The Dutch font scene

Aart Rost

Student at ArtEZ Institute of the Arts in Arnhem, The Netherlands, b. 1991. He created the optical illusion typeface Lines (2009). [Google] [More] ⦿

Abby Juan Qin

Graphic designer from China, who studied at the Willem de Kooning Academy (2014-2015) and the China Central Academy of Fine Arts, and works in Amsterdam. She created a great document on the Chinese oracle bone script and explains: Oracle bone script refers to incised ancient Chinese characters found on oracle bones which were animal bones or turtle shells used in divination during Bronze Age in China. The vast majority of records of oracle script are the pyromantic divinations of the royal house of the late Shang dynasty at the capital of Yin. The date of the Anyang examples of oracle bone script extends from ca.14th to the 11th centuries BC to c.1200-1050 BC. The oracle bone script of the late Shang appears pictographic, as does the Shang writing on bronzes. The earliest examples of oracle bone script appear even more pictographic than examples from later in the period, thus suggestion some evolution did occur over the roughly 200-year period. [Google] [More] ⦿

Abi Huynh

Graduate from the Emily Carr Institute (Vancouver) and the KABK in Den Haag in the Type and Media program (2009). Originally from Lethbridge, Alberta, Abi designed a modular type generator. At KABK, he created Arietta, a small family consisting of a simply constructed transitional roman and a bold roman, as well as multiple italic companions. He works as a graphic designer at Commercial Type in New York City. [Google] [More] ⦿

Absoluut Designers

Dutch foundry in Bergen op Zoom. Psychoscout is an initial caps font, originally developed for the Psychoscout record by Flat Earth Society (2006). It was made commercial in 2011. [Google] [MyFonts] [More] ⦿

Acute Studio
[Diana Ovezea]

Born close to the Black Sea coast in Romania, Diana moved to Austria as a child, where she attended the American International School. After graduating from the New Design University in St. Pölten, she worked as a graphic designer, mainly on book and corporate design projects. In 2013, she graduated from the Type & Media program at KABK in Den Haag. Some time later, she set up Acute Studio in Amsterdam under the motto: We like sharp outlines, tight curves, and edgy designs.

Creator of the hairline face Opium (2010) characterized by teardrop terminals. Creator of Paige (2011), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia. This is an attractive and bouncy papercut display face. Marge (2011) is edgy and highly legible even at very small sizes---it was developed at the tipoRenesansa 2nd international type design workshop. Paige Italic (2012) was done at tipoRenesansa 4 and TypeClinic 5 (2012).

Her KABK graduation typeface was Editura (2013), a a type family for serious publications, magazines, as well as non-fiction books.

At The 8th International Typeclinic in 2014, she continued work on an untitled text typeface. At Die Gestalten, she published Paiper, an extraordinarily balanced and readable 6-style text family with angular flared glyphs that are genetically related to folded paper strips.

In 2014, Diana collaborated on the design of HF Stencil with Bold Monday and Studio Thonik. Made for Holland Festival, HF Stencil is based on Glaser Stencil.

In 2016, Diana published Equitan Sans and Equitan Slab at Indian Type Foundry, marrying industrial era rustiness with modern functionality. In 2017, she designed Tiny Sans and Albert Samuels Clock Type.

Codesigner in 2017 with Samo Acko and Sabina Chipara of the typefaces Passenger Display (2017) and Passenger Serif (released in 2019: a Clarendon). Passenger Display is a high-contrast didone-style font family. It is intended for use in headlines, signs, or posters. Passenger Display is a high-contrast didone-style font family. It is intended for use in headlines, signs, or posters. In 2019, Diana Ovezea and Samo Acko added Passenger Sans, which is characterized by horizontal and vertical terminal strokes and small apertures, and delivers a relaxing read in long texts.

With Sabina Chipara, she co-designed the 8-weight simplified sans family Bega at Indian Type Foundry. Diana Ovezea also published the sharp-edged 14-style Matteo in 2017.

At Future Fonts, she published Bizzarrini (together with Sabina Chipara) and Silverspoon, ca. 2018. She writes about the wonderful Bizzarrini: Though the idea originates from a Stefan Schlesinger ad sketch for a Paris couture house, we straightened up this typeface and made it seem engineered and sharp. It gets its name from the Bizzarrini Manta, a wedge-shaped concept car designed in 1968 by Giorgetto Giugiaro. Bizzarrini has extremely long wedge serifs. Following Schlesinger's sketch, it features very tall capitals with an out-of proportion middle-line (very big heads on S, B and R). Silverspoon is a contemporary take on Copperplate Gothic.

In 2019, she released the connected monoline sans script Akin (done with Sabina Chipara) and the geometric sans family Matteo at Indian Type Foundry.

Typefaces from 2020: Silverknife (a tall and skinny version of Silverspoon), Capra (a headline typeface with a bouncy baseline. This project started as a one-day challenge to recreate a piece of lettering on the Glass Menagerie poster designed by David Klein in 1958).

At Fontshare, Diana Ovezea and Sabina Chipara released the free calligraphic script Britney.

In 2021, Barbara Bigosinska, Rafa Buchner and Diana Ovezea set up Blast Foundry. At Blast Foundry, she published Granblue, a great experimental typeface family for boxing titles.

Typefaces from 2022: Duplet (a 14-style geometric sans with a techno vibe; by Diana Ovezea and Rafal Buchner at Indian type Foundry), Duplet Rounded (also 14 styles), Duplet Open (the 14-style companion of Duplet).

Home page. Behance link. Future Fonts link. [Google] [MyFonts] [More] ⦿

A.D. Werner

Dutch type designer from the phototype era. His paperclip typeface from 1974 inspired Afrojet to create the FontStruction Paperclip (2010), and Wilson Thomas followed that up with Werner Paperclip (2010).

In 1972, he published the inline art deco typeface Dubbeldik at Mecanorma as a transfer sheet typeface. Dubbeldik was digitally revived in 2020 by Claudio Rocha (Now Type) as Werner. See also Dubbeldik (Mecanorma). [Google] [More] ⦿

Adam Gerard Mappa

Rotterdam-based typefounder, b. 1754, d. Oldenbarneveld, NY, 1828. He published Proeven van Letteren die Gevonden Worden in de van Ouds Beroemde Lettergieterye van Wylen de Heeren Voskens en Clerk, Nu van A. G. Mappa (Rotterdam, 1781). I cite from that link: In 1780, the father of Adam Gerard Mappa bought a large part of the Amsterdam typefounding firm of Voskens&Clerk, and Mappa soon discovered that he had talent for typefounding. He began his own business in Rotterdam where he issued this specimen book, but moved to Delft a few years later. There he become embroiled in the Patriot movement and led a volunteer regiment in the unsuccessful revolution of 1787. He was banished from Delft, spent a few years in France, and in 1789, emigrated to America with his type foundry on the advice of the Ambassador to France Thomas Jefferson. Mappa set up his new business in New York. According to a contemporary letter, and supported by the type in this specimen, his foundry contained not only "the Western, but the Oriental languages at the value of at least [pound sign] 3,500 New York currency." There was not much call for type in exotic languages, and while Isaiah Thomas considered his Dutch and German type "handsome," his "roman were but ordinary." Mappa was not skilled enough to produce the type needed by the new nation, and the foundry was advertised for sale on 1 February 1794. At least some of Mappa's equipments was acquired by Binny&Ronaldson, although their business did not start until 1 November 1796. This specimen book came to them with Mappa's typefounding equipment.

Harvard's Houghton Library has a copy of the 1781 publication which contains a handwritten note by Theo L. de Vinne (which I was not allowed to photograph by Harvard's tight-sphinctered librarians). So here is what this letter says: Dirk Voskens was a typefounder of Amsterdam, a coster of types, not a cutter of punches. In 1677 he bought the foundry of Bleau and it was kept by his heirs and successors, (1) Dirk Voskens (2) Weduwe van Dirk Voskens (3) Voskens&fils (4) Voskens + [illegible]. In 1780 the foundry was sued for 8974 francs. P[illegible] were J. Enschedé and Sons, Ploos van Amstel, Preiter, Posthmans, DeBruyn and deGroot. How Mappa acquired possession does not appear. [...] Mappa got into trouble and had to take refuge in New York, where he began business as a type founder. He did not succeed. It is not known which became of the material he had in New York. To this, Bullen added by hand: It was purchased by Binny&Ronaldson.

P.M. Kernkamp kindly sent me additional information on Mappa. He points out that Mappa was typefounder in these cities: Rotterdam (1780-1782), Delft (1782-1787) and New York (1789-1792). The 1780 date is also put into question because Mappa's father died in 1779. Mappa was active in a small army of patriots in Holland, and after a defeat in 1787 against Prussia, he was banned from Holland for six years. It may explain his emigration to America in 1789. He lived in New York until 1792, then in Second River, NJ, until 1794 and finally in Oldenbarneveld (Oneida Co., NY). His foundry, then in Albany, NY, was sold in 1803 for 1200 guilders. [Google] [More] ⦿

Adam Katyi
[Hungarumlaut (was: Cila Design)]

Alejandro Cisneros Estrada

Adam Lane

Amsterdam, The Netherlands-based designer of the outlined caps typeface Batavia (2016). It is an all caps typeface inspired by the gilded lettering on an old Amsterdam trading post built in 1920. He also designed the free Hex Font (2016). Home page. Open Font Library link. [Google] [More] ⦿

Adina Ochea

Romanian designer in Amsterdam who created the free typeface Soul Puddle (2014). Dafont link. [Google] [More] ⦿

Adolf Overbeek

Designer (1905-1969) of Studio (1946, an almost-brush-script typeface at the Lettergieterij Amsterdam). The bold version is called Flambard and was, according to some sources, made by Dick Dooijes in 1954 (but the 1963 Tetterode specimen book points to Overbeek as Flambard's designer, and mentions in addition the date 1953). Some write Overbeek's name incorrectly as Overbeck. Jan Middendorp writes: Dolf Overbeek was the head of the studio of the Vada printing firm, and around 1948 became the graphic adviser to De Arbeiderspers, a major Dutch publishing and printing house. Overbeek was an authoritative and demanding taskmaster, as well as the designer of prize-winning books and calendars. He was not fond of experiments and preferred conventional no-nonsense typography to fancy modernisms. Annoyed by bad typeface combinations, he analysed the compatibility of typefaces of different categories and designed the Letterorgel (Letter Organ, after the musical instrument a kind of scientific table) which prescribed exactly which combinations to use, and which to avoid.

His Studio and Flambard typefaces were revived in 2008 by Hans van Maanen as Adams (Canada Type). SoftMaker's versions of Studio (1946, Lettergieterij Amsterdam) are called S850 Station Script (2019). Mecanorma also has a version. Finally, there is a pirated version of Flambard from 1998, called Studio Bold. See also OPTI Bold (by Castcraft). [Google] [MyFonts] [More] ⦿

Akiem Helmling

German cofounder of Underware (b. Heidelberg, Germany, 1971), a typographic design studio based in Den Haag, founded in 1999 by Akiem Helmling, Sami Kortemäki and Bas Jacobs. Akiem studied from 1998-2000 at the KABK. He co-designed all Underware fonts: Dolly, Bello, Sauna (2002; +Sauna Mono Pro), Liza (2009), Auto (1, 2 and 3) (2004-2014), Unibody 8 (free) and Fakir (a blackletter typeface). In 2015, Bas Jacobs, Akiem Helmling and Sami Kortemäki published the stencil family Tripper Pro.

In 2017, Underware developed the super-adaptive and parametric typeface family Duos Pro.

MyFonts page. FontShop link. Klingspor link. Speaker at ATypI 2017 in Montreal. At ATypI 2018 in Antwerp, Bas Jacobs and Akiem Helmling introduced the high order interpolation system for fonts called HOI. [Google] [MyFonts] [More] ⦿

Alban Schelbert

Originally from Zürich, he is currently studying graphic design at the Gerrit Rietveld Academie in Amsterdam. Creator of the playful slab typeface Albina Medium (2009). [Google] [More] ⦿

Albert-Jan Pool

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

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

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

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

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

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

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

Pic.

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

Illustrator from Mexico City. He created a number of typefaces in 2010: i, ii, iii.

He settled in Nieuwegein Zuid in The Netherlands. In 2013, he created Berlinier, a monoline sans with gothic arches dedicated to the fall of the Berlin Wall. Herreria is a display type with small Tuscan ends, and Punched Card is a heavy display face.

Aleksander Schipper

Born in Norway from Dutch parents, Oslo-based Aleksander Schipper created Frank (2012) and Proto Mono (2012) during his graphic design studies at Westerdals School of Communication.

Devian tart link. [Google] [More] ⦿

Aleksandra Samulenkova

Aleksandra Samulenkova (b. Latvia) studied visual communication at the Latvian Art Academy in Riga and at Kunsthochschule Weißensee in Berlin, where she took a type design course with Luc(as) de Groot. In 2012 Aleksandra graduated from the Type and Media program at KABK, Den Haag.

Aleksandra's graduating project Pilot is an angular display typeface with German expressionist influences. It won the first prize as a titling face at The Fine Press Association's inaugural Student Type Competition, and won an award in the TDC Typeface Design competition in 2017. From 2012 until early 2017 Aleksandra worked as a type designer at LucasFonts in Berlin. In the beginning of 2017 she moved to the Netherlands to work independently.

Aleksandra's retail typeface in the Bold Monday catalog: Pilot (2017). She also designed Necktie.

Speaker at ATypI 2016 in Warsaw on Diacritics as a Means of Self-Identification. In that talk, she looked at several Eastern European nations that were created during the 19th century, and in particulat, Latvia.

Bold Monday link. [Google] [More] ⦿

Aletta Hulman

Aka Vlekkeloos. Dutch designer of the textured typeface Ziggy Zaggy (2014). [Google] [More] ⦿

Alex Révész
[Stichting Malatië Adventures]

Alex Scholing
[Fonts by Alex]

Alex van Galen
[Drukland]

Alexander Overdiep
[Collegium Graficum]

Alexander Raadman

Den Haag, The Netherlands-based designer of several experimental 3d typefaces in 2018: Font Fury, Furytism. [Google] [More] ⦿

Alicia Ingruber

Behance link. Dutch photographer and graphic designer who made Absolute (2011, architectural drawing sans). [Google] [More] ⦿

Allard Pierson

Museum in Amsterdam that houses collections of the University of Amsterdam. It is headed by Mathieu Lommen. One part of the museum deals with designa and typography. It contains, e.g., a series of works given to the university by Lettergieterij Amsterdam, voorheen N. Tetterode, in 1971, and houses the archivers of S.H. de Roos, Dick Elffers, Atie Siegenbeek van Heukelom, Jurriaan Schrofer, Jan van Toorn, Gerard Unger and Irma Boom. [Google] [More] ⦿

Alpha Quantum
[Martin Bengtsson]

Martin Bengtsson (Alpha Quantum) is a Swedish graphic designer who lives in The Netherlands. He studied at University of Liljeholmen, Sweden. Creator of the sci-fi typeface Alpha Quantum (2012).

Alumia
[Maarten van 't Wout]

Maarten van 't Wout (Alumia) is the Lisse, The Netherlands-based creator of several following commercial typefaces between 2011 and 2014. He decided in 2014 to withdraw nearly all of them. The list (mostly of fonts that have been removed from the internet):

Alumia (2012, Ten Dollar Fonts) was designed for logos.
The alchemic typeface Arctic (2012).
The clean monoline sans typeface Code (2011).
The octagonal paper fold typeface Fabric (2012, Ten Dollar Fonts).
Gelato (2012) and Bar (2012) were inspired by icecream bars. Maarten posted Gelato on Behance, and within a day or so, he changed the name to Bar.
Monorail (2012) is squarish but slightly rounded, and is monolined.
Orbit (2012). A font in which all curves are arcs of circles. Could be bought at Ten Dollar Fonts.
Alpine (2013). Available from Ten Dollar Fonts.

Alysia Bonte

As a student in Zwolle, The Netherlands, Alysia Bonte created a straight-edged papercut typeface (2015). [Google] [More] ⦿

Amal ElMourabet

Amal (b. 1990, The Netherlands) designed the modular typeface Amal (2012). [Google] [More] ⦿

Amber Chand

Designer in Ypenburg, the Netherlands, who created a minimalist script typeface in 2015. [Google] [More] ⦿

Amber Kuivenhoven
[Lovely Bird Digital]

Ambrosius Perlingh

Dutch penman (b. Utrecht, 1657 or 1658-1718) who published Exemplaar-Boek Jnhoudende Verscheyde nodige Geschriften. Geschreven en Gesneden in Amsterdam in 1679, and Schat-Kamer van Verscheyde Geschriften in 1685. Perlingh became a citizen of Amsterdam in 1683. He kept a boarding school where calligraphy was taught. The first issues of the books written by Perling were published at his own expenses, the later ones were published by members of the family De Broen, engravers and publishers in Amsterdam. Ambrosius Perling reached a high fame during his lifetime as the last writing master who could hold in honor the calligraphic tradition of the Dutch republic. De Broen advertised his scripts as produced by the jewel of the writing masters and in fact the fame of Perling as unsurpassed calligrapher lasted well into the XIXth century, both in Holland and abroad.

Croiset van Uchelen writes: While 16th and early 17th century Italian handwriting had still been formed in a rather compressed and angular manner, the Dutch masters developed a broader and more rounded variant which, so far as writing line is concerned, was written at a wider sloping angle. This hand, which could be written more quickly, was imitated and developed further by a number of English masters ....

S. Morison in his introduction to the book of Heal on the history of 26 27 calligraphy in England stresses the important role played by Perling alongside the Frenchmen Barbedor and Matherot. Specimens of Perling's writing were reproduced by English masters as Snell, Champion and Bickham. Also in Spain Perling's influence was felt, as demonstrated by the insertion of a letter by him in the manual of Servidori (1787).

Bibliography by T. Croiset van Unchelen in The writing master Ambrosius Perling (in: Quaerendo, vol. 26, no. 3, pp. 167-197). [Google] [More] ⦿

America Cantarino

America Cantarino (Delft, The Netherlands) created Lady America Type (2013). [It is unclear if this is the name of the font---another possible name is Modern Dresses.] This is a collection of dingbat fonts for layering that permit overlays of dresses on models for fashion fits. an interesting idea that seems to be first in the type world. Behance link. [Google] [More] ⦿

Amsterdam Typography
[Arno Verweij]

Signage map of Amsterdam maintained by Arno Verweij. A growing collection of photographs of letters and numbers that document typography in public spaces in Amsterdam since 2019. [Google] [More] ⦿

Amy Khalil

Capelle aan den IJssel, Netherlands-based designer of the silhouette font Sulbassy (2017). [Google] [More] ⦿

Andre Toet Design (was: SO Design)
[André Toet]

Andre Toet Design (and before that, SO Design is a Dutch studio run by André Toet (b. 1950, Den Haag). He was educated at the KABK under Gerrit Noordzij from 1974 until 1976, and at the Central School of Art and Design in London under Nicolete Gray from 1976 until 1977. From 1979 until 1980, he worked as a designer at Total Design with Jurriaan Schrofer and Wim Crouwel. Andre Toet Design is located in Apeldoorn (was: Amsterdam).

Creator of Artu (2012, monospaced display face), Battersea (multiline face), Billiard (2012), Bloggy (experimental), AT Move Bloggy (2010), Decoupe (experimental), AT Move Decoupé (2012: a modular font based on a French game from 1906), Holborn, Mezzo (mimimalist), AT Move Pipi (2012, a playful textured caps typeface created jointly with Jasper Nijssen), AT Move Mezzo, AT Move Powerplay (1976, and redone in 2011: multilined), Musica, Nath, Powerplay, Tremelo, Wiggle.

Creations from 2012: AT Move Holborn (a 3d outlined neon sign face), AT Move Tremelo (based on the logotype Microtel), Artu, AT Move Wyggle, AT Move Wolfszn, AT Move Skewy (2012), AT Move Specx and AT Move Specx Stencil (a slab serif based on the cover of a 1955 French School-Notebook; help with the design from Jasper Nijssen).

Typefaces made in 2013: AT Move Altera, AT Move Altera, AT Move Herengracht (an inline typeface), AT Move Artu Super Super Heavy, AT Move Bulky (glaz krak font), AT Move Quipo (an amoebic font), AT Move MMM (with Jasper Terra and Jasper Nijssen: a rounded organic sans typeface. They write: The design is based on a old Soap-Powder advertisement. MMM is very useful for headings and/or logotypes.), AT Move Strano (squarish stencil), AT Move Nath (optical illusion typeface first made in 1974 at the Central School of Art and Design in London, and digitized in 2013 with the aid of Jasper Terra).

Typefaces from 2014: AT Move Frutta, AT Move Straw (by André Toet and Jasper Nijssen), AT Move Riff Raff (octagonal, with Jasper Nijssen).

Typefaces from 2015: Bombola.

Typefaces from 2016: AT Move Bombola (elliptical style).

Typefaces from 2017: Tremelo.

Typefaces from 2018: Powerplay (trilined).

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

Andrea Fuchs

Designer (b. 1966) with Fred Smeijers in 1993 of DTL Nobel at the Dutch Type Library, which was based on a type of Sjoerd H. De Roos. [Google] [More] ⦿

André Toet
[Andre Toet Design (was: SO Design)]

Andreas Theodorus van der Vossen

Andreas Kindl

Typographer, born in 1967, who taught at the Royal Academy of Art in The Hague. [Google] [More] ⦿

Dutch designer (1893-1963) and cutter of the squarish Houtsneeletter (Enschedé, 1927). [Google] [More] ⦿

Angèle Kamp
[Angele Kamp]

Angele Kamp
[Angèle Kamp]

Dutch artist and graphic designer who has designed several hand-lettered fonts. Her typefaces include Moon Child (an inky script) (2020), Oh Livey (2020), Hey Girl (2020) and Wild Love (2020).

Typefaces from 2021: Minty March (a condensed almost hand-drawn serif), April Blossom, August Boy, Ciera (a watercolor SVG font), Cute Lovey, De Novembre, Florentina, Flower Child, Girl Crush, Golden, Hey Girl, Jamie Woods, Januar, Joyeux Christmas, Minty March, Modern, Modern Mia, Mohria (a condensed display serif), October Storm, Olive Sky (brush script), Skinny, Sookie, Spring Rain (a dry brush script), Sweet September, Willow Bloom, Sophia Reign (script), Angele (a stylish display serif), Tilly (a monolinear script), River Jade. [Google] [MyFonts] [More] ⦿

Angelica de Jong

During her studies in Utrecht, The Netherlands, Angelica de Jong designed the handcrafted flower power font Curvy Straight (2016). [Google] [More] ⦿

Angelique Wesseling

During her studies, Nieuwleusen, The Netherlands-based Angelique Wesseling created an all caps display typeface (2015). [Google] [More] ⦿

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

Angus van Hendrix

Dutch creator at FontStruct of the texture typeface Enigmatic (2009). [Google] [More] ⦿

Animography

A web site located in Amsterdam. They explain their concept of animated typefaces: Animography.net is a webshop/typefoundry that provides motion designers, video-editors and others in the field of the moving image with animated typefaces. These animated typefaces are easy to use, customizable and scalable without any loss of quality. Our animated typefaces are Adobe After Effects files with each glyph in a separate composition. A controller-composition serves as a central point from which you can customize all the glyphs in one go. Use to quickly create title sequences, TV commercials, presentations, on-stage concert graphics, etcetera! Browse through our expanding collection or have a look at the tutorial section for a peek under the hood.

One of their typefaces is Lasio Grotesk (2013).

Typefaces animated in 2014 include Spirograph, Bahn, Binary 2.0, Mantis, Pincoya, Moldover (octagonal typeface), Huboost, Fiesta, Novecento, Haywire, Lovelo, League Spartan, Jasper, Magnus, Fat Frank, Isotype, Razor, Anodine and Amelie.

In 2015, they made Burstype and Friction.

Anke van der Meer
[funfontshop]

Antiquariaat Adr. van den Bemt

Ann Bessemans

Ann Bessemans (b. 1983) obtained her Ph.D. in 2012 from Leiden University (under Gerard Unger) and Hasselt University. She grew up in Sint-Truiden, Belgium.

In 2011, she finished the Expert Type Design Class with Frank Blokland at the Plantin Genootschap in Antwerp, and created the typeface Matilda. Matilda was specially designed to help make kids make the transition from reading simple type forms to more complex ones.

Her PhD in 2012 entitled Type Design for Children with Low Vision was jointly supervised by Gerard Unger at Leiden University, and Bert Willems at Hasselt University. Her research interests include the interrelations between image & word, typography, font design, legibility, reading graphic design, book design and modular systems.

She speaks regularly about legibility. Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona.

In 2014, Ann Bessemans designed a Belgian postage stamp that set a Guinness record of 606 words on one stamp.

Speaker at ATypI 2016 in Warsaw on READSEARCH---A Platform for Reading Research (together with Kevin Bormans and Maarten Renckens). READSEARCH, launched in 2015, is Bessemans's research group that studies reading from a multidisciplinary and scientific perspective, covering both impaired and normal readers.

Speaker at ATypI 2017 Montreal. [Google] [More] ⦿

Anne Joshua

Dutch graphic designer in Roosendaal. Behance link. Creator of a colorful typographic experiment with overlays and weaving (2011). [Google] [More] ⦿

Annelou Vingerhoets

's Hertogenbosch, The Netherlands-based designer of the display typeface Stiletto (2016). [Google] [More] ⦿

Annemarieke Kloosterhof

Annemarieke Kloosterhof was born and grew up in The Netherlands. In 2012 she started her graphic design studies at Central Saint Martin's University of the Arts in London. During her studies, she created Alphabet for Architects (2014). Behance link. Cargo Collective link. [Google] [More] ⦿

Anthon Beeke

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

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

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

Anton Janson

Born in Friesland, 1620-1687. Dutch punchcutter and typefounder, who worked in Leipzig. He was not responsible for the types that bear his name today---they were in fact due to Miklós Tótfalusi Kis (Nicholas Kis). [Google] [MyFonts] [More] ⦿

Anton Kurvers

Antonius Kurvers (1889-1940) was a disciple of the Dutch architect Hendrik Wijdeveld (1885-1987) and became a prolific public place letterer. He was born in Den Haag in 1889 and died in Amsterdam in 1940. Digital fonts influenced by his work include

Anton (2020, Claudio Rocha).
Mokum Tooneel (2006), by Richard Keijzer.
Kurversbrug (2007) by Ramiro Espinoza: this is a revival of the famous letters appearing on Amsterdam's bridges.
Nick Curtis's Dusty Rose is based on a logotype he drew in 1940 for the Dutch magazine Geillustreerd Schildersblad.
Jeff Levine's Dutch Deco JNL (2020). Based on Anton Kurvers's hand lettering on the front cover of the 1927 magazine Het Vlaamsche Volstooneel).

Various posters and ads with art deco lettering: Constructie van Architectuur en Winkelpuien (1926), Het Vlaamsche Volktoneel (1927), Menschen op het Toneel (1926), Tentoonstelling op het Gebied van Stedebouw (1923), Tentoonstelling van Nederlandsche Gemeentewerken (1929), Watervoorziening Gebouwen (1929). [Google] [More] ⦿

Anton van de Repe
[ARP's free text utilities (MS-DOS) and TTF-fonts]

Antonius Mathieu Güthschmidt

Dutch poster artist, 1887-1958. Guthschmidt and Guthschmidt Condensed (Tom Wallace, 2008) are based on a 1924 KLM Royal Dutch Airline poster designed by Antonius Guthschmidt. The poster draws on the imagery of the legend The Flying Dutchman. Other posters with art deco lettering by him include Gastentoonstelling (1930) and Kurhaus Scheveningen (1930s). [Google] [MyFonts] [More] ⦿

Ape to Zebra

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

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] ⦿

Arabic typography

Arabic type site. Displayed font families include AT (by Tarek Atrissi), Al-Futtaim (by Mamoun Sakkal), and work by Nadine Chahine. Corporate calligraphy by Samir Sayegh. He holds a MFA in design from the School of Visual Arts in New York, a MA in interactive multimedia from the Utrecht School of the Arts in the Netherlands, and a BA in graphic design in his homeland, Lebanon. [Google] [More] ⦿

Aradia Font

Aradia is a free runes and astrology font developed in 2000 by Merlin Software. [Google] [More] ⦿

Archiness
[Wico Valk]

Archiness is a foundry, est. in 2009 in Delft, The Netherlands, by Wico Valk (b. 1962, Waddinxveen), a practicing architect since 1989. He designed these typefaces: ArchiType Rounded (2011, square gothic), Archi Logo (2009), ArchiType (2009, 12 styles). [Google] [MyFonts] [More] ⦿

Ardwan AlSabti

Graphic designer in Nijmegen, The Netherlands. In 2011, he made the squarish typeface Mandaicana, about which he writes: Mandaicana is one of the few Mandaic type[faces] which exist in the world. Mandaic, the most Southeastern Aramaic dialect spoken in antiquity in Babylonia (Mesene, Characene, Khuzistan), reflects similarities to Jewish Babylonian Aramaic, both belonging to the Eastern Middle Aramaic branch. Although most scholars located the origin of the baptizing community in the East Jordan regions (Mark Lidzbarski, Rudolf Macuch, Kurt Rudolph) the Mandaeans are considered to spent a large part of their still controversial and mysterious history alongside the big rivers (Euphrates, Tigris, Karunriver) in the southern borderland between present-day Iraq and Iran. This was followed by Ardwan Malka and Englaiscana (2011).

In 2018, he designed Ardwan Lidzbarski, which is based on the Mandaic handwriting of German scientist Mark Lidzbarski.

Ardwan Manuscript (2019) is a cursive font based on Mandaic manuscripts.

In 2021, he published Ardwan Drower, a mandaic font based on Ethel Stefana Drower's handwriting and philosophy. Lady Drower was a British cultural anthropologist who studied the Middle East and its cultures. She was regarded as the main specialist in Mandaeism and authored the book The Mandaeans of Iraq and Iran. [Google] [More] ⦿

Ariadna Vilalta

Rotterdam-based creator of an ornamental caps typeface called Zabalt (2013).

Arjan Mels' Font Viewer

Freeware font viewer (aka amviewer) for Windows. Can deal with the entire Unicode range. People report to me that this viewer should be avoided at any cost, as viewing truetype fonts becomes impossible once FontViewer is removed. So, please, please, please, do not ever install amviewer. Mike Ady's fix and help page. [Google] [More] ⦿

Arjen Noordeman

Graduate from the Academy of Art and Design in Arnhem (1998) and of the Cranbrook Academy of Art (2000) who designed the gorgeous neo deco font New Amsterdam (2001), Deadgun (2000, as a past tribute to Raygun), Yeehaw, Blood Thirsty, Wanted Dead or Alive, Diamond, and Al Capone Was Here. At Union Fonts, he published New Amsterdam, Are You In?, and Roger That, fonts also showcased at Cranbrook. In 2005, he decided to go public and make his fonts available for free: Becoming Animal, Free Doughnut, Human Behavior, Deadgun, Yeehaw, Blood Thirsty, Wanted Dead or Alive, New Amsterdam, Are You In?, and Roger That. Noordeman is an art director and a designer, and has offices in North Adams, MA, and Brooklyn, NY. [Google] [More] ⦿

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

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

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

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

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

Typefaces at Knip's site as of 2020:

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

[Google] [MyFonts] [More] ⦿

Arno Verweij
[Amsterdam Typography]

Aron Veraart

Amsterdam-based designer (b. 1996) of the fat finger fonts Architect Hand (2015), Lovinn (2015), The Brown Fox (2014) and Sketchy (2014).

In 2016, he designed Hella August Hand and Hello August Sans. Typefaces from 2017 include Hello August (handcrafted).

Dafont link. Link to 97 Designs. Creative Market link. Creative Market link for Veraart. [Google] [More] ⦿

ARP's free text utilities (MS-DOS) and TTF-fonts
[Anton van de Repe]

Two TrueType fonts: ARP Numfont replaces characters by ASCII values, and Celtic-Iberian is just that. All fonts by Anton van de Repe. Contains an archive of 40 Arabic fonts. [Google] [More] ⦿

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

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

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

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

Arthur Reinders Folmer
[Typearture Type Foundry]

Artur Schmal
[Original Type]

Artuur Kamst

He used Fontifier to design the handwriting typeface Arthur'sHandschrift (2004). [Google] [More] ⦿

Artware
[Niek J. van Driel]

Rotterdam's Niek van Driel's makes one diode-light font freely available to the public. [Google] [More] ⦿

Aschwin de Hoog
[Onderaards]

Atelier Carvalho Bernau
[Kai Bernau]

Foundry and studio run by Susana Carvalho and Kai Bernau (see also his Letterlabor site), located in Den Haag, The Netherlands, and established in 2005.

Kai Bernau (b. 1978) studied graphic design at the University of Applied Sciences Schwabisch Gmünd in Germany before relocating to the Netherlands, where he graduated from the Design & Typography course of the KABK in The Hague in 2005 with his successful Neutral Typeface project. He continued in the KABK's Type and Media Master course where he graduated in 2006. Since 2011, Kai teaches type design in the Master in Art Direction program at ECAL in Lausanne, Switzerland. In 2005, Susana Carvalho and Kai Bernau formed Atelier Carvalho Bernau, which is based in The Hague, The Netherlands.

Typefaces:

In 2010, they published the free titling grotesk Jean-Luc (Godard), inspired by the movie titling in (1967). Bernau writies: We did not find out who originally made the lettering for these two movies. Some speculate it could have been Godard himself. Godard's interest in graphic design and typography is clear, with many of his other films employing such strong typography-only titles and intertitles. They are almost a self-sufficient entity, another character in the movie, another comment. This style of lettering is so interesting to us because it is such a clear renunciation of the pretty, classical title screens that were common in that time's more conservative films. It has a more vernacular and brutishly low-brow character; this lettering comes from the street: We can not prove this at all, but we think it may be derived from the stencil letters of the Plaque Découpée Universelle, a lettering device invented in the 1870s by a certain Joseph A. David, and first seen in France at the 1878 Exposition Universelle, where it found broad appeal and rapid adoption. We think this style of lettering was absorbed into the public domain vernacular of French lettering, and that the 2 ou 3 choses titles are derived from these quotidien lettering style, as it would seem to fit Godard's obsession with vernacular typography. We learned about the PDU through Eric Kindel's article in Typography Papers 7. In 2009, then-Werkplaats Typografie student Dries Wiewauters surprised us with a revival of the Plaque Découpée Universelle. Below, the JeanLuc alphabet (white) and the PDU alphabet (blue), to show similarities and differences.
Lyon Text and Lyon Display (2005-2010). These are two text families done at Commercial Type. They say: Lyon is a suite of contemporary reading typefaces for modern publications, based on historical models of the 16th century punch cutter Robert Granjon. Lyon reflects our convictions about modern digital typeface design: A decisively digital outline treatment that reveals our modern repertoire of tools, and the typeface itself as a modern design tool, paired with a certain Times-like unobtrusiveness in the Text sizes, contrasts nicely with Lyon's 16th century heritage.
Neutraface Slab (2007-2009, art directed by Christian Schwartz and Ken Barber). The slab of the famous Neutraface family at House Industries, designed by Christian Schwartz, Kai Bernau and Susan Carvalho: Neutraface Slab Text, Neutraface Slab Display.
Neutral (2005-2009). The Neutral typeface was Kai's graduation project from the KABK undergrad course. It is what one could call a basic sans. It first appeared as Neutral BP in the now defunct B&P Foundry. In 2014, Typotheque picked it up. Kai writes: Neutral was inspired by typefaces that seem ageless, remaining fresh and relevant even decades after they were designed. It was constructed based on a set of parameters derived by measuring and averaging a number of popular 20th-century Sans Serif fonts.
Custom typeface Munich Re (2008-2009) for the Munich Re Reinsurance group. MunichRe Sans takes roots in the grotesque types of the 1950s (among others, Dick Dooijes' Mercator for the Lettergieterij Amsterdam).
Custom typeface Harvard Museum Neutral (2008).
Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). A revival of Dick Dooijes's Mercator. See also Atlas Typewriter (2012, Commercial Type). Originally designed as a corporate typeface for Munich Re, it became a retail font. A Cyrillic version was added by Ilya Ruderman in 2020.
The custom typeface Proprio (2007-2009) for the Fabrico Proprio project. This is a willfully bare-bones grotesk family without any snootiness.
In 2016, Susana Carvalho and Kai Bernau published Algebra (Commercial Type): Algebra evolved from Granger, a headline typeface designed by Susana Carvalho and Kai Bernau for the US edition of Esquire. Algebra is a broad-shouldered slab serif typeface built on superelliptical forms. Its loose spacing gives a remarkably comfortable texture in text, and its crisp detailing gives a distinctive and serious feeling at display sizes, particularly with some negative tracking. Algebra references Adrian Frutiger's Egyptienne, Georg Trump's Schadow, and Hermann Zapf's Melior.

Atomic Media (was: SmartDust)
[Matthew Bardram]

Matthew Bardram (b. New York City, 1965) is the Tucson, AZ-based [T-26] founder of Atomic Media, who specializes in bitmap fonts. He designed Atomic, Centrifuge, Bromide (at T-26), Crackle, Klaxon. At Nakedface (now gone), he made Arachnid, Bitpak, Bylinear, DhexInline, Genetica, Economy Large, Empiric, Hypersigna (2005, bitmap face), Montreal (the family) and two katakana fonts. His Bitpack includes the following pixel fonts: Bylinear (2000), Cellular (2000), Genetica (2000, free download), Genetrix, Macroscopic, Metodic, Microscopic, Noir, Scriptometer, Remote (2000), Monocule (2000), Joystik, Centrifuge, Quantaa (2000), Bionika, Megalon (2000), Wired, Badfish.

Bardram's Digipak includes Atomic-Inline, Atomic-Outline, Bionika-Black, Bionika, Genetrix-Crossed, Genetrix-Square, Genetrix-SquareCore, Genetrix-SquareHollow, Joystik, Macroscopic-A, Macroscopic-B, Macroscopic-C, Macroscopic-D, Macroscopic-E, Methodic-Bold, Methodic, Microscopic, Noir, Scriptometer-SanScript, Scriptometer.

Additional typefaces: a 3D pixel font called Boxer 3D (2002), Neuronic (2002-2004, nice outlined pixel font; see also here), Fusionaire (2002, a display font) and Wijdeveld, a squarish font based on the lettering of poster artist Wijdeveld from The Netherlands. In 2005, these fonts were added: Magnetica, Imperium, Ratio, Hypersigna, Sequence and Tempora, all by Matthew Bardram.

Sausan Kare's pixel fonts at Atomic Media: Mini Food, Kare Dingbats, Biology, Everett, Harry, Ramona, Kare Five Dots, Kare Five Dots Serif, Kare Six Dots, Kare Six Dots Serif.

Alternate URL. Interview. Klingspor link. [Google] [MyFonts] [More] ⦿

Attak Fonts
[Peter Korsman]

Attak is a two-headed graphic design firm formed in 2004 by Peter Korsman (b. 1982) and Casper Herselman. It is based in 's-Hertogenbosch, The Netherlands. In May 2016, Peter Korsman left Attak to start Autograph. Attak has some free and some commercial typefaces. Behance link. Their fonts, ca. 2009: AT AK-47, AT Babyfat, AT Blaser, AT Concours, AT Dienstuhr, AT Discipline, AT FFW, AT Helix, AT Hide and Seek, AT Hieronymus, AT Janus Kiep, AT Kerremus, AT Klaxon, AT Korsakopf, AT Litewriter, AT Mepper, AT Mohawk, AT Moker, AT Monoload, AT Muntel, AT Peetroleum, AT Praktikum, AT Promille, AT Ramseier, AT Riot, AT Sirca, AT Sirca alternate, AT Slyper, AT Snotnose, AT Streeep, AT Tabak, AT T'Atteljeej, AT TCB, AT Timeline, AT Trash Bold, AT Willi, AT With Machines, AT Zippora. Notable products: AK-47 simulates Cyrillic; Helix is a stencil face; Muntel and Concours are fat art deco typefaces; Practicum and Tabak are octagonal; Riot leaks blood; Sirca is based on arcs of circles; Streep is a multiline font. I presume that Peter is the main font designer in the team, as he already made fonts as early as 2003 for Burodestruct (see, e.g., BD Burner, BD El Max, BD Sirca, and BD Bardust, downloadable here).

By 2017, their catalog includes AT AK-47, AT Baballero, AT Babyfat, AT Blaser, AT Concise, AT Concours, AT De Palm, AT Dienstuhr, AT Discipline, AT El Muerte, AT Falten, AT FFW, AT Ginn, AT Helix, AT Hide and Seek, AT Hieronymus, AT Hindenburg, AT Imperiale, AT Janus Kiep, AT Kerremus, AT Klaxon, AT Korsakopf, AT Kuhn, AT Litewriter, AT Mepper, AT Mohawk, AT Moker, AT Monoload, AT Muntel, AT Peetroleum, AT Praktikum, AT Promille, AT Ramseier, AT Riot, AT Sang Noir, AT Sirca, AT Sirca alternate, AT Slyper, AT Snotnose Heavy, AT Streeep, AT Syndicate, AT Tabak, AT tAtteljeej, AT TCB, AT Timeline, AT Trash Bold, AT Willem II, AT Willi, AT With Machines, AT Zippora, BD Bardust, BD Burner, BD El Max, BD Sirca.

A more detailed breakdown per designer:

Tim van de Kimmenade: AT AK-47 (2005), AT Helix (2004), AT Trash Bold (2003).
Peter Korsman: AT Babyfat (2006), AT Concours (2005), AT Korsakopf (2004), AT Ramseier (2004), AT Streeep (2005), AT TCB (2005), AT With Machines (2004).
Casper Herselman: AT Blaser (2005), AT FFW (2004), AT FFW Stencil (2004), AT Mepper (2005, old typewriter font), AT Mohawk (2006), AT Praktikum (2004), AT Promille (2005), AT Riot (2004, blood drip font), AT T'Atteljeej (2008).
Rutger Paulusse: AT Discipline (2008).
Rens vanden Berge: AT Hide and Seek (2006, a great poster font).

Typefaces not listed here include AT Baballero (2013, Western), AT De Palm (2012, logo font for Café De Palm), AT Dienstuhr (2010), AT Ginn (2012), AT Imperiale (2012, a hipster font), AT Timeline (2010, Trajan) AT Sirca (2005), AT Sang Noir (2012, blackletter), AT Muntel (2005, Dutch art deco), AT Snotnose (2010, ink splatter script). [Google] [More] ⦿

ATypI 2013

ATypI 2013 was held in Amsterdam from 9-13 October 2013. The theme was Point Counter Point. Its graphic identity was designed by Studio Dumbar.

The 83 speakers: Peter Bain, Rob Banham, Mark Barratt, Rob Becker, Donald Beekman, Sofie Beier, Aaron Bell, John D Berry, Ann Bessemans, Filip Blazek, Frank Blokland, Irma Boom, David Brezina, Matthew Carter, Nadine Chahine, Paresh Choudhury, Alessandro Colizzi, Bill Davis, Jo De Baerdemaeker, Rafael Dietzsch 2, Paul Dijstelberge, Catherine Dixon, Nikola Djurek, Maria Doreuli, Craig Eliason, Ramiro Espinoza, Victor Gaultney, Verena Gerlach, John Giannopoulos, Frank Griesshammer, Fritz Grogel, Elaine Guidero, Cyrus Highsmith, Will Hill, Viktor Kharyk, Eric Kindel, Henrik Kubel, David Kuettel, D. Udaya Kumar, Indra Kupferschmid, Kevin Larson, Edwina Lee, Werner Lemberg, David Lemon, Jean-Baptiste Levee, Mathieu Lommen, Rob McKaughan, Thomas Milo, Fraser Muggeridge, Titus Nemeth, Sandrine Nugue, Pierre Pane-Farre, Elena Papassissa, Thomas Phinney, Albert-Jan Pool, Cesar Puertas, Krista Radoeva, Rathna Ramanathan, Alice Rawsthorn, Daniel Reynolds, hyun guk ryu, Keitaro Sakamoto, Rainer Scheichelbauer, Georg Seifert, Juliet Shen, Nick Sherman, Fred Smeijers, Mirjam Somers, Brian Stell, Adi Stern, Claus Soerensen, Mariko Takagi, Adam Twardoch, Gerard Unger, Hans Van Maanen, Leonardo Vazquez, Peter Verheul, Werner Wolff, Yanone, Yuri Yarmola, Pascal Zoghbi, Erik van Blokland, Petr van Blokland, and Paul van der Laan.

Program.

The program was very strong, and reinforced the reputation of The Netherlands as the mecca of type design in 2013. Several awards were announced during the meeting: Gerrit Noordzij received the TDC Medal [large pic warning], Don Knuth received the Peter Karow Award, and Alexandra Korolkova received the Prix Charles Peignot for best type designer under the age of 35.

Picture reports: Cesar Puertas. Twitter reports. Seen.co link. [Google] [More] ⦿

Auke Wieringa

Dutch designer at FontStruct in 2008 of the rounded blocky typeface Aukster. [Google] [More] ⦿

Autobahn
[Maarten Dullemeijer]

Dutch company run by Jeroen Breen, Maarten Dullemeijer and Rob Stolte, who all graduated from Utrecht School of the Arts (HKU). Autobahn designs special graphical projects, often with an illustrative and typographical angle. They offered these free fonts made with tomato paste, toothpaste and other things: Autobahn-Gelvetica, Autobahn-Heldentica, Autobahn-Tomatica (2008). Autobahn Grafisch Ontwerp is based in Utrecht, The Netherlands. The designers are Jeroen Breen (b. 1981), Maarten Dullemeijer (b. 1982) and Rob Stolte (b. 1981).

Their house fonts are Air Light (techno) and LEF.

In 2010, they produced the exquisite typeface Petronius, which is based upon a typeface designed by surrealist Joop H. Moesman (1909-1988).

The Alphabet in stone typeface by Dom Hans van der Laan, a Dutch monk who lived from 1904 until 1991, was digitized in 2011, and the project can be seen here. Contributors include Willem Noyons, Maarten Dullemeijer and Rob Stolte. This typeface is based on the proportions found in Trajan.

In 2017, they created the typeface Jakobus for the identity of 1N, an old church that was reshaped into living space by Zecc Architects. The typeface cmes close to Dutch deco.

In a project called Hacking Habitat (2015), they combined Arial Black and Times into a hybrid typeface.

Baldericus van den Horick

Autograph
[Peter Korsman]

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

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

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

Avesta Fonts
[Jan Pieter Kunst]

Amsterdam's Jan Pieter Kunst offers Avesta (Persian 5th/6th century), a five font family that is based on the typeface used in the Avesta edition by K.F. Geldner. Freeware. PC, type 1 and truetype. [Google] [More] ⦿

B. Th. P. Verkaart

Designer of the phototype headline sans font Annonce fett (+licht) at Berthold (1967) and Lettergieterij Amsterdam. [Google] [More] ⦿

Author of the calligraphic master scribe book entitled Schreibmeisterbuch für Herzog Wolfgang Wilhelm von Pfalz-Neuburg (1600s). See also here and here. [Google] [More] ⦿

Barbara Bigosinska

Barbara Bigosinska received her master degree in Graphic Design at the Academy of Fine Arts in Katowice, Poland. In 2013, she graduated from the Type & Media program at the KABK in Den Haag. At KABK, Barbara Bigosinska designed the angular text typefaces Barbear and Sambukka in 2013. Since 2014, she runs her own studio in The Hague, offering type design and typography services to international clients.

For her type revival project at KABK, she picked Lutetia (2013) and writes: Lutetia was designed as a commission from Enschedé by Jan van Krimpen. The drawings of the typeface were ready in the middle of 1924 and first cut and cast in 16 point size in the Enschedé Type Foundry. For the first time the typeface was used in the book dedicated to the exhibition that took place in Paris in 1925. Therefore the name Lutetia reffers to the Roman name of Paris.

Her KABK graduation typeface family was Mala (2013). Loaded with opentype features and choices of widths, Mala was created for cartographic purposes. It was published by Bold Monday in 2016.

In 2016 she published Abelard at Indian Type Foundry and wrote: Abelard is a modern (or neoclassical) family with 10 font styles. It is a contemporary take on classic types like Baskerville, Bulmer, and Scotch Roman that has been optimised for text embedding on eReaders. The design features elements ensuring even text color, including case-sensitive forms, prominent punctuation marks, ligatures, and four sets of figures. Each font also contains ornaments resembling pen nibs, bullet points, and arrows.

In 2017, she published the didone fashion mag typeface family Rion and the text typeface Neco at Fontstore. Rion was republished in 2018 at Indian Type Foundry.

Typefaces from 2018: Bonny (a decorative serif font family published by Indian Type Foundry; see also Bonny at Fontshare).

In 2019, Noopur Choksi and Barbara Bigosinska published the sturdy wedge serif text typeface family Sapien at Indian Type Foundry.

Still in 2019, Manushi Parikh and Barbara Bigosinska released the octagonal athletics font Fielder at Indian Type Foundry. Somehow this octagonal typeface seems to have been evolved into the 5-style free typeface Nippo at Fontshare.

In 2021, Barbara Bigosinska released the 12-style didone family (+two variable fonts) Boska at Fontshare. Boska has quite extreme contrast and some calligraphic hooks in the c, f, k, r, s, x and z glyphs that make it perhaps less suitable for text but more in line with fashionable displays.

Bevellier (2019-2021; by Arya Purohit and Barbara Bigosinska) is a 16-style (+variable) rounded condensed organic sans family.

In 2021, Barbara Bigosinska, Rafa Buchner and Diana Ovezea set up Blast Foundry. At Blast Foundry, she designed the wonderfully expressive sharp-edged display typeface Sharf. Boska was published as a free font at Fontshare.

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

Barbara Zeitler

During her studies in Den Haag, Barbara Zeitler created an architectural lettering typeface family (2014). [Google] [More] ⦿

Barend Hendrik Kolkmeyer

Henk Kolkmeyer was a Dutch designer, 1901-1988. His poster from 1922 entitled Waarom Droeg Je Geen Muts Als Ik has some early art deco / late art nouveau lettering.

In 2012, a free font was published by Koeiekat (John Wollring) entitled HK Display. It is a free interpretation of an art deco alphabet designed by Henk Kolkmeyer for a poster for the Veiligheids Museum in Amsterdam. [Google] [More] ⦿

Baron von Fonthausen
[Jacques Le Bailly]

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

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

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

Designer of the pixel font Mekka.

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

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

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

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

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

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

Bart Corré

Ossendrecht-based Dutchman. He made several typefaces in 2010. Examples of his fonts: i, ii, iii, iv, v, vi, vii. [Google] [More] ⦿

Bart De Ruiter

Dutch creator of the free script typeface Bart Handschrift (2012).

Fontspace link. [Google] [More] ⦿

Bart van der Leck

Born in 1876 in Utrecht, died in 1958 in Blaricum. Bart van der Leck was a Dutch painter and designer. With Theo van Doesburg and Piet Mondriaan he founded the De Stijl (abstract, geometric) art movement. In 1930, he was commissioned by Jo de Leeuw, owner of the prestigious Dutch department store Metz&Co. to design interiors, window packaging, branding and advertising. For these print materials van der Leck developed a rectilinear geometrically constructed alphabet. In 1941, he designed a typeface based on this alphabet for the avant-garde magazine Flax. One digital version of this typeface exists: Architype van der Leck (1994, by David Quay and Freda Sack of The Foundry). The wiki page writes: The typeface is geometrically constructed, and based upon an earlier stencil lettering alphabet van der Leck designed in the early 1930s for use in branding and advertising Jo de Leeuw's presigious Dutch department stores Metz&Co. The typeface shares structural similarities with Theo Van Doesburg's 1919 geometric alphabet, and anticipates later typographic explorations of geometric reductionism of Wim Crouwel's 1967 New Alphabet and early digital typefaces like Zuzana Licko's typefaces Lo-Res and Emperor 8.

One of his alphabets was creatively used by Marc ter Horst in Restaurant Walem.

In 2012, for an exhibition in Paris, Chloe Marchand designed a special van der Leck style poster. [Google] [More] ⦿

Bart Vollebregt

Dutch graduate (b. 1990) of the Academy for Visual arts in Utrecht and the Typemedia program at KABK, class of 2016. Typefaces designed by him include Sterk (2014) and an animated alphabet (2016).

Vollebregt won the Gold Medal in the Latin category for Vonk in 2016 at the Morisawa Type Design Competition 2016. Vonk was his graduation typeface at KABK, and was released by Morisawa in 2018.

Bartholomeus Voskens

Dutch type designer who died ca. 1669. [Google] [MyFonts] [More] ⦿

Bas Bouwense
[Social Animal]

Bas Jacobs

Dutch graphic and type designer, b. Wanssum, The Netherlands, 1976. In 1999, together with Akiem Helmling, he cfounded Underware in Den Haag. Bas studied at the KABK in Den Haag and lives in Amsterdam since 2001. His type design work:

Bas Jacobs and Akiem Helmling designed Dolly (2001), a 4-font book typeface with flourishes. The Bukvaraz 2001 award they won for it mentions that Lars de Beer and Sami Kortemäki also had a hand in the font. Dolly A Book Typeface with Flourishes is a book that describes the development of Dolly.
Codesigner of Bello.
Codesigner of Sauna (2002; +Sauna Mono Pro).
Codesigner of Liza (2009).
Codesigner of Auto (1, 2 and 3) (2004-2014).
Codesigner of Unibody 8 (free).
Codesigner of Fakir (2006), a blackletter typeface family.
In 2015, Bas Jacobs, Akiem Helmling and Sami Kortemäki published the stencil family Tripper Pro.
In 2017, Underware developed the super-adaptive and parametric typeface family Duos Pro.

At ATypI 2004 in Prague, he spoke about education in type design. FontShop link. Speaker at ATypI 2010 in Dublin and at ATypI 2017 in Montreal. At ATypI 2018 in Antwerp, Bas Jacobs and Akiem Helmling introduced the high order interpolation system for fonts called HOI. [Google] [MyFonts] [More] ⦿

Bas Masbeck

Amsterdam-based designer of Cubic Typeface (2012) and a triangular / hexagonal typeface in 2013. His company is About Design.

Bas van Vuurde

Graphic designer (b. Dordrecht, The Netherlands, 1979), who specializes in type and typographic design, and lives in Haarlem. Student from 1999-2003 at the Graphic and Typographic design-course at the Royal Academy of Art (KABK) in the Hague. He graduated in 2004 from the postgraduate design-course on TypeMedia at the same academy. While at the KABK, he made the futuristic/computerized typefaces Basetype 144 (2003) and Default (2001). Many of his projects involve lettering in public places, such as the application of DTL Haarlemmer for the street signs in Haarlem. His type designs include Small World, Homerus (text face) and Blackletter (a project for the city of Haarlem). Ancient URL. [Google] [More] ⦿

Bauke van der Laan

Dutch type designer, b. 1987, currently located in Italy. Graduate of LUCA School of Arts, Ghent, Belgium, class of 2012. In 2015, with Theo van Beurden, he set up DOGMA, a practice for graphic design and typography. They decided then to digitize Mercator, a famous sans serif by Dick Dooijes (1958, Lettergieterij Amsterdam Tetterode). In 1958, Mercator was lauded as the Dutch Helvetica, to compete with the Swiss typeface Helvetica. Mercator never took off the way Helvetica did, so Bauke and Theo wanted to retrieve it from history's dustbin. Design studio De Ronners from Rotterdam has now used this letter to design the magazine for the members of the Association of Dutch Designers BNO (Beroepsorganisatie Nederlandse Ontwerpers). [Google] [More] ⦿

Baukje Spirit

Dutch creator (b. 1995) of the free modular typeface Mind Escape (2013). [Google] [More] ⦿

Be Imageprojects

Amsterdam-based studio that created the mysterious display typeface Unbark (2014), the experimental Antitype (2014), and the labyrinthine Lockwork (2014). Behance link. [Google] [More] ⦿

Ben Aalbers

Extraordinary Dutch calligrapher, who writes in an oriental style. [Google] [More] ⦿

Ben Blom
[Durotype]

Ben Runneboom

(Dutch?) designer of the free hipster typeface Human (2015) and the fat finger font Spookyhouse (2015). [Google] [More] ⦿

Bert Bos

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

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

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

Bertjan Tromp

Dutch designer of New Sans (2004), Intercity (2003), Night Rider (2004), Roos (2003), Stilo Sans (2003), Fresh Light (2003), Comic Tip (2003), Frutto (2003), Peppchi (2003), Dibbel (2003), Grumna, Grumna Outline, Fountain Pen, Lettertiep, Fuder, Fuder Bold, and Grassi. Most of his fonts involve handwriting. In 2006, his fonts were removed from the web. [Google] [More] ⦿

Beware of the Moose
[Hermen Grasman]

Hermen Grasman (b. 1964) graduated from the Academie voor de Beeldende Kunsten in Groningen, The Netherlands, class of 1988. He set up his own design studio in 1992, and is currently located in Haren (Groningen).

Creator of the squarish monospaced modular typeface Memory Square (2020: made using only 25 juxtaposed rectangles), the dot matrix typeface Modulair (2020) and the monolinear rounded organic sans typeface Maisonneuve (2020).

Typefaces from 2021: More Blocks (concentric squares), More Dots (a concentric circle dingbat font). [Google] [MyFonts] [More] ⦿

Binggy Zhao

Designer in Enschede, The Netherlands, who created the experimental typeface Unknown Secret (2012). [Google] [More] ⦿

Blaise Sumerah Kal
[Blaise Sumerah Kal (was: 4Logoz)]

Blaise Sumerah Kal (was: 4Logoz)
[Blaise Sumerah Kal]

Blaise Kal (who used to call her web presence 4Logoz) is the Dutch designer of Blzee v1.03 (2003, handwriting), BlaiseHand (2001), Blaise (experimental, 2001), Crashed Scoreboard, Amsterdam (2001, pixel imitation), and Blame My Parents. Home page. [Google] [More] ⦿

Blast Foundry

Blast Foundry (The Netherlands and Poland) was set up in 2021 by Barbara Bigosinska, Rafa Buchner and Diana Ovezea. Future Fonts link. Their typefaces:

Bay Sans
Bizzarrini (2018, Diana Ovezea and Sabina Chipara). Diana Ovezea writes about the wonderful Bizzarrini: Though the idea originates from a Stefan Schlesinger ad sketch for a Paris couture house, we straightened up this typeface and made it seem engineered and sharp. It gets its name from the Bizzarrini Manta, a wedge-shaped concept car designed in 1968 by Giorgetto Giugiaro. Bizzarrini has extremely long wedge serifs. Following Schlesinger's sketch, it features very tall capitals with an out-of proportion middle-line (very big heads on S, B and R).
Capra (2020, Diana Ovezea). A headline typeface with a bouncy baseline. This project started as a one-day challenge to recreate a piece of lettering on the Glass Menagerie poster designed by David Klein in 1958.
Gamer.
Granblue (2021). An experimental typeface by Diana Ovezea.
Sharf (2021, mainly Barbara Bigosinska). With six weights and two optical sizes, and a variable font option, this display typeface has razor sharp edges and quite a few surprises to liven up many a page.
Silverknife (2020, Diana Ovezea). Silverknife is a tall and skinny version of Silverspoon.
Silverspoon (2018, Diana Ovezea). Silverspoon is a contemporary take on Copperplate Gothic.

[Google] [More] ⦿

Dutch designer (b. 1995) of the scribbly font Toaztie Roaster (2020). [Google] [More] ⦿

Bob Hensen

During his graphic design studies, Utrecht-based Bob Hensen designed the engineering drawing typeface Line ABC (2013).

Bob Noorda

Italian graphic designer, b. Amsterdam, 1927, d. Milan, 2010. He lived and worked in Milan from 1954 until his death. Noorda attended the Instituut voor Kunstnijverheidsonderwijs (now the Gerrit Rietveld Academie), graduating in 1950. He moved to Milan in 1954. In Italy, Noorda gained fame for his design in the late 1950s and early 1960s for posters and advertisements for Pirelli where he also served as art director.

In 1964 he won, together with Franco Albini and Franca Helg, the Compasso d'Oro, the most prestigious Italian award for design, for the Milan Metro station design. The typeface used for the Milan metro was called Noorda. Noorda is a modification or optimization of Helvetica. Several other subway systems later used his typeface, including the entire New York City subway system in the 1960s, as well as other subway signage projects for Noorda in Sao Paulo, Naples and the regional train network in Lombardy.

In 1965, Noorda and fellow Milan-based designer Massimo Vignelli were among the seven founders of Unimark International, an American design firm with offices around the world, including Chicago and Milan. Noorda is best known in the United States for Unimark's work with New York's Metropolitan Transportation Authority. These wayfinding fonts were revived in 2017 by Gabriel Ruiz as New York City Metro Font.

Noorda was a professor in graphic design at Societa Umanitaria in Milan, ISIA Urbino and IED in Milan. From 1996 to 2001 he was a professor of visual communication at Politecnico di Milano.

Additional link. [Google] [More] ⦿

Bobby Voeten

Bobby Voeten (Crop, Amsterdam, The Netherlands) designed the animated sans typeface Haywire in 2014 and Rubber Font in 2015. In 2015, he also designed Exova Dashboard Icons. Behance link. [Google] [More] ⦿

Bodil Seekles

Spijkenisse, The Netherlands-based designer of an untitled dripping paint font in 2014. [Google] [More] ⦿

Bohemian Coding
[Pieter Omvlee]

Bohemian Coding was founded early 2008 in the Netherlands and is being run by Pieter Omvlee. It develops a number of shareware applications for Mac OS X. These include Fontcase (elegant font management) and DrawIt. DrawIt is a vector editing application with support for bitmap-like image filters. Vector editing as well as the filters are completely non-destructive which means that a vector layer can still be edited even after a stack of filters has been applied. I guess DrawIt can be used as a first step in font design (exported formats include jpg, tiff and png), but it is not a font editor. [Google] [More] ⦿

Bold Decisions
[Mads Wildgaard]

Mads Wildgaard (Bold Decisions, Arnhem and now Amsterdam, The Netherlands) designs type. His typefaces include

Lars (2014). A neutral sans family. Followed by Lars Mono.
Sverre (2014-2016). They write: Sverre is a stencil face, loosely drawn up from the Combination Stencil Sheet by Sverre Rian, a Norwegian immigrant, who made it in Darlington, Wisconsin, circa 1920. It is a circle-based monowidth design, but it is not a stencil face in the traditional sense of the word.
GC15 (2016): GC15 is a monospaced serif typeface which originates from an undated plate, by Eric Gill.
GC16 (2015-2016): a monospaced serif typeface that goes back to an undated plate by Percy Smith.
Glossy Display (2018) and Glossy Magazine (2020). A vintage high contrast serif.
Clip (2015-2017) is a modular typeface, revived by Asger Behncke Jacobsen in 2015, and completed with Mads Wildgaard in 2017.

[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] ⦿

BOLT Graphics
[Martijn Rijven]

Martijn Rijven (BOLT Graphics) is a Den Haag-based Dutch type designer who started out at Kombinat Typefounders. His fonts include Kwadra (octagonal), Berlina (a take on blackletter), Bastard (based on type used in "Bastard", a Thai manga comic book), Frigidaire (fifties display face), Bitscream, and "Dense Dumb and Dirty". [Google] [More] ⦿

Boris de Vries

Designer in Amsterdam. Behance link. In 2011, he created an informative brochure about the life and achievements of Wim Crouwel.

Wim Crouwel's Hiroshima poster (2011) served as a model for Boris's unnamed piano key typeface created in 2011. And a 1968 poster for Stedelijk Museum Amsterdam was the model for another typeface created by Boris in 2011. [Google] [More] ⦿

Boudewijn Ietswaart

Dutch letterer about whom Jan Middendorp spoke at ATypI 2009 in Mexico City. Middendorp writes: During my research for Dutch Type, I chanced upon the work of Boudewijn Ietswaart, an extremely talented lettering artist and illustrator whose work is virtually unknown in his native Netherlands. Further research led to my locating him - now retired - in Amsterdam, where I interviewed him and made photographic reproductions of some of his work. Ietswaart spent most of his professional life as a graphic designer in Mexico, Venezuela and Barcelona and only did a small portion of his work for Dutch publishers. He later became a scientific illustrator and abandoned lettering altogether. Ietswaart was extremely prolific during his two years in Mexico, c. 1960, where he had gone to assist UNESCO collaborator Alexander Stols - a well-known publisher - as the typographic specialist. After I mentioned Ietswaart to my contacts of the Círculo de Tipógrafos in Mexico last year, they researched what information they could find, and also located many of Ietswaart's works in antiquarian bookshops. They soon warmed up to the idea of reviving some of his alphabets as fonts, and present the work during ATypI 09 in the context of the cultural climate of the era. At the Flickr site documenting his years in Mexico in 1961 and 1962, we read: In 1961 a young Dutch designer, Boudewijn Ietswaart, arrived in Mexico City. Schooled in hand lettering and a master of many graphic techniques Ietswaart came to the effervescent capital of Mexico as an assistant to Alexandre Stols, himself a famous book designer who had been sent abroad as part of a UNESCO. Ietswaart was enormously productive these two years as a designer of book covers for the Fondo de Cultura Económica and the Universidad Nacional Autonoma de Mexico (UNAM). A list of his work for the UNESCO spans more than 50 titles. Ietswaart himself, now 72, is modest about his efforts, saying he was "allowed to do the titles" and noting the pretentiousness of being sent on an aid mission to a publishing company of international stature such as the Fondo de Cultura Económica. Nonetheless he took seriously his goal of making the presentation of mass produced books on academic subjects more accessible. A revision of his work gleaned from Mexico City's second-hand bookshops displays a playful, fresh and elegant style to the layman's eye. For an expert on hand lettering there is more to be seen in Ietswaart's designs. Jan Middendorp, author of Dutch Type, the canonical book on the history of typography in the Netherlands, titles one chapter the "Unrecognized brilliance of Boudewijn Ietswaart" giving Ietswaart pride of place among Holland's great designers of letters. Nonetheless Ietswaart is still virtually unknown, largely because he was working as a freelance designer outside of his own country. This period was also a golden age in Mexican letters. Gabriel Garcia Marquez moved to Mexico in 1961 and Nobel Prize winners Octavio Paz and Carlos Fuentes were regulars in the scene around the great Fondo de Cultura Económica. Artists such as the Catalan Vicente Rojo worked in the design section. And Mexico in general was at the peak of its 20th century cultural glory. After his two-year stay in Mexico Ietswaart moved to Spain and Venezuela, eventually leaving book design and moving into scientific illustration. He is now retired and living in Amsterdam. In 2008 during its investigations of Dutch typography the Círculo de Tipógrafosógrafos, a group of young designers in Mexico City, stumbled on the work of Ietswaart by way of Middendorp. Inspired by the designs of an unknown foreigner in the golden age of their country's letters the Circulo de Tipógrafos has undertaken a project to convert his hand lettered alphabets into digital fonts compatible with computers anywhere, thereby commemorating the work of Ietswaart and this particularly important period in Mexican cultural history. The aim of the Circulo de Tipógrafos is to present these fonts during the yearly congress of the Association Typographique International, the organisation of the international type community, which is to be held towards the end of October 2009 in Mexico City. This presentation is to be accompanied by an exposition to be held in a major venue in the city's historical centre.

Thev award-winning font family by Circulo de Tipógrafos is called Balduina, and was published in 2010. Boudewijn Ietswaart passed away on December 23, 2010. Klingspor link. [Google] [More] ⦿

Boudewijn Rempt
[Constructed Languages]

Braille: History, Use, Current Research

Bowie Vinken

Tilburg, The Netherlands-based designer of the school project typeface Hackje (2016). [Google] [More] ⦿

Braille links. [Google] [More] ⦿

Bram de Does

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

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

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

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

[Google] [MyFonts] [More] ⦿

Bram Donkers

Creator of the fat finger typeface Helibram (2011, iFontmaker). [Google] [More] ⦿

Brechje van Eekert

Graphic and print designer in Waalwijk, The Netherlands, who studies graphic design at AKV/St.Joost Den Bosch. She created Chinese Type (2012, a multiline typeface based on ornamental patterns seen in the windows of Chinese restaurants). [Google] [More] ⦿

Brent Anderson
[The Fabriek (or: Meet Brent)]

Bric Type
[Yomar Augusto]

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

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

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] ⦿

Brixs

Durch designer of the free 3d Lego brick font Brixs (2016). [Google] [More] ⦿

Bruno Herfst

Dutch Amsterdam-based creator of the sans typeface Surface (2008), and of Pixel Cowboy (2009). Home page. Font Squirrel link. [Google] [More] ⦿

Bureau Bunk
[Jan Bunk]

Dutch foundry located in Rotterdam. It is run, so MyFonts says, by Jan Bunk (b. 1968, Monrovia, Liberia) from Monrovia, Liberia. He made Foot Print (2011). [Google] [MyFonts] [More] ⦿

Bureau Mijksenaar
[Paul Mijksenaar]

Bureau Mijksenaar is Paul Mijksenaar's firm in Amsterdam. They designed the signs at Schiphol Airport, the subways of Amsterdam and Rotterdam, the Dutch Railway, and are working on new tax forms for the Dutch government. Paul Mijksenaar teaches at the Delft University of Technology. [Google] [More] ⦿

Bureau Roffa (was: Designtown)
[Jasper Michael De Waard]

Dutch creator (b. 1996, Rotterdam) of the free Google Web Font display typeface Expletus Sans (2011). The theme of this typeface: disconnect the strokes, but not totally. He runs a one-man design studio located in Rotterdam. He created the six-style family Rotterdam (2008), which he describes as art deco with a typeface lift, and Disc (2008, CD-inspired).

In 2013, Jasper founded Bureau Roffa. A much better name than Designtown, Roffa is slang for Rotterdam. At Bureau Roffa, one can buy the 12-style humanist sans typeface family Sensato (2013). The regular weight is free. Features of Sensato include the Garamond heritage, the diagonal stress, some ink traps, slightly tilted outlines, open counters (for legibility), and solid spacing. Due to a trademark issue, De Waard was forced to rename Sensato to Proza. In 2015, he added the more daring and contrast-rich Proza Display. For a free version at Google Fonts, see Proza Libre. See also Open Font Library.

In 2017, Jasper published Ricardo, a sans family that combines geometric simplicity with some humanist features.

Designer of Goldich (2021, Bold Monday). Award winner at 25 TDC in 2022. The Goldich type family contains five weights from regular to black, all with matching italics.

Klingspor link. (Old) Designtown link. Behance link. Google Plus link. [Google] [MyFonts] [More] ⦿

Buy50

Dutch creator of the slightly grungy family Halo (2010). [Google] [More] ⦿

C. De Haas

Dutch designer who did the art deco front cover of Holland "Als de kunstenaar de nijverheid dient dient de nijverheid de kunst" (1926). The lettering on that cover influenced the typefaces Amstel Heavy NF (Nick Curtis) and Hex (a font by Sign DNA). [Google] [More] ⦿

C. van der Post Jr

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

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

Cake Type
[Pieter van Rosmalen]

Dan Haag-based Dutch foundry, est. 2004 by Pieter van Rosmalen, who before that designed fonts for GarageFonts and Typotheque. He studied design and advertising at Sint Lucas in Boxtel (The Netherlands) and type design and typography at the postgratuate course Type & Media at the Royal Academy of Arts in The Hague (The Netherlands). For the CakeType library he designed CKTP Alterego, CKTP Capibara Classic, CKTP Capone (6-weight grotesque), and CKTP Pixie. Cake Type is involved in custom and commercial typefaces. Emma is a custom family. Dutchman (b. Eindhoven, 1969, living in Den Haag) Pieter van Rosmalen's fonts are mostly of the pixel type and are sold at Garagefonts: Ministeck (2000, pixel font), Dotted Weekend (1999), Get Back (1999), Martian Telex (1999, dotted pixel font), Monster Droppings (1999), Naomi (1999, hand-printed), Nice Weekend (1999), Novella (1998-1999, rounded octagonal face), Porno (1999), Thomas (2000), Rough Weekend (1999), Adore (thin typewriter font), First Street Left, Moved, Passenger (pixel font), Rebel Mono (2000), Shop (arcade game pixel font), Underscore (stitch pixel font), Archive (2000), Ravensburger (2000), Rebel (2000), Adore (2001), FirstStreetLeft (2001), Moved (2001), Passenger (2001), Shop (2001), Underscore (2001), Weekend Web (2002), Archive (2003), Capibara (2003), Melvin (2003), Epos (2003). At Phil's Fonts, Alter Ego, Capone, Capone Poster (stencil), Galaxy and Pixie (+Mono, Narrow, Script), all made in 2005. In 2008, van Rosmalen made Nitti (monospaced; followed in 2009 by Nitti Typewriter), Panno (sans) and Pinup (fat rounded sans). In 2009, they published the non-connected hand-printed Aniek. In 2009, he and Paul van der Laan created Audi Type (via MetaDesign), which replaces the old Univers-based Audi Sans.

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

Calango
[Jeroen Krielaars]

Jeroen Krielaars (Calango) is a Dutch web designer in Amsterdam who made an animated prismatic geometric typeface called Moshun (2010). Krielaars created Moshun using the program Adobe After Effects in less than three days. Buy it exclusively from HypeForType.

In 2011, he teamed up with Maria Jose Torrero Heredia from Mexico to create the latest addition to his typeface collection, the experimental and modular Binary 2.0. Typogami is another layered animated font made in 2011.

In 2012, Jeroen released Webster, an animated font described as follows: Webster is an extensive animated typeface with a nerdy look. It comes with uppercase, lowercase, numbers, punctuation and special characters. All together it counts over a 150 glyphs. With 13 customizable features, you can create over a gazillion looks. That's right, over a gazillion!

In 2014, Jeroen co-designed the animated octagonal typeface Magnus with Linn Fritz, and the animaited typeface Razor (Animography) with Jeffrey Schreiber. He created the animated rounded sans typeface family Mantis in 2014.

In 2016, Jeroen Krielaars and Pablo Balcells co-designed the animated pixel typeface Pixelar based on Balcell's 2012 original. See also here. [Google] [MyFonts] [More] ⦿

Cameron Kelly

Dutch fiction writer, b. 1989. Creator of Scratch (2006, a scratchy handwriting font). [Google] [More] ⦿

Camiel Verhaag

Aka "Zeppo", Camiel Verhaag is the Dutch designer of Kijkwijzer NL (2003), a dingbat font with Dutch TV ratings symbols. Posted on alt.binaries.fonts. [Google] [More] ⦿

Capital Baseball
[Phons Bloemen]

Baseball capitals: free metafont "capbas" (Capital Baseball) by Phons Bloemen from the Eindhoven University of Technology. Now included in the package are also 7-segment, 14-segment, Simple, matrix fonts like Flyspec and Neckerspoel. Lots of interesting tools as well. Magnificent package, really. [Google] [More] ⦿

Carlijn Hoogenboom

Dutch designer who lives in Alphen aan den Rijn. She experimented in type design and produced typefaces like Leestekens (2012: glyphs constructed on the basis of punctuation only) and Warburg (2012). Behance link. [Google] [More] ⦿

Carmen Nutbey

Graphic designer in Amsterdam. Creator of the iFontMaker font NutNote and NutDots (2010). [Google] [More] ⦿

Cas Moustache

Dutch designer who used FontStruct in 2009 to make Subway 22:38 (+Open), which is based on the font used for some train- and subway lines in and around Amsterdam. Roland is a student in graphic design at KABK, Den Haag. Blog. Aka Roland Cos at FontStruct. [Google] [More] ⦿

Cas van de Goor

Type designer from Eindhoven, The Netherlands, b. 1993. A stone's throw from the Belgian border, that is where Eindhoven is. MyFonts link to his foundry.

He says about Phi (2010, monoline geometric caps): Phi is a [monoline] geometric all caps typeface designed on the basis of the golden ratio.

Devian tart link. Klingspor link. Behance link. University of Twente link. [Google] [MyFonts] [More] ⦿

Casper Herselman

Dutch cofounder (b. 1981) with Peter Korsman of the free font foundry Attak Web ('s Hertogenbosch) in 2004. He created T Blaser (2005), AT FFW (2004), AT FFW Stencil (2004), AT Mepper (2005), AT Mohawk (2006), AT Praktikum (2004), AT Promille (2005), AT Riot (2004, blood drip font), AT T'Atteljeej (2008). [Google] [More] ⦿

Cassandra Cluck

Amsterdam-based illustrator and graphic designer. Creator of the constructivist typeface Burn Mosku (2017). [Google] [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] ⦿

Céline Hurka

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

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

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

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

Cecil van der Waal

Creative technologist in The Netherlands who was asked to modify and improve a typeface of her choice in her graphic design class at the University of Twente. She picked Poor Richard for that project. [Google] [More] ⦿

Cedric Bronkhorst

During his studies, Cedric Bronkhorst (Hoogeveen, The Netherlands) created a modular compass-and-ruler typeface (2014). Behance link. [Google] [More] ⦿

Cees W. De Jong

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

Celis Jansen

Amsterdam, The Netherlands-based designer of the modular typefaces Tic Type (2015) and Font D'Amour (2015). [Google] [More] ⦿

Channah Kuipers

Leiden, The Netherlands-based designer of the blackboard bold typeface Indie (2018). [Google] [More] ⦿

Characters (or: Character Type)
[René Verkaart]

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

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

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

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

Charles Enschedé

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

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

[Google] [More] ⦿

Charles Jongejans

Dutch printer and graphic designer, 1918-1995. He was at odds with the conservatism of Jan van Krimpen. [Google] [More] ⦿

Charles Pellens

Senior designer in Eindhoven, The Netherlands, who created Triangular (2013), an experimental 3d typeface. [Google] [More] ⦿

Cher Van Tol

Illustrative designer in Den Haag, who made the experimental typeface Hoogtelijnen (2011), as if each glyph were a meteorological map. [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 Lebeau

Joris Johannes Christiaan Lebeau was a Dutch designer, 1878-1945. His art deco lettering can be found in these creations: Kunsthandel Willem Brok (1919, portrait poster cut in wood), Winterboek 24-25 Wereldbibliotheek (1924, front cover), Ultraphoon Huis (1920s, record sleeve), Ultraphoon (1920s, record sleeve), Programma (1920s, program), and Openbare Arbeidsbemiddeling (1928, poster). The black display caps typeface Brok (1995, Elizabeth Cory Holzman, Font Bureau) was based on the Kunsthandel Willem Brok poster. Nick Curtis claims that his typeface Haarlem Nights (2006) is based on a 1920 Dutch poster for Public Placement Services by Johan Dijsktra. However, de Voogt says that Haarlem Nights is based on Lebeau's 1928 poster, Openbare Arbeidsbemiddeling. [Google] [More] ⦿

Chris Nuijen

Chris Nuijen (b. 1979) is a graphic designer in Eindhoven, The Netherlands. He set up his type foundry in 2013.

In 2013, he designed the rounded monoline modular display sans family Kaat (2013). [Google] [MyFonts] [More] ⦿

Chris van der Hoef

Christiaan Johannes van der Hoef was a Dutch designer, 1875-1933. He created some art deco posters such as Verblifa (1920), De Woekeraarster (1923), Henri Ter Hall's Revue (1927), and showed more art deco lettering prowess on his IXe Olympiade Amsterdam (1928, Olympic certificate). His lettering on the Verblifa poster influenced Kerfuffle NF (Nick Curtis), and Van der Hoef Capitals (Philip Bouwsma, Monotype). [Google] [More] ⦿

Christiaan Theo Boer
[Studiostudio]

Christian Annyas
[The Movie Title Stills Collection]

Christian "Cinga" Thalmann
[Catharsis]

Christian Lank

For a school project in Kenn Munk's class at the School of Visual Communication in Haderslev, Denmark, Christian Lank designed the free quirky vector format sans typeface Quartz (2017).

In 2019, while based in Amsterdam, he designed the free typeface Effekt Grotesk. [Google] [More] ⦿

Christoffel van Dijck

Born in Dexheim, Germany in 1606 or 1608 (some sources say 1601), he died in Amsterdam in 1669. Dutch printer, typefounder, type cutter, and type designer who worked for Elsevier. He had a type foundry in Amsterdam. In texts like Johan Enschedé's Proef vann Letteren (1768), his name is spelled Chistoffel van Dyk. Elsewhere we find the more modern Dutch spellings Dijk and Dijck for his last name. Rudi Geeraerts explains a bit about present day types based on Van Dijck's work. I cite him, interspersed with my own comments and additions:

Monotype Van Dijck (1937-1938) is based on a typeface used in 1671 in Herscheppinge (Joost van den Vondel) printed by Daniel Bakkamude. Jan van Krimpen was consultant to Monotype on that project. Most graphic designers were a bit disappointed because it looks skinny when used in normal text sizes. The digital version is due to Robin Nicholas.
DTL Elzevir (1992, Gerard Daniels) is based on a study of several cuttings from Christoffel Van Dijck. Dutch Type Library mentions that it is mainly based on the Augustijn Romeyn a cut found on a 1682 type specimen issued by Daniel Elsevier's widow (hence the name DTL Elzevir) showing some typefaces from Van Dijck and others. So the DTL Elzevir is not a remake of the Monotype Van Dijck.
Gerard Unger's Hollander (1983) is based on a study of the typography used in 17th century books using typefaces cut by van Dijck and possible Dirck Voskens. The Hollander is also the base of the well-known Swift. So Unger's Hollander is not a remake of the Monotype Van Dijck.
OurType's Custodia, designed by Fred Smeijers, is a single-weight roman, with italic and matching small caps, with a seventeenth-century flavour. It was made in 2002 for use in the publications of the Custodia Foundation. Custodia 17 is the first typeface to join the OurType Classics collection. By seventeenth century flavoured we mean the flavour shared by a range of 17th century punch cutters, like Christoffel van Dijck, Dirck Voskens, Johan Michael Smit and Jean Baptiste van Wolschaten. References to and specimens of their typefaces can be found in several archives. One of them is the Plantin-Moretus Museum in Antwerp. The OT Custodia is neither a Van Dijck revival nor a Monotype Van Dijck remake.
Dutch Textura (1681), in versions called Augusteyn Duyts and Mediaen Duyts.
He designed a Hebrew typeface for the Hebrew bible of rabbi and typefounder Immanuel Atias (or: Joseph Athias), known as Otiyot Amsterdam (or: Letters from Amsterdam).

Typefaces offered at MyFonts that are rooted in Van Dijck's work include:

Van Dijck (Robin Nicholas, Monotype). Monotype Van Dijck was remade by G.G. Lange (1993, Berthold) and is of better quality according to many, including, e.g., Jan Middendorp in Dutch Type.
Adobe Caslon (1990, Carol Twombly, Adobe). This is here because William Caslon's Caslon (1725) was influenced by Christoffel Van Dijck and Dirck Voskens.
Caslon 3 (Linotype). Based on a 1905 cut bu ATF.
Caslon Classico (1993, Franco Luin, Linotype).

FontShop link. Klingspor link. Christoffel Van Dijck's digital legacy. [Google] [MyFonts] [More] ⦿

Christoph Mueller
[Christoph Mueller Graphic Arts]

Citype is Jarrik Muller's project where designers create free typefaces inspired by a city. Contributions as of mid-2014 to this Dutch enterprise:

Christoph Mueller Graphic Arts
[Christoph Mueller]

Graphic designer, illustrator and type designer Christoph Mueller (Aachen, Germany) grew up in the Netherlands. His illustrations, album artwork and lettering have brought him international fame. He is also known for free fonts such as Mom's Typewriter (1997, old typewriter without a 0 or a 1---in the really old days, typewriters didn't have 0's or 1's. One used the uppercase letter O and the lowercase letter l for the 0 and the 1. This saved two keys and two type bars, as well as the linkage between the keys and type bars), NoRefunds (1997, grunge), AZ Crushed (1997, grunge) and Autonomous Zentrum. Among his non-free fonts, most of which are grunge types, Goyathlay is the most interesting one. Other typefaces by Christoph include Spotnik&OldRomanTimes, Bonnie and Clyde, Bonnie and Clyde GoodOldDays, Estetica Wrecked (+ExtraLetters), PsychoUno, PsychoZwo, and PsychoSan.

Dafont link. Abstract Fonts link. Fontspace link. Older URL. Font Squirrel link. Another old link. [Google] [More] ⦿

Christoph Noordzij

Dutch graphic and typographic designer from Aldeboarn, The Netherlands (b. 1959). Son of Gerrit Noordzij, and brother of Peter Matthias Noordzij. Designer at the Enschedé Font Foundry of Collis [discussed by John Berry], and OEM designer of the lettering for the Thalys high-speed trains between Paris and Brussels. Involved in book typography. Klingspor link. [Google] [MyFonts] [More] ⦿

Christophe Antonio

Graphic designer in Haarlem, The Netherlands, who works as We Art Free. He created an art deco custom typeface called Delapampa (2009). Behance link. [Google] [More] ⦿

Christophe Stoll

Designer of the free stitching font Postcode (2008, FontStruct). It is based on a Dutch postage stamp from 1978 by Gert Dumbar (who runs the famous Dutch visual identity Studio Dumbar) and René van Raalte, which reads POSTCODE. It was apparently created to encourage the Dutch to include postal ccodes on their envelopes. [Google] [More] ⦿

Citype
[Jarrik Muller]

Emily Clarke: Melbourne.

Hort (Eike König): Bergen.

Thijs Meulendijks: Antwerp.

Pablo Moreno: Cordoba.

Daniel Bonrath: Ruhrpott.

Marco Oggian: Milano.

Freddy Taylor: London Citype.

Jeffrey Bowman: Hemsedal.

Jon Arne Berg: Helsinkifjes.

Los Caballos (Nicolas Di Filippo and Sebastian Fuks): Buenos Aires.

Stefania Quattropani: Eidyn, or Edinburgh.

Jarrik Muller: Amsterdam.

Subform (Dennis de Vries): Groningen.

Freddy Taylor: London Citype.

[Google] [More] ⦿

CL Fonts
[Ilja Pfeijffer]

CL fonts is a package that contains GaramondLatin, a professionally produced typeface (by Rubicon Computer Labs Inc, 1998) that provides macrons, brevia, apices/stress marks, common inscriptional characters, characters for printing scanned poetry, and a few medieval and religious symbols. Free, sponsored by the CAES, the Classical Association of the Empire State. On this page, you can also download the Anaxiphorminx font (1998): Dr. Ilja Pfeijffer of the University of Leiden has created a metrical font for scholars and advanced students of Greek and Latin. Anaxiphorminx is a metrical font designed for advanced work in Greek and Latin metrics. It was created on the Macintosh by Dr. I.L. Pfeijffer of the University of Leiden. Page by David Perry. [Google] [More] ⦿

Cláudio Rocha

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

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

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

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

Claire Kalergis

During her studies at Mediacollege Amsterdam, Claire Kalergis designed the squarish blackboard bold style Base Font (2016). [Google] [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.

Coen Brasser

Motion graphics designer in Den Haag, The Netherlands. Creator of the outlined display typeface Suesco (2014). Behance link. [Google] [More] ⦿

Coen Gooijer

During his studies, Coen Gooijer (Gouda, The Netherlands) designed Playing Card Font (2018). [Google] [More] ⦿

Coen Hofmann

Born in Amsterdam in 1939, Hofmann started out as a typesetter, and then morphed into a calligrapher and an author on calligraphy, and finally into a type designer.

Designer at URW++/Fontforum of

Admira (2019). A revival of the striped all caps money font Admira (1940, Schriftguss).
Altrincham (2003).
Caxtonian Black (2012). A blackletter.
Globus Cursive (2015, +Cyrillic). This cursive font is a revival of a font by Friedrich Hermann Wobst (1932, D. Stempel AG).
Gothic Initials (2015). After an original from 1821 by Firmin Didot's foundry.
Holland Gothic (2012). A blackletter.
Jason Uncial (2012). A unicase uncial design.
Perugia Cursive (2003). A gorgeous calligraphic script based on the 19th century "Scrittura Rotonda Francese" and "Scrittura Italiana" developed by Italian calligrapher Cesare Silvestrini.
Pinel Pro (2014). A revival of a didone from 1899 by Joseph Pinel called French 10pt No. 2. URW++ writes: Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process.
Ramona (2004). A shaded typeface.
Revis (2011). A formal script based on Daphne, a typeface that was originally designed by German type designer Georg Salden. For some reason, that typeface was withdrawn from the URW++ library some time later.
Romeo (2004). A 3d beveled shadow face.
Sax (2008). A didone typeface family.
Seizieme Pro (2013). Based on the 1905 font Série 16 by Peignot, which was mainly used for scientific publications.
Signpainters Script (2013). A connected copperplate script.
Silvestrini (2003). A gorgeous Gando-style ronde. Based on the 19th century "Scrittura Rotonda Francese" and "Scrittura Italiana" developed by Italian calligrapher Cesare Silvestrini.
Sirius and Sirius Caps (2003). A garalde family developed together with British type designer Neville Brown.
Technotype (2011). A revival of Herbert Thannhaeuser's 1952 slab serif family Technotyp.
Thomas Schrift and Thomas Versalien (2015). Based on Friedel Thomas's Thomas Schrift and Thomas Versalien from 1956-1958.
URW Akropolis (2016, URW++). A revival of the cigar box open typeface Acropolis designed by the Ludwig Wagner foundry in Leipzig in 1940.
Pergamon (2016, URW++). A wonderful 10-style didone typeface family that revives, extends and modernizes Pergamon Antiqua first designed in 1937 at Ludwig Wagner in Leipzig by Alfons Scheider.
Marli (2016). A revival of the cursive typeface Korso by F. Schweimanns (1913).
Moewe (2017). An open typeface in the blackboard bold genre that revives Möwe (1929, Heinz Beck for Genzsch & Heyse).
Golf (2017). Golf was originally designed by Henry Reinhard Möller in 1935 for Schriftguss KG. Coen Hofmann redrew the capitals and then added lower case letter and Cyrillic alphabets.

Klingspor link. View Coen Hofmann's typefaces. [Google] [MyFonts] [More] ⦿

Coert Wigbels

Dutch designer of Coert Schrift (2008). Home page. Creator of Coert Schrift Dik and Coert Schrift Romaans (2008, handwriting). [Google] [More] ⦿

Colin Willems
[Ecofont]

Contemporary Dutch Typography

Collegium Graficum
[Alexander Overdiep]

Dutch text about good typography. A nice intro. [Google] [More] ⦿

Constantine Belias

Designer of the free five-style techno font family Nultien (2021). [Google] [More] ⦿

Constructed Languages
[Boudewijn Rempt]

Boudewijn Rempt's fonts for imaginary and not-so-imaginary languages: Afaka-Roman (from Suriname, with the help of Rob Nierse), Bugis-Makassar, DendenChancelleresca, Eqalar3 (for Pablo Flores' language Draseleq), goidel, gothic-1, Keiaans-(Kayenian), Mandeville-Hebreeuws, Meroitic-boldItalic, Mandeville-Chaldeeuws, Mandeville-Grieks, Mandeville-koptisch, Mandeville-Saracen, Nosjhe-standard (with Christophe Grandsire), hPhags-pa-(rotated), selang, selang-cursief, Ü-chan, ValdyaansKlerkenschrift, 2ValdyaansKlerkenschrift. He created Gothic after the alphabet devised by the Visigothic Bishop Wulfila (Lat. Ulfilas), 311-383 AD. [Google] [More] ⦿

The type situation in the Netherlands, described by Peter Bilak. [Google] [More] ⦿

Corien Bennink
[Corien's Handwritingfonts]

Cornelis André Vlaanderen

Corien's Handwritingfonts
[Corien Bennink]

Corien Bennink (Corien's Handwritingfonts) is a Dutch portrait photographer and pencil artist, b. 1980. She lives in Diever. Corien has been making custom handwriting fonts since 2005.

Creator of the comic book / chalk board font Whiteboard (2007). She is the designer of Heroes Font (2006, hand-printed, made based on screenshots of the Heroes TV series; see also here) and House Whiteboard Font (2006). Commercial fonts include Spidery Elegance (2008), Dausby (2012, based on a secretary's hand from the 1850s), Ashby (2015, a Spencerian script), Concinnitas (2015, a neat upright handcrafted typeface), Deveren (2017, based on goosefeather writings from the late 1600s), Notetaker (2019) and Yarker (2019, a business hand of the late 19th century).

She also offers a commercial handwriting font service (40 USD), and has some free handwriting demo fonts from 2005 and 2006: Angela, Bob-H., Escribiente, Heroes-font, Kendall-j, Krusoe, Nongtung, R.-Bruce, Whiteboard, richie.

Alternate URL. Yet another URL. [Google] [MyFonts] [More] ⦿

Corina Cotorobai

Corina obtained a Masters in type design at the KABK in Den Haag, class of 2001, and an MA in book design and typography from Werkplaats Typografie in Arnhem (ArtEZ, 2003). Corina studied Design Management at the EURIB, Rotterdam (2007-2009). Her typography awards include a silver medal for the Best Book Design of the World (Leipzig/Frankfurt, 2004) and Best Book Designs of The Netherlands (2003).

In 2002, Fred Smeijers, Corina Cotorobai, Rudy Geerarts and Martine Leloup (both of FontShop Benelux) co-founded OurType in 2002 [it was formally launched in 2004]. Fred and Corina were the creative lead of OurType, Rudy and Martine were in charge with sales. In 2017 Fred and Corina stopped their collaboration with OurType concentrating on several other projects, including a new type label. Fred and Corina are also co-partners in Type Tailors (established in 2008), offering type design development, publishing, custom type and typographic consultancy. In 2018, she co-founded Type By with Fred Smeijers. [Google] [More] ⦿

Despite his name, André Vlaanderen was a Dutch designer, 1881-1955. He drew several alphabets, such as Moderne Schabloonletter (1933, a geometric stencil), and Silhouetteletter (1933, a counterless geometric solid art deco face).

Digital revivals:

Vlaanderen NF, Vlaanderen Chiseled NF, Vlaanderen Round NF, Vlaanderen Square NF, all by Nick Curtis. These free fonts are based on an untitled work by André Vlaanderen from 1928.
F37 Xan (2010, Rick Banks, F37). Based on a 1925 design by André Vlaanderen.
Eutopia (2015, Victor Navarro Barba), based on an original from 1928 in the geometric solid genre.
Konstrukt (2020, Mew Varissara Ophaswongse).

[Google] [More] ⦿

Cornelis Dirckszoon Boissens

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

Cornelis Henricszoon Lettersnijder

Son of Henric Pieterszoon Lettersnijder, b. Delft. Dutch letter cutter ("lettersnijder"). He cut a Netherlandisch Bastarda, which he used from 1524 onwards, and a big double pica Textura to continue with the type family popularized by his father. Vervliet in his 1968 book ranks Cornelis a "cut" below his father. [Google] [More] ⦿

Cornelis Nozeman

Typefounder and pastor in Haarlem, The Netherlands, 1721-1785? He was a partner in Corn. Nozeman&Comp. His work can be found in Epreuve des caracteres, qui se fondent dans la nouvelle fonderie de Corn. Nozeman&Comp. a Harlem (Haarlem, 1756). Nozeman was in partnership with J.F. Rosart (1714-1777), who cut many of the types. The 1756 publication is a gorgeous small book, in which it is claimed that this is the start of a new foundry in Haarlem. Type showings include Dubbele mediaan schtyfletter (a script), ext romein, Text cursyf, Mediaan romein, Mediaan italique, Descendiaan romein and italique, Descendiaan medicynse, Astromise en Chimise Tekens, Garmond romein, Garmond cursyf, and Almanaks tekens. [Google] [More] ⦿

Corrie Smetsers

Dutch handwriting expert. Codesigner with René Verkaart of Kris (2014, Characters), a vampire script or haunted house typeface. [Google] [More] ⦿

Dutch designer in Ede of Le Font (2013, hand-printed), Strepper (2013, a blackboard bold font), Notey (2013, a hand-printed typeface) and Curia (2013, a calligraphic font).

Created by Design

A Dutch designer from Groningen. Examples of type on the streets of Paris. [Google] [More] ⦿

Creative Fabrica

Dutch font vendor who overlaps a lot with Creative Market. There is a subpage with freebies that includes Concre (2018). [Google] [More] ⦿

Cynesthetic (Christine)

Dutch designer of the connected script typeface Slow Dance (2017). [Google] [More] ⦿

Cynthia Ko

During her industrial design engineering studiers, Delft, The Netherlands-based Cynthia Ko created the rope font Forget Me Not (2016). [Google] [More] ⦿

Cyriel Klitsie

Dutch designer. Devian Tart link. He created the couinterless typeface Aubrey Graham Drake (2011). [Google] [More] ⦿

D. Bolle

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

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

D. Zimmerman

Dutch printer in Amsterdam. Their first type catalog dates bac to 1802: Eerste Letterproef van de Boek-Drukkery van D. Zimmerman (1802). [Google] [More] ⦿

Daan de Krosse
[Element M]

Daan Emmen

During his studies at SintLucas in Boxtel, Oirschot, The Netherlands-based Daan Emmen (b. 1996, Oirschot) designed the minimalist typeface Invisible (2016). Behance link. [Google] [More] ⦿

Daan Gei

Dutch graphic designer in Breda. Designer of the custom octagonal typeface Barst for Breda Barst in 2010. He also made the paper fold typeface Tree Font (2010). Pic. [Google] [More] ⦿

Daan Jobsis
[Dustbunnies Everywhere]

Daan Rietbergen

Daan Rietbergen (b. 1988) is an Utrecht-based independent graphic designer and artist who specializes in visual identity, poster design and typography. He graduated from Gerrit Rietveld Academie, Amsterdam in 2011 and from AKS St. Joost, Den Bosch, in 2014. From 2014 until 2019, he worked at Studio Dumbar in Amsterdam.

He designed some experimental typefaces that are mainly meant to be used in large physical settings. They include Rosdar (2021), Vimeto (2019), Nespor and Smam. [Google] [More] ⦿

Daan Spangenberg

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

Dag Henning Brandsaeter

Amsterdam-based student at the Gerrit Rietveld Academie who was born in Oslo in 1982. He is working on this Gill-like sans face (2006). [Google] [More] ⦿

Dani Darko

Nantes, France-based designer of the poster typeface Wildtyp (2015). Behance link. [Google] [More] ⦿

Dani Montesinos

Freelance graphic designer from Spain who lives in Amsterdam. He created the interesting geometric display sans typeface Athan (2010, Thinkdust), and the futuristic deco (Dutch neo-plasticist) typeface Blozend (2010, Thinkdust).

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

Daniel Gall

German illustrator and graphic designer (b. 1978, Ingolstadt, Germay), located in Amsterdam where he does business as San2Design. Behance link. He admits influences of Swiss design and Massimo Vignelli, and, not surprisingly, created a sans typeface called San2 (2010) which reflects these minimalist influences. [Google] [More] ⦿

Daniel Jean Mensing

Belgian typefounder (b. Antwerp, 1815, d. Rotterdam 1864). He worked as a typefounder in Rotterdam from 1857 until about 1864, running the foundry D. J. Mensing&Co. Specimen in the Amsterdam University Library. [Google] [More] ⦿

Daniel Maarleveld

Dutch designer based in Amsterdam, with a strong interest in generative design and kinetic typography. He has taught typography at the Gerrit Rietveld Academy in Amsterdam and typography at the ArtEZ Institute of the Arts in Arnhem. Maarleveld co-founded Font Spectrum in 2021 with Edgar Walthert in Amsterdam. Future Fonts link. The typefaces at FontSpectrum:

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

In 2021, he designed the optical illusion wire frame typeface Impossible Grid. [Google] [More] ⦿

Daniel Matakupan

Communication&Multimedia Design at the NHL University in Leeuwarden, The Netherlands. Indonesian creator of beautiful lettering in his Maluku poster (2011). Maluku is the local word for Moluccan, referring to the island group situated between Celebes, the Phillippines, New Guinea and Timor. It is part of Indonesia.

Daniel Samama

Dutch designer who created the free hand-drawn poster typeface Skinny Marker (2012).

Dave Crol

Designer of BANANASPLIT, BLOESEM, BRETAGNE, CROL, HAPPYdave. [Google] [More] ⦿

Dave Huizing

Born in The Netherlands in 1969, Dave Huizing created the disturbed typewriter font Rowdy Typemachine in 2015. In 2017, he designed the glaz krak typeface iCrack and the smilie typeface Smile 2 Me. Dafont link. [Google] [More] ⦿

David Benque

Rotterdam-based designer. He is working on a nice set of stitching fonts in 2007. [Google] [More] ⦿

David den Ouden

Utrecht, The Netherlands-based designer of Go Baaa Handwritten Comic (2017), a hand-crafed comic book typeface intended for use in his own cartoons and comic strips. [Google] [More] ⦿

David Fens

Netherlands-based creator (b. 1990) of these free pixel typefaces that were made with FontStruct in 2013: PKMN Mystery Dungeon, Mario Kart DS, FFCC Echose of Time, SMT Devil Survivor, SMB Deluxe, Unown GB, Accents Euro TLOZ Phantom Hourglass, Accents TLOZ Minish Cap / A Link to the Past / Four Sword, TLOZ Link's Awakening, Super Mario World, Super Mario Bros. 3, Super Mario 64 DS, Star Fox/Starwing, SMW2: Yoshi's Island, PKMN Pinball, PKMN RBYGSC, Euro Nintendo DS BIOS, Metroid Fusion, Accents Euro Mega Man ZX, Mega Man Battle Network, Kirby's Adventure, Golden Sun, Final Fantasy, Accents Euro Animal Crossing: Wild World, Ace Attorney. [Google] [More] ⦿

David J. Shipley
[Equisymbol]

David Kerkhoff
[Hanoded]

David Kerkhoff
[Ensotype]

David Kloeg
[Kloeg Architecture]

Speaker at ATypI 2013 in Amsterdam.

David Muehlfeld

German designer who grew up in Dresden, and has worked as a designer in Amsterdam since 2006. He created a thick counterless typeface in 2012. [Google] [More] ⦿

David Quay

British type and graphic designer (b. 1948, London) who graduated from Ravensbourne College of Art&Design in 1967, and after working as a graphic designer in London, founded Quay&Gray Lettering with Paul Gray in 1983. David Quay Design started in 1987, and finally, in 1990, he co-founded The Foundry with Freda Sack and Mike Daines in London. The Foundry also develops custom typefaces, marks and logotypes for companies inernationally these include a special typeface to be readable at very small sizes for Yellow pages, corporate fonts for BGplc (British Gas) NatWest Bank, and signage typefaces for both RailTrack in the UK and the Lisbon Metro system in Portugal. After Freda's death, he set up The Foundry Types with Stuart de Rozario. He taught typography and design at the Academie St. Joost, Hogeschool Brabant from 2001-2003. He taught part-time at IDEP in Barcelona, and lives and works in Amsterdam. In 2009, he started selling his fonts at MyFonts. He is also a designer at Retype in Den Haag, The Netherlands. His fonts, in chronological order:

Custom lettering and type for the Penthouse calendar.
1983: Santa Fe (monoline script), Agincourt (1983, Letraset and ITC, blackletter), Blackmoor (1983, ITC, English-style blackletter).
1984: Titus, Vegas.
1985: Quay, Milano.
1986: Bronx (brush script).
1987: Bordeaux (a skyline font family, Letraset), Bordeaux Script.
1988: Latino Elongated, Mekanik.
1989: Aquinas, Robotik, Helicon (1989, Berthold).
1990: Quay Sans (a humanist sans based on Syntax), Digitek, Teknik.
1991: Letraset Arta.
1992: Coptek, La Bamba, Lambada (1992, Victorian; Letraset), Scriptek (angular design, ITC).
1993: Marguerita (curly vampire script).
2010: Kade (Re-Type---it is a display/semi display sans family of fonts based on vernacular lettering photographed around the harbours of Amsterdam and Rotterdam).
2011: Bath (2010-2011), a typeface developed with Ramiro Espinoza for the signage and orientation of the city of Bath. It comes in Bath Serif and Bath Sans versions.
Foundry Gridnik (2016, The Foundry). Influenced by Wim Crouwel's work: Foundry Gridnik was developed from the single weight monospaced typewriter face, originally created by Dutch designer Wim Crouwel in the 1960s.
Foundry Tiento (2020). A magnificent very Latin didone family with exquisite hairline ligatures.
Fernhout (2021). The prototypical kitchen tile typeface. Quay was inspired by an icomplete alphabet Wim Crouwel designed in 1963 for an exhibition poster font the Dutch painter Edgar Fernhout at the Van Abbemuseum.

List of his typefaces, or revivals, at MyFonts: Bordeaux (Elsner+Flake), Bronx (Elsner+Flake), Agincourt (ITC), Aquinas (ITC), Blackmoor (ITC), Bordeaux (ITC), Bronx (ITC), Coptek (ITC), Digitek (ITC), La Bamba (ITC), Lambada (ITC), Latino Elongated (ITC), Letraset Arta (ITC), Marguerita (ITC), Mekanik (ITC), Milano (ITC), ITC Quay Sans (ITC), Robotik (ITC), Santa Fe (ITC), Scriptek (ITC), Teknik (ITC), Vegas (ITC), Titus (Linotype), Kade (Re-Type), Metallic Sky (SoftMaker), Foundry Sans (The Foundry), VLNL Hollandsche Nieuwe (VetteLetters).

View David Quay's typefaces. Klingspor link. FontShop link. Linotype link. View David Quay's typefaces. [Google] [MyFonts] [More] ⦿

David Roelands

Belgian penman who published t'Magazin OftTac-huys der Loffelycker Penn-const . . . Ghepractizeert Door David Roelands van Antwerpen, Fransoijschen School-Mr. binnen Vlissinghen in 1616. [Google] [More] ⦿

DBXL
[Donald Beekman]

Donald Beekman (DBXL, est. 1999) is a graphic and audiovisual designer (b. Amsterdam, 1961), who studied at the Rietveld Art Academy from 1979 to 1984 and then started his own graphic and music studio in Amsterdam. He designed many typefaces, most of them emanating from logos or artwork designed for his clients, often from the music and entertainment industry. Since 2004 he has been co-hosting Typeradio, the radio- and podcast-station on design and typography. He set up Vette Letters. Dafont link. Alternate URL. His fonts:

At FontFont: Automatic, FF Atomium (2007), FF Beekman (1999), Backbone, Imperial, Droids, FF Massive (2010: a logo family consisting of ultra-fat octagonal designs), Overdose, Stargate (1999), Totem, Tsunami, FF Flava (2003: Beekman calls this a hip-hop font), FF Manga Steel, FF Manga Stone, FF Webfonts, FF Backbone 2 (2003, a futuristic face) and FF Noni (2000).
At the DBXL web site: DBXL Softsoul, DBXL Monodon, Brak Bold, DBXL Hardsoul, DBXL Atonium, DBXL Nightfever (free).
At Die Gestalten: Breeze, Beatbox (2007, tilted stencil).
At Vette Letters: VLNL Cleaver (2017), VLNL Bon Bon (2013), VLNL Brokken (2009, fat octagonal face), VLNL Brak, VLNL Decks, VLNL Donuts (2015: originally designed in 2005 by DBXL as a logo for a Dutch funky house music outfit), VLNL Breakz.
Berlage (2013). A Dutch art deco typeface family based on lettering found in the Amsterdam Beurs (stock exchange) building, designed by architect H.P. Berlage, and other lettering found all over Amsterdam. It was published by FontShop in 2016 as FF Berlage Burcht and FF Berlage Beurs. The granite carving on the Berlagebrug in Amsterdam from 1932 inspired Beekman to design VLNL Berlagebrug (2019).
VLNL Kouseband (2019). A striking 5-style monolinear decorative sans with tall ascenders and an architectural lettering feel, perhaps Beekman's best typeface to date.

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

De Aesthetische Dienst
[Jeroen Koning]

Graphic designer, sign painter and letterer Jeroen Koning (De Aesthetische Dienst, Amsterdam) started work on DTL VandenVelde in 2015. This typeface will be inspired by the work of the famous calligrapher Jan Van den Velde (1568-1623). Behance link. [Google] [More] ⦿

De Amsterdamse Krulletter
[Ramiro Espinoza]

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

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

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

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

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

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

De Letter Pagina

Type site in the Netherlands. In Dutch. [Google] [More] ⦿

De Passe&Menne
[Jean Baptist De Panne]

Dutch foundry from 1842-1856, bought by Nicolaas Tetterode in 1856. Formerly, De Passe&Cie in 1841. Jean Baptist De Panne (b. Brussels, ca. 1806, d. Amsterdam, 1844) was a Belgian who had been a foreman of Firmin Didot in Paris. Kornelis Elix, an Amsterdam based typefounder, asked him to come to Amsterdam, where De Passe worked for him from 1837 on. In 1841, De Passe created his own foundry, only to die in 1844, a year after his first specimen was published. That specimen derived mostly from the Th. Lejeune foundry in Brussels, which was active there from 1836-1838. Specimen in the Amsterdam University Library. [Google] [More] ⦿

De Stijl

Influential Dutch magazine founded in 1917 by Theo van Doesburg in cooperation with Piet Mondrian, Bart van der Leck, Anthony Kok, Vilmos Huszar and J.J.P. Oud. It became the catalyst for the De Stijl movement. Ninety numbers were published in 8 volumes, the last one in 1932. All have been scanned in. The De Stijl movement lived and died with the magazine. [Google] [More] ⦿

De Stijl

De Stijl is a Dutch word that means The Style. It is a Dutch artistic movement started in 1917 and that lasted until 1931. The movement is also known as neoplasticism.

The group's principal members were the Dutch painter, designer, writer and critic Theo van Doesburg, the painters Piet Mondrian, Vilmos Huszár and Bart van der Leck, and the architects Gerrit Rietveld, Robert van 't Hoff and J.J.P Oud.

De Stijl is also the name of an influential Dutch magazine founded in 1917 by Theo van Doesburg in cooperation with Piet Mondrian, Bart van der Leck, Anthony Kok, Vilmos Huszar and J.J.P. Oud. It became the catalyst for the De Stijl movement. Ninety numbers were published in 8 volumes, the last one in 1932. All have been scanned in. The De Stijl movement lived and died with the magazine.

De Stijl stood for a new ideal of spiritual harmony and order. Its members proposed abstraction and universality by a reduction to the essentials of form and colour. For example, they simplified visual compositions by limiting everything to vertical and horizontal directions, even in the typefaces used. They used only primary colors along with black and white. [Google] [More] ⦿

Deborah Groeneveld

Tholen, The Netherlands-based student-designer of Stamped Alphabet (2015). [Google] [More] ⦿

Deconditoned Reflex (drx87)
[Roberto Dias da Silva]

Dutch designer in Den Haag (b. 1987) of Hamarama (2015, a display typeface), ArnStylo (2011, a deco face) and Deconditioned (2013, octagonal).

Behance link. Dafont link. His company is called Deconditioned Reflex Design. [Google] [More] ⦿

DecoType
[Thomas Milo]

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

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

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

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

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

Deep Blue

Dutch designer (b. 1990) of Collapse Smooth (2006), Standard Galactic Alphabet (2006), DeepHand (2006, his handwriting), Collapse Blocks (2006), and Slouch (2006, handwriting). [Google] [More] ⦿

Delano Limoen

Illustrator and graphic designer in the Netherlands. Behance link.

Creator of the geometric typefaces Gem (2012) and Maza (2012, art deco). [Google] [More] ⦿

Denise van der Graaf

Dutch designer of the signage script typeface Gracefull (2018). [Google] [More] ⦿

Dennis de Vries
[Subform]

Design Dutch
[Matt Langstaff]

Matt Langstaff created Four Pixel Caps (2005). Dafont link. [Google] [More] ⦿

designworkplan
[Sander Baumann]

Defunct type design and typography blog and news site (part of a much larger graphic design blog) run by Dutchman Sander Baumann. Alternate URL, where one can find his SymbolSigns-Basisset font made in 2009. [Google] [More] ⦿

Diana Duarte

Porto, Portugal (and now Amsterdam)-based designer of Bubbly (2017) and Birdy (2017). Home page. [Google] [More] ⦿

Diana Ovezea
[Acute Studio]

Dick Dooijes

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

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

[Google] [MyFonts] [More] ⦿

Diederik Corvers
[Ogentroost]

Diederik Mulder

Den Haag-based designer of the labyrinthine font Lost In A Maze (2013). [Google] [More] ⦿

Dimitry Hamekink
[Le Studio Graphic and Web Design]

Dinar Misochka

Dutch designer of a grungy Cyrillic typeface in 2017. [Google] [More] ⦿

Diogo Tovar

Graphic designer in Amsterdam. Behance link. Creator of Amsterdam Type Alphabet (2010, a ransom note font). [Google] [More] ⦿

Dionne Fox
[Hill Valley]

Dirk Voskens

Dutch punchcutter. In 1680, he taught Miklos Kis, who had just moved from Hungary to Amsterdam. Richard Lipton designed the text family Meno FB (1994, Font Bureau) in fifteen styles. He explains: the romans gain their energy from French baroque forms cut late in the sixteenth century by Robert Granjon, the italics from Dirk Voskens' work in seventeenth-century Amsterdam. [Google] [MyFonts] [More] ⦿

Dirk Zwaneveld

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

In 2014, he designed the creamy typeface Goggles.

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

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] ⦿

Dom Hans van der Laan

Dom Hans van der Laan (Leiden, 1904-1991) was a Dutch architect and Benedictine monk. After a few years of architectural studies, van der Laan developed a system of principles for proportions. Using this theory Dom Hans van der Laan designed buildings and even created a typeface, the Alphabet in stone. This typeface is based on the Roman carved stone capitals that were used in the first century AD. Designed using strict 3d rules (which he called the Plastic Number), his lettering can be found at the abbeys of Oosterhout and Mamelis.

The Alphabet in stone typeface was digitized in 2011. That project can be seen here. Contributors include Willem Noyons, Maarten Dullemeijer and Rob Stolte. The font family can be bought from the Dutch foundry Autobahn. [Google] [More] ⦿

Donald Beekman
[Vette Letters]

Donald Beekman
[DBXL]

Donald Roos
[Otherways.nl]

Donald Roos
[Typebase]

Donna Tuiten

Dutch designer of the pixel typeface TooSimple (2014, FontStruct). Aka beery. [Google] [More] ⦿

Dorien Heemstra

Utrecht, The Netherlands-based designer of the handcrafted vernacular typeface Not About Me (2016). Behance link. [Google] [More] ⦿

Dorrith Rem

Amsterdam, The Netherlands-based designer of the zebra (children's books) alphabet ABC (2014) and Thunder Font (2015). Behance link. [Google] [More] ⦿

Dotspot Graphics
[Yves Latscha]

Yves Latscha's Dutch site, located in Gennep, The Netherlands, is called Dotspot Graphics.

At this defunct Dafont link, one could download his free grunge face, Gekrazze, the grunge typefaces 50's Headline DSG (2006), OldPress DSG (2006), Overprint DSG (2006), Smeared DSG (2005), OverRide DSG (2006), the handwriting typeface LongTimeAgo DSG (2006), and the sketchy caps font Skizzed DSG (2006), as well as Dingbatz Formz DSG (2006), Marvelouz DSG (2006), Hangbord DSG (2006), Screw DSG (2006), Stamped DSG (2006). [Google] [More] ⦿

Drawperfect
[Paul Ijsendoorn]

Paul Ijsendoorn (Drawperfect) is a designer in Den Bosch, The Netherlands, b. 1976. He designed Blacknote Hand (2017), Forced Square (2014), Post-it Penscript (2009) and Fineliner Script (2010).

Dries Wiewauters

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

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

Dropper
[Pier Taylor]

Dutch designer of Devoid (2020), a no-nonsense 18-style sans family well suited for information design applications. [Google] [MyFonts] [More] ⦿

Drukland
[Alex van Galen]

Alex van Galen (Drukland) is the Dutch creator of the free upright connectred script font Blackboard Ultra (2013).

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

DTL FontMaster
[Frank E. Blokland]

A set of utilities by the Dutch Type Library for Mac and PC that allows one to professionally produce and correct fonts. Developed in coordination with URW Hamburg. Includes BezierMaster, ContourMaster, InterpolateMaster, KernMaster, IkarusMaster, TraceMaster and DataMaster. The DTL FontMaster team:

Frank E. Blokland: leader.
Dr. Jürgen Willrodt: URW software man.
Axel Stoltenberg: URW software man.
Peter Rosenfeld: coordinator of the programming team at URW in Hamburg.
Gu Jun: Ikarus expert.
Hartmut Schwartz: one of the developers of Ikarus M.

PDF file with a presentation by Frank E. Blokland entitled FM Automation at your Fingertips. [Google] [More] ⦿

DTM Inc

They say that DTM stands for Dan Tha man. This site is a spoof of more serious business sites and seems to be located in Krommenie, The Netherlands. Behance link.

Creator of the Zipper font in 2010. In 2011, they created Oh My Goth (a gothic face) and Alphabeetje (multiline face). In 2012, the paperclip typeface Ester was published. In 2013, they created a 3d alphabet called Inside Job. Mr. Right (2014) is a multiline script typeface influenced by Rechtman (1992, David Rakowski).

Dutch penmen of the 17th century

Dump PFM

Version 1.5.3 of free Windows utility Dump PFM, for reading a PFM file. By Jeroen W. Pluimers at the University of Leiden. Jeroen is now consultant at All I'M. [Google] [More] ⦿

Durotype
[Ben Blom]

Durotype is the foundry of Dutch type designer Ben Blom, who is based in Best, The Netherlands. Ben created the rounded serif family Classic Round (2010, +Classic XtraRound, 2011).

His second typeface family is Cigar (2010). He writes: Cigar is a revival of a 1970s and 1980s typeface called Cucumber or Nassel Black or Scanner. It has been carefully redrawn and expanded into a full-featured OpenType font. Cigar Octo and Cigar Quarto are new angular reinterpretations of Cigar. In Cigar Octo, most round shapes have been replaced by octagonal shapes. In Cigar Quarto, most round shapes have been replaced by rectangular shapes.

Seconda (2010) is a humanist sans family. Seconda Soft (2011), Seconda Round (2012) and Seconda XtraSoft (2011) are rounded versions of Seconda.

In 2011, he created the 16-style Simplo family, which was patterned after Alessandro Butti's Futura-like typeface Semplicità. This was followed in 2012 by Simplo Soft.

Classic Xtra Round was created in 2011.

Typefaces done in 2012: Flexo (a large x-height elliptical sans family), Flexo Contour.

Typefaces from 2014: Aspira (a 112-font sans superfamily).

In 2015, he designed the rounded sans typeface family Animo and the neutral sans typeface family Neutro (which was published in 2016).

Typefaces published in 2017: Innova (a grotesque described by Blom as more open, more squarish, more legible).

Typefaces from 2018: Flexo Soft. [Google] [MyFonts] [More] ⦿

Dustbunnies Everywhere
[Daan Jobsis]

Dutch designer of the cheerful hand-printed typeface Agrave Pro (2020), which is intended for long text passages. [Google] [MyFonts] [More] ⦿

Dutch Alphabets
[Mathieu Lommen]

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

Dutch Deco Type
[Sander de Voogt]

Sander de Voogt's selection of distinctive Art Deco type (bothy typefaces and alphabets as used on posters and in public) from The Netherlands. [Google] [More] ⦿

Dutch ligatures

Zip file with German and Dutch ligatures such as fb, fk, ffb, ffk, fj, ffj, and so forth. Expert page by Gert-Jan C. Lokhorst. For the Computer Modern family. [Google] [More] ⦿

The seventeenth century saw The Netherlands flourish in all respects, after the fall of Antwerp in 1585. Between 1590 and 1650, teachers and professionals taught and developed penmanship in the Low Countries---Penneconste in old Dutch. The most talented of them was Jan van den Velde. Others included Lucas Fopsz Lely, Abraham van Overbeke, Maria Strick and Felix van Sambix. [Google] [More] ⦿

Dutch Type Library (or: DTL Studio)
[Frank E. Blokland]

The Dutch Type Library was founded in 1990 by Frank Blokland (b. 1959, Leiden). It is based in 's Hertogenbosch, The Netherlands. Fonts include DTLAlbertina (Chris Brand), DTLArgo (Gerard Unger), DTL Caspari (Gerard Daniels), DTL Documenta (1986) and DTL Documenta Sans (Frank E. Blokland), DTL Dorian (Elmo van Slingerland), DTL Elzevir (1992, Gerard Daniels), DTL Prokyon and DTL Fleischmann (Erhard Kaiser), DTL Flamande (Matthew Carter, 2004, based on a textura by Hendrik van den Keere), DTL Haarlemmer (Jan van Krimpen, revived and extended by Frank Blokland), DTL Nobel (Sjoerd de Roos 1929; revived in 1993 by Andrea Fuchs and Fred Smeijers), DTL Paradox (Gerard Unger), DTLVandenKeere, DTL Unico (Michael Harvey), DTLRosart (Antoon de Vylder), DTL Sheldon (Jan van Krimpen revival), DTL Romulus (Jan van Krimpen revival), DTL Fell (a revival of lettering by John Fell, 1625-1686).

From their corporate blurb: The Dutch Type Library was commissioned to produce the corporate typeface for the European Union. Further, DTL supplied the company letters to, among others, the New York Stock Exchange, Germany's Phoenix Television Broadcasting Company, Amnesty International USA, Emerson, The Diamond Trading Company, Taylor Nelson Sofres, Finland's most popular newspaper Helsingin Sonamat and banks and museums all over Europe.

Besides fonts, the Dutch Type Library also produces sophisticated software for (OpenType) font production: DTL FontMaster, of which a free Light version is available.

DTL has claimed all rights to the entire Lettergieterij Amsterdam typeface library obtained in some agreement with Tetterode. [This info may be wrong---I have no way to verify this.]

He obtained a PhD from Leiden University and his dissertation was entitled Harmonics, Patterns, and Dynamics in Formal Typographic Representations of the Latin Script. The regularization, standardization, systematization, and unitization of roman and italic type since their Renaissance origins until the Romain du Roi.

Klingspor link.

Speaker at ATypI 2013 in Amsterdam: The (digitized) calligraphy on HM Queen Beatrix' Abdication Act 2013. [Google] [MyFonts] [More] ⦿

Dutchfonts.com
[Ko Sliggers]

Ko Sliggers, b. 1952, Bloemendaal, The Netherlands, was a young designer at Studio Dumbar. After that, he became a professional cook in Rotterdam, Italy and France, switched back from food to design, producing challenging visuals at Studio Anthon Beeke and, in 2002, set up a one-man studio in Lalleweer, in the province of Groningen, called Dutchfonts. He was trained by Chris Brand at the St. Joost Academy in Breda. Ko created these commercial typefaces: DF Tapa (2007, irregular hand), Camino (2006, an austere sans), Ko (1997, six stencil styles), Etalage (2000), Arienne (2000), Staple Mono (monowidth typewriter family), Staple Txt (2005), Pommes (based on type cut out of potatoes; 8 styles), Daantje (dog dingbats) and Ko (1997, rough stencil). His own web site. MyFonts page, where you can buy DF-Arienne, DF-Etalage, DF-Ko, DF-Pommes (2005, potato cut typeface family), DF-Staple Mono, DF-Tapa (2007, grunge), DF-Mercat (2007, dingbats inspired by Barcelona's Ramblas), DF-Pigtail (2008, seventies-style script family), DF-Zzzz (2009), DF Camino (2009, a sans that is modeled on traffic sign sans typefaces), DF Stromboli (2010: It was written with a coffee spoon, acting like a broad pen, in the ashes of the Stromboli volcano right on top of a scanner. ), DF DejaVuPro (2010, an amalgam of sans typefaces), DF Game Over (2011, sketched face), DF Scheurze (2012, a great fat rough stencil face).

Typefaces from 2013: DF Riga (grungy pixel face), DF Abit (another grungy pixel face), DF Dudok (a grungy pixel face).

Typefaces from 2015: DF Charlie Go (free typeface designed immediately after the Charlie Hebdo attack in Paris), DF Park (experimental font started in 2013, originally made to dress up the facades of a food exhibition).

Dafont link. Klingspor link.

View Ko Sliggers's typefaces. [Google] [MyFonts] [More] ⦿

Duvel

In 2015, a Dutch designer created a new logo for the Belgian beer brand, Duvel. He asked that I not mention his name. [Google] [More] ⦿

Duygu Ölcek

Typographer and designer who lives in Den Haag, The Netherlands. She made some elegant typefaces, such as Memoa (2010, organic typeface first called Jarek), Cubicle (2010, squarish) and a tilted script of exceptional balance, also in 2010.

Earik Wiersma
[Eden]

Ebern Klause
[Rawblind Basteype]

ECHT
[Johan Manschot]

ECHT is the foundry of Johan Manschot (b. 1974, Utrecht), a Dutch graphic designer who lives in Utrecht. His typefaces includes the counterless octagonal Pavement (2010) and the Indic simulation typeface Barharen Phir Bi (2010). The latter typeface is based on the Hindi text found on Guru Dutt's Baharen Phir Bi Aayengi -film poster (1966). [Google] [MyFonts] [More] ⦿

Ecofont
[Colin Willems]

Spranq Eco Sans (2008) is a free font based on Vera Sans. It tries to probe how much of the glyphs can be removed without harming legibility. The idea is that holes in glyph outlines save on (expensive and toxic) ink. Ecofont is designed and developed by Spranq on an idea of Colin Willems. Spranq, the company, is based in Utrecht, and Alexander Kraaij is one of the spokesmen. It is unclear who actually wrote the software for putting holes in glyphs. In any case, the software is for Windows only.

Dafont link. Kernest link. Behance link. Spranq site. [Google] [More] ⦿

Eden
[Earik Wiersma]

Eden is an Amsterdam-based design form, formerly called BRS Premsela Vonk. Its designer Earik Wiersma made an 8-weight type family, Horizon, based on the Heineken beer logo. With the help of Lucas de Groot, this was later extended to an 11-weight type family called Heineken Sans and Heineken Serif in 2000. [Google] [More] ⦿

Edgar Fernhout

Dutch painter, 1912-1974. In 1963, the Van Abbemuseum asked Wim Crouwel to prepare a poster for an exhibition on Edgar Fernhout. Wim Crouwel designed an incomplete kitchen tile alphabet for the occasion, and explained: It refers back to the system in the Hiroshima and the Triennial posters. The form is inspired by the abstract landscapes that Edgar Fernhout was making when I first met him. They were built up with short brushstrokes, in beautiful structures. There is a clear division in four sections, all with elements of the same height. Because of Fernhout's landscapes, I also introduced a horizon. I also wanted to bring in that reflexion, that Dutchness, here. Crouwel's lettering in turn led to the design of a few complete typefaces:

Wilson Thomas's Edgar Fernhout (2012). Based on his earlier Fontstruct font Edgar Fernhout (2008).
David Quay's Fernhout (2021).

[Google] [More] ⦿

Edgar walthert
[Letterspace Amsterdam]

Edgar Walthert

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

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

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

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

His typefaces at FontSpectrum:

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

His corporate typefaces:

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

[Google] [More] ⦿

Edo Smitshuijzen

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

Edu Pou

An Amsterdam-based creative artist. Creator of the iFontMaker font Font2 (2010, sketched letters). Pic. [Google] [More] ⦿

Edward de Leau

Skinletter is a collection of 26 letters with beautiful women in the background. In GIF format only. By Dutchman Edward de Leau. [Google] [More] ⦿

Edwin Servaas

Edwin Servaas is based in Willemstad in the Dutch Antilles. He designed the free charming handcrafted poster typeface Hidden Cinema in 2015. Behance link. [Google] [More] ⦿

Edwin van de Beemt
[Pokemon Paranoia]

Eigen

A circle-themed font made in 2016 by a Dutch designer. [Google] [More] ⦿

Element M
[Daan de Krosse]

Dutch designer of the modular futuristic typeface Element M One (2020). [Google] [MyFonts] [More] ⦿

Elena Lloveria

Amsterdam-based designer. Behance link. Creator of the ornamental caps typeface Fantastica (2012). [Google] [More] ⦿

Elena Shkarupa

Den Haag-based creator of the modular typeface Perceptio (2013, FontStruct). [Google] [More] ⦿

Eline Hoedeman

Graduate of the Media College in Amsterdam, who designed the minimalist experimental typeface Diamant (2016). [Google] [More] ⦿

Elisa Knetsch

Dutch designer of the art deco typeface Eigen (2018). [Google] [More] ⦿

Elmo van Slingerland

Dutch type designer and lettering artist in Gouda (b. 1964, Rotterdam) who made DTLDorian (1994) at the Dutch Type Library. The calligraphic expertise of van Slingerland shines in this great text typeface family. [Google] [MyFonts] [More] ⦿

Elsevier Science

Free math and scientific symbol fonts at Elsevier, the Dutch publishing house. The font series is called ESSTIX (2000). See also here. The list: ESSTIXTen, ESSTIXEleven, ESSTIXTwelve, ESSTIXThirteen, ESSTIXFourteen, ESSTIXFifteen, ESSTIXSixteen, ESSTIXSeventeen, ESSTIXOne, ESSTIXTwo, ESSTIXThree, ESSTIXFour, ESSTIXFive, ESSTIXSix, ESSTIXSeven, ESSTIXEight, ESSTIXNine. [Google] [More] ⦿

Elvira Koek

During her graphic design studies in Zwolle, The Netherlands, Elvira Koek created the modular typeface Fabrik (2013). She writes: This font is based on a few letter designs by Eric Waetzig.

Elwin Berlips
[FontMeister]

Elzevir family

Elzevir is an oldstyle typeface style related to garaldes. Elzevir was also the name of a renowned family of printers in the 16th and early 17th century in Leiden, The Hague, Utrecht, Copenhagen and Amsterdam. The first one, Louis (1540-1617), was the son of a Belgian printer in Leuven and established a print shop in Leiden in 1580. Other members include Isaac Elzevir, Bonaventrura Elzevir, and Abraham I Elzevir. They were operational until 1712.

The Elzevir style was promoted by Louis Perrin in Lyon, France, in 1846. In the United States, this style is known as DeVinne. Britannica link. [Google] [MyFonts] [More] ⦿

E&M Cohen

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

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

Emanuele Papale

Italian art director in Amsterdam who designed the elegant free hipster sans typeface Elianto (2016). [Google] [More] ⦿

Emday Fonts
[Miriam van der Have]

From Nijmegen, The Netherlands, Miriam van der Have's Dutch site offers a general introduction to fonts and font terminology. An impressive glossary. [Google] [More] ⦿

Emile Michel Hobo
[Hobo Art]

Kis Antiqua Now TB Pro and (2008, Erhard Kaiser for Elsner & Flake) are based on earlier Elsner & Flake versions of Kis Antiqua published by them in 2006, which, in turn, go back to Hildegard Korger's Kis Antiqua at Typoart, 1986-1988, and ultimately to a Jansonian Garamond by Miklos Totfalusi Kis in 1686.

Emilio Macchia

Italian designer of the fat display typeface Prendotempo (2007). He has addresses in Ravenna and Rotterdam. He co-designed the monospaced typewriter typeface Lekton at ISIA Urbino with Luciano Perondi aka Molotro, Marco Tortoioli Ricci aka BCPT, Michela Povoleri, Stefano Faoro, Elena Papassissa, Giulia Sagramola, Erica Preli, Mige Yilmaz, Luna Castroni, Caterina Giuliani, Veronika Bannert, Laura Fuligna, Caterina Carli, Tobias Seemiller. Google Fonts link. [Google] [More] ⦿

Emily Maas

Den Bosch, The Netherlands-based designer of a hipster typeface in 2017. [Google] [More] ⦿

Emma Wesseling

During her studies, Nieuwleusen, The Netherlands-based Emma Wesseling created an all caps Victorian ironwork typeface (2016). [Google] [More] ⦿

Enschedé: Civilité

Excerpts of the book Enschedé. Spécimen des Lettres françoises dites Caractères de Civilité des XVIme et XVIIme Siècles dans la Collection Typographique de Joh. Enschedé en Zonen (1926, Haarlem: Joh. Enschedé en Zonen). This collection contains six different Civilité fonts, five from the 16th century (numbered 8, 9, 11, 12 and 14) and one chiefly from the seventeenth century (No. 30). The first maker and user of Civilité was Robert Granjon of Lyon, France, in Dialogue de la vie et de la mort (1557, Lyon), where he calls it his lettre françoyse. Plantin purchased some of Granjon's letters, and Granjon engraved even more more new letteres d'escriture in Antwerp for Plantin. Many imitations were made in Antwerp and Ghent, both in present day Belgium. Notes on the six Civilité types in the Enschedé collection:

No. 8 and No.9: Almost identical fonts engraved by Franco-Flemish engraver Ameet Tavernier (b. Belle, ca. 1526) who worked as a typefounder and printer in Antwerp.
No. 11: The author guesses that it is either Granjon's la petite françoise (ca. 1566) or Pierre Hautin's (aka Hamon) work. Pierre Hautin also sold lettres façon d'écriture to Plantin. The cursive françoise in the Manuel Typographique of Fournier le Jeune possesses many points of resemblance with No. 11.
No. 12: The author credits this either to Granjon (ca. 1566) or to Henric vanden Keere of Ghent (aka Henri de la Tour). It is found together with Initials No. 10. The author thinks that vanden Keere is probably right since Jan van Hout, the secretary of the town printer of Leyden, seems to have purchased the same letter (i.e., No.12) from vanden Keere.
No. 14: By vanden Keere, ca. 1575. A copy of the original specimen is still in the Plantin Moretus Museum.
No. 30: The model for No. 30 was used before 1600 by Plantin in Antwerp and Jan van Hout in Leyden. It is possibly due to vanden Keere. It became popular in The Netherlands in the 17th century.
Initials No. 13: Engraver unknown. Frequently used by Plantin and made in the 16th century.

[Google] [More] ⦿

Ensotype
[David Kerkhoff]

Ensotype was established in 2018 by Dutchman David Kerkhoff, who also runs Hanoded. In 2018, he published the Japanese brush ink typeface Murasaki and the Arabic emulation typeface Ruhaniyat.

Typefaces from 2022: Impending Distaster (a horror font). See also here. [Google] [MyFonts] [More] ⦿

Equisymbol
[David J. Shipley]

Equisymbol is the international symbol of balance and equilibrium that was created by inventor and entrepreneur David J. Shipley in 2017. Based in Haarlem, The Netherlands, Shipley took out trademark protection for the name and the symbol itself. Two personal remarks: (1) I thought that trademark only referred to names, but he claims otherwise. (2) This will not win him the award of mensch of the year. [Google] [More] ⦿

Erhard Kaiser

German type designer (born in Quedlinburg, near Leipzig, 1957), who made the extensive DTL Fleischmann family (1992) at the Dutch Type Library. The font is named after Johann Michael Fleischmann (1701-1768), a German punchcutter who lived and died in Amsterdam. From 1983 until 1991 Erhard Kaiser worked at TypeDesign for Typoart, Dresden and since 1993 has been with DutchTypeLibrary/URW++. Still at DTL, he made the sans serif DTLProkyon family in 2002 around a curvy "4". This family gets raves from many typographers. Among possible imitations, we cite Dalton Maag's Ubuntu. For Typoart he designed Caslon Gotisch, Kleopatra, Quadro, Weiß-Antiqua and B embo Antiqua. Since 1998 he teaches at the Muthesius Hochschule in Kiel. In 2005, he created DTL Antares, a strangely proportioned serif to accompany DTL Prokyon. Some weights published in 2008 are called Evonik Antares and some Evonik Prokyon.

Klingspor link. Bio at ATypI. [Google] [MyFonts] [More] ⦿

Erik Groenendijk

Dutch / Latvian FontStructor who made Georgian Boldy (2012), Latvian High Condensed (2012, a piano key typeface), and Aluksne (2012, a bold sans with 854 glyphs). [Google] [More] ⦿

Erik Hannink

Erik lives in Zwolle, The Netherlands, and was born in 1964. He designed the splendid free handcrafted typefaces Eryx Rennie Macintosh (2015, Scottish arts and crafts typeface), Eryx Freeform (2015) and Eryx Cartoon (2015). Dafont link. [Google] [More] ⦿

Erik van Blokland
[LettError]

Erlend's Atari fonts

Atari GDOS bitmap font Jill Sans made by this Dutchman. Not bad-looking! [Google] [More] ⦿

Erlof 't Hart

Erlof 't Hart (Opus Design, Rotterdam, The Netherlands, is a graphic designer. He created a minimalist monoline sans typeface for a sports retailer called Frontrunner (2011). He also made some logotypes. [Google] [More] ⦿

Ersen Akkaya

Apeldoorn, The Netherlands-based designer, b. 1975. Designer of Vandiana Platin (2007, display sans family with many weights). Before that, as Ersenak, Ersenak Production, and Laztemel Font Design Studio, he made the 99 Euro techno family Sevil alias Esra (2004). One free weight is here. He also made the techno font family Kubra (a bit in the style of Bank Gothic), and 4Deniz_alias_Kubra (2003). In 2014, he made the outine font Mixed Feelings. Mental Type [old URL]. Dafont link. [Google] [More] ⦿

Erwin Denissen
[YourFonts]

Erwin Denissen
[Font Creator / High Logic]

Erwin Luijendijk

Zwolle, The Netherlands-based designer of the circle-theed typeface Round (2017). Behance link. [Google] [More] ⦿

Erwin Vader

Aka Airswinger, b. 1972. Dutch creator of the free fonts Appendix Normal (2006), Erwin Plain (2006, hand-printed) and Airswing Headline (2011). [Google] [More] ⦿

Erwin van der Waal
[Star Trek Fonts -- Alien Races]

FontShop link. Klingspor link.

Erwin Van Soelen

Dutch designer of the handwriting typeface Erwin (2006) and the grunge typefaces Appendix (2006) and Airswinger (2006). In 2011, he made Airswing Headline (2011, futuristic). He also uses the names Airswinger and Erwin Vader. [Google] [More] ⦿

Esger Jellema

Designer in Grioningen, The Netherlands, who created RoundUp (2011). Behance link. [Google] [More] ⦿

Esmé Vahrmeijer

Esmé Vahrmeijer, a graphic designer in Utrecht, The Netherlands, designed the Treefrog-style typeface Drupfabet in 2014. Behance link. [Google] [More] ⦿

Esther de Boer

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

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

[Google] [More] ⦿

Eun You Noh

Or Eunyou Noh. Type designer and researcher from South Korea. She earned her Ph.D. in visual communications at Hongik University in 2011---her thesis was a study on Choi Jeong-ho's Hangul type designs. She started teaching Hangul type design at several universities, including Hongik. In 2012-2015, Eunyou Noh worked as a senior researcher at Ahn Graphics Typography Lab. She moved to the Netherlands in 2016, to study in the TypeMedia program at KABK, where her graduation typeface was Optique (2017). Eunyou currently lives in The Hague, working on a multi-script project.

She explains Optique: Optique is a multilingual typeface design project for Latin and Hangul in optical sizes. It is a serif typeface based on the tools of each script; broad nib for Latin and pointed brush for Hangul. Optique simplifies the shapes of Latin and Hangul whilst preserving the way of writing for each script. It is designed with the intention to achieve harmonization; to let the two scripts appear as one.

Speaker at ATypI 2018 in Antwerp on the topic of Hangul type designer Choi Jung-ho (1916-1988). [Google] [More] ⦿

Euro-CE
[Harold W. de Wijn]

Euro and CE symbol fonts made by Harold W. de Wijn in metafont format in 1998 (version 3.0 from 2002). de Wijn is a physics professor at Utrecht University, The Netherlands. [Google] [More] ⦿

Evan Kievit

Student in Leiden, The Netherlands, who designed the thin display typeface Papercut in 2017. [Google] [More] ⦿

Evert Bloemsma

Dutch type designer (b. Den Haag, 1958, d. Arnhem, 2005) who studied graphic design at the Arnhem School of Art (1981). He worked at his own office for a number of clients, taught type design at the art academies of Arnhem and Breda and wrote articles about typography and related topics. He created FF Balance (1993), FF Cocon (1998-2001: organic style), FF Avance (2000) and FF Legato 1 and 2 (2004, flared sans families discussed here). FF Balance was created at the Amsterdamse Steenweg in Arnhem, at almost the same address as Ontwerpbureau Quadraat. Editor of "Letters, een bloemlezing over typografie" (Eindhoven, 2001), a book about contemporary Dutch typography.

Typophiles about his death. Jan Middendorp wrote: Of all the type designers I have known and have written about, Evert had the most complex personality, and possibly the most original mind and the weirdest sense of humour. He kept promising me, with his characteristic mixture of boyish enthusiasm, solemn dedication and self-mockery, that he would one day cover the entire distance between his home in Arnhem and mine in Ghent on his reclining bike. I was sure he'd make it, sooner or later he always carried out his plans, although some took him ten years to complete. It fills me with grief, wonder and anger that Evert, who was always advocating exercise and healthy food, has now been taken away from us because of a heart failure. As a type designer, Evert was unorthodox, a true original. Each of his four type families was the outcome of a highly personal investigation, a challenge to himself. To others, he could be as demanding as his was to himself; when criticizing his friends' typographic work, he was brutally honest and always to the point. Yet he remained amazingly modest, even insecure, about his own work, and deeply grateful to those who would comment on the early versions of his typefaces and/or test them in print. In spite of the single-mindedness with which he worked on his type designs during those months of total concentration, he was open to many other intellectual stimuli. He had worked as a photographer of architecture constructing his own hand-operated panoramic camera, interviewed the designers he admired (such as Wim Crouwel and Hans Reichel) about their design philosophy, and lately became fascinated by the work of Marshall McLuhan. His lectures and articles, too, were evidence of his original ideas on form and on reading. It is a great loss indeed.

View Evert Bloemsma's typefaces. [Google] [MyFonts] [More] ⦿

Evert Ybema

During his studies in Tilburg, The Netherlands, Evert Ybema created an untitled display typeface (2014). [Google] [More] ⦿

Exljbris
[Jos Buivenga]

Jos Buivenga (exljbris; b. Assen, 1965) is the Arnhem-based Dutch artist who designed some of the most popular fonts of 2010-2011. MyFonts interview in 2009. Speaker at ATypI 2010 in Dublin. His oeuvre:

Anivers (2007). The regular weight is free.
Calluna (2009). A garalde in 8 styles, one of which is free but the others are not---see Fontsquirrel. Calluna Sans (2010).
The sans family Delicious (1994-1996). A free face. See also here. He is working on this and DeliciousX.
Diavlo (2007). A free sharp-edged sans opentype face.
Fertigo (2006) and Fertigo Pro (2008). A lively organic display text type.
Fontin (2007: a free miniserifed family).
His masterpiece from 2010 is the Geotica family, which runs the gamut of art deco styles and includes inline blackboard bold styles.
Museo (2008, a 5-style slab serif), Museo Sans (2008; 2 free and 8 non-free styles), Museo Sans Rounded (2011), Museo Slab (2009). In 2012, he added Museo Sans Condensed and Museo Cyrillic. Museo Sans Display received five new weights from Hairline to Extra Black in 2014. In 2021, he added Museo Slab Rounded (12 styles). From about 2009 until 2014, the Museo family was one of the best-selling typefaces in the world.
In 2010, Martin Majoor and Jos Buivenga started work on Questa Sans (a typeface with a special y) as part of their Questa project. Questa is a squarish Didot-like font that Jos originally had planned in one display style only. It turned out to be a perfect basis to apply upon Martin's type design philosophy about the form principle of serif and sans. Questa was finished in 2014 and now includes Questa Sans, Questa Serif, Questa Slab and Questa Grande. Fontsquirrel link.
Tallys (2008). A serif with tall ascenders.
Tenso (2013). A lively humanist sans family. Tenso Regular is free. Followed in 2022 by Tenso Slab.

Special Museo posters have been created, such as by Jasmine Lockwood (2012), Laurellie Pacussich (2013) and Larisa Mamanova (2012).

In 2021, he released Antona (a 16-style geometric sans).

Klingspor link. Old personal home page. Abstract Fonts link.

View Jos Buivenga's typefaces. Adobe link. [Google] [MyFonts] [More] ⦿

Eyal & Myrthe
[Eyal Holtzman]

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

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

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

His typefaces:

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

[Google] [MyFonts] [More] ⦿

Eyal Holtzman
[Eyal & Myrthe]

Fabian de Lange

Digital artist in Heerlen, The Netherlands, who created Back To Black (2011, experimental face), Hello Type (2011, sans headline face), Just Meet Me Halfway (2009), an experimental font made for two-coloring, and Eclectic (2011, a free octagonal face).

At OFL, he makes 01 Base (2010, sans) available.

Typefaces from 2014: Cigarettes & Coffee (a free vernacular brush typeface).

Dafont link. Devian Tart link. Behance link. [Google] [More] ⦿

Famoys Saz
[Sarah Rose]

Dutch designer of the dry brush typeface This is so You (2020). [Google] [More] ⦿

Femke Klaver

Dutch artist. Designer of the handwriting fonts FemkeKlaver and Emiz (2008). Alternate URL. [Google] [More] ⦿

Femke Smits

Femke Smits (b. 1996, Drunen, The Netherlands) designed the lava lamp stencil typeface Vuur Vrij in 2016, together with Joshua K. Gomez. [Google] [More] ⦿

Fiel van der Veen

Book illustrator. Dutch Creative Alliance designer of Amadeo (handwriting, 1999, with Julius de Goede). See also at Agfa. Van der Veen runs Studio van der Veen in Haarlem. [Google] [More] ⦿

FindThatFont
[Mathijs Juressip]

FindThatFont! is a handy and free tool that allows to preview fonts that are installed on your system and to classify them into over 30 different categories. By Dutchman Mathijs Juressip. [Google] [More] ⦿

Fine Display Type
[Jeffrey Visser]

Dutch FontStructor known as jffry101 who is mostly interested in recreating typefaces based on different display technologies, like LED, flipdot and segment displays and pixel or dotted matrix typefaces seen on trams, buses and trains.

Typefaces from 2020: Geos (a textured typeface based on old airport and train station signage).

Typefaces from 2015: Parisienne (dot matrix style).

Creations from 2011: GVB Bus PID (a vertically striped family) in versions 7x4, 13x8, 13x6, 5x3, 7x3, 10x7. He made these fonts in 2010: Combino Klein and Combino Groot, both based on the font used on the front displays of the GVB Siemens Combino trams. In 2009, he fontstructed Citaro Voor DM II, Citaro voor DB (dot matrix typefaces), Citaro voor DS, Citaro Zij DS, Citaro Voor EB, Flappen Regular (white on black), GVB Metro PID, Sevebyseven (+Monospaced, +Bold Monospaced, +Proportional: dotted pixel typefaces), Bus Destinations, Aeroport (MICR font), GVB Bus PID, Arriva 9x6, Arriva 7x3, 7 segments (LED simulation face), 9 Hoog Arriva, Dice. In 2008, he made Binnen Display 5, 6 and 7 (all for the RIS displays in GVB trams and buses), and 15x5 and 07x5. In 2007, before FontStruct existed, he made the kitchen tile font Metro (2007).

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

Fiodor Sumkin

Byelorussian illustrator who fled his country when he was 18 years old. He sold paintings in Moscow and now lives in Amsterdam. His drawings are straight out of the 19th century, ornamental and playful. He is also inspired by the psychedelic lettering of the 1960s. Discussion of his work by Coles. Typefaces, all made or drawn in 2006-2007: Rodopi, Fashion Condensed, Farringdon, Hopkins, Rondell (Western style face), Abramesque (ornamental caps), Mansard Trimmed (19th century emulation), Wedlock, Silverado, Shimmer Wide (cyrillic), Mona (extra-wide slab serif), Flirt Chloe (more 19th century ornamental glyphs), Jubilee (constructivist Cyrillic lettering), Big Cyrillic pixels (many great pixelized alphabets), Cuba, Gingerbread (Victorian), and St. Clair. Alternate URL. Check out his gorgeous country maps designed for the aeroflot in-flight magazine in 2008. [Google] [More] ⦿

Flat Icons
[Paul Jansen]

Dutch designer of Claston Script (2020), Caride Script (2020), Ratilla Script (2020), Pathita Script (2020) and Casira Script (2020). Most of his products are icons though. There are about 200 icon sets. These include Supernatural Icons (2019), Online Education Icons (2019), Politics Icons (2019), Investing Icons (2019), Computer Science Icons (2019), Weather Icons (2019), Metallic Icons (2019), Flat Icons (2014), Bitcoin + Cryptocurrency Line Icons (2018), Travel Icons (2018), Medical Icons (2018), and Cryptocurrency Icons (2018). [Google] [More] ⦿

Floor van Steeg
[Typeface App]

Florian Schick
[SchickFonts]

Floris Voorveld

Dutch freelance graphic designer (b. Almelo, 1985) living in Granada, Spain, and/or Nijverdal, The Netherlands. Creator of the free rounded sans typeface FV Almelo (2012), which was designed using ruler and compass. FV Granada (2012) is a contemporary monoline sans typeface. FV Deventer (2012) is a wavy antique almost Victorian font. Floris also created Hipster Icons.

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

fnsam

Peter Kleiweg's free utility, which creates a set of HTML pages, each showing samples of twenty fonts -- Type1, TrueType, and others that are available to Ghostscript. You can quickly browse your fonts using a HTML browser, and click a sample to view that font's complete character set. A separate script is available that lists detailed info about a particular font. [Google] [More] ⦿

Font Creator / High Logic
[Erwin Denissen]

At High Logic in the Netherlands, Erwin Denissen (who is based in Bilthoven near Utrecht) has developed a font editor called Font Creator. No type 1 support. Windows only. At some point, Font Creator switched from shareware to payware. It also added Scanahand, a Windows tool for making handwriting into a font.

Erwin Denissen started his career as an employee at ICT Automatisering, mainly working with Delphi. About two years later he switched to Bolesian were he made a move to Java software development. When Bolesian was eaten by it's big sister Capgemini in 2001, Erwin Denissen continued to work with Java. After several successful projects, and moving from software engineer to software designer to project leader, he decided to quit his job and fully focus on his own company High-Logic, he started back in 1997 as a graduate project (at Fontys University in Eindhoven). He wrote: As an independent software vendor, Erwin Denissen strives to continue developing new and innovative products for the world-wide typography market. Right now High-Logic has three products, a font editor, a font manager and a font generator. In March 2008 Erwin Denissen acquired MyTools.com, including 8 products. In July 2008 yourfonts.com was launched as an online font generation service. In 2021, he added: The upcoming FontCreator 14 will fully support variable fonts, as Erwin strongly believes they will soon become mainstream. [Google] [More] ⦿

Font Spectrum

Type foundry set up by Daniel Maarleveld and Edgar Walthert in Amsterdam in 2021. Future Fonts link. The typefaces at FontSpectrum:

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

[Google] [More] ⦿

Fontenwerkplaats
[Richard Keijzer]

Richard Keijzer is the Dutch designer of many art deco typefaces that are often based on typefaces found on buildings or in Dutch publications, reviving styles known as Dutch deco from the 1920s and 1930s. Starting in 2021, his typefaces will have the prefix RAK. Most of his fonts are free:

Mokum Betondorp (2005). A great art deco display typeface in the style of Broadway. He writes: I'm currently trying to reconstruct a font that was designed around 1924 by the architect D. Greiner in the Netherlands. He needed a special font to decorate some of the building in the then new subsurb Watergraafsmeer. The building project was a so-called garden village, that was nicknamed Betondorp (Concrete Village).
Mokum Plons, after a 1929 sign outside Het Sportfondsenbad in Amsterdam.
Mokum Tooneel (2006). Based on lettering by Anton Kurvers, a disciple of the Dutch architect Hendrik Wijdeveld (1885-1987).
Mokum Oorkonde (2006). Based on art deco lettering found in the archives of the city of Amsterdam.
Mokum Giro (2006). As found on the antique letterboxes of the Amsterdam Municipal Giro Service.
Mokum Expo (2006) takes inspiration from a 1975 poster for the Amsterdam Municipal Museum.
Mokum Cohen and Mokum Cohen Top (2006) are both art deco fonts based on lettering by Fré Cohen in the Annual Report of the Municipal Giro 1930.
Mokum Kruyswijk (2006, art deco) is named after Cornelis Kruyswijk (1884-1935), an architect in Amsterdam.
Mokum GGD was added in early 2007.
Quota (2007) is based on the sculptures made by Hendrik van den Eijnde for the main Post Office at the Neude in Utrecht. He finished it in 2018 and called the free typeface Post Utrecht, locally pronounced as Pos Utereg.
Mokum Stad (2008) is modeled after Dutch deco lettering found in Groningen and designed in 1925 by architect Siebe Jan Bouma. It was renamed and revived in 2022 as Rak Stad.
Mokum Schip (2013): My inspiration for this font came from a phone booth in Amsterdam. Not just "a" phone booth but one in the former Post Office in building complex The Ship in Amsterdam. This Post Office closed in 1999 and since then that part of the building houses Museum Het Schip.
Dudok (2014). A Dutch deco typeface based on letter types by Willem Marinus Dudok, a Dutch architect. More specifically, the typeface is based on samples found in the city hall and under the train station of Hilversum, The Netherlands.
Karbouw (2014). A typeface based on Dutch postal stamps from 1934 that showed a karbouw, a kind of water buffalo found in Indonesia.
Bungehuis (2015). Based on art deco facade lettering at the Bungehuis in Amsterdam.
Mokum Bengel (2018). After a design by Dick Greiner in 1922 for the Beursbengel in Amsterdam.
Rak Neude (2022). A Dutch deco typeface based on texts on the sculpture in the central hall of the former post office in Utrecht, ca. 1924.
Rak Wilhelminakerk (2022). Based on a memorial stone in Utrecht's Wilhelminakerk, a building designed by architect H.F. Mertens in 1930.
Rak Gelderlander (2020-2022). Based on the building facade of the De Gelderlander newspaper office at Lange Hezelstraat 21 in Nijmegen.
Rak Oldenkoppel (2022). The name Oldenkoppel combines Oldenhove en Oldenhoeck, two houses designed by Dutch architect Warners.
Rak Ortelius (2023). Named after a street in Amsterdam and a letter type by architects Gulden and Geldmaker.

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

Fontfeest
[Gerard Salomons]

A free webfont service run by Dutchman Gerard Salomons. [Google] [More] ⦿

Fontforecast
[Hanneke Classen]

Fontforecast is a type foundry in the Netherlands that was set up by Hanneke Classen in 2013. Hanneke designed Graduate Script (2013, a connected script), Graduate Ornaments (2013), Bachelor Script (2013), Tyfoon Script (2013) and Tyfoon Sans (2013).

Her greatest work to date is the 16-font Chameleon family (2013). It includes Chameleon Basic (a calligraphic script that can be used for layering), Chameleon Pen, and Chameleon Sketch. This combination of poster styles was also seen in Laura Worthington's Charcuterie a few months earlier, so a trend seems to be developing. Santa's Pen (2013) is derived from Chameleon.

Typefaces from 2014: Wingman Brush and Wingman serif, Wallet, Perron (hand-drawn contrasting designs for use on posters).

Typefaces from 2015: Bambusa Pro (a great bamboo pen script collection), Mucho Sans (a 12-style geometric sans), Stylist Pro (a great dip pen connected calligraphic typeface), Salt & Spices Pro (a script family).

Typefaces from 2016: Dragonflight Pro (brush script, +Sans), Salt + Spices Mono (the monoline version of Salt & Spices Pro), Kinfolk Pro (brush script accompanied by many ornamental fonts containing arrows and flowers).

Typefaces from 2017: Somersault (a brush script duo), Delish Pro (brush script), Les Tulipes Pro (a layered calligraphic typeface family).

Typefaces from 2018: Sabbatical.

You Work For Them link. Creative Market link. [Google] [MyFonts] [More] ⦿

FontMeister
[Elwin Berlips]

FontMeister is the commercial foundry of Elwin Berlips in Almere, The Netherlands.

In his first life, he ran a free font site called 11th Floor, where he made these free typefaces in 1999: Civilization (octagonal), Plastik-Film (grungy semi-stencil), Raw (grunge), Rocket-Fuel, Timeline, Greenlight (dot matrix), Interstatic (futuristic), Handsolo, Optimum, Roswell (handwritten), Jean-Pierre (handwriting), 11th Floor (gridded).

At FontMeister, he published

FM Eva (2011). A hand-printed chalkboard or poster face.
FM Bebel (2011). A monoline organic rounded sans family.
FM Secessionist (2011). Inspired by the Vienna secessionist Joseph Maria Olbrich, as seen on his architectural drawings from the 1920s.
FM Rossija (2011). A modular CD label face.
FM Julie (2011). An architectural hand.
FM Aloysius (2011). Also inspired by the Viennese secessionists.
FM Monomo (2011) is a simple, all caps, monospaced font.
FM Kaantaa (2011) is a bold typeface that draws inspiration from stencil and technical typefaces.
FM Ted (2012) is a simple geometric sans typeface.
FM Pointifax (2012) is a dot matrix typeface.

In a third life, now as Elmigo at Dafont, he published the circle-based font Modern Ringflash (2012).

View Font Meister Elwin Berlips's typefaces. [Google] [MyFonts] [More] ⦿

Fontopia
[Peter Slager]

Dutch type designer Peter Slager set up his own foundry, Fontopia, in Kampen in 2015. He created the display typefaces Ps Javier (2015), Ps Rooster 1, Ps Rooster 2 (2015), Ps Kampen (2015) and Ps Campen (2015).

Typefaces from 2016: Ps Strijkijzer, Ps Snackbar Prn (a fun font for swingers and late late night people), PS Willy.

Typefaces from 2017: Ps Willy Small But Fine. [Google] [MyFonts] [More] ⦿

Fontoville (was: Fresh Media)
[Raymond Brekelmans]

Raymond Brekelmans (Fresh Media) is the Dutch designer in Eindhoven of fonts such as Fame&Fortune, GoodDoggy, 7chipmunks, Hairy60, Elvisinstereo (2002), Gforgiraffe, GrndmsterB, Highheeledsneakersnormal, HighheeledsneakersThin, Itsmartinitime, JohnnyBbad, Kickpunchblock, MrMustage, OrpheusBoldItalic, OrpheusBold, OrpheusItalic, OrpheusLightItalic, OrpheusLight, Orpheus, Quatrodeadmosquitos (see also the Fontomas CD), Rudisrevenge, Sirsheep, Thebends, TheDukesGeneralLee, TheDukesLuke, TheDukesBo, BeebopalulaOneLiner, BeebopalulaFillItUp, BeebopalulaDoubleOrNothing, freekisgek-#5, freekisgek-#5_inverse_italic, freekisgek-#5_italic, Zothezebra, CiaoMonkey, Hot Rod Ford, Naughty Farmergirl, Typing With Rudolf, Anything But Sue, Font-o-ville At Night, Snails&Sausages. All these fonts were made in 2001-2002 and are free.

Additions in 2005: Caramba, Surfing Bird, Vertigo (nice retro poster font!), Mufoefoe, Reverbb, Fasto (octagonal, free). Elvis in Stereo (2002, Cape-Arcona) and Address Unknown (Cape Arcona, grunge) are commercial. Prozaque is a groovy face.

Direct downloads. Mac downloads. Font Bros link. Dafont link. Klingspor link. [Google] [MyFonts] [More] ⦿

Fonts++
[Steve Wehrmann]

Free font manager for Windows by Steve Wehrmann. [Google] [More] ⦿

Fonts by Alex
[Alex Scholing]

Dutch freelance designer Alex Scholing started Fonts by Alex in 2011 in Arnhem. Alex Scholing is graphic designer and co-founder of the design office Eat in Amsterdam. Behance link.

Typefaces: FF Engine (1995), FF Roice (2003), Core Humanist Sans (2011, free!) and Klarendal Sans (2011). FontShop link. [Google] [MyFonts] [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] ⦿

Francesco van der Zwaag

Designer from Drachten in The Netherlands. Creator of the octagonal typeface Flatdepth (2011). [Google] [More] ⦿

Francy van Lierop

Dutch creator of the scratchy typeface FYOU (2013), of the brush typeface Worst Paint Job Ever (2013), of the ransom note font Just Some Random Doodles (2013), of Splash Blobs n Dots (2013), of AbracadabraHocusSpokuz (2013) and of the primitive hand-printed typefaces A Little Scribble in My Book (2013), A Butterfly on a Daffodil (2013), Mysterious Oriental Nights (2013), Happy Monks Medieval Looking Script (2013), Some Illiterate Wrote This (2013) and Secret Love Letters (2013). Sink Holes (2013) is an experimental typeface. [Google] [More] ⦿

Frank E. Blokland
[DTL FontMaster]

Frank E. Blokland

Frank E. Blokland (b. 1959, Leiden) studied Graphic and Typographic design at the Royal Academy of Arts in The Hague. In 1985 Blokland won Chartpak's type design contest with his typeface Bernadette. In 1990 Blokland wrote a bestseller with his course book for Teleac's television course: Calligraphy, the art of hand writing, of which 16.000 copies were sold. In the same year Blokland founded the Dutch Type Library in 's Hertogenbosch, The Netherlands. Since the 1980s he has published over 150 articles in professional journals like Compres, Page, PrintBuyer, and the Hamburger Satzspiegel. When Gerrit Noordzij retired in 1987 from the Royal Academy of Arts in The Hague, Blokland was the first of the younger generation to succeed him. Blokland now lectures in letter drawing and type design/production to first- and post-graduate courses at this institute. In 1995 he was asked to become a lecturer at the Plantijn Gennootschap in Antwerp. A few years later he initiated and supervised the development of DTL FontMaster, a set of utilities for professional font production [in cooperation with URW++]. He is working towards a Ph.D. at the University of Leiden entitled Leiden University titled Harmonics, Patterns, and Dynamics in Formal Typographic Representations of the Latin Script. The regularization, standardization, systematization, and unitization of roman type since its Renaissance origin until the Romain du Roi.

In 2016, Frank E. Blokland obtained a Ph.D. at the University of Leiden for On the Origin of Patterning in Movable Latin Type. His typefaces:

DTL Documenta and Documenta Sans (1986). He writes: The idea was to develop a typeface that on the one hand would present a recognizable, contemporary, and powerful image, and on the other hand would work well in small text sizes, irrespective the applied resolution. The development of the first range of weights/styles of DTL Documenta took seven years. In 1993 the typeface became available in the PostScript Type1 and TrueType formats. Around 1997 a small range of sans-serf versions were added on request of the municipal museum in The Hague, especially for accompanying texts on the walls of the rooms of museum. Almost immediately after releasing dtl Documenta its quality was recognized. In the second edition of his international bestseller The Elements of Typographic Style, Robert Bringhurst calls DTL Documenta "a sturdy open text face with an equally unpretentious and well-made sanserif companion."
DTL Haarlemmer and DTL Haarlemmer Sans (1994-1996, an adaptation of Jan van Krimpen's Haarlemmer of 1940, and addition of a sans version, which was commissioned by the Boijmans Van Beuningen Museum in Rotterdam). He writes: The basis for the digital Haarlemmer was the set of Jan van Krimpen's original drawings of 1938. However, the quality of the original Haarlemmer was too poor for the purpose. Moreover, there was no reason to take the restrictions of the unit arrangement system on board. The original drawings were not directly digitized. First, they were interpreted, so that a typeface emerged that corresponded as much as possible with Jan van Krimpen's original concept. In fact, this procedure is comparable to the way in which Van Krimpen's foundry types were produced. Jan van Krimpen worked as a typographer and advisor with the Joh. Enschedé en Zonen at Haarlem from 1925 until his death in 1958. Most of his types were cut in steel by the Enschedé punch cutter P.H. ädisch (1891-1976). Under the auspices of Van Krimpen, Rädisch interpreted his drawings and made the required modifications for the different point-sizes. Van Krimpen's ink design obtained its definitive shape in Rädisch;s punches. Later, these punches served as the basis for Monotype. The original Haarlemmer drawings were similarly interpreted to cut digital punches. Alas, Van Krimpen's hand was no longer on the tiller, although a thorough study of his work by Frank E. Blokland made up for his absence.
DTL Fell. A Fell type revival. The Fell types are Dutch types from the late 17th century that were given to the University of Oxford by John Fell (1625-1686), bishop of Oxford from 1675-1686. In The Roman, Italic&Black Letter bequethed to the University of Oxford by Dr. John Fell (Oxford, 1951), Stanley Morrison states that the Roman may have been cut by Christoffel van Dijck. Specimen exist from 1693, 1695 and 1706.

At ATypI 2008 in St. Petersburg, he gave a series of lectures: Type tools by DTL, Automating font production, Automating type design, Integration of FontMaster in Linux and Mac OSX, and History of Type. On that occasion, participants were presented with the booklet Comprehensive Notes on the Design of Cyrillic Letters by Finnish type designer Hanna Hakala and typeset in the preliminary version of DTL Valiance.

Speaker at ATypI 2011 in Reykjavik on the topic of parametrized type design, and in particular on the development of the DTL LetterModeller (LeMo) application, which is an attempt to come to such parameterization of type design. Speaker at ATypI 2018 in Antwerp.

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

Frank E. Blokland
[Dutch Type Library (or: DTL Studio)]

Frank Grießhammer
[Kiosk Fonts]

Frank Hemmekam

Frank Hemmekam (Nijverdal, The Netherlands, b. 1994) designed these typefaces in 2013: the free alchemic typefaces Phantom, Dumento, Hectica, Droidiga, Defeated, Merula, Anne Sans, Futura FH Custom, Sabado (all caps sans) and Baron Neue (all-caps sans titling typeface: six weights are free at https://fontfabric.com/baron-free-font).

Typefaces from 2014: Odin Rounded.

Typefaces from 2015: Porter (sans).

Typefaces from 2017: Untitled (extreme contrast display typeface based on the work of Jan van Krimpen's Romulus.

Behance link: https://www.behance.net/hemmekam. Dafont link: https://www.dafont.com/frank-hemmekam.d4692. [Google] [More] ⦿

Frank van der Hak
[Knarf Art]

Frank Vogt

Dutch designer (b. Eindhoven, 1969) of Plan (2005), a squarish engineering typeface family that was digitized and fine-tuned by René Verkaart at Characters. [Google] [MyFonts] [More] ⦿

Franky van Deursen

Dutch designer (b. 1994) of the fat geometric counterless typeface Noted V1 (2011) and the trekky typeface Galaxy (2011). [Google] [More] ⦿

Frans Jongkind

Dutch creator of a rounded unicase typeface in 2012. Devian tart link. [Google] [More] ⦿

Frans Velthuis

Frans Velthuis (Groningen University) developed a Devanagari Metafont in 1991, which is available from the CTAN archive. Later, Anshuman Pandey from Washington University in Seattle, took over the maintenance of font.

Primoz Peterlin made type 1 outlines based on this. These outline renderings (Type 1) were automatically converted from METAFONT by Peter Szabo's TeXtrace, and subsequently edited using George Williams' PfaEdit PostScript font editor by Anshuman Pandey (University of Washington). In 2003-2004, additional updates in the set of 22 Metafont files are due to Kevin Carmody, who presently maintains the package. The font names: TeX-dvng10, TeX-dvng9, TeX-dvng8. These were later changed to VelthuisDevanagari8-Regular, VelthuisDevanagari9-Regular and VelthuisDevanagari10-Regular. This font was used in the GNU freefont project for the Devanagari range (U+0900-U+097F).

Karel Piska's type 1 fonts in the Indic1 package include these Devanagari typefaces based on Velthuis's Metafont sources from 1991-2005: Velthuis-dvng10, Velthuis-dvng8, Velthuis-dvng9, Velthuis-dvngb10, Velthuis-dvngb8, Velthuis-dvngb9, Velthuis-dvngbi10, Velthuis-dvngbi8, Velthuis-dvngbi9, Velthuis-dvngi10, Velthuis-dvngi8, Velthuis-dvngi9, Velthuis-dvpn10, Velthuis-dvpn8, Velthuis-dvpn9, VelthuisBombay-dvnb10, VelthuisBombay-dvnb8, VelthuisBombay-dvnb9, VelthuisBombay-dvnbb10, VelthuisBombay-dvnbb8, VelthuisBombay-dvnbb9, VelthuisBombay-dvnbbi10, VelthuisBombay-dvnbbi8, VelthuisBombay-dvnbbi9, VelthuisBombay-dvnbi10, VelthuisBombay-dvnbi8, VelthuisBombay-dvnbi9, VelthuisBombay-dvpb10, VelthuisBombay-dvpb8, VelthuisBombay-dvpb9, VelthuisCalcutta-dvnc10, VelthuisCalcutta-dvnc8, VelthuisCalcutta-dvnc9, VelthuisCalcutta-dvncb10, VelthuisCalcutta-dvncb8, VelthuisCalcutta-dvncb9, VelthuisCalcutta-dvncbi10, VelthuisCalcutta-dvncbi8, VelthuisCalcutta-dvncbi9, VelthuisCalcutta-dvnci10, VelthuisCalcutta-dvnci8, VelthuisCalcutta-dvnci9, VelthuisCalcutta-dvpc10, VelthuisCalcutta-dvpc8, VelthuisCalcutta-dvpc9, VelthuisNepali-dvnn10, VelthuisNepali-dvnn8, VelthuisNepali-dvnn9, VelthuisNepali-dvnnb10, VelthuisNepali-dvnnb8, VelthuisNepali-dvnnb9, VelthuisNepali-dvnnbi10, VelthuisNepali-dvnnbi8, VelthuisNepali-dvnnbi9, VelthuisNepali-dvnni10, VelthuisNepali-dvnni8, VelthuisNepali-dvnni9, VelthuisNepali-dvpnn10, VelthuisNepali-dvpnn8, VelthuisNepali-dvpnn9.

A complete package for Velthuis Devanagari (Hindi) with both fonts and TeX support is at CTAN. It is maintained by Anshuman Pandey. [Google] [More] ⦿

Frauke Smit

Dutch designer (b. 1982) of Celtic Knot 1 (2006). [Google] [More] ⦿

Fré Cohen
[Frederika Sophia (Fré) Cohen]

Fred Smeijers
[OurType]

Frederika Sophia (Fré) Cohen
[Fré Cohen]

Dutch graphic designer (1903-1943) who lived in Amsterdam. She often designed fonts for her own projects. Her lettering and typefaces inspired these digital fonts:

Richard Keijzer's Mokum Cohen (2006). Based on the font used in the Annual Report of the Municipal Giro 1930.
Freco (2006, Hans van Maanen, Canada Type). Dutch deco style.
Ron Ruedisueli's STF Oudvreugde's Ontwaken. Dutch deco lettering from a book cover design for the "Arbeiders-jeugdcentrale Amsterdam" which was published in 1924.

[Google] [More] ⦿

Freed Schmitter

Dutch calligrapher and designer in Amsterdam, who created the Letraset font Aura Script (1982-1994) and Aura Sanscript (1973-2008). He studied at Grafische Fachschule Aarau. From 1968 until 1973, he was type compositor apprentice and graphic designer at Ringier & Co AG, Zofingen (Switzerland). Freed writes: Although the typeface Aura Script was digitized by URW in Ikarus as one of the first, it was never published besides their catalogues during 1982 to 1992. Several illustrations by Mark Kelly use Aura Script.

Company web site (mainly ecological). Humane airport project. [Google] [More] ⦿

Friso M. Roest
[Sonic Savior]

Frisse Types
[Thomas Klaui]

Thomas Klaui (Frisse Types, The Netherlands) obtained a Masters in type design at KABK. His type designs include the fat packaging typeface Highlight (2007-2009, graduation project at KABK), Faber Line (2007), and the funny Bokkepootjes (2010, done with Lien). Thomas lives in Den Haag. Typecache link. [Google] [More] ⦿

Frits Jonker
[The Blue Bus Software]

Frits Knuf Antiquarian Books

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

Fuck yeah kerning
[Kilian Valkhof]

A web site that posts examples of poor kerning. Run by Kilian Valkhof, a Front-end developer&user experience designer from The Netherlands. [Google] [More] ⦿

funfontshop
[Anke van der Meer]

Anke van der Meer (Heerlen, The Netherlands, b. 1981), aka Ankepanke, is an illustrator and graphic designer. She sells her typefaces under the label funfntshop.

In 2013, she created some free hand-drawn typefaces such as I Love Snailmail, Lieve Letters, and Stripe 3D. In 2015, many of her typefaces became commercial. The initial offering from 2015 includes Read A Book, Crystals (octagonal font), Measuring Tape, Merry Christmas, Building Blocks Font, Old Knitting Lady, Side View (3d typeface), Noodles, Wonderland, Bead Necklace, Snailmail Mag (fat finger font), Delightful, Seeing Double (bilined), Cherry Pie, Pretty Random I and II (ransom note fonts), Polkadots I and II, Morse Code, High Altitude, Fold It (origami), Cubes I and II, Crazy Cat Lady, Build It, Blocks, Skipping Ropes, Deco Borders, Drop Out Handmade, I Heart Snailmail, Sweet Letters, Skinny Chips, Picnic Handmade, Earn Your Stripes, Stripe 3D Handmade, Cut It Out, Teqniq, Tell Me About It, Sweet Pancakes, Strike A Pose, Papercut, Monkey Tails, Little Friends, Lets Go To Paris, Halfway, Full Of It, Daydreas, Creppy, Connect It, Basic Fun, Backstage.

Dafont link. Creative Market link. Creative Market link for funfontshop. [Google] [More] ⦿

Gabor Kerekes
[Glyph Collector]

Gaja Vicic

Graphic design student in Groningen, The Netherlands, who created the geometric prismatic typeface transition (2015). [Google] [More] ⦿

Gajana Aslanjan

Dutch designer of Arroyo (2019: a great rounded bold condensed typeface family) and Wu (2019), a wavy typeface that is based on the shape of an Ancistrus fish swimming through water.

The deco typeface Twentyone (2020) was co-designed by Gajana Aslanjan, Gumilang Anggara Ruslan, Slava Antipov, and Fidan Aslanova. [Google] [MyFonts] [More] ⦿

Geen Bitter
[Thom Janssen]

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

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

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

Their commercial typefaces:

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

[Google] [More] ⦿

Geert Dijkers

Dutch designer of the bold script brush typeface Origo (2014, Joebob Graphics) and the felt tip typeface Manus (2014, Joebob Graphics). In 2016, he published the handcrafted typeface Quintus at Joebob Graphics. In 2017, he designed the felt tip typeface Manus Smooth and the bush script Maneo. In 2020, he added the script typeface Epistula. [Google] [MyFonts] [More] ⦿

Geiger Artwork
[Jürgen Geiger]

Shareware fonts by Jürgen Geiger in Sint Odilienberg, The Netherlands: GeigerBloc (2002), GeigerFree, GeigerInfo, GeigerSerif, the handwriting family GeigerScript, the script font family Script3 (2000), and the ZapfDingbats-like GeigerDingbats.

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

George Everall

Greek-English type designer (b. 1980, London) who works in Amsterdam. [Google] [MyFonts] [More] ⦿

Georgina Viaene

Graphic designer in Amsterdam. She created Wire Type (2012, experimental). [Google] [More] ⦿

Gerard Daniels

In 1993, Gerard Daniels (Roosendaal, The Netherlands) designed DTL Elzevir for the Dutch Type Library, a revival of a Christoffel van Dijck face. He also designed DTL Caspari and DTL Caspari News (2013, the latter by DTL Studio after its use by Wegener, a Dutch publishing house). [Google] [MyFonts] [More] ⦿

Gerard Hurkmans

Gé Hurkmans was a Dutch designer, 1911-1984. His ad for Unica Glaswerk (1936) has art deco lettering. [Google] [More] ⦿

Gerard Salomons
[Fontfeest]

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] ⦿

Gerard Voshaar
[Typolog]

Gerben Dollen
[Type Mafia (was: DolWork)]

Gerben Dollen
[DolWork]

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

Gerben Hoeve

Designer in 2008 at FontStruct of Space Lab (squarish face), Autobus Sign (dot matrix), and Simple Matters (blocky bullet hole face).

In 2010, he did the blocky slabby Klonk and Klonk Narrow, Stop Police (dot matrix face).

In 2011, he added the heavy slab serif typeface Industrial Raw. [Google] [More] ⦿

Gerd Arntz

Between 1928 and 1965, Gerd Arntz (1900-1988) designed around 4000 signs and symbols depicting industry, demographics, politics and economy, for the visual language Isotype. Many of these can be viewed on this web site. Some quotes from that site:

About Arntz himself, the persona: Born in a German family of traders and manufacturers, Gerd Arntz was a socially inspired and politically committed artist. In Düsseldorf, where he lived since his nineteenth, he joined a movement which wanted to turn Germany into a soviet- or council republic, a radically socialist state form based on direct popular democracy. As a revolutionary artist, Arntz was connected to the Cologne based progressive artists group (Gruppe progressiver Künstler Köln) and depicted the life of workers and the class struggle in abstracted figures on woodcuts. Published in leftist magazines, his work was noticed by Otto Neurath, a social scientist and founder of the Museum of Society and Economy (Gesellschafts- und Wirtschaftsmuseum) in Vienna, Austria. Neurath had developed a method to communicate complex information on society, economy and politics in simple images. For his Vienna method of visual statistics, he needed a designer who could make elementary signs, pictograms that could summarize a subject at a glance. Arntz's clear-cut style suited Neurath's goals perfectly, and so he invited the young artists to come to Vienna in 1928, and work on further developing his method, later known as ISOTYPE, International System Of TYpographic Picture Education. During his career, Arntz designed around 4000 different pictograms and abstracted illustrations for this system. At the same time, he was working with Neurath and his collaborators on designing exhibitions and publications for the Vienna museum. In this time, the 1930s, the city was under socialist government and an internationally acclaimed center of social housing and workers' emancipation. Neurath's visual statistics were adamantly meant as being an instrument of this emancipation, and Arntz' own socialist background fitted this context seamlessly. Produced under Arntz's creative guidance, a collection of 100 visual statistics, Gesellschaft und Wirtschaft, was published in 1930. The success of this collection lead among other things to an invitation to come to the young Soviet Union and set up an institute for visual statistics, Isostat, in Moscow. Neurath and Arntz regularly traveled to Moscow in the 1930s, until in 1934 the socialist government of Vienna fell. After the Nazi take over, both emigrated with their families to the Netherlands, where they continued working on Isotype in The Hague. When the second world war broke out, Neurath fled to England. Arntz stayed in The Hague, where he worked for the Dutch Foundation of Statistics. Arntz' artistic legacy is administered by the Municipal Museum of The Hague, and a generous selection of his work from this collection is now available on-line for the first time.
About his gutsy political activism: In his early twenties, the young German artist Gerd Arntz said goodbye to his bourgeois background and committed himself to the struggle of the underprivileged workers. During an artistic career spanning 50 years, he has continually criticized social inequality, exploitation and war in clear-cut prints - activism with artistic means. In Düsseldorf, Arntz attended an art academy in the early 1920s to become a drawing teacher. There, he frequented revolutionary circles, rebel minds who wanted to turn Weimar Germany into a soviet republic, styled after early communist Russia. He also came into contact with the new movements in the arts at the time, such as expressionism and constructivism. For activist artists like Arntz, the wood-cut was the chosen medium, because of its primitive aspect and its clearblack-and-white contrast. In the 1930s, Arntz switched to linoleum-cuts. With his comrades, the Cologne artists Franz Seiwert and Heinrich Hoerle, he read Marxist and anarchist literature and developed his own style of portraying society as segregated in classes, struggling within the technological milieu of the modern city. His prints were exhibited, sold to sympathetic art lovers, and published in magazines of the activist left in Germany and abroad. When Arntz was asked by Otto Neurath to join his team at he Vienna Museum of Society and Economy, and develop Isotype, he took it as an opportunity to expand the reach of his political beliefs into the realm of actively informing the proletariat, albeit as a graphic designer. At he same time, this steady job provided him the means to continue his own artistic work, completely independent of the art market or political affiliations. His prints criticizing the capitalist system did, for instance, not prevent him from critically looking at the downside of the Soviet Union in other prints. After he emigrated to the Netherlands, in 1934, Arntz published a series of prints warning against the danger of Nazism. His concise and biting depiction of the build-up of the Third Reich, published in a Dutch communist magazine in 1936, was removed from an exhibition in Amsterdam after complaints by the German embassy that it insulted a friendly head of state. Arntz continued cutting his social and political critique into linoleum until he was seventy years old.
About Isotype: The International System Of TYpographic Picture Education was developed by the Viennese social scientist and philosopher Otto Neurath (1882-1945) as a method for visual statistics. Gerd Arntz was the designer tasked with making Isotype's pictograms and visual signs. Eventually, Arntz designed around 4000 such signs, which symbolized keydata from industry, demographics, politics and economy. Otto Neurath saw that the proletariat, which until then had been virtually illiterate, were emancipating, stimulated by socialism. For their advancement, they needed knowledge of the world around them. This knowledge should not be shrined in opaque scientific language, but directly illustrated in straightforward images and a clear structure, also for people who could not, or hardly, read. Another outspoken goal of this method of visual statistics was to overcome barriers of language and culture, and to be universally understood. The pictograms designed by Arntz were systematically employed, in combination with stylized maps and diagrams. Neurath and Arntz made extensive collections of visual statistics in this manner, and their system became a world-wide emulated example of what we now term: infographics.

Ed Annink and Max Bruinsma edited the book Gerd Arntz Graphic Designer (2010, Rotterdam). [Google] [More] ⦿

German Ermics

Latvian designer, b. 1985, Riga. He graduated from Design Academy Eindhoven in 2011 and set up his own graphic design studio in Amsterdam in 2014. Creator of the Western circus font How Are You. [Google] [More] ⦿

Gerrit Noordzij

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

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

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

His typefaces:

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

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

Gerrit Noordzij Prize

The Gerrit Noordzij Prize is given to type designers and typographers for extraordinary contributions to the fields of type design, typography and type education. The prize is awarded every three years by the KABK (Royal Academy of Art) in Den Haag (The Hague, The Netherlands) together with Museum Meermanno, under the auspices of the Dr. P.A. Tiele Trust. It is named after Gerrit Noordzij, who started the type design program at KABK and taught there.

The winners:

1996: Gerrit Noordzij
2001: Fred Smeijers
2003: Erik Spiekermann
2006: Tobias Frere-Jones
2009: Wim Crouwel
2012: Karel Martens
2015: Cyrus Highsmith

[Google] [More] ⦿

Gerrit Noordzij Prize: Books

Books published about the Gerrit Noordzij Prize:

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

[Google] [More] ⦿

Gerrit Rietveld

Famous Dutch architect and graphic and furniture designer (b. Utrecht, 1888, d. Utrecht, 1964). He was part of the De Stijl movement. Several typefaces were directly influenced by his style. These include:

Kinesis (2018, Rian Hughes). This is a modular headline font, constructed from white, black and grey overlapping rectangles.
Rietveld Fatface (2007, Dries Wiewauters).
SM Maxeville (2017, Soft Machine).

[Google] [More] ⦿

Gerrit Willem Ovink

Dutch typographer and type teacher (b. Amsterdam, 1912, d. 1984), professor at Plantin Genootschap in Antwerp (1951-1956) and the University of Amsterdam (1956-1982), winner of the Gutenberg prize in 1983. From 1945 until 1977, he was aesthetic advisor at Lettergieterij Amsterdam (voorheen Tetterode). It is thanks to Ovink that the Tetterode Collection was accepted in the Bijzondere Collecties van de University of Amsterdam. He wrote an unbelievably detailed book in which he compares various typefaces in statistical tests to determine various aspects of legibility and impact: Legibility, Atmosphere-Value and Forms of Printing Types (A.W. Sijthoff's Uitgervsmij N.V., Leiden, 1938). The bibliography in this text is pretty complete up to 1938, and was his graduation thesis at the University of Utrecht. Also recommended is a 40-page short historical review of the modern printing type, which comes with a fresh look on things.

Author of Honderd jaren lettergieterij in Amsterdam (1951), about Dutch type design and typography in the Netherlands in the 19th and 20th centuries.

He also had a hand in the design of the "Dutch DIN", the traffic signage font NEN 3225, which is described in his book, NEN 3225: Dutch standard alphabets (1964).

Quote by him: Bodoni would be an admirable letter for a death notice!

Obituary, which reminds us of the serious conflicts between Ovink on one side and his Plantin colleagues Jan van Krimpen and Sem Hartz on the other side.

Reference: The picture by Ovink below courtesy of Henk Gianotten. Magistraal (a free PDF from 2007 at the Plantin Genootschap based on a 1988 text by Albert J.M. Pelckmans). [Google] [MyFonts] [More] ⦿

Gerrit-Jan Riemersma

Dutch designer (b. 1993) of the pixel typeface Brick Bold (2015, FontStruct). [Google] [More] ⦿

Gert-Jan de Kleer
[NGT Fonts (or: Effatha)]

Gerwin Jansen

Dutch designer who created the hand-printed caps typeface Angela in 2012.

Gilde der Letterontwerpers

Ghislaine

Dutch designer (b. 1992) of the scratchy handwriting font Dubble (2009, Fontcapture).

In 2012, she made So Thin (2012), A Vida Nova (2012, grunge), Nobody's Perfect (2012, brush face), and Garden (3d outline face).

Devian tart link. [Google] [More] ⦿

Giel Cobben

Located in Boxtel, The Netherlands, Giel Cobben designed of the geometric typeface Droplet (2010). He took five fundamental shapes (modules) to contstruct this modular font. Home page. [Google] [More] ⦿

Gijs & Joris

Gijs Sluijters and Joris Tol are Gijs & Joris, a creative team at DDB / Tribal DDB Amsterdam. They teamed up at the Willem de Kooning Arts Academy in Rotterdam while studying advertising.

They designed the experimental typeface MTA (2012) that is made by cutting forms out of the MTA New York City's Transit map. [Google] [More] ⦿

Gijs Boer

Oosterhout, The Netherlands-based designer of the handcrafted Amsterdaime (2017). [Google] [More] ⦿

Gijs Hoeijmakers

Gijs's first typeface, as a student at the Academy of Fine Arts and Design in Maastricht, The Netherlands (class of 2014), was Alleycat (2013), a typeface influenced by and dedicated to bike messengers. Twisted and Strangled Type (2013) starts from Avenir and makes it into a twisted Escher-like typeface.

Behance link to Graphic Denim. [Google] [More] ⦿

Gijs van Roij

Dutch designer of the geometric display typeface Sharpe Edge (2008). Dafont link. [Google] [More] ⦿

I hesitated for a long time with this link, but I will go out on a limb anyway. This is an obvious joke that originated from the Letterror people. It is about a non-existing tongue-in-cheek elitist Guild of Dutch typographers. I can't understand how come Microsoft, MyFonts, Fontzone and other type news services could have fallen in the trap. Maybe they should contact René Chalet. [Google] [More] ⦿

Gilles de Brock

Dutch art director in The Hague. Home page at Mister Three. Creator of the ornamental caps typeface Don't Believe The Type. (2010). [Google] [More] ⦿

Giselle Segura Gelink

Dutch graphic designer in Den Haag. Behance link. She created the gridded texture typeface T2001 A Space Odyssey Font (2010). [Google] [More] ⦿

Giso Spijkerman

Dutch designer in Groningen. He created the irregular caps font Ja (2008). Dafont link. [Google] [More] ⦿

Glitch: freeware fonts
[Koen Hachmang]

New original minimalist fonts by Koen Hachmang from Udenhout, The Netherlands: Arcade-Classic, Autriche-ALT, Baubau, Bitstorm-SQUARE, Bitstorm, Copycat, Cyclops, Delinquent-Black, Delinquent-Caps-Skewd, Delinquent-Caps, Delinquent-Extract, Delinquent-Regular, Doppler-A, Phino-Tight, Phino-(Variation), Phino, Sendai-Smallprint, Shift, Sonic-Empire-Italic, Sonic-Empire, Sonic-Empire, Strike-Swiss, Token, Trebble, Zygoth, Base-4, Base-5, Base6, Big-Loada-Splatter, Big-Loada, Blutter-Slim, Blutter, Deko, Kinkimono, Morohashi, New-Detroit, SirQuitry. Very original presentation!

Glyph Collector
[Gabor Kerekes]

In 2015 former KABK-LetterStudio student Gabor Kerekes started programming a small tool named GlyphCollector. The tool is meant for collecting multiple representations of glyphs from a scanned page and for subsequently generating an average image. One has to select one glyph of each character that has to be converted, and to save the image to a folder. Next GlyphCollector gathers all characters for which it finds a reference and puts these per character in a folder. Subsequently for all selected characters an average glyph is calculated and converted to outline. GC distills the original spacing from the prints in question and converts the outlines directly to an OpenType font. It is Mac OS tool for creating a decent starting point for digital revivals but also for researching historic prints. Its initial prototype was made for the Renaissance module of Dr. Frank Blokland in the LetterStudio class at The Royal Academy of Art, Github link. [Google] [More] ⦿

GraphicMix
[Marc Lubbers]

GraphicMix is the nice web presence of Marc Lubbers (b. 1968), the Dutch designer of the infinitesimally serifed typeface LuMarc LL (1994), and of Impacta LL (1994). Free fonts: Inter, Zxcvbn, Goofy, Concept, Construct, Graphix Mix Seven, Donald, Havendam. I have no idea how to download these, even though the page says "downloadable" (maybe it is a euphemism for "purchasable"). At MyFonts, one can buy LuMarc and Impacta.

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

Graphue (was: Krafted)
[Paul Jansen]

Amsterdam-based Dutchman Paul Jansen runs both Krafted and Flat Icons. At Krafted, he published mainly script typefaces. In 2020: Dandelion Fall, Bankstory, Summer Rose, Lilium Star, Agnetta, Claston, Caride Script, Ratilla Script, Pathita Script, Casira Script, Burnt Rose Chalkboard, Butterscotch, Billy Holiday, Alabama Book, Topsy Turvy, Sun Kissed, Balloo, Strawberry Swirl, Cherry Pop, Hello Honey, Namaqua, Fenway (a baseball script). [Google] [More] ⦿

Guido de Boer
[Vormplatform]

Guillaume Vallaeys

Designer who used FontStruct in 2009 to make the kitchen tile family Fraille, and the bold family Buttslamming, as well as the octagonal Joris is My Homeboy. Aka The Kiejoom. [Google] [More] ⦿

Gustavo Ferreira

Brazilian designer (b. 1977, Rio de Janeiro) who worked in Amsterdam, The Netherlands, and is based in Cunha, Brazil. In 2009, he founded Hipertipo, a small design studio in Amsterdam. Gustavo Ferreira has a Bachelors degree in Graphic and Product Design from ESDI, in Brazil (2003), and a Masters degree in type design from KABK Den Haag. His typefaces:

The grunge handwriting font Gentileza (2002), taken straight from Rio's streets.
The sans-serif typeface Eva (2002).
In 2004, he joined Ultra Pixel Fonts, where he made the pixel typefaces Elementar 09b, Elementar Basica 13.11, 13.21 and 13.31, which are all part of the pixel and dot matrix "system" Elementar [see also the Typotheque page]. He explains: Elementar is a parametric font system designed to bring more typographic flexibility to digital screens. Elementar embraces and explores the unique properties of digital media: the pixel, the coarse resolution grid, and the dimension of time. At ATypI 2005 in Helsinki, he spoke on Elementar.
At FontStruct, he made these typefaces in 2009-2010: Untitled Modern, ImperialSans, ImperialSerif, Untitled Roman, Modular Serif (Micro, Text, Large), Untitled Italic, Gothica (a geometric blackletter).
In 2008, Universidade de Brasilia asked Gustavo Ferreira to design a Helvetica-style free font family, UnB (in versions UnB Pro and UnB Office). Free download. Fontsquirrel link.

[Google] [More] ⦿

Guus Ruijten

Roermond, The Netherlands-based designer, b. 1982, of the scratchy typeface Guru (2008). Dafont link. [Google] [More] ⦿

GWER
[Rutger Paulusse]

Amsterdam (and before that, Eindhoven), The Netherlands-based type and graphic designer who runs GWER. Creator of the gothic typeface AT Discipline (2008) and the native American totem pole look typeface Wakito (2010).

Haagse Letters
[Joshua Koomen]

Software to play on-line with a parametrized type family. Developed by Joshua Koomen. [Google] [More] ⦿

Hana Sato

Graphic designer in Amsterdam who created a the sans typeface Hana sans in 2017. [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] ⦿

Hanneke Classen
[Fontforecast]

Hannes Famira
[Kombinat Typefounders]

Hannes Famira
[Studio Hannes Famira (or: Famira Fonts)]

Hanoded
[David Kerkhoff]

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

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

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

[Google] [MyFonts] [More] ⦿

Hans Bodlaender
[True Type chess fonts]

Hans De Bisschop
[Scaramanga Productions]

Hans Hagen

Puzzles and geometrical constructions in metapost. [Google] [More] ⦿

Hans Hagen
[PRAGMA ADE]

Hans Lijklema

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

Hans van Leeuwen
[Visualogik Technology & Design]

Hans van Maanen

Dutch science journalist who has published extensively in the Volkskrant. He is also into fine arts and illustration, and has even designed a few fonts. MyFonts page. Klingspor link.

His first production was Lexington and Lexington Handtooled (2006, a revival and major expansion of a 1926 Ludwig Wagner Schriftgiesserei typeface called Titanic. A typical art deco signage typeface which can be bought at Canada Type, and is characterized by its rabbit-eared k, l, b, d and h).
He also digitized and expanded Aurora Grotesk (1912, Johannes Wagner foundry) and called it Annonce (2006, Canada Type).
As explained by Canada Type: The story of Serena is a unique one among revivals. Serena was neither a metal typeface nor a film one. In fact it never went anywhere beyond Stefan Schlesinger's 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn. The only sketches left of Schlesinger's Saranna work are found in the archives of the Drukkerij Trio (the owner of which was Schlesinger's brother-in-law). The sketches were done in pencil and ink over pencil on four sheets of paper. And now Hans van Maanen revives Schlesinger's spirit as closely as the drawings permit. Hans Van Maanen thus digitized Serena (2007, Canada Type).
Dutch Mediaeval (2007, 9 styles) is a text family based on Hollandse Mediaeval, the 1912 Sjoerd Hendrik De Roos classic. Followed in 2013 by Dutch Mediaeval Book ST (done together with Patrick Griffin), which was engineered specifically for science writing.
Freco (2006, Canada Type): an art deco font.
Circulaire (2009, Canada Type) is a set of initial caps designed by Sjoerd Hendrik de Roos in 1926.
Adams (2008, Canada Type) is a revival and major expansion of Dolf Overbeek's Studio typeface and Flambard, its bold counterpart, originally published by the Amsterdam Type Foundry in 1946 and 1954, respectively.
Lotto: A brush typeface originally designed by expert ad artist Herbert Thannhaeuser for East German foundry Typoart in 1955. Revived by Van Maanen at Canada Type in 2009.
Diploma (2009, Canada Type) is a revival of Diplomat, a metal type made by the in-house team of Ludwig&Mayer and first published in 1964.
Roos (2009): A 10-style revival and extension of Sjoerd Hendrik de Roos's De Roos Romein (1948), created in cooperation with Patrick Griffin at Canada Type.
Archie (2010): a heavy techno sans banner face, done at Canada Type as a revival of work by Martin Meijer.
Agent (2010, Canada Type) is another revival of work by Martin Meijer.
Aragon (2010, Canada Type): Advertised as a workhorse Dutch Garamond family. Includes an open style called Aragon Initials.
Naga (+Naga Outline, 2011, Canada Type) is Hans van Maanen's original creation of art deco shapes intersected with intricate mazes of what could be Celtic or Mesoamerican knotwork art.
Zilvertype (2012). A 590-glyph typeface revival published by Canada Type: Right on the heels of the tremendous popularity wave that made Hollandse Mediaeval the most used Dutch typeface during the Great War years, Sjoerd H. de Roos was asked to design a 15 point type for De Zilverdistel, Jean-François van Royen's publishing company. So between 1914 and 1916, de Roos and van Royen collaborated on the typeface eventually known as Zilvertype, and which both parties viewed as an improved version of Hollandse Mediaeveal. Like Hollandse Mediaeval, Zilvertype was based on the Jenson model, but it is simpler, with more traditional metrics, and lighter and more classic in colour. Followed in 2014 by the expanded Zilvertype Pro.
Minuet (2007) revives Schlesinger's Rondo.
Grippo (2012). A layered font in six styles, with a general art deco look.
Gaulois (2012). Based on Scribe (1937, Marcel Jacno), an art deco era signage and advertising script.
Wilke Kursiv (2013) is based on Martin Wilke's Wilke Kursiv from 1932.
Aragon ST (2013, with Patrick Griffin). Related to Garamond, this family was designed for science writing, thanks to the incorporation of SciType. SciType is a flexible combination of oft-ignored letterforms and innovative OpenType programming that can be incoporated into existing text fonts in order for them to function seamlessly when including common science formulas and equations in regular text.
In 2015, Hans cooperated with Patrick Griffin on the sturdy small text typeface Leo.
Basilio (2017). a revival and expansion of the italienne typeface Hidalgo (1939, Stefan Schlesinger for Lettergieterij Amsterdam).
Der Mond (2018). A stick font.
Pala (2018). A condensed semi-bold sans typeface that is based on the tyopes seen on posters by activists.
Monostad (2019).
Litige (2019). A bold titling sans.
Salden (2019, by Hans van Maanen and Patrick Griffin). A grand effort to collect the lettering of Dutch book and book cover designer Helmut Salden in a series of typefaces.
Boerenzij (2019). A stencil type commissioned by Wapke Feenstra for an exposition in Rotterdam.
Mmomo (2019).
Artist in Space (2019). A commissioned typeface.
Normandia (2021, by Patrick Griffin and Hans van Maanen). A digital revival of the fatface typeface Normandia by Alessandro Butti at Nebiolo (1946-1949).

[Google] [MyFonts] [More] ⦿

Hans van Maanen
[Helmut Salden]

Hans van Sinderen

Designer in Eindhoven, The Netherlands, whose Pentakis font (2014) is based on a Pentakis dodecahedron solid. Behance link. [Google] [More] ⦿

Hansje van Halem

Dutch graphic designer, b. 1978. Graduate of the Gerrit Rietveld Academy, who started her own studio in Amsterdam in 2003. She creates alphabets, textures and patterns, both digitally and manually, that she applies to designs for posters, illustrations and public space art works such as gates and floors. In 2017, she developed an experimental typeface called Wind at Typotheque. Technically produced by Peter Bilak, there is variable font version by Thom Janssen. [Google] [More] ⦿

Han-Wen Nienhuys
[mftrace]

Harm-Jan van der Mark

Amsterdam-based designer of the grungy Nike Freestyle (2012). [Google] [More] ⦿

Harold W. de Wijn
[Euro-CE]

Heer Hugo

Rotterdam, The Netherlands, and/or UK-based designer of the engineering font Voltonium (2018) and the elliptical typeface Neth Sans (2018). [Google] [More] ⦿

Hein Boekhout
[OTC (Odyssey Type Company)]

Hendricus Theodorus Wijdeveld

Hein Mevissen

Hein Mevissen (aka John Doe Amsterdam) is the Dutch creator of the hand-printed Hein Writing (2010). [Google] [More] ⦿

Helena Carazo

Graphic designer in Amsterdam who drew a nicely lettered series of illustrations called Soup (2013). [Google] [More] ⦿

Helga Keulen

Freelance graphic designer at Shift8, based in Hulsberg, The Netherlands. In 2014, she created the typefaces HelgAbstract and Helga Round. Behance link. [Google] [More] ⦿

Helmut Salden
[Hans van Maanen]

Dutch book designer, 1910-1996, who fought in the resistance against the Nazi occupation. In 2019, Canada Type published Salden, a cooperation of Patrick Griffin and Hans van Maanen. They summarize that contribution and weave it into Salden's remarkable career:

The Salden fonts are our tribute to the man who was dubbed the face of the Dutch book, and whose work is considered essential in 20th century Dutch design history. Helmut Salden's exquisite book cover designs were the gold standard in the Netherlands for more than four decades. His influence over Dutch lettering artists and book designers ranges far and wide, and his work continues to be used commercially and exhibited to this very day.

At the root of Salden's design work was a unique eye for counter space and incredible lettering skills that never failed to awe, regardless of category or genre. This made our attention to his lettering all the more focused within our appreciation to his overall aesthetic. Though Salden never designed alphabets to be turned into typefaces (he drew sets of letters which he sometimes recycled and modified to fit various projects), we thought there was enough there to deduce what a few different typefaces by Salden would have looked like. The man was prolific, so there were certainly enough forms to guide us, and enough variation in style to push our excitement even further. And so we contacted the right people, obtained access to the relevant material, and had a lot of fun from there.

This set covers the gamut of Salden's lettering talents. Included are his famous caps, his untamed, chunky flare sans serif in two widths, his unique Roman letters and an italic companion and, most recognizable of all, his one-of-a-kind scripty upright italic lowercase shapes, which he used alongside Roman caps drawn specifically for that kind of combination titling.

All the fonts in this set include Pan-European glyph sets. They are loaded with extras. Salden Roman (908 glyphs) and Salden Italic (976 glyphs) each come with built-in small caps (and caps-to-small-caps), quite a few ligatures, and two different sets of alternates. Salden Black and Salden Black Condensed (636 glyphs each) come with a set of alternates, and both lining and oldstyle figures. Salden Caps (597 glyphs) comes with a set of alternates, and Salden Titling (886 glyphs) comes with a quite a lot of swashed forms and alternates (including as many six variants for some forms), a few discretionary ligatures, and two sets of figures. There are also some form alternates for the Cyrillic and Greek sets included in all six fonts.

These alphabets were enjoyably studied and meticulously developed over the past ten years or so. We consider ourselves very fortunate to be the ones bringing them to the world as our contribution to maintaining the legacy of a legendary talent and a great designer. The majority of the work was based on Salden's original drawings, access to which was graciously provided by Museum Meermanno in The Hague.

The Salden fonts were done in agreement with Stichting 1940-1945, and their sale will in part benefit Museum Meermanno.

In 2020, Mathieu Lommen and Karen Polder published Helmut Salden Uncovered at Bobby Books. The blurb: Helmut Salden Uncovered 1:1 is the ?rst international monograph on the lettering artist Helmut Salden (1910-1996), exploring his original sketches and working drawings. Salden had fled from Germany to the Netherlands from the Nazis, and the book covers the years 1939 through 1970. All drawings are reproduced at actual size and reveal in detail his pursuit of the ultimate form. The book was awarded Best Book Design in the Netherlands for 2020. [Google] [MyFonts] [More] ⦿

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

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

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

Wijdeveld's lettering and alphabets inspired these digital typefaces:

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

[Google] [MyFonts] [More] ⦿

Hendrik Bruyn

Dutch typefounder. Publisher of Verbeterde letterproef, waar in verscheide nieuwe schriften, als mede diversche bloemen en vignetten te vinden zyn, Die gegooten worden te Amsterdam, by Hendrik Bruyn en Comp., boekdrukkers en lettergieters, op het Rockin, by de Langenbrug, Volume 1 (1810). [Google] [More] ⦿

Hendrik D.L. Vervliet

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

Sixteenth-Century Printing Types of the Low Countries. With a Foreword by Harry Carter, Amsterdam: M. Hertzberger, 1968. This book has 267 facsimile-illustrations depicting 147 typespecimens. It was translated from the Dutch manuscript by Harry Carter.
Civilité Types (with Harry Carter, 1966, Oxford, University Press), for The Oxford Bibliographical Society).
Cyrillic & oriental typography in Rome at the end of the sixteenth century: an inquiry into the later work of Robert Granjon (1578-90) (1981, Berkeley Poltroon Press, 55+3 pages).
The Palaeotypography of the French Renaissance Selected Papers on Sixteenth-Century Typefaces (Library of the Written Word, 2008, and Leiden: Koninklijke Brill NV, 2008). This is a 565-page 2-volume oeuvre about which the publisher writes: This collection of thirteen essays examines sixteenth-century type design in France. Typefaces developed during this period were to influence decisively the typography of the centuries which followed, and they continue to influence a great many contemporary typefaces. The papers' common goal is to establish the paternity of the typefaces described and critically to appraise their attributions, many of which have previously been inadequately ascribed. Such an approach will be of interest to type historians and type designers seeking better-documented attributions, and to historians, philologists, and bibliographers, whose study of historical imprints will benefit from more accurate type descriptions. The papers and illustrations focus on the most important letter-cutters of the French Renaissance, including Simon de Colines, Robert Estienne, Claude Garamont, Robert Granjon, Pierre Haultin, and also include a number of minor masters of the period.
French Renaissance Printing Types: A Conspectus (New Castle, Delaware, and London: Oak Knoll Press, The Bibliographical Society, and The Printing Historical Society 2010). This conspectus aims at surveying exhaustively and regardless of aesthetics, all Roman, Italic, Greek, Hebrew, and Arabic typefaces made in France during the sixteenth century. Such a survey will be of interest to historians, bibliographers, and philologists wishing to identify the types used in the imprints they are investigating, as well as to type historians or type designers wishing to base their attributions on documentary evidence. The conspectus consists of introductory chapters on the sources available, the evolution of sixteenth-century type-casting and letter-engraving, biographical notices of 17 punchcutters (both famous ones, such as Colines, Garamont, Granjon, and lesser known ones, such as Vatel, Gryphius, or Du Boys) and the methodology used. The main part of the book consists of the facsimiles of 409 typefaces (216 Romans, 88 Italics, 61 Greeks, 41 Hebrews, 2 Arabics, and one phonetic) each with a short identifying notice, describing their letter family, size, punchcutter (or eponym), their first appearance in books or type-specimens, the surviving materials such as punches or matrices, and finally (for about two-thirds of them), the recent literature. Every typeface has been illustrated, several with multiple examples of their use.
Vine Leaf Ornaments in Renaissance Typography: a survey (2012, New Castle, Delaware: Oak Knoll Press and HES & DE GRAAF Publishers). Oak Knoll writes about this 416-page book: This new survey deals with the birth and early history of the typographical ornament commonly known as a vine leaf or Aldine leaf. Starting in 1505, the introduction sketches the fleurons beginnings in handwritten form onwards to printed epigraphical handbooks. These small ornaments originated as type-cast sorts in the first decade of the sixteenth century in Augsburg and Basle at presses that attended to the interests of a humanist reading public. From the 1520s onwards, the design evolved into an all-purpose decorative motif fitting for any publication. Venice and Paris designers, such as Garamont and Granjon, cut new designs that can still be found in most digital fonts today. The main part of this book is a comprehensive catalogue of all sixteenth-century type-cast vine leaf designs. It provides a descriptive notice of each fleuron, irrespective of its aesthetic merit or country of origin.
Robert Granjon, letter-cutter, 1513-1590: An oeuvre-catalogue (New Castle, Delaware: Oak Knoll Press, 2018, 200 pages).
Granjon's Flowers Am Enquiry into Granjon's, Giolito's, and De Tournes' Ornaments, 1542-1586 (New Castle, Delaware: Oak Knoll Press, 2016, 248 pages). The contents include a chronology of Granjon's ornaments (1544-1586), ornaments used by Gabriele Giolito in Venice (1542-1550), and flowers and ornaments used by de Tournes in Lyons (1544-1577). Appendices include illustrated lists of ornaments by size, width, and date.
Post-incunabula en hun uitgevers in de Lage Landen: een bloemlezing gebaseerd op Wouter Nijhoff's L'art typographique. Post-incunabula and their publishers in the Low Countries: a selection based on Wouter Nijhoff's L'art typographique (Den Haag-Boston-London: Martinus Nijhoff, 1978, 205 pages).
Gutenberg of Diderot? De typografie als factor in de wereldgeschiedenis (Deventer: Van Loghum Slaterus, 1977, 33 pages). This is the speech he gave when he became professor of book history at the University of Amsterdam on May 16, 1977.
Liber librorum : 5000 jaar boekkunst (by Hendrik D. L. Vervliet, Fernand Baudin and Herman Liebaers, Brussel: Uitgeverij Arcade, 1972). The French translation: Liber librorum: cinq mille ans d'art du livre., Bruxelles: Arcade, 1972. Engelse vertaling: The book through five thousand years London-New York: Phaidon, 1972. Duitse vertaling: Liber librorum: 5000 Jahre Buchkunst, Genève: Weber, 1973.
Reproductions of Christopher Plantin's Index sive specimen characterum 1567 & Folio specimen of c. 1567, together with the Le Bé-Moretus Specimen, c. 1599 (by Hendrik D. L. Vervliet ans Harry Carter, London: Bodley Head, 1972).
The type specimen of the Vatican Press 1628. A facsimile with an introduction and notes by H.D.L. Vervliet (by Andrea Brogiotti and Hendrik D. L. Vervliet, Amsterdam: Menno Hertzberger, 1967).
Orientaliste [1882-1967] Specimen (by Hendrik D. L. Vervliet and René Draguet, Leuven: Drukkerij Orientaliste, 1967, 64 pages).
Danfrie Reconsidered. Philippe Danfrié's (d. 1606) Civilité Types, in: The Library, vol 21:1, pp. 3-45, 2020.

Wikipedia link. [Google] [More] ⦿

Hendrik Nicolaas Werkman

Hendrik Nicolaas Werkman, who is usually referred to as H.N. Werkman, was born in 1882 in Leens, The Netherlands. He died in 1945 in Bakkeveen, The Netherlands. He was a well-known Dutch artist, typographer and printer. In 1908, he founded a printing and publishing house in Groningen. It closed in 1923, but Werkman started anew with a small workshop in the attic of a warehouse. Werkman was a member of the artists' group De Ploeg, for which he printed posters, invitations and catalogues. From 1923 to 1926, he produced his own English-named avant-garde magazine The Next Call, which, like other works of the period, included collage-like experimentation with typefaces, printing blocks and other printers' materials. He also used stenciling and stamping to achieve unique effects.

Regarding his death, I cite Wikipedia: In May 1940, soon after the German invasion of the Netherlands, Werkman, together with his friend August Henkels and others, began publishing a series of Hassidic stories from the legend of the Baal Shem Tov through their clandestine publishing house De Blauwe Schuit ("The Blue Barge"). Running to forty publications, all designed and illustrated by Werkman, the series was a subtly rebellious commentary on the Nazi occupation and a call for spiritual resistance. On 13 March 1945, the Gestapo arrested Werkman, executing him by firing squad along with nine other prisoners near the village of Bakkeveen on 10 April, three days before Groningen was liberated. Many of his paintings and prints, which the Gestapo had confiscated, were lost in the fire that broke out during the battle between German and Canadian forces over the city.

Several typefaces were made that were inspired by Werkman. There are also entire web site and exhibitions dedicated to Werkman---see, e.g., the site of Bunker Type (Jesus Morentin) in Barcelona. A partial list of revival typefaces:

Werkman (1996, Lewis Tsalis, T26).
Werkman Letterpress (2009, Benoît Santiard) is a font designed from letterpress woodblocks. It was inspired by the first issue of the magazine The Next Call (1923) by H.N. Werkman.

Groninger Museum link. [Google] [More] ⦿

Hendrik van den Keere

Born in Gent (now Belgium) around 1540, and aka Henry du Tour, he died in 1580. He delivered letters to Plantin (and exclusively so between 1570 and 1580). Enschedé's specimen book lists his 1575 Civilité as Civilité No. 14.

His lettering was revived in 1994 by the Dutch Type Library as DTL VandenKeere. Myfonts.com writes that Van den Keere's 2-line Double Pica Roman (Gros Canon), cut around 1570 and shown in Plantin's c.1585 folio specimen, is the basis for Fred Smeijers' recent face, Renard.

In Sixteenth-century Printing Types of the Low Countries (H.D.L. Vervliet, Amsterdam, 1968), van den Keere is called the best punchcutter of the Low Countries in the sixteenth century, being the link between the French, who dominated the 16th century, and the Dutch who led in the 17th century. In 1575, he made a Civilité, the "Van den Keere Civilité" (see here for more on that story). Matthew Carter's DTL Flamande (2004, Dutch Type Library) is based on a Textura by Hendrik van den Keere. DTL Flamande is available from URW++ since 2018. [Google] [MyFonts] [More] ⦿

Henk Brouwer

Dutch poster artist, whose lettering on this maritime timetable entitled Sailings and Fares (1937) inspired Nick Curtis to make Metropolis NF. [Google] [More] ⦿

Henk de Jong

Dutchman Henk de Jong lists some free font sites. [Google] [More] ⦿

Henk Drost

The last punchcutter who worked for Enschedé. [Google] [MyFonts] [More] ⦿

Henk Elenga

Dutch artist, designer and photographer (b. Rotterdam, 1947). One of the founders of the studio Hard Werken. He designed the typeface Crank8 Plus/Minus. This typeface family was extended with the help of Greg Lindy (Lux Typo) in 2005, and appeared in Esquire Magazine. It can be bought from Thirstype. [Google] [More] ⦿

Henk Gianotten

Dutch type connoisseur after whom Antonio Pace's Linotype Gianotten (1990) is named. Born in 1940, he worked for 40 years in the production and distribution of graphic arts equipment and fonts, at companies such as Tetterode, BT and Buhrmann. As a student of Willem Ovink, he got very interested in legibility of typefaces. On his own contributions to typography, he writes: Since 1964 I was involved on the production of our typefaces for Morisawa. Later on we produced typefaces for photocomposition for Bobst (Autologic), Berthold, Compugraphic, A.M., Harris Composition, Itek, Scangraphic and others. Tetterode owned the rights for typefaces like Nobel, Lasso, Polka, Orator, Promotor, Lectura and Hollandsche Mediaeval. LinotypeLibrary owns the licenses for these fonts since October 1 2000. Gianotten left Tetterode in 2000. News about LinotypeGianotten. Linotype's press release. PDF samples of LinotypeGianotten. Article on Gianotten by Wim Westerveld in 2006. [Google] [More] ⦿

Henk Haasdijk

Designer in Rotterdam, who created the highly original white-on-black poster font Sketchy Font (2013), the watercolor alphabet CryFall (2014). [Google] [More] ⦿

Henk Krijger

Dutch illustrator, b. 1914, Sumba, Indonesia, d. 1979. Designer at Lettergieterij Amsterdam of the slightly scribbly pen-drawn Raffia Initialen (1952). At ATypI 2003 in Vancouver, Peter Enneson highlighted Krijger and his Raffia Initials.

Digital revivals:

AR Types did a digital revival, Raffia (2008).
Ian Lynam's revival is called Raffish (2013). It is a derivative rather than an exact revival.
Henk Krijger Raffia Initials (2014, Patrick Griffin and Peter Enneson). This typeface (Opentype, and Adobe Illustrator formats) is based on photocopied reproductions and digital photographic images of the master drawings.

Klingspor link. Peter Enneson's biography of Henk Krijer. [Google] [MyFonts] [More] ⦿

Henk van Leyden

Designer of RAT (1984), a typeface that was used for a few years in Rotterdam's subway. [Google] [More] ⦿

Henno Drop

Graduate of the KABK in Den Haag. In 1996, he designed Alchimia and related astrology symbols at that school. [Google] [More] ⦿

Henri Felix Borremans

Belgian typefounder (b. Brussels, 1812, d. some time after 1861). He lived in Breda in 1840, worked for some time for Tetterode in Rotterdam, and set up his own foundry in Rotterdam in de Groote Kipstraat in 1857. It lasted about ten months--at the end of 1857, he returned to Brussels to work at the Brussels type foundry Crabbe&Borremans, 1859-1861. Some specimen at the Amsterdam University Library. [Google] [More] ⦿

Henric Pieterszoon Lettersnijder

Aka Henric Pieterszoon. Dutch letter cutter ("lettersnijder"), d. ca. 1511. He made a textura some time before 1492

Sixteenth Century Printing Types of the Low Countries (H.D.L. Vervliet, 1968) mentions that he was from Rotterdam, and cut letters. Occasionally, he printed as well, in Antwerp from 1496-ca. 1500, in Rotterdam from 1504 until 1509, and in Delft from 1508 until some time after 1511. It is estimated that he cut a third to half of all the type used in the Low Countries at that time. These typefaces, including the Textura, remained popular there from 1492 until about 1550-1560, when they were superseded by the blackletter type of Ameet Tavernier and Hendrik van den Keere. His son was Cornelis Henricszoon Lettersnijder, who also cut type, starting out in Delft.

Digitizations: Oude Hollandse (2012, Alter Littera; after Henric Pieterszoon "Lettersnijder"'s 1492 typeface), Initials Gothic C (2012, Alter Littera, based on a 1508 type by Pieterszoon), English textura. [Google] [More] ⦿

Henry van der Wal

Dutch designer in Opende / Groningen of the modular (constructivist) titling typefaces Red Storm (2014) and Red Storm Rusty (2015). Behance link. Creative Market link. [Google] [More] ⦿

Hermen Grasman
[Beware of the Moose]

Huda Smitshuijzen AbiFarès

Herzberg Design
[Matthijs Herzberg]

Aka BaronHerzberg. Illustrator, letterer and type designer, who was born in the Netherlands, moved to New Orleans in 2013, and set up Herzberg Design, a commercial type foundry, in 2019. His typefaces include:

Libido (2021). A funky unicase psychedelic typeface based upon Wes Wilson's style. It has a traditional smooth or curvy style, and a ragged style with only straight edges, and is designed in variable format with a width axis and an optical size axis.
Bonkus (2020). A six-style geometric sans-serif typeface with a funky touch that was inspired by similar wide open organic typefaces from the 1970s such as Blippo and Ronda.
Wanchy (2020). A psychedelic typeface.
Yardbird (2020). A stencil typeface.
Cloisterfuch (2019). A blocky modern blackletter.
Psychblock (2020). A variable art nouveau font with two axes (width and optical size), inspired by the psychedelia of Wes Wilson. For Latin and Cyrillic.

[Google] [More] ⦿

Hill Valley
[Dionne Fox]

Dionne Fox, who runs Hill Valley, is based in The Netherlands. In 2017, she designed the cursive typeface family Spring Time. [Google] [More] ⦿

Hinting tutorial

Jigal van Hemert's hinting tutorial (PDF), posted on his behalf. [Google] [More] ⦿

Hobo Art
[Emile Michel Hobo]

Screenwriting and script company in Enschede, The Netherlands, run by Emile Michel Hobo (b. Den Haag, 1980). Via MyFonts, one can purchase his fonts: Lectori Salutem (+Sans, 2009). [Google] [MyFonts] [More] ⦿

Holger Königsdörfer

Typographer and type designer living in the countryside of the Altmühl Valley. Graduate of the Type and Media program at KABK, 2009. Originally from Augsburg, Germany, he had previously studied at the University of Applied Sciences in Augsburg (Germany) and the Istituto Superiore per le Industrie Artistiche in Urbino (Italy). Typefaces:

His graduation project at the University of Applied Sciences in Augsburg was the winged slab serif typeface Vela (2010, Lazydogs Type Foundry).
Acon (2009, graduation project at KABK, a book type). Holger writes: Most contemporary books use typefaces based on the contrast of the broad nib pen, while typefaces based on the contrast of the pointed nib have been relegated to use in fashion, lifestyle magazines and cosmetic packaging. My aim is to design a typeface based on the pointed pen that is suitable for book typography. Well, Acon was awarded with the TTDC (Tokyo Type Directors Club) Type Design Prize 2010.
Camion (2008, slab serif).
He finished a revival and improvement of van Krimpen's Romanée in 2017, and published it at Lazydogs, after initially being kept from doing so by The Enschedé Font Foundry (TEFF) who claimed total rights to Romanée. Holger's typeface was wisely renamed Renommée in 2018.

[Google] [More] ⦿

Houke De Kwant

Dutch typographer and designer who made the racy typographic poster Nikita (2010). [Google] [More] ⦿

HR Groep

Dutch company in charge of the production of street signs. For some of their productions, they use Ovink Ee (1999). The Ovink Ee types are used in certain Dutch towns and villages on the street name signs and on small number plates signs along the railways to identify the switches and the signals. They are also used by Rijkswaterstaat (the authority regarding the highways, rivers and canals) in The Netherlands. Ovink Ee is a wider version of Visualogic's Ovink D VL (1995), which is used on Amsterdam's street signs. In addition, Ovink Ee includes a lower case, which Ovink D VL was lacking. [Google] [More] ⦿

HTM fan

Dutch type designer. His HTMCijfersenBusletter (2003, free at OFL) is based on the HTM (Haagse Tramweg Maatschappij) street cars en buses from 1905 until 1967. [Google] [More] ⦿

Huda Smitshuijzen AbiFarès, was born in Beirut in 1965. Author of Arabic Typography A Comprehensive Sourcebook (Saqi Books, London, 2001), Experimental Arabic Type (Saatchi&Saatchi, Dubai, 2002), Typographic Matchmaking (BIS Publishers, Amsterdam 2007), Arabic Type Specimen Book (2008), Typographic Matchmaking in the City (2010) and Arabic Type Design for Beginners (2013), and a number of articles on multilingual communication in the Middle East such as Arabic Type: a challenge for the 2nd millennium (1998). She holds degrees in graphic design from Yale University School of Art and Rhode Island School of Design, and specializes in bilingual typographic research and design. She has worked as a designer for a number of years, in the USA, Amsterdam, France and Beirut. She has taught typography and graphic design at the American University of Beirut. She was the Chair of the Visual Communication Department for three years at the American University in Dubai and founded the Khatt Foundation, Center for Arabic Typography in Amsterdam. She curates exhibitions, organizes collaborative design research projects between Europe and the Middle East, and is editor of the Khatt Foundation online network of Arab/Middle Eastern designers (www.khtt.net). She is currently pursuing a PhD at Leiden University while working between Europe and the Middle East as a typography and design consultant on projects of cultural relevance. She has art directed and collaborated on the design of several contemporary Arabic fonts for magazines like Aleph (London) and companies in the Gulf. Typefaces include Alef Caps (2008), done with Pascal Zoghbi. KHTT link. [Google] [More] ⦿

Huda Smitshuijzen AbiFarès
[Typographic Matchmaking]

Cargo collective link. Link at Underware. Alternate URL: This is playtime.

Hugo Cavalheiro d'Alte

Born in Porto, Portugal, in 1975. From 1994 until 1999 he studied graphic design at the Escola Superior de Artes e Design. In 2000 he became a postgraduate student at the KABK where he wrote a Masters thesis entitled "Type&Media". He joined Underware in the same year. At ATypI 2005 in Helsinki, he spoke on On the edge of legibility, which in fact is a talk about blackletter. Affiliated since 2002 with Underware. He lives in Finland. Also doing business at Incubator at Village Type.

His typefaces:

For Thirstype, he made Kaas (2005), a blackletter typeface for the 21st century, with Latin, Cyrillic, and Hebrew alphabets.
Still in 2009, he created a transitional type, Rolland (+Rolland Text, Rolland Small, Rolland Text Italic), about which he writes: Rolland is a digital interpretation of some of the printing types used at the "Typografia Rollandiana" in Lisbon at the end of the XVIII century. The printing and publishing house was established by Francisco Rolland after he moved to Lisbon (from France) in the second half of the XVIII century becoming one of the most successful publishers of his time.
Kalevala (2009): a custom sans type family for Finnish jewelry brand Kalevala Koru. The starting point for this project was a book printed and published by Francisco Rolland in 1797: "Escolha das Melhores Novellas e Contos Moraes; Escritos em Francez por MM, d'Arnaud, Marmontel, Madama de Gomez, e outros".
In 2009-2010, he made a DIN-like corporate font for Centro Portugues de Design, CPD Sans. This was accompanied by the CPDSerif family, which evolved from Rolland.
In 2009, he created the squarish unicase typeface Flexibility: Custom typeface commissioned by the portuguese design studio R2 for the identity of an exhibition that took place in Torino (Italy) in 2008 (World Design Capital 2008).
Kaas (2005, Incubator) is a modern geometric/constructed blackletter with a historically-accurate set of titling capitals, a large collection of accents, and Cyrillic and Hebrew alphabets.
Arabia (2015) is a custom typeface for Arabia Finland (for the identity renewal work by Ilkka Kärkkäinen).

[Google] [MyFonts] [More] ⦿

Huig Markus

Berkenwoude, The Netherlands-based designer of a curly slimy typeface in 2015. [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] ⦿

Huub Koch

An essay about teaching typographic literacy by Huub Koch. It also has a list of type links. [Google] [More] ⦿

Hybrid Space
[Kees Gajentaan]

Kees Gajentaan designed the freeware fonts Kiloton, ill oMen, Xenotron, Xenotron Broadstroke (trekky font), Xenotron RadioEdit, EctoBlaster, iLL oCtoBer (+ill October 98, dingbats for Halloween), the handwritten Coldbringer, Megalomaniax KG, Moonpebble KG, Y2k Subterran Express KG, AntiMatter KG (1999) and Bored Robots.

Hylkje Kroon

Groningen, The Netherlands-based graphic designer who created the display typeface Newone in 2017 for a project at the Aluo Arts Academy Ljubljana. She also designed an Arabic simulation typeface in 2017 that was inspired by Syrian refugees. [Google] [More] ⦿

ideogram

Dutch designer of the techno typeface Conradi Square (2012). Dafont link. [Google] [More] ⦿

Ilja Pfeijffer
[CL Fonts]

Ines Leite

Amsterdam-based designer of the blocky 3d typeface The Female Sex Alphabet (2019), which has nothing to do with females or sex. [Google] [More] ⦿

Inga van Haren

In 2016, Inga van Haren (Wijchen, The Netherlands) created the steampunk typeface Walle. [Google] [More] ⦿

Ingeborg Vriends

Dutch creator (b. 1971) of Inkies 2 (2012, hand-drawn).

Inka Strotmann

From her page: Inka Strotmann (née Inka Menne, 1972) grew up in East Frisia and was trained as typesetter after secondary school. When she studied communication designin Potsdam she specialized in type design and typography. Inka worked for Luc(as) de Groot at his FontFabrik before she came to FSI FontShopInternational where she is Chief Font Technician. Inka was a member of the Forum Typografie Potsdam. Her Font Linotype Grassy is a winner font of Linotype's 3rd International Digital Type Design Contest. She also designed the typeface ForumTypen and as a freelancer she offeres type services under the label Fontameise, doing for example CE, Turkish and Baltic versions of FF Scala, FF Seria, FF Nexus and FF Dax. Designer of the CE versions of FF Dax Compact Offc Pro, FF Dax Offc Pro, FF Dax Web Pro, FF Dax Web Pro Condensed, and FF Dax Web Pro Wide. [Google] [More] ⦿

Innit Design

Innit Design (Amsterdam) created the typefaces BMBKLT05 (2012, influenced by brutalist architecture) and MSSV11 (2012, a dripping paint graffiti font).

Isidorus Maria Cornelis van Mens

Interant Media

Interant Media is a small design and development company in Holland. Creators of the hand-printed pay font Pencil (2011). [Google] [More] ⦿

Irina Kopytina

Graphic design student at ArtEZ school in Arnhem, Netherlands, who is originally from Moscow. She created the italic typeface Arnhemse jochies (2010) and the experimental typeface Breadclip (2012).

In 2014, we find her in Brussels, Belgium, where she created a gridded octagonal typeface.

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

Irma Boom

Irma Boom is a Dutch graphic designer who specializes in book making. Boom worked at the Dutch Government Publishing and Printing Office in Den Haag for five years before she founded her Amsterdam studio in 1991, Irma Boom Office. Boom works in the cultural and commercial sectors. Her clients include the Rijksmuseum Amsterdam, Paul Fentener van Vlissingen, Inside Outside, Museum Boijmans, Zumtobel, Ferrari, Vitra International, NAi Publishers, and Camper.

Speaker at ATypI 2013 in Amsterdam [abstract verbatim from the ATypI site]: The new Rijksmuseum identity and typeface family. The Rijksmuseum in Amsterdam is the national museum for Dutch art and history, and is home to many masterpieces including works by Rembrandt, Johannes Vermeer, and Frans Hals. Earlier this year [2013], after a lengthy and spectacular renovation, the museum re-opened to critical acclaim. Along with the renovation the Rijksmuseum got a new identity as well, designed by Irma Boom Office. Deciding for a predominantly typographical solution, Irma Boom invited Bold Monday [Paul van der Laan] to design a series of typefaces. [Google] [More] ⦿

Isa Werleman

Dutch designer of the bilined display typeface Pointy (2018). [Google] [More] ⦿

Dutch poster artist with a timeless name, 1890-1985. Posters with art deco lettering by him include Jaarbeurs Utrecht (1937). [Google] [More] ⦿

Ivo van Leeuwen

Ivo van Leeuwen lives in Tilburg, The Netherlands. Since 1996 he works as illustrator, graphic artist and painter. He makes free illustrations as well as commissioned work for newspapers and festivals. He also illustrates novels and poetry works. In 2014 he was asked by Sander Neijnens to collaborate on the (free) TilburgsAns fonts, which were published in 2016-2017. [Google] [More] ⦿

J. de Haan

Dutch architect in Amsterdam who edited the lettering model book Alphabet: letters van allerlei vorm (1895-1898), which, according to Mathieu Lommen, is the prettiest and most ambitious model book ever published in The Netherlands. The text has lettering examples from many contributors, such as Jan Boerma, C.L. Stal, and J.B. Heukelom (1875-1965). Heukelom's contributions include Sierletters (Dutch art nouveau style) and Perspectiefletters.

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

J. Hepkema

FontStructor who made the De Stijl-like pixel typeface JFont (2010). [Google] [More] ⦿

Jaap Nauta

Jaap Nauta (Bureau Nauta) is a Dutch designer, b. 1967. He created the hand-printed typeface Jaap (2012), and the stitching typeface Embroid (2012). In 2014, he designed the counterless typeface Kroeskop, which is attributed to Yvonne Kroese.

Jack Devreugd

Aka Jack Junior. During his studies at Grafisch Lyceum Rotterdam, Jack Devreugd (Katwijk, The Netherlands) designed the squarish typeface Typografia (2012, constructivist). [Google] [More] ⦿

Jack van der Vaart

Dutch creator of the plump comic book typeface Walibi 0615 (2011), which is modeled after the one used in the Walibi Holland site. [Google] [More] ⦿

Jacob Jan Wise
[Wise Type]

Jacobus Wilhelmus Gidding

Jacobus van de Velde

Bookseller in Amsterdam at the time of his marriage in 1682 and of his death in 1709. An undated type specimen bearing his name in the Enschedé collection is thought to have been produced around 1699 [according to Harry Carter]. In Typefoundries in the Netherlands, we find this image (of No. 28 type), and this text about it: The matrices owned by Alberts&Uytwerf also passed eventually to the Brothers Ploos van Amstel. Among the types we acquired from them we still have one of the types offered for sale by Van de Velde. It is our English-bodied Roman No.28. In our collection there is also one of the types shown in the earliest specimen of Alberts&Uytwerf, the [Large] Two-line Small Pica Roman No.29... Typophile discussion. [Google] [More] ⦿

Jaap Gidding was a Dutch designer, 1887-1955. He created some art deco posters such as Tentoonstelling van Binnenhuiskunst (1919) and Nenijto (1928). [Google] [More] ⦿

Jacques Borel
[Rollergirl]

Jacques Coolen

Dutch designer who used iFontmaker in 2011 to create Jac's Font. [Google] [More] ⦿

Jacques Le Bailly
[Baron von Fonthausen]

Jaimy van den Hoof

Graphic designer in Waalwijk, The Netherlands, who created the display typeface Profundum (2013).

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

Jaimy Van Venrooy

Vinkel, The Netherlands-based designer of the bilined squarish typeface Mondrien (2014). [Google] [More] ⦿

Jake Keijzers
[Kazer Studio]

James Dolence

Den Haag-based creator of the Milks display family (2012), of Miks (2013, a mixture of Rockwell and VAG Round), and of the subway-inspired Metron (2012).

James Goggin
[Practise]

Jamie de Rooij

Jamie de Rooij (Zaandam, The Netherlands) created the wavy typeface Kramp (2012) and the display typeface Schok (2013).

Behance link. She studies graphic design in Amsterdam. [Google] [More] ⦿

Jamilla Grannetia

Hilversum, The Netherlands-based designer of the grid-based typeface family Formgiving (2017) and the textured typeface Rotten (2017).

Typefaces from 2018: Morbid Icons, Fluid, Point, Dweeb (a neon typeface). [Google] [More] ⦿

Jan Bunk
[Bureau Bunk]

Jan Dietvorst

Den Haag-based designer of the very experimental geometric typeface Tangram (2011), The Monks Are Allright (2012), and Scripto (2011). Home page. [Google] [More] ⦿

Jan Duiker

Dutch designer, 1890-1935. He created some art deco posters such as Zonnestraaldag (1926). [Google] [More] ⦿

Jan Hendrik Scholte

Dutch author, b. 1874, who edited Die Hochdeutschen Schriften aus dem 15ten bis zum 19ten Jahrhundert der Schriftgiesserei und Druckerei (1919, Enschedé en Zonen, Haarlem), a publication which has four articles:

Gustav Mori: Christian Egenolff, der erste ständige Buchdrucker in Frankfurt a/M
Christian Münden: Von den ersten Franckfurter Bruchdruckern
Gustav Mori: Geschichte und Entwicklung des Schriftgiesserei-Gewerbes in Frankfurt a/M
Charles Enschedé: Die Druckerei der Elsevier und ihre Bezichung zu der Lutherschen Schriftgiesserei

This book is mainly about the development and history of blackletter types. Open Library link. [Google] [More] ⦿

Jan Middendorp

Jan Middendorp, born in the Den Haag, Netherlands, lived in Leiden, Amsterdam and Gent (Belgium) before moving to Berlin in 2005. He died in December 2023. An independent writer, translator and consultant, he taught (taught) at Weissensee Art College in Berlin and the Plantin Institute of Typography in Antwerp. During the past twenty years Jan has edited, written and co-written a number of well-known books on graphic design and typography, including Hey, there goes one of mine! (2002), Dutch Type (2004), Shaping Text (2012), Hand to Type (2012), Type Navigator (2011, with TwoPoints. Net), Creative Characters (2010) and Made with FontFont (2006, with Erik Spiekermann). He had an ongoing collaboration with the Bibliothèque typographique of Ypsilon Editeur in Paris and with MyFonts, where he edited the popular interview newsletter Creative Characters.

In 2017, he founded Fust & Friends.

In 2023, received the TDC Medal.

Dorp Dal link. Fust & Friends bio. [Google] [More] ⦿

Jan Oomkens

Dutch foundry based in Groningen in the early 19th century. Specimen in "Proef van letteren, bloemen, enz. der boekdrukkery van J. Oomkens J. zoon" (Groningen, 1807). [Google] [More] ⦿

Jan Pas

Author of Mathematische of wiskundige behandeling der schryfkonst. Behelzende een manier om alle de gemeene letteren van het regt- en schuin romeins; curcyf; italiaansch; nederduitsch; en fractuur ... Opgesteld en geteekend (Amsterdam, 1737). This Dutch text contains some pages in French under the section title Demonstration mathematique de l'art d'écrire. The text shows many letter styles drawn entirely with compass and ruler, and is clearly influenced by the romain du roi. Local download. [Google] [More] ⦿

Jan Pieter Kunst
[Avesta Fonts]

Jan Roman

Typefounder active in the Netherlands around 1570. [Google] [More] ⦿

Jan Sonntag
[Sonntag Fonts (or: S Fonts)]

A list of typefaces based on Jan Van Krimpen's work:

Jan Tholenaar

Dutchman born in 1928 who possesses one of the world's most impressive specimen collections. He founded the Grote Letter Bibliotheek (publishing house) for partially blind people in 1969. For this, he specially created a sans face, GLB-16 (designed for 16 point), with large x-height and wide character spacings. A sample of GLB is in Jan Middendorp's "Dutch Type", page 303. Grote Letter Bibliotheek is now run by his son. [Google] [More] ⦿

Jan Toorop

Jan Toorop was a Dutch-Indonesian painter and illustrator, b. Purworejo, Java, Dutch East Indies, 1858, the son of a Dutch-Indonesian father and a British mother. In 1869, he left Indonesia for the Netherlands, where he studied in Delft and Amsterdam and at the Rijksakademie in Amsterdam. From 1882 until 1886 he lived in Brusselss, where he joined Les XX (Les Vingts), a group of artists grouped around James Ensor. He developed his own unique Symbolist style, with dynamic, unpredictable lines based on Javanese motifs, highly stylized willowy figures, and curvilinear designs, and is considered as one of artists that represent the art nouveau and Viennese Secession movements. In 1905 he converted to Catholicism and began producing religious works. He also created book illustrations, posters, and stained glass designs. Toorop died in 1928 in Den Haag, The Netherlands. [Google] [More] ⦿

Jan van den Velde

Or Jan van de Velde the Elder. Famous Dutch (Belgian?) calligrapher and penman (b. 1568, Antwerp, d. 1623, Haarlem) who worked first in Rotterdam (1592-1620) and then in Haarlem (1620-1623). Author of the writing manual Spieghel der Schriftkonste in den welcken ghesien worden veelderhande Gheschriften met hare Fondementen ende onderrichtinghe. Ut ghegeven door Jan van den Velde Fransoysch-School M. binnen Rotterdam (1605, Haarlem). He wrote a second penmanship book, Exemplaer-Boec Inhoudende alderhande Geschriften zeer bequaem ende dienstelijck voor de Joncheydt onde' alien Liefhebbers der Pennen (1607, Haarlem).

Samples of his engravings: Duytsche Exemplaren (1622). Sample of his calligraphy on paper, done in Antwerpen in 1622. [Large image at the University of Amsterdam Special Collections].

His work is extended---modernized---in the extensive ligature-laden Jan van den Velde Script type family by Intellecta Design (2011) and in DTL VandenVelde (2015, Jeroen Koning). [Google] [MyFonts] [More] ⦿

Jan van Dijk

Dutch designer of Demian (1984 at ITC, like Tekton) and Van Dijk (1982, hand-printed). Full list of his typefaces:

Van Dijk (URW++), Van Dijk (Letraset), Van Dijk (ITC), Van Dijk (Linotype), DTC Van Dijk Variants (URW++), Vandenburg (Softmaker).
Squash (Mecanorma Collection).
Demian (Letraset), Demian (ITC), Demian EF. The regular version is from 1984-1987. The bold version was added in 2000 at Letraset by Peter O'Donnell. Other versions include Dillon (Softmaker), Dillon No. 2 (2012, SoftMaker) and OPTI Durano (Castcraft).

FontShop link.

Jan van Dijk's typefaces. [Google] [MyFonts] [More] ⦿

Jan van Krimpen

Major Dutch typographer and type designer, b. Gouda, 1892, d. Haarlem, 1958. He studied at the Koninklijke Academie van Beeldende Kunsten in Den Haag (1908-1912) and joined Enschedé in 1925. He had a considerable influence on the next generation of type designers. His typefaces include:

Cancellaresca Bastarda (1934-1935, Enschedé). 100 Types writes: Cancellaresca Bastarda is a graceful narrow italic with long descenders and ascenders, and a large array of character variations and swashes. The uppercase and lowercase alone ran to 167 characters including ligatures, anticipating large-family calligraphic fonts such as Poetica Chancery by at least 50 years. Jan van Krimpen's types have been called 'austerely beautiful' but are little known outside of his native Holland. The Enschedé Foundry for whom he worked in the mid 20th century still rigidly controls his types, and none of these have been cross licensed, redistributed or pirated. As a result, Cancellaresca Bastarda is one of the rarest typefaces.
Haarlemmer (1938). Berry, Johnson and Jaspert write: Designed by Jan van Krimpen, and commissioned in 1938 by the Vereeniging voor Druk- en Boekkunst. This originally private type was intended for an edition of the Staten Bijbel to be printed in small folio format. The type has the qualities of an old face. The serifs on the capitals are thin; on the lower case they are stronger and not quite horizontal. The capitals are wide, especially the M. The g has a large bowl. The italic is slightly inclined and has angular beginning strokes; the g has a calligraphic tail; v and w have cursive forms. Two styles of figures are provided. Now digitized as DTL Haarlemmer and DTL Haarlemmer Sans (1994). Frank E. Blokland published it at Monotype in 1998, and later at his own type foundry, Dutch Type Library. This is a prototype example of a design that is totally destroyed by one glyph, the lower case g in the italics.
Lutetia (Enschedé, 1924). Berry, Johnson and Jaspert write: The type shares some of the qualities which we have found in a number of contemporary types, small serifs and unobtrusive capitals. The capitals are wide, note especially E and F. U has the lower-case design. In the lower case the e has an oblique stroke to the eye, the g a large bowl, and the t is very short. The figures are old style. In the italic there is a swash series of capitals with prolonged strokes in A, K, M, N and R. The lower case, very slightly inclined, resembles Blado in the angularity of the begininng strokes, but the serifs on ascenders are flat. The g has a calligraphic form. It is an italic which, again like Blado, will stand on its own. The roman alphabet shown here is the first Lutetia of 1925 designed 1923-1924. With the co-operation of Jan van Krimpen an American printer, Porter Garnett, had it revised in 1928. The present Enschedé Lutetia is of the first form with the exception of the horizontal bar to the e. Monotype Lutetia was adapted by the designer to the Mono-unit system. Lutetia Open was cut about 1930 on the model of handtooled capitals which the designer had been using occasionally. Lutetia was digitally revived as Lutetia Nova Book in 2014 by Ralph M. Unger, and as Lutetia Open by ARTypes in 2007. For her type revival project at KABK, Barbara Bigosinska picked Lutetia (2013) and writes: Lutetia was designed as a commission from Enschedé by Jan van Krimpen. The drawings of the typeface were ready in the middle of 1924 and first cut and cast in 16 point size in the Enschedé Type Foundry. For the first time the typeface was used in the book dedicated to the exhibition that took place in Paris in 1925. Therefore the name Lutetia refers to the Roman name of Paris. Essay by Doyald Young on Van Krimpen and his Lutetia.
Open Roman Capitals (or: Open Kapitalen, revived in 2006 by Ari Rafaeli; see also Open Capitals by ARTypes, 2007).
Romanée (Enschedé, 1928). For a digital revival, interpretation and extension, we refer to Holger Koenigsdoerfer's Romanée (2017, unpublished).
Romulus (Enschedé, 1931 for the Capitals and 1936 for the Open version). Romulus Kapitalen and Romulus Open were revived in 2006 by Ari Rafaeli. See also Romulus Capitals and Romulus Open in 2007 by ARTypes. Now digitized as DTL Romulus (2002).
Curwen Initials, done in 1925 for The Curwen Press at Plaistow, London. Digitized by ARTypes as Curwen Initials (2008, Ari Rafaeli).
Spectrum (Monotype, 1952--a very beautiful modern type family, legible, and flexible in all situations; part of the Linotype library). MyFonts writes: Spectrum is based on a design by Jan van Krimpen, who worked on his typeface from 1941 to 1943 for use in a Bible of the Spectrum publishing house in Utrecht. The bible project was later cancelled but the typeface was so beautifully formed and universal that the Monotype Corporation in London completed it.
Van Dijck.

Van Krimpen had a difficult character. Lines&Splines wrote this: Alastair Johnston, from an issue of Ampersand, once posed the question, "Do you have to be an asshole to be a good type designer?" Gerard Unger replied to the effect that even to this day, people will look over their shoulders before discussing Van Krimpen. One can almost imagine Van Krimpen waving one of his sharp serifs over his head like a stick, flailing against the difficulties of his everyday relations, his nostrils flared as they were in every portrait taken of him. MyFonts page. CV at Linotype. FontShop link. Some of his work and correspondence can be found at the University of Amsterdam.

Klingspor link.

Spectrum MT (Adobe)
Spectrum (Monotype)
Curwen Initials (ARTypes)
Haarlemmer (Monotype)
Lutetia Nova (RMU)
Combi (AVP)
Bague (Eurotypo)
Apolline Std (Typofonderie)
DTL Haarlemmer (1994). By Frank E. Blokland at Dutch Type Library.

Author of On Designing and Devising Type (1957, New York: the Typophiles, & Heemstede). [Google] [MyFonts] [More] ⦿

Jan Visser

Lithographer in Groningen, The Netherlands, who studied at Academie Minerva in Amsterdam. Born in 1856, he taught at two schools, the Quellinusschool and the Teekenschool, and died in 1938. He published the lettering model book Lettervormen voor school en werkplaats, ca. 1885, published the lettering model book Lettervormen voor school en werkplaats, ca. 1885.

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

Jan Willem Paasse

Dutch creator of Paasse Handwriting (2013). [Google] [More] ⦿

Jan Willem Wennekes
[Zeptonn]

Janine Otte

As a student at Grafisch Lyceum Rotterdam, Janine Otte designed an alchemic typeface (2018). [Google] [More] ⦿

Janne van Hooff

During her graphic design studies, Janne van Hooff (Den Haag, The Netherlands) created Tape Font (2013, FontStruct). [Google] [More] ⦿

Janno Hahn

Dutch designer and type designer (b. 1980, Enkhuizen) who studied at Graphic Lyceum in Amsterdam, the Royal Academy of Art in The Hague and the Plantin Institute of Typography in Antwerp. Since 2006 he operates under his own name, working in the field of printed and spatial type design, typography and graphic design. He specializes in (often Dutch deco) type found on the bridges and buildings of Amsterdam. He created the custom uncial typeface Bonifatius in 2007 for the municipality of Dokkum, The Netherlands. Other typefaces by Hahn include the squarish monoline sans Riso (2019), the experimental 3d typeface Typomorphosis (2019), and Bike Lane Stencil (2013, for use on Amsterdam bike lanes). He also made 25 other fonts with another Dutch designer. [Google] [More] ⦿

Jarr Geerligs

Jarr Geerligs (Planet Jarr, Amsterdam) created a DNA inspired font and backgrounds for the Vogue Japan April issue of 2015. His experimental lettering work is exceptionally striking. Behance link. [Google] [More] ⦿

Jarrik Muller
[Citype]

Jarrik Muller

Dutch graphic designer in Amsterdam who has many typographic projects and occasionally creates a typeface. His typefaces are experimental and functional. One, called Puzzle, leaves it up to the user to position the sliding letters---quite an ingenious idea. Get Busy (2006) is artsy and futuristic. Escape (2006) is pixelish grunge. Union (2006), Get1 (2006, modular, computerized), Get Free (2007, a free piano key font done for Neo2, the magazine), Softmachine (2009), NB Light (2009, a techno matchstick typeface done with the help of Neubau), 3D (2009), Optical (2007, a futuristic geometric experiment), Contrast (2006), Lovely (2006), Muller Fontein (2006, experimental), Blok (2010, 3d and modular; see also Blok (2013, Dick Pape) which was influenced by Jarrik's Blok), Love (2006), and Volle Vrijheid (2006, very experimental) round out his dossier.

In 2014, he set up Citype. At Citype, he published the free pixelish typeface Amsterdam.

Old URL. Behance link. [Google] [More] ⦿

Jasper Michael De Waard
[Bureau Roffa (was: Designtown)]

Jasper Nijssen
[Studio Jasper Nijssen]

Jasper Terra

Dutch graphic designer who studied at the Royal Academy of Art (2010-2014) and in the TypeMedia program of the KABK in Den Haag from 2014 until 2015.

Codesigner, with André Toet and Jasper Nijssen, of AT Move MMM (2013, SO Design), a rounded organic sans typeface. They write: The design is based on a old Soap-Powder advertisement. MMM is very useful for headings and/or logotypes. In the TypeMedia program at KABK in Den Haag, he designed the 32-style text and display typeface family Pint for his graduation in 2015. Pint is a serif typeface family that is influenced by humanist broad-nib calligraphy. [Google] [MyFonts] [More] ⦿

Javenese typefaces: history
[Jo de Baerdemaeker]

Jo de Baerdemaker's talk at ATypI 2010 in Dublin had this summary: Jo De Baerdemaeker discusses how the Javanese writing system, the indigenous script of pre-colonial Indonesia, was adapted to print. He focuses on the Javanese typefaces that were manufactured in The Netherlands in the nineteenth and twentieth century. The cutting of the first Javanese fount, which was undertaken at Joh. Enschedé en Zonen in Haarlem, coincided with the founding of the first printing house in Jakarta (then known as Batavia, capital of Dutch India). Less than a century later, Lettergieterij Amsterdam developed a new, simplified, Javanese fount, amongst other styles and weights. The Javanese founts of both the Dutch typefoundries were internationally well received and were distributed to polyglot printing houses throughout Europe. [Google] [More] ⦿

J.C. van Lunteren

Dutch penman and teacher in Den Haag, d. 1848. According to Mathieu Lommen, he was probably the first one to publish a lettering model book in The Netherlands, Alphabet-album: collection de différentes feuilles d'alphabets historiés et fleuronnés (ca. 1846).

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

Jean Baptist De Panne
[De Passe&Menne]

Jean De La Chambre

Dutch penman who published Verscheyden geschriften geschreven ende int'Koper gesneden door Jean de la Chambre Liefhebber ende beminder der pennen tot Haarlem in 1638. [Google] [More] ⦿

Jean Paul Beumer
[Omashuisje]

Jeanine Nieuwland

Rotterdam, The Netherlands-based designer of the handcrafted typeface Charcoal Jeanine (2018). [Google] [More] ⦿

Jean-Paul Toonen

Dutch film producer based in Maastricht, The Netherlands. In 1992, his handwriting was made into a font. Much later, René Verkaart refined it and published it in his foundry, Characters, as Maestricht. [Google] [More] ⦿

Jeff Schreiber

Graphic designer in Eindhoven, The Netherlands, b. 1985. He created a scriptish typeface called Nougat (2012), Stack Bill (2012, a stackable typeface that incudes an inline version; the free sample version is called Billmoney, 2013), Fat Frank (2012), and the free multiline paperclip typeface Razor (2012).

In 2013, he published Lucien) (a headline sans), Muchacho (a free Western font), and Gringo (a spurred Western typeface).

In 2014, Jeff created the geometric sans typeface family Rucksack (which has two tweetware weights). With the help of Oliver Dead, he designed the animated typeface Fat Frank (2014, Animography). Jeroen Krielaars and Jeffrey Schreiber co-designed the eighties-style animated typeface Razor in 2014 over at Animography.

Typefaces from 2016: Blackrock (a free chunky blackletter-inspired font).

With Timo Kuilder, he founded Regular Bold Italic.

Behance link Regular Bold Italic link. [Google] [More] ⦿

Jeffrey Hossain

Boxtel, The Netherlands-based designer of the hexagonal grid typeface Honeybee (2014, FontStruct). [Google] [More] ⦿

Jeffrey Visser
[Fine Display Type]

Jelle Bosma

Jelle Bosma (b. Rijswijk, The Netherlands, 1959) studied at the Royal Academy of Art in The Hague and. like many of his contemporaries, was influenced by Gerrit Noordzij. He works from a studio near The Hadue, and designs type, programs font tools, hints, and produces type. His typefaces:

He created WTC Cursivium (1986, World Typeface Center).
He was one of the main type designers at Scangraphic from 1988-1991, where he designed Forlane in 1991.
Bosma joined Monotype in 1992. His role was to oversee TrueType� production and hinting. One of Bosma's first projects for the company's UK office was to manage the production of Greek and Cyrillic core fonts for the Windows� 3.1 operating system. Known for his work with non-Latin typefaces, Bosma has produced fonts for Hebrew, Thai, Arabic and Indic scripts. He relies a lot on his own software, including a truetype font editor called FontDame. He also claims that there are no more than 25 professional hinters world-wide. Alternate URL.
Bosma was part of the team that developed corporate identity typefaces for Nokia. Launched in 2002, the Nokia types include sans, serif, and bitmap versions in varying weights. The Nokia fonts are used for everything from architectural signage and printed brochures to screen type for phones and other devices.
In 2004, he created the OpenType family Cambria for Microsoft's ClearType project.

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

Jelle Zweegers

Eindhoven, The Nethrlands-based creator of the experimental typeface Synthetic Sequence (2014), his graduation project for at Academy of Fine Arts and Design AKV St.Joost in Breda, The Netherlands. Behance link. [Google] [More] ⦿

Jelloween Font Foundry
[Tjarda Koster]

Dutch designer (b. 1985, Smallingerland), aka Jelloween, who designed the pixel fonts Blinkie 10 (2007), Silky Wonderland (2006, pixel face), Spinach (2006), Spinach Outline (2006), Webbies (2006, web dingbats in pixel format), Chewy Blossom (2006), Charriot Deluxe (2006), Charriot (2006), Spacy Stuff (2006), Smirnof (2006: an elegant dot matrix face), Every Day (2006), JL Quixs (2006, sans), Skinny (2005), Cyborg (2006, futuristic), Cranberry Blues (2006) and Pixelicious (2006). She also made the dingbat typeface Jellodings (2007, free here), the alphading typeface Alien-ABC (2006), the modern sans display typeface Ambrosia (2006), the bouncy typewriter typeface Humble Bee (2006), the 10-style simple sans family Machinato (2007), Tjarda Hand (2007), and the grunge typefaces Thoughts (2006; see also here), Smudgers (2006), Zhang (2007, slightly gothic), Vinegar (2008, free didone typeface), Jellobrush (2008), Puppeteer (2008, grungy blackletter), Happy-Go-Lucky (2010, dingbats) and the funky family Gubblebum (2007, free). Jesterday (2011) is a bouncy sans family.

Dafont link. Another page. Klingspor link. Abstract Fonts link. [Google] [MyFonts] [More] ⦿

Jelmar Geertsma

Graphic designer from Groningen, The Netherlands. He is planning digitizations of various wood types he owns. The first one is Origo Narrow (2007), a wood type sans. He also made Sixtypound (2007, an interesting rounded fatface), Rough-Cut Sans (2007) and Jelmar Sans. No downloads. [Google] [More] ⦿

Jelmer R

Dutch designer of the mini-serifed typeface Narrenschiff (2019), which is characterized by a blunt-nosed lowercase g. [Google] [More] ⦿

Jenny de Groot

She used Fontifier to design the handwriting typeface Mijn-handschrift (2004). [Google] [More] ⦿

Jens van der Lugt

Illustrator in Breda, The Netherlands. Creator of Untitled (2011, hand-printed) and The Big Fat Font (2011). [Google] [More] ⦿

Jeroen Barendse

Designer at the The Hague-based foundry LUST of LUSTPure, LUSTGrotesk, LUSTBlowout, LUStTGothic (1994). [Google] [More] ⦿

Jeroen de Jonge

Jeroen de Jonge (Rotterdam, The Netherlands) created the alchemic typeface Support in 2013 during his studies. [Google] [More] ⦿

Jeroen Hellingman

Dutch creator of an Oriya metafont (1996-1998). From the same source, Malayalam PostScript and TrueType fonts, and Tamazight (Berber) PostScript and TrueType fonts. He also created Malayalam metafonts in 1994 (and subsequently Malayalam PostScript and TrueType fonts), a Unicode Shapes font (TeX, PostScript, TrueType), and Tamazight (Berber) PostScript and TrueType fonts. Home page. Metafonts can be found here and here. His Malayalam fonts were created as uniform stroke only, while Oriya metafonts exist in both uniform and modulated stroke. Jeroen says: It is my intention to release the fonts under GPL, but not all copies around have this notice on them. The GNU Freefont project included his fonts for the ranges of Oriya (U+0B00-U+0B7F) and Malayalam (U+0D00-U+0D7F). Subsequently, the GNU Freefont project dropped all contributions and support for Oriya. [Google] [More] ⦿

Jeroen Kant

Jeroen Kant (b. 1996) is from Herten, The Netherlands. As a FontStructor called ITellYa, he made the pixel typeface Yourself Regular (2010), the chalk simulation typeface Angry Chalk (2011), the avant garde typeface Epic Fusion (2011), and the experimental family Problems (2010). Aka Jeronimo. [Google] [More] ⦿

Jeroen Klaver
[Shamfonts (was: Shamrocking.com)]

Jeroen Koning
[De Aesthetische Dienst]

Jeroen Krielaars
[Calango]

Jeroen Leupen
[ShowMeWare]

Jeroen Overweel

Designer in Utrecht, The Netherlands. In 2014, he published the excellent Bos Theater Type, a typeface that is reminiscent of rough wood prints and even potato printing. [Google] [More] ⦿

Jeroen Saey

Dutch creator of the free squarish typeface Night Bits (2013). [Google] [More] ⦿

Jeroen Visser
[Vizi]

Jeske Kolen

During her studies, Tilburg, The Netherlands-based Jeske Kolen designed a pixelish typeface (2016). [Google] [More] ⦿

Jeske Lettinga Roorda

Dutch designer (b. 1995) of Scribble Scrabble (2014). [Google] [More] ⦿

Jesse Kuiper

Amsterdam-based creator of Amsterdam Graffiti (2009). [Google] [More] ⦿

Jesse Paauwe

At Grafisch Lyceum in Rotterdam, Delft, Netherlands-based Jesse Paauwe designed Fingerprint Font (2018). [Google] [More] ⦿

Jesse Smeding

Dutch designer of the handcrafted typeface Stitches (2016). [Google] [More] ⦿

Jheryll Richardson

Amsterdam-based designer of the display typeface Typieks (2013). [Google] [More] ⦿

Jig

Comparison of truetype and type 1 by Jigal van Hemert. [Google] [More] ⦿

Jim Jansen

During his studies at the Willem De Kooning Academy in Rotterdam, Jim Jansen designed the lachrymal display typeface Crescendo (2013). [Google] [More] ⦿

J.L. Mathieu Lauweriks

Johannes Ludovicus Mathieu Lauweriks was a Dutch architect and designer, b. Roermond, 1864, d. Amsterdam, 1932. As a theorist and an artist, Lauweriks had great influence on early 20th-century movements such as the Amsterdam School, De Stijl and the Bauhaus. He was also a key propagator of proportion theory and system thinking. He taught at the School voor Kunst en Kunstnijverheid in Haarlem (1900-1904), the Kunstgewerbeschule in Düsseldorf (1904-1909) and the Staatliche Handfertigkeitskurs in hagen (1909-1916), where he was director. After returning to the Netherlands in 1916, he taught art and architecture at Voortgezet en Hooger Bouwkunst Onderricht in Amsterdam, from 1916 onwards. From 1918 until 1931, he was editor in chief of the art magazine Wendingen.

He created Quadratuuralfabet in 1900. That typeface was digitally revived and extended by Nick Sherman ca. 2019 as Lauweriks. [Google] [More] ⦿

Jo de Baerdemaeker
[Javenese typefaces: history]

Joannes Weenink

Dutch penman and lettering artist (1797-1879), who published the lettering model book Alphabeth in onderscheiden soorten van oude, nieuwe en ornament letteren, ca. 1843. Some of his work is close to earlier model book work of Jean Midolle in Switzerland.

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

Job Wouters
[Letman]

Jodie Koldijk

Graphic designer in Amsterdam who created Untitled (2012) and Random (2012), experimental typefaces. Her second font is called Font Twee (2012). She also created a Victorian typeface in 2012. [Google] [More] ⦿

Joe vanderHam
[Joebob Graphics]

Joebob Graphics
[Joe vanderHam]

Dutchman Jeroen van der Ham ("joebob"), who is based in s'Hertogenbosch, designed mostly handwriting fonts: Lingua (a fat finger font) (2021), Quarantinus (2020), Epistula (2020), Old Letterhand (2020), dearJoe 7 (2019), Black Hand (2018), Caput (2018: a crayon font),Manus Smooth (2017), Four Hand (2017), Maneo (2017), Tater Todd (2016), Creta (2016, crayon font), Hillbelly (2016, rough brush script), Hesster Mofet (2016, brush script, renamed from Hesster Moffett), Coalhand Luke (2014, crayon or chalk script), Dear Joe 6 (2014), Dextera (2014, by Geert Dijkers), Stone Hand Saul (2014, a scribbly hand), Manus (2014), Dear Joe Hannes (2013), Winston Nero (2013, a hipster cartoon font), Serious Sally (2012), Inkydoo (2012, +Serif), Serial Sue (2012), Calligra Phillip (2012), Mixtape Mike (2012, a fat finger face), Dear Joe 3 (2010), Brushtip and Brushtip Travis (2010, two of his nicest typefaces, with a calligraphic and rough-edged touch), Vince Hand II (2010), Crossword Belle (2009), BrushtipTerrence (2009), Brushtip Texe (2009), OnetrickTony (2009), Christel Line (2009, +Black), Etch A Sketch (2009, grunge), DearJoe 5 Casual (2008), PencilPete (2008, handwriting).

Fonts added in 2007: Curly Joe, Sinister Sam (calligraphic), VincHand (handwriting of Vincent Haenen), DearJoe5, Moan Hand, FancyPens (a calligraphic pen).

Fonts added in 2006: FlutSaus (hand-printed; done with Hilde Rikken), Amorrisline, Hilde Caps (based on the handwriting of 9-year old Hilde Rikken), C rial, Hildinia Donut, BrunoBook, BuffaloStance, Stam Pete (grunge), CrosswordBill, DearJoe 1, JoeHand 2, Kali Graff, Bearer Fond.

His oldest fonts: BillieBarred (multiple-lined handwriting), BillieBob (a great poster typeface), BillieBoldHand, BillieKid (nice stencil font), BobTag, CalamityJoe, CrappyJoe, DearJoeItalic, DearJoe II, DearJoe IV (antique handwriting, 2005), DoctorBob, FruscianteHand, FuturexBob, JoeBobstraight, JoeHand, MarkerMoeII, MoanLisa (2001, linocut style), Onepunch Jim Outline, Detour Dork (2002).

His fonts are available from MyFonts. Fontspace link. Font Squirrel link. Fontsy link. Alternate URL. Dafont link. Typoasis link. Abstract Fonts link. Klingspor link. Another Fontspace link.

View Joe Vander Ham's typefaces. Abstract Fonts link. [Google] [MyFonts] [More] ⦿

Joeline Bohnen

Freelance designer in Zierikzee, The Netherlands, in the heart of the mussels region. Creator of the bilined caps typeface Body Movin (2014). [Google] [More] ⦿

Joep Pohlen
[Polka Design / Letterfontein]

Joh. A. Moesman

Lithographer and calligrapher in Utrecht, The Netherlands, 1859-1937. He published an untitled lettering model book in 1877. [Google] [More] ⦿

Joh. Enschedé en Zonen

John Berry reports: Joh. Enschedé en Zonen was founded in 1703, in the city of Haarlem in the Netherlands. It began as a printery, and it is still active as one of the most important printers in the Netherlands, printing the country's stamps and banknotes among other things. Enschedé began manufacturing type in 1743, after buying an existing type foundry, and over the course of more than two centuries, type founding was one of the most important parts of Enschedé's business. Many of the most respected type designers, from Johan Michael Fleischman in the 18th century to Jan van Krimpen in the 20th, worked for Enschedé. But Enschedé, like so many of the old-line type manufacturers, was severely affected by the changing technologies and business models of the font business, and in 1990 the type-foundry was moved out of its historic buildings, and effectively ceased to be a business. The Enschedé Font Foundry was established in 1991 by Peter Matthias Noordzij, to carry on the Enschedé tradition in a new form.

One of the family members, A.J. Enschedé, sketched the foundry's timeline in 1867:

Jean Enschedé (Jean being the French for Johan or Johannes) was an erudite man and entrepreneur, b. 1708, d. 1780. In 1743, he bought the foundry of Hendrik Floris Wetstein, who had started out in Basel but moved to Amsterdam. Wetstein's punches were engraved by Joan Michael Fleischman (b. Nurenberg, 1701, d. Amsterdam, 1768).
Both Fleischman and Jean François Rosart (b. Namur, 1714, d. Brussels, 1777) contributed type designs to Enschedé's new foundry.
The foundry also acquired matrices and punches from elsewhere, notably from many of the second level foundries that existed in Holland at the time of the birth of Enschedé's foundry. Enschedé and the competing foundry of the brothers Ploos van Amstel bought most of the stock in Holland, but nearly all of that material, often of lower quality, was molten and reused for other purposes. These second level foundries included
- The foundry of the printer Bleau located in the Bloemgracht in Amsterdam; this foundry was sold in 1677 to engraver Dirk Voskens, whose successors were, in order, his son Bartholomeus Voskens, then widow Voskens and sons, and finally "Clerk en Voskens". Finally, Voskens was sold in 1780.
- The foundry of Isaac and Hendrik van der Putte in Amsterdam.
- The foundry of Antoine and Hendrik de Bruyn (later the Elix Foundry) in Amsterdam.
- The foundry of J. van de Velde in Amsterdam, which was first sold to H. Uytwerf in Amsterdam, which in turn became "R.C. Alberts en H. Uytwerf" in Den Haag in 1750.
- The foundry of Jan Smid and Joannes Dauu, which existed briefly around 1780 when its specimen book appeared. This foundry was probably sold to J. de Groot who moved the foundry to Den Haag. De Groot's specimens were published in 1781. De Groot became Harmsen, and Harmsen sold the foundry in 1818.
- The foundry of Brouwer and Weyer, located in Amsterdam.
- The foundry of J.L. Pfeiffer, situated in the Sint Janstraat in Amsterdam.
- The foundry of pastor C. Nozeman in Haarlem.
- The foundry of the brothers Ploos van Amstel in Amsterdam.
- The foundry of the Elzevier family. In 1625, Bonaventure and Abraham Elzevier bought the ptrint shop of Isaac Elzevier (son of Mathieu), who was a printer at the University of Leyden. Their two sons, Daniel and Abraham, respectively, were named the official printers of that university. They worked together until 1654, when Daniel moved half of the foundry to Amsterdam where he kept working until his death in 1680. Daniel's sons continued for some time. They also owned a foundry im Amsterdam which employed Christoffel van Dijk as engraver. Daniel's successors left the foundry to Van Dijk who led it until 1683. In that year, the foundry was moved to the house of Joseph Athias, a librarian and printer in Amsterdam, who already had in his possession some punches and matrices by Van Dijk such as the famous Hebrew alphabet Van Dijk had made in 1662 and 1663 for his Hebrew bible. Athias's affairs were passed on to the Amsterdam-based p[rinter Jan Jacobsz Schipper. After Schipper, Schipper's widow (Clyburg) and her daughter kept running the business until 1705, when all was sold to another printer, Jan Roman, also in Amsterdam. Jan Roman's foundry was sold in 1767 in Amsterdam and bought by Jean Enschedé and the brothers Ploos van Amstel, who divided the loot. The foundry of Ploos van Amstel was later also sold to Jean Enschedé.

Publications include:

Epreuve de caractères qui se fondent dans la nouvelle fonderie de caractères de Isaac et Jean Enschedé à Haarlem, deuxième édition augmentée (1748, Imprimerie Jacques Guerin). Local download.
Proef van letteren, Welke gegooten worden in de Nieuwe Haerlemsche Lettergietery van J. Enschedé (1768, Harlem). This useful book showcases most of the typefaces of Johannes M. Fleishmann (all made between 1730 and 1768), as well as a few typefaces by Ameet Tavernier, Christoffel Van Dyk and Jacques François Rosart. This book was produced under the guidance of Joannes Enschedé (b. 1708, Haarlem). Local download.
Proeve van letteren, welke gegoten worden in de Haarlemsche lettergietery van Joh. Enschedé en Zoonen. 1806.
Proeven, voortspruitende uit de eerste oprigting eener Javaansche Drukkerij, naar het Ontwerp van P. van Ulissingen, en onder deszelfs toezigt ter lettergieterij van Joh. Enschedé te Haarlem vervaardigd. Epreuves d'une première Imprimerie Javanaise, dont les caractères ont été confectionnés, d'après le projet et sous la direction de P. van Ulissingen, a la fonderie de Jean Enschedé et fils a Harlem. Harlem: chez Jean Enschedé et fils, 1824.
Proeve van letteren, welke gegoten worden in de Haarlemsche lettergietery van Joh. Enschedé en Zonen (Haarlem, 1825).
Proeve van drukletteren. Harlem: Lettergieterij van Joh. Enschedé en Zonen, 1841.
Spécimen de caractères typographiques anciens qui se trouvent dans la collection typographique de Joh. Enschedé et fils, imprimeurs à Harlem (Haarlem, 1867). Local download.
De lettergieterij van Joh. Enschedé en Zonen. Gedenkschrift ter gelegenheid van haar honderdvijftig-jarig bestaan op 9 maart 1893, niet in den handel (Haarlem, 1893). This publication describes the history of the foundry in full detail.
Letterproef van Oostersche Schriften uit de Lettergieterij van Joh. Enschedé&Zonen te Haarlem. ca. 1907.
Catalogus van de typographische verzameling van Joh. Enschedél en Zonen (Haarlem, 1916).
Proef van Nederduitsche letters en Gothische Initialen uit de XVde Eeuw---Spécimen de caractères Flamands et d'initiales gothiques du XVme siècle---Probe Niederdeutscher Schriften und Gothischer Initialen aus dem Xvten Jahrhundert---Specimen of Dutch Black-Letters and Gothic Initials of the XVth Century (Haarlem: Joh. Enschedé en Zonen, 1925).
Spécimen des lettres françoises dites caractères de civilité des XVime et XVIime siècles dans la collection typographique de Joh. Enschedé en zonen. (Haarlem, 1926).
Het middeleeuwsche Gezang Dies est Laetitiae gedrukt met in zand gegoten letters. Haarlem: Joh. Enschedé en Zonen, [1927]. (Hymn printed from type cast in sand.)
A Selection of Types from Six Centuries in Use at the Office of Joh. Enschedé en Zonen at Haarlem, Holland. Dedicated to the Friends of the House. (Haarlem, 1930).

[Google] [More] ⦿

Johan de Zoete

Curator of the Museum Enschedé who lived (lives?) in Haarlem. [Google] [More] ⦿

Johan Manschot
[ECHT]

Johann Michael Fleischmann

Or Fleischman, with one "n". A German punchcutter (b. Nuremberg, 1701, d. Amsterdam, 1768) who lived in Amsterdam, and practiced his art at Enschedé in Haarlem, from 1743-1768. Enschedé's 1768 specimen book, Proef van Letteren shows most of his typefaces, starting as early as 1734. All his surviving punches and matrices are now in the possession of the Enschedés. His work influenced even Bodoni. His foremost typeface is the 8-point roman from 1739. That typeface has seen many metal versions, and even more digitizations. Among the metal re-cuts, one was due to Georg Belwe. There is a Fleischmann typeface at L. Wagner (1927), and a version at Typoart. Berry, Johnson and Jaspert write: His roman types are rather condensed and of a large x-height. His design is approaching the modern; the stress in some letters is vertical and the serifs are nearer the horizontal. In the upper case the long arms of the E and the squareness of the M are to be noted. In the lower case the g is conspicuous with bulbous ear and rounded link The italic rather less steeply inclined than the old face italics but still somewhat irregular The figures are still old face. Among the digitizations, we have:

At the Dutch Type Library, DTL Fleischmann (1992, Erhard Kaiser).
Fleischmann BT Pro (2002, Charles Gibbons). Heralded by the typophiles as outperforming the DTL Fleischmann.
While studying at KABK in 2012, Hrvoje Zivcic did a revival of Fleischmann's 8-point roman from 1739 entitled Slagerij.
A liberal revival called Gilly was developed by Porter Gillespie in 2015 at Type@Paris.

Fleischmann created blackletter typefaces such as Holländische Gotisch (1739-1760, digitally revived by Gerhard Helzel; Manfred Klein and Petra Heidorn made the free revival also called Holland-Gotisch, in 2005 and mention that their source was "Nederduits"; see the Fleischmann Flamande), Mediaan Duyts (1744) and Fleischmann Gotisch (ca. 1750, digitally revived by Ingo Preuss in 2004 as Fleischmann Gotisch PT, by SoftMaker in 2016 as Fleischmann Gotisch Pro, and by Alter Littera in 2012 as Nederduits).

Fleischmann was also renowned for his work on music typography. He worked for the publisher Johann Gottlob Immanuel Breitkopf, who was interested in improving the typography of musical notation. Fleischmann created a complex music notation font that proved unsuccessful in the marketplace, but was subsequently used to create many designs including the decorative edging on the first Dutch banknote called the roodborstje (robin). [Google] [MyFonts] [More] ⦿

Johann Michael Fleischmann: Biography by Ingo Preuss

The biography of Johann Michael Fleischmann (1707-1768) as told by Ingo Preuss:

Johann Michael Fleischmann was born June 15th, 1707 in Wöhrd near Nuremberg. After attending Latinschool he started an apprenticeship as punchcutter in the crafts enterprise of Konstantin Hartwig in Nuremberg, which ought to last six years. For his extraordinary talent Fleischmann completed his apprenticeship after four and a half years, which was very unusual. 1727 his years of travel (very common in these days) began, during which he perfected his handcraft by working in different enterprises as journeyman. First location was Frankfurt/Main where he worked for nearly a year at the renowned type foundry of Luther and Egenolff. Passing Mainz he continued to Holland, where he arrived in November 1728 and stayed till he died in 1768.
In Amsterdam he worked for several type foundries, among others some weeks for Izaak van der Putte; in The Hague for Hermanus Uytwerf. Between 1729 and 1732 he created several exquisite alphabets for Uytwerf, which were published under his own name (after his emigration to Holland Fleischmann abandoned the second n in his name), apparently following the stream of the time.
After the two years with Uytwerf, Fleischmann returned to Amsterdam, where he established his own buiseness as punchcutter; following an advice of the bookkeeper and printer from Basel Rudolf Wetstein he opened his own type foundry 1732, which he sold in 1735 to Wetstein for financial reasons. In the following Fleischmann created several types and matrices exclusively for Wetstein.
In 1743 after the type foundry was sold by Wetstein's son Hendrik Floris to the upcoming enterprise of Izaak and Johannes Enschedé, Fleischmann worked as independent punchcutter mostly for this house in Haarlem. Recognizing his exceptional skills soon Fleischmann was consigned to cutting the difficult small-sized font types. The corresponding titling alphabets were mostly done by Jaques-Francois Rosart, who also cut the main part of the ornaments and borders used in the font examples of Enschedé.
Fleischmann create dvarious fonts for Enscheé. The font example published 1768 by Enschedé contains three titling alphabets, 16 antiqua cuts, 14 italic cuts, 13 textura typefaces, 2 scripts, two Greek types, one Arabic, one Malayan and seven Armenian font systems, five sets of music notes and the poliphonian music note system by Fleischmann. In total he brought into being about 100 alphabets---the fruits of fourty years of creative work as a punchcutter.
Fleischmann died May 27th, 1768 at the age of 61. For a long time he was thought one of the leading punchcutters in Europe. A tragedy, that his creating fell into the turning of baroque to classicism. The following generations could not take much pleasure in his imaginative fonts, which were more connected to the sensuous baroque than to the bare rationalism of the upcoming industrialisation. Unfortunately therefore his masterpieces did not survive the 19th century and person and work of Fleischmann sank into oblivion.

[Google] [More] ⦿

Johanna Balusikova

Johanna Balusikova (b. 1974, Slovakia), now Johanna Bilak, studied typography at Atelier National de Création Typographique in Paris and at the Bratislava Art Academy in her native Slovakia, as well as at the Jan van Eyck Akademie in the Netherlands. She now works as a freelance graphic designer in The Hague, where she has lived since 1999. She designed Jigsaw (1999-2000) at Typotheque: this was originally intended as a Multiple Master font that varies from roman to stencil.

At ATypI 2004 in Prague, she spoke about "Experiment and typography". Co-editor with Alan Zaruba of We Want You To Love Type (2004, e-a-t). Since 2003 she is a partner in Peter Bilak's Typotheque. [Google] [MyFonts] [More] ⦿

Johannes de Groot
[Lettergieterij J. de Groot]

Johannes Hendrikus Moesman

Dutch self-taught railroad employee, painter and calligrapher (1909-1988) from Utrecht (Schalkwijk, to be more precise) who designed the calligraphic text typeface Petronius (1961-1975), which can only be found nowadays in the specimen booklet "Op Engelvoeten" (1975), available in the University of Amsterdam Library. An incomplete specimen is on page 301 of Jan Middendorp's "Dutch Type". The Amsterdam-based company Typo Delvos used it for typesetting some texts. (Delvos no longer exists.) Moesman also designed a simplified Arabic typeface (he liked Arabic for its calligraphic origins). He was an artist at hart, who produced various surrealistic and/or erotic paintings. See also here. [Google] [More] ⦿

Johannes Missillie

Painter in Sluis, The Netherlands (1830-1857) [at least, this is the educated guess of type historian Mathieu Lommen], who published the lettering model book Verzameling van letteren ten gebruike voor schilders en teekenaars (ca. 1855).

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

Johannes Nicolaas Coenraad Collette

Joan Collette for short, b. Delft, 1889, d. Nijmegen, 1958. Dutch illustrator, graphic designer and painter. With Flemish designer Jos Dufour, he created the beautiful ultra-fat art deco display typeface L'Indépendant (ca. 1930). It was done at Etablissements Plantijn, a foundry in Brussels affiliated at the time with Lettergieterij Amsterdam. Specimen at the University of Amsterdam library. The name and the year of release were chosen to commemorate the hundredth anniversary of the independence of Belgium (from the Netherlands). It was made into a font by Monotype in 1999.

Implementations of Independant include Independant (free; by Phynette and Apostrophe), Dujour (by Steve Matteson), Sid The Kid NF (free; by Nick Curtis), Collette (2007, by Anton Scholtz), Dufour (2011, Anton Scholtz), and Jumbo Mumbo NF (2006, Nick Curtis). [Google] [More] ⦿

Johannes Rolu

Typefounder active in the Netherlands around 1570. [Google] [More] ⦿

John A. Lane

John A. Lane (b. 1955) is a type and printing historian. He was born and raised in the United States and has lived in Leiden (Holland) since 1990. He who often writes on typography:

One of his crowning achievements is the book Letterproeven van Nederlandse gieterijen (1998), which shows Dutch typefounders' specimens from the Library of the KVB and other collections in the Amsterdam University Library with histories of the firms represented. It is coauthored with Mathieu Lommen, a noted type librarian and historian. Discussion of the text.
Coauthor with Mathieu Lommen in 2003 of "Bram de Does Boektypograaf&Letterontwerper" (Amsterdam, 2003).
Author of Early Type Specimens in the Plantin-Moretus Museum (New Castle and London: Oak Knoll Press and the British Library, 2004).
Author of The Diaspora of Armenian Printing 1512-2012 (2012, Amsterdam: Special Collections of the University of Amsterdam). From the book's blurb: In 1512, in the city of Venice, Hakob Meghapart printed the first book in Armenian type. [...] For technical and political reasons, all Armenian books were printed outside Armenia until 1771. The art of Armenian printing developed in major centres like Venice, Constantinople and Amsterdam, but also in many others around the world. Its history moves along highways and byways reflecting the ups and downs of the Armenian people. The book describes the diaspora of Armenian printing, highlighting the role of Amsterdam.

[Google] [More] ⦿

John Hudson
[Brill]

John Lavies

Dutch graphic artist Jan Lavies (1902-2005) became famous for the posters he designed for the Holland America Line of cruise ships. The early posters in this series inspired David Kerkhoff to create the Dutch deco typeface Hofstad (2014). [Google] [More] ⦿

John Van der Meule

Graphic Design student at the Royal Art Academy in The Hague in 2013. Creator of Dratlar (2013, Fontstruct). [Google] [More] ⦿

John Wollring
[Koeiekat]

Jonas Vacek

During his studies in Maastricht, The Netherlands, Jonas Vacek designed the avanat garde sans typeface Saqare (2017) and a straight-edged experimental typeface (2017). Behance link. [Google] [More] ⦿

Jonathan Lowman

Aka Jonathan Looman. Dutch type and graphic designer. Alternate URL. His type work includes Fingertype (2007, letters made from fingerprints) and Van Bostelen Light and Heavy (2007, a great ultra-geometric basic experimental typeface that should win awards; named after one of his teachers, Herman Van Bostelen). Alternate URL. [Google] [More] ⦿

Jonathan Puckey

Amsterdam-based designer. His first font is the experimental fingernail-shaped Malenky Bit (2003). He also made Moloko (2003), FontfjeCaps (2004) and Ready Made (2004). [Google] [More] ⦿

Jonathan Sipkema

Dutch graphic designer (b. 1992) who lives in Almelo. He made the filled in ultra-fat octagonal typefaces Lumio (2008) and Fresh Bold (2008). Dafont link. Alternate link. [Google] [More] ⦿

Joop H. Moesman

The Utrecht-based surrealist J.H. Moesman (1909-1988) is known for his quality paintings, drawings and essays on modern art. He also designed the Petronius typeface. As a gifted calligrapher, he gave Petronius a calligraphic look. The name was a tribute to Gaius Petronius Arbiter, a Roman author who lived in the first century AD and to whom Satyricon is attributed. Moesman studied The Golden type of William Morris (1834-1896), who had based Golden Type on a printed Renaissance typeface by the of Italian Nicolas Jenson (ca.1420-1480). For Petronius, Moesman made a roman, an italic, a narrow style and a set of initials. A lead type was never made though. Petronius was digitally revived in 2010 by Autobahn as Petronius (2010). [Google] [More] ⦿

Joop van den Berg

Dutch designer, 1897-1985. Work with art deco lettering by him includes the poster Hollandsch Post van Gelder Batavo (1930s). [Google] [More] ⦿

Joost Grootens
[Studio Joost Grootens]

Joost Swarte

Dutch poster and comic book lettering artist, b. 1947, Heemstede, The Netherlands. Comic series and characters by Swarte include Katoen en Pinbal, Jopo de Pojo, Anton Makassar, Dr Ben Cine and Niet Zo, Maar Zo- Passi, Messa. Wikipedia link. Typefaces inspired by his lettering:

Joost a Millionaire (2007, Nick Curtis). Based on his Lettering for Millionaire (1976).
Boeuf au Joost (2003, Nick Curtis): an art deco typeface based on Swarte's record cover Tango Cuatro from 1990.
Joost A Gigolo NF (2002, Nick Curtis). Based on Title lettering for "Imago Moderna", an episode of the comic-strip series "Jopo de Pojo" (1974).
Pinball Whiz NF (Nick Curtis). Based on this logotype of the comic-strip series "Katoen + Pinbal" (1975).
Modern Art NF (2002, Nick Curtis). Based on the title lettering for "Modern Art", an episode of the comic-strip series "Anton Makassar" (1978).
Amsterdam Tangram NF (Nick Curtis). Inspired by the lettering on this poster entitled "De wereldtentoonstelling van Joost Swarte" (1987).

[Google] [More] ⦿

Joost van Vredendaal

Utrecht, The Netherlands-based creator of Cirque de les folies (sic) (2011, an ornamental caps face), Men Archetype (2016: icons), and Refinery (2012).

Typefaces from 2017: Infrastructure (multiline typeface), Music in Mono is Dead, Cartoonesque.

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

Joram Hibbel

Amstelveen, Netherlands-based type designer who made an experimental typeface in 2010. [Google] [More] ⦿

Jorik Hengstmengel

Dutch student at KABK, Den Haag, who is working on a tiny pixel font, Daffodil (2006) and of the experimental typeface Quikzilver (2006). [Google] [More] ⦿

Jorik van Ruiswijk

Amersfoort, The Netherlands-based designer of the decorative caps typeface Sea Style (2015). [Google] [More] ⦿

Joris Budel
[Versch Ontwerp]

Joris Oostinga

Designer of the free font Graffiti (2014). [Google] [More] ⦿

Jorn Slotboom

Graphic designer in Amsterdam who created the bribeware [i.e., downloadable in return for a Facebook like] display typefaces Flank and Knarrstaver in 2014. In 2019, he published the rounded monoline sans typeface Reneship Sans and the display typefaces The Bewlay and Lenijo Brush. [Google] [More] ⦿

Jorrit van Rijt

Graphic designer in Utrecht. In 2010, he created the kitchen tile typeface Geo. In 2011, he designed the illustrative caps typeface Illustrato.

In 2012, Jorrit designed Blocko.

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

Jos Buivenga
[Exljbris]

Jos Elsendoorn

Dutch designer of the handwriting fonts Josschrift and JosschriftSerif (2005-2009), Dolly Dots (2009, dot matrix face), and the Western all caps billboard font Simson (2009). He also made Scratch Bold (2009) and Brands Kidnapped (2009, ransom note font).

He based his font Margaretha (2016) on the handwriting of Margaretha Turnor (1680). Klingspor link. [Google] [More] ⦿

Jos Kunst
[Fonts Jos Kunst]

Jos Schoot Uiterkamp

Jos Schoot Uiterkamp (Nijverdal, The Netherlands) created the free oriental simulation typeface Samoerai in 2013.

José Pablo Rivera Mar

During his studies at Grafisch Lyceum Rotterdam in The Netherlands, José Pablo Rivera Mar created the sans typeface Ict (2014). Behance link. [Google] [More] ⦿

Joseph Parsons

Rotterdam-based British designer Joseph Parsons, of Joseph Parsons Design, created a beautiful art deco caps alphabet in 2013. He also designed the stylish art deco poster entitled Portfolio (2012).

Joshua Koomen
[Haagse Letters]

JTHZ.com software productions
[Julius B. Thyssen]

Julius B. Thyssen (from Amsterdam) and Hens Zimmerman run this site (which used to be called Immortalware), where you can download 15 Truetype fonts, among which one handwriting font made by Julius. Now also a huge zip file with 16 new fonts: Corrodated-J, Dolenzo-J (antiqued serif), Elliottland-J (Lombardic influences), Fucked-OlympiaJ (1991, old typewriter), Incendiak-J, Julius-BThyssen (handwriting), Kylie 1996-J (inspired by Tango by Colin Brignall, 1974), Nostra-2003J (after Jim Pearson's Creedmore), Radium-Day-AfterJ (chalky face), Rugklacht-J, Salernomi-J, Scalactic-J, Systematic-NewJ, Thyssen-JItalic, Thyssen-J. All fonts made between 1995 and 1998. [Google] [More] ⦿

Juan de Leyden

Dutch designer of the grunge typeface Postnuclear (2005). [Google] [More] ⦿

Jules van Helvoort

Eindhoven, Netherlands-based type and motion graphics designer who made the geometric outline typeface Griglia (2010). [Google] [More] ⦿

Julia van der Vorst

's-Hertogenbosch, Netherlands-based designer of the elegant display didone typeface Julia (2016). Behance link. [Google] [More] ⦿

Julia Visser

During her studies, Sneek, The Netherlands-based Julia Visser designed an arched typeface (2017). [Google] [More] ⦿

Julian Koren

Dutch designer of Fat Font (2016). [Google] [More] ⦿

Julie Patat

During her typography studies at Ecole Estienne in Paris, Julie Patat created the unicase font Mischievous Type (2014) and the display typefaces Wolf (2015, after an alphabet in D. Duvillé's l'Art du tracé rationnel de la lettre, 1934), Amsterdam (2015, art nouveau) and Brocéliande (2015). She also revived Firmin Didot's Ronde. Alda (2015) is an italic font with two different angles. Designed for French pocket books, it was inspired by Aldus Manutius's italics from 1501.

In 2018, she published the Peignotian fashion branding typeface Trigère.

Since 2014, Julie is asociated with Novo Typo in Amsterdam as a type designer. [Google] [More] ⦿

Juliette van Lankvelt

Boekel, The Netherlands-based designer of the experimental typeface Drimatic Nova (2015). [Google] [More] ⦿

Julius B. Thyssen
[JTHZ.com software productions]

Julius de Goede

Dutch Creative Alliance designer of Uncia (1999, uncial), Rudolph (Fraktur), Julius Primary (1999, a school font family), Amadeo (handwriting, 1999, with Fiel van der Veen) and Augusta (1999, +Cancellaresca, +Schnurkl). He published Xander (2001) at Agfa, a font based on the handwriting of the Dutch type designer Alexander Verberne. Finally, he published the calligraphic script family Gaius (2002), the calligraphic Bastarda typeface family Bernhardt Standard (2003), the Fraktur typeface family Frakto (2003), and the blackletter family Rockner (2005) at Linotype.

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

Jung-Lee Type Foundry
[Jungmyung Lee]

The Jung-Lee Type Foundry was set up by Jungmyung Lee and Karel Martens in Amsterdam, ca. 2016. Karel Martens is an award-winning typography and type design teacher in Arnhem, and Jung-Lee has been designing type at Helsinki Type Studio, where she published Scarla and Bastard Semibold (2012).

Lee and Martens co-designed Jungka (2013-2016), a sans typeface motivated as follows: We wanted to make a grotesk font positioned somewhere between Akzidenz grotesk, Helvetica and Univers---not as dry and distant as Univers, but devoid of the quirky uniformity of Helvetica. Jungka is more reminiscent of Akzidenz Grotesk than the other two typefaces.

Other typefaces include Impact Nieuw (2012-2016), Vlees Sans (2016), Red Dawn (2016), Suomi 100 (2015: Suomi 100-Groteski and Suomi 100-Antiikva were designed for Finland's 100th birthday).

In 2018, Karel Martens and Jungmyung Lee released Pirelli. They write: Pirelli is a revival of an anonymous grotesk typeface that Karel Martens once came across. Its mostly horizontal and vertical features with a mono-line structure and an absence of flourishes give it a concise expression. Yet, it has the distinctive motif of unusually high-waisted capitals, visible in all letters with bars, such as E, F, and P. This feature gives Pirelli the atmosphere of earlier Art Nouveau and Secessionist lettering. [Google] [More] ⦿

Jungmyung Lee
[Jung-Lee Type Foundry]

Jurre Latour
[Latour]

Jurriaan Schalken Typography

Interesting typographic designs by Jurriaan Schalken. [Google] [More] ⦿

Jurriaan Schrofer

Dutch Bauhaus era designer, b. Den Haag, 1926, d. Amsterdam, 1990, known for his photography book design and letterin projects. He drew some alphabets, one of which led James Mattison to create the digital stencil font Schrofer (2009). The Sans Serious family by John Skelton is also a revival.

Jan Middendorp writes in Dutch Type: Schrofer made several attempts to create complete typefaces---one of which was wittily called Sans Serious---but this was never his goal. "Is it necessary", he wrote, "to make complete alphabets with upper and lowercase, figures, diacritics and seriously adorned with a name, when the aim is merely a formal investigation into basic recipes". Schrofer's domain was never the design of typographic alphabets, to be used by other designers, but always the creation of letterforms "made to measure" (Letters op maat) as part of his own designs of---mainly---book covers and postage stamps. He created a rectangular alphabet as the basic element of his ever-changing covers---each based of the same grid but colored differently---for a series of scientific books, "Les textes sociologiques" from Mouton Publishers. He made sophisticated pixel-based letters, all drawn by hand, and experimented with photographic screens as a means of distinguishing simplified letterforms from the background. He created logotypes built from custom-made letterforms, based on rectangular grids. [...] In his booklet Letters op maat (Type made to measure, 1987), Schrofer presented many of his experimental alphabets from the 1960s and '70s. The booklet was part of a series of goodwill publications edited by Wim Crouwel for Lecturis Printers, Eindhoven.

In 2018, Ron Ruedisueli attempted to digitize all of Schrofer's alphabets in a special series at FontStruct called STF Letters Op Maat. [Google] [More] ⦿

Just van Rossum

Dutch experimental nutty (in the good sense!) and prolific type designer (b. Haarlem, 1966) who created famous fonts such as Beowolf, Brokenscript, BeoSans, Trixie, Flixel (FUSE 2), and Schulbuch. He is also a font software expert who has initiated many ideas in the areas of type software. He teaches type design and programming at the Royal Academy of Fine Arts (KABK) in Den Haag, The Netherlands, both in the bachelor graphic design program as well as in the Type and Media master course.

Just graduated in 1989 from the Royal Academy of Fine Arts (KABK), where he studied under Gerrit Noordzij. After stints at Monotype in the UK and MetaDesign in Berlin he became an independent type designer, focusing on software design for type. He collaborated with Erik van Blokland under the name LettError. It is at that time that he published FF Beowolf has been included in the permanent collection of the MoMa in New York. He co-wrote RoboFog with Petr van Blokland in the mid-nineties, which can be regarded as a forerunner of RoboFont, and has been a very influential scripting type design tool in Python. His TTX/FontTools library is a crucial building block for lots of font software. He also wrote the original version of the DrawBot application.

He designed Phaistos (1990-1991, the Font Bureau, with David Berlow), which was inspired by the flared angular designs of Rudolf Koch such as Locarno). Designer or co-designer at LettError of LettErrorRobot-Chrome (2001), FFTrixie (X-files original), FF Advert (1991, a flared sans family), FF Justlefthand, FF Schulschrift (1991; in versions A, B and C following the German school script recommendations), FF StampGothic (1992), FF Confidential (1992, grunge), FF Karton (1992, a grungy stencil face), FF Flightcase (1992, a grungy didone stencil), FF Dynamoe (1992, a dymo label font, white on black), FF Hands, FF Brokenscript (1990, blackletter), Federal, and the random font Beowolf (1990, with Erik van Blokland).

FF Schulbuch (1991-1992) is a series of fonts based on the historical textbook types used in Northern and Southern Germany, and Bavaria. The Nord (North) variant is the closest relative of Helvetica. At FUSE 11, he designed What You See/What You Get (with Erik van Blokland).

Speaker at ATypI 2016 in Warsaw on The Sound of Shapes & Shape of Sounds.

Bio at Emigre. FontShop link. Klingspor link. FontFont link.

View Just van Rossum's typefaces. [Google] [MyFonts] [More] ⦿

Jutt

Dutch ambigram specialist. He created the free ambigram font Lake Reflection in 2009. [Google] [More] ⦿

Jürgen Geiger
[Geiger Artwork]

Kai Bernau
[Atelier Carvalho Bernau]

Kai Bernau
[Letterlabor]

Kasper Coreper van de Laar

Karel Martens

Karel Martens (b. 1939) is a Dutch graphic designer and teacher. He designed postage stamps, and authored many books. In 1996 he received the Dr. H.A. Heineken Award, and in 2012, he was honored with the Gerrit Noordzij Prize. He taught at the Art Academy in Arnhem, the Jan van Eyck Academy in Maastricht (1994-1999), and at the School of Art of Yale University (as a visiting lecturer, since 1997). In 1997 he founded Werkplaats Typografie, a post-graduate graphic design school in Arnhem, where he still teaches.

He set up the Jung-Lee Type Foundry together with Jungmyung Lee in Amsterdam. Jungka (2013-2016) is a sans typeface family by Jungmyung Lee and Karel Martens, who write: We wanted to make a grotesk font positioned somewhere between Akzidenz grotesk, Helvetica and Univers---not as dry and distant as Univers, but devoid of the quirky uniformity of Helvetica. Jungka is more reminiscent of Akzidenz Grotesk than the other two typefaces..

Author of Patterns (2021, Roma Publications). [Google] [More] ⦿

Uden, Netherlands-based designer of the handwriting typeface Gorillaz (2006). [Google] [More] ⦿

Kazer Studio
[Jake Keijzers]

Or Jay Kazer, b. The Netherlands. Sydney, Australia-based designer of the free squarish techno typeface Metrik Sans (2018) and the sans titling typefaces Monaco Classic (2018) and Le Mans Classic (2017), which was inspired by vintage motorsport racing. In 2019, he published the wide sans typeface Fluro. In 2020, he released Hologram. Type Department link. [Google] [MyFonts] [More] ⦿

Kees Broos

Kees Broos and David Quay wrote Wim Crouwel Alphabets (Amsterdam, BIS, 2003). [Google] [More] ⦿

Kees Derksen

Kees Derksen, The Human Cannonball, is the Rotterdam-based designer of Vanmoof (2012): all glyphs are based on the shapes of the Vanmoof bicycle frame. [Google] [More] ⦿

Kees Gajentaan
[Hybrid Space]

Kelly Krijnen

FontStructor who made the octagonal typeface Step by Step in 2014. This typeface was developed during her studies in Megen, The Netherlands. Behance link. [Google] [More] ⦿

Kenney

Dutch designer of the modular FontStruct typefaces Kenney Rocket (pixel font), Kenney Space and Kenney Future (2016). Dafont link. [Google] [More] ⦿

Kevin Allan King
[The Typotheque Syllabics Project]

Kevin Timmers

Heemskerk, The Netherlands-based designer of the sharp-edged pointy tooth typeface Piranha (2015). Also check out his typographic work in his Things poster (2015). Behance link. [Google] [More] ⦿

Khajag Apelian

Freelance graphic designer from Lebanon. Born in Sharjah, UAE, an Armenian with a Lebanese nationality. Graduate of the Type and Media program at KABK, 2009. There, he designed Arek, an Armenian typeface specifically designed to replace the typefaces currently used in school books. It is a fresh interpretation of the ancient Armenian script used in the old manuscripts. My ambitious plan for this project is to include a serif and a sans serif version, containing upright and cursive forms, with multiple weights, display versions and initials. However, currently the project includes only the serif upright, regular and black weights, in addition to the cursive and the initials. This typeface was awarded First Prize in the Granshan 2010 competition for Armenian text types. Arek was finally published by Rosetta Type Foundry in 2012.

After graduation, he started freelancing as a graphic and type designer in Amsterdam. Partner at The Place.

Other typefaces include The Chattam (2009, a Clarendon revival), Boujour (2008, an ultra fat deco face), Moudwi (2007, an experimental Arabic detached typeface inspired by the Unified typeface created by Nasri Khattar).

His typefaces: Arek, Hagatir, Boujour (2008, piano key typeface), Mulsaq (2008, Arabic), Moudwi, Nuqat (2010: a dot matrix typeface by René Knip, Khajag Apelian, Jeroen van Erp, and Reza Abedini).

Graphic Arabic (Wael Morcos and Khajag Apelian) won an award at Granshan 2017.

IBM Plex Sans Arabic (2019, by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Wael Morcos and Khajak Apelian) is a free typeface family at Google Fonts.

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

Kiki Van Der Horst

During her studies in Eindhoven, The Netherlands, Kiki Van der Horst designed the thin display typeface January (2015). [Google] [More] ⦿

Kilian Valkhof
[Fuck yeah kerning]

FontShop link. Klingspor link. Illustration Daily link.

Kim Stassar

Kim Stassar works at Blanco Design in Amsterdam as graphic designer. Her first font, Blanco (2010), is a geometric stencil face. [Google] [More] ⦿

Kim Uitslag

For a module at Plymouth University in 2014, Kim Uitslag (Groningen, The Netherlands) made a typeface that only shows the essence of type. She also made icons for the Alzheimer's Societ (2014). Behance link. [Google] [More] ⦿

Kimberley van Lokven

During her graphic design studies, Kimberley van Lokven (Geffen, The Netherlands) created an untitled experimental typeface (2014). [Google] [More] ⦿

Kiosk Fonts
[Frank Grießhammer]

Kiosk Fonts (Berlin) was founded in 2008 by Frank Griesshammer (b. 1983, Nuremberg, Germany), a graduate of HBKsaar in Saarbrücken (2008) and of the Masters program in type design at KABK (2010). His graduation project in Den Haag involved the multi-pen typeface Quixo (2010), which seems to be have just the right flexibility for packaging and ads. Frank lived in Den Haag, but joined Adobe's type department in 2011.

His alphabets from 2008: Fleischwurst Fett (blackletter), Drückerei (grunge by Haiko Günther), Sommerfest, Rex Mundi (by Haiko Günther), PX Barok (a stitching and needle typeface), Ghana Signpainters Divine Healer (by Haiko Günther), Pappe (randomized cut-out face), Wüste Fraktale (a pixel blackletter by Haiko Günther), A4, Ghana Signpainters Safari (by Haiko Günther), Ghana Signpainters Cocktail (comic book and ad style by Haiko Günther), Format, Black Frituur (blackletter by Haiko Günther), Monaural (geometric), Steelcut (based on Woodcut; by Haiko Günther), Coswig, Roundenau (very rounded).

In 2009, he did revivals of Memphis (original by Rudolf Wolf, 1929) and Stempel Elan (original by Hans Möhring, 1936). The latter typeface was published by Linotype.

In 2013, he made HWT Tuscan Extended (Hamilton Wood Type). Hamilton Wood Type explains: It is based on the 1872 William Page & Co. version, while also bearing a very close resemblance to the Morgans & Wilcox Tuscan Extended and No. 2106 from Tubbs Manufacturing Co. It is similar to the Heber Wells Tuscan Extended. All four manufacturers were eventually acquired by Hamilton. The Hamilton designation for this design was simply No. 303. The National Printers' Material Co. of New York also offered a similar Tuscan Extended.

FontShop published his school project font Quixo as FF Quixo in 2013. Quixo won an award at TDC 2014.

In 2014, Frank designed the free Source Serif typeface family at Adobe, to accompany Paul Hunt's Source Sans Pro (2012). It is a transitional family influenced by Perre Simon Fournier's styles from 1742. Google Web Fonts download link. CTAN download. He designed the Latin, Greek, and Cyrillic glyphs that are included with Source Han Serif (2017). In 2021, Frank Griesshammer updated Source Serif. This new version of Source Serif supports six weights and five optical sizes, both in static and variable formats. Design changes were made from the original Source Serif Pro.

At Adobe, he participated in Adobe Handwriting (based on the handwriting of Frank Grießhammer, Ernest March and Tiffany de Sousa Wardle).

Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam where he spoke on a renewed effort at Adobe with respect to kerning.

In 2019, Colophon and Frank Griesshammer released DM Serif Display and DM Serif Text at Google Fonts. Based on Adobe Serif Pro (by Frank Griesshammer), it is a high-contrast transitional typeface with only one weight. Github link.

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

Kisman Studio (was: Holland Fonts)
[Max Kisman]

Max Kisman (b. 1953, Doetinchem) is a Dutch freelance graphic designer who graduated in 1977 in graphic design, typography, illustration and animation at the Gerrit Rietveld Academy in Amsterdam. In 1986, he co-founded TYP/Typografisch Papier, and taught graphic design and typography at various colleges in the Netherlands in the years following that. He is principal of MKDSGN, his studio in Mill Valley, California, and founded Holland Fonts, a foundry for his typeface designs in 2002. Max teaches graphic design, typography and typeface design in San Francisco. He currently lives in Mill Valley, CA.

His early typefaces: ExtendedMaxMixOne (1991), Rosetta, Jacque (1991, FontFont), Fudoni (1991), the experimental font Linear Konstruct (FUSE 2).

He wrote a coffeetable book on typography in the streets of Paris, but no book store in Paris seems to have it, and I have looked! He is editor of Tribe.

In 2002, he started Holland Fonts. His fonts there: Bebedot Blonde (2002), Bebedot Black, Bfrika (2002, an interesting African lettering font), Cattlebrand (2002), Chip 96 (2002), Chip 02 (2002), Circuit Closed (2002), Circuit Open, Interlace Single (2002), Interlace Double, Mundenge Rock (2002), Nevermind (2003, a cut-out style reminiscent of Saul Bass's movie titling types), Pacific Sans (2003), Pacific Serif (2003), Pacific Standard L, Pacific Standard B, Pacific Classic L (2002, artsy, stylish), Pacific Classic B, Quickstep Regular (2002, an angular font), Quickstep Bold, Quickstep Sans R, Quickstep Sans B, Submarine (2003, an octagonal font family), Traveller Regular (2002), Traveller Bold, Tribe Mono (2003, a tech font), Zwartvet (2002, a Van Doesburg/ De Stijl type font).

Four free ransom note fonts made in 2003: Dutch Doubles, Frisco Remix, We Love Your Font, MaxMix One. At Union Fonts, he (re-)published Bebedot, BFRIKA, Cattlebrand, Chip01, Chip02, Pacific, Quickstep, Submarine and Traveller in 2003, and Mata Hari (Indic simulation typeface in weights called Exotique, Hollandaise and Parisienne) and Xbats (2004, Christmas dingbats) in 2004.

In 2017, Max Kisman was asked to design a naked font for the Dutch printing association, Drukwerk in de marge. It is called Genitaal XXX.

Speaker at ATypI 2004 in Prague.

His bestselling fonts at MyFonts. Pic. [Google] [MyFonts] [More] ⦿

Kitty Louws

Kitty Louws (Gilze, The Netherlands) created the pixelish typeface Kito Tapas in 2014. [Google] [More] ⦿

KIX
[Rick van Rein]

Rick van Rein developed a metafont for barcodes for Dutch postal codes (KIX barcode fonts: KIX stands for KlantIndeX). [Google] [More] ⦿

KIX van PTT Post

At the Dutch PTT (post office): free barcode fonts for Dutch postal codes (KIX barcode fonts: KIX stands for KlantIndeX), PC and Mac. Includes a tool, "Toolkix" for printing addresses with barcodes. Direct access. The metafont by Rick van Rein is here. [Google] [More] ⦿

Klaas van Leeuwen

Dutch artist and furniture designer, b. Harlingen, 1867, d. Bennebroek, 1935. Author of the compass-and-ruler lettering book Letterboek voor den teekenaar en ambachtsman (1907, G. Schreuders, Amsterdam). One of the alphabets in that book was digitally revived by Marlon Ilg in 2021 as Grid Fraktur. [Google] [More] ⦿

Kloeg Architecture
[David Kloeg]

David Kloeg is a designer and student of architecture. He has been working for several architecture offices since 2012. David graduated from the University of Technology in Delft, the Netherlands. His company, Kloeg Architecture (est. 2015, in Australia(?)), is involved in building and type and icon design. In 2016, David started a Masters degree in architecture at the University of Liechtenstein. He lives in Vaduz, Liechtenstein.

In 2016, he designed the minimalist sans typeface family Essence, followed in 2018 by Essence Round, which includes 150 free icons. [Google] [MyFonts] [More] ⦿

Knarf Art
[Frank van der Hak]

Frank van der Hak (Knarf Art) is a graphic designer in Zoetermeer, The Netherlands, b. 1989. He created the octagonal geometric font Knarf Art and Knarf Art 2 (2009).

Devian Tart link.

Ko Sliggers
[Dutchfonts.com]

Koeiekat
[John Wollring]

John Wollring (aka Koeiekat), b. Amsterdam, 1943, d. 2017, was passionate about type design. John worked in marketing communications in advertising agencies and at Philips. Bronwyn Holmes explains: His love of fonts came from his work in producing advertising and brochures and his close involvement with printers and printing. He was very aware of the power of typography in communication. He retired in Extremadura to a remote mountainous region. Small villages with little distraction except the very wild and beautiful nature so plenty of time for him to spend on typography.

John Wollring designed these typefaces:

The tuxedoed art deco typeface Zig Zag ML (2009, based on Zig Zag, a 1972 alphabet by Marcia Loeb). See also ML ZigZag KK (2013). ML Rainbow KK (2013) is identical.
Monotoon KK (2012, monolined and simple).
The formal calligraphic typeface Monogram KK (2007, Victorian initials).
A revival of Modern Fancies (Lewis F. Day) called Fontenay Fancy (2012).
ML Sunglow KK (2012, ornamental caps).
HK Display (2012: HK Display KK is a free interpretation of an art deco alphabet designed by Henk Kolkmeyer for a poster for the Veiligheids Museum in Amsterdam).
Dwiggins Initials KK (1930, an art deco caps typeface based on an unknown sketch by Dwiggins from 1930).
Obese & Square KK (art deco stencil).
ML Roxy Initials KK (2012, after Marcia Loeb's Roxy).
Open Egmont Kapitalen (2013: an interpretation of Sjoerd Hendrik de Roos' Open Egmont Kapitalen also known as Egmont Inline and Egmont Versalien. Based on a 1935 specimen sheet of Lettergieterij Amsterdam and punctuation based on a 1938 specimen sheet of Intertype. Alternates in the lower case b and r based on a 1951 specimen sheet of the Belgian type foundry Plantin).
EA Sports Covers SC (2013).
Gotica Moderna KK (2013).

Abstract Fonts link. [Google] [More] ⦿

Koelooptiemanna Productions (was: KosteX)
[Roel Koster]

Dutchman Roel Koster made the royalty-free KosteXSchool (or: SchoolKX) font for kids' letter tracing. It is in fact an Avant-Garde style font. Direct access. See also here and here. [Google] [More] ⦿

Koen Hachmang
[Glitch: freeware fonts]

Koen Lageveen
[Programming Fonts]

Koninklijke Akademie van Beeldende Kunsten (KABK), Den Haag

Koen van der Bliek

During an internship at ATTAK, a studio in 's-Hertogenbosch, The Netherlands, in 2014, Koen van der Bliek (Boxtel, The Netherlands) created the knife-edged semi-blackletter typeface AT Kuhn (free download). Koen was a student at the AKV ST Joost Art Academy in 2014.

In 2017, he designed the free dry brush scripts Paint The Sky and Sickboy. In 2018, he added the free handwriting font Reey. Fontsquirrel link. [Google] [More] ⦿

Koeweiden Postma

Despite the modest agricultural name, they say this about themselves: Koeweiden Postma is one of the leading branding and design agencies in The Netherlands. I quite like the typographic work they did in the form of posters and ads for the Picasso in Paris 1900-1907 exhibition, held in 2011. Behance link. [Google] [More] ⦿

Kombinat Typefounders
[Hannes Famira]

This Dutch-Swiss foundry (est. 2001 by Hannes Famira, b. 1966, Buchholz in der Nordheide) offers interesting font families: Feisar (Paul van der Laan), N&M Hornet (Neeser+Müller), N&M Punkt Schrift (Neeser+Müller), Blocker, InterPol Sans (1992), InterSerif, InterForm (dingbats), H-Stamps, Tieshy, Bubblejet on Steroids, Plantijn (Legib, Legib Small Caps, B-Form, Paradox), and Kugelkopf Letter. Another designer is Hannes Famira, who founded Kombinat. The initial crew also contained Martijn Rijven, but his name is longer there. The team in 2012 included Martin Wenzel, Thomas Lehner and Roland Dill.

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

In English, the Royal Academy of Art in The Hague. This is the most elite typographical school in Europe. Its graduates include all main current typographers in the Netherlands, and many others. Teachers ca. 2004 included Petr van Blokland, Peter Verheul, Fred Smeijers, Just van Rossum, Erik van Blokland, Peter Matthias Noordzij, Frans Van Mourik, Jan Willem Stas, Françoise Berserik, Peter Bilak, Paul Van Der Laan, and Frank Blokland. In 2018, the type program was headed by Erik van Blokland. Senior lecturers at that time: Paul van der Laan, Peter Verheul. Lecturers: Françoise Berserik, Peter Bilak, Frank Blokland, Petr van Blokland, Just van Rossum, Fred Smeijers, and Jan Willem Stas. In 2019, the staff consisted of Erik van Blokland (Head), Marja van der Burgh (coordinator), Paul van der Laan, Peter Verheul, Françoise Berserik, Peter Bilak, Petr van Blokland, Frank Grießhammer, Fred Smeijers and Jan Willem Stas.

TypeMedia is the postgraduate department for TypeDesign and Typography of the KABK. This Russian picture report from 2004 illustrates its activities nicely: it shows the following type projects: Basileus (Greek typeface by Vera Evstafieva), Reforma (by Krassen Krestev), Mirabelle (by Alessandro Colizzi), Rumba (by Laura Meseguer), North (by Trine Rask Olsen), Vertigo (by Susana Carvalho), and Tuhun (by Diego Mier y Teran). [Google] [More] ⦿

Koninklijke Akademie van Beeldende Kunsten (KABK): List of graduates

A list of graduates of the Type Media program at the Royal Academy of Art in The Hague.

Class 2019-2020: Thomas Bouillet, Nina Botthof, Arnaud Chemin, Jamie Chang, Céline Hurka, Jovana Jocic, Ruggero Magri, Elena Peralta, Renan Rosatti, Jan Sindler, Olga Umpaleva and Huw Williams.
Class 2018-2019: Eva Abdulina, Alexis Boscariol, Ryan Bugden, Luke Charsley, Ethan Cohen, Rutherford Craze, Anya Danilova, Ricard Garcia, Joona Louhi, Fabi Mejia, Michelangelo Nigra, Céline Odermatt.
Class 2017-2018: Rafal Buchner, Zrinka Buljubasic, Carlos De Toro, Séan Donohoe, Mona Franz, Namrata Goyal, Lisa Huang, Noheul Lee, Stephen Nixon, Gen Ramirez, Claudia Rifaterra, Katja Schimmel.
Class 2016-2017: Daniel Coull, Sven Fuchs, Borna Aaron Grcevic, Romina Hernandez, Thom Janssen, Eino Korkala, Muk Monsalve, Pablo Gamez Navarro, Eunyou Noh, Martin Pysny, Magdalena Wisniewska.
Class 2015-2016: Roberto Arista, Selina Bernet, Alessio D'Ellena, Daniel Grumer, Jitka Janeckova, Bogidar Mascareñas, Daria Petrova, Inga Plönnigs, Marc Rouault, Paul Troppmair, Bart Vollebregt, Franziska Weitgruber.
Class 2014-2015: Elliott Amblard, Benedikt Bramböck, Bahman Eslami, Minjoo Ham, Tilmann Hielscher, Marko Hrastovec, Katerina Kochkina, Philipp Neumeyer, Loris Olivier, Heidi Sorensen, Tetsuo Suzuki, Jasper Terra, Cristian Vargas Vargas.
Class 2013-2014: David Chmela, James Edmondson, Mark Frömberg, Slava Jevcinova, Hugo Marucco, Alexandre Saumier Demers, Nina Stössinger, Mark De Winne.
Class 2012-2013: Tania Alvarez Zaldivar, Etienne Aubert Bonn, Barbara Bigosinska, Maria Doreuli, Sun Helen Isdahl Kalvenes, Adam Katyi, Troy Leinster, Diana Ovezea, Krista Radoeva, Lukas Schneider, Teo Tuominen, Bernd Volmer
Class 2011-2012: Noe Blanco, Aliz Borsa, Joe (Hsuan-Hao) Chang, Dave Foster, Christine Gertsch, Pradnya Naik, Sveinbjørn Palsson, Daniel Perraudin, Jose Reyes Cabrera, Alexander Roth, Aleksandra Samulenkova, Hrvoje Zivcic.
Class 2010-2011: Yassin Baggar, Marina Chaccur, Colin Ford, Jan Gerner, Malte Herok, Linda Hintz, Sun Jung Hwang, Alpkan Kirayoglu, Emma Laiho, Kunihiko Okano, Florian Schick, Lauri Toikka
Class 2009-2010: Martina Flor, Jon Glarbo, Frank Griesshammer, Friedrich Grögel, Yohanna Ma Nguyen, Slavka Paulikova, Tania Raposo, Kristyan Sarkis, Brigitte Schuster, Irina Smirnova, Nils Thomsen
Class 2008-2009: Laure Afchain, Khajag Apelian, Marta Bernstein, Jan Filipek, Abi Huynh, Ondrej Job, Holger Königsdörfer, Charles Mazé, Dan Milne, Cesar Puertas, Sueh Li Tan
Class 2007-2008: Francesca Bolognini, Alessia Castelli, Mathieu Christe, Roland Dill, Berton Hasebe, Thomas Klaui, Johannes Lang, Ross Milne, Jonathan Pierini, Gustavo Soares
Class 2006-2007: Eike Dingler, Thomas Gabriel, Sibe Kokke, Sonja Ladebusch, Sébastien Sanfilippo, Ludwig Uebele, Edgar Walthert, Marieke Wynants, Seonil Yun
Class 2005-2006: Christina Bee, Frederik Berlaen, Kai Bernau, Alexandra Busse, Christoph Dunst, Gustavo Ferreira, Anton Koovit, Annika Larsson, Malou Osendarp, Ian Party, Mattias Schelbert, Joel Shane, Pascal Zoghbi
Class 2004-2005: Yomar Augusto, Andy Clymer, Nikola Djurek, Wendy Ellerton, Ryan Pescatore Frisk, Sibylle Geiger, Hanna Hakala-Kurppa, Pascal Richon, Ilya Ruderman, Annika Schorstein, Erwin Timmerman, Stefan Willerstorfer
Class 2003-2004: Susana Carvalho, Alessandro Colizzi, Ramiro Espinoza, Vera Evstafieva, Maarten Idema, Krassen Krestev, Laura Meseguer, Circe Penningdevries, Trine Rask Olsen, Bas van Vuurde
Class 2002-2003: Marie Aumont, David Esser, André Heers, Indre Klimaite, Diego Mier-y-Teran, Britt Möricke, Ruth Nezer, Artur Schmal, Barbara Alves

[Google] [More] ⦿

Kristel Hendriks

Based in Eindhoven, The Netherlands, Kristel Hendriks created an untitled squarish typeface in 2014. [Google] [More] ⦿

Kristyan Sarkis
[TPTQ Arabic Type Foundry]

L5
[Maurice Blok]

L5 is a Rotterdam-based design studio, where Maurice Blok created the rugged type family Luxor (2001) as the corporate identity for the Luxor Theatre in Rotterdam. [Google] [More] ⦿

Lady Bug

Dutch designer who created the ladybug dingbat typeface Ladybug Dings (2007). [Google] [More] ⦿

LaMa Fonts
[Marco Langbroek]

Marco Langbroek (LaMa Fonts, The Netherlands; born in 1970) designed Love Carving (2003) and the alphading font Vodka (2003). Home page. Langbroek is an archaeologist. [Google] [More] ⦿

Lara Captan

Graphic designer from Lebanon who is/was based in Amsterdam. She taught design and typography at the American University of Beirut until she moved to The Netherlands where she became an apprentice in DecoType's ACE technology for Arabic type. She says that she refused to design any typeface before having sufficient knowledge over the history and mechanics of the script. In 2018, she is working on an ACE-engined Arabic type family, with support from the Creative Industries Fund NL.

Creator of the angular chancery typeface Cancellarecta (2012) at The Cooper Union. She graduated from Escola de Disseny i Art in Barcelona. Speaker at ATypI 2018 in Antwerp.

Award winner at 25 TDC in 2022 for Youtube Sans Arabic, a member of an increasingly larger multi-script family. The typeface spans across ten weights and includes Sans, Rounded, and a Grades version. It was developed together with Khaled Hosny (font engineer), David Berlow (consultant), Dave Crossland (manager) and Chris Bettig (creative director). [Google] [More] ⦿

Lara Koedoot

Rotterdam, The Netherlands-based designer of the all caps alphabet Animal Type (2017). [Google] [More] ⦿

Lars De Beer

Born in Schagen, The Netherlands, in 1974. Studied at the KABK in Den Haag. Lives in Amsterdam and joined Underware as a designer in 2000. [Google] [MyFonts] [More] ⦿

Lars Manenschijn

Doetinchem, NL-based graphic designer designer (b. 1988, Hengelo) of Johanneke (2010, counterless and outlined family), Sammies Sans (2010, grunge), Chinese-troops-waiting-at-the-border (2009, graffiti), KingjolA (2009, grungy blackletter), Efontlution (2009), sleeperzzzz (2009, grunge), Jersey Stories (2009, script), Unchanged Thoughts (2009), Hey Mom Hey Dad (2009), Shutdown (2009, 3d comic book style face), Hey Boy Hey Girl (2009), Jo wrote a love song (2009, scratchy hand), False Advertising (2009, grunge), Old English Hearts (2009, grunge blackletter), Stone Era Pixels (2009), Waste of Paint (2009, grunge), Baby Eskimo Kisses (2009, outline), Opa Puk (2009, brushy), Bedtime Stories (2009, flowing script), Manenschijn 02 (2009), Create a cartoon (2009), Release Me (2009).

Fonts made in 2012: Holland Blocks (counterless fat squared glyphs).

IN 2015, he made the handcrafted typeface Retro Bagels.

Home page. Alternate URL. Fontsy link. Klingspor link. Dafont link. Abstract Fonts link. [Google] [More] ⦿

Lars van Reenen

Dutch designer of Cirkeltype (2017). [Google] [More] ⦿

Latour
[Jurre Latour]

Latour is a Dutch foundry set up in 2020 by Jurre Latour. In 2020, he published the squarish modular typeface Vernox. [Google] [MyFonts] [More] ⦿

Laura Dillema

Dutch designer of Block Font (2011). [Google] [More] ⦿

Laura Dimitru

Graduate of the Design Department of the National University of Art in Bucharest, Romania. Now working as an illustrator in Breda, The Netherlands. Behance link.

Creator of the illustrated caps typeface TypoBirds (2012) and the dingbat font Soferul Modern (2012). [Google] [More] ⦿

Laura Stoellger

Utrecht, The Netherlands-based designer of Nocturne (2018), which according to Laura is evokes Chopin's Nocturne opus 9, no. 1, but turns out to be a great Hebrew simulation typeface. [Google] [More] ⦿

Laure Afchain

Graduate from KABK, The Hague, 2009, Type and Media MA program. Her typefaces:

Malaussène (2009), a fun muscular display face, done as her graduation typeface at KABK. She says that her (large) family is designed for corporate identitities. It contains Malaussène Translation, Malaussène Expansion and Malaussène Sans as subfamilies, and is published by Die Gestalten in 2011. Examples: A | B | C | D | E | F | G | H.
At KABK, she worked on a revival of the calligraphic typeface Meidoorn, originally designed in 1928 by Sjoerd Hendrik de Roos for The Heuvelpers.
She was also at the Fine Arts School in Toulouse. Together with Alejandro Lo Celso, François Chastanet and Géraud Soulhiol, she designed the official typeface for the city of Toulouse, Garonne (2009, 4 styles).
A handwriting font.
The display family Pixat.
Peno (2009), done in a class of Peter Verheul.
A stone chisel/biline/paper cut experimental family Va mp y r.

[Google] [More] ⦿

Laurens Jansen

Dutch designer of the free sans typeface family Lumnia (2016). Dafont link. [Google] [More] ⦿

Laurens Janszoon Coster

The Dutch have claimed for hundreds of years that Laurens Janszoon Coster [or: Koster] (b. ca 1370, d. ca 1440) printed the first book in Haarlem (The Netherlands), ca. 1440, well before Johann Gutenberg in Mainz in 1452. There is no hard evidence to support or refute this claim, but Jan Middendorp in his "Dutch Type" (2004) categorically calls it a myth. From the link, I cite: "Warren Chappell's oft-referenced A Short History of the Printed Word, published in 1970, states that the "quality of the early Dutch type-making and printing still extant is so markedly inferior to Gutenberg's that the possibility of a few years' priority is less important than Gutenberg's results." [Google] [More] ⦿

Le Studio Graphic and Web Design
[Dimitry Hamekink]

Dimitry Hamelink's studio Le Studio in The Netherlands is also based in Cazillac, France. It did the typography in a brush style for the album I am Hunter by Miss Montreal (2012).

Léon Hulst
[TypeFaith Fonts]

Leandra Post

Dutch kid (b. 1994) who created the handwriting fonts HBFONT (2009) and Leandra's Font (2007). [Google] [More] ⦿

Leandro Lisboa

Visual designer in Amsterdam. Designer of the elliptical typeface Yon (2010), a typeface designed during a course at Politecnico in Milan where he studied under Gio Fuga. Leandro is from Belo Horizonte, Brazil. Other typefaces:

Imigongo (2012). An African-look face.
Nyanza (2012), for a brand for a refined collection of ethnic jewelry produced in Rwanda.
Iolanda (2012). A signage script.
Laguna and Laguna Italic (2012, a pair of sans typefaces in the final project for his graduation at IUAV University of Venice).

Leanne van der Wel

Dutch creator of Celine Dion Handwriting (2009). [Google] [More] ⦿

LeFly

Dutch designer (b. 1966) of these typefaces:

Angie's New House (2004). a great squarish font, almost in Wim Crouwel's Hiroshima style.
Blokletters (2005, in three weights: Potlood, Balpen and Viltstift. These are excellent substitutes for something like Comic Sans. Download here.
Hard Compound (2004) and Soft Compound (2004).
Kenteken (2004). Based on the Dutch licence plates.
Kenteken Smits (2013).
Lenteroos (2005).
Osmanthus (2013). A heavy German expressionist typeface.
Slantwise (2004).
Square Peg (2004). Renamed Square Wise to resolve naming conflicts with a commercial font of the same name by Rob Leuschke.
TeleTekst (2004).

Font Squirrel link, where Blokletters is free. [Google] [More] ⦿

Lein Design

Dutch designer, b. 1991, aka Marjolein. A self-proclaimed vector artist, she created the elegant art deco typeface Lein Bold (2008) as well as Lein Rounded (2008) and Lein Future (2008). Potato (2009) is more art deco candy. Dafont link. [Google] [More] ⦿

Lennart Breel

Graphic designer in Groningen, The Netherlands. Creator of the display typefaces Obscurity Sans (2014) and Fifty Fifty (2012, Ten Dollar Fonts).

Lennart Koopman

Heemskerk, The Netherlands-based designer (b. 1974) of the handwriting font Livy's Life (2015). Dafont link. [Google] [More] ⦿

Leo Beukeboom

Leo Beukeboom was the in-house sign painter for Heineken brewery for more than 30 years. An accomplished and skillful lettering artist, he was heavily influenced by Dutch writing masters such as Cornelis Boissens and Jan van de Velde. He created a unique script style that became one of the distinctive characteristics of traditional brown café's in Amsterdam. Leo is now working on Beukeboom Script (Re-Type, 2009). [Google] [More] ⦿

Leo L.G. Meuffels

Meuffels, who runs Meuffels&Partners in Susteren, The Netherlands, is the designer of the art deco multi-striped all caps Dextor family (Mecanorma), now in digital form at URW++ and Scangraphic. The Softmaker version is called Delano. TitanickDisplayNF (1999, 2007) by Nick Curtis is a remake of Dextor.

He also created the multilined art deco typeface Mecanorma Hotel.

Nightlife (2005, Canada Type) is based on an experimental grid design by Meuffels.

Leon de Graaf

Multimedia designer in Wervershoof, The Netherlands, b. 1996. Creator of the sans / stencil typeface Banger (2017). [Google] [More] ⦿

Leon Dijkstra

COOEE is an Amsterdam-based studio founded in 2010 and run by Leon Dijkstra. In 2017, he designed the display typeface Mongrel. Behance link. [Google] [More] ⦿

Leonard H. D. Smit

Dutch designer (1917-1986) active at Lettergietrij Amsterdam starting in 1947. Creator of the calligraphic script font Amazone (Tetterode Nederland, 1958), now available from Bitstream as Amazone BT [compare Amapola by Dan X. Solo]. In 1960, he designed Promotor, a medium weight expanded typeface done at Lettergieterij Amsterdam (now available from Elsner&Flake), in 1962 he added Orator (a bold companion to Promotor, Lettergieterij Amsterdam), and in 1969 Revue (still at Tetterode). [Google] [MyFonts] [More] ⦿

Leonard Splint

Dutch designer of the free font Napoje (1999). He runs the design studio LeoArts in The Netherlands. [Google] [More] ⦿

Leonie

Dutch designer of Blocked Fast (2010). [Google] [More] ⦿

Lesley Jutte

Lesley Jutte klives in Voorschoten, The Netherlands. I did not know that it was possible to use Fontcapture to create anything but handwriting fonts, but Lesley managed against all odds to make an elegant deco-ish face, Call It Skinny (2009) using that tool. [Google] [More] ⦿

Letman
[Job Wouters]

Nice calligraphy in 2009 by Job Wouters in Amsterdam. [Google] [More] ⦿

Letman

Dutch lettering artist who drew some alphabets in 2010. [Google] [More] ⦿

Letterbeeld
[Sander Neijnens]

A discussion on the typography of numbers on shirts, by Dutchman Sander Neijnens, a Tilburg-based Dutch graphic designer (b. Valkenswaard, 1957) who drew a character in the September 11 charity font done for FontAid II. Specializing in numbers on athletic shirts, and displeased with the sameness of the letters in classical typefaces like ITC Machine or Superstars, he proposes serifed numbers, which were used by the soccer team Willem II from Tilburg in 2002-2003. A new athletic number design, King III, is in the works. He created Hia (a stencil typeface for use on doors and fences), Streep (horizontally striped letters for fences), and Klinker (based on street tile patterns).

Codesigner of the free font Tilburg Sans (2016) and Tilburg Sans Text (2017). [Google] [More] ⦿

Letterdispuut.com

A sociable type society with the motto: "Type is fun". Page has been neglected almost since its inception in 1997. The Sociable Type Society was founded in 1997 by Donald Roos and Onno Bevoort jr. In 2002 this exclusive society has still two members, both are graduated students of the Royal Academy of Fine Arts in The Hague. A creation of them: the fun LD Spaghetti family (2004). [Google] [More] ⦿

Lettergieterij J. de Groot
[Johannes de Groot]

Dutch foundry in the late 18th century run by Johannes de Groot (1746-1798). They published Proeve van letteren, welke gegooten werden in de lettergieterye van J. de Groot ('s Gravenhage, The Netherlands, 1781). Local download. [Google] [More] ⦿

lettergrafica

Dutch font CD and font book vendor. Typical prices: 14,200 Euro for the Adobe FontFolio, and 22,000 Euro for the FontFont collection. [Google] [More] ⦿

Letterlabor
[Kai Bernau]

Kai Bernau (Letterlabor) is a German type designer (b. 1978) who studied graphic design at the University of Applied Sciences Schwäbisch Gmünd. He created "The neutral typeface" (2005), a sans family, as his thesis project at the KABK in Den Haag. The typeface was born as a mathematical average of ten sans typefaces: AG Buch, Neue Helvetica, Univers, Grotesque, Franklin Gothic, Frutiger, Trade Gothic, Documenta Sans, The Sans and Syntax. He graduated there in 2006 with a masters degree. Together with his wife Susana Carvalho, they formed Atelier Carvalho Bernau, a practice that designs printed matter (mainly books), bespoke and retail typefaces, and identity programs. At Commercial Type, he published Lyon Text and Lyon Display in 2009, described by Commercial Type as follows: Begun as Kai Bernau's degree project on the Type + Media course at the Royal Academy of Art (KABK) in The Hague, Bernau extensively revised the typeface in time for its debut in the New York Times Magazine in 2009. Like many of the great seriffed typefaces it draws intelligently from the work of Robert Granjon, the master of the Renaissance, while having a contemporary feel. Its elegant looks, are matched with an intelligent, anonymous nature, making it excellent for magazines, book and newspapers. The Atelier also has other typefaces on its site, all done between 2007 and 2010, such as Neutraface Slab (for House Industries), Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type: a revival of Dick Dooijes's Mercator), Neutral (an outgrowth of Kai's thesis work), PDU (a French stencil revival project), and some custom typefaces such as Proprio.

Neutral (2005-2009). The Neutral typeface was Kai's graduation project from the KABK undergrad course. It is what one could call a basic sans. It first appeared as Neutral BP in the now defunct B&P Foundry. In 2014, Typotheque published Neutral. Kai writes: Neutral was inspired by typefaces that seem ageless, remaining fresh and relevant even decades after they were designed. It was constructed based on a set of parameters derived by measuring and averaging a number of popular 20th-century Sans Serif fonts. Custom typefaces include Munich Re (2008-2009, for the Munich Re Reinsurance group. MunichRe Sans takes roots in the grotesque types of the 1950s (among others, Dick Dooijes' Mercator for the Lettergieterij Amsterdam)) and Harvard Museum Neutral (2008).

Write-up at Fontshop. Critique by Experimenta. [Google] [More] ⦿

LettError
[Erik van Blokland]

LettError is a foundry in Den Haag, founded by the interesting duo, Just Van Rossum (b. 1966) and Erik van Blokland (b. Gouda, 1967). Many of their fonts can be found in the FontFont library.

Erik van Blokland is a graduate of the Royal Academy of Art in The Hague (KABK), class of 1989. He develops niche tools for type design and font production and has been involved with Tal Leming in the development of the UFO (for font sources) and WOFF (for font binaries) formats. Since 1999, he is a senior lecturer at the TypeMedia master at the Royal Academy of Arts in Den Haag. Erik developed many type software tools such as the acclaimed type interpolation tools MutatorMath and Superpolator, and the teaching tool TypeCooker.

Their typefaces:

At FUSE 11, Erik designed FF Beowolf (1989-1990, a randomized font, sometimes still called Beowulf; with Just van Rossum), FF Erikrighthand, FF Kosmik (1993), FF Trixie (based on an old typewriter: Trixie was taken from a typed sample from a typewriter owned by a friend in Berlin, Beatrix Günther, or Trixie for short.) and FF Zapata. Trixie was at FontShop until it was bought by Monotype. In 2023, it was withdrawn from the Monotype library.
Erik created LTR ThePrintedWord and LTR TheWrittenWord (2001), both free fonts designed to be unreadable.
LTR Salmiak (2001).
Critter (2001) and New Critter.
Bodoni Bleifrei.
LTR BitPull.
Federal: great dollar bill lettering font family, which earned him an award at the TDC2 Type Directors Club's Type Design Competition 2002.
What You See/What You Get (with Just Van Rossum).
At FUSE 2, Erik published Niwida.
FFAdvert.
Schulschrift.
FFHands.
FFBrokenscript.
LTR Monsta.
In 2005, Erik and his brother Petr made the Künstlerbrüder-Schriftfamilie of 30 fonts (10 widths, 3 weights) based on 3 width masters for each of two weights. It is a quirky and refreshing family made for banners for the Münchener Haus der Kunst in 2005.
Jointly with Erik Spiekermann and Ralph du Carrois, Erik developed Axel (2009), a legible system font.
His masterpiece, in my view, is the 2009 family Eames Century Modern, finished at House Industries, a take on Clarendon. It won an award at TDC2 2011. A special extra award was given at that competition for Eames Poster Numerals. For another complete modern Clarendon family, see Canada Type's Clarendon Text.
Plinc Hasler Circus (2011, House Industries) is a digitizztion of a photo era font, Circus, done by Hasler for Photo-Lettering, Inc. in the 1950s. This circus font was digitized by Erik van Blokland in 2011 at House Industries, with a helping hand from Ken Barber.
In 2016, he published Action Condensed at Commercial Type. Action Condensed was designed for the screen. Each of the family's four weights has three grades of the same width, allowing text to change weight on rollover without disrupting the layout. In 2020, he added Action Text in 16 styles, with Bright and Dark options. And variable styles.

Erik speaks often about his work. At ATypI 2004 in Prague, LettEror spoke about education in type design, and the RoboFab toolkit. Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona [on interpolations with Superpolator3].

Klingspor link. FontShop link. Wired interview. Shop. FontFont link. [Google] [MyFonts] [More] ⦿

Letters en Plaatjes
[Thijs Mertens]

Thijs Mertens is a Dutch designer in Arnhem who runs the design studio Letters en Plaatjes since 2009. He used FontStruct in 2009 to create ThM PurSans, ThM BlackBox (stencil), ThM For Minimal, ThM Papercut, ThM Concept, ThM Monomode, ThM Firefly, and ThM Freaktur (sic).

In 2011, he made ThM Trade Stencil, ThM Tomahawk, ThM Thin (thin and octagonal).

In 2012, he added ThM Toronto, ThM SPQR (athletic lettering), ThM Bone, ThM Tibetan (blackletter), ThM Trade (slabby), ThM Tulipe, ThM Mini, ThM LCD.

Typefaces from 2013: ThM Liga, ThM Architype Albers, ThM Marksman (stencil face).

FontStruct link. [Google] [More] ⦿

Letterspace Amsterdam
[Edgar walthert]

Type site run by Edgar Walthert, a Swiss type designer based in Amsterdam. Since 2018, it hosts a monthly series of lectures about experimentation, innovation and research in type. [Google] [More] ⦿

L.H.D. Smits

Dutch designer of the copperplate style formal script typeface Amazone (Amsterdam Foundry, 1958-1959) [see here for a Bitstream version; Amaze is a clone found on many free font web sites]. [Google] [More] ⦿

L'Hippopotame

Amsterdam-based designer who used Fontifier to make the handwriting font Ini (2004). [Google] [More] ⦿

Lianne Kok

Dutch designer of a modular alphabet in 2018. [Google] [More] ⦿

Lida Lopes Cardozo
[The Cardozo Kindersley Workshop]

LightningWeb

Dutch site about web design. Contains a small archive of web fonts. In Dutch. [Google] [More] ⦿

Linda Rommens

Graphic designer from Breda, The Netherlands---she could practically be Belgian! In 2009 and 2010, Linda created some experimental typefaces. She also made the modular font Propedeuse (2009). Home page. [Google] [More] ⦿

Lisa Dröes

Illustrator, graphic designer and type designer from Amsterdam who graduated from the MATD program in Type Design at the University of Reading in 2016. Her graduation typeface is Marjolein, about which she writes: The multi-script type family Marjolein is designed for magazines orientated towards culture, travel and environmental issues. It covers Latin, Greek and Thai scripts and has styles for both text and display settings. Marjolein, scientific name Origanum majorana, is a common species of Origanum, a genus of the mint family. The name Marjolein is indigenous to Cyprus and southern Turkey, and was known to the Greeks and Romans as a symbol of happiness.. [Google] [More] ⦿

Lisa Fleck

Graphic designer and photographer in Amsterdam. In 2009, she created Fashion Typeface, and Typeface-for-musician-Bernhard-Fleischman (experimental). In 2010, she added Ruhrschrift (semi-Tuscan). Behance link. [Google] [More] ⦿

Loek Schönbeck

Dutchman born in 1949. When he published his thesis Sunbowl or Symbol, as a book in 1998, Loek designed a typeface that strived to hit the perfect balance of Latin and Greek, Elyade. It won him the Max Reneman award. This is not to say that the Dutch type community liked Elyade. It was blasted by both Frank E. Blokland and Jan Middendorp, who says that the type's frills attract too much attention and that the overall colour in text sizes is rather weak. A sample is shown on page 305 of Dutch Type by Jan Middendorp. [Google] [More] ⦿

Lola Herst

Based in the Dutch Antilles. Designer of the shaky hand-drawn typefaces Six Minutes (2020), Six Minutes Narrow (2020), and Five Minutes (2020, at Rawblind Basetype) for Latin, Greek and Cyrillic. [Google] [MyFonts] [More] ⦿

Lolita Suleimanova

Enschede, The Netherlands-based designer of the free heavy sans typeface MEF Display (2015). Dafont link. [Google] [More] ⦿

Lollibomb (was: Crejaculations)
[Sander Kessels]

Sander Kessels has provided us over the years with the most impossible unreadable pages, and he does not disappoint us with his latest flash creations. Here, you can download Bookworm (parody of Apple's Bookman, 1996), CafeCoco (based on Tobias Frere-Jones' Cafetaria, 1998), Palatino Turner, Facetype, Xizo (not free), Gotohellvetica, Chicagogo, TimesTurn, Richter, Drunk Heavy, Byte Caps, Centabel, Chocolade, ToThePoint (not free), Online, Quasymodo, Symbolero (1991, based on Apple's Symbol font). Fontspace link. [Google] [More] ⦿

Lotte Bredewold

Dutch creator of the textured typeface Remsporen (2012). [Google] [More] ⦿

Lotte ten Napel

Amsterdam, The Netherlands-based designer of a modular typeface in 2015. [Google] [More] ⦿

Louis Christiaan Kalff

Dutch poster artist, 1897-1976. Posters with art deco lettering by him include Scheveningen The Hague on Sea Holland (1931). [Google] [More] ⦿

Lovely Bird Digital
[Amber Kuivenhoven]

Amber Kuivenhoven (b. 1993; aka Lovely Bird Digital or Amber Does Freelancing, Alphen aan den Rijn, The Netherlands) created these handcrafted typefaces in 2015: the sketch font Its a Sketch, the handcrafted font Patrick, the water bubble font Retro Bubble, the pointilist typeface Sophia Hearts, Catalina, Tessa (floriated) Fairy, Lets Call Her Tally, Jessica Pearson, Jamy, Sophia Hearts, Patrick, Revival, Shakira, Lucy, Santiago 9 - 9, Hey Bas + Hey Bas Uncrossed, Thinly Armored, Itsa Sketch, Ennis, Brienel, Prickly Bush, Starry Night, Retro Bubbles, Budgie Dingbat, Coffee Shop Icons. In 2018, she published the bird dingbat typeface Budgies. Home page. [Google] [More] ⦿

Loyals Agency

Mijdrecht, Netherlands-based designer of the multilayered font Storyteller (2019). [Google] [More] ⦿

Luc Reinders

Luc Reinders, a graphic designer in Maastricht, The Netherlands, created Futoni (2014), Sponge Font (2012) and Whisky Font (2012, a tall condensed display face).

Luc(as) de Groot
[TheTypes digital type foundry]

Lucas de Groot
[LucasFonts (and: FontFabrik)]

Lucas Franco
[Now Type]

LucasFonts (and: FontFabrik)
[Lucas de Groot]

Luc(as) de Groot (b. 1962, Noordwijkerhout, The Netherlands) studied at the Royal Academy of Fine Arts in Den Haag and worked from 1989-1993 as a freelancer at the design bureau Premsela Voonk. From 1993 until 1997, he was with Meta Design in Berlin as typographic director in charge of many corporate design projects. In 1997, he set up FontFabrik and in 2000 LucasFonts in Berlin. He creates retail and custom fonts, and made his reputation with his humongous font family Thesis. Originally, he published most of his retail fonts with FontFont, but his "FF" fonts were withdrawn from FontFont in 1999, and renamed with LF instead of FF, where LF stands for LucasFonts. His most popular typefaces include Thesis (the superfamily that includes TheSans, TheSerif, TheMix and The Antiqua), Calibri (a default font at Microsoft), Sun, Taz and Corpid. He is also well-nown for his Anisotropic Topology-Dependent Interpolation theory which roughly states that a 50% interpolation is not the optical middle between two weights. He teaches type design at the University of Applied Sciences in Potsdam, Germany. His typefaces:

Agrofont (1997, for the Dutch Ministry of Agriculture, Environment and Fisheries) and Agro Sans, developed in collaboration with the Dutch design bureau Studio Dumbar.
BellSouth Basis, Serif and Bold, developed with Dutchman Roger van den Bergh.
BolletjeWol (1997, Fontshop).
Calibri. Done for Microsoft, Calibri is the default typeface in MS Word. Calibri received a TypeArt 05 award and won an award at the TDC2 2005 type competition. For a yet-to-be-revealed reason, Google decided to support a metric-compatible free clone of Calibri for its Chrome OS system, Lukasz Dziedzic's Carlito (2014). Calibri became the standard font for all Microsoft 365 apps, but will be replaced some time in 2021 by one of five candidates, Bierstadt (by Steve Matteson), Grandview (by Aaron Bell), Seaford (by Tobias Frere-Jones, Nina Stössinger, and Fred Shallcrass), Skeena (by John Hudson and Paul Hanslow) or Tenorite (by Erin McLaughlin and Wei Huang).
Consolas. Done for Microsoft, this typeface was intended as a successor for Courier.
Corpid III (2002-2007). A sans family with support for Cyrillic, Greek and Turkish.
Floris (a ball terminal text typeface in 18 styles, Floris was developed on a four-dimensional grid of several axes or parameters: weight, width, x-height and ascender/descender height).
Fohla Serif (2001). Designed for a Brazilian newspaper in Sao Paulo. This collection includes a multiple master font, FohlaMM.
FF Jesus Loves You all, now LF Jesus Loves You all.
Koning (2017), co-designed by Luc(as) de Groot, Martina Flor, Jan Fromm, Phillipp Neumeyer and Daria Petrova. Koning won an award at TDC Typeface Design 2018. The first retail release of this flared typeface family came in 2019: Koning Display (a 20 style sans with Peignotian traits and occasionally, flared terminals).
LucPicto (dingbats for private use at FontFabrik). Not available to the world.
LeMonde (2002, new headline family). An OEM family made for LeMonde in 2001 includes Lucas-Bold, Lucas-BoldItalic, Lucas-ExtraLight, Lucas-ExtraLightItalic, Lucas-Italic, Lucas-Light, Lucas-LightItalic, Lucas-SemiBold, Lucas-SemiBoldItalic, Lucas.
MetaPlus (1993, with Erik Spiekermann).
MoveMeMM (erotic multiple master font)
FF Nebulae, now LF Nebulae.
LF Punten: Punten Straight, Punten Extremo and Punten Rondom.
Spiegel and Spiegel Sans, originally designed for Der Spiegel. The retail versions are called Spiegel Sans (a 32 style American gothic family) and LF Spiegel Serif.
Sun (1997, for Sun Microsystems) later became a retail font, also called Sun, a 28-style humanist compact sans typeface in the genre of industrial era American newspaper headlines.
LF Taz (sans family, 2002), Taz III (2003, including a hairline weight) and Taz Text (for "taz", the magazine), sans typefaces designed for use in newspapers. Are these the same fonts as Tazzer and Tazzer Text? Taz has grown as follows: TazText, Taz Condensed (2010), Taz Text Small Caps (2011), Taz Wide (2013-2014), Taz Textended (2013-2014). By 2021, the Taz family contained 128 styles.
Thesis (1994-1999) originally known as FF Thesis. This consists of many subfamilies all starting with the prefix The. MyFonts links for the Thesis family: TheAntiqua, TheMix, TheSans, TheSerif. Thesis includes
- LF TheAntiqua (a 14-style medium contrast oldstyle typeface), LF TheAntiquaSun, Qua Text (a newstext version of TheAntiqua developed in close collaboration with the Berlin newspaper Die Tages�zeitun taz), TheAntiquaB (1997; 1999 Type Directors Club award), TheAntiquaE, TheAntiquaSun. TheAntiqua received a TypeArt 05 award.
- LF TheMix (69 styles: semi-serif), TheMix Mono (48 styles; a monospaced version of TheMix), The Mix Classic, The Mix Basic, The Mix Office. TheMix is part of the Thesis superfamily. It originated as an alphabet for the logotypes of the Dutch Ministry of Transport, Public Works and Water Management drawn by Luc(as) while working at BRS Premsela Vonk in Amsterdam. The alphabet later became the starting point of the entire Thesis system.
- Thesis Mono.
- LF TheSans, The Sans Classic, The Sans Basic, The Sans Office, The Sans Condensed, The Sans Mono (48 styles), The Sans Mono Dc, The Sans Mono 11pitch, The Sans Mono Cd Office, The Sans Typewriter (a monospaced and grungy version of TheSans). First published in 1994 as a descendant of Franklin Gothic, The Sans is a modern classic.
- LF TheSerif (52 styles), The Serif Classic, The Serif Basic, The Serif Office. TheSerif is part of the Thesis superfamily. The Serif's ancestors include Linotype Rotation.
- The Stencil (2021).
- SPD 2002 TheSans. An OEM for the SPD party.
- Grundfos TheSans (2007).Another commissioned font.
Transit and Transit Pict (both at FontShop).
Volkswagen Headline and Volkswagen Copy (1996), extensions of Futura. Note: the other Volkswagen house font is VW Utopia, a descendant of Utopia.

DeGroot designed custom fonts for newspapers such as Folha de S.Paulo, Le Monde, Metro, Der Spiegel, taz.die tageszeitung, Freitag and Jungle World. In addition, he created corporate type for international companies such as Sun Microsystems, Bell South, Heineken, Volkswagen and Miele.

Speaker at many international conferences. At ATypI 2015 in Sao Paulo, he spoke about his Folha Sao Paulo newspaper typeface.

In 2021, LucasFonts joined Type Network.

FontShop link. Klingspor link. I Love Typography link. View the typeface library at Lucasfonts. View Lucas de Groot's typefaces. [Google] [MyFonts] [More] ⦿

Ludwig Type
[Ludwig Übele]

Ludwig Übele is a Berlin-based German type designer (b. Memmingen, 1974). In 2007, he established Ludwig Type in Berlin. Ludwig practiced type design and branding in his own studio in Den Haag, The Netherlands. He graduated in 2007 from the KABK in Den Haag, the same year in which he started his foundry Ludwig Uebele (or: Ludwig Type) in Berlin. MyFonts interview. Behance link. In 2018, he joined Type Network. His award-winning typefaces:

The extensive serif family Marat, a winner in the TDC2 2008 competition. Its 9 styles can be bought here.
In 2008, he published Mokka, a subdued serif family with Zapfian influences (lower case "a"). [Do not confuse it with Mokka, Fidel Peugeot's script font from many years earlier---I wonder how Uebele got the Mokka trademark, quite impressive that oversight by the trademark office].
Augustin (2004). A renaissance typeface inspired by the type of Nicolas Jenson made in Venice in 1470.
Helsinki. A sans based on Finnish traffic signs---has a hairline weight, and a gorgeous Fat weight. Helsinki 2.0 was published in 2013. In 2014, he published the formidable free weights Helsinki XXL Black and Helsinki XXL Thin.
Mediana. A custom typeface based on Franklin Gothic.
NewTaste. Commissioned by McDonald's.
Walhalla (2008) is a strong and bold uncial family inspired by uncial letters of the Czech type designer Oldrich Menhardt, made in 1948.
Daisy (2010) is an artsy ultra-fat vogue magazine style display face, best shown in pink. It won an award at TDC2 2011.
FF Tundra (2010-2011, FontFont) is a narrow low-contrast small-text type family that was also awarded at TDC2 2011. It was influenced by Carl Dair's Cartier (or Raleigh).
Daphne Script (2013) based on Georg Salden's Daphne.
Riga and Riga Screen (2014). Designed for web page use, this is a practical space-saving sans family. Not to be confused with several other typefaces called Riga, one by Mostar / Olivier Gourvat (2009) and one by Gunnar Link (2012).
Diogenes (2014) and Diogenes Decorative (2014). Microsite.
Brenta (2015). A sharp-edged wedge serif text family. Microsite.
Contemporary Sans (2015). This sans family is characterized by the contrast between horizontal and vertical strokes.
Godfrey (2015). A compact sans typeface family characterized by straight edges in the terminals of f, j and y, and elongated dots on i and j.
Kakadu (2016). A squarish sans typeface family.
Aspen (2016). Microsite. Influenced by the old grotesques, its oh-so-slightly flared terminals give the design some pizzazz.
Niko (2019). A magnificent and very legible humanist sans in 54 styles (3 widths, from Regular to Extra Condensed), characterized by slightly flared terminals.

View Ludwig Übele's typefaces. A list of Ludwig Übele's typefaces. Klingspor link. [Google] [MyFonts] [More] ⦿

Ludwig Übele
[Ludwig Type]

Luis Mendo

Designer at type-o-tones in Barcelona who made Design Or Die (1997, techno face), and Vulcano (2007, with Tori Alimbau and José Manuel Urós). Mendo lives in Amsterdam.

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

Lust

The Hague-based foundry established in 1996 by Jeroen Barendse and Thomas Castro. Downloadable and commercial fonts from this Dutch foundry. Specializing in shock and grunge. Fonts: Incidenz Bold, Blowout One, Pure, Blockbuster Regular, Brick, Bone, Razor, Blowout Three, Clean, Grotesk, Gothic, Mobile. [Google] [More] ⦿

Lust (was: SML Designs)

Lust (Amsterdam, The Netherlands), or SML Designs, designed SimLLHP (2003), Simbats (2003), Inverted-ArialMT, Inverted-Courier, Inverted-Times, Jason's-Inverted-Tahoma, Jason's-Reversed-Arial, Jason's-Reversed-Courier, Jason's-Reversed-Tahoma, Jason's-Reversed-Times, and the free brush font Fat Marker (2007).

Luuk van Malsen

Hedel, The Netherlands-based designer of the squarish typeface Facepalm (2015). [Google] [More] ⦿

Lydeke Bosch

Dutch designer (b. 1991) of Curly (2008) and Lydeke Handwriting (2008). [Google] [More] ⦿

Lynnthe

Young Dutch designer (b. 1989) who created some free pixel fonts in 2005: Cherry Pie, Orange Frosty, Waffles, Strawberry Shortcake, Brownies, Apple Crisps and Mint Choco Chip Ice Cream. [Google] [More] ⦿

M. Tolnai

Author of "Letters voor Moderne Reclame-Kunst". 3e verbeterde druk. Amaco, Amsterdam, c. 1941. Excerpts of this book were shown by Piet Schreuders. These include Sierschrift (an ornamental caps face), and this hand-printed alphabet. [Google] [More] ⦿

Maarten

Maarten (c12) is the Dutch designer of the pixel font Terraform (2003). Alternate URL. [Google] [More] ⦿

Maarten Dullemeijer
[Autobahn]

Maarten Idema

Dandm3 is the design place of Deirdre Idema (Irish born) and Maarten Idema. Maarten was a student at the KABK in Den Haag from 2003-2004. His graduation typeface at KABK was Pam (2004), which was specifically crafted for street maps. He also designed the experimental typeface Before. Unclear if Maarten is Dutch, Irish or Kiwi. [Google] [More] ⦿

Maarten van Maanen

Dutch designer (b. 1975) who runs MvM Grafisch Ontwerp and is based in Leiden. Designer of the fun decorative caps typeface Grimas (2015), the colorful Untitled (2015), the serif typeface Zinc (2002), the black sans Laudanum (2004), and the handwriting typeface Bastard (2004). He also made a serif type face (2004) and the stencil typeface Ceka (2005). At his web site, you can look at Ephedrine (2005) and Unreasonable (2005, handwriting). [Google] [More] ⦿

Maarten van 't Wout
[Alumia]

Machteld den Hertog

Dutch poster artist from the art deco era. Posters with art deco lettering by him include Auf nach Holland (1929), Olanda (1931), Rotterdam (1931) and Holland Where Seaside Means So Much (1930). The Cruise Terminal Rotterdam's logotype is based on den Hertog's lettering. [Google] [More] ⦿

Mads Wildgaard
[Bold Decisions]

Maja Moliere

Amsterdam-based designer of the cookbook font Roald (2013).

Maja Moliere

Amsterdam-based designer of the cookbook font Roald (2013).

Maksims Lisuhins

Amsterdam-based designer of a textured geometric set of capitals (2017). [Google] [More] ⦿

Malgorzata Firgolska

Graphic designer in Warsaw, Poland. In 2016, she created a squarish typeface for her own identity. [Google] [More] ⦿

Malou Osendarp

Dutch designer of Correspond (graduation typeface at KABK, 2005-2006) and Saranna (after Stefan Schlesinger's unfinished typeface from just before WWII). In 2005, Malou did a revival of Jan van Krimpen's Spectrum (1952). Favela Exposed is a hand-drawn poster typeface inspired by the mosaic stairway in Santa Theresa, Rio de Janeiro.

Typecache link. [Google] [More] ⦿

Manon Lef

Designer in Ede, The Netherlands, of the connected calligraphic script typeface Joleni (2017), the script typeface Milano Sky (2017), and the brush typeface Hola Bisou (2017). [Google] [More] ⦿

Marc Lubbers
[GraphicMix]

Marc Nijborg

Codesigner with Jeroen Leupen of several fonts at ShowMeWare. Mac fonts only: IggyPiggy (1999), Euromania, Scramble, Source, Lutetia Lutetia (Asterix font), Sunburst Staying, Thick&Thin, WizzyBold, Nippee, Saurtimes, RuffBold, RuffMedium, Waterfall, Sniffy, Oranjehand, Mushroom, KillerBee, FuzzyMate, Casterman, AmsterdamBridge and Academy. [Google] [More] ⦿

Marc ter Horst

Creator of a typeface out of spices to adorn the walls of Restaurant Walem. The underlying shpae is a De Stijl alphabet by Bart van der Leck.

Marc Zuurman

Dutch designer at FontStruct in 2008 of Autos (car dingbats), Pixels, Arabische Lettertype (oriental simulation face) and Wayang Kulit. [Google] [More] ⦿

Marcel Bakker

Dutch designer at FontStruct in 2008 of the nice art deco display typeface AlfaDeco. In 2009, he added Dicky and Dinny. [Google] [More] ⦿

Marcel Blijleven

Design student in Hoofddorp, The Netherlands, whose first font is the high-contrast art deco typeface Ecoutez (2012).

Creator of the geometric sans typeface Selvage (2012, in Raw (pure forms) and Worn (filled in ink trap form) styles), the architectural lettering font Resoluut (2012, +Cyrillic), the tattoo font Galera (2012), and the monoline typeface Monodrone (2012, Ultratypes).

In 2013, he published Fat Boy (a grotesk display face), Optic (alchemic). [Google] [More] ⦿

Marcel de Jong

Artist, b. Amsterdam, 1967, specializing in macabre, bizarre and black romantic artwork. He created the gothic font Fairydust (2003).

Marcel van den Berg

Graphic designer in Den Haag, The Netherlands. At Behance, his pen name is Joost Marcellis. Home page.

His typefaces include Anna Mono (2010, octagonal).

FontStructor of these gridded typefaces in 2010: Stanna Klein, Stanna Diap. He also made the Esque (constructivist) and Fastlane families in 2009-2010 at FontStruct.

In 2011, he published the multistyle poster family Geplakt. Images: i, ii, iii, iv, v, vi.

Fontstructions from 2012: Homerus, Stanna (dot matrix). [Google] [More] ⦿

Marcel van den Broek

Art director for Oak Studio in Ermelo, The Netherlands, who designed the custom typeface V Flow in 2015 for jazz trumpeteer Eric Vloeimans. In 2017, he published the display sans Insight. Behance link. [Google] [More] ⦿

Marco Langbroek
[LaMa Fonts]

Marco Sterk

Amsterdam-based designer of Lugthart (2004, an experimental octagonal face). [Google] [More] ⦿

Marco Ugolini

Italian visual artist based in Amsterdam and Berlin. In 2005 he graduated with a bachelor's degree in visual communication from ISIA (Florence, Italy) and Bauhaus University (Weimar, Germany). He continued his studies at the Sandberg institute of the Rietveld Academy, Amsterdam, where he obtained a Master's degree.

Creator of the geometric sans typeface Biko (2013), which is named after South African anti-apartheid activist Steve Biko. See also Biko Light (2013). Buy Biko from Monofonts. Obtain a free copy from Dafont.

In 2014, he designed the masculine sans typeface Coluna Condensed Bold (also free at Dafont, this family includes Rounded, Outlined, and Sketched styles).

Marco van Zomeren

Dutch creator in Rotterdam of the series of textured fonts called Rotterdam Zoo. Designer of the grid-based typeface Quickgrid (2011). Home page. At FontStruct, he made Fatcap (2009). Studio Van Zomeren. [Google] [More] ⦿

Margot de Vries

Diemen, the Netherlands-based designer of Marker (2017). Behance link. [Google] [More] ⦿

Maria Strick

Dutch penman who published Tooneel der loflijcke Schrijfpen Ten dienste van de Constbeminnende Jeucht int licht gebracht Door Maria Strick Fransoysche School-houdende binnen . . . Hans Strick (1607). [Google] [More] ⦿

Mariam Komnen

The Hague, Netherlands-based designer of Godfrey (2018). [Google] [More] ⦿

Marianne van Ham

Dutch designer of Double Dutch (FontFont). Fontshop link.

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

Marie Oever

At the Royal Academy of Arts, Marie Oever (Den Haag, The Netherlands) designed a blackletter typeface (2018). [Google] [More] ⦿

Marieke Blokland

Dutch graphic design student in Breda, who made the neat (free) display font Bloktype (2002). She used East-European tickets to make Ticket Scraps Urban (2003).

Alternate URL. [Google] [More] ⦿

Marieke Tacken

Dutch designer of Sketchie (2016). [Google] [More] ⦿

Marie-Thérèse Koreman

Marie-Thérèse Koreman studied at the Royal Academy of Arts in 's-Hertogenbosch, The Netherlands. She is a co-founder of Visualogik Technology & Design bv and is director of design for Neufville Digital. She has been involved in digital type since 1981, mainly for corporate identities for large companies. From 1997 she and her team have been working on the digital version of the ever expanding Futura typeface. For Traffictype, a Visualogik brand, she developed the mainstream of digital road signs that has become the standard reference in The Netherlands.

Her work on Futura includes Futura ND (1999), Futura ND Black (2003), Futura ND Display (2003), Futura ND Alternate (2015), and Futura Next (2016). These are based on the original sources by Paul Renner (1920s) at the Bauersche Giesserei, now held by FT Bauer in Barcelona. There is a consensus among typophiles that this is the best digital version of Futura around.

Klingspor link. View Marie-Thérèse Koreman's typefaces. [Google] [MyFonts] [More] ⦿

Marijke Ludwig
[Miosis]

Marinus Klasen

Dutch youngster (b. 1992, Gelderland) who created the scratchy handwriting typeface Crazysk8 (2006). [Google] [More] ⦿

Mariska W

Dutch creator of Tapefont (2013), which was made by superimposing pieces of tape. [Google] [More] ⦿

Marit Angenita Otto

Dutch type designer who published the experimental typeface Jazmo in 2012 at URW: Jazmo is an offspring of an assignment I did for a Dutch architect. A classic building and coincidently the place of my studio in my hometown Zwolle, Netherlands, needed to be renovated. My job was to design the house numbers and signs for this building. This building I refer to was built in 1932 and designed according to the New objectivity architecture. Now it accommodates several artist and craftsmen and also houses students. In my design I used elements of the Art Nouveau.

In 2013, she published Smooth Buggaloo (URW++), a typeface that was inspired by the music of the sixties. Le Rock (2013, URW++) is a bouncy freeform display typeface. Labyrindo (2013, URW++) is inspired by Greek labyrinths.

In 2014, Marit published Pipeline (URW++), a gaspipe or paperclip typeface, Filistique (URW++, a flowing informal unconnected script typeface), and Nipon (URW++), a display typeface.

In 2015, still at URW++, she created the stylish display typeface Democrazia, the hybrid oriental/Arabic emulation typeface Eurabia, the display typeface family Kosmique, the meccano typeface C-Nation, the squarish stencil typeface Constructa, the squarish revolutionary typeface Picastro (the name is a contraction of Picasso and Castro; not to be confused with Leon Hulst's signage typeface Picastro, made a year earlier), and the display typeface New Daily.

Typefaces from 2016: Roundabout (an elliptical sans, URW++), Beyond Babylon (an Arabic simulation typeface, URW++) [Google] [MyFonts] [More] ⦿

Marius Roosendaal

Art director in Amersfoort, The Netherlands, who created the blackletter typeface Albrecht (2015) by superimposing rectangles and basic geometric objects. Behance link. [Google] [More] ⦿

Marjolein Rinckes

Dutch creator of the fun alphabet Monsterfont (2011). Behance link. She lives in Arnhem. [Google] [More] ⦿

Mark Nannen

Groningen, The Netherlands-based designer of the handcrafted typeface Tipper (2017). Behance link. [Google] [More] ⦿

Mark Niemeijer
[Soft Machine (or: Open Studio)]

Mark van den Heuvel
[Nearest Neighbour]

Mark van Gelder

Wezep, The Netherlands-based designer of a star-themed all-caps alphabet in 2015. [Google] [More] ⦿

Mark van Wageningen
[Novo Typo (was: Atelier van Wageningen)]

Marrit Jagers op Akkerhuis

Mark Zwart

Industrial designer in Enschede, The Netherlands. Creator of the free industrial-cum-stencil font Container (2015). Behance link. [Google] [More] ⦿

Mark-Jan Nederhof

Mark-Jan Nederhof has a Computer Science degree from the University of Nijmegen, The Netherlands, class of 1990. He obtained his PhD in 1994 from the same university. In 2006, he joined the faculty at the School of Computer Science of the University of St Andrews, Scotland.

In 2020, he designed the hieroglyphic font New Gardiner. This font contains the 1071 glyphs from 0x13000 to 0x1342E, forming the section from document WG2/N3349R that deals with Egyptian Hieroglyphs. [Google] [More] ⦿

Marleen Annema

Groningen, The Netherlands-based amateur photographer and student at the Art Academy Minerva Groningen. She created a decorative alphabet in 2014. Behance link. [Google] [More] ⦿

Marleen Sørensen

Dutch designer of the SVG Opentype brush font Painting with Chocolate (2018). [Google] [More] ⦿

Marloes Kremers

Dutch designer at Elsner&Flake of the fun children's dingbat font family EF Dingetjes (2000). [Google] [MyFonts] [More] ⦿

Marloes Versluys

Dutch designer at Fontforecast of Snow Cone Pro (2015, Fontforecast), Couple Vol1 (ampersands), and Marvaloha (2016, a handwriting font). [Google] [MyFonts] [More] ⦿

Amsterdam-based designer of the brushed typeface Work for the Young Capital campaign of 2016. Even though not related to type design, people should check out her extraordinary illustrations, like Spot (2016). Behance link. [Google] [More] ⦿

Marsha van Rooijen

Graphic designer in Amersfoort, The Netherlands. Creator of Trashfabet (2012).

Mart Biemans

Art director in Groningen, The Netherlands, who created the heavu brush typeface Mot Massive in 2017. Behance link. [Google] [More] ⦿

Martien Heijmink
[VIBE]

Martijn Boskamp

Graphic designer in Rotterdam, The Netherlands, b. 1987. Behance link. For a project for the art academy in Rotterdam, he made the experimental typeface Blik Font (2010), which is based on crushed cans. [Google] [More] ⦿

Martijn Donath

Dutch creator of Scouting Font (1997). Truetype. [Google] [More] ⦿

Martijn Gerritsen

Genemuiden, The Netherlands-based designer of the free rounded sans typeface Iris (2016). This font lacks any sharp corners, even in the joins and armpits. [Google] [More] ⦿

Martijn Oostra

Dutch type designer whose fonts may be bought from 2Rebels in Montreal. They are now generally available from T-26. Some creations: BlackMail (1996, ransom note font), Educational, EricsSome (dot matrix face), Mould Archi (1997, grunge), Tsjecho (1997, a wood type simulation face), Wire And Planks (1997, a semi-stencil).

Future URL. Klingspor link.

View Martijn Oostra's typefaces. [Google] [MyFonts] [More] ⦿

Martijn Rijven
[BOLT Graphics]

Martijn van Katwijk's fast download links

Martijn Striker

Groningen, The Netherlands-based designer of the display typeface Visus (2018). [Google] [More] ⦿

Nice collection of fast download links. [Google] [More] ⦿

Martijn van Berkel

Nieuwkoop, The Netherlands-based graphic designer. Alternate URL for his fonts. Creator of MF Dots (2007) and MF Dots Pro (2008), a dot matrix typeface that covers Latin, CE, Greek, Baltic, Turkish, Romanian, Cyrillic and special symbols. Another URL. [Google] [More] ⦿

Martin Bengtsson
[Alpha Quantum]

Interview at Typotheque. MyFonts interview.

Martin Jelsema

Dutch FontStruct artist who made the kitchen tile typeface Sonar (2008). [Google] [More] ⦿

Martin Kaye

Born in 1932 in London, Martin Kaye was well-known for his sturdy posters which he made from 1972 until 1983 for Paradiso in Amsterdam. A set of 1100 of these posters owned by Stichting Martin Kaye Alphabet Index&Library is being managed by Affichemuseum in Hoorn, The Netherlands. He was also a type expert, and had started a catalog of typefaces, having made a listing of 60,000 typefaces when he was murdered in 1989 during a robbery. His work included also many unique complete alphabets. The book Facade AlphaBets et Cetera is the only published book document. At Amazon, we read about his book: Although out of print Martin Kaye's work deserves some recognition for his part in the world of typographic design. This book of some 90 pages reflects his work throughout 20 years. With typographic studies to reproductions of some of Kaye's Paradiso posters, this is perhaps the best example of of a lifetime's work by this artist. It is unfortunate this item remains out of print since it remains a definitive example of typographic inovation and inspiration. It is with great sadness that the book, published in 1985, four years prior to his death, remains as his only epitaph. Since only 1000 copies were ever printed it may never be seen by as many as might apreciate such a work. Examples of Kaye's work do hang in the Rock Museum in Amsterdam. But for me this book is a must for anyone interested in typography. This was done in the days before computers. Martin would hand cut the designs in 'red film' a method by which screenprint templates would be made. The intricacy of his designs and skill would astound anyone seeing him at work, the results of which would shine out from poster stands all over Amsterdam. [Google] [More] ⦿

Martin Majoor

Dutch type designer born in Baarn in 1960, who works in Arnhem and Warsaw. Showcase of his most popular typefaces. Type designs:

His 1993 Scala text family (which includes both sans and serif sub-families, as well as goodies such as the fist font FF Scala Hands, 1998) is great and well-balanced---one of the best fist fonts ever made. Scala is in the style of W.A. Dwiggins's Electra.
He designed Telefont List and Telefont Text for the Dutch phone company PTT Telekom in 1994. He writes: The 1994 design of the Dutch telephone book can partly be seen as a reaction to the iconic 1977 phonebook designed by the modernist Wim Crouwel with Jolijn van der Wouw. Crouwel's late-modernist design, featuring the typeface Univers in lowercase-only text, had been christened The New Ugly by Dutch writers. In the following years, the original Crouwel design had been watered down considerably, and by the early 1990s, its usability had reached an all-time low. When Jan Kees Schelvis and Martin Majoor began their drastically renewed design of the phonebook, they set themselves a list of strict requirements: a new typeface, a better hierarchy, improved usability, and paper-saving typography. Majoor was responsible for both the new typeface (later named Telefont) as well as the book's microtypography. In 2018, it was announced that the last telephone book had been published.
He created Scala Jewels in 1997.
FF Seria and FF Seria Sans (2000). These families received awards at the Bukvaraz 2001 competition.
In 2004, he published FF Nexus Mix, FF Nexus Sans, FF Nexus Serif, and FF Nexus Typewriter.
He started a project with Pascal Zoghbi on the development of Sada (2007), an Arabic companion of FF Seria. In 2009, Sada was renamed FF Seria Arabic and published by FontFont.
In 2010, he started work on Questa Sans (a typeface with a special y). The Questa project is a type project of Jos Buivenga and Martin Majoor---Questa is a squarish Didot-like font that Jos originally had planned in one display style only. It turned out to be a perfect basis to apply upon Martin's type design philosophy about the form principle of serif and sans. Questa was finished in 2014 and now includes Questa Sans, Questa Serif, Questa Slab and Questa Grande. Finally, the Questa project became the Questa Foundry.
His corporate typefaces include Deutsche Telekom.

To understand Majoor, read his article My type design philosophy. At ATypI 2004 in Prague, he spoke about his experiences as a designer and type designer in Poland.

The text José Mendoza y Almeida (Martin Majoor and Sébastien Morlighem, introduction by Jan Middendorp, 2010, Bibliothèque typographique) describes Mendoza's contributions to type design.

Majoor's Flickr page. Speaker at ATypI 2010 in Dublin. At ATypI 2018 in Antwerp, he spoke on the history of Telefont. His type design blog. Klingspor link. FontShop link.

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

Martin Meijer

Dutch alphabetician who was active in the 1930s. In 1949, he published Album de Lettres Arti (Arti, Alkmaar, the Netherlands), which features 32 decorative alphabets. In 1940, he released the 20-page booklet De Perpetua van Eric Gill (Boek- en Handeldrukkerij Wormerveer).

Hans van Maanen at Canada Type revived his lettering as digital fonts: Archie (2010) is a square face, and Agent (2010) is pure comic book or signage style. Chikita (2008) by Patrick Griffin and Rebecca Alaccari at Canada Type is an upright ronde script that is also based on Meijer's work. The angular calligraphic type family Libertine (2011, by Patrick Griffin and Kevin Allan King at Canada Type) was also inspired by Meijer.

Jeff Levine was also inspired by Meijer's alphabets in his JNL Ornate Deco (2019), Sign Studio JNL (2019) and Maitre d Stencil JNL (2019). [Google] [MyFonts] [More] ⦿

Martin Silvertant

Dutch freelance graphic, logo, type and web designer, b. 1989. He operated as MS Designs. In 2010, he made an extensive comic book / fat finger typeface called Dion which was used in a national Dutch campaign "Zonder Cash ben je nergens" (You're nowhere without Cash). Celente (a transitional typeface) is also from 2010. Modani is an unfinished didone from 2010.

He writes: I am now working on several typefaces including a modern grotesque typeface called Dagon Sans, an antique humanist/grotesque typeface called Crouton Grotesque, a sturdy transitional typeface with oldstyle elements called Icarus (+ Icarus Sans) and a modern serif called Hagel (+ Hagel Slab).

In 2011, he created Icarus (text family), Icarus Sans, Triumviraat (+Display, +Sans, a flared family), Kolibrie (humanist sans), Noorderlicht (after Gerrit Noordzij's Ruse), and Noorderlicht Sans (both were discontinued), Crouton Grotesque, Celcius (his most complete font family yet) and Dagon.

Typefaces from 2012: Dion Sans, Crouton Grotesque, Scaenarium Unus (free blackletter / metal band / tattoo font), Hagel (serif family), Hagel Slab and Hafnium (angular typeface), Aghari Sans.

In 2013, he published the text typefaces Daser and Santi.

Typefaces from 2016: Zilver (a letterpress emulation text typeface based on Fleischmann's work).

Dafont link. Deviantart link. Ba'al web site [Ba'al is the name Martin uses for projects for Metal bands]. [Google] [More] ⦿

Martin Verstraaten

Graphic and type designer, photographer and painter Martin Verstraaten born 1958 in Delft, the Netherlands. He studied drawing and sculpting at the Teachers Training Academy ZWN from 1976 to 1981. Between 1986 and 1990 he specialized in Graphic & Typographic Design at the Royal Academy of Fine Art in The Hague.

In 2019 he published the modular techno typeface family Verismo. In 2021, he added Verismo Inline. [Google] [MyFonts] [More] ⦿

Martin Vlas

Web designer in Emmen, The Netherlands. Codesigner with Melissa Kumaresan and Boutaib Yassine of the free all caps rounded sans typeface Pop (2016). Behance link. [Google] [More] ⦿

Martin Wenzel
[MartinPlusFonts]

MartinPlusFonts
[Martin Wenzel]

MartinPlusFonts is the Berlin-based foundry of Martin Wenzel, a German type designer (b. Berlin, 1969). Graduate of KABK Den Haag in 1998. From 1998 until 2005, he worked at Buro Petr van Blokland + Claudia Mens. Martin now runs MartinPlus, first in The Hague, The Netherlands, and relocated to Berlin in 2005. He is also affiliated with Kombinat Typefounders. His oeuvre:

FF Marten (1991).
FF Rekord (grunge).
The award-winning sans serif font FF Profile (1999), a flared sans known for its little contrast. This evolved in a semi-hand-printed casual teenager, FF Duper (2009).
At FUSE 6, he created FUSE Schirft, now sometimes called Wenzel Schrift.
At FUSE 3, he created InTegel (1991), a font like Boris Mahovac's Kalendar.
FF Primary (1995, chiseled stone look).
Daela (free, this font evolved into FF Primary).
MediaPigeons (experimental, free).
Trinité Sans (based on Bram de Does' Trinité).
Ode (2010): a restaurant menu family, angular yet rounded. This type family evolved from Textura into a slightly broken readable set, in the German expressionist genre.
Realist (2011), Realist Narrow and Realist Wide. A sans family that can be bought at Kombinat Typefounders.

Old web site. Fontshop link. Klingspor link.

View Martin Wenzel's typefaces. [Google] [MyFonts] [More] ⦿

Marton Kabai

As a student in Den Haag, The Neherlands, Marton Kabai created the retro brush script typeface Fauna (2015) in Monospaced and Proportional styles. Behance link. [Google] [More] ⦿

Mass-Driver
[Rutherford Craze]

British graduate of Falmouth University in 2018. Graduate of the Type Media program at KABK in Den Haag, The Netherlands, class of 2019. He interned at Fontsmith, UK. In 2020, he founded Mass-Driver, which is based in Den Haag, The Netherlands. His typefaces:

Apothek (2018). A type project at TypeMedia.
Battalion (2018). His degree project at Falmouth University. A wide monospaced programming font.
Chasmata (2017). A blocky interlocking typeface.
Greymarch (2019). His graduation typeface at KABK: a sturdy slabby serif with angular counters, and many references to humanist calligraphy.
Heliumgold (2018). An experimental variable font with extreme width contrast.
M74 (2017). A 1970s style sci-fi font.
MD IO (2021). A clean monospaced programming font.
MD Nichrome (2020). He explains: Nichrome is a display face referencing the typography of paperback science fiction from the 70s and early 80s.
Weiss Antiqua (2019). A revival of Emil Rudolf Weiss's Weiss Antiqua (1928), done for a school project at KABK.
MD System (2021). A grotesque family.
MD Eight (2021). Based on an 8x8 pixel font, similar to those uyse in early computers.
MD Primer (2021). A sans family influenced by early grotesques.

Future Fonts link. [Google] [More] ⦿

Mat Douglas

Mat Douglas (b. 1984) lives in Amersfoort, The Netherlands. He created the sans typeface Webly Sleek (2012). [Google] [More] ⦿

Mathieu Cremers

Graphic designer from Rotterdam, b. 1988.

Dafont link. Creator of the paperclip typeface Mududede (2011). [Google] [More] ⦿

Mathieu Klomp
[Teup]

Mathieu Lommen
[University of Amsterdam: Special Collections]

Mathieu Lommen
[Dutch Alphabets]

Mathijs Juressip
[FindThatFont]

Mats Tijmes

Rotterdam, The Netherlands-based designer (b. 1990) of Disembody (2017). [Google] [More] ⦿

Matt Langstaff
[Design Dutch]

Matthew Bardram
[Atomic Media (was: SmartDust)]

Matthew van Ede

Or Matthew Ede van der Pals. Amsterdam-based designer of the squarish display typeface Bonn (2013-2015). [Google] [More] ⦿

Matthijs Herzberg
[Herzberg Design]

Matthijs van Leeuwen

Better known as Matt instead of Matthijs. Dutch designer who studied at ArtEZ Institue of the Arts,in Arnhem, The Netherlands, 1998-2002. He made a career in the United States as a successful and award-winning graphic designer, and is presently located in New York City. He created these typefaces:

Inegalé (1999, Psy Ops). A sans serif font.
Synchrony (2015). An experimental logotype created as part of the identity project for GE / Synchrony Financial, which also involved Jessica Staley and Craig Stout at Interbrand, New York.

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

Maud van Gool

Dutch graphic designer based in Haarlem who made a monospaced display typeface called Fox Dog (2013).

Maurice Blok
[L5]

Maurice Dusault

Dutch multidisciplinary designer and design strategist. During his studies at Parsons School of Design in New York City, he created Kollektiv (2017), an amalgam of the top 40 sans serif typefaces. Behance link. [Google] [More] ⦿

Maurice Vanderfeesten

Eindhoven, The Netherlands-based designer of a dotted line font in 2016, as a student at Sintlucas in Boxtel. He also designed the stencil typeface Industrial (2016). Behance link. [Google] [More] ⦿

Maurice Van de Stouwe

Dutch graphic designer student (b. 1982) who is based in Zwolle. He no longer makes type. His typefaces:

Squirrel (2003, Union Fonts): a sans font that used to be free, and that was discussed here.
A DIN Regular style face (2003).
Soupertrouper (2004).
YTunc03 (2003, ultra fat artsy).
Illegal Edding (2006, graffiti font).
Maurits (2004, sans).
Escapé (2004, sans).
Funkyplain (2002, pixel simulation font).

Defunct Dafont link. Defunct URL. [Google] [More] ⦿

Maurits Cornelis Escher

Aka Mauk Escher. Famous Dutch artist M.C. Escher (1898-1972) is known for his repeating patterns of interlocking motifs, tessellations of the Euclidean and the hyperbolic plane and his drawing representing impossible figures, such as his waterfall and his Belvedere. Several type designers created fonts based on these geometric contradictions and curiosities, which a I gathered on this page. The art deco lettering on some of his posters inspired P22 Escher (1998, Denis Kegler). Pic. Wiki page. [Google] [MyFonts] [More] ⦿

Maurits den Held

Rotterdam-based designer. Home page of Desited Media. Creator of a great multiline / prismatic poster for North Sea Jazz (2012). [Google] [More] ⦿

Maus Bullhorst

Illustrator in Rotterdam. Some of his posters have original lettering styles. [Google] [More] ⦿

Max Bruinsma

Dutch typographer and graphic designer. In 2000-2001, he published a piece on the erotics of type, and reviewed the book Sex Appeal: The art of allure in graphic and advertising design (Steve Heller, Allworth Press, New York, 2000). He spoke at ATypI 1998 in Lyon on Words on screens. Ed Annink and Max Bruinsma edited the book Gerd Arntz Graphic Designer (2010, Rotterdam). [Google] [More] ⦿

Max Kisman
[Kisman Studio (was: Holland Fonts)]

Max Ostermeier

Den Haag, The Netherlands-based designer of an abstract typeface in 2014. [Google] [More] ⦿

Max Saille

Max is a Dutch graphic and type designer, now based in New York. His first commercial release, Fran (2016), is sold exclusively by The Designers Foundry. In 2020, Jason Harcombe and Max Saille published the 18-style variable sans font family Mazin the sans typeface family at Fontpeople. In 2021, Jason Harcombe and Max Saille released the 20-style text family Leyendo at Fontpeople. [Google] [More] ⦿

Max Senden

Rotterdam-based designer of the thin octagonal typeface A4 Z4 (2012).

Max van der Kamp

Dutch designer who managed to pull off a remarkable iFontMaker font called Hello World (2011). [Google] [More] ⦿

Maya Stepien

Graphic designer and illustrator in Den Haag, The Netherlands. Behance link.

She created an elegant thin monoline sans typeface called Bistro (2012). [Google] [More] ⦿

Mayke Boef

Gemert, The Netherlands-based designer of an untitled typeface (2014). [Google] [More] ⦿

M.C.G.V. Stack

M.C.G.V. Stack at The Eindhoven University of Technology keeps an archive with fonts, specially adapted for Esperanto. The Wulffttf file has EFuturaNormal.ttf, EFuture.ttf, EGalaxy.ttf, all Esperanto. Plus EO Chicago, Helvetica, NewYork for Mac. [Google] [More] ⦿

Mecanorma

French graphics lettering company initially involved in instant lettering (made by Trip Productions), and some original typeface designs. From 1989 until 1994, Mecanorma worked with another Dutch company Visualogik to create digital versions of their typefaces, all having MN in their names. Monotype licensed and digitized some of Mecanorma's typefaces. In 1995, Mecanorma got out of graphics and stepped into home decoration. In 1999, Trip Productions, a Dutch Company located in Lisse, purchased the Mecanorma brand and what was left of the company. In 2004, International TypeFounders from Cedars, PA, licensed the typefaces from Trip Productions and released them as the Mecanorma Collection. Since 2021, there also is a Mecanorma Collection at The Type Founders.

Their collection includes some great fonts: Access, Artdeco, Artworld, BalloonMN, Brio, BusoramaMN, Campus, CardCamio, Carplate, CaslonAntiqueVL, ChocMN, CircusMN, ComicStripMN, DynamoMN, Galba, Globe-Gothic-Outline, Glowworm, Jackson, LibraMN, MtPlacard, Ortem, Renault, RoslynMN, Sayer, SayerScriptMN, SquashMN, Sully-Jonquieres, Watch-Outline. You can also buy through Atomic Type. Projected new URL, which I am afraid will never be activated because in 1999, the company was bough by the Dutch company Trip Productions.

MyFonts sells these typefaces: Access, American Uncial, Anatol, Arnold Bocklin (art nouveau), Artdeco, Artworld (an embossed font), Aster, Balloon (brush font), Blippo Black, Brio, British Inserat, Brush, Bulletin Typewriter, Caligra (blackletter), Campus (athletic lettering), Cardcamio, Carplate, Caslon Antique, Celtic (in the style of University Roman), Chicago (dot matrix / marquee typeface), Chinon, Choc (brush script), Circus (Western font), Classic Script (a copperplate calligraphic script), Comic Strip, Commercial Script, Contest, Cooper Black, Dubbeldik, Dynamo, Egyptienne, Estro (Western font), Eurostile, Forelle, Fumo Dropshadow MN, Galba (Trajan typeface), Globe Gothic, Glowworm (a bubblegum font), Gothique (blackletter), Hansson Stencil, Hillman, Hotel (multilined art deco), Isonorm, Jackson, Jubilee Lines (an engraved money font), Latina, Leopard, Libra (uncial), Michelina (anthroposophic), Milton, Mistral, Normalise Din, Old Style, Olive, Orator, Organda, Ortem, Polka (a brush typeface), Renault, Rondo (retro script), Roslyn, Sayer Interview (old typewriter font), Sayer Script, Sayer Spiritual, Squash, Stencil, Stop (stencil typeface), Studio, Swaak Centennial (pure art nouveau), Tzigane, Viant, Vivaldi, Voel Beat (beveled), Watch Outline (LED font), Windsor, Zambesi (African look font).

Designers include Albert Boton, J.H. Crook, Jan van Dijk, J. Dresscher, Roger Excoffon, U. Fenocchio, L. Fumarolo, William Gillies, N. Glason, Lennart Hansson, B. Jaquet, K. Kochnowicz, J. Larcher, C. Mediavilla, José Mendoza y Almeida, L. Meuffels, Aldo Novarese, Georges Renevey, F. Robert, Manfred Sayer, M. Schmidt, J.P. Thaulez, J. Werner and Bogdan Zochowski.

The Western slabby font Figaro MT (2004) is ascribed to Mecanorma.

A list culled from the web: AccessMN-Bold, AccessMN-Medium, AmericanUncialMN, AnatolMN, ArnoldBocklinMN, ArtdecoMN, ArtworldMN, AsterMN-Demi, AsterMN-Roman, BalloonMN-Bold, BalloonMN-ExtraBold, BlippoBlackMN, BrioMN, BritishInseratMN, BritishInseratMNCondensed, BrushMN, Bulletin-Typewriter, BusoramaMN-Bold, CaligraMN, CampusMN, CardcamioMN, CarplateMN, CaslonAntiqueVL, CelticMN-Bold, CelticMN-Italic, CelticMN, CenturyMNCondensed-BoldItalic, CenturyMNCondensed-Bold, CheltenhamMN-Book, CheltenhamMN-BookItalic, CheltenhamMN-Ultra, ChicagoMN, ChinonMN, ChocMN, CircusMN, ClassicScriptMN, ComicStripMN-Italic, ComicStripMN, CommercialScriptMN, ContestMN, Cooper-Black-Italic, Cooper-Black-Outline, CooperBlackMN, CushingMN-Book, CushingMN-Heavy, CushingMN-HeavyItalic, CushingMN-Medium, DubbeldikMN, DynamoMN-Bold, DynamoMN-Medium, DynamoMN-Shadow, EgyptienneMNCondensed-Bold, ElanMN-Extended, ElanMN-Light, ElanMN-Medium, EnrouteVL, ErasMN-Book, ErasMN-Demibold, ErasMN-Ultra, ErasMN, EstroMN, EurostileMN-Extended, EurostileMN-ExtendedBold, EurostileMN-Medium, FidelioMN, FolioMN-Bold, FolioMN-Extrabold, ForelleMN, FranklinGothicMN-Book, FranklinGothicMN-BookItalic, FranklinGothicMN-Heavy, FrizQuadrataMN-Bold, FrizQuadrataMN, Fumo-DropshadowMN, FuturaBlackMN, GalbaMN, Gillies-Gothic-Bold, Gillies-Gothic-Light, Gillies-Gothic-Ultra-Shadow, Gillies-Gothic-Ultra, GlobeGothicMN-Bold, GlobeGothicMNCondensed-Bold, GlobeGothicMNOutline, GlowwormMN, GlowwormMNCompressed, GorillaVL-Bold, GothiqueMN, HanssonStencilMN-Bold, HanssonStencilMN, HillmanMN, HillmanMNCondensed, HotelMN, IrishUncialVL, IsonormMN, Italia-Bold, Italia-Book, Italia-Medium, JacksonMN, JubileeLinesMN, LatinaMN, LeopardMN, LibraMN, MRunic-Condensed, MSwingBold, MachineMN-Bold, MachineMN, MichelinaMN, MiltonMN-Demibold, MistralVL, MtPlacard-Condensed, NormaliseDinMN, OklahomaState, OliveCompactMN, OliveMNBold, OliveNordMN, OratorMN, OrgandaMN-Bold, OrgandaMN, OrtemMN, PascalMN, PolkaMN-Bold, PolkaMN, PopplExquisitMN, PopplExquisitMN-Alternative, RenaultMN, RenaultMNBold, RondoMN, RoslynMN-Bold, RoslynMN-Bold, RoslynMN-Outline, RoslynMNMedium, SaphireMN, SayerMN-Interview, SayerScriptMN-Black, SayerScriptMN-Bold, SayerScriptMN-Light, SayerSpiritualMN-Italic, SayerSpiritualMN, SloganMN, SquashMN-Outline, SquashMN, StencilAntiqueMN, StencilAntiqueVL, StencilMN, StencilMNOutline, StopMN, StudioMN, SullyJonquieresMN-Bold, SullyJonquieresMN, SwaakCentennialMN, Syntax-Bold, Syntax-Roman, ToucheVL, TziganeMN, ViantMN-Bold, VivaldiMN, VoelBeatMN, WashSymbolVL-Light, WatchMN-Outline, WindsorMN, WindsorMNElongated, ZambesiMN.

MyFonts link.

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

Medeina Musteikyte

Graduate of Gerrit Rietveld Academie. Dutch designer of the techno simulation typeface Octopus Orbit (2015) and the modular typeface Cut The Crap (2017). Dafont link. [Google] [More] ⦿

Megan Dikhoff

Sint-Oedenrode, The Netherlands-based designer of Zebratype (2015). Behance link. [Google] [More] ⦿

Megan Raats

During her studies in Amsterdam, Megan Raats designed a typeface that is influenced by the street layout of Amsterdam. [Google] [More] ⦿

Megan Raats

Dutch graphic designer. During her studies at the University of Edinburgh's Edinburgh College of Art in Scotland, she designed Amsterdam (2017), an experimental typeface inspired by the street map of Amsterdam. [Google] [More] ⦿

Megan Snelten

During her studies at the University of Kansas, Megan Snelten (Lawrence, KS) was inspired by Amsterdam's leaning houses when she designed Gable in 2017. Design at KU link. Behance link for Design at KU. [Google] [More] ⦿

Melinda Prins

Designer in Hardinxveld, The Netherlands, who created Handmade Font (2012). [Google] [More] ⦿

Melle Broeksma

Dutch graphic designer (b. 1968) of the sans serif font Levanah (1993), a typeface based on research done at the Gerrit Rietveld Academie. Lives in Baarn. His teachers were Gerard Unger and Jan Boterman. Levanah started out by unseriffing Bembo and Garamond, and is in a sense a semi-sans Renaissance face. [Google] [More] ⦿

Melle Hammer

Great Dutch designer (b. 1956) who makes optimal and ingenious use of type. [Google] [More] ⦿

Melvin Poppelaars

Digital artist in Breda, The Netherlands, who made some nice posters that showcase Baskerville (2010). [Google] [More] ⦿

Meneer de Zwart

Graphic designer in Amsterdam. Creator of the stencil typeface Geissler Serif (2013), which was named after Heinrich Geissler (1814-1879), the inventor of the Geissler tube, which later led to neon tubes. Behance link. [Google] [More] ⦿

Merel Matzinger

Type designer at OurType in Belgium, who was born in The Netherlands and studied at KABK in Den Haag. She lives and works in New York. OurType Eva (2006) is a 36-style sans type family designed by Merel Matzinger and Fred Smeijers, characterized by script-like lower case v and w that stand out among the sea of sans glyphs. From OurType's documentation: It is informal and warm in character, thanks to the contrast in its strokes and the freedom with which they have been drawn. The friendly personality provides added interest at larger sizes. Yet its forms also have a notable clarity, and it works well for setting continuous text. Eva can be used in a wide variety of contexts, from personalised messages to mass-circulation publications. The name of the typeface comes from the ceramicist Eva Zeisel (born in 1906 in Hungary). It was the delicate, humane forms of Zeisel's industrially produced ceramics that gave inspiration to Merel Matzinger as she designed the first, one-weight version of Eva in 1999. Eva Zeisel's ceramics are warm and approachable for their fluid curving lines, for their simplicity, but also for their playful, whimsical nature. Indeed, it is Zeisel's 'playful search for beauty' that is the crucial connection between her and her audience. It is Matzinger and Smeijers' hope that the Eva typeface achieves a similar feeling and a similar connection. Eva finds a distinct place among existing 'informal sanserifs'. The contrast it shows between thick and thin strokes is less marked than with designs such as Optima or Pascal. So too the flairs at the terminals of its strokes are less marked than in the case of Optima. One could position it somewhere between these 'semi-sanserifs' and typefaces like Gill Sans, Scala Sans or Fresco Sans, which we now identify as belonging to the category of 'humanist sanserif'. The variety in the ways in which the stroke terminals are treated gives Eva much of its character. FontShop link. [Google] [More] ⦿

Merijn C. Mulder
[Studio 37]

Merijn Dietvorst

Dutch graphic designer, who graduated in 2008 from the AKV St Joost in Breda, The Netherlands, and is now at the Plantin Genootschap in Antwerp. At St. Joost he wrote an interesting thesis (in Dutch) on type revivals. Alternate URL. An excerpt from his thesis on Garamond revivals: i, ii, iii, iv, v, vi, vii, viii. [Google] [More] ⦿

METAFUN

Hans Hagen's Metafun Manual. [Google] [More] ⦿

mftrace
[Han-Wen Nienhuys]

mftrace is a small Python program that lets you trace a metafont into a PFA or PFB font (A PostScript Type1 Scalable Font) or TTF (TrueType) font. It is licensed under the GNU GPL. All done by Han-Wen Nienhuys. Requires autotrace and pfaedit (now FontForge). Similar to metatype, which only makes truetype though. Credit: Gf2pbm, the utility to convert a MetaFont GF file to a PBM file was based on Paul Vojta's Xdvi. Manual by Julian Gilbey. The comparison with similar programs goes like this (I quote):

Why use mftrace over textrace? Textrace and mftrace are functionally similar. However, mftrace is quicker, more cleanly written and can be installed using standard methods. Additionally, textrace requires perl, ghostscript and dvips.
How about MetaFog? MetaFog operates directly on the curves that generate the bitmap font, its outlines will probably be smaller and better. However, MetaFog is a proprietary product: its source code is not available, and it will only run on a limited number of platforms.
How about MetaType1? MetaType1 is an approach that puts severe constraints on what may be done in a font program. It does not work for fonts containing overlaps and shaped pens.
How about FontForge itself? FontForge is an interactive editor, but it can be scripted. Since it supports bitmap tracing and TeX bitmap fonts, it is possible to duplicate the functionality of mftrace. However, out of the box, FontForge does not recognize TeX encodings. [Google] [More] ⦿

Michael Lugmayr
[21 Inch]

Michasia Lotkowska

Based in Epe, The Netherlands, Michasia Lotkowska designed the wide avant garde sans typeface Roundabout for Marit Otto. In 2015, she designed the 3d typeface Hoekjes. [Google] [More] ⦿

Michel Lavoie

Graphic designer in Amsterdam who created unnamed paperclip and outline typefaces in 2011. [Google] [More] ⦿

Michel Paré

Michel Paré studied graphic design and technique at the Art Academie Artibus, Utrecht, the Netherlands, and has worked as a graphic designer and web designer. He attended the Expert Class Type Design at the Plantin Institute of Typography in Antwerp, Belgium. Paré conducted research in the history of typographic ornaments, especially those of J.F. Rosart.

In 2017-2018, Paré digitized 800 of Rosart's typographical ornaments and some of the 18th-century Belgian punchcutter's flourished capitals. The digitized ornaments and an accompanying publication will be published by the Dutch Type Library. Plantin Institute link. Speaker at ATypI 2018 in Antwerp (with Walda Verbaenen). [Google] [More] ⦿

Michiel

Utrecht, The Neherlands-based designer of the pixel font BSquare (2019). [Google] [More] ⦿

Michiel Drost

Dutch author (b. 1950, Amsterdam) of Typage (2007, Herr Druck, Switzerland), a 256-page book on typography. [Google] [More] ⦿

Michiel Schuurman

Michiel Schuurman (b. Amsterdam, 1974) studied graphic design and typography at the Koninklijke Academie voor de Beeldende Kunsten (KABK) Den Haag and graduated as graphic designer in 2002 from the Gerrit Rietveld Academy Amsterdam. He specialized in typography, designs his own typefaces and likes working in black and white. His posters show great typographical originality. His typefaces include Oldskool (1998-2000), an outline face, and Ixopusada (1998). [Google] [More] ⦿

Michiel Terpelle

Arnhem, The Netherlands-based creator of Mahagony Script (2008, FontStruct), a calligraphic pixel script, and Excellent (2008, FontStruct), a kitchen tile typeface.

In 2014, he created DataBits, Maender (a multicolored font for children's books), and an untitled 3d prismatic typeface. In 2015, he created the grid-based typeface Metric Font.

FontStruct link. [Google] [More] ⦿

Michiel Van Kleef
[Schoon Ontwerp]

Mickey Duivestein

At Mediacollege Amsterdam, Mickey Duivestein designed Pixel Font (2016). Behance link. [Google] [More] ⦿

Mielo Pouwer

Illustrator and designer in Rotterdam, The Netherlands. In 2010, he created a custom counterless typeface for a conference called Philosophers' Rally.

Cargocollective link. [Google] [More] ⦿

Mignonne Meekels

Rotterdam-based digital artist. She made an ultra-fat art deco font entitled Real Men (2009). Behance link. [Google] [More] ⦿

Miguel Basm Visser

Dutch designer of some fonts at fontomas.com, such as Basm font (handwriting). [Google] [More] ⦿

Mihail Mihaylov

Graphic designer, illustrator and art director in Sofia, Bulgaria, who is now based in Rotterdam, The Netherlands. Creator of Funkadelic (2009) and Quotes Alphabet (2009).

Miklós Tótfalusi Kis

Miklós Tótfalusi Kis (Nicholas Kis) was born in Misztótfalu, Hungary, in 1650. He left for Amsterdam in 1680, where he worked on la Biblia Hungara (1685), Book of Hymns of San David (1686), and the New Testament (1687). He also published many books for children. Taught there by Dirk Voskens, he made what is now known as Janson Text around 1690. Around 1690, he made an elegant face, Nikis. He died in 1702. The story of Kis's types, now also known as Dutch types, is eloquently told by Daidala based on research by Bringhurst, Lawson, Morrison and Carter. Types influenced by him include Stempel Janson (1937, based on his original matrices), Mergenthaler Linotype Janson (1954, by Hermann Zapf; digitized in 1985), Monotype Ehrhardt (1938, named after the Ehrhardt foundry in Leipzig, where in the early 1700s his types were found), Nikis (finished by Hell Design Studio (now Linotype); see Nikis EF) and Adobe's Janson Text (based on the original matrices as well). The name Janson comes from Anton Janson, a Dutch typographer who worked in Leipzig. Janson was incorrectly credited with the designs of Kis's typefaces. Note: since 1919, Kis's original matrices are in the hands of Stempel.

John Tranter recalls the Kis/Janson affair: In his book On Type Faces, published in 1923, the great typographic historian Stanley Morison describes a roman and italic typeface that he said was cut by Anton Janson, a seventeenth-century Dutch type foundry owner. By the 1920s the typeface had fallen into disuse, and when it was revived for the modern age on both Linotype and Monotype machines in 1937, it was named 'Janson' after its presumed designer. Even the German Stempel foundry, who owned the original 'Janson' punches and matrices from the 1600s, called it by that name. The typeface became more and more widely used. Robert Bringhurst (a poet as well as a typographer) refers to it as a wonderfully toothy and compact Baroque type. In the United States it is now the third most popular typeface for book composition, according to its frequency of appearance in the 'Fifty Books of the Year' annual exhibition organised by the American Institute of Graphic Arts. In 1939 Stanley Morison uncovered the embarrassing fact that the typeface had not been cut by Janson, but even he was unable to put his finger on the designer. It was not until the 1950s that Harry Carter and George Buday discovered that the man who had designed the type was a Transylvanian Hungarian named Nicholas (or Miklós) Kis, born in 1650. Kis took religious orders and became a teacher, and eventually decided to visit Holland and study typography, as those skills were needed in Hungary. He turned out to be very gifted at punchcutting, the shaping of metal type, and became so famous in his own time that Cosimo de Medici, the Grand Duke of Tuscany, offered him a position at his court. Kis declined the offer, and returned to Hungary in 1690, determined to spend the rest of his life designing and printing bibles. It was a time of religious and political upheaval in Hungary. The social turmoil, together with personal enmities, shortened his life, and Kis died in 1702, an embittered man. His reputation had to wait 250 years for proper recognition; and such is the conservative nature of the world of type that the typeface he created is still called 'Janson'.

Detlef Schäfer writes in 1989 in his book Fotosatzschriften: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the Ehrhardische Gycery (Ehrhardt Type foundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haiman, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced Kisch) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Type foundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the Dutch Antiqua by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The Kis Antiqua is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name Kis Antiqua. It will be used primarily in book design.

Adobe writes that the model for Janson Text was mistakenly attributed to the Dutch printer Anton Janson.

Bitstream explains: His types, the original matrices for which were obtained by Stempel in 1919, were revived for hot metal as Janson by C.H. Griffith for Mergenthaler Linotype (1937), and as Janson and Ehrhardt (1937) from Monotype.

Good digitizations exist of Monotype Ehrhardt.

Digitizations of Kis / Janson:

Janson (URW).
Janson Text (1985, Linotype), supervised by Adrian Frutiger. Linotype writes: A faithful recreation of one of the great seventeenth-century Dutch typefaces cut by the Protestant Transylvanian Nicolas Kis. The matrices survive at Stempel; their value was recognized by Chauncey Griffith at Mergenthaler Linotype, who used Kis' 14 point to undertake the revival for composing machines while following a Voskens italic better suited to the Linotype than the Kis italics. George Ostrochulski adapted the face for photocomposition at Mergenthaler, returning to the original italics.
Janson Text (Adobe). Based on, or identical to, the Linotype version.
Monotype Janson (Monotype).
Janson SB (Scangraphic Digital Type Collection).
Miklos (2019, George Tulloch), based on the "mediaen" roman and italic cut by Miklos Kis in Amsterdam ca. 1680.
Kis (ParaType), based on Bitstream's Kis BT.
Kis Classico (Linotype), by Franko Luin.
Tyrnavia (T-26).
Kis (Bitstream).
Kis Antiqua Now TH Pro (Elsner+Flake) and Kis Antiqua Now TB Pro (Elsner+Flake). Dated 2008, by Erhard Kaiser for Elsner & Flake, after an earlier version of Kis Antiqua published by them that was based on Hildegard Korger's Kis Antiqua at Typoart, 1986-1988.
David Berlow at Font Bureau did a revival in 2007 called Kis FB.
Berthold Kis BQ.
Kis (Celia Merchal Garcia, 2017).
Noteworthy are the italics of Reiher Headline (2018, Ramiro Espinoza) that are based on Kis's Aszendonica.

Bio by Nicholas Fabian. View the Janson / Kis typefaces at MyFonts. [Google] [MyFonts] [More] ⦿

Mila Visuals

Dutch designer of these script typefaces in 2017: Nouria, Poffertje, Galawi, Semono, Sting, Majestic, Semono, Liyana, Konya, Bokito, Wasiela, Misona, Warda, Qamar, Maple, Solitude, Balou, Safae, Diyana, Marina.

Typefaces from 2018: Natio. [Google] [More] ⦿

Milan de Jong
[Themes of a scorched earth]

Milda Kuraityte

Milda Kuraityte is a graphic designer and PhD student at the Faculty of Fine Arts, University of Lisbon. She is a member of the European Cooperation in Science and Technology (COST) projects European Literacy Network (ELN) and E-Read, which focus on reading processes on screen. In her research on kinetic typography, Kuraityte combines the fields of typography and psycholinguistics. For her experimental work, in collaboration with the Psycholinguistics Laboratory at the Faculdade de Letras da Universidade de Lisboa (FLUL), she uses an eye-tracking system to analyze kinetic typography. Kuraityte lives in Amsterdam.

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

Miosis
[Marijke Ludwig]

Miosis is a design studio based in Limburg, The Netherlands, founded in 2018 by Marijke Ludwig. Designer in 2019 of Avris, a feminine stencil typeface. [Google] [MyFonts] [More] ⦿

Miriam van der Have
[Emday Fonts]

MyFonts: Sjoerd Hendrik de Roos

Miriam van Vuuren

Dutch designer of the script typeface Rosewood (2014). Dafont link. [Google] [More] ⦿

Mirjam Somers

Mirjam Somers was educated at St Joost Art Academy in Breda, The Netherlands, where her teachers included calligraphers Chris Brand and Jan van den Bouwhuysen. After two years she continued at the Gerrit Rietveld Academy in Amsterdam and graduated there in 1974 in Architectural Design. Having worked as a carpenter and free-lance typographer, she encountered Arabic script in 1982 when together with Thomas Milo she designed and produced the Arabic Letter Box, a wooden prototype of a computer program and an educational tool at once. With Tom she reduced the traditional Arabic Ruqah script to 70 penstrokes and defined a mechanism to generate all Arabic letter combinations by the smart font algorithm. The combination of the font-in-the-box and the out-of-the-box font inspired Peter Somers to write the smart font program code. Peter, Mirjam and Thomas incorporated Decotype [Designers of Computer-aided Typography] in 1985. Mirjam played a major role in designing the Naskh typeface (1993-2004), and created the Emiri (2004, a revival) and DecoType Nastaliq (2008-2010, an original analysis) typefaces. Her latest designs are a second Ruq'ah (2011) and an Eastern Nastaleeq (2012).

DecoType Nastaliq (2009) won an award in the non-Latin category at TDC2 2010. Decotype Nastaleeq Press won an award at TDC 2014. The award blurb reads: DecoType Nastaliq is the latest fruit of more than 25 years of analyzing Arabic scripts in their pure, pre-typographic form. Like its close relative ruq?ah, nastaliq retains the original two-dimensional aspect of Arabic script. To capture this for use in an essentially Latin-based technical environment is a great challenge. The final glyph set consists of a minimal set of functional shapes, with which for all Arabic-scripted languages all imaginable combinations with any diacritic attachment can be generated. This is possible solely with the use of ACE, the Arabic Calligraphic Engine, a radical departure from conventional thinking in Gutenberg-style movable type. ACE was developed by the DecoType team, Thomas Milo, Peter Somers and Mirjam Somers, initially for the ruqah script, later it was expanded for a very broad analysis of the naskh script. Today ACE drives any Arabic typeface and is the core engine of WinSoft's Tasmeem enhancement of Adobe InDesign Middle Eastern version. The seminal role of ACE for the development of smart font technology, including OpenType, was recently acknowledged with the Dr Peter Karow Award.

At ATypI 2011 in Reykjavik, she spoke on the slanted Arabic typefaces with cascading connections: It was exactly this challenge that brought DecoType into the typography scene in 1985 with the very first Ruqah computer typography. In 2011, a completely new Ruqah design takes its place. In addition to that, the award-winning DecoType Nastaliq typeface in Persian style is very well received as the top typeface in WinSoft Tasmeem. A second nastaliq, this time in Pakistani style is under construction. Speaker at ATypI 2013 in Amsterdam: Technology designed for Arabic.

Ruq'ah (2011) won an award at TDC 2012. [Google] [More] ⦿

MyFonts: Dutch deco

A collection of commercial typefaces in the Dutch deco style. [Google] [More] ⦿

MyFonts: Dutch fonts

I am always surprised by the attribute Dutch fonts. Therea re many fonts tagged that way at MyFonts, and this page shows them all. [Google] [More] ⦿

MyFonts selection of fonts for Sjoerd Hendrik de Roos [Google] [More] ⦿

Mylene Tax

Goes, The Netherlands-based designer of Regen (2018). [Google] [More] ⦿

Mylene van de Laar

The Netherlands-based designer of a circle-based typeface (2016). [Google] [More] ⦿

Myrthe Hopmans

Designer in Noorden, The Netherlands, who created a typographic poster entitled Istanbul (2012). [Google] [More] ⦿

N. Tetterode
[Nicolaas Tetterode]

Foundry in Amsterdam, set up in 1851 by Nicolaas Tetterode (1816-1894). Nicolaas' oldest son, also called Nicolaas, expanded the firm until his death in 1912. In 1914, the firm baecame Lettergieterij Amsterdam, which remains active until today. Tetterode's extensive type and printing library, De Typografische Bibliotheek van Lettergieterij 'Amsterdam' v/h N. Tetterode was donated in 1971 to the University of Amsterdam. In 2002, Linotype acquired the rights to all letters that the Lettergieterij Ammsterdam Tetterode had designed and released itself, such as Mercator and Lectura. And those rights went to Monotype when it in turn absorbed Linotype. [Google] [More] ⦿

Nahrwan Fadainia

Houten, The Netherlands-based creator of a display typeface in 2014. Behance link. [Google] [More] ⦿

Nathalie Ouederni

Natahalie Ouederni (Amarante Designs) is a French graphic designer and illustrator in Delft, The Netherlands. In 2010, she created a font from direction signs, and started work on an ink splatter font.

Nathalie van Caam

During her studies in Rotterdam, Nathalie van Caam created the hexagonal typeface Zouet (2013). [Google] [More] ⦿

Nazanin Karimi

Iran-born Nazanin Karimi (b. 1987) is a graphic design student at KABK in Den Haag. He created the Sans Collective typeface in 2012. [Google] [More] ⦿

Nearest Neighbour
[Mark van den Heuvel]

Nearest Neighbour is a graphic design studio based in 's-Hertogenbosch, The Netherlands, founded in 2014 by Mark van den Heuvel (b. 1982) and Guus Verschuur (b. 1983). In 2016, they created the fun custom modular wayfinding typeface Willem II Fabriek. Behance link. [Google] [More] ⦿

NEN 3225

In 1962, NEN (the Dutch Institute for Normalization) published a guide for a sans and a serif design. It is rumoured that Visualogik has digitized this, but no one can confirm this. The typeface has been used on signage in Amsterdam. The committee that decided on the details of the design, according to Kuitenbrouwer:

Ir. H.G.J. Schelling, architect at NV. Nederlandsche Spoorwegen, Utrecht (chairman)
Prof. Dr. G.W. Ovink, estethic advisor at Lettergieterij "Amsterdam" v/h Tetterode (secretary)
S.L. Hartz, graphic designer at Joh. Enschede, Haarlem
Jan van Krimpen, typographer, Joh. Enschede, Haarlem
H.C. Warmelink, notary and type specialist, Amsterdam
Prof. Ir. C. Wegener Sleeswijk, architect, Amsterdam

NEN 3225 is often referred to as the Dutch DIN. It is defined and described in SWOV-Rapport_1970-7 entitled Verkeertekens op borden (1970, D.J. Griep and A. Kranenburg, Stichting Wetenschappelijk Onderzoek Verkeersveiligheid, Voorburg, The Netherlands). There are four sets of capitals in NEN 3225, called Alfabet Serie C, D, E, and F, which vary from narrow (C) to wide (F). In addition, there is one set of lowercase glyphs, called series "e", which is adapted to Series E in width. The SWOV document mentions that these letter types were developed after consultation with Ovink. Local download of that report from 1970 (in Dutch). Letter proofs at Lettergieterij Tetterode (at the University of Amsterdam).

Visualogik produced a related digital font called Ovink D VL, dated 1995, after the D series. A later date, 2004, was added that refers to copyright by Novatype, a subsidiary of Visinova. Ovink D VL appears to match the font used on many of Amsterdam's street name plates (in 2020). HR Groep in the Netherlands is using a digiatl font called Ovink Ee, which matches the NEN 3225 Series E and e. That font is used on some street and traffic signs in the country. [Google] [More] ⦿

Neoglyph Studio
[Tom J.C. Raaijmakers]

Tom Raaijmakers (b. 1982) is based in Eindhoven, The Netherlands. Creator of the marker fonts Twin Marker (2008) and TJC 82 Marker (2008), and the handwriting fonts Fist Writing (2009), Smudged Alphabet (2009) and Paul PC (2006), and the hand-printed Son of a Snitch (2009). In 2009, he created the dingbat typeface Artefekt. German Beauty (2010) is a comic book face. In 2011, he added Pin Me Needles.

In 2021, he designed Batcave (a thorny-edged criminal cyberpunk typeface).

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

NGT Fonts (or: Effatha)
[Gert-Jan de Kleer]

"Nederlandse Gebarentaal" fonts: Dutch analog of the Americal Sign Language fonts. The fonts are called NGT-handalfabet, NGT-handalfabetLijn, NGT-handalfabetLijn+, NGT-handalfabet+. They were designed in 1998 by Gert-Jan de Kleer and digitized by Rik Jaspers. [Google] [More] ⦿

Nick Curtis
[Sander de Voogt]

Sander de Voogt tells us all there is to know about Nick Curtis's fonts. A complete list of names, sources of inspiration, dates and foundries. [Google] [More] ⦿

Nick Datta
[Werkbond]

Nick Dijsselbloem

Based in Gemert, The Netherlands, Nick Disselbloem (b. 1995) created the free typeface Daily Routine (2013), a font for memos. Behance link. Cargo Collective link. Dafont link. [Google] [More] ⦿

Nick Jagersma

Graphic designer in Leeuwarden, The Netherlands. Creator of the free hipster typeface Zaboulon (2015), but the download mechanism is unclear. [Google] [More] ⦿

Nick Meeuws

Graphic designer in Eindhoven, The Netherlands. In 2014, he used only arcs of circles to construct the ornamental caps typeface Circularis (2014). Behance link. [Google] [More] ⦿

Nick Rutte

At MyFonts, we read this about Nick Rutte (b. 1983, Velsen, The Neherlands): As an intern at the VetteLetters Headquarters Nick takes over the VLNL Dream Meal-projects, while Donald was too busy with cooking experiments. Nick is now working on his final project at the Willem de Kooning Academy in Rotterdam. Donald� is missing Nick very much, because he has to do now everything on his own... Hopefully Nick is returning to VetteLetters after graduating. Nick Rutte and Donald Roos together designed VLNL Dream Meal Left and Right (2011). [Google] [MyFonts] [More] ⦿

Nico Baak

Dutch poster artist, 1892-1961. Scan of his art deco lettering poster, Verkade's Oranje Bonbons. [Google] [More] ⦿

Nicolaas Tetterode
[N. Tetterode]

Nicole Berbers

During her art and design studies, Nicole Berbers (Rosmalen, The Netherlands) created an untitled typeface (2014). [Google] [More] ⦿

Nicolien van der Keur
[VanderKeur]

Niek Dekker

Delft-based graphic and web designer. Slides of a type presentation given in his final year at the Rotterdam University of Applied Sciences. [Google] [More] ⦿

Niek J. van Driel
[Artware]

Nieknique Welmer

Dutch creator, b. 1994, of the flowery hand Nieknique (2010). [Google] [More] ⦿

Niels Alkema

Den Haag, The Netherlands-based designer, who commissioned the new typeface for Jumbo in 2016, Sympatico, which replaces Jumbo The Sans. That typface was designed by Eyal Holtzman. [Google] [More] ⦿

Niels Kiené Salventius

Artist in Den Bosch, The Netherlands, who created the free font Salventius Hand (2015). Behance link. [Google] [More] ⦿

Niels van de Spijker

Veldhoven, The Netherlands-based designer of the animated outlined typeface Basic Space (2016, Animography). [Google] [More] ⦿

Niels Visser

Graphic designer and type designer in Heemskerk, The Netherlands. Student at St. Joost Art Academy in The Netherlands. Designer of the free graffiti font Trasher2 (2005), the organic typeface Lynex (2009), the multiline typeface The Maze (2009), and some other typefaces shown on Behance link. Dafont link. [Google] [More] ⦿

Nijhof&Lee

Lots of type books for sale at Nijhof&Lee in the Netherlands. In 2008, 20 years after Nijhof&Lee opened for business, Frank Nijhof died. Warren Lee continues the business alone after that. [Google] [More] ⦿

Niklas Lang

Amsterdam-based designer of Light Alphabet (2015). [Google] [More] ⦿

Niko Fernandez

Brazilian art director who has worked with with Tony de Marco at Just in Type. From Brazil, he moved to Amsterdam. His typeface Concreta (2011, done with Tony de Marco) is a stencil typeface in the Bauhaus and piano key styles. It was inspired by the work of Josef Albers.

Nikolay Petroussenko

Nikolay Petroussenko is a type designer and artist based in Sofia, Bulgaria, who graduated from the National Academy of Art, Sofia. He worked in Poststudio, a studio for visual communication and later at DecoType in Amsterdam. Currently he is part of Fontfabric in Sofia.

Designer of the transitional text typeface Sapienza (2016). He was part of the Fontfabric team that designed the 521-font family Zing Rust, Zing Sans Rust and Zing Script Rust in 2017.

In 2018, Jacklina Jekova and Nikolay Petroussenko co-designed Singel at Fontfabric. Singel is a neoclassical serif with semi-condensed proportions for Latin and Cyrillic. Its ten roman weights are complemented with ten quite different italic weights.

Codesigner of Mozer (2019, by Svetoslav Simov, Ani Petrova, Mirela Belova and Nikolay Petrousenko: a condensed headline sans family that covers Latin, Greek and Cyrillic; Mozer SemiBold is free).

Typefaces from 2020: Alkes (by Plamen Motev, Nikolay Petroussenko, Kaja Slojewska at Fontfabric: a 14-style text typeface for long passages, designed to harmonize between Latin, Greek and Cyrillic, and featuring a generous x-height, wide letter spacing, large open counters and angled stress contrast so that the typeface is quite readable and friendly). He was a member of the Fontfabric team that designed and later updated the 26-font type system Nexa in 2020. That team consisted of Svetoslav Simov, Plamen Motev, Mirela Belova, Stan Partalev, Nikolay Petroussenko, and Ventislav Dzhokov. [Google] [MyFonts] [More] ⦿

Nils Mork

Rotterdam-based designer of the hand-printed typeface Ruit One (2013). Behance link. [Google] [More] ⦿

Nina Looijkens

During her studies, Nina Looijkens (Kaatsheuvel, The Netherlands) created a thin modular display typeface (2014). Behance link. [Google] [More] ⦿

Nina Zulian

Originally from Brazil, Nina Zulian investigated type patterns for her masters in graphic design in Barcelona in 2008---she used squares and circles only to make an alphabet. Currently, she works in Amsterdam. Home page. [Google] [More] ⦿

Ninya Zoll

Ninya Zoll (Amsterdam, The Netherlands) created Overlay (2013), a geometric typeface based on the principle of overlays of geometric solids. [Google] [More] ⦿

Nio Seck Design
[Nio van der Nat]

Dutch designer (b. 1994) of the elegant ribbon typeface Fold Up (2013) and of Flood Water (2014), which is named after the great flood of 1953 in The Netherlands. In 2016, he designed the basic building block typeface Cubik.

Aka Nio Seck, and operating as Nio Seck Design. Dafont link. [Google] [More] ⦿

Nio van der Nat
[Nio Seck Design]

Nitrada

Designer at FontStruct in 2008 of POSTCODE, a font based on this Dutch postage stamp by Gert Dumbar. See also here. [Google] [More] ⦿

Noelia Zapater

Graduate of Polytechnic University of Valencia. Valencia, Spain-based creator of the upright titling script typeface Noeza (2015). [Google] [More] ⦿

Noemie Courtois

Amsterdam-based designer of the experimental sans typeface Babble (2017) and the semi-deco sans typeface Batarde (2017). Behance link. [Google] [More] ⦿

Noori Sabiq

The Netherlands-based designer of the pixel typeface Dude Cmon (2018) and Scribble on The Bus (2018). [Google] [More] ⦿

Nora Baltus

Dutch designer (b. 1988) who made the hand-printed typefaces Nb Obese and Nb Strange in 2008. Home page at Skeedio. [Google] [More] ⦿

Nora Bekes

Born in Hungary, Nora Bekes obtained a BA and MA in psychology from Szeged University in 2007 and 2010 respectively. In 2014, she started graphic design studies at the KABK in Den Haag, The Netherlands, and graduated in 2018. She works as an independent designer based in Rotterdam. Her practice focuses on the intersection of type design, typography and visual story telling. Her main interest lies at the research of archives and their contemporary interpretations.

Her first typeface is the plump Havanna Display (2016). Other typefaces from 2016 include the angular Dutch Winter.

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

Nova van Herwerden

Dutch designer of the handcrafted typeface Eigen (2018). [Google] [More] ⦿

Novo Typo (was: Atelier van Wageningen)
[Mark van Wageningen]

Mark van Wageningen is a Dutch type designer. Born in 1969, Mark studied graphic design at the Amsterdam Graphic School and at the Gerrit Rietveld Academy in Amsterdam before he founded Novo Typo in 2012. Mark lives in Amsterdam. Novo Typo is the type foundry of Atelier van Wageningen.

In January 2015 Mark started the Typewood project. Typewood is a research project about designing, deconstructing, and transforming multicolored digital typefaces into wooden type for letterpress. Ziza, a corresponding project with lead type, followed in 2016. Both projects show the future of multicolored typeface design through the revitalization and deconstruction of typographic traditions. Mark wrote several books about chromatic type design such as the Novo Typo Color Book (2017) and Color and Type (Princeton Architectural Press, 2019).

The display type Stavba (inspired by Rodchenko's constructivist lettering) appeared in 1994 as a part of his presentation for his final examination at the Gerrit Rietveld Academie in Amsterdam, and was later renamed Ärst. He continues making display types on his own account. He created the fonts Linotype Cerny (1995, caps only), Linotype Laika and Linotype Sjablony (a roughened stencil font) in 1997.

Fontshop and 2Rebels sell his Gagarin family (2000), which include Anna (constructivist and unicase), Boris, Christa, Dmitri (MICR), Eleno, Fjodor, Gregor, Hektor (stencil), Igor, Youri, Leonora (with Nele Reyniers), Magda (with Nele Reyniers), Ossip and Petrov (LED simulation). As he tells it, four Russians, Gustav Klucis, Vladimir Majakovski, Alexander Rodchenko en Gregory Rasputin each had an affair with Anna Gagarin, and out of all that came forth Boris, Christa, Dimitri, Elena, Fjodor, Gregor, Hektor, Igor, Jouri, Kurt, Leonora, Magda, Nina, Ossip, Petrov, Quirina, Rudolf and Sonia.

Atelier Van Wageningen made the curly typeface HC type (2010) for packaging.

Typefaces from 2012 include NT Lucien, NT Plakaty (poster font), NT Theo, the NT Gagarin family, NT Zkumavka (rough stencil based on stencils from the 1920s in Russia; first published in 1995-2002 at Two Rebels), NT Cornelia (wood type caps), NT Novo (with Novo Alla, Bila, Cela, Dada, Enno, Fika, Gigo, Halu (art deco)), Louis Douze and Therese Quatorze, Caren (a soft-edged corporate typeface for a Dutch women's organization, Vrouwen van Nu).

Typefaces from 2013: NT Guru (a layered ornamental type system), Sjiq (with a crazy roofed lower case s), and flower photographic typefaces such as Fall, Lily and Pure. Novo Typo also made several corporate typefaces.

Typefaces from 2014: NT Wolf (layered typeface), NT Yaki (hipster layered font family), NT Fest (a curly inline caps face).

Typefaces from 2015: NT Fata (a layered decorative font family), NT Rashmir (Indic simulation inspired by Sanskrit; styles Amal, Baya and Cyra), Bixa (Bixa Color minisite: a multicolored wood type; winner at TDC 2016 and ProtoType in 2016).

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

Now Type
[Lucas Franco]

Brazilian type foundry run by Lucas Franco (Italian Brazilian, b. 2001), his father Claudio Rocha (Italian Brazilian, b. 1957) and his mother, Milena Mainieri (Italian Brazilian, b. 1969), which is currently based in The Netherlands. Their typefaces:

Comic Voss (2017): Alain Voss was a comics artist born in France, he spent his early life in Brazil, and moved to France in 1972. From 1975 he worked for the experimental Metal Hurlant, Tobiaze, parodies of famous comics characters such as Popeye, Asterix and Superman, the series Anarcity (influenced by Phillip K. Dick's work), and the strip Zensetos. He returned to Brazil in 1981, and during the rest of his life collaborated with Brazilian publishers. In 1982 he won the European Album of the Year Award for Adrénaline. Comic Voss is the work of digitalisation of the hand letters present is Alain Voss' comic books and graphic works. The font has an informal look and a slight inclination, that gives a sense of speed and unconventionality. The typeface has 4 weights (regular, medium, bold and black), 26 ligatures, arrows and a complete set with 256 glyphs.
Antonio Maria (2017): Antonio Maria, a font by Claudio Rocha and Lucas Franco, takes its shapes from the lettering found in the cover of Afixação Proibida (Display Prohibited), a book by the Portuguese poet Antonio Maria de Lisboa (1928-1953). In fact, Antonio Maria was the leader-writer of Afixação Proibida, a collective manifesto from 1949, that initiated the surrealist movement in Portugal. It is an inverted-contrast typeface with 150 ligatures and a large character set.
Ciclope (2017): Ciclope was launched during the 1930s by the Fonderia Tipografica Reggiani, a type foundry based in Milan. The font was created under the guidance of Guido Modiano, a modernist typographer. The typeface has a strong and bold look, characteristic of the Italian art deco style.
Maggiore (2017): Maggiore, designed by Lucas Franco, takes inspiration from the 1930s Italian Art Deco style, with strong geometrical shapes, synthetic forms with no counters at all. The upper case keyboard keys offer straight and economical letterforms, while the lower case keyboard keys contain letterforms with subtle and angled nicks.
Mefistofele. A revival in 2018 by Claudio Rocha and Lucas Franco of the modular stencil typeface Mefistofele (1930, Reggiani foundry).
Rudolf Titling (Lucas Franco and Claudio Rocha), a typeface that won an award at Tipos Latinos 2018.
Franco Titling (Lucas Franco). Winner at Tipos Latinos 2018 of a type design award.
Agora Titling Extra Light (2018). By Claudio Rocha.
Peterson Titling (2020). A condensed titling typeface with slab vertical serifs that pays homage to the Canadian jazz pianist Oscar Peterson.
Franco Stone (2018-2020, Lucas Franco). A tapered display typeface. Buy it at CAST.
Rudolf Antiqua and Rudolf Initials (2018). A faithful revival of Rudolf Koch's Koch Antiqua (1922). Followed by Rudolf Text (2017-2020, Lucas Franco and Claudio Rocha).
Doctrine (2019-2020< Lucas Franco). Chiseled and almost uncial.
Aurelio Titling and Aurelio Unicase (2018, Lucas Franco and Claudio Rocha). Originally, it was created as a logotype for the Ultima Forma design studio in the 1990s. Based on 19th century wood types. The unicase font is a Bradbury Thompson's Alphabet 26 reboot.
Woodeco. An art deco wood type. No date. No designer.
Georges Deco (2017, Lucas Franco and Claudio Rocha). Georges Deco is based on the ornate lettering found in the Art Deco lettering book, Modèles de Lettres Modernes, published in 1939 by the French interior designer Georges Léculier.
Solferini (2019). A rounded squarish typeface by Natalia Solferini, Lucas Franco and Claudio Rocha, based on the lettering of Brazilian artist Gil Duarte (aka Binario Armada).
Pierre Deco. A wide octagonal typeface inspired by letters in the title page of the 1929 edition of Vies imaginaires, a collection of twenty-two semi-biographical short stories by Marcel Schwob, published by French book club association Le Livre Contemporain, which showcases wood engravings by Pierre Bouchet of George Barbier's illustrations. No date. No designer identified.
Entulho (2011-2018). A stencil typeface by Ricardo Mayer, Lucas Franco and Claudio Rocha.
Scarpa Titling (2019, Claudio Rocha and Lucas Franco). An all caps typeface based on a nameplate found on the front door of a shoemaker in Treviso, Northern Italy.
Anton (2020, by Claudio Rocha and Lucas Franco). An art deco typeface modeled after a Dutch deco type seen on the Anton Antonius Kurvers's cover of Wendingen in 1927.
Spinface (2020). An experimental turned letter font by Claudio Rocha and Lucas Franco.
Etna Futurist (2020, Claudio Rocha & Lucas Franco). Digital interpretation of Etna, a wood type produced by the Italian type foundry Xilografia Meneghello & Belluzzo, in the 1920s.
Hendrik (2021, by Claudio Rocha & Lucas Franco). A revival of Simplex (Sjoerd Hendrik de Roos, 1937).

[Google] [More] ⦿

Ogentroost
[Diederik Corvers]

Ogentroost is the typographic wing of Dutch corporate identity designer Diederik Corvers, who is located in Dordrecht near Rotterdam, where he runs Klaar Ontwerpen.

He made these corporate identity typefaces: Thoth, Quattron, 123Interim, Ogentroost (1993-2013, an italic for posters, and an accompyanying humanist sans), Durertype Capital and Digital (1992-2012), Export (2002: a rounded stencil), Together (1997, a script), CrossWord (another stencil), Suomi (2004, an elliptical sans), Suomi Slab (2005). The Suomi Ultra weight is free.

Early typefaces include Cross (2003, a stencil type), Landvast (2006), Ogle (2006, a monospaced typeface), Oldskool Black (2007, a fat poster typeface), Paintstripper (2010, a piano key stencil face), Rule (2011, a gothic with humanist traits).

Typefaces from 2012: Ancona, Beep Beep (an experimental textured typeface), Novus (2012-2013, a didone based on the logo he made for the Dutch National Television news show Nieuwsuur).

In 2014, he published Serious Sans, the grown-up brother Comic Sans never had. The limited character version of this font is free. The full typeface is at MyFonts.

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

Ognjen Gligorijevic

Ognjen Gligorijevic is a graphic designer based in Serbia and The Netherlands. His typefaces include the serif typeface Artemia (2021). [Google] [More] ⦿

Olivia Ettema

Dutch illustrator. In 2017, she designed a naked alphabet for the columns of Ewoud Sanders in NRC Handelsblad. Together with Ewoud Sanders, she published this in a booklet entitled Pruimen op Sap. [Google] [More] ⦿

Olivia Polgari

Dutch designer of the striped typeface Den Haag (2017). She also created a straight-edged modular typeface in 2017. [Google] [More] ⦿

Olthuis
[Samisk Datautvalg]

This Dutch site contains phonetic fonts such as Cyrillic-1, PhoneticaItalic, SKTimesDictionaryItalic, STimesDictionary, SamCourierW2Normal, SamHelveticaW2Bold, SamHelveticaW2BoldItalic, SamHelveticaW2Italic, SamHelveticaW2Normal, SamTimesW2Bold, SamTimesW2BoldItalic, SamTimesW2Italic, SamTimesW2Normal [the Sam series are by Samisk Datautvalg], SkTimesDictionaryBold, TimesNewRomanPS-ItalicMT. In addition, we find Corel's WordPerfect font package: WP-ArabicScriptSihafa, WP-ArabicSihafa, WP-BoxDrawing, WP-CyrillicA, WP-CyrillicB, WP-GreekCentury, WP-GreekCourier, WP-GreekHelve, WP-HebrewDavid, WP-IconicSymbolsA, WP-IconicSymbolsB, WP-Japanese, WP-MathA, WP-MathB, WP-MathExtendedA, WP-MathExtendedB, WP-MultinationalAHelve, WP-MultinationalARoman, WP-MultinationalBCourier, WP-MultinationalBHelve, WP-MultinationalBRoman, WP-MultinationalCourier, WP-Phonetic, WPTypographicSymbols. [Google] [More] ⦿

Omashuisje
[Jean Paul Beumer]

Omashuisje (lit. grandmother's house) is the foundry of Jean Paul Beumer, a Dutch graphic and type designer from Biervleet, Zeeland, The Netherlands, who was born in Breda in 1968. He is working on this slab serif typeface (2007).

Eastburgh (2011) is a slightly slabbed humanist sans face.

In 2012, he published the nearly monoline sans typeface family Aubaine. [Google] [MyFonts] [More] ⦿

Onderaards
[Aschwin de Hoog]

Studio Aschwin, or Onderaards, is located in Amersfoort, The Netherlands. Aschwin de Hoog and Lins van Lingen jointly run Onderaards. In 2005, they created a stencil face and a number of icons and packaged it as Survivor Pictograms.

In 2013, Aschwin created the techno stencil typeface Mekanik. [Google] [More] ⦿

Onno Blase

Amsterdam-based designer of the free handcrafted typeface Punta Banco (2015), which is based on the logo Onno designed for Punta Banco surf. Behance link. [Google] [More] ⦿

Onno Schaap

Dutch type designer born in 1971 in Voorburg. He made the spurred serif typeface Lafayette Extra Condensed (1995) at the Agfa Creative Alliance. It was based on a newspaper type called Lafayette (1932, Robert Hunter Middleton, Ludlow). Onno Seb Schaap is currently Art Director for the advertising agency Arrow, in The Hague. Font Bureau write-up. FontShop link. [Google] [MyFonts] [More] ⦿

Original Type
[Artur Schmal]

Born and raised in Den Haag, Artur Schmal was formed at the KABK in type and media. He founded Original Type in 2018. In 2021, Original Type joined Type Network. His typefaces:

At OurType, he designed Parry (+Condensed) and Parry Grotesque (+Condensed) in 2006. Schmal says that it was inspired by Edmund Fry and Thorowgood. Parry gets its name from John Parry, whose painting A London Street Scene (1840) captures the typographic landscape of the Victorian Era. Type Network: Parry has its roots in the robust slab serif typefaces that appeared in the Victorian age. It is not a revival though, and its aesthetics make it truly a contemporary typeface. The soft curves and quirky serifs combine with sharp cut stroke endings to produce a text image that is softer than the rigid nature of most slab serifs.
Kufam. Artur writes: Kufam is the result of the collaboration between me and my design partner Wael Morcos in the second edition of the Typographic Matchmaking project in which we set out to design a typeface containing both Arab and Latin scripts that would complement each other. The typeface finds its inspiration in sources far apart from each other in both time and distance: the Arabic Kufi script in the lowercase and dutch urban lettering seen in the twenties and thirties of the previous century in the capitals of the Latin. The font supports the Arabic and Persian scripts. In 2014 Kufam was published on the now defunct type label OurType, where the font development team expanded the character set from Standard to Pro and remastered the fonts. Kufam was available on OurType until 2017. From 2018 Kufam was reworked to meet Google Fonts Latin Expert and Arabic character sets and in 2020 Kufam was made available on Google Fonts (with Wael Marcos). Github link.
Bonnie. A friendly geometric sans. In 2014 Kufam was published on the now defunct type label OurType, where the font development team expanded the characterset from Standard to Pro and remastered the fonts. Kufam was available on OurType until 2017. In 2018, Kufam was reworked to meet Google Fonts Latin Expert and Arabic character sets and in 2019 Kufam was made available on Google Fonts.
Several custom typefaces.

Home page of Arthur Schmal. Old URL. [Google] [More] ⦿

Oscar Polak

Graduate of Utrecht University who is based in Amsterdam. Designer of the display typeface Leap (2016). Behance link. [Google] [More] ⦿

OTC (Odyssey Type Company)
[Hein Boekhout]

OTC (Odyssey Type Company) was founded in 2020 by Dutch type designer Hein Boekhout and is based in The Hague, The Netherlands. Hein studied informatics at The Hague University and media technology at Leiden University, and has worked as a graphic designer and web developer before becoming a type designer. In 2020, he released the squarish typeface OTC Underground which covers Latin, Cyrillic and Greek. He writes: OTC Underground is a geometric condensed display font, presenting a compressed letterform structure with an even stroke contrast. The font is inspired by Gustav F. Schroeder's Othello from 1886 and the lettering on the 1967 album cover from The Velvet Underground & Nico. [Google] [MyFonts] [More] ⦿

Otherways.nl
[Donald Roos]

Type foundry in Amsterdam, run by Donald Roos (b. Haarlem, 1978). Also involved are Jantoon Roos (Haarlem, b. 1953) and Benz Roos. Donald Roos studied type design at KABK in Den Haag. In 2008, he started up his own studio Bureau.Donald, based in Amsterdam. He created the online typographic library Typebase and is co-founder of tech-startup Triqle. Donald has been a teacher at several academies; the Willem de Kooning Academy, Rotterdam College and Fontys College. He currently teaches type design at KABK in Den haag.

Typefaces (all by Donald Roos) include LD Spaghetti (2004), LL Bint (2004, potato stamp face), LL Gaufre (2004, an "OpenPixelType"), MagGothic (in progress). They are also involved in the digitization of wood type.

In 2009, he got involved in Vette Letters, and there he published VLNL Bint, VLNL Gaufre, VLNL Knoffel, VLNL Brak, and VLNL Spaghetti Bolognese, VLNL Woodburger, VLNL Wasabi, VLNL Irish Stew, VLNL Hollandsche Nieuwe.

Typefaces by Donald Roos from 2013: VLNL Wood Burger (based on American wood type), VLN Wasabi Turbo.

In 2015, he published VLNL Boulangerie.

In 2021, Donald Roos digitized Plinc Buffalo for House Industries. Plinc Buffalo is a bold western wood type font based on an original PhotoLetteringInc font by Ed Benguiat called Buffalo.

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

Our Polite Society
[Radek Sidun]

Our Polite Society Type is a project by Our Polite Society, a graphic design studio based in Amsterdam and Stockholm, formed in 2008 by Jens Schildt and Matthias Kreutzer (a German who graduated from and taught at Rietveld Academy in The Netherlands). Early on in their collaboration, they began designing type for specific projects, usually for limited use. Our Polite Society Type is an attempt to finalize some of their favourite designs of the past years and make them available to others as of 2019. Font engineering by Radek Sidun. Their typefaces:

OPS CapitalisBrutalis.
OPS Cubic. Monospaced.
OPS Facitype. A wide bold sans.
OPS Favorite. A monospaced typewriter font.
OPS Grotesko. A polygonal, almost hexagonal, font.
OPS Kappla. A stitched style.
OPS PastPerfect. A mini-stencil.
OPS Placard. Monospaced, typewriter style.
OPS RestructionalText. A readable condensed sans.
OPS Used Future (2021).

[Google] [More] ⦿

OurType
[Fred Smeijers]

OurType was Fred Smeijers' web site and foundry established in 2002 (formally launched in 2004). OurType was set up by four partners: Fred Smeijers, Corina Cotorobai with Rudy Geerarts and Martine Leloup (both of FontShop Benelux). Fred and Corina were the creative lead of OurType foundry, Rudy and Martine were in charge with sales. In 2017 Fred and Corina stopped their collaboration with OurType concentrating on several other projects, including a new type label. Fred and Corina are also co-partners in Type Tailors (established in 2008), offering type design development, publishing, custom type and typographic consultancy. Smeijers's fonts can now be found at Type By.

Smeijers is research fellow at Plantin Museum in Antwerp, and professor of type design at the Hochschule für Grafik und Buchkunst in Leipzig, and visiting professor at the Royal Academy of Arts in The Hague. In April 2018, Fred Smeijers and Corina Cotorobai announced that they would be starting a new foundry. Fred Smeijers (b. 1961) studied at the School of Art at Arnhem, and he worked as a typographic advisor to the reprographic company Océ, then became a founding member of the graphic design practice Quadraat, which provided the name for his first published typeface (FontFont, 1992).

He created the following typefaces:

The huge (and growing) text family Quadraat (1998-2001). It has as subfamilies FF Quadraat, FF Quadraat Sans and FF Quadraat Sans Mono, and was developed from 1997-1998 as part of the FontFont library.
Renard (at Enschedé, after letters by Hendrik van den Keere, 1998; see discussion here).
DTL Nobel (with Andrea Fuchs, 1993, at the Dutch Type Library). Not to be confused with the geometric sans family Nobel, also created in 1993, by Tobias Frere-Jones (Font Bureau).
Arnhem (1998-2002) and Arnhem Fine, which are historically related to the Romain du roi. These were developed in collaboration with Werkplaats Typografie (Karel Martens and Wigger Bierma)---Andy Crewdson provides an insightful discussion of it. Smeijers: Arnhem was designed in 1999 for the Nederlandse Staatscourant, the daily newspaper of the Dutch state. It can be classified as a very functional design---Arnhem has been conceived for, and does work best in large quantities of running text.
Fresco (1998), Fresco Sans, Fresco Condensed, Fresco Informal, Fresco Informal Sans, Fresco Script (+Sans), Fresco Plus, a work horse of a family at OurType.
Ludwig (2010), modeled after the 19-th century grotesks.
Monitor (2000-2004, a sans family at OurType). Not to be confused with earlier commercial typefaces with the same name, like Henryk Sawanda's Monitor (1975-1980) or BB&S's Monitor No. 5 (1890s).
Eva (2010: an informal sans, done with Merel Matzinger at OurType).
The sans family Sansa (2005, OurType) was followed by Sansa Slab and Sansa Soft in 2006. Sansa and Arnhem are available from FontShop since 2005.
In 2002, OurType created the gorgeous Custodia family for use in publications of the Custodia Foundation. The typeface is called Custodia 17 because it was inspired by 17th century Dutch styles. Peter Gabor and Jonathan Munn claim that Custodia is too close to Monotype Van Dijck. However, OurType explains that this was the intention: Its pleasantly uneven rhythm captures the not-quite-perfect lettershapes of master punchcutters working in Delft, Rotterdam, Amsterdam or Haarlem in the later seventeenth century: Christoffel van Dijck, Dirck Voskens, Johan Michael Smit, Jean Baptiste van Wolschaten.
Denda New (2000), a family made specially for Canon. In his book, Type Now, Fred Smeijers says: A contemporary sanserif initiated in 2000 by TBWA\Designers Company for their redesign of Canon Europe packaging. This typeface comes in four weights, in roman and matching italics: for use by Canon Europe in general publicity, manuals, and packaging. It is a custom-made design, not publicly available.
Puncho (2012) by Fred Smeijers is based on stencil letter punches made by S.M. Spencer of Boston.
Bery Roman (2012): Bery Roman is based on the stencil letters of Jean Gabriel Bery. Bery Roman is part of OurType's Stencil Fonts Series of 2012. Jean Gabriel Bery was a Paris stencil maker whose atelier was located on the Pont Notre-Dame. His work is mainly known from the stencil set he supplied to Benjamin Franklin in 1781, now at the American Philosophical Society in Philadelphia. Bery's confident sense of design and the excellent production of his stencils rank him among the best stencil makers of any period. Accompanied by the calligraphic Bery Script (2012).
Haultin (2011) is a private, unreleased typeface that is based on renaissance types cut by Pierre Haultin. The second edition of Fred's book Counterpunch is set in it.
His custom type designs include bespoke typefaces and lettering for Philips Electronics, Tom-Tom, Samsung, Porsche, and Canon-Europe.

FontShop link.

Author of Counterpunch: Making type in the sixteenth century, designing typefaces now, London, Hyphen Press, 1996 [PDF file] [a second edition followed in 2011], and Type Now: A Manifesto (2003, London, Hyphen Press; reviewed by John Berry).

In February 2001, Smeijers received the (second) Gerrit Noordzij Award 2000 (an initiative of the post-graduate department Type&Media at the Royal Academy in The Hague in cooperation with the Museum Meermanno). In 2016, the Society of Typographic Aficionados awarded Smeijers the SOTA Typography Award.

OurType's offices were in DePinte, Belgium.

Speaker on historical stencil forms at ATypI 2006 in Lisbon. Currently he also is professor of digital media and Dean at the Hochschule für Grafik und Buchkunst in Leipzig. Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam (on Spatial relationships among 16th-century matrices (and what they tell us), a close look at surviving matrices at the Plantin-Moretus Museum) and keynote speaker at ATypI 2018 in Antwerp (on zooming in and zooming out; and old beer, new type). [Google] [MyFonts] [More] ⦿

Pablo Gámez Navarro

Graduate of the TypeMedia program at the KABK in The Hague in 2017, who first worked at some design studios in Spain and now develops typefaces at Bold Monday. His typefaces include:

Driver (2017), his graduation work at KABK. This is a variable font, Driver Small, and a fashionable typeface family, Driver Big. Pablo explains: Inspired by the world of motorsports and hypercars, Driver is a modern interpretation of the squarish styles from the sixties and the aesthetics of car races. The smaller version is a four axis variable font that adapts to a responsive interface, enabling the designer to link visual parameters of the typeface to conditions like luminosity, size and background color. The bigger version is a typeface intended for branding and editorial environments, inspired by racing banners. It includes six sets of decorated figures.
Trump Mediaeval: an etched typeface revival.
Mango. A text typeface.
Modena.

[Google] [More] ⦿

Patrick Bloom
[vanAllerlei (or: Illegalistic; was: Illegal Industriez Design)]

Patrick Sanders

Arnhem, The Netherlands-based designer of the modular typeface Hepanotie Sans (2016). [Google] [More] ⦿

Paul Bergman

Graphic designer in Amsterdam who made the grid-based typeface Lovelo (2014). [Google] [More] ⦿

Paul Dijstelberge

Paul Dijstelberge (b. 1956, The Netherlands) is a book historian and associate professor for the history of the book at Amsterdam University. He also is curator at the Amsterdam Special Collections. Paul lives in Leiden.

Speaker at ATypI 2013 in Amsterdam: A fresh look at some early modern typefaces. [Google] [More] ⦿

Paul Helmuth Rädisch

German punchcutter and engraver, b. 1891, Leipzig, d. 1979, Haarlem. He taught Matthew Carter the art of punchcutting in 1955 at Enschedé, and hosted Carl Dair as an apprentice in 1956-1957. Carl made a silent movie of a day in Rädisch's life in Haarlem, called Gravers and Files. Lutetia Open (2007, ARTypes) is based on the 48-pt Lutetia capitals engraved by P. H. Rädisch under the direction of Jan van Krimpen for Enschedé in 1928. [Google] [MyFonts] [More] ⦿

Paul Ijsendoorn
[Drawperfect]

Paul Jansen
[Graphue (was: Krafted)]

Paul Jansen
[Flat Icons]

Paul Mijksenaar
[Bureau Mijksenaar]

Paul Schuitema

Dutch designer, 1897-1973. Work with art deco lettering by him includes an ad for P. Van Berkel (1925). [Google] [More] ⦿

Paul van der Laan
[Type Invaders]

Paul van der Laan

Dutch designer at Enschedé, born in 1972. He studied at the Royal Academy of Arts in The Hague where he graduated in 1997, and again in 2000, the second time with a postgraduate degree in typography. Second prize at the 3rd International Digital Type Design Contest by Linotype Library for Linotype Rezident. Founding partner of Bold Monday who lives in Den Haag. In 2003, he became a professor in the Type & Media program of the Royal Academy of Art (KABK) in Den Haag.

At Kombinat Typefounders, he designed Feisar (1999), a futuristic display typeface which has been extended to the multiline Feiar Express in 2008, about which he writes: Feisar Express could be called a retro-futuristic inline script typeface family. He also made Flex (1999-2000, a sans family, done for Bold Monday) and Sambasko (1998). At his company Type Invaders, he leads us through the development of the pixel font Outbox (2000). At the Enschedé Font Foundry, he is (part-time) involved in font production and maintenance of the website.

At Typotheque, he created the chess figurines (2003) to match Bilak's Fedra Sans Alt for the German Chess publisher Schachzentrale Rattmann.

He assisted Mike Abbink with FF Kievit Pro (FontFont) and co-designed FF Kievit Slab with Abbink in 2013. In 2019, Abbink and van der Laan released FF Kievit Serif, which has wide apertures and large counters that make it quite legible.

At House Industries, he created Chalet Comprimé.

In 2009, he and Pieter van Rosmalen created Audi Type (via MetaDesign), which replaces the old Univers-based Audi Sans. In 2010, this type was part of the global Audi identity package that won a Gold "Corporate Design award". Other corporate typefaces were created for USA Today, NBC Universal, and Autodesk.

In 2012, a new logo and house style was unveiled for the Rijksmuseum in Amsterdam. The new typeface, named de Rijksmuseum, was specially developed for the Rijksmuseum by typographic designer Paul van der Laan. ATypI 2013 presentation about Rijksoverheid.

Oskar. 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.

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.

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

Paul van Oijen
[Quill Type Co]

Pauline Le Pape

French designer in Amsterdam of Till Normal (2019) and Tacite (2017). [Google] [More] ⦿

Pepijn de Brouwer

Dutch designer (b. 1979) of the free techno typeface Calcula (2005). [Google] [More] ⦿

Peter Alma

Dutch artist, b. Medan, Indonesia, 1868, d. 1969. Graduate of the Royal Academy of Art, The Hague in 1904. On the recommendation of Franz Seiwert he was employed by the Gesellschafts-und Wirtschaftsmuseum working with Gerd Arntz and Augustin Tschinkel on the development of Isotypes. He travelled to Moscow with Arntz and Otto Neurath to work at IZOSTAT to help them draw up pictorial images for statistics of the Five Year Plans. Many of his pictographs can be seen in Wim Jansen's book, Beeldstatistiek Peter Alma (De Buitenkant, 2015). [Google] [More] ⦿

Peter Bilak

Slovakian type designer (b. 1973), who lives in The Netherlands. Bio at FontFont. Designed: FF Atlanta, FF Craft (Kafkaesque), Champollion, Collapse, Didot Sans (unpublished), Decoratica (great display font, unpublished), Desthetica (grunge, but nice!), FF Eureka, FF Eureka Sans (2000), FF Eureka Mono (2001, FontFont), FF Eureka SansCond, FF Eureka Symbols (2002), FF Eureka CE, FF Eureka Sans CE, FF Eureka Sans Office (2011), FF Eureka Mono Office (2011), Fountain Pen (free fountain pen nib dingbat font), FF Masterpiece (wacky), FF Orbital, Fedra Sans (2001, a de-protestantised version of Univers, originally a corporate font for Bayerische Rück, a German insurance company), Fedra Bitmap (2002), Euroface (1996, Typerware, a scribbly font allegedly more legible than Helvetica at 80km/h), HolyCow and The Case. Essays on typography and design. Editor of dot dot dot. He also made AccentKernMaker, a font utility. Peter Bilak now lives in The Hague, The Netherlands, at the same address as Paul van der Laan. Free dingbat font FountainPen (Mac). At ATypI 2004 in Prague, he spoke about white spaces in typography. Speaker at ATypI 2005 in Helsinki. [Google] [More] ⦿

Peter de Klerk

Dutchmen (b. 1998) who designed the thin sans typeface Aspex in 2015. Dafont link. [Google] [More] ⦿

Peter Digstra

Dutch creator in Amsterdam (b. 1972) of the alphading Christmas ball typefaces KerstKaart (2013) and Kerstkaarten (2012).

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

Peter Jansen

Dutch designer of the free script font Spot Cookie (2018). I think that this free offering is click bait for an online casino. Be careful. [Google] [More] ⦿

Peter Korsman
[Attak Fonts]

Peter Korsman
[Autograph]

Peter Matthias Noordzij

Influential Dutch type designer and teacher, b. The Hague, 1961, who founded The Enschedé Font Foundry in 1991. Together with Petr van Blokland and Peter Verheul and several others, he is vaste docent in typography at the Koninklijke Akademie van Beeldende Kunsten in Den Haag. Son of Gerrit Noordzij.

He is best known for his typeface PMN Caecilia (1990) which he developed during his studies at KABK. PMN Caecilia is a humanist-inspired unbracketed slab serif typeface with thick, blocky and very legible letters. It was used in Amazon's Kindle. In 2013, Linotype released Caecilia eText (larger x-height, wider spacing), and in 2017 PMN Caecilia Sans.

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

Peter Radix

Dutch designer of Pannetje 10 (2004), a rectangular pixel typeface (available at Dafont). Dafont link. [Google] [More] ⦿

Peter Rahder

Peter Rahder (Emmen, The Netherlands) specializes in geometric experimental design. He created a number of circle-based gridded alphabets in 2013. [Google] [More] ⦿

Peter Roeleveld

Peter Roeleveld is a graphic designer based in Utrecht, The Netherlands. Designer of the display typeface Olde North (2021). [Google] [More] ⦿

Peter Slager
[Fontopia]

Peter Verheul

Born in Waddinxveen, The Netherlands, 1965, Peter Verheul is a type designer and educator who lives in Den Haag. He studied at KABK in Den Haag. Professor at the KABK since 1991 (and, according to many graduates, one of the best professors in the program). Designer of these fonts:

Haganum (Dutch serif).
Adetro (1987, sans).
Bumper (1993, comic book).
Illuster (1988, italic).
FF New Berlin (1991, hookish display face).
FF Sheriff (1996, Egyptian marries sans).
OT Versa (1993). Until 2001 it was called Nardy. Versa, Versa Sans, Condensed and Sans Condensed are now available at OurType since 2004. Versa is perhaps most famous for its use in Jan Middendorp's masterpiece, Dutch Type (2004). An adaptation of Versa was created by Verheul, in cooperation with Irma Boom, for the custom typeface of the magnificent Rijks Museum (Dutch National Museum), which houses many great Dutch paintings from the 17th century, including from Rembrandt.
Rosebud (1998, a modern family accompanied by ornaments).
Academy Letters.
The Clip.
Ornamenta.
KidScript.
Handy (handwriting).
Fishbone.
Soap.
Textype.
Rijksoverheid Serif and Rijksoverheid Sans (2008), created at Studio Dumbar for the new identity of the Dutch Government. This project was the subject of his talk at ATypI 2013 in Amsterdam. The abstract: The identities of 13 ministries and about 175 departments of the Dutch government are being redesigned into one single identity by Studio Dumbar in 2008-2010. Together with this operation a typeface family has been designed to play an essential role in this new identity. In about nine months from the start, the core of a font family had to be ready for use. Rijksoverheid Serif for logos and text, Rijksoverheid Sans for headings. Later, at the end of 2009, based on new insights, a text version of the Sans was designed plus additional Greek glyphset for all the fonts. In January 2013 the latest addition to the type family has been delivered. Discussion by Sander Baumann.

FontShop link. Fontfont write-up. Klingspor link. [Google] [MyFonts] [More] ⦿

Petr van Blokland
[TYPETR (was: Buro Petr van Blokland + Claudia Mens)]

Petter Andersson

Petter Andersson is a Swedish graphic designer currently based in Amsterdam who specializes in identity, typography, web and print design. In 2011, he created the simple geometric display sans family Ekzakto. His blog. [Google] [More] ⦿

Phil Baber

Amsterdam-based designer of the heavy almost monolinear sans typeface Maria (2010). [Google] [More] ⦿

Philip Cronerud
[Truly Type]

Philip Fisser

Zwolle, The Netherlands-based designer of the free rounded sans typeface Liquide (2015). Behance link. [Google] [More] ⦿

Phoebe Dawson

Designer from Australia who now works in Amsterdam, where she became known for her Pink Ribbon Magazine, for which she also did the lettering. Behance link. [Google] [More] ⦿

Phons Bloemen
[Capital Baseball]

Phontphreak

Phontphreak (The Netherlands) posted his handwriting font on abf on July 9, 2003: PhontPhreak's Handwriting. This was beautified a day later by Andreas Hoefeld. Wendy Mupke (2011, FontStruct) is a starry dot matrix face. Dafont link. [Google] [More] ⦿

Pia Drent

P.C. Drent-Luttikhuizen designed PaperCut (2018). [Google] [More] ⦿

Pier Taylor
[Dropper]

Pierre François
[Roman Liturgy]

Piet Brantjes

Dutch designer based in Rotterdam. Creator of Moeflon (2012, scribbly typeface), Spijker 08 (2008, script), Moeflon Italic (2007, scratchy script), Zebra (2007), Giraffe (2007), Mosquito (2007, a fantastic scribbly hand), Ramon (2007, an equally ingenious informal outline face), Rare Kwast (2007, brush face) and Fil Sans (2007, grunge hand).

Pieter Adrianus Hendrik Hofman

Piet van Oostrum

Computer Science researcher at the University of Utrecht in the Netherlands. [Google] [More] ⦿

Piet Zwart

Dutch designer, b. 1885, Zaandijk, d. 1977, Wassenaar. Author of Cable Book (1925) and creator of many classic advertisements for the Netherlands Post Office (PTT). His work was influenced by Hungarian De Stijl artist Vilmos Huszar and Dutch architect Jan Wils, whom he met when he moved in 1913 to Voorbug. Wils had worked for Berlage. In 1913-1914, he studied at TU Delft and started his career with Berlage in Voorburg. From 1919 until 1922 he worked for Wils. In 1959, he received the Quellinus Prize in typography. The David Roellprijs followed in 1964. In 2000, Zwart was posthumously awarded the "Designer of the Century" award by the Association of Dutch Designers. From 1919 until 1933 he taught at the Rotterdamse Academie van Beeldende Kunsten en Technische Wetenschappen.

Quoting Design Observer: Piet Zwart's work was multi-disciplinary and spanned the gamut of industrial design, typography, photography, and most notably graphic design. As an industrial designer, Zwart is best known for his design of the Bruynzeel modular kitchen in 1937, which is still available today. As a graphic designer, the work he produced for Nederlandse Kabelfabriek Delft (Dutch Cable Factory in Delft) and Dutch Postal Telegraph and Telephone Company (PTT) is arguably among the best known Dutch graphic design of the 20th century. His graphic design work clearly shows the influence of Constructivism and, though he was not a part of the De Stijl, his work reflects elements of this movement. Recurring themes are the use of repetitious patterns, lines, circles, primary colors, photomontage and explorations of experimental typography.

Examples: Toneel Wij Nu, 1925, Kataloog PTT, 1924, Nutter margarine inpakpapier, 1923.

Type revivals of Piet Zwart's typefaces include

Trio Grotesk (2012, Florian Schick at Bold Monday, and since 2020 at Type Network), a rounded sans family. It revives Zwart's Kaart Antieke from 1909.
Rubber Vloeren (Ian Lynam, Wordshape). A geometric display typeface adapted from an alphabet used by Piet Zwart in the Netherlands for a series of advertisements for rubber flooring.
Zoa Wassenaar (2013, David Rudnick).
Monumental Grotesk (2016, Robin Mientjes, Tiny Type Co) is a stone-carving emulation typeface based on Piet Zwart's lettering for his architect friend, Hendrik Berlage.

[Google] [MyFonts] [More] ⦿

Dutch poster artist, 1886-1965. Posters with art deco lettering by him include Hygiene Tentoonstelling (1920), Tentoonstelling Haagsche Kunstkring (1925), Nederlandse Jaarbeurs Utrecht (1930) and Haagsche Kunstkring (1931). [Google] [More] ⦿

Pieter Baan

Rotterdam-based designer of the De Stijl typeface Piet Mondrian (2015). Behance link. [Google] [More] ⦿

Pieter Das

Dutch illustrator and lettering artist who set up shop in Germany in 1910. He left Germany in 1914 to return to Soest, The Netherlands. Greatly influenced by the expressionist style of Lucian Bernhard and typefaces like Berthold Block (1908), Das became successful using this new style. As early as 1917, he used commercial lettering that was imitated by Amsterdam Type Foundry's 1920 typeface, Das Antieke. In 1928, that foundry finally published an extended version of Das Antieke, Succes, under the supervision of Sjoerd Hendrik de Roos. [Google] [More] ⦿

Pieter L. Folmer

Book seller in Groningen, The Netherlands, who published the anonymous lettering model book Letter-album: verzameling van de nieuwste lettersoorten ten dienste van architecten, huisschilders & steenhouwers (1885-1886). According to Mathieu Lommen, Folmer borrowed / copied heavily from Ecritures modernes (1885, Emil Frankes, published by Orell-Füssli & Co in Zürich)

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

Pieter Omvlee
[Bohemian Coding]

Pieter van Looy

Drawing and lettering high school teacher in Haarlem (1853-1930) who studied at the Rijksakademie van beeldende kunsten in Amsterdam. He published the lettering model book Letters en hare grondvormen (1885, Scheltema & Holkema, Amsterdam). Remarkable in this book is an example of the Dutch krulletter found on the windows of cafes in Amsterdam in the 20th centurys---the Oud Hollandsche Schrijfletter that has its roots in the 17th century Dutch neorenaissance.

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

Pieter van Rosmalen
[Bold Monday]

Pieter van Rosmalen
[Cake Type]

Pieternella Luttikhuizen
[Pine Street]

Printer.com: most economical fonts

Piké Design

Designer in Aalsmeer, The Netherlands. Creator of the sans typeface family Volution (2014). Behance link. [Google] [More] ⦿

Pim Hermans

Beringe, The Netherlands-based designer of the octagonal typeface Compression (2016) during his studies at SintLucas. Behance link. [Google] [More] ⦿

Pim Kerssemakers

Dutch creator of the outline typeface Kersse (2012) and the prismatic octagonal typeface Prismakers (2012).

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

Pim Pootjes

Dutch designer (b. 1922) of the (art deco, monoline) Pootjes Glass typeface, which was used in the 50s and 60s in The Netherlands to adorn glass plates in shop windows. The Pootjes company became De Haan in 1980. [Google] [More] ⦿

Pim Rakers

Dutch graphic designer (b. 1985) from Enschede (the city, not the foundry) who studies at the University of Twente. Alternate URL. Working on this grunge face. [Google] [More] ⦿

Pim Rietbroek

Dutchman who resides in Leiden. Creator of the free Trimalchio font (Mac only). He writes: "It tries to resemble a capitalis rustica, although it is not as beautiful as the one found in the MediceusVergil." [Google] [More] ⦿

Pim Waalen

Pim Waalen (b. 1993) is a graphic design student in Eindoven, The Netherlands. He created the Lomo typeface in 2011. In 2012, he added the headline typeface Autumn. [Google] [More] ⦿

Pine Street
[Pieternella Luttikhuizen]

Dutch designer of PaperCutPeach (2019) and PaperCutAlmond (2019). In 2020, he released PaperCutAlmondDark. [Google] [MyFonts] [More] ⦿

Pixel Ambacht
[Roel Nieskens]

Dutch site mainly concerned with font technology. Interesting sub-pages:

An article on multicolor fonts.
An article on multicolor icons.
An article on an 8-bit multicolor font, Compyx, developed by the writer, and freely available for download. It hearkens back to the original pixel fonts that hackers used to love---Compyx is the name of a famous Commodore 64 graphician. It is a three-color font created in a scalable manner by a very clever hack: We have four SVG files per character, each file representing one color. We're going to use Fontlab's TransType 4 to create the multicolor font, but TransType can't work with a bunch of SVGs. It takes regular singlecolor fonts, and allows us to overlay and color them, and export them as a multicolor font. So, first we need to create four regular fonts, each one containing all the characters belonging to the same color layer. Since I don't need control over typographic details like kerning or hinting---Compyx is a lot simpler in design than a proper typeface like Helvetica---I simply used trusty old Icomoon. We import all characters belonging to the same color layer, and turn those into a regular TTF. You'll end up with four files: font-color1.ttf, font-color2.ttf, font-color3.ttf and font-color4.ttf. We can then fire up TransType 4 and import all four fonts. TransType allows you to overlay these fonts and give each layer a color, creating basic multicolor fonts. We do this with the method "Overlay fonts", which allows us to determine the order and color of each layer. When everything looks good, we export the combined font with the Opentype TT settings. You'll end up with font files for three of the four proposed formats. We now have true multicolor fonts! Now, for the last step we take the rather big TTF font (628Kb in the case of the Compyx font) and crunch it to a more reasonable 104Kb WOFF file. I used the sfnt2woff tool for this.

[Google] [More] ⦿

Pokemon Paranoia
[Edwin van de Beemt]

Edwin van de Beemt (Pokemon Paranoia) is the Dutch creator of the runic/futuristic Annon. Aka Corey Jones. [Google] [More] ⦿

Polka Design / Letterfontein
[Joep Pohlen]

Polka Design is a Dutch book design, graphic design and publishing house, run by Joep Pohlen, Dennis Schmitz and "Egor". Joep Pohlen (Roermond) and Geert Setola published Letterfontein (1994). Joep writes: We printed about 15,000 copies. In 2002 I began rewriting and expanding the book. Geert Setola did not take part anymore in this huge job where the content went from appr. 15,000 words to 150,000 words. The first Dutch print in november 2009 was sold out in a couple of weeks and in march 2010 the reprint appeared. In 2010 Letterfontein got also a red dot award and a certificate for high design quality form the Type Directors Club New York (TDC). It took about a year to get it well translated in the different languages for Taschen Publishers. For the English version we asked John A. Lane to proofread it. For the Spanish version Albert Corbeto did the proofreading. So, the other language versions: Letter Fountain (2011), Fuente de Letras (Sp), La Fontaine aux Lettres (Fr) and Letterfontäne. A new edition appeared in 2011.

In 2013, Pohlen designed Calypso PF, a free version of Roger Excoffon's Calypso, ad quite different from all existing digital versions. He explains: Most of the typefaces ever made have been digitized. Calypso was no exception. I found and downloaded Calypso Boy from Scootergraphics (digitized by Marty Pfeiffer, 1997) and Calypso by Profonts (digitized by Ralph Michael Unger, 2005). Ralph Michael Unger has added numerals, a question mark, an exclamation mark, ligatures and a lot of other useful characters, making it a complete digital font. By comparing the capitals I saw that they where quite different and it seemed to me that they were based on the Calypso silkscreen-printed rub down Letraset version because the dots were not round like on the original drawings I had seen in several publications and advertising for this typeface. Of course the original drawings were also not exactly the same as the metal type. As earlier written the punches that were cut by the Benton pantograph were retouched and because of that there were differences compared with the original drawings. So the final design had to be found in the actual cast type. I went looking for this type and found the site of D. Stempel GmbH that got the original matrices of D. Stempel AG and all the takeovers Stempel made during their existence. One of them was Fonderie Olive. I ordered a set of newly cast type from the original Olive matrices and found out that it was indeed quite different from the digital fonts that I bought. At that time Marjolein Koper was working as an intern at our design studio Polka Design and I asked her to digitize Calypso. The result was better than the fonts I bought but still I was not satisfied. After she came back to work at our studio on a steady base we photographed the metal type with a Micro Nikkor on a D800 to get the sharpest enlargement we could get. With this pictures Marjolein established the exact angle of the grid and we decided to begin again from scratch. Although it still is not an exact reproduction of the original metal type it has more detail and it can match almost the big reproductions seen in the first advertising in the French printers yearbook Caractère Noël 1957 and recent publications with original drawings.

Letterfontein link. [Google] [More] ⦿

Practise
[James Goggin]

Graduate of London's Royal College of Art in 1999, James Goggin (b. 1975) founded graphic design studio Practise in 1999 in London with his partner Shan James. James was art director of The Wire (2005-2008). In August 2010, Goggin moved to Chicago where he was Design Director at the Museum of Contemporary Art Chicago (2010-2013). Previously he was based in Arnhem, the Netherlands, working as course director and teacher at Werkplaats Typografie (2009-2010) and visiting lecturer at ECAL (Ecole cantonale d'art de Lausanne) (2009-2010). The studio Practise has been based in Providence, RI, since 2016 where James also teaches BFA and MFA Graphic Design at Rhode Island School of Design (RISD). Aka Jacques Gauguin and "Practise", he has worked in London, Auckland and Sri Lanka.

His typefaces:

In 2001, he made the three-weight LL Courier Sans (+Mono) at Lineto.
Between 2003 and 2014, James Goggin, Rafael Koch, Mauro Paolozzi, and Arve B%aring;tevik developed LL Prismaset A at Lineto, a redesign and extension of Rudolf Koch's Prisma (1930).

[Google] [More] ⦿

PRAGMA ADE
[Hans Hagen]

Based in Hasselt, The Netherlands, this is an advanced document engineering company, dealing with metapost, PDF, postscript, TEX, metafont, and professional typesetting in general. Led by Hans Hagen and Ton Otten. Publishers of PDFTEX. ConText is TEX macro package. METAFUN is a manual related to Metapost. [Google] [More] ⦿

Dutch page in which the ink cartridge costs are calculated for ten popular fonts. The famous Ecofont got actually beaten by Century Gothic. The table:

Position Font Size Coverage Annual costs (private) Annual costs (business)

1 Century Gothic 10 2,96% 36,82 161,64

2 Ecofont 10 3,17% 39,43 173,11

3 Times Roman 11 3,25% 40,43 177,48

4 Calibri 11 3,44% 42,79 187,85

5 Verdana 10 3,89% 48,39 212,43

6 Sans Serif 11 4,38% 54,48 239,19

7 Trebuchet 11 4,43% 55,10 241,92

8 Arial 11 4,47% 55,60 244,10

9 Tahoma 11 4,68% 58,21 255,57

10 Franklin Gothic Medium 11 4,97% 61,82 271,40

[Google] [More] ⦿

Programming Fonts
[Koen Lageveen]

Koen Lageveen is a photographer and UX Designer at Peppered in Delft. His pages about programming fonts are wonderful. They include an on-line app for comparing them. Github link, where most of the programming fonts in his study can be downloaded. In 2021, these included agave, anka-coder, anonymous-pro, apl2741, apl385, aurulent, average, b612-mono, bedstead, binchotan-sharp, bitstream-vera, borg-sans-mono, bpmono, bront-dejavu, bront-ubuntu, camingocode, cartograph, cascadia-code, code-new-roman, comic-shanns, consolamono, courier-prime, courier-prime-code, cousine, cozette, cutive, d2coding, daddytimemono, dejavu, dm-mono, droid-sans, edlo, effects-eighty, ellograph, envy-code-r, fairfax, fairfax-hd, fairfax-serif, fantasque-sans, fifteen, fira, firacode, fixedsys, fixedsys-ligatures, font3270, generic, gintronic, gnu-freefont, go-mono, hack, hasklig, hermit, ia-writer-mono, inconsolata, inconsolata-g, iosevka, jetbrainsmono, julia-mono, latin-modern, league, lekton, liberation, lilex, luculent, luxi, mensch, meslo, monoflow, monofur, monoid, mononoki, mplus, nanum-gothic-coding, notcouriersans, noto, nova, office-code-pro, opendyslexic, overpass, oxygen, plex-mono, press-start-2p, profont, proggy-clean, proggy-vector, pt, quinze, recursive-mono-linear, roboto, sax, share-tech, sk-modernist, sometype-mono, source-code-pro, space, sudo, terminus, tex-gyre-cursor, ubuntu, unifont, verily, victor-mono, vt323.

Quill Type Co
[Paul van Oijen]

Berlin-based product designer who created these typefaces in 2017: Luzia (text typeface), Cache (letterpress emulation), Stash, the display sans typeface Gerst, Konstanz (industrial age font), the slab serif Wrangell, the great all caps sans typeface Hossa (+Soft) (2017), and the dashing serif typeface Elaris (2017).

Typefaces from 2018: Meryll (serif), Hanko (sans), Brusco.

Elsewhere, he writes that he is based in Maastricht, The Netherlands, and Helsinki, Finland. Creative Market link. Behance link. Newest Creative Market link. [Google] [More] ⦿

Quincy Hakman

During his graphic design studies, Quincy Hakman (Hellevoetsluis, The Netherlands) created a thin stencil typeface (2015). Behance link. [Google] [More] ⦿

Radek Sidun
[Our Polite Society]

Radim Pesko
[RP Digital Type Foundry]

Rain Tea

Dutch creator of the pixel typeface Rain Tea (2010). [Google] [More] ⦿

Rainbow Dudes

Dutch creator (b. 1998) of Rainbow Bitch (2013, curly hand). [Google] [More] ⦿

Ralf Herrmann
[Traffic Sign Typefaces: Netherlands]

Ramiro Espinoza
[De Amsterdamse Krulletter]

Ramiro Espinoza
[Re-Type]

Randy Gootjes

Dutch graphic designer based in Zoetermeer, The Netherlands. In 2015, he designed the font Pica for dyslexics. Behance link. [Google] [More] ⦿

Raoul Audouin

Raoul Audouin is a Paris-based, Amsterdam-raised graphic designer. He regularly collaborates with writers, editors, curators and artists from the Netherlands, Middle East and the U.S. on digital and printed publications and publishing platforms. In 2017, he designed the free ultra-condensed sans typeface Outward at Velvetyne. [Google] [More] ⦿

Raoul Droog

During his studies at the Willem de Kooning Academy in Rotterdam, Raoul Droog created the octagonal typeface Bentuk (2013). [Google] [More] ⦿

Rawblind Basteype
[Ebern Klause]

Dutch designer of the semi slab serif typeface family Ipsum Semi (2020). In 2021, he released the 16-style Ipsum Sans. [Google] [MyFonts] [More] ⦿

Raymond Brekelmans
[Fontoville (was: Fresh Media)]

Regular Bold Italic

Commercial type foundry run by Dutch graphic designers Timo Kuilder and Jeff Schreiber (Eindhoven). Their initial fonts in 2013 include Lucien, Zebra, Gringo, Fat Frank (a hamburger wrapper font), Atlas, Razor, Stackbill, Albatross, Bigmouth and Bill Money.

Rein Bakhuizen van den Brink

Regular Bold Italic
[Timo Kuilder]

Dutch graphic designer in Amsterdam who ran Zwarte Koffie. He made Atlas (a connected cursive font), Broken Records (2011), Bada Bing (2010) and Bigmouth (2010).

In 2012, Timo created Albatross, a blackboard bold typeface family with two weights, and Zebra.

In 2013, Timo Kuilder and Jeffrey Schreiber founded the commercial type foundry Regular Bold Italic. Kuilder designed the sans typeface Mohawk and the display typeface Iceberg in 2013.

In 2014, Timo created the stencil serif Barbour, and the sans display typeface Arkiv for Latin and Cyrillic.

Typefaces from 2015: Levo (a creamy script), Staat (a wedge serif typeface).

Behance link. Fontspace link. Klingspor link. Old home page. [Google] [More] ⦿

Dutchman Rein Bakhuizen van den Brink had about 50 sub-pages about all aspects of font technology, covering Unicode, foreign languages, Atari's formats, Signum, GDOS, Speedo, type 1 and truetype. The link disappeared. [Google] [More] ⦿

Rein van der Woerd

Dutch designer (b. 1997) of RD (2020), a typeface with eroded letters . [Google] [More] ⦿

Remco Blom

Den Haag, The Netherlands-based designer of the monospaced Psychedelica (2016). Behance link. [Google] [More] ⦿

Remco Van Bladel

Dutch artist and graphic designer in Amsterdam, who created the free thread-and-needle font Zang (2007), created originally for the Spanish magazine Neo2. [Google] [More] ⦿

Remco van de Craats

Founder of Edhv in Eindhoven, The Netherlands, in 2009. Creator of the sticky tape font Eindhovem for the city of Eindhoven. [Google] [More] ⦿

Remco van Dun

Graphic designer in Tilburg, The Netherlands. Creator of some experimental typefaces, that can be viewed at Behance. [Google] [More] ⦿

Remko Siemer
[Viernulvier]

Remon Lammers
[TrueFont Family (or: TFF)]

René Crol

Free fonts made in 2008-2010 by Dutchman René Crol: 4DOGS, ANTY, BANAAN, BLOESEM, BRETAGNE, BUIS, CHIP KNIP (heavy stencil), CHRIS BOX (alphadings for Christmas presents), CHRIS BOX ARRE, CHRISMAS3, CLIPSART, CROL, FLOWERcomic, FRIET, HAPPYdave, KEVER, KNIJPER, LUSIVERS.-NL (letters made from matches), PEAR (alphadings), PIJL (arrow-based letters), POTLOOT, SCHROEF, Singel BEL (great high-contrast curly face), TREIN (trains), WODENBLOCKS (sic). [Google] [More] ⦿

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

René Verkaart
[Characters (or: Character Type)]

Renee Jasperse

During her studies, Renee Jasperse (Heerhugowaard, The Netherlands) created Guggenheim (2014), a typeface that is based on the architecture of Frank Gehry's Guggenheim buildings. [Google] [More] ⦿

Rens de Groot

Rens de Groot (Revolving, Amsterdam) made the geometric multiline typeface Lineatype (2011). It is based on a 32 x 24 grid. This grid is divided into 12 blocks. Each 8 blocks wide by 8 blocks high. The use of 9 lines per stoke is due to this grid. Free download. [Google] [More] ⦿

Rens vanden Berge

Dutch designer at Attak Fonts of AT Hide and Seek (2006). [Google] [More] ⦿

Renske de Leeuw

Dutch researcher whose Masters thesis at the University of Twente in 2010 is entitled Special fonts for Dyslexia?. She compared Christiaan de Boer's Dyslexie typeface with Arial. Two of her followers wrote theses on similar subjects, Tineke Pijpker (2013, University of Twente)'s Dyslexie letters en kleurcontrast, and Liane van Someren (2014, University of Amsterdam)'s Aanwijzingen waarom dyslectici meer accuraat lezen met het lettertype Dyslexie. All three theses are refuted by typographic journalist Henk Gianotten in Dyslexie, letters en dwalingen (2014, De Boekenwereld, vol. 30, No. 4, pp. 92-93). Gianotten points out that Arial's x-height exceeds that of Dyslexie, contradicting de Leeuw's claim. He also complains about the lack of a scientific method. In Gianotten's view, three key things are needed for readability---larger letters, more spacing between letters, and more interline space. For dyslexics, he also recommends using columns not more than nine words wide. [Google] [More] ⦿

Retrotypology
[Sander de Voogt]

DSander de Voogt researches art deco type in The Netherlands and elsewhere, and gives s an overview of the work of Nick Curtis. [Google] [More] ⦿

Re-Type
[Ramiro Espinoza]

Argentinian designer Ramiro Espinoza (b. Santa Fe, 1969) studied at the Universidad Nacional del Litoral in Santa Fe. He dabbled in fonts at his gorgeous (but now defunct) Jazz Futurezone site. In 2007, he founded Re-type, where he heads a group of designers including Yomar Augusto, Leo Beukeboom and Ricardo Rousselot. Ramiro graduated from the Type and Media's KABK (Den Haag) in 2004. He taught typography at the Universidad Nacional del Litoral, Universidad de Buenos Aires and the Escola d'Art i Superior de Disseny in Valencia, Spain. At FontShop International, he was in a team that converted more than 50 font families to OpenType. He freelances occasionally for David Quay's studio. He joined Type Network in 2017. He is currently located in Amsterdam. His typefaces:

Mabella (2001), a free font dedicated to the Argentinian feminist activist Mabel Bellucci. It was for some time available at Sudtipos but discontinued there. It is still at Dafont.
Bellucci (2008), a commercial redesign of Mabella.
The display font Mariabrug (2002). This too is no longer available--it was redesigned and marketed as Kurversbrug, one of the ReType's fonts. Kurversbrug (2007) is a revival of the famous letters appearing on Amsterdam's bridges: the letters were probably designed by Anton Kurvers (b. Den Haag, 23 July 1889; d. Amsterdam, 29 January 1940).
At Union Fonts: Lula (2002-2003).
Maitena (2003), a free font based on the hand of an Argentinian comic artist, Maitena Burundarena.
Lavigne (2004-2010): Lavigne Display is the first release of a type-family aimed at publications such as interior design and women magazines-anywhere a touch of distinction is to be desired. Lavigne Display won an award at TDC2 2010. Lavigne Display and Lavigne Text (a modern serif family) were both winners at Tipos Latinos 2010.
Tomate (2008) is a brush lettering / signage script font influenced by Goudy Heavyface Italic. It won an award at Tipos Latinos 2010.
Barbieri (2009) is a signage face.
Work on Severino (2004) has been abandoned.
Smidswater Italics (2009): Smidswater is a Dutch graphic design studio with offices in The Hague and Breda. They had a corporate font (designed by Paulus Nabbe and Onno Bevoort) but wanted to expand the package adding italics and light weights. Ramiro Espinoza was commissioned for this and now Smidswater Font is a complete set extensively used in the studio's indentity.
Bath (2010-2011) is a Dutch typeface developed with David Quay for the signage and orientation in the city of Bath.
Winco (2012) is a glyphic (flared, incise) type family created from scratch. Espinoza mentions Arpke Antiqua and Globus Cursive as indirect influences on his new type family. It won an award at Tipos Latinos 2012.
Krul (2012) is an interpretation of the Amsterdamse Krulletter style of calligraphic signage. This was presented at ATypI 2013 in Amsterdam. A book entitled Amsterdamse Krulletter by Rob Becker and Ramiro Espinoza was published by Lecturis.nl in 2014. The English edition, The Curly Letter of Amsterdam followed in 2015.
Dulcinea (2012), a chancery / penmanship typeface. He writes: Dulcinea looks at Spanish Baroque calligraphy's most extreme tendencies, and especially at some of those produced by the writing masters Pedro Diaz Morante and Juan Claudio Aznar de Polanco. These 17th and 18th century alphabets with their plentiful calligraphic flourishes represented a marked break with the harmonic and angular Renaissance Cancellaresca style. It was Morante who first introduced and popularized the use of the pointed quill in Spain, and although his famous text entitled Arte Nueva de escribir(first volume published in 1616) contains alphabets that have much in common with traditional broad nib Cancellaresca calligraphy, most of the examples therein are outgrowths of the new models put forward by the Italian master Gianfrancesco Cresci. The swashes are complex and intricate, but at the same time they feature a profusion of defects. Many of them sometimes come close to ugliness. However, these pages contain an artistic essence that bears a relationship to the ironic and sometimes somber character of Spanish Baroque.
Medusa (2013) is a delicate copperplate penmanship script based upon renowned master Ramón Stirling. Helped in the type production by Paula Mastrangelo, Ramiro looked very carefully at the original manner in which glyphs connected. This typeface will win awards. Well, I wrote the previous sentence on the day I first saw Medusa. Medusa won an award at TDC 2014. In March 2014, it won an award at Tipos Latinos 2014.
Laski Slab, co-designed with Paula Mastrangelo, won an award at Tipos Latinos 2014. It is based on Paula's thesis work in 2012. Ramiro Espinoza kept on developing that typeface and published Laski Sans in 2016.
In 2017, he published Guyot Headline (a revival of Françcois Guyot's types). Guyot Text followed later in 2017---it is very legible even at small print sizes and is a sturdy workhorse overall. Winner at Tipos Latinos 2018 of a type design award for Guyot. Guyot also won an award won an award at TDC Typeface Design 2018. In 2020, Guyot was selected as a typeface for Garcia Media's redesign of the major German finacial newspaper, Handelsblatt.
Reiher Headline (2018). A typeface family inspired by two fonts displayed in the famous Ploos van Amstel specimen, first printed in Amsterdam in 1767. The Reiher Headline romans were based on the handsome N° 1 Groote Paragon Romein, a rather condensed typeface whose punchcutter has not yet been identified. Reiher Headline's italics were based on the Aszendonica types attributed to Nicholas Kis. Several of the ornaments included in the Reiher types have been ascribed to J.F. Rosart. Espinoza further expanded the possibilities of his new family with Reiher Headline Open, a decorative inline version of Reiher Headline Bold. Reiher Headline was designed for magazine and newspapers.
Dejanire and Dejanire Headline (2019), a typeface family loosely inspired by an anonymous display typeface found in the type specimen of Claude Lamesle, published in Paris in 1742. It takes its name from Deianira, a Calydonian princess in Greek mythology and the wife of Heracles. Lamesle introduced it under the blah name of Gros canon deux points de gros romain. Ramiro Espinoza set out to improve Lamesle's typeface by fixing its flaws while preserving its freshness. It was followed in 2020 by Dejanire Sans and in 2022 by Dejanire Text and Dejanire Jewel (a baroque, profusely ornate set of capitals inspired by a set of titling capitals found in a religious decree printed in 1800 by Pedro Battle in Barcelona).
Kranto (2021). A 144-style sans serif typeface inspired by British and German grotesque typefaces from the first half of the twentieth century. It features weights from thin to black, widths from regular to condensed, and x-heights from small to large (called text, normal and display).

MyFonts interview in 2012. Speaker at ATypI 2018 in Antwerp. Fontspace link. Dafont link. Behance link. Type Network link. [Google] [MyFonts] [More] ⦿

Richard de Ruijter

Dutch graphic designer at Hagenaar Reclame who lives in Hardinxveld, The Netherlands. He created the arts and crafts typeface Brazil (2011). His Tikal typeface (2012, inspired by the Inca culture) can be bought at Ten Dollar Fonts.

Richard Ham

Dutch designer of the rounded informal monolinear sans typeface Risans Basic (2021). [Google] [MyFonts] [More] ⦿

Richard Keijzer
[Fontenwerkplaats]

Richard Schonegevel

Richard Schonegevel (Happy Lucky Fun Studio, Amsterdam) created an ornamental caps typeface called Amsterdam in 2013. This work was inspired by the iron work details found on the city's early modernist bridges and buildings.

Richard van Horssen

Dutch guy, b. 1993, who "made" the Peignot-style typeface Long Time (2009) and the outline typeface Antwerp (2012).

Rick Bossenbroek

Ermelo, The Netherlands-based designer of a circle-themed typeeface in 2017. Behance link. [Google] [More] ⦿

Rick van Rein
[KIX]

Rik Kauffmann

Rik Kauffmann (Rezult Ontwerpbureau, Zwolle, The Netherlands) designed the free modular typeface Atik (2016). Behance link. [Google] [More] ⦿

Rik Speel

Graphic designer who runs Studio Speel in Rotterdam, The Netherlands. In 2017, he designed the decorative caps typeface Uno. Behance link. [Google] [More] ⦿

R.J. van der Kaaij

Dutch designer in Rotterdam, b. 1987. Designer of the monoline octagonal typeface EUnity (2012). [Google] [More] ⦿

Rob Becker

Born, in 1965, bert is a photographer and graphic designer. Coauthor with type designer Ramiro Espinosa of Amsterdamse Krulletter (2013). Speaker at ATypI 2013 in Amsterdam where he explains: This book by Rob Becker and Ramiro Espinoza will explore and illustrates the origins of the exuberant lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorates many traditional 'brown bars' of Amsterdam. Although there are still numerous examples of this style scattered through some of the most beautiful Amsterdam's districts, many have been destroyed and with the almost complete extinction of the sign-painting profession, the survival of the "Krulletters" is certainly under threat. The aim of the book is to document the "Krulletters" in its present state and to highlight the cultural relevance of lettering in the construction of Amsterdam's identity, in the hope that this will lead to a renewed interest in it and a continuation of the tradition. [Google] [More] ⦿

Rob Deurenberg

Rob Deurenberg (b. 1973) is the Amsterdam-based designer of Lalouzz (2012, a fat brush typeface).

Rob Irrgang
[Twisted Type (or: Unlinear, Subdue.com)]

Rob Janssen
[Yoozer]

Rob Stolte

Dutch typefounder at Autobahn (Utrecht, The Netherlands), b. 1981. The Alphabet in stone typeface by Dom Hans van der Laan, a Dutch monk who lived from 1904 until 1991, was digitized in 2011, and the project can be seen here. Contributors include Willem Noyons, Maarten Dullemeijer and Rob Stolte. This typeface is based on the proportions found in Trajan. [Google] [More] ⦿

Rob Verhelst

Den Haag-based designer (b. 1963) who created the tattoo parlor typeface Tattoo Heavy (2010). Home page. [Google] [More] ⦿

Rob Versluys

Dutch designer of the brush typeface family Rover Pro (2017, Fontforecast) and the handcrafted Bo Rock (2016, Fontforecast). [Google] [MyFonts] [More] ⦿

Robert A. Paauwe

Rotterdam-based interaction designer. Student at the Delft University of Technology who is researching designer-oriented programming languages and paradigms. Creator of the free avant garde monoline typeface Thesis (2012). In 2014, he designed the glass krak typeface Polygon, and in 2015 the rounded sans typeface Artificers (with Wang Long Li).

Dafont link. Behance link. FontM link. Revolge link. [Google] [More] ⦿

Robert Fortanier

Dutch designer of the pixelish typeface Blocks (2012). [Google] [More] ⦿

Roberta Leoni

As a student at the Free University of Bolzano / Bozen in Italy in 2013, Roberta Leoni (based in Amsterdam, The Netherlands) designed the calligraphic stencil font Quarzo (2015). [Google] [More] ⦿

Roberto Dias da Silva
[Deconditoned Reflex (drx87)]

Robin Mientjes
[Tiny Type Co]

Robin Roskam

Venlo, The Nethaerlands-based designer of the thin hipster typeface Fotria (2015). [Google] [More] ⦿

Robin Tepe

For a school project at Grafisch Lyceum Rotterdam, Roben Tepe and Esther van Rijnen designed a free experimental typeface, Robes (2017), based on the architecture of their hom twon, Rotterdam. [Google] [More] ⦿

RoboFog

A type design script language, available From Buro Petr van Blokland + Claudia Mens. Robofog, developed by Petr van Blokland with Just van Rossum and Erik van Blokland (The Netherlands) is a script program to be used with Fontographer, based on the program language Python. It enables type designers to script and pre-program their actions in Fontographer. Alternate URL. [Google] [More] ⦿

Robothon 2012

Erik van Blokland's brainchild. Robothon 2012 took place at the KABK in Den Haag, The Netherlands, from March 8-9, 2012. Paul van der Laan wrote: This year we're proud to announce an international range of speakers, the new UFO 3 format, amazing new tools and ideas. Robothon is a great opportunity to hang out with your colleagues from around Europe, meet the TypeMedia crew, and see the Gerrit Noordzij Prize exhibition and seminar dedicated to Wim Crouwel.

Speakers included Tal Leming (TypeSupply), Frederik Berlaen (RoboFont), Erik van Blokland (LettError), Yanone (SpeedPunk), Miguel Sousa (Adobe), Frank Griesshammer (Adobe), Petr van Blokland (Buro Petr van Blokland + Claudia Mens), Ben Kiel (House Industries).

Video presentations. [Google] [More] ⦿

Robothon 2018

Type tech conference in Den Haag, The Netherlands, on March 8 and 9, 2018. The speakers: Françoise Berserik, Just van Rossum, Frederik Berlaen, Petr van Blokland, Ben Kiel, Bianca Berning, Denis Jacquerye, Behdad Esfahbod, Nina Stössinger, Indra Kupferschmid, Catherine Dixon, Frank Grießhammer, Yanone, Mark Frömberg, Bram Stein, Maurice Meilleur. [Google] [More] ⦿

Roel Koster
[Koelooptiemanna Productions (was: KosteX)]

Roel Nieskens

Dutch designer of the free font SansBullshitSans (2016) which is based on Droid Sans. Every buzzword will be replaced by a Comic Sans-styled censorship bar. [Google] [More] ⦿

Roel Nieskens
[Pixel Ambacht]

Roeland Fokker

Utrecht, The Netherlands-based creator of Pencil Font (2013). Behance link. [Google] [More] ⦿

Roelant van der Munnik

Dutch designer, born and raised in Alkmaar, The Netherlands, who is working on some calligraphic scripts (2006). [Google] [More] ⦿

Roelie Vuitton

Groningen, The Netherlands-based designer of the experimental typefaces Ninja ABC (2015) and Gothic X (2015). [Google] [More] ⦿

Roelof Mulder

Dutch designer (born 1962) of Offline (1998) at FontFont.

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

Roger Huskens

Roger Huskens' graphic design company in Maastricht, The Netherlands, is called Roger Huskens & Hotskipotski. He created the geometric sans caps typeface Roger Sans in 2013.

In 2014, he designed the counterless typeface Bureau Babel. Behance link. [Google] [More] ⦿

Roger Teeuwen

Dutch graphic designer of these typefaces: NET-regular (2002, connected dots, almost stitched), RANDOM (2003, a dot matrix font commissioned by the Piet Zwart Institute Rotterdam), SCORE (2003, pixel face), Antwerp (2003, letters are like in the train stations in Belgium), Drup and Drup Cursief (2006, experimental multi-line face). Based in Rotterdam, where he teaches at the Willem de Kooning Academie. [Google] [More] ⦿

Rogier Hendriks

Rogier Hendriks (HERO DC, Rotterdam) is a Dutch graphic designer. He created the techno typeface Synth (2011). [Google] [More] ⦿

Rogier Henkelman

Dutch illustrator, b. 1990, who also uses the alias Akira Shimada. Designer of Digital Handwriting (2005, graffiti face) and foo (2004). [Google] [More] ⦿

Rogier van der Sluis

Geen Bitter (Den Haag, The Netherlands) consists of Thom Janssen, Jorn Henkes and Rogier van der Sluis. All three are graduates of the Graphic Design course at the Royal Academy of Art in The Hague, The Netherlands. At Geen Bitter, Rogier van der Sluis published two commercial typefaces:

Cramp (2012). A casual hand-printed typeface.
Herman (2013). An elliptical monospaced signage typeface family with possibilities of layering and shadow effects. It is quite attractive and one of the finest typefaces in its genre.

[Google] [More] ⦿

Roland Maas

In 2014, Roland Maas (Amsterdam) created the snake-themed decorative typeface Snakes. Behance link. [Google] [More] ⦿

Rollergirl
[Jacques Borel]

Swiss outfit now located in Amsterdam, est. 2003 by Jacques Borel and Harry Bloch, two Swiss graphic designers who graduated from ECAL, the University of Art and Design, Lausanne. At Fontnest, one can ogle their font creations: Pink (semi-stencil), Planp (Swiss sans), Franks (rounded sans headline), and Rudolf (rounded sans with fill-in bowls). [Google] [More] ⦿

Roman Liturgy
[Pierre François]

Pierre François (who runs Roman Liturgy and lives in Amsterdam) made a 4-symbol font for religious documents, which he called Liturgy (2003). Since his download buttons do not work, here you have the TTF file, the PFB file and the AFM file. [Google] [More] ⦿

Ron Ruedisueli
[Sed4 Type Foundry (or: Sed4tives)]

Ronald Hagenstein

Graphic designer in Rotterdam, The Netherlands. The vector format unicase typeface Count Font (2013) is custom designed for the consultancy agency Count & Cooper.

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

Ronald Vermeijs

Designer of the free squarish typeface Slash (2014). Behance link. [Google] [More] ⦿

Ronnie Olsthoorn

Ronnie Olsthoorn was born and raised in the Netherlands, where he studied aeronautical engineering. After graduating he chose to become a professional artist and soon moved to the UK. Currently a freelancer, Ronnie has created artwork for fifteen computer games and even more aviation books. Ronnie Olsthoorn runs Aviation Art (was: Skyraider's 3d aviation art).

He designed the free military aircraft font Blockschrift-für-Flugzeuge (2000). He writes: This true type font (TTF) is a pretty accurate representation of the codes used on German aircraft in World War II. It was made according to RLM prescribtions of late 1943. The code system used on Luftwaffe aircraft was as follows: Two characters, a Balkenkreuz (Cross) and two letters. The first two characters indicated the Geschwader (Squadron) and can be two letters or a letter-number mix. The third character (directly to the right of the cross) indicated the individual aircraft, while the last character indicated the Staffel/Gruppe (Wing) to which the aircraft belonged. For example 9K+EH was aircraft number E of the first Staffel (denoted by "H") of Kampfgeschwader 51 (denoted by "9K"). Dafont link. [Google] [More] ⦿

Roos Lebens

As a student in Helmond, the Netherlands, Roos Lebens created the outlined Corrosive Font (2015). [Google] [More] ⦿

Roos Schreuder

Dutch art director in Amsterdam. Behance link. Creator of an experimental geometric font in 2010. [Google] [More] ⦿

Roos van Keulen

Rotterdam-based designer of a rubber-band-based alphabet called Facade (2013). [Google] [More] ⦿

Rosalie Haasjes

Rosalie Haasjes (aka Roos Zeebodem) is into typographic experiments. She created Hexa (2009). [Google] [More] ⦿

Roy Triesscheijn
[TrueType]

Roy Wolfs

Dutch creator of the ultra-fat HowSquarecanyouget? (2006). [Google] [More] ⦿

RP Digital Type Foundry
[Radim Pesko]

RP is a small scale digital type-foundry established in 2009 by Czech designer Radim Pesko, who currently lives in London, and before that, Amsterdam. He is a regular contributor to various publications including Dot Dot Dot magazine. He currently teaches at Rietveld Akademie in Amsterdam and co-guides a project for ECAL/University of Art and Design in Lausanne. His creations:

Agipo (2011-2014) and Agipo Mono. A sans workhorse family.
A-Gothic (2020).
Boymans was originally designed in 2003 as part of the identity developed by Mevis & Van Deursen for Museum Boijmans van Beuningen in Rotterdam. Its primary inspiration was the typeface designed by Lance Wyman for the Olympic Games in Mexico City in 1968. Boymans responded to the identity's need for a flexible as well as playful design. Designed in ten weights, each font has three versions: single line, double line, and triple line. By combining, layering, or coloring these versions, Boymans can generate an endless number of variations.
Correspondance: a reconstruction from memory of the typeface created by Adrian Frutiger for the Parisian Metro signage system. Its shapes might resemble those of Frutiger's famous typeface Univers.
Dear Sir / Madam. Based on Eric Gill's signs and lettering for W.H.Smith (1903-1907).
F Grotesk, in 3 weights.
Fugue (2010, 2 weights): Fugue was originally designed for Wonder Years, a book published in late 2008 by Roma Publications to mark the tenth anniversary of the Werkplaats Typografie in Arnhem. It contains genetic material of Paul Renner.
Girott (2011-2016). A condensed sans.
Larish Alte (2006) was originally designed for the identity of the contemporary art space Secession in Vienna. Its primary inspiration was a series of prints designed by Rudolf von Larisch and published at the turn of 20th century. Larish Alte is not available for licensing.Larish Neue is a by-product of Larish Alte. This version resulted from an attempt to create a contemporary looking typeface with the DNA of the original. Larish Neue is available in a single weight. Its cursive is in process and is expected in 2010.
Lyno (2009-2012, Karl Nawrot and Radim Pesko). A straight-edged experimental typeface available in four styles, Ulys(ses 31), Stan(ley Kubrick), Jean (Arp) and Walt (Disney).
Merkury: Conceived in 2001, this is an easy-going rounded monoline family.
Mitim: a family of fonts characterized by its triangular serifs, developed in collaboration with Louis Lüthi and Stuart Bailey. Mitim is a work in progress exclusively designed for Dot Dot Dot magazine and is not available for licensing. It has many dingbats.
Paabo (2021). Squarish with bullet holes.
Septima, a typewriter or monoline face, has asymmetrical letter forms that are individually adjusted---according to the space they occupy in a glyph window---in order to achieve equal tone of letter as well as to create highly recognizable forms for each character. Septima is a monospaced font available in a single weight supporting twenty-three Latin and five Cyrillic languages. Septima Cyrillic was developed in collaboration with Roman Gornitsky.
Sol (2004). This 3d typeface was created as a continuation of Sol LeWitt's 1974 project entitled "122 variations on incomplete open cubes" which consisted of 122 views of unfinished cubes constructed from wooden planks.
Specta (2011-2013). Custom font for the Eastside Projects of Birmingham. Used in BBC headlines. Not for sale.
Union is a synthesis of Arial and Helvetica. Union SMA was developed for visual identity of Stedelijk Museum Amsterdam in 2012.
Friderick (2015). For the identity of the Fridericianum Museum in Kassel, Germany.

Ruben Beekman
[Rubens Homepage]

Ruben Bos

Dutchman who used Fontifier to design the handwriting typeface Handschrift (2004). [Google] [More] ⦿

Ruben Koops

Dutch designer of the hand-printed typeface Ruben Koops (2013). [Google] [More] ⦿

Ruben Ophof

Arnhem, The Netherlands-based designer of the antiqued typeface Vaase (2015). [Google] [More] ⦿

Rubens Homepage
[Ruben Beekman]

The font Stripes was made by 15-year old Ruben Beekman in the Netherlands. [Google] [More] ⦿

Rudo Hartman

Dutch book designer (b. 1945) who graduated from the KABK in the 1960s. He designed a roman all caps typeface in the 80s and 90s, which was digitized by Jacques Le Bailly in 1998 as Rudeaux Deluxe. A sample is on page 301 of "Dutch Type" by Jan Middendorp. [Google] [More] ⦿

Rudy VanderLans

Born in Voorburg, The Nerherlands, in 1955, Rudy VanderLans is the co-founder in 1984 of Emigre, a digital type foundry and publisher of graphic design related software and printed materials based in Northern California. At Emigre, he designed Variex (1988, a monoline geometric face), Suburban (1993), and Oblong (1988).

Interview. Another interview. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿

Rutger Groothedde

Dutch designer, living and working in Vierhouten. During his studies at Windesheim University of Applied Sciences in Zwolle, he created the sans typeface Humaan (2017, free demo). Behance link. [Google] [More] ⦿

Rutger Paulusse
[GWER]

Rutherford Craze
[Mass-Driver]

Rutmer Zijlstra

Rutmer Zijlstra (b. 1981), who runs Rutmer Design in Groningen, The Netherlands, created Rutmer Hand (2010).

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

Ruud van den Elzen

Influenced by the helix structure, Biohack is a typeface made in 2014 by Dutchman Ruud van den Elzen (b. 1987), aka De Jonge Kapitein. In 2016, we find him at Studio Roef in Den Bosch, The Netherlands. Dafont link. Behance link. [Google] [More] ⦿

Ryan Pescatore Frisk
[Strange Atrtractors Design]

RZ Design

Zoetermeer, The Netherlands-based designer of the sketchy 3d typeface Doodly (2010). [Google] [More] ⦿

Sabina Irina Chipara

Sabina Chipara (or: Kipara) was born in 1987 near the seaside in Constanza, Romania. She moved to Bucharest to study graphic design at the National University of Arts in Bucharest, Romania, and at EINA Centre Universitari de Disseny i Art de Barcelona. She took the TDi program at the University of Reading, UK, in 2016. Speaker at ATypI 2018 in Antwerp, where she surveys the archaic Romanian alphabets. Sabina also helps with type design at MCKL Type, Jeremy Mickel's type foundry in Los Angeles. She is currently based in Amsterdam. Her typefaces:

MoRo (2012) and Arhaic Romanesc (2012). MoRo, or Modern Romanesc, is an artsy typeface. She writes: MoRo is a modern version of archaic Romanian types. The design of the MoRo letters combines the features of Cyrillic glyphs with Latin shapes.
In 2012, during an Advanced Typography Masters at EINA, Barcelona, she developed Zagoris.
DIN Next Stencil (2017) and DIN Next Shapes (2018). Done together with Akira Kobayashi at Linotype.
Rosella (2017, Monotype). An engraved lettering typeface with textured, inline, beveled, shaded and filled versions.
In 2018, she designed the 8-weight simplified sans family Bega (Indian Type Foundry) and the high-contrast calligraphic script Britney (done with Diana Ovezea), which was released as a free font at Fontshare.
At Future Fonts, she published Bizzarrini (together with Diana Ovezea). Diana Ovezea writes about the wonderful Bizzarrini: Though the idea originates from a Stefan Schlesinger ad sketch for a Paris couture house, we straightened up this typeface and made it seem engineered and sharp. It gets its name from the Bizzarrini Manta, a wedge-shaped concept car designed in 1968 by Giorgetto Giugiaro. Bizzarrini has extremely long wedge serifs. Following Schlesinger's sketch, it features very tall capitals with an out-of proportion middle-line (very big heads on S, B and R).
The connected monoline sans script Akin (2019), done with Diana Ovezea at Indian Type Foundry.
The neo-grotesque typeface Amurg (2019).
Anouk (2020). A reversed high contrast typeface designed to be used at large sizes.
Aesop (2021). A despoke typeface for the brand identity of Iwoca. The Iwoca identity elements were influenced by the work of Wassily Kandinsky through geometric shapes and angles. The corners of the sans typeface are rounded and provide a smooth appearance on screens.

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

Sakina Khan

Designer in Groningen, The Netherlands, of the Urdu emulation typeface Harf (2016). [Google] [More] ⦿

Sam Kerkhoff

Born in 2011, Sam Kerkhoff designed the children's script typefaces Bored Crayon (2020), My Friend Raffi (2018), Schoolboy Sam (2017). It is quite likely that Sam is the son of the prolific Dutch type designer David Kerkhoff. [Google] [More] ⦿

Sami Kortemaki

Finnish designer in Helsinki (b. Kerava, 1975) who cofounded Underware with Akiem Helmling and Bas Jacobs in The Hague and has recently worked with DTL (Dutch Type Library). He studied at the Lahti Polytechnic/Institute of Design (1995-2001).

Designer of FF Nelio (2001, a stitching family in 14 styles), who lives in Helsinki, where he works as a graphic and typographic designer. He co-designed all Underware fonts: Dolly, Bello, Sauna (1999-2002), Liza (2009), Auto (1, 2 and 3) (2004-2014), 2 and 3), Unibody 8 (free) and Fakir (a blackletter typeface). In 2015, Bas Jacobs, Akiem Helmling and Sami Kortemäki published the stencil family Tripper Pro.

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

Samisk Datautvalg
[Olthuis]

Samuel Louis "Sem" Hartz

Dutch designer at Johan Enschedé en Zonen in Haarlem, whose work was also published by Stephenson Blake and Linotype. Born in Leiden in 1912, he died in Haarlem in 1995. He studied at the Academy of Fine Arts (Rijksakademie van beeldende kunsten) in Amsterdam, specializing in engraving. He joined Enschedé in 1936 where he would become art director. During the war, like many other Dutch Jews, he had to hide in closets and secret rooms. Sem writes about his time at Enschedé: As you know,I am a designer and engraver, mostly of postage stamps and banknotes, sometimes of books and dust-jackets, zegt Hartz, I have designed more than a hundred stamps and banknotes for The Netherlands, Belgian Congo, Luxemburg, Indonesia, United Nations etcetera. My practice has been to rough out the design and afterwards cut it immediately in steel or copper. For stamps I relied on the best lettering one could possibly get, Jan Van Krimpen. In 1953, he became professor at the Plantin Genootschap in Antwerp. Hartz made these typefaces:

Juliana (Linotype, 1958). The original commission by Walter Tracy dates back to 1952. Many penguin editions used Juliana. In 2006, Mathieu Lommen published Sem Hartz and the Making of Linotype Juliana (Inferno Press, Vancouver). Digitizations of Juliana include Juliana Text (Linotype) and Juliana Text by David Berlow at Font Bureau.
Emergo (1949, Enschedé). A typeface that was never released. Hertz wrote The Emergo Type in PAGA, volume 2, number 3, pages 57-60, 1954. The article explains his cooperation and apprenticeship with Jan Van Krimpen and P.H. Rädisch (Van Krimpen's punch-cutter), and his hopes of using Emergo in his press and of his plans of spending time at Officina Bodoni in Verona with Giovanni Mardersteig.
Molé Foliate (1960). Molé Foliate is a great floriated caps font designed by the Parisian founder Molé, with floral decorations inside the open typeface 3d letters. Redrawn in 1960 by Hartz at Stephenson Blake. A free digital version, Molé Foliated, was made in 1997 by an unknown designer.
Panture (1971). A typeface designed for Enschedé's Pantotype system. Read about it in Ramiro Espinoza's interview in 2018 with Piet Jacobs.

Lines&Splines reports the famous line by Hartz about Jan van Krimpen, his predecessor at Enschedé: the story of Van Krimpen's life could be subtitled, From Angry Young Man to Angry Old Man (note: Van Krimpen did not get along with many people.)

A collection of Hartz's correspondence and prints (from his own press, Tuinwijkpers) can be found at the University of Amsterdam. He also designed some Dutch postage stamps.

Books by or about Hartz:

Sem Hartz: The Elseviers and their contemporaries: an illustrated commentary (1955, Joh. Enschedé & Zonen, Haarlem, Amsterdam/Brussels).
Sem Hartz: Essays, compiled by Mathieu Lommen, 1992 (Serifpers, Amsterdam).
Chr. de Moor [et al.]: S. L. Hartz in de grafische wereld, 1969.
Mathieu Lommen: Letterontwerpers: gesprekken met Dick Dooijes, Sem Hartz, Chris Brand, Bram de Does, Gerard Unger, 1987>
Mathieu Lommen: Sem Hartz and the making of Linotype Juliana, in: Quaerendo: a quarterly journal from the Low Countries devoted to manuscripts and printed books, vol. 36, 2006.

[Google] [MyFonts] [More] ⦿

Sander Baumann
[designworkplan]

Sander de Voogt
[Dutch Deco Type]

Sander de Voogt
[TypExpo]

Sander de Voogt
[Retrotypology]

Sander de Voogt
[Nick Curtis]

Sander Erdmann

Amsterdam-based designer of the display typeface Gemstone (2015). Behance link. [Google] [More] ⦿

Sander Kessels
[Lollibomb (was: Crejaculations)]

Sander Neijnens
[Letterbeeld]

Sanne Drieenhuijzen

During her graphic design studies in Eindhoven, Sanne Drieenhuijzen created the typefaces iPhone Font (2013), Script (2013), Eindhoven (2013) and Lectric (2013, neon light font). [Google] [More] ⦿

Sanne Egtberts

Rotterdam, The Netherlands-based designer of the handcrafted typeface Subtrain (2016), which was finished during her studies at Grafisch Lyceum Rotterdam. [Google] [More] ⦿

Sarah Rose
[Famoys Saz]

Sarah van Berkom

Graphic designer in Rotterdam, The Netherlands, who created the matrix typeface Synesthesia in 2015. The lettering in her 2012 North Sea Jazz poster is also quite remarkable. Behance link. [Google] [More] ⦿

Scaramanga Productions
[Hans De Bisschop]

Designer of Scara Conquers the Universe (2006, sans). Alternate URL. [Google] [More] ⦿

SchickFonts
[Florian Schick]

Florian Schick (b. 1982) is a German graphic and type designer who lives in Den Haag. He studied communication design at the Royal Academy of Art Den Haag and the University of Applied Sciences and Arts Hannover. He finished the Typemedia program at KABK in 2011.

Since 2006 he has been working as a freelance designer and founded his type foundry Schickfonts in 2008. He works for his own clients as well as for graphic design studios like Bold Monday, Treibwerk or Die Typonauten. His focus is on the fields of typedesign, corporate and editorial design. SchickFonts, operated out of Hildesheim, Germany, and is now located in The Hague.

Codesigner at The Typonauten (based in Bremen) of the brush font series B-Movie Retro (2007, with Ingo Krepinsky and Stefan Kroemer).

At SchickFonts, he made the blackletter family Authentic Ink (2008), as well as B-Movie Retro and B-Movie Splatter.

At KABK, he created the Mag Grotesque type family, which features 15 styles from Bold Extended to Thin Condensed. In 2012, he started the design studio Schick Toikka in Berlin with Lauri Toikka.

At Bold Monday, he published the rounded sans typeface family Trio Grotesk (2011-2012, Bold Monday). He writes: Trio Grotesk is Florian Schick's personal interpretation of Kaart Antieke---an early 20th century sans serif [1909, to be more precise] used by Piet Zwart in his famous, yet never officially published essay about modern typography called "Van oude tot nieuwe typografie".

Schoon Ontwerp
[Michiel Van Kleef]

Dutch designer of Schoon Negen (2021: a big bold font that is based on nine connected subsquares). [Google] [MyFonts] [More] ⦿

Schrijfletter Excelsior

A connected formal script developed by Lettergieterij Amsterdam. [Google] [More] ⦿

Scratch (or: Scretch)

Dutch designer of a fantastic set of five dingbat fonts simply called Houses (2018), which were made with FontStruct. [Google] [More] ⦿

Sebastiaan van de Venne

Eindhoven, The Netherlands-based designer of Black Blok (or Zwart Blok) (2018) and Novi (2018), a typeface developed at TypeParis 2018 that is based on chancery examples from the renaissance era by Ludovico Vicentino Arrighi. [Google] [More] ⦿

Sebastien Bruggeman

Dutch author of Hello Chinese (Acco). He has a sub-page on Chinese fonts, and lots of links related to Chinese input, and unicode fonts for Chinese. [Google] [More] ⦿

Sed4 Type Foundry (or: Sed4tives)
[Ron Ruedisueli]

Dutch professional music producer and audio engineer who founded his own record label. He also makes (mostly free) fonts. His work:

A FontStruct series called STF Letters op Maat, which attempts to recreate all alphabets designed by Dutch Bauhaus designer Jurriaan Schrofer (1926-1990). That list: STF Cutout 1985 (+Solid), STF JS Bevel (+Fill), STF Grafisch, STF Etage Aanduiding (17x17-Inline 1, 17x17-Inline 2, 17x17-Medium Fill, 17x17-Multiline, 17x17-Full Fill, 5x5 Matrix, Hi-res) [op-art, prismatic], STF Gemeentereiniging, STF Berlage (after the letters Schrofer originally designed for The "Beurs Van Berlage", a commodity market building located in the centre of Amsterdam. Later it was also digitalized and used to for the Dutch passport), STF Elevated (3d shadow typeface), STF Semiotica (Incised Outline, Incised, Book, Regular, Title), STF Sater, STF Sans Severe (Light, Heavy, Outlined, Multilines), STF Sans Rounded, STF Avant-Garde i10, STF Schrofer Modular Blocks, STF Social Human Trends (Outlined, Solid, Fill Isolated, Outined Isolated), STF Girokantoor, STF Marx (Solid, Striped), STF Squared Sans, STF Onleesbaar Alfabet (Stroke, Solid, Outlined), STF Bols Jaarverslag, STF Bredero (for the Bredero Bouwbedrijf), STF A.S.C. Communications, STF Connaissance et Langage, STF Paspoort, STF Last Warning (v1), STF Connected Squares (+Fill, +v2 Headline, +v2 Fill, +v2 Outline).
Other FontStruct typefaces, now over 180 in all, made in 2017-2018. Included are STF Down Vote, STF Slab Inn (a Western font), STF Polygon Window (hexagonal), STF Kalender (based on a 1976 calendar with octagonal letters by Wim Crouwel), STF See You in 2019 (a tiled font), STF Uni (a varsity font), STF Geo Gothique, STF Tegel (a kitchen tile font), STF Don't Count on Me, STF Hyster (a modernist stencil), STF Der Zyklus, STF Scriptorium (blackletter), STF Paradox, STF Sutoraipu Origami Multiline, STF Sutoraipu Origami Filled Stencil, STF Futureline, STF Frescher (Escher-inspired), STF Whiskey-A-Go Go, STF Labrat (op-art, prismatic), STF Tranziztor, STF Otto Font Schirach (mosaic lettering), STF BFG (condensed piano key style), STF Ace of Maze, STF Amsterdam School, STF Neon Flux, STF Wendingen 1922 (based on a old brochure by Wendingen for the Internationale Theater Tentoonstelling Amsterdam 1922; letters designed by Hendricus Theodorus Wijdeveld (1885-1987)), STF Van Nelle (based on an early 1900's poster ad for Van Nelle coffee), STF Purple Maze, STF Militia Stencil, STF Idiocracy (stencil), STF Rode Draad, STF Praesens (based on the lettering found in the second issue of Polish avant garde architectural magazine Praesens), STF Fabricon (a De Stijl stencil; +Outline, +CrossSection), STF Defrag, STF Trilineae, STF Bolsjewie (constructivist), STF Kraftwerk (a tiled typeface; after a 2015 poster by Chuck Sperry for Kraftwerk), STF De Stijl, STF Portfolio Peeters (a tribute to Belgian modernist artist Jozef Peeters (Antwerp, 1895-1960), based on the folder art for his 1921 linocut portofolio), STF Sector 7 (military stencil).
Pax Romana. Based on the capitalis monumentalis seen at the base of Trajan's Column.
STF Espionaje. Inspired by the lettering found on a vintage sheet music cover art for "La Java bousculée" (1924).
STF Oudvreugde's Ontwaken. Based on the Dutch deco lettering of Dutch graphic designer Frederika Sophia (Fré) Cohen (1903-1943). The letters were taken from a book cover design for the "Arbeiders-jeugdcentrale Amsterdam" which was published in 1924.
Typefaces from 2019: STF Blauhaus (Bauhaus-inspired), STF Type O Negative, STF Bodidone, STF Textualis Batavicum (blackletter), STF Alhambra Blvd, STF Type O Negative, STF Ein Berliner, STF Geo Grotesque (in the style of TT Norms and LL Circular), STF Innercity (art deco), STF Photonia (futuristic), STF Square Grylls, STF Mizollen (labyrinthine), STF Mr Bob Doubalina, STF Plateau Disco (groovy), STF Uncialis Modularis (uncial).
Typefaces from 2020: STF Schlanke Schöne, STF Care Sensitive.

FontStruct link. [Google] [More] ⦿

Selina Huber

Marina aka Selina Huber grew up near Pula in Croatia, and applied graffiti on cows and sheep as a youngster. She is now based in Zagreb and Amsterdam. Behance link.

She designed the Kanzlei typeface Son of Bach (2012), which permits layering. [Google] [More] ⦿

Serdar Aslan

Creative artist in Den Haag, The Netherlands. Behance link. Creator of the octagonal Netherlands Typo (2009). [Google] [More] ⦿

Shamfonts (was: Shamrocking.com)
[Jeroen Klaver]

Shamfonts (was: Shamrocking and before that, Kingotype) is a Dutch outfit with some shareware fonts (Shamcil 002, 003 and 004 (a stencil font family), Shambell Raster, Shamlock, Fruit For Ears, Franklin Euro, Shample01, Square Roque, BG Pi, Gothic Ball Crap (blackletter), Heineken, Putain, Shamhand01, Digi, Judas, Communist (1993), Kijkwijzer, BG-Pi, BigTop (Tuscan), Woody, Shamrod, Shamools (funny typefaces)) and some commercial fonts (KissinCousins, Spinout, Spinoff, GIBlues, KingCreole, Kingu-San, HarumScarum, Firsty). The designer is Jeroen Klaver.

Alternate URL. Kernest link. Font Squirrel link. Dafont link. Old URL. [Google] [More] ⦿

Shaun Lawley

Designer of the decorated caps poster Complicated Doodle (2017). Shaun is based in Amsterdam. Behance link. [Google] [More] ⦿

Shinji Pons

Graphic designer in Amsterdam who designed the octagonal typeface family Gridlock (2013).

ShowMeWare
[Jeroen Leupen]

Original freeware designs by Marc Nijborg and Jeroen Leupen who studied at the Royal Academy of Arts in The Hague. Mac fonts only. Included are IggyPiggy, Euromania, Scramble, Source, Lutetia Lutetia (Asterix font), Sunburst Staying, Thick&Thin, WizzyBold, Nippee, Saurtimes, RuffBold, RuffMedium, Waterfall, Sniffy, Oranjehand, Mushroom, KillerBee, FuzzyMate, Casterman, AmsterdamBridge and Academy. [Google] [More] ⦿

Sibe Kokke
[Type Generator]

Sint Lucas Digital Publishing

Sieb Boxmeer

Owner of the graphic design company Sieb Design, Dutchman Sieb Boxmeer created the hand-printed Bottenbreker TV (2008), named after a TV program in The Netherlands, Brute Bottenbreker. [Google] [More] ⦿

Sietse Veenman

Rotterdam-based designer of the counterless black typeface Dodo (2013). Behance link. [Google] [More] ⦿

Sigurður Ármannsson

Icelandic art director, designer and typographer Sigurður Ármannsson graduated from The School of Arts and Crafts [now Icelandic Academy of the Arts]. He teaches there part-time. He also studied at the Rijksakademie van Beeldende Kunsten in Amsterdam.

Creator of the structured sans family Guinevere Pro (2011, Canada Type).

His font anatomy wallpaper is a visual glossary of the parts of typefaces.

Klingspor link. Home page at font.is. Blog. [Google] [MyFonts] [More] ⦿

Simone Provaas

As a graphic design student based in Eijsden, The Netherlands, Simone Provaas created a flower alphabet (2016). [Google] [More] ⦿

Simone van Herwijnen

As a student based in Kerkdriel, The Netherlands, Simone van Herwijnen created a typeface with church-shaped glyphs (2015). [Google] [More] ⦿

Design and creative arts school in Eindhoven, The Netherlands. Some of the work of the students involves the creation of typefaces---examples include Drimatic Nova (2015, by Juliette van Lankvelt) and Line Type (2015, by Jaimy Vennix). Behance link. [Google] [More] ⦿

Sjoerd Groos

Art director in Den Haag, The Netherlands, who created the ballpen script Bic Regular (2014). [Google] [More] ⦿

Sjoerd Hendrik de Roos

Dutch typographer and type designer, b. Drachten, 1877, d. Haarlem, 1962. He worked at Tetterode from 1907-1941. Catalog of some of his digitized typefaces. Designer of various typefaces:

The uncial-like typeface Libra Uncial (1938, a pseudo-Gaelic font) at Tetterode in Amsterdam. Libra is now carried in digital form by Mecanorma and Bitstream.
Nobel, a redesign of Berthold Grotesk. FB Nobel (1993, Tobias Frere-Jones at the Font Bureau) is a powerful 18-style sans family based on de Roos's Nobel. It ranges from Extra Light to Very Black, and includes a condensed sextet. See also DTL Nobel (Dutch Type Library) by Fred Smeijers and Andrea Fuchs (a German student at the Arnhe academy supervised by her teacher, Fred Smeijers).
De Roos made Dutch (or Hollandse) Mediaeval (1912), an old style (Venetian) typeface with little contrast, arched slabs and serifs, short descenders, an atrocious lower case g, and an italic that is more like an oblique, but with several conservative workhorse qualities that made it one of the most popular typefaces during World War I. Intertype Mediaeval is similar. Hollandse Mediaeval was digitally revived by Hans van Maanen in 2007 as Dutch Mediaeval, and by Hans van Maanen and Patrick Griffin in 2013 as Dutch Mediaeval Book ST. For other digitizations, see De Roos Mediaeval NF (2014, Nick Curtis) and Hoboken Serial (2010, SoftMaker).
He designed the calligraphic typeface Meidoorn (1928) for De Heuvelpers (his own private press), which was active from 1926-1935. The Meidoorn materials (matrices, punches) are now in the hands of G. J. Randoe (Keizersgracht 89, 1015 Amsterdam). Laure Afchain was doing a revival of Meidoorn in 2008 as a student at KABK, Den Haag. And Joe Chang, still at KABK, did a revival of it in 2012 in van der Laan's class.
Egmont (1933) is a serifed typeface done at Lettergieterij Amsterdam. Mac McGrew writes: Egmont is a modern interpretation of classic letter forms, designed by S. H. DeRoos for Amsterdam Type foundry in the 1930s, and subsequently cut by Intertype. It is an elegant face, with long ascenders which have double serifs. There are three weights in roman and italic, all with three styles of figures as shown in the bold specimen. Italic swash letters are made for all three weights. Egmont Decorative Initials were added by George F. Trenholm in 1936; they are sometimes called Egmont Medium Italic, from which they are derived. Compare Bernhard Modern. A digital family was designed by Dennis Ortiz-Lopez in 2005 called OT Egmont. Castcraft's free font family OPTI-Eisen is also noteworthy. Open Egmont Kapitalen (2013) is a free openface designed by John Wollring based upon de Roos's known Egmont Inline (or Egmont Versalien) shown in a Lettergieterij Amsterdam specimen book of 1935. Jay Rutherford digitized Egmont Inline in 1988, but did not publish it. In 2016, Alice Retunsky designed the revival Dutch Plus, and added cyrillics.
Erasmus Mediaeval (1923, Amsterdam). Berry, Johnson and Jaspert write: Venetian in style, but with light serifs and short descenders. Many of the serifs are shaped, as though drawn with a pen. E and F have the centre arms high, the Ha high bar and U the lower-case design. g has a brief tail drawn from right to left;p and q have oblique foot serifs. The italic has slight inclination and has the serifs of the roman. The heavier face of this design is called Grotius. Digital revivals include Erasmus (1992, A. Pat Hickson, ITF) and one by Pradnya Naik.
Card Pro (2006, URW, Ralph M. Unger) is based on Ella Cursief (1916, Lettergieterij Amsterdam). For another digital version of Ella Cursief, see Rozy Cursive (2016, Leon Hulst).
Circulaire (2009, Hans Van Maanen, Canada Type) is based on a set of initial caps designed by Sjoerd Hendrik de Roos in 1926.
His last typeface was De Roos Romein (and Cursief) (1947, Amsterdam; Intertype New York; American Typefoundry) about which Canada Type, which produced a magnificent 10-style digital revival, expansion and interpretation in 2009 simply called Roos, in a cooperative effort between Hans van Maanen and Patrick Griffin, writes: It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos's 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos's best design, with one of the most beautiful italics ever drawn. In contrast with all his previous roman typefaces, which were based on the Jenson model, De Roos's last type recalls the letter forms of the Renaissance, specifically those of Claude Garamont from around 1530, but with a much refined and elegant treatment, with stems sloping towards the ascending, slightly cupped serifs, a tall and distinguished lowercase, and an economic width that really shines in the spectacular italic, which harmonizes extremely well with its roman partner. Mac McGrew: De Roos is a handsome contemporary roman type designed by S. H. DeRoos in Amsterdam, Holland. Originally imported from a Dutch type foundry, with additional weights and inline initials, this roman and italic were also cut by ATF about 1952, and by Intertype in 1954. A 1953 piece of ATF literature notes, "Cast at Elizabeth on Amsterdam line." Scans below are from the book First specimen book of De Roos Roman&Italic (Typefoundry Amsterdam).
Savoy (ca. 1936) was the third art deco display typeface drawn under de Roos's superviosn, after the earlier pair, Bristol and Carlton (1929), which were drawn by Dick Dooijes also under de Roos's supervision.
Simplex (1937). A typeface that flirts with the idea of unicase. For a digital revival, see Hendrik (2021, by Claudio Rocha and Lucas Franco).
Zilvertype (1914-1916, with Jean-François van Royen). This was revived by Hans van Maanen as Zilvertype (2012-2014, Hans Van Maanen, Canada Type): Right on the heels of the tremendous popularity wave that made Hollandse Mediaeval the most used Dutch typeface during the Great War years, Sjoerd H. de Roos was asked to design a 15 point type for De Zilverdistel, Jean-François van Royen's publishing company. So between 1914 and 1916, de Roos and van Royen collaborated on the typeface eventually known as Zilvertype, and which both parties viewed as an improved version of Hollandse Mediaeveal. Like Hollandse Mediaeval, Zilvertype was based on the Jenson model, but it is simpler, with more traditional metrics, and lighter and more classic in colour.
Nieuw Javaansch No. 1 (1909). A Javanese script done by Sjoerd de Roos at Lettergieterij Amsterdam. Revived in 2012 at the KABK by Troy Leinster under the same name.

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

Sjoerd Kulsdom

Sjoerd Kulsdom (Dot By Dot) is the Arnhem and/or Amsterdam-based designer of the curly typeface Spring Is In The Air (2011), the polygonal cut-out typeface Cardboard Cat (2016), the informal typeface Merijntje (2014) and the multiline typeface Monogram Rounded (2016). Sjoerd is associated with Ontwerpstudio Dot by dot.

Typefaces from 2017: Skrova (textured layered round sans), Deux Inline, Allergen Icons, Drone Attack (dingbats), Walrus Rough, Walrus Bold.

Typefaces from 2018: Confetti (a stackable multicolor font).

Typefaces from 2019: BusMatrix Condensed. [Google] [More] ⦿

Skyla Design

Great Falls, MT and Amsterdam, The Netherlands-based designer of the brush typefaces April Blossom (2016), Januar (2016), December Sparks (2016) and October Storm (2016), the script typefaces De Novembre (2016) and Sweet September Script (2016, beatnik style), Minty March (2016), July Kissed (2016, curly brush script), Dear June (2016), the brush script typefaces August Rain (2016), Bongiorno (2016), Willow (2016) and Olive Sky (2016). He also created the handcrafted February Love (2016), Jamie Woods (2016).

Typefaces from 2017: Oh Livey, Tilly, Girl Crush, Hey Girl, Carley and Co, Flower Child, Sweet Mia (calligraphic brush), Willow Bloom (calligraphic brush), Sookie, May Wilde (brush script).

Typefaces from 2018: Ciera (watercolor SVG font), Spring Rain (SVG brush font), Sophia Reign (signature font duo), River Jade (signature font).

Typefaces from 2019: Wild Love. [Google] [More] ⦿

Slávka Pauliková

Slovak graphic designer, who graduated from the Academy of Fine Arts in Bratislava, Slovakia, and the Faculty of Fine Arts in Brno, Czechia, both in 2009. Then she did a Masters in type design at the KABK in 2010, and currently works as a type and book designer in The Netherlands. For her thesis project, she developed the angular text family Dora (2010), which tries to preserve an element of handwriting. A 1906 renaissance antiqua from Genzsch&Heyse inspired her to a revival.

In 2013, FontFont published FF Dora (the angular text family extended from her thesis work in 2010) and FF Dora Display (which is a bit in the style of Rudolf Koch's German expressionist style).

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

Smidswater

Big Dutch design studio. Type design is not their main thing, but they did create an original sans family, Smidswater. [Google] [More] ⦿

Social Animal
[Bas Bouwense]

Bas Bouwense (Social Animal) is the Dutch designer (b. 1974) of Social Animal (2007, grunge). Home page. Bas lives in Rotterdam. Behance link. [Google] [More] ⦿

Soft Machine (or: Open Studio)
[Mark Niemeijer]

Soft Machine (part of Open Studio) is a digital type foundry based in Deventer, The Netherlands, set up in 2017 by Mark Niemeijer. He writes: Architectural and industrial design movements are a big influence on the work of Soft Machine---De Stijl, Union des Artistes Modernes, Congrès Internationaux d'Architecture Moderne, Neues Bauen, structuralism, metabolism, and post-modernism. These are also reoccuring themes in the visual output.

Typefaces by Soft Machine:

Jos (2012).
Fade (2016). Commissioned.
Ijssel (2016). Commissioned.
Hauser (2017). A stick stencil typeface.
SM Maxeville (2017). A (ten style) compact typeface family inspired by Gerrit Rietveld, Jean Prouvé, De Stijl and Union des Artistes Modernes. Contains stencil styles. Followed by Maxeville Mono (2021).
Marres (2019). Commissioned.
Solaris (2020). A 6-style neo-grotesk with modulated contrast.
Stellage (2020). A 5-style wedge serif family that includes a few stencil styles.
Affairs (2021, +Monospace).

Instagram link for Soft Machine. Instagram link for Open Studio. Fonts in Use link. Github link. [Google] [More] ⦿

Solana Roeleveld

During her studies at Grafisch Lyceum Rotterdam, Solana Roeleveld designed an experimental typeface entotled Architecture (2017). [Google] [More] ⦿

Sonic Savior
[Friso M. Roest]

Soest-based Friso Roest (Sonic Savior) is the Dutch designer of the free futuristic typeface Antediluvian (2005-2006). The commercial typeface Sonica (2006) grew out of this. His third typeface, Archemy (2007), evokes medieval magic and alchemy.

Sonic Savior is a collaborative project of a Dutch designer, a sound engineer, and an alchemist by the name of Senior Zadith. The company is based in Jakarta, Indonesia, according to MyFonts. [Google] [MyFonts] [More] ⦿

Sonntag Fonts (or: S Fonts)
[Jan Sonntag]

Jan Sonntag's fonts include the Hildegard family of sans typefaces (2003, Linotype), which won an award at the Linotype International Type Design Contest 2003 and S Beauty (pixel face). He also designed S Anticar (pixel family), S LegoBits, S Montag (based on an old wooden printing type from the collection of Alex Barbaix), S Sterre, S AnnaBeta (designed under the supervision of Gerard Unger while studying at Gerrit Rietveld), and S Takraf. Free fonts include S Spijner, S Guns, S Selfism (dotted line face), S Pincode. Jan Sonntag operates a Dutch web site, and claims, tongue in cheek, to live in Cadillac, France. His address, intriguingly, is Château Haut-Laroque, 33410 Laroque, France. Free fonts of his, designed from 2001-2004, include BomberNumbers, Selfism-Bold, Selfism, Spijner-Extreme, Spijner-Powerplay, Spijner, Takraf-3d, Takraf-Block, Takraf-Linie, Takraf-VEB (based on the old logotype from the VEB Schwermaschienenbaukombinat Takraf).

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

Soorten Fonts

Dead link. Dutch description in 1999 by Rein Bakhuizen van den Brink of the font formats on Atari: Calamus, type 1 and Speedo are the vector fonts. Bitmap formats include GDOS/GEM, Signum2 and Signum3. [Google] [More] ⦿

Sophie Wilps

Dutch designer of Eigen Handschrift (2021). [Google] [More] ⦿

Stacey Fussmann

Groningen, The Netherlands-based designer of a colorful all-caps alphabet in 2016. Behance link. [Google] [More] ⦿

Star Trek Fonts -- Alien Races
[Erwin van der Waal]

Startrek font archive by Erwin van der Waal for fonts from Bajoran, Cardassian, Ferengi, Gornathan, Klingon, Klinzhai, Romulan, Tholian. Also, starfleet fonts on an adjacent page. [Google] [More] ⦿

Startkabel Lettertype

Font links: font-related sites in the Netherlands. [Google] [More] ⦿

Stefan Manojlovic

During his studies in Eindhoven, The Netherlands, Stefan Manojlovic designed the free sans typeface Laser (2014). Behance link. Dafont link. [Google] [More] ⦿

Stefan Schlesinger

Stefan Schlesigner was born in Vienna in 1896. He moved to the Netherlands in 1925, where he worked for Van Houten's chocolate, Metz department store, printing firm Trio and many other clients. He died in the gas chambers of Auschwitz in 1944. His typefaces:

Rondo (1948), at the Lettergieterij, co-designed with Dick Dooijes (published in 1948 after Schlesinger's death). Rondo Bold is from 1954. Mecanorma later added Rondo to its (phototype) library. For digital versions, see Castcraft's OPTI Rondo, Minuet (2007, Canada Type's version of Rondo), and Mecanorma's Rondo.
The Western "italienne" slab serif font Hidalgo (1939, Lettergieterij Amsterdam). Canada Type explains: In the late 1930s, old Egyptiennes (or Italiennes) returned to the collective consciousness of European printers and type houses, especially in France where Le Figaro newspaper was seeing record circulation numbers. In 1939 both Monotype and Lettergieterij Amsterdam thought of the same idea: Make a new typeface similar to the reverse stress slab shapes that make up the titles of newspapers like Le Figaro and Le Frondeur. Both foundries intended to call their new type Figaro. Monotype finished theirs first, so they ended up with the name, and their type was already published when Stefan Schlesinger finished his take for the Amsterdam foundry. Schlesinger's type was renamed Hidalgo (Spanish for a lower nobleman, son of something) and published in 1940 as "a very happy variation on an old motif". Although it wasn't a commercial success at the time, it was well received and considered subtler and more refined than the similar types available, Figaro and Playbill. In the Second World War, the Germans banned the use of the type, and Hidalgo never really recovered. In 2017, Hans van Maanen (Canada Type) revived and expanded Hidalgo as Basilio.
Superba.
He was working on the calligraphic script typeface Saranna (1941). As explained by Canada Type: The story of Serena is a unique one among revivals. Serena was neither a metal typeface nor a film one. In fact it never went anywhere beyond Stefan Schlesinger's 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn. The only sketches left of Schlesinger's Saranna work are found in the archives of the Drukkerij Trio (the owner of which was Schlesinger's brother-in-law). The sketches were done in pencil and ink over pencil on four sheets of paper. And now Hans van Maanen revives Schlesinger's spirit as closely as the drawings permit. Hans Van Maanen thus digitized Serena (2007, Canada Type's take on Saranna). Malou Osendarp is also working on a revival of Saranna.
At Future Fonts, Diana Ovezea and Sabina Chipara published Bizzarrini. Diana Ovezea writes about the wonderful Bizzarrini: Though the idea originates from a Stefan Schlesinger ad sketch for a Paris couture house, we straightened up this typeface and made it seem engineered and sharp. It gets its name from the Bizzarrini Manta, a wedge-shaped concept car designed in 1968 by Giorgetto Giugiaro. Bizzarrini has extremely long wedge serifs. Following Schlesinger's sketch, it features very tall capitals with an out-of proportion middle-line (very big heads on S, B and R).

Author of Voorbeelden van Moderne Opschriften voor Schilders en Tekenaars (NV Kosmos, Amsterdam). Cherries.

Stefan Vanli

Russian who studies at Erasmus University Rotterdam, b. 1992. He created the logo typeface Airport (2009) and the grungy Acogessic (2009). Typetype link. [Google] [More] ⦿

Stephan Kamperman

Typographer and graphic designer in Groenlo, The Netherlands, where he works at Eska grafische Studio. He created the deco display typeface Eska (2010). [Google] [More] ⦿

Stephanie Oei

Dutch designer, b. 1974, Utrecht. She created the hand-printed typeface Sweet Steeffie (2011, at hanoded) and Babysitter (2011, at Hanoded). [Google] [MyFonts] [More] ⦿

Steve Wehrmann
[Fonts++]

Studio Lennarts & De Bruijn

Steven Janson

Designer in Eindhoven, The Netherlands. Behance link. He drew several experimental alphabets in 2011. [Google] [More] ⦿

Steven Kattenberg

Based in Utrecht, The Netherlands, this graphic designer created some interesting typographic posters, such as Seahorse (2009). [Google] [More] ⦿

Stichting Malatië Adventures
[Alex Révész]

Three original truetype fonts for magical effects and encrypting text: Priesterrunen and Malatië Magisch Maanschrift (1997) are made by Alex Révész. Drakenrunen (Nanduria) is by Ralph Renz. Can't find the fonts any more. [Google] [More] ⦿

Stichting z25.org

Dutch designers who were crowd-funded in 2016 to digitalize the Dutch decio typeface Neude based on a few letters etched by Dutch sculptor Hendrik van den Eijnde (1869-1939) on statues made for the Dutch post office building in the Neude neighborhood of Utrecht, The Netherlands, ca. 1924. See also Richard Keijzer's free Rak Neude (2022). [Google] [More] ⦿

Stijn Lakerveld

Dutch designer of the dot matrix font Alienss (2010, FontStruct). [Google] [More] ⦿

Stijn Wilcke

Son en Breugel, The Netherlas-based designer of the free font Avation (2016). [Google] [More] ⦿

Strange Atrtractors Design
[Ryan Pescatore Frisk]

Together with Catelijne van Middelkoop, Ryan Pescatore Frisk established Strange Attractors Design in the Netherlands. Their creations include Turfhaus (custom design sans), Cranbrook 53 (custom dingbats face), Fourteen Boxed (custom), Hey Dutchie! (custom face), Grau (custom hand-drawn version of Weiss), King of Latvia (custom made) and Brunn, a display typeface that won an award at TDC2 2004. Ryan received a BFA in Graphic Design from Savannah College of Art and Design in 1999, and an MFA in 2D Design from Cranbrook Academy of Art in 2002. In 2004-2005, he is a grad student at the KABK in Den Haag. [Google] [More] ⦿

Studio 37
[Merijn C. Mulder]

Dutch creator of Mulder's Handwriting (2004). He runs Studio 37 in Den Haag. Dafont link. Yet another URL. [Google] [More] ⦿

Studio Another Day
[Yorick de Vries]

Another Day is the graphic design studio of Yorick de Vries (b. 1985, Lelystad, the Netherlands). Now based in Nijmegen, he created the display typeface family Tarona in 2013 for his client, Tarona Leonora. Behance link. [Google] [More] ⦿

Studio Dumbar

Famous Dutch identity, brand and graphic design studio founded by Gert Dumbar. An impossible, ugly, slow and annoying web page aside, it has some famous typographic trophies, such as the new identity of the Dutch Government in 2008 (which it won in a 5-way competition). The typefaces for this identity are being developed by Peter Verheul and are called Rijksoverheid Serif and Rijksoverheid Sans. Dumbar also designed Dutch postage stamps. [Google] [More] ⦿

Studio Hannes Famira (or: Famira Fonts)
[Hannes Famira]

Hannes Famira, who runs Studio Hannes Famira, was born in Buchholz in der Nordheide, Germany in 1966. Hannes Famira studied graphic and typographic design at the Royal Academy of Fine Arts in The Hague in the Netherlands. He worked as a type designer in the Hague and used to work at Buro Petr van Blokland. Hannes started his own design studio Das Kombinat in 1999 and the Kombinat-Typefounders in 2001, and renamed it FamiraFonts in 2016. He taught various typography and typedesign classes at the SfG, School for Design in Basel (CH), at the University of the Arts in Philadelphia, at the New Jersey City University, at the City University of New York, at Rutgers University, at the Hochschule für angewandte Wissenschaft und Kunst Hildesheim/Holzminden/Göttingen (HAWK), at the Kunsthochschule Kassel, at The Cooper Union, and at SVA the School of Visual Arts. He is presently based in Brooklyn, NY.

Typefaces by Famira include FF Blocker, FF Mutilated, H-Stamp, Tieshy, Bubblejet on Steroids, Plantijn, Humiliated, Kugelkopf Letter, Hernard, MaryPason. He also doescustom font work. At Kombinat Typefounders, he designed InterFamily (Interpol Sans, Interpol Correspondence, and Interpol Serif, 1992: zuinig or thrifty almost condensed typefaces), ScanLine Bundle (which includes the nice display font Mary Pason), H-Stamp, FF Blocker, Sonar Sans (2011, mixing gei=ometric and humanistic elements), JC Corrido (2001, letterpress emulation), JC Tieshy (1993, grunge), JC Bubblejet on Steroids (1992, grunge, based on cardboard box prints), and JC Kugelkopf (1996: an old typewriter font based on the IBM Selectric type ball). The letters JC stand for the Jetsam Collection.

He explains the Futura-like Sonar Sans: Sonar is the attempt to marry the rule of geometric, historical form with the forgiving, human expression of early gothic typefaces. In fact, nothing about this typeface is truly symmetrical. The geometric nature of the underlying model merely served as a starting point to find the shapes of a low contrast expansion typeface. Through Sonar it seems that I have finally made peace with the Geometric Sans.

Famira on Interpol Sans: it is a robust, low contrast typefaces designed for legibility in low resolution situations. It performs particularly well on media like television and computer screens or in projections and on lightboxes.

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

Studio Jasper Nijssen
[Jasper Nijssen]

Jasper Nijssen (Studio Jasper Nijssen, Utrecht (was: Rotterdam), The Netherlands; b. 1986) is a Dutch type designer. Codesigner, with André Toet and Jasper Terra, of AT Move MMM (2013, SO Design), a rounded organic sans typeface. They write: The design is based on a old Soap-Powder advertisement. MMM is very useful for headings and/or logotypes. AT Move Straw and AT Move Riff Raff (octagonal) were made in 2014 by André Toet and Jasper Nijssen.

In 2011, Toet and Nijssen co-designed AT Move PiPi.

WBP Helena (2015) is derived from the old Chinese Tangram puzzle.

Typefaces from 2017: WBP Red Tape (textured), WBP Sight (zippered outlines), WBP Ripples (trilined).

Typefaces from 2019: WBP Nel (a techno sans that includes Brickbuild and Dots substyles).

Typefaces from 2021: WBP Emperio (a display typeface). [Google] [MyFonts] [More] ⦿

Studio Joost Grootens
[Joost Grootens]

Amsterdam-based Studio Joost Grootens designs books in the field of architecture, urban space and art for international publishers and knowledge institutes. Joost Grootens is head of the Master Information Design program at Design Academy Eindhoven. Grootens specializes in atals design---his work includes Metropolitan World Atlas (2005), Atlas of the Conflict (2010) and Atlas of the Functional City (2015). 010 Publishers produced a book about Grootens's work in 2010 entitled I Swear I Use No Art At All.

Designer of Ceremony (2015, a set of pictograms and boxed letters published at Optimo). [Google] [More] ⦿

Design studio in Den Haag, The Netherlands. In 2019, they published the experimental typeface Maakhaven. [Google] [More] ⦿

Studio Stilt

Dutch designer of the heavy spurred typeface Part Two (2017). [Google] [More] ⦿

Studio Tiiim
[Timothy Gerdingh]

Studio Tiiim (Elsloo or Stein, The Netherlands) designed the typefaces Happy Jelly Family (2011, by Timothy Gerdingh) and Straight Up (2012, a straight-edged angular outline face). Behance link. [Google] [More] ⦿

Studiostudio
[Christiaan Theo Boer]

Studiostudio (The Netherlands) developed a commercial casual typeface called Dyslexie (2008) to minimize the errors perceived by dyslexics. Created by Christian Theo Boer (b. 1981; located in Zeist), the research was carried out at the University of Twente. In a research article about Dyslexie, Judith van de Vrugt writes: Dyslexia>... it is a word that many dyslexics find hard to pronounce. Christian Boer is one of them. Being a dyslexic student, he came upon the idea for his thesis to design a font that would make letters more distinguishable for someone with dyslexia. Due to the visible distinc- tion, it would be easier to read, and letters would dance less. The Dyslexie font is commercial, but a free trial version is available. [Google] [More] ⦿

Subform
[Dennis de Vries]

Subform is the alias of Heerenveen, Groningen-based designer Dennis de Vries, offering branding and design services for digital and printed use. In 2014, he created the hipster sans typeface Groningen, which is free at Citype. Behance link. [Google] [More] ⦿

Sueh Li Tan

Graphic and type designer from Penang, Malaysia, who lived in The Netherlands and is now in Kuala Lumpur, where she founded Huruf, a malaysian type collective. Graduate of the Type and Media program at KABK, 2009. There, Tan tried a revival of Bembo (2008) and created Callie Text and Callie Display (2009), a text family, as the graduation project.

In 2010, in collaboration with Martin Frostner, she created the custom octagonal / calligraphic typeface Biskops Arnö for Nordic Folk High School Biskops Arnö at Mälaren.

Creator of Interieur (at Sara De Bondt Studio in London), Monster Type, and DrawbotScript.

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

Suleyman Yazki

Istanbul-born graphic designer and typographic researcher, now located in Geneva, Switzerland. During his studies in the Master of Graphic Design program in Rennes (France), he created Lita (2012), a thin grotesk typeface. L'Atelier (2012) is an experimental typeface designed with Colophon Foundry (UK) for the international Chaumont graphic design festival.

In 2013, he created the distinctive typeface Auger for Auger Paris: Created by Raymond Jacquet in 1946, the studio, which has the distinction of being one of the last existing typography and wood engraving studios, has been managed by the typographer and engraver Vincent Auger since 2004, who perpetuates this prestigious studio. To improve the image of the studio, the aim of the new identity was to think up a character relating to the book and its history. The design is based on a more contemporary didone, while strongly influenced by Art Deco aesthetics.

He joined Studio Dumbar in Rotterdam. Graduate of the School of Applied Arts of Rennes (France) and of DSAA LAAB Academy in 2014. In 2014, he started work at Prologue Films in Los Angeles. At Fontfabric, he published the free Latin / Cyrillic stencil font Rafale (2014) and the art deco font Auger.

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

Summer Yang

During her studies in Hilversum, The Netherlands, Summer Yang created some experimental typefaces for Latin and Chinese. [Google] [More] ⦿

Sun Jung Hwang

Sun Jung is a graphic designer originally from South Korea. She graduated BA in graphic design at the Royal Academy of Arts (KABK), Den Haag, in 2006. Before her second stint at KABK, resulting in a Masters degree in type design, she worked in the fields of advertising and graphic design. Creator of Superhero (2011) and a few other experimental typefaces. [Google] [More] ⦿

Sunny de Graaf

Sunny de Graaf (Vlaardingen, The Netherlands) created a light stencil typeface in 2013. Behance link. [Google] [More] ⦿

SuperBruut

Graphic designer in Rotterdam, The Netherlands. Creator of the tweetware fonts FFAD Matro (2014, brush face) and Le Super Serif (2014). Behance link. [Google] [More] ⦿

Susana Carvalho

Portuguese designer (b. 1979), who studied communication design at the Faculty of Fine Arts at the University of Lisbon (FBAUL), and obtained her Master's degree at the Royal Academy of Fine Arts (2004) and still lives in Den Haag. She created the experimental sans typeface Vertigo (2004). At the Piet Zwart Institute in Rotterdam, she obtained an MEd with a thesis entitled Counterspace: Classroom Space as a Pedagogic Tool in 2019. She founded Atelier Carvalho Bernau in 2005 with her partner Kai Bernau. She is a guest lecturer at KABK, the Royal Academy of Arts in The Hague (since 2011).

At Atelier Carvalho Bernau in Den Haag, one can look at their commercial type families Atlas Grotesk (2012), Atlas Typewriter (2012), Neutraface Slab, Lyon Text, Lyon Display, and Neutral. Bespoke typefaces were designed for Esquire, Internazionale, and Munich Re. Atlas was released in 2020 at Commercial Type, where a Cyrillic version was added by Ilya Ruderman.

The slab of the famous Neutraface family at House Industries was co-designed by Christian Schwartz, Kai Bernau and Susan Carvalho: Neutraface Slab Text, Neutraface Slab Display.

Susana Carvalho published the bellbottom slab serif Plinc Tuggle at House Industries. It is a digitization of an earlier font by Photo Lettering Inc.

In 2016, Susana Carvalho and Kai Bernau published Algebra (Commercial Type): Algebra evolved from Granger, a headline typeface designed by Susana Carvalho and Kai Bernau for the US edition of Esquire. Algebra is a broad-shouldered slab serif typeface built on superelliptical forms. Its loose spacing gives a remarkably comfortable texture in text, and its crisp detailing gives a distinctive and serious feeling at display sizes, particularly with some negative tracking. Algebra references Adrian Frutiger's Egyptienne, Georg Trump's Schadow, and Hermann Zapf's Melior. [Google] [MyFonts] [More] ⦿

Suzanne van Iddekinge

Dutch designer of a great plumpish alphabet in 2017. [Google] [More] ⦿

Sven Pels
[Sven Pels (was: Pindarots)]

Syriac Computing Institute

Sven Pels (was: Pindarots)
[Sven Pels]

Amsterdam-based half-Indonesian designer of the circle-based typeface Pinda Fancy Sans (2015) and of The Bold Font (2015). In 2016, he created The Next Font (sans) and The Black Font (an all caps poster style sans typeface).

In 2017, he published The Rounded Font and The Light Font, and in 2019 The First Font, The Second Font, The Third Font, The Yellow Font, The Peanut Font, and The Gothic Font. Behance link. [Google] [MyFonts] [More] ⦿

Swip Stolk

Dutch graphic designer from Zaandam (b. 1944), who created the Swip alphabet and typeface in 2002. It is an alphabet in which each symbol represents one Latin character, as in a code. Careful: this page resets the browser window size. [Google] [More] ⦿

Symon De Vries

Dutch penman who published Lust-Hof der Schrijft-Konste (1619). [Google] [More] ⦿

SyrCOM aims at promoting Syriac culture by contributing to the academic field of Syriac studies using computer technology. Their free opentype fonts are here. The font designers at The Syriac Institute / Beth Mardutho are:

Fr. Joseph Tarzi: Serto-Urhoy, Serto-Urhoy-Bold (2000).
George Kiraz and Paul Nelson: Serto-Malankara (2001), Serto-Mardin, Serto-Mardin-Bold (2001), Estrangelo Edessa (2000).

[Google] [More] ⦿

Taco Hoekwater

Free type 1 fonts, created from metafont source code by Taco Hoekwater, using Hobby's metapost to get .eps files, and then Kinch's metafog to get .pfb files. Hinted and touched up manually with FontLab v3.0c. Included are: rsfs{5,7,10}, wasy{5,7,10,b10}, stmary{5,6,7,8,9,10}, xipa{10}, logo{8,9,10,bf10,sl10}. Go to ps-type1/hoekwater of the respective metafont font directories. Check also here or here. Taco also created arrow10, a font that contains about all the arrows and harpoons that Unicode, MathML, the STIX group and Taco Hoekwater could come up with. (Quote from Taco himself.) [Google] [More] ⦿

Tania Raposo

Graphic designer from Portugal who obtained a Bachelors in Graphic Design from ESAD.CR in Caldas da Rainha, and a Masters in type design from KABK, Den Haag, 2010. She interned for one year with Rob Saunders in California (where she was curatorial assistant at Letterform Archive), taught at the California College of the Arts, San Francisco City College and Type@Cooper West program (where she also was program coordinator), and was based for some time in Brasilia, Brazil. Currently she lives in the Netherlands where she works as freelancer, collaborating with the foundry Feliciano Type, and teaching typography at the Type and Media Master.

At KABK, she designed the Guia family in2010 for pedestrian wayfinding. In 2009, she did a revival (still at KABK) of Frank Hinman Pierpont's 1925 face, Horley Old Style. In 2016, she designed the pixel font TatiFox (FontStruct).

Also check her type portraits: Ang San Suu Kyi, Jose Ramon Horta, Mahatma Gandhi, Martin Luther King, Nelson Mandela.

In 2018, House Industries published Coryn Didot and writes: Coryn Didot updates the Modern type style's elegant hairline strokes and crisp serifs by introducing a seductive squircular silhouette. Truly a font for lovers of alluring typography. Coryn Didot is based on a Photo-Lettering alphabet drawn by C.E. "Les" Coryn. The original appeared in the company's 1965 Alphabet Thesaurus Vol. 2 under the name Galax Didot. A revised design, introduced in the early 70s as Galaxy Didot, served as the basis for House Industries' version which was digitized by Tania Raposo in 2013. [Google] [More] ⦿

Tania Shoukair

Tania Shoukair studied visual communication at The Lebanese University, and worked as a graphic designer and illustrator in Utrecht, The Netherlands. Presently, she is based in Amsterdam. She created Kafiye (2012, a textured Latin typeface influenced by the traditional Arab headdress) and the experimental typeface Ink (2010): Colored ink thrown into clear water was documented and used to detect shapes resembling alphabet letters. Behance link. [Google] [More] ⦿

Tarek Atrissi

Arabic type site by Tarek Atrissi, a Beirut-born Lebanese professional designer, who is located in Hilversum, The Netherlands. He holds a BA in Graphic Design from the American University of Beirut, Masters of Arts in Interactive Multimedia from Utrecht School of Arts in Holland and an MFA in Design from the School of Visual Arts in NY. A Designer of the 6-weight Arabic family called AT, The Spirit of Doha (2004, for the Asian Games 2006), Al-Ghad (for the Jordanian newspaper Al-Ghad), the Ghad TV font (for the Jordanian station ATV), Etisalat (custom type for Etisalat Communications), Ayna (a squarish typeface done for Ayna.com), and Ambesque (2006, for the Amwaj Islands of Bahrain). He manages Arabtypography.com, a site dedicated solely to Arab typography. In 2008, he created Atrissi Sans. In 2007, he embarked on a project with Peter Bilak to develop Fedra Arabic to accompany Bilak's Fedra family. In 2010, he designed a custom Arabic font for the new BBC Arabic TV channel and custom Farsi face for the new BBC Farsi TV channel. [Google] [More] ⦿

Tariq Arien

Graphic design student in Schoonhoven, The Netherlands, who created the squarish typefaces Squareb45 (2013) and Squareb90 (2013), and the display typeface Leaf (2013).

Tetterode Nederland (or: Lettergieterij Amsterdam)

Tasc Chess Figurine font

The Tasc Chess Figurine font can be freely downloaded here. [Google] [More] ⦿

T.E. Jansen

Dutch wood engraver and printer located in Nijmegen, who lived from 1809 until 1863. He published the lettering model book Cahier van acht en dertig lettermodellen, ten dienste van huis- en rijtuig-schilders, enz. (1854)

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

Tejmur Sattarov

Advertising guy in Amsterdam, who made an artsy typeface in 2010. [Google] [More] ⦿

Tess

This Dutch designer created a nice typographic poster in 2012 entitled Hier brandt altijd licht. [Google] [More] ⦿

Aka Type Foundry Amsterdam, and Lettergieterij Amsterdam voorheen Tetterode, this influential foundry in the Netherlands operated from 1851 until 1988. A lot of the material about Tetterode can now be found at the University of Amsterdam. Its type designers included, most famously:

Sjoerd Hendrik de Roos (from 1907). Lettergieterij Amsterdam had the greatest success with the Hollandsche Mediaeval and other designs by De Roos. He also drew several foreign typefaces. De Roos edited Berthold Grotesk into the best-selling Nobel (1929) and released Libra in 1938. He also designed materials such as ornaments, initials and vignettes.
Dick Dooijes (from 1926). Dooijes certainly made his best work with the Lectura (1969), a classic text type that was created in consultation with aesthetic consultant G. W. Ovink. He is also well known for Mercator (1959) which was known as "the Dutch Helvetica".
Leonard H. D. Smit (from 1949). He designed the script typeface Amazone (1958).
Other type designers included Imre Reiner (Reiner Script, 1951), Walter H. McKay (Columbia, 1956), Henri Friedlaender (the Hebrew face Hadassah, 1958), José Mendoza y Almeida (Pascal, 1961), Gerry Powell (Arsis, 1938, a copy of ATF's Onyx, 1937), Jan Tschichold, Georg Salter, Stefan Schlesinger and Henk Krijger.

Typefaces not mentioned above include Batak (1855), Gracia (1927, script face), Hercules (1926---a fat upright scriptish typeface with bunny ears, digitized in 2011 by Nick Curtis as Herkimer Bunrab NF), Orator and Promotor. [Google] [MyFonts] [More] ⦿

Teup
[Mathieu Klomp]

Mathieu Klomp (Teup) is the Dutch designer of Barbed Ink (2003, a liquid font) and Runes (2003). Alternate URL. Web page was located in Tokelau??? Dafont link. [Google] [More] ⦿

The Blue Bus Software
[Frits Jonker]

Dutch designer and letterer based in Amsterdam, who made many decorative, typically all caps, typefaces starting in 2006. Some of his alphabets are influenced by the rich signage on the buildings of Amsterdam, including the Dutch deco style typefaces in vogue in the early part of the 20th century in that city. Ger van Wulften wrote a book about him in 2021, Man van Letters. [Google] [More] ⦿

The Cardozo Kindersley Workshop
[Lida Lopes Cardozo]

Lida Lopes Cardozo was born in Leiden, The Netherlands, in 1954, and was married to David Kindersley. A well-known letter cutter, she organized David Kindersley's Workshop in 1987. Coauthor with David Kindersley of Letters Slate Cut (Taplinger Pub Co, 1981). After Kindersley's death in 1995, she set up a stonecutting / handwriting / type design site called The Cardozo Kindersley Workshop, to continue what Kindersley started. The list of typefaces published by The Cardozo Kindersley Workshop:

Emilida (Timothy Guy and Lida Lopes Cardozo).
Kindersley Grand Arcade (2005, The Cardozo Kindersley Workshop). Lida writes: Kindersley Street (aka Kindersley Grand Arcade), our new typeface based on Kindersley Mot, is being designed, for the Grand Arcade, Cambridge. It will have a newly designed lower-case to fit the original capitals from David Kindersley's drawings which have now properly digitised. It is the official revival of Kindersley's MoT Serif (1952) [a design that had been submiited for use on UK signs to the British Ministry of Transport]. This typeface is free.
Kindersley Street Italic (Lida Lopes Cardozo and Eiichi Kono). An italic to compliment Kindersley Street.
Pulle (Lida Cardozo): A new titling typeface with a difference. It's called Pulle, and instead of different weights it has 1000 different heights, starting from tall and getting taller. Lida named it after her brother, Paul Pulle, who sadly died in the year 2000. Lida has been drawing and cutting this particular letterform for over 20 years. The typeface was used publicly for the first time for a glass panel in the recently refurbished Cambridge Central Library.

[Google] [MyFonts] [More] ⦿

The Enschedé Font Foundry (TEFF)

The firm of Joh. Enschedé en Zonen was established in Haarlem (Netherlands) in 1703. It is widely recognized as one of Holland's finest printing houses. Enschedé prints banknotes and stamps for the Dutch government, fine art catalogues, and commercial high-quality work. Enschedé started type manufacturing in 1743 after purchasing the foundry of Hendrik Wetstein. From its early years the type foundry was the most important part of Enschedé's business. The famous punchcutter Johannes Michael Fleischman was employed there in the eighteenth century. Its type business flourished throughout the eighteenth and nineteenth centuries, and in the twentieth century the foundry achieved widespread international acclaim through the design and production of types by Sjoerd H. de Roos and Jan van Krimpen. In 1978, to celebrate their 275th anniversary, Enschedé commissioned Bram de Does, one of Holland's leading typographers, to design a typeface specifically for phototypesetting. The result was Trinté a typeface which clearly shows its provenance and which continues the tradition of type design established at Enschedé so many years before. In 1991 Peter Matthias Noordzij established The Enschedé Font Foundry. His high standards of design and craftsmanship, his wide technical expertise, and his established skill as a type designer, made him ideally placed to continue Enschedé's tradition of high-quality type design and manufacture using contemporary technology. He soon made Trinté available in the PostScript font format, and this was followed by Lexicon (1992) also by Bram de Does. Renard, by Fred Smeijers, based on the types of Hendrik van den Keere followed. Ruse, by Peter Matthias's father, Gerrit Noordzij, and Collis, by his brother Christoph Noordzij were released in 2000. Besides selling well designed and original typefaces to the general public, The Enschedé Font Foundry also does commissioned work on type, so called custom fonts. The latter include a phonetic version of Lexicon commissioned by Van Dale Lexicografie, and a Headline version of Lexicon commissioned by NRC Handelsblad. [Google] [MyFonts] [More] ⦿

The Fabriek (or: Meet Brent)
[Brent Anderson]

Branding and advertising specialist Brent Anderson is based in Amsterdam, where he runs The Fabriek and Meet Brent. In 2019, he designed the perfect-circle-geometric sans typeface Pulp Display and the text typeface Maniac Display. In 2020, he released the wedge serif typeface Node Display. [Google] [MyFonts] [More] ⦿

The Movie Title Stills Collection
[Christian Annyas]

A large data base of movie title images collected by Christian Annyas (Amsterdam). [Google] [More] ⦿

The Typotheque Syllabics Project
[Kevin Allan King]

In 2022, Typotheque launched a series of Unified Canadian Syllabics fonts for indigenous languages in North Anerica. They released eight Syllabic typeface families, a Serif style Lava, a Sans-serif November, November Condensed, November Compressed, rounded fonts October, October Condensed, October Compressed, and stencil fonts November Stencil, with the full Unicode 14 character support.

Typotheque commissioned Canadian designer Kevin King to research the Unified Canadian Syllabics in preparation for designing future Syllabics fonts. Kevin identified that the Nattilik community in Nunavut, the northernmost territory of Canada, was missing 12 syllabic characters from the Unicode Standard, which means that the Nattilingmiutut text could not be written down. Kevin worked with Nilaulaaq, Janet Tamalik, Attima and Elisabeth Hadlari, and elders of the Nattilik community to prepare a Unicode proposal to encode the missing characters. Only after the acceptance of the proposal by the Unicode Technical Committee could fully functional fonts for the Canadian Syllabics be designed, a process that took two years.

Typotheque collaborated with the Carrier community of central British Columbia, which enabled them to successfully propose corrections to the representative glyphs for the Carrier Syllabics in the Syllabics in the Unicode UCAS code charts.

Vimeo documentary. [Google] [More] ⦿

Thecla van Wageningen

Thecla van Wageningen (b. 1992) is based in Maastricht, The Netherlands. She created the children's handwriting font Can you read? (2006). [Google] [More] ⦿

Themes of a scorched earth
[Milan de Jong]

Site run by Milan de Jong, and purported to have "Smashing Pumpkins" fonts. de Jong was at some point affiliated with the University of Twente, The Netherlands. Designers of the TSP series fonts: Tsp19791, Tsp19792, Tsp331, Tspadore1, Tspadore10, Tspadore2, Tspadore3, Tspadore4, Tspadore4Alt, Tspadore5, Tspadore6, Tspadore7ligatures, Tspadore8, Tspadore9, Tsparising1, Tspcherubrock1, Tspdingbats1, Tspfaeomm1Italic, Tspfaeomm1, Tspgreatesthits1, Tspgreatesthits1Bold, Tspgreatesthits1Italic, Tspiofthemourning1, Tspmachina1capsItalic, Tspmachina1capsNormal, Tspmachina1Italic, Tspmachina1Normal, Tspmachina2, Tspmachina3, Tspmcis1, Tspmcis2, Tsppi1, Tsppi2, Tspsd1, Tsptafh1, Tspteitbite1, Tspteitbite2, Tsptonight1, Tspzero1. These are probably renamed or slightly tweaked. The TSP Dingbats font was created by Starseed, Shaun Kardinal, Brian Barbour and Eric Agnew. [Google] [More] ⦿

Theo Kurpershoek

Dutch lettering artist, b. Rotterdam, 1914, d. 1998. He taught lettering at the Gerrit Rietveld Academie in Amsterdam from 1955 until 1971. One of his students there was Gerard Unger. Some of his working papers and designs are at the University of Amsterdam. In 2004, Mathieu Lommen published the paper Belettering van Theo Kurpershoek en Gerrit Noordzij in de Universiteitsbibliotheek Amsterdam in Nieuwsbrief Stichting Drukwerk in de Marge. [Google] [More] ⦿

Theo Molkenboer

Dutch art nouveau era book artist, 1871-1920, whose lettering from 1900 can be admired in Rudolf von Larisch's Beispiele künstlerischer Schrift (1900-1926). [Google] [More] ⦿

Theo van Beurden

Theo van Beurden is a Dutch graphic designer based in Rotterdam, the Netherlands. He graduated from LUCA School of Arts, Ghent, Belgium, class of 2012. In 2015, with Bauke van der Laan, he set up DOGMA, a practice for graphic design and typography. They decided then to digitize Mercator, a famous sans serif by Dick Dooijes (1958, Lettergieterij Amsterdam Tetterode). In 1958, Mercator was lauded as the Dutch Helvetica, to compete with the Swiss typeface Helvetica. Mercator never took off the way Helvetica did, so Bauke and Theo wanted to retrieve it from history's dustbin. Design studio De Ronners from Rotterdam has now used this letter to design the magazine for the members of the Association of Dutch Designers BNO (Beroepsorganisatie Nederlandse Ontwerpers). From 2016-2018 he was a regular guest lecturer at LUCA School of Arts. [Google] [More] ⦿

Theo van Doesburg

Dutch cofounder (1883-1931) with Piet Mondriaan, Bart van der Leck, Anthony Kok, Vilmos Huszar and J.J.P. Oud of the De Stijl magazine in 1917. This was also the start of the De Stijl movement. Born Christiaan Emil Marie Küpper on August 30, 1883 in Utrecht as the son of the photographer Wilhelm Küpper and Henrietta Catherina Margadant. Early in his twenties he started using the name of his stepfather Theodorus Doesburg to sign his early paintings. His first exhibition was in 1908. He died in Davos, Switzerland, in 1931. In 1919 he created an alphabet by dividing a square into 25 equal smaller squares. This alphabet predates Bauhaus experimental types by Kurt Schwitters and others. van Doesburg's alphabet has been mimicked and digitized and used as inspiration by many. A partial list:

Foundry Architype Van Doesburg (1996, David Quay and Freda Sack, The Foundry).
Zwartvet (2002, Max Kisman, Holland Fonts).
van Doesburg by Frank Nichols.
Bonset (2008, Ricardo Cordoba): the name I.K. Bonset was used by van Doesburg in his Dada poetry. Bonset is a free FontStruct font.
Theo (2003, Dan Pike) was inspired by the work of Theo van Doesburg and Theo Ballmer (1902-1965), both of whom created an alphabet based on a basic 5x5 grid system.
Doesburg and Doesburg Fat by Jordan Harper.
Theo Van Doesburg V4.0, a free font by Gonzalo Carretero.
VanDoesburgBrokenFS and VanDoesburg (2002), free fonts by Manfred Klein.
TwentyFourNinetyOne [2491] (2008) by Steve Mehallo.
DeStijl, a free font by Austin Kurowski.
Typeco De Stijl (2012, FontStruct) is by James Grieshaber.
Distill (2009): A type family by Matt Desmond (MAD Type).
Panoptica Doesburg (2003) is a unicase typeface Nick Shinn.

Els Hoek, Marleen Blokhuis, Ingrid Goovaerts, Natalie Kamphuys, et al. penned Theo Van Doesburg: Oeuvre Catalogus (2000, Centraal Museum). Picture of a dada poster by him. Page at Design History. [Google] [MyFonts] [More] ⦿

TheTypes digital type foundry
[Luc(as) de Groot]

Dutch foundry by Luc(as) de Groot. Displays his commercial creations such as AlfAlfabetje, Aquarelkwast, BalpenVelTwee, Druiper, Hand&Feet, HateSchool, ScreenWrite, Typelab, TheAntiqua, TheSerifCorr, GezelligVet, Newspaper (Bukvaraz 2001 award), SpiegelFonts, Sprankelend Licht, Weetikveel, Punker Book, Pistol One, Two and Three, Marieke Serieuzer, MariekeWildStrip, Puntenstraight, PuntenExtremo, PuntenRondom, Drekkig, Modderig, Verschrompelfont. Also logo font services. de Groot was born in Noordwijkerhout in the Netherlands in 1963.

FontFont write-up. Founder of Font Fabrik in Berlin, and of LucasFonts.

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

Theunis de Jong

Typesetter in Dordrecht, The Netherlands. He did a custom typeface for JB Publishing woth Pieter Lamers called Minion Phonetic Pro. It is embedded in this PDF file. [Google] [More] ⦿

Thijs Biersteker

Art director in Amsterdam who made an alphabet for stirring coffee, called CoffeeFont (2010). Behance link. [Google] [More] ⦿

Thijs Janssen

Rotterdam-based graphic designer. In 2009, he made TJGO Crappy (hand-printed face). He also made a beautiful DIN poster in 2009. Behance link. [Google] [More] ⦿

Thijs Janssen

Dutch designer (b. 1985) who lives in Breda. Creator at FontStruct of the tall condensed typeface Fritzl (2009). [Google] [More] ⦿

Thijs Mertens
[Letters en Plaatjes]

Thijs Meulendijks

Dutch designer of the free piano key typeface Antwerp (2015, Citype), which is also called 2602. [Google] [More] ⦿

Thijs Verbeek

Dutch inventor of the skin alphabet (2008). [Google] [More] ⦿

thmbnl.
[Thom Niessink]

Amsterdam-based graphic designer. Creator of the free pleasantly plump rounded sans typeface Oduda (2014). In 2015, he published the modular techno typeface Chromoxome Pro, and a commercial version of Oduda. The geometric sans typefaces Odudo (with an o) and Odudo Soft followed in the Fall of 2015---recognize them in a crowd by the short penis on the g. Odudo Slab and Odudo Stencil were done in 2016, and Odudo Mono">Odudo Mono in 2017. During Typeclinic 11th International Type Design Workshop, he created the typeface Bw Helder (2015). This typeface eventually became the 18-style typeface family Bw Helder (2017) by Thom Niessink and Alberto Romanos.

In 2018, he designed the great super-fat Free Fat Font.

You Work For Them link. [Google] [MyFonts] [More] ⦿

Thom Janssen
[Geen Bitter]

Thom Niessink
[thmbnl.]

Thomas Breure

Art director in Rotterdam, The Netherlands, who created the free all caps typeface Port 118 (2014), which was inspired by sea ports and lettering on passing ships. In 2016, he designed the fine free Bifur-inspired typeface Balans.

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

Thomas Castro

Designer at the The Hague-based foundry LUST of LUSTIncidenz and LUSTPure, LUSTRazor (1992). [Google] [More] ⦿

Thomas Donninger

Dutch designer of a straight-edged modular typeface in 2017. [Google] [More] ⦿

Thomas Huikeshoven

During his graphic design studies, Thomas Huikeshoven (Den Bosch, The Netherlands) created a few hand-drawn typefaces in 2013. In 2016, he created a typeface called Origami.

Aka De Mus Ontwerpt. Behance link. [Google] [More] ⦿

Thomas Klaui
[Frisse Types]

Thomas Milo
[DecoType]

Thomas Milo

Thomas Milo (DecoType, The Netherlands), a specialist in Arabic, Turkic and Slavic linguistics spoke about "The Ottoman roots of Arabic computing" at the Cooper Union, Peter Cooper Suite, 8th Floor, 7 East 7th Street, New York, on October 21, 1999 from 6-7:30pm. [Google] [More] ⦿

Thomas Versteeg

Hilversum-based Dutchman, b. 1992, who created the pixel typefaces Mini Power (2013) and Pixerif (2012). Aka Thumaszz.

Thomas Vree

Dutch type designer, b. 1967, Amsterdam, who now works in Dundas Valley, Ontario, Canada, in pre-press and the print trade. He has had wonderous encounters with other type designers. He made 47 digital typefaces. As far as I can tell, no sales, and no downloads. Behance link. A partial list:

Amazon (1996). Most letters are didone, but some serifs are Bodoniesque.
Amsterdam: A compendium of experimental typefaces done starting in 1988. He writes: My initial forays into type consisted of hacking Letraset, distorting it on photocopiers, playing around with it on stat cameras, then adding to that with tech pens, etc. Then in early 88 I started drawing type on the computer. I was doing fanzines, gig posters, logos, tape covers, etc. and I knew instinctively that I wanted to use typefaces other than the ones I had at my disposal. My choices at the time were very limited, and nothing I had access to accurately conveyed the look I thought would be appropriate for say an experimental electronic combo. So I started drawing my own typefaces.
Bass Bin (1997). A first hint of grunge.
Boloni (1996). A Bodoni face.
Cosmodrome (1992).
Cryptonym (1995). A mishmash of fonts reconstructed to give something magical.
Dirigible (1993). A slightly convex display face.
Dread (1991). In the style of Kisman's Fudoni and Makela's Dead History.
Engravers Initials 2 and 3 (2011). These are Victorian über-ornamental semi-blackletter typefaces based on designs found in Dan X. Solo's Gothic and Old English Alphabets from Dover Publications.
Faith. Thomas writes: Back in 94, 95 Paul Sych of Faith asked me to do the production work on a typeface package he was going to release through Thirstype. I created the analphabetic, accented characters, set up the kerning tables, and in some cases, created variants (italic, bold, outline, etc.) One of the typefaces was Wit, which was inspired by the experimental typography of Kurt Schwitters. The set of typefaces Thomas did included Wit, Fix Plain Mix, Fix Sin Mix, Fix Ram Hog Mix, and USeh.
Freddy. A digital version of an art nouveau typeface that Morgan Press had been using in the 1960s [those psych typefaces were mostly inspited by art nouveau].
Gyrosol (1997).
Jarkko. Based on old sign painter lettering.
Lucas: a sans family.
Lucifah: comic book lettering.
Mau Gothic: a bold weight of W.A. Dwiggins's Gothic, on commission for Bruce Mau Design.
Nephilim (1996).
Penetralia (1990). An ultra-condensed face.
Percolator. An organic face.
Poser (1995): A comic book face.
Puffage (2010): a typeface made up of pot leaf elements.
Ray Gun: a type done for a Ray Gun flyer.
Reklame. With hints of Avant Garde.
Snug Industries Font (a logotype done with Tony Elston).
SubRosa (1992). A squarish condensed face.
Thornaments. A set of symmetric ornamental symbols.

Behance link. [Google] [More] ⦿

Tijs Krammer

Tijs Krammer (Zeist, The Netherlands) created the commercial sans typeface Chord Symbols (2012). He says: Chord Symbols is a font for musicians. With this font, you can quickly write beautiful chords, using only simple keyboard characters as input. Musicians tend to write chords with regular characters. They use # instead of a genuine sharp, b instead of a genuine flat, dim instead of a small circle, etc. With Chord Symbols, your chords will be better looking, more easily readable and more efficiently notated. Chord Symbols is originally created out of the need to write chords above pop song lyrics. It is designed to also work smoothly in music notation software, like Sibelius, Finale and Encore. [Google] [MyFonts] [More] ⦿

TilburgsAns

Type coop in Tilburg, The Netherlands, run by Sander Neijnens and Ivo van Leeuwen. The free TilburgsAns fonts were published in 2016-2017. Described as raw, joyful, idiosyncratic, humorous and experimental, the fonts are accompanied by a set of icons that characterize the city of Tilburg. TilburgsAnsText and TilburgsAnsIcons appeared in 2017. [Google] [More] ⦿

Tim Beeren

Eindhoven, The Netherlands-based designer of Scratch Font (2015). [Google] [More] ⦿

Tim Hardie

Designer in Amsterdam. His motto is to be like Bruce Lee, but instead of kicking the ass of bad guys I want to kick the ass of bad design. Creator of the Escher-inspired 3d typefaces Verbinding (2017) and Onverbonden (2012). Behance link. [Google] [More] ⦿

Tim van de Kimmenade

Dutch designer at Attak Fonts of AT AK-47 (2005), AT Helix (2004), AT Trash Boldf (2003). [Google] [More] ⦿

Tim van der Post

Web designer and photographer in Rotterdam. For posters, he created an ultra-fat counterless typeface in 2009. [Google] [More] ⦿

Timo Kuilder
[Regular Bold Italic]

Timo Ramuzat

Dutch designer of Malora (2010, handprinting), Marlora Inky (2010, hand-printed), Shit Thizz (2009, grunge) and AeroGodSz (2009, grunge). Chrushed Designs INC. Home page. Another URL. And another one. [Google] [More] ⦿

Timothy Gerdingh
[Studio Tiiim]

Tiny Type Co
[Robin Mientjes]

Tiny Type Co. was established by Dutch graphic and type designer Robin Mientjes in 2016, in Oslo, Norway. Robin writes about herself: Robin Mientjes is a genderqueer feminist type designer, with an obsession for baking, cooking, and thoughtful graphic design. She's been designing for print and web for fifteen years, and studied at the KABK. Her typefaces:

She contributed to the open source font project Open Baskerville (2009).
Dover Display in Sans and Serif versions (2012-2016), with some contrast, sharp edges, and historic influences from the British types Caslon and Gill Sans. Dover Text (Sans and Serif) followed in 2017. Mientjes: Dover Serif Text is a modern Caslon, and Dover Sans Text is the Gill Sans you've always wanted to pair it with. Together, they do it all.
Hume (2016): a collection of sans and display typefaces for the redesign of BNordaaker.
Peaches. A pixel font designed for a comic book artist.
Charlotte Greeven. A high-contrast didone typeface created for fashion designer and illustrator Charlotte Greeven.
Antikva. An angular design based on Oldrich Menhart's Manuskript Antikva (1943). It was developed during her studies at KABK.
Monumental Grotesk (2016). Based on the architectural lettering of Piet Zwart for his friend, Hendrik Berlage.

Tirzah de la Court

Creator of the squarish condensed school project typeface Motype (2013). Tirzah is a multimedia designer in Den Haag, The Netherlands.

Tjarda Koster
[Jelloween Font Foundry]

Tom Beemsterboer

Graphic designer in Amsterdam. Creator of the architecturally inspired sans typeface Haus (2012).

Tom J.C. Raaijmakers
[Neoglyph Studio]

Triumph Spitfire and Automotive fonts

Tom Lugtmeijer

Graphic designer in Den Haag, The Netherlands. Creator of experimental typefaces such as Glam (2011, piano key face), Lucifers (2011, glyphs made with matches), and Elementen (experimental, modular). Home page. [Google] [More] ⦿

Tom Nas

Dutch Designer of Qtypefont (1999, based on the logo of the Audi Quattro). Downloads not functional. Can be downloaded here though. [Google] [More] ⦿

Tom Nijs

Dutch photographer. Designer of the double-scripted typeface Currently Living (2007). Home page. [Google] [More] ⦿

Tom Roubos

Designer in Drongelen, The Netherlands. In 2014, he created the squarish modular typeface Raptor. This typeface was developed during his studies. [Google] [More] ⦿

Tom Schuurman

Zwolle, The Netherlands-based designer of a circle-based typeface (2015). [Google] [More] ⦿

Tom Smile

During his graphic design studies at Les Gobelins in Paris, Tom Smile created the mechanical bicycle-inspired font Velodroom Meka (2015). This typeface was made for a short film about bicycles in French and Dutch movies. [Google] [More] ⦿

Tom van der Linden

Graduate of the Utrecht School of Arts in The Netherlands, b. 1986. Illustrator and graphic designer based in Oud-Beierland (was: Rijnsburg), The Netherlands, who has created some typefaces at FontStruct under the alias Tommiokoman. These include the techno retro sci-fi typeface Tomatron (2014). Tumblr link. Behance link. Dafont link. [Google] [More] ⦿

Tom van Esch

's Hertogenbosch, The Netherlands-based designer of the mural brush typeface Tomsko (2016). [Google] [More] ⦿

Tomas Pasma

Designer in Delft, The Netherlands. Creator of the straight-edged typeface Geometric (2011) and the octagonal grunge typeface Scruffy (2011). [Google] [More] ⦿

Tommy Beemsterboer

Amsterdam and/or Alkmaar-based creator of the simple sans caps typeface Haus (2013), available from Ten Dollar Fonts. Other typefaces by him include Oami (2013, geometric outline face, at Regular Bold Italic), and Dine (2013, quaint serif face).

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

Tony van de Polder

Tony van de Polder (Tonyworks, Rotterdam, The Netherlands) created the Halloween typeface The Roots in 1999. Behance link. [Google] [More] ⦿

Tony Van Nierop

Tony Van Nierop studied at KABK in Den Haag from 2007 until 2010. His typefaces include Byzantia (a warm Latin-style sans), AWM (2012, slightly slabby), and a hexagonal typeface created at FontStruct. [Google] [More] ⦿

Total Identity
[Aad van Dommelen]

Total Identity (est. 2000 out of Total Design, itself founded in 1963) is a major design firm in the Netherlands which in the 60s and 70s employed people such as Wim Crouwel. Its first type design was by graphic and type designer Aad van Dommelen (b. 1956), who was taught by Gerrit Noordzij and worked briefly at URW in Hamburg. Aad, who went on to the Witvorm studio in Amstelveen, The Netherlands. Aad is based in Exloo, The Netherlands. His typefaces:

Many corporate typefaces for companies such as Daum, LG Electronics [the typeface LG Smart, 2013], Heungkuk Insurance (together with Christoph Dunst), SK Telecom (together with André Mol), Total Impact, JTBC Television, MMRO Industries, Stern Groep, Vigilius Mountain Resort, Friesland Campina, Gaffel and Lotte Duty Free.
Oneliner (2002). The firm's sans typeface for its corporate identity, which was built around a simple skeleton.
The commercial typeface Lowland (2013---or possibly called Vestula Light?).
The sans typeface family FF Aad (2015, at FontFont) for annual reports, corporate brochures, wayfinding and branding.
Romaine (2020, at Fontwerk). A 4-style revival of Ascendonica (Robert Granjon, 1570). He writes: There are two digitizations of Granjon Ascendonica available: the previously mentioned Granjon LT [by Linotype: it deviates too much from the original and shows some inconsistencies] and Matthew Carter's ITC Galliard. Carter's version is quite rightly very popular and widespread, but he allowed himself significantly more freedom, especially with the italic. The fine details of the template led to a special feature of Romaine. While all other digital Garamonds or Granjons have rounded or cut serifs, Romaine has sharp ends.

Behance link. Behance link for Witvorm. Fontwerk link. [Google] [More] ⦿

TPTQ Arabic Type Foundry
[Kristyan Sarkis]

Sarkis has a BA in Graphic Design from Notre Dame University, Lebanon, and a Master's from the Design in Type and Media program at the The Royal Academy of Art in The Hague, The Netherlands. He has worked in the fields of graphic design and branding/advertising, and has taught at Virginia Commonwealth University (in Qatar). He was an independent graphic and type designer based in The Hague, The Netherlands, and is currently in Amsterdam. In 2015, he cofounded TPTQ Arabic Type Foundry. Flickr page.

In a KHTT interview, he writes: My first real experience with type was when I was working with Mohtaraf Beirut Graphics (2007), one of the leading design houses in Lebanon. Mohtaraf has a strong affinity to Arabic type and has produced several beautiful Arabic typefaces. Back then, I was given a task to start drawing a typeface. I was hesitant at first, but got very quickly into it. The design director Yara Khoury noticed that I 'have a knack for this', and encouraged me to go on with it. I was delighted to have the opportunity to understand a lot more about type under Yara's direction, and with some eye-opening sketches from Ali Assi, to research the calligraphic styles and explore the beauty of the Arabic script. I had very limited technical knowledge in font development at the time, therefore after I did the original digital drawings on Adobe Illustrator, Greta Khoury, my colleague at the time, who was and remains one of my biggest sources of inspiration, took over the project, did her magic tricks with it, and produced it into a working font in Fontlab Studio. I owe my start in type design to Yara Khoury and Greta Khoury and to an endless fascination with the Arabic script and the ethereal art of Arabic calligraphy. This drove me to work on self-initiated typefaces which eventually culminated in pursuing a higher education in Type Design at The Royal Academy of Art in The Hague. There, it all went to a whole new level, with countless additional inspirations: from the great teachers that we had, to all the lecturers and the amazing amount of information that was given to us.

His typefaces:

Thuraya (2010) is his thesis project at KABK: Thuraya is a display Arabic typeface that explores a contemporary context for the Diwani script. It won an award at TDC2 2011.
Still at KABK, he did a revival called Almost Didot (2010).
Coco (2010) is a rounded serif text typeface under development.
About Vespertine Arabic, he writes: Vespertine is a linear font designed specifically for the icelandic artist Björk by M/M Paris. Though seemingly a childish handwriting, the typeface is unusual, tricky and cursive with intricate curves. These characteristics, along with the thickness, x-height, counters and hand movement were meticulously studied and implemented in the Arabic version without undermining its legibility.
He also created Always Arabic, an Arabic companion of the Latin house font Always used by the feminine hygiene product company by the same name.
Amale is a modern Arabic display typeface suitable for newspaper headlines, book titles and logotypes.
Designer of Colvert Arabic (2012, Typographies.fr).
Louvre Abu Dhabi Logotype (2013).
Greta Arabic (2011), which was designed for newspapers, won an award at TDC 2012 and again at TDC 2016.
Kanun (2016-2017) by Krystian Sarkis is an Arabic signage type family carefully crafted to also handle long texts. It is the Arabic counterpart of Typotheque's November. Co-designer with Maha Aki of the Latin / Arabic typeface Kanun Stencil (2021), a playful typeface inspired by industrial signage and mechanical stencilling. Kanun Stencil is equipped with a collection of transportation and travel-related signs, symbols, icons, and various sets of arrows for signage and wayfinding systems. Kanun is meant as an Arabic counterpart of Peter Bilak's November.
Teshrin (2017). A warmer version of Kanun, still well equipped for information signage and wayfinding projects.
Qandus (2017-2019). A Latin / Arabic cooperative typeface by Kristyan Sarkis and Laura Meseguer.

Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Laura Meseguer and Juan Luis Blanco, the Typographic Matchmaking in the Maghrib project of the Khatt Foundation, which tries to facilitate a cultural trialogue as well as shed a typographic spotlight on the largely ignored region of the Maghreb in terms of writing and design traditions. The specific goal of the collaboration is the research and development of tri-script font families (for Latin, Arabic and Tifinagh) that can communicate harmoniously.

Behance link. Personal home page. [Google] [More] ⦿

Traffic Sign Typefaces: Netherlands
[Ralf Herrmann]

Ralf Herrmann discusses Dutch traffic typefaces. Quoting some passages: Until recently the organization being in charge of the traffic signs was the ANWB. It was founded as a Dutch bikers(!) society ("Algemeene Nederlandsche Wielrijders Bond") in 1883 and later became the royal tourist society. [...] The typeface used since the 1960s is called ANWB-Ee (also RWS-Ee) and it is based on FHWA series E (Modified) from the United States. A condensed version (ANWB-Cc) is also available and it is based on the FHWA series C design. In the late 1990s Gerard Unger was commissioned to design a new typeface called ANWB-Uu. [Google] [More] ⦿

Trip Productions

Dutch company based in Lisse that bought Mecanorma in 1999. [Google] [MyFonts] [More] ⦿

Dutchman Jordens designed the Spitfire font, in memory of the hood sticker font on the 1500 Triumph Spitfire by that name. Free, truetype. The font is called 1500outline and was made in 1999 (coyright Profiles Publishing). A second font at the site is called Hood Ornament (2000). [Google] [More] ⦿

Troy Leinster

Troy Leinster is a graphic designer from Brisbane, Australia, who is based in Amsterdam. Before studying TypeMedia at KABK (class of 2013), Troy attended the type design unit at Monash University in Melbourne, and is a graduate of Type@Cooper at The Cooper Union in New York City.

His graduation typeface at KABK was Brisbane (2013): Brisbane is a relaxed, self-assured sans serif designed specifically for pedestrian wayfinding in the city of Brisbane, Australia. The family has a range of three weights in five styles plus accompanying optical grades for inverted use. This makes Brisbane a solid candidate for orientation systems in the city or suburb.. This typeface has oomph and character, and should prove a sturdy and fun typeface for any city that uses it.

For his revival project at KABK, he chose Nieuw Javaansch No.1 (2012). Nieuw Javaansch No.1 was the first text typeface designed by S.H. de Roos in 1909 while working at Lettergieterij Amsterdam (formerly known as N. Tetterode). It is a Javanese script.

True Type chess fonts
[Hans Bodlaender]

Hans Bodlaender's chess font archive: very useful! It includes many fonts by Armando Hernandez Marroquin (Figurine Symbol fonts, Chess-Alfonso-X, ChessAdventurer, Chess-Condal, Chess-Harlequin, Chess-Kingdom, Chess-Leipzig, Chess-Line, ChessLucena, Chess-Magnetic, Chess-Mark, Chess-Marroquin, Chess-Maya, Chess-Merida, Chess-Millennia-D, Chess-Millennia-L, Chess-Miscel, Chess-Motif, Chess-Mediaeval), Chess Utrecht (by Hans Bodlaender), Chess Cases (by Matthieu Leschemelle), Chess Montreal, the Checkers or Draughts font by Hans Bodlaender (b. 1960, Bennekom, the Netherlands). Many links to chess board generating filters. [Google] [More] ⦿

TrueFont Family (or: TFF)
[Remon Lammers]

Remon Lammers from The Netherlands has a great little tool (in CSS and HTML) that permits one to use one's own fonts or fonts available on the internet on web pages. Dynamic text replacement based on images---no Flash or plugins. [Google] [More] ⦿

TrueType
[Roy Triesscheijn]

A TrueType parser for reading, glyphIds, names, descriptions, and kerning information from TrueType fonts. By Dutchman Roy Triesscheijn. [Google] [More] ⦿

Truly Type
[Philip Cronerud]

Designer from Stockholm, Sweden, who moved to Amsterdam in 2011 where he founded the type foundry mediumextrabold in 2013. His collection of typefaces is characterized by conceptual design, clean aesthetics and functional form in the Scandinavian tradition. His typefaces are treated like real objects, i.e., each family comes in editions and consists of 50 to 1000 copies. When sold out, they are no longer available. The catalog of mediumextrabold:

Atelier (2015)

Blanche (2015)

D1 Models (2015). A bespoke typeface.

Deursen

Duplex

Edie

Everyday (2015)

Galleri

Grotezk (2015)

Inkwell

Maud

North

Pavillion

Practice

System

Tilda

Wired

In 2016, Cronerud set up Truly Type, and writes: We are a San Francisco based type publisher, founded in 2016. Trulytype is used as a platform to produce and distribute typefaces made in close collaboration with a growing number of artists, institutions, writers and designers. The typefaces at Truly Type:

Afrika Sans (2017).
Blanche Sans (2015).
Dakota Serif (2019).
Dooijes Sans (2018). They write: In the mid-1950s Dick Dooijes had started the development of a typeface that would come to be known as Mercator, the dutch Helvetica. First presented it proved to be an immediate, sensational success. The years passed, and yet, there was still no legitimate version around. When we started our research we wanted to be true to the bolder weights and modernize the lighter ones. Finding cues in archival specimens the result was a subtle refinement to the original. Dooijes Sans, named after its creator has been entirely reworked and expanded from multiple weights, including italics and alternative character styles.
Everyday Sans (2014).
Faux Sans (2017).
Grotex Sans (2013).
Kawara Sans (2017).
Maud Serif (2016).
North Serif (2019).
Ordinary Sans (2014).
Practice Sans (2018).
Tilda Sans (2019).
Tilt Sans (2017).
Ulrich Serif (2018).
Werk Sans (2015). A display sans influenced by mid-20th century architecture journals.
Winona Sans (2015).
Yoko Sans (2017). Characterized by square counters.

Home page of Philip Cronerud. [Google] [More] ⦿

Tulio Laanen

Tilburg, The Netherlands-based designer of the experimental Japanese typeface One Hiragana Katakana (2017). Behance link. [Google] [More] ⦿

Tup Wanders

Dutch designer from Groningen, b. 1960. At Dafont, one can download his creations: Evil Empire (2019: a semi-constructivist typeface), Curvilingus (2019: a sensual typeface), Zowieyoe (2018), Hokjesgeest (2018: bilined and monospaced, all caps), Hokjesgeest Cube (2018), Kwajong (2018: modular), Brewsky (2011, inline poster face), Alpenkreuzer (2011), Gladifilthefte (2009), Effortless (2009, rounded black face), AaarghNormal (2004, clean sans), BlokHeavy (2004), FETTECKE (2004), FORQUE (2009, strong sans display), Farckenzlabb (2004, Frankenstein style), Gobbledegook (2000), GreenbeansThin (2000, hand-printed), Milkmoustachio (2011, curly handwriting), Quickie (2000, hand-printed outline face), Remarcle (2000, connected diners script), RemarcleLeft, RemarcleRight, Snickles (2009, comic book). I have to hand it to Tup---that is one of the funniest home pages I have ever seen.

Alternate URL. Font Squirrel link. Fontspace link. FontM link. [Google] [More] ⦿

Twisted Type (or: Unlinear, Subdue.com)
[Rob Irrgang]

Twisted Type (or: Unlinear) is Rob Irrgang's Dutch foundry. He used to run Subdue.com. Original freeware creations by Rob Irrgang include BurnYourPhone, Cynic, Fucker50, New, Novocaine, Splintered, Tainted, ApocataStasis, Signal, Bergmark, Denial, Typo (old typewriter), Typo Negative, Horrorshow, Plakat, TypoNegative. Unfortunately, I can't find these fonts any longer. Recent unpublished work includes the bitmap font with 1 pixel ascenders, Theoria (2002). He published the futuristic sans family Orbit (2003, done with chester) at Thirstype.

Alternate URL. 1997 archive.

TYP (Typografisch Papier)

Typography magazine from the Netherlands, edited by Assi Koostra, Max Kisman and Peter Mertens. [Google] [More] ⦿

Type Amsterdam 2011

Type Amsterdam 2011 took place on October 6, 2011, at the University of Amsterdam. The speakers are John Lane, Lida Lopes Cardozo, Paul van der Laan, Pieter van Rosmalen, and Frederik Berlaen. [Google] [More] ⦿

Type and Media Master at the Royal Academy of Art

The premier type design program in the world, which is part of the KABK, the Koninklijke Akademie van Beeldende Kunsten. Nothing comes close to this wonderful institute located in Den Haag, The Netherlands. [Google] [More] ⦿

Type Cooker

TypeCooker is a project by Erik van Blokland, LettError.com, and TypeMedia.org. TypeCooker is a (teaching) tool for generating type-drawing exercises. The system creates a random list of requirements for a typeface, but with relevant criteria. Each exercise will contain different rules. That does not necessarily result in a nice, pretty or useful design, but it will always be possible to design something to fit the problem. [Google] [More] ⦿

Type Generator
[Sibe Kokke]

Type Generator is a very interesting software project by Dutchman Sibe Kokke. It generates fonts based upon a set of parameters such as contrast, x-height, point positioning and curves, a bit in the style of metafont, and was developed with the help of tools like Drawbot and Robofab. Sibe Kokke is also the designer of experimental typefaces such as The King (pixel family), Mullerpier (grunge), Glue Print (grunge) and Arab (Arab type simulation in Latin handwriting). Sibe obtained a Masters in type design at KABK. [Google] [More] ⦿

Type Invaders
[Paul van der Laan]

Located in Den Haag, this company is run by Paul van der Laan. Designers of Rezident, Outbox, Feisar, Decaf, Clairsys and Raz. [Google] [MyFonts] [More] ⦿

Type Mafia (was: DolWork)
[Gerben Dollen]

Type Mafia is a young design studio in Amsterdam specializing in type design. One of its members is Gerben Dollen (b. 1982, Almelo, The Netherlands), who studied graphic design in Groningen. During a study exchange at the California College of the Arts in San Francisco, he became interested in typeface design while attending Max Kisman's FontLab class. Dollen completed an MA in Typeface Design in 2007 at the University of Reading. Today he works from his studio Type Mafia.

In 2010, Type Mafia published the 12-style humanist sans family Actium by Gerben Dollen.

Gerben invented Smart Capo: a feature that automatically activates once you type an uppercase letter together with a number. When a capital letter is sat next to a numeral, Smart Capo converts the letter to a mid-cap --- a contemporary alternative to small caps --- and the default old-style numeral to a lining numeral. Actium's mid-caps and lining numerals have been designed with the same height (between cap and x-height) so they sit comfortably next to each other and fit more harmoniously into text. [Google] [MyFonts] [More] ⦿

Typearture Type Foundry
[Arthur Reinders Folmer]

Arthur Reinders Folmer (or Arthus) is from Haarlem, The Netherlands. Future Fonts link. He created the free ornamental all-caps typeface Magical Unicorn (2011), Elerium (2012, an upright italic), and the tringaulated Crystalline (2012). It has been a long wait, but finally someone had the courage to create a typeface with the name Obesitas: Obesitas Sans (2012), advertised as the mother of all fat typefaces. Pylon (2012) was inspired by electricity pylons.

In 2013, he designed Angellocks, a semi-blackletter typeface.

In 2016, he designed Utopia Initials and the ABC of Bad Events.

Typefaces from 2017: The Disclosure Dingbats, Fabel, Pegacorn Initials.

Typefaces from 2019: Schijn Variable (a gemstone-styled variable font, with layering and outlines). Schijn won an award at 23TDC.

Typefaces from 2020: Gimme (experimental color fonts including Constructo and Battleships; +a variable font).

Typefaces from 2021: Sugarshop. Future Fonts link. [Google] [MyFonts] [More] ⦿

Typebase
[Donald Roos]

TypeBase contains 508 links to fine quality typographic websites around the world, selected by Donald Roos [VetteLetter, was: Otherways] and Robert-Jan van Noort [Studio Pankra]. Not updated since 2009. [Google] [More] ⦿

Typeface App
[Floor van Steeg]

In 2016, Floor van Steeg launched the 10$ Mac typeface app for choosing an appropriate typeface. Behance link. [Google] [More] ⦿

TypeFaith Fonts
[Léon Hulst]

Leon Hulst (TypeFaith) was born in 1966. Typographer at WAT Ontwerpers in Utrecht, The Netherlands, and affiliated with Linotype.

Commercial fonts: ReadMyHand (1994, brush), Bombin, Fix, Cubi, Berkhout (handwriting), Miguel (sans family), Salamanca Caps, Ponsi Rounded (2011).

Free fonts at TypeFaith, his place on the web, all made ca. 2008: AlbaJulia-ExpandedBold (techno), AlbaJulia-ExpandedBoldItalic, AlbaJulia-ExpandedRegular, AlbaJulia-ExpandedRegularItalic, Dilys-Bold (organic), Dilys-BoldItalic, Edding-Italic, Edding (brush), FixFlat-Italic, FixFlat, Flowmotion-Heavy (2010), LowFile-Bold (grunge), LowFile-BoldItalic, LowFile-WidthOblique, Mellow-Italic, Mellow (comic book family), PaloAlto-Italic, PaloAlto (sans), Per4m (dot matrix face), Stitch Cross.

Creations from 2012: Ponsi Rounded Slab (the regular weight is free), Danze Script, Salamanca TF, Moonface Script (an elegant display serif typeface family).

Typefaces from 2013: Lev Serif, Lev Black Distressed (2015, free).

Typefaces from 2014: Picastro (retro signage script), Desierto, Frye Caps, Birchwood (hand-printed), Fix Fat Black, Seren Script, Planjer (art deco), Planjer Distressed.

Typefaces from 2015: Jason Capitals (a revival of a woodblack capitals alphabet), Bakersville (Full, Line: hand-drawn, sketched), Lev Serif Grunge, Blackflower (brush face), Inkredible, Goldpicker (a layered Western typeface), Goldpicker Line (bilined; blackboard bold).

Typefaces from 2016: Amilly Script (a heavy nibbed pen script), Rozy Cursive (based on Ella Cursief/Handels-Cursief by Sjoerd de Roos for Lettergieterij Amsterdam in 1915), Jason Distressed, Toxa Ink, Donker Caps (wood type emulation).

Typefaces from 2017: Organa (a futuristic typeface family).

Typefaces from 2018: Solente (art nouveau-inspired with Victorian decorations).

Typefaces from 2019: Chaumin (hand-printed).

Typefaces from 2020: Pinkhoff Caps (in Dutch deco style).

Typefaces from 2022: Thirty Nine Stencil.

Klingspor link. FontShop link. Behance link.

Known as Misha at iFontMaker, he drew the outlined hand-printed Miff (2011). [Google] [MyFonts] [More] ⦿

Typemedia 2011

Showcasing the typefaces made by the 2011 graduates of the type design program at KABK in Den Haag: Sun Jung Hwang, Lauri Toikka, Colin M. Ford, Florian Schick, Linda Hintz, Marina Chaccur, Malte Herok, Yassin Baggar, Alpkan Kirayoglu, Emma Laiho, Kunihiko Okano, Yanone. The typography of the web site and the color palette are great but the horizontal design and the peekaboo windows are annoying and not worthy of a school of the caliber of KABK. [Google] [More] ⦿

Typemedia 2013

Presentation of the graduation ptojects of the Type Media program at KABK in Den Haag, class of 2013. The graduates: Troy Leinster from Australia, Krista Radoeva from Bulgaria, Etienne Aubert Bonn from Canada, Teo Tuominen from Finland, Bernd Volmer and Lukas Schneider from Germany, Adam Katyi from Hungary, Tania Alvarez Zaldivar from Mexico, Sun Helen Isdahl Kalvenes from Norway, Barbara Bigosinska from Poland, Diana Ovezea from Romania and Maria Doreuli from Russia.

The teachers: Françoise Berserik, Peter Bilak, Erik van Blokland, Petr van Blokland, Frank Blokland, Paul van der Laan, Christoph Noorzij, Just van Rossum, Jan Willem Stas and Peter Verheul. [Google] [More] ⦿

Typemedia alumni

One of the top two programs in the world is KABK's TypeMedia program in Den Haag, The Netherlands. Many of its fraduates go on to become successful type designers. The list of graduates since its inception in 2002:

2019-2020: Thomas Bouillet, Nina Botthof, Arnaud Chemin, Jamie Chang, Celine Hurka, Jovana Jocic, Ruggero Magri, Elena Peralta, Renan Rosatti, Jan Sindler, Olga Umpaleva, Huw Williams.
2018-2019: Eva Abdulina, Alexis Boscariol, Ryan Bugden, Luke Charsley, Ethan Cohen, Rutherford Craze, Anya Danilova, Ricard Garcia, Fabiola Mejia, Joona Louhi, Michelangelo Nigra, Celine Odermatt.
2017-2018: Rafal Buchner, Zrinka Buljubasic, Sean Donohoe, Mona Franz, Namrata Goyal, Lisa Huang, Noheul Lee, Stephen Nixon, Gen Ramirez, Claudia Rifaterra, Katja Schimmel, Carlos de Toro.
2016-2017: Dan Coull, Sven Fuchs, Pablo Gámez, Borna Grcevic, Ro Hernández, Eun You Noh, Thom Janssen, Eino Korkala, Muki Monsalve, Martin Pysny, Lipi Raval, Magda Wisniewska.
2015-2016: Roberto Arista, Selina Bernet, Alessio D'Ellena, Daniel Grumer, Jitka Janeckova, Bogidar Mascareñas, Daria Petrova, Inga Plönnigs, Marc Rouault, Paul Troppmair, Bart Vollebregt, Franziska Weitgruber.
2014-2015: Tilmann Hielscher, Tezzo Suzuki, Philipp Beatrix Neumeyer, Minjoo Ham, Marko Hrastovec, Loris Olivier, Katerina Kochkina, Jasper Terra, Heidi Rand Sørensen, Elliott Amblard, Cristian Vargas, Benedikt Bramböck, Bahman Eslami.
2013-2014: David Chmela, James Edmondson, Mark Fromberg, Slava Jevcinova, Hugo Marucco, Alexandre Saumier Demers, Nina Stössinger, Mark De Winne. Gallery
2012-2013: Tania Alvarez Zaldivar, Etienne Aubert Bonn, Barbara Bigosinska, Maria Doreuli, Sun Helen Isdahl Kalvenes, Adam Katyi, Troy Leinster, Diana Ovezea, Krista Radoeva, Lukas Schneider, Teo Tuominen, Bernd Volmer. Gallery
2011-2012: Noe Blanco, Aliz Borsa, Joe (Hsuan-Hao) Chang, Dave Foster, Christine Gertsch, Pradnya Naik, Sveinbjörn Pálsson, Daniel Perraudin, Jose Reyes Cabrera, Alexander Roth, Aleksandra Samulenkova, Hrvoje Zivcic. Gallery
2010-2011: Yassin Baggar, Marina Chaccur, Colin Ford, Jan Gerner, Malte Herok, Linda Hintz, Sun Jung Hwang, Alpkan Kirayoglu, Emma Laiho, Kunihiko Okano, Florian Schick, Lauri Toikka. Gallery site for 2011
2009-2010: Martina Flor, Jon Glarbo, Frank Griesshammer, Friedrich Grögel, Yohanna My Nguyen, Slavka Paulikova, Tania Raposo, Kristyan Sarkis, Brigitte Schuster, Irina Smirnova, Nils Thomsen.
2008-2009: Laure Afchain, Khajag Apelian, Marta Bernstein, Jan Filipek, Abi Huynh, Ondrej Job, Holger Königsdörfer, Charles Mazé, Dan Milne, César Puertas, Sueh Li Tan.
2007-2008: Francesca Bolognini, Alessia Castelli, Mathieu Christe, Roland Dill, Berton Hasebe, Thomas Klaui, Johannes Lang, Ross Milne, Jonathan Pierini, Gustavo Soares.
2006-2007: Eike Dingler, Thomas Gabriel, Sibe Kokke, Sonja Ladebusch, Sebastien Sanfilippo, Ludwig Uebele, Edgar Walthert, Marieke Wynants, Seonil Yun.
2005-2006: Christina Bee, Frederik Berlaen, Kai Bernau, Alexandra Busse, Christoph Dunst, Gustavo Ferreira, Anton Koovit, Annika Larsson, Malou Osendarp, Ian Party, Mattias Schelbert, Joel Shane, Pascal Zoghbi.
2004-2005: Yomar Augusto, Andy Clymer, Nikola Djurek, Wendy Ellerton, Ryan Pescatore Frisk, Sibylle Geiger, Hanna Hakala-Kurppa, Pascal Richon, Ilya Ruderman, Annika Schorstein, Erwin Timmerman, Stefan Willerstorfer.
2003-2004: Susana Carvalho, Alessandro Colizzi, Ramiro Espinoza, Vera Evstafieva, Maarten Idema, Krassen Krestev, Laura Meseguer, Circe Penningdevries, Trine Rask Olsen, Bas van Vuurde.
2002-2003: Marie Aumont, David Esser, André Heers, Indre Klimaite, Diego Mier-y-Teran, Britt Möricke, Ruth Nezer, Artur Schmal, Barbara Alves.

[Google] [More] ⦿

TYPETR (was: Buro Petr van Blokland + Claudia Mens)
[Petr van Blokland]

Petr van Blokland (b. Gouda, 1956) is an influential Dutch typpe designer and type technolgy specialist. In 1980, Petr co-founded Buro Petr van Blokland + Claudia Mens, which was a design and typography outfit in Delft (The Netherlands) that marketed RoboFog, a scripting language for Fontographer. From 1984 until 1989 he taught at the Academy for Visual Arts in Arnhem. Since 1988 he is a teacher at the Graphic and Typographic Design Department and the post-graduate course Type&Media of the Royal Academy of Visual Arts in The Hague. In 1988, he received the Prix Charles Peignot. In 2017, van Blokland joined the Type Network as TYPETR. His typefaces:

Vijfzeven (1978, dot matrix).
Proforma (1984, available from Font Bureau) and Productus (1992, Proforma's sans sibling).
Prolinea (1999). The sans serif counterpart of Proforma.
Deforma (1999).
the Künstlerbrüder-Schriftfamilie (2005). A family of 30 fonts (10 widths, 3 weights) based on 3 width masters for each of two weights co-designed by Erik and Petr van Blokland. It is a quirky and refreshing family made for banners for the Münchener Haus der Kunst.
Bitcount (2017). A pixel font and layered pixel font project consisting of 300 fonts published by Type Network, advertized as the only pixel font you will ever need.
Upgrade (2018). A low-contast sans typeface family published at the Type Network.
Powerlift (2018). A chunky, funky, punchy display slab serif.

Keynote speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2017 Montreal: Code All Your Graphic Designs with PageBot, DrawBot and Variation Fonts.

Klingspor link. FontShop link. Old URL. Type network link. Old personal home page. [Google] [MyFonts] [More] ⦿

TypExpo
[Sander de Voogt]

TypExpo is Sander De Voogt's type site in The Netherlands. He designed Berkel, Ekster, Ekster Techno, Hangover and Rotterdam in 2004. All typefaces are in the experimental category. Alternate URL. [Google] [More] ⦿

Typografie html-site

Dutch type site and blog, with a glossary, and explanations of the main styles of typefaces. It is run by Milena Spaan, Sandra Kassenaar and Maurits de Bruijn. The former two are students, and the latter is a teacher at the Hogeschool voor de Kunsten Arnhem. [Google] [More] ⦿

Typografische Index

Typographical links. [Google] [More] ⦿

Typographic Matchmaking
[Huda Smitshuijzen AbiFarès]

A book by Huda Smitshuijzen AbiFarès published in 2007. It describes her project, started in 2005, of matching Dutch and Arab type designers to design Arabic counterparts of Dutch typefaces. The "couples" are

Gerard Unger&Nadine Chahine: Working on Big Vesta Arabic.
Fred Smeijers&Lara Assouad Khoury: Working on Fresco Arabic.
Martin Majoor&Pascal Zoghbi: Sada, an Arabic companion of Sedra.
Lucas de Groot&Mouneer Al-Shaarani
Peter Bilak&Tarek Atrissi: Fedra Arabic.

: [Google] [More] ⦿

Typolog
[Gerard Voshaar]

Type blog by Dutchman Gerard Voshaar. [Google] [More] ⦿

Typopixo

Typopixo is a boutique type foundry specialized in multi-color webfonts, possibly run [my guess] by Mark van Wageningen. It was launched in January 2014. Based in Amsterdam, Typopixo collaborates with skilled typedesigners, lettering artists, Javascript developers and HTML experts. The site accepts submissions. Techncally, to use their fonts, one needs to do four things: include a JQuery javascript file (in the web page), include the Typopixo library, include the font PNG file (purchased from them), and include the font .js file (comes with the purchase). From that point on, the fonts work precisely as normal fonts. At launch time, these were the designers:

Barbara Bigosinska: Wilda.
Rianne Hulshof: Gluon.
Hubert Jocham: Neoparts.
Novo Typo: Fall, Guru, Lily, Pure, Zita, Lola
Diana Ovezea: Flipster
Daniel Pelavin: Forgia
Giuseppe Salerno: Pink Fraktur, Afrobeat
Kim Slagter: Hi Honey
Teja Smrekar: Klobasa

My initial reaction is disappointment---I thought that color fonts were going to be real fonts that incorporate fancy code in opentype or truetype font tables, with freedom to access all colors in the color cube. But these are just images with colors chosen by the designers and image sizes set to two choices. It is a valid effort, but the ultimate step has to be full inclusion in a standard font format, fully scalable and color-controllable. [Google] [More] ⦿

Underware

Underware is a (typo)graphic design-studio which is specialized in designing and producing typefaces. These are published for retail sale or are specially tailor-made. The company was founded in 1999 by Akiem Helmling, Bas Jacobs and Sami Kortemäki. Since 2002 Hugo Cavalheiro d'Alte is also part of the studio. They are based in Den Haag, Helsinki and Amsterdam. In 2017, they joined Type Network.

Bas Jacobs and Akiem Helmling designed Dolly (2001), a 4-font book typeface with flourishes, brushy, sturdy, Dutch. They created Sofa, a precursor of Sauna (2002; +Sauna Mono Pro), which won an award at the TDC2 2003 competition. In 2002, they made Stool for a Finnish printing house, Salpausselän Kirjapaino Ltd. Ulrika is a custom display typeface designed for Proidea Oy (a Finnish film and video production company).

Unibody 8 and 10 (2003) is a free OpenType pixel font optimized for FlashMX.

In 2004, they created Auto, about which they write: Auto is a sans serif typeface which has three different models of italics, each with its own flavour. The font family consists of 3 x 24 fonts. With its three italics, Auto creates a new typographic palette, allowing the user to drive through unknown typographic and linguistic possibilities. Auto is fully loaded with both full Western and Eastern European character sets. Auto won an award at the TDC2 2005 type competition.

Additional material on the web page: a wonderful intro to type basics, and an intro to OpenType.

In 2004, they published the comic book / signage family Bello, which won an award at the TDC2 2005 type competition.

In 2005, Underware joined the type coop Village.

In 2006, they published Fakir, a blackletter family with Hindi inspirations. Fakir won an award at TDC2 2007.

Interview in 2008.

In 2009, they published the connected script brush typeface Liza (+Text, Display, Caps, Ornaments), which has several versions for each letter.

In 2015, Bas Jacobs, Akiem Helmling and Sami Kortemäki published the stencil family Tripper Pro.

Zeitung Pro (2016) is a substantial sans family, designed for micro and macro use, with optical sizes, and a Zeitung Flex variable Opentype font to boot.

Custom types: Stockmann Sans (2012, with Kokoro & Moi: for the Scandinavian department store), Kone (2012: for the elevator company), Mr. Porter (script with a dozen alternatives for each glyph to better simulate real handwriting; it was awarded at TDC 2012 and at Tokyo TDC 2012), Stool (Headline, Thin, Grand), Sauna Mono (for the Danish Jyske Bank), Fated (fat), Ulrika (rounded and informal, slightly plump: for Proidea Ltd, a Finnish video production company), Suunto (2012; for sports watches, i.e., Suunto's Cobra2, Vyper2 and Elementum).

Underware received a prize in the TDC Tokyo Type Directorts Club 2020 awards for Grammato, a contribution in the area of animated and automated typography. Their typeface Y (2020) is an OpenType Variable Display typeface, based on higher order interpolation. It won an award at 23TDC.

In 2021, Underware released Plakato Pro, a stencil family that expanded into the neon, outline, inline, video game, grunge, kitchen tile and prismatic versions.

MyFonts interview. Type Network link.

View Underware's typeface library. Speaker(s) at ATypI 2019 in Tokyo, where they introduce the notion of grammatography: writing with letters that are not prefabricated, but that react to the user and reader---grammatos. [Google] [MyFonts] [More] ⦿

University of Amsterdam: Special Collections
[Mathieu Lommen]

The library of the University of Amsterdam has many on-line and hard copy collections. Among these, the following stand out:

Archief Jan van Krimpen.
Collectie Bram de Does. Bram de Does designed Trinité (1982) and Lexicon (1992). His original drawings of Lexicon, for example, have been scanned in and can be viewed (but not downloaded). For a digital descendant of Lexicon, see Lucas Sharp's Eros.
Collectie Gerrit Noordzij.
Collectie S.L. Hartz. Sem Hartz worked for Johan Enschedé en Zonen in Haarlem. This collection includes archive material on the typeface Juliana (1958).
Collectie Tetterode. This collection dating from 1971 is quite extensive (17,000 items), including a lot of material on S.H. de Roos. It covers Tetterode's type work from 1851 onwards.

Mathieu Lommen is an author and book historian who works as a curator at the Special Collections department of the Amsterdam University Library. Mathieu regularly publishes on 19th and 20th century book typography and type design. He is also editor of the scholarly magazine Quaerendo. His books include Dutch Alphabets (2016, De Buitenkant, Amsterdam), Letterproeven van Nederlandse gieterijen / Dutch typefounders specimens (1998, Amsterdam), Bram de Does: Letterontwerper and Typograaf (2003, De Buitenkant), and Nederlandse Belettering Negentiende-Eeuwse Modelboeken (De Buitenkant, Uitgelezen Boeken, Jaargang 17, Nummer 3, 2015).

Mathieu Lommen's talk at ATypI 2013 in Amsterdam was entitled Highlights of Amsterdam type design. [Google] [More] ⦿

Valeria Gay

Amsterdam-based creator of the display typeface Bike (2013) and of the slab serif typeface Banana circus, which were created during her studies at KABK in Den Haag.

Behance link. Personal web site. [Google] [More] ⦿

vanAllerlei (or: Illegalistic; was: Illegal Industriez Design)
[Patrick Bloom]

Van Allerlei, and before that, Illegal Industriez Design, is a commercial foundry in Rotterdam, est. 2010 by Patrick Bloom, who describes himself as a transdisciplinary rock artist. Another name is Illegalistic. Patrick made five of his fonts available for free under the Illegal Industriez Design label in 2005: Kriminalita (1999, grunge) was the nicest in my view. Other typefaces included Fontboyz, Agenda (1998, a halftone textured typeface), Bloom (1998), Rapture (1998) and Skwieker (1998). The first commercial font was Real Fat (1999-2010, pixelish). In 2010, he also created the squarish typeface Rotterdamz and the sci-fi typeface Spacy Round.

Aka Patrick Tes Bloom and Patrick Tez Bloom. Klingspor link. Dafont link. Newest Dafont link. Liink for Illegalistic. Free font download site. [Google] [MyFonts] [More] ⦿

VanderKeur
[Nicolien van der Keur]

Graduate from the Art School HKU in Utrecht, The Netherlands, who founded her own studio in 1999. Born in Utrecht, she graduated in 2007 from the University of Reading, with a project entitled Sirba, a Latin and Greek type family designed for dictionaries and small print documents. This typeface was published by Typetogether in 2010. They write: Sturdy and functional in the Dutch tradition---dark, warm and legible. ... Dark? ...

In 2020, she released Typist Code (a 12-style monospaced font family for programmers) and Typist Slab (a monospaced typewriter family). [Google] [MyFonts] [More] ⦿

Varun Vachhar

Indian-born tudent at KABK, Den Haag, who also claims Canada as his residence. He designed Console (2010), a (free) typeface in which all letters are inspired by elements of a computer.

Veerle Pennock

During her studies, Utrecht, The Netherlands-based Verrle Pennock created the minimalist experimental typeface Reflection Pro (2014). [Google] [More] ⦿

Vera van Berkel

During her studies at Grafisch Lyceum Rotterdam, Vera van Berkel (Den Haag, The Netherlands) designed the delicate art deco typeface Decenta (2016). [Google] [More] ⦿

Versch Ontwerp
[Joris Budel]

Versch Ontwerp consists of Joris Budel (1984, Nijmegen, The Netherlands) and Yorick de Vries (1985, Lelystad, The Netherlands). Creators of the free font Habitat (2009), a grungy DIN "custo-made for Habitat de Rotte". Another URL. [Google] [More] ⦿

Vette Letters
[Donald Beekman]

Dutch foundry, est. 1997 by Donald Beekman. We find commercial fonts by several designers:

VLNL Jelly Donuts (2021).
Donald Beekman and Erik van Blokland: Bint (inspired by potatoes).
Donald Beekman: VLNL Bonen (2020), VLNL Mais (2020: an exaggerated wedge serif), VLNL Kouseband (2019), DBXLNightfever (2019; original design in 2001 for the disco-techno-house record label Nightfever), VLNL Cleaver (2017), VLNL Vondelpark (2014), VLNL Bleek (2014), Brak (octagonal), Breakz (octagonal), Brokken (rounded octagonal), DBXLZX (2012, inspired by the ZX Spectrum home computer), Decks, VLNL Duct (2014, emulating duct tape, this typeface was originally designed by DBXL as a logo for temporary Amsterdam restaurant BAUT), Gaufre, Hollandsche Nieuwe, Irish Stew (2012), Kadetje (based on wood type), Knoffel, VLNL Melk (based on wall adverts for the milk factory De Sierkan in Den Haag), Spaghetti (upright connected script), Wasabi, Woodburger.
TwoPoints: Tp Rawkost (2019), Tp Marte (2019), Tp Luna (2019), VLNL TpLlum (2012, really fat slabby letters).
Jacques Le Bailly: Sardines (2008), VLNL Neue Sardines (2010).
Donald Roos: VLNL Bint (2009), VLNL Brak, VLNL Spaghetti Bolognese.

[Google] [MyFonts] [More] ⦿

VIBE
[Martien Heijmink]

Martien Heijmink's Dutch page on the theme of human or experimental all caps alphabets. [Google] [More] ⦿

Victor van Gaasbeek

Rotterdam-based graphic designer and illustrator, b. 1990. Behance link. In 2009, he made an interesting fat round sans face. Alternate URL where one can download his free font Alchemeo Pro (2008). [Google] [More] ⦿

Viernulvier
[Remko Siemer]

Remko Siemer is the Dutch designer of the (PC, Mac) pixel fonts 404PX and AtariSysfont. [Google] [More] ⦿

Vincent Meertens

Vincent Meertens (Amsterdam, The Netherlands) created the pixel typeface Slant in 2013.

WebPlaza Mark van den Brink

Vincent Poeze

Dutch designer of a character in the September 11 charity font done for FontAid II. [Google] [More] ⦿

Vincent van Opdorp

Breda, The Netherlands-based designer of a colorful decorative initial caps typeface in 2017. [Google] [More] ⦿

Vincent Wielders

Born in 1987, Vincent lives in Culemborg, The Netherlands. He created the handwriting typeface Peent (2011). [Google] [More] ⦿

Vinn Hass

Almere, The Netherlands-based designer of Dripp (2018) and the circuit typeface Circon (2018). [Google] [More] ⦿

Viola Barth

Breda, The Netherlands-based designer of the modular display typeface Konzentrat (2016), which was designed for the illustration magazine Konzentrat. [Google] [More] ⦿

Violaine Gonzales

Rotterdam (was: Lyon, France)-based designer of the sans typeface Violaine (2018). [Google] [More] ⦿

Visualogik Technology & Design
[Hans van Leeuwen]

Hans van Leeuwen's 's-Hertogenbosch and/or Breda-based foundry in The Netherlands mostly involved in custom, specialty and quality hinted corporate fonts. Visualogik also marketed Gerard Unger's fonts. Visualogik Technology & Design was a partner with BauerTypes in the creation of Neufville Digital.

Their typefaces included the following:

A custom font by Unger for the NV Nederlandse Spoorwegen done in 1995 with weights called NSSans, NSSign, NSSwift, NSLogos.
EnRouteVL, Irish Uncial VL, Touche VL: fonts from the early 1990s released at Atomic Type.
Other typefaces from the early 90s: CaslonAntiqueVL, GorillaVL-Bold, MistralVL, StencilAntiqueVL, WashSymbolVL-Light.
Coranto (2000). A typeface designed by Gerard Unger in 1999. Unger updated that typeface to Coranto2 in 2011, and released that update at TypeTogether.
Gerard Unger's simple sans family Anwb (1997) consisting of Anwb-Cc-VL, Anwb-Ccx-VL, Anwb-Ee-VL, Anwb-Eex-VL, Anwb-Eex-VL-Oblique, Anwb-Uu, Anwb-Uu-Cursief, and Anwb-Uu-Verzwaard.
NuSwift. Hans van Leeuwen writes: NuSwift is a custom corporate font that we have produced for the Dutch energy provider Nuon; the font is exclusively in use by Nuon and Nuon affiliates. It is based upon Swift 2.0 designed by Dutch type designer Gerard Unger. We have also produced these Swift 2.0 fonts. But Unger claimed that he did not know about NuSwift, so people started calling this thingamajig a pirated font. Others besides Nuon using NuSwift include CSM Time and Euroman.
Ovink D VL (1995-2004). Inside this all caps typeface we find a copyright notice from 2004 that refers to Novatype, a subidiary of Visinova.

[Google] [MyFonts] [More] ⦿

Vizi
[Jeroen Visser]

Jeroen Visser (Vizi) is a Dutch graphic designer. In 2011, he created Remi Serif, which can be compared with Adobe Caslon Pro. It was developed during the Expert Type Design Class at Plantin Genootschap in Antwerp. [Google] [More] ⦿

Vlad Cristea

Cluj-Napoca, Romania-based designer of the connected brush script typeface Coralia (2015), the handcrafted Spiff (2015), the script typeface Lumiere (2015), and the free font Brusher (2015, with Raul Taciu). In addition, he made several sets of free vector format icons, including TwoGrey, Webicons, Chubby Icons, Stroke Gap Icons, and Cicons.

In 2016, Vlad relocated to Amsterdam. That same year, Vlad Cristea and Raul Taciu co-designed the free brush script typeface Hensa. Also, Vlad designed the weathered vintage typeface Bujole, and the script typeface Ball Pen.

In 2017, he designed the script typefaces Truly Lully, The Secret, Ding Dong, Think Pink, Dumpling, Heisenberg, Shmoopy, Boogabear, Foo-Foo, Egghead, Fruit Logo, Adorable (signature font), Moonstone, You Rock, Pretty Pen and Saffron, the marquee typeface Drive In, and the layered font family Aemstel.

In 2018, he designed the script typefaces Little Ophelia, Ink Pen, Marker Mark (a free SVG font), Rising Moon, Smooth Stone and Pinot.

In 2019, he designed the fun display typeface Limoncello and the font duo Laura.

In 2020, he designed the free handwriting font Smarta and Pink&Brown, and the free sans display typefaces Baigo and Chubby Wubby.

Typefaces from 2021: Ball Pen, Eastern Stories, Tall Jules (a fashion mag font), Think Pink, Toffee, Zip Zappy (brush font). [Google] [MyFonts] [More] ⦿

Vormplatform
[Guido de Boer]

Founded by Guido de Boer (Utrecht), Vormplatform is a Dutch studio in which Roosmarijn ten Hoopen, Studio Airport, Ferry Booms and Jeroen van Loon participate. This is an eye candy site, where one can also find their free twitterware typeface Bariol (2012, +Italic), a rounded sans monoline with a large set of icons. This typeface was published by Atipo in Spain.

In 2013, Guido designed the rounded sans typeface 225 Rounds.

In 2016, for the city of Utrecht, he designed the daptive typeface U-Type.

Personal web site. Behance link. [Google] [More] ⦿

Voskens en Clerk

Typefounders in The Netherlands, acquired later by Adam Gerard Mappa. Their work can be found in Proeven van letteren die gevonden worden in de van ouds beroemde lettergieterye van wylen de Heeren Voskens en Clerk / nu van A.G. Mappa = Epreuves de caracteres qui se trouvent dans la tres celèbre fonderie de feu Messieurs Voskens et Clerk / presentement de A.G. Mappa (Rotterdam, 1781). [Google] [More] ⦿

Walter van Rijn

At Walter van Rijn's site, called Symbiotext, one finds a description of his Symbiote projects. One of these led to the grunge-style typeface Symlogidins (2012, free at OFL). This sans typeface is partially based on OSP-DIN.

In 2014, Walter van Rijn created the Latin/Cyrillic typeface Putintin, showing both languages at the same time. He explains: If you type on a Latin keyboard the Latin letters appear on top and on a line underneath appears the Cyrillic, creating two lines of text at the same time. Please double the font size to get a readable text. If you type on a Cyrillic keyboard the Cyrillic appears on top with the Latin underneath. Putintin was created in response to the Russian annexation of the Crimea, which clearly breached UN resolutions and memoranda affirming Ukraine's territorial integrity, which Russia signed as well. To be precise, Resolution 2625 of 24 October 1970 and the Budapest Memorandum of 5 December 1994 (the Memorandum on Security Assurances in Connection with Ukraine's Accession to the Treaty on the Non-Proliferation of Nuclear Weapons). OK now it is confirmed that the UN is dead, we need to re-establish East West communication, for which I propose this font. It is free at Open Font Library. This typeface remixes work by Harrisson, Pierre Huyghebaert, Femke Snelting, Ivan Monroy-Lopez, Yi Jiang, Nicolas Malevé and Ludivine Loiseau.

In 2016, in keeping with socially relevant type design, he published Sym Being Human, and writes: I have inserted words within the capitals of this digital font. Words which are only readable by us, humans, and not by the computers which use the font. The words relate to the human rights and freedoms as they are formulated in the Universal Declaration of Human Rights 1948.

Open Font Library link. Home page. [Google] [More] ⦿

Mark van den Brink's software includes a small free trueType font editor (TrueType Font Editor V1.2), the TrueType Font Library for the Borland Graphic Interface. [Google] [More] ⦿

Wendy Steenks

Graphic design student at the Willem de Kooning Academy who lives in Delft. She is passionate about lettering, and has drawn a few alphabets in 2012.

Wendy Varela

During her studies at Grafisch Lyceum Rotterdam, Wendy Varela designed the tape typeface Tecticz (2018). [Google] [More] ⦿

Werkbond
[Nick Datta]

Werkbond is Nick Datta, based in Rotterdam, The Netherlands. Creator of Fatso (2009). [Google] [More] ⦿

Werkplaatstypografie

Based in Arnhem, The Netherlands, this web site glorifies nice typographical contributions in advertising and presentations. It is also a place of study: The Werkplaats Typografie (WT) is part of ArtEZ Institute of the Arts. WT is a two-year masters programme centred on practical assignments and self-initiated projects. It also serves as a meeting place for graphic designers with regard to research and dialogue. The WT is supervised by Karel Martens and Armand Mevis. [Google] [More] ⦿

Wick van den Belt

Dutch designer who made the free fonts A Drippin Marker (2011) and Wickhop Handwriting (2011).

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

Wickhop

Dutch designer of Wickhop Handwriting (2011) and A Dripping Marker (2011). [Google] [More] ⦿

Wico Valk
[Archiness]

Willem Coenraad Brouwer

Dutch designer, 1877-1933. He created some art deco lettering on buildings, such as on the front of Atlantic Huis (1930). [Google] [More] ⦿

Willem Marinus Dudok

Dutch poster artist, 1884-1974. Scan of the front cover the famous Wendingen art deco style magazine No. 11/12, 1930. Richard Keijzer discovered another Dutch deco alphabet by Dudok under the train station in Hilversum, dated 1938, and made a digital typeface based on it called Dudok (2014). See also Ko Sliggers's DF Dudok (2013). [Google] [More] ⦿

Willem Sandberg

Jonkheer Willem Jacob Henri Berend Sandberg (b. Amersfoort, The Netherlands, 1897-1984) was a Dutch typographer, museum curator, and member of the Dutch resistance during World War II. He studied art in Amsterdam and was deeply influenced by Otto Neurath's Isotype. He was involved in forging identity cards during the German occupation in WWII, mainly for Jews wanted by the Gestapo. The only problem was that the identity cards could be checked against the records at the registry office. So his resistance group bombed the registry office, which led to the capture of resistance members, and Sandberg went into hiding for the reminder of the occupation. During that time, he worked on his Experimenta Typographica series. Sandberg began working for the Stedelijk Museum in 1928 and was appointed curator in 1937. After the war in 1945, he served as director of the museum until his retirement in 1962.

Digital typefaces influenced by his work:

Sandberg Honorarium (2003, Ian Lynam, Wordshape).
Sandberg Grotesque (2018, Hidetaka Yamasaki>). A quirky typeface based on a black face used in Willem Sandberg's catalogues in 1950s.
Chronic (2016, Pintassilgo). This typeface was influenced by the work of HAP Grieshaber and Willem Sandberg and was expanded in 2020 to Anachronic.

[Google] [More] ⦿

Willem Tietsema

Lettering and writing teacher in Groningen, The Netherlands, 1809-1882. He published two lettering model books, Handleiding bij het vervaardigen van onderscheidene soorten van schrijf-model en kunstletters (1869, P. van Haren, Groningen) and Alphabet voor bouwkundigen enz in 12 voorbeelden.

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

Wim Crouwel

Willem Hendrik Crouwel is a Dutch graphic designer who was born in Groningen in 1928, and died in Amsterdam in 2019. He studied at the Academy Minerva from 1947-1949. In 1952, he founded his design agency, and in 1963, he created the Total Design agency together with four others. In 1967, he created his New Alphabet for cathode ray tubes---it had only vertical and horizontal strokes. It was used in the Dutch pavillon at the World Exhibition in Osaka in 1970. Crouwel became professor of industrial graphic design in 1973 at the Technical University of Delft and was also professor of art at the Erasmus University in Rotterdam. From 1963 until 1984, Crouwel managed all posters and catalogs for Stedelijk Museum Amsterdam. In 1981, he became director of Museum Boijmans-Van Beuningen, and remained director until 1991.

Besides New Alphabet (1967), he also designed Stedelijk (1968, for his poster for Stedelijk Museum Amsterdam), and the Fodor Alphabet (1969, pixelish). He led Total Design in the 70s.

His typeface Gridnik (1974), an octagonal typeface made for a typewriter, was never released as a font. Crouwel's love for grids had earned him the nickname Gridnik or Mr. Gridnik. This name is well-deserved: he once stated, I am a functionalist troubled by aesthetics.

Creator of Dutch postage stamps in 1976.

In 2009, Crouwel won the Gerrit Noordzij prize. In 2019, he won the TDC Medal. Biography.

In 2007, there was a special Crouwel event in Paris. Pictures of Crouwel by Michael Levy: Crouwel with Pierre Bernard, Crouwel and Étienne Robial, Crouwel signing books, portrait.

Many have continued along the path shown by Crouwel:

Jay Vidheecharoen made the font Atmosphere based on Wim Crouwel's New Alphabet.
Architype New Alphabet 1 through 3 by The Foundry are also based on Crouwel's New Alphabet. The Foundry also made Architype Stedelijk and Architype Fodor based on Crouwel's work.
A free version of New Alphabet was made by Matt McInerney (2008). As mattmc over at FontStruct, he made a number of New Alphabet lookalikes in 2008 such as Neuescreen, Pentagrid Alkphabet, and Pentagrid v2.
Klean Regular (2011, Gershon Paul) is an octagonal take on New Alphabet.
Funk King used FontStruct in 2008 to make a series of fonts based on posters by Wim Crouwel: Edgar Fernhout (based on a 1963 poster), Amsterdamse School (1975, art deco lettering), Kalender 1976 Letters (octagonal), Kalender 1976, Brusselmans, Rabobank.
The pixel typeface Amsterdam (2008, Fizgig at FontStruct) was based on Wim Crouwel's hand lettering for the 1968 Vormgevers poster.
Jonathan Hill's LineWire (2009) is an octagonal typeface influenced by Crouwel's work.
Nate Navasca's piano key typeface Shima (2011) is based on Wim Crouwel's Hiroshima poster (1957). So are Oscar Cobo and Wete's UT Morph (2018), Sean Kane's Suzuka (2012), Hello Muller's Nagasaki, and Sasha Iacob's Nagasaki (2012, free font).
Igor Rossi used FontStruct in 2009 to make Crouwel's Paper Cuts and Crouwel's Stedelijk Alphabet.
Antonio Morata fontstructed ztedelijk-Crouwel eYe/FS (2011) based on the same Stedelijk Museum poster.
Michael Hernan's 1996 typeface New Alphabet is also influenced by Crouwel.
In 2011, Boris de Vries weighed in with two typefaces. Wim Crouwel's Hiroshima poster (2011) served as a model for Boris's unnamed piano key typeface created in 2011. And a 1968 poster for Stedelijk Museum Amsterdam was the model for another typeface created by Boris in 2011.
Paul Hunt designed New Alpha BBit, New Alpha 1 Line, New Azbuka, and New Alpha Dot using FontStruct.
Mrman created New Alphabet Substance Style (2008, FontStruct).
Shawn Grima's squarish typeface Architect (2012) was inspired by Crouwel as well.
Duncan Robertson developed a 42-cut typeface family called New Alphabet 13, in one of the best researched attempts to date to push Crouwel's ideas even further.
Fabio Furlanis made the octagonal C-Alphabet (2013, collaboration with Roberto Duse).
Tom Seddon's typeface The Empty Space (2013) was inspired by Wim Crouwel's New Alphabet.
th3lonius created Gendai Block and Gendai round in 2013 based on Crouwel's Hiroshima poster.
Darren O'Driscoll's Newer Alphabet (2013) is based on New Alphabet.
Foundry Gridnik (2016, by David Quay at The Foundry): Foundry Gridnik was developed from the single weight monospaced typewriter face, originally created by Dutch designer Wim Crouwel in the 1960s.
For FIFA's World Cup 2014, the Dutch team played in Case Crouwel, a bespoke octgaonal and inline typeface by Wim Crouwel done for Nike.

Flickr group on Wim Crouwel. Wim Crouwel Exhibition at the Stedelijk Museum Amsterdam, 28 September 2019-22 March 2020. [Google] [MyFonts] [More] ⦿

Wise Type
[Jacob Jan Wise]

Wise Type is an independent digital type foundry established in 2019 by Jacob Wise as a platform to distribute his own typefaces. The foundry was located in the UK but is currently based in Rotterdam, The Netherlands. Jacob Jan Wise graduated from Kingston University, class of 2017. Designer of these typefaces:

WT Kormelink (2019). Influenced by Victor Lardent's Times New Roman from 1931).
WT Kraft (2018). A spiky art nouveau typeface.
WT Monarch (2019). An update of Monarch, Monarch Nova (a typeface with tapered stems; with Margot Leveque) was released in 2020.
WT Skrappa (2019). Inspired by lettering designed by the prolific British designer Ken Garland (1929-2021) in 1964 for the First Things First Manifesto. This manifesto, backed by over 400 designers, was a combined proclamation of solidarity against the accelerating consumerist culture of the era. The condensed Skrappa is one of the greatest dystopian fonts ever made.
WT Zaft (2019).

Instagram link. [Google] [More] ⦿

W.O.J. Nieuwenkamp

Dutch designer of an initial caps face at the end of the 19th century. [Google] [More] ⦿

Woses Eltops

Young Dutch designer (b. 1990) of the handwriting font Woses Eltops (2005). Alternate URL. [Google] [More] ⦿

Wouter Bus

Rio de Janeiro, Brazil, and/or Amsterdam, The Netherlands-based designer of the hiragana-inspired typeface Hiragama (2017). In 2019, he designed Ekko (a monoline display sans made with compass and ruler), Oky (an outlined typeface) and Geom (a 3d typeface). [Google] [More] ⦿

Wouter Freericks

Utrecht, The Netherlands-based student-designer of an untitled hipster typeface in 2014. [Google] [More] ⦿

Wouter Ramaker

Rotterdam-based Dutch graphic designer. He created the marker pen typeface Lasagna (2007). [Google] [More] ⦿

Yakim Van Zuijlen

Young Dutch graphic designer who created a (still unfinished) custom typeface in 2012. Dribble link. [Google] [More] ⦿

Yankadi Font

Yankadi-Western, Yankadi-Tribal, and Yankadi-Graphic are free music truetype fonts: "This TrueType font is designed especially for noting down Djembe rhythms, as well as DounDounba, Sangban, Kenkeni, bells and so on." By Merlin Software, 2000. [Google] [More] ⦿

Yasmine Van Maasakker

During her studies at Sint Lucas in Tilburg, The Netherlands, Yasmine Van Maasakker designed the display typeface Yasmine (2015). [Google] [More] ⦿

Yomar Augusto
[Bric Type]

Yoozer
[Rob Janssen]

Rob Janssen (Yoozer) (b. 1978, Netherlands) is the designer of the fantastic pixelish font Depthcore (2002), the techno font Musictelevisionselector (2002), the techno font Bauwerck (2002, Bauhaus elements) and the techno font Tsunami (2002).

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

Yorick de Vries
[Studio Another Day]

YourFonts
[Erwin Denissen]

On-line commercial font generation service, based on submitting a scanned template. It feels like Fontifier. At some point it became free, and soon after that it took off---105,110 free fonts have been generated between August 2008 and March 2009. Its designer, the Utrecht, The Netherlands-based Erwin Denissen, writes: As an independent software vendor, Erwin Denissen strives to continue developing new and innovative products for the world-wide typography market. Right now High-Logic has three products, a font editor, a font manager and a font generator. In March 2008 Erwin Denissen acquired MyTools.com, including 8 products. In July 2008 yourfonts.com was launched as an online font generation service. More fonts-related utilities are expected soon.

He also made FontCreator, a free font editor. JulieCouillard (2008) is a handwriting test font I sent in to see how good the outlines are. Some time in 2009, Yourfonts become commercial, changing between 9.95 and 14.95 US dollars per font. At the same time, they embarked on a reseller program in which others can use their font generation engine for a fee. Resellers include

Acrotype
FontGrinder
Bingdat
Fonts In Bloom
Sigfonts - 16 Signatures in a single font
Cheapfontgenerator (5 USD per font, service by Sam Daniel and/or Miley Cyrus).

Others, such as FontBay, have the same set-up as most resellers. Most of these services charge about 14.95 US dollars per font.

Finally, there are some free example fonts: George, Phooley, Parchemin, and others. [Google] [More] ⦿

Youri Buis

As a student, Weert, The Netherlands-based Youri Buis created the octagonal typeface Angularis (2015). Behance link. [Google] [More] ⦿

Yuliya Sobotyuk

Aka Yufrukt. Slavic designer who lives in Den Haag, The Netherlands where she works as a freelance illustrator. She graduated in 2011 from the KABK in Den Haag. In 2013, she created a hand-illustrated children's alphabet. [Google] [More] ⦿

Yves Latscha
[Dotspot Graphics]