeKTeX package including several Greek metafonts. [Google] [More]  ⦿

    greektype.com

    Gerry Leonidas' Greek type services. [Google] [More]  ⦿

    Green Type
    [Dmitrij Greshnev]

    Green Type is the foundry of creative Russian type designer Dmitrij Greshnev (b. 1975, Lengingrad). Still based in Leningrad, Dmitrij received a TypeArt 05 award for the display family Multicross (2003-2004), which can be bought at ParaType. He will win many more awards.

    His typefaces include Stopwatch (2010, LED face), Sokol (Old Slavonic Latin simulation face), Slavica (2010), Reliant (2010, with Iza W at Intellecta Design), Reliant Beveled (2012, free), Logistica (2010, army stencil), Danger (2010, another army stencil), Dusk Thin (2010), and Multicross (2003-2004, stitching font).

    Typefaces from 2011: Zoo300 (techno sans; +Shadow, +yrillic). Behance link.

    In 2012, he created Patriciana (a Peignotian typeface for Latin and Cyrillic) and Directo.

    Typefaces from 2013: Finch, Hypermarket (dirty typewriter).

    Typefaces from 2014-2015: Trali-Vali (a children's book or party font family), Moveo Sans (with Condensed and Extended subfamilies, 80 fonts in all covering Latin, Greek and Cyrillic), Artica Pro (a flared all-caps typeface family for Latin, Greek, and Cyrillic that is based on classical roman (Trajan) letterforms) and Artica Rough Pro (2015).

    Typefaces from 2016: Festa (a brush typeface for Latin, Greek and Cyrillic).

    Typefaces from 2017: Festa Classica (a happy all caps hand0crafted typeface family), Normative Pro (a neutral techno sans with glyphs tending towards the rectangular), Normative Lt.

    Typefaces from 2018: Streetline.

    Typefaces from 2019: Hubba (a modular squarish typeface family; has a variable font).

    Typefaces from 2020: Danger Neue (a military stencil).

    Typefaces from 2021: Fason (a flared fashion mag typeface family).

    Typefaces from 2022: Esquina Rounded (an octagonal typeface), Esquina College (an octagonal varsity typeface), Esquina Outline, Esquina Stencil (12 styles).

    Behance link. Creative Market link. Hellofont link. MyFonts link. Klingspor link.

    View Dmitry Greshnev's typefaces. [Google] [MyFonts] [More]  ⦿

    Grenet - free Greek font
    [Sven-Olav Paavel]

    Free Greek truetype font designed by Sven-Olav Paavel, 1999. Tons of modern Greek accented characters. [Google] [More]  ⦿

    Griechische Schrift

    Nice page (in German) about the use and installation of Greek fonts for PC, Mac and UNIX. Focus on Greek Unicode compliant fonts. [Google] [More]  ⦿

    Griegoweb

    Greek font links, maintained by Maria enriquez and Alvaro F. Ortola. [Google] [More]  ⦿

    Griekse Lettertypes

    Bart van Beek from the KU Leuven provides a thorough list of links for Greek fonts. In Flemish. [Google] [More]  ⦿

    Grinder Collective
    [Nick Kandy]

    Athens, Greece-based designer of the origami typeface Fader (2017), the free multilined experimental typeface Simulation (2018) and the 3d typeface Stairway (2018).

    In 2019, they published the free Latin / Greek stencil typeface GRT Revolution.

    Typefaces from 2020: GRT Sugar (a custom handcrafted typeface for Melisourgeion). [Google] [More]  ⦿

    Grixel
    [Nikos Giannakopoulos]

    Greek pixel fonts by Nikos Giannakopoulos. Free creations include Grixel Acme 9 Regular (2006), which also covers Latin. Dafont link. Other pixel typefaces, all made in 2006: GrixelAcme5CompCapsO, GrixelAcme5CompCapsOXtnd, GrixelAcme5Wide, GrixelAcme5WideBold, GrixelAcme5WideBoldXtnd, GrixelAcme5WideXtnd, GrixelAcme7Wide, GrixelAcme7WideBold, GrixelAcme7WideBoldXtnd, GrixelAcme7WideXtnd, GrixelAcme9Regular, GrixelAcme9RegularBold, GrixelAcme9RegularBoldXtnd, GrixelAcme9RegularXtnd, GrixelKyrou5Wide, GrixelKyrou5WideBold, GrixelKyrou5WideBoldXtnd, GrixelKyrou5WideXtnd, GrixelKyrou7Wide, GrixelKyrou7WideBold, GrixelKyrou7WideBoldXtnd, GrixelKyrou7WideXtnd, GrixelKyrou9Regular, GrixelKyrou9RegularBold, GrixelKyrou9RegularBoldXtnd, GrixelKyrou9RegularXtnd. Another URL. [Google] [More]  ⦿

    Grover Foundry
    [Thomas Grover]

    London-based foundry of James and Thomas Grover, active in the late 17th century. Quoting Stanley Morison (Fleuron, vol. 6): "In succession to the so-called Polyglot founders who worked under privilege during the period 1637-1667, the Grovers began business about 1674. The possessed types which came from Day, Wynkyn de Worde and others, also a fine Greek uncial, a number of scripts and the curious letter called "Double Pica Union Pearl", or simply "Union Pearl". This elegant decorative script face, which is the first known English decorated letter (ca. 1690), later became a Stephenson Blake typeface. Designers of a Greek typeface in 1694 (some say 1894), based upon the Greek of the Complutensian Polyglot of 1514. According to "Fleuron", vol. 6, p. 231, this typeface was surpassed by Victor Scholderer's "New Hellenic" (1928). [Google] [More]  ⦿

    GR-Soft

    GR-Soft's GR_Soft_TimesPol truetype font with lots and lots of accented and double-accented characters. [Google] [More]  ⦿

    Guy Buhry

    French creator of the great heavy comic book typeface Grobold (2006). Later, he added Cyrillic and Greek versions called Groboldov and Groboldopoulos, respectively. Guy Buhry is currently working on Guy Script. [Google] [More]  ⦿

    Haerin Lee
    [Heummdesign]

    [MyFonts] [More]  ⦿

    Hagiography database

    GreekOldFace by Ralph Hancock (1996). [Google] [More]  ⦿

    Hanna Donker

    Dutch freelance graphic designer who works as font designer at Dalton Maag in London since 2012. Behance link. Graduate of the University of Reading in 2011. Her graduation typeface, Foxhill (2011), was designed for small sizes. It has Greek and Latin styles and has the angularity necessary for agate typefaces. Foxhill won Third Prize in the Greek text typeface category at Granshan 2011. She wrote a dissertation about Dutch typeface designer Sjoerd Hendrik de Roos.

    Dalton Maag, Tom Foley, Mary Faber, Stuart Brown and Hanna Donker won a Granshan 2014 award for Intel Clear Cyrillic. Dalton Maag's Hanna Donker and Spike Spondike won an award at Granshan 2016 for Intel Clear Thai.

    Typecache link. [Google] [More]  ⦿

    Hans J. Simon Verlag

    Commercial font vendor offering fonts such as Kyrillisch Romance, Polnisch Alpina, Lautschrift Metrik, Altgriechisch, Neugriechisch, Hebraisch, Turkisch Courier, Tschechisch/Slowakisch Romance, Kroatisch Romance, Mergensymbole. Between 90 and 390DM per font. [Google] [More]  ⦿

    Hara Mesdaniti

    Graphic designer in Athens. In 2013, she designed Sponge Font. [Google] [More]  ⦿

    Haralambous: Greek typeface classification

    Yannis Haralambous, in From Unicode to Typography, a Case Study the Greek Script writes: Until the arrival of computer DTP, most printed books were typeset in one, or more, of the following typefaces: Apla (which Monotype calls Greek 90, 91, 92), Times, Porson, New Hellenic, Greek Sans 486. [These are all by Monotype.] When the phototypesetting machines were replaced by computers, the situation changed rapidly: the Times fonts were taken over by the computer, bad quality imitations of the original Monotype Greek 90 were used for the Apla style, new fonts were designed and used: Linotype released Greek Baskerville and New Century Schoolbook, Greek companies (like Magenta) have adapted many of the Latin typefaces to the Greek script.

    He classifies Greek text typefaces into five categories:

    • Apla (Didot). This has been the most common style of Greek typefaces. Its ancestors are 19th century Didot typefaces. Apla means plain, simple in Greek, and this is what this typeface has been: the most common typeface for ordinary text. Many companies have released versions in this style: Monotype Greek 90 (upright), Greek 91 (italic), Greek 92 (bold), Linotype Greek No. 2, Magenta Memories. Haralambous considers the Monotype ones to be, by far the best choice, in fact the most beautiful Greek types he has ever seen.
    • The Times family (called Elsevier in Greece). This is a style used since 1878 as an alternative to Apla. Compared to the latter, it is more modern and pragmatical. This is why it often has been chosen for technical books, or books by authors who wanted to avoid a conservative image. Many companies have released Greek Times fonts, unfortunately not all of good quality, according to Haralambous. He opines that the best seems to be the original Monotype Greek Times, which has afterwards been cloned to produce the homonymous, lower quality, standard Microsoft Windows 95/NT font.
    • Scholarly fonts:
      • Porson: Haralambous: The Porson typeface is used in most Anglosaxon scholarly Greek editions, including the Oxford Classical Texts. This font has also been used in Greece, as a replacement for Greek 91, or as a companion font to New Hellenic. The German-Greek Langesheidt dictionary also uses Porson only for the Greek text. Only two Porson versions are known to the author: the one by Monotype (again, by far the best) and a recent one, by the Greek Font Society.
      • Greek Sans 486, a bold font. It has been used for the entries of the Oxford Lexicon of Greek Personal Names. A font with strong resemblance to it is used by the Association Guillaume Budé, Le Cerf editions and the Bailly dictionary.
      • New Hellenic, or Attika in Greek.
    • Adaptations of Latin typefaces. Monotype did Gill Sans and Helvetica. Linotype adapted New Baskerville, New Caledonia, New Century Schoolbook, Op- tima, Souvenir, and others. The Greek company Magenta adapted a wide range of Latin typefaces, including Univers, Garamond and Bodoni. Microsoft sought the Hellenization of Palatino. The Greek Font Society (GFS) created many nice typefaces such as GFS Bodoni.
    • Original creations of the last few years. Individual contributions include Takis Katsoulidis (who published aesthetic Greek typefaces such as Katsoulidis ans Apollonia).
    [Google] [More]  ⦿

    Haralampos Andreanidis

    Greek graphic designer. He created a number of minimalist/pizelish/squarish Latin/Greek fonts in 2009 under the name City Fonts. His Totem Font (2009) is experimental. Nomass Team Font (2009) is a squarish stencil. His typographic posters.

    Alternate URL. Another URL. Behance link. Devian tart link. Nomass site. [Google] [More]  ⦿

    Harald Tomesch

    Designer of the Greek truetype font Dr Greek (2000). [Google] [More]  ⦿

    Haratzopoulos Panayiotis

    Greek designer of CF Panoptik (2018): CF Panoptik is an evolution of the popular Futura, somewhat less geometric, yet equally clean and quite proportionate. Originally designed as a corporate font for the Pancreta Bank and later enriched with more weights released to the market. Supports Western and Extended Latin character sets as well as Greek monotonic. [Google] [More]  ⦿

    Haris Bekrakis

    During his studies in Athens, Greece, Haris Bekrakis created the hexagonal alchemic typeface Inguz (2013) for Latin and Greek. [Google] [More]  ⦿

    Harris Darmawan

    Jakarta-based designer, b. 1990. He created the spike-serifed typeface family Symmetre (2012) for Latin, Greek and Cyrillic.

    Dafont link. [Google] [More]  ⦿

    Harrisson
    [Open Source Publishing (or: OSP)]

    [More]  ⦿

    Hector Charalambous

    The font Gill Sans Hellenic (2000) was chosen for the corporate identity of the Olympic Games of Athens in 2004. The Greek version was designed by Hector Charalambous and was art directed by Panayiotis Haratzopoulos (Cannibal Fonts) after permission for hellenization was given by Monotype. The font is available from Greek Digital Types. [Google] [More]  ⦿

    Hector Haralambous

    Greek type and graphic designer, b. 1945, Nicosia (Cyprus), who studied at Doxiadis School of Art. He is active in type design since the mid-eighties and has designed fonts for various companies, among them Linotype. He teaches at Vakalo school of Art and Design, and is one of the three Course Leaders at the Graphic Design department. He collaborates with Cannibal Fonts since 1997.

    At Cannibal, he published Blast Gothic CF, Derrida CF Book, Garamond CF, and Hot Metal CF. Co-designer at Linotype of a version of the Sabon family (1986). [Google] [MyFonts] [More]  ⦿

    Hein Boekhout
    [OTC (Odyssey Type Company)]

    [MyFonts] [More]  ⦿

    Helen Gabara

    Helen Gabara lived and worked in Toronto. She studied Communication Arts but earlier on, she developed an interest in typography and customized calligraphy projects. PF Rafskript and PF Signskript (2007, Parachute) are two of her typefaces. She no longer works for Parachute. [Google] [More]  ⦿

    Helena Lekka

    Ph.D. student at the University of Reading. Thesis topic: Linotype's early Greek phototypes. [Google] [More]  ⦿

    Hellas Arial

    The Hellas Arial family (free) by Pouliadis and Associates (1992). [Google] [More]  ⦿

    Hellenic Resources Network

    Information and free material (fonts, software) for use with Greek character sets. Contains fonts for use with UNIX. Starting place for Greek typography on various platforms, including Mac, Windows and UNIX. [Google] [More]  ⦿

    Hellenistic Greek Linguistics Pages

    Page on Greek fonts kept by James K. Tauber. [Google] [More]  ⦿

    Hello OSX

    Well-organized Greek font archive but impractical downloads. It contains these families: DejaVu, GFS, Gentium, Linux Libertine, MgOpen, Thryomanes, VAG, AVI. [Google] [More]  ⦿

    Henry Warwick

    New Jersey native who lives in San Francisco. He states: "Over the years I've had the good fortune to be very involved with photolettering and type design. In the 1980's I set headlines, letter by letter by letter, on a VGC Typositor at Phil's Photolettering in Washington DC. The desktop computer quickly destroyed that entire industry, and that is how I became involved with computer graphics. In the early 1990s, I designed type for FontBank, and consulted for several other type companies, including Microsoft and Galoob Toys. It's nearly impossible to make a living in type design these days, as the industry was basically done in by a combination of legal precedents and rampant piracy. Having worked on "conventional" / Wester / Roman fonts for so long, I've acquired a preference for unusual or obscure fonts or alphabets. I am always available for type design work or consulting." His designs (not downloadable) include Coptic Chelt, Fruthrak Sans, Ojibway Futurae, Cyrillic-Helv-Flash-8pt, KTR-katakana10, Celestia, Daggers, Enochian Times and Nugsoth. [Google] [More]  ⦿

    Heracles Papatheodorou

    Designer of the free handcrafted Latin / Greek typeface Graphe Alpha (2015). [Google] [More]  ⦿

    Herman Miller

    Herman Miller made several typefaces for Kolagian languages (runes): Kisuna, MizarianUni, OlaeUni, ZireenUni, CispaNormal, OlaetyanNormal, Thryomanes, Zirinka (font used for Zireen languages including Zírí:nká and Zharranh), Lhoerr (font used for Jarrda and Jaghri), Pintek (Braille-type font), Velika, Minza, Lindiga, Teamouse VS, Tirelat (2001), Ludireo, Tilya, Czirehlat.

    TIPANormal, ThrIPANormal and ThrSAMPANormal are fonts designed for phonetics. Livagian (2003) has a reasonable character set. TeamouseLX, TeamouseVS, TeamouseVS (all 2001) are Miller's versions of Times Roman.

    He also made the unicode font Thryomanes (fully accented Times, with Greek, Latin, Celtic/uncial and Cyrillic).

    FTP source. Direct link. Older alternate URL. Fontspace link. Dafont link. [Google] [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:

    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]  ⦿

    • Heummdesign
    [Haerin Lee]

    Heummdesign is a Seoul, South Korea-based type foundry (according to Dafont) or a North Korean type design cooperative (according to MyFonts), started in 2009. By 2020, they produced well over a hundred typefaces for Latin, Greek, Cyrillic and Hangul. Haerin Lee appears to be the main person but that remains unclear.

    Haerin Lee designed HU Cookie (2020, with Rumi Kim and ByoungHeon Park), HU Bubble (2020, with SangHyeon Park), HU Hand Serif (2020: with Yehyeong Lee and ByoungHeon Park), HU Wind Sans (2020: a 15-style sans for Latin, Greek and Cyrillic by Haerin Lee, SangHyeon Park and ByoungHeon Park) and HU The Game (2020, with ByoungHeon Park), a typeface with mini-spurs and odd terminals that is designed for display.

    Typefaces from 2021: HU Battery (a sci-fi typeface by Haerin Lee, SangHyeon Park and Yehyeong Lee), HU Rosette (a cursive display serif by Haerin Lee, Rumi Kim, ByoungHeon Park and Gahee Kim), HU Green Tea (with Yehyeong Lee), HU Ketchup (with Yehyeong Lee: an informal supermarket typeface for Latin, Cyrillic and Greek). [Google] [MyFonts] [More]  ⦿

    Hildegund Mueller

    Codesigner with Stefan Hagel in 1997-1998 of Aisa Unicode. Aisa Unicode is a proprietary font that does not contain a Latin alphabet. It is ncluded in the shareware utility MultiKey 4.0 (for Microsoft Word in Microsoft Windows). [Google] [More]  ⦿

    Hillel Glueck
    [Tamar Fonts]

    [MyFonts] [More]  ⦿

    Hilti

    A corporate URW studio sans family published in 2009. The 6-font family sells for over 5000 dollars and covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. [Google] [More]  ⦿

    hobz

    Three Greek truetype fonts. [Google] [More]  ⦿

    Holy (was: Odysseas GP)
    [Galinos Paparounis]

    Holy (was: Odysseas GP) is Galinos Paparounis, a graphic designer from Athens. In 2012, he used Futura as a basis for developing the stunning Latin / Greek display typeface Futuracha. In 2017, he followed up with Futuracha Pro, and in 2019 with Decoracha.

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

    Hotam
    [Hotam Mahmadiev]

    Dushanbe, Tajikistan-based designer of the circle-based monoline rounded sans typeface family Metricor (2019) for all Latin languages, Cyrillic, and Greek. [Google] [MyFonts] [More]  ⦿

    Hotam Mahmadiev
    [Hotam]

    [MyFonts] [More]  ⦿

    Hugo Chargois

    French designer of Gohufont (2010): Gohufont is a monospace bitmap font well suited for programming and terminal use. It is intended to be very legible and offers very discernable glyphs for all characters, including signs and symbols. Free, in BDF and PCF formats. Github link by Guilherme Maeda, who created truetype versions of Chargois's fonts in 2015. The pixel fonts cover Latin, Greek, Hebrew, Cyrillic, Braille and mathematical symbols. [Google] [More]  ⦿

    Hungarumlaut (was: Cila Design)
    [Adam Katyi]

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

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

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

    Hyphen A Typographic Forum

    This type and design mag in English and Greek is edited by Altervision (Klimis Mastoridis, Tasos Efremidis, Dimitris Mitsiopoulos, Apostolos Rizos) in Thessaloniki. It is published by Typophilia, Thessaloniki. Mastoridis is chairman of AterVision. [Google] [More]  ⦿

    I & O Media (or: Iset and Osiri, or: Imagine and Ordain)
    [T. Christopher White]

    American designer of these fonts:

    • Gowa (2020). A free sci-fi typeface.
    • The FontStruct fonts Hjet (2018) and Khnum (2018).
    • The free font Tehuti (2015, Open Font Library), which was originally planned as a font family related to Dwiggins's Electra, but took on a life of its own. Each of Tehuti's styles (Book and Italic) had 4078 characters, including Latin, Greek and Cyrillic. Tehuti, itself discontinued, evolved into the free font Dehuti in 2016-2017, and into the commercial Dehjuti in 2019, and Dihjauti in 2020.
    • Ptah (2015, Open Font Library). A display typeface updated in 2016 and 2017.
    • Seshat (2016, Open Font Library: an artificial language font). Seshat was discontinued and replaced by Zeshit Sans (2016). The designer explains: Zeshit Sans is a font of the Galactic tongue, which is called Irden Las, or Esteemed Tongue. It is the language of the felines (lions), the dolphins, and the whales, who are mankind's uplifters. It was transliterated, through meditation, by Northern Amerindians from numerous crashed spacecraft.

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

    I Shot The Serif
    [Matthew Welch]

    Original free fonts by American designer Matthew Welch: APLPLUS-Regular, AncientGeekRegular, BlackKnightRegular, CheatinRegular (experimental), College (athletic lettering), CollegeBold, CollegeCondensed, CollegeSemiCondensed, ElectricPickle, ElectricPickleBold, Far East (oriental simulation), Farewell, FatFingerRegular, Free3of9 and Free3of9Extended (1997, see also here and here), FuddRegular (1998, Cyrillic simulation), GoLong, Hit The Road, LEDRealRegular, LocustRegular (dingbats), NeverRegular, NewJobRegular, RushinRegular (1998, Cyrillic simulation font), SecretCode, Tiny (pixel face), TRTL, FrakturModern, KingsGambit, Mattbats, OneFortySevenRegular, WhiteRabbit, OddDog, Geek (Greek).

    In 2012, he added the constructivist typeface Propaganda, as well as Tinier (a pixel font), Stadium and Libby (an all-caps sans family).

    Dafont link. Fontspace link. Abstract Fonts link. [Google] [More]  ⦿

    Ibycus
    [Pierre MacKay]

    Pierre A. MacKay (Dept of Classics, University of Washington) has a Greek Latex package, which has metafonts that extend the Greek metafonts by Silvio Levy. It features the necessary breathing marks and accents for use with ancient Greek text. It also includes the digamma character and the numerals qoppa and sampi (the numerals appear in lowercase type only). Ibycus4 is a Greek typeface, based on Silvio Levy's realization of a classic Didot cut of Greek type from around 1800. Since 2004, this package includes type 1 fonts as well. The project is supported by Walter Schmidt and Harald Harders (who did some metafont to type 1 conversions). [Google] [More]  ⦿

    ICTVC: International Conference on Typography & Visual Communication
    [Klimis Mastoridis]

    A series of conferences held biannually since 2002. The motor behind these meetings is Dr. Klimis Mastoridis, Department of Design & Multimedia, University of Nicosia, Cyprus. The last (sixth) conference took place in June 2016 in Thessaloniki. [Google] [More]  ⦿

    IFAO

    At the IFAO (Institut Francais d'Archeologie Orientale in Cairo, Egypt), one can find the free fonts IFAO Grec (2002) and IFAO N Copte (2008, by Jonathan Perez). [Google] [More]  ⦿

    iframe

    Greek type foundry. In 2021, they published the (Latin and Greek) display typefaces Bosch and Nineties. [Google] [More]  ⦿

    Igor Dimitrijevic

    Designer at Fonts For Flash in 2002 of RaxelGreek. [Google] [More]  ⦿

    Igor Freiberger

    Type and graphic designer in Porto Alegre, Brazil. In his first big commercial typeface project, he published the multilingual text typeface Sapiens (2014), and writes: Contemporary serif typeface with support to Latin, Cyrillic, Greek and Phonetic scripts. Includes full sets of small caps and petite caps, combining diacritics, superiors, inferiors, superscript, subscript, arrows, bullets, Math operators, and a wide number of additional symbols. Punctuation and figures are variable accordingly to the set in use. The font brings several language alternate glyphs respecting cultural variations, as long as design alternates to let the user choose optimal typesetting.

    Behance link. [Google] [More]  ⦿

    Ilektra Mandragou

    Ilektra holds a Bachelors in graphic arts from the Technological Educational Institute of Athens, Greece and a Masters in industrial design engineering from Aalborg university, Denmark. She works in Astoria, NY.

    Creator of an unnamed script family in 2012.

    Behance link. [Google] [More]  ⦿

    Ilias

    Medium sized truetype archive. They have the Microsoft collection, as well as some Monotype fonts. All have Greek and Latin characters. [Google] [More]  ⦿

    Ilias Koukoumatsas

    Graphic designer in Thessaloniki, Greece, who created the hipster Latin typeface Sparrow and the hipster typeface Void in 2015. [Google] [More]  ⦿

    Inde Graphics
    [Andreas Kalpakidis]

    Andreas Kalpakidis (Inde Graphics, Athens) is a Greek graphic designer, b. 1988. In 2007, he created the free 7-weight organic sans family called Advent Pro [free at Google Web Fonts; poster by Agos Nakada], and the informal hand-printed Indeal (2007). Textilo (2009, FountainFontFoundry) is going to be a large monoline sans family. Viki (2009, FountainFontFoundry) is a beautiful geometric outline face, ideal for logos.

    In 2012, he designed the free sans typeface Corporata.

    Behance link. Google Plus link. Another Devian Tart link. Klingspor link. Dafont link. [Google] [More]  ⦿

    Indian Summer Studio
    [Alexander Bobrov]

    Alexander Bobrov (Indian Summer Studio, or simply Indians, Moscow) designed the vintage didone typeface family Dodo (Latin and Cyrillic) from 2008-2012. This beautiful typeface is in a style similar to Nick Shinn's scotch Modern and Alexey Kryukov'sOld Standard but was developed independently based on old books from 1930s (printed with 1860s to 1910s metal type). His web site shows lots of calligraphic work, but also a few typefaces such as Oriental Font (2015), Photon Display (2014) and Trafareta (2015, stencil).

    Typefaces from 2016: Historical Stencil Font USSR 1980 (2016), Geometric Sans Serif, Tanuki, Curly Cyrillic Sans, Historical Geometrical Art Nouveau Study, Indian Stylized Cyrillic, Historical USSR (constructivist), IBM Selectric Typewriter, 1966 Olympia SF DeLuxe Cursive (typewriter font), Moscow Metro, Cynzel (cyrillization).

    Typefaces from 2019: Funny Toons (a rounded cartoon family by Ekke Wolf and Alexander Bobrov), Selectric Century (a Scotch Modern / Schoolbook typeface modeled after the famous IBM Selectric golfball font), Aldo New Roman (a modern version of the typeface cut by Francesco Griffo for Venetian printer Aldus Manutius around 1490AD).

    Typefaces from 2020: Air Force 30 Stencil (the official US military fonts/lettering used in U.S. Air Force, U.S. Army, U.S. Navy, U.S. Marine Corps, based on their technical specifications), Oriental Kaishu (all caps, oriental simulation), Selectric Melt, Air Force (the official US military fonts/lettering used by US Air Force, US Army, US Navy and US Marine Corps, designed based on the Military Standards and Technical Manual; covers Latin, Cyrillic and Greek), Stone Age (a neolithic font), Selectric Pyramid (a typefwriter font based on Rudolf Wolf's Memphis from 1929), Selectric (a 1315-glyph (!) revival of IBM's famous golfball typeface, Selectric), Dymond (a dymo label font).

    Typefaces from 2021: Science Fiction (rounded, squarish), USSR (a squarish Russian cold war propaganda font; Latin and Cyrillic), Age (squarish and rounded; for Latin and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Indieferdie
    [Ferdie Balderas]

    Mexico City-based designer of the multilingual Le Hand hand-printed typeface, the sans display typeface Axima (2013, tweetware), the hand-printed typeface Engine, the hand-printed tweetware font L'Engineer, and the cartoonish futuristic font Neo Genesis in 2013.

    Typefaces from 2014: Silici (a tweetware marker pen font for Latn, Greek and Cyrillic).

    Behance link. Fontspring link. Devian Tart link. [Google] [More]  ⦿

    Ingo Zimmermann
    [Ingofonts]

    [MyFonts] [More]  ⦿

    Ingofonts
    [Ingo Zimmermann]

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

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

    Institut für Alte Geschichte und Altorientalistik

    Archive with some fonts for ancient Greek and other ancient languages, located at the Leopold-Franzens Universität Innsbruck: Grecs-duroiWG, GreekOldFaceC, GreekOldFace, Greek, TITUSIndoiranischBold, TITUSIndoiranischBold, TITUSIndoiranischItalic, TITUSIndoiranischNormal, Korinthus, Korinthus, Korinthus-Italic, persische-Keilschrift, SILGalatiaBold, SILGalatia, StandardGreekBold, StandardGreekBoldItalic, StandardGreekItalic, StandardGreek, TekniaGreek, WP-GreekCentury, Aisa-Plain, Aisa-Bold, Aisa-Italic, Athenian, BaTimesAkkadBold, BaTimesAkkadBoldItalic, BaTimesAkkadItalic, BaTimesAkkad, Angaros, MilanGreek, Sgreek-Medium. [Google] [More]  ⦿

    Intelligent Design (was: Intelligent Foundry)
    [Kostas Bartsokas]

    Kostas Barstokas is a designer and illustrator in Thessaloniki, Greece, and in Leeds, UK. He set up Intelligent Foundry and later Intelligent Design in Leeds. He graduated from the MATD program in Type Design at the University of Reading in 2016. He worked as a senior typeface designer at URW in Hamburg and offered consultation in Greek script design for other foundries too. In 2021, Kostas Bartsokas, Mohamad Dakak and Pria Ravichandran set up Foundry 5 Limited.

    In 2011, he used FontStruct to make the counterless typeface UglyKost.

    In 2012, he created Kafalan Serif, a square-serifed typeface, and the accompanying Kafalan Sans, which are both available from Ten Dollar Fonts.

    Typefaces from 2013: Zona Black (a Latin-Greek geometric sans-serif black display typeface that was inspired by posters from the late 1920s), Zona Black Slab.

    In 2014, still in the same style, we find Zona Pro in weights from Hairline to Black. Ridewell (2014) is a wood type inspired 1800-glyph typeface with many opentype features including foremost interlocking pairs of characters. It comes with Ridewell Print, which emulates the degradation of letterpress.

    In 2015, he designed the geometric sans typeface family Averta and Averta Standard. Averta CY won an award at Granshan 2017 in the Cyrillic category.

    He writes about his University of Reading graduation typeface, Eqil (2016): Eqil is a multiscript type family for extensive texts. It is conceived as a typographic system wise enough to respond to complex publishing challenges. It consists of a range of styles and its quiet personality transforms and gets louder as the intended sizes increase. Eqil identifies as an elegant contemporary take on transitional types. It does not intend to be a showstopper, instead it aspires to be the lever that silently elevates the content. The combination of straights and curves creates a dynamic yet fluid character and the relatively low contrast gives it a slightly dark and warm texture on the page. The four scripts, Latin, Arabic, Cyrillic, and Greek, were designed to work harmoniously together without compromising each scripts historical and individual characteristics. Eqil won an award at Granshan 2016 in the Latin / Cyrillic category.

    His super-fat free typeface Oi (2017) is described as a Clarendonesque on steroids. Commercial version of Oi!. Oi won an award at TDC Typeface Design 2018. In 2021, it became a free Google font. Github link.

    His big project in 2019 is the free 4-axis (weight, slant, flair, volume) variable font Commissioner. Google Fonts link. He writes: Commissioner is a low-contrast humanist sans-serif with almost classical proportions, conceived as a variable family. The family consists of three voices. The default style is a grotesque with straight stems. As the flair axis grows the straight grotesque terminals develop a swelling and become almost glyphic serifs and the joints become more idiosyncratic. The volume axis transforms the glyphic serifs to wedge-like ones. It supports Latin, Greek and Cyrillic. For an extension, see Heraclito (2020).

    Co-designer of Peridot Latin (2022: a 121-strong sans superfamily by Kostas Bartsokas and Pria Ravichandran) and Peridot PE (2022: a 121-style sans superfamily by Kostas Bartsokas and Pria Ravichandran designed for branding, display, corporate use, editorial and advertising; it covers Latin, Greek and Cyrillic).

    Buy at Ten Dollar Fonts, Hellofont, Creative Market, or MyFonts.

    Behance link. The Designers Foundry link. Github link. [Google] [MyFonts] [More]  ⦿

    InTheBeginning.org

    Greek fonts and font links. [Google] [More]  ⦿

    Into the Type
    [Slavka Jevcinova]

    Or Slava Jevcinova. Designer from Bardejov, Slovakia, now located in Nice, France, whose first degree was an MA from J.E. Purkyne University in Czechia. She interned at Mota Italic in Berlin, and then started working for Fontwerk, a company specicializing in TrueType hinting. Since 2013 she is a freelancer and she regularly collaborates with the Rosetta Type foundry.

    Graduate of the Type & Media program at KABK in Den Haag in 2014, where she created Kin, an unconventional serif type family which explores distinctive styles while maintaining consistency. It has phonetic support and a drop-dead gorgeous black.

    In 2015, the 72-font family Skolar Sans (see also, Skolar Sans PE, 2016), codeveloped by David Brezina and Slava Jevcinova at Rosetta Type Foundry, won a silver medal at the European Design awards.

    In 2017, Slavka Jevcinova published Avory Latin at Rosetta Type Foundry. Calling it retro-chic, she writes about this sturdy Latin / Greek / Cyrillic sans typeface family: Avory is a gently condensed sans that challenges convention. Tall, with broad shoulders, easily spotted from afar. Inspired by the lettering work of Czech designer Jaroslav Benda.

    In 2019, she released the fashionable sans typeface Clarette at Future Fonts. Clarette pays special attention to Vietnamese.

    In 2019, at Rosetta Type, together with William Montrose and David Brezina, she released the variable font Adapter (with three axes, for Latin, Greek and Cyrillic).

    Typefaces from 2020: Wilmer (a multilayered three-dimensional ornamental Tuscan type family), Polaire (a monoline cursive stencil). Future Fonts link. [Google] [MyFonts] [More]  ⦿

    Ioana Archontaki

    Aka Ioana J. Alfa. Athens, Greece-based codesigner with Claire Susie Jane and Iordanis Passas of the free brush typeface Abys (2015). Dafont link. [Google] [More]  ⦿

    Ioanna Zan

    Athens, Greece-based designer of the display typeface Emmental (2015). [Google] [More]  ⦿

    Ioannis A. Vamvakas
    [Byzantine Music Fonts]

    [More]  ⦿

    Ioannis Fetanis

    Athens, Greece-based creative director and founder of Fetanis, b. 1983. He studied Graphic Design at AKTO (Athenian Artistic and Technological Group), and he graduated in 2004 with a Bachelor of Arts degree. He completed his studies in 2007 obtaining a Master of Arts in Design (Social Design & Visual Communication of N.G.O.) from Middlesex University, London.

    In 2012, he created the layered typeface Yama by superimposing geometric structures.

    Behance link. [Google] [More]  ⦿

    Ioannis Gamvets

    In 2007, Ioannis Gamvets and Apostolos Syropoulos published the free Greek Philokalia package, which includes a free Philokalia OpenType font specially set up for use with TeX. It was specially made to print the Philokalia books. [Google] [More]  ⦿

    Ioannis Panagiotopoulos
    [IPL Type Foundry]

    [MyFonts] [More]  ⦿

    Iordanis Passas
    [IP Art]

    [More]  ⦿

    IP Art
    [Iordanis Passas]

    Iordanis Passas (IP Art) is a designer in Athens, b. 1986, who was briefly located in London. He published some free typefaces including the grungy typeface Edirne (2015: free), the grungy Baston (2015: free for any use except police commercials), Athens (with Stergios Tsiamis), Peracto (2015, thin sans), Bomb Type (2015, sans), Koulouri (2014), Outer Space (2014, download), dPopper (2014), Born to be Condensed (2013), Serious Man (2013, a 3d typeface), IP Arial (2012, an experimental overlay typeface), Brush of Anarchy (2012, graffiti face), Cubes (2013), Mia (2014, free), Adamo (2014), The Kids Marker (2014), Gagalin (2014, a free brushy comic book font for Latin and Greek).

    In 2015, Iordanis Passas and Anastasia Dimitriadi created the gorgeous Finos, which was inspired by Greek retro cinema (buy it here and check the free demo).

    Typefaces from 2016: Repens (a free poster font), Sanek (a free handcrafted titling font; cyrillization in 2019 by Denis Kukushkin), April Ten.

    Typefaces from 2017: David Carson (a free grunge ransom font to pay homage to David Carson), Figno (free rounded sans).

    Typefaces from 2018: Meganek (free), Lulu Monospace (a free squarish font; with Stelios Ypsilantis), Depravo Stencil (which is advertized as free to anyone except police; covers Latin and Greek).

    Dafont link. Fontspace link. Blogspot link. Behance link. Download many of his fonts at Free Typography. [Google] [More]  ⦿

    IPL Type Foundry
    [Ioannis Panagiotopoulos]

    Greek designer of the neo-glam display serif typeface Anothernow (2022). [Google] [MyFonts] [More]  ⦿

    Irene Vlachou
    [Polytonic Greek tutorial]

    [More]  ⦿

    Irene Vlachou
    [Irene Vlachou Type]

    [More]  ⦿

    Irene Vlachou Type
    [Irene Vlachou]

    Or Eirini Vlachou, b. 1981, who works between Athens and Bristol, UK. Graduate of of Vakalo School of Art & Design in Athens and the University of Reading, where she earned the nickname Miss Fontlab before graduating there with a Masters in 2004. Type designer who used to be at POPtype in Athens. From 2013 to 2019 she was senior designer and variable font expert at Type-Together. From January 2020 she is back to full time freelancing Greek and variable fonts. In June 2019, together with Laurence Penney, she initiated the experimental project FauxFoundry, a webfont service offering fallback fonts, such that multiple scripts can be presented with reasonable fidelity to the web designer's intent, even when the primary font does not support those scripts. Currently working for Greek, thus providing Greek fallback fonts for fonts that do not contain Greek. The system takes measurements from Latin fonts that correspond with the set of parametric axes developed by Type Network. Her typefaces:

    • Prisma (2004). A typeface that covers both Latin and Greek.
    • Colvert Greek (2012, Typographies.fr). Colvert is a joint effort of Irene Vlachou, Jonathan Fabreguettes (Perez), Kristyan Sarkis and Natalia Chuvatin.
    • At Cannibal Fonts, she created the corporate typeface Ballisage Greek (2007), a Hellenization of Ballisage. With Panos Haratzopoulos of Cannibal, she also made the corporate typefaces Esquire Greek and Crank Greek (2004, for Esquire), and Amplitude and Franklin Antiqua Greek (2007, for Autobild).
    • Designer of Parmigiano Greek (2012-2014), as part of the larger Parmigiano Typographic System of Riccardo Olocco and Jonathan Pierini.
    • In 2017, in collaboration with Laurenz Brunner, she worked on the Greek counterpart of the Documentata exhibition identity font, Bradford Greek.
    • Since 2017 she has been participating in the Google Summer of Code on behalf of the Greek Open Source Community, as a mentor on the Greek expansion of the libre fonts Arima Madurai, Cantarell and Eczar.
    • In 2018, she published Stratos Greek at Production Type to complement Yoann Minet's Stratos from 2016.
    • In 2018 together with Emilios Theofanous and Frank Grießhammer she reworked the Greek set of Source Serif Pro.
    • At Type-Together she has engineered three variable fonts: Protipo Variable, Portada Variable and Bree Variable. Her other type projects at Type Together include Adelle Mono, Adelle Greek, Adelle Sans Greek, Alverata Greek, Athelas Greek, and Literata Greek.
    • In early 2019, her Unica77 Greek was released by Lineto, a design in progress for almost two years in collaboration with Christian Mengelt from Team'77, Unica's original designers.

    Speaker at ATypI 2019 in Tokyo on the topic of Parametric Fallback Fonts for the Web. Klingspor link. Cannibal Fonts link. Github link. [Google] [More]  ⦿

    Isagogik

    The fonts.zip file contains Greek-Regular, TimesNewRomanPSMT, TimesNewRomanPS-BoldMT, TimesNewRomanPS-BoldItalicMT, TimesNewRomanPS-ItalicMT, BookAntiquaCyr, BookAntiquaCyrBold, BookAntiquaCyrBoldInclined, BookAntiquaCyrInclined, CarletonNormal, Futuris, GoudyHundred, ShalomOldStyle, all in truetype. And also these Cyrillic type 1 fonts from ParaGraph: PetersburgC, GaramondC, GaramondBookC, GaramondBookNarrowC, GaramondNarrowC. [Google] [More]  ⦿

    Isay Solomonovich Slutsker

    Russian type designer (b. Orel, Russia, 1924, d. 2002). He lost both legs in World War II, but persevered and graduated in 1949 from the Moscow Printing Institute. He started working at the Type Design Department of VNIIPoligraphmash (National Printing Research Institute). From 1991 he worked for ParaType, Moscow. Isay Slutsker worked for major Soviet publishers, Khudozhestvennaya Literatura and Prosveshcheniye, designing and illustrating general fiction literature and textbooks. Slutsker designed many typefaces for a number of scripts and writing systems. Among his Cyrillic and Latin designs are Baltica (1951-2, a spin-off of Candida-Antiqua by Jakob Erbar; in co-operation with Vera Chiminova; Paratype did a revival in 1998); Bruskovaya Gazetnaya ('Slab-serif newstype', 1949; in co-operation with Alexandra Korobkova); Mysl (1986, a makeover of the typeface originally created by Vera Chiminova in 1966); PT Caslon (1962 and 1992, a version of the ATF Caslon; assisted by Tatiana Lyskova and Manvel Shmavonyan; also called Caslon 540); ITC Franklin Gothic Cyrillic (1993; assisted by Tatiana Lyskova); PT BT Humanist 531 Cyrillic (1988, based on the Bitstream version of Syntax, by Hans Eduard Meier; assisted by Manvel Shmavonyan); PT BT Geometric Slabserif 712 (1999, based on the Bitstream version of Monotype Rockwell; assisted by Manvel Shmavonyan); MyslNarrowC (1992-1996, at Intermicro, together with Svetlana Ermolaeva and Emma Zfcharova). Slutsker's Greek typefaces are Obyknovennaya Novaya ('New Standard', 1950s); Rublenaya Slutskera ('Slutsker Sans'; 1960s); Chronos (1980s). Isay Slutsker created several typefaces for Hindi, Bengali, Gujarati and Kannada. He designed two Amharic and one Hangul typeface, Inmin. Slutsker's Humanist 531 Cyrillic was among the winners of Kyrillitsa'99 and won an award at Bukvaraz 2001.

    Russian bio. FontShop link. Klingspor link.

    View some of Isay Slutsker's digital typefaces. [Google] [MyFonts] [More]  ⦿

    Israel Seldowitz
    [Fontworld]

    [More]  ⦿

    ISTVC

    From the ISTVC site, a list of their aims: To publish journals, books and electronic documents as well as to establish a library-archive of conventional and electronic artefacts related to typography and visual communication. To develop and participate in research programmes in the fields of theory, history and practice of typography and visual communication education in collaboration with Cypriot and foreign scientists as well as to build long term and meaningful relationships among similar research bodies based in Cyprus and abroad. To provide high quality services to all interested parties at national and international levels. These may include courses, seminars, workshops and field trips directed to educators and professionals as well as specialised professional training and educational validation in the fields of typography and visual communication. To organise and promote scientific and cultural events, lectures, national and international conferences and exhibitions, and to establish awards and scholarships. [Google] [More]  ⦿

    ITP Berkeley

    A 2MB file Fonts.zip has a full Unicode font FGGYM_0 (with Cyrillic, Greek, Japanese, Chinese), and the font Transistor. [Google] [More]  ⦿

    Ivan Kyosev

    Ivan Kyosev (b. 1933, Burgas, Bulgaria, d. 1994) was known for his illustrations, book designs and, to lesser extent, his typefaces. In 1957 he graduated from the National Academy of Art in Sofia under the mentorship of illustrator Iliya Beshkov. In 1993 he designed an angular typeface which was digitally revived in 2020 by Ani Dimitrova as Thalweg (Latin, Cyrillic, Greek). Dimitrova added Thalweg Poetica (32 styles and a variable font) in 2022. [Google] [MyFonts] [More]  ⦿

    Ivana Bacanek
    [VIDI Visual Design Studio]

    [MyFonts] [More]  ⦿

    J. Victor Gaultney

    Type designer (b. Minneapolis, MN, 1962) at SIL International, UK since 1991, and an ex-M.A. student in type design at the University of Reading. He has worked on non-Latin typefaces, as well as his own extended Latin design, Gentium (2002). [Download from places such as OFL and FreeBSD]. Gentium Plus supports a wide range of Latin, Greek and Cyrillic characters. It was developed between 2003 and 2014 by J. Victor Gaultney (main designer), Annie Olsen, Iska Routamaa, an Becca Hirsbrunner.

    Papers by him include Multitudinous Alphabets: The design of extended Latin typefaces (2001), The influence of pen-based letterforms on Devanagari typefaces (2001), Balancing Typeface Legibility and Economy, Gentium---A Typeface for The Nations, Problems of Diacritic Design, and "Problems of diacritic design for Latin script text typefaces" (2002). The last one is a must-read.

    Projects in which he is the main or only designer include SIL Dai Banna Fonts, SIL Tai Dam Fonts, SIL Greek Font System, SIL IPA Fonts, and SIL Encore Fonts. At ATypI 2004 in Prague, he spoke about the technical problems with East European type. In 2008, he published Gentium Basic and Gentium Book Basic, each in four weights, but essentially limited to Latin, and added them to the Google Font Directory link.

    At ATypI 2010 in Dublin, he spoke about sculptural letterer Arnold Flaten (1900-1976). Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam: Open and collaborative font design in a web fonts world. Speaker at ATypI 2017 Montreal.

    Kernest link. Klingspor link. Google Plus link. [Google] [More]  ⦿

    Jack Kilmon
    [Jack's Scribal and Epigraphic Fonts]

    [More]  ⦿

    Jack's Scribal and Epigraphic Fonts
    [Jack Kilmon]

    Houston's Jack Kilmon designed many archaic and epigraphic TrueType fonts. Free for academics. His site also has an archive of some fonts by Reinhold Kainhofer (RK Ancient Fonts), and some Coptic, Hebrew, Hieroglyphic and Greek fonts. A list of his creations: Early Phoenician (8th century BC), Moabite/Mesha Stele Epigraphic, Lachish Ostraca Cursive Palaeohebrew, Elephantine Papyrus Cursive, Jack's Early Aramaic (10th c. BCE), Nabataean Aramaic, Jack's Samaritan, Jack's Siloam Inscription, Jack's Dead Sea Scroll Scribal (or DSS Scribal) (based on Great Isaiah Scroll), Jack's Habakkuk Scribal (based on Pesher Habakkuk), Jack's Meissner Papyrus Cursive, Dead Sea Scroll Scribal, Latin Epigraphic, Roman Rustica (Capitalis Rustica), Latin bookhand from 1st to 6th century, C. Sinaiticus Uncial Greek, Early Greek Epigraphic, Greek Minuscule with Ligatures, Carolingian Minuscule, Insular Minuscule, early Gothic, Gothic Textura Quadrata, C. Sinaiticus Uncial Greek, Early Greek Epigraphic, Greek Minuscule with Ligatures, Jack's Etruscan. Essay on the history of writing. And an archive of Greek, Coptic, Hebrew and hieroglyphic fonts.

    Dafont link. Marc Smith is not kind in his critique of Kilmon, who he calls an amateur (page 65). He deplores (page 69) that most letters, o, b, p and y included, have the same height in Kilmon's work. [Google] [More]  ⦿

    Jakob Runge
    [Typemefonts (was: 26plus zeichen)]

    [MyFonts] [More]  ⦿

    James K. Tauber
    [Melanos]

    [More]  ⦿

    James Kass

    Ripon, CA-based designer of Code2000, Code2001 and Code2002, free Unicode fonts. The shareware font Code2000 has 36000 glyphs, including Japanese and all European languages. He has free downloadable Unicode charts, info on Unicode in Netscape/HTML, the freeware Ol Cemet' (or JKSantal) font. His free Code2001 includes Old Persian Cuneiform, Deseret, Tengwar, Cirth, Old Italic, Gothic, Aegean Numbers, Cypriot Syllabary, Pollard Script, and Ugaritic. James Kass is located in Lake Isabella, CA. Discussion by the typophiles (with complaints about the wide spacing, the letters g, 2, J, and other typographic matters). The font is the default at the JSTOR site.

    Fontspace link. [Google] [More]  ⦿

    James L. Stirling
    [Fontry West]

    [MyFonts] [More]  ⦿

    James Naughton

    James Naughton on Unicode Classical Greek. The page contains downloads of Vusillus Old Face and Antioch. [Google] [More]  ⦿

    Jan Janecek

    Czech designer of Skvär (2013), an angular serifed typeface developed during Typeclinic 6 and Typeclinic 7 in 2013. In 2014, he continued the development of Skvaer. At Typeclinic 2015, Skvaer was perfected. During Typeclinic 11th International Type Design Workshop, he created the Latin / Cyrillic / Greek typeface Queen (2015). [Google] [More]  ⦿

    Jan Koehler
    [Deniart Systems]

    [MyFonts] [More]  ⦿

    Jan Thor
    [jGaramond]

    [More]  ⦿

    Jane Greckova
    [Jane's Den]

    [More]  ⦿

    Jane's Den
    [Jane Greckova]

    Ukrainian designer of Latin / Cyrillic typefaces: Loris serif (2018), Macaw (2018), Orbita (2018: circle-themed unicase sans), I Love Puppies (2018), Saola Sans (2018: with identical lower case a and o), Impala (2018: sans), Bonobo (2018: sans), Pronghorn (2018: a squarish sans), Pronghorn Hollow (2018), Agouti (2018: all caps sans), Narwhal (2018: a sans typeface), Argalis (2018: a Latin / Greek fashion mag font), and Grison (2018: a decorative sans). [Google] [More]  ⦿

    Janos Csoma

    Hungarian FontStructor who made typefaces like ACDC (2011, a blackletter / tattoo typeface based on the AC DC logo), Code (2011, the pixel font used in Command Prompt), Bonzarificx (2011), Spore (2011), Greek (2011, ornamental Greek face), Olde Time Ornamental (2011), FontStruct (2011), Circuitboard (2011), Logo MT Condensed (2011), and Bonzarific (2011).

    In 2012, he added Code (grid-based), Moderniste, and IBM Logo. [Google] [More]  ⦿

    Janus Lascaris

    Rolf Noyer has this to say about Janus Lascaris, a famous Greek scholar who died in 1535: Having fled Greece as a child after the fall of Constantinople, Lascaris lived in Venice and Padua, and later was invited to Florence by Lorenzo de Medici. There, unhampered by the monopoly on the printing of Greek that Aldus Manutius had obtained in Venice, Lascaris and his colleague Lorenzo di Alopa published the first editions of many important works of classical Greek literature, including the Greek Anthology, Callimachus, four plays of Euripides, and the Argonautica of Apollonius Rhodius. In an unusual departure from custom, Lascaris chose to print the Argonautica entirely in accented Greek capitals, with the accompanying commentary (scholia) surrounding the text in Greek minuscule. Rolf Noyer made a font called Lascaris (2010), which is a digital rendition of Janus Lascaris' type of 1494-1496. [Google] [MyFonts] [More]  ⦿

    Jany Belluz

    French creator of the Latin / Greek programming font Comic Sans Neue Mono (2013, free at OFL). Predictably, within one week, Jany was forced to rename that typeface Cosmic Sans Neue Mono, and then a third time to Fantasque Sans Mono (2014). Github link. Jany explains: Inspirational sources include Inconsolata and Monaco. I have also been using Consolas a lot in my programming life, so it may have some points in common. [Google] [More]  ⦿

    Jason Castle
    [Castle Type]

    [MyFonts] [More]  ⦿

    Jason Pagura
    [Cuttlefish Fonts]

    [More]  ⦿

    Jason Smith
    [Fontsmith]

    [